Images at Librifly

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Guildhall, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 4 7/8 × 6 5/8 inches (12.4 × 16.8 cm) and Mount: 9 × 12 1/2

The Proposal, Nathaniel Dance RA, 1735–1811, British, undated, Black chalk and watercolor on medium, slightly textured, blued white laid paper, Sheet: 6 3/4 x 9 1/4 inches (17.1 x 23.5 cm), genre subject, man, marriage, proposal,

Head of a Donkey, George Jones, 1786–1869, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 4 15/16 × 3 7/8 inches (12.5 × 9.8 cm), animal art

Trees in a Meadow, John Constable, 1776–1837, British, ca. 1805, Graphite, watercolor, black chalk on medium, slightly textured, cream wove paper, Sheet: 11 5/8 x 9 7/8 inches (29.5 x 25.1 cm), landscape, meadow, trees

A Livery Stable, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and red-brown ink, pen and gray ink, and pen and brown ink on medium, slightly textured, beige, wove paper with pen in gray ink line and

'Qualified Horses and Unqualified Riders:' 'Topping a Flight of Rails...', Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, blued white, wove paper, Sheet: 8 3/16

Brighton: the front and the chain pier seen in the distance, Frederick William Woledge, active 1840, British, undated, Graphite, pen and ink, gum arabic, watercolor, gouache on medium, slightly textured, cream wove paper, Sheet: 5 3/8 ×

Travellers just Come to their Resting Ground, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 × 6 3/4 inches (15.2 × 17.1 cm

Caricature of the County Hampshire, John Leech, 1817–1864, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 7 × 4 3/4 inches (17.8 × 12.1 cm), caricature, gluttony, hankerchief, knife,

Vesuvius in Eruption, Isaac Weld, 1774–1856, Irish, undated, Watercolor, graphite, gouache and wash on moderately thick, moderately textured, cream, wove paper, Sheet: 9 15/16 × 15 1/8 inches (25.2 × 38.4 cm), landscape, Campagna

Coastal Landscape, Henry Swinburne, 1743–1803, British, undated, Watercolor and graphite on medium, moderately textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount: 11 1/8 × 16 3/8

Clare College, Cambridge, From the Backs, Richard Banks Harraden, 1778–1862, British, 1812, Watercolor, with pen, in gray ink, graphite, and gouache on medium, moderately textured, cream, wove paper, Sheet: 8 5/8 × 12 1/16 inches

Guaraxa Aguara-Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 3/4 × 7 7/16 inches (12.1 × 18.9 cm), animal art

Corfe Castle, Dorset, Joseph Nash, 1808–1878, British, 1862, Watercolor, gouache and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 15 × 20 inches (38.1 × 50.8 cm

Crater of Morne Soufrier, St. Vincent: cross - elevation, Rev. Lansdown Guilding, 1798–1831, British, undated, Watercolor with pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 21 5/8 × 15 inches (54.9

Two Men in Punts, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 4 1/2 × 7 1/2 inches (11.4 × 19 cm), boats, fishermen, fishing,

Design for a wall decoration, John Devoto, active 1708–1752, British, undated, Pen and black ink and watercolor on slightly textured, moderately thick, white laid paper, Sheet: 5 5/8 × 4 inches (14.3 × 10.2 cm), architectural subject,

The Poems of Thomas Gray, Design 41, 'The Progress of Poesy.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove paper with inlaid

Farmhouse, Edward Francis Burney, 1760–1848, British, 1802, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 7 3/4 inches (14 × 19.7 cm), architectural subject, farmhouse, gate, trees, windows

Portrait of an Elderly Lady, John Smart, 1741–1811, British, 1767, Gouache and watercolor on ivory, Image: 1 3/8 x 1 1/8 inches (3.5 x 2.9 cm) and Frame: 1 5/8 x 1 3/8 x 1/8 inches (4.1 x 3.5 x 0.3 cm), portrait

