Scenic Landscape Sketches

Graphite sketches depicting pastoral scenes, featuring rural landscapes, villages, and figures. The artworks capture serene natural settings with a soft, detailed approach.

Horsemen with faggots on a country road near a ruined building, anonymous, after Herman Saftleven, 1700 - 1800, draughtsman: anonymous, intermediary draughtsman: Herman Saftleven, 1700 - 1800, paper, h 403 mm × w 555 mm

Capt. Thomas Hastings, 1778-1854, British, Entrance of Appuldurcombe, between 1826 and 1830. Graphite on medium, slightly textured, cream wove paper.

Cock Lane, Canterbury, Capt. Thomas Hastings, 1778-1854, British, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 7 1/4 inches (11.4 × 18.4 cm)

Bagneres-de-Bigorre, France, Henry Swinburne, 1743-1803, British, undated, Gray wash, pen and black ink on medium, moderately textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount: 16 3/8 × 11 1/8 inches (41.6 × 28.3 cm) and Sheet: 5 13/16 × 7 9/16 inches (14.8 × 19.2 cm)

A Village in a Hilly Landscape, Thomas Rowlandson, 1756-1827, British, undated, Watercolor with pen and gray, and brown ink, over graphite on thick, slightly textured, brown, wove paper, Sheet: 9 13/16 x 13 3/16 inches (24.9 x 33.5 cm), cattle, cottages, dog (animal), figures, hills, landscape, rural area, trees, village, wagon

Capt. Thomas Hastings, 1778-1854, British, Appuldercombe, 6 June 1833, 1833. Graphite on medium, slightly textured, cream wove paper.

Dudley Castle. Landscape. Watercolor with pen and black and gray ink and wash over graphite; verso: graphite on medium, slightly textured, blued white, wove paper. Height: 148 mm (5.82 in); Width: 427 mm (16.81 in). Author: Thomas Rowlandson.

Landscape with figures 1620-74 Attributed to Jan Lievens Dutch. Landscape with figures 347406

Krajobraz ze zboczem skalnym w Alland. Bilińska-Bohdanowiczowa, Anna (1854-1893), draughtsman, cartoonist

Horsemen with faggots on a country road near a ruined building, anonymous, after Herman Saftleven, 1700 - 1800, draughtsman: anonymous, intermediary draughtsman: Herman Saftleven, 1700 - 1800, paper, h 403 mm × w 555 mm

Scale in Ariccia; Blaschnik, Arthur (1823-1918); 1855 (1855-00-00-1855-00-00);

At Grotto Ferrata, near Rome, Sir Richard Colt Hoare, 1758-1838, British, 1786 to 1819, Graphite, pen and brown ink, and brown wash on medium, slightly textured, cream laid paper, Sheet: 11 1/8 x 16 7/8 inches (28.3 x 42.9 cm), Grand Tour, landscape, Rome

Edward Francis Finden, 1791-1857, British, Bethlehem, 1835-1836. Line engraving, first published state.

Road to Sarzana, Sir Robert Smirke the younger, 1781-1867, British, 1802-1804, Graphite on medium, slightly textured, blued white, laid paper, Sheet: 6 1/2 × 4 1/8 inches (16.5 × 10.5 cm)

Landscape with ruin, Lodovico Mattioli (attributed to), 1672 - 1747 print Italy paper etching landscape with ruins

A Mill, Print made by David Lucas, 1802-1881, British, after John Constable, 1776-1837, British, 1830, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 10 1/8 x 14 1/4 inches (25.7 x 36.2 cm), Plate: 7 1/4 x 9 7/8 inches (18.4 x 25.1 cm), and Image: 5 5/8 x 8 1/2 inches (14.3 x 21.6 cm), Dedham, England, Essex, Europe, United Kingdom

'Figures on the Bridge'. Holland, First half - middle of the 17th century. Dimensions: 20x30 cm. Museum: State Hermitage, St. Petersburg. Author: PIETER DE MOLIJN.

