Images at Librifly

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Cluny Castle, Aberdeenshire, Scotland: Elevation, 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 11/16 inches (34.9 × 47.5 cm),

The Land Gate, Rye, Sussex, Thomas Girtin, 1775–1802, British, ca. 1795, Watercolor, pen and black ink, gray wash and graphite on medium, slightly textured, beige wove paper, mounted on moderately thick, slightly textured, beige wove

Memorial to Elizabeth Hatsell, from Fulham 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 papaer, Sheet: 15 × 10 5/8

Dissolution of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1785, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

Crimson Cliffs, 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 inches (41 cm),

A Frog Confronting a Circle of Animals, Samuel Howitt, 1756–1822, British, undated, Watercolor, with pen, in black ink, and gray ink, over graphite on medium, slightly textured, cream, wove paper, Sheet: 5 3/16 × 7 3/16 inches (13.2

View on the River Klimara at Dewal Gaunm, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite and pen and brown ink on moderately thick, moderately textured, cream laid paper, Sheet: 11 3/4 ×

Fluellen Forcing Pistol to Eat His Leek, unknown artist, Previously Robert Smirke, 1752–1845, British, undated, Watercolor, gouache, and graphite on moderately thick, slightly textured, beige wove paper, Mount: 14 × 10 1/8 inches (35.6

A Wood Stream with Angler, unknown artist, eighteenth century, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Sheet: 9 1/8 x 8 1/2 inches (23.2 x 21.6 cm), birch, fishermen, genre subject,

A European Goldfinch, James Sowerby, 1756–1822, British, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 6 3/8 inches (21 × 16.2 cm), animal art, bird, branch, European

Design for an Athenian Villa, Side Elevation, Edward Jones, active 1819–1835, 1834, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/2 × 17 1/2 inches (29.2 × 44.5 cm),

Charles Stuart, third Duke of Richmond and sixth Duke of Lennox, Samuel Cooper, 1609–1672, British, between 1661 and 1667, Watercolor and gouache with gold on parchment laid down on card, Sheet: 2 3/4 x 2 1/4 inches (7 x 5.7 cm) and Frame: 3

The Greyhound, Print made by Samuel Howitt, 1756–1822, British, Published by Edward Orme, 1775–1848, British, 1812, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper, animal art, dog (animal),

Owl, After an Attic Kantharos, John Ruskin, 1819–1900, British, ca. 1870, Pen and black ink and watercolor on medium, moderately textured, beige wove paper, Sheet: 6 7/8 x 8 3/4 inches (17.5 x 22.2 cm), animal art, botany, kantharos,

The Rustics Perform from 'A Midsummer Night's Dream', John Massey Wright, 1777–1866, British, undated, Watercolor with brown ink over graphite on moderately thick, slightly textured, beige laid paper, Sheet: 5 11/16 x 9 9/16 inches (14.4 x

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 Oriental Orpheus, or, Scotch Conjurer Charming John Bull with the Idea of Eastern Resources, (?) William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 10 x 16 3/8in. (25.4 x 41.6cm

Fishing Boats Moored, Jules Lessore, 1849–1892, French, undated, Watercolor on thick, moderately textured, cream wove paper, Sheet: 18 1/4 × 27 3/8 inches (46.4 × 69.5 cm

London Cries: A Milkmaid, Paul Sandby RA, 1731–1809, British, ca. 1759, Watercolor, pen and brown ink with graphite on medium, cream, slightly textured wove paper, Sheet: 8 3/4 x 5 7/8 inches (22.2 x 14.9 cm) and Frame: 20 1/4 × 15 1/4

Woodcock Shooting, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, beige, wove paper, Sheet: 5 13/16 × 8 inches (14.8 × 20.3 cm) and Image: 5 3/8 × 7

The East End and South Side of the Parthenon, John Foster, ca. 1787–1846, British, ca. 1813, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 3/4 × 18 1/4 inches (29.8 × 46.4 cm), architectural

South East View of Hatfield House, The Seat of the Marquis of Salisbury, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1812, Watercolor and pen and black ink on moderately thick, cream wove paper,

The Ganges, William Simpson, 1823–1899, British, 1863, Watercolor and gouache over graphite on moderately thick, moderately textured, cream wove paper, pasted on contemporary mount made of medium, slightly textured, cream wove paper,

Ambulatory, Westminster Abbey, Frederick Nash, 1782–1856, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper mounted on moderately thick, slightly textured, cream wove paper,

Conway Castle, a View of the Interior, John Roe of Warwick, active 1771–1812, British, undated, Watercolor on medium, slighlty textured, cream wove paper, Sheet: 12 × 17 3/8 inches (30.5 × 44.1 cm), architectural subject

