Floor plan

Time and placeBritain

Britain

Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
Windmill, 19th century
The Entombment, by Sir Edward Burne-Jones, 1879
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.
Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century

The works in this room are listed below.

Works in this room

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

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. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    August, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  3. Windmill, 19th century
    WindmillUnrecorded British maker, 19th centuryCourtesy of the Smithsonian American Art Museum

First room, south wall

  1. The Entombment, by Sir Edward Burne-Jones, 1879
    The EntombmentSir Edward Burne-Jones, 1879Courtesy of The Metropolitan 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. Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century
    Portrait of Mrs. George CollierJoshua Reynolds, 18th centuryCourtesy of the Cleveland Museum of Art

Second room, south wall

  1. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  2. The Lake of Zug, by Joseph Mallord William Turner, 1843
    The Lake of ZugJoseph Mallord William Turner, 1843Courtesy of The Metropolitan Museum of Art
  3. Portrait of Mary Anne Jolliffe, by Gainsborough Dupont, after 1788
    Portrait of Mary Anne JolliffeGainsborough Dupont, after 1788Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
    Seashore with FishermenThomas Gainsborough, c. 1781/1782Courtesy National Gallery of Art, Washington
  2. GEORGE JAMES DRUMMOND'S ROOM AT OXFORD, 1853
    George James Drummond's Room at Oxford, 1853George Pyne, 1853Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. The image shows a landscape scene with a frontal view of a dense forest. A wooden bridge spans across a narrow ravine or creek. The painting features vigorous and textural brushstrokes with dark tones creating a shadowy effect. The color palette includes deep blacks, dark browns, and occasional highlights of light filtering through the canopy. In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.
    A Dell at Helmingham Park, SuffolkDavid Lucas, 1830Courtesy National Gallery of Art, Washington

Third room, 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. Portrait of Catherine Grey, Lady Manners, by Thomas Lawrence, 1794
    Portrait of Catherine Grey, Lady MannersThomas Lawrence, 1794Courtesy of the Cleveland Museum of Art

Third room, south wall

  1. Lady Lilith, by Dante Gabriel Rossetti, 1867
    Lady LilithDante Gabriel Rossetti, 1867Courtesy of The Metropolitan Museum of Art
  2. Lord Rothes, 1768
    Lord RothesUnrecorded British maker, 1768Courtesy of the Smithsonian American Art Museum