Images at Librifly

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Stained Glass Window of St. Catherine from Heston 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,

Exeter Gate, Harnham Road, Salisbury, Joseph Powell, 1780–1834, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 6 7/8 inches (22.2 × 17.5 cm), arch, architectural subject,

A Meet of the Quorn at Garrendon Park, Loughborough, Leicestershire, John Ferneley, 1782–1860, British, undated, Oil, watercolor, gouache, and graphite on very thick, rough, brown, wood board, Sheet: 10 3/4 × 15 3/4 inches (27.3 ×

Beach Scene, Samuel Prout, 1783–1852, British, undated, Watercolor, pen and brown ink, pen and gray ink, pen and black ink, and graphite on moderately thick, rough, cream wove paper, Sheet: 7 3/4 × 10 inches (19.7 × 25.4 cm), beach,

Memorial to Somerset English, his wife Judith, his mother, his father, a sister, and a brother from Hampton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on

Gun and Limber, No. 7, Thomas Sandby RA, 1721–1798, British, 1747, Watercolor, ink, and graphite on medium, slightly textured, cream laid paper mounted on moderately thick, smooth, cream wove paper, Sheet: 2 1/16 × 7 3/16 inches (5.2

The Bay of Naples from Capodimonte, Italy, John Robert Cozens, 1752–1797, British, ca. 1790, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/8 x 11 7/8 inches (20.6 x 30.2 cm), bays, buildings, clouds,

The Lake and Town of Nemi, John Robert Cozens, 1752–1797, British, ca. 1779, Watercolor, brushed black ink, black wash and graphite on medium, slightly textured, cream wove paper, mounted on moderately thick, slightly textured laid

Woodfordia uniflora (A. Rich.) Koehne: finished drawing of flowering shoot, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 16 × 12 1/8 inches (40.6 ×

A Gentleman with Auburn Hair, George Chinnery, 1774–1852, British, undated, Watercolor on ivory, Overall: 3 5/8 × 3 1/4 inches (9.2 × 8.3 cm) and Frame: 5 3/4 × 4 3/4 inches (14.6 × 12.1 cm), coat, figure study, man, portrait, stock,

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

A Fist Fight, With the Prince Regent Among the Spectators, George Dance RA, 1741–1825, British, or Nathaniel Dance RA, 1735–1811, British, undated, Watercolor, pen and black ink, brown ink, gray ink, and graphite on medium, slightly

Folkestone Harbour and Coast to Dover, Joseph Mallord William Turner, 1775–1851, British, ca. 1829, Watercolor, gouache and scraping out on moderately thick, slightly textured, cream wove paper, Sheet: 11 3/8 x 17 7/8in. (28.9 x 45.4cm),

Man Writing, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 8 × 5 3/8 inches (20.3 × 13.7 cm

Boschbeek & Gorenendaal: View from Turret towards the Dunes and Spenrode, Gerrit Jan Schouten, Born 1815, Dutch, undated, Graphite, pen and black ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 5 5/8 × 14

Torquay from the Paignton Road, Attributed to John Sanders, 1768–1826, British, Formerly attributed to Coplestone Warre Bampfylde, 1719–1791, British, undated, Watercolor, graphite and pen and black ink on moderately thick, moderately

Nymphs at a Roman Bath, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and brown ink over graphite on medium, slightly textured, laid paper, mounted on, thick, moderately textured, beige, wove paper,

The Checkoo or Oil Mill, John Gantz, 1772–1853, 1828, Pen and black ink and watercolor on medium, slighlty textured, cream wove paper mounted to medium, moderately textured, gray wove paper, Sheet: 6 3/8 × 9 1/8 inches (16.2 × 23.2 cm),

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

Cave of Surtshellir or Robber's Cavern, Iceland, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 16 1/8 × 12 7/8 inches (41 × 32.7 cm) and

Greytown, Godfrey Thomas Vigne, 1801–1863, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/8 × 14 3/4 inches (13.7 × 37.5 cm), cows, genre subject, landscape, leisure, marine art,

Mountainous Landscape, with River Flowing to Bridge in Distance, a Figure Right, pupil of John Varley, 1778–1842, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige wove paper, Mount: 11 1/2 x 23 5/8

Dinton House, Wiltshire: Elevation, Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 9 1/2 × 14 5/8 inches (24.1 × 37.1 cm),

An Italian Landscape: village on a hill left, hillside sloping towards right, with distant valley beyond, William Taverner, 1703–1772, British, undated, Pen and black ink and watercolor on medium, slighlty textured, cream laid paper,

Fisherman's Quarters, Robin Hood's Bay, Joseph Powell, 1780–1834, British, undated, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 × 11 1/4 inches (20.3 × 28.6 cm), bay, beach,