Old House beside a Pool, unknown artist, after William Henry Pyne, 1769–1843, British, ca. 1810, Watercolor on medium, slightly textured, cream wove paper, Sheet: 10 1/4 × 12 7/8 inches (26 × 32.7 cm), architectural subject

Pittosporum viridiflorum Sims (pittosporum): 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

Design for Clifton Castle, Yorkshire: Plan and Elevation in the Romanesque Style, unknown artist, ca. 1780-1790, Pen and black ink, watercolor, graphite on rough, moderately thick, beige wove paper, Sheet: 19 1/4 × 23 3/4 inches (48.9 ×

Rolls Chapel, 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 × 6 1/2 inches (13 × 16.5 cm) and Mount: 9 ×

Hare Running, Print made by Samuel Howitt, 1756–1822, British, Published by Edward Orme, 1775–1848, British, 1812, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

The School at Wells, Someset, Attributed to John Augustus Atkinson, 1775–1831, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 12 3/4 inches (24.4 × 32.4 cm), architectural

Boschbeek & Gorenendaal: View from Turret towards Alsmeer and Haarlemmesmeer, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on textured, medium, cream wove paper, Sheet: 10 1/4 × 14 7/16 inches (26 × 36.7 cm

Tomb and Brass Plate of Alan Porter, from Chiselhurst 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 1/8

Trees and Pond near Bromley, Kent, Thomas Girtin, 1775–1802, British, ca. 1798, Watercolor and gouache over graphite; verso: graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 8 3/16 x 12 5/16 inches (20.8 x 31.3

Memorial to Sibyll and Rupert Browne from Greenford Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, sligthly textured, cream wove paper,

On the River Elbe, near Lowositz in Saxony, 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 7/16in. (28.6 x 36.7cm),

Houses at Teddington on the Thames, attributed to Peter DeWint, 1784–1849, British, 1809, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 1/4 x 6 1/2 inches (21 x 16.5 cm), architectural subject,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Howel; Burnside; Silverhill; Gregory and Low Milton, John McKinlay, 19th century, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick,

Memorials to Sir James Cockburn, an infant Collins and Carolus Jacques A.M. from Cowley Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured,

Snow Village of Inuit visited by Captain Lyons, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1821, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41 cm) and

Whitby, Charles Bentley, 1806–1854, British, 1833, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 5/8 × 14 1/2 inches (27 × 36.8 cm

Oruro, Bolivia, Godfrey Thomas Vigne, 1801–1863, British, 1855, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 14 3/8 inches (23.5 × 36.5 cm), churches, cityscape, hills, houses, landscape,

Portrait of a Cleric, James Scouler, 1741–1812, British, 1774, Gouache and watercolor with scraping on ivory, Image: 1 5/8 x 1 3/8 inches (4.1 x 3.5 cm) and Frame: 1 3/4 x 1 1/2 x 1/4 inches (4.4 x 3.8 x 0.6 cm), portrait

Beach Landscape Scene, Clarkson Stanfield, 1793–1867, British, 1863, Watercolor, graphite, and white gouache 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

Holland House, Kensington, George Samuel, active 1785–died 1823, British, undated, Pen and brown ink, graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 21 1/2 inches (37.5 × 54.6 cm), architectural

Beach Landscape Scene, Clarkson Stanfield, 1793–1867, British, 1863, Watercolor, graphite, and white gouache on moderately thick, slightly textured, light blue wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm) and Binding: 5 1/4

On the Thames, Peter DeWint, 1784–1849, British, undated, Watercolor on medium, cream, rough wove paper, Sheet: 21 3/4 x 34 1/8 inches (55.2 x 86.7 cm), barges, birds, boats, ducks, hills, landscape, meteorology, rainbow,

Aguara Dog of the Woods, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, moderately textured, white, wove paper, Sheet: 4 5/8 × 7 3/8 inches (11.7 × 18.7 cm), animal

The Poems of Thomas Gray, Design 81, 'The Descent of Odin.', 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

Near Chiavenna, unknown artist, Monro School, ? Joseph Mallord William Turner, 1775–1851, British, ca. 1796, Watercolor, graphite, gray wash and blue wash on medium, slightly textured, cream wove paper, Sheet: 15 x 9 1/2in. (38.1 x

The Steller Sea Lion, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and brown ink on thick, smooth, cream, wove paper, Sheet: 5 7/16 × 8 1/8 inches (13.8 × 20.6 cm

