Images at Librifly

search results: Watercolor clear search

From Dungeon Ghyll, Alfred Parsons, 1847–1920, British, undated, Watercolor, graphite, and gouache on medium, slightly textured, cream laid paper, Sheet: 9 1/16 × 11 7/8 inches (23 × 30.2 cm), field, houses, landscape, mist,

Jerusalem, Plate 28, 'Jerusalem / Chap. 2....', 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

Sketches of Cottages: Two Studies on one Sheet, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 11 1/8 x 8 1/2 inches (28.3 x 21.6 cm), architectural subject,

A Barge on the Thames near Fulton, unknown artist, attributed to Lady Jane Ellice, 1813–1864, British, formerly John Varley, 1778–1842, British, undated, Watercolor, graphite and scratching out on moderately thick, slightly textured,

Small Waterfall in Forest, Thomas Sully, 1783–1872, American, undated, Watercolor and scratching out on moderately thick, moderately textured, beige, wove paper, Sheet: 5 1/4 × 3 15/16 inches (13.3 × 10 cm

Porchester Castle: A View from Porchester Village Looking across the Water to Portsmouth, William Turner of Oxford, 1789–1862, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 10

The Artist and his Family, Adam Buck, 1759–1833, British, 1813, Watercolor, pen and black ink, gray ink, brown ink, and graphite, with gum arabic and scraping on medium, slightly textured, beige, paper, mounted on, very thick,

Landscape with Men Sifting Sand, David Cox Jr., 1809–1885, British, between 1850 and 1859, Watercolor, gouache, and graphite on moderately thick, rough, beige wove paper, Sheet: 11 3/4 x 16 3/4 inches (29.8 x 42.5 cm), laborers,

Rizaghat, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, cochineal, pen and brown ink on moderately thick, moderately textured, gray wove paper, Sheet: 2 15/16 x 10 9/16 inches (7.5 x 26.8 cm), boats, figures

Two Tree Creepers?, James Sowerby, 1756–1822, British, undated, Graphite and watercolor with pen and brow ink on medium, slightly textured, cream wove paper, Sheet: 8 × 6 1/2 inches (20.3 × 16.5 cm), animal art, birds, Creepers

Snipe Shooting, Samuel Howitt, 1756–1822, British, undated, Watercolor, with pen, in brown ink and black ink, over graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 12 5/16 × 16 15/16 inches (31.3 × 43 cm

James II Receiving the Mathematical Scholars of Christ's Hospital, Studio of Antonio Verrio, ca. 1639–1707, Italian, active in Britain, undated, Gouache, watercolor, and graphite on moderately thick, slightly textured, cream laid paper

Old Olive Tree, John Linnell, 1792–1882, British, after Samuel Palmer, 1805–1881, British, active in Italy (1837–39), undated, Graphite and watercolor on moderately thick, slightly textured, cream, wove paper, Sheet: 6 x 5 inches

Firewood Seller, Tenerife, Alfred Diston, active 1818–1829, 1828, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 3/8 × 6 7/8 inches (21.3 × 17.5 cm), donkey, figure study, firewood, genre

Tepelene, 19 April 1857, Edward Lear, 1812–1888, British, 1857, Watercolor with pen and brown ink over graphite on medium, smooth, white wove paper, Sheet: 5 3/16 x 7 11/16 inches (13.2 x 19.5 cm), herders, landscape, mountains, river,

Wollaton Park, Nottingham: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1801, Pen and black ink with graphite and watercolor on moderately thick, moderately textured, cream wove paper, Sheet: 20 1/8 × 28 1/2 inches

Herstmonceux Castle, East Sussex: Ground Plan, James Lambert of Lewes, 1725–1788, British, undated, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 25 1/4 x 34 5/8 inches (64.1

Priory At Dover, William Sawrey Gilpin, 1762–1843, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 3/16 x 14 5/8in. (25.9 x 37.1cm) and Sheet: 10 1/8 × 14 5/8 inches (25.7 × 37.1 cm),

