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Design for Cowley Manor, Gloucestershire, George Somers Clarke, 1825–1882, British, formerly Sir Charles Barry, 1795–1860, British, between 1855 and 1860, Watercolor, gouache on smooth, moderately thick, cream laid paper, Sheet: 11

A Red Throated Diver, June 1742, Charles Collins, 1660–1744, British, 1742, Watercolor, gouache, brown ink on slightly textured, medium, cream laid paper, Sheet: 15 1/8 × 21 inches (38.4 × 53.3 cm), animal art

Rome from the Palatine Hill, William Wyld, 1806–1889, British, undated, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 6 5/16 x 15 3/8 inches (16 x 39.1 cm), cityscape, Grand Tour, Rome

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

Syon House, London, William Beilby, 1740–1819, British, undated, Watercolor on slightly textured, medium, beige laid paper, Sheet: 8 1/4 × 10 3/4 inches (21 × 27.3 cm), architectural subject, exterior view, figures, house, peacock,

Songs of Innocence, Plate 14, 'Infant Joy' (Bentley 25), 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 3/8

Alnwick Castle, William Beilby, 1740–1819, British, undated, Watercolor with pen and black ink over graphite on meidum, slightly textured, white laid paper, Sheet: 8 3/16 x 10 7/16 inches (20.8 x 26.5 cm), architectural subject, castles,

Songs of Innocence and of Experience, Plate 4, 'The Shepherd' (Bentley 5), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in green with pen and black ink and watercolor on moderately thick, slightly textured,

Stable Boy on a Pony, Arthur James Stark, 1831–1902, British, undated, Watercolor, gouache, and graphite on medium, smooth, beige wove paper, Sheet: 5 1/2 × 6 7/8 inches (14 × 17.5 cm), animal art, boy, bridle, horse (animal), pony

East Front Elevation of a Proposed Design for Cambridge Colleges, William Wilkins, 1778–1839, British, undated, Graphite, watercolor, pen and black ink on textured, moderately thick, cream wove paper, Sheet: 15 1/4 × 21 1/4 inches (38.7

Memorial to Elizabeth Chambers and Col. Edward James, 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: 13

Shipping off the Isle of Wight, Alfred Gomersal Vickers, 1810–1837, British, undated, Watercolor and graphite with pen and black ink and pen and brown ink on medium, moderately textured, cream wove paper, Sheet: 7 1/2 × 13 1/16 inches

Author Reading from a Manuscript to Four Ladies, Matthew Haughton, 1768–1821, British, undated, Watercolor and pen and brown ink; the figures cut out in silhouette and pasted down on moderately thick, slightly textured, cream card, Sheet: 4

A Naughty Boy Turn'd Out of School, Print made by William Heath, 1795–1840, British, Published by Thomas McLean, 1788–1875, British, 1828, Etching with hand coloring in watercolor on medium, moderately textured, cream wove paper,

Shot from a Gun, Henry Thomas Alken, 1785–1851, British, undated, Watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 6 7/8 × 9 1/4 inches (17.5 × 23.5 cm), galloping, horses (animals), men, military art

Sketches of Peasants and Work-Horses, Samuel Prout, 1783–1852, British, undated, Watercolor with pen and ink over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 6 x 8 1/2 inches (15.3 x 21.6 cm), animal art,

A Diligence, Facing Left, Samuel Prout, 1783–1852, British, undated, Graphite and watercolor on moderately thick, smooth, beige, wove paper, Sheet: 3 11/16 × 4 5/8 inches (9.4 × 11.7 cm), basket, boxes (containers), cargo, carriage,

The Grotto at Posillipo, Thomas Jones, 1742–1803, British, active in Italy (1776–83), ca. 1782, Watercolor, graphite, pen and gray ink, and gouache on moderately thick, moderately textured, cream laid paper, Sheet: 11 1/2 × 16 5/8

Gateway, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and gouache on medium, smooth, cream wove paper mounted on medium, smooth, beige wove paper, Mount: 9 3/16 x 7 1/2 inches (23.4 x 19 cm) and Sheet: 8 5/8 × 6

Portrait of Maria Elizabeth Dadd, the Artist's Sister, Richard Dadd, 1817–1886, British, 1839, Watercolor with gouache over graphite on moderately thick, slightly textured, blue-green wove paper, Sheet: 6 5/8 × 5 5/8 inches (16.8 × 14.3

Treron waalia (Bruce's Green Pigeon), James Bruce, 1730–1794, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 12 3/8 × 9 3/4 inches (31.4 × 24.8 cm), animal art

Views in the Levant: View of the domes and spires of Hagia Sophia, Istanbul, Willey Reveley, ?, 1760–1799, British, ca. 1785, Watercolor and pen and gray ink on medium, slightly textured, cream laid paper, Sheet: 9 7/8 x 18 3/4in. (25.1 x

