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It is now at the National Gallery of Art in Washington, DC.","John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795",{"_294":441,"_296":442,"_298":443},"https://img.ochreeditions.com/m/1465.jpg?dl=1","/art/john-johnstone-betty-johnstone-and-miss-wedderburn-nga-32580","/galleries/style/georgian-britain/john-johnstone-betty-johnstone-and-miss-wedderburn-nga-32580",{"_290":291,"_292":293},{"_224":436,"_125":437,"_284":438},{"_275":433,"_277":434,"_279":417,"_281":435},135,116.953125,101.953125,{"_286":224,"_123":439,"_154":440,"_140":89},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-sir-henry-raeburn","Sir Henry Raeburn's contemporaries","https://img.ochreeditions.com/a/1465/480.jpg","https://img.ochreeditions.com/a/1465/960.jpg","https://img.ochreeditions.com/a/1465/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","Washington, DC",{"_310":461,"_312":462},{"_310":459,"_312":460},{"_310":457,"_312":458},{"_310":455,"_312":456},{"_310":453,"_312":454},"#7d6b5b",0.1424,"#281e17",0.1719,"#b8a08b",0.1936,"#dad3c9",0.2023,"#512f24",0.2898,"Sir Henry Raeburn","sir-henry-raeburn","Scottish, 1756–1823",1756,1823,"portrait-of-charlotte-and-sarah-carteret-hardy-cma-122346","Portrait of Charlotte and Sarah Carteret-Hardy",{"_42":519,"_221":520,"_324":521,"_326":327,"_328":522,"_330":523,"_332":524,"_334":335,"_336":525,"_140":91},"1801","Framed: 161 x 135 x 11 cm (63 3/8 x 53 1/8 x 4 5/16 in.); Unframed: 129 x 103 cm (50 13/16 x 40 9/16 in.)",103,129,0.7955882352941176,[504,505,506,507,508],{"_220":386,"_221":387,"_42":388,"_303":389},"1942.642","Thomas Lawrence painted this in 1801, aged 32. It is now at the Cleveland Museum of Art.",{"_118":503,"_384":385},"Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801",{"_294":500,"_296":501,"_298":502},"https://img.ochreeditions.com/m/554.jpg?dl=1","/art/portrait-of-charlotte-and-sarah-carteret-hardy-cma-122346","/galleries/style/georgian-britain/portrait-of-charlotte-and-sarah-carteret-hardy-cma-122346",{"_290":291,"_292":293},{"_224":492,"_125":493,"_284":494},{"_275":489,"_277":490,"_279":491,"_281":474},117.63088235294117,144,102.63088235294117,{"_286":224,"_123":498,"_154":499,"_140":91},{"_286":125,"_123":495,"_154":496,"_140":497},{"_286":284,"_123":370,"_154":371,"_140":372},"style/painting-19","More paintings of the 19th century",432,"artist/thomas-lawrence","More by Thomas Lawrence","https://img.ochreeditions.com/a/554/480.jpg","https://img.ochreeditions.com/a/554/960.jpg","https://img.ochreeditions.com/a/554/1920.jpg","Charlotte (left) and Sarah were 19 and 21, respectively, when this portrait was painted on the occasion of Sarah’s marriage to the topographer Daniel Lysons. The sisters wear fashionable gowns and jewelry, but their affectionate posture conveys a sisterly tenderness that transcends glamour.",{"_310":517,"_312":518},{"_310":515,"_312":516},{"_310":513,"_312":514},{"_310":511,"_312":512},{"_310":509,"_312":510},"#bc9f72",0.1057,"#9c774d",0.1164,"#644528",0.1599,"#433324",0.2313,"#241b15",0.3867,"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.","william-pitt-nga-52264","William Pitt",{"_42":574,"_221":575,"_324":576,"_326":327,"_328":577,"_330":578,"_332":-5,"_334":-5,"_336":579,"_140":99},"1787/1796","oil on board","overall: 15.5 x 12.4 cm (6 1/8 x 4 7/8 in.) framed: 29.8 x 27.6 x 5 cm (11 3/4 x 10 7/8 x 1 15/16 in.)",12.4,15.5,0.78515625,[559,560,561,562,563],{"_220":444,"_221":445,"_42":446,"_303":447},"1970.17.120","Gainsborough Dupont painted this in 1787/1796, aged about 33. It is now at the National Gallery of Art in Washington, DC.","William Pitt the Younger, who became prime minister in 1783 at the age of twenty-four, is shown half-length in a dark coat with red lapels and brass buttons, his face turned towards us.","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.",{"_294":556,"_296":557,"_298":558},"https://img.ochreeditions.com/m/1551.jpg?dl=1","/art/william-pitt-nga-52264","/galleries/style/georgian-britain/william-pitt-nga-52264",{"_290":291,"_292":293},{"_224":551,"_125":552,"_284":553},{"_275":548,"_277":372,"_279":549,"_281":550},34.62890625,19.62890625,25,{"_286":224,"_123":554,"_154":555,"_140":99},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/gainsborough-dupont","More by Gainsborough Dupont","https://img.ochreeditions.com/a/1551/480.jpg","https://img.ochreeditions.com/a/1551/960.jpg","https://img.ochreeditions.com/a/1551/1920.jpg",{"_310":572,"_312":573},{"_310":570,"_312":571},{"_310":568,"_312":569},{"_310":566,"_312":567},{"_310":564,"_312":565},"#85341a",0.0178,"#c4a66d",0.0716,"#584531",0.2222,"#2e302c",0.2272,"#7e663a",0.4612,"Gainsborough Dupont","gainsborough-dupont","British, 1754–1797",1754,1797,"Gainsborough Dupont was the nephew of Thomas Gainsborough and his only known apprentice, trained in his uncle’s studio in Bath and then London, where he absorbed his style closely.","lord-rothes-si-saam-1956-11-60","Lord Rothes","Unrecorded British maker","1768","50 1/2 x 39 1/2 in. (128.3 x 100.3 cm.)",100.3,128.3,0.799,[615,616,617,618,619],{"_220":612,"_221":613,"_42":614,"_303":447},"Courtesy of the Smithsonian American Art Museum","1956.11.60","An unrecorded British artist painted this in 1768. It is now at the Smithsonian American Art Museum in Washington, DC.","Lord Rothes, 1768",{"_294":609,"_296":610,"_298":611},"https://img.ochreeditions.com/m/1913.jpg?dl=1","/art/lord-rothes-si-saam-1956-11-60","/galleries/style/georgian-britain/lord-rothes-si-saam-1956-11-60",{"_290":291,"_292":293},{"_224":604,"_125":605,"_284":606},{"_275":601,"_277":602,"_279":603,"_281":586},117.51170000000002,143.3,102.51170000000002,{"_286":224,"_123":607,"_154":608,"_140":97},{"_286":125,"_123":287,"_154":288,"_140":289},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/unrecorded-britain","More by unrecorded makers of Britain","https://img.ochreeditions.com/a/1913/480.jpg","https://img.ochreeditions.com/a/1913/960.jpg","https://img.ochreeditions.com/a/1913/1920.jpg","si","smithsonian","Smithsonian Institution",{"_310":628,"_312":629},{"_310":626,"_312":627},{"_310":624,"_312":625},{"_310":622,"_312":623},{"_310":620,"_312":621},"#74391d",0.0821,"#a98157",0.1106,"#5c452e",0.2096,"#121719",0.2846,"#2f2015",0.3131,"july-from-twelve-months-of-flowers-aic-127986","July, from Twelve Months of Flowers",{"_42":681,"_221":682,"_324":683,"_326":684,"_328":685,"_330":686,"_332":-5,"_334":-5,"_336":-5,"_140":99},"n.d.","print","Print","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.)",30,0.7912998446400829,[666,667,668,669,670],{"_220":300,"_221":301,"_42":302,"_303":304},"1946.404","Henry