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Norris Castle, Isle of Wight, unknown artist, ca. 1800, Watercolor on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 13 1/4 inches (21 × 33.7 cm), architectural subject, England, Europe, Isle of Wight, United Kingdom

The First Book of Urizen, Plate 20, 'Of life forsaken mountains . . . .' (Bentley 23), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

Sunda Stink Badger, James Stewart, 1791–1863, British, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4

Cobham Hall, Kent: Elevation of Fireplace and Overmantel, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderatly thick, slightly textured, cream wove paper with six fold marks, Sheet: 10 5/8 x

Crinolines by the River, John Leech, 1817–1864, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/8 × 5 3/8 inches (10.5 × 13.7 cm

Shipwrecked Sailors, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and black and gray ink over graphite on medium, slightly textured, cream laid paper, Sheet: 6 9/16 x 9 3/16 inches (16.7 x 23.3 cm), cliffs,

The Castle on the Hill, John Varley, 1778–1842, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 13 3/4 x 18 5/8 inches (34.9 x 47.3 cm), castles, clouds, hills, houses,

Bachanalia Scene, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, graphite, pen and black ink on moderately thick, slightly textured, beige, wove paper, mounted on, thick, smooth,

Hanworth Park, Middlesex, Charles Tomkins, 1757–1823, British, undated, Watercolor and gouache with pen and black and brown ink on medium, slightly textured, cream wove paper, Sheet: 6 1/4 × 8 1/4 inches (15.9 × 21 cm), architectural

Studies from a Fench MSS Bible Register, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Pen and brown ink, watercolor and graphite on medium, slightly textured, cream, wove paper, mounted on,

Donnybrook Fair, Francis Wheatley, 1747–1801, British, 1788, Watercolor with black ink on medium, slightly textured, cream laid paper, Sheet: 16 3/8 x 23 1/2 inches (41.6 x 59.7 cm), apron, baby, barrel, baskets, bellows, bonnet,

Hampton Court Church, Capt. Francis Grose, 1731–1791, British, undated, Watercolor with pen and gray ink over graphite on moderately thick, slightly textured, cream laid paper, Sheet: 10 5/16 x 12 7/8in. (26.2 x 32.7cm) and Sheet: 10 1/4 ×

The Vicar of Wakefield: The Vicar Preaching to the Prisoners, Thomas Rowlandson, 1756–1827, British, ca. 1817, Watercolor with pen and ink on medium, smooth, blued white wove paper, Sheet: 4 9/16 x 7 1/4 inches (11.6 x 18.4 cm), books,

Sketchbook from Calcutta to Peshawar, William Simpson, 1823–1899, British, 1859, Sketchbook with fifty-six graphite drawings, some in watercolor on medium, smooth, cream wove paper, Spine: 4 1/4 inches (10.8 cm), Sheet: 3 15/16 × 5 7/8

Foxhunting: At Fault, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 12 3/8 × 17 13/16 inches (31.4 × 45.2 cm

Joseph de Lautour, Richard Crosse, 1742–1810, British, 1793, Gouache and watercolor on ivory, Frame: 4 5/8 x 3 3/8 x 3/4 inches (11.7 x 8.6 x 1.9 cm) and Image: 3 1/2 x 2 7/8 inches (8.9 x 7.3 cm), boy, child, hoop, nobility, oval,

The First Book of Urizen, Plate 17, '8. The Globe of Life Blood Trembled....' (Bentley 18), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

Wanstead House, Essex, Thomas Streatfield, 1777–1848, British, 1807, Graphite, pen and red and black ink and watercolor on medium, smooth, cream wove paper, Sheet: 6 × 8 5/8 inches (15.2 × 21.9 cm), architectural subject, columns

Europe. A Prophecy, Plate 12, 'Albions Angel rose . . . . ' (Bentley 14), 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 Ruins of Sparta, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 5 15/16 × 8 7/8 inches (15.1 × 22.5 cm

Lago Maggior, Italy, Myles Birket Foster, 1825–1899, British, undated, Watercolor and graphite on thick, rough, cream wove paper, Sheet: 8 1/8 × 12 1/4 inches (20.6 × 31.1 cm), boats, figures, lake, marine art, mountains, trees,

Watermill and Waterfalls, Aaron Edwin Penley, 1807–1870, British, 1862, Watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 13 3/8 × 19 1/2 inches (34 × 49.5 cm

Scene of Three Witches from Shakespeare's Macbeth, George Cattermole, 1800–1868, British, 1840, Watercolor and gouache on moderately thick, moderately textured, beige wove paper, Sheet: 9 3/4 x 12 inches (24.8 x 30.5 cm), cauldrons, fire,

Man on a horse hearding two cows and a calf, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink, graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 7 5/8 inches (14 × 19.4 cm), animal art,