Interior View of the Hall at Rushton, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 19 3/4 × 14 inches (50.2 ×

Mr. Kemble, of the Theatre Royal, Drury Lane, Print made by William Nelson Gardiner, 1766–1814, Irish, after Sylvester Harding, 1745–1809, British, Published by John Sewell, active 1735–1802, British, 1797, Stipple engraving and

Ibreem, 10:00 am, 2 February 1867 (317), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on thick, rough, cream wove paper, Sheet: 2 7/16 x 6 7/8 inches (6.2 x 17.5 cm), cliffs, landscape, palm

Tangiers, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor on medium, moderately textured, beige laid paper mounted on thick, slightly textured, beige board, Mount: 6 5/8 × 9 7/8 inches (16.8 × 25.1 cm) and Sheet: 6

Europe. A Prophecy, Plate 17, 'Shot from the heights . . . . ' (Bentley 18), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in dark brown with pen and black ink, oil and watercolor on moderately thick,

Ile de la Cité, the Pont au Change, and the Conciergerie, Paris, 1837, Richard Redgrave, 1804–1888, British, 1837, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/8 × 12 1/8 inches (25.7 × 30.8

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

Tomb of Sir Joseph Ayloffe and his Mother, Diane Margaret Ayloffe from Hendon Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, and watercolor over graphite on medium, slightly textured,

Santa Lucia, A Convent near Caserta, Joseph Mallord William Turner, 1775–1851, British, ca. 1795, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 6 x 9 3/8in. (15.2 x 23.8cm), architectural subject,

Elephant, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 5 3/4 × 7 inches (14.6 × 17.8 cm), animal art

A Road Through a Wood, Circle of James Stark, 1794–1859, British, undated, Watercolor and graphite on thick, slightly textured, cream wove paper, Sheet: 13 3/8 x 10 3/16in. (34 x 25.9cm) and Sheet: 13 1/2 × 10 1/4 inches (34.3 × 26 cm

The Shepherd, from Songs of Innocence, William Blake, 1757–1827, British, ca. 1795, Color-printed relief etching with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 3 x 2 1/2 inches (7.6 x

A Church at Stanstead, Joseph Farington, 1747–1821, British, undated, Pen and brown ink and watercolor on medium, slightly textured, cream wove paper mounted to thick, moderately textured, beige laid paper, Sheet: 6 1/4 × 8 7/8 inches

Facade of Ruined (?) Roman Temple, with Columns and Doorway, Heneage Finch fourth Earl of Aylesford, 1751–1812, British, after 1771, Watercolor and graphite, verso: blue wash on medium, slightly textured, beige laid paper, Sheet: 9 1/4 ×

Paddling, William Collins, 1788–1847, British, undated, Graphite, watercolor, gouache, blackchalk, and pen and brown ink on medium, slightly textured, beige wove paper, Sheet: 8 1/2 x 12 3/8 inches (21.6 x 31.4 cm), children, genre

Monmouth Toll House: Perspective View, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1850, Graphite, pen and black ink, and watercolor on moderately thick, slightly textured, cream wove paper with black ink border., Sheet: 19

Illustrations from Mr. Lambkin, plate 23, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

House by a Bridge, James Miller, active 1773–1814, undated, Watercolor, graphite, and gray wash on medium, slightly textured, blued white, laid paper, Sheet: 5 15/16 × 7 13/16 inches (15.1 × 19.8 cm) and Mount: 8 7/8 × 10 3/4 inches

View from the Vidette Near Hakin on Signal Hill, Looking Beyond Nangle Point and Thorn Island, Pembrokeshire, John Warwick Smith, 1749–1831, British, 1764-1831, Watercolor and graphite on medium, smooth, cream wove paper, mounted on,

Thunderstorm at Point Ogle near the Mouth of the Thlewechodyeth and Western View near Mount Barrow during a Fog, Charles Hamilton Smith, 1776–1859, Belgian, after Sir George Back F.R.S, 1796—1878, British, undated, Watercolor and graphite