Fletcher painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","The flowers of high summer are gathered into one lavish bouquet in July, one of the plates of Twelve Months of Flowers, which the Kensington nurseryman Robert Furber issued in 1730 to show customers what they could grow in each month of the year. Each bloom is numbered so that it can be matched to its name.","A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.",{"_294":663,"_296":664,"_298":665},"https://img.ochreeditions.com/m/309.jpg?dl=1","/art/july-from-twelve-months-of-flowers-aic-127986","/galleries/style/georgian-britain/july-from-twelve-months-of-flowers-aic-127986",{"_290":378,"_292":379},{"_224":656,"_125":657,"_284":658},{"_275":653,"_277":654,"_279":655,"_281":372},55.65199378560331,64,31.651993785603313,{"_286":224,"_123":661,"_154":662,"_140":99},{"_286":125,"_123":659,"_154":660,"_140":474},{"_286":284,"_123":166,"_154":165,"_140":168},"style/print-18","More prints of the 18th century","artist/henry-fletcher","More by Henry Fletcher","https://img.ochreeditions.com/a/309/480.jpg","https://img.ochreeditions.com/a/309/960.jpg","https://img.ochreeditions.com/a/309/1920.jpg",{"_310":679,"_312":680},{"_310":677,"_312":678},{"_310":675,"_312":676},{"_310":673,"_312":674},{"_310":671,"_312":672},"#766942",0.061,"#684c41",0.0717,"#94856f",0.1271,"#bcb09d",0.3294,"#d2c8b7",0.4108,"Henry Fletcher","henry-fletcher","English, 1710–1750","English",1710,1750,"the-wonderful-pig-nga-30978","The Wonderful Pig",{"_42":734,"_221":735,"_324":736,"_326":327,"_328":466,"_330":737,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1785","etching","sheet: 26.5 × 36.9 cm (10 7/16 × 14 1/2 in.)",36.9,26.5,1.4232105628908964,[719,720,721,722,723],{"_220":444,"_221":445,"_42":446,"_303":447},"1945.5.201","Thomas Rowlandson made this in 1785, aged 29. It is now at the National Gallery of Art in Washington, DC.","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.",{"_294":716,"_296":717,"_298":718},"https://img.ochreeditions.com/m/1462.jpg?dl=1","/art/the-wonderful-pig-nga-30978","/galleries/style/georgian-britain/the-wonderful-pig-nga-30978",{"_290":378,"_292":379},{"_224":711,"_125":712,"_284":713},{"_275":708,"_277":709,"_279":693,"_281":710},60.9,49.927294921875,25.927294921875,{"_286":224,"_123":714,"_154":715,"_140":89},{"_286":125,"_123":659,"_154":660,"_140":474},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-thomas-rowlandson","Thomas Rowlandson's contemporaries","https://img.ochreeditions.com/a/1462/480.jpg","https://img.ochreeditions.com/a/1462/960.jpg","https://img.ochreeditions.com/a/1462/1920.jpg",{"_310":732,"_312":733},{"_310":730,"_312":731},{"_310":728,"_312":729},{"_310":726,"_312":727},{"_310":724,"_312":725},"#70604d",0.0674,"#8c7a60",0.1188,"#a89373",0.1667,"#c5af89",0.1813,"#e3cca3",0.4658,"Thomas Rowlandson","thomas-rowlandson","British, 1756–1827",1827,"weymouth-bay-met-682931","Weymouth Bay",{"_42":795,"_221":796,"_324":797,"_326":327,"_328":798,"_330":799,"_332":800,"_334":335,"_336":801,"_140":97},"1830","Prints","Mezzotint on chine collé; progress proof","Image: 5 5/8 × 7 1/8 in. (14.3 × 18.1 cm) Plate: 6 15/16 × 8 15/16 in. (17.6 × 22.7 cm) Sheet: 11 13/16 × 15 1/8 in. (30 × 38.4 cm)",18.1,14.3,1.2588408644400786,[780,781,782,783,784],{"_220":776,"_221":777,"_42":778,"_303":779},"Courtesy