Mitford Castle, Northumberland, Capt. Francis Grose, 1731–1791, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 3/16 × 6 3/16 inches (10.6 × 15.7 cm) and Mount: 9

The Taj Mahal from the River, unknown artist, 1818, Watercolor, gouache, and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 11 × 18 1/4 inches (27.9 × 46.4 cm), architectural subject

Gentleman in a Plum-Colored Coat, unknown artist, ca. 1760, Watercolor on ivory, Frame: 1 7/8 x 1 1/2 x 3 inches (4.8 x 3.8 x 7.6 cm) and Image: 1 5/8 x 1 3/8 inches (4.1 x 3.5 cm), coat, cravat, gentleman, man, nobility, portrait, ruffle,

Design for a Coin: Chambre de Commerce de Picardie, 1761, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1761, Graphite traced over in pen with black and gray ink, squared and incised for transfer on medium,

The Elopement, Thomas Rowlandson, 1756–1827, British, 1792, Watercolor with pen and gray and black ink, over graphite on medium, slightly textured, white, wove paper, Sheet: 10 13/16 x 8 inches (27.5 x 20.3 cm), balcony, blue, boarding

View of Ipswich, Suffolk, Capt. Francis Grose, 1731–1791, British, 1765, Watercolor with pen and black ink over graphite on moderately thick, slightly textured cream laid paper, Sheet: 7 7/8 x 14 1/16in. (20 x 35.7cm) and Sheet: 7 7/8 × 14

The Abbey Barn, Abbotsbury, John William Upham, 1772–1828, 1802, Watercolor and graphite on thick, slightly textured, cream, wove paper, Sheet: 9 1/8 × 11 7/16 inches (23.2 × 29.1 cm), architectural subject

Songs of Innocence and of Experience, Plate 10, 'The Chimney Sweeper' (Bentley 12), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in green with pen and ink and watercolor on moderately thick, slightly

The Poems of Thomas Gray, Design 95, 'Ode for Music.', 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

Rochester, Kent: from the North, Thomas Girtin, 1775–1802, British, ca. 1790, Watercolor with pen and black ink over graphite on beige, thick, moderately textured, cartridge paper, Sheet: 17 5/16 x 23 inches (44 x 58.4 cm) and Image: 12

A British Officer of the Staff and an Officer of Hussars, Sir Robert Kerr Porter, 1777–1842, British, 1810, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 17 3/8 × 14 5/8 inches (44.1 × 37.1 cm),

Facade of a House, possibly executed at Dieppe, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), late 1890s, Watercolor; verso: black chalk on medium, slightly textured, brown wove paper mounted on heavy card,

Stoke Poges Church, John Constable, 1776–1837, British, 1834, Watercolor with pen and dark brown ink and scratching out on medium, smooth, cream wove paper, Sheet: 8 1/2 x 7 1/8 inches (21.6 x 18.1 cm), architectural subject, church,

Oriolus monacha (Black Headed Abyssinian Oriole), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches

A Pier at Amsterdam, Thomas Rowlandson, 1756–1827, British, 1792, Watercolor, pen and gray ink, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 10 × 11 1/2 inches (25.4 × 29.2 cm), barrels

Road Between Hills, pupil of John Malchair, 1730–1812, German, active in Britain (1754–1812), undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 9 5/8 × 12 inches (24.4 × 30.5

Memorial to William Earsby also to Edmund Guesham from Fulham 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

View from Martianez, Port Orotava, Tenerife, Alfred Diston, active 1818–1829, 1819, Graphite, pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 5 × 7 5/8 inches (12.7 × 19.4 cm), houses,

'Doing the Thing: and the Thing Done:' Doing the Down Leap, Henry Thomas Alken, 1785–1851, British, 1818, Watercolor, with pen, in brown ink, over graphite on medium, moderately textured, blued white, wove paper, Sheet: 5 15/16 × 9 1/8

Three Tigers in a Rocky Landscape, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 12 11/16 × 17 13/16 inches (32.2 × 45.2 cm), animal art

Diogenes in Search of an Honest Ministry, Print made by Henry Heath, active 1824–1835, British, Published by Thomas McLean, 1788–1875, British, 1827, Etching with hand coloring in watercolor on medium, slightly textured, cream wove

Boldre Church and Bridge, G. W. Gent, active 1804–1822, 1800, Watercolor, graphite, scratching out, pen and brown ink on medium, slightly textured, beige, wove paper, mounted on, thick, moderately textued, beige, wove paper, Sheet:

South View of Montacute House, 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: 19 3/4 × 14 inches (50.2 × 35.6

Man Leading a Horse in Front of a Stable, Possibly John West Giles, (record as 'J Giles'), active 1827–1865, 1827, Watercolor, with pen, in brown ink, graphite, and gum arabic on medium, slightly textured, cream, wove paper, mounted

