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The Manton Collection of British Art

The Manton Collection of British art, which includes more than two hundred paintings, drawings, and prints by Gainsborough, Constable, Turner, and others, was the creation of business leader and arts patron Sir Edwin A. G. Manton (1909–2005) and his wife Florence, Lady Manton (1911–2003). Born in Essex County, just twenty miles from "Constable Country" in the east of England, Sir Edwin arrived in New York in 1933 to help lead the development of the American International Group. He lived the remainder of his life in the United States, though his love of British art, which he and his wife began collecting in the 1940s, was testimony to his continued devotion to his native country.

Sir Edwin was knighted by Queen Elizabeth in 1994 for his generous contributions to the Tate Gallery in London (now Tate Britain). Through it all, his appetite for collecting art never diminished. "I am a compulsive buyer," he once observed. "It's better than spending your money on bottles of Scotch." This magnificent collection, a gift from the Manton Foundation in 2007, constitutes the most significant acquisition of art by the Clark since its founding in 1955 and perfectly complements the Clark's outstanding holdings of nineteenth-century French and American art.


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James Gubbins Archer-Burton
Woodlands
c. 1850
Oil on paper pulp board
9 x 11 13/16 in. (22.9 x 30 cm)

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William Blake
English, 1757–1827
The Book of Job
1825
Twenty-two etchings

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William Blake
English, 1757–1827
The Book of Job: Title Page
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job and His Family
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Satan Before the Throne of God
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Destruction of Job's Sons
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Messengers Tell Job of His Misfortunes
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Satan Going Forth from the Presence of the Lord
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Satan Smiting Job with Boils
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job's Comforters
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job's Despair
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Vision of Eliphaz
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job Rebuked by His Friends
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job's Evil Dreams
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Wrath of Elihu
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Lord Answering Job out of the Whirlwind
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Creation
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Behemoth and Leviathan
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Fall of Satan
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: The Vision of God
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job's Sons and Daughters Overwhelmed by Satan
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job Accepting Charity
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job and His Daughters
1825
Etching

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William Blake
English, 1757–1827
The Book of Job: Job and His Wife Restored to Prosperity
1825
Etching

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Richard Parkes Bonington
English, 1801–1828
Le Crotoy: Vue de l'Embouchure de la Seine
c. 1823
Watercolor with scratching out on wove paper
7 15/16 x 10 13/16 in. (20.2 x 27.5 cm)

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Richard Parkes Bonington
English, 1801–1828
Coast with Beached Boats and Figures
c. 1823–24
Pencil and watercolor with scratching out on paper
6 x 8 1/4 in. (15.2 x 21 cm)

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Richard Parkes Bonington
English, 1801–1828
Figures on a Beach at the Foot of High Cliffs
c. 1824
Pencil and watercolor with scratching out on gray paper
5 3/4 x 5 5/8 in. (14.6 x 14.3 cm)

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Richard Parkes Bonington
English, 1801–1828
A Fisherman on the Banks of a River, a Church Tower in the Distance
c. 1825–26
Pencil and watercolor with scratching out
6 7/8 x 9 1/4 in. (17.5 x 23.5 cm)

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Richard Parkes Bonington
English, 1801–1828
Venice: The Rialto
c. 1827
Watercolor and bodycolor with gum arabic on paper
7 1/8 x 10 1/2 in. (18.1 x 26.7 cm)

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Hercules Brabazon Brabazon
English, 1821–1906
On the Grand Canal with S. Maria della Salute beyond
Pencil and watercolor heightened with bodycolor on gray paper
6 1/4 x 8 1/4 in. (15.9 x 21 cm)

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Thomas Churchyard
English, 1798–1865
A River Valley (recto)
Oil on paper pulp board
6 15/16 x 8 15/16 in. (17.6 x 22.7 cm)

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Thomas Churchyard
English, 1798–1865
A Wooded Landscape (verso)
Oil on paper pulp board

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Attributed to Thomas Churchyard
English, 1798–1865
Ruins in a Landscape
Oil on buff-colored laid paper lined with Japanese tissue
4 x 5 3/4 in. (10.2 x 14.6 cm)

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John Constable
English, 1776–1837
The Houses of Parliament after the Fire
1834
Pen and ink and watercolor on wove paper
3 5/8 x 6 3/8 in. (9.7 x 16.5 cm)

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John Constable
English, 1776–1837
Woodland Scene Overlooking Dedham Vale
c. 1802–3
Oil on canvas
30 3/4 x 25 5/8 in. (78.1 x 65.1 cm)

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John Constable
English, 1776–1837
Hursley, Hampshire
1804
Black chalk and watercolor heightened with bodycolor on oatmeal wove paper
5 5/8 x 8 1/16 in. (14.3 x 20.5 cm)

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John Constable
English, 1776–1837
Dedham Vale
1805
Pencil and black chalk and ochre and blue wash on wove paper
6 1/8 x 8 7/8 in. (15.6 x 22.5 cm)

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John Constable
English, 1776–1837
Leathes Water (Thirlmere)
1806
Pencil on wove paper
9 7/8 x 15 1/4 in. (25.1 x 38.7 cm)

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John Constable
English, 1776–1837
Borrowdale
1806
Pencil and watercolor on wove paper
11 5/16 x 18 5/16 in. (28.7 x 46.5 cm)

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John Constable
English, 1776–1837
Lake District Scene near Langdale Pikes
1806
Pencil and green and brown wash on wove paper
7 1/2 x 9 3/8 in. (19 x 23.8 cm)

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John Constable
English, 1776–1837
Lake District Scene near Langdale Pikes
c. 1806
Oil on canvas
7 7/8 x 9 7/8 in. (20 x 25.1 cm)

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John Constable
English, 1776–1837
A House at Twyford (A country house with clock tower)
c. 1809
Pencil on paper
3 3/4 x 6 in.

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John Constable
English, 1776–1837
A House at Twyford
1809
Pencil on laid paper with touches of isinglass fixative
3 1/4 x 6 in.

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John Constable
English, 1776–1837
East Bergholt Church from the South East
c. 1809
Pencil on laid paper
3 x 4 3/4 in. (7.6 x 12.1 cm), on the central section of an irregular sheet of laid paper (8 x 5 1/4 in. (20.3 x 13.3 cm)) formerly folded in three

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John Constable
English, 1776–1837
Study of an Ash Tree
inscribed and dated E. Bergholt, 1810
Pencil on paper
7 x 4 3/8 in. (17.8 x 11.1 cm)

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John Constable
English, 1776–1837
Dedham Vale from the Road to East Bergholt
1810
Oil on paper mounted on board mounted on panel
6 1/16 x 10 1/4 in. (15.4 x 26 cm)

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John Constable
English, 1776–1837
Dedham Church from Flatford
c. 1810
Oil on canvas
4 5/8 x 7 1/8 in. (11.7 x 18.1 cm)

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John Constable
English, 1776–1837
Study for "Flatford Mill from the Lock"
c. 1810
Oil on paper mounted on canvas
7 1/4 x 9 1/4 in. (18.4 x 23.5 cm)

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John Constable
English, 1776–1837
Willy Lott's House
c. 1812–13
Oil on canvas
13 1/2 x 17 in. (34.3 x 43 cm)

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John Constable
English, 1776–1837
Flailing Turnip-heads, East Bergholt
c. 1812–15
Oil on canvas
13 3/4 x 17 3/8 in. (34.9 x 44.1 cm)

