Images at Librifly

search results: Watercolor clear search

Foul by God: River Landscape with Anglers Fishing From a Weir, Joseph Mallord William Turner, 1775–1851, British, ca. 1830, Watercolor, gouache, graphite and white chalk on medium, slightly textured, gray wove paper, Sheet: 5 3/8 x 7

Memorial to Thomas and Elizabeth Moore and their daughter Elizabeth, from Chiselhurst Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured,

Locust, Luigi Balugani, 1737–1770, Italian, undated, Graphite, watercolor, and gouache on medium, slightly textured, beige laid paper, Sheet: 8 7/8 x 6 1/4 inches (22.5 x 15.9 cm), Insecta (class

General Stevenson, John Smart, 1741–1811, British, 1796, Watercolor and gouache on ivory, Image: 3 x 2 1/2 inches (7.6 x 6.4 cm) and Frame: 3 1/2 x 2 3/4 x 1/4 inches (8.9 x 7 x 0.6 cm), portrait

Miss Farren, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Bull & Jeffryes, active

Terraced Cottages with Fallen Trees, imitator of John Linnell, 1792–1882, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 10 1/8 x 13 3/8 inches (25.7 x 34 cm), cottages, field,

Boschbeek & Gorenendaal: View from Turret towards Lissse, Leidsche Vaart and the Sea, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on textured, moderately thick, cream wove paper, Sheet: 10 1/2 × 14 3/8 inches (26.7 × 36.5

Ancient Font in West Drayton Church, Middlesex, Daniel Lysons, (?), 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 10 3/4 inches

Three Racehorses with Jockeys Up Galloping in a Group to Left, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on moderately thick, slightly textured, cream, wove paper, Sheet: 10 11/16 × 17 3/4 inches (27.1 ×

Portrait of a Bearded Man, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and brown ink, gouache and graphite on medium, moderately textured, cream, laid paper, Sheet: 11 3/16 × 8 1/16 inches (28.4 × 20.5 cm),

Birnam Wood, Hugh William 'Grecian' Williams, 1773–1829, British, before 1801, Watercolor on medium, slightly textured, blued white wove paper, Sheet: 15 × 19 3/4 inches (38.1 × 50.1 cm), cliffs, clouds, clouds, forest, landscape,

After the Race: Owner or Trainer Riding and Conversing with Jockey on Trainer's Hack; at Right, a Racehouse Being Watered and Rugged after Racing (one of pair), Samuel Alken, 1756–1815, British, undated, Graphite and watercolor on medium,

Waterfall and Tree Trunk, Anthony Devis, 1729–1817, British, undated, Watercolor, pen and gray ink, gray wash and graphite on moderately thick, slightly textured, cream, laid paper, Sheet: 14 9/16 × 21 1/8 inches (37 × 53.7 cm),

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 17 × 13 7/16 inches (43.2 × 34.1 cm) and

Design for Clifton Castle, Yorkshire: Plan and Elevation in the Gothic Style, unknown artist, ca. 1780-1790, Graphite, pen and black ink, watercolor on rough, moderately thick, beige wove paper, Sheet: 18 7/8 × 24 7/8 inches (47.9 × 63.2

Between Sabooa & Maharraka, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, rough, wove paper, mounted on thick, slightly textured, cream wove paper, Sheet: 2 x 6 7/8 inches (5.1 x

Memorial to Henry Powell and his Daughter, Elizabeth, also of Marianne, George and John Hay Drummond, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on

Stream with Trees and Cattle near Bromley Hill, Kent, Henry Edridge, 1769–1821, British, 1807, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 16 × 10 7/8 inches (40.6 × 27.6 cm), cattle,

Native of Tacocronte, Tenerife, Alfred Diston, active 1818–1829, 1825, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/2 × 7 3/8 inches (24.1 × 18.7 cm), bundle, costume, figure