Caulking the Schooner, Falmouth Harbour, Joseph Severn, 1793–1879, British, undated, Watercolor on medium, slightly textured, cream wove paper mounted on board, Sheet: 14 1/4 × 10 1/4 inches (36.2 × 26 cm) and Mount: 22 × 16 inches

Songs of Innocence, Plate 22, 'Nurse's Song' (Bentley 38), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and black ink and watercolor on moderately thick, slightly textured, cream wove

The Picnic, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and brown ink over graphite; verso: graphite on medium, slightly textured, blued white, wove paper, mounted on moderately thick, sligtly textured,

Kingsteignton, Devon, Samuel Prout, 1783–1852, British, ca. 1819, Watercolor and brown ink over graphite on thick, rough, beige wove paper, Sheet: 7 5/8 x 10 3/16 inches (19.4 x 25.8 cm), architectural subject, buildings, chimney

Songs of Innocence and of Experience, Plate 10, 'Holy Thursday' (Bentley 19), 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,

Cobham Hall, Kent: Plan of Staircase, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 13 3/4 x 20 3/4 inches (34.9 x 52.7 cm),

A Flight Across the Herring Pool, Print made by Isaac Cruikshank, 1756–1810, British, Published by S. W. Fores, 1761–1838, British, 1800, Etching with hand coloring in watercolor on medium, moderately textured, beige laid paper, Sheet:

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

One of a Group of Three Studies on the Venetian Logoon, Myles Birket Foster, 1825–1899, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 1 1/4 × 1 3/4 inches (3.2 × 4.4 cm), boats, lagoon,

'The Surrey Fencibles Dispersing the Rioters in St George's Fields June 13th 1795', Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black ink, over graphite on medium, slightly textured, cream, wove paper, Sheet: 3

Murex pecten (Venus Comb Murex), 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

Shipping in the Solent off Calshot Castle, Dominic Serres RA, 1722–1793, French, active in Britain (from the 1750s), between 1760 and 1793, Watercolor, black ink, and gray ink on medium, moderately textured, cream wove paper medium,

Cape Town, Samuel Davis, 1757–1819, British, undated, Watercolor, with pen, in gray ink, and graphite on moderately thick, moderately textured, cream, laid paper, mounted on, moderately thick, moderately textured, cream, wove paper,

South West View of Cobham hall Kent, the Seat of the Right Honourable the Earl of Darnley, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1820, Watercolor and pen and black ink on moderately thick,

Boat Sailing to the Right with Mountains in the Background, John Christian Schetky, 1778–1874, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 10 × 17 inches (25.4 × 43.2 cm

Supported by a Bramble, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 2 3/8 × 3 inches (6 × 7.6 cm), bushes, landscape, plants, snail,

Salahiyeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, Sheet: 2 1/2 x 9 7/8 inches (6.4 x 25.1 cm), camels (mammals), landscape, sand, sky, Africa, As Salihiyah,

Study of a Bridge, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, beige, wove paper, Sheet: 5 1/2 × 8 3/8 inches (14 × 21.3 cm), Italy,

Cottager's Hospitality to Travellers of The Coach Broke Down, James Pollard, 1792–1867, British, 1819, Watercolor over etched outline, and pen and black ink on moderately thick, moderately textured, blued white, wove paper, Sheet: 11 3/4

Llanthony Abbey, Monmouthshire, Edward Dayes, 1763–1804, British, undated, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 5 7/8 × 9 inches (14.9 × 22.9 cm), abbey,

London Bridge, David Cox, 1783–1859, British, before 1831, Watercolor, gouache, and graphite on thick, smooth, cream wove paper, Sheet: 8 x 11 7/8in. (20.3 x 30.2cm) and Sheet: 8 × 11 7/8 inches (20.3 × 30.2 cm), bridge (built work),

Landscape in North Wales, John Linnell, 1792–1882, British, 1813, Watercolor and graphite on moderately thick, moderately textured, white laid paper, Sheet: 9 3/8 x 14 5/8 inches (23.8 x 37.1 cm), coastline, fields, hills, landscape,

Emma Susanna, Viscountess Deerhurst, unknown artist, nineteenth century, ca. 1813, Watercolor and gouache on ivory, Image: 2 7/8 x 2 1/4 inches (7.3 x 5.7 cm) and Frame: 3 7/8 x 2 5/8 x 1/8 inches (9.8 x 6.7 x 0.3 cm), nobility, portrait,

The Sporting Parson: 'He Then Goes in For Baptism', Hablot Knight Browne, 1815–1882, British, undated, Black chalk, watercolor and gouache on moderately thick, slightly textured, gray, wove paper, Sheet: 10 11/16 × 14 11/16 inches (27.1