Shore Scene with Sailing Ship at Quay, John Thirtle, 1777–1839, British, undated, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 12 3/4 inches (23.5 × 32.4 cm

Wolf Fish, James Sowerby, 1756–1822, British, 1804, watercolor over graphite on thick, slightly textured, cream wove paper, Sheet: 7 1/8 × 11 1/2 inches (18.1 × 29.2 cm), animal art, wolffish

Encampment Scene, Thomas Sandby RA, 1721–1798, British, undated, Watercolor, black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 1 3/8 × 3 inches (3.5 × 7.6 cm), genre subject, military camp, tents

The Mussel Gatherer, Frederick Walker, 1840–1875, British, 1861, Watercolor and gouache on thick, slightly textured, cream wove paper, Sheet: 7 × 4 3/4 inches (17.8 × 12.1 cm), basket, genre subject, girl, sea, seashell, seashore,

Woodland Shadow, Robert Hills, 1769–1844, British, after 1801, Watercolor and graphite on medium, cream, slightly textured wove paer, Sheet: 7 1/2 x 9 7/8 inches (19.1 x 25.1 cm), branches, landscape, trees, woods

Kirkdale House, Kirkcudbright, Scotland, Robert Adam, 1728–1792, British, ca. 1786, Pen and brown ink with watercolor and gouache on medium, cream, slightly textured, laid paper mounted on moderately thick, cream, rough laid paper,

Jerusalem, Plate 95, 'Her voice pierc'd Albions clay cold ear....', 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

Cottage and Foot Bridge, William Henry Pyne, 1769–1843, British, 1794, Watercolor, graphite, pen and gray ink, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 1/16 × 6 7/8 inches (12.9 × 17.5 cm),

Hawkstone, May 19th, Maria Leycester, 1798–1870, 1821, Graphite, brown wash, and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/8 × 9 3/8 inches (16.2 × 23.8 cm) and Binding: 6 1/2 inches (16.5 cm

Coast Scene with White Cliffs and Boats on Shore, Joseph Mallord William Turner, 1775–1851, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/4 x 9 1/8 inches (18.4 x 23.2 cm), boats,

Young's Night Thoughts, Page 40, 'Angels should paint it, angels ever there', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Cowes Castle, Isle of Wight, John Inigo Richards RA, 1730/31?–1810, British, undated, Watercolor and pen and black ink on moderately thick, moderately textured, cream laid paper, Sheet: 10 1/2 × 9 5/8 inches (26.7 × 24.4 cm),

Dehmyt, 7:30 am, 31 January 1867 (278), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, gray wove paper, Sheet: 2 7/8 x 10 5/8 inches (7.3 x 27 cm),

The Butcher, Heneage Finch fourth Earl of Aylesford, 1751–1812, British, undated, Watercolor, pen, brown ink, and graphite on moderately thick, moderately textured, cream laid paper, Sheet: 15 3/8 × 10 1/2 inches (39.1 × 26.7 cm),

Southeast View of Rochester Castle and the Cathedral, François Louis Thomas Francia, 1772–1839, French, active in Britain, 1808, Watercolor and gray ink over graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/4 x 8 5/8

Cyperus esculentus L. (Tiger Nut): finished drawing of whole plant with roots, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 ×

Design for Grosvenor House, London, Thomas Cundy, 1790–1867, British, 1829, Pen and red and brown ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 25 7/8 × 19 1/2 inches (65.7 × 49.5 cm), architectural

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1827, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper with four fold marks, Sheet: 12 × 9 7/8 inches (30.5 ×

Rain, Steam and Speed, Myles Birket Foster, 1825–1899, British, after Joseph Mallord William Turner, 1775–1851, British, undated, Watercolor and gouache on medium, slightly textured, cream wove paper, Sheet: 2 1/4 × 5 inches (5.7 ×

A Weasel, Edward Lear, 1812–1888, British, 1832, Watercolor with pen in brown ink, with gouache and gum over graphite on medium, smooth, cream wove paper, Sheet: 7 3/8 x 11 inches (18.7 x 27.9 cm), animal art, fur, log, weasel,

