Images at Librifly

search results: Watercolor clear search

Portrait of a Man, William Henry Hunt, 1790–1864, British, ca. 1820, Watercolor and black ink over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 3 3/4 x 3 1/8 inches (9.5 x 7.9 cm), bust, collar, cravat,

Figure Studies: A Farm Worker, Mr. Samuel, the Drawing Master Reclining and Dozing, and a Slight Sketch of a Man in a Hat, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, cream, slightly textured wove paper

The Book of Thel, Plate 4, 'Why should the mistress . . . .', Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and ink and watercolor on moderately thick, slightly textured, cream wove paper,

Shipbuilding on the Yorkshire Coast, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite on thick, moderately textured, cream wove paper, Sheet: 9 1/2 x 16 5/8 inches (24.1 x 42.2 cm), boat, clouds, craftsmen, genre

On the Dee, Francis Towne, 1740–1816, British, undated, Watercolor and black ink over graphite on medium slightly textured cream laid paper, Sheet: 11 3/4 x 19 inches (29.8 x 48.3 cm) and Contemporary drawn border: 16 3/8 x 23 5/8 inches

Janie Ellice: Full Length Sketch, Sir Edwin Henry Landseer, 1802–1873, British, 1835 to 1841, Watercolor and pen and brown ink on medium, slightly textured, blue laid paper, Sheet: 11 3/4 x 8 inches (29.8 x 20.3 cm), figure study,

Noble Arab of the Tribe Beni-Koreish of the Family Harb at Beder-Hunein, James Bruce, 1730–1794, British, undated, Watercolor on moderately thick, slightly textured, beige laid paper, Sheet: 8 3/8 × 6 7/8 inches (21.3 × 17.5 cm) and

Illumination of Columns, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/8 × 9 7/8 inches (30.8 × 25.1 cm), architectural subject

Design for Hyde Park and St. James' Park Entrance, Sir John Soane, 1753–1837, British, ca. 1826, Watercolor and graphite on three joined sheets of moderately thick, moderately textured, cream wove paper, Sheet: 15 3/4 × 50 1/4 inches (40

Caister Castle, Norfolk, Michael 'Angelo' Rooker, 1746–1801, British, undated, Watercolor over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 10 1/4 x 14 1/4 inches (26 x 36.2 cm), architectural subject,

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, undated, Black ink, graphite, watercolor and gouache on thick, smooth,

Falstaff Carrying Dead Hotspur, Henry William Bunbury, 1750–1811, British, undated, Watercolor, pen and black ink, gray ink, gouache, and gum arabic on medium, slightly textured, beige wove paper mounted on thick, moderately textured,

The Long Room, Custom House, Print made by Thomas Rowlandson, 1756–1827, British, and Augustus Charles Pugin, 1762–1832, French, 1808, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove

The Environs of London: Memorial to Philip Cocks, from Acton 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: 14 3/4 ×

The Valley of Lutscheuen, John Frederick Lewis, 1804–1876, British, 1827, Watercolor, white gouache, and graphite, with scratching out on medium, slightly textured, cream wove paper, Sheet: 7 3/4 x 10 1/2 inches (19.7 x 26.7 cm) and

The Vicar of Wakefield: Attendance on a Nobleman, Thomas Rowlandson, 1756–1827, British, ca. 1817, Watercolor, with pen and gray-brown and red-brown ink, over graphite on medium, smooth, blued white wove paper, Sheet: 4 1/2 x 7 3/8 inches

Landscape at Beddgelert, North Wales, Paul Sandby Munn, 1773–1845, British, 1832, Graphite and watercolor on medium, smooth, cream wove paper, Sheet: 4 7/8 × 9 1/2 inches (12.4 × 24.1 cm), buildings, cart, chimneys (architectural

Near Dendour, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 1/2 x 7 5/8 inches (6.4 x 19.4 cm), boats, hills, landscape, marine art, river,

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

Elizabeth DeQuincey, nee Penson, Follower of Thomas Hazlehurst, active 1740–1821, British, undated, Gouache and watercolor on ivory, Image: 2 1/4 x 1 3/4 inches (5.7 x 4.4 cm) and Frame: 2 5/8 x 2 x 1/4 inches (6.7 x 5.1 x 0.6 cm),

Jerusalem, Plate 92, 'What do I see!....', 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

Greater Sulphur Crested Cockatoo, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, ca. 1832, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 21 3/8 x

Jerusalem, Plate 3, 'To the Public....', 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 x

'The Poacher's Progress:' Poachers in Prison (The Pardon), C. Blake, active 1825–1826, undated, Graphite, watercolor, and varnish on very thick, rough, brown, wood pulp paper, Sheet: 13 1/16 × 17 1/4 inches (33.2 × 43.8 cm), children,

