Images at Librifly

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Figures Among Ruins on Hill, Thomas Sully, 1783–1872, American, undated, Watercolor, graphite, and gouache on moderately thick, moderately textured, beige, wove paper, Sheet: 4 3/16 × 5 1/4 inches (10.6 × 13.3 cm

Tripoli, William James Muller, 1812–1845, British, ca. 1834, Watercolor, graphite, and gouache on medium, slightly textured, beige wove paper, Sheet: 10 13/16 x 16 5/8 inches (27.5 x 42.2 cm), architectural subject, cityscape,

A Distant View of Edinburgh, Thomas Stothard, 1755–1834, British, 1809, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 5/16 x 16 5/16in. (21.1 x 41.4cm) and Sheet: 8 1/2 × 16 1/2 inches (21.6 × 41.9

Cobham Hall, Kent: Section of the Earl of Darnley's Dressing Room, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black and brown ink and watercolor on thick, moderately textured, beige laid paper, Sheet: 14 5/8 x 19 3/8

Victoria Land South Polar Regions Mount Erebus, 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

Phoenix Park, Dublin, William Ashford, 1746–1824, British, 1905, Watercolor, white gouache, graphite and pen and black ink on medium, moderately textured, gray wove paper mounted to card, Sheet: 7 1/8 × 10 3/8 inches (18.1 × 26.4 cm),

Hilly Landscape, Thomas Sully, 1783–1872, American, undated, Watercolor on medium, slightly textured, beige, wove paper, Sheet: 3 9/16 × 4 5/8 inches (9 × 11.7 cm

Illustration to the Iliad, John Michael Rysbrack, 1694–1770, Flemish, active in Britain (from 1720), between 1760 and 1769, Watercolor and gouache with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 9 1/4 × 15

Views in the Levant: The Columns of Augustus at Brundisium, Willey Reveley, 1760–1799, British, 1785, Watercolor, pen and black ink, gray ink, and graphite on medium, moderately textured, cream, laid paper, mounted on moderately thick,

Portrait of a Monk, Richard Dadd, 1817–1886, British, 1857, Watercolor over graphite on moderately thick, slightly textured, beige laid paper, Sheet: 7 1/2 x 4 5/8 inches (19.1 x 11.8 cm), figure study, genre subject, man, monk,

Thugs in the School of Industry, Jubblepoor, William Simpson, 1823–1899, British, undated, watercolor, gouache and graphite on thick, cream, smooth wove paper, Sheet: 10 1/4 x 14 1/2 inches (26 x 36.8 cm), genre subject, industry,

Air Man, July 10, 1828, John Gantz, 1772–1853, 1828, Pen and black ink and watercolor on medium, moderately textured, cream wove paper, Sheet: 9 1/4 × 7 3/8 inches (23.5 × 18.7 cm) and Mount: 8 7/8 × 11 inches (22.5 × 27.9 cm), figure

Fantastic Figures Seated on a Mound, John Sell Cotman, 1782–1842, British, ca. 1800, Watercolor over graphite on medium slightly textured cream wove paper, Sheet: 7 1/4 x 4 5/8 inches (18.4 x 11.7 cm) and Contemporary drawn border: 8 1/8 x 5

Herstmonceux Castle, East Sussex: South East View, James Lambert of Lewes, 1725–1788, British, undated, Graphite and watercolor within triple-ruled and wash border on moderately thick, moderately textured, cream laid paper, Sheet: 18 5/8 x

View of Ely Cathedral, Joseph Mallord William Turner, 1775–1851, British, ca. 1796, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/8 x 6 5/8in. (10.5 x 16.8cm), architectural subject, cathedral,

Foliage, Richard Pettigrew Leitch, active 1870, ca. 1870, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 inches (12.7 × 17.8 cm

Fort St. George, Print made by Gerard van der Gucht, 1696–1776, British, after Samuel Scott, 1701/2–1772, British, after George Lambert, 1700–1765, British, undated, Line engraving with hand coloring in watercolor on medium,

A Legal Wrangle, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and black ink and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 6 3/8 x 12 3/16 inches (16.2 x 31 cm), chairs,