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John Constable
English, 1776–1837
View towards the Rectory at East Bergholt
1813
Oil on canvas mounted on panel
8 3/4 x 11 9/16 in. (22.2 x 29.4 cm)

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John Constable
English, 1776–1837
The Wheatfield
1816
Oil on canvas
21 1/8 x 30 3/8 in. (53.7 x 77.2)

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John Constable
English, 1776–1837
The Octagonal House (Bowling Green House), Putney Heath
1816
Pencil on wove paper
3 1/2 x 4 5/8 in. (8.9 x 11.7 cm)

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John Constable
English, 1776–1837
The Interior of Preston Church
1816
Pencil on wove paper
4 7/16 x 3 1/2 in. (11.3 x 8.9 cm)

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John Constable
English, 1776–1837
Cottages (recto); Two Studies of a Shepherd (verso)
1816
Recto: pencil, black, and gray wash on wove paper; verso: pen and ink
3 3/16 x 4 9/16 in. (8.1 x 11.6 cm)

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John Constable
English, 1776–1837
Osmington Bay
1816
Oil on canvas
8 15/16 x 12 in. (22.7 x 30.5 cm)

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John Constable
English, 1776–1837
East Bergholt Church from the South-West (recto)
c. 1817
Pencil on laid paper
7 1/2 x 7 1/2 in. (19 x 19 cm)

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John Constable
English, 1776–1837
East Bergholt Church from the South-West (verso)
c. 1817
Ink transfer from recto

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John Constable
English, 1776–1837
Flatford Bridge
1818
Pencil on wove paper
3 3/4 x 5 1/16 in. (9.5 x 12.9 cm)

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John Constable
English, 1776–1837
Cloud Study
1821 or 1822
Oil on paper mounted on canvas
10 11/16 x 12 15/16 in. (27.1 x 32.9 cm)

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John Constable
English, 1776–1837
Study of Clouds over a Landscape
c. 1821–22
Oil on paper mounted on canvas
11 x 11 1/2 in. (27.9 x 29.2 cm)

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John Constable
English, 1776–1837
Yarmouth Jetty
1822–23
Oil on canvas
13 x 20 1/2 in. (33 x 52.1 cm)

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John Constable
English, 1776–1837
Sandbanks and a Cart and Horses on Hampstead Heath
early 1820s
Oil on canvas
8 1/4 x 10 1/8 in. (21 x 25.7 cm)

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John Constable
English, 1776–1837
Caister Castle, Norfolk
1823
Pencil and gray wash on laid paper
7 7/8 x 10 1/4 in. (20 x 26 cm)

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John Constable
English, 1776–1837
Brighton Beach, Looking East
1824
Pencil, pen, and gray ink with gray wash on wove paper mounted on card
7 1/16 x 10 5/16 in. (17.9 x 26.2 cm)

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John Constable
English, 1776–1837
Shipping in a Stormy Sea at Brighton
1824
Pen and ink with wash on wove paper
6 7/8 x 10 1/8 in. (9.5 x 14.9 cm)

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John Constable
English, 1776–1837
Studies of a Post and Anchors and of a Fisherman, Brighton (recto)
c. 1824–26
Watercolor with gray wash on wove paper
3 3/4 x 5 7/8 in. (9.5 x 14.9 cm)

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John Constable
English, 1776–1837
A Fishing Boat and Fisherman on Brighton Beach (verso)
c. 1824–26
Pencil on wove paper

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John Constable
English, 1776–1837
Harnham Bridge
1827
Pen and ink and watercolor on wove paper
7 1/8 x 10 3/8 in. (18.1 x 26.4 cm)

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John Constable
English, 1776–1837
Sketch for "Dedham Vale"
c. 1827
Oil, ink, and pencil on canvas
25 1/4 x 21 1/4 in. (64.1 x 54 cm)

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John Constable
English, 1776–1837
Harnham Ridge, Salisbury
1829
Oil on paper mounted on canvas
7 ¾ x 9 7/8 in. (19.7 x 25.1 cm)

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John Constable
English, 1776–1837
Study of a Burdock
c. 1810–14, or circa 1828
Oil on canvas mounted on panel
7 1/4 x 10 3/4 in. (18.4 X 27.3 XM)

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John Constable
English, 1776–1837
Salisbury Cathedral from the River Nadder
c. 1829
Oil on paper mounted on card
7 3/4 x 11 in. (19.7 x 27.9 cm)

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John Constable
English, 1776–1837
Salisbury Cathedral from the West
1829
Pencil on wove paper
9 1/8 x 13 1/4 in. (23.2 x 33.7 cm)

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John Constable
English, 1776–1837
Sketch for "The Opening of Waterloo Bridge Seen from Whitehall Stairs, June 18th, 1817"
c. 1819
Oil on canvas
6 x 8 3/4 in. (15.2 x 22.2 cm)

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John Constable
English, 1776–1837
Sketch for "The Opening of Waterloo Bridge seen from Whitehall Stairs, June 18th, 1817"
c. 1829
Oil on canvas
23 5/8 x 38 13/16 in. (60 x 98.6 cm)

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John Constable
English, 1776–1837
Salisbury Cathedral from the North-West
1830s
Pencil and sepia wash on paper
3 x 2 1/4 in. (7.6 x 5.7 cm)

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John Constable
English, 1776–1837
Sheet of Sketches with Verses from Burns
1832
Pen and ink and wash on laid paper
7 11/16 x 6 3/16 in. (19.5 x 1.7 cm)

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John Constable
English, 1776–1837
The Houses of Parliament on Fire
1834
Pen and ink and watercolor on wove paper
3 3/8 in. x 4 1/4 in. (8.6 x 10.8 cm)

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John Constable
English, 1776–1837
Maudlin, near Chichester
1835
Pencil on wove paper
11 1/4 x 8 ¾ in. (28.6 x 22.2 cm)

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John Constable
English, 1776–1837
Academy Study
Pencil and white chalk on wove paper
10 x 10 5/8 in. (25.4 x 27 cm)

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John Constable
English, 1776–1837
High Clouds
Pencil and wash on paper
3 5/8 x 6 1/2 in. (9.2 x 16.5 cm)

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John Constable
English, 1776–1837
Bowfell and Langdale Pikes
1806
Watercolor on paper
8 x 15 3/8 in. (20.3 x 39.1 cm)

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John Constable
English, 1776–1837
Paint Box
1837
Tin box with hinged lid housing eleven bladders, tied with string and filled with pigment, a piece of white stone, and a glass vial of powdered pigment
2 x 13 x 3 3/8 in. (5.1 x 33 x 8.6 cm)

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John Constable
English, 1776–1837
Cloud Study
c. 1821–22
Oil on paper mounted on canvas
9 1/2 x 12 in. (24.1 x 30.5 cm)

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John Constable
English, 1776–1837
Stratford Saint Mary from the Coombs
c. 1800
Oil on canvas
18 7/8 x 25 in. (47.9 x 63.5 cm)

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Attributed to John Constable
English, 1776–1837
A Windmill
1838
Black chalk on laid paper
7 1/2 x 5 1/4 in. (19 x 13.3 cm)

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Attributed to John Constable
English, 1776–1837
The Sussex Downs
c. 1824–28
Oil on paperboard mounted to wood panel
9 9/16 x 15 1/4 in. (24.3 x 38.7 cm)

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Follower of John Constable
On the Stour
Oil on canvas
11 13/16 x 18 in. (30 x 45.7 cm)

