Collections 
Portrait of Frederick Walker (1840-1875) Red chalk heightened with white on buff paper 496 x 612 mm The artist is standing in his studio, and is seen at three-quarter length, a brush in his right hand, his head turned three-quarters to the right. Behind him, on an easel, is a picture. In front of the … Read more
Tancred and Erminia About 1720-1734 Engraving 452 x 559 mm After Poussin (see also Paintings, Poussin, No.38.9). Thought to be the only surviving reproductive engraving of Poussin’s Tancred and Erminia. Purchased 1939 (No.39.19)
The Palazzo della Sacra Consulta 1752 Etching with engraving 405 x 610 mm This print shows the façade of a palace in central Rome designed by Ferdinando Fuga in 1732 for Pope Clement XII, which housed the papal tribunal, termed the Consulta. The building is now used as the Supreme Court of Italy. Piranesi was … Read more
The Palazzo di Montecitorio, Rome Rome, 1760-78 Etching with line-engraving 400 x 611 mm The imposing 16th-century exterior of the Palazzo di Montecitorio stretches into the hazy distance. Ghostly outlines of buildings and the column of Marcus Aurelius (193 AD) shimmer in the background. The combination of classical sculpture, 16th-century architecture and the 18th century … Read more
Lady Ann Dawson (Née Fermor) London, 1754 Mezzotint 380 x 278 mm This print reproduces one of the first portraits that Reynolds painted on his return from his studies in Italy. Lady Ann Dawson (1733-1769) is shown in the guise of Diana the virgin goddess of hunting, with a spear, crescent moon on her forehead, … Read more
La collation Paris, 1720s Engraving 457 x 334 mm This print reproduces a painting by Watteau, one of the most successful painters in Paris during the early 18th century. Watteau pioneered a new category of painting known as ‘fêtes galantes’ that depicted the idle pursuits of the aristocracy. Such scenes were produced in large numbers … Read more
La Tour de l’Horloge, Paris 1852 Etching 255 x 186 mm Meryon was known for his small but lively sketches of Parisian life. This print belongs to a series of works, Etchings of Paris, produced between 1850 and 1854 for the journal L’Artiste documenting old architectural landmarks. It shows the clock tower, the first of … Read more
The Apparition to St Petronius of the Virgin and Child with St Sebastian Mantua, 1605, published by Andrea Andreani (c. 1560-1623) Woodcut 385 x 295 mm According to Christian legend St Sebastian was sentenced to death for his faith by the Roman emperor Diocletian. A solitary arrow is the only indication of his painful persecution. … Read more
Landscape Mid 17th century Pen and brown wash Sheet 246 x 146 mm; mount 631 x 518 mm Possibly by a Dutch imitator of Claude, working in Italy. The subject has some affinities with the centre of no. 24 in Claude’s ‘Liber Veritatis’ in the British Museum. Purchased 1936 (No.36.2)
The Barber Institute of Fine Arts 1938 Watercolour and bodycolour 730 x 1355 mm This work was commissioned by the Henry Barber Trust in September 1938 to mark the completion of the building. Commissioned by the Henry Barber Trust, 1938 (No.38.15)
The Parting of David and Jonathan About 1632/3 Pen and wash Sheet 206 x 268 mm; mount 630 x 516 mm The subject which was formerly known as ‘The reconciliation of David and Absalom’, is from I ‘Samuel’, xx: 41-2, and thought to be by Rembrandt Harmensz. van Rijn (1606 – 1669). It is treated … Read more
A Village Scene Dutch, 1631 Black chalk and grey wash 11.1 x 18.6 cm Another drawing by van Goven of the same subject and date is in the Albertina, Vienna. Purchased in 1936 (No. 36.8)
Zephyrus and Flora Venice, about 1750 Pen, brown wash and black chalk on paper 23.9 x 33 cm Tiepelo made this drawing as a study for the principal figures in the ceiling fresco he painted for the Room of Mirrors in the Palazzo Labia in Venice. He also produced a small oil sketch of the … Read more
Elijah and the Widow of Zarephath Dutch, about 1670-80 Pen and brown wash 20.5 x 32.5 cm The subject is from the ‘Kings’, XVII: 10. This drawing shows the biblical story from Kings during which the Lord directs Elijah to the town gates of Zarephath where a widow has been directed to provide him with … Read more