Renard's Hole, Dovedale, Derbyshire, William Day, 1764–1807, 1789, Watercolor, pen and brown ink, black ink, gray ink and graphite on moderately thick, moderately textured, cream laid paper, Sheet: 13 1/4 × 14 7/8 inches (33.7 × 37.8

Mousehold Heath, Norwich, François Louis Thomas Francia, 1772–1839, French, active in Britain, 1808, Watercolor on medium, moderately textured, cream laid paper, Sheet: 12 1/2 x 9 1/4 inches (31.8 x 23.5 cm), hills, landscape, pond,

Karnak, 9:30 pm, 22 January 1867 (212), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and black ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 3 7/16 x 6 3/4 inches (8.7 x 17.1 cm),

A Lizard with Sketches of a Scorpion and a Spider, unknown artist, 1829, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 3/4 x 15in. (27.3 x 38.1cm), animal art, lizard, spider

Remains of Brass Plate and Memorial to William Nicol and Ann his Wife and Elizabeth his Daughter and William his Son of Hendon Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and

A Bird's Egg, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/8 × 6 5/8 inches (13.7 × 16.8 cm), animal art, egg

The Spoiled Child, Scene III, Lewis Vaslet, 1742–1808, British, ca. 1802, Watercolor with black ink and gray wash over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 15 1/2 x 19 1/2 inches (39.3 x 49.5 cm) and

A Bridge over the Arno (?), William Alfred Delamotte, 1775–1863, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/2 x 13 3/4 inches (21.6 x 34.9 cm), arches, architectural subject,

Forgiving Lovers, Thomas Rowlandson, 1756–1827, British, undated, Graphite, design is incised; verso: graphite shading and watercolor blots on medium, moderately textured, blued white, laid paper, Sheet: 9 1/4 x 6 7/16 inches (23.5 x 16.4

Belbeis, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, blued white wove paper, Sheet: 3 1/8 x 9 inches (7.9 x 22.9 cm), buildings, camels (mammals), cityscape, domes,

Pffeffen Bad/ Switzerland, Isaac Weld, 1774–1856, Irish, ca. 1817, Watercolor, pen and black ink, and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 17 7/8 × 12 3/16 inches (45.4 × 31 cm), landscape,

View from part of Port Orotava, Tenerife from La Caldeva, near Sancho, Alfred Diston, active 1818–1829, 1821, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 × 6 3/4 inches (15.6 ×

The Quadrangle, All Soul's, Oxford, George Pyne, 1800–1884, 1849, Watercolor and graphite on thick, slightly textured, cream wove paper, Sheet: 9 × 11 3/4 inches (22.9 × 29.8 cm), arcade, architectural subject, college, courtyard,

New River Head, Islington, Print made by Isaac Cruikshank, 1756–1810, British, after George Moutard Woodward, ca. 1760–1809, British, 1813, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

View on the River Between the Lakes, Isaac Weld, 1774–1856, Irish, between 1800 and 1807, Watercolor and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 10 1/2 × 14 15/16 inches (26.7 × 37.9 cm) and Image: 10

The Hur Rangers Encamped at Colgong, Samuel Davis, 1757–1819, British, undated, Watercolor, with pen, in brown ink and graphite on moderately thick, moderately textured, blued white, laid paper, Sheet: 17 3/4 × 26 9/16 inches (45.1 ×

Young's Night Thoughts, Page 75, 'The Sun beheld it -- No, the shocking Scene', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

From under the Portico of the Temple of Edfu, Upper Egypt, David Roberts, 1796–1864, British, 1846, Watercolor, gouache and graphite on medium, slightly textured, cream wove paper, Sheet: 13 5/8 x 19 3/4 inches (34.6 x 50.2 cm),