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Lionel Constable
English, 1828–1887
Cloud Study
c. 1850
Oil on paper mounted on panel
9 5/8 x 12 15/16 in. (24.4 x 31.3 cm)

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Lionel Constable
English, 1828–1887
Cottage on the Stour, Flatford
c. 1850
Oil on paper mounted on canvas
8 3/16 x 10 13/16 in. (20.8 x 27.5 cm)

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Lionel Constable
English, 1828–1887
Dedham Vale
c. 1850
Oil on paper mounted on panel
13 3/16 x 10 5/16 in. (33.5 x 26.2 cm)

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Lionel Constable
English, 1828–1887
Meadow Scene "Dedham Water Meadows"
c. 1850
Oil on paper board mounted on canvas
9 3/4 x 11 7/8 (24.8 x 30.2 cm)

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Edward W. Cooke
English, 1811–1880
Venice at Sunset
1864
Pen and ink and watercolor with gum arabic and scratching out on paper
7 3/4 x 12 1/2 in. (19.7 x 31.7 cm)

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Attributed to John Sell Cotman
English, 1782–1842
A Barge on a River
Pencil and black and white chalk on blue paper
6 3/4 x 14 5/8 in. (17.1 x 37.1 cm)

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John Bernay Crome
English, 1794–1842
Sheds and Old Houses on the Yare
1803
Oil on canvas
19 1/2 x 24 3/4 in. (49.5 x 62.9 cm)

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George Dance II
English, 1741–1825
Portrait of a Gentleman, Half-length, in Profile
1794
Pencil on paper
10 x 7 1/2 in. (25.4 x 19 cm)

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Edward Dayes
English, 1763–1804
A View of Winchester Abbey
1793
Pencil, pen and ink, and watercolor on paper
6 1/2 x 8 1/2 in. (16.5 x 21.6 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Oatlands, Surrey
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Bicknell, Near Enfield
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Poynton, Cheshire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Rochester Castle, Kent
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Byland Abbey, Yorkshire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Syon House, Middlesex
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Kenilworth, Warwickshire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Alnwick Abbey, Northumberland
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Romborough Priory Church, Norfolk
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Caldicot, Monmouthshire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: A House Near Epsom
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Kirkstall Abbey, Yorkshire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Claremont, Surrey
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Newark Priory, Surrey
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Unidentified House in an Extensive Landscape
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Furness Abbey, Lancashire
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Brougham Castle, Westmorland
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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Edward Dayes
English, 1763–1804
A Group of Watercolors of Identified Castles, Abbeys and Country Seats: Richmond Place, Richmond, Surrey
prior to 1788
Pencil and watercolor on paper
2 1/2 x 3 1/2 in. (6.4 x 8.9 cm)

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After Peter de Wint
English, 1784–1849
Figures by a Dock at Low Tide
Pencil, pen and ink, watercolor, and scratching out on paper
9 3/4 x 15 in. (24.8 x 38.1 cm)

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Thomas Gainsborough
English, 1727–1788
Study of Mallows
mid–to late–1750s
Pencil on laid paper
7 1/4 x 6 1/4 in. (18.4 x 15.9 cm)

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Thomas Gainsborough
English, 1727–1788
Landscape with a Clump of Trees on a Hillock
early 1760s
Pencil and gray and brown washes over pencil on laid paper
10 1/16 x 13 7/8 in. (25.6 x 35.2 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with a Boy Leading a Donkey and Dog, and an Extensive Panorama with Buildings and Distant Hills
early 1760s
Oil on canvas
11 7/8 x 13 1/2 in. (30.2 x 34.3 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with a Cottage and Cows
mid–1770s
Black chalk, watercolor, gray gouache, and white lead on gray paper, perhaps prepared with a brown wash, dipped in skimmed milk and varnished
8 1/2 x 11 11/16 in. (21.6 x 29.7 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with Rocks, Stream, and Distant Hill
c. 1775–80
Black and white chalk on blue laid paper
9 x 12 1/2 in. (22.9 x 31.7 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with Shepherd and Sheep, Winding River and Tower
mid– to late- 1770s
Black chalk heightened with white chalk on paper
7 1/4 x 8 5/8 in. (18.4 x 21.9 cm)

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Thomas Gainsborough
English, 1727–1788
Rocky Wooded Landscape with Winding Track
late–1770s
Pen with black and gray ink and gray wash heightened with white bodycolor on paper
10 3/8 x 13 1/4 in. (26.4 x 33.7 cm)

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Thomas Gainsborough
English, 1727–1788
Rocky Wooded Landscape with Herdsman Driving Cattle
c. 1783
Brush and gray wash on laid paper
8 3/8 x 12 3/16 in. (21.3 x 31 cm)

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Thomas Gainsborough
English, 1727–1788
Study of a House and Shed in a Wooded Valley
c. 1783
Pencil on laid paper
5 1/2 x 7 1/2 in. (14 x 19 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with Rocks Overhanging a Pool
mid–1780s
Black chalk and stump heightened with white chalk on blue paper discolored buff
10 7/16 x 12 7/8 in. (26.5 x 32.7 cm)

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Thomas Gainsborough
English, 1727–1788
Extensive Wooded Landscape with a Bridge over a Gorge, Distant Village and Hills
c. 1786
Black chalk and stumping heightened with white chalk on blue paper discolored buff
10 3/16 x 13 11/16 in. (25.9 x 32.7 cm)

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Thomas Gainsborough
English, 1727–1788
Landscape with Figures, Herdsman, and Cows at a Pool and Distant Church
mid– to late–1780s
Brown chalk, brown and gray wash, and white lead on gray laid paper dipped in skimmed milk and varnished
8 3/8 x 11 7/8 in. (21.27 x 30.2 cm)

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Thomas Gainsborough
English, 1727–1788
Landscape with Herdsman Driving Cows, and Distant Buildings
c. 1785–88
Black chalk and gray wash heightened with white chalk on gray prepared paper
9 1/2 x 12 5/8 in. (24.1 x 32.1 cm)

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Thomas Gainsborough
English, 1727–1788
Wooded Landscape with Figures and Winding Track Leading to a Cottage
mid– to late–1780s
Gray and brown wash and white lead on gray laid paper dipped in skimmed milk and varnished
8 1/2 x 11 15/16 in. (21.6 x 30.3 cm)

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Thomas Gainsborough
English, 1727–1788
A Peasant Driving Cattle, Sheep, and Goats in a Landscape
c. 1788
Oil on canvas
7 x 8 3/4 in. (17.8 x 22.2 cm)

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Thomas Gainsborough
English, 1727–1788
A Wooded Landscape with a Seated Herdsman and a Cow
c. 1785
Black and white and gray wash on paper
10 1/2 x 14 in. (26.7 x 35.6 cm)

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Thomas Gainsborough
English, 1727–1788
A Wooded Landscape with Figures by a House
c. 1752
Oil on canvas
8 3/4 x 7 in. (22.2 x 7 cm)

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After Thomas Gainsborough
English, 1727–1788
Rocky Landscape with Horseman and Packhorse
Black chalk and gray wash over pencil on laid paper
6 3/4 x 9 in. (17.1 x 22.9 cm)

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After Thomas Gainsborough
English, 1727–1788
Rocky Landscape with Herdsman Conversing with a Girl, Goats, Cows Drinking at a Fountain, and Distant Hills
Pencil and watercolor on wove paper
12 1/2 x 15 1/2 in. (31.7 x 39.4 cm)

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Circle of Thomas Gainsborough
English, 1727–1788
A Castle by a Lake and a Figure Seated on a Stile (recto); Mountainous Landscape with a Lake (verso)
Pencil and gray wash on gray paper
9 3/4 x 13 3/4 in. (24.8 x 34.9 cm)

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Circle of Thomas Gainsborough
English, 1727–1788
Portrait of a Gentleman
1745–48
Oil on canvas, oval
7 x 7 1/2 in. (17.8 x 14 cm)

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Circle of Thomas Gainsborough
English, 1727–1788
A Wooded Landscape with a Village on a Hilltop and Figures on a Lane in Front
Black and white chalk on laid paper mounted on card, oval
10 x 13 1/4 in. (25.4 x 33.7 cm)

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Circle of Thomas Gainsborough
English, 1727–1788
A River Landscape with Two Cows and a Figure on a Bridge
c. 1744–45
Oil on canvas
14 1/8 x 11 3/8 in.

