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It is now at the National Gallery of Art in Washington, DC.","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.”",{"_294":376,"_296":377,"_298":378},"https://img.ochreeditions.com/m/1655.jpg?dl=1","/art/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865","/galleries/style/georgian-britain/joshua-commanding-the-sun-to-stand-still-upon-gibeon-nga-129865",{"_290":374,"_292":375},{"_224":363,"_125":364,"_284":365},{"_275":360,"_277":361,"_279":344,"_281":362},246,166.762939453125,151.762939453125,{"_286":224,"_123":372,"_154":373,"_140":89},{"_286":125,"_123":369,"_154":370,"_140":371},{"_286":284,"_123":366,"_154":367,"_140":368},"era/19-britain","19th-century Britain",40,"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-john-martin","John Martin's contemporaries","natural","ivory","https://img.ochreeditions.com/a/1655/480.jpg","https://img.ochreeditions.com/a/1655/960.jpg","https://img.ochreeditions.com/a/1655/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","Washington, DC",{"_310":396,"_312":397},{"_310":394,"_312":395},{"_310":392,"_312":393},{"_310":390,"_312":391},{"_310":388,"_312":389},"#adaa9f",0.1053,"#7c756a",0.1295,"#1a1609",0.2377,"#4e4a3c",0.2526,"#342a17",0.2749,"John Martin","john-martin","British, 1789–1854","British",1789,1854,"theophilia-gwatkin-aic-251126","Theophilia Gwatkin",{"_42":454,"_221":455,"_324":456,"_326":401,"_328":457,"_330":458,"_332":459,"_333":460,"_334":461,"_140":95},"1776–81","Oil on canvas","73.7 × 61 cm (29 × 24 in.); Framed: 96.6 × 84.7 × 7 cm (38 × 33 3/8 × 2 3/4 in.)",61,73,0.8375446960667461,[439,440,441,442,443],{"_220":300,"_221":301,"_42":302,"_303":304},"2019.1236","Joshua Reynolds painted this in 1776–81, aged about 53. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_294":436,"_296":437,"_298":438},"https://img.ochreeditions.com/m/389.jpg?dl=1","/art/theophilia-gwatkin-aic-251126","/galleries/style/georgian-britain/theophilia-gwatkin-aic-251126",{"_290":374,"_292":375},{"_224":428,"_125":429,"_284":430},{"_275":425,"_277":426,"_279":427,"_281":411},76.14076281287247,88,61.14076281287247,{"_286":224,"_123":434,"_154":435,"_140":95},{"_286":125,"_123":431,"_154":432,"_140":433},{"_286":284,"_123":167,"_154":166,"_140":169},"style/painting-18","More paintings of the 18th century",168,"artist/joshua-reynolds","More by Joshua Reynolds","https://img.ochreeditions.com/a/389/480.jpg","https://img.ochreeditions.com/a/389/960.jpg","https://img.ochreeditions.com/a/389/1920.jpg",{"_310":452,"_312":453},{"_310":450,"_312":451},{"_310":448,"_312":449},{"_310":446,"_312":447},{"_310":444,"_312":445},"#78623f",0.068,"#a08052",0.0868,"#50442f",0.0897,"#221f1a",0.2844,"#322a1a",0.4711,"Joshua Reynolds","joshua-reynolds","English, 1723–1792",1723,1792,"Plympton","London","Reynolds trained in London under Thomas Hudson, then spent two years in Italy studying the old masters, an experience that shaped his ambition to raise portraiture to the dignity of history painting.","anna-maria-dashwood-later-marchioness-of-ely-aic-75374","Anna Maria Dashwood, later Marchioness of Ely",{"_42":506,"_221":507,"_324":508,"_326":401,"_328":509,"_330":510,"_332":511,"_333":460,"_334":512,"_140":91},"c. 