Floor plan

Style galleriesGeorgian Britain

Georgian Britain

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.
Descent into the Plain of Granada, by David Roberts, 1834
Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
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.
Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby, by Thomas Lawrence, 1790
John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795
A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.

The works in this room are listed below.

Works in this room

Portraits, conversation pieces and watercolour landscapes from Hogarth to Constable.

Section 1, north wall

  1. 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.
    Turtur RisoriusWilliam Home LizarsCourtesy National Gallery of Art, Washington
  2. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art
  3. Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
    Portrait of Charlotte and Sarah Carteret-HardyThomas Lawrence, 1801Courtesy of the Cleveland Museum of Art
  4. 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.
    The Captive Slave (Ira Aldridge)John Philip Simpson, 1827Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. Elizabeth Farren (born about 1759, died 1829), Later Countess of Derby, by Thomas Lawrence, 1790
    Elizabeth Farren (born about 1759, died 1829), Later Countess of DerbyThomas Lawrence, 1790Courtesy of The Metropolitan Museum of Art
  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. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    July, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. Portrait of Catherine Grey, Lady Manners, by Thomas Lawrence, 1794
    Portrait of Catherine Grey, Lady MannersThomas Lawrence, 1794Courtesy of the Cleveland Museum of Art
  2. A work made of brush and black ink wash, with pen and black ink and opaque white and gray watercolor, on cream laid paper.
    A Hero Born on a Bier, from The Master of Giants PortfolioPrince Hoare, 1779Courtesy of the Art Institute of Chicago
  3. A work made of red chalk on cream laid paper.
    Self-PortraitJohn Flaxman, c. 1779Courtesy 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 2, 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. 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
  3. 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

Section 3, north wall

  1. Large marine landscape of boats on rough waves, storm clouds.
    Fishing Boats with Hucksters Bargaining for FishJoseph Mallord William Turner, 1837–38Courtesy of the Art Institute of Chicago
  2. Lord Rothes, 1768
    Lord RothesUnrecorded British maker, 1768Courtesy of the Smithsonian American Art Museum