Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of George Richmond 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
26379		Abel the Shepherd	mk49 1825 Tempera on oak, 23x30.8cm
26351		Christ and the Woman of Samaria	mk49 1828
26382		Christ and the Woman of Samaria	mk49 1828 Tempera on wood 41x49.8cm
81611		Euphemia	1851(1851) Medium Oil on board Dimensions 81 x 53 cm (31.9 x 20.9 in) cyf
28189		Lord Salisbury	1870-2 Oil on canvas 236.2 x 144.8cm (93 x 57in) Hatfield House,Hertfordshire (mk63)
39836		Maharani Chund Kowr alias Rani Jindan	mk153 Oil on panel 45.1x61.3cm
26380		Portrait of an Artist	mk49 1829
74164		Portrait of Octavius Wigram	Portrait of Octavius Wigram (1794-1878) ca. 1861 cjr
75589		Portrait of Octavius Wigram	ca. 1861 Source 19th century oil painting cyf
26381		Self-Portrait	mk49 1830 Gouache on ivory,oval 8.9x6.8cm

George Richmond

English Painter, 1809-1896 Painter, draughtsman and engraver. He was a precocious draughtsman. In 1824 he entered the Royal Academy, London, the same year as Edward Calvert, who was a part-time student of Joseph Severn. Richmond first exhibited at the Academy in 1825 and that year met William Blake in the Highgate house of John Linnell (ii). Like his lifelong friend Samuel Palmer, Richmond fell under Blake's spell, comparing him to the Prophet Isaiah and forming close friendships with Blake's other disciples, including Calvert. He visited Palmer at Shoreham, chiefly in the summer of 1827, and both he and Calvert became prominent members of Palmer's band of ANCIENTS, who frequented the Kent village in the late 1820s and early 1830s. The tempera panel Abel the Shepherd (1826; London, Tate) is typical of Richmond's early paintings, which reflect the pronounced influence of both Blake and Palmer. They are painted in an archaic style and include Christian and literary themes and high-minded if obscure genre subjects such as the Eve of Separation (1830; Oxford, Ashmolean). The human figure was central to these pictures as it was not for Palmer, who expressed sentiment through landscape motifs. Richmond was also active as a draughtsman and miniaturist during this period; his Christ-like head of Palmer, in watercolour and gouache on vellum (London, N.P.G.), dates from 1829.

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