The Gunpowder Magazine, Hyde Park, Paul Sandby RA, 1731–1809, British, ca. 1793, Watercolor, pen and gray ink and graphite on medium, cream, moderately textured wove paper, Sheet: 14 5/8 x 19 3/8 inches (37.1 x 49.2 cm), architectural

Rocca del Papa, with Monte Cavo, Thomas Girtin, 1775–1802, British, after John Robert Cozens, 1752–1797, British, ca. 1796, Watercolor and graphite on medium, slightly textured, blued white wove paper, Sheet: 6 5/8 x 9 1/4 inches

Canons Park, Attributed to John Preston Neale, 1771/80–1847, British, 1828, Graphite and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 19 × 23 1/2 inches (48.3 × 59.7 cm), architectural subject, house,

Songs of Innocence and of Experience, Plate 6, 'The Little Black Boy' (Bentley 10), 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

Plan of a Conservatory Designed for Thoresby, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 13 × 19 7/8 inches (33 × 50.5 cm),

Dumbarton Rock and Castle, Thomas Girtin, 1775–1802, British, ca. 1793, Watercolor with pen and black ink and scraping over graphite on medium, slightly textured, cream wove paper, pasted on thick, slightly textured, beige wove paper,

Warren Hastings on his Arabian Horse, George Townly Stubbs, 1748–1815, British, after George Stubbs, 1724–1806, British, ca. 1796, Graphite and watercolor; extensive retouching of design on moderately thick, slightly textured, cream

Memorial to James Impey, Elijah Impey, Michael Impey, Martha Impey and Jane Sarah Impey, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly

The Entrance to Chepstow Castle, Paul Sandby RA, 1731–1809, British, ca. 1802, Gouache and watercolor with graphite on thick, rough, cream wove paper, Sheet: 5 3/4 x 7 inches (14.6 x 17.8 cm), architectural subject, castle, Entrances &

Windsor from below the Locks, Peter DeWint, 1784–1849, British, undated, Watercolor, graphite and scraping out on thick, cream, rough wove paper, Sheet: 11 3/8 x 17 1/8 inches (28.9 x 43.5 cm), boats, bridge (built work), figures,

Young's Night Thoughts, Page 4, 'What, though My Soul Fantastick Measures Trod', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Gypsies Cooking on an Open Fire, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and with pen and brown ink and pen and gray ink on medium, slightly textured, cream wove paper, Sheet: 6 1/16 x 4 13/16 inches (15.4 x 12.2 cm),

The Essex Chantry, Watford Church, William Henry Hunt, 1790–1864, British, ca. 1820, Watercolor, pen and brown ink, and graphite on thick, moderately textured, cream wove paper, Sheet: 18 3/16 × 14 1/4 inches (46.2 × 36.2 cm),

Travelling in France, Thomas Rowlandson, 1756–1827, British, between 1785 and 1789, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, slightly textured, blued white, laid paper, Sheet: 11 5/16 x 17 1/2 inches

A Religious Procession, David Cox, 1783–1859, British, between 1829 and 1832, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 x 4 1/2 inches (8.9 x 11.4 cm), French, genre subject, procession,

Euganian Hills from the Lagoon -- Low Tide, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor, gouache and graphite on thick, slightly textured, beige card, Sheet: 5 1/4 x 7 1/2 inches (13.3 x 19.1 cm), boats, clouds,

Dracaena steudneri Engl. (Dragon Tree): finished drawing with floral details below, 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

Jacobine Wigs, Or, Good Night To The Party, William Dent, active 1784–1793, 1792, Etching with watercolor on wove paper, Sheet: 8 1/2 x 12 1/8in. (21.6 x 30.8cm

The Vision of God, circle of John Linnell, 1792–1882, British, after William Blake, 1757–1827, British, undated, Watercolor and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 5/8 x 5 inches (9.2 x 12.7

The Release of Saint Peter from Prison, 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

Gray's Inn, 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 1/8 × 7 inches (13 × 17.8 cm) and Mount: 9 × 12 1/2

Job's Evil Dreams, circle of John Linnell, 1792–1882, British, after William Blake, 1757–1827, British, undated, Watercolor and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 5/8 x 4 5/8 inches (9.2 x 11.7

Variant Designs for the Somerset Monument: Elevation, Lewis Vulliamy, 1791–1871, British, undated, Watercolor and graphite with pen and black ink on smooth, thick, cream wove paper, Sheet: 10 1/2 × 7 inches (26.7 × 17.8 cm),

Ensete ventricosum, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 8 15/16 × 12 9/16 inches (22.7 × 31.9 cm

Evacuation of Holland, or, Fire and Water Too Much for Dumourier., William Dent, (?), active 1784–1793, 1793, Etching with watercolor on laid paper, Sheet: 9 7/8 x 13 11/16in. (25.1 x 34.8cm

