Images at Librifly

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Sailors Raising a Boom, Edward Duncan, 1803–1882, British, undated, Pen and brown ink, graphite and watercolor on medium, slightly textured, beige wove paper, Sheet: 5 3/8 × 11 1/8 inches (13.7 × 28.3 cm), marine art, rigging,

A Landscape in Ceylon, With Barking Deer and Fawn and a Pair of Paradise Fly-Catchers, Samuel Daniell, 1775–1811, British, between 1808 and 1811, Watercolor, over graphite, with pen in brown ink and gouache on medium, moderately textured,

Coast Scene, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite with scraping out on thick, cream, moderately textured wove paper laid onto card, Sheet: 11 1/2 x 19 3/8 inches (29.2 x 49.2 cm) and Mount: 11 1/2 x 19 3/8

Unidentified Sand Dollar, 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),

Landscape with beech trees and man driving cattle and sheep, style of Paul Sandby RA, 1731–1809, British, undated, Watercolor, gouache, and black chalk on medium, slightly textured, cream laid paper on blue wove paper mount, Sheet: 14 1/2

A Rustic Bridge over the Thames, Anglers on the River Bank, William Evans of Eton, 1798–1877, British, 1845, Watercolor and ink on thick, slightly textured, cream wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm), architectural

River Scene and Bridge with Artist Sketching in Foreground, Samuel Davis, 1757–1819, British, 1777, Watercolor, pen, black ink, gray ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 11 3/4 x 16 inches (29.8 x

A Fool Named Gungarum, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 3/4 × 5 1/8 inches (17.1 × 13 cm), figure study,

The Castalian Spring, Delphi, John Fulleylove, 1845–1908, British, ca. 1895, Watercolor over graphite with scraping out on thick, rough cream wove paper, Sheet: 10 7/8 × 7 1/2 inches (27.6 × 19.1 cm), cliffs, landscape, spring,

Three Clerical Scholars, Thomas Rowlandson, 1756–1827, British, 1789, Watercolor with pen and back and gray ink on medium, slightly textured, laid paper, mounted on, thick, slightly textured, beige, wove support, Sheet: 8 15/16 x 11

Canadian Figure Studies, George Heriot, 1766–1844, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 9 1/4 inches (21 × 23.5 cm), Canadian, cane, elderly, men

A Glade in a Wood, William Pars, 1742–1782, British, undated, Watercolor, graphite, and white gouache on medium, moderately textured, cream laid paper, mounted on thick, moderately textured, cream laid paper, Mount: 7 3/8 x 10 3/16

Brass Plate on top of the Tomb of Thomas and Elizabeth Higate from Hayes 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,

Study of Rigging, Clarkson Stanfield, 1793–1867, British, 1863, Graphite and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm) and Binding: 5 1/4 inches (13.3 cm

Design for Monument to Captain Hardinge, Charles Manning, 1776–1812, 1810, Graphite, watercolor, gray wash, pen and black ink on smooth, medium, cream wove paper, Sheet: 15 1/4 × 17 3/4 inches (38.7 × 45.1 cm), architectural subject,

The Sporting Parson: 'He Trieth a Little 'High Church' Style', 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 13/16

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1831, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 3/8 × 17 inches (34 × 43.2 cm) and Image:

Outside the Walls of Suez, 8:30 a.m., 17 January 1849 (54), Edward Lear, 1812–1888, British, 1849, Watercolor with pen in brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 7 5/8 x 5 1/16 inches (19.4 x 12.9

A View of the Harbour at Cannes, Edward Lear, 1812–1888, British, 1869, Watercolor, gouache, graphite and scraping out on thick, moderately textured, cream wove paper, Sheet: 6 9/16 x 20 1/8 inches (16.7 x 51.1 cm), boats, buildings,

Design for an Unidentified Country House, James Wyatt, 1746–1813, British, ca. 1800, Watercolor and graphite, with pen and black ink on moderately thick, moderately textured, cream wove paper, Sheet: 20 3/8 x 29 1/4 inches (51.8 x 74.3

