- 1997 oil on oil sketch paper 30 x 20cm, Sold
- 1997 oil on oil sketch paper 30 x 20cm, Sold
- 1997 oil on oil sketch paper 30 x 20cm, Sold
- 1997 oil on oil sketch paper 30 x 20cm, Sold
- 2002 oil on Belgian linen 200 x 140cm, Sold
- 2002 oil on Belgian linen 140 x 200cm, $18,000
- 2004 oil on canvas 100 x 100cm, Sold
- 2006 oil on Belgian linen 30 x 30cm, Sold
- 2006 oil and mixed media on archival paper 100 x 100cm, Sold
- 2006 oil and pencil on archival paper 100 x 100cm, Sold
- 2006 oil on Belgian linen 30 x 30cm, Sold
- 2015 oil on Belgian linen 142 x 132cm, Sold, Archibald Prize entry 2015
- 2007 oil on Belgian linen 122 x 122cm, Sold, Finalist Archibald Prize
- 2009 oil on Belgian linen 152 x 152cm, Sold
- 2011 oil on canvas 30 x 20cm, Sold
- 2010 45 x 45cm oil on Belgian linen, Sold
- 2012 oil on board 90 x 60cm, Sold
- 2012-2014 oil on Belgian linen 152 x 152cm, Doug Moran Portrait Prize Finalist, $30,000
- 2013 oil on canvas 30 x 20cm, Sold, NB: Sold as part of a set
- 2013
- 2014 oil on canvas 120 x 110cm, Sold
- 2019 oil on canvas 29 x 20cm, Sold
- 2024 oil on corrugated canvas framed under perspex 125 x 125cm, $11,000
“Like a favourite artist, Otto Dix, I believe portraits are only worth painting when there is an intuitive sense of some inordinate major changes looming in the subject’s life. That’s when the person is caught in their own headlights, exhibiting vulnerabilities that only last for so long until they regain their balance.” – Richard Dunlop 2002
“As the word itself implies, vision is a matter of seeing, and seeing comes from looking; if an artist has the potential for any kind of original vision, it will be found only by patient and humble attention, and the concomitant, simultaneous effort to crystallise what is understood in concrete form. For what is ultimately seen is through rather than on the surface of things, and the artist must reshape the world to make visible what he has perceived by intuition.” – Christopher Allen 2014
“The portrait of me by Richard Dunlop, Tim Olsen: The Man in Black, hung in the 2008 Archibald, was my Dorian Gray moment. Once a handsome young man, by then the sins, weaknesses and the decadence of my life were written all over my face, exposed in the most visited exhibition in Australia, for the whole world to see. It is the darkest, most lugubrious version of a beaten-up art dealer who has been poisoned by celebration. Expressing my amazement that it was hung at all to Edmund Capon, he replied: ‘It does have a certain likeness. He’s really captured you.’” – Tim Olsen, Son the Brush, (Allen and Unwin) 2020