1805","78.1 × 65.5 cm (30 3/4 × 25 3/4 in.)",78,0.8287557603686636,[491,492,493,494,495],{"_220":300,"_221":301,"_42":302,"_303":304},"1951.199","Thomas Lawrence painted this in about 1805, aged about 31. It is now at the Art Institute of Chicago.",{"_294":488,"_296":489,"_298":490},"https://img.ochreeditions.com/m/191.jpg?dl=1","/art/anna-maria-dashwood-later-marchioness-of-ely-aic-75374","/galleries/style/georgian-britain/anna-maria-dashwood-later-marchioness-of-ely-aic-75374",{"_290":374,"_292":375},{"_224":483,"_125":484,"_284":485},{"_275":480,"_277":481,"_279":482,"_281":467},79.64294930875576,93,64.64294930875576,{"_286":224,"_123":486,"_154":487,"_140":91},{"_286":125,"_123":431,"_154":432,"_140":433},{"_286":284,"_123":167,"_154":166,"_140":169},"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/191/480.jpg","https://img.ochreeditions.com/a/191/960.jpg","https://img.ochreeditions.com/a/191/1920.jpg",{"_310":504,"_312":505},{"_310":502,"_312":503},{"_310":500,"_312":501},{"_310":498,"_312":499},{"_310":496,"_312":497},"#8f7051",0.1285,"#b49a78",0.163,"#5f492a",0.1648,"#352815",0.2238,"#19140d",0.3199,"Thomas Lawrence","thomas-lawrence","English, 1769–1830",1769,1830,"Bristol","Lawrence was a child prodigy in pastel portraiture and largely self-taught. He moved to London as a teenager, exhibited a full-length of Queen Charlotte at the Royal Academy at twenty-one, and succeeded Joshua Reynolds as Painter in Ordinary to George III.","sir-thomas-rumbold-bt-aic-84707","Sir Thomas Rumbold, Bt.",{"_42":454,"_221":455,"_324":456,"_326":401,"_328":457,"_330":458,"_332":459,"_333":460,"_334":461,"_140":95},"1788","126.7 × 101.3 cm (49 7/8 × 39 7/8 in.); Framed: 149 × 123.2 × 8.3 cm (58 5/8 × 48 1/2 × 3 1/4 in.)",101,126,0.7977275284058949,[541,542,543,544,545],{"_220":300,"_221":301,"_42":302,"_303":304},"1955.1202","Joshua Reynolds painted this in 1788, aged 65. It is now at the Art Institute of Chicago.",{"_294":538,"_296":539,"_298":540},"https://img.ochreeditions.com/m/230.jpg?dl=1","/art/sir-thomas-rumbold-bt-aic-84707","/galleries/style/georgian-britain/sir-thomas-rumbold-bt-aic-84707",{"_290":374,"_292":375},{"_224":535,"_125":536,"_284":537},{"_275":532,"_277":533,"_279":534,"_281":519},115.51366857914276,141,100.51366857914276,{"_286":224,"_123":434,"_154":435,"_140":95},{"_286":125,"_123":431,"_154":432,"_140":433},{"_286":284,"_123":167,"_154":166,"_140":169},"https://img.ochreeditions.com/a/230/480.jpg","https://img.ochreeditions.com/a/230/960.jpg","https://img.ochreeditions.com/a/230/1920.jpg",{"_310":554,"_312":555},{"_310":552,"_312":553},{"_310":550,"_312":551},{"_310":548,"_312":549},{"_310":546,"_312":547},"#4e3c1b",0.0861,"#7b5f30",0.1161,"#652304",0.1777,"#301904",0.2331,"#201605",0.387,"may-from-twelve-months-of-flowers-aic-127984","May, from Twelve Months of Flowers",{"_42":603,"_221":604,"_324":605,"_326":327,"_328":606,"_330":607,"_332":-5,"_333":-5,"_334":-5,"_140":99},"n.d.","Engraving in black ink with opaque and translucent watercolor on cream laid paper","Image: 40.5 × 30.5 cm (16 × 12 1/16 in.); Sheet: 60 × 46.5 cm (23 5/8 × 18 5/16 