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19th-century Britain

Works made in Britain in the 19th century.

40 works · hang 6190 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. Large English country landscape painting, farmers with horses, green trees.
    Stoke-by-NaylandJohn Constable, 1836Courtesy of the Art Institute of Chicago
  2. The Lake of Zug, by Joseph Mallord William Turner, 1843
    The Lake of ZugJoseph Mallord William Turner, 1843Courtesy of The Metropolitan 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. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  2. A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.
    The Hall, Levens, WestmorelandJoseph Nash, n.d.Courtesy of the Art Institute of Chicago
  3. From a grassy riverbank, we look across the placid surface of a river lined along the far bank with trees and farm animals in this horizontal landscape painting. The scene is painted loosely with brushstrokes visible throughout, so some details are difficult to make out. For the surface of the river, russet-brown and steel-gray paint skims lightly across the canvas and leaves some unpainted areas visible, creating the effect of light shimmering on the still water. On our left, a shallow wooden barge is propelled along the stream by two men in red caps with long poles. The boat carries a white horse wearing blinders and a harness. The riverbank beyond is lined with pale, sage-green grass tinged with gold, growing in front of a tangle of darker green trees and bushes. Across the water from us near the middle of the picture, a small rowboat sits in the shallows at the foot of a steep riverbank. Above, a white cottage with a reddish roof and chimney is tucked behind the trees, with a wooden rack full of hay next to it. Nearby, a plow and wheeled cart, highlighted with strokes of white, sit near more mounds of hay. Rocky fields reach into the distance. The vista is blocked to our right by another clump of trees and a rocky outcropping, rising from the stream, to our right of center. The steep, dark roof of a farmhouse is barely visible among the trees. Along the riverside to our right, a small group of cinnamon-brown and cream-white cows stand at water's edge. A rolling pasture stretches behind them to meet blue hills in the distance. Above, in the upper third of the painting, mottled white, pale rose, and gray clouds rolling across a steel-gray sky are reflected in the water below.
    The White HorseJohn Constable, 1818-1819Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  2. 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
  3. A work made of watercolor and gouache, with touches of brush and black ink, heightened with white gouache, over graphite on cream wove paper.
    Room Leading to the Chapel, Knowle, KentJoseph Nash, 1869Courtesy of the Art Institute of Chicago

Section 2, north wall

  1. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art
  2. The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.
    Francis Charles Seymour-Conway, 3rd Marquess of HertfordThomas Lawrence, c. 1822/1823Courtesy National Gallery of Art, Washington
  3. Egypt and Nubia, Volume III, No. 26, Cairo, Looking West, by Louis Haghe, 1848
    Egypt and Nubia, Volume III, No. 26, Cairo, Looking WestLouis Haghe, 1848Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. 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
  2. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago

Section 3, south wall

  1. Lady Lilith, by Dante Gabriel Rossetti, 1867
    Lady LilithDante Gabriel Rossetti, 1867Courtesy of The Metropolitan Museum of Art
  2. 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