Images at Librifly

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Brass Plate to Thomas and Alicia Broke, Parish Church of St. Margaret, Barking, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Graphite, watercolor, and pen and black ink on moderately thick, slightly textured, cream wove

Two Riders and a Couple of Hounds Clearing a Wall, Henry Thomas Alken, 1785–1851, British, 1845, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 9 1/8 × 13 3/16 inches (23.2 × 33.5 cm), dogs (animals),

Europe. A Prophecy, Plate 3, 'Preludium', Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in dark brown with pen and black ink, oil and watercolor on moderately thick, slightly textured, cream wove

Clifford's 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

An Reinoides &c., Anguis &c. (The Copper-Belly Snake), Plate 46 from the 'Natural History of Carolina, Florida and the Bahama Islands', volume I, 2nd edition, London, 1754, Print made by workshop of Mark Catesby, 1682–1749, British,

Songs of Innocence and Experience, pl. 25: 'A Cradle Song' pl. 2, 'Wept for me...', unknown artist, after William Blake, 1757–1827, British, ca. 1808, Watercolor with pen and brown ink

The Baths of Caracalla, Andrew Wilson, 1780–1848, British, active in Italy, 1810, Watercolor, graphite, and gum arabic on moderately textured, cream wove paper, Sheet: 30 x 46 1/2 inches (76.2 x 118.1 cm) and Frame: 41 x 57 1/2 x 4 1/2

Mount Rainier from the South Part of Admiralty Inlet, 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)

Foxhunting: Near the Death, Edwin W. Cooper of Beccles, 1785–1833, British, 1816, Watercolor, pen and black ink, brown ink, gray ink, and graphite on medium, moderately textured, beige, wove paper, Sheet: 12 5/8 × 19 3/16 inches (32.1

Woodland Landscape, Thomas Barker, 1769–1847, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 15 11/16 × 21 1/2 inches (39.8 × 54.6 cm

A Pair of Jeyties, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite, and white gouache on medium, slightly textured, cream laid paper, Sheet: 7 1/2 × 8 15/16 inches (19.1 × 22.7 cm

Reigate Heath, George Johann Scharf, 1788–1860, British, 1837, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 15 1/2 inches (23.5 × 39.4 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

Sketch studies of camels, Edward Lear, 1812–1888, British, January to April 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 4 13/16 x 2 7/8 inches (12.2 x 7.3 cm), animal art, camels

Unidentified Castle (Formerly Called Clanbury Castle), attributed to John Sell Cotman, 1782–1842, British, undated, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 6 7/8 x 9 1/8 inches (17.5 x 23.2 cm) and Contemporary

Agapornis taranta (Black-winged Lovebird), 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 (40.3 ×

Study of a Lady Asleep in a Chair, Alfred Edward Chalon, 1780–1860, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 10 3/4 x 9 inches (27.3 x 22.9 cm), chair, dress, headscarves,

Cheslakee's Village in Johnstone's Straits, 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 Binding:

Two Studies: a Foal, and a Mare and Foal, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 10 × 6 3/8 inches (25.4 × 16.2 cm), animal art, foals,

Near Chiavenna in the Grisons, John Robert Cozens, 1752–1797, British, ca. 1779, Watercolor, black ink, graphite and gray wash on moderately thick, slightly textured, cream laid paper, Sheet: 16 3/4 x 24 1/2 inches (42.5 x 62.2 cm),

A Parsee Priest or Adam, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite, and gouache, with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 1/16 × 5 7/8 inches (15.4 × 14.9

Buy my Dish of Great Eels, Marcellus Laroon the Younger, 1679–1772, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 7 inches (21.9 × 17.8 cm), balance, basket,

Brass Plate for John Asplyn, Godfrey Askew, and Elizabeth the Wife of them Both, Edmonton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Watercolor, graphite, and pen and black ink on moderately thick, slightly

Porch at Wilton House designed by Hans Holbein, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1804, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 19 3/4 × 14

The Miller's Cottage at Chatsworth: South Front Elevation, Attributed to Joseph Michael Gandy, 1771–1843, British, undated, Watercolor and pen and black ink within double ruled and blue wash border on moderately thick, moderately textured,

Cranbourne Lodge, Attributed to William Watts, 1752–1851, British, undated, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 8 1/2 × 10 1/8 inches (21.6 × 25.7

The Poems of Thomas Gray, Design 9, 'Ode on the Death of a Favourite Cat.', 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

Greek Woodcutter, June 13 /56, Edward Lear, 1812–1888, British, 1856, Watercolor with pen in brown ink over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 9 1/16 x 6 1/8 inches (23 x 15.6 cm), buttons