in.)",30,0.7948175568482284,[588,589,590,591,592],{"_220":300,"_221":301,"_42":302,"_303":304},"1946.402","Henry Fletcher painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","A lavish bouquet of the flowers that bloom in May fills this hand-coloured engraving, each blossom numbered and keyed to a list of names. It comes from Twelve Months of Flowers, published in 1730 by Robert Furber, a nurseryman in Kensington, who used the series as an illustrated catalogue of the plants he sold.","A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.",{"_294":585,"_296":586,"_298":587},"https://img.ochreeditions.com/m/308.jpg?dl=1","/art/may-from-twelve-months-of-flowers-aic-127984","/galleries/style/georgian-britain/may-from-twelve-months-of-flowers-aic-127984",{"_290":291,"_292":293},{"_224":580,"_125":581,"_284":582},{"_275":577,"_277":578,"_279":579,"_281":368},55.79270227392914,64,31.792702273929137,{"_286":224,"_123":583,"_154":584,"_140":99},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":167,"_154":166,"_140":169},"artist/henry-fletcher","More by Henry Fletcher","https://img.ochreeditions.com/a/308/480.jpg","https://img.ochreeditions.com/a/308/960.jpg","https://img.ochreeditions.com/a/308/1920.jpg",{"_310":601,"_312":602},{"_310":599,"_312":600},{"_310":597,"_312":598},{"_310":595,"_312":596},{"_310":593,"_312":594},"#895543",0.0153,"#625c4c",0.095,"#8b7f66",0.1544,"#b3a895",0.1556,"#d9d0bf",0.5797,"Henry Fletcher","henry-fletcher","English, 1710–1750",1710,1750,"two-studies-of-a-right-hand-aic-249662","Two Studies of a Right Hand",{"_42":506,"_221":507,"_324":508,"_326":401,"_328":509,"_330":510,"_332":511,"_333":460,"_334":512,"_140":91},"July 26, 1800","watercolour","Drawing and Watercolor","Red and black chalk on gray wove paper","35 × 24 cm (13 13/16 × 9 1/2 in.)",24,35,0.6863089606703608,[642,643,644,645,646],{"_220":300,"_221":301,"_42":302,"_303":304},"2019.759","Thomas Lawrence painted this (July 26, 1800), aged 31. It is now at the Art Institute of Chicago.","A work made of red and black chalk on gray wove paper.",{"_294":639,"_296":640,"_298":641},"https://img.ochreeditions.com/m/380.jpg?dl=1","/art/two-studies-of-a-right-hand-aic-249662","/galleries/style/georgian-britain/two-studies-of-a-right-hand-aic-249662",{"_290":291,"_292":293},{"_224":634,"_125":635,"_284":636},{"_275":631,"_277":632,"_279":633,"_281":617},48.02081362346263,59,24.02081362346263,{"_286":224,"_123":486,"_154":487,"_140":91},{"_286":125,"_123":637,"_154":638,"_140":53},{"_286":284,"_123":167,"_154":166,"_140":169},"style/watercolour-18","More watercolours of the 18th century","https://img.ochreeditions.com/a/380/480.jpg","https://img.ochreeditions.com/a/380/960.jpg","https://img.ochreeditions.com/a/380/1920.jpg",{"_310":655,"_312":656},{"_310":653,"_312":654},{"_310":651,"_312":652},{"_310":649,"_312":650},{"_310":647,"_312":648},"#a7907b",0.0792,"#c6aa92",0.1158,"#f8e0c6",0.1662,"#cdbba7",0.2354,"#d9ccba",0.4034,"heaton-park-races-nga-52254","Heaton Park Races",{"_42":703,"_221":704,"_324":705,"_326":401,"_328":706,"_330":707,"_332":-5,"_333":-5,"_334":-5,"_140":103},"1829","overall: 92 x 152.6 cm (36 1/4 x 60 1/16 in.) framed: 110.5 x 170.8 x 8.2 cm (43 1/2 x 67 1/4 x 3 1/4 