"Art is a jealous mistress" - Ralph Waldo Emerson 1803 – 1882)
Irish Romantic landscape

Panagia Glikophilousa (Mother of God)

12th century Icon of, possibly, middle eastern origin showing strong influence of the Constantinople workshops of the preceding centuries.

Madonna and Child with Saints

Italian 14th century Icon from the south-east (Abruzzi) region of Italy. The gold background painting on a canvas and timber support shows the strong Sienese influence, which was spreading extensively in the region, and elsewhere, at the time.

Saint Marzela Icon

Gold-background, timber supported Icon of the Quattrocento, showing the influence of Byzantine painting from eastern Italy. The identity of Saint Marzela is currently unknown.

Holy Family with Saint John

Domenico Puligo, a Florentine painter working between 1492 - 27. His style is Late Mannerist. Collaborated with Andrea del Sarto with whom there is a close stylistic affinity. He is a student of Ridolfo del Ghirlandaio (see painting p37 n12).

Nuptial Portrait

Painted by the Florentine painter Michele Tosini in the period 1503-77. A pupil of Lorenzo di Credi, he took the name of the artist, Ridolfo di Ghirlandaio (1483-1561), with whom he collaborated on various paintings.


A stripcartoon-like panorama of the Passion of Christ, painted in the 1520s by the German artist Bernhard Strigel (c.1465/70 - c.1528)

Fête Champetre

Cornelis Cornelisz van Haarlem 1562-1638. The style of the artist's mythological paintings owes a debt to the school of Fontainebleau. His Mannerist style is somewhat similar to that of his Haarlem contemporaries Hendrick Goltzius and Carel van Mander.

Nativity with Shepards

Johann Rottenhammer I Munich, 1564/5 - Augsburg, 14 Aug 1625

Noah's Ark

Noah's Ark is one of Jan Breughel de Velours (Velvet Breughel) - 1568-1625 - most renowned subjects, chosen by the artist to display his skill in depicting exotic animals, flowers and landscapes. Collaborated with Peter Paul Rubens on some of his most important paintings including the renowned Christ in the House of Martha and Mary in the National Gallery of Ireland.


Hendrik van Balen (Antwerp 1575-1632) is a master of Peter Paul Rubens and Anton van Dyck. He collaborated with Rubens and with Jan Breughel de Velours (see no.p46 n13).

Girl with Bouquet of Flowers

Hendrik van Balen Antwerp 1575 ?1632 The Flemish artist trained and often collaborated with Anthony van Dyck and Frans Snyders. He is frequently the author of the figures appearing in the paintings of Jan Breughel de Velours. He was known for his religious paintings and altarpieces (see id p54 n20)

Fauns and Nymphs

A rare painting by the ill-fated Dutch artist Johannes Torrentius (1589 - 1644). A member of the underground religious sect, the Rosicrucians, he was jailed for twenty-two years by the Authorities. Fauns and Nymphs entered Charles l of England's collection when the artist escaped there, and bears the ruler's seal on the rear. Returning to Holland Torrentius was again arrested and died in prison.

Portrait of Jan van Goyen

Portrait of Jan van Goyen. This portrait of the important Dutch landscape painter (1596 - 56), is similar to a known portrait of the artist, done about a decade later, by Gerard Terborch in the Prince of Liechtenstein Collection, Vaduz.

Madonna Dolorosa

Style of Sassoferrato (Giovan Battista Salvi) Sassoferrato, 1609 - Rome, 1685

Girl Playing a Mandolin

In the style of Judith Leyster, Haarlem 1609-1660. The wife of a noted painter Jan Molenear, she is known for her genre and figure paintings. The latter often show young people playing musical instruments

Italian Landscape with Figures

Jan Asselijn, (1610-52) a Dutch artist, is a member of the mid 17th century Italianite school: painters who studied in Italy. Their work often betrays the landscape of the Roman Campagna.

Adoration of the Magi

The artist Benjamin Gerritsz Cuyp (1612-52) shows the strong influence that he absorbed from the later, sombre style of Rembrandt. (See no 0602-128) He is a relative of Aelbert Cuyp (see id no 0204-0007)

Milkmaid with Cattle

Attributed to the Dutch painter Aelbert Cuyp (Dordrecht 1620-91) for the artist's brushwork and the treatment of the grass foreground, somewhat similar to its treatment in 'Milking Cows,' catalogue no.49 in the National Gallery of Ireland.

A Dutch Farm

Isack van Ostade (1621-49) The subject, full of atmosphere, is typical of this talented but short-lived painter; buildings set off against a well observed sky.

Italianite Landscape with Ruins on Coast

Italianite Landscape with Ruins on Coast.. Karel du Jardin. (c.1622-1678)

Judith with the Head of Holofernes

The prototype of this painting is in the Rijksmuseum (Inventory Ag1) where it was previously attributed to Carl Fabritius. The present painting is important because it shows the lower section of the painting which, in the Rijksmuseum version, has been cut away. The painting, by a Rembrandt pupil, shows the influence of Rembrandt?s sombre later style.

The Finding of Moses

Valerio Castello, A painter of the Baroque Genovese School 1624 - 59 His technique was warm and intense. The artist painted the subject onto a red, earth-based priming, common to this school.

