Images at Librifly

search results: Watercolor clear search

Gateway and Facade of a House, Michael 'Angelo' Rooker, 1746–1801, British, undated, Gray ink with watercolor over graphite on moderately thick, moderately textured, blued white laid paper, Sheet: 11 1/4 x 16 1/2 inches (28.6 x 41.9 cm),

A Church Porch, John Thirtle, 1777–1839, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 × 8 3/4 inches (20.3 × 22.2 cm), architectural subject

Songs of Innocence and of Experience, Plate 6, 'The Ecchoing Green' (Bentley 7), 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,

Jerusalem, Plate 84, 'Highgates heights & Hampstead....', 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

The Whaler 'Truelove' of Hull, William Ward, 1766–1826, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/8 × 9 3/4 inches (18.7 × 24.8 cm

The Actresses Dressing Room at Drury Lane, Thomas Rowlandson, 1756–1827, British, between 1800 and 1810, Watercolor with pen and red-brown and gray ink, over graphite on medium, moderately textured, blued white, laid paper, Sheet: 7 3/8 x

Study of Figures at Schaffhausen, Samuel Prout, 1783–1852, British, before 1841, Graphite and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 3 7/16 x 4 7/16 inches (8.7 x 11.2 cm), aprons (main garments),

An Artist's Studio, Thomas Rowlandson, 1756–1827, British, 1814, Watercolor with pen and red-brown, brown, and gray ink, over graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 x 8 7/16 inches (26.7 x 21.4

A Chaisse passing Through the Alps, William Marlow, 1740–1813, British, undated, Watercolor, pen and black ink, white chalk and graphite on medium, slightly textured, cream laid paper, Sheet: 18 3/4 x 13 1/2in. (47.6 x 34.3cm), Alps,

Surat Musicians, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 × 6 7/8 inches (15.2 × 17.5 cm

Sugar-Loaf Mountain, From North Window, Col. J. Monroe's. Oak-Field Landon Co. Va. June 12th 1829, Thomas Sully, 1783–1872, American, 1829, Watercolor on moderately thick, slightly textured, beige, wove paper, Sheet: 10 1/8 × 5 1/16

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

Album of Landscape and Figure Studies: Landscape Scene with Horse and Cart near Tunbridge Wells, Thomas Bradshaw, Born 1767, British, 1811 to 1813, Graphite and watercolor

Sky Study, No. 1, Attributed to Thomas Lindsay, 1793–1861, British, undated, Watercolor and graphite on medium, slightly textured, beige wove paper, Sheet: 2 5/8 × 6 1/4 inches (6.7 × 15.9 cm), blue, clouds, horizon line, landscape,

Whitehall Showing Holbein's Gate and Banqueting Hall, Thomas Sandby RA, 1721–1798, British, ca. 1760, Watercolor, pen and black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 15 1/2 x 23 1/2 inches (39.4 x 59.7

Sky Study, No. 3, Attributed to Thomas Lindsay, 1793–1861, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 2 5/8 × 6 1/2 inches (6.7 × 16.5 cm), blue, clouds, horizon line,

Somerset House and Waterloo Bridge, William Edward Dighton, 1822–1853, British, undated, Watercolor, with pen, in brown ink, gray ink and graphite on moderately thick, moderately textured, breige, wove paper, Sheet: 11 1/16 × 20 inches

Alderwasley, Derbyshire, James Bourne, 1773–1854, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 5/8 × 14 1/2 inches (27 × 36.8 cm

Design for Ardgowan House, Scotland: Chamber Floor Plan, Claud Cleghorn, active 1797–1800, 1797, Watercolor, gray wash and pen and black and brown ink on smooth, moderately thick, beige wove paper bar scale of 1/12 inch to 1 foot, Sheet:

Cobham Hall, Kent: Section of Dairy, James Wyatt, 1746–1813, British, 1795, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, beige laid paper with two fold marks, Sheet: 14 × 23 1/4 inches (35.6 ×

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

Tomb of Gregory Lovell and his Wife Anne, Harlington Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Watercolor, graphite, and pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 14 7/8 ×

View of St. Catherine's Hill near Guildford, attributed to Charles Claude Pyne, 1802–1878, undated, Watercolor over graphite; on verso: watercolor, graphite and chalk on medium, slightly textured, wove paper, Sheet: 7 × 19 1/4 inches (17.8

Back View of Stout Rider on a Chestnut Horse, Sir Francis Grant, 1803–1878, British, undated, Watercolor, with pen, in brown ink on medium, smooth, blue, wove paper, Sheet: 8 3/8 × 13 1/4 inches (21.3 × 33.7 cm), chestnut brown,

A Village Scene with Peasants Resting, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red and black ink over graphite on medium, smooth, beige, wove paper, Sheet: 8 9/16 x 11 3/4 inches (21.7 x 29.8 cm), barrel