in.)",152.6,92,1.688375927452597,[688,689,690,691,692],{"_220":379,"_221":380,"_42":381,"_303":382},"1970.17.110","John Ferneley painted this in 1829, aged 47. It is now at the National Gallery of Art in Washington, DC.","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.",{"_294":685,"_296":686,"_298":687},"https://img.ochreeditions.com/m/1545.jpg?dl=1","/art/heaton-park-races-nga-52254","/galleries/style/georgian-britain/heaton-park-races-nga-52254",{"_290":374,"_292":375},{"_224":680,"_125":681,"_284":682},{"_275":677,"_277":678,"_279":662,"_281":679},167.6,105.38271484375,90.38271484375,{"_286":224,"_123":683,"_154":684,"_140":89},{"_286":125,"_123":369,"_154":370,"_140":371},{"_286":284,"_123":366,"_154":367,"_140":368},"artist/contemporaries-of-john-ferneley","John Ferneley's contemporaries","https://img.ochreeditions.com/a/1545/480.jpg","https://img.ochreeditions.com/a/1545/960.jpg","https://img.ochreeditions.com/a/1545/1920.jpg",{"_310":701,"_312":702},{"_310":699,"_312":700},{"_310":697,"_312":698},{"_310":695,"_312":696},{"_310":693,"_312":694},"#9f8033",0.1271,"#8d875e",0.1394,"#c3b585",0.2253,"#6f5627",0.234,"#493b20",0.2742,"John Ferneley","john-ferneley","British, 1782–1860",1782,1860,"noon-nga-119642","Noon",{"_42":759,"_221":760,"_324":761,"_326":401,"_328":762,"_330":763,"_332":764,"_333":460,"_334":765,"_140":97},"1830","mezzotint on laid paper","plate: 18.5 x 25.5 cm (7 5/16 x 10 1/16 in.) sheet: 19.5 x 30.6 cm (7 11/16 x 12 1/16 in.)",25.5,18.5,1.3927235634138049,[744,745,746,747,748],{"_220":379,"_221":380,"_42":381,"_303":382},"2001.118.23","David Lucas made this in 1830, aged 28. It is now at the National Gallery of Art in Washington, DC.","Sheep graze on a sloping hillside, watched by a shepherd, while a large dark tree anchors the right side and the land falls away to open fields under a broad sky.","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.",{"_294":741,"_296":742,"_298":743},"https://img.ochreeditions.com/m/1650.jpg?dl=1","/art/noon-nga-119642","/galleries/style/georgian-britain/noon-nga-119642",{"_290":291,"_292":293},{"_224":733,"_125":734,"_284":735},{"_275":730,"_277":731,"_279":714,"_281":732},49.5,42.3094482421875,18.3094482421875,{"_286":224,"_123":739,"_154":740,"_140":97},{"_286":125,"_123":736,"_154":737,"_140":738},{"_286":284,"_123":366,"_154":367,"_140":368},"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1650/480.jpg","https://img.ochreeditions.com/a/1650/960.jpg","https://img.ochreeditions.com/a/1650/1920.jpg",{"_310":757,"_312":758},{"_310":755,"_312":756},{"_310":753,"_312":754},{"_310":751,"_312":752},{"_310":749,"_312":750},"#6f685f",0.1663,"#403f3c",0.1708,"#999085",0.1917,"#c4b9ae",0.2337,"#ebe2d6",0.2375,"David Lucas","david-lucas","British, 1802–1881",1802,1881,"Geddington Chase, Northamptonshire","Lucas was a mezzotint engraver best known for his long collaboration with John Constable.","angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","Angel of the Revelation (Book of Revelation, chapter 10)",{"_42":823,"_221":824,"_324":825,"_326":401,"_328":826,"_330":827,"_332":460,"_333":460,"_334":-5,"_140":103},"ca. 1803–5","drawing","Drawings","Watercolor, pen and black