Battle Abbey, Sept. 8, 1807, Dr. William Crotch, 1775–1847, 1807, Black chalk, graphite, and watercolor on medium, slightly textured, cream laid paper, Sheet: 8 1/2 x 14 1/8in. (21.6 x 35.9cm) and Sheet: 8 3/4 × 14 3/8 inches (22.2 ×

Indian Guard Room, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 2 1/2 × 3 inches (6.4 × 7.6 cm), guard, Indian, military art, military,

'Some Do and Some Don't: It is All a Notion:' Getting into a Bog, 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 11/16 inches

The Lonely Tower, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1868, Watercolor, gouache and gum arabic on London board: a high-quality pasteboard sheet made of Whatman's finest drawing paper, Sheet: 20 1/4 x 27 7/8

Jerusalem, Plate 37, 'And One stood forth....', 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

Languard Fort on the River Orwell, Capt. Francis Grose, 1731–1791, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 8 3/4 x 11in. (22.2 x 27.9cm) and Sheet: 8 7/8 × 11 1/8 inches

Tree Study with Ivy Clinging to Stump, Robert Hills, 1769–1844, British, ca. 1826, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 10 1/2 x 7 1/4 inches (26.7 x 18.4 cm), ivy, landscape, study

Memorial to Michael Gardiner and Margarita 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, slightly textured, cream

Private View of the Royal Academy, William Payne, active 1850s, British, 1858, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 3 3/4 × 4 1/8 inches (9.5 × 10.5 cm), art, coats, crowd,

Scene Among the Ice in the Polar Sea, 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

The Visitors Being Shown the Baby, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink over graphite on medium, slightly textured, blued white, wove paper, Sheet: 4 3/16 x 6 1/16 inches (10.6 x 15.4 cm),

Mountain Landscape, North Wales, Cornelius Varley, 1781–1873, British, undated, Watercolor and gouache on medium, slightly textured, cream wove paper, Sheet: 10 1/2 × 17 inches (26.7 × 43.2 cm), earth, landscape, mountains, rocks

a. The Staircase at Longleat / b. Ground Plan of Longleat House, Wiltshire, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1811, Watercolor and pen and black ink on moderately thick, cream wove

Virgin Adoring the Sleeping Christ, Richard Cosway, 1742–1821, British, undated, Graphite and watercolor on medium, slightly textured, cream laid paper, Mount: 8 3/4 x 10 1/8 inches (22.2 x 25.7 cm) and Sheet: 6 3/8 x 7 3/4 inches (16.2 x

Noon, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving, hand colored with watercolor on moderately thick,

Sabooa, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on moderately thick, moderately textured, cream wove paper, Sheet: 4 1/16 x 7 1/2 inches

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), channel

Facing a Brook, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, gouache and graphite on medium, slightly textured, cream wove paper mounted to card, Sheet: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), equestrians, horses

Seated Girl with a Basket, Joshua Cristall, 1768–1847, British, 1810, Watercolor and graphite on moderately thick, slightly textured, blued white laid paper, Sheet: 6 1/8 x 3 9/16 inches (15.6 x 9 cm), apron, basket, dress, figure

Songs of Innocence and of Experience, Plate 34, 'The Little Girl Found' (Bentley 35), 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

Garf Hassai, Malta, Edward Lear, 1812–1888, British, 1866, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, mounted on moderately thick, slightly textured, brown wove paper, mounted on very thick, moderately

The Duchess of Devonshire and the Countess of Bessborough, Thomas Rowlandson, 1756–1827, British, 1790, Watercolor with pen and black and gray ink over graphite on laid paper, mounted on, moderately thick, moderately textured, cream, wove

Half Timbered and Thatched Shack, Thomas Hearne, 1744–1817, British, 1798, Watercolor and brown ink over graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 11 3/4 x 9 1/4 inches (29.8 x 23.5 cm)

On the River Tivy, near Cardigan, Wales, William Payne, active 1850s, British, 1826, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 13/16 × 8 1/2 inches (14.8 × 21.6 cm) and Image: 5 13/16 × 8

Opposite Melaghara, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on moderately thick, slighly textured, cream wove paper, Sheet: 2 1/4 x 7 3/16 inches (5.7 x 18.3 cm), landscape, palm trees,

Lyme Regis, Dorset, Thomas Girtin, 1775–1802, British, ca. 1797, Watercolor, opaque, transparent on moderately thick, moderately textured, beige, laid paper, Sheet: 8 11/16 x 17 1/16 inches (22.1 x 43.3 cm), cliff, landscape, sea,

Part of a Lake Landscape with Buildings and a Pier, Clarkson Stanfield, 1793–1867, British, 1863, Graphite, watercolor, and white gouache on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm)

Isola Bella and Lago Maggiore, Lady Mary Leighton, active 1832–1864, British, 1827, Watercolor on medium, cream, moderately textured wove paper mounted on thick, white, moderately textured wove paper, Sheet: 8 5/8 x 14 3/8 inches (21.9 x

