Images at Librifly

search results: Watercolor clear search

Two Jeyties Weightlifting, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, white gouache and graphite on medium, slightly textured, cream laid paper, Sheet: 7 3/8 × 8 15/16 inches (18.7 × 22.7 cm

Memorial to Heigham Bendish and Heigham Bendish Junior from East Ham 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,

A Seated Peasant Boy Seen From Behind, Samuel Prout, 1783–1852, British, undated, Graphite and watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 2 13/16 x 1 1/4 inches (7.1 x 3.1 cm), barrels, boy, coat, figure

How to Ride Genteel and Agreeably Downhill, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and red-brown ink on medium, slightly textured, cream wove paper, Mount: 4 3/16 x 4 5/16 inches (10.6 x 11 cm) and

Fort Putnam From Constitution Island, Thomas Sully, 1783–1872, American, undated, Watercolor and graphite on medium, slightly textured, beige, wove paper, Sheet: 3 15/16 × 5 1/4 inches (10 × 13.3 cm

An Observation Tower, Samuel Davis, 1757–1819, British, after 1806, Watercolor, with pen, in brown ink, and graphite on moderately thick, slightly textured, cream, wove paper, mounted on, moderately thick, moderately textured, cream,

A Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite on moderately thick, moderately texturedl, cream laid paper, Sheet: 9 1/8 x 13 1/4 inches (23.2 x 33.7 cm), eye, fish

Road to Riches and delightfull Parts, Or, The Recruiting Officers ? Matrimonial Trip to the Continent., (?) William Dent, active 1784–1793, 1792, Line engraving with watercolor on laid paper, Sheet: 10 x 13 7/8in. (25.4 x 35.2cm

Beaudesert, Staffordshire, Moses Griffith, 1747–1819, British, undated, Graphite, pen and black ink and watercolor on medium, cream, slightly textured laid paper, Sheet: 12 3/4 x 18 1/2 inches (32.4 x 47 cm), architectural subject,

Lilleshall, Shropshire: North Entrance Front, 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: 13 × 19 inches

Trying the Mare, Samuel Alken, 1756–1815, British, 1813, Watercolor, pen and black ink, and graphite on medium, slightly textured, beige, wove paper, Sheet: 8 11/16 × 10 15/16 inches (22.1 × 27.8 cm), birds, dog (animal), fence,

Kourayim, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 1/4 x 9 inches (13.3 x 22.9 cm), bushes, figure (representation), landscape, palm trees,

African Civet, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 7 3/8 inches (24.4 × 18.7 cm), animal art

A Kangaroo with three kangaroos in the background, James Sowerby, 1756–1822, British, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 13 1/4 × 8 1/2 inches (33.7 × 21.6 cm),

Henry Sass, Daniel Maclise, 1806–1870, Irish, between 1830 and 1835, Black chalk, graphite, watercolor, and red chalk on medium, slightly textured, blue wove paper, Sheet: 7 7/16 × 5 1/2 inches (18.9 × 14 cm), artist, bench, chair,

Ground Plan for a Bungalow, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 23 × 11 3/4 inches (58.4 × 29.8 cm), architectural subject

A Porcupine Fish, John Smart, 1741–1811, British, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 x 9 9/16in. (17.8 x 24.3cm) and Sheet: 7 × 9 5/8 inches (17.8 × 24.4 cm), animal art, fish

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Culdooch, unknown artist, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 23 1/4 × 34 1/4 inches (59.1 ×

Barges on a Canal in Rotterdam, James Holland, 1799–1870, British, 1845, Watercolor, gouache, and graphite on moderately thick, moderately textured, beige wove paper, Sheet: 9 5/8 × 17 1/8 inches (24.4 × 43.5 cm), barges, canal,

Illustrations from Mr. Lambkin, plate 22, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Jerusalem, Plate 25, 'And there was heard....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth, cream wove paper,

Diners in a Chop Shop, Thomas Rowlandson, 1756–1827, British, between 1800 and 1805, Watercolor with pen and brown and red-brown ink over graphite, verso: black crayon, graphite, and ink lines, numbers and tracing of recto image on medium,

Near Beer El Abt, 4:30 pm, 28 March 1867 (23), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 3 1/4 × 9 7/8 inches (8.3 × 25.1 cm), clouds, desert,

Eastbourne from Lord G.: Cavendish's Seat in the Park, John Nixon, ca. 1760–1818, British, 1787, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 5/16 × 7 1/2 inches (13.5 × 19.1 cm), beaches, buildings,

The First Book of Urizen, Plate 19, 'They Call'd Her Pity and Fled....' (Bentley 19), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