ink, brush and wash, over traces of graphite","Sheet: 15 7/16 × 10 1/4 in. (39.2 × 26 cm)",26,39.2,0.6700689655172414,[808,809,810,811,812],{"_220":804,"_221":805,"_42":806,"_303":807},"Courtesy of The Metropolitan Museum of Art","14.81.1","William Blake painted this in about 1803–5, aged about 41. It is now at The Met in New York.","Angel of the Revelation (Book of Revelation, chapter 10), by William Blake, ca. 1803–5",{"_294":801,"_296":802,"_298":803},"https://img.ochreeditions.com/m/1037.jpg?dl=1","/art/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852","/galleries/style/georgian-britain/angel-of-the-revelation-book-of-revelation-chapter-10-met-340852",{"_290":291,"_292":293},{"_224":793,"_125":794,"_284":795},{"_275":790,"_277":791,"_279":792,"_281":775},50.26670344827586,63.2,26.266703448275862,{"_286":224,"_123":799,"_154":800,"_140":89},{"_286":125,"_123":796,"_154":797,"_140":798},{"_286":284,"_123":167,"_154":166,"_140":169},"style/drawing-18","More drawings of the 18th century",31,"artist/contemporaries-of-william-blake","William Blake's contemporaries","https://img.ochreeditions.com/a/1037/480.jpg","https://img.ochreeditions.com/a/1037/960.jpg","https://img.ochreeditions.com/a/1037/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_310":821,"_312":822},{"_310":819,"_312":820},{"_310":817,"_312":818},{"_310":815,"_312":816},{"_310":813,"_312":814},"#56534e",0.1228,"#9d937f",0.2009,"#7d7669",0.2195,"#c1b095",0.2267,"#e6c69f",0.2301,"William Blake","william-blake","British, 1757–1827",1757,1827,"portrait-of-mrs-george-collier-cma-101852","Portrait of Mrs. George Collier",{"_42":454,"_221":455,"_324":456,"_326":401,"_328":457,"_330":458,"_332":459,"_333":460,"_334":461,"_140":95},"18th century",17,"Framed: 112 x 101 x 12 cm (44 1/8 x 39 3/4 x 4 3/4 in.); Unframed: 80 x 67.3 cm (31 1/2 x 26 1/2 in.)",67.3,80,0.8194117647058824,[872,873,874,875,876],{"_220":868,"_221":869,"_42":870,"_303":871},"Courtesy of the Cleveland Museum of Art","1920.514","Joshua Reynolds painted this in 18th century. It is now at the Cleveland Museum of Art.",{"_118":865,"_866":867},"Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century",{"_294":862,"_296":863,"_298":864},"https://img.ochreeditions.com/m/498.jpg?dl=1","/art/portrait-of-mrs-george-collier-cma-101852","/galleries/style/georgian-britain/portrait-of-mrs-george-collier-cma-101852",{"_290":374,"_292":375},{"_224":854,"_125":855,"_284":856},{"_275":851,"_277":852,"_279":853,"_281":835},80.5529411764706,95,65.5529411764706,{"_286":224,"_123":434,"_154":435,"_140":95},{"_286":125,"_123":860,"_154":861,"_140":433},{"_286":284,"_123":857,"_154":858,"_140":859},"era/17","The 17th century",266,"style/painting-17","More paintings of the 17th century","https://img.ochreeditions.com/a/498/480.jpg","https://img.ochreeditions.com/a/498/960.jpg","https://img.ochreeditions.com/a/498/1920.jpg","Given to the Cleveland Museum in 1920 by the collector Jeptha H. Wade, this painting was thought to be an authentic work by Joshua Reynolds. However, after considerable study, the museum attributed it to a follower of Reynolds working in a similar style around the same time.