Design for a Church: Elevation of the West Front, James Paine, 1717–1789, British, ca. 1750, Watercolor with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 7/8 × 9 3/8 inches (25.1 × 23.8 cm), architectural

Mowbray Park, Edward Francis Burney, 1760–1848, British, undated, Watercolor, pen and black ink on medium, slightly textured, cream laid paper, Sheet: 7 1/8 × 10 3/4 inches (18.1 × 27.3 cm), clouds, hills, houses, landscape, trees,

The Great Temple of Amon Karnak, The Hypostyle Hall, David Roberts, 1796–1864, British, 1838, Watercolor and gouache with scratching out and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 19 1/4 x 13 inches (48.9

A Group of Trees by a Fence, John Sell Cotman, 1782–1842, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 9 7/8 x 7 3/4 inches (25.1 x 19.7 cm), fence, landscape, trees

Versailles, William Callow, 1812–1908, British, active in France, 1833, Watercolor with pen in brown ink, with graphite on cream, medium, slightly textured, wove paper, Sheet: 3 1/4 × 9 1/2 inches (8.3 × 24.1 cm), architectural

A Lesson Westward, or, A Morning Visit to Betsy Cole, Robert Dighton, 1752–1814, British, 1782, Watercolor, gouache, pen, and black ink on medium, slightly textured, cream laid paper, Sheet: 13 x 10 inches (33 x 25.4 cm), caricature,

Ivy Cottage, Shoreham, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), Verso by John Linnell, 1792–1882, British, undated, Watercolor and gouache with pen and brown ink ; verso: graphite heightened with chalk on thick,

Tree Study, Robert Hills, 1769–1844, British, between 1800 and 1805, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 12 x 8 7/8 inches (30.5 x 22.5 cm), landscape, study (visual work), tree

The Chapel of the Greyfriars Monastery, Winchester, Michael 'Angelo' Rooker, 1746–1801, British, between 1790 and 1795, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 9 x 11 1/8 inches (22.9 x 28.3 cm) and

Young's Night Thoughts, Page 70, ''Till Death, That Mighty Hunter, Earths Them All', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Portrait of a Gentleman, James Scouler, 1741–1812, British, 1796, Gouache and watercolor on ivory, Image: 3 1/2 x 2 5/8 inches (8.9 x 6.7 cm) and Frame: 4 3/8 x 2 7/8 x 1/2 inches (11.1 x 7.3 x 1.3 cm), man, portrait

The Admiralty, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline on moderately thick, moderately textured, cream, wove paper, mounted on, thick, moderately textuered, beige, laid paper, Mount: 12

Macacus (Maimon) Brachyurus, White Maimon, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and red ink, gray ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 3/4 × 4 3/8 inches (17.1 ×

Windsor Castle, Berkshire: Plan at Ground Level, Studio of Sir Jeffry Wyatville, 1766–1840, British, after 1830, Watercolor and pen and black ink on slightly textured, medium, cream wove paper, Sheet: 16 1/8 × 28 5/8 inches (41 × 72.7

Tassisudon, Samuel Davis, 1757–1819, British, 1783, Watercolor, with pen, in gray ink, graphite, and touches of gouache on very thick, slightly textured, beige, wove paper, Sheet: 20 3/8 × 30 1/4 inches (51.8 × 76.8 cm) and Image: 18

Melville Castle, Midlothian, Thomas Girtin, 1775–1802, British, ca. 1796, Watercolor with pen in brown ink over graphite on thick, moderately textured, brown, wove mount paper, Sheet: 6 7/8 x 9 1/4 inches (17.5 x 23.5 cm) and Mount: 10

Lilleshall Hall, Shropshire: Three Elevations, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1826, Pen and black ink, watercolor, graphite on slightly textured, medium, cream wove paper, Sheet: 14 1/2 × 18 1/4 inches (36.8 ×

Fredegonda at the Deathbed of Praetextatus, Lawrence Alma-Tadema, 1836–1912, Dutch, active in Britain (from 1870), ca. 1864, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 11 3/8 inches (21.9 ×

