Ochre Editions
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Britain

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

85 works · hang 8830 ·

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

Walk this roomRehang this room

First room, north wall

  1. 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
  2. A work made of oil on canvas.
    Theophilia GwatkinJoshua Reynolds, 1776–81Courtesy of the Art Institute of Chicago

First room, south wall

  1. 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
  2. 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
  3. A work made of oil on paperboard.
    Lane Scene at NightJohn Atkinson Grimshaw, 1872Courtesy of the Art Institute of Chicago

Second room, south wall

  1. The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.
    Francis Charles Seymour-Conway, 3rd Marquess of HertfordThomas Lawrence, c. 1822/1823Courtesy National Gallery of Art, Washington
  2. The image shows a forest by a serene, tree-lined body of water. The horizon is high with tall trees extending close to it, creating a sense of depth. The brushstrokes and watercolor application are delicate, capturing textures of leaves and water gently. The color palette includes muted greens, soft browns, and hints of blue and cream. Closest to us is a dense cluster of trees on the right, curving over the water. Across the water, other tree clusters and shrubs recede into the misty background towards the left.
    Peamore, DevonJohn White Abbott, 1799Courtesy 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, 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. The image depicts a portrait of an individual with the upper half of their body visible. The person is facing forward with their head slightly turned to the side, looking directly at the viewer. They have a fair complexion, with distinct facial features, including a rounded face and closed lips. The hair is styled in an 18th-century manner, with curls around the ears. They are wearing a dark coat with red lapels and brass buttons, over a white shirt with ruffled details. There are no visible jewelry or objects in their hands. The background is a textured, earth-toned surface.
    William PittGainsborough Dupont, 1787/1796Courtesy National Gallery of Art, Washington
  3. The image shows a landscape scene from an elevated viewpoint. There are large columns of a classical ruin and a leafy tree on the left. On the right, there is a spreading tree with intricate leaves. In the background, there is a pastoral landscape with figures and animals. A shepherd and a cow are guiding a flock of sheep, and buildings can be seen in the distance. The horizon divides the image into sky and earth. The brushstrokes are detailed, capturing textures effectively. The color palette consists of earthy tones with touches of brighter colors on the figures' clothing.
    Heroic Landscape with Fisherman, Cows, and HorsemenJohn Baptist Jackson, 1744Courtesy National Gallery of Art, Washington

Third room, north wall

  1. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  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

Third room, south wall

  1. Bray Church Yard, by John Varley, 1807
    Bray Church YardJohn Varley, 1807Courtesy of the Cleveland Museum of Art
  2. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  3. A work made of red and black chalk on gray wove paper.
    Two Studies of a Right HandThomas Lawrence, July 26, 1800Courtesy of the Art Institute of Chicago