Images at Librifly

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Single Corvette (?) with Three Figures in Naval Uniforms and Union Jack, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, beige, wove paper, mounted

Europe. A Prophecy, Plate 4, 'Unwilling I look up . . . . ' (Bentley 5), 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,

Fort Santa Cruz, Rio de Janeiro, Henry William Parish, active 1792, 1792, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 3 11/16 × 9 3/16 inches (9.3 × 23.4 cm

Craig y Ladron - The Thieves Precipice, John Warwick Smith, 1749–1831, British, 1797, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 1/2 x 9 1/8 inches (14 x 23.2 cm) and Contemporary

Songs of Innocence and of Experience, Plate 12, 'Spring' (Bentley 23), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in green with pen and ink watercolor on moderately thick, slightly textured, cream wove

Near Negadeh, 12:30 pm, 17 January 1867 (188), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and gray ink with colored pencil over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 2 5/8 × 9 3/4

Memorial to Mrs. Mary Gregory, Caroline Gregory, John Gregory, Abigail Gregory, William Gregory, Mary Abigail Gregory, six children: Charlotte, Louisa, Georgina, Michael, Emma and George Gregory and Charles John Gregory from Cranford

Unidentified House for Giles Hudson, Putney, Surrey: Section of the New Apartments, William Wickham, born ca.1750, British, undated, Pen and brown ink and watercolor on moderately textured, moderately thick, cream laid paper, Sheet: 8 5/8

A Military Encampment in Hyde Park, James Malton, 1761–1803, British, 1785, Watercolor, pen and black ink, and graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 8 1/4 × 11 7/16 inches (21 × 29.1 cm),

Preparatory Design for a Stained Glass Window, Virgil and Horace, Edward Burne-Jones, 1833–1898, British, undated, Graphite and watercolor on moderately textured, cream wove paper, Sheet: 22 5/8 x 22 5/8 inches (57.5 x 57.5 cm) and Frame:

On the Washburn, Joseph Mallord William Turner, 1775–1851, British, ca. 1815, Watercolor, graphite and scratching out on medium, slightly textured, cream wove paper, Sheet: 11 1/4 x 18 inches (28.6 x 45.7 cm), banks, landscape, river,

A Cheetah Crouching by a Pool, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen, in brown ink, black ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 7/8 × 9 5/16 inches (17.5 × 23.7 cm), animal

View from the Pont Neuf, William Henry Lake Price, ca. 1810–ca. 1896, undated, Watercolor and graphite on medium, rough, cream wove paper, Sheet: 6 1/2 × 9 1/2 inches (16.5 × 24.1 cm), bridge (built work), buildings, cityscape,

Millbank, David Cox, 1783–1859, British, ca. 1810, Watercolor, with pen, in brown ink, gray ink, graphite, and scratching out on moderately thick, rough, white, wove paper, Sheet: 11 1/2 x 21 1/4 inches (29.2 x 54 cm), boat,

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

A View of London Bridge, Edmund Walker, active 1836–died 1882, 1858, Graphite, watercolor and gouache on medium, slightly textured, cream wove paper, Sheet: 11 1/4 × 20 inches (28.6 × 50.8 cm

Partridge Shooting, Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on thick, smooth, cream, wove paper, Sheet: 10 3/4 × 14 3/8 inches (27.3 × 36.5

Beach Scene, Richard Parkes Bonington, 1802–1828, British, ca. 1825, Watercolor with scraping out on medium, cream, smooth wove paper, Sheet: 5 3/8 x 7 1/8 inches (13.7 x 18.1 cm), beach, boat, coast, figures, marine art, ship

Portrait of a Gentleman, Samuel Finney, 1718–1798, British, undated, Watercolor on ivory, Image: 1 1/4 x 1 inches (3.2 x 2.5 cm) and Frame: 1 3/4 x 1 1/2 x 1/8 inches (4.4 x 3.8 x 0.3 cm), man, oval, portrait

A Young Chinese Scholar, attributed to William Alexander, 1767–1816, British, 1792 to 1794, Watercolor with graphite on thick, slightly textured, cream wove paper, Sheet: 8 5/8 x 7 1/8 inches (21.9 x 18.1 cm), book, Chinese, figure

Flight into Egypt, Richard Cosway, 1742–1821, British, undated, Gray ink, gray wash, watercolor, black chalk, red chalk and graphite on medium, slightly textured, cream laid paper, Sheet: 9 1/4 x 7 1/2 inches (23.5 x 19.1 cm) and Mount:

Carew Castle South Wales, unknown artist, nineteenth century, undated, Watercolor and pen and brown ink on medium, slightly textured, cream wove paper, mounted on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 10 3/4 inches