Village face with Vijver, Cornelis Brouwer, After Allaert van Everdingen, 1782 drawing A village with a pond on the right in the foreground. In the background the sails and masts of ships. The transpress drawing is loose in an album, see page 36. Amsterdam paper. chalk. pencil. ink brush village. pond, pool

Rome, Anesi, Paolo, Varie Vedute, Landscape near Rome, verso - stamped, Landscape near Rome. Numbered top right: 11., print, prints, height 135 mm, width 192 mm, Italian, 1700 - 1761, print maker, printmaker, 1725 - 1825, paper, papier, etching, etchings, Work conception, after own design by

John Webber, 1752-1793, British, Village Scene, ca. 1790. Graphite, squared for transfer on moderately thick, slightly textured, cream wove paper.

Landscape with group of people in the foreground. In the foreground a gray-eared embarrassing in the middle of sat and kneaded people.

James Bruce, 1730-1794, British, Six Men Talking, undated. Pen and brown ink and gray wash on medium, slightly textured, beige laid paper.

The Bridge of Kedron Coming from Gethsemane (Le pont de Cédron, venant de Getsemani) James Tissot (French, 1836-1902). , 1886-1887 or 1889. Pen and ink on paper mounted on board, Sheet: 7 3/16 x 4 5/8 in. (18.3 x 11.7 cm). European Art 1886-1887 or 1889

Smugglers, Philippe-Jacques de Loutherbourg, 1740-1812, French, active in Britain (from 1771), undated, Brown wash and graphite on medium, slightly textured, beige laid paper, Sheet: 8 1/4 × 12 inches (21 × 30.5 cm) and Sheet: 8 3/8 × 12 inches (21.3 × 30.5 cm), caricature, desert, genre subject, rowboat, thieves

The Hindoo Worshipper, Etched by Joseph Mallord William Turner, 1775-1851, British, Engraved by Robert Dunkarton, 1744-1811, British, after Joseph Mallord William Turner, 1775-1851, British, 1811, Etching and mezzotint, printed in brown ink on medium, slightly textured, cream laid paper, Sheet: 7 1/8 × 10 3/8 inches (18.1 × 26.4 cm) and Mount: 11 1/8 × 14 1/2 inches (28.3 × 36.8 cm), landscape, temple, trees

Man with sheis and rake on a path in Almelo. Leaf 11 Recto from a sketchbook with 77 sheets.

Rural Landscape. Norblin de la Gourdaine, Jean Pierre (1745-1830), graphic artist

Souvenir d'Ostie (réduction)' by Jean-Baptiste-Camille Corot (1796-1875), created between 1853 and 1874

Gide et J. Baudry, Paris, Lemercier, Rijn, Rembrandt van, Bisson Frères, Photographic reproduction of an etching of a farm with a haystack by Rembrandt van Rijn, photograph, photo, page, reproduction, photos, photographically illustrated books, height 131 mm, width 321 mm, French, photographer, 1848 - 1853, photographic paper, photo paper, salted paper print, salt print, Work conception, Northern Netherlands, 1606-07-15 - 1669-10-08, after a print by, printer, Publication (Event), Publication, publisher

Sketchbook William Trost Richards (American, 1833-1905). Sketchbook, 1867. Bound sketchbook with drawings in graphite on beige, moderately thick, smooth textured wove paper, Closed: 3 5/8 x 5 1/4 in. (9.2 x 13.3 cm). Richards was a prolific artist who, as a leading member of the American Pre-Raphaelites, embraced the Ruskinian principle of truth to nature. Sketching outdoors played a significant role in his quest for accuracy of representation. Throughout his long career and extensive travels, he seems to have always carried a sketchbook with him, filling the pages with drawings of the places he encountered. The Brooklyn Museum owns more than twenty-five of Richardss sketchbooks, including the ones on view here. Serving as pictorial diaries of his journeys, they also demonstrate the variety of his working methods, ranging from quickly rendered outlines to carefully modulated tonal compositions to finished color studies. American Art 1867

Design for a painting, Landscape with ruins, draughtsman: Dionys van Nijmegen, (possibly), 1715 - 1798, paper, brush, h 294 mm × w 374 mm

John Baverstock Knight, 1785-1859, British, Tilly Whim Cave, Dorset, undated. Watercolor over graphite on thick, moderately textured, cream wove paper.

