Floor plan

Time and placeBritain

Britain

Lear and Cordelia, by Richard Hatfield, 1845
Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761
Small Landscape, ca. 1750-1800
A work made of oil on panel.
Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, by Joseph Wright of Derby, 1779
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.

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. Lear and Cordelia, by Richard Hatfield, 1845
    Lear and CordeliaRichard Hatfield, 1845Courtesy of the Smithsonian American Art Museum
  2. 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
  3. Small Landscape, ca. 1750-1800
    Small LandscapeUnrecorded British maker, ca. 1750-1800Courtesy of the Smithsonian American Art Museum

First room, south wall

  1. A work made of oil on panel.
    The Shadow of DeathWilliam Holman Hunt, 1873-74Courtesy of the Art Institute of Chicago
  2. 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
  3. 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. Windmill, 19th century
    WindmillUnrecorded British maker, 19th centuryCourtesy of the Smithsonian American Art Museum
  2. A work made of oil on paperboard.
    Lane Scene at NightJohn Atkinson Grimshaw, 1872Courtesy of the Art Institute of Chicago
  3. 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
  4. Loggia of the Ducal Palace, Venice, by John Ruskin, 1849–50
    Loggia of the Ducal Palace, VeniceJohn Ruskin, 1849–50Courtesy of The Metropolitan Museum of Art

Second room, north wall

  1. A work made of oil on canvas.
    Anna Maria Dashwood, later Marchioness of ElyThomas Lawrence, c. 1805Courtesy of the Art Institute of Chicago
  2. John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795
    John Johnstone, Betty Johnstone, and Miss WedderburnSir Henry Raeburn, c. 1790/1795Courtesy National Gallery of Art, Washington
  3. The Lake of Zug, by Joseph Mallord William Turner, 1843
    The Lake of ZugJoseph Mallord William Turner, 1843Courtesy of The Metropolitan Museum of Art

Third room, north wall

  1. This is a drawing of a winged figure seated on a bird. The image depicts a figure with flowing robes, wings outstretched, holding an open book in one hand. The figure appears to be looking off to the side, with a serene expression. The lower part of the image includes a bird upon which the figure is seated. The bird's head is turned slightly upwards, following the direction in which the figure is gazing. The image is rendered in a warm, monochromatic palette. In the lower section of the image, there is some text, likely Latin.
    Saint John the EvangelistJohn Skippe, 1771Courtesy National Gallery of Art, Washington
  2. Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
    Joshua Commanding the Sun to Stand Still upon GibeonJohn Martin, 1816Courtesy National Gallery of Art, Washington
  3. A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.
    The Hall, Levens, WestmorelandJoseph Nash, n.d.Courtesy of the Art Institute of Chicago