of The Metropolitan Museum of Art","39.68.16","David Lucas made this in 1830, aged 28. It is now at The Met in New York.","Storm clouds pile over a sweeping bay in this mezzotint by David Lucas after a painting by John Constable, made for English Landscape Scenery, the series of prints through which Constable hoped to make his art better known.","Weymouth Bay, by David Lucas, 1830",{"_294":773,"_296":774,"_298":775},"https://img.ochreeditions.com/m/1280.jpg?dl=1","/art/weymouth-bay-met-682931","/galleries/style/georgian-britain/weymouth-bay-met-682931",{"_290":378,"_292":379},{"_224":765,"_125":766,"_284":767},{"_275":762,"_277":763,"_279":550,"_281":764},49,43.859539602028875,19.85953960202887,{"_286":224,"_123":771,"_154":772,"_140":97},{"_286":125,"_123":768,"_154":769,"_140":770},{"_286":284,"_123":370,"_154":371,"_140":372},"style/print-19","More prints of the 19th century",159,"artist/david-lucas","More by David Lucas","https://img.ochreeditions.com/a/1280/480.jpg","https://img.ochreeditions.com/a/1280/960.jpg","https://img.ochreeditions.com/a/1280/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_310":793,"_312":794},{"_310":791,"_312":792},{"_310":789,"_312":790},{"_310":787,"_312":788},{"_310":785,"_312":786},"#b1a8a1",0.0714,"#86807b",0.1477,"#605c59",0.2089,"#dfd6ce",0.2721,"#434140",0.2999,"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.","landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","Landscape with Picnickers and Donkeys by a Gate",{"_42":848,"_221":849,"_324":850,"_326":327,"_328":851,"_330":852,"_332":-5,"_334":-5,"_336":-5,"_140":103},"c. 1830-1880","overall: 123.2 x 99 cm (48 1/2 x 39 in.)",99,123.2,0.79638671875,[833,834,835,836,837],{"_220":444,"_221":445,"_42":446,"_303":447},"1942.9.14","Joseph Paul painted this in about 1830-1880, aged about 26. It is now at the National Gallery of Art in Washington, DC.","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.",{"_294":830,"_296":831,"_298":832},"https://img.ochreeditions.com/m/1331.jpg?dl=1","/art/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151","/galleries/style/georgian-britain/landscape-with-picnickers-and-donkeys-by-a-gate-nga-1151",{"_290":291,"_292":293},{"_224":825,"_125":826,"_284":827},{"_275":822,"_277":823,"_279":824,"_281":808},113.11484375,138.2,98.11484375,{"_286":224,"_123":828,"_154":829,"_140":89},{"_286":125,"_123":495,"_154":496,"_140":497},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-joseph-paul","Joseph Paul's contemporaries","https://img.ochreeditions.com/a/1331/480.jpg","https://img.ochreeditions.com/a/1331/960.jpg","https://img.ochreeditions.com/a/1331/1920.jpg",{"_310":846,"_312":847},{"_310":844,"_312":845},{"_310":842,"_312":843},{"_310":840,"_312":841},{"_310":838,"_312":839},"#b4864a",0.1225,"#7f6040",0.1471,"#574a3e",0.2102,"#dcbe7c",0.2589,"#31363a",0.2613,"Joseph Paul","joseph-paul","British, 1804–1887",1804,1887,"the-sand-pits-hampstead-heath-aic-250453","The Sand Pits, Hampstead Heath",{"_42":899,"_221":900,"_324":901,"_326":684,"_328":331,"_330":902,"_332":-5,"_334":-5,"_336":-5,"_140":101},"Oil on panel","24.1 × 38.1 cm (9 1/2 × 15 in.); Framed: 33.7 × 47.7 × 5.1 cm (13 1/4 × 18 3/4 × 2 in.)",38,24,1.6425614803993183,[884,885,886,887,888],{"_220":300,"_221":301,"_42":302,"_303":304},"2019.193","John Linnell painted this