Undercliff, Isle of Wight, Frederick Calvert, ca. 1785–1845, Irish, undated, Watercolor and gouache on medium, slighlty textured, cream wove paper, Sheet: 4 7/8 × 8 inches (12.4 × 20.3 cm) and Mount: 5 1/8 × 8 1/8 inches (13 × 20.6

Jasminum abyssinicum DC. (Ethiopian Jasmine): finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 ×

Foxhunting: Full Cry, Henry Thomas Alken, 1785–1851, British, ca. 1830, Graphite and watercolor on medium, moderately textured, cream wove paper, Sheet: 9 3/8 × 26 15/16 inches (23.8 × 68.4 cm

The Watermill Above the Bridge at Charenton, François Louis Thomas Francia, 1772–1839, French, active in Britain, after Thomas Girtin, 1775–1802, British, undated, Watercolor over graphite on moderately thick, moderately textured,

Cows in a Pool, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, rough, cream wove paper, Sheet: 8 5/8 x 10 5/8 inches (21.9 x 27 cm), animal art, cattle, cows, livestock, ponds,

Encombe, September 30, 1831, Anne Rushout, ca. 1768–1849, British, 1831, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 10 inches (17.1 × 25.4 cm

Viola nach Shakespeare von Deinhardstein - Costume Bild zur Theatrezeitung, Andreas Geiger, 1765–1856, Austrian, undated, Etching with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 9 7/16 x 12 1/16 inches (24 x

Still Life with Pitchers on a Shelf, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, rough, beige wove paper, Sheet: 6 1/4 x 4 inches (15.9 x 10.2 cm), cloth, jars, jugs, pitchers,

One of a Group of Three Studies on the Venetian Logoon, Myles Birket Foster, 1825–1899, British, undated, Watercolor and graphite on thick, rough, cream wove paper, Sheet: 1 7/8 × 2 5/8 inches (4.8 × 6.7 cm), boat, gondola, marine art,

Venus Attired by the Graces, Print made by James Gillray, 1757–1815, British, Published by Hannah Humphrey, ca. 1745–1818, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, beige wove

West Window of Tintern Abbey, Thomas Sunderland, 1744–1828, British, undated, Watercolor and graphite with pen and brown and pen and gray ink on medium, slightly texture, cream wove paper, Sheet: 15 × 10 5/8 inches (38.1 × 27 cm) and

Man on Horseback and Other Figures, William Anderson, 1757–1837, British, undated, Watercolor, pen, black ink, and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 8 1/2 × 12 1/4 inches (21.6 × 31.1 cm

Christ Church from the Meadows, George Hollis, 1792–1842, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 11 × 15 1/2 inches (27.9 × 39.4 cm), architectural subject, chapel, church,

A Terrier, Sitting, Facing Left, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on thick, rough, cream, wove paper, Sheet: 4 1/8 x 4 1/8 inches (10.5 x 10.5 cm), animal art, Terrier (dog

From Dining Room Window, Wanstead Grove, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm

Two Drawings on One Sheet: Sky Study - Turner's Principle (no. 11); Landscape With Hills and Tree (no. 12), Thomas Sully, 1783–1872, American, undated, Watercolor on medium, slightly textured, beige, wove paper, Sheet: 10 15/16 × 8 11/16

The Captain on Full Pay, John Leech, 1817–1864, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 4 3/8 inches (12.7 × 11.1 cm), captain, caricature, feather

Two Men in a Boat Clinking Tankards (?), Nicholas Pocock, 1740–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/4 × 4 7/8 inches (13.3 × 12.4 cm), boat, caps, coats, genre

Rest: Aldenham Church, Sir Hubert von Herkomer, 1849–1914, British, 1876, Watercolor and gouache on moderately thick, moderately textured, cream wove paper, Sheet: 16 1/2 × 1 3/4 inches (41.9 × 4.4 cm), church, genre subject, graves,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Townhead and Drummore, unknown artist, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 16 11/16

Layout Design for a Bookplate, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite and black chalk on medium, slightly textured, gray laid paper mounted on moderately thick, slightly textured,