The Reduced Gentleman's Daughter, Richard Redgrave, 1804–1888, British, undated, Watercolor and graphite with chalk and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 11 15/16 × 15 7/8 inches (30.3 × 40.3 cm),

Study of a Girl Seated on a Chair, Nicholas Pocock, 1740–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 11/16 × 5 13/16 inches (14.4 × 14.8 cm), chair, dress, figure study,

A Windy Day, John Linnell, 1792–1882, British, 1815, Watercolor over graphite on moderately thick, slightly textured, cream laid paper, Sheet: 6 1/8 x 9 inches (15.6 x 22.9 cm), clouds, fields, landscape, overcast, wind

Church with a Wooden Belfry - one of three versions, Samuel Davis, 1757–1819, British, undated, Watercolor, graphite, pen, and black ink on medium, slightly textured, cream wove paper, Sheet: 7 1/2 x 10 1/4 inches (19.1 x 26 cm),

Lady George Sutton, John Smart, 1741–1811, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 2 5/8 × 2 1/16 inches (6.7 × 5.2 cm), bow (costume accessory), dress, hairstyles,

Killarney (Ireland), Isaac Weld, 1774–1856, Irish, ca. 1807, Watercolor, graphite white gouache, and gum arabic on medium, slightly textured, cream wove paper, mounted on moderately thick, slightly textured, cream wove paper, Mount: 11

Baby Girl with Doll, Watching Chick, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted on

Between Kalabshee and Tafa, 5:20 pm, 16 February 1867 (502), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 2 x 6 7/8 inches (5.1 x 17.5 cm), landscape,

A Boy Playing a Drum in the Garden of a Country House, William Henry Pyne, 1769–1843, British, 1793, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 11 3/4 × 15 inches (29.8 × 38.1

Grouse Shooting, Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on thick, slightly textured, cream, wove paper, Sheet: 10 3/16 × 14 inches (25.9 ×

Self Portrait, attributed to George Morland, 1763–1804, British, George Morland, 1763–1804, British, undated, Watercolor on ivory, Image: 2 7/8 x 2 3/8 inches (7.3 x 6 cm) and Frame: 5 1/8 x 4 1/4 x 1/2 inches (13 x 10.8 x 1.3 cm),

Llangollen, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor on moderately thick, slightly textured, cream wove paper

The Hinny, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, and graphite on mediium, slightly textured, white, wove paper, Sheet: 3 7/8 × 6 3/8 inches (9.8 × 16.2 cm), animal art

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Graphite and 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), beaches,

A Human Skeleton, James Ward, 1769–1859, British, undated, Graphite and brown ink and brown and gray wash; verso: watercolor on medium, smooth, cream wove paper mounted on medium, slightly textured, beige laid paper, Sheet: 9 7/8 x 10 7/8

Moonlight River Scene, Newton Limbird Smith Fielding, 1799–1856, British, undated, Watercolor with scratching out on moderately thick, slightly textured, wove paper, Sheet: 6 5/8 × 9 1/2 inches (16.8 × 24.1 cm), boat, castle, cliff,

A Bit of Blood, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink, and graphite on medium, slightly textured, cream wove paper, Mount: 4 7/16 x 4 7/16 inches (11.3 x 11.3 cm) and Sheet: 2 7/8 x 2 3/4

My Father Feeding Ducks, Drawn by His Father, Thomas Baxter, 1782–1821, British, ca. 1805, Watercolor, with pen in brown ink and black ink, graphite, gum arabic and scratching out on moderately thick, moderately textured, beige, wove

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field': The Check: 'What the Devil Do You Do Here..', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in black ink on

Four Recesses, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor on moderately thick, slightly textured, cream wove paper

Livorno, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and black chalk on medium, slightly textured, beige wove paper mounted on moderately thick, smooth, beige card, Mount: 8 5/8 x 5 5/8 inches (21.9 x 14.3 cm) and

The North Terrace, Windsor Castle, Looking West, Paul Sandby RA, 1731–1809, British, ca. 1765, Gouache and watercolor over graphite on thick, cream, slightly textured laid paper, Sheet: 15 x 21 1/2 inches (38.1 x 54.6 cm), architectural

Cottages at Chatsworth, Derbyshire: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, after 1818, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper, Sheet: 14 × 20 5/8 inches (35.6 ×

A Brace of Brimstones, Print made by Thomas Rowlandson, 1756–1827, British, 1806, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Design for a Medal: Frederick and Augusta, Prince and Princess of Wales, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Pen and black ink, over graphite with red chalk, incised and squared for

Augt 15th. Conway Castle, Thomas Sully, 1783–1872, American, undated, Watercolor, gouache and graphite on medium, smooth, cream, wove paper, Sheet: 8 1/2 × 11 1/4 inches (21.6 × 28.6 cm