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Follower of Thomas Gainsborough
English, 1727–1788
Figures and Cattle in a Landscape
Oil on canvas mounted on panel
7 1/2 x 6 3/4 in. (19 x 17.1 cm)

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Thomas Girtin
English, 1775–1802
Windsor Castle
c. 1793
Watercolor over pencil on paper
4 7/8 x 7 3/16 in. (12.4 x 18.3 cm)

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Thomas Girtin
English, 1775–1802
The Gatehouse of Battle Abbey, Sussex
c. 1794
Watercolor, ink, and pencil on paper
10 3/4 x 9 1/4 in. (27.3 x 23.5 cm)

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Thomas Girtin
English, 1775–1802
Melrose Abbey: The East Window
1800
Pencil and watercolor on paper
14 7/8 x 11 3/16 in. (37.8 x 28.4 cm)

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Thomas Girtin
English, 1775–1802
A River Valley and Distant Hill Seen through Trees
c. 1800
Watercolor with pen and brown ink over pencil on laid paper
8 7/8 x 6 5/8 in. (22.5 x 16.8 cm)

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Thomas Girtin
English, 1775–1802
Lydford Castle
c. 1801
Watercolor with scratching out on paper
12 1/4 x 20 1/2 in. (31.7 x 52.1 cm)

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Thomas Girtin
English, 1775–1802
A Wooded Landscape
c. 1790s
Watercolor over pencil with scratching out on paper
6 x 4 7/8 in. (15.2 X 12.4 cm)

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Albert Goodwin
English, 1845–1932
Afterglow on the Nile
1911
Pen and black ink, watercolor, and bodycolor with scratching out on paper
11 1/4 x 15 1/4 in. (28.6 x 38.7 cm)

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Albert Goodwin
English, 1845–1932
Naples
Pencil, pen and black ink, watercolor, and scratching out on paper
7 3/4 x 11 in. (19.7 x 27.9 cm)

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Albert Goodwin
English, 1845–1932
Sindbad the Sailor
1929
Pen and black ink, watercolor, bodycolor with scratching out on paper
10 1/2 x 15 1/4 in. (26.7 x 38.7 cm)

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Albert Goodwin
English, 1845–1932
The Bristol Channel
Oil on board
12 1/2 X 16 in. (31.7 x 40.6 cm)

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape)
1826–46
Fifteen mezzotints and proofs and two etchings

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Salisbury Cathedral from the Meadows
1831–32
Mezzotint on India paper laid on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 1/2 in x 8 1/2 in (cm)

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Opening of Waterloo Bridge
1833–38
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 7/16 x 8 11/16 in (cm)

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): A Mill near Brighton
1829–30
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 13/16 x 3 9/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Castle Acre Priory
1833
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 13/16 x 8 15/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): A View on the River Stour
1831
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 1/2 x 7 1/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Gillingham Mill, Dorsetshire
1843
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 7 5/16 x 6 1/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Jacques and the Wounded Stag
1831–45
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 3/16 x 7 7/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Cornfields near Brighton
1820s–1844
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 1/8 x 7 13/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Flatford Mill
c. 1846
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 9/16 x 7 1/8 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Stonehenge
1837–43
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 3/16 x 7 13/16 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): View on the Orwell near Ipswich
1831–38
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 5/8 x 7 3/16 in

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Willy Lott's House
1830–32
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 6 3/4 x 6 in

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David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Mill near Colchester
1840–46
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 5/16 x 7 3/8 in

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Arundel Mill and Castle
1837–46
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 5 1/4 x 7 7/16 in

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Porch of the Church at East Bergholt, Suffolk
1830–43
Mezzotint on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 7 1/2 x 6 1/8 in

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John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Netley Abbey
1826
Etching on wove paper
sheet: 11 1/16 x 16 3/8 in, imagex: 4 15/16 x 7 5/16 in

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John Constable
English, 1776–1837
An Album of Prints (chiefly related to English Landscape): Milford Bridge
1826
Etching on India paper laid on wove paper
sheet: 11 1/16 x 16 3/8 in, image: 11 15/16 x 17 1/8 in

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Heath, from "English Landscape"
1831
Mezzotint
5 7/16 x 7 3/8 in. (13.8 x 18.7 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
East Bergholt, Suffolk, from "English Landscape"
1832
Mezzotint
5 3/8 x 7 5/16 in. (13.7 x 18.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Old Sarum, from "English Landscape"
1833
Mezzotint
5 3/8 x 7 5/16 in. (13.7 x 18.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Castle Acre Priory
1846
Mezzotint
Plate: 6 7/8 x 10 in. (17.5 x 25.4 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Mill near Brighton
1838
Mezzotint
7 1/8 x 4 ¾ in. (18.1 x 12.1 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Plates from English Landscape Portfolio (re-strike)
printed in 1992–93 from plates originally published in 1830, 1831, and 1846
Sixteen mezzotints
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
A Cottage in a Cornfield
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Hampstead Heath, Harrow in the Distance
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Mill Stream
printed in 1992–93 from plate originally published in 1831
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Spring
printed in 1992–93 from plate originally published in 1830
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Noon
printed in 1992–93 from plate originally published in 1831
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Summer Morning
printed in 1992–93 from plate originally published in 1831
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Gillingham Mill, Dorsetshire
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Mill near Colchester
printed in 1992–93 from plate originally published in 1846 (?)
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Arundel Mill and Castle
printed in 1992–93 from plate originally published in 1846 (?)
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Porch of the Church at East Bergholt, Suffolk
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

David Lucas
English, 1802–1881
after John Constable
English, 1776–1837
Willy Lot's House
printed in 1992–93 from plate originally published in 1846
Mezzotint
15 1/2 x 14 in. (39.4 x 35.6 cm)

Click for larger image

John Martin
English, 1789–1854
Landcape with Cattle Grazing on the Foreground
1837
Pencil with watercolor heightened with body color and gum arabic and with scratching out on paper
6 1/2 x 9 in. (16.5 x 22.9 cm)

Click for larger image

Thomas Monro
English , 1759–1833
Riverside (recto)
Black chalk and gray wash on laid paper
6 x 7 in. (15.2 x 17.8 cm)

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Thomas Monro
English , 1759–1833
A river landscape with a winding path leading to a church tower (verso)
Black chalk and gray wash on laid paper
6 x 7 in. (15.2 x 17.8 cm)