One from Views in Saxony, France, Spain, Reba, Italy, Sicily..., Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14

Memorial to Edmond Pigeon and Nickolas Pigeon from Hampton 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

Tintern Abbey, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1835, Watercolor, gouache, pen and brown ink, and graphite on medium, smooth, cream wove paper, Sheet: 10 3/8 x 14 3/4 inches (26.4 x 37.5 cm) and Frame: 23

Mole Head, Algiers, Nicholas Pocock, 1740–1821, British, 1816, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/4 × 11 1/4 inches (10.8 × 28.6 cm), architectural subject, battlements, clouds, dome,

Floating Batteries or, an Attempt to Enter the Baltic, William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 8 3/16 x 11 1/16in. (20.8 x 28.1cm

Diamond Feather Worn by the Peshwa in his Turban, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 13 3/4 × 11 7/8 inches (34.9 × 30.2 cm

A Fence by a Gorge, Samuel Davis, 1757–1819, British, between 1777 and 1808, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 14 1/2 × 10 1/2 inches (36.8 × 26.7 cm), fence, hill, landscape

A Finch (Siskin?), James Sowerby, 1756–1822, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 7 7/8 inches (31.8 × 20 cm), animal art, finch

Village at the Entrance of the Tyrol, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor and graphite on moderatly thick, moderately textured, beige, wove paper, Sheet: 8 15/16 × 11 3/8 inches (22.7 × 28.9 cm

African Woman Sitting on a Chair, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/8 × 5 1/8 inches (20.6 × 13 cm

A Lady of Fashion with Black Shawl and Black Shoes, Attributed to John Collet, ca. 1725–1780, British, 1778, Watercolor, pen and black ink on medium, moderately textured, cream laid paper mounted to card, Sheet: 4 7/8 × 3 1/8 inches (12.4

Songs of Innocence and of Experience, Plate 50, 'A Poison Tree' (Bentley 49), 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,

One from Views in Saxony, France, Spain, Reba, Italy, Sicily..., Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14

A Jord-n for the Duke's Chamber, (?) William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 6 7/8 x 10 3/4in. (17.5 x 27.3cm

Group Seated in Grounds of a Large House, David Cox Jr., 1809–1885, British, between 1840 and 1849, Watercolor, pen and brown ink, gouache, and graphite, with scratching out on moderately thick, moderately textured, cream wove paper,

Old Men O'War, Attributed to Charles Bentley, 1806–1854, British, Formerly attributed to François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor and scraping out; verso: graphite on thick, slightly

Hotwells from Rownham Ferry, Nicholas Pocock, 1740–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/4 × 10 1/2 inches (18.4 × 26.7 cm

The Harbour of Sebastopol, Gaspard Le Marchant Tupper, 1862–1906, 1854, Watercolor, white gouache on moderately thick, slightly textured, light blue, wove paper, Sheet: 6 7/8 x 20 3/8 inches (17.5 x 51.8 cm), bay, boat, cape, cliff,

Landscape with Trees and Lake With Figures and Boat, Thomas Sully, 1783–1872, American, undated, Watercolor, graphite, pen and black ink and gum arabic on medium, slightly textured, beige, wove paper, Sheet: 6 5/16 × 8 3/16 inches (16

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1828, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, brown wove paper with two fold marks, Sheet: 13 3/16 × 14 5/16 inches

A Dancer, Alfred Edward Chalon, 1780–1860, British, ca. 1836, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 8 × 7 inches (20.3 × 17.8 cm), dance, dress, figure study, woman

Landscape With Figures and a Wagon, David Charles Read, 1790–1851, British, undated, watercolor on medium, rough, beige, laid paper, Sheet: 4 1/16 × 6 3/4 inches (10.3 × 17.1 cm), clouds, field, figures (representations), hills,

Boat on the Nile, Edward Lear, 1812–1888, British, January - March 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, beige wove paper, Sheet: 2 7/8 x 5 15/16 inches (7.3 x 15.1 cm), boat, landscape, marine

