Ochre Editions
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Britain

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

85 works · hang 911 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. 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
  2. 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
  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 1, south wall

  1. Portrait of Colonel Charles Heathcote, by Joseph Wright of Derby, c. 1771–72
    Portrait of Colonel Charles HeathcoteJoseph Wright of Derby, c. 1771–72Courtesy of the Cleveland Museum of Art
  2. 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

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. 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

Section 2, north wall

  1. A work made of pen and black ink and brush and black ink wash, with touches of pen and brown ink, on ivory laid paper.
    Hannah Presenting Samuel to EliJohn Flaxman, c. 1783Courtesy of the Art Institute of Chicago
  2. A work made of oil on panel.
    The Shadow of DeathWilliam Holman Hunt, 1873-74Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    Anna Maria Dashwood, later Marchioness of ElyThomas Lawrence, c. 1805Courtesy of the Art Institute of Chicago
  4. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. 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
  2. A work made of brown and black chalks on cream wove paper.
    Study for FestivalSir John Edward Poynter, c. 1875Courtesy of the Art Institute of Chicago
  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

Section 3, south wall

  1. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago
  2. This is a drawing showing a pig performing a trick for an audience. It depicts a group of people watching the pig interacting with cards on the floor. The detailed image shows the varied facial expressions of the audience members. There is text at the top of the image suggesting the pig has a unique ability, possibly related to languages. The drawing captures a moment of entertainment in a satirical style, with lines and cross-hatching used to emphasize the humor.
    The Wonderful PigThomas Rowlandson, 1785Courtesy National Gallery of Art, Washington