Untitled, 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 art

Windsor Castle, April 1850, E. J. Stanley, active 1850, 1850, Watercolor, black chalk, and gouache on medium, slightly textured, cream wove paper, Sheet: 10 3/4 x 15 3/16in. (27.3 x 38.5cm) and Sheet: 10 3/4 × 15 1/8 inches (27.3 × 38.4

Twilight, Thomas Sully, 1783–1872, American, undated, Watercolor on medium, moderately textured, beige, laid paper, Sheet: 10 × 6 3/8 inches (25.4 × 16.2 cm

Boschbeek & Gorenendaal: View from Turret towards the Dunes and Spenrode, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on textured, moderately thick, cream wove paper, Sheet: 10 1/4 × 14 1/4 inches (26 × 36.2 cm

The Northern Boundary of St. Bride's Bay, John Warwick Smith, 1749–1831, British, 1792, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 1/8 x 8 1/2 inches (13 x 21.6 cm) and

St. Paul's Cathedral, from St. Martin's-le-Grand, London, Thomas Girtin, 1775–1802, British, ca. 1795, Gray wash and watercolor over graphite on beige, medium, slightly textured, wove paper, Sheet: 19 3/4 x 15 5/16 inches (50.2 x 38.9

Steeplechasing: The Finish, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 10 7/16 × 14 11/16 inches (26.5 × 37.3 cm), flag, horse racing,

Lake and Mountains, Attributed to John Renton, 1774–c.1841, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 3/4 × 6 1/2 inches (9.5 × 16.5 cm), figure, lake, landscape, mountains,

'Some Do and Some Don't: It is All a Notion:' Getting a Dive, Henry Thomas Alken, 1785–1851, British, between 1848 and 1851, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 7 9/16 × 10 5/8 inches (19.2 ×

Scarborough Harbour, Yorkshire - Moonlight, Henry Barlow Carter, 1803–1867, British, 1850, Watercolor on medium moderately textured cream wove paper, Sheet: 9 5/8 x 13 3/4 inches (24.4 x 34.9 cm), figures, harbors, moonlight, ships,

Lord Craven's Yacht, July 23, 1817, Joseph Cartwright, c.1789–1829, British, 1817, Watercolor, with pen, in brown ink and graphite on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured,

Fisherfolk on the Beach, Ostend, Samuel Prout, 1783–1852, British, undated, Graphite and watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 3 9/16 x 6 1/4 inches (9 x 15.9 cm), baskets, beach, bonnets, boys,

Outside View of Indus Sabha, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Pen and black ink, gray wash and watercolor on medium, moderately textured, cream laid paper, Sheet: 11 7/8 × 19 1/8 inches (30.2 × 48.6 cm),

The Long-tailed Porcupine, George Edwards, 1694–1773, British, 1738, Pen, gray ink, brown ink, brown wash, watercolor, and graphite on medium, moderately textured, cream laid paper, Sheet: 9 3/4 × 15 7/8 inches (24.8 × 40.3 cm),

The First Book of Urizen, Plate 24, '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 textured,

Ships of the Line off Dover, Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), undated, Watercolor and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 5/8 × 6 5/8 inches (11.7 ×

Evening Landscape, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor on medium, slightly textured, cream wove paper mounted on thick, slightly textured, cream card, Mount: 6 3/8 × 8 3/8 inches (16.2 × 21.3 cm) and

Design for Grosvenor House, London, Thomas Cundy, 1790–1867, British, between 1825 and 1826, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, white wove paper, Sheet: 25 15/16 × 18 15/16 inches (65.9 ×

Jerusalem, Plate 42, 'Thus Albion sat....', 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 1/2

Wooded Scene with a Couple Laying under a Tree, by a Stream, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Gouache, watercolor, pen and red ink, brown ink, and graphite on medium, moderately

An Episode at the Battle of Waterloo, William Heath, 1795–1840, British, 1817, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/8 × 9 1/4 inches (18.1 × 23.5 cm), battle, fighting, French,

