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Leeds Castle, Kent, Thomas Collier, 1840–1891, British, undated, Watercolor, with pen, in brown ink, graphite, and gouache on medium, slightly textured, cream, wove paper, Sheet: 9 × 13 3/8 inches (22.9 × 34 cm), architectural

Landscape, David Charles Read, 1790–1851, British, undated, Watercolor on moderately thick, rough, beige laid paper, Sheet: 4 3/8 × 7 1/8 inches (11.1 × 18.1 cm), hills, landscape, mountains, sunset, trees

The Revolutionaire: Single Corvette, Joseph Cartwright, c.1789–1829, British, 1820, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, moderately textured, beige, wove paper, mounted on, moderately thick,

The Glass Works, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and brown ink, over graphite on medium, slightly textured, cream, wove paper, Sheet: 5 1/2 × 9 1/8 inches (14 × 23.2 cm), Contemporary drawn border:

The Satirist, Samuel De Wilde, 1748–1832, British, 1807, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper medium, slightly textured, cream wove paper, Sheet: 7 × 13 3/4 inches (17.8 × 34.9

Two Jockeys Galloping Neck and Neck to Right, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, beige, wove paper, Sheet: 8 15/16 × 12 3/4 inches (22.7 × 32.4 cm), galloping, horse

The Convent and Part of the Town of Candelaria, on the south side of Tenerife, Alfred Diston, active 1818–1829, 1820, Watercolor, pen and black ink and graphite on medium, slighlty textured, cream wove paper mounted to thick, slightly

A Summer Day, John Sell Cotman, 1782–1842, British, 1827 to 1837, Watercolor and graphite on Medium, moderately textured, cream wove paper, Sheet: 12 1/2 x 18 3/8 inches (31.8 x 46.7 cm), clouds, cows, landscape, summer, trees, water

The Destruction of Job's Sons, circle of John Linnell, 1792–1882, British, after William Blake, 1757–1827, British, undated, Watercolor and black ink on moderately thick, slighly textured, cream wove paper, Sheet: 5 1/4 x 4 1/8 inches

The Sporting Lady, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Watercolor, pen and black ink, gray ink, gouache, and graphite, with squared lines on medium, moderately textured, beige, laid

Mt. St. Bernard (Switzerland), Isaac Weld, 1774–1856, Irish, 1816, Watercolor, pen in gray ink, gouache, and graphite on medium, moderately textured, blued white, wove paper, Sheet: 8 5/16 × 12 15/16 inches (21.1 × 32.9 cm),

Temple of Jupiter and Minerva, Thugga, James Bruce, 1730–1794, British, undated, Pen and black ink, watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 26 × 38 3/4 inches (66 × 98.4 cm),

The Bass Rock at Dawn, Edward Duncan, 1803–1882, British, 1855, Watercolor, pen and black ink, brown ink, graphite, gouache, and scratching out on moderately thick, rought, cream, wove paper, Sheet: 8 3/16 × 19 15/16 inches (20.8 ×

Lady Grace Burnaby, George Engleheart, 1753–1829, British, 1790, Watercolor and gouache on ivory, Image: 2 1/8 x 1 5/8 inches (5.4 x 4.1 cm), portrait

Monmouth Toll House: Three Elevations, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 19 1/4 × 12 5/8 inches (48.9

Songs of Innocence and of Experience, Plate 49, 'Nurses Song' (Bentley 38), 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,

Memorial to Sir George Carey from Drayton 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 3/4 × 10 3/4 inches (37.5

Koutoubia Mosque, Marrakech, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 5/8 x 4 7/8 inches (19.4 x 12.4 cm), architectural subject, cityscape, minaret,

Walnut Tree, Robert Hills, 1769–1844, British, ca. 1826, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/2 x 8 1/2 inches (29.2 x 21.6 cm), landscape, thatched, tree, walnut

The Poems of Thomas Gray, Design 39, 'Ode to Adversity.', 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

The Rhine at Assmannshausen, William Callow, 1812–1908, British, active in France, 1863, Watercolor, with pen, and brown ink, graphite, and scraping out on beige, medium, slightly textured, wove paper, Sheet: 12 1/8 x 17 5/16 inches

View of the Pantheon from the Arsenal, Thomas Girtin, 1775–1802, British, 1802, Watercolor over soft-ground etching on moderately thick, slightly textured, cream wove paper, Sheet: 5 7/8 x 17 5/16 inches (15 x 43.9 cm) and Image: 5 7/8 x 17

Lord Harrington and Lord Petersham, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and red-brown ink, over graphite; verso: graphite shading on medium, slightly textured, biege, wove paper, Sheet: 8 9/16 x 6