Landscape with Farmhouse, Figures and Pond, Paul Sandby Munn, 1773–1845, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 12 5/8 inches (21 × 32.1 cm), farmhouse, landscape,

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), breakwaters, channel

Moat at the Tower of London, George Howse, 1800–1860, undated, Watercolor, pen and brown ink, and graphite, with scraping on medium, slightly textured, cream wove paper, Sheet: 7 1/4 × 13 inches (18.4 × 33 cm), architectural subject,

Granby Hill, Bristol, James Johnson, 1803–1834, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/8 × 11 5/8 inches (18.7 × 29.5 cm), buildings, cityscape, clouds, field, garden,

Study of a Young Girl, with Ringlets, in a Black Evening Dress, William Henry Hunt, 1790–1864, British, ca. 1830, Watercolor over graphite on moderately thick, slightly textured, beige wove paper, Contemporary drawn border: 8 3/4 x 4 7/8

Jerusalem, Plate 70, 'And this the form of mighty Hand....', 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

A View of Tivoli Looking Towards Rome, John Warwick Smith, 1749–1831, British, ca. 1781, Watercolor over graphite on medium, smooth, cream wove paper, Sheet: 20 1/2 x 32 inches (52.1 x 81.3 cm), castle, cityscape, Classical, cliff,

Llanerchydol Hall, Wales, Robert Streatfeild, 1786–1852, undated, Watercolor on medium, smooth, white wove paper, Sheet: 4 1/2 × 6 1/4 inches (11.4 × 15.9 cm) and Mount: 8 5/8 × 10 7/8 inches (21.9 × 27.6 cm), architectural subject,

Eelback Dun Stock, Ukraine Decussated Horse, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 1/8 × 6 5/8 inches (10.5

'The King and Noblemen Before the Stag is Turn'd Out', Robert Dighton, 1752–1814, British, undated, Watercolor, pen and black ink, and gray ink on medium, slightly textured, cream, wove paper, Sheet: 4 1/4 × 13 1/2 inches (10.8 × 34.3

The Mischievous Dog, Samuel Howitt, 1756–1822, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 × 7 1/8 inches (12.7 × 18.1 cm), animal art, chained, doghouse, dogs

Stable Boy Holding a Horse in a Landscape, John Collet, ca. 1725–1780, British, undated, Watercolor, and pen and black ink on medium, slightly textured, cream, wove paper, mounted on, medium, moderately textured, cream, laid paper,

Entrance to Brentford, William Henry Harriott, active 1811–m. 1839, British, 1809, Pen and black ink, watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 11 7/8 × 16 1/8 inches (30.2 × 41 cm

Scene outside the Half-Moon Inn, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink and pen and gray ink over graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/4 x 9 5/16 inches (14.6 x 23.7

The Church of St. Laurent, Rouen, John Skinner Prout, 1806–1876, British, undated, Watercolor and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 9 13/16 × 6 9/16 inches (24.9 × 16.7 cm), arches, architectural

Jerusalem, Plate 56, 'Then Los heaved....', 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 1/2

Memorial to John Beard from Hampton Church, 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 5/8 inches (37.8 ×

Horse and Rider: a Stout Huntsman on a Galloping Horse, Joseph Crawhall, 1861–1913, British, undated, Pen, in brown ink, and watercolor on moderately thick, slightly textured, beige, laid paper, mounted on, moderately thick, slightly

Job Rebuked by His Friends, 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 5/8 x 4 3/4 inches

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), channel (water body

Salmon Cove Observatory Inlet New Cornwall, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41 cm) and Binding:

The Southern Side of the Erectheum, with the Foundation of the Earlier Temple of Athena Polias, John Fulleylove, 1845–1908, British, undated, Watercolor and graphite on thick, rough, wove paper, Sheet: 11 × 15 3/8 inches (27.9 × 39.1