La Montaneta de Las Arenas, Alfred Diston, active 1818–1829, undated, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 10 1/4 × 14 1/8 inches (26 × 35.9 cm), landscape, mountains, snow, vineyard,

Castle below mountains with horses by a river, Sawrey Gilpin, 1733–1807, British, undated, Watercolor, pen and black ink and graphite on medium, moderately textured, cream wove paper, Sheet: 12 7/8 × 17 3/4 inches (32.7 × 45.1 cm

Sketches from Life in Paris: Seated Woman and Standing Man, Ambrose Poynter, 1796–1886, British, ca. 1835, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 3 7/8 × 5 1/4 inches (9.8 × 13.3 cm), apron,

Ruins of Messenia Near 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 × 11 1/4 inches (22.5 × 28.6

Tynemouth Pier - Lighting the Lamps at Sundown, Alfred William Hunt, 1830–1896, British, 1868, Watercolor, pen and brown ink, gouache, gum, and scraping out on medium, cream, slightly textured wove paper, Sheet: 14 5/8 x 21 1/4 inches

Rolling Fields, Mountains in Distance, Thomas Sully, 1783–1872, American, undated, Watercolor, gouache, gum arabic on medium, slightly textured, beige, wove paper, Sheet: 3 3/4 × 5 1/4 inches (9.5 × 13.3 cm

Design for Setting of Charles Kean's Richard II at the Princess's Theatre on March 12, 1857, Act 5, Scene 1, George Cressal Ellis, ca. 1810–1875, undated, Watercolor, with pen, in brown ink, and graphite on medium, slightly textured,

Fishing Boats at Anchor, Edward Alfred Goodall, 1819–1908, British, undated, Watercolor, graphite and white gouache on medium, slighlty textured, beige wove paper, Sheet: 14 1/4 × 21 1/8 inches (36.2 × 53.7 cm

A Chaise and Pair, With Post-Boy, Samuel Howitt, 1756–1822, British, undated, Pen, in gray ink, black ink, gray wash, graphite, and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 7 3/8 × 14 3/4 inches (18.7

Head of Athena, After a Greek Amphora, John Ruskin, 1819–1900, British, undated, Watercolor, gouache and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 1/4 x 5 5/8 inches (21 x 14.3 cm), amphora, Greek

The Book of Thel, Plate 5, 'II. / O little Cloud . . . .', 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,

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, watercolor and gouache on medium, smooth, brown wove

Design for a Wreath of Oak and Acorn, possibly related to Designs for the Speaker's Chair, Augustus Welby Northmore Pugin, 1812–1852, British, Augustus Charles Pugin, 1762–1832, French, undated, Watercolor and graphite on thin, smooth,

Roma/ Palace of Caesars, Isaac Weld, 1774–1856, Irish, 1818, Watercolor, pen and brown ink, over graphite on moderately thick, moderately textured, blued white, wove paper, Sheet: 10 5/16 x 17in. (26.2 x 43.2cm), architecture,

Memorial to Baldwin Harvey, also to Ralph and Alice Palmer from Chelsea 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,

At Brighton, 1804: Three Women, Child and Man Looking Out to Sea, John Nixon, ca. 1760–1818, British, 1804, Watercolor and graphite with pen and black ink on medium, smooth, cream wove paper, Sheet: 3 3/8 × 6 1/8 inches (8.6 × 15.6 cm),

The Poems of Thomas Gray, Design 7, 'Ode on the Death of a Favourite Cat.', 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

Portrait of a Gentleman, Charles Wilson Peale, 1741–1827, American, ca. 1785, Watercolor on ivory, Frame: 2 3/8 x 1 5/8 x 1/4 inches (6 x 4.1 x 0.6 cm) and Image: 1 3/4 x 1 3/8 inches (4.4 x 3.5 cm), coat, collar, cravat, gentleman, man,

Comforts of Bath: The Concert, Thomas Rowlandson, 1756–1827, British, 1798, Watercolor with pen and gray and black ink on medium, slightly textured, blued white wove paper, Mount: 5 1/2 x 8 1/8 inches (14 x 20.6 cm) and Sheet: 4 13/16 x 7

The Ferry, Attributed to Peter DeWint, 1784–1849, British, undated, Watercolor on moderately thick, moderately textured, cream wove paper, Sheet: 4 7/16 x 7 7/16 inches (11.2 x 18.9 cm), boat, cliffs, ferry, figures, landscape, river

Boat Building - Dockyard at Birmingham, David Cox, 1783–1859, British, formerly attributed to David Cox, 1783–1859, British, formerly Luke Clennell, 1781–1840, British, mid to late 1800s, Watercolor and graphite on thick, rough,