Songs of Innocence and of Experience, Plate 28, 'Infant Joy' (Bentley 25), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in green with pen and ink and watercolor on moderately thick, slightly textured, cream

The Lending Library, Isaac Cruikshank, 1756–1810, British, between 1800 and 1811, Watercolor, black ink and brown ink on medium, lightly textured, beige wove paper, Sheet: 6 7/8 × 8 1/2 inches (17.5 × 21.6 cm), books, caricature, dog

Waterfall, North Wales, James Ward, 1769–1859, British, undated, Watercolor, black chalk, and graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 14 7/8 inches (26.7 x 37.8 cm) and Contemporary drawn border: 13 1/8 x

Crow: Jackdaw, William Lewin, 1747–1795, British, before 1790, Watercolor and gouache over graphite with gum arabic on medium, smooth, white vellum, Sheet: 8 1/8 × 6 5/8 inches (20.6 × 16.8 cm), animal art, bird, branch, crow

Sheikh Abadeh, 3:20 pm, 6 January 1867 (85), Edward Lear, 1812-1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 2 3/8 x 10 inches (6 x 25.4 cm), boats,

A British Frigate Dropping Anchor, William Joy, 1803–1867, British, undated, Watercolor with scraping and gum on medium, slightly textured, cream wove paper, Sheet: 8 3/8 x 12 1/2in. (21.3 x 31.8cm) and Sheet: 8 3/8 × 12 1/2 inches (21.3

New Radnor, Francis Towne, 1740–1816, British, undated, Watercolor and graphite with pen and gray ink on medium, smooth, cream wove paper, Sheet: 6 5/8 x 10 1/8 inches (16.8 x 25.7 cm), church, landscape, people, road, town, trees

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

Devil's Bridge, Francis Towne, 1740–1816, British, 1810, Watercolor and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 10 x 6 5/8 inches (25.4 x 16.8 cm) and Contemporary drawn border: 12 5/8 x 9 3/8 inches

A Country House with Figures on the Drive, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 17 1/4 × 23 11/16 inches (43.8 × 60.2 cm), architectural

El Hudderi, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache and graphite on medium, slightly textured, cream laid paper, Sheet: 8 3/8 x 13 1/2 inches (21.3 x 34.3 cm), colors, fish, mouths, tooth

Watchman shining a torch on a Drunken Figure, George Cruikshank, 1792–1878, British, undated, Graphite and watercolor, Image: 2 7/16 × 3 15/16 inches (6.2 × 10 cm) and Frame: 8 7/16 × 10 1/16 × 5/16 inches (21.5 × 25.5 × 0.8 cm),

The Shepherd - Evening, Francis Oliver Finch, 1802–1862, British, 1845, Watercolor, graphite, and gum, with scraping on medium, slightly textured, cream wove paper, Sheet: 8 × 12 3/4 inches (20.3 × 32.4 cm), evening, hills,

Landscape with Gypsies, Nicholas Pocock, 1740–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 7/8 x 16in. (27.6 x 40.6cm) and Sheet: 11 × 16 inches (27.9 × 40.6 cm), donkeys,

A Gentleman in a Blue Coat, Richard Crosse, 1742–1810, British, ca. 1790, Watercolor on ivory, Overall: 3 1/2 × 2 7/8 × 1/4 inches (8.9 × 7.3 × 0.6 cm), coat, cravat, man, waistcoat

Count Bertram's Shipwreck, Print made by George Cruikshank, 1792–1878, British, 1816, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Toara, 11:15 a.m., January 1, 1867 (9), Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, cream wove paper, Sheet: 1 7/8 x 9 3/8 inches (4.8 x 23.8 cm), boats,

Jerusalem, Plate 5, 'The banks of the Thames....', 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:

Budleigh, Salterton..from our own Garden, Dr. William Crotch, 1775–1847, 1833, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 7 3/8 inches (14 × 18.7 cm), building, coast, dog (animal), flowers

Dartmouth, John Baverstock Knight, 1785–1859, British, 1823, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 12 1/8 × 19 3/8 inches (30.8 × 49.2 cm