Earl Talbot's Hound, Thomasine, John Linnell, 1792–1882, British, 1839, Graphite, watercolor, gouache and chalk on medium, slightly textured, beige wove paper, Sheet: 16 5/8 x 19 inches (42.2 x 48.2 cm), animal art, dog (animal),

Interior of the Great Mosque, (Ulucami) Bursa, Turkey, John Frederick Lewis, 1804–1876, British, between 1840 and 1841, Watercolor, gouache, pen and black ink, and graphite on moderately thick, slightly textured, beige wove paper,

North East View of Sherborne Castle, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1811, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19 3/4 inches (35.6 ×

Portrait of a Young Man, John Smart, 1741–1811, British, undated, Gouache, watercolor and gold on ivory, Image: 1 1/2 x 1 1/4 inches (3.8 x 3.2 cm) and Frame: 3 1/2 x 3 x 3/8 inches (8.9 x 7.6 x 1 cm), portrait

Portrait of a Young Lady, Richard Cosway, 1742–1821, British, undated, Watercolor gouache on ivory, Image: 3 7/8 x 2 7/8 inches (9.8 x 7.3 cm) and Frame: 4 1/8 x 3 x 1/4 inches (10.5 x 7.6 x 0.6 cm), female, portrait, white (color

Unloading the Luggage From The Exeter Coach, Charles Cooper Henderson, 1803–1877, British, undated, Watercolor, with pen in brown ink, over graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 11 15/16 × 18 1/2

Macbeth and the Apparition of the Armed Head, William Marshall Craig, ca. 1788–1828, British, ca. 1820, Brown ink with gray wash and watercolor over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 11 1/16 x 8 15/16

A Distant View of the City of London from St. John' Wood, William Frederick Wells, 1762–1836, British, ca. 1805, Watercolor and gouache over graphite on thick, moderately textured, beige wove paper, Sheet: 11 3/8 × 15 1/2 inches (28.9 ×

A Species of Wild Duck, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 4 5/8 × 5 1/2 inches (11.7 × 14 cm), animal art, duck, feathers

Harvesting, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 13 1/8 inches (22.9 × 33.3 cm), agriculture, fields, genre

Mountainous Landscape with Clouds, Joshua Cristall, 1768–1847, British, ca. 1803, Watercolor and graphite on moderately thick, slightly textured, light blue wove paper, Sheet: 10 1/8 × 15 inches (25.7 × 38.1 cm), clouds, geology,

The Crabodage, or Surinam Aguara Dog, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, slightly textured, white, wove paper, Sheet: 4 13/16 × 7 1/2 inches (12.2 ×

Aldenham Church, William Henry Hunt, 1790–1864, British, ca. 1817, Watercolor and brown ink over graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 10 x 12 7/8 inches (25.4 x 32.7 cm) and Sheet: 7

Chateau d'Ecouen, William Callow, 1812–1908, British, active in France, 1833, Watercolor, gouache and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 8 inches (24.4 × 20.3 cm), architectural subject, castle,

Barnard's Inn, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 4 3/4 × 6 1/2 inches (12.1 × 16.5 cm) and Mount: 9 × 12 1/2

Resting Place at Night in the Northern Expedition, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41 cm) and

Hay Barge in a Calm Sea, Attributed to Charles Bentley, 1806–1854, British, formerly attributed to Richard Parkes Bonington, 1802–1828, British, undated, Watercolor and graphite on medium, cream, slightly textured wove paper, Sheet: 5

Portrait of an Old man, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink, and blue pastel(?), over graphite on medium, slightly textured, light blue, laid paper, Sheet: 7 1/16 x 6 1/8 inches (17.9 x 15.6

Werrington Park, Devonshire, attributed to Francis Towne, 1740–1816, British, undated, Watercolor and black and brown ink over graphite on medium slightly textured cream laid paper, Sheet: 9 5/8 x 13 inches (24.4 x 33 cm), building,

The Poems of Thomas Gray, Design 43, 'The Progress of Poesy.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove paper with inlaid

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