Launce Teaching His Dog Crab, Henry William Bunbury, 1750–1811, British, undated, Watercolor, pen and black ink, gray ink, red chalk, black chalk, graphite, and gouache on medium, slightly textured, beige wove paper mounted on

Full Cry, Possibly Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 8 3/4 × 10 5/8

Yarmouth Sands, Norfolk, John Sell Cotman, 1782–1842, British, 1820 to 1830, Watercolor, gouache, graphite, and scraping out on medium smooth cream wove paper, Sheet: 11 3/4 x 16 1/2 inches (29.8 x 41.9 cm), landscape, men, rowboat,

Cape Crozier and Mount Terror, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41 cm) and Binding: 16 1/8

Country Cottage, Charles Wayson, active 1870, 1870, Watercolor on very thick, moderately textured, cream wove paper, Sheet: 11 × 19 inches (27.9 × 48.3 cm), architectural subject

A Village Fountain, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink, gray ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 7/16 × 7 3/16 inches (11.3 × 18.3 cm),

Clausena anisata (Willd) Benth. (Mosquito Plant): finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 ×

Moorland with Sheep and Shepherd, Claude Hayes, 1852–1922, British, undated, Watercolor on moderately thick, moderately textured, cream wove paper, Sheet: 19 3/8 × 29 1/4 inches (49.2 × 74.3 cm), clouds, grasslands, hills, landscape,

Horses and Wagon Outside a Cottage, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 7/8 × 11 3/8 inches (22.5 × 28.9 cm),

Two Women in Colorful Costume, Isaac Weld, 1774–1856, Irish, ca. 1816, Watercolor and graphite on thick, slightly textured, cream, wove paper, Sheet: 13 3/8 x 14 1/4in. (34 x 36.2cm), portrait

The Return from the Hunt, Thomas Rowlandson, 1756–1827, British, 1787, Watercolor, with pen, in gray ink and black ink on moderately thick, slightly textured, cream, laid paper, Mount: 8 1/16 x 11 7/8 inches (20.5 x 30.2 cm) and Sheet: 7

Warkworth Castle, Northumberland, William Beilby, 1740–1819, British, undated, Watercolor on slightly textured, medium, beige laid paper, Sheet: 8 3/16 × 10 3/4 inches (20.8 × 27.3 cm), animals, architectural subject, castle,

Gate Toward Bursit, Aix-la-Chappelle, Charles Gore, 1729–1807, British, 1785, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, blued white laid paper, Sheet: 11 3/8 x 18 1/2 inches (28.9 x 47 cm),

Landscape at Boxhill, Surrey, Alexander Monro, 1802–1844, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 15/16 × 10 5/16 inches (17.6 × 26.2 cm), clouds, fences, picket, fields,

Near Tafa, 5:50 pm, 16 February 1867 (505A), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 2 3/8 x 6 7/8 inches (6 x 17.5 cm), cliffs, landscape, palm

Salvator Mundi, Edward Burne-Jones, 1833–1898, British, 1882, Black chalk, charcoal, white chalk, pen and black ink, pen and brown ink, watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 53 5/8 x 19 3/4

Jerusalem, Plate 55, 'When those who disregard....', 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,

Piece of a Tombstone from Barking Chruch, Essex, Daniel Lysons, 1762–1834, British, 1809, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/2 × 14 1/2 inches (26.7 × 36.8 cm),

The Little Gleaner, unknown artist, after Sir Thomas Lawrence, 1769–1830, British, between 1826 and 1866, Graphite and watercolor on moderately thick, smooth, cream wove paper, Sheet: 7 1/8 x 6 1/4 inches (18.1 x 15.9 cm), basket, child,

Regent Street, Looking Toward Piccadilly From Waterloo Place, Thomas Shotter Boys, 1803–1874, British, undated, Watercolor with pen and brown ink over graphite on medium, slightly textured, blued white wove paper, Sheet: 5 5/8 x 8 1/2

Design for a Country Mansion, James Playfair, 1755–1794, British, undated, Graphite, pen and brown ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 5 3/8 × 11 1/8 inches (13.7 × 28.3 cm), architectural

One of the Embassy Yachts, William Alexander, 1767–1816, British, ca. 1794, Watercolor, pen and black ink, and graphite on medium, slightly textured, beige wove paper, Sheet: 9 7/8 × 8 inches (25.1 × 20.3 cm), embassy, flag, genre

Jerusalem, Plate 13, 'And that toward Eden....', 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:

Brass Plates on an unidentified tomb in the Pavement of the Middle Aisle near the Chancel from, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured,

A Lady of the Blunt Family, George Engleheart, 1753–1829, British, ca. 1795, Watercolor and gouache on ivory, Image: 3 1/2 x 2 7/8 inches (8.9 x 7.3 cm) and Frame: 4 3/8 x 3 1/8 x 5/8 inches (11.1 x 7.9 x 1.6 cm), portrait