Ship at Sea during a Storm, Clarkson Stanfield, 1793–1867, British, 1863, Watercolor, white gouache, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm) and Binding: 5 1/4

Philae, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, smooth, wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 2 1/16 x 3 5/16 inches (5.2 x 8.4 cm), cliffs,

Evening Landscape with Castle and Bridge in Yorkshire, Joseph Mallord William Turner, 1775–1851, British, between 1798 and 1799, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 3/8 x 10 1/2 inches (18.7 x 26.7 cm),

Lord Penryn's Slate Quarries, John Henderson, 1764–1843, British, undated, Watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 8 1/4 × 10 1/4 inches (21 × 26 cm), boats, lake, marine art, men, mountains,

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field': The Meet: 'With Bright Faces and Merry Hearts', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in black ink on

River Scene with a Country House in Distance, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 x 16 7/8 inches (21.9 x 42.9 cm), architectural subject, country

Lilleshall, Shropshire: West Front, Sir Jeffry Wyatville, 1766–1840, British, 1826, Watercolor and pen and black ink on slightly textured, medium, white wove paper bar scale of 1/12 inch to 1 foot, Sheet: 12 3/16 × 18 3/8 inches (31 ×

From the Beach near Fort Blanc, Oct. 4, 1819, Thomas Bradshaw, Born 1767, British, 1819, Watercolor, gouache, graphite and pen and black ink on medium, moderately textured, cream wove paper, Sheet: 6 1/8 × 9 3/8 inches (15.6 × 23.8 cm),

Memorial to Marie Walker from Chadwick 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 3/4 ×

Clement'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: 5 × 6 7/8 inches (12.7 × 17.5 cm) and Mount: 9 × 12 1/2

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

A Cottage Wall and Window, attributed to James Ward, 1769–1859, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 6 7/8 x 8 7/8 inches (17.5 x 22.5 cm), architectural subject, cottage, wall,

Herstmonceux, Charles Gore, 1729–1807, British, 1787, Watercolor and pen and brown ink on slightly textured, medium, white laid paper, Sheet: 15 1/4 × 7 1/16 inches (38.7 × 17.9 cm), architectural subject, castle, exterior view,

The Hlymar, or Hamur, Persian Wild Ass, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, black ink and graphite on medium, smooth, cream, wove paper, Sheet: 3 7/8 × 6 3/8 inches (9.8 × 16.2 cm),

The Sporting Parson: 'The Sporting Parson at the Meet(ing) of His 'Dear Brethren' ', Hablot Knight Browne, 1815–1882, British, undated, Black chalk, watercolor and white gouache on moderately thick, slightly textured, gray, wove paper,

Tallow Chandler's Hall, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 1/8 × 6 7/8 inches (13 × 17.5 cm) and

An Audience Watching a Play at Drury Lane Theatre, Thomas Rowlandson, 1756–1827, British, ca. 1785, Watercolor with pen and black ink over graphite on moderately thick, moderately textured, blued white, laid paper, Sheet: 9 3/8 x 14 5/16

Three Toucans, James de Carle Sowerby, 1787–1871, British, undated, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 12 13/16 × 6 1/2 inches (32.5 × 16.5 cm), animal art, birds, branch, Ramphastidae (family

Matlock Baths, Derbyshire, William Day, 1764–1807, ca. 1789, Watercolor, pen and brown ink, gray ink, and graphite on medium, moderately textured, blued white, laid paper, mounted on, thick, smooth, cream, wove paper, Mount: 17 3/8

Jerusalem, Plate 17, 'His Spectre divides....', 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 Native of Madagascar, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 8 × 5 1/8 inches (20.3 × 13 cm

Landscape with a Temple and Figures by a River, Francis Oliver Finch, 1802–1862, British, undated, Watercolor, pen and brown ink, gouache, gum arabic, graphite and scraping out on moderately thick, moderately textured, beige, wove

Lamb and Oxen in a Pastoral Landscape, Attributed to Edward Calvert, 1799–1883, British, undated, Watercolor, graphite, and pen and black ink on medium slightly textured beige wove paper, Sheet: 5 7/8 x 5 1/2 inches (14.9 x 14 cm),

Snowdon from the Garden at Capel Carig 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor on moderately thick, slightly textured, cream wove paper

The City and St. Paul's from the South Bank, William Marlow, 1740–1813, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper mounted on moderately thick, slightly textured, cream

The Ringed Seal, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and black ink, and brown ink on thick, smooth, cream, wove paper, Sheet: 5 9/16 × 8 inches (14.1 × 20.3 cm

P. Wilkinson Esq. Sitting Under the Shade of an Oak Learning to Whistle, Samuel Alken, 1756–1815, British, ca. 1785, Pen and black ink. watercolor and graphite on moderately thick, cream laid paper, Sheet: 7 × 5 1/2 inches (17.8 × 14 cm),