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_310":885,"_312":886},{"_310":883,"_312":884},{"_310":881,"_312":882},{"_310":879,"_312":880},{"_310":877,"_312":878},"#dbae62",0.0772,"#543416",0.0793,"#a17433",0.0962,"#784818",0.1532,"#312311",0.5941,"self-portrait-aic-11706","Self-Portrait",{"_42":933,"_221":934,"_324":935,"_326":327,"_328":936,"_330":937,"_332":-5,"_333":-5,"_334":938,"_140":99},"c. 1779","Red chalk on cream laid paper","30.6 × 17.5 cm (12 1/16 × 6 15/16 in.)",0.5697549441100602,[918,919,920,921,922],{"_220":300,"_221":301,"_42":302,"_303":304},"1924.122","John Flaxman painted this in about 1779, aged about 20. It is now at the Art Institute of Chicago.","John Flaxman drew himself in red chalk around 1779, in his mid-twenties, when he was designing reliefs and portrait medallions for Josiah Wedgwood’s pottery.","A work made of red chalk on cream laid paper.",{"_294":915,"_296":916,"_298":917},"https://img.ochreeditions.com/m/22.jpg?dl=1","/art/self-portrait-aic-11706","/galleries/style/georgian-britain/self-portrait-aic-11706",{"_290":291,"_292":293},{"_224":910,"_125":911,"_284":912},{"_275":907,"_277":908,"_279":909,"_281":562},41.0926483233018,54,17.092648323301805,{"_286":224,"_123":913,"_154":914,"_140":99},{"_286":125,"_123":637,"_154":638,"_140":53},{"_286":284,"_123":167,"_154":166,"_140":169},"artist/john-flaxman","More by John Flaxman","https://img.ochreeditions.com/a/22/480.jpg","https://img.ochreeditions.com/a/22/960.jpg","https://img.ochreeditions.com/a/22/1920.jpg",{"_310":931,"_312":932},{"_310":929,"_312":930},{"_310":927,"_312":928},{"_310":925,"_312":926},{"_310":923,"_312":924},"#d9ae94",0.0642,"#bcb3aa",0.0688,"#ca8a70",0.0739,"#e1cbb5",0.182,"#e1d0be",0.6111,"John Flaxman","john-flaxman","English, 1755–1826",1755,1826,"Flaxman trained at the Royal Academy Schools and first made his name modelling designs for Josiah Wedgwood’s jasperware.","recovery-document-land-title-grant-aic-136136","Recovery Document (Land Title Grant)","Unrecorded British maker","1702/14 (Queen Anne period)","Engraved letterhead, pen and ink calligraphy, and graphite ruling on parchment, folded with strap and (missing) seal","Folded: 15.2 × 27.5 cm (6 × 10 7/8 in.); Open: 54.5 × 78 cm (21 1/2 × 30 3/4 in.)",27,1.0208962154631995,[971,972,973,974,975],{"_220":300,"_221":301,"_42":302,"_303":304},"1994.823","An unrecorded England artist drew this in 1702/14 (Queen Anne period). It is now at the Art Institute of Chicago.","A work made of engraved letterhead, pen and ink calligraphy, and graphite ruling on parchment, folded with strap and (missing) seal.",{"_294":968,"_296":969,"_298":970},"https://img.ochreeditions.com/m/319.jpg?dl=1","/art/recovery-document-land-title-grant-aic-136136","/galleries/style/georgian-britain/recovery-document-land-title-grant-aic-136136",{"_290":291,"_292":293},{"_224":963,"_125":964,"_284":965},{"_275":959,"_277":960,"_279":961,"_281":962},49,48.48828746872867,25,24.488287468728675,{"_286":224,"_123":966,"_154":967,"_140":97},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":167,"_154":166,"_140":169},"artist/unrecorded-britain","More by unrecorded makers of