A Great Tree, Joseph Mallord William Turner, 1775–1851, British, ca. 1796, Watercolor and graphite on medium, slightly textured, cream laid paper, mounted on medium, slightly textured, cream laid paper, Sheet: 10 x 15 1/4 inches (25.4 x

Apotheosis of Shakespeare's Characters, Sir John Gilbert, 1817–1897, British, 1871, Watercolor, gouache, pen and black ink with graphite on thick, slightly textured, cream wove paper mounted on wood panel, Sheet: 41 x 28 inches (104.1 x

Hoary Aguara Dog, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, brown ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 3/4 × 7 1/2 inches (12.1 × 19.1 cm),

Clifford's Inn, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 5 × 6 1/2 inches (12.7 × 16.5 cm) and Mount: 9 × 12 1/2

Boat Building, John Varley, 1778–1842, British, 1806, Watercolor, gum and scraping out over graphite on moderately thick, slightly textured, beige laid paper, Sheet: 13 7/16 x 21 9/16 inches (34.2 x 54.8 cm), architectural subject,

Peasants Resting, George Morland, 1763–1804, British, 1795, Watercolor and graphite with pen and black ink on medium, slightly textured, beige wove paper, Sheet: 5 15/16 × 8 1/16 inches (15.1 × 20.5 cm), branches, cloak, field,

Jerusalem, Plate 60, 'The clouds of Albions Druid Temples....', 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

Jerusalem, Plate 16, 'Hampstead Highgate Finchley....', 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,

View of the Staircase at Longleat House, Wiltshire; the Seat of the Marquis of Bath, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1810, Watercolor and pen and black ink on moderately thick, cream

South West View of Burleigh House, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19 3/4 inches (35.6 ×

Lincoln's Inn Gate, 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: 4 3/4 x 6 7/8in. (12.1 x 17.5cm) and Mount: 9 ×

Girl Writing, 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 card mounted on moderately thick, slightly

Man with Barrow and Dog, after Thomas Rowlandson, 1756–1827, British, Previously Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink; verso: pen and brown and gray ink on medium, slightly textured, cream,

'Fanny', July 26, 1886, John Frederick Tayler, 1802–1889, British, 1886, Watercolor, over graphite, with pen, in brown ink, and black ink on medium, smooth, blued white, wove paper, mounted on thick, smooth, white, wove paper,

School of St. Rocco, Venice, Study of Curved Decoration, Thomas Hartley Cromek, 1809–1873, British, ca. 1835, Watercolor, gouache, pen and brown ink, and graphite on moderately thick, slightly textured, brown wove paper, Sheet: 8 15/16

The Terrace, Scarborough, James Green, 1771–1834, British, undated, Graphite, watercolor, gouache, pen and black ink on slightly textured, thick, beige laid paper, Sheet: 4 1/2 × 7 3/16 inches (11.4 × 18.3 cm), building, crowd,

Views in the Levant: Burial Ground Surrounded by Ruined Columns and Pinetrees....Turkey, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, pen and black ink, gray ink, and graphite on medium, moderately textured, cream,

A View of Doncaster Racecourse, Drawn From Nature, Sept. 2, 1848, Attributed to Thomas Baker of Leamington, 1809–1864, British, 1848, Watercolor, and pen and black ink on moderately thick, rough, cream, wove paper, Mount: 8 15/16 × 12

The Keep, Porchester Castle, Edward Dayes, 1763–1804, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 1/2 × 8 1/2 inches (14 × 21.6 cm), abbey, architectural subject,

Portuguese Boy (Madeira) January 25, 1868, unknown artist, 1868, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 10 × 7 inches (25.4 × 17.8 cm), boy, genre subject, hat, portrait, rocks (landforms),

St. Paul's, Covent Garden, John Miller, Before c.1750, Previously Thomas Sandby RA, 1721–1798, British, between 1765 and 1775, Watercolor, pen and black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 19 3/4 x

Allegory of Sea Trades, Edward Francis Burney, 1760–1848, British, undated, Pen and brown ink, watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 5/8 × 4 7/8 inches (9.2 × 12.4 cm), allegory, anchors,

A Thatched Cottage and Trees at the Turn of a Country Road, James Ward, 1769–1859, British, undated, Brown ink and watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 4 1/2 x 6 inches (11.4 x 15.2 cm), chimney,

Design for a Frontispiece: Group of Allegorical Figures, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Black chalk on medium, slightly textured, beige wove paper mounted on moderately thick,

Lorch on the Rhine, Charles Gore, 1729–1807, British, between 1790 and 1799, Watercolor over graphite with pen and brown ink on medium, moderately textured, cream laid paper, pasted on contemporary mount made of moderately thick,