Caricature of George Bubb Dodington and Sir Thomas Robinson, Paul Sandby RA, 1731–1809, British, ca. 1761, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 14 1/8 x 9 1/4 inches (35.9 x

View looking towards St. Margaret's, Rochester, Kent, John Cleveley the younger, 1747–1786, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 10 5/8 inches (21.9 × 27 cm),

A Georgian Mansion, front and side elevations, unknown artist, eighteenth century, Previously Thomas Sandby RA, 1721–1798, British, ca. 1790, Watercolor with pen and black ink on medium, moderately textured, white laid paper, Sheet: 15

Trees on a Bank, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite on medium, cream, rough wove paper, Sheet: 13 1/2 x 18 5/8 inches (34.3 x 47.3 cm), autumn, bank, forest, hill, landscape, trees

The Duke of Wellington's Room at Walmer Castle, Dec. 4, 1852, Thomas Shotter Boys, 1803–1874, British, 1852, watercolor, with pen, in brown ink, black ink, graphite and gouache on moderately thick, moderately textured, beige, wove

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, Pen and brown ink, graphite, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 17 × 13 7/16 inches (43.2 × 34.1 cm),

Portrait of a Man, unknown artist, undated, Graphite and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 8 3/4 x 6 5/8 inches (22.2 x 16.9 cm), coat, figures, genre subject, man, portrait, pose, wig

Cobham Hall, Kent: Plan of Dairy, James Wyatt, 1746–1813, British, 1795, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, beige laid paper, Sheet: 13 5/8 x 21 7/8 inches (34.6 x 55.6 cm), architectural

Portrait of a Gentleman, John Singleton Copley, 1738–1815, American, active in Britain (from 1776), undated, Gouache and watercolor on ivory, Image: 1 1/4 x 1 inches (3.2 x 2.5 cm) and Frame: 1 3/8 x 1 1/8 x 1/8 inches (3.5 x 2.9 x 0.3 cm),

Faras Westbank, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, brown wove paper, Sheet: 2 1/2 x 10 9/16 inches (6.4 x 26.8 cm), hills, landscape,

View of Mont St. Michel with Figures on the Beach, William Wyld, 1806–1889, British, undated, Watercolor, gouache and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/2 × 11 1/2 inches (19.1 × 29.2 cm

Horse, Cart and Driver on Wide, Tree-lined Lane, Thomas Sully, 1783–1872, American, undated, Watercolor, graphite, and gouache on moderately thick, moderately textured, beige, wove paper, Sheet: 12 5/16 × 9 3/4 inches (31.3 × 24.8

Cobham Hall, Kent: Plan and Elevation of the Stables, Barn and Coach Houses, James Wyatt, 1746–1813, British, ca. 1790, Watercolor and gray wash, pen and brown and black ink and graphite on moderately thick, moderatly textured, cream laid

Indian Woman in Red and Gold Dress, unknown artist, undated, Watercolor, gouache, gilt, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 16 3/8 × 11 1/8 inches (41.6 × 28.3 cm

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

The Torre de Comares, Alhambra, 1835, John Frederick Lewis, 1804–1876, British, 1835, Graphite, watercolor, and gouache, with scratching out on medium, slightly textured, gray wove paper, Sheet: 14 5/8 x 10 5/8 inches (37.1 x 27 cm),

Harvesters in Landscape in Sussex, Peter DeWint, 1784–1849, British, ca. 1820, Watercolor and graphite with scraping out on moderately thick, moderately textured, cream wove paper, Sheet: 25 7/8 × 38 3/4 inches (65.7 × 98.4 cm), baskets,

Dominican Friar, Alfred Diston, active 1818–1829, 1828, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 3/8 × 7 inches (23.8 × 17.8 cm), costume, figure study, friar, genre subject, Europe, Spain,

Cobham Hall, Kent: Plan of Ld. Darnely's Bedchamber as a Proposed to be Altered, James Wyatt, 1746–1813, British, 1789, Graphite, pen and black and brown ink and watercolor on moderately thick, moderately textured, cream laid paper,

Boschbeek & Gorenendaal: View towards Leidschevaart and Zantvoort, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on slightly textured, medium, cream wove paper, Sheet: 10 1/2 × 14 5/16 inches (26.7 × 36.4 cm