The Lake of Nemi, John Robert Cozens, 1752–1797, British, between 1783 and 1785, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 14 5/8 x 21 1/8 inches (37.1 x 53.7 cm), buildings, cliffs, clouds, Grand

The Recruiting Officer, Thomas Rowlandson, 1756–1827, British, 1797, Watercolor with pen and red-brown, gray and black ink; verso: watercolor stains. on medium, moderately textured, blued white, laid paper, Sheet: 4 x 6 inches (10.2 x

Tyn Dhu Mill, North Wales, John Baverstock Knight, 1785–1859, British, undated, Watercolor, graphite and pen and brown ink on medium, slightly textured, white wove paper, Sheet: 5 5/8 × 8 7/8 inches (14.3 × 22.5 cm), architectural

Ladies Beside a Column and Arcade, Anthony Highmore, 1719–1799, British, Previously attributed to Paul Sandby RA, 1731–1809, British, undated, Gray wash and watercolor with pen and black ink over graphite on medium, blued white,

St. Paul's Cathedral and Blackfriar's Bridge, William Henry Hunt, 1790–1864, British, ca. 1817, Watercolor and brown ink over graphite on thick, moderately textured, cream laid paper, Sheet: 8 7/8 x 13 1/4 inches (22.5 x 33.7 cm),

Satan Smiting Job with Boils, circle of John Linnell, 1792–1882, British, after William Blake, 1757–1827, British, undated, Watercolor and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 3/4 x 4 3/4 inches

Study of a Tree, James Ward, 1769–1859, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 x 4 3/4 inches (23.5 x 12.1 cm) and Contemporary drawn border: 10 1/4 x 5 3/4 inches (26 x 14.6

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, undated, Black ink, graphite, watercolor and gouache on medium, moderately

Lyme Regis, Dorsetshire, a Squall, Thomas Sully, 1783–1872, American, undated, Watercolor, graphite and brown wash on moderately thick, slightly textured, beige, laid paper, Sheet: 6 11/16 × 10 3/4 inches (17 × 27.3 cm

The Poems of Thomas Gray, Design 17, 'Ode on a Distant Prospect of Eton College.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove

La Cava, Edward Lear, 1812–1888, British, 1838, Oil and watercolor on moderately thick, slightly textured, beige-brown wove paper, Sheet: 4 13/16 x 9 13/16 inches (12.2 x 24.9 cm), botanical subject, botany, leaves, plant, science,

Man Sitting Crosslegged, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 × 4 7/8 inches (15.2 × 12.4 cm

Cordia abyssinica: finished drawing, Luigi Balugani, 1737–1770, Italian, Formerly James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 9 3/4

The First Book of Urizen, Plate 4 (Bentley 24), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 10 x 7 1/8

Young's Night Thoughts, Page 17, 'Night the Second, on Time, Death and Friendship', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Lt. Charles Kenworthy Smart, John Smart, 1741–1811, British, undated, Watercolor and gouache on moderately think, slightly textured, cream laid paper, Sheet: 4 1/4 × 3 inches (10.8 × 7.6 cm), coat, collar, man, portrait, profile

Memorial to Sir John Laurence, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 5/8 × 10 1/2 inches

Seat of David Godfrey, Isleworth, Middlesex, Charles Tomkins, 1757–1823, British, undated, Pen and black ink, watercolor on medium, slightly textured, white laid paper, Sheet: 7 1/2 × 8 1/2 inches (19.1 × 21.6 cm), architectural

The First Thames Steamboat: Pearl, Edward Duncan, 1803–1882, British, undated, Watercolor and gouache on medium, moderately textured, blue wove paper, Sheet: 10 1/8 x 14 1/2 inches (25.7 x 36.8 cm), boats, flag, marine art, river,

The Ruins of the Temple of Jupiter in the Plains of Nemea, Sir Robert Smirke the younger, 1781–1867, British, 1803, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 11 3/8 × 16 3/4 inches (28.9