The Entrance into Borrowdale, Francis Towne, 1740–1816, British, undated, Watercolor and brown ink over graphite on medium, slightly textured, beige laid paper, Sheet: 3 3/4 x 6 1/8 inches (9.5 x 15.6 cm) and Contemporary drawn border: 7

The Slaughterhouse, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, pen and black and gray-brown ink, over graphite on medium, moderately textured, blued white laid paper, Sheet: 6 x 7 9/16 inches (15.2 x 19.2 cm), barn,

The Ravens Feeding Elijah, 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),

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 17 1/8 × 13 1/2 inches (43.5 × 34.3 cm)

Goodman's Field Theatre, Charles Tomkins, 1757–1823, British, 1801, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 3/4 × 8 3/16 inches (14.6 × 20.8 cm), architectural subject, barrels

Gateway to Battle Abbey, Henry Morton, ca. 1807–1825, British, after 1819, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 3/16 × 11 7/16 inches (20.8 × 29.1 cm), abbey, arches,

Cluny Castle, Aberdeenshire, Scotland: Perspective, William Wilkins, 1778–1839, British, ca. 1816, Pen and black ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 13 3/4 × 18 1/2 inches (34.9 × 47 cm),

Tours: Sunset: Looking Backwards, Joseph Mallord William Turner, 1775–1851, British, between 1826 and 1830, Watercolor, gouache, graphite and pen and brown ink on medium, slightly textured, blue wove paper, Sheet: 4 7/8 x 7 3/8 inches

View near Tal-y-Llyn, Cornelius Varley, 1781–1873, British, ca. 1805, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 19 1/4 x 25 1/4 inches (48.9 x 64.1 cm), bridge (built work), buildings, dog (animal),

A View of Edinburgh from the South Looking towards Dalkeith, Samuel Scott, 1701/2–1772, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper with thin, slightly textured, blue laid

New Herrnhut in Greenland and Lichtenfels in Greenland, 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)

Over the Bank, Exmoor, Robert Polhill Bevan, 1865–1925, British, ca. 1895, Watercolor, with pen, in gray ink, and black ink on moderately thick, slightly textured, cream, wove paper, Sheet: 9 7/8 × 13 7/16 inches (25.1 × 34.1 cm),

The Arrival of a Company of Militia at an Inn, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and gray and pen and red-brown ink on medium, smooth, cream wove paper, Sheet: 5 7/8 x 9 5/8 inches (14.9 x 24.4

An Angel with a Trumpet, William Blake, 1757–1827, British, between 1805 and 1808, Graphite with watercolor and pen and black ink on medium, moderately textured, cream wove paper, Sheet: 7 3/4 x 4 1/8 inches (19.7 x 10.5 cm), angel, man,

Off Rio de Janeiro, Henry William Parish, active 1792, 1792, Watercolor on medium, slightly textured, cream laid paper, Sheet: 3 3/4 × 9 3/16 inches (9.5 × 23.4 cm

A Peasant of Mount Erix, Henry Tresham, 1751–1814, British, between 1783 and 1789, Watercolor, pen and brown ink and graphite; verso: pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 1/2 x 11 3/4 inches (24.1 x

Landscape, with Winding River, Figure on Hill in Foreground, Thomas Sully, 1783–1872, American, undated, Watercolor on medium, moderately textured, beige, wove paper, Sheet: 2 5/8 × 4 1/4 inches (6.7 × 10.8 cm

Young's Night Thoughts, Page 12, 'Its Favours Here Are Trials, Not Rewards', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

North Front of Castle Ashby, Northamptonshire; The Seat of the Marquis of Northampton, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1815, Watercolor and pen and black ink on moderately thick,

Memorial to Thomas Clarke and wife Sarah and Thomas Worlidge 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,

Talsarnau, North Wales, Cornelius Varley, 1781–1873, British, 1858, watercolor on thick, cream, moderately textured wove paper, Sheet: 12 13/16 x 16 5/8 inches (32.5 x 42.2 cm), boat, children, goat, meadow

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), architectural subject, castle, cattle, exterior

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1834, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/4 × 17 inches (33.7 × 43.2 cm) and

St. Stephen's Hall, unknown artist, ca. 1820, Watercolor, gray wash, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 8 1/4 inches (22.2 × 21 cm), architectural subject

Pettenasco, Lago d'Orta, 4:20 pm, 2 June 1867 (224), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 4 1/4 x 6 3/8 inches (10.8 x

The Hippodrome, Constantinople, John Foster, ca. 1787–1846, British, between 1811 and 1813, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 9 7/8 × 16 inches (25.1 × 40.6 cm), architectural

Portrait of an Infantry Officer, Samuel Cotes, 1734–1818, British, 1767, Gouache and watercolor on ivory, Image: 2 x 1 3/4 inches (5.1 x 4.4 cm) and Frame: 2 5/8 x 2 x 3/8 inches (6.7 x 5.1 x 1 cm), male, portrait, red