Admiral Christian's and Mr. Lyson's Cottages, Cowes, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and black ink with graphite on medium, slightly textured, biege, wove paper, Sheet: 5 1/16 x 20 inches (12.9

Below Ekhmim, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, wove paper, mounted on moderately thick, slightly textured, white wove paper, Sheet: 2 1/2 x 7 1/16

Point de Galle, Ceylon (Sri Lanka), Charles Dyce, active 1848, British, ca. 1849, Watercolor over graphite with scraping out on medium, slightly textured, cream wove paper, Sheet: 9 3/4 × 13 7/8 inches (24.8 × 35.2 cm), boat, marine art,

Group of Peasants with Musical Instruments, Attributed to John Absolon, 1815–1895, British, undated, Watercolor, gouache, graphite, pen, and brown ink on moderately thick, moderately textured, cream wove paper, Sheet: 9 1/4 x 13 1/4

How to Vault in the Saddle, Thomas Rowlandson, 1756–1827, British, 1813, Watercolor, with pen, in brown ink, gray ink, and graphite on moderately thick, slightly textured, cream, wove paper, Mount: 13 x 10 3/4 inches (33 x 27.3 cm),

Incantation Scene, Henry Pierce Bone, 1779–1855, British, formerly attributed to Richard Westall, 1765–1836, British, undated, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 19 3/4 x 23 5/8 inches (50.2 x

Captain The Honorable William Carew, Anne Mee, ca. 1760–1851, British, between 1775 and 1851, Gouache and watercolor on ivory, Image: 2 x 1 5/8 inches (5.1 x 4.1 cm) and Frame: 3 3/4 x 2 5/8 x 1/4 inches (9.5 x 6.7 x 0.6 cm), portrait

Brother of Thomas DeQuincey, Follower of Thomas Hazlehurst, active 1740–1821, British, undated, Gouache and watercolor on ivory, Image: 2 3/8 x 1 7/8 inches (6 x 4.8 cm) and Frame: 2 7/8 x 2 x 1/4 inches (7.3 x 5.1 x 0.6 cm), brother,

Swiss Cottage, Hampstead, Robert Polhill Bevan, 1865–1925, British, between 1912 and 1913, Black chalk, graphite, and watercolor, squared for transfer on medium, slightly textured, cream, wove paper, mounted on thick, moderately

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

St. Michael's Hill, Bristol, Samuel Jackson, 1794–1869, British, ca. 1824, Watercolor, with pen, in brown ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 9/16 × 9 3/8 inches (16.7 × 23.8 cm),

Catskill - from J R Livingstons. TS, Thomas Sully, 1783–1872, American, undated, Watercolor on medium, slightly textured, beige, wove paper, Sheet: 3 15/16 x 5 1/4in. (10 x 13.3cm

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

Birds of Paradise, Thomas William Wood, 1855–1872, British, 1862, Watercolor on medium, slightly textured, cream wove paper, Sheet: 14 × 10 inches (35.6 × 25.4 cm), animal art, birds-of-paradise, branches, mountain

Gebel Sheikh Eredi, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 x 10 3/4 inches (7.6 x 27.3 cm), boats, cliffs, landscape, river,

The Coquette, Print made by Henry Ryall, 1811–1867, British, after Alfred Edward Chalon, 1780–1860, British, undated, Engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 11/16 × 5 1/16

Ships by a Rocky Shore, Francois Vivares, 1709–1780, French, undated, Pen and brown ink, watercolor, and graphite on medium, slightly textured, cream laid paper, Sheet: 8 3/8 × 11 3/8 inches (21.3 × 28.9 cm

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

Versailles, Thomas Shotter Boys, 1803–1874, British, between 1831 and 1837, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 1/8 x 7 3/16 inches (13 x 18.3 cm), architectural subject, castle,

Lilleshall, Shropshire: South Elevation, Sir Jeffry Wyatville, 1766–1840, British, 1826, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper bar scale of 1/12 inch to 1 foot, Sheet: 12 3/4 × 19 inches

Jerusalem, Plate 78, 'The Spectres of...', 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 x 10 3/8

search results: Watercolor clear search