Britain","https://img.ochreeditions.com/a/319/480.jpg","https://img.ochreeditions.com/a/319/960.jpg","https://img.ochreeditions.com/a/319/1920.jpg",{"_310":984,"_312":985},{"_310":982,"_312":983},{"_310":980,"_312":981},{"_310":978,"_312":979},{"_310":976,"_312":977},"#908679",0.0667,"#d2b996",0.0789,"#d8c6b6",0.1265,"#e8e7e5",0.3309,"#baa897",0.397,"isabella-wolff-aic-4773","Isabella Wolff",{"_42":506,"_221":507,"_324":508,"_326":401,"_328":509,"_330":510,"_332":511,"_333":460,"_334":512,"_140":91},"1803–15","128.2 × 102.4 cm (50 1/2 × 40 5/16 in.); Framed: 156.2 × 130.5 cm (61 1/2 × 51 3/8 in.)",102,128,0.789839944328462,[1018,1019,1020,1021,1022],{"_220":300,"_221":301,"_42":302,"_303":304},"1922.4461","Thomas Lawrence painted this in 1803–15, aged about 34. It is now at the Art Institute of Chicago.",{"_118":1016,"_866":1017},"A light-skinned woman in a long, shiny white dress sits at a desk reading a book. The book is propped on a large red pillow. Her head is propped in her hand.",{"_294":1013,"_296":1014,"_298":1015},"https://img.ochreeditions.com/m/8.jpg?dl=1","/art/isabella-wolff-aic-4773","/galleries/style/georgian-britain/isabella-wolff-aic-4773",{"_290":374,"_292":375},{"_224":1010,"_125":1011,"_284":1012},{"_275":1007,"_277":1008,"_279":1009,"_281":992},116.09951287404314,143,101.09951287404314,{"_286":224,"_123":486,"_154":487,"_140":91},{"_286":125,"_123":369,"_154":370,"_140":371},{"_286":284,"_123":366,"_154":367,"_140":368},"https://img.ochreeditions.com/a/8/480.jpg","https://img.ochreeditions.com/a/8/960.jpg","https://img.ochreeditions.com/a/8/1920.jpg","This portrait depicts Isabella Wolff, one of Sir Thomas Lawrence’s closest friends. Shown contemplating a printed image of the Delphic Sibyl from Michelangelo's Sistine Chapel ceiling, Wolff assumes a pose that cleverly echoes another Sibyl from that same work.","Text from the Art Institute of Chicago.",{"_310":1031,"_312":1032},{"_310":1029,"_312":1030},{"_310":1027,"_312":1028},{"_310":1025,"_312":1026},{"_310":1023,"_312":1024},"#d0b89c",0.1026,"#8b6a53",0.1523,"#ac8e76",0.1688,"#623d26",0.2292,"#40211a",0.3471,"elizabeth-farren-born-about-1759-died-1829-later-countess-of-met-436851","Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby",{"_42":506,"_221":507,"_324":508,"_326":401,"_328":509,"_330":510,"_332":511,"_333":460,"_334":512,"_140":91},"1790","Paintings","94 in. × 57 1/2 in. (238.8 × 146.1 cm)",146.1,238.8,0.6134193548387097,[1064,1065,1066,1067,1068],{"_220":804,"_221":805,"_42":806,"_303":807},"50.135.5","Thomas Lawrence painted this in 1790, aged 21. It is now at The Met in New York.","The celebrated comic actress Elizabeth Farren turns to look at us as she walks through a windswept landscape, wrapped in a white silk cloak lined with fur and carrying a muff.","Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby, by Thomas Lawrence, 