The Rising of the Waters, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, graphite, and white gouache on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches (5.4 x 7 cm), ark,

Parish Priest, Alfred Diston, active 1818–1829, 1828, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 6 3/8 inches (21.9 × 16.2 cm), costume, figure study, genre subject, man, priest,

St. James's Chapel, Southover, Lewes, James Lambert of Lewes, 1725–1788, British, 1762, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 9 1/2 × 12 1/2 inches (24.1 × 31.8 cm), architectural subject

East End of the Preya Grande, Macao, Pupil of George Chinnery, 1774–1852, British, undated, Watercolor with pen and brown ink on moderately thick, rough, cream wove paper, Sheet: 6 × 9 inches (15.2 × 22.9 cm), cityscape, fort, marine

Retreat Beating at Poona, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 1/8 × 5 1/4 inches (10.5 × 13.3 cm), genre subject, huts,

Ruined Fort on a River, Samuel Davis, 1757–1819, British, undated, Watercolor, gray wash, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 12 1/8 x 19 1/4 inches (30.8 x 48.9 cm), architectural subject,

Memorial to Thomas and Ann Felows from Hillingdon 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 × 10 5/8

Mountainous Landscape with River, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on medium, slightly textured, cream, wove paper, mounted on, thick, slightly textured, cream, wove paper, Mount: 19 1/8 × 24 1/2

'Doing the Thing: and the Thing Done:' Doing it Somehow, Henry Thomas Alken, 1785–1851, British, 1818, Watercolor, pen and black ink, brown ink and graphite on medium, moderately textured, blued white, wove paper, Sheet: 6 × 9 1/8

Vesuvius in Eruption, Isaac Weld, 1774–1856, Irish, 1819, Watercolor, graphite, gouache and pen on moderately thick, moderately textured, cream, wove paper, mounted on, moderately thick, moderately textured, cream, laid paper,

Child with a Red Cloth, 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: 5 1/2 × 6 inches (14 × 15.2 cm

Jerusalem, Plate 39, 'By Satans Watch-fiends....', 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:

Portrait of a Lady, Imitator of Andrew Plimer, 1763–1837, British, formerly attributed to Andrew Plimer, 1763–1837, British, undated, Watercolor and gouache on ivory, Image: 2 3/4 x 2 1/8 inches (7 x 5.4 cm), portrait

Beauvais, attributed to William Henry Hunt, 1790–1864, British, ca. 1831, Watercolor, pen and brown ink, black ink, gray wash, and graphite on moderately thick, moderately textured, beige wove paper, Sheet: 16 3/4 x 13 3/4 inches (42.5

A Woman Rescued from the Sea and Assisted Ashore, Rowing Boat and Rescuers in Background, Thomas Stothard, 1755–1834, British, undated, Watercolor and graphite on medium, moderately textured, cream laid paper, Sheet: 6 1/2 × 8 5/8 inches

Romantic Landscape, Thomas Girtin, 1775–1802, British, Herman van Swanevelt, c.1600–1655, Dutch, ca. 1801, Watercolor with pen and brown ink over graphite on medium textured, laid paper, mounted on medium textured, wove, cartridge

Eastern Letter Writer, Richard Dadd, 1817–1886, British, 1863, Watercolor with brown ink on medium, smooth, beige wove paper, Frame: 19 1/8 × 14 3/8 inches (48.6 × 36.5 cm) and Sheet: 11 5/8 × 8 1/8 inches (29.5 × 20.7 cm), benches,

Dyer's Hall, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 x 7 1/4in. (12.7 x 18.4cm) and Mount: 9 × 12 1/2

The Spoiled Child, Scene II, Lewis Vaslet, 1742–1808, British, ca. 1802, Watercolor with black ink and gray wash over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 15 3/8 x 20 3/8 inches (39.1 x 51.8 cm) and

Man-of-War being Refitted, Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), ca. 1787, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 17

Memorial to John Badger Willer from Romford Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 15 × 10 5/8

Moonlight Landscape, David Cox, 1783–1859, British, between 1850 and 1859, Watercolor and black chalk on moderately thick, rough, gray-brown wove paper, Sheet: 10 5/8 x 17 1/4 inches (27 x 43.8 cm), landscape, moonlight

Brockley Coombe, near Bristol, George Cumberland, 1754–1848, British, undated, Watercolor with pen and black ink and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 6 3/8 × 9 inches (16.2 × 22.9 cm), forest,

Harid, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 3/4 x 13 1/2 inches (22.2 x 34.3 cm), colors, fish, mouths