Girl seated by a Well

Attributed to Nicolas Berchem, Haarlem 1620 - Amsterdam 1683. An artist typically working in the Italianate style of the period, influenced by his sojourn, about 1640, in Italy. The influence of the Cuyp school is visible in the red-faced young woman. See ID p65 n23

Allegory of Water

Jan van Kessel, Flemish artist (1626-79) who collaborated closely with Jan Breughel de Velours (see no.p46 n13) This is one of a series of three panels, Air, Water and Fire

Allegory of Fire

Allegory of Fire. Jan van Kessel, Flemish artist (1626-79) who collaborated closely with Jan Breughel de Velours (see no.p46 n13) This is one of a series of three panels, Air, Water and Fire

Allegory of Air

Allegory of Air. Jan van Kessel, Flemish artist (1626-79) who collaborated closely with Jan Breughel de Velours (see no.p46 n13) This is one of a series of three panels, Air, Water and Fire.

The Poet Virgil

The Poet Virgil. One of a series of paintings done by the Italian (Calabrian) painter, Mattia Preti (1630 -90). He, like numerous painters from the region, was much influenced by Caravaggio's use of light and shade. This painting is a good example of the technique

The Sculptor in his Studio

Gerard Thomas (Antwerp 1633 - 1720/1)

The Artist in his studio

Gerard Thomas, Antwerp 1633-1720/1. The painting shows the actual working conditions of artists in Holland at the period.

Dutch Portrait of a young Man

Portrait of an unknown young man. Netherlands or Flemish school of about 1640.

Still Life with Game

Painting from the workshops of the Flemish Breughel family of circa 1650

Shepherd with Cattle

Dutch School painting of the mid 17th century. There is a stylistic reference to the Paulus Potter Painting of Cattle, ref.no.252, in the Wallace Collection

Classical Landscape with figures

Attributed to Jan Frans van Bloemen (1662-1749), known as `Orizzonte`, a Flemish painter who specialised in Italian landscapes of the Roman Campagna. The horizon and back plane is an important feature of his landscapes, hence his nickname

Roman Ruins with Caio Cestio's Pyramid tomb

Giovanni Paolo Panini (c.1692 - 1765/8) The artist shows contemporary and classical figures in a landscape of Roman ruins that contains Caio Cestio's Pyramid.


Artist : Grani, 1750s Venetian School. The bright clean colours reflect the influence of the seventeenth-century Venetian School and particularly, the paintings of the Italian Rococo Era Painter, Gianbattista Tiepolo. (1696-1770)

Classical Figure

Jean Baptiste Chardin, studio. A life-long member of the French Academy, this three-quarter length work shows the attention to detail and elegance associated with the best French academic painting of the 1750s.

Shepard in the Roman Campagna

Considered the masterpiece of the German 'Italianite' painter Rosa da Tivoli (Pieter del Roos) 1657 - 1706, the work was painted, and signed and dated on the back, in 1703

Portrait of Miss Elizabeth Wynne

Portrait of Miss Elizabeth Wynne. A member of an aristocratic Welsh family, she was painted by her countryman Richard Wilson (1713?-82).

Portrait of a Lady

Attributed to Phillip Hussey Irish painter. Cork 1713 - Dublin 1783. Worked principally in Dublin. His chosen subjects are single portraits of which this painting is a typical example, and groups. The style is outside the academic mainstream current in both London and Dublin at the period.

Wicklow Landscape

The painting is a typical Barrett Romantic Irish landscape. The artist, born in Dublin, 1728 was a founder member of the Royal Academy and a friend of Edmund Bourke whos advice contributed to the development of his virtuoso style. He died in London 1784

Man with a Turban

John Henry Fuseli, Zurich 1741-London 1825. Like his contemporary William Blake the dominant influence on his art is Mannerism and Michelangelo that he saw in 1770 in Italy. His friendship with Sir Joshua Reynolds resulted in Fuseli being elected a Royal Academician in 1790.

Playful Cherub

James Barry, Ireland, Cork 1741- London 1806 The Irish painter was the prot?g? of Edmund Bourke and one of the founder members of the Royal Academy. Political infighting resulted in Sir Joshua Reynolds having him expelled, April 15, 1799. His work is in the Grand Manner of the period and was praised by Dr Johnson and William Blake.

Vestal Virgin

Painted by the French artist Jean-Baptiste Greuze (1745-1805). His art was described by Diderot as glorifying virtue in a period of moral

Allegorical Figure

Jan Baptiste Greuze (1745 - 1805) (See painting p66 n24)

The Lakes of Killarney

Attributed to, Jonathan Fisher, (fl.1763-1809) A View of the Lower Lake, Killarney with classical figures

Rustic English Landscape

George Morland (1763 - 04) is one of the few Genre painters of the English school who successfully followed and adapted the style of the Dutch artists, David Teniers and Adriaen Brouwer. Like Torrentius (see no.0602-126) he also died in prison.

Wreck of the Killarney

William Sadler (1782c.- 1839). Painted on to oak panel covered in hessian onto which the artist laid a gesso priming. More details on the painting see Caring for Old Master Paintings.

Irish Romantic landscape

On the basis of a painting in a similar style in the collection of Bristol museum, Conway Castle, this painting is now tentatively attributed to the Irish painter Francis Danby 1793-61. It was formerly given to another Irish painter James Arthur O?Connor, 1792 ca. - London 1841 who is believed to have studied under the landscape artist William Sadler c.1782-1839 (see No. 0204-0004).

Dutch Landscaoe, Abraham Hulk

Abraham Hulk (Holland 1813-England1897)


Jacques-Raymond Brascassat 1831. Coriolanus, Gnaeus Marcius, the 5th century General being persuaded by his wife Volumnia not to march on Rome.

Romantic 19th century landscape.

Painted by the English(?) painter H.V.Maxwell in 1833

Girl reading a letter

Wilson, (Thomas?) 19th century English School.

Irish Thatched Cottage with Figures

The painting, by an unknown artist, shows an Irish mountainous landscape with figures in front of a thatched cottage. The Romantic style of the oeuvre would place it in the mid nineteenth-century