Graphite pencil drawing by David Teniers the Younger depicting the interior of a barn with a pork horse and two farmers, showing posture, gesture, and interior details, with brown edges.

The baths of Caracalla, Rome. Pen and ink drawing.

Pencil study by Joseph Holzer of a papel on 12 July 1837.

Design for a Stage Set at the Opéra, Paris 1828-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris 357862

Le Bon Samaritan (The Good Samaritan) 1849 Rodolphe Bresdin French. Le Bon Samaritan (The Good Samaritan). Rodolphe Bresdin (French, Montrelais 1822-1885 Sèvres). 1849. Etching; first state of two (Van Gelder). Prints

Farm with ditch, 1881 - 1934 copper (metal)

Vaartgezicht with farm and lying barge, Jan Hulswit (Possible), 1776 - 1822 drawing paper. ink pen / brush farm or solitary house in landscape

Netherlands, Everdingen, Allaert van, Landscape with buildings at night, print, prints, height 125 mm, width 162 mm, Northern Netherlands, 1621-06-18 - 1675-11-08, print maker, printmaker, 1631 - 1675, paper, papier, mezzotint

Man with Horse and Cart Entering a Quarry. Date/Period: Ca. 1797. Drawing. Watercolor, graphite and gray wash on medium, slightly textured, cream wove paper. Height: 207 mm (8.14 in); Width: 273 mm (10.74 in). Author: J. M. W. Turner.

Charles Hamilton Smith, 1776-1859, Belgian, Entrance to Christmas Harbour, Kerguelen Island and The Arched Rock, Christmas Harbour, undated. Watercolor and graphite on moderately thick, moderately textured, cream wove paper.

Leiden, Aa, Pieter van der (I), Landscapes in Italy, Le Lac Averno, Avernus lacus, verso - stamped, View of the Avernus lacus (Lago d'Averno), a lake in a burned-out crater in Campania southeast of Cumae. Around the lake are several ruins., print, prent, prints, prenten, height 69 mm, width 130 mm, Dutch, 1659-08-03 - 1733, print maker, prentmaker, 1682 - 1730, 17th century, paper, etching, etchings

Edward Alfred Goodall, 1819-1908, British, A Village - Evening, 1834. Line engraving on moderately thick, slightly textured, beige, wove paper, with beige, chine colle.

Landscape with bathing nymphs, Hubertus van Hove, 1784 - 1795 print A landscape with four bathing nymphs on the right in the foreground. On the left a river and a bridge in the background, right buildings. The Hague paper etching / brush landscapes with waters, waterscapes, seascapes (in the temperate zone) (+ landscape with figures, staffage). nymphs (in general); 'Ninfe in commune' (Ripa)

Capriccio with Roman Ruins 18th century Francesco Guardi Italian While the idyllic, imaginary subject matter of this large composition is typical of Venetian paintings, drawings, and prints of the mid- to late eighteenth century, it is Guardi's realization of such drawings that ranks them as great feats of artistic virtuosity. Here, the landscape is articulated with a stunning immediacy and economy of mark, suggesting a light-filled space that gradually and magically dissolves into the far distance of the white paper. The ruin of an ancient Roman triumphal arch at the center more or less frames another, more complete building-a small, pedimented temple-behind it. The artist seems to have considered cropping the composition at left, after having drawn it, by ruling a line in graphite at the proposed cut and smudging some wash over the undesired forms to minimize them. The quick manner of summing up the contours of the forms with jittery, broken lines and the extensive use of underdrawin