Design for a Medallion: Figure of a Woman, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite and black charcoal on medium, slightly textured, beige laid paper mounted on medium, slightly

A Canopied Boat and Two Rowing Boats at a Jetty; Inset Left, a Pencil Study of the Tintern Livestock Ferry-boat, James Ward, 1769–1859, British, undated, Watercolor, with pen, in brown ink and graphite on medium, slightly textured, cream,

The Mail Coach in a Flood, Print made by Frederick Rosenberg, active 1816–1832, after James Pollard, 1792–1867, British, 1827, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Image:

Man With a Horse Harnessed to a Roller, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on medium, moderately textured, beige, laid paper, Sheet: 6 3/16 × 8 9/16 inches (15.7 × 21.7 cm), genre subject, harness,

Cobham Hall, Kent: Elevation of North Front, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 13 1/4 x 29 inches (33.7 x 73.7 cm),

The Entrance to Hengrave Hall, 1819, Anna Mills, active 1819, British, 1819, Watercolor and pen and black ink on medium, slightly textured, cream wove paper in contemporary wove paper insert with wash boader, Sheet: 15 15/16 x 10 5/8 inches

Steeplechasing: Three Riders Taking a Brook, Henry Thomas Alken, 1785–1851, British, ca. 1825, Graphite and watercolor on moderately thick, moderately textured, blued white, wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm),

An Irish Wolfhound, Sir Edwin Henry Landseer, 1802–1873, British, undated, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 6 9/16 × 10 3/8 inches (16.7 × 26.4 cm) and Frame: 11 5/16 ×

Bushey Churchyard with the Tombs of Edridge, Hearne and H. Monro, William Henry Hunt, 1790–1864, British, ca. 1822, Watercolor, pen and brown ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 1/4 x 16

Cardinal Bentivoglio, Hercules Brabazon Brabazon, 1821–1906, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Watercolor on moderately thick, slightly textured,

Chapel Church, Surrey, Thomas Girtin, 1775–1802, British, ca. 1799, Watercolor, gouache and scraping over graphite on beige, medium, slightly textured, laid paper, Sheet: 12 1/4 x 16 inches (31.1 x 40.6 cm), architectural subject,

Second Temple of Hera, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 10 7/8 × 16 5/8 inches (27.6 × 42.2 cm

The Black Wolf, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 5/8 × 7 1/2 inches (11.7 × 19.1 cm), animal art

Cleft in a Formation of Rocks, Samuel Davis, 1757–1819, British, undated, Watercolor and pen and black ink with wash over graphite on medium, slightly textured, cream wove paper, Sheet: 9 3/8 × 11 3/4 inches (23.8 × 29.8 cm), cow,

View of London Bridge and St. Paul's Cathedral, William Daniell, 1769–1837, British, ca. 1804, Watercolor and graphite with scraping out on thick, moderately textured, cream wove paper, Sheet: 15 1/8 x 25 3/8 inches (38.4 x 64.5 cm),

Memorial to Benjamin Lucas 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 paper, Sheet: 14 3/4

Main Entrance of Great Mosque, (Ulu cami) Bursa, Turkey, , John Frederick Lewis, 1804–1876, British, between 1840 and 1841, Watercolor, gouache and graphite on medium, slightly textured, beige wove paper, Sheet: 11 3/4 x 18 3/4 inches

Italianate Landscape with Travellers no. 2, Paul Sandby RA, 1731–1809, British, ca. 1760, Watercolor, pen and gray and brown ink over graphite on medium, cream, slightly textured wove paper, Sheet: 14 1/2 x 21 inches (36.8 x 53.3 cm),

Egyptian Men, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 1 5/16 x 1 11/16 inches (3.3 x 4.3 cm), figure study, figures, hats, robes, sitting,

Gateway at Bamburgh Castle, Edward Hastings, active 1804–1861, British, 1810, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 7 3/8 × 8 5/8 inches (18.7 × 21.9 cm), arch, architectural subject, castle,

Newark Castle, C. Waller, active 1785–1788, between 1785 and 1795, Watercolor and pen and brown ink on thick, rough, cream, laid paper, Sheet: 13 5/8 × 20 5/8 inches (34.6 × 52.4 cm), tree, woods, England, Newark Castle,

The Monument of Thomas Fiennes, James Lambert of Lewes, 1725–1788, British, undated, Graphite, pen and black ink, watercolor within triple-ruled pen and wash border on moderately thick, moderately textured, cream laid paper, Sheet: 25 1/4

Thatched Cottage and Adjoining Barn, Joseph Powell, 1780–1834, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 × 11 1/4 inches (20.3 × 28.6 cm), architectural subject, barn, cottage,

No. 134, Rue du Faubourg Saint-Honoré, Paris, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 10 inches (17.1 ×

