Sneyd's Illustrations to [Henry Fielding's] Tom Jones
749
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
750
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
751
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
752
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
753
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
754
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
755
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
756
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
757
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
758
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
759
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
760
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
761
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
762
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
763
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
764
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)
undated
765
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)
undated
766
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)
undated
767
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)
undated
768
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)
undated
769
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 24)
undated
770
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 25)
undated
771
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)
undated
772
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)
undated
773
Rev. William Gilpin, 1724–1804
The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)
undated
774
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
775
Rev. William Gilpin, 1724–1804
The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)
undated
776
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
777
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
778
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)
undated
779
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
780
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
781
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
782
William Havell, 1782–1857
[One from a group of views] Thames and South Coast
1822
783
unknown artist
Alexander Hood, 1st Viscount Bridport
784
unknown artist
No.3, The Windmill, Parker's Warehouse, etc., Taken from Mr. Russell's
1815-1816
785
unknown artist
No.4, The Parson of Clerk Rock, Part of the Warren, Babbacombe and Hills Towards Torquay, Taken from the Beacon
1815-1816
786
unknown artist
No.6, The Lime Kilns and Country towards Littleham, Taken near Exmouth
1815-1816
787
unknown artist
No.5, The Rocks, Towards Salterton, Taken from the Fields Beyond the Beacon
1815-1816
788
unknown artist
No.8, The Milk House, Part of the Warren of Haldon in the Distance, Taken from the Lime Kilns
1815-1816
789
unknown artist
No.10, The Milk House, Lime Kilns, Webber's Farm, etc., Going from Exmouth
1815-1816
790
unknown artist
No.7, The Lime Kilns and Mr. Williamson's House, Returning from the Rocks
1815-1816
791
unknown artist
No.9, The Milk House, Warren, etc. Returning to Exmouth
1815-1816
792
unknown artist
No.12, Part of the Warren, Dr. Drury's, etc
1815-1816
793
unknown artist
No.15, The Windmill, Parker's Warehouse with Powderham in the Distance
1815-1816
794
unknown artist
No.11, The Rocks Going towards Salterton
1815-1816
795
unknown artist
No.14, The Beacon, Taken from the Windmill
1815-1816
796
unknown artist
No.13, The Beacon, General Legder's, Star Cross, etc., Taken from the Beacon Fields
1815-1816
797
unknown artist
No.16, Lympstone Rock and Topsham Taken from the Windmill, Exmouth
1815-1816
798
unknown artist
No.17, The Rocks, towards Salterton, Taken near the Windmill, Exmouth
1815-1816
799
unknown artist
No.18, Berry Head, etc., Taken at Dawlish
1815-1816
800
unknown artist
No.20, Berry Head, Parson of Clerk Rock etc., Taken from Dawlish