Click for larger image

Samuel Palmer
English, 1805–1881
The Setting Sun
c. 1862
Pencil and watercolor with body color and gum arabic and scratching out heightened with gold on paper
20 1/4 x 28 1/2 in. (51.4 x 72.4 cm)

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Henry Redmore
English, 1820–1887
Shipping off the Coast in a Stormy Sea
1874
Oil on canvas
24 x 40 1/4 in. (61 X 102.2 cm)

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Thomas Rowlandson
English, 1756–1827
The Post House (recto)
c. 1778–1780
Pen with gray ink, gray wash, and watercolor on laid paper
11 1/2 x 16 1/2 in. (29.2 x 41.9 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Studies of a Musical Trio, Two Riders, and a Domestic Scene (verso)
c. 1778–1780
Pen and gray ink on laid paper
11 1/2 x 16 1/2 in. (29.2 x 41.9 cm)

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Thomas Rowlandson
English, 1756–1827
An English Postillion
c. 1784–90
Pencil, pen with gray and gray-black ink, and gray and red wash on laid paper
4 1/2 x 6 1/8 in. (12.1 x 15.6 cm)

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Thomas Rowlandson
English, 1756–1827
The Art Gallery
c. 1790–98
Pencil, pen and brown ink, gray wash, and watercolor on laid paper
3 5/8 x 5 3/8 in. (19.2 x 13.7 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
The Courtesan
c. 1790–1800
Pen with gray ink, gray and gray-black wash, and watercolor on laid paper
4 x 4 3/4 in. (10.2 X 12.1 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Mutton Chops in Maiden Lane (recto)
c. 1798–1810 (recto)
Pencil, pen and gray and vermilion ink, and watercolor on laid paper
10 3/4 x 8 1/2 in. (27.3 x 21.6 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Egyptian Statues (verso)
c. 1817–21 (verso)
Pen and gray ink and gray wash on laid paper
10 3/4 x 8 1/2 in. (27.3 x 21.6 cm)

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Thomas Rowlandson
English, 1756–1827
Underwriters or Bad News at Lloyd's Coffee House
c. 1800–10
Pen with vermilion ink and gray and vermilion wash on laid paper
4 1/2 x 7 1/2 in. (11.4 x 19 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Guardsmen Marching through St. James's Park (recto)
1800–20
Pencil, pen with gray and brown ink, and watercolor over traces of pencil on laid paper
4 1/4 x 6 3/4 in. (10.8 x 17.1 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Study of a Woman with Arithmetic (verso)
1800–20
Graphite and gray ink on laid paper
4 1/4 x 6 3/4 in. (10.8 x 17.1 cm)

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Thomas Rowlandson
English, 1756–1827
Wooded Hilly Landscape with Cottage and Figures
1809
Watercolor and gray wash and pen and vermilion ink on laid paper
6 1/8 x 10 in. (15.6 x 25.4 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Cottage and Barn with Figures Resting by the Side of a Country Road
c. 1810–20
Watercolor and gray wash with pen and gray and vermilion ink on laid paper
5 1/4 x 8 1/8 in. (13.3 x 20.6 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Doctor Syntax at the Scene of a Shipwreck
c. 1815–20
Pencil, pen with brown ink, and watercolor over traces of pencil on laid paper
4 3/4 x 7 1/2 in. (12.1 x 19 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Labourers Laying a Pavement
c. 1815–20
Pen with gray ink and watercolor on wove paper
5 1/2 x 9 in. (14 x 22.9 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
A Sportsman with His Family Instructing Woodmen to Chop up a Felled Tree
c. 1815–20
Pen with gray and vermilion ink and watercolor on laid paper
8 1/4 x 11 in. (21 x 27.9 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
The Subscription Club Room
1791
Pencil, pen, gray ink, and watercolor on paper
12 3/4 x 18 1/4 in. (32.4 x 46 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
Peregrine Rescuing Emila from the Inn Fire
c. 1786
Pen with gray and gray-black ink and gray wash, some watercolor, and touches of bodycolor over traces of pencil on wove paper
8 5/8 x 12 7/8 in. (21.9 x 32.7 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
A View at Newtown, Isle of Wight, with Ruins of the Old Church
c. 1790–98
Watercolor, pencil, and pen and ink on paper
5 1/4 x 18 1/4 in. (13.3 x 46.4 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
A Review in Hyde Park
c. 1800
Pen with gray ink and gray wash over traces of pencil on laid paper
6 7/8 x 18 1/8 in. (17.5 x 46.4 cm)

Click for larger image

Thomas Rowlandson
English, 1756–1827
The Cat-astrophy, or Crash to my Grandmother's Old China
c. 1800
Watercolor with pen and ink on laid paper
13 5/8 x 10 1/2 in. (34.6 x 26.7 cm)

Click for larger image

John Singer Sargent
American, 1856–1925
Portrait of Mrs. Gilbert Russell
1911
Black chalk on paper
15 1/4 x 20 7/8 in. (38.7 x 53 cm)

Click for larger image

Daniel Turner
English, active 1782–1817
A View of the Thames Looking West with the Adelphi Somerset House and St. Paul's
by 1782
Oil on panel
6 3/4 x 17 3/4 in. (17.1 x 45.1 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
The Tower of London
c. 1794
Pencil and paper
5 1/8 x 8 1/4 in. (13 x 21 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
Rochester
c. 1793
Pencil and watercolor on paper
8 1/2 x 11 in. (21.6 x 27.9 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
Malmesbury Abbey from the South
c. 1794
Pencil and watercolor on paper
8 3/16 x 10 1/4 in. (20.8 x 26 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
The Tower of London
c. 1794
Pencil and watercolor on paper
4 7/8 x 6 3/4 in. (12.4 x 17.1 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
Distant View of Plymouth
1813
Oil on prepared paper
6 x 9 3/16 in. (15.2 x 23.3 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
The Moselle Bridge at Coblenz
1817
Pencil and watercolor with scratching out on paper prepared with a gray wash
7 7/8 x 12 3/8 in. (20 x 31.4 cm)

Click for larger image

Joseph Mallord William Turner
English, 1775–1851
View of La Riccia
1817
Watercolor on paper
5 3/8 x 8 1/2 in. (13.7 x 21.6 cm)

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Joseph Mallord William Turner
English, 1775–1851
Melrose Abbey: Moonlight
1822
Watercolor on paper
7 3/4 x 5 5/16 in. (19.7 x 13.5 cm)

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Joseph Mallord William Turner
English, 1775–1851
What You Will!
1822
Oil on canvas
19 x 20 1/2 in. (48.3 x 52.1 cm)

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Joseph Mallord William Turner
English, 1775–1851
Falmouth
c. 1825
Pencil and watercolor with scratching out on paper
6 1/4 x 8 11/16 in. (15.9 x 22.1 cm)

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Joseph Mallord William Turner
English, 1775–1851
Sky and Sea
c. 1826–29
Pencil and watercolor on paper
8 13/16 x 12 5/16 in. (22.4 x 31.3 cm)

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Joseph Mallord William Turner
English, 1775–1851
Entrance to Fowey Harbour, Cornwall
c. 1826–28
Watercolor with scratching out on paper
11 1/4 x 15 1/2 in. (28.6 x 39.4 cm)

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Joseph Mallord William Turner
English, 1775–1851
Great Yarmouth Fishing Boats
c. 1827
Bodycolor on blue-gray paper
9 11/16 x 7 1/8 in. (24.6 x 18.1 cm)