View of St. Peters, Rome, David Roberts, 1796–1864, British, undated, Watercolor over graphite with some scratching out on moderately thick, slightly textured, beige laid paper, Sheet: 15 1/16 x 36 1/4 inches (38.3 x 92.1 cm),

The Eel Catcher, Charles Warren, 1767–1823, British, undated, Watercolor and pen and brown ink on medium, slightly textured, white wove paper, Sheet: 13 x 18 1/4 inches (33 x 46.4 cm), canoe, fisherman, grass, river, tree

Young's Night Thoughts, Page 95, 'The goddess bursts in thunder and in flame', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Distant View of Exmouth from Exeter, William Payne, active 1850s, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 1/16 × 7 1/4 inches (15.4 × 18.4 cm) and Image: 6 1/16 × 7 1/4

A Temple Perched on a Rocky Outcrop Seen Across a Lake, Alexander Runciman, 1736–1785, British, ca. 1767, Watercolor, gray wash, blue wash and pen and black ink; verso: red chalk on medium, slightly textured, cream laid paper, Sheet: 5

Landscape with Thatched Buildings, Amelia Long, 1762–1837, British, 1809, Watercolor, gouache, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 8 1/16 × 12 9/16 inches (20.5 × 31.9 cm) and Sheet: 8 × 12 5/8

Culbone, Rev. James Bulwer, 1794–1879, British, undated, watercolor, graphite on smooth, moderately thick, cream wove paper, Sheet: 13 1/4 × 17 inches (33.7 × 43.2 cm) and Image: 5 3/4 × 9 1/8 inches (14.6 × 23.2 cm), architectural

Lyson's Cottage, Cowes, Isle of Wight, attributed to Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black ink over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 4 3/4 x 18 7/16 inches

A House with an Open Window, perhaps painted in Brittany, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), late 1890s, Watercolor on linen mounted on card, Sheet: 5 × 8 1/2 inches (12.7 × 21.6 cm),

South West View of Blithfield, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1823, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19 3/4 inches (35.6 × 50.2

In India, on the March, Samuel Davis, 1757–1819, British, undated, Watercolor, pen, gray ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 9 1/4 x 11 7/8 inches (23.5 x 30.2 cm), architecture, caravan,

Abutilon longicuspe A. Rich. (Abutilon): 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)

Making into Charcoal, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 2 3/8 × 3 inches (6 × 7.6 cm), building, charcoal, genre subject, hut,

Views in England, Scotland and Wales: Beyond Barden Tower, Amos Green, 1735–1807, British, Harriet Green, 1751–1807, British, 1803, Watercolor

Pale Dog Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 1/8 × 6 1/2 inches (10.5 × 16.5 cm), animal art

A Sporting Cove, Thomas Rowlandson, 1756–1827, British, between 1815 and 1820, Watercolor with pen and brown ink over graphite; verso: watercolor blots on medium, moderately textured, cream, wove paper, Sheet: 7 3/4 x 6 inches (19.7 x 15.2

Harlech, Thomas Stothard, 1755–1834, British, ca. 1805-1811, Watercolor and pen and ink on medium, moderately textured, cream wove paper, Sheet: 3 3/4 × 8 1/4 inches (9.5 × 21 cm), castle, landscape, mountains, Cymru, Europe,

A Zebra, Samuel Howitt, 1756–1822, British, ca. 1807, Watercolor, with pen, in brown ink and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 16 × 12 3/4 inches (40.6 × 32.4 cm) and Image: 8 1/4 × 8 1/4

The Mill Pond, Evelyn Woods, George Vicat Cole, 1833–1893, British, 1860, Watercolor, gouache, pen, in brown ink and gum arabic on moderately thick, moderately textured, cream, wove paper, mounted on, very thisk, moderately textured,

Mountainous Landscape with Lake and Figure in Foreground, Thomas Sully, 1783–1872, American, undated, Watercolor, graphite, and gouache on medium, slightly textured, beige, wove paper, Sheet: 6 15/16 × 10 3/8 inches (17.6 × 26.4 cm

Abu Simbel, 4:30 pm, 8 February 1867 (379), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 3 1/2 × 10 inches (8.9 × 25.4 cm),

Memorial to John William from Harlington 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 1/4 × 11 1/8 inches (38.7

Monuments to Mrs. Rebecca Cassamajor and Thoma Spateman, Chiswick 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,

Rhus glutinosa A. Rich. : 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

Temple ruins, James Bruce, 1730–1794, British, undated, Watercolor, pen and brown ink, graphite, and gouache on medium, moderately textured, cream laid paper, Sheet: 13 1/2 × 16 3/8 inches (34.3 × 41.6 cm), architectural subject