Showery June, Picardy, Henry Moore, 1831–1895, British, between 1870 and 1880, Watercolor with some scratching out over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/16 x 15 1/4 inches (28.1 x 38.8 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 3/8 inches (4.3 x 3.5 cm), cloth, figure study, man, nude, sitting,

Brechin Cathedral and round tower, Forfarshire, Scotland, Edward Dayes, 1763–1804, British, 1797, Watercolor, pen and brown ink over graphite on medium, slighlty textured, cream wove paper, Sheet: 4 1/4 × 6 inches (10.8 × 15.2 cm),

Album Drawing, Thomas Bardwell, 1704–1767, British, Previously attributed: James Wills, Active 1740–died 1777, British, ca. 1730, Gray and brown wash and watercolor with pen and brown ink over graphite on laid paper, Sheet: 5 1/8 x 3

Memorial to unidentified Man and Woman from Heston 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,

Figures on a Cliff Path near Dover, James Baker Pyne, 1800–1870, British, 1839, Watercolor, graphite, and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 10 1/2 × 17 1/8 inches (26.7 × 43.5 cm), cliff,

Stained Glass in the East Window of Hanworth 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 3/4 × 10 5/8

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Mayfield, unknown artist, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 19 3/4 × 13 11/16

The Book of Thel, Plate 8, 'IV. / The eternal gates . . . .', 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,

Man-of-War and Shipping off the Coast, Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), undated, Watercolor, pen and black ink, and graphite on thick, slightly textured, cream laid paper, Sheet: 8 1/8 ×

Edward Mason, Paul Sandby RA, 1731–1809, British, between 1755 and 1760, Watercolor and graphite on medium, sightly texured, cream laid paper, Frame: 13 3/8 × 10 1/4 × 13/16 inches (34 × 26 × 2.1 cm) and Sheet: 8 x 5 1/4in. (20.3 x

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), beaches, channel

River View near Rajmahal, Samuel Davis, 1757–1819, British, undated, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 10 3/8 × 7 3/4 inches (26.4 × 19.7 cm), marine art, river,

Jerusalem, Plate 98, 'Then each an Arrow flaming....', 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,

The Blacksmith's Shop, Hingham, John Crome, 1768–1821, British, Formerly Attributed to Robert Dixon, 1780–1815, British, between 1807 and 1809, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 24 × 17

Korti, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, wove paper, mounted on moderately thick, moderately textured, cream wove paper, Sheet: 2 5/16 x 7 5/8 inches (5.9 x

A Cottage near Southampton, Edward Dayes, 1763–1804, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 5/8 x 11 3/8 inches (21.9 x 28.9 cm), architectural subject, cottage, fence, house,

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), boat, channel (water

Songs of Innocence and of Experience, Plate 2, Innocence Title Page (Bentley 3), 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,

Spring, from Songs of Innocence, Print made by William Blake, 1757–1827, British, ca. 1795, Color-printed relief etching with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 1 7/8 x 2 3/4

Garden Front of Furnival'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 5/8 inches (12.7 × 16.8 cm) and

A Gentleman Riding With a Groom, and Coversing, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 7 13/16 × 10 3/8 inches (19.8 × 26.4 cm), gentleman,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Whinny Liggate; Balgreddan, unknown artist, nineteenth century, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper,

Comic Song: The Bold Dragoon, Isaac Cruikshank, 1756–1810, British, undated, Watercolor, pen and black ink, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/8 x 8 3/4in. (18.1 x 22.2cm), elderly, fan,

Romatic Landscape with a Castle and a Tree on the Right, John Varley, 1778–1842, British, undated, Watercolor on medium, slightly textured, beige wove paper, Sheet: 4 5/8 x 7 1/4 inches (11.7 x 18.4 cm), castles, cliffs, clouds, hills,

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,

Jagannatha Sabha, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 12 × 19 1/8 inches (30.5 × 48.6 cm), architectural

Jasminum dichotomun Vahl (African jasmine): finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 1/16 inches (40.5 × 30.6

Chateau Navarre, near Evreux, Normandy, John Sell Cotman, 1782–1842, British, ca. 1830, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 9 5/8 x 13 3/4 inches (24.4 x 34.9 cm), bridge (built work), building,

A Laborer Seen From Behind Operating a Machine, Samuel Prout, 1783–1852, British, before 1841, Graphite and watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 3 15/16 x 2 1/2 inches (10 x 6.3 cm), figure study,

Side View of Battleship Surrounded by Several Others in Heavy Seas, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in gray ink, brown ink, gray wash, brown wash, and graphite on medium, slightly textured,

Capel Curig, Caernarvonshire, Wales, David Cox, 1783–1859, British, ca. 1840, Watercolor over graphite on moderately thick, moderately textured, cream laid paper, Sheet: 12 3/8 x 20 3/4 inches (31.4 x 52.7 cm), landscape, mountains,