A Music Party Venice, about 1750 Pen and brown wash over black chalk 25 x 37.3 cm This small scale domestic scene, known as a conservation piece, was characteristic of mid 18th century art. In this example from Venice, the music party takes place during the annual carnival – the figure to the left wears … Read more
Rock Dwellings at Saumur on the Loire Dutch, 1646 Pen with grey and brown washes 22.8 x 36.5 cm The inhabitants of a rock dwelling execute their daily tasks. This scene at Saumur is on of a number of drawings made in the Loire Valley by the artist en route from Nantes in 1646. Other … Read more
A Coastal Scene Venice, the 1770s Pen and brown wash with traces of black chalk 25.1 x 36.9 cm In addition to his topographical views of Venice, Francesco Guardi also produced imaginary landscapes such as this coastal scene from the 1770s. Such drawings repeat the same range of motifs taken from the Venetian lagoon – … Read more
Peasant Returning from the Dunghill France, 1855 Etching Purchased 1965 (No. 65.1)
Oaks Among Boulders Barbizon, 1861 Etching Plate: 13.4 x 21 cm; paper: 30 x 40 cm; mount: 40.5 x 55.6 cm This etching was made from Rousseau’s painting La Chene de Roches and published in the Gazette des Beaux-Arts. Rousseau depicts the heart of the forest untouched by human intervention. Rousseau’s desire to represent nature … Read more
Omer Talon Paris, early 1650s Engraving Mount: 55.7 x 40.5 cm This portrait is based on Philippe de Champaigne’s full-length painting of Omer Talon (1595-1652) produced in 1649. Champaigne was a founder of the French Academy in the mid 17th century and is best known for his portraits of royalty and important political figures. Talon’s … Read more
Dressing for the Masquerade London, 1790 Tinted etching Paper: 37.3 x 51.3 cm; mount: 51.7 x 63 cm The most obvious differences between this print and Rowlandson’s original drawing (Inv. No. 48.9) are the colours. The print has been hand tinted and consequently each version is slightly different from the others. The general colour … Read more
The Thames Below Westminster Pier London, about 1638 Pen and brown ink 14.6 x 40.1 cm This is an example of Hollar’s comparatively rare drawings as opposed to his etchings of English scenery. This view is taken looking upstream. The buildings are marked as ‘Lambeth House’, the residence of the Archbishop of Canterbury, ‘Parliament House’ … Read more
The Death of the Virgin Amsterdam, 1639 Etching with drypoint 10.4 x 9.5 cm This is one of the earliest plates in which Rembrandt used drypoint to any considerable extent. Purchased 1939 (No. 39.11)
Christ on the Cross (Christus am Kreuz) Berlin, 1919 Woodcut Plate: 51 x 43 m; mount: 73 x 59 cm Christ is shown at his crucifixion, his head crowned by a searing sun and his body scored by the deep lines carved in the wood. Corinth uses chaotic hatched lines to emphasis Christ’s emaciated body … Read more
Muscarum Scarabeorum Vermiumque Variae Figurae et Formae 1646 Etchings Wenclaus Hollar was born in Prague, but worked across Europe including in Stuttgart, Strasburg, Frankfurt and Cologne, where he became employed by Thomas Howard, the Earl of Arundel (1585-1646). Howard was a court member of King Charles I, and renowned for his collection of art and artefacts. King Charles … Read more
Two Skulls Dutch, 1908-9 Etching 30 x 39.7 cm This etching revives the distinctive Dutch seventeenth-century painting category of vanitas still-life. One or more skulls in isolation was a tradition established by Angeren’s seventeenth-century predecessor, Hercules Seers (1589/90-1633/38). Purchased 2001 (No. 2001.1).
The Crowing with Thorns Italian, mid 1600s Engraving on laid handmade paper 52.5 x 35 cm Purchased 2000 (No. 2000.2)
Ripe Cornfield: Evening (Ahrenfeld am Abend) Hamburg, 1896 Colour etching on zinc 18.5 x 14.5 cm A fine impression on wove paper as issued in Pan in an edition of 1,600. This extraordinary colour etching is the product of deep biting a zinc plate and of one printing only. The colours are applied “à la poupée”. … Read more
Meekness Venice, 1575-7 Pen and brown wash heightened with bodycolour on blue paper 18.9 x 31.0 cm Related to the ceiling paintings of the same subject by Veronese in the Sala del Colegio of the Doge’s Palace, Venice. Purchased 1937 (No. 37.2)