ILLUSTRATIONS
First section
Interior of the British Institution, 52 Pall Mall (hand-coloured etching and aquatint, published by Rudolf Ackermann, 1808) by A. C. Pugin, after Thomas Rowlandson. (British Library / Robana via Getty Images)
Interior of the National Gallery, when it was at 100 Pall Mall (watercolour, 1834) by Frederick Mackenzie. (© Victoria and Albert Museum, London)
The Festival of the Opening of the Vintage of Macon (oil on canvas, 1803) by J. M. W. Turner (Sheffield Galleries and Museums Trust, UK / Photo © Museums Sheffield / The Bridgeman Art Library)
Noli me Tangere (oil on canvas, c.1514) by Titian. (© The National Gallery, London 2014)
Waiting for the Times (oil on canvas, 1831) by Benjamin Robert Haydon. (Private Collection / The Bridgeman Art Library)
William Brande and Michael Faraday precipitating Prussian Blue (oil on panel, 1827), attributed to George Reinagle. (Reproduced by permission of the Museum of the History of Science, University of Oxford, ref. 56477)
Thomas Coutts (marble, 1827) by Sir Francis Chantrey, Coutts Bank, London. (Photo: James Hamilton)
The Chantrey Wall at the Ashmolean Museum, Oxford. (Photo: James Hamilton)
James Watt’s workshop at Handsworth, Birmingham, as he left it at his death in 1819 by Jonathan Pratt (1889). (Getty Images)
Whalers (Boiling Blubber) Entangled in Flaw Ice, Endeavouring to Extricate Themselves (oil on canvas, 1845) by J. M. W. Turner. (© Tate, London 2014)
Isabella (oil on canvas, 1848–49) by John Everett Millais. (Courtesy National Museums Liverpool)
The Random Shot (oil on canvas, 1848) by Edwin Landseer. (© Bury Art Museum, Greater Manchester, UK)
The Random Shot (engraving, 1851) by Charles Lewis, after Edwin Landseer. (© The Trustees of the British Museum. All rights reserved)
Ackermann’s premises, The Repository of Arts, in the Strand, London (hand-coloured etching with aquatint, published by Rudolf Ackermann, 1809) by A. C. Pugin. (British Library / Robana via Getty Images)
Interior of Benjamin Godfrey Windus’ library and gallery at Tottenham (watercolour, 1835) by John Scarlett Davis. (© The Trustees of the British Museum. All rights reserved)
Titianus redivivus [Titian reborn]; -or- the seven-wise-men consulting the new Venetian oracle, - a Scene in ye Academic Grove. No 1. (engraving, 1797) by James Gillray. (© The Trustees of the British Museum. All rights reserved)
Exhibition Stare-Case (watercolour, c.1811) by Thomas Rowlandson. (© The Trustees of the British Museum. All rights reserved)
Second section
The Louvre, or the National Gallery of France. No. 100, Pall Mall, or the National Gallery of England (lithograph, c.1832), published by Joseph Hogarth. (© The Trustees of the British Museum. All rights reserved)
Ruins of Fonthill Abbey (lithograph, 1826) by William Westall, after John Buckler. (© The Trustees of the British Museum. All rights reserved)
Pages from Turner’s ‘Academy Auditing’ sketchbook, c.1824 (© Tate, London 2014)
Entrance to the Adelphi Wharf (lithograph, 1821) by Théodore Géricault, printed by Charles Hullmandel. (© Ashmolean Museum / Mary Evans)
Paintings being delivered for selection to the Royal Academy, Trafalgar Square (wood engraving) from the Illustrated London News, 1866 (Time & Life Pictures / Getty Images)
Mr Fuseli’s Painting Room at Somerset House (watercolour, c.1825) by an unknown artist (© Victoria and Albert Museum, London)
Portrait of J. M. W. Turner (stipple engraving, published in 1852) by Charles Turner. (© Tate, London 2014)
The Artist’s Studio (sepia drawing, c.1808) by J. M. W. Turner. (© Tate, London 2014)
Richard Cosway RA (soft ground engraving, published 1811) by William Daniell, after George Dance. (Yale Center for British Art, Paul Mellon Collection)
‘Caleb curious – the Witty Wine Merchant’: portrait of Caleb Whitefoord (hand-coloured etching, 1792) by Isaac Cruikshank. (© The Trustees of the British Museum. All rights reserved)
Self Portrait (oil on paper, 1823) by William Etty. (Yale Center for British Art, Friends of British Art Fund, and Paul Mellon Fund)
Study of a Standing Nude (oil, 1820s/30s) by William Etty. (Private Collection / Photo © The Maas Gallery, London / The Bridgeman Art Library)
John Boydell, Engraver (engraving, 1772) by Valentine Green, after Josiah Boydell. (Yale Center for British Art, Paul Mellon Collection)
Rudolf Ackermann (oil on canvas, 1810–14), attributed to Francois Nicholas Mouchet. (© National Portrait Gallery, London)
William Seguier (oil on card, c.1805), attributed to John Jackson. (© National Portrait Gallery, London)
Sebastian Grandi (oil on panel, 1806) by John Opie. (© Ashmolean Museum, University of Oxford)
Sir John Julius Angerstein (mezzotint, c.1815), after Sir Thomas Lawrence. (Getty Images)
‘Maecenas, in pursuit of the Fine Arts: scene, Pall Mall; - a Frosty Morning’: Thomas Leveson-Gower, 2nd Marquess of Stafford and 1st Duke of Sutherland (hand-coloured etching, 1808) by James Gillray. (© The Trustees of the British Museum. All rights reserved)
Study for ‘Patrons and Lovers of Art’ (oil on canvas, 1826–1830) by Pieter Christoffel Wonder. (© National Portrait Gallery, London)
Joseph Gillott (engraving). (Getty Images)
Captain Francis Fowke (gilt bronze bust, 1866) by Thomas Woolner. (© Victoria and Albert Museum, London)
Steel-framed picture galleries in the South Kensington Museum, 1857. (SSPL via Getty Images)