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19th-century Britain

Works made in Britain in the 19th century.

40 works · hang 7226 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. 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
  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. 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
  4. Serene red-haired woman, framed with allegorical symbols of red bird, sundial.
    Beata BeatrixDante Gabriel Rossetti, 1871–72Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. 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
  2. Large English country landscape painting, farmers with horses, green trees.
    Stoke-by-NaylandJohn Constable, 1836Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. Noah: The Eve of the Deluge, by John Linnell, 1848
    Noah: The Eve of the DelugeJohn Linnell, 1848Courtesy 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. The Lake of Zug, by Joseph Mallord William Turner, 1843
    The Lake of ZugJoseph Mallord William Turner, 1843Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. GEORGE JAMES DRUMMOND'S ROOM AT OXFORD, 1853
    George James Drummond's Room at Oxford, 1853George Pyne, 1853Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. 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
  3. 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
  4. A work made of oil on paperboard.
    Lane Scene at NightJohn Atkinson Grimshaw, 1872Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago
  2. The Love Song, by Sir Edward Burne-Jones, 1868–77
    The Love SongSir Edward Burne-Jones, 1868–77Courtesy of The Metropolitan Museum of Art
  3. We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting. A wooden fence closer to us crosses the landscape from the lower left corner and disappears where the land slopes down to meet the water at the center of the painting. Several black and white cows graze in the field beyond the fence to our left. Two men in a wooden boat pull in nets on the lake to our right near a pair of swans. The lake crosses the composition in the near distance, disappearing into a culvert farther back. A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.
    Wivenhoe Park, EssexJohn Constable, 1816Courtesy National Gallery of Art, Washington