Settling the Disputed Point, Richard Dadd, 1817–1886, British, 1854, Watercolor and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 10 x 14 3/8 inches (25.4 x 36.5 cm), aprons, arguing, bench, caps, cat

The Paper Mill at Rickmansworth, Attributed to Robert Udney, 1740–1808, Formerly attributed to Samuel Scott, 1701/2–1772, British, between 1765 and 1781, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream

Portrait of a Lady, Nathaniel Plimer, 1757–1822, British, undated, Watercolor and gouache on ivory, Image: 3 x 2 3/8 inches (7.6 x 6 cm) and Frame: 3 7/8 x 2 5/8 x 1/2 inches (9.8 x 6.7 x 1.3 cm), portrait, woman

Views in the Levant: Corner of a Stone Building with Palm Tree at Right, Willey Reveley, 1760–1799, British, ca. 1785, Watercolor, pen and black ink, gray ink, and graphite on medium, slightly textured, cream, laid paper, mounted on

Peasant of Hierro, Alfred Diston, active 1818–1829, 1825, Watercolor, pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 6 1/2 inches (21.9 × 16.5 cm), costume, figure study, genre subject,

Shepy Bay, Shearness, England, Edward W. Fitch, active 1839–1867, 1865, Watercolor, gouache and graphite on thick, smooth, beige card, Sheet: 5 × 7 inches (12.7 × 17.8 cm), bay, cliffs, hills, landscape, rocks (landforms),

View from Fairlight near Hastings, Mary Smirke, 1779–1853, British, 1823, Watercolor on medium, slightly textured, cream wove paper, Sheet: 8 1/8 x 11 11/16in. (20.6 x 29.7cm) and Sheet: 8 1/4 × 11 3/4 inches (21 × 29.8 cm

Egyptian Man, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 1 11/16 x 1 7/16 inches (4.3 x 3.7 cm), figure study, man, palm leaf, robe, turban,

African Wildcat or Serval, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 1/2 inches (40.3 × 31.8 cm), animal art

Imogen Entering the Cave, 'Cymbeline', Act III, Scene VI, Mary Hoare, 1753–1820, British, 1781, Watercolor with brown ink and scraping over graphite on thick, slightly textured, cream wove paper mounted on moderately thick, slightly

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 Leicestershire Hunt - A Struggle for the Start, Possibly Henry Thomas Alken, 1785–1851, British, undated, Watercolor, graphite, and gouache, with pen, in brown ink, black ink, and gray ink on thick, moderately textured, beige,

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

Remains of a Bridge at San-Sien-Wey on the Pei-Ho near Tong-Tcheou, August 15, 1793, William Alexander, 1767–1816, British, 1793, Watercolor over graphite on medium, smooth, cream laid paper, Sheet: 4 x 7 7/8 inches (10.2 x 20 cm),

Ruins of Sparta, 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: 8 7/8 × 5 7/16 inches (22.5 × 13.8 cm

A Jungum, a religious Hindu Beggar, 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: 6 5/8 × 4 3/8 inches

Jerusalem, Plate 67, 'By those who drink their blood....', 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,

Summit of Mount Sinai or Jebel Musa, Rev. Edward Thomas Daniell, 1804–1842, British, 1840, Watercolor, gouache and graphite on moderately thick, slightly textured, beige wove paper, monted on, thick, slightly textured, cream, wove

Two Drawings on One Sheet: Landscape with Figure Reclining Against Hill - Titian and Venetian School (no. 7); Landscape - Variety of Watercolor Washes (no. 8), Thomas Sully, 1783–1872, American, undated, Watercolor and gouache on moderately

View of Calcutta and its Environs:Garden Reach - Calcutta, Sir Charles D'Oyly, 1781–1845, British, active in India, undated, Watercolor, white gouache, gray wash, and graphite on moderately thick, slightly textured, gray, green, wove

Swan Stairs, London Bridge, George Johann Scharf, 1788–1860, British, 1841, Watercolor over graphite, with gouache on medium, slightly textured, cream wove paper, Sheet: 8 5/16 x 11 3/8in. (21.1 x 28.9cm) and Sheet: 8 3/8 × 11 1/2 inches

