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| William Hilton Phaeton ca. 1820 oil on canvas Manchester Art Gallery |
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| John Jackson Miss Chester (Eliza Jane Chester) ca. 1820 oil on canvas Guildhall Art Gallery, London |
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| Théodore Gericault Horsewoman ca. 1820-21 oil on canvas Metropolitan Museum of Art, New York |
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| Andrew Geddes Portrait of Two Women ca. 1820-30 oil on panel Scottish National Gallery, Edinburgh |
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| John Constable Académie (posed after a figure from Michelangelo's Last Judgment fresco) ca. 1820-30 oil on canvas National Trust, Anglesey Abbey, Cambridge |
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| Richard Evans Ganymede Feeding the Eagle ca. 1822 oil on paper, mounted on canvas Victoria & Albert Museum, London |
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| Horace Vernet The Veteran at Home 1823 oil on canvas Wallace Collection, London |
"The soldier is a grenadier of the Old Guard. Under the restored Bourbons the financial plight of many of the soldiers who had fought in Napoleon's armies was an important political issue. Vernet produced many scenes like this showing veterans in a kindly light."
– from curator's notes at the Wallace Collection
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| attributed to Ramsay Richard Reinagle Portrait of Sir William Cornwallis Harris ca. 1823 oil on canvas National Portrait Gallery, London |
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| François-Joseph Navez Study of Mademoiselle Luisa at the Home of Portaels 1824 oil on paper, mounted on canvas Scottish National Gallery, Edinburgh |
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| Charles Lock Eastlake The Champion 1824 oil on canvas Birmingham Museum and Art Gallery |
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| François Gérard Portrait of Charles X, King of France 1825 oil on canvas Wellington Collection, Apsley House, London |
"In 1824 Gérard was commissioned by the government to paint a portrait of the new king, Charles X, in his coronation robes. It was exhibited at the 1825 Salon, where it enjoyed considerable success. . . . Charles-Philippe (1757-1836) was a grandson of Louis XV and became Comte d'Artois at birth. As a young prince he acquired a rather notorious reputation at the French Court, which together with his strong belief in aristocratic rights and privileges made him a particularly hated figure by revolutionists, and in 1789 his brother, Louis XVI, ordered him to leave France, from whence he eventually settled at the Palace of Holyroodhouse in Edinburgh. From this time until his death Charles became increasingly devout in his Catholic faith and traditional in his views. The French monarchy was restored in 1814, and in 1824 on the death of his brother, Louis XVIII, Charles became king, aged 67. From his coronation onwards Charles' attempts to reverse the ideals of the revolution made him deeply unpopular, and in July 1830 public revolts forced him to abdicate and flee to Britain."
– from curator's notes at the Wellington Collection
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| John Linnell Portrait of Miss Jane Puxley 1826 oil on canvas Yale Center for British Art |
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| Pieter Christoffel Wonder Study for Patrons and Lovers of Art ca. 1826-30 oil on canvas National Portrait Gallery, London |
"This is a preliminary study for Wonder's painting of an imaginary gallery hung with pictures from famous British collections. The portraits depict the main art collectors of the period. The composition celebrates the role of individual benefactors in the much celebrated foundation of the National Gallery (1824). On the left, kneeling in front of Titian's Bacchus and Ariadne, is George Watson Taylor (1771-1841), a collector of Italian Renaissance paintings. On the right, top hat in hand, is Sir John Murray (ca. 1768-1827) who commissioned Wonder's painting. Next to him, leaning forward, is the Reverend William Holwell-Carr (1758-1830), a benefactor of the newly formed National Gallery. Behind them, holding his palette, is the artist himself."
– from curator's notes at the National Gallery
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| Richard Parkes Bonington Amy Robsart and the Earl of Leicester ca. 1827 oil on canvas Ashmolean Museum, Oxford |
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| Ary Scheffer Portrait of Charlotte Rothschild, Baroness Anselm de Rothschild ca. 1827-28 oil on canvas National Trust, Waddesdon Manor, Buckinghamshire |