Caracal caracal (desert lynx), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 × 30.5 cm),

The Eton Boat on the Towpath of the Thames: Windsor Castle in Background, unknown artist, nineteenth century, ca. 1845, Watercolor, pen and black ink, brown ink, gouache and graphite on medium, moderately textured, beige wove paper, Sheet:

Crisp-Haired Horse, Primeval Black Stock, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 1/16 × 6 1/8 inches (10.3 ×

Between Thebes and Erment, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, cochineal, pen and brown ink on moderately thick, slightly textured, gray wove paper, Sheet: 2 5/8 x 7 3/4 inches (6.7 x 19.7 cm),

London Cries: A Tinker and His Wife, Paul Sandby RA, 1731–1809, British, ca. 1759, Gray wash, graphite, and watercolor on medium, cream, slightly textured laid paper, Sheet: 7 5/8 x 5 5/8 inches (19.4 x 14.3 cm), bucket, cries, genre

Red-capped Parakeet, Female, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor, pen and black ink and graphite on beige board, Sheet: 18 × 14 inches (45.7 × 35.6 cm), animal art

A Shrew, James Sowerby, 1756–1822, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 1/4 × 11 7/8 inches (21 × 30.2 cm), animal art, Mammalia (class), Shrews

Near Tafa, 6:10 pm, 16 February 1867 (508), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream wove paper, mounted on thick, smooth, cream wove paper, Sheet: 2 1/2 x

Iron Bridge on the Outskirts of an Industrial Town, Thomas Charles Leeson Rowbotham, 1823–1875, British, 1871, Watercolor, white gouache, pen and black ink, and graphite with scratching out on thick, moderately textured, cream wove paper,

Pansanger, July 2, 1832, Anne Rushout, ca. 1768–1849, British, 1832, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 20 inches (17.1 × 50.8 cm), architectural

A Yellow Wagtail, Thomas Atwood, ca. 1761–1766, British, undated, Watercolor, gouache and graphite on medium, slightly textured, cream laid paper, Sheet: 5 5/8 × 7 1/2 inches (14.3 × 19.1 cm), animal art, bird

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, Pen, black and red ink and graphite with watercolor and gouache,

View Across the Thames for Greenwich Park, William P. Sherlock, c.1780–1850, 1795, Watercolor and black ink on medium, slightly textured, cream wove paper, Sheet: 4 3/4 × 9 1/2 inches (12.1 × 24.1 cm), clouds, landscape, park (grounds),

Rosebud, or the Judgement of Paris, Richard Westall, 1765–1836, British, 1791, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 5/8 x 15 inches (32.1 x 38.1 cm), breeches (trousers),

Spanish Inquisition, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and brown, pen and red ink, and pen and gray ink on medium, slightly textured, cream wove paper, Sheet: 5 1/2 x 8 1/2 inches (14 x 21.6

Temple Pool, Thornery, Sezincote, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm), architectural subject

Off to the Fishing Grounds, Thomas Sewell Robins, 1814–1880, British, between 1830 and 1880, Watercolor and graphite with scratching out on thick, moderately textured, cream wove paper, Sheet: 12 x 18 1/2 inches (30.5 x 47 cm), birds,

A Young Man with a Horse, with Studies of Hounds and Dead Hare, John Hoppner, 1758–1810, British, ca. 1785, Watercolor, with pen, in brown ink, with graphite, and gouache on medium, moderately textured, beige, laid paper, Sheet: 10

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 17 1/4 × 13 1/2 inches (43.8 × 34.3 cm),

Farmhouse, River and Barge, Thomas Daniell, 1749–1840, British, active in India, 1784, Watercolor and gray ink over graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/4 x 8 3/8 inches (13.3 x 21.3 cm) and Contemporary

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, garphite, pen and black, brown and red ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 17 × 13 7/16 inches (43.2 ×

'Qualified Horses and Unqualified Riders:' 'Going Along a Slapping Pace...', Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, blued white, wove paper,