Song of a Fisherman 1497-1576 China. Wang Wen exemplified the life of the scholar-official in Ming dynasty China. He retired from government service to his lakeside retreat and pursued painting, calligraphy, and poetry. For this painting, Wang Wen wrote a poem (also entitled ìSong of a Fishermanî), which includes several allusions to moral integrity. This poem displays the artistís distinctively fluid, cursive ìdraft scriptî (cao shu). Its first section reads as follows Most men of the world fish with crooked hooks I alone trust in hooks, but never in fancy baits. After rain, I carry my long pole to the terrace edge and dangle if from among pines and clouds above the ripples of Qi. (translated by Irving Yucheng Lo)Qi refers to a river in north-central China. This river is cited in several verses of the Shijing (Book of Odes) ñ a compilation of more than three hundred poems datable between about 1000 and 600 B.C that extol men of principle. Government officials often alluded to these po

South East View of Fort George, Madras, Thomas Daniell, 1749-1840, British, active in India, William Daniell, 1769-1837, British, January 1793, Graphite on thin, slightly textured, cream and brown laid paper, mounted on, moderately thick, slightly textured, beige, wove paper, Mount: 14 7/16 × 22 5/8 inches (36.7 × 57.5 cm) and Sheet: 14 × 20 3/4 inches (35.6 × 52.7 cm), boats, buildings, coast, figures (illustrations), flags, landscape, marine art, palm trees, people, sea, ships, southeast, view, water, waves (natural events), Asia, Bharat, Fort Saint George, India, Madras, Tamil Nadu

Lang House Farm, Henry Swinburne, 1743-1803, British, undated, Pen and brown ink, over graphite on medium, moderately textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount: 16 5/16 × 11 1/8 inches (41.4 × 28.3 cm) and Sheet: 3 3/4 × 6 1/4 inches (9.5 × 15.9 cm)

Roman Landscape. Artist: Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5-1682 Rome) (). Dimensions: 6 1/4 x 11 1/4 in. (15.9 x 28.6 cm). Date: mid to late 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Face on ceuta; Ceuta. View of Ceuta, Spanish enclave in Morocco. Part of an Atlas with 223 maps of countries and cities and war scaffolding in Europe in the period approx. 1690-1735.

Salmon Fisher (Le pecheur de saumon), etching, Bliss 1923, no. 223, State i, Alphonse Legros (artist) French, 1837 - 1911

Hampstead Heath 1829 David Lucas British View of a man holding a pick, sitting on a hillside under a stormy sky, with a donkey at right.In 1827, Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would illustrate Constable's didactic intentionto illustrate the "chiaroscuro of nature." The medium of mezzotint, in which the design is developed from dark to light using a wide range of velvety tones, was eminently suited to the project.. Hampstead Heath. "English Landscape": Various Subjects of Landscape, Characteristic of English Scenery, from Pictures Painted by John Constable, R.A. David Lucas (British, Northamptonshire 1802-1881 London). 1829. Mezzotint; proof before published state. Prints

Bolwerk Zonnenburg in Utrecht, Cornelis van Hardenbergh, 1809 - 1843 print Figures and two cows walk along the path along the water. A fisherman is on the side. Is part of a cover with nine prints. Utrecht paper. bastion, bulwark. fisherman Utrecht

Chopins Funeral March. Holewiński, Józef (1848-1917), graphic artist, Podkowiński, Władysław (1866-1895), painter