1790",{"_294":1061,"_296":1062,"_298":1063},"https://img.ochreeditions.com/m/1113.jpg?dl=1","/art/elizabeth-farren-born-about-1759-died-1829-later-countess-of-met-436851","/galleries/style/georgian-britain/elizabeth-farren-born-about-1759-died-1829-later-countess-of-met-436851",{"_290":374,"_292":375},{"_224":1058,"_125":1059,"_284":1060},{"_275":1055,"_277":1056,"_279":1057,"_281":1040},161.4845419354839,253.8,146.4845419354839,{"_286":224,"_123":486,"_154":487,"_140":91},{"_286":125,"_123":431,"_154":432,"_140":433},{"_286":284,"_123":167,"_154":166,"_140":169},"https://img.ochreeditions.com/a/1113/480.jpg","https://img.ochreeditions.com/a/1113/960.jpg","https://img.ochreeditions.com/a/1113/1920.jpg",{"_310":1077,"_312":1078},{"_310":1075,"_312":1076},{"_310":1073,"_312":1074},{"_310":1071,"_312":1072},{"_310":1069,"_312":1070},"#6e5e40",0.1382,"#afa284",0.1538,"#3c3422",0.2055,"#3b5150",0.2432,"#6f7361",0.2593,"wooded-landscape-with-village-scene-aic-186081","Wooded Landscape with Village Scene",{"_42":1127,"_221":1128,"_324":1129,"_326":327,"_328":1130,"_330":1131,"_332":1132,"_333":460,"_334":1133,"_140":97},"early 1770s (not later than 1772)","Varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again","43.5 × 55.9 cm (17 3/16 × 22 1/16 in.)",55,43,1.3040078201368523,[1112,1113,1114,1115,1116],{"_220":300,"_221":301,"_42":302,"_303":304},"2012.80","Thomas Gainsborough painted this in the early 1770s (not later than 1772), aged about 43. It is now at the Art Institute of Chicago.","A village nestles among dense woodland in this landscape by Thomas Gainsborough, made not in oil but in gouache over black and red chalk, then varnished and mounted on canvas to give it the depth and glow of a painting.","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.",{"_294":1109,"_296":1110,"_298":1111},"https://img.ochreeditions.com/m/345.jpg?dl=1","/art/wooded-landscape-with-village-scene-aic-186081","/galleries/style/georgian-britain/wooded-landscape-with-village-scene-aic-186081",{"_290":291,"_292":293},{"_224":1104,"_125":1105,"_284":1106},{"_275":1101,"_277":1102,"_279":1085,"_281":1103},79,66.1776611694153,42.177661169415295,{"_286":224,"_123":1107,"_154":1108,"_140":97},{"_286":125,"_123":637,"_154":638,"_140":53},{"_286":284,"_123":167,"_154":166,"_140":169},"artist/thomas-gainsborough","More by Thomas Gainsborough","https://img.ochreeditions.com/a/345/480.jpg","https://img.ochreeditions.com/a/345/960.jpg","https://img.ochreeditions.com/a/345/1920.jpg",{"_310":1125,"_312":1126},{"_310":1123,"_312":1124},{"_310":1121,"_312":1122},{"_310":1119,"_312":1120},{"_310":1117,"_312":1118},"#75643b",0.1438,"#483b21",0.1553,"#907e51",0.1811,"#ad9d6c",0.2414,"#5c4e2c",0.2784,"Thomas Gainsborough","thomas-gainsborough","English, 1727–1788",1727,1788,"Sudbury","Gainsborough trained in London with the French engraver Hubert Gravelot, then built his career as a portraitist first in Suffolk and later in fashionable Bath before moving to London in 1774.",{"_1135":-5,"_1136":1137,"_1138":1139,"_1140":8,"_1141":1142,"_1143":8},"user","csrf","51ee128b0b5a64ab6d15a4c10b60550c966a0082","cartCount",0,"dropLive","legal",[1144,1145,1146,1147,1148,1149,1150,1151,1152,1153,1154,1155],"uploadsEnabled",{"_221":1178,"_20":1179},{"_221":1176,"_20":1177},{"_221":1174,"_20":1175},{"_221":1172,"_20":1173},{"_221":1170,"_20":1171},{"_221":1168,"_20":1169},{"_221":1166,"_20":1167},{"_221":1164,"_20":1165},{"_221":1162,"_20":1163},{"_221":1160,"_20":1161},{"_221":1158,"_20":1159},{"_221":1156,"_20":1157},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]