Floor plan

Time and placeBritain

Britain

This is a drawing of a bird perched on a branch. The bird is detailed and identified as "Turtur Risorius." It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.
A work made of varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.
A work made of oil on canvas.
Captain George K. H. Coussmaker (1759–1801), by Joshua Reynolds, 1782
Whalers, by Joseph Mallord William Turner, ca. 1845
This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.
Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761

The works in this room are listed below.

Works in this room

Works made in Britain, from every century in the collection.

Section 1, north wall

  1. This is a drawing of a bird perched on a branch. The bird is detailed and identified as "Turtur Risorius." It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.
    Turtur RisoriusWilliam Home LizarsCourtesy National Gallery of Art, Washington
  2. A work made of varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.
    Wooded Landscape with Village SceneThomas Gainsborough, early 1770s (not later than 1772)Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago
  4. Captain George K. H. Coussmaker (1759–1801), by Joshua Reynolds, 1782
    Captain George K. H. Coussmaker (1759–1801)Joshua Reynolds, 1782Courtesy of The Metropolitan Museum of Art

Section 1, south wall

  1. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  2. This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.
    Saint John the EvangelistJohn Skippe, 1771Courtesy National Gallery of Art, Washington
  3. Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761
    Portrait of the Ladies Amabel and Mary Jemima YorkeJoshua Reynolds, c. 1761Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Large English country landscape painting, farmers with horses, green trees.
    Stoke-by-NaylandJohn Constable, 1836Courtesy of the Art Institute of Chicago
  2. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    July, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  3. The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.
    Phasianus VersicolorWilliam Home LizarsCourtesy National Gallery of Art, Washington

Section 2, north wall

  1. Noah: The Eve of the Deluge, by John Linnell, 1848
    Noah: The Eve of the DelugeJohn Linnell, 1848Courtesy of the Cleveland Museum of Art
  2. The image displays a landscape with a high vantage point. The horizon is low, with a row of trees. A church tower is off-center to the left. The church is surrounded by trees and buildings. A line of trees is on the right side. The sky has large, expressive clouds. A monochromatic palette of gray is used. A path winds through the scene, with two figures: one person working and another walking.
    Stoke-by-NeylandDavid Lucas, 1830Courtesy National Gallery of Art, Washington
  3. The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, by Johann Zoffany, c. 1772
    The Dutton Family in the Drawing Room of Sherborne Park, GloucestershireJohann Zoffany, c. 1772Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. The painting depicts an equestrian scene with people and horses in a green landscape. There are several people on horseback, and others standing by horses. Some people are also sitting in horse-drawn carriages. The horses are in a variety of colors, and the people wear formal clothing like suit jackets, top hats, vests, or colorful dresses. People fill the middle of the scene and the green hills that rise to the left, while a wide path is marked off on the right, bordered by fences. There are some tall trees around the area, with people gathering below them. In the distance, a large white building with columns and blue roofs can be seen. There is also a white tent partially behind a hill on the left. The sky above is blue and filled with white and gray clouds.
    Heaton Park RacesJohn Ferneley, 1829Courtesy National Gallery of Art, Washington
  2. Bray Church Yard, by John Varley, 1807
    Bray Church YardJohn Varley, 1807Courtesy of the Cleveland Museum of Art
  3. The Burning of the Houses of Lords and Commons, 16 October 1834, by Joseph Mallord William Turner, 1835
    The Burning of the Houses of Lords and Commons, 16 October 1834Joseph Mallord William Turner, 1835Courtesy of the Cleveland Museum of Art