Regency Portraits Catalogue
Thomas Moore (1779-1852), Poet and biographer of Byron
- Gallery portraits
- All known portraits
- Biography and References
c.1800-5
Oil by unknown artist (NPG 1340).
c.1801
Small whole-length pencil drawing by J. D. Herbert exhibited Parliament House Dublin 1801, 'first exhibited portrait of the poet' (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 475).
c.1806
Miniature by Plimer engraved by Scriven for The Universal Magazine, December 1806 and by Heath for Galignani, 18 rue Vivienne, Paris.
1808
Miniature by Comerford was among portraits of several actors in Kilkenny 1808, engraved in stipple for The Private Theatre of Kilkenny, 1825 (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 200); Comerford's MS list in the NPG library records a portrait of 'Mr Moore' November 1811.
c.1811
Drawing and engraving by Brocas for Hibernian Magazine February 1811, head and shoulders in toga; oil attributed to Brocas was at Sotheby's 6 July 1977 (146) and 21 December 1977 (71), head and shoulders in dark coat and white shirt-frill.
Miniature by William Haines engraved in stipple by Haines himself was possibly the 'Portrait of a Ballad Singer' exhibited by Haines RA 1811 (555) and 1821 (470).
1812
Drawing by Slater exhibited RA 1812 (534) and engraved by M. N. Bate.
1815
Pencil drawing by Edward Hayes in National Gallery of Ireland (2713), three-quarter-length seated holding quill.
Oils by Shee (see NPG 3327).
1818
Miniature by ? Meyer 'Engraved by Meyer from an Original Miniature for the New Monthly Magazine', 1 August 1818.
1819-22
Oil by Phillips known from Holl's stipple in Memoirs, Journal and Correspondence of Thomas Moore, I, frontispiece, not listed in Phillips's MS Account Book, but Moore records sitting to Phillips in May 1822 'finishing the picture he began two or three years ago' (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 350-1 and VII, pp 43-4).
1819
Oil by Jackson painted in Rome 1819 and now in National Gallery of Ireland (257), see NPG 1340. Moore also mentions a pencil drawing by Jackson (Diary, 13 December 1819).
Bust by Bartolini mentioned in Moore's Diary, November 1819.
1821
Bust by Kirk who had sittings in 1821-2 (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 289, 358); it was exhibited Liverpool Academy 1822 (Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 230). Others were exhibited RHA 1829, 1831, 1835 and 1836, one of which was given to the Royal Irish Academy by Mrs Moore (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 590); a Collas print made by Wyon from one of these was published in Chorley's Authors of England, 1838.
Wax medal by W. S. Mossop recorded in Moore's Diary, 15 October 1821 was probably intended for the series of medals of 40 distinguished Irishmen of which only 6 materialised (W. G. Strickland, Dictionary of Irish Artists, 1913, II, p 39).
Camera lucida profile drawing by 'Mr Wiffen a Quaker poet' noted in Diary for 4 October 1821; this is presumably J. H. Wiffen who died at Woburn 1836 (Sue McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, p 451); Moore mentions similar profiles of Campbell, Rogers and Lord John Russell.
Miniature by G. S. Newton at Bowood had several sittings recorded in 1821-4 (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 294, 298, 346-7, 351, and IV, pp 78-9, 171, 217); a large engraving by Watt was published in June 1828; a full-sized oil variant attributed to Jackson and formerly belonging to Lord John Russell was with Charles Sawyer Ltd in 1938; chalk profile by Newton in Athenaeum Club is inscribed: 'Tom Moore (at 40 years of age) by J S Newton RA'. Newton's miniature became the subject of a quip from Sydney Smith: 'couldn't you contrive to throw into his face somewhat of a stronger expression of hostility to the Church establishment?' (Diary, 27 May 1826).
1822
Miniature by François Sieurac recorded in Moore's Diary, 9 October 1822, 'Went in at two to sit to a French miniature-painter for Galignani'; it was engraved by J. T. Wedgwood for the frontispiece to Moore's Poetical Works published by Galignani 1827.
Oil by Phillips, see above 1819.
1824
Busts by Christopher Moore (see NPG 117).
1827-9
Bust by Chantrey mentioned several times in Moore's Diary but never achieved.
c.1827
Drawing by Count D'Orsay, Sotheby's 16-17 July 1984 (72).
1829-30
Oil by Lawrence in John Murray collection, head and shoulders on wood unfinished; in spite of various cancellations and mishaps Moore seems to have sat to Lawrence in October and November 1829 (Memoirs, Journal and Correspondence of Thomas Moore, VI, p 95 and Letters of Thomas Moore, II, pp 654, 660, 663); it was unfinished at Lawrence's death but exhibited RA 1830 (136) and exhibited 'Byron', V&A Museum, 1974 (E2). Enamel copies by Essex, Ford and others are frequent; a miniature drawing by Andrew Robertson is in J. B. Robertson collection exhibited British Portrait Miniatures, Edinburgh 1965 (338); a miniature by Robertson is at Castle Howard.