in 1834, aged 42. It is now at the Art Institute of Chicago.","A work made of oil on panel.",{"_294":881,"_296":882,"_298":883},"https://img.ochreeditions.com/m/384.jpg?dl=1","/art/the-sand-pits-hampstead-heath-aic-250453","/galleries/style/georgian-britain/the-sand-pits-hampstead-heath-aic-250453",{"_290":291,"_292":293},{"_224":876,"_125":877,"_284":878},{"_275":873,"_277":874,"_279":858,"_281":875},53,38.1345982804625,23.134598280462495,{"_286":224,"_123":879,"_154":880,"_140":89},{"_286":125,"_123":495,"_154":496,"_140":497},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-john-linnell","John Linnell's contemporaries","https://img.ochreeditions.com/a/384/480.jpg","https://img.ochreeditions.com/a/384/960.jpg","https://img.ochreeditions.com/a/384/1920.jpg",{"_310":897,"_312":898},{"_310":895,"_312":896},{"_310":893,"_312":894},{"_310":891,"_312":892},{"_310":889,"_312":890},"#815e2f",0.1306,"#878980",0.1534,"#72828a",0.1631,"#391e13",0.276,"#563a1b",0.2769,"John Linnell","john-linnell","English, 1792–1882",1882,"bray-church-yard-cma-119729","Bray Church Yard",{"_42":950,"_221":951,"_324":952,"_326":327,"_328":953,"_330":954,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1807","watercolor and graphite","Sheet: 24.9 x 36.9 cm (9 13/16 x 14 1/2 in.)",24.9,1.4789038712483689,[935,936,937,938,939],{"_220":386,"_221":387,"_42":388,"_303":389},"1940.564","John Varley painted this in 1807, aged 29. It is now at the Cleveland Museum of Art.",{"_118":934,"_384":385},"Bray Church Yard, by John Varley, 1807",{"_294":931,"_296":932,"_298":933},"https://img.ochreeditions.com/m/542.jpg?dl=1","/art/bray-church-yard-cma-119729","/galleries/style/georgian-britain/bray-church-yard-cma-119729",{"_290":378,"_292":379},{"_224":926,"_125":927,"_284":928},{"_275":708,"_277":924,"_279":693,"_281":925},48.95091176470588,24.950911764705882,{"_286":224,"_123":929,"_154":930,"_140":89},{"_286":125,"_123":373,"_154":374,"_140":375},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-john-varley","John Varley's contemporaries","https://img.ochreeditions.com/a/542/480.jpg","https://img.ochreeditions.com/a/542/960.jpg","https://img.ochreeditions.com/a/542/1920.jpg","The inscription on the reverse of this drawing, \"Bray Church Yard-1807,\" likely refers to St. Michael’s, the parish church in the village of Bray on the banks of the Thames in the county of Berkshire. The banks of the lower Thames Valley provided the subject matter for many of John Varley’s early watercolors.",{"_310":948,"_312":949},{"_310":946,"_312":947},{"_310":944,"_312":945},{"_310":942,"_312":943},{"_310":940,"_312":941},"#a69885",0.0422,"#9b8066",0.0836,"#ba9d7e",0.1977,"#ccb293",0.2307,"#ddc6a5",0.4458,"John Varley","john-varley","British, 1778–1842",1778,1842,"hannah-presenting-samuel-to-eli-aic-270369","Hannah Presenting Samuel to Eli",{"_42":1006,"_221":1007,"_324":1008,"_326":684,"_328":1009,"_330":1010,"_332":-5,"_334":-5,"_336":1011,"_140":99},"c. 1783","watercolour","Drawing and Watercolor","Pen and black ink and brush and black ink wash, with touches of pen and brown ink, on ivory laid paper","34 × 47 cm (13 7/16 × 18 9/16 in.)",47,34,1.2970566411080882,[991,992,993,994,995],{"_220":300,"_221":301,"_42":302,"_303":304},"2023.3177","John Flaxman painted this in about 1783, aged 28. It is now at the Art Institute of