A Donkey and Foal, Robert Hills, 1769–1844, British, undated, watercolor and graphite on thick, cream, rough wove paper, Sheet: 3 7/8 x 4 7/8 inches (9.8 x 12.4 cm), animal art, donkey, fence, foal, trees

Venetian Dignitaries Boarding Gondolas, James Holland, 1799–1870, British, 1844, Watercolor, gouache, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm), costume,

Songs of Innocence, Plate 18, 'A Cradle Song' (Bentley 16), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/2 x 5

Landscape with Two Men and a Castle Ruin on the Riverbank, Rev. William Gilpin, 1724–1804, British, 1783, Watercolor, graphite, pen and brown ink and black ink on moderately thick, moderately textured, beige, laid paper, Sheet: 5 3/4 ×

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

View from Rook's Hill, Kent, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1843, Watercolor with gouache and pen and brown ink and graphite on thick, rough, cream wove paper, Sheet: 20 5/8 x 16 1/4 inches (52.4 x 41.3

Unfinished Sketch of an Elaborately Saddled Horse, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 1/2 × 13 3/8 inches (24.1 × 34 cm),

The Fair Grounds, Frederick Christian Lewis the Elder, 1779–1856, British, undated, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 5 3/16 x 17 3/8in. (13.2 x 44.1cm) and Sheet: 5 1/8 ×

Going out of Kennel, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and gray ink on medium, slightly textured, beige, laid paper, mounted on, moderately thick, moderately textured, beige, laid paper,

Memorial to James Howard from Chiswick Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 7/8 ×

The Sporting Parson: 'Why Hang - I Mean Bless Me! If They Haven't Run into Him in My Own Churchyard!', Hablot Knight Browne, 1815–1882, British, undated, Black chalk, watercolor and white gouache on medium, slightly textured, gray-green,

A Horse, Dog and Figures outside a Cottage, Conrad Gessner, 1746–1826, Swiss, undated, Watercolor over graphite on moderately thick, slighlty textured, beige wove paper, Sheet: 7 × 9 inches (17.8 × 22.9 cm), animal art, animals,

Portrait Study of a Divine, John Vanderbank, 1694–1739, British, 1738, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 14 3/8 × 10 1/4 inches (36.5 × 26 cm), portrait

The Environs of London: Brass plate for Unidentified Infant from East Ham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly texutered, cream wove paper,

Greenwich Hospital from Woolwich Reach, David Cox, 1783–1859, British, formerly attributed to David Cox, 1783–1859, British, 1820s, Watercolor and graphite with scratching out on moderately thick, moderately textured, white wove paper,

View in Suffolk, Cornelius Varley, 1781–1873, British, 1803, Watercolor and graphite on medium, moderately textured, cream laid paper, Sheet: 10 1/2 x 17 5/8 inches (26.7 x 44.8 cm), fog, fog, houses, landscape, mountains, river,

Salonica, from my Room Window, 11 Sept. 1848, after Sunset, Edward Lear, 1812–1888, British, 1848, Watercolor, pen and brown ink, over graphite on medium, slightly textured, cream wove paper, Sheet: 6 7/8 × 10 1/8 inches (17.5 × 25.7

A Hop Kiln, George Morland, 1763–1804, British, 1795, Watercolor and graphite with pen and black ink on medium, slightly texture, beige wove paper, Sheet: 6 1/16 × 8 1/16 inches (15.4 × 20.5 cm), architectural subject, baskets, beer,

The Gourmand, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink over graphite on medium, slightly textured, laid paper, mounted on, thick, slightly moderately textured, beige, wove paper, Sheet: 9 1/2 x 7

A Thames Wharf with Westminster Bridge in the Distance, Samuel Scott, 1701/2–1772, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper, with thin, slightly textured, blue laid paper

The Front of a Town House, Michael 'Angelo' Rooker, 1746–1801, British, 1785, Watercolor, with pen, in gray ink, black ink and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 11 3/4 × 19 1/4 inches (29.8 ×

