Isaac Fuller

His work at Magdalen representing the Resurrection is lost, but a print survives, showing a complex and ambitious composition derived ultimately from Michelangelo.

[3] At All Souls he painted a fresco of The Last Judgement, which is also lost, although some additional panels by Fuller, originally fitted between the roof-trusses in the chancel, survive.

[4] He also painted an altarpiece for the chapel at Wadham College, using an unusual technique in which the image was drawn on grey cloth in brown and white crayons, and then ironed into the fabric.

[6] Other portraits painted by Fuller were of Samuel Butler, Edward Pierce the carver, and John Ogilby, the author (these two were in the Strawberry Hill Collection, and the latter was engraved by William Camden Edwards), Norris, the king's frame-maker (a picture much praised by Sir Peter Lely), John Cleveland, Sir Kenelm Digby, and Jasper Latham, the sculptor.

[6] Horace Walpole wrote that "in his historic compositions Fuller is a wretched painter: his colouring was raw and unnatural, and not compensated by disposition or invention", but praised his portraits, in which "his pencil was bold strong and masterly".

The circumstances of their commissioning is undocumented, but they were sold in February 1743/4 with a collection of pictures said to have belonged to Rachel Carey, Viscountess Falkland, and may have been painted for her first husband, Henry Carey, 4th Viscount Falkland, who was elected MP for Oxford following the death of Richard Cromwell, and was in the party which escorted Charles II back to England before his coronation.

[9] The paintings were presented to the Parliament of Ireland and subsequently discovered in a state of neglect by Lord Clanbrassil, who had them repaired, and moved them to Tullamore Park, County Down.