Ochre Editions
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Britain

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

85 works · hang 431 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
    Portrait of Charlotte and Sarah Carteret-HardyThomas Lawrence, 1801Courtesy of the Cleveland Museum of Art
  2. The image shows a landscape with a rolling hill in the foreground sloping downward. The horizon is high, providing a view over fields and sky. Sheep graze on the hill, tended by a person. A large, dark tree is on the right. Brushstrokes vary in the sky and land, with broad strokes for clouds and finer ones for grass and foliage. The color palette is mainly black, white, and shades of grey, highlighting light and shadow.
    NoonDavid Lucas, 1830Courtesy National Gallery of Art, Washington
  3. 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
  4. Angel of the Revelation (Book of Revelation, chapter 10), by William Blake, ca. 1803–5
    Angel of the Revelation (Book of Revelation, chapter 10)William Blake, ca. 1803–5Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. A work made of brush and black ink wash, with pen and black ink and opaque white and gray watercolor, on cream laid paper.
    A Hero Born on a Bier, from The Master of Giants PortfolioPrince Hoare, 1779Courtesy of the Art Institute of Chicago
  2. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago
  3. Black, gray pastel portrait of man in a fur hat.
    Self-Portrait in a Fur CapJoseph Wright of Derby, 1765/68Courtesy of the Art Institute of Chicago
  4. This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.
    Landscape with Picnickers and Donkeys by a GateJoseph Paul, c. 1830-1880Courtesy National Gallery of Art, Washington

Second room, south wall

  1. GEORGE JAMES DRUMMOND'S ROOM AT OXFORD, 1853
    George James Drummond's Room at Oxford, 1853George Pyne, 1853Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Serene red-haired woman, framed with allegorical symbols of red bird, sundial.
    Beata BeatrixDante Gabriel Rossetti, 1871–72Courtesy of the Art Institute of Chicago
  3. 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

Second room, north wall

  1. Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, by Joseph Wright of Derby, 1779
    Virgil's Tomb by Moonlight, with Silius Italicus DeclaimingJoseph Wright of Derby, 1779Courtesy of The Metropolitan Museum of Art
  2. Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, Cairo, by Louis Haghe, 1842–49
    Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, CairoLouis Haghe, 1842–49Courtesy of the Cleveland Museum of Art
  3. A work made of oil on canvas.
    Anna Maria Dashwood, later Marchioness of ElyThomas Lawrence, c. 1805Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Bray Church Yard, by John Varley, 1807
    Bray Church YardJohn Varley, 1807Courtesy of the Cleveland Museum of Art
  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