Sketch for the Passions: Jealousy, Richard Dadd, 1817–1886, British, 1853, Watercolor, black ink, and graphite on moderately thick, slightly textured, light blue wove paper, Sheet: 14 x 10 1/8 inches (35.5 x 25.7 cm), armed forces,

A man resting, Thomas Richardson Jr., 1813–1890, British, 1840, Watercolor on medium, smooth, cream wove paper, Sheet: 4 5/8 × 7 1/2 inches (11.7 × 19.1 cm), cap (headgear), genre subject, man, reading, resting, satchel, suit

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, brown ink, graphite, watercolor, Sheet: 13 1/2 × 17 1/4 inches (34.3 × 43.8 cm) and Image: 6 × 10 1/2 inches (15.2 × 26.7 cm), architectural

Tivoli with the Temple of the Sybil and the Cascades, Joseph Mallord William Turner, 1775–1851, British, between 1796 and 1797, Watercolor, graphite and scraping out on medium, slightly textured, cream wove paper, Sheet: 16 1/2 x 21 5/8

Perspective View: the New Houses of Parliament, Sir Charles Barry, 1795–1860, British, ca. 1840-1849, Watercolor over traces of graphite, with gouache, pen and black and brown ink on medium, smooth, weige wove paper, Sheet: 15 7/8 x 30

The Spoiled Child, Scene I, 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 × 20 1/8 inches (39 × 51.1 cm) and

Hulk aground on beach, Edward Duncan, 1803–1882, British, undated, Watercolor, graphite and white gouache on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/8 × 10 1/2 inches (16.2 × 26.7 cm), beach, boat, marine

Ruins on Top of a Hill, unknown artist, between 1826 and 1866, Watercolor over graphite, Sheet: 7 1/16 x 9 3/4in. (17.9 x 24.8cm

Drawing Cover, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown, gray and red-brown ink, with pen and ink line and wash border on medium, moderately textured, blued white, wove paper, Sheet: 3 3/16 x 5 9/16

The Long Gallery, Haddon Hall, Derbyshire, Joseph Nash, 1808–1878, British, 1839, Watercolor, gouache, pen and brown ink, graphite, and scratching out on thick, moderately textured, cream wove paper, Sheet: 21 5/8 × 29 3/4 inches

Belbeis, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, moderately textured, beige wove paper, Sheet: 4 1/16 x 6 5/16 inches (10.3 x 16 cm), camel (mammal), figures (representations),

Boree Timranze Durgum Taken from the Pehher River Near Cavenpatan-Barramah'l (South India), Samuel Davis, 1757–1819, British, undated, Watercolor, with pen, in brown ink, and graphite on medium, moderately textured, cream laid paper,

Bookseller and Author, Thomas Rowlandson, 1756–1827, British, 1784, Watercolor and gray wash over graphite on moderately thick, moderately textured, beige laid paper, Sheet: 10 3/8 x 12 5/8 inches (26.4 x 32.1 cm), author, books,

The Claudian Aquaduct, Rome, Francis Towne, 1740–1816, British, 1785, Watercolor with pen and black ink, over graphite on medium, slightly textured, cream laid paper, Sheet: 12 5/8 x 18 1/2 inches (32.1 x 47 cm) and Contemporary drawn

Northumberland Head Inn at Corner of Fort St. and Gun St., Spitalfields, John Phillipps Emslie, 1839–1913, British, 1883, Watercolor over graphite on wove paper, Sheet: 6 5/8 x 9in. (16.8 x 22.9cm

Design for a Chapel at Enfield: Longitudinal Section, Lewis Vulliamy, 1791–1871, British, undated, Pen and black ink with watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 12 5/8 x 18 13/16 inches (32.1 x 47.8 cm)

A Bull and a Rabbit, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink and graphite on medium, slighlty textured, cream wove paper, Sheet: 5 1/8 × 7 1/8 inches (13 × 18.1 cm), animal art, bull, field, horses

