Floor plan

Time and place19th-century Britain

19th-century Britain

Large English country landscape painting, farmers with horses, green trees.
Sabrina, by Samuel Palmer, 1856
A work made of oil on canvas.
Weymouth Bay, by David Lucas, 1830
A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.
Egypt and Nubia, Volume III, No. 26, Cairo, Looking West, by Louis Haghe, 1848
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 works in this room are listed below.

Works in this room

Works made in Britain in the 19th century.

First room, 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. Sabrina, by Samuel Palmer, 1856
    SabrinaSamuel Palmer, 1856Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on canvas.
    The Golden AgeSir John Edward Poynter, 1875Courtesy of the Art Institute of Chicago

First room, south wall

  1. Weymouth Bay, by David Lucas, 1830
    Weymouth BayDavid Lucas, 1830Courtesy 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. 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
  4. 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

Second room, south 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. This painting shows a serene pastoral scene with trees, a wooden gate, and foliage extending towards the horizon. Closest to us, there is a low riverbank with some tree branches in the water. Up a grassy dirt hill, two donkeys are visible off to the right, partially hidden by vegetation. On the left, a dirt path leads to the wooden gate. To the left of the gate, two people sit on the grass with a wicker basket between them. The tall trees that rise in the background have leaves in shades of green, yellow, and dark orange. The sky above the scene is yellow with some hints of light blue, and golden light shines down on the landscape.
    Landscape with Picnickers and Donkeys by a GateJoseph Paul, c. 1830-1880Courtesy National Gallery of Art, Washington
  3. Lear and Cordelia, by Richard Hatfield, 1845
    Lear and CordeliaRichard Hatfield, 1845Courtesy of the Smithsonian American Art Museum

Second room, north wall

  1. The Love Song, by Sir Edward Burne-Jones, 1868–77
    The Love SongSir Edward Burne-Jones, 1868–77Courtesy of The Metropolitan Museum of Art
  2. 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
  3. 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

Third room, north wall

  1. Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, Cairo, by Louis Haghe, 1842–49
    Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, CairoLouis Haghe, 1842–49Courtesy of the Cleveland Museum of Art
  2. 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
  3. A work made of oil on panel.
    The Sand Pits, Hampstead HeathJohn Linnell, 1834Courtesy of the Art Institute of Chicago