Flying Childers at Exercise: Hooded and Rugged, with Jockey Up, Galloping Up, Galloping to Left
undated
1202
James Seymour, 1702–1752
'True Blue Beat by Whitefoot': Galloping to Left, with Jockey Up Whipping-On
undated
1203
Hubert-François Gravelot, 1699–1773
The Sporting Lady
undated
1204
John Warwick Smith, 1749–1831
View from the Vidette Near Hakin on Signal Hill, Looking Beyond Nangle Point and Thorn Island, Pembrokeshire
1764-1831
1205
George Alken, 1794–active 1837
Foxhunting: Full Cry
between 1827 and 1837
1206
George Alken, 1794–active 1837
Foxhunting: Drawing Covert
undated
1207
Henry Thomas Alken, 1785–1851
"Scraps", no. 33: Mounted Mameluke Brandishing a Sword
1823
1208
Henry Thomas Alken, 1785–1851
"Scraps", no 17: Racing, Three Horses with Jockeys Up Galloping to Right
undated
1209
Henry Thomas Alken, 1785–1851
Symptoms: of None of Your Stuff, of a Declaration, of a Meltonian, of Is that a Writ I See Before Me, of a Love Feast, of a Buck
between 1818 and 1822
1210
Henry Thomas Alken, 1785–1851
Symptoms: of Unwelcome Guests, of Being Off the Curb, of Can't Exactly Say: No Consulation of Physicians, of W'ont Exactly Say: No Consultations of Lawyers
between 1818 and 1822
1211
Henry Thomas Alken, 1785–1851
Turbaned Cavalryman on a Horse
undated
1212
Henry Thomas Alken, 1785–1851
"Sporting Notions": 'I Had No Notion of the Comforts of Hunting by Water'
between 1831 and 1832
1213
Henry Thomas Alken, 1785–1851
"Sporting Notions": 'This Gives Me a Notion it's Better to "Look Before You Leap" '
between 1831 and 1832
1214
Henry Thomas Alken, 1785–1851
"Sporting Notions": 'All He Is Fit For Sir, Now is to Be Cut Up. I Have a Notion That He Can't Be Cut up More Than Myself'
between 1831 and 1832
1215
Henry Thomas Alken, 1785–1851
"Sporting Notions:" 'Hav'nt You a Notion That Tthis is the Best Mode of Monveyance Over a brook? and I Think by the Look of the Fellow he Never Had Any Thing so Neat in His Thing-a-My Before'
between 1831 and 1832
1216
Henry Thomas Alken, 1785–1851
"Sporting Notions": 'I Have a Notion That My Horse Looks Like 40 Guineas in the Pound'
between 1831 and 1832
1217
James Seymour, 1702–1752
Rider on a Horse, Rearing to Left
undated
1218
Samuel Jackson, 1794–1869
St. Michael's Hill, Bristol
ca. 1824
1219
Sir Francis Seymour Haden, 1818–1910
Battersea Reach
1863
1220
Print made by Sir Francis Seymour Haden, 1818–1910
The Towing Path
1864
1221
Print made by Sir Francis Seymour Haden, 1818–1910
Hampton Court
1864
1222
Sir Francis Seymour Haden, 1818–1910
Sunset on the Thames
1865
1223
Sir Francis Seymour Haden, 1818–1910
Cottages behind Horsley's House
1865
1224
Print made by Thomas Chambars, ca. 1724–1789
Henry Cornelius Vroom
undated
1225
Print made by Ernest Stephen Lumsden, 1883–1948
Near Inverness
1909
1226
Print made by Robert Brandard, 1805–1862
Orford, Suffolk
1827
1227
Print made by Edward Goodall, 1795–1870
Aldborough, Suffolk
1827
1228
John Thirtle, 1777–1839
View near Bishopsgate Bridge with Cow Tower, looking towards Mousehold
undated
1229
Edmund J. Sullivan, 1869–1933
Mother Shopping
July 9, 1932
1230
Print made by Sir David Young Cameron, 1865–1945
Ayr
1889
1231
Print made by Sir David Young Cameron, 1865–1945
Title Page: William Hunter's Coat of Arms
1893
1232
Print made by Sir David Young Cameron, 1865–1945
The Chapel and Founder's Tomb, Charterhouse
between 1894 and 1910
1233
Print made by Sir David Young Cameron, 1865–1945
Rue Saint Julien, le Pauvre [The Paris Set: No. 6]
1904
1234
Print made by Robert Wallis, 1794–1878
Bolton Abbey, Yorkshire
1827
1235
Print made by Edward Goodall, 1795–1870
Rievaulx Abbey, Yorkshire
1827
1236
Print made by W. R. Smith, active 1819–1851
Richmond, Yorkshire
1827
1237
Print made by W. R. Smith, active 1819–1851
Richmond, Yorkshire
1827
1238
Print made by J. C. Varrall, active 1815–1827
Launceston, Cornwall
1827
1239
Print made by J. C. Varrall, active 1815–1827