Landscape with Canal and Lock; Figures at Lock, Thomas Sully, 1783–1872, American, undated, Watercolor, pen in brown ink, graphite and gouache on moderately thick, moderately textured, beige, wove paper, Sheet: 9 7/8 × 13 1/4 inches

A Fruit Stall in a Market, John Frederick Tayler, 1802–1889, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 5 1/8 × 7 1/4 inches (13 × 18.4 cm), baskets, figures, fruit, genre

Landscape with Camels and Elephants, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 11 1/8 × 16 3/4 inches (28.3 × 42.5 cm

Design for a Castellated Entrance, John Kempshead, active 1808, 1808, Pen and black and brown ink, watercolor on slightly textured, medium, white wove paper bar scale of 1/8 inch to 1 foot, Sheet: 12 9/16 × 22 3/4 inches (31.9 × 57.8 cm),

Jealousy, Rage, Disappointment..., Thomas Rowlandson, 1756–1827, British, 1817, Watercolor, with pen and brown, black, red-brown, and gray ink over graphite on very thick, moderately textured, beige wove paper, Sheet: 5 3/4 x 9 1/8

Elegant Company Dancing, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and pen and red-brown, red, and brown ink on medium, slightly textured, blued white, wove paper, Sheet: 4 1/2 x 7 7/8 inches (11.4 x 20 cm), ballroom,

The Dugong, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and brown ink on thick, smooth, cream, wove paper, Sheet: 4 15/16 × 7 3/16 inches (12.5 × 18.3 cm

The First Book of Urizen, Plate 10, '7. From the caverns of his jointed spine . . . .' (Bentley 11), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in green with watercolor on moderately thick, slightly

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

Negadeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, chocineal, pen and black ink on thick, slightly textured, beige wove paper, Sheet: 2 3/16 x 6 3/8 inches (5.6 x 16.2 cm), boat, landscape, marine art, river,

Interior of Fort Nicholas, Sebastopol, Crimea, William Simpson, 1823–1899, British, undated, watercolor and gouache with pen and brown ink over graphite on medium, cream, slightly textured wove paper, Sheet: 10 1/4 x 17 1/4 inches (26 x

Vesuvius, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor, gouache, chalk, and graphite on medium, slightly textured, cream wove paper, Sheet: 6 × 9 1/4 inches (15.2 × 23.5 cm), beach, boats, landscape, marine

Continental Scene - Brigands in Ambush Awaiting a Coach, Samuel Davis, 1757–1819, British, 1777, Watercolor, pen and black ink, gray ink and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 13 1/8 x 18 7/8in.

Young officer in a Red Tunic, Frederick Buck, 1771–ca. 1840, British, undated, Watercolor and white gouache on ivory, Overall: 7/8 × 11/16 inches (2.3 × 1.8 cm), tunic

Tree amidst Houses, James Miller, active 1773–1814, undated, Watercolor, graphite, pen and black ink and gray ink on medium, moderately textured, blued white, laid paper, Sheet: 6 1/8 × 7 3/4 inches (15.5 × 19.7 cm) and Mount: 9 1/8 ×

The Road from Santa Maria de Monte to Naples, Thomas Jones, 1742–1803, British, active in Italy (1776–83), 1781, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 x 10 3/4 inches (20.3 x 27.3 cm) and Sheet:

Concerto a la Catalani, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and gray ink over graphite on medium, smooth, beige, wove paper, Sheet: 5 7/16 x 8 1/4 inches (13.8 x 21 cm), animal art, bagpipes, books,

Fisherpeople on a Junk, William Alexander, 1767–1816, British, 1793, Watercolor and pen and black ink over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 5 7/8 × 8 inches (14.9 × 20.3 cm), baby, Chinese,

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

The Leopard Seal, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and brown ink on thick, smooth, cream, wove paper, Sheet: 5 1/16 × 8 inches (12.9 × 20.3 cm

Nablous Nablus, Jordan, Rev. Edward Thomas Daniell, 1804–1842, British, 1841, Watercolor, gouache and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 13 1/8 × 19 1/2 inches (33.3 × 49.5 cm), cityscape,

Castle Fraser, Aberdeenshire, Scotland: South Elevation, William Wilkins, 1778–1839, British, 1819, Graphite, pen and black and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 13 3/4 × 19 5/8

The Keep and Gate, Ludlow Castle, Shropshire, Thomas Lound, 1802–1861, British, undated, Watercolor, gouache and graphite with scratching out on moderately thick, rough, beige wove paper, Sheet: 14 1/8 × 19 3/4 inches (35.9 × 50.2 cm),

Upper Clapton, unknown artist, 1843, Watercolor, Sheet: 5 7/16 x 7 15/16in. (13.8 x 20.2cm

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