{"title":"Old Masters","description":"","products":[{"product_id":"m-rodbard-after-stefano-della-bella-wild-boar-hunt-1803-ink-drawing-jc-498","title":"M. Rodbard after Stefano della Bella, Wild Boar Hunt –1803 ink drawing","description":"\u003cp\u003eAn original 1803 pen \u0026amp; ink drawing, M. Rodbard after Stefano della Bella, Wild Boar Hunt.\u003c\/p\u003e\u003cp\u003eThis fine pen and ink drawing was drawn in 1803 after a 17th-century etching by Italian draughtsman and printmaker Stefano della Bella titled 'Il cinghiale si dirige verso destra' (The wild boar heads toward the right).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51945806233929,"sku":"JC-498","price":88.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/JC-498_c22c543e-8cda-47f3-9fd5-f8b381e7de2b.jpg?v=1762875941"},{"product_id":"kneeling-donor-masaccios-holy-trinity-original-19th-century-graphite-drawing-jh-173","title":"Kneeling Donor, Masaccio's Holy Trinity – Original 19th-century graphite drawing","description":"\u003cp\u003eAn original 19th-century graphite drawing Kneeling Donor, Masaccio's Holy Trinity.\u003c\/p\u003e\u003cp\u003eAn accomplished copy, in graphite, of a kneeling donor, taken from Masaccio's Holy Trinity fresco in S. Maria Novella, Florence. Laid down on backing paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51988196196681,"sku":"JH-173","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/JH-173_33f4d28d-e152-427b-a88e-fdfb94f3f940.jpg?v=1762877630"},{"product_id":"william-lock-the-younger-portrait-studies-of-man-in-profile-c-1780-drawing-jk-919","title":"William Lock the Younger, Portrait Studies of Man in Profile – c.1780 drawing","description":"\u003cp\u003eAn original c.1780 charcoal drawing, William Lock the Younger, Portrait Studies of Man in Profile.\u003c\/p\u003e\u003cp\u003eA wonderful double-sided sheet of early studies by William Lock the Younger of Norbury (1767–1847). On both sides of the laid paper are profile head sketches, including a bearded man with aquiline nose. \u003c\/p\u003e\u003cp\u003eWilliam Lock was a talented draughtsman working in the circle of Henry Fuseli in Rome towards the end of the 18th century, known for his drawings of historical, mythological, biblical and Shakespearean subjects. Sir Horace Walpole was a great admirer of his work and Fuseli described the young Lock's drawings as 'unrivaled by any man of this day … for invention, taste and spirit.'\u003c\/p\u003e\u003cp\u003eThis drawing is one of a collection of Lock's drawings that we have for sale, the cover of which beared the signature of Lock (see photo).\u003c\/p\u003e\u003cp\u003eAlthough this drawing is undated, others in the group are dated 1780. This dates the works to early in Lock's adolescence and shows his precocious talent and the early influence of Henry Fuseli.\u003c\/p\u003e\u003cp\u003eIn charcoal, sanguine and brown wash on laid paper with GR watermark. \u003c\/p\u003e\u003cp\u003eThe sheet is laid down on a backing sheet in a rough textured buff-coloured paper, which was the corresponding backing page from a folio.\u003c\/p\u003e\u003cp\u003eProvenance: Covent Garden Gallery. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994487685449,"sku":"JK-919","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jk-919_3.jpg?v=1743166459"},{"product_id":"william-lock-the-younger-soldiers-in-armour-original-c-1780-graphite-drawing-jk-933","title":"William Lock the Younger, Soldiers in Armour – Original c.1780 graphite drawing","description":"\u003cp\u003eAn original c.1780 graphite drawing, William Lock the Younger, Soldiers in Armour.\u003c\/p\u003e\u003cp\u003eA fantastic early study of soldiers in armour by William Lock the Younger of Norbury (1767–1847). The figures' pose has a theatrical appearance; this is possibly a study for a Shakespearean or other literary subject. On the verso of the paper are further sketches of a helmeted soldier and drapery.William Lock was a talented draughtsman working in the circle of Henry Fuseli in Rome towards the end of the 18th century, known for his drawings of historical, mythological, biblical and Shakespearean subjects. Sir Horace Walpole was a great admirer of his work and Fuseli described the young Lock's drawings as 'unrivaled by any man of this day … for invention, taste and spirit.'This drawing is one of a collection of Lock's drawings that we have for sale, the cover of which beared the signature of Lock (see photo).Although this drawing is undated, others in the group are dated 1780. This dates the works to early in Lock's adolescence and shows his precocious talent and the early influence of Henry Fuseli.In graphite and brown ink (verso) on laid paper. The sheet is accompanied by a backing sheet in a rough textured buff-coloured paper, which was the corresponding backing page from a folio.Provenance: Covent Garden Gallery. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994489913673,"sku":"JK-933","price":98.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jk-933_2.jpg?v=1743166470"},{"product_id":"francesco-bartolozzi-ra-after-cipriani-four-putti-original-1787-etching-print-jl-677","title":"Francesco Bartolozzi RA after Cipriani, Four Putti – Original 1787 etching print","description":"\u003cp\u003eAn original 1787 etching print, Francesco Bartolozzi RA, Four Putti.