On-site Access: Accessible by appointment in the Study Room / Date: 1827

Francis Danby, 1793–1861

Study for "The Golden Age"

1827

John Constable, 1776–1837

Sky Study with Rainbow

1827

Joseph Mallord William Turner, 1775–1851

Design for an Illustration for Walter Scott's "Lady of the Lake", Loch Achray

ca. 1832

Joseph Mallord William Turner, 1775–1851

Carlisle

ca. 1832

Edward Lear, 1812–1888

Entrance to the Port of Marseille

undated

Edward Lear, 1812–1888

People on the Road Near Kalicut, Malabar

undated

Edward Lear, 1812–1888

Illustration to Tennyson's "The Gardener's Daughter:" Mount Lebanon, Syria - `A Cedar spread his dark green layers of shade'

undated

Edward Lear, 1812–1888

Illustration to Tennyson's "You Ask Me Why": Areka Palms, Ratanapooru, Ceylon - `I will see before I die The Palms and Temples of the South'

undated

Edward Lear, 1812–1888

Venice, the Doge's Palace

undated

Edward Lear, 1812–1888

English Country Town

undated

William Blake, 1757–1827

pl. 1: The Circle of the Lustful [' ...and like a corpse fell to the ground' Hell; Canto v. line 137.]

1827

William Blake, 1757–1827

Pl. 2: Ciampolo Tormented by the Devils ['...seiz'd on his arm, / And mangled bore away the sinewy part.' Hell; Canto xxii. line 70.]

1827

William Blake, 1757–1827

Pl. 4: The Six-Footed Serpent Attacking Agnolo Brunelleschi ['...lo! a serpent with six feet/ Springs forth on one,'Hell; Canto xxv. line 45.]

1827

William Blake, 1757–1827

Pl. 5: A Serpent Attacking Buoso Donata ['...He ey'd the serpent and the serpent him.' Hell; Canto xxv. line 82.]

1827

William Blake, 1757–1827

Pl. 6: The Pit of Disease ['...Then two I mark'd that sat Propp'd 'gainst each other,' Hell; Canto xxix. line 71.]

1827

William Blake Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?' weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]

William Blake, 1757–1827

Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?' weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]

1827

William Blake, 1757–1827

Pl. 3: Baffled Devils Fighting [' ... so turn'd/ His talons on his comrade.' Hell; Canto xxii. line 135]

1827

William Blake, 1757–1827

Illustrations to Dante's Divine Comedy

1827

William Blake, 1757–1827

Illustrations to Dante's "Divine Comedy"

1827

William Blake, 1757–1827

Pl. 6: The Pit of Disease ['...Then two I mark'd that sat Propp'd 'gainst each other,' Hell; Canto xxix. line 71.]

1827

William Blake, 1757–1827

Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?'weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]

1827

William Blake, 1757–1827

Pl. 4: The Six-Footed Serpent Attacking Agnolo Brunelleschi ['...lo! a serpent with six feet/ Springs forth on one,' Hell; Canto xxv. line 45.]

1827

William Blake, 1757–1827

Pl. 5: A Serpent Attacking Buoso Donata ['...He ey'd the serpent and the serpent him.' Hell; Canto xxv. line 82.]

1827

William Blake, 1757–1827

Illustrations to Dante's Divine Comedy

1827

William Blake, 1757–1827

Pl. 2: Ciampolo Tormented by the Devils ['...seiz'd on his arm,/ And mangled bore away the sinewy part.' Hell; Canto xxii. line 70.]

1827

William Blake, 1757–1827

Pl. 3: Baffled Devils Fighting [' ... so turn'd/ His talons on his comrade.' Hell; Canto xxii. line 135]

