This thesis examines Irish art loan exhibitions and auctions where paintings were on loan and were sold from some of the premier collections of Irish country and town houses. Framed within significant dates relating to rebellion in Ireland 1798 and 1916, this study uses an interdisciplinary approach, which draws on social and art history and demonstrates how political, legislative and other social changes affected the art collections over time. This thesis evaluates how these exhibitions and art sales benefitted individuals and social groups, from the education of artists to the provision of an art gallery for the nation. The findings of this thesis indicate that from 1814 onwards, young artists did benefit from studying these paintings at these loan exhibitions and their subsequent output continues to be displayed in public galleries both at national and international level. The sale of two Old Masters from one country estate provided new housing for its tenants and exhibitions held during the Famine raised funds to alleviate distress. Old Masters exhibition catalogues from the early nineteenth century have proved extremely valuable in reconstructing country house collections, especially where no inventory exists. It also demonstrates how the exhibitions held in Dublin and Cork established a pattern for lending valuable paintings to later art and industry exhibitions. Held for the promotion of industry in Ireland, artisans could improve their design skills, with access to these exemplars. Through an analysis of exhibition and sales catalogues, this study chronicles the trajectory of the collections from the privacy of the country house to public exhibitions and auctions. The Old Masters loan exhibitions have received scant scholarly attention, and this thesis aims to recover these and others from the shadows and bring them to the attention of a wider audience.