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11,254 photos
Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletto with easel in the left foreground Oil on mahogany; 511 x 816 mm N00370
#39170144

Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletto with easel in...

Norham Castle, Sunrise circa 1845 Canvas; 908 x 1219 mm frame: 1060 x 1370 x 70 mm N01981
#39170145

Norham Castle, Sunrise circa 1845 Canvas; 908 x 1219 mm frame: 1060 x 1370...

Heidelberg circa 1844-5 Canvas; 1321 x 2019 mm N00518
#39170149

Heidelberg circa 1844-5 Canvas; 1321 x 2019 mm N00518

The Opening of the Wallhalla 1842 Oil on mahogany; 1127 x 2007 mm N00533 This is the first of four pictures telling the story of Aeneas’s stay at Carthage. Aeneas was delayed from his destiny to become the founder of Rome by his love for Dido, which made him linger in Carthage. The four paintings were Turner’s last exhibits at the Royal Academy. Only three now survive. They are Turner’s final homage to his favourite old master painter, Claude Lorrain. Here, Aeneas stands on the left in his cloak of Tyrian purple, attended by Cupid. Mercury cannot be seen; perhaps he has melted into thin air, as described in Virgil’s Aeneid.
#39170151

The Opening of the Wallhalla 1842 Oil on mahogany; 1127 x 2007 mm N00533 Thi...

A Disaster at Sea ? circa 1835 This canvas was never exhibited and is probably not quite finished, but it seems to be well on the way to becoming one of Turner's most powerful statements on the Romantic theme of maritime disaster. Its pyramidal composition leaves little doubt that Turner had seen Gericault's Raft of the Medusa (now in the Louvre, in Paris) when it was exhibited in London in 1822. Turner's own subject is the wreck of the Amphitrite off Boulogne in 1833 . The ship's captain abandoned his cargo of female convicts, claiming that he was only authorised to land them in New South Wales. Canvas; 1714 x 2203 mm frame: 2190 x 2685 x 173 mm N00558
#39170152

A Disaster at Sea ? circa 1835 This canvas was never exhibited and is proba...

Stormy Sea with Blazing Wreck circa 1835-40 Canvas; 994 x 1416 mm frame: 1208 x 1635 x 65 mm N04658
#39170153

Stormy Sea with Blazing Wreck circa 1835-40 Canvas; 994 x 1416 mm frame: 12...

Going to the Ball (San Martino) (aka Venice: morning, returning from the ball.) 1846 Canvas; 616 x 924 mm N00544
#39170154

Going to the Ball (San Martino) (aka Venice: morning, returning from the bal...

Lady Hamilton as Circe circa 1782 Canvas; 533 x 495 mm N05591 Emma Hart (1765-1815), better known in her later roles as Lady Hamilton and mistress of Admiral Lord Nelson, became Romney's favourite model from about 1782 onwards. Although Romney was considered by many Reynolds's chief rival in portraiture, he always longed to be a 'history' painter. He painted Emma's ideally regular features innumerable times in many classical and fanciful disguises. This is a cut-down unfinished canvas of Emma in the character of the sorceress Circe, who enslaved men by turning them into swine. The original full-length version, showing her surrounded by animals, was formerly in Lord Hunsdon's collection.
#39170155

Lady Hamilton as Circe circa 1782 Canvas; 533 x 495 mm N05591 Emma Hart (1...

Arkwright's Cotton Mills at Night 1763 Canvas
#39170156

Arkwright's Cotton Mills at Night 1763 Canvas

A Dame's School 1845 Oil on mahogany; 622 x 1219 mm N00427
#39170157

A Dame's School 1845 Oil on mahogany; 622 x 1219 mm N00427

Lady Jane Halliday 1779 Canvas; 239 x 148,5cm
#39170158

Lady Jane Halliday 1779 Canvas; 239 x 148,5cm

Cloud Study 1822 Oil on paper laid on board; 476 x 575 mm N06065
#39170159

Cloud Study 1822 Oil on paper laid on board; 476 x 575 mm N06065