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Joseph Mallord William Turner
English, 1775–1851
Saumur from the Île d'Offart, with the Pont Cessart and the Château Beyond
c. 1830
Watercolor and gouache with pen on blue paper
5 x 7 9/16 in. (12.7 x 19.2 cm)

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Joseph Mallord William Turner
English, 1775–1851
Genoa
c. 1832
Pencil and watercolor on paper
6 3/4 x 10 in. (17 x 25.6 cm)

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Joseph Mallord William Turner
English, 1775–1851
The Temptation of Christ on the Mountain
c. 1834
Watercolor on card
7 1/2 x 5 1/2 in. (19 x 14 cm)

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Joseph Mallord William Turner
English, 1775–1851
Wolf's Hope
c. 1835
Watercolor on paper
4 1/8 x 6 1/2 in. (10.5 x 16.5 cm)

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Joseph Mallord William Turner
English, 1775–1851
Ivrea
c. 1836 or later
Watercolor on paper
9 x 12 in. (22.9 x 30.5 cm)

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Joseph Mallord William Turner
English, 1775–1851
Off Ramsgate
c. 1840
Oil on canvas
12 1/2 x 19 1/4 in. (31.7 x 48.9 cm)

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Joseph Mallord William Turner
English, 1775–1851
The Garden (An illustration to Thomas Moore's "The Epicurean" vignette)
Pencil and watercolor with scratching out on paper
7 3/8 x 5 7/8 in. (18.7 x 14.9 cm)

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Joseph Mallord William Turner
English, 1775–1851
Thomas Girtin
English, 1775–1802
Dolbadarn Castle
c. 1795
Pencil and watercolor on paper
5 7/8 x 9 3/8 in. (14.9 x 23.8 cm)

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Joseph Mallord William Turner
English, 1775–1851
Thomas Girtin
English, 1775–1802
Mountainous Landscape with Overshot Mill and Bridge
c. 1795
Pencil with gray and blue wash on paper
10 3/8 x 14 7/8 in. (26.4 x 37.8 cm)

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Joseph Mallord William Turner
English, 1775–1851
Thomas Girtin
English, 1775–1802
View in Westmorland, Looking from Irton Fell Towards Ravenglass
c. 1796
Pencil and watercolor on paper
6 1/4 x 9 in. (15.9 x 22.9 cm)

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Joseph Mallord William Turner
English, 1775–1851
Liber Studiorum
1806–19
Sixty of the first seventy published etchings and mezzotints, bound in a collector's album

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Joseph Mallord William Turner
English, 1775–1851
Frontspiece, plate 1 from Liber Studiorum
May, 1812
Etching and mezzotint printed in brown inks
186 x 263 mm (image); 210 x 293 mm (plate); 290 x 435 mm (sheet)
Finberg 1 i/v

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Joseph Mallord William Turner
English, 1775–1851
Bridge and Cows, plate 2 from Liber Studiorum
June 11, 1807
Etching and mezzotint printed in brown inks
180 x 261.5 mm (image); 205 x 282 mm (plate); 292 x 420 mm (sheet)
Finberg 2 ii/v

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Joseph Mallord William Turner
English, 1775–1851
The Woman and the Tambourine, plate 3 from Liber Studiorum
June 11, 1807
Etching and mezzotint printed in brown inks
181 x 263 mm (image); 203 x 289 mm (plate); 291.5 x 427 mm (sheet)
Finberg 3 ii/v

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Joseph Mallord William Turner
English, 1775–1851
Scene on the French Coast, plate 4 form Liber Studiorum
June 11, 1807
Etching and mezzotint printed in brown inks
180 x 256 mm (image); 206 x 286 mm (plate); 298 x 408 mm (sheet)
Finberg 4 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Basle, plate 5 from Liber Studiorum
June 11, 1807
Etching and mezzotint printed in brown inks
182 x 257 mm (image); 206 x 281 mm (plate); 294 x 407 mm (sheet)
Finberg 5 ii/vi

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Joseph Mallord William Turner
English, 1775–1851
Jason, plate 6 from Liber Studiorum
June 11, 1807
Etching and mezzotint printed in brown inks
180 x 255 mm (image); 206 x 287 mm (plate); 290 x 424 mm (sheet)
Finberg 6 iii/v

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Joseph Mallord William Turner
English, 1775–1851
The Straw Yard, plate 7 from Liber Studiorum
February, 20, 1808
Etching and mezzotint printed in brown inks
181 x 252 mm (image); 206 x 282 mm (plate); 280 x 415 mm (sheet)
Finberg 7 iii/iv

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Joseph Mallord William Turner
English, 1775–1851
The Castle above the Meadows, plate 8 from Liber Studiorum
February, 20, 1808
Etching and mezzotint printed in brown inks
175 x 259 mm (image); 205 x 288 mm (plate); 280 x 409 mm (sheet)
Finberg 8 iii/iv

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Joseph Mallord William Turner
English, 1775–1851
Mt. St. Gothard, plate 9 from Liber Studiorum
February, 20, 1808
Etching and mezzotint printed in brown inks
176 x 257 mm (image); 207 x 287 mm (plate); 286 x 414 mm (sheet)
Finberg 9 i/vi

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Joseph Mallord William Turner
English, 1775–1851
Ships in a Breeze, plate 10 from Liber Studiorum
February, 20, 1808
Etching and mezzotint printed in brown inks
180 x 257 mm (image); 204 x 289 mm (plate); 285 x 420 mm (sheet)
Finberg 10 iv/v

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Joseph Mallord William Turner
English, 1775–1851
Holy Island Cathedral, plate 11 from Liber Studiorum
February, 20, 1808
Etching and mezzotint printed in brown inks
180 x 257 mm (image); 207 x 288 mm (plate); 297 x 416 mm (sheet)
Finberg 11 i/iv

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Joseph Mallord William Turner
English, 1775–1851
Pembury Mill, Kent, plate 12 from Liber Studiorum
June 10, 1808
Etching and mezzotint printed in brown inks
180 x 265 mm (image); 208 x 290 mm (plate); 295 x 425 mm (sheet)
Finberg 12 i/iv

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Joseph Mallord William Turner
English, 1775–1851
The Bridge in Middle Distance, plate 13 from Liber Studiorum
June 10, 1808
Etching and mezzotint printed in brown inks
180 x 260 mm (image); 208 x 288 mm (plate); 290 x 423 mm (sheet)
Finberg 13 i/v

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Joseph Mallord William Turner
English, 1775–1851
Dustanborough Castle, plate 14 from Liber Studiorum
June 10, 1808
Etching and mezzotint printed in brown inks
181 x 262 mm (image); 208 x 289 mm (plate); 289 x 418 mm (sheet)
Finberg 14 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Lake of Thun, plate 15 from Liber Studiorum
June 10, 1808
Etching and mezzotint printed in brown inks
181 x 262 mm (image); 208 x 289 mm (plate); 295 x 422 mm (sheet)
Finberg 15 i/iii

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Joseph Mallord William Turner
English, 1775–1851
The Fifth Plague of Egypt, plate 16 from Liber Studiorum
June 10, 1808
Etching and mezzotint printed in brown inks
177 x 255 mm (image); 207 x 287 mm (plate); 291 x 418 mm (sheet)
Finberg 16 i/iii

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Joseph Mallord William Turner
English, 1775–1851
The Farm Yard with the Cock, plate 17 from Liber Studiorum
March 29, 1809
Etching and mezzotint printed in brown inks
178 x 258 mm (image); 208 x 289 mm (plate); 290 x 420 mm (sheet)
Finberg 17 i?/iii