Chicago.","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.",{"_294":988,"_296":989,"_298":990},"https://img.ochreeditions.com/m/434.jpg?dl=1","/art/hannah-presenting-samuel-to-eli-aic-270369","/galleries/style/georgian-britain/hannah-presenting-samuel-to-eli-aic-270369",{"_290":378,"_292":379},{"_224":981,"_125":982,"_284":983},{"_275":978,"_277":979,"_279":963,"_281":980},71,60.23588863463005,36.23588863463005,{"_286":224,"_123":986,"_154":987,"_140":99},{"_286":125,"_123":984,"_154":985,"_140":53},{"_286":284,"_123":166,"_154":165,"_140":168},"style/watercolour-18","More watercolours of the 18th century","artist/john-flaxman","More by John Flaxman","https://img.ochreeditions.com/a/434/480.jpg","https://img.ochreeditions.com/a/434/960.jpg","https://img.ochreeditions.com/a/434/1920.jpg",{"_310":1004,"_312":1005},{"_310":1002,"_312":1003},{"_310":1000,"_312":1001},{"_310":998,"_312":999},{"_310":996,"_312":997},"#a49483",0.0883,"#c2b09c",0.1626,"#8d7e6f",0.1783,"#ddc8b1",0.2793,"#d1b79b",0.2915,"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.","athena-and-the-winds-aic-77249","Athena and the Winds",{"_42":1006,"_221":1007,"_324":1008,"_326":684,"_328":1009,"_330":1010,"_332":-5,"_334":-5,"_336":1011,"_140":99},"Pen and black ink, over traces of graphite, on tan wove paper, laid down on cream wove paper","21.1 × 29.5 cm (8 5/16 × 11 5/8 in.)",29,21,1.4131805157593123,[1040,1041,1042,1043,1044],{"_220":300,"_221":301,"_42":302,"_303":304},"1919.2141","John Flaxman painted this (n.d.), aged about 20. It is now at the Art Institute of Chicago.","A work made of pen and black ink, over traces of graphite, on tan wove paper, laid down on cream wove paper.",{"_294":1037,"_296":1038,"_298":1039},"https://img.ochreeditions.com/m/199.jpg?dl=1","/art/athena-and-the-winds-aic-77249","/galleries/style/georgian-britain/athena-and-the-winds-aic-77249",{"_290":378,"_292":379},{"_224":1034,"_125":1035,"_284":1036},{"_275":873,"_277":1032,"_279":1017,"_281":1033},44.521086780210865,20.52108678021087,{"_286":224,"_123":986,"_154":987,"_140":99},{"_286":125,"_123":984,"_154":985,"_140":53},{"_286":284,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/199/480.jpg","https://img.ochreeditions.com/a/199/960.jpg","https://img.ochreeditions.com/a/199/1920.jpg",{"_310":1053,"_312":1054},{"_310":1051,"_312":1052},{"_310":1049,"_312":1050},{"_310":1047,"_312":1048},{"_310":1045,"_312":1046},"#dfd4be",0.0899,"#e6dcc7",0.1448,"#f0e9d6",0.1906,"#eadfc6",0.2059,"#ece3ce",0.3688,"turtur-risorius-nga-53854","Turtur Risorius",{"_42":1100,"_221":1101,"_324":1102,"_326":408,"_328":1103,"_330":1104,"_332":-5,"_334":-5,"_336":-5,"_140":101},"hand-colored lithograph","sheet: 17 × 10.5 cm (6 11/16 × 4 1/8 in.)",10.5,17,0.655517578125,[1085,1086,1087,1088,1089],{"_220":444,"_221":445,"_42":446,"_303":447},"1973.26.27","William Home Lizars made this. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a bird perched on a branch. The bird is detailed and identified as \"Turtur Risorius.