Seated Girl with Basket. Edith Langdale; American, active 19th century. Date: 1876. Dimensions: 179 × 233 mm. Graphite on tan wove paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Collect Pond, New York City. Artist: Attributed to Archibald Robertson (American, Moneymusk, Scotland 1765-1835 New York). Dimensions: 17 3/4 x 23 1/16 in. (45.1 x 58.6 cm). Former Attribution: Formerly attributed to Alexander Robertson (1772-1841). Date: 1798.The natural pool Collect Pond was formerly located in lower Manhattan near present-day Foley Square. Robertson's watercolor of the site exemplifies the formulaic method of drawing taught at the Columbian Academy of Painting in New York City, founded by the artist and his brother Alexander. Both the hill at left and the willow tree at right are rendered in highly stylized fashion, with broad contours and schematic curving lines. Spatial depth was achieved with swaths of dark wash in the foreground setting of the lighter forms in the distance. Indeed, the whole picture observes a kind of artistic etiquette embodied in the polite company of figures in the foreground. Museum: Metropolitan Museum of Art, New York, USA.

Cart in a boomy environment. Leaf 8 Recto from a sketchbook with 17 sheets.

Blue pen drawing by Anton Romako depicting Egyptian scenery, including landscape elements and architectural features.

Woman In The Park, 19th century, Walter Shirlaw, American, 1838 - 1909, 5 1/2 x 8 1/2 in. (13.97 x 21.59 cm), Watercolor and graphite, United States, 19th century

Woodland Scene with a Peasant, a Horse, and a Cart ca. 1760 Thomas Gainsborough British This boldly drawn colored drawing belongs to a series executed in the 1760s, when Gainsborough lived in the spa town of Bath (1759-74). Drawings from that period use contrasts of light and shadow to make forms fresh and legible, and are among the artist's most highly finished. This sheet belongs to a group that the artist gave to Goodenough Earle, owner of Barton Grange, near Taunton, Somerset. Descending in the family, the drawings were sold in 1914 by Knoedler & Co., New York, mostly to American collectors.. Woodland Scene with a Peasant, a Horse, and a Cart 341788

Finch, Alfred William, work, Wood practice and portraits, black chalk, drawing, 39 cm x 30 cm

Edward Lear, 1812-1888, British, Balgrate. 14. October. 1837, 1837. Graphite, white gouache, and rubbing on moderately thick, slightly textured, gray wove paper.

An Artist Seated in the Ruins of the Colosseum 1754-1764 France. Red chalk, on ivory laid paper, laid down on cream laid paper . Hubert Robert

Outing to Zhang Gong's Grotto ca. 1700 Shitao (Zhu Ruoji) Chinese Zhang Gong's grotto, a famous scenic spot and once the abode of Zhang Daoling (Zhang Gong; 2nd century A.D.), a patriarch of the Daoist church, is located near Lake Tai in Jiangsu Province, not far from the pottery center of Yixing. According to Daoist beliefs, such grottoes are wellsprings of nature's creative force and offer the potential for rejuvenation and renewal.Shitao's painting of the grotto, done at the peak of his artistic powers, about 1700, is one of his most sumptuous masterpieces. Following an earlier composition by Shen Zhou (1427-1509), Shitao painted as if he were reenacting the cosmic process of creation: by building up layers of energized brushwork in flowery hues of sky blue, pale green, orange, and fuchsia, he transformed Shen Zhou's topographical likeness into a glowing image redolent of nature's procreative power. In a long poem at the end of the scroll, Shitao acknowledges the mystical Daoist att

Hertog van Bracciano at the Lago di Bracciano, Bartholomeus Breenbergh, 1620 - 1629 drawing The Duke of Bracciano is bathing with friends in the Lago di Bracciano. paper. chalk pen / brush Bracciano, more of

Moonlight. Artist: Charles-François Daubigny (French, Paris 1817-1878 Paris). Dimensions: Sheet: 6 5/16 x 11 9/16 in. (16 x 29.4cm). Date: ca. 1860. Museum: Metropolitan Museum of Art, New York, USA. Author: Charles-Francois Daubigny.