A Saddle Horse of the Duke of Devonshire, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor, gouache, graphite, and gray wash on medium, slightly textured, beige, laid paper, mounted on,

Interior of a Gothic Church, Augustus Welby Northmore Pugin, 1812–1852, British, Augustus Charles Pugin, 1762–1832, French, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 5 3/8 x 3

Memorial to Martha, Philip and George Joseph Cocks from Acton 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 paper,

Mountain Rocks, David Hall McKewan, 1816–1875, British, undated, Watercolor, graphite, and scraping out on moderately thick, slightly textured, cream wove paper, Sheet: 9 1/2 x 16 5/8in. (24.1 x 42.2cm) and Sheet: 9 1/2 × 16 5/8 inches

Haymaking on the Banks of a Lincolnshire River, attributed to Peter DeWint, 1784–1849, British, ca. 1820, Watercolor and graphite on moderately thick, rough, cream wove paper, Sheet: 7 1/4 x 19 1/8 inches (18.4 x 48.6 cm), carts, figures,

St. Vincent's Rock, Clifton, Bristol with Hotwell's Spring House in the Distance, Francis Wheatley, 1747–1801, British, undated, Watercolor with pen and black ink on medium, smooth, cream laid paper, Contemporary drawn border: 12 1/2 x 16

Horsemen in a Landscape, Charles H. Schwanfelder, 1774–1837, British, undated, Gray wash, brown wash, and graphite; verso: watercolor on medium, moderately textured, blued white laid paper, Sheet: 7 1/2 × 9 1/2 inches (19.1 × 24.1 cm),

Horses in a barn with chickens and a rooster..., Sawrey Gilpin, 1733–1807, British, undated, Graphite and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 8 inches (17.8 × 20.3 cm), animal art, barn,

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/4 × 17 inches (33.7 × 43.2 cm) and Image: 6 1/8 × 5

On the Wye, Rev. William Warren Porter, 1776–1804, British, undated, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/8 × 13 1/8 inches (23.2 × 33.3 cm), cliff, landscape, marine

Stag Hunting - The Hind at Bay: In a Mill-Stream Below a Water-Mill, Right..., Samuel Alken, 1756–1815, British, undated, Watercolor, with pen, in brown ink, black ink, graphite, and gouache on medium, slightly textured, beige, wove

A Design for a Prison: Aerial Perspective, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 19 1/4 × 29 inches (48.9

Somerset House, the Strand Vestibule, Jean Louis Desprez, 1743–1804, French, undated, Watercolor, gray wash, pen and black ink, pen and gray ink and graphite on medium, slightly textured, cream wove paper, Sheet: 18 7/8 x 31 inches

The Fox Hunt, William Dent, active 1784–1793, 1784, Etching with watercolor on laid paper, Sheet: 9 7/8 x 13 7/8in. (25.1 x 35.2cm

Woman Dressing, with Maid, George Augustus Sala, 1828–1895, British, undated, Watercolor, gouache enamel-like paint, and black chalk on medium, slightly textured, gray wove paper, Sheet: 3 1/16 x 2 15/16in. (7.8 x 7.5cm), corsets,

Coast of Sussex, Pushing Off a Boat to a Vessel in Distress, Joshua Cristall, 1768–1847, British, ca. 1808, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 19 x 28 3/4 inches (48.3 x 73 cm),

Tomb of Hunting Shaw from Hampton Churchyard, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on meudium, slightly textured, cream wove paper, Sheet: 15 1/8 × 11 inches

View of Old Somerset House from the Thames, Canaletto, 1697–1768, Venetian, active in Britain (1746–55), undated, Pen and brown ink, watercolor and gray wash on medium, slightly textured, cream laid paper, Sheet: 16 1/4 x 28 7/8 inches

A Border Tower, Thomas Girtin, 1775–1802, British, undated, Watercolor, with pen and brown ink over graphite on very thick, rough, beige wove paper, Sheet: 8 3/4 × 12 3/8 inches (22.2 × 31.4 cm), architectural subject, doorway,

Boulogne Harbor, attributed to Richard Parkes Bonington, 1802–1828, British, formerly attributed to David Cox, 1783–1859, British, 1823, Watercolor with brown wash over graphite on medium, cream, moderately textured wove paper, Sheet:

'The Hounds Began Suddenly to Howl in Chorus', Cecil Charles Windsor Aldin, 1870–1935, British, undated, Watercolor, pen and black ink, graphite, and gouache on medium, slightly textured, beige, wove paper, Sheet: 11 7/16 × 8 1/2

Coat Armoril of the Noble House of Berkeley from Brentford 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

One Way to Stop Your Horse, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and brown ink and pen and gray ink on medium, slightly textured, beige wove paper, Mount: 4 3/8 x 4 5/8 inches (11.1 x 11.7 cm) and

