The Tears of St. Peter (1580/1589) by Domenikos Theotokopoulos El GrecoThe Bowes Museum
Painted in 1580's, this is the first of several versions of the subject by El Greco. It came from the collection of Conde de Quinto and was purchased by John Bowes in 1869 for 200 francs (about £8).
The Rape of Helen (1533/1570) by Circle of Francesco PrimaticcioThe Bowes Museum
Primaticcio was an Italian Mannerist artist who worked at the French Court of Fontainebleau for King Francois I. For Mannerist painters, deliberately exaggerated colour combinations, & elongated limbs were features of their style.
The Nativity (1639/1639) by Jacques StellaThe Bowes Museum
This classical picture depicts the quiet moment of wonder shared by Mary and Joseph at the birth of Christ.
Cardinal Pietro Ottoboni (1700/1700) by Francesco TrevisaniThe Bowes Museum
Pietro Ottoboni, the subject of this portrait, became a cardinal in 1689. He was the most important patron of the arts in early 18th century Rome, gathering about him the most prominent musicians, writers and artists of his day.
The Bucintoro returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic (1730/1735) by Giovanni Antonio Canal CanalettoThe Bowes Museum
This painting and its pendant were painted in the 1730s and are among the six largest known paintings by Canaletto. In this image we can see the Bucintoro returning to the quayside in front of the Doge's Palace, Venice.
Prison Interior (1793/1794) by Francisco GoyaThe Bowes Museum
One of the best known of the museums pieces is Goya’s Prison Scene. Painted under the stimulus of the events of the Peninsular War, Goya developed into the leading painter of his age.
Gibside from the North (1817/1817) by Joseph Mallord William TurnerThe Bowes Museum
The collection holds four Turner paintings, two of which depict Gibside. Gibside Estate had been part of Bowes estate since the early 18th century.
Portrait of Olivia Boteler Porter (1630/1640) by Anthony Van DyckThe Bowes Museum
Mowers (1860/1869) by Charles-Émile JacqueThe Bowes Museum
Jacque a distinguished member of the Barbizon school, was fascinated with the effects of light on the landscape and often painted rustic pastoral scenes.
Beach scene at low tide (1867/1867) by Eugene-Louis BoudinThe Bowes Museum
Boudin produced many works depicting the French coastline and this scene is a typical example of his later work, in which urban tourists are portrayed in small groups along the beach.
Landscape with figures and goats (1826/1866) by Adolphe-Joseph-Thomas Monticelli The Bowes Museum
Mercury and Argus (1793/1793) by Pierre-Henri de ValenciennesThe Bowes Museum
This landscape of a crisp, sunbathed classical landscape inspired by Greece and Italy proves a worthy setting for the deeds of gods and heroes.
After the thunderstorm (1817/1817) by Achille-Etna MichallonThe Bowes Museum
This painting depicts a rocky wooded landscape with three male peasants discovering the body of a woman which has been struck by lightning.
Fruit and Flowers (1866/1866) by Henri Fantin-LatourThe Bowes Museum
Barnard Castle (1788/1788) by Thomas HearneThe Bowes Museum
Girtin was an English painter and a close friend and adversary of J M W Turner. Both are highly regarded landscapists of the period, and this work was painted during one of Girtin's sketching tours of the North of England
The Triumph of Judith (1701/1705) by Luca GiordanoThe Bowes Museum
This scene depicts the biblical story of Judith and Holofernes found in the Old Testament. Giordano made numerous preparatory oil sketches such as this one for frescoes and the decorations for the Certosa di San Martino in Naples.
The Harnessing of the Horses of the Sun (1731/1731) by Giovanni Battista TiepoloThe Bowes Museum
Tiepolo depicts Helios trying to dissuade Phaethon from riding across the sky, as horses are harnessed to the golden chariot. He has also included the marble columns of Apollo’s palace.
A Miracle of the Eucharist (1423/1426) by Stefano di Giovanni SassettaThe Bowes Museum
Sassetta was commissioned to create this piece for the feast of Corpus Christi. A Carmelite lay-brother, about to receive communion sacrilegiously, has been struck dead.
Allegory of Innocence and Guile (1520/1574) by Maerten Van HeemskerckThe Bowes Museum
The subject of the painting is a personification of a verse from St. Matthew's Gospel (Chapter 10, verse 16) 'Be ye, therefore, wise as serpents and harmless as doves'.
Dutch men-of-war at anchor (1650/1650) by Simon de VliegerThe Bowes Museum
Reading lesson in a convent (1810/1810) by Francois-Marius GranetThe Bowes Museum
A young girl is reading for an elderly nun, while a young nun looks on attentively and solicitously. Granet's treatment of the subject creates an air of stillness, calm and order.
Self-portrait (1847/1847) by Francois-Saint BonvinThe Bowes Museum
Bonvin was a leading Realist artist the mid-to-late nineteenth century. He executed this self-portrait early in his career when he had only just begun to experiment with painting in oil.
Breakfast Piece (1614/1614) by Jacob van HulsdonckThe Bowes Museum
Jacob Van Hulsdonck became a master of still life painting. His work often features arrangements of fruit, generally including brightly coloured plums, grapes and peaches
Still life with Asparagus, Artichokes, Lemons and Cherries (1500/1599) by Blas de LedesmaThe Bowes Museum
At the centre of this highly stylised still life is a finely woven basket which Ledesma used many times.