Attributed to John Sanderson, active 1730; died 1774
Unidentified Country House: Ground Floor Plan
undated
703
Thomas Rowlandson, 1756–1827
The Picnic
undated
704
Attributed to office of Robert Adam, 1728–1792
Design for a Door-knocker
undated
705
James Paine, 1717–1789
Design for the Gothic Library at Felbrigg Hall in Norfolk
ca. 1750
706
unknown artist
Design after a Greek Vase
undated
707
George Richardson, ca.1738–ca.1813
Design for a Ceiling
undated
708
Sir Robert Taylor, 1714–1788
Thames Ditton, Surrey: Design for Gothic Church
ca. 1776
709
unknown artist
The Eton Boat on the Towpath of the Thames: Windsor Castle in Background
ca. 1845
710
George Edmund Street, 1824–1881
Detail of Red Altar for Prestbury Church, Cheltenham
1864
711
William Callow, 1812–1908
Walenstadt, from Weesen, Switzerland
1842
712
George Edmund Street, 1824–1881
Drawing for Cope Decoration or Painted Wall
undated
713
John Michael Rysbrack, 1694–1770
Design for a Monument to Sir James Reade, Hatfield
undated
714
Isaac Johnson, 1754–1835
Plan of an Estate Lying in Grundisburgh and Clopton
1779
715
Sir Robert Smirke the younger, 1781–1867
Windsor Castle, Berkshire
ca. 1823
716
Paul Sandby, 1731–1809
My Pretty Little Ginny Tarters for a Ha'penny a Stick or a Penny a Stick, or a Stick to Beat Your Wives or Dust Your Clothes
ca. 1759
717
Paul Sandby, 1731–1809
London Cries: A Milkmaid
ca. 1759
718
Paul Sandby, 1731–1809
London Cries: "Do You Want any Spoons..."
ca. 1759
719
Paul Sandby, 1731–1809
London Cries: "Turn your Copper into Silver Now before Your Eyes" (Title Page Design)
1760
720
Paul Sandby, 1731–1809
London Cries: A Girl with a Basket on Her Head ("Lights for the Cats, Liver for the Dogs")
ca. 1759
721
Adam Callander, active 1780–1811
High Cliff Castle (Hants)
undated
722
Paul Sandby, 1731–1809
London Cries: Flowers
undated
723
Paul Sandby, 1731–1809
London Cries: A Lace Seller
ca. 1759
724
Robert Morrison, active ca. 1791
Design for Court of Edinburgh University
1779
725
Robert Adam, 1728–1792
Headfort House, Ireland: Section of One End of the Parlor
1771
726
Robert Adam, 1728–1792
Headfort House, Ireland: Elevation of the Eating Parlor
1775
727
Robert Adam, 1728–1792
Headfort House, Ireland: Elevation of the Eating Parlor
1771
728
Robert Adam, 1728–1792
Headfort House, Ireland: Elevation of One End of the Parlor
between 1771 and 1775
729
Robert Adam, 1728–1792
Headfort House, Ireland: Elevations of the Front Hall
between 1771 and 1775
730
Robert Adam, 1728–1792
Langford House, Dublin, Ireland: Great Room Ceiling
1765
731
Robert Adam, 1728–1792
Headfort House, Ireland: Elevation of the Eating Parlor
1771
732
Robert Adam, 1728–1792
Headfort House, Ireland: Section of the Staircase
1771 or 1772
733
Robert Adam, 1728–1792
Headfort House, Ireland: Section of the Staircase
between 1771 and 1775
734
Robert Adam, 1728–1792
Headfort House, Ireland: Eating Parlor Ceiling
1775
735
Robert Adam, 1728–1792
Headfort House, Ireland: Staircase Ceiling
between 1771 and 1775
736
Robert Adam, 1728–1792
Headfort House, Ireland: Saloon Ceiling
1772
737
Robert Adam, 1728–1792
Headfort House, Ireland: Section of the Staircase