1830-7
Drawing by Maclise in V&A Museum, engraved for Fraser's Magazine, 1830, p 266 and exhibited 'Byron', V&A Museum, 1974 (E3). Oil by Maclise in National Gallery of Ireland (4054) probably c.1837 was engraved as frontispiece to Memoirs, Journal and Correspondence of Thomas Moore, VII; Moore had 'a long sitting' with Maclise on 29 May 1837.
1833-4
Bust by Christopher Moore (see NPG 117).
1834
Sieurac's 1822 miniature was engraved by Adcock and re-issued with artist's name mis-spelt as 'Sicuret' in Jerdan's National Portrait Gallery, 1834.
1835
Oil by Mulvany in National Gallery of Ireland (1097), half-length holding paper and eyeglass, signed and dated 1835, mezzotint by G. R. Ward published 1 December 1836 and exhibited RHA 1837. Moore mentioned it in a letter to Samuel Rogers, 6 January 1836 (Letters of Thomas Moore, II, pp 799-800).
1840
Gem by R. Mosley, 'engraved from life on bloodstone' and exhibited RA 1840 (1076).
1842
Etching by J. Kirkwood, plate to Dublin University Magazine 1842, whole-length in top-hat holding eyeglass.
1843
Drawing by George Richmond in National Gallery of Ireland (2251), head signed and dated 1843 - 'Of all his portraits this is the one that pleases me best and most forcibly recalls him to my remembrance' (S. C. Hall, Art Journal, 1865, p 20).
1844
Calotype photograph by W. H. Fox Talbot, head and shoulders dated 23 April 1844, reproduced in Keats-Shelley Journal, XXVIII, 1979, p 24, and see H. J. P. Arnold, W. H. Fox Talbot, 1977, pp 155-6.
1852
Plaster statuette by J. Hogan in National Gallery of Ireland (8061), an unsuccessful entry for the College Street monument won by Christopher Moore.
Undated
Oil by an English artist in National Gallery of Ireland (4312), whole-length as a middle-aged man sitting in his study writing.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: Richard Walker, Regency Portraits, National Portrait Gallery, 1985, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.
Oil by unknown artist (NPG 1340).
c.1801
Small whole-length pencil drawing by J. D. Herbert exhibited Parliament House Dublin 1801, 'first exhibited portrait of the poet' (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 475).
c.1806
Miniature by Plimer engraved by Scriven for The Universal Magazine, December 1806 and by Heath for Galignani, 18 rue Vivienne, Paris.
1808
Miniature by Comerford was among portraits of several actors in Kilkenny 1808, engraved in stipple for The Private Theatre of Kilkenny, 1825 (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 200); Comerford's MS list in the NPG library records a portrait of 'Mr Moore' November 1811.
c.1811
Drawing and engraving by Brocas for Hibernian Magazine February 1811, head and shoulders in toga; oil attributed to Brocas was at Sotheby's 6 July 1977 (146) and 21 December 1977 (71), head and shoulders in dark coat and white shirt-frill.
Miniature by William Haines engraved in stipple by Haines himself was possibly the 'Portrait of a Ballad Singer' exhibited by Haines RA 1811 (555) and 1821 (470).
1812
Drawing by Slater exhibited RA 1812 (534) and engraved by M. N. Bate.
1815
Pencil drawing by Edward Hayes in National Gallery of Ireland (2713), three-quarter-length seated holding quill.
Oils by Shee (see NPG 3327).
1818
Miniature by ? Meyer 'Engraved by Meyer from an Original Miniature for the New Monthly Magazine', 1 August 1818.
1819-22
Oil by Phillips known from Holl's stipple in Memoirs, Journal and Correspondence of Thomas Moore, I, frontispiece, not listed in Phillips's MS Account Book, but Moore records sitting to Phillips in May 1822 'finishing the picture he began two or three years ago' (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 350-1 and VII, pp 43-4).
1819
Oil by Jackson painted in Rome 1819 and now in National Gallery of Ireland (257), see NPG 1340. Moore also mentions a pencil drawing by Jackson (Diary, 13 December 1819).
Bust by Bartolini mentioned in Moore's Diary, November 1819.
1821
Bust by Kirk who had sittings in 1821-2 (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 289, 358); it was exhibited Liverpool Academy 1822 (Rupert Gunnis, Dictionary of British Sculptors 1660-1851, 1953, p 230). Others were exhibited RHA 1829, 1831, 1835 and 1836, one of which was given to the Royal Irish Academy by Mrs Moore (W. G. Strickland, Dictionary of Irish Artists, 1913, I, p 590); a Collas print made by Wyon from one of these was published in Chorley's Authors of England, 1838.
