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| Moses Harris Prismatic Colour Wheel ca. 1785 hand-colored etching Royal Academy of Arts, London |
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| James Sowerby The Chromatic Scale 1807 hand-colored etching Royal Academy of Arts, London |
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| George Field Diagram of Primary Colour Harmonies 1817 hand-colored wood-engraving Royal Academy of Arts, London |
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| René-Henri Digeon after Michel-Eugène Chevreul Chromatic Circle 1861 color-printed engraving Royal Academy of Arts, London |
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| Samuel Lysons Roman Mosaic Fragment discovered at Woodchester 1797 hand-colored etching with aquatint Royal Academy of Arts, London |
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| Alexandre Laborde Roman Mosaic Fragment, with Clio and Euterpe 1806 hand-colored aquatint Royal Academy of Arts, London |
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| Antoine-Chrysostome Quatremère de Quincy Le Jupiter Olympien vu dans son Trône 1814 hand-colored etching Royal Academy of Arts, London |
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| Samuel Rush Meyrick Henry VIII, King of England 1842 hand-colored engraving Royal Academy of Arts, London |
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| Georges-Jacques Gatine after Louis-Marie Lanté Masked Lady from the Reign of Henri III of France 1827 hand-colored etching Royal Academy of Arts, London |
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| Maddalena Bouchard after Cesare Ubertini Morning Glory 1772 hand-colored etching Royal Academy of Arts, London |
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| George and Isaac Cruikshank A Shilling Well Laid-Out (viewers of the annual exhibition at the Royal Academy) 1821 hand-colored aquatint Royal Academy of Arts, London |
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| Samuel De Wilde The Miscegenated State of the Theatre, combining Tragedy, Comedy and Pantomime 1807 hand-colored etching Wellcome Collection, London |
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| George Richardson Design for the Dome of a Saloon 1776 hand-colored etching Royal Academy of Arts, London |
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| Gavrila Skorodumov after Angelica Kauffmann Helen 1776 color-printed stipple-engraving Royal Academy of Arts, London |
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| Elias Martin Characteristic Faces of Italian Men 1786 hand-colored etching Royal Academy of Arts, London |
from A Grave
The wrinkles progress among themselves in a phalanx – beautiful under networks of foam,
and fade breathlessly while the sea rustles in and out of the seaweed;
the birds swim through the air at top speed, emitting cat-calls as heretofore –
the tortoise-shell scourges about the feet of the cliffs, in motion beneath them;
and the ocean, under the pulsation of lighthouses and noise of bellbuoys,
advances as usual, looking as if it were not that ocean in which dropped things are bound to sink –
in which if they turn and twist, it is neither with volition nor consciousness.
– Marianne Moore, Observations (1924)