\" It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.",{"_294":1082,"_296":1083,"_298":1084},"https://img.ochreeditions.com/m/1564.jpg?dl=1","/art/turtur-risorius-nga-53854","/galleries/style/georgian-britain/turtur-risorius-nga-53854",{"_290":378,"_292":379},{"_224":1077,"_125":1078,"_284":1079},{"_275":1075,"_277":762,"_279":1076,"_281":550},40.387939453125,16.387939453125,{"_286":224,"_123":1080,"_154":1081,"_140":89},{"_286":125,"_123":659,"_154":660,"_140":474},{"_286":284,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-william-home-lizars","William Home Lizars's contemporaries","https://img.ochreeditions.com/a/1564/480.jpg","https://img.ochreeditions.com/a/1564/960.jpg","https://img.ochreeditions.com/a/1564/1920.jpg",{"_310":1098,"_312":1099},{"_310":1096,"_312":1097},{"_310":1094,"_312":1095},{"_310":1092,"_312":1093},{"_310":1090,"_312":1091},"#584c40",0.0182,"#967c5f",0.0339,"#76624d",0.0461,"#ba9770",0.0885,"#e3c59a",0.8133,"William Home Lizars","william-home-lizars","Scottish, 1788–1859",1788,1859,"the-captive-slave-ira-aldridge-aic-193664","The Captive Slave (Ira Aldridge)",{"_42":1154,"_221":1155,"_324":1156,"_326":684,"_328":1157,"_330":1158,"_332":-5,"_334":-5,"_336":-5,"_140":103},"1827","127 × 101.5 cm (50 × 40 in.); Framed: 167.1 × 141.7 cm (65 3/4 × 55 3/4 in.)",101,127,0.7940150839347985,[1139,1140,1141,1142,1143],{"_220":300,"_221":301,"_42":302,"_303":304},"2008.188","John Philip Simpson painted this in 1827, aged 45. It is now at the Art Institute of Chicago.",{"_118":1137,"_384":1138},"Painting of a dark-skinned man seated and wearing a red open-necked tunic. He looks up to the right. His wrists are shackled and a large chain rests at his right, running down the bench he sits upon.",{"_294":1134,"_296":1135,"_298":1136},"https://img.ochreeditions.com/m/347.jpg?dl=1","/art/the-captive-slave-ira-aldridge-aic-193664","/galleries/style/georgian-britain/the-captive-slave-ira-aldridge-aic-193664",{"_290":291,"_292":293},{"_224":1129,"_125":1130,"_284":1131},{"_275":1126,"_277":1127,"_279":1128,"_281":1111},115.83991565971941,142,100.83991565971941,{"_286":224,"_123":1132,"_154":1133,"_140":89},{"_286":125,"_123":495,"_154":496,"_140":497},{"_286":284,"_123":370,"_154":371,"_140":372},"artist/contemporaries-of-john-philip-simpson","John Philip Simpson's contemporaries","https://img.ochreeditions.com/a/347/480.jpg","https://img.ochreeditions.com/a/347/960.jpg","https://img.ochreeditions.com/a/347/1920.jpg","This painting by John Philip Simpson is both a powerful abolitionist statement and a striking portrait of the celebrated Shakespearean actor Ira Aldridge. A freeborn American, Aldridge became the first Black man to play Othello on the London stage in 1833.","Text from the Art Institute of Chicago.",{"_310":1152,"_312":1153},{"_310":1150,"_312":1151},{"_310":1148,"_312":1149},{"_310":1146,"_312":1147},{"_310":1144,"_312":1145},"#5e4335",0.0677,"#472119",0.0876,"#6e3024",0.1955,"#1b1411",0.2436,"#2f261a",0.4056,"John Philip Simpson","john-philip-simpson","English, 1782–1847",1782,1847,{"_1160":-5,"_1161":1162,"_1163":1164,"_1165":8,"_1166":1167,"_1168":8},"user","csrf","7bd20bcb63a725c30033c8edc535db526fbc6ce6","cartCount",0,"dropLive","legal",[1169,1170,1171,1172,1173,1174,1175,1176,1177,1178,1179,1180],"uploadsEnabled",{"_221":1203,"_20":1204},{"_221":1201,"_20":1202},{"_221":1199,"_20":1200},{"_221":1197,"_20":1198},{"_221":1195,"_20":1196},{"_221":1193,"_20":1194},{"_221":1191,"_20":1192},{"_221":1189,"_20":1190},{"_221":1187,"_20":1188},{"_221":1185,"_20":1186},{"_221":1183,"_20":1184},{"_221":1181,"_20":1182},"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"]