Launceston, Cornwall
1827
1240
Print made by W. R. Smith, active 1819–1851
Richmond, Yorkshire
1827
1241
Print made by Robert Wallis, 1794–1878
Barnard Castle, Durham
1827
1242
Print made by Robert Brandard, 1805–1862
Orford, Suffolk
1827
1243
Print made by Robert Wallis, 1794–1878
Buckfastleigh Abbey, Devonshire
1828
1244
Print made by Thomas Jeavons, ca. 1800–1867
Knaresborough, Yorkshire
1828
1245
Print made by Thomas Jeavons, ca. 1800–1867
Exeter
1819-1826
1246
Print made by James Tibbits Willmore, 1800–1863
Kilgarren Castle, Pembroke
1829
1247
Print made by Thomas Jeavons, ca. 1800–1867
Exeter
1829
1248
Print made by Robert Brandard, 1805–1862
Lancaster Sands
1828
1249
Print made by James Tibbits Willmore, 1800–1863
Richmond, Yorkshire
1828
1250
Print made by William Radclyffe, 1780–1855
Louth, Lincolnshire
1829
1251
Print made by James Tibbits Willmore, 1800–1863
Alnwick Castle, Northumberland
1830
1252
Print made by William Miller, 1796–1882
Stamford, Lincolnshire
1830
1253
Print made by John Copley, 1875–1950
The Bath
undated
1254
Print made by Edward Goodall, 1795–1870
Florence, from the Chiesa al Monte
1826-1837
1255
Print made by Paul Drury, 1903–1987
After Work
1926
1256
Print made by Edmund Blampied, 1886–1966
The End of the Day
1919
1257
Print made by Sir David Young Cameron, 1865–1945
On the Bradford
1902
1258
Print made by Sir David Young Cameron, 1865–1945
Distant View of Winchester and St. Cross
1902
1259
Print made by Sir David Young Cameron, 1865–1945
Ponte della Trinita
between 1902 and 1907
1260
Print made by Edward Goodall, 1795–1870
Rievaulx Abbey, Yorkshire
1827
1261
Print made by Robert Wallis, 1794–1878
Lancaster from the Aqueduct Bridge
1827
1262
Print made by Robert Wallis, 1794–1878
Colchester, Essex
1827
1263
Print made by Robert Wallis, 1794–1878
Barnard Castle, Durham
1827
1264
Print made by W. R. Smith, active 1819–1851
Dartmouth Cove
1827
1265
Print made by J. C. Varrall, active 1815–1827
Launceston, Cornwall
1827
1266
Print made by W. R. Smith, active 1819–1851
Saltash, Cornwall
1827
1267
Print made by W. R. Smith, active 1819–1851
Tynemouth, Northumberland
1831
1268
Print made by John Horsburgh, 1791–1869
Malvern Abbey and Gate, Worcestershire
1832
1269
Print made by William Radclyffe, 1780–1855
Ashby de la Zouch, Leicestershire
1832
1270
Print made by Thomas Jeavons, ca. 1800–1867
Kenilworth Castle, Warwickshire
1832
1271
Print made by S. Fisher, active 1831–1844
Coventry, Warwickshire
1833
1272
Print made by Thomas Jeavons, ca. 1800–1867
Arundel Castle and Town, Sussex
1834
1273
Print made by Edward Anthony Carrick, 1905–1998
Eve
undated
1274
Print made by James Tibbits Willmore, 1800–1863
Llandberis Lake, Wales
1834
1275
Print made by James Tibbits Willmore, 1800–1863
Llanthony, Monmouthshire
1836
1276
Print made by W. R. Smith, active 1819–1851
Longships Lighthouse, Lands End
1836
1277
Print made by James Tibbits Willmore, 1800–1863
Llanthony, Monmouthshire
1836
1278
Print made by James Tibbits Willmore, 1800–1863
Llandberis Lake, Wales
1834
1279
Print made by Thomas Jeavons, ca. 1800–1867
Lyme Regis, Norfolk
1836
1280
Print made by W. R. Smith, active 1819–1851
Whitehaven, Cumberland
1837
1281
Print made by Richard Samuel Chattock, 1825–1906
Birk's Bridge
undated
1282
Print made by S. Fisher, active 1831–1844
Mount St. Michael, Cornwall
1838
1283
Print made by James C. Allen, active 1821–1831
Harborough Sands
1819-1826
1284
Print made by James Tibbits Willmore, 1800–1863
Richmond Terrace, Surrey
1838
1285
Print made by James C. Allen, active 1821–1831
Aldborough
1819-1826
1286
Print made by James Tibbits Willmore, 1800–1863
Penmaen Mawr, Caernarvonshire
1834
1287
Print made by James C. Allen, active 1821–1831
Aldborough
ca. 1830
1288
Print made by James Tibbits Willmore, 1800–1863
Powis Castle, Montgomery
1836
1289
James Smetham, 1821–1889
The Days of Noah, All things continue as they were