Euphorbia nubica N.E. Br. (Nubian Spurge): finished drawing of flowering and fruiting shoot, with details of floral dissections, James Bruce, 1730–1794, British, ca. 1769, Watercolor, gouache, and graphite on moderately thick, moderately

Calendar Design - October, Alfred Henry Forrester, 1804–1872, British, undated, Pen and black ink and watercolor over graphite on moderately thick, moderately textured, white wove paper mounted to thick, smooth, beige card, Sheet: 10 5/8

Pockthorpe, Norwich, James Sillett, 1764–1840, British, undated, Watercolor, graphite, and pen and black ink on thick, slightly textured, cream wove paper, Sheet: 11 5/8 x 9 1/16in. (29.5 x 23cm) and Sheet: 11 3/4 × 9 1/8 inches (29.8

In Rydal Park, Joseph Powell, 1780–1834, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/4 × 8 inches (28.6 × 20.3 cm), branches, forest, landscape, leaves, trees

Dandelion Farm, near Margate, James Miller, active 1773–1814, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 15 7/8 inches (31.8 × 40.3 cm), architectural subject

Hungarian and Highland Broadsword Exercise, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and black ink over graphite; verso: graphite on medium, slightly textured, blued white, wove paper, Sheet: 8 3/16 x 10

Near Wady Halfeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on thick, moderately textured, beige wove paper, Sheet: 2 15/16 x 10 9/16 inches (7.5 x 26.8 cm), landscape, river, river,

Mrs. Mary Cawse, Alfred Edward Chalon, 1780–1860, British, 1831, Watercolor and gouache on ivory mounted on card, Frame: 5 x 4 1/4 x 1/8 inches (12.7 x 10.8 x 0.3 cm), Mount: 4 7/8 x 4 1/8 inches (12.4 x 10.5 cm), and Image: 4 3/8 x 3 3/8

A Sailing Dinghy with Three Men Leaving a Rocky Inlet, Joseph Farington, 1747–1821, British, undated, Watercolor, with pen in brown ink, black ink, and graphite; verso: graphite on moderately thick, moderately textuered, beige, wove

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

Sketch for the Scene of a Battle, George Cruikshank, 1792–1878, British, undated, Pen and black ink with watercolor on medium, slightly textured, cream wove paper mounted on moderately thick, slightly textured, gray wove paper, Mount: 7

Grove Cottage, Box Hill, Surrey, the Seat of George Barclay Esq., John Hassell, 1767–1825, British, ca. 1812, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 7/8 × 7 7/8 inches (14.9 × 20 cm),

The Koomrah Horse, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, graphite, pen and black ink on medium, slightly textured, cream, wove paper, Sheet: 4 × 6 7/16 inches (10.2 × 16.4 cm), animal art

Woodcutter and His Family, Julius Caesar Ibbetson, 1759–1817, British, undated, Watercolor and pen and black ink on medium, slighlty textured, cream wove paper, Sheet: 5 1/4 × 7 5/8 inches (13.3 × 19.4 cm), axe, children, dog (animal),

Dartmouth, William Collins, 1788–1847, British, undated, Pen and black ink, watercolor and graphite on medium, moderately textured, brown wove paper, Sheet: 5 1/4 × 10 inches (13.3 × 25.4 cm), marine art

Painted Thous Dog, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown - gray ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 3/4 × 7 9/16 inches (12.1 × 19.2 cm), animal art

Entrance to Earlham Park, near Norwich, John Crome, 1768–1821, British, between 1807 and 1808, Brown wash and watercolor over graphite on medium, moderately textured, beige laid paper, Sheet: 22 1/8 x 18 3/16in. (56.2 x 46.2cm), cart,

Songs of Innocence and of Experience, Plate 18, 'The Lamb' (Bentley 8), 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,

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 and black ink, watercolor and gouache, verso: white gouache on

South West View of Newby Hall, Yorkshire; the Seat of the Right Hon'ble Lord Grantham, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1805, Watercolor and pen and black ink on moderately thick,

Near Tassisudon Tashicho Dzong, Samuel Davis, 1757–1819, British, ca. 1783, Pen, ink, gray wash, watercolor, and graphite on medium, slightly textured, cream laid paper, Sheet: 13 3/4 x 19 1/8 inches (34.9 x 48.6 cm), architectural

Entrance Gate to Printers, Harry Willson, Active 1813–1852, undated, Watercolor, gouache, graphie, brown wash, pen and brown ink and black ink on moderately thick, rough, cream, wove paper, Sheet: 10 3/16 × 6 5/8 inches (25.9 × 16.8

Tasee Punchou Tashi Phuntso, Samuel Davis, 1757–1819, British, 1783, Watercolor, graphite, pen, and ink on medium, moderately textured, cream laid paper, Sheet: 14 1/4 x 10 1/2 inches (36.2 x 26.7 cm), Asian, man, portrait

