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19th-century Britain

Works made in Britain in the 19th century.

40 works · hang 6244 ·

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

Walk this roomRehang this room

First room, north wall

  1. A work made of graphite on ivory wove paper.
    A Byzantine Well-headFrederic Leighton, 1st Baron Leighton of Stretton, 1852Courtesy of the Art Institute of Chicago
  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. Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
    Joshua Commanding the Sun to Stand Still upon GibeonJohn Martin, 1816Courtesy National Gallery of Art, Washington

First room, south wall

  1. The Entombment, by Sir Edward Burne-Jones, 1879
    The EntombmentSir Edward Burne-Jones, 1879Courtesy of The Metropolitan Museum of Art
  2. Weymouth Bay, by David Lucas, 1830
    Weymouth BayDavid Lucas, 1830Courtesy of The Metropolitan Museum of Art
  3. 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
  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

Second room, south wall

  1. Whalers, by Joseph Mallord William Turner, ca. 1845
    WhalersJoseph Mallord William Turner, ca. 1845Courtesy of The Metropolitan Museum of Art
  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. Lady Lilith, by Dante Gabriel Rossetti, 1867
    Lady LilithDante Gabriel Rossetti, 1867Courtesy of The Metropolitan Museum of Art

Second room, north wall

  1. 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
  2. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago
  3. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. 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
  2. GEORGE JAMES DRUMMOND'S ROOM AT OXFORD, 1853
    George James Drummond's Room at Oxford, 1853George Pyne, 1853Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
    Portrait of Charlotte and Sarah Carteret-HardyThomas Lawrence, 1801Courtesy of the Cleveland Museum of Art