Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 45 works by Thomas Barber in our catalogue
In short
Of all the originals Thomas Barber left, the most famous is Self Portrait (1841), in the collection of the Nottingham Castle Museum And Art Gallery, Nottingham. Close behind it come The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) and Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812). Our catalog holds 45 works by Thomas Barber; the gallery has kept the 33 the world admires most, each shown with its date, its museum and its story.
In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…
The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…
The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.
This oil on canvas portrait, executed in 1814, depicts Lady Caroline Gordon, later known as Lady Chesham. The subject is positioned in a seated posture, facing the viewer with a centered composition that emphasizes the head and upper torso. She is rendered against a dark, indistinct background that provides a high level of contrast to her pale skin and the light-colored fabric of her attire. The lighting is diffused from…
Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850)1812 · National Trust
12
Lady Anne Margaret Coke, Viscountess Anson1815 · Shugborough Hall
13
The Honourable Anne Margaret Anson, Countess of Rosebery1815 · Shugborough Hall
14
General Sir George Anson (1769–1849)1815 · National Trust
15
General Sir William Anson (1772–1847), 1st Bt1815 · National Trust
16
Landscape near Bath1835 · National Gallery of Ireland
17
Lord Denman (1779–1854)1833 · Nottingham Castle Museum And Art Gallery
18
The Trent at Wilford1840 · Nottingham Castle Museum And Art Gallery
19
The Reverend John Thomas Becher (1770–1848)
20
James Montgomery (1771–1854)
21
Henry Kirke White, PoetNottingham Castle Museum And Art Gallery
22
The Reverend Lewis Sneyd (c.1788–1858)National Trust
23
Charles Compton Cavendish (1793–1863), 1st Lord CheshamNational Trust
24
Cecil Brooke Boothby (1813–1883)National Trust
25
Landscape with CattleReading Public Museum
26
Jonathan DunnNottingham Castle Museum And Art Gallery
27
Joseph Murray (1737–1820)
28
Reverend Richard SmithNational Trust
29
Benjamin Mayo (c.1779–1843), the Old General
30
Sophia Baillie (1771–1843)
31
David Love (1750–1827), Ballad WriterNottingham Castle Museum And Art Gallery
32
View across Nottingham Park with Lenton Priory in the DistanceNottingham Castle Museum And Art Gallery
33
Cornelius Smelt (1748–1832), Lieutenant Governor of the Isle of Man (1805–1832)1826 · Manx Museum
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Thomas Barber | Paintings from this list |
|---|---|---|---|
 Nottingham Castle Museum And Art Gallery |
Nottingham | 7 | Self Portrait, Lord Denman (1779–1854), The Trent at Wilford |
 National Trust |
Chesterfield | 7 | The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Lady Caroline Gordon (1785–1866), Lady Chesham, Lady Harriet Cavendish (1785–1862), Countess Granville |
 National Trust |
Derby | 2 | Mrs Garnett (1724–1809), in the Marble Hall, Francis James Curzon (1803–1851) Mary Curzon (1806–1868), Later Mrs John Beaumont and Alfred Curzon (1801–1850) |
 Shugborough Hall |
Stoke-on-Trent | 2 | Lady Anne Margaret Coke, Viscountess Anson, The Honourable Anne Margaret Anson, Countess of Rosebery |
 National Trust |
Milford | 2 | General Sir George Anson (1769–1849), General Sir William Anson (1772–1847), 1st Bt |
 Sheffield City Art Galleries |
Sheffield | 1 | James Montgomery |
 Royal College of Physicians of London |
London | 1 | Matthew Baillie |
 National Gallery of Ireland |
Dublin City | 1 | Landscape near Bath |
Pick a decade to see the original that defines it.
The subject sits anchored in a sea of dark blues and deep browns. He is a man of middle age, his face etched with the quiet gravity of a life spent in the public eye. Light falls from the upper left, carving the contours of his brow and the sharp lines around his mouth. He holds books against his chest, his hands resting with a heavy, certain stillness. These volumes…
The oil painting titled Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon was executed by the artist Thomas Barber the Elder. This work depicts three children: Alfred Curzon, Francis James Curzon, and Mary Curzon. These subjects are the children of the 2nd Baron Scarsdale and Félicité de Wattines, of Flanders. The figures are presented in a three-quarter length portrait format.