Weymouth Castle, unknown artist, nineteenth century, ca. 1830, Watercolor and black chalk on medium, slightly textured, cream wove paper, Sheet: 9 3/4 × 13 1/2 inches (24.8 × 34.3 cm), architectural subject, Dorset, England, Europe,

View of Cracatoa (sic), China Seas, John Webber, 1752–1793, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 14 3/8 × 21 inches (36.5 × 53.3 cm

Turdus abyssinicus (Mountian Thrush), 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 (40.3 × 30.5

The Amphitheatre at Nîmes, Sir Robert Smirke the younger, 1781–1867, British, 1803, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 8 1/4 × 11 1/4 inches (21 × 28.6 cm

A House Among Trees, Attributed to John Crome, 1768–1821, British, undated, Watercolor and graphite on medium, slightly textured, beige laid paper, Sheet: 9 3/8 x 13 1/8in. (23.8 x 33.3cm) and Sheet: 9 3/8 × 13 1/8 inches (23.8 × 33.3

The Thames with Sion House, John Fisher, Bishop of Salisbury, 1748–1825, British, undated, Watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 6 × 8 3/4 inches (15.2 × 22.2 cm), architectural subject, house,

Quagga Male, Charles Hamilton Smith, 1776–1859, Belgian, James Stewart, 1791–1863, British, ca. 1837, Watercolor, pen and brown ink, and black ink, and graphite on moderately thick, smooth, cream wove paper, Sheet: 4 7/16 × 6 7/8

Two Shetland Ponies With a Groom, Charles Hancock, 1802–1877, British, 1834, Oil, watercolor, gouache, and pen and brown ink on moderately thick, rough, beige wove paper, Mount: 9 5/16 × 10 3/16 inches (23.7 × 25.9 cm), Contemporary

Cavalry Troops and Camp Followers on the Move, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor and graphite; verso: gray wash and graphite on medium, slightly textured, cream laid paper, Sheet: 6

Askeaton Abbey near Limerick, Ireland on the River Deel, Paul Sandby RA, 1731–1809, British, undated, Watercolor, graphite, pen and ink on medium, cream, moderately textured wove paper, Sheet: 5 3/16 x 7 1/4 inches (13.2 x 18.4 cm),

Mount Washington, Godfrey Thomas Vigne, 1801–1863, British, between 1855 and 1863, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 3/8 × 14 7/8 inches (26.4 × 37.8 cm), bridge (built work), figures,

Near Garf Hosayn, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured wove paper, mounted on thick, moderately textured, beige wove paper, Sheet: 2 11/16 x 6 11/16 inches

Drove of Sheep and Cows, Robert Hills, 1769–1844, British, undated, Watercolor, gouache and graphite on medium, moderately textured, cream wove paper, Sheet: 10 1/4 x 14 1/2 inches (26 x 36.8 cm), animal art, cattle, cows, death, dog

Female Elephant Seal, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and brown ink on thick, smooth, cream, wove paper, Sheet: 4 15/16 × 7 1/8 inches (12.5 × 18.1 cm

A Stag, Robert Hills, 1769–1844, British, 1802, Watercolor and graphite on medium, cream, slightly textured wove paper, Sheet: 5 × 7 5/8 inches (12.7 × 19.4 cm), animal art, deer, stag

Monstrous Craws, At a New Coalition Feast, James Gillray, 1757–1815, British, 1787, Etching with hand coloring in watercolor, Sheet: 14 x 18 1/8in. (35.6 x 46cm

Tree-lined Lane, Thomas Sully, 1783–1872, American, undated, Watercolor, with pen and brown ink on medium, slightly textured, beige, wove paper medium, slightly textured, beige, wove paper, Sheet: 4 × 5 1/4 inches (10.2 × 13.3 cm

Pastinaca (Parsnip), Plate 379 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, slightly textured, cream

An East Perspective View of the City of Philadelphia, in the Province of Pensylvania, in North America, taken from the Jersey Shore..., Print made by J. Carwitham, active 1720–1740, after George Heap, active 1715–1760, American,

The Raising of Lazarus, attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and brown ink, pen and black ink, white gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches

Black Wolf, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 3/16 × 6 9/16 inches (10.6 × 16.7 cm), animal art

Jerusalem, Plate 54, 'In Great Eternity....', 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

Boschbeek & Groenendaal: Project teekening der Vergrooting van de Boerderij Gelegen aan de Hofstede Bosbeek en Groenendaal, Gerrit Jan Schouten, Born 1815, Dutch, undated, Pen and black ink, watercolor on textured, moderately thick, cream

Durham Cathedral, Edward Dayes, 1763–1804, British, undated, Watercolor, pen, black ink, gray ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 10 3/8 x 15 3/8 inches (26.4 x 39.1 cm), architectural subject,

