Perspective View of Henry Phillip Hope's Arklow House in Connaught Place
undated
357
Henry Phillip Hope, active 1799–1818
Plan of Private Entrance from the Uxbridge Road (Arklow House)
undated
358
Henry Phillip Hope, active 1799–1818
South East Front of the Deepdene
undated
359
unknown artist
Lodge (North), Deepdene
360
Henry Phillip Hope, active 1799–1818
Adrian Hope's House I: Library and Mr. Coevelt' s Bedroom - Plan and Wall Elevations of Library
undated
361
Henry Phillip Hope, active 1799–1818
Adrian Hope's House I: Dining Room - Plan of Ceiling and Elevations of Walls Showing Details
undated
362
Henry Phillip Hope, active 1799–1818
Adrian Hope's House II: Gallery - Plan and Elevations
undated
363
Henry Phillip Hope, active 1799–1818
Bedgebury: Alternative design for Pavilion Window
undated
364
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay: Vue Perspective d'une Maison de la rue Piqale Appartenant a Madame la Comtesse Rapp - Cote de la Cour
365
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay - Elevation sur la Cour
undated
366
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay: Plan du Rez-de-Chaussee d'une Maison de la Rue Pigale...(indiquant) les Changements faits par Monsieur le Duc d'Otrante
undated
367
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay: Deuxieme (2me) Etage Plan
undated
368
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay - Premiere Etage - Plan
undated
369
Henry Phillip Hope, active 1799–1818
Colmar, Chateau Wildenstein, Rue Plumer: Vue Occidentale du Chateau de Wildenstein, Dedie a son Exell le Lieutenent General, Compt Rapp, par son tres Humble Serviteur 1
undated
370
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay: Caves et Souterreins - Plan
undated
371
Henry Phillip Hope, active 1799–1818
Rue Pigale, Quai D'Orsay: Rez-de-Chaussee - Plan
undated
372
Henry Phillip Hope, active 1799–1818
Colmar, Chateau Wildenstein, Rue Plumer: Plan au Rez-de-Chaussee (du Chateau de Wildenstein)
undated
373
unknown artist
Colmar, Chateau Wildenstein, Rue Plumer: Maison ou est ne le General Rapp a Colmar
undated
374
Giles Hussey, 1710–1788
Study of head from classical figure
between 1730 and 1768
375
Henry Harris Lines, 1801–1899
Album of 50 sketches made in the years 1827 and 1828 for H.C
1827-1828
376
Thomas Luny, 1759–1837
Landscape Sketchbook No. 4
377
Augustus Hare, 1834–1903
From my First Rooms; Winter, St. Albans Hall
1853 to 1857
378
Col. Christopher Machell, 1747–1827
Album containing 85 drawings and 15 etchings
379
Thomas Luny, 1759–1837
Landscape Sketchbook No. 7
380
Thomas Luny, 1759–1837
Landscape Sketchbook No. 6
381
Monro School
Wingfield Castle, Suffolk
ca. 1795
382
Henry Moses, ca. 1782–1870
[One from] An Album containing 11 drawings from marine subjects
383
John Claude Nattes, 1765–1822
Sketchbook of 48 drawings from nature of Wolsington, Northumberland, Ferney Hill
1811
384
Harriet Scott, 1819–1894
[One from] An Album containing 74 views of Hadrian's Villa and the Centro Camerelle near Tivoli
385
Thomas Hosmer Shepherd, 1792–1864
[One from] A Series of 41 drawings to illustrate the work "London in the Nineteenth Century"
386
Thomas Hosmer Shepherd, 1792–1864
The Tower of London
387
Francis Place, 1647–1728
Panoramic View of Carlisle
undated
388
Thomas Anburey, 1759–1840
Mahore, a Fortress Belonging to Nizam Ally
ca. 1792
389
Thomas Anburey, 1759–1840
Southern Entrance of Gundecotta Pass
ca. 1792
390
Thomas Anburey, 1759–1840
Ruins of Baugnee-Ghur near Hydrabad
ca. 1792
391
Henry Bright, 1810–1873
Moonlight Scene on the Rhine
undated
392
unknown artist
Half Length Portrait of Joanna Simonds
undated
393
unknown artist
A View of Hyde Park from Ennismore Gardens
ca. 1830
394
Luigi Balugani, 1737–1770
Corvus albus (Pied Crows)
undated
395
unknown artist
Album of Poems, Graphite Drawings & Watercolors (in various hands)
ca. 1828
396
Walter Sneyd, 1809–1888
Sneyd's Illustrations to [Henry Fielding's] Tom Jones
397
Henry Cave, 1780–1836
York Minister
ca. 1813
398
Rev. William Gilpin, 1724–1804
The Sun rises ruddy, and turbid, and just touches the tops of the highest ground (Design for Plate 1)