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James Barry produced many etchings and engravings of his works. It is believed that the numerous prints of the Great Room Paintings were presented to the Society by James Barry. It is unknown whether he also presented the prints of his other works.

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.

This is a print of the 'Crowning of the Victors at Olympia' painted by James Barry in the Society's Great Room. The date on teh print is given as 1 May 1791 but they were not actually published until 23 April 1792.

Print of King Lear and Cordelia by James Barry. Although the print is given the publication date 1776 this is thought to be a later version. It reproduced Barry's painting first exhibited in 1774. This version does not have the Shakespearean quote that was on the first print which was published in 1776.

Print of Elysium and Tartarus painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but it was not actually published until 23 April 1792

This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.

Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.

Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.

This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.

Print of Divine Justice, a detail from the Elysium and Tartarus, painted by James barry in the Society's Great Room. It introduces several new figures that do not appear in the painting, including Scipio Africanus, a prominent Roman General.

Print of Jupiter and Juno on Mount Ida by James Barry, produced c July 1809, therefore after Barry's death. This is a detail of an original painting by Barry from c 1785 and 1805, which in turn was a revisit of an earlier painting he exhibited in 1773.

The engraving shows 2 panels, one containing King George and the other Queen Charlotte. Barry wanted these to replace the portraits of Lord Romney and Lord Folkestone in the Great Room. Barry wanted the panel showing King George to be stationed between the Great Room paintings of 'Orpheus' and 'Grecian Harvest Home', while the picture of Queen Charlotte he wanted to be sited opposite, between 'The Thames' and 'The Distribution of the Premiums'. Barry was never permitted to replace the existing portraits of Lords Romney and Folkestone. \nAlthough the engraving shows a plublication date of 1 May 1791 the first publication did not actually occur until 1792.

The engraving shows 2 panels, one containing King George and the other Queen Charlotte. Barry wanted these to replace the portraits of Lord Romney and Lord Folkestone in the Great Room. Barry wanted the panel showing King George to be stationed between the Great Room paintings of 'Orpheus' and 'Grecian Harvest Home', while the picture of Queen Charlotte he wanted to be sited opposite, between 'The Thames' and 'The Distribution of the Premiums'. Barry was never permitted to replace the existing portraits of Lords Romney and Folkestone. \nAlthough the engraving shows a plublication date of 1 May 1791 the first publication did not actually occur until 1792.

This print was Barry's attack on the condition of contemporary England. It praises the birth of Liberty in North America and its demise in England. The print was quite a forceful indictment on the establishment and this may explain why Barry did not actually sign it.

Print of the painting Grecian Harvest Home painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but was not actually published until 23 April 1792.

Print of the painting Grecian Harvest Home painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but was not actually published until 23 April 1792.

Print of the painting Grecian Harvest Home painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but was not actually published until 23 April 1792.

Print of the Distribution of the Premiums painted by James Barry in the Society's Great Room. The print is dated 1 May 1791 but was not actually published until 23 April 1792.

The engraving shows 2 panels, one containing King George and the other Queen Charlotte. Barry wanted these to replace the portraits of Lord Romney and Lord Folkestone in the Great Room. Barry wanted the panel showing King George to be stationed between the Great Room paintings of 'Orpheus' and 'Grecian Harvest Home', while the picture of Queen Charlotte he wanted to be sited opposite, between 'The Thames' and 'The Distribution of the Premiums'. Barry was never permitted to replace the existing portraits of Lords Romney and Folkestone. \nAlthough the engraving shows a plublication date of 1 May 1791 the first publication did not actually occur until 1792.