Memorial to Maria Hutchinson and Michael Hutchinson 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

Villous Horse, Primeval White Stock, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 × 6 7/16 inches (10.2 × 16.4 cm), animal

Farm Buildings with Trees, Attributed to Henry Edridge, 1769–1821, British, ca. 1812, Watercolor and graphite on moderately thick, rought, beige, laid paper, Sheet: 10 3/4 × 17 inches (27.3 × 43.2 cm), architectural subject

King Edward IV, Bernard Lens III, 1682–1740, British, 1732, Watercolor and gold on vellum, Sheet: 2 x 2 inches (5.1 x 5.1 cm) and Frame: 3 5/8 x 3 5/8 inches (9.2 x 9.2 cm), king (person), portrait

A Folio of watercolors of Cornwall, Northamptonshire, Oxfordshire, Gloucester- shire, Worcestershire, Somerset, and Devon Stanley St. Leonard's Priory & Kitchen, Gloucestershire, Capt. Francis Grose, 1731–1791, British, undated,

The Propylaea from the Northern Edge of the Stylobate of the Parthenon, Athens, John Fulleylove, 1845–1908, British, undated, Watercolor over graphite with scraping out on thick, slighlty textured, cream wove paper, Sheet: 5 3/8 × 7 3/8

A Roman Villa, Lewis Vulliamy, 1791–1871, British, between 1818 and 1822, Graphite and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 10 3/8 × 16 5/8 inches (26.4 × 42.2 cm), architectural subject, interior

Landscape with Castle, Waterfall and Stream in Foreground, Francis Oliver Finch, 1802–1862, British, undated, Watercolor over graphite with scratching out on thick, slighlty textured, cream card, Sheet: 1/2 × 8 3/8 inches (1.3 × 21.3

The Winter Room in the Artist's House at Patna, Sir Charles D'Oyly, 1781–1845, British, active in India, 1824, Watercolor, gouache, pen and ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/4 × 13 1/2 inches

Man in a Red Turban Sitting Crosslegged, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 7 5/8 × 6 1/4 inches (19.4 × 15.9

Eira Ferruginea, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, brown ink and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art

Windermere at Sunset, Francis Towne, 1740–1816, British, 1786, Watercolor and brown ink over graphite on medium moderatley textured cream laid paper, Sheet: 6 1/8 x 9 1/4 inches (15.6 x 23.5 cm), lake, landscape, mountains, sunset,

Tomb of John Thornhill from Fulham 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, Sheet: 14 7/8 × 10 3/4 inches

The First Book of Urizen, Plate 25 (Bentley 26), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 10 x 7

Design for Setting of Charles Kean's Richard II at the Princess's Theatre, March 12, 1857 - Act 5, Scene 2, George Cressal Ellis, ca. 1810–1875, undated, Graphite, watercolor, heightened with gouache on thin wove paper stained for tracing,

A Blue Tit, James Sowerby, 1756–1822, British, 1794, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 13 × 8 inches (33 × 20.3 cm), animal art, bird, Blue tit

Greenwich, Thomas Rowlandson, 1756–1827, British, 1795 to 1800, Watercolor with pen in brown ink over graphite on medium, slightly textured, blued white, laid paper, Sheet: 11 3/16 x 18 5/16 inches (28.4 x 46.5 cm), baskets, boats,

Shelaal, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on medium, slightly textured, beige, wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 3 1/16 x 5 5/16

Memorial to Susannah Kidwell from Norwood 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: 15 ×

View of La Rambla de Castro near Port Orotava, Tenerife, Alfred Diston, active 1818–1829, 1825, Watercolor over graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 4 3/4 × 8 1/4 inches (12.1 × 21 cm),

Shepherding the Flock, Windy Day, David Cox, 1783–1859, British, formerly attributed to David Cox, 1783–1859, British, 1848, Watercolor and graphite on thick, rough, wove Scotch paper, Sheet: 8 3/4 × 10 3/4 inches (22.2 × 27.3 cm),

St. Martin-in-the-Fields, Interior, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline on medium, slightly textured, cream, wove paper, mounted on, thick, slightly textured, beige, laid paper,

Stag at Bay - Scene near Taplow, Berks., Thomas Rowlandson, 1756–1827, British, between 1795 and 1801, Watercolor with pen and red, black, gray and brown ink on thick, moderately textured, beige, wove paper, Sheet: 16 5/16 x 20 5/8

Illustrations from Mr. Lambkin, plate 15, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Colgong, near Bhagalpur, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 14 inches (30.2 x 35.6 cm) and Image: 9 3/8 x 12 1/4 inches (23.8 x 31.1 cm),

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