In this 1841 work, we encounter the artist himself, captured in a moment of quiet introspection. The portrait presents a man dressed in the formal attire of the nineteenth century, wearing a dark coat, a crisp white collar, and a tie. A mustache defines his features, lending a sense of maturity and gravity to his expression. It is an intimate study of character, rendered with a precision that suggests a…
Self Portrait (1841), Nottingham Castle Museum And Art Gallery, Nottingham. The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) and Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon (1812) come next.
70 years old: Self Portrait dates from 1841, and Thomas Barber was born in 1771.
Self Portrait, The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds), Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon, Lady Caroline Gordon (1785–1866), Lady Chesham, James Montgomery, Mrs Garnett, in the Marble Hall, Mrs Garnett (1724–1809), in the Marble Hall, Matthew Baillie, Matthew Baillie (1761–1823) and Lady Harriet Cavendish (1785–1862), Countess Granville. The ranking above gives each one's year and museum.
Our catalog holds 45 works by Thomas Barber, dated from 1784 to 1841.
Mostly in Nottingham Castle Museum And Art Gallery (Nottingham), National Trust (Chesterfield) and National Trust (Derby). The museum table above lists them all.
In 1810s: 8 of the 33 works on this page were made then, Francis James Curzon Mary Curzon, Later Mrs John Beaumont and Alfred Curzon among them.
On this page, the earliest is The Honourable Charles James Fox (1749–1806), MP (after Joshua Reynolds) (1784) and the latest Self Portrait (1841).
Portrait (4), Dignified (4) and Formal (4), across the 33 works on this page.
Oil On Canvas, for 3 of the 33 works on this page.
Neoclassicism, judging by the originals on this page.
Self Portrait, Lord Denman (1779–1854) and The Trent at Wilford: the Nottingham Castle Museum And Art Gallery, Nottingham holds 7 of the works on this page.
In the vibrant tapestry of the early nineteenth century, few figures embodied the intersection of military discipline and artistic refinement as uniquely as Thomas Barber. Known to many in his era as Barber Beaumont, this remarkable individual led a life that defied simple categorization. Born on December 21, 1774, in the heart of St Marylebone, London, Barber was far more than a mere painter; he was a British army officer, an author, a philanthropist, and a pioneer of miniature portraiture. His journey from the bustling streets of London to the service of royalty and the establishment of significant social institutions reflects a life driven by an unyielding ambition and a profound dedication to both aesthetic beauty and public service.
The artistic soul of Barber was nurtured through a rigorous classical education, which instilled in him a lifelong reverence for historical narrative and neoclassical ideals. Under the influential tutelage of Henry Kirke White, Barber developed a stylistic language characterized by meticulous detail and a dramatic use of light. This training allowed him to navigate the prestigious circles of the Royal Academy's aesthetic, where he mastered the ability to breathe life into both grand historical scenes and intimate portraits. His work often sought to capture the very essence of his subjects, blending the monumental scale of history painting with the delicate, emotive precision required for miniature portraiture.
While his ambitions reached toward the epic, it was in the intimate realm of miniature painting that Barber achieved his most enduring acclaim. His ability to render the dignity and grace of the aristocracy within a small, exquisitely crafted frame made him a sought-after portraitist for the British elite. Most notably, his role as the miniature painter to the Duke of Clarence—who would later ascend the throne as King William IV—cemented his status within the highest echelons of society. Through these small-scale masterpieces, Barber did not merely record faces; he captured the social standing, character, and enduring legacy of a generation.
His portfolio serves as a window into the Neoclassical era, showcasing a range of subjects that highlight his technical versatility:
Beyond the studio and the battlefield, Barber’s life was defined by a remarkable entrepreneurial spirit and a commitment to social welfare. His experiences as an officer, which included service in South America, provided him with a worldly perspective that informed his later ventures in London. He was not content to remain solely within the realm of fine arts; he applied the same precision found in his paintings to the world of commerce and philanthropy. His involvement in founding insurance offices and his leadership roles in organizations such as the Royal Victoria Rifle Club and the Provident Institution reveal a man deeply invested in the stability and progress of British society.
Ultimately, the historical significance of Thomas Barber lies in this rare synthesis of talents. He was an artist who understood the weight of history, an officer who understood the necessity of order, and a businessman who understood the value of security. Though his name may sometimes be obscured by the alias Beaumont, his contribution to the visual and social fabric of the nineteenth century remains indelible. Through his canvases, we continue to witness the grace of a bygone era, preserved through the eyes of a man who mastered both the brush and the complexities of life itself.