A Woodcutter's Picnic, Thomas Rowlandson, 1756–1827, British, undated, Pen and vermillion ink and watercolor over graphite on medium, slightly textured, cream, wove paper on contemporary mount, Mount: 10 13/16 x 15 1/16 inches (27.5 x 38.3

Cobham Hall, Kent: Plan of Tower Staircase, James Wyatt, 1746–1813, British, ca. 1790, Watercolor, brown and black ink, pen and graphite on moderately thick, moderately textured, cream laid paper with one fold mark, Sheet: 12 x 19 inches

Young Naval Officer, unknown artist, ca. 1810, Watercolor on ivory, Image: 2 1/2 x 2 1/4 inches (6.4 x 5.7 cm), armed forces, coat, cravat, man, officer (military officer), portrait, Royal Navy, ruffle

West Front of Thornbury Catle, Gloucestershire, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1822, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19 3/4

The Shipwrecked Sailors, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink, gray ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 10 5/16 × 8 inches (26.2 × 20.3 cm),

Kielder Castle, Northumberland, 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, castle, exterior view,

Arviragus, Bearing Imogen as Dead in his Arms, 'Cymbeline', Act IV, Scene II, Mary Hoare, 1753–1820, British, 1780, Watercolor with brown ink and scraping over graphite on moderately thick, slightly textured, cream wove paper mounted on

Sunda Stink Badger, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 5/16 × 6 3/4 inches (11 × 17.1 cm), animal art

Songs of Innocence and of Experience, Plate 20, 'The Little Girl Lost' (Bentley 34), 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

Long-Horned Cattle, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 11 1/4 x 14 15/16 inches (28.5 x 37.9 cm), agriculture, animal art, architectural

Plymouth Dockyard after the Fire, William Callow, 1812–1908, British, active in France, 1840, Watercolor, with pen, in brown ink, gray ink, graphite, gouache and gum arabic on moderately thick, slightly textured, cream, wove paper,

Conservatory at Thoresby Hall, Nottinghamshire: Plans and Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 21 9/16 x

The Bridge at St. Valery, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 3 7/8 x 6 5/16 inches (9.8 x 16 cm), arch bridge, arches, architectural

Battle Abbey, Sussex, David Cox, 1783–1859, British, undated, Watercolor and graphite on medium slightly textured cream wove paper, mounted on thick, slightly textured, beige, wove card paper, Mount: 8 5/16 × 10 3/8 inches (21.1 × 26.4

Hearne's Oak, Windsor Forest, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and pen and gray ink on card, Sheet: 11 1/4 × 16 5/8 inches (28.6 × 42.2 cm), deer, forest, landscape, oak, trees, Berkshire,

London Cries: A Muffin Man, Paul Sandby RA, 1731–1809, British, ca. 1759, Watercolor, pen and brown ink and graphite on medium, cream, slightly textured laid paper, Sheet: 7 3/4 x 5 3/8 inches (19.7 x 13.7 cm) and Frame: 20 1/4 × 15 1/4

The Horse Guard's Parade, Whitehall, Samuel Hieronymus Grimm, 1733–1794, Swiss, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 9 x 13 1/2 inches (22.9 x 34.3 cm), buildings,

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

Rocky Gorge with a Waterfall, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 17 5/8 × 23 11/16 inches (44.8 × 60.2 cm

The Sessions House, Junction of Farringdon and Clerkenwell Roads, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline on medium, slightly textured, cream, wove paper, mounted on, thick, slightly

Alpine Bridge and Woodland Scenery near Pistil y Maw, John Warwick Smith, 1749–1831, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 x 8 3/4 inches (15.6 x 22.2 cm) and Contemporary

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Bishopton, unknown artist, undated, Graphite, watercolor, pen and black and brown ink on slightly textured, moderately thick, cream wove paper, Sheet: 13 × 9 3/8 inches (33

Le Pont de Brest/ Definne du Point H. Marque fur la Plan: Dock Scene with Laborers employed on Various Aspects of Ship Construction, unknown artist, undated, Watercolor, pen, and black ink on medium, slightly textured, cream laid paper,

Bidzee Ghur, Taken Near the Village Mow Mhow, Samuel Davis, 1757–1819, British, undated, Watercolor, with pen, in gray ink, and graphite on moderately thick, moderately textured, cream, laid paper, mounted on, moderately thick,

Memorial to Francis Musters, 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, Sheet: 14 1/2 × 10 3/4 inches (36.8 × 27.3

Landscape with Man on Beach, Attributed to William Collins, 1788–1847, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 2 5/8 × 2 7/8 inches (6.7 × 7.3 cm), beach, clouds, coast,

Memorial to Mrs. Curtis Cullum from Brentford Chruch, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, sligthly textured, cream wove paper, Sheet: 15

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