Young's Night Thoughts, Page 33, 'Like That, the Dial Speaks; and Points to Thee', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Landscape, Attributed to Thomas Churchyard, 1798–1865, British, 1838, Watercolor, gouache and graphite on medium, slightly textured wove paper mounted to card, Sheet: 10 1/2 × 13 inches (26.7 × 33 cm), boat, dock, hill, landscape,

The First Book of Urizen, Plate 5, 'Chap: 1....' (Bentley 3), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper,

Forming of the Aurora as Delineated, 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

Ruins of Criccieth Castle and Part of the Town on the Bay on Cardigan. East View, Caernarfonshire, John Warwick Smith, 1749–1831, British, 1790, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/8 x 8 5/8

The Interior of Pitlessie Mill with a Man Sieving Corn, Sir David Wilkie, 1785–1841, British, 1818, Watercolor and gouache over graphite on moderately thick, moderately textured, cream laid paper, Sheet: 7 1/2 x 11 1/2 inches (19 x 29.2

Views in the Levant: Ruined Bridge with Four Pointed Arches Near Rome, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream laid paper, mounted on thick,

Sergeant'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 3/4 inches (12.7 × 17.1 cm) and Mount: 9 × 12 1/2

View near Auckland: Evening-Trees and Ferns, Lt. Gen. Charles Emilius Gold, 1803?–1871, ca. 1849, Watercolor and graphite on moderately thick, slightly textured, blued white wove paper, Sheet: 7 3/4 × 5 5/8 inches (19.7 × 14.3 cm), ferns,

Memorials to Francis Page, Mathew and Isobel Page and Mr. Richard Lee of Bedford Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream

Ouse Bridge, York, Thomas Girtin, 1775–1802, British, 1800, Watercolor with pen and brown ink over graphite, with scratching out on medium, beige, rough wove paper, Sheet: 12 15/16 x 20 5/8 inches (32.9 x 52.4 cm), anchor, architectural

Boschbeek & Gorenendaal: View from Turret towards Alsmeer and Haarlemmesmeer, Gerrit Jan Schouten, Born 1815, Dutch, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 5 1/2 ×

Wild Duck Shooting, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in gray ink, brown ink and graphite on medium, slightly textured, blued white, wove paper, Sheet: 8 3/4 × 12 3/4 inches (22.2 × 32.4 cm), dogs

Quarry House near Bletchingley, Surrey, Capt. Francis Grose, 1731–1791, British, 1765, Watercolor, pen and gray ink over graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/4 × 15 inches (21 × 38.1 cm), dog (animal),

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

Building a Hayrick, Peter DeWint, 1784–1849, British, undated, Watercolor, over graphite on thick, rough, beige, wove paper, Sheet: 4 11/16 × 6 15/16 inches (11.9 × 17.6 cm), building, farm, field, figures, genre subject, hay,

Illustration to R.S. Surtees', 'Jorrocks's Jaunts and Jollities': 'Lift me Up! Tie me in my Chair! Fill my Glass', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove

Brighthelmstone, England, James Moore, 1762–1799, British, 1793, Graphite and watercolor on medium, slightly textured, beige, wove paper, Sheet: 7 1/16 × 9 inches (17.9 × 22.9 cm

Coastal Landscape, Frank W. Warwick Topham, 1838–1924, British, undated, Watercolor, gouache and gum arabic on moderately thick, moderately textured, cream, wove paper, Sheet: 15 x 21 5/8 inches (38.1 x 54.9 cm), bay, cape, cliff,

Design for an Egyptian Column, Thomas Grieve, 1799–1882, British, undated, Watercolor and graphite; verso: graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/2 x 2 1/2in. (16.5 x 6.3cm), architectural subject,

Embarkation at Southampton, June 20th 1794, Thomas Rowlandson, 1756–1827, British, 1794, Watercolor and pen and brown, gray, and red-brown ink over graphite on medium, slightly textured, cream wove paper, Mount: 6 9/16 x 14 inches (16.7

Cobham Hall, Kent: Plan of West End of South Wing, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderately thick, slightly textured, cream laid paper, Sheet: 9 3/4 x 15 inches (24.8 x 38.1 cm),

Jerusalem, Plate 90, 'The Feminine separates....', 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:

Haweswater, Westmoreland, Edward Dayes, 1763–1804, British, ca. 1795, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 13/16 x 17 5/8 inches (30 x 44.7 cm), boy, child, fields, fish,

Shooting Party Returning Home, Frederick George Byron, 1764–1794, British, 1789, Watercolor, pen and black ink, gray ink and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 16 7/8 × 21 1/4 inches (42.9 × 54

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