between 1771 and 1775
738
Robert Adam, 1728–1792
Headfort House, Ireland: Section of the Staircase
between 1771 and 1775
739
Robert Adam, 1728–1792
Langford House, Dublin, Ireland: Elevations of Room Facing Mary Street
1765
740
Robert Adam, 1728–1792
Headfort House, Ireland: Detail of the Lady's Room Ceiling
1772
741
Robert Adam, 1728–1792
Headfort House, Ireland: Detail of Entablature in the Staircase
between 1771 and 1775
742
Robert Adam, 1728–1792
Headfort House, Ireland: Lady's Room Ceiling
1772
743
Thomas Shotter Boys, 1803–1874
View Near Arundel Castle
1823 and 1874
744
Robert Adam, 1728–1792
Langford House, Dublin, Ireland: Elevations of Room Facing the Garden
1765
745
Richard Morris, active 1830
Regent's Park, London, The Colosseum, Clergy's Orphans' School and St. Andrew's Place, with Figures and Coaches
ca. 1831
746
John Thomas Smith, 1766–1833
Hogarth Engraving His Master's Shop-bill the Sign of the Angel
1817
747
John Thomas Smith, 1766–1833
Hogarth Carrying his Master's Sick Child Round Leicester Fields. The Spot of Ground Leicester House
1817
748
Thomas Shotter Boys, 1803–1874
Street Scene at Stratford by Bow
undated
749
John Thomas Smith, 1766–1833
Hogarth Declaring His Love to Miss Thornhill
1817
750
John Thomas Smith, 1766–1833
Hogarth Being Out of His Time Draws His Companion's Figure on the Door of a Certain Place, to the Great Admiration of All His Friends
1817
751
John Thomas Smith, 1766–1833
Hogarth After His Wife had Put on a New Night Shirt, Ties up Her Things to Send to Sir James Thornhill with a Letter in Which He Told Him, 'He took His Daughter Without a Smock to Her A--e
1817
752
Thomas Shotter Boys, 1803–1874
Queen Anne Boleyn's Room, Windsor Castle
undated
753
John Thomas Smith, 1766–1833
Hogarth Has Made Breakfast and Sends up a Cup to His Wife at the Same Time Ordering the Little Dog to be Admitted to her Mistress's Bedchamber
1817
754
John Thomas Smith, 1766–1833
The Smock Exposed
1817
755
John Thomas Smith, 1766–1833
The Reconcilation
1817
756
John Thomas Smith, 1766–1833
Hogarth Drinking the First Glass of Wine with His Wife - Their Dogs Keeping Respectful Distances
1817
757
John Thomas Smith, 1766–1833
Sir James Thornhill's Boy Entering His Master's Painting Room to Deliver the Bundle and a Letter in the Presence of Lady Thornhill
1817
758
John Thomas Smith, 1766–1833
Hogarth Drawing Sarah Malcolm
1817
759
John Thomas Smith, 1766–1833
Hogarth Painting in Vauxhall Gardens in the Presence of Jonathan Tyers
1817
760
John Thomas Smith, 1766–1833
Hogarth Painting His Picture of Captain Coram for the Foundling Hospital
1817
761
John Thomas Smith, 1766–1833
Hogarth Solicits His Patron Bishop Hoadley to Look Over His MS. 'Analysis of Beauty'
1817
762
John Thomas Smith, 1766–1833
Hogarth Sitting to Roubiliac for His Bust
1817
763
John Thomas Smith, 1766–1833
Hogarth painting 'The Lady's Last Stake,' in the Presence of Lord Charlemont
1817
764
John Thomas Smith, 1766–1833
Hogarth Making up a Portrait of H. Fielding, for a Bookseller, from the Features of Garrick Who Borrowed One of the Author's Wigs for the Particular Purpose There Being No Genuine Portrait of Him