Foxhunting at Melton Mowbray, 1835: Taking the Gate at the Hinge Post While Snob Walks Thro', Edward Hull, 1810–1877, ca. 1835, Watercolor, with pen, in brown ink, graphite, gum arabic and gouache on moderately thick, moderately textured,

A Woman Tending Cattle by a River, R. P. Noble, active 1829–1861, ca. 1840, Watercolor, graphite, and gouache on medium, smooth, cream wove paper, Sheet: 5 9/16 × 8 7/8 inches (14.1 × 22.5 cm), cattle, dog (animal), genre subject,

The Puckally, John Gantz, 1772–1853, 1828, Pen and black ink and watercolor on medium, moderately textured, cream wove paper mounted to card, Sheet: 6 3/8 × 8 7/8 inches (16.2 × 22.5 cm), genre subject, men, oxen, palm trees, well

One of Five Designs for a Church, James Wyatt, 1746–1813, British, undated, Graphite, pen and brown ink and watercolor on moderately thick, moderately textured, cream wove paper with two fold marks, Sheet: 13 1/8 x 20 7/8 inches (33.3 x 53

A Change in the Head of Affairs, Print made by William Heath, 1795–1840, British, Published by Thomas McLean, 1788–1875, British, ca. 1828, Etching with hand coloring in watercolor on moderately thick, slightly textured, cream wove

The Vine, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1852, Etching and drypoint, retouched with white watercolor, gouache or chalk on thick, smooth, cream wove paper, Sheet: 11 9/16 x 8 1/4 inches (29.3

Study of a Rustic Interior Scene, William James Muller, 1812–1845, British, undated, Watercolor with pen in brown ink, over graphite with gouache on thick, slightly textured, beige, wove paper, Sheet: 10 5/8 × 13 7/8 inches (27 × 35.2

A Seascape, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 12 inches (22.2 × 30.5 cm), boats, ocean, seascape, sky, waves

Hackney Grammar School, M. A. Gliddon, active 1840, British, 1834, Watercolor with pen and brown ink over graphite on wove paper, Sheet: 7 1/16 x 9 11/16in. (17.9 x 24.6cm

Fife, Sir David Wilkie, 1785–1841, British, undated, Watercolor over graphite on medium, slightly textured, beige wove paper mounted on card, Sheet: 5 1/8 x 7 1/8 inches (13 x 18.1 cm), clouds, hills, landscape, mountains, trees,

Memorial to Elizabeth and Sir Timothy Lannoy from Fulham Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper,

Memorial to Ann Tolson also to Caleb Cotesworth and Susannah, his Wife from Isleworth Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium,

Boulogne Harbour, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor and gouache over graphite on medium, smooth, cream wove paper, Sheet: 8 7/8 x 19 inches (22.5 x 48.3 cm), Grand Tour, waves

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

Sketchbook, Barbara Bodichon, 1827–1891, British, 1861, Watercolor and graphite on thick, moderately textured, cream wove paper, Spine: 5 1/4 inches (13.3 cm) and Sheet: 5 x 7 inches (12.7 x 17.8 cm

Jerusalem, Plate 80, 'Encompassd by the frozen net....', 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,

Melrose Abbey, Roxburghshire, Edward Dayes, 1763–1804, British, And James Moore, 1762–1799, British, 1792, Watercolor and graphite and pen and black ink on medium slightly textured, cream wove paper, mounted to medium, slightly

Seville, David Roberts, 1796–1864, British, undated, Watercolor, graphite, and red gouache on medium, slightly textured, cream wove paper, Sheet: 4 × 14 1/2 inches (10.2 × 36.8 cm), bell tower, buildings, cityscape, figures,

Salix subserrata Willd. (Willow Tree): finished drawing without details, 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

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, goauche, 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

Mrs. Morland's Portrait, James Ward, 1769–1859, British, ca. 1802, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 7 1/2 x 4 1/2 inches (19.1 x 11.4 cm) and Contemporary drawn border: 11 x 7 7/8 inches (27.9

Beech Trees, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, rough, cream wove paper, Sheet: 8 3/8 x 11 1/8 inches (21.3 x 28.3 cm), beech, branches, landscape, roots, trees

Upon the Aare between Unterseen and the Lake of Brientz, John Robert Cozens, 1752–1797, British, 1776, Watercolor, blue wash, gray wash, graphite, and pen and black ink on medium, slightly textured, cream laid paper, mounted on medium,

The Bungalow at Colgong, near Bhagalpur as it appeared after it was burnt, Samuel Davis, 1757–1819, British, undated, Watercolor with pen and brown ink over graphite on medium, slightly textured, wove paper, Sheet: 9 1/8 × 12 1/2 inches

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