Wax medal by W. S. Mossop recorded in Moore's Diary, 15 October 1821 was probably intended for the series of medals of 40 distinguished Irishmen of which only 6 materialised (W. G. Strickland, Dictionary of Irish Artists, 1913, II, p 39).
Camera lucida profile drawing by 'Mr Wiffen a Quaker poet' noted in Diary for 4 October 1821; this is presumably J. H. Wiffen who died at Woburn 1836 (Sue McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, p 451); Moore mentions similar profiles of Campbell, Rogers and Lord John Russell.
Miniature by G. S. Newton at Bowood had several sittings recorded in 1821-4 (Memoirs, Journal and Correspondence of Thomas Moore, III, pp 294, 298, 346-7, 351, and IV, pp 78-9, 171, 217); a large engraving by Watt was published in June 1828; a full-sized oil variant attributed to Jackson and formerly belonging to Lord John Russell was with Charles Sawyer Ltd in 1938; chalk profile by Newton in Athenaeum Club is inscribed: 'Tom Moore (at 40 years of age) by J S Newton RA'. Newton's miniature became the subject of a quip from Sydney Smith: 'couldn't you contrive to throw into his face somewhat of a stronger expression of hostility to the Church establishment?' (Diary, 27 May 1826).
1822
Miniature by François Sieurac recorded in Moore's Diary, 9 October 1822, 'Went in at two to sit to a French miniature-painter for Galignani'; it was engraved by J. T. Wedgwood for the frontispiece to Moore's Poetical Works published by Galignani 1827.
Oil by Phillips, see above 1819.
1824
Busts by Christopher Moore (see NPG 117).
1827-9
Bust by Chantrey mentioned several times in Moore's Diary but never achieved.
c.1827
Drawing by Count D'Orsay, Sotheby's 16-17 July 1984 (72).
1829-30
Oil by Lawrence in John Murray collection, head and shoulders on wood unfinished; in spite of various cancellations and mishaps Moore seems to have sat to Lawrence in October and November 1829 (Memoirs, Journal and Correspondence of Thomas Moore, VI, p 95 and Letters of Thomas Moore, II, pp 654, 660, 663); it was unfinished at Lawrence's death but exhibited RA 1830 (136) and exhibited 'Byron', V&A Museum, 1974 (E2). Enamel copies by Essex, Ford and others are frequent; a miniature drawing by Andrew Robertson is in J. B. Robertson collection exhibited British Portrait Miniatures, Edinburgh 1965 (338); a miniature by Robertson is at Castle Howard.
1830-7
Drawing by Maclise in V&A Museum, engraved for Fraser's Magazine, 1830, p 266 and exhibited 'Byron', V&A Museum, 1974 (E3). Oil by Maclise in National Gallery of Ireland (4054) probably c.1837 was engraved as frontispiece to Memoirs, Journal and Correspondence of Thomas Moore, VII; Moore had 'a long sitting' with Maclise on 29 May 1837.
1833-4
Bust by Christopher Moore (see NPG 117).
1834
Sieurac's 1822 miniature was engraved by Adcock and re-issued with artist's name mis-spelt as 'Sicuret' in Jerdan's National Portrait Gallery, 1834.
1835
Oil by Mulvany in National Gallery of Ireland (1097), half-length holding paper and eyeglass, signed and dated 1835, mezzotint by G. R. Ward published 1 December 1836 and exhibited RHA 1837. Moore mentioned it in a letter to Samuel Rogers, 6 January 1836 (Letters of Thomas Moore, II, pp 799-800).
1840
Gem by R. Mosley, 'engraved from life on bloodstone' and exhibited RA 1840 (1076).
1842
Etching by J. Kirkwood, plate to Dublin University Magazine 1842, whole-length in top-hat holding eyeglass.
1843
Drawing by George Richmond in National Gallery of Ireland (2251), head signed and dated 1843 - 'Of all his portraits this is the one that pleases me best and most forcibly recalls him to my remembrance' (S. C. Hall, Art Journal, 1865, p 20).
1844
Calotype photograph by W. H. Fox Talbot, head and shoulders dated 23 April 1844, reproduced in Keats-Shelley Journal, XXVIII, 1979, p 24, and see H. J. P. Arnold, W. H. Fox Talbot, 1977, pp 155-6.
1852
Plaster statuette by J. Hogan in National Gallery of Ireland (8061), an unsuccessful entry for the College Street monument won by Christopher Moore.
Undated
Oil by an English artist in National Gallery of Ireland (4312), whole-length as a middle-aged man sitting in his study writing.
This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: Richard Walker, Regency Portraits, National Portrait Gallery, 1985, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.