Capt. Thomas Hastings, 1778-1854, British, Near Appuldurcombe, Isle of Wight, undated. Graphite on medium, slightly textured, cream wove paper.

Article about Jan Toorop, Philip Zilcken, 1867 - 1928 article paper. ink writing (processes) / pen / printing

River landscape with two women on a bridge, Anonymous, After Cornelis Claesz van Wieringen, 1614 - 1664 print Two horses drink from a water basin on a path along the river. Nummered at the bottom left: 3. Haarlem paper engraving bridge in village across river, canal, etc.. horse. dog

A drawing by Charles-Michel-Ange Challé from 1775 depicting the tomb of Arnold Vibius Mariano, executed in black and white chalk on laid paper.

View of the infernal city of said. (Widok Piekielnego, Płonącego Miasta, Z: The Divine Comedie du Dante ), W: Oeurvre de Flaxmann Collection of its serious compositions by back, with Divine Analysis Comedy of the Dante and notice on Flaxman. Various subjects. Paris 1847 . FERRERI, Vincenzo (Fl. 1845), Flaxman, John (1755 1826), Audot, bookseller editor, Paris rue du Paon 8, school of medicine

Francis Towne, 1740-1816, British, New Radnor, undated. Watercolor and graphite with pen and gray ink on medium, smooth, cream wove paper.

Study of an anchor, part of a ship's mast and shrubs, Johan Daniël Koelman, 1841 - 1857 drawing oil paint (paint) brush parts of ship's exterior: anchor

Copper engraving and etching by Jean Joseph Balechou, 1757, showing a stormy sea with a shipwreck, waves, clouds, and figures struggling in the water.

A Woodcutter's Picnic. Drawing. Pen and vermillion ink and watercolor over graphite on medium, slightly textured, cream, wove paper on contemporary mount. Height: 275 mm (10.82 in); Width: 383 mm (15.07 in). Author: Thomas Rowlandson.

A View in Annamooka, John Webber, 1752-1793, British, ca. 1790, Graphite, squared for transfer on medium, slightly textured, cream wove paper, Sheet: 11 × 15 3/4 inches (27.9 × 40 cm), architectural subject

Dresden, stage design, design

Joshua Cristall, 1768-1847, British, Landscape with Water Cart and Clothesline, undated. Watercolor and graphite on moderately thick, moderately textured, beige laid paper.

Landscape Unidentified artist. Landscape. Unidentified artist. China. Handscroll; ink and color on paper. Ming (1368-1644) or Qing (1644-1911) dynasty. Paintings

Black chalk drawing by Bartolomeo Altomonte around 1720 depicting a landscape including a city with buildings, streets, and surrounding nature.

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

Weissenbruch, Jan, Two river landscapes, Ferry at Rhenen, Two landscapes on one plate. Above a landscape with a sailing ship and a figure on a riverbank. Below is a house on a road by the water. Furthermore, several figures can be seen, two of whom are on a boat., print, prent, prints, prenten, height 159 mm, width 100 mm, Dutch, 1822-03-18 - 1880-02-15, print maker, prentmaker, 1837 - 1880, paper, papier, chine collé, etching, etsen

Guillaume Lethière, Ideal view with Trajan's Column (Vue idéale à la colonne trajane), early 19th century, Black chalk and pen and black and brown inks and washes.

Samuel Hieronymus Grimm, 1733-1794, Swiss, On the Thames at Barnes, ca. 1773. Brown wash, gray wash, and pen and gray ink on medium, smooth, cream laid paper.

