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Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Rev. William Gilpin, 1724–1804

The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)

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Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)

Rev. William Gilpin, 1724–1804

These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)

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Rev. William Gilpin, 1724–1804

These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)

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Rev. William Gilpin Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)

Rev. William Gilpin, 1724–1804

Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)

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Rev. William Gilpin, 1724–1804

The same idea is continued; but the sky is still more tinged with its warm evening hue (Design for Plate 21)

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Rev. William Gilpin, 1724–1804

The evening glow now pervades the Landscape strongly (Design for Plate 24)

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Rev. William Gilpin, 1724–1804

The evening glow now pervades the Landscape strongly (Design for Plate 25)

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Rev. William Gilpin, 1724–1804

A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)

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Rev. William Gilpin The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)

Rev. William Gilpin, 1724–1804

The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)

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Rev. William Gilpin, 1724–1804

The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

Rev. William Gilpin, 1724–1804

The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

Rev. William Gilpin Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)

Rev. William Gilpin, 1724–1804

Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

unknown artist

Alexander Hood, 1st Viscount Bridport

William Nutter, 1754–1802

Saturday Evening, the Husbandman's Return From Labour

1795

Print made by Sir David Young Cameron, 1865–1945

Afternoon

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Print made by Sir David Young Cameron, 1865–1945

April in the Hills

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James Bretherton, ca. 1730–1806

Dancing Bear with Its Keeper, Piper, and Audience of One

1774

William Dickinson, 1746–1823

The Deserter

1784

Simon Watts, active 1812

The little Hunchback dining with the Taylor, is choak'd with a Fish Bone

1787

Charles John Watson, 1846–1927

Chelsea

1879

Print made by John Crome, 1768–1821

Composition: Sandy Road through Woodland

1813

Print made by John Crome, 1768–1821

Three Landscape Studies

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George Cruikshank, 1792–1878

The Great Harry. The First Ship of War that Carried Guns

1834

Henry Salt, 1780–1827