Landscape with Rocks, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 5 1/4 inches (14 × 13.3 cm

Men of War Lying off Sheerness, John Harris, 1770–1834, British, undated, Watercolor, pen and black ink, gray ink, gouache and graphite on medium, moderately textured, beige, laid paper, Sheet: 16 1/4 × 21 1/4 inches (41.3 × 54 cm),

Songs of Innocence and of Experience, Plate 8, 'The Ecchoing Green' (Bentley 6), 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

Evening - Landscape with a Ruined Castle, John Laporte, 1761–1839, British, undated, Watercolor and gouache on medium, slightly textured, cream wove paper, Sheet: 10 5/8 × 15 1/8 inches (27 × 38.4 cm

Jerusalem, Plate 32, 'Leaning against the pillars....', 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,

Classical Scene, Francis Oliver Finch, 1802–1862, British, undated, Watercolor, with pen, in brown ink, gouache, graphite, gum arabic and scratcing out on moderately thick, slightly textured, cream, wove paper, Sheet: 17 5/16 × 23

Variant Ceiling Plan for Clifton Castle, Attributed to Thomas Harrison, 1744–1829, British, ca. 1780-1790, Watercolor, pen and black ink on slightly textured, moderately thick, cream laid paper, Sheet: 21 5/8 × 14 7/8 inches (54.9 × 37.8

'Some Do and Some Don't: It is All a Notion:' Getting Dead Beat, Henry Thomas Alken, 1785–1851, British, between 1848 and 1851, Graphite and watercolor on medium, slightly textured, beige, wove paper, Sheet: 7 5/8 × 10 11/16 inches (19.4

Vernonia amygdalina Del. (Bitter Leaf): finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 × 31.3 cm)

Men Loading a Cart Beside a River, Thomas Gisborne, active 1798, British, undated, Watercolor with gray and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 9 9/16 x 13 1/2in. (24.3 x 34.3cm) and Sheet: 9 1/2 × 13

The Hunting Doctor, Attributed to John Leech, 1817–1864, British, undated, Graphite, pen and brown ink, and watercolor on medium, slightly textured, white wove paper, Image: 10 × 16 5/8 inches (25.4 × 42.2 cm) and Frame: 15 3/4 × 22

The Poems of Thomas Gray, Design 93, '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

Ancient Gateway in Ruins, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 8 15/16 × 11 3/8 inches (22.7 × 28.9 cm

View of Side Farm, Patterdale, Paul Sandby Munn, 1773–1845, British, ca. 1802, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 3/8 x 13 5/16in. (21.3 x 33.8cm) and Sheet: 8 3/8 × 13 3/8 inches (21.3 × 34

Europe. A Prophecy, Plate 11, 'In thoughts perturb'd . . . .' (Bentley 13), 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,

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), boats, channel (water

The Spanish Pointer, John Buckler FSA, 1770–1851, British, after George Stubbs, 1724–1806, British, ca. 1799, Watercolor, with pen in gray ink, black ink, brown ink, and graphite on medium, smooth, cream wove paper, Sheet: 15 9/16

Ibreem, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 2 x 10 11/16 inches (5.1 x 27.1 cm), landscape, palm trees, river, riverbank, sky,

Abu Simbel, 1:00 pm, 9 February 1867 (384), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink and gouache over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 3 7/8 x 10 1/16 inches (9.8

Up and Over, Cecil Charles Windsor Aldin, 1870–1935, British, undated, Watercolor, pen and black ink, graphite and gouache on moderately thick, slightly textured, cream, wove paper, Image: 9 13/16 × 13 15/16 inches (24.9 × 35.4 cm),

Elephant Battery, William Simpson, 1823–1899, British, 1864, Watercolor and gouache over graphite on medium, cream, slightly textured wove paper, Sheet: 10 5/8 x 14 1/4 inches (27 x 36.2 cm), animal art, batteries, cannons, conflict,

Young's Night Thoughts, Page 87, 'Is lost in love! thou great Philanthropist', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Unidentified House for Giles Hudson, Putney, Surrey: Entrance Front Elevation, William Wickham, born ca.1750, British, undated, Graphite, pen and black and brown ink, watercolor on moderately textured, moderately thick, cream laid paper,

Leeds Castle, Kent, Thomas Hearne, 1744–1817, British, undated, Watercolor and gray ink over graphite on moderately thick, moderately textured, cream laid paper, Sheet: 7 x 9 7/8 inches (17.8 x 25.1 cm), architectural subject, building,

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

The Village Inn, Samuel Howitt, 1756–1822, British, 1798, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 8 1/8 inches (14 × 20.6 cm), architectural subject, carriage, horses (animals),

search results: Watercolor clear search