Chukha Castle in Bhutan, Samuel Davis, 1757–1819, British, 1783, Watercolor, graphite, charcoal pencils on medium, slightly textured, cream, wove paper, mounted on, thick, slightly textured, cream, wove paper, Mount: 18 7/16 × 24

A Scene from a Play - Three Actors, Samuel De Wilde, 1748–1832, British, 1812, Watercolor on slightly textured, medium, cream wove paper, Sheet: 16 3/8 × 19 7/8 inches (41.6 × 50.5 cm

The Haymarket Theatre, George Sidney Shepherd, 1784–1862, British, undated, watercolor, pen and black ink, graphite on slightly textured, medium, beige wove paper, Sheet: 19 1/8 × 28 3/4 inches (48.6 × 73 cm), architectural subject

A Chinese Girl, attributed to William Alexander, 1767–1816, British, undated, Watercolor over graphite on medium, smooth, cream laid paper, Sheet: 7 7/8 x 5 7/8 inches (20 x 14.9 cm), Chinese, figure study, girl, hat, seated

Ruins of Newark Castle, style of Paul Sandby RA, 1731–1809, British, undated, Watercolor, pen and brown ink and graphite on medium, beige, moderately textured wove paper, Sheet: 5 5/8 x 8 9/16 inches (14.3 x 21.7 cm), architectural

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

Dinton House, Wiltshire: Perspective View, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1812, Watercolor over graphite on medium, moderately textured, cream wove paper, Sheet: 15 1/4 × 22 3/4 inches (38.7 × 57.8 cm),

Europe. A Prophecy, Plate 14, 'And the clouds & fires . . . . ' (Bentley 15), 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,

Grande Chartreuse, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor, gouache and graphite on moderately thick, slightly textured, brown wove paper, mounted on, thick, moderately textured, cream, wove paper, Mount:

Hotel de Ville, Hague, Thomas Shotter Boys, 1803–1874, British, 1859, Watercolor, with pen, in brown ink, gouache and graphite, with scratching out on moderately thick, moderately textured, cream, wove paper, Sheet: 16 1/16 x 12 1/16

Figures on a Terrace, Alfred Elmore, 1815–1881, Irish, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 5/8 × 7 5/8 inches (19.4 × 19.4 cm) and Frame: 12 1/2 × 12 1/2 × 1 inches (31.8 × 31.8 ×

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, undated, Black ink and pen, watercolor and gouache, verso: white gouache on

Castle at Dieppe, Normandy, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on thick, moderately textured, cream, wove paper, Sheet: 16 3/4 x 21 13/16in. (42.5 x 55.4cm) and Image: 13 5/8 × 18 3/4 inches (34.6 × 47.6

Gebel Sheikh Abu Fodde, 12:30 pm, 4 March 1867 (592), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 3 5/8 × 9 7/8 inches (9.2 × 25.1 cm), cliffs,

The Via Mala, John Frederick Lewis, 1804–1876, British, 1827, Watercolor, white gouache and graphite on medium, slightly textured, beige wove paper, Sheet: 8 5/8 x 5 3/4 inches (21.9 x 14.6 cm), canyons, cliffs, geology, gorge, Grand

Dr Syntax Alarmed by a Whale, Thomas Rowlandson, 1756–1827, British, 1812, Watercolor with pen and red-brown ink over graphite; verso, lower left: splotches of red, green and blue watercolor on medium, moderately textured, beige, wove

In Place, John Collet, ca. 1725–1780, British, 1769, Watercolor, gray wash, and graphite on medium, moderately textured, blued white laid paper, Sheet: 12 x 10 inches (30.5 x 25.4 cm), bottles, canes, man, pilasters, pointing,

Jerusalem, Plate 31, 'His western heaven....', 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

Chinese Carrier with His Sail-Set Barrow, William Alexander, 1767–1816, British, undated, Yellow wash, brown wash, watercolor, and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 9 x 10 9/16 inches (22.9 x 26.8

Commodore Sir Nathaniel Dance, Print made by Charles Knight, 1743–c.1826, British, Printed by Edward Orme, 1775–1848, British, Published by Edward Orme, 1775–1848, British, 1804, Stipple engraving and aquatint with hand coloring in

Sky Study with Rainbow, John Constable, 1776–1837, British, 1827, Watercolor on medium, smooth, blued white wove paper, Sheet: 8 7/8 x 7 1/4 inches (22.5 x 18.4 cm), landscape, meteorology, rain, rainbow, science, sky, studies

'You're Not Going to Follow, Belle, Are You?', Hablot Knight Browne, 1815–1882, British, undated, Graphite, watercolor and white gouache on moderately thick, slightly textured, gray, wove paper, Mount: 16 × 21 15/16 inches (40.6 ×

Europe. A Prophecy, Plate 7, 'Now comes the night . . . . ' (Bentley 8), 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,

search results: Watercolor clear search