Floor plan

Style galleriesGeorgian Britain

Georgian Britain

Lord Rothes, 1768
The Burning of the Houses of Lords and Commons, 16 October 1834, by Joseph Mallord William Turner, 1835
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.
A work made of oil on canvas.
This drawing depicts multiple figures in a forest setting. An angelic figure hovers at the top with wings outstretched. The forest below is filled with intricately detailed trees. Figures on the ground are in dynamic poses, one showing surprise or fear, and another reaching upwards. The composition is detailed with flowing garments and textured foliage, evoking tension and animation.
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.
The image shows a landscape scene with a frontal view of a dense forest. A wooden bridge spans across a narrow ravine or creek. The painting features vigorous and textural brushstrokes with dark tones creating a shadowy effect. The color palette includes deep blacks, dark browns, and occasional highlights of light filtering through the canopy. In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.

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. Lord Rothes, 1768
    Lord RothesUnrecorded British maker, 1768Courtesy of the Smithsonian American Art Museum
  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
  3. 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

Section 1, south wall

  1. A work made of oil on canvas.
    Theophilia GwatkinJoshua Reynolds, 1776–81Courtesy of the Art Institute of Chicago
  2. This drawing depicts multiple figures in a forest setting. An angelic figure hovers at the top with wings outstretched. The forest below is filled with intricately detailed trees. Figures on the ground are in dynamic poses, one showing surprise or fear, and another reaching upwards. The composition is detailed with flowing garments and textured foliage, evoking tension and animation.
    The Death of Saint Peter MartyrJohn Baptist Jackson, 1739Courtesy 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
  4. The image shows a landscape scene with a frontal view of a dense forest. A wooden bridge spans across a narrow ravine or creek. The painting features vigorous and textural brushstrokes with dark tones creating a shadowy effect. The color palette includes deep blacks, dark browns, and occasional highlights of light filtering through the canopy. In the distance, lighter areas suggest a path leading further into the woods, surrounded by trees and undergrowth.
    A Dell at Helmingham Park, SuffolkDavid Lucas, 1830Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. 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.
    Landscape with Picnickers and Donkeys by a GateJoseph Paul, c. 1830-1880Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Anna Maria Dashwood, later Marchioness of ElyThomas Lawrence, c. 1805Courtesy of the Art Institute of Chicago
  3. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago
  4. 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

Section 2, north wall

  1. 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
  2. Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, by Joseph Wright of Derby, 1779
    Virgil's Tomb by Moonlight, with Silius Italicus DeclaimingJoseph Wright of Derby, 1779Courtesy of The Metropolitan Museum of Art
  3. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    August, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago

Section 3, north 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 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.
    NoonDavid Lucas, 1830Courtesy National Gallery of Art, Washington