Welsh Mountain Study, Paul Sandby RA, 1731–1809, British, between 1800 and 1809, Gouache and watercolor on thick, slightly textued, cream wove paper, Sheet: 9 x 19 5/8 inches (22.9 x 49.8 cm), clouds, landscape, mountain, studies,

The Bookmaker and his Client outside the Ram Inn, Newmarket, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink over graphite on moderately thick, moderately textured, blued white, wove paper, Sheet: 9 7/16 x

Korti, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 1 11/16 x 3 3/16 inches (4.3 x 8.1 cm), figure study, figures (representations), nude, robes,

Two Horses Eating From a Wheel-Barrow Watched by a Goat and Three Ducks, John Frederick Herring, 1795–1865, British, possibly by John Frederick Herring Jr., 1815–1907, British, 1850, Watercolor, with pen, in gray ink, and graphite on

Design for an Unidentifued House in the Palladian Style, William Thomas, active 1783- died 1800, undated, Pen and black ink, watercolor on textured, medium, cream laid paper, Sheet: 10 9/16 x 59 1/2 inches (26.8 x 151.1 cm), architectural

On the Road to Datchet, after Thomas Sandby RA, 1721–1798, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 11 3/4 × 19 3/8 inches (29.8 × 49.2 cm), architectural subject

Studies of boats on the Nile, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, blue laid paper, Sheet: 3 5/8 x 3 1/2 inches (9.2 x 8.9 cm), boats, marine art, sails, studies

Iron Forge on the River Kent, Westmorland, Paul Sandby RA, 1731–1809, British, undated, Watercolor, gouache, and graphite on medium, slightly textured , cream laid paper, Sheet: 10 3/4 x 11 1/8 inches (27.3 x 28.3 cm) and Mount: 11 3/8 x

The First Book of Urizen, Plate 15, '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,

Foot Ball played at Market Place, Barnet, Robert Dighton, 1752–1814, British, ca. 1784, Pen and black ink and brown ink and watercolor, Sheet: 6 x 8in. (15.2 x 20.3cm) and Frame: 7 11/16 × 9 1/4 × 5/16 inches (19.6 × 23.5 × 0.8 cm),

Young's Night Thoughts, Page 1, 'Swift on His Downy Pinion Flies from Woe', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Songs of Innocence, Plate 26, 'Spring' (Bentley 23), 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 paper,

Stable Boy with Cart Horses, John Frederick Tayler, 1802–1889, British, undated, Watercolor, gouache and graphite on thick, slightly textured, cream wove paper, Sheet: 12 3/8 × 15 5/8 inches (31.4 × 39.7 cm), animal art, boy, dog

Euphorbia helioscopia L. (Sun Spurge): finished drawing of flowering plant with details of flowers and leaf and fruit, James Bruce, 1730–1794, British, undated, Watercolor, gouache, and graphite on moderately thick, moderately textured,

Situation of H.M.S. Hecla & Griper, 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

Memorial to Samuel Martin, Mary Bryant, Martha Bryant, Lucy Bryant, Mary Hawes, William Martin and Henry Hawes from Chiswick Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor

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

Cattle Watering by Corinthian Columns, Anthony Vandyke Copley Fielding, 1787–1855, British, undated, Watercolor with pen in red and blue ink over graphite on medium, slightly textured, cream, wove paper, mounted on thick, slightly

A Young Daughter of the Picts, Jacques Le Moyne de Morgues, ca. 1533–before 1588, French, active in England from ca.1580., Formerly attributed to John White, active 1585–1593, British, ca. 1585, Watercolor and gouache, touched with gold

Seashore with Sand Dunes, Dr. Thomas Monro, 1759–1833, British, undated, Watercolor, pen and black ink, white chalk, and black chalk on medium, slightly textured, blue wove paper, Sheet: 11 11/16 x 17 3/4in. (29.7 x 45.1cm) and Sheet: 11

Gateway at Burton Agnes, Yorkshire, the Seat of Sir Francis Boynton Bart., John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1819, Watercolor and pen and black ink on moderately thick, cream wove

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