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 3/8 × 17 5/16 inches (34 × 44 cm) and

Brass Plate for Mrs. Hester Heve from East Ham 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: 15 × 10 3/4 inches (38.1

Milkmaid and Dog in a Landscape, circle of Edward Dayes, 1763–1804, British, formerly attributed to Joseph Mallord William Turner, 1775–1851, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper,

Goodrich Castle on the Wye, Hertfordshire, John Webber, 1752–1793, British, 1788, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 11 13/16 × 16 3/8 inches (30 × 41.6 cm), architectural subject

Colósaneh, 5:45 - 6:00 p.m., January 3, 1867 (62), Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, rough, cream wove paper, Sheet: 5 7/8 x 4 5/8 inches (14.9 x 11.7 cm), camels

Jerusalem, Plate 48, 'These were his last words....', 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,

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

A Guillemot, June 1742, Charles Collins, 1660–1744, British, 1742, Watercolor, gouache, brown pen on slightly textured, medium, cream laid paper, Sheet: 14 7/8 × 21 inches (37.8 × 53.3 cm), animal art

The Capybara, Charles Hamilton Smith, 1776–1859, Belgian, James Stewart, 1791–1863, British, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 13/16 × 7 9/16

Design for a Chapel at Enfield: Longitudinal Section, Lewis Vulliamy, 1791–1871, British, undated, Pen and black ink with watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 12 11/16 x 17 15/16 inches (32.2 x 45.6

A Scarlet Ibis, Sarah Stone, active 1786, British, ca. 1786, Watercolor heightened with white, Sheet: 14 1/2 x 10 3/8in. (36.8 x 26.4cm), animal art, beak, bird, scarlet

Arms and Inscription on Tomb of Sir Edward Fenner of Hays from Hayes Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on meduim, slightly textured, cream

Castle with Figures in a Classical Landscape, Robert Adam, 1728–1792, British, undated, Watercolor, pen, and brown ink on moderately thick, moderately textured, cream laid paper, Sheet: 9 1/2 × 12 inches (24.2 × 30.5 cm), architectural

Calais Harbour, Attributed to James Holland, 1799–1870, British, undated, Watercolor and graphite with white gouache on moderately thick, slightly textured, brown wove paper, Sheet: 6 5/8 × 11 1/2 inches (16.8 × 29.2 cm), buildings,

Ox-sledge for the conveyance of merchandise, Alfred Diston, active 1818–1829, ca. 1828, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 7 × 9 inches (17.8 × 22.9 cm), bundle, genre

Richmond Hill, Anthony Vandyke Copley Fielding, 1787–1855, British, 1830, Watercolor with scraping on moderately thick, moderately textured, cream wove paper, Sheet: 6 5/8 × 12 inches (16.8 × 30.5 cm), cityscape, fields, hill, houses,

Young's Night Thoughts, Page 24, 'Time, in Advance, behind Him Hides His Wings', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

The Grotto and the Temple of Contemplation, Stowe, Jean B. C. Chatelain, 1710–1771, French, 1752, Watercolor, graphite, brown and gray wash, and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 9 x 12 3/4 inches

Gateway Alnwick, William Beilby, 1740–1819, British, 1786, Pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 8 3/8 × 10 7/8 inches (21.3 × 27.6 cm), architectural subject, castle, courtyard,

'Riding to Horses with Difficulty', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 9 5/16 × 13 1/4 inches (23.7 × 33.7 cm), field, galloping, hills,

The Back of a Farm House, Thomas Hearne, 1744–1817, British, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 x 7 inches (20.3 x 17.8 cm), agriculture, architectural subject,

Out of Court. Auspicium Melioris Devi, Print made by Henry Heath, active 1824–1835, British, Published by S. W. Fores, 1761–1838, British, 1827, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper,

The Revolt of the Fleet, 1642, John Harris, active 1686–1740, after Thomas Baston, active 1715–1721, after Louis Cheron, 1660–1713?, French, ca. 1710, Line engraving with hand coloring in watercolor on moderately thick, moderately

Queen Anne Boleyn's Room, Windsor Castle, Thomas Shotter Boys, 1803–1874, British, undated, Watercolor with pen and black ink over graphite on thick, moderately textured, cream wove paper, Sheet: 4 1/8 × 5 inches (10.5 × 12.7 cm),

Jerusalem, Plate 12, 'Why wilt thou give to her....', 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,

Interior of a Room, Attributed to William Henry Hunt, 1790–1864, British, ca. 1821, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 2 3/8 x 3 1/4 inches (6 x 8.3 cm), architectural subject,

Design for an Athenian Villa, Edward Jones, active 1819–1835, undated, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 11/16 × 18 1/4 inches (29.7 × 46.4 cm), architectural

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

Old London, View from St. James Park Looking East, William Henry Pyne, 1769–1843, British, undated, Watercolor, pen and brown ink, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 7 3/4 x 12 3/4in.