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Joseph Mallord William Turner
English, 1775–1851
The Fall of the Clyde, plate 18 from Liber Studiorum
March 29, 1809
Etching and mezzotint printed in brown inks
180 x 264 mm (image); 208 x 290 mm (plate); 291 x 425 mm (sheet)
Finberg 18 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Little Devil's Bridge, plate 19 from Liber Studiorum
March 29, 1809
Etching and mezzotint printed in brown inks
277 x 257 mm (image); 209 x 286 mm (plate); 294 x 422 mm (sheet)
Finberg 19 iii/iii

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Joseph Mallord William Turner
English, 1775–1851
The Leader Sea Piece, plate 20 from Liber Studiorum
March 29, 1809
Etching and mezzotint printed in brown inks
175 x 255 mm (image); 209 x 287 mm (plate); 298 x 422 mm (sheet)
Finberg 20 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Morpeth, plate 21 from from Liber Studiorum
March 29, 1809
Etching and mezzotint printed in brown inks
175 x 256 mm (image); 206 x 287 mm (plate); 295 x 206 mm (sheet)
Finberg 21 iii/iv

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Joseph Mallord William Turner
English, 1775–1851
Juvenile Tricks, plate 22 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
178 x 257 mm (image); 206 x 286 mm (plate); 297 x 431 mm (sheet)
Finberg 22 i/iii

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Joseph Mallord William Turner
English, 1775–1851
The Temple of Minerva Medica, plate 23 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
181 x 264 mm (image); 205 x 287 mm (plate); 299 x 427 mm (sheet)
Finberg 23 i/v

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Joseph Mallord William Turner
English, 1775–1851
Coast of Yorkshire, plate 24 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
177 x 258 mm (image); 206 x 287 mm (plate); 291 x 432 mm (sheet)
Finberg 24 i/iv

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Joseph Mallord William Turner
English, 1775–1851
Hind Head Hill, plate 25 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
176 x 258 mm (image); 206 x 287 mm (plate); 293 x 419 mm (sheet)
Finberg 25 ii/iv

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Joseph Mallord William Turner
English, 1775–1851
London from Greenwich, plate 26 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
178 x 264 mm (image); 200 x 288 mm (plate); 287 x 420 mm (sheet)
Finberg 26 ii/iv

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Joseph Mallord William Turner
English, 1775–1851
Windmill and Lock, plate 27 from Liber Studiorum
June 1, 1811
Etching and mezzotint printed in brown inks
177 x 257 mm (image); 209 x 289 mm (plate); 299 x 427 mm (sheet)
Finberg 27 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Junction of Severn and Wye, plate 28 from Liber Studiorum
June 1811
Etching and mezzotint printed in brown inks
179 x 260 mm (image); 207 x 287 mm (plate); 291 x 429 mm (sheet)
Finberg 28 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Marine Dabblers, plate 29 from Liber Studiorum
June 1811
Etching and mezzotint printed in brown inks
178 x 259 mm (image); 208 x 289 mm (plate); 292 x 432 mm (sheet)
Finberg 29 i/ii

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Joseph Mallord William Turner
English, 1775–1851
Near Blair Athol, plate 30 from Liber Studiorum
June 1, 1811
Etching and mezzotint printed in brown inks
178 x 259 mm (image); 207.5 x 290 mm (plate); 293 x 429 mm (sheet)
Finberg 30 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Lauffenbourgh on the Rhine, plate 31 from Liber Studiorum
January 1, 1811
Etching and mezzotint printed in brown inks
274 x 258 mm (image); 201 x 287 mm (plate); 287 x 434 mm (sheet)
Finberg 31 ii/vi

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Joseph Mallord William Turner
English, 1775–1851
Young Anglers, plate 32 from Liber Studiorum
June 1, 1811
Etching and mezzotint printed in brown inks
178 x 262 mm (image); 208 x 290 mm (plate); 298 x 429 mm (sheet)
Finberg 32 iii/iii

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Joseph Mallord William Turner
English, 1775–1851
St. Catherine's Hill near Guildford, plate 33 from Liber Studiorum
June 1811
Etching and mezzotint printed in brown inks
185 x 260 mm (image); 211 x 288 mm (plate); 301 x 432 mm (sheet)
Finberg 33 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Martello Towers near Bexhill, Sussex, plate 34 from Liber Studiorum
June 1811
Etching and mezzotint printed in brown inks
185 x 260 mm (image); 211 x 288 mm (plate); 291 x 432 mm (sheet)
Finberg 34 iii/iv

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Joseph Mallord William Turner
English, 1775–1851
Inverary Pier, plate 35 from Liber Studiorum
June 1, 1811
Etching and mezzotint printed in brown inks
179 x 260 mm (image); 209 x 289 mm (plate); 298 x 428 mm (sheet)
Finberg 35 iii/vi

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Joseph Mallord William Turner
English, 1775–1851
From Spenser's Fairy Queen, plate 36 from Liber Studiorum
June 1811
Etching and mezzotint printed in brown inks
180 x 260 mm (image); 207 x 289 mm (plate); 300 x 436 mm (sheet)
Finberg 36 iii/iv

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Joseph Mallord William Turner
English, 1775–1851
Water Mill, plate 37 from Liber Studiorum
February 1, 1812
Etching and mezzotint printed in brown inks
182 x 261 mm (image); 209 x 288 mm (plate); 288 x 429 mm (sheet)
Finberg 37 i/iii

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Joseph Mallord William Turner
English, 1775–1851
Scene in the Campagna plate 38 from Liber Studiorum
February 1, 1812
Etching and mezzotint printed in brown inks
179 x 261 mm (image); 209 x 287 mm (plate); 295 x 430 mm (sheet)
Finberg 38 i/ii

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Joseph Mallord William Turner
English, 1775–1851
Crypt of Kirkstall Abbey, plate 39 from Liber Studiorum
February 11, 1812
Etching and mezzotint printed in brown inks
180 x 262 mm (image); 208 x 290 mm (plate); 294 x 434 mm (sheet)
Finberg 39 Proof "C"

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Joseph Mallord William Turner
English, 1775–1851
The Mildmay Sea Piece, plate 40 from Liber Studiorum
February 11, 1812
Etching and mezzotint printed in brown inks
178 x 262 mm (image); 209 x 292 mm (plate); 290 x 427 mm (sheet)
Finberg 40 ii/iv

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Joseph Mallord William Turner
English, 1775–1851
Procris and Cephalus, plate 41 from Liber Studiorum
February 14, 1812
Etching and mezzotint printed in brown inks
185 x 264 mm (image); 216 x 290 mm (plate); 297 x 434 mm (sheet)
Finberg 41 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Winchelsea, Sussex, plate 42 from Liber Studiorum
April 23, 1812
Etching and mezzotint printed in brown inks
261 x 180 mm (image); 207 x 288 mm (plate); 290 x 428 mm (sheet)
Finberg 42 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
The Bridge and Goats, plate 43 from Liber Studiorum
April 23, 1812
Etching and mezzotint printed in brown inks
181 x 253 mm (image); 211 x 290 mm (plate); 293 x 434 mm (sheet)
Finberg 43 iii/v

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Joseph Mallord William Turner
English, 1775–1851
Calm, plate 44 from Liber Studiorum
April 23, 1812
Etching and mezzotint printed in brown inks
177 x 261 mm (image); 214 x 302 mm (plate); 295 x 436 mm (sheet)
Finberg 44 iii/vii