The Lecture House, Watford, Thomas Hearne, 1744–1817, British, 1807, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 12 3/4 x 9 1/2 inches (32.4 x 24.1 cm) and Sheet: 12 1/4 x 9

Plymouth Sound from the Hoe, Nicholas Condy, 1793–1857, British, undated, Watercolor and gouache with pen and brown ink over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 7 x 10 1/16 inches (17.8 x 25.6 cm),

View of Windsor from down the River, Dr. William Crotch, 1775–1847, 1832, Watercolor, graphite, pen and brown ink and black chalk on medium, slightly textured, cream wove paper, Sheet: 5 7/8 × 7 5/8 inches (14.9 × 19.4 cm), brook,

Suez, David Roberts, 1796-1864, British, 1839, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 1 5/8 x 9 9/16 inches (4.1 x 24.3 cm), boats, buildings, cityscape, marine art, Africa, Suez

The Gatehouse, Reading Abbey, Samuel Hieronymus Grimm, 1733–1794, Swiss, undated, Watercolor with brown ink over graphite on medium, slightly textured, cream laid paper, Sheet: 9 3/8 x 12 inches (23.8 x 30.5 cm), chimneys (architectural

Monks Carousing outside a Monastery, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown, black and gray ink over graphite on medium, slightly textured, cream, wove paper, Sheet: 6 1/8 x 8 7/8 inches (15.6 x 22.5

Westminster Hall, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 4 3/4 × 6 3/8 inches (12.1 × 16.2 cm) and Mount: 9 × 12

Cottage and Trees, David Cox, 1783–1859, British, 1830s, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 11 3/8 x 9 3/4 inches (28.9 x 24.8 cm), cottage, fence, landscape, trees

The Vicar of Wakefield: The Welcome, Thomas Rowlandson, 1756–1827, British, ca. 1817, Watercolor, with pen and red-brown and gray-brown ink; verso: graphite on medium, smooth, blued white wove paper, Sheet: 4 1/2 x 7 1/2 inches (11.4 x

'Sporting Discoveries, or the Miseries of Driving...' You Discover that the Reins are Under His Tail, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in brown ink and black ink, over graphite on medium, slightly

A View of the Pine Woods Above Cannes, Edward Lear, 1812–1888, British, 1869, Watercolor and gumming with pen in brown and blue ink, and scraping out, over graphite on thick, rough, cream wove paper, Sheet: 6 9/16 x 20 3/16 inches (16.7 x

A Mohamatan Fakir, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/4 × 3 3/4 inches (15.9 × 9.5 cm), religious and

Liverpool: The Windmill on the Edge of the Quarry, John Samuel Hayward, 1778–1822, 1803, Watercolor and graphite on medium, moderately textured, cream laid paper, Sheet: 12 1/8 × 17 inches (30.8 × 43.2 cm), architectural subject

View of Chinese Harbor, possibly Macao, Formerly imitator of George Chinnery, 1774–1852, British, undated, Watercolor, pen and brown ink and graphite on textured, thick, cream wove paper, Sheet: 9 3/4 × 17 1/16 inches (24.8 × 43.3 cm

2 birds 'Aroust el Bahar', Luigi Balugani, 1737–1770, Italian, ca. 1768, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 17 3/8 × 13 1/2 inches (44.1 × 34.3 cm), animal art

Memorial to Anne Barker from Chadwick Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 7/8 ×

Paradoxurus Dubius, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on medium, slightly textured, , cream, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art

Aaron Hill, Dramatist (1685-1750), J. Cooper, 1688–1720, undated, Watercolor on ivory, Image: 3 1/8 x 2 1/8 inches (7.9 x 5.4 cm) and Frame: 3 3/4 x 2 1/8 x 5/8 inches (9.5 x 5.4 x 1.6 cm), portrait, wig

Mr. Mathews as Matthew Daw in the School for Friends, Samuel De Wilde, 1748–1832, British, 1805, Watercolor, graphite, black chalk, and colored pencil on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 9 5/16 inches (37.5

'Rather Too Slow', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, moderately textured, cream, wove paper, Sheet: 9 5/16 × 13 1/8 inches (23.7 × 33.3 cm), fence, field, galloping, horseback riders,

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