Evening in Fukagawa, 1900, color lithograph in blue, black, brown and yellow on wove paper, plate: 23.5 × 36.7 cm (9 1/4 × 14 7/16 in.), sheet: 30.1 × 41.7 cm (11 7/8 × 16 7/16 in.), Schutte 1983, no. 98, State only, Emil Orlik (artist) German, 1870 - 1932

Italian Sketchbook Sanford Robinson Gifford (American, 1823-1880). Italian Sketchbook, 1867-1868. Graphite on tan, medium-weight, slightly textured wove paper, 5 x 9 x 7/16 in. (12.7 x 22.9 x 1.1 cm). This sketchbook served as a travel diary for the Hudson River School landscape painter Sanford Robinson Gifford during his journeys in France, Switzerland, and Italy. In this two-page spread depicting the church of Santa Caterina del Sasso, perched precariously on the edge of a cliff overlooking Lake Maggiore in Italy, Giffords precise and assured lines exemplify his skills as a draftsman. A practitioner of plein air sketching, the artist used these drawings as preparatory studies for paintings executed later in his studio. The small framed motifs that appear on this and other pages of the sketchbook show his initial experiments with composition. American Art 1867-1868

Spain, Guadalajara province. Temple of Diana that Morales recognized in the Almudejo hill. Ruprestrial sanctuary dedicated to the goddess Diana. With five panels with sculptural representations of the goddess and inscriptions. 1st-2nd centuries AD. Engraving by Antonio Roca. Las Glorias Nacionales. Volume I, Madrid-Barcelona edition, 1852.

Caswell Garden; Geneviève. Artist: John Dillwyn Llewelyn (British, Swansea, Wales 1810-1882 Swansea, Wales). Dimensions: Image: 12.8 × 11 cm (5 1/16 × 4 5/16 in.) (a)Image: 11.5 × 8.8 cm (4 1/2 × 3 7/16 in.) (b). Date: 1853-56. Museum: Metropolitan Museum of Art, New York, USA.

Horses in the Water, Dirk Jurriaan Sluyter, After Constant Troyon, 1835 - 1886 On Verso remnants of an engraving of a head. copper (metal) etching

Connecticut Views. Plates 1, 2, 3 Abner Reed (American, 1771-1866). Connecticut Views. Plates 1, 2, 3, 1809. Etching and aquatint on wove paper, Plate 1: 2 3/8 x 3 9/16 in. (6 x 9 cm). American Art 1809

Expedition Encamped on a Texas Prairie. April 1686. Dated: 1847/1848. Dimensions: overall: 37.8 x 56.4 cm (14 7/8 x 22 3/16 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: George Catlin.

Robert Wallis, 1794-1878, British, Bolton Abbey, 1834. Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with beige, chine colle.

View of Leghorn, William Marlow, 1740-1813, British, undated, Watercolor, pen and gray ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 10 3/16 x 13 15/16in. (25.9 x 35.4cm) and Sheet: 10 1/4 × 14 inches (26 × 35.6 cm), architectural subject, boat, cliffs, Grand Tour, port, rocks (landforms), sea, seashore, Europe, Italy, Leghorn, Livorno, Tuscany

Design for a Stage Set at the Opéra, Paris 1830-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris 358707

Thesis of Marcin Dominik Wołłowicz Hooghe, Romeyn de (1645-1708)

Design for a Stage Set 1830-90 Eugène Cicéri French. Design for a Stage Set 387316

Print made by Edward Goodall, 1795-1870, British, Florence (vignettes), 1830. Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper.

Landscape with Two Men on a Hill and a Castle in the Distance, Rev. William Gilpin, 1724-1804, British, between 1762 and 1783, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, beige laid paper, Sheet: 6 9/16 × 9 3/8 inches (16.7 × 23.8 cm), castle, hills, landscape, men, ruins, trees

Landscape with a Burning Tower, Carlo Marchionni, Italian, 1702-1786, Pen and ink, brush and lustre on paper, In a landscape of distant mountains to the right and trees to the left, a castle-like building stands ablaze as a group of people in the foreground, at left, stand watching the fire., Italy, ca. 1780, landscapes, Drawing, Drawing

John Robert Cozens, 1752-1797, British, Between Tavarnelle & Capriano, undated. Graphite on thin, slightly textured, white laid paper.

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