Figures Outside a Doorway, possibly painted in Brittany, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), ca. 1893, Watercolor on thin, smooth, cream wove paper, Sheet: 5 3/4 × 9 1/4 inches (14.6 × 23.5 cm),

A Ram and Ewe in a Landscape, George Morland, 1763–1804, British, undated, Watercolor, and graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 8 9/16 × 11 3/8 inches (21.7 × 28.9 cm), Contemporary drawn border: 8

Design for a Small Gothic Church: Section, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, watercolor, pen and black ink on slightly textured, medium, cream wove paper, Sheet: 17 1/4 × 12 1/4 inches (43.8 × 31.1

Beaumauris Castle, Menai, September 2, 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 20 inches (17.1 × 50.8 cm) and Image: 6 3/4 × 14

Jerusalem, Plate 57, 'And the voices of Bath....', 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:

A Christening at the Vatican with Swiss Papal Guard, etc., Attributed to James Miller, active 1773–1814, undated, Watercolor, gray wash, pen and black ink, and graphite on moderately thick, moderately textured, beige wove paper, Sheet:

Two Girls with Shrimping Nets, Peter DeWint, 1784–1849, British, undated, Watercolor and black chalk on medium, smooth, beige wove paper, Sheet: 8 7/8 x 7 3/8 inches (22.5 x 18.7 cm), baskets, beaches, bonnets, fishermen, girls, nets,

Member of the Brotherhood El Gran Poder de Dios, Alfred Diston, active 1818–1829, 1828, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 7 3/8 inches (23.5 × 18.7 cm), figure study,

Figure Studies: Boy Standing, Nicholas Pocock, 1740–1821, British, undated, Watercolor on medium, slightly textured, cream laid paper, Sheet: 4 7/16 × 6 1/4 inches (11.3 × 15.9 cm), boy, chair, doorway, figure study, genre subject,

The Bridge, William James Muller, 1812–1845, British, Verso: John Syer, 1815–1885, British, undated, Watercolor over graphite, with gouache and some gum on moderately thick, rough, beige, wove paper, Sheet: 13 5/8 × 20 3/4 inches

The Artist's Son, Henry, Asleep, James Ward, 1769–1859, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 5/8 x 6 5/8 inches (11.7 x 16.8 cm), genre subject, sleeping, son

Vidua chalybeata (Village Indigobird), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, goucahe, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 ×

Momorial for Parishioners of Feltham, 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: 15 × 11 1/8 inches (38.1 × 28.3 cm),

Gebel Sheikh Embarak, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 2 1/16 x 10 inches (5.2 x 25.4 cm), boats, landscape, marine art,

On the Medway, David Cox, 1783–1859, British, early 1850s, Watercolor touched with gouache over graphite on heavy textured Scotch paper, Sheet: 19 x 29 1/8 inches (48.3 x 74 cm), boats, correctional institution, flags, hulks (utility and

View of Yarmouth, William Howes Hunt, 1806–1879, 1874, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 8 1/4 × 14 1/4 inches (21 × 36.2 cm), cows, field, horse (animal), peasants, road,

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: 13 5/16 × 17 inches (33.8 × 43.2 cm) and

Study of a Hill Top and Sky, James Ward, 1769–1859, British, undated, Watercolor over graphite and black chalk on medium, smooth, cream wover paper, Sheet: 4 x 8 1/2 inches (10.2 x 21.6 cm), hill, landscape, sky, study (visual work

Stained Glass in the Windows of Hanworth 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: 14 7/8 × 10 1/2

Two Hyenas, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor, pen and black ink and graphite on Medium, moderately textured, cream wove paper, Sheet: 7 × 9 5/8 inches (17.8 × 24.4 cm), animal art

Memorial to Vere Warner also Robert and Jane Kennel from Chiswick 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,

Lawsonia inermis L. (Henna): finished drawing of a flowering leafy shoot, James Bruce, 1730–1794, British, ca. 1769, Watercolor and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 20 3/8 × 14 1/2 inches (51.8

The Fall of Phaeton: A Study for a Ceiling, follower of Sir James Thornhill, 1675–1734, British, undated, Watercolor with pen and brown ink and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 x 6 3/8 inches (15.2

Dartmoor: The Source of the Tamar and the Torridge, Joseph Mallord William Turner, 1775–1851, British, ca. 1813, Watercolor, gouache, graphite and scratching out on medium, slightly textured, cream wove paper mounted on medium, slightly

Cobham Hall, Kent: Drawings of Windows for Parlor Floor, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 8 1/4 x 13 inches (21 x 33

Under the Ouse Bridge, Bathing, John Varley, 1778–1842, British, between 1803 and 1804, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 16 1/2 x 21 3/8 inches (41.9 x 54.3 cm), arches,

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