1817
765
John Thomas Smith, 1766–1833
The Eleventh Hour
1817
766
John Thomas Smith, 1766–1833
Hogarth at Old Slaughter's Hobbing with Highmore the Painter
1817
767
John Thomas Smith, 1766–1833
Hogarth Having Been Followed by Barry and a Friend was Caught Backing a Boy to Fight Purposely to Catch His Fearful Countenance
1817
768
Hubert-François Gravelot, 1699–1773
Design for Medal: Both Hands Fil'd for Britain
undated
769
Louis Philippe Boitard, active 1734–1760
Self-Portrait with Two Young Men
between 1730 and 1740
770
Samuel Prout, 1783–1852
Beach Scene
undated
771
Johann Heinrich Ramberg, 1763–1840
The Assignation
undated
772
Robert Adam, 1728–1792
Headfort House: Moldings in the Hall
1772
773
Robert Adam, 1728–1792
Headfort House: Moldings in the Great Room
1772
774
Robert Adam, 1728–1792
Headfort House: Staircase Moldings
1772
775
Benjamin Robert Haydon, 1786–1846
Study of a Male Nude
undated
776
Benjamin Robert Haydon, 1786–1846
Figure Studies of a Man Rising From the Ground
undated
777
Sir Richard Colt Hoare, 1758–1838
Church of S. Domenico near Sora built upon the ruins of Cicero's Villa
1790
778
Sir Richard Colt Hoare, 1758–1838
The Tomb of Plautius, near Tivoli
1786 to 1819
779
Sir Richard Colt Hoare, 1758–1838
At Tivoli, near Rome
1786 to 1819
780
Sir Richard Colt Hoare, 1758–1838
A view of Vicovaro alias Vicus Varii
1786 to 1819
781
Sir Richard Colt Hoare, 1758–1838
The Convent of St. Cosimato, and part of the Claudian Aqueduct
1786 to 1819
782
Sir Charles D'Oyly, 1781–1845
View of Hagia Sophia Mosque and Shadirvan Fountain, Istanbul
undated
783
Sir Charles D'Oyly, 1781–1845
Government House from St. Andrew's Library - Calcutta
between 1833 and 1838
784
Sir Charles D'Oyly, 1781–1845
Old Courthouse Street on Tank Square
between 1833 and 1838
785
Thomas Rowlandson, 1756–1827
View on Exmoor
undated
786
Elias Martin, 1739–1818
Reading Lesson at a Dame School
undated
787
James Gwin, 1700–1769
Position de la Garde Italienne de L'Epée & Poignard
1763
788
James Gwin, 1700–1769
Du Desarmement Aprés Avoir Paré le Coup de Quarte
1763
789
James Gwin, 1700–1769
De la Garde Espagnole Combattüe Aprês la Parade du Coup d'Estramasson
1763
790
James Gwin, 1700–1769
Position Aprés Avoir Desarme sur le Coup de Quarte ou de Seconde Paré de Prime
1763
791
James Gwin, 1700–1769
Garde de L'Epée & Manteau Attaquée par L'Epée & Lanterne
1763
792
James Gwin, 1700–1769
De la Garde Espagnole, Figure A Attaqueé par la Garde Françoise
1763
793
James Gwin, 1700–1769
Du Desarmement Aprés la Parade au Dehors des Armes
1763
794
James Gwin, 1700–1769
Garde de l'Espadonneur. Figure A. Garde Dêfensive du Pointeur. Figure B
1763
795
James Gwin, 1700–1769
Risposte Aprés Avoir Trompé la Parade du Poignard
1763
796
James Gwin, 1700–1769
L'Epée & Lanterne Combattüe par L'Epée et Manteau
1763
797
Sir Robert Smirke the younger, 1781–1867
The Mad House in the Suburbs of Vienna
1804
798
Sir Robert Smirke the younger, 1781–1867
Sketch of a Window and Arches of the Nave in the Church of St. Wensceslas in Prague
1802-1804
799
Sir Robert Smirke the younger, 1781–1867
Sketch of the Plan of the Church of Saint Wenceslas in Prague