Brass Plate Monument for John Stockton, West Wickham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Graphite, watercolor, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 14 1/8 × 10 3/4

Mer de Glace, in the Valley of Chamouni, Switzerland, Joseph Mallord William Turner, 1775–1851, British, 1803, Watercolor, graphite, gum, scraping out and stopping out on moderately thick, slightly textured, cream wove paper mounted on

A Grecian Polacker, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in brown ink on medium, slightly textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper,

The Peake of Tenerife, Alfred Diston, active 1818–1829, 1829, Watercolor, pen, gray ink, brown ink, black ink, gray wash, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 13 3/4 x 16 7/8 inches (34.9 x 42.9

Silsilis, Edward Lear, 1812–1888, British, 1854, Watercolor, graphite, pen and red ink on moderately thick, rough, beige wove paper, Sheet: 3 1/16 x 6 1/16 inches (7.8 x 15.4 cm), desert, figures (representations), landscape, men,

Foxhunting: Drawing Covert, George Alken, 1794–active 1837, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 6 9/16 × 9 7/8 inches (16.7 × 25.1 cm), dogs (animals), fields, fox

Cucumis metuliferus Naud (Wild Cucumber): finished drawing, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, sligthly textured, cream laid paper, Sheet: 16 × 12 1/8 inches (40.6 × 30.8 cm

Cairo Bazaar, William James Muller, 1812–1845, British, undated, Watercolor, gouache, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 9 1/2 x 12 11/16 inches (24.1 x 32.2 cm), arch, bazaar, commerce,

Rural Landscape, William Taverner, 1703–1772, British, between 1750 and 1755, Watercolor over graphite, with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 9 3/8 × 21 1/2 inches (23.8 × 54.6 cm

Folkstone Head, John Thomas Serres, 1759-1825, British, undated, Watercolor over graphite on medium, slighlty textured, cream wove paper, Sheet: 5 5/8 x 19 1/2 inches (14.3 x 49.5 cm), landscape, peninsula, sea, shoreline

Young's Night Thoughts, Page 90, 'That Touch, with Charm Celestial Heals the Soul', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

A Merchantman Becalmed Offshore, David Cox Jr., 1809–1885, British, undated, Watercolor, with pen, in gray ink, and brown ink on medium, slightly textured, cream, wove paper, Sheet: 4 5/8 × 7 1/16 inches (11.7 × 17.9 cm), boats,

Songs of Innocence and of Experience, Plate 16, 'A Cradle Song' (Bentley 16), Print made by William Blake, 1757–1827, British, 1789 to 1794, Relief etching printed in dark-brown with pen and black ink and watercolor on moderately thick,

Jerusalem, Plate 7, 'Was living: panting....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove paper, Sheet: 13

A Mountainous View, North Wales, David Cox, 1783–1859, British, ca. 1815, Watercolor and graphite on moderately thick, rough, cream wove paper, Sheet: 7 7/8 x 11 1/2 inches (20 x 29.2 cm), clouds, landscape, mountains, Cymru, Europe,

A Sussex Barn, Robert Polhill Bevan, 1865–1925, British, 1908, Watercolor and black chalk on thick, cream, smooth card, Sheet: 14 1/8 x 18 3/8 inches (35.9 x 46.7 cm), architectural subject, barn, buildings, farm, fence, landscape,

Design for Setting of Charles Kean's Richard II at the Princess's Theatre on March 12, 1857 - Act 4, Scene 2, George Cressal Ellis, ca. 1810–1875, undated, Watercolor, graphite, pen and brown ink on slightly textured, medium, gray wove

Barnett Fair, putting him through his paces, Joseph Crawhall, 1861–1913, British, 1896, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 9 7/8 × 10 7/8 inches (25.1 × 27.6 cm), fair, horse (animal), jockey,

The Flower Seller, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray ink, and graphite on medium, smooth, cream, wove paper, Sheet: 4 1/8 x 3 inches (10.5 x 7.6 cm), buildings, doorway, flower

search results: Watercolor clear search