1827

Capt. Thomas Hastings, 1778–1854

Milfield, East Cowes, Isle of Wight

1827

Capt. Thomas Hastings, 1778–1854

Lord Henry Seymour's Estate

1827

Capt. Thomas Hastings, 1778–1854

The Road between East Cowes and Newport, 1 September 1827

1827

Capt. Thomas Hastings, 1778–1854

Distant View of West Cowes, Isle of Wight

1827

Capt. Thomas Hastings, 1778–1854

Beaulieu, Hampshire

1827

Capt. Thomas Hastings, 1778–1854

Bonchurch, Isle of Wight

1827

Capt. Thomas Hastings, 1778–1854

Beaulieu, Hampshire

1827

Capt. Thomas Hastings, 1778–1854

Portsmouth, Hampshire

1827

Print made by Thomas Goff Lupton, 1791–1873

Dover

1827

Print made by Thomas Goff Lupton, 1791–1873

Dover

1827

Print made by Thomas Goff Lupton, 1791–1873

Calais Pier - the English Packet Arriving

1827

Print made by Thomas Goff Lupton, 1791–1873

Ramsgate

1827

Print made by Thomas Goff Lupton, 1791–1873

Ramsgate

1827

Print made by Thomas Goff Lupton, 1791–1873

Ramsgate

1827

William James Muller, 1812–1845

Study of a Cottage by a lane

undated

William James Muller, 1812–1845

Farm Buildings

undated

James Duffield Harding, 1798–1863

Fishermen's Houses at Sculcoats near Hull, Yorkshire

1827

John Frederick Lewis, 1804–1876

St. Goarhausen on the Rhine between Koblenz and Mainz

1827

John Frederick Lewis, 1804–1876

The Via Mala

1827

John Frederick Lewis, 1804–1876

The Valley of Lutscheuen

1827

John Frederick Lewis, 1804–1876

Tyrolese Hunters

between 1827 and 1828

Thomas Stothard, 1755–1834

The Fortune Teller

1827

Print made by Thomas Jeavons, ca. 1800–1867

Exeter

1827-1838

Print made by Thomas Jeavons, ca. 1800–1867

Exeter

1827-1838

Print made by Thomas Jeavons, ca. 1800–1867

Exeter

1827-1838

Print made by W. R. Smith, active 1819–1851

Tynemouth, Northumberland

1827-1838

Charles J. Hullmandel, 1789–1850

Hammersmith Suspension Bridge, The first Stone laid 7th May, 1825 by H.R.H. the Duke of Sussex, and opened [by him], [ ] Oct. 1827

1827

Capt. Thomas Hastings, 1778–1854

Sketch of Boatmen on the Shore, Ships in the Distance

1827

Sir George Hayter, 1792–1871

A Capriccio of Windsor Castle

1827

Sir George Hayter, 1792–1871

Banditti of Kurdistan Assisting Georgians in Surprising and Carrying off Circassian Women

1827

Frederick Christian Lewis the Elder, 1779–1856

River Tamar, near Endsleigh, Devon

ca. 1832

George Fennell Robson, 1788–1833

St. Paul's from Southwark by Sunset

ca. 1832

Print made by Edward Goodall, 1795–1870

Old London Bridge and Vicinity

1827

Print made by James T. Willmore, 1800–1863

Kilgarren Castle, Pembroke

1827-1838

Print made by Edward Francis Finden, 1791–1857

Temple of Minerva, Cape Colonna

ca. 1832

Print made by Robert Wallis, 1794–1878

Buckfastleigh Abbey, Devonshire

1827

Print made by Thomas Jeavons, ca. 1800–1867

Vesuvius in Eruption

1827

Joseph Nash, 1808–1878

Fashionable Men and Women Promenading

1827

Print made by William Tombleson, ca.1795–1835

City of London, Arch of Waterloo Bridge

1827

George Cooke, 1781–1834

Wilsdon Church, Middlesex

1827

T. Levens

Ancient Sculpture on the Walls of St. Dunstans Stebenlethe

1827

William Deeble, active 1814–1849

The London Institution, Funsbury Circus

1827

unknown artist

Ticket for a Performance of Sacred Music on 1st March 1827

1827

George Cooke, 1781–1834

Enfield, Outer Suburb North

1827

John Goddard, active 1811–1842

This Northwest Perspective View front Elevation of the New Church of St. George, Camberwell..

1827

Print made by Thomas Jeavons, ca. 1800–1867

Exeter

1827-1838

Print made by W. R. Smith, active 1819–1851

Tynemouth, Northumberland

1827-1838

Richard Parkes Bonington, 1802–1828

Trees and a Cottage by a River

1827

William James Muller, 1812–1845

The Bridge at Llangollen

undated

James Pattison Cockburn, 1779–1847

Advanced Guard - Sunrise

ca. 1832

Welby Sherman, active 1827

Shepherd and Shepherdess by Moonlight

undated

William James Muller, 1812–1845

A Mountain Torrent

undated

William James Muller, 1812–1845

Study of a Rustic Interior Scene

undated

John James Chalon, 1778–1854

Music: Composition in a Garden

ca. 1832

William James Muller, 1812–1845

The Bridge

undated

Joseph Nash, 1808–1878

Sketches of Towns People

1827

Print made by Sir Robert Smirke the younger, 1781–1867

Design for London Bridge Approach

between 1827 and 1835

Print made by Sir Robert Smirke the younger, 1781–1867

Design for London Bridge Approach

between 1827 and 1835

Richard Parkes Bonington, 1802–1828

Study of a Gentleman in 17th Century Costume

between 1827 and 1828