Floor plan

Style galleriesGeorgian Britain

Georgian Britain

Captain George K. H. Coussmaker (1759–1801), by Joshua Reynolds, 1782
Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761
A work made of oil on panel.
Bray Church Yard, by John Varley, 1807
Small Landscape, ca. 1750-1800
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.
The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, by Johann Zoffany, c. 1772

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. 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
  2. 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
  3. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. Bray Church Yard, by John Varley, 1807
    Bray Church YardJohn Varley, 1807Courtesy of the Cleveland Museum of Art
  2. Small Landscape, ca. 1750-1800
    Small LandscapeUnrecorded British maker, ca. 1750-1800Courtesy of the Smithsonian American Art Museum
  3. 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
  4. 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

Section 2, south wall

  1. A work made of pen and black ink, over traces of graphite, on tan wove paper, laid down on cream wove paper.
    Athena and the WindsJohn Flaxman, n.d.Courtesy of the Art Institute of Chicago
  2. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    May, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  3. The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.
    Phasianus VersicolorWilliam Home LizarsCourtesy National Gallery of Art, Washington
  4. Shown from the waist up, a young, pale-skinned woman with her gray hair piled high atop her head is lit starkly against a dark background in this vertical portrait painting. The woman’s shoulders are angled to our left. Her face is square to us, but she looks off to our right from the corners of her eyes, which are gray rimmed with golden brown around the pupils. She has a thin face, smooth cheeks, a bow-shaped pink mouth, and a narrow chin. Her hair is mostly swept up high under a bank of pearl-white feathers and some sparkling ornaments. A few ringlets hang down the back of her neck. The bodice of her white dress scoops low across her chest and sits just above her sloping shoulders. The dress is adorned with pearls on the sleeves and around the neckline, and the fabric shimmers from silvery white to pale gold. The background is earth-brown around her face and deepens to almost black in the corners.
    Mrs. Paul Cobb MethuenThomas Gainsborough, c. 1776/1777Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. 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
  2. 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.
    Isabella WolffThomas Lawrence, 1803–15Courtesy of the Art Institute of Chicago
  3. A work made of etching on ivory laid paper.
    Death on a Pale HorseJoseph Haynes, 1784, after the drawing of 1775Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. Lord Rothes, 1768
    Lord RothesUnrecorded British maker, 1768Courtesy of the Smithsonian American Art Museum
  2. From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
    Seashore with FishermenThomas Gainsborough, c. 1781/1782Courtesy National Gallery of Art, Washington