Castle Fraser, Aberdeenshire, Scotland: East Elevation, William Wilkins, 1778–1839, British, 1819, Graphite, pen and black and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 12 3/4 × 17 1/4

Jerusalem, Plate 22, 'Albion thy Fear has made me tremble....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth,

The Salmon Leap at Leixlip, Ireland, John Inigo Richards RA, 1730/31?–1810, British, 1764, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 5/8 × 18 5/8 inches (21.9 × 47.3 cm

Landscape by Moonlight, imitator of John Varley, 1778–1842, British, undated, Watercolor and graphite on thin, slightly textured, cream wove paper, Sheet: 5 1/4 x 8 7/8 inches (13.3 x 22.5 cm), hills, landscape, moon, moonlight, night,

Lincoln's Inn Gate, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 5 × 7 inches (12.7 × 17.8 cm) and Mount: 9 × 12 1/2

Single Battleship, Stern Forward, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in gray ink and graphite on medium, slightly textured, beige, wove paper, mounted on, moderately thick, slightly textured,

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

An Old House and a Man Climbing a Stile, Attributed to John Berney Ladbrooke, 1803–1879, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 5 3/4 × 7 3/8 inches (14.6 × 18.7 cm),

Portrait of a Young Man, Attributed to Bernard Lens III, 1682–1740, British, undated, Watercolor and gouache on vellum, Sheet: 3 3/8 x 3 1/8 inches (8.6 x 7.9 cm) and Frame: 6 3/4 x 6 3/8 x 5/8 inches (17.1 x 16.2 x 1.6 cm), clouds, hat,

Memorial of Mrs. Elizabeth Jessop and Mrs. Elizabeth Cobden and Epithaph of Mrs. Codben from Acton Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium,

Illustrations from Mr. Lambkin, plate 17, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Landscape with Trees and Lake, Thomas Sully, 1783–1872, American, undated, Watercolor and graphite on medium, slightly textured, beige, wove paper, Sheet: 6 13/16 × 8 3/8 inches (17.3 × 21.3 cm

Church of Notre Dame, Bruges, Samuel Austin, 1796–1834, British, undated, Watercolor, with pen, in brown ink, gouache and graphite on moderately thick, slightly textured, beige, wove paper, mounted on, moderately thick, moderately

Lysimachia (Loosestrife), Plate 278 from 'A Curious Herbal', volume II, London, 1737, Print made by Elizabeth Blackwell, died 1774, British, 1737, Etching and line engraving with hand coloring in watercolor on medium, moderately textured,

Near Beer El Abt, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, beige wove paper, Sheet: 2 3/8 x 5 1/4 inches (6 x 13.3 cm), clouds, landscape, sky, tents, Africa, Egypt

Memorial to her Grace Charlotte, Duchess of Somerset from Chiswick Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove

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, Pen, black ink and graphite with watercolor and gouache, verso:

Memorial to Fysh Deburgh from Drayton Church, 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: 15 × 10 7/8 inches

Kingswear Seen from Dartmouth, Devon, Thomas Girtin, 1775–1802, British, ca. 1797, Watercolor with pen in brown ink over graphite on medium, moderately textured, beige, laid paper, Sheet: 7 5/8 x 12 13/16 inches (19.4 x 32.5 cm), boats,

Albenga, Edward Lear, 1812–1888, British, 1864, Watercolor with pen in brown ink and gouache, over graphite on moderately thick, moderately textured, brown wove paper, Sheet: 7 5/16 x 21 1/4 inches (18.6 x 54 cm), baskets, buildings,

The Vicar of Wakefield: The Vicar Selling his Horse, Thomas Rowlandson, 1756–1827, British, ca. 1817, Watercolor, with pen and red-brown ink, over graphite on medium, smooth, cream wove paper, Sheet: 4 7/16 x 7 9/16 inches (11.3 x 19.2

Plymouth Dock, Thomas Rowlandson, 1756–1827, British, 1817, Watercolor with pen and gray ink, pen and red ink, and pen and brown ink on medium, moderately textured, beig, laid paper, Sheet: 6 7/8 x 11 5/8 inches (17.5 x 29.5 cm),

Album Drawing, 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: 16 1/8 inches (41 cm),

Two Girls Tippling, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink over graphite on medium, slightly textured, blued white, wove paper, mounted on, moderately thick, moderately textured, cream, laid

Barnard Castle, Joseph Mallord William Turner, 1775–1851, British, ca. 1825, Watercolor, pen and black ink, gouache and scratching out on medium, slightly textured, cream wove paper, mounted on thick, smooth, cream wove paper, Sheet:

Milkmaids and Gentlemen in St. James's Park, Thomas Rowlandson, 1756–1827, British, undated, Pen and gray-brown ink with wash, over graphite; verso: pen and gray brown ink and watercolor blots on medium, moderately textured, blued white,

Staple Inn, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 × 6 5/8 inches (12.7 × 16.8 cm) and Mount: 9 × 12 1/2 inches

Memorial to Rebecca Wife of John Ward from Ealing 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,

Budleigh, Salterton... An easier way of descending ye cliff, Dr. William Crotch, 1775–1847, 1833, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 9/16 × 7 inches (11.6 × 17.8 cm), boats, cliff, coast,

Two Boys, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on thick, slightly textured, cream wove paper mounted on moderately thick, slightly textured,

A Saddled Horse, Facing Left, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor, brown wash, graphite, and gouache on medium, slightly textured, beige, laid paper, Sheet: 5 5/8 × 6 3/4 inches

Songs of Innocence and of Experience, Plate 42, 'To Tirzah' (Bentley 52), 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,

The Book of Thel, Plate 2, Title Page, Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 11 3/8 x 9

Cottages at Chatsworth, Derbyshire: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, after 1818, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper, Sheet: 13 11/16 × 20 1/16 inches

Euphorbia abyssinica J.F. Gmel. (Ethiopian Tree-Spurge): finished drawing of single trunk, with details of whole and dissected fruits, Luigi Balugani, 1737–1770, Italian, Formerly James Bruce, 1730–1794, British, undated, Watercolor,

Archers Stalking a Stag, John Martin, 1789–1854, British, 1821, Watercolor, brown wash, and graphite, with scratching out on medium, slightly textured, cream wove paper, Sheet: 7 3/4 x 10 1/2 inches (19.7 x 26.7 cm), Bow and arrow,

Italianate Landscape with Travelers, No. 1, Paul Sandby RA, 1731–1809, British, ca. 1765, Watercolor and gouache over graphite on medium, cream, slightly textured laid paper mounted on thick, cream, moderately textured laid paper, Sheet:

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Graphite and watercolor on medium, slightly textured, white wove paper, Binding: 4 inches (10.2 cm), Cover: 4 x 6 5/8 inches (10.2 x 16.8 cm), and Sheet:

Figures on a Beach with Mountains in the Distance, unknown artist, between 1826 and 1866, Watercolor, pen and ink over graphite, scratching out, Sheet: 6 3/4 x 9 11/16in. (17.1 x 24.6cm

Miss Bennett, John Smart, 1741–1811, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 2 3/8 × 2 1/4 inches (6 × 5.7 cm), fur, hairstyles, portrait, robe, trim, woman

Winchelsea Castle, Henry Morton, ca. 1807–1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 7/8 × 7 inches (12.4 × 17.8 cm), architectural subject, battlements, castle, defensive

Lake Windermere, Francis Towne, 1740–1816, British, 1786, Watercolor and brown and gray ink over graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/8 x 18 5/8 inches (15.6 x 47.3 cm) and Contemporary drawn border: 12 5/8 x

Culver Cliff, Isle of Wight, William Dyce, 1806–1864, British, undated, Watercolor, with pen, in brown ink, gouache and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 14 5/8 x 19 3/8in. (37.1 x 49.2cm

Front View of Bullishwur, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite, and gouache on medium, slightly textured, cream laid paper, Sheet: 10 7/8 × 16 7/8 inches (27.6 × 42.9 cm), architectural

A Collection of Surveys of Scottish Estates of Earl of Selkirk: Plan of the Back Gatas Lying in the Parish of Kirkcudbright, unknown artist, (James Tait), 1764, Pen and brown ink, watercolor on slightly textured, moderately thick, beige wove

Anne Goodriche, Wife of Thomas Percy, Bishop of Dromore, Thomas Langdon, active 1800, British, 1793, Watercolor, gouache and gum arabic on ivory in rose gold locket with hanger, Image: 3 3/8 × 2 3/4 inches (8.5 × 7 cm), bonnet, portrait

Maharraka Temple, Edward Lear, 1812–1888, British, February 14, 1867, Brown ink, watercolor and gouache on medium brown moderately textured wove paper, Frame: 17 1/8 x 27 1/2 x 1 inches (43.5 x 69.9 x 2.5 cm) and Sheet: 10 × 20 1/8 inches

Brass plate for Sir John Andrew, from Hayes 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 × 10 5/8 inches (35.6

Songs of Innocence and of Experience, Plate 39, 'Infant Sorrow' (Bentley 48), 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,

Labourers at Rest, Thomas Rowlandson, 1756–1827, British, between 1790 and 1795, Watercolor with pen and red-brown and blue ink, over graphite with pen and gray ink and wash line on border on medium, moderately textured, beige, laid paper,

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