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Joseph Mallord William Turner
English, 1775–1851
Peat Bog, Scotland, plate 45 from Liber Studiorum
April 23, 1812
Etching and mezzotint printed in brown inks
178 x 259 mm (image); 207 x 289 mm (plate); 295 x 434 mm (sheet)
Finberg 45 iii/v

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Joseph Mallord William Turner
English, 1775–1851
Rispah, plate 46 from Liber Studiorum
April 23, 1812
Etching and mezzotint printed in brown inks
179 x 262 mm (image); 209 x 291 mm (plate); 294 x 439 mm (sheet)
Finberg 46 ii/iv

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Joseph Mallord William Turner
English, 1775–1851
Hedging and Ditching, plate 47 from Liber Studiorum
May 23, 1812
Etching and mezzotint printed in brown inks
184 x 260 mm (image); 210 x 291 mm (plate); 293 x 431 mm (sheet)
Finberg 47 i/iv

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Joseph Mallord William Turner
English, 1775–1851
River Wye, plate 48 from Liber Studiorum
May 23, 1812
Etching and mezzotint printed in brown inks
184 x 264 mm (image); 209 x 291 mm (plate); 293 x 435 mm (sheet)
Finberg 48 i/v

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Joseph Mallord William Turner
English, 1775–1851
Chain of Alps from Genoble to Chamberi, plate 49 from Liber Studiorum
May 23, 1812
Etching and mezzotint printed in brown inks
177 x 259 mm (image); 208 x 288 mm (plate); 296 x 435 mm (sheet)
Finberg 49 i/iv

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Joseph Mallord William Turner
English, 1775–1851
Mer de Glace, plate 50 from Liber Studiorum
May 23, 1812
Etching and mezzotint printed in brown inks
176 x 254 mm (image); 212 x 292 mm (plate); 291 x 440 mm (sheet)
Finberg 50 i/v

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Joseph Mallord William Turner
English, 1775–1851
Rivaux Abbey, plate 51 from Liber Studiorum
May 23, 1812
Etching and mezzotint printed in brown inks
182 x 265 mm (image); 218 x 298 mm (plate); 294 x 435 mm (sheet)
Finberg 51 i/iv

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Joseph Mallord William Turner
English, 1775–1851
Solway Moss, plate 52 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
183 x 267 mm (image); 209 x 290 mm (plate); 293 x 425 mm (sheet)
Finberg 52 iii/v

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Joseph Mallord William Turner
English, 1775–1851
Solitude, plate 53 from Liber Studiorum
May 12, 1814
Etching and mezzotint printed in brown inks
176 x 257 mm (image); 205 x 288 mm (plate); 290 x 423 mm (sheet)
Finberg 53 ii/vii

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Joseph Mallord William Turner
English, 1775–1851
Mill near the Grand Chartreuse, plate 54 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
188 x 257 mm (image); 207 x 290 mm (plate); 302 x 422 mm (sheet)
Finberg 54 ii/iv

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Joseph Mallord William Turner
English, 1775–1851
Entrance of Calais Harbour, plate 55 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
179 x 269 mm (image); 219 x 302 mm (plate); 293 x 424 mm (sheet)
Finberg 55 iii/vi

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Joseph Mallord William Turner
English, 1775–1851
Dumblain Abbey, plate 56 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
185 x 265 mm (image); 206 x 287 mm (plate); 298 x 416 mm (sheet)
Finberg 56 ii?/iv

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Joseph Mallord William Turner
English, 1775–1851
Norham Castle, plate 57 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
177 x 260 mm (image); 207 x 288 mm (plate); 297 x 424 mm (sheet)
Finberg 57 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Berry Pomeroy Castle, plate 58 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
194 x 270 mm (image); 214 x 290 mm (plate); 295 x 430 mm (sheet)
Finberg 58 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Ville de Thun, plate 59 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
178 x 262 mm (image); 206 x 292 mm (plate); 294 x 419 mm (sheet)
Finberg 59 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Source of the Averon, plate 60 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
289 x 268 mm (image); 215 x 291 mm (plate); 291 x 422 mm (sheet)
Finberg 60 ii/iii

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Joseph Mallord William Turner
English, 1775–1851
Tenth Plague of Egypt, plate 61 from Liber Studiorum
January 1, 1816
Etching and mezzotint printed in brown inks
176 x 259 mm (image); 208 x 289 mm (plate); 295 x 409 mm (sheet)
Finberg 61 iii/iv

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Attributed to Joseph Mallord William Turner
English, 1775–1851
Carron Iron Works
Oil on board
13 1/2 x 10 in. (34.3 x 25.4 cm)

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Attributed to Joseph Mallord William Turner
English, 1775–1851
Hoolay Deedy, Seringapatam
c. 1800
Watercolor, body color, and pencil on wove paper
16 9/16 x 25 3/4 in. (42.1 x 65.4 cm)

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Circle of Joseph Mallord William Turner
English, 1775–1851
An Extensive Wooded Landscape with Cattle in the Foreground
Pencil and watercolor on paper
12 3/4 x 21 1/4 in. (32.4 x 54 cm)

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Attributed to William Turner
English, 1789–1862
Extensive Landscape from a City across a Bay
Pencil and watercolor heightened with white on buff paper
5 5/8 x 8 3/4 in. (14.3 x 22.2 cm)

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Alfred Vickers
A Wooded Country Landscape with Figures in a Cart
1855
Oil on canvas
23 3/4 x 35 3/4 in. (60.3 x 90.8 cm)

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Hugh "Grecian" Williams
Carne River from Loudoun Castle, Ayrshire
1804
Pencil and watercolor heightened with white
24 1/4 x 36 1/4 in. (61.6 x 67.3 cm)

Click for larger image

Hugh "Grecian" Williams
Castle Campbell, Clackmannanshire
1813
Pencil, pen and brown ink, and watercolor
23 1/2 x 30 3/4 in. (59.7 x 78.1 cm)

Click for larger image

Richard Wilson
English, 1714–1782
On the Banks of the Tiber
1751
Pencil and black and white chalk on laid paper
9 x 8 3/4 in. (22.9 x 22.2 cm)

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English School
A Mountainous Wooded River Landscape with a Waterfall
1824
Pencil, watercolor, and bodycolor with scratching out on paper
9 x 7 1/4 in. (22.9 x 18.4 xm)

Click for larger image

English School
Landscape with Church
Oil on paper mounted on board
1 13/16 x 3 9/16 in. (4.6 x 9 cm)

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English School
Landscape with Windmill
Oil on paper mounted on board
2 x 3 15/16 in. (5.1 x 10 cm)

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English School
Mountain Landscape
Oil on paper mounted on board
1 9/16 x 3 5/8 in. (4 x 9.2 cm)

Click for larger image

English School
An Oak Tree
1833
Pencil and black chalk on gray paper
10 1/2 x 14 3/4 in. (26.7 x 37.5 cm)

Click for larger image

English School
Petersham (recto)
1828
Black and white chalk on blue paper
5 1/2 x 7 1/4 in. (14 x 18.4 cm)

Click for larger image

English School
Tree Study (verso)
1828
Black and white chalk on blue paper
5 1/2 x 7 1/4 in. (14 x 18.4 cm)

Click for larger image

English School
A Ruined Gothic Castle
Pencil on paper
9 1/2 x 13 in. (24.1 x 33 cm)

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