Moeris and Galatea, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), plate etched between 1880 and 1883; impression printed in 1924, Etching and drypoint, with plate tone, retouched with white watercolor,

The Brown Fur Seal, A. Fussel, active 1838–1881, British, ca. 1837, Watercolor, pen and black ink, brown ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 5 × 8 inches (12.7 × 20.3 cm

South East view of Wollaton hall, Nottinghamshire, the Seat of the Right honble. Lord Middleton, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1812, Watercolor and pen and black ink on moderately

Larpool Beck - Whitby, Joseph John Jenkins, 1811–1885, British, undated, Watercolor with gouache on thick, moderately textured, cream wove paper, Sheet: 13 1/4 × 19 3/4 inches (33.7 × 50.2 cm

Backyard of a Cottage, William Henry Hunt, 1790–1864, British, ca. 1817, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 11 x 14 1/8 inches (27.9 x 35.9 cm) and Sheet: 9 3/8 x 12

Gray Mare and a Chestnut Foal, John Frederick Lewis, 1804–1876, British, 1846, Watercolor, white gouache and graphite with scratching out on moderately thick, moderately textured, cream wove paper, Sheet: 11 3/8 x 16 1/4 inches (28.9 x

Carissa edulis (Forssk) Vahl.: finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 x 12 5/16in. (40.5 x 31.3cm) and Binding: 16

The Cornfield, Hercules Brabazon Brabazon, 1821–1906, British, after John Constable, 1776–1837, British, undated, Watercolor and gouache on medium, cream, moderately textured wove paper, Mount: 14 x 10 inches (35.6 x 25.4 cm) and

October 10, 1832, Wanstead House, Anne Rushout, ca. 1768–1849, British, 1832, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm

The Birmingham Priest - and Flaming Patriots inflamed at Birmingham, or An apology for not being at the (Crown) and Anchor., (?) William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 6 15/16 x 10 3/4in. (17.6 x

The Hudson From Phillips, Thomas Sully, 1783–1872, American, undated, Watercolor on moderately thick, moderately textured, beige, laid paper, Sheet: 6 5/16 × 10 3/4 inches (16 × 27.3 cm

Place des Victoires, Paris, Thomas Rowlandson, 1756–1827, British, ca. 1783, Watercolor in pen and black ink over graphite on medium, moderately textured, cream antique laid paper, Sheet: 13 3/4 x 21 inches (34.9 x 53.4 cm) and Image: 13

On the Road Between Salerno and Eboli, Monro School, attributed to Thomas Girtin, 1775–1802, British, after John Robert Cozens, 1752–1797, British, undated, Watercolor and graphite on medium, slightly textured, beige laid 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

Reading Abbey Gateway, Edward Hawke Locker, 1777–1849, British, 1803, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 × 8 5/8 inches (15.6 × 21.9 cm), abbey, architectural subject, gateway,

Memorial to Two Cousins both Named Elizabeth Isaak from Hanworth 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 1/8

Newbury Market Place, Berkshire, Thomas Rowlandson, 1756–1827, British, between 1815 and 1820, Watercolor with pen and brown, red-brown and gray ink over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 10 x 15

Under the Hill at Milford, John Christian Schetky, 1778–1874, British, 1819, Watercolor over graphite on thick, slightly textured, cream wove paper, Sheet: 7 5/8 × 7 inches (19.4 × 17.8 cm

Bishop's Bridge, Norwich, James Pattison Cockburn, 1778–1847, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 7 5/8 x 11 3/4 inches (19.4 x 29.8 cm), bridge (built work),

Looking Upwards from Devil's Bridge, Cardiganshire, Wales, James Ward, 1769–1859, British, undated, Watercolor and gouache over graphite on medium, moderately textured, cream laid paper, Sheet: 13 7/8 x 23 3/4 inches (35.2 x 60.3 cm),

Cape Melville & Melville Monument, 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

Jedburgh Abbey from the South East, Thomas Girtin, 1775–1802, British, 1800, Watercolor, gouache and graphite on medium, cream, moderately textured laid paper, Sheet: 15 1/2 x 21 3/4 inches (39.4 x 55.2 cm) and Frame: 26 x 31 1/8 x 1 1/4

Arrival at Brandenburgh House of the Watermen, Print made by Matthew Dubourg, active 1786–1838, British, Published by Robert Bowyer, 1758–1834, British, 1821, Etching and aquatint with hand coloring in watercolor on medium, slightly

Elgin Cathedral, Moray, Edward Dayes, 1763–1804, British, And James Moore, 1762–1799, British, 1792, Watercolor, graphite, pen, gray ink, and gray wash on medium, slightly textured, cream wove paper, Sheet: 6 1/2 x 8 1/2 inches

The Preacher, Thomas Rowlandson, 1756–1827, British, 1800 to 1810, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 7/8 x 9 3/16 inches (14.9 x 23.3 cm), children, church, genre

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