\u003c\/p\u003e\u003cp\u003eA beautiful etching by Francesco Bartolozzi RA (1728–1815) after a drawing by Giovanni Battista Cipriani (1727–1785). Lettered in the plate 'G.B. Cipriani inv. F. Bartolozzi sculp. London Pub as the act directs Mar.h 1.t 1787 by F. Bartolozzi'. Etching and stipple engraving. \u003c\/p\u003e\u003cp\u003eThe sheet has been laid down on card, adhered at the corners and centre. There are pencil inscriptions on the back which appear to relate to framing, and partial inscriptions visible at the lower edge of the sheet, as shown.\u003c\/p\u003e\u003cp\u003eSheet: 25.2 x 31.3cm.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51994978713929,"sku":"JL-677","price":78.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jl-677.jpg?v=1743169530"},{"product_id":"attrib-marmaduke-cradock-chickens-17th-century-engraving-with-watercolour-jp-873","title":"Attrib. Marmaduke Cradock, Chickens – 17th-century engraving with watercolour","description":"\u003cp\u003eAn original 17th-century engraving print, Attrib. Marmaduke Cradock, Chickens.\u003c\/p\u003e\u003cp\u003eAn intriguing hand-coloured engraving attributed to the 17th-century English painter of birds and animals Marmaduke Cradock (1660–1716). This is one of a pair of works attributed to Cradock that we have for sale with the provenance of William Drummond (Covent Garden Gallery, London), the renowned British drawings and watercolours dealer. The card mount bears an inscription in Drummond's hand, 'give to BM' (British Museum). There are to date only four known drawings by Cradock, three of which are in the British Museum, and two of which are in watercolour over graphite. All are studies of fowl and relatively small in scale, similar to the present study (see BM 1863,0110.232, 1863,0110.233 and 1863,0110.234, all thought to be Ex. Collection of John Henderson).\u003c\/p\u003e\u003cp\u003eMarmaduke Cradock (1660–1716) was born in Somerton, Somerset and moved to London, where he was apprenticed to a house-painter. He was, however, self-taught as an artist, specialising in bird and animal subjects. He depicted individual birds with great accuracy, and studies such as this—likely related to his oil paintings—indicate that he did observe directly from nature. Such authenticity is common in bird paintings of this date, a reflection of an increasing interest in the natural world, and a scientific drive to observe and classify different species. Cradock's work, however, is notable and distinct from many of his contemporaries in that he chose to depict humble native or farmyard species rather than the exotic birds favoured by artists painting for wealthy, courtly patrons. He preferred to work for those who paid him a daily rate, or for dealers, and—according to the antiquarian George Vertue—shunning the direct patronage of ‘Noblemen or Quality … supposing they wou’d confine his genius to their fancy’. As a result, Cradock's work has an accessible and humble appeal, despite his high accomplishment in oil.\u003c\/p\u003e\u003cp\u003eThis unusual engraving is printed in red-brown ink and appears to be a single-sheet print rather than one of a series reproduced for sale or publication. Although printing in sanguine reached a height of popularity in the 18th century, single colour intaglio prints were in continuous production from the late 15th century onwards. In the 17th-century, intaglio colour printing techniques were particularly practised in Dutch print workshops. Cradock's own bird subjects were influenced by still life paintings of the Dutch Golden Age and artists from or working in the Netherlands, such as Melchior d'Hondecoeter (1636–1695) and Jakob Bogdani (1658–1724). The ink colour in the case of this print was most likely chosen over conventional black for personal artistic reasons, to better represent the birds and possibly the result of artistic experimentation—fitting Cradock's individualist ethos. The extensive hand-colouring of the print further distinguishes the work as unique. Significantly, there is a further graphite sketch on the verso of the paper, which ties the print on the recto to the hand of the original artist.\u003c\/p\u003e\u003cp\u003eCradock died in London in 1717. Soon afterwards some of his works were sold at three or four times the price he had received for them in his lifetime. His oil paintings are now found in a number of public collections, including Tate; Dulwich Picture Gallery; National Trust; Museums Sheffield; and Yale Center for British Art, New Haven.\u003c\/p\u003e\u003cp\u003eOn laid paper, tipped on to backing paper and further backing card.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":51998137680201,"sku":"JP-873","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jp-873.jpg?v=1743183532"},{"product_id":"raphael-facsimile-kneeling-figure-of-a-youth-c-1818-crayon-manner-engraving-jt-078","title":"Raphael Facsimile, Kneeling Figure of a Youth – c.1818 crayon manner engraving","description":"\u003cp\u003eAn original c.1818 engraving print Kneeling Figure of a Youth c.1503, Raphael Facsimile.\u003c\/p\u003e\u003cp\u003eThis early 19th-century crayon manner etching is a facsimile print after a drawing by Raphael (c.1502–3) now in the Ashmolean Museum, Oxford. The figure was initialled interpreted as St Stephen but is now generally thought that the drawing may be a study for a female figure, possibly Mary Magdalene.\u003c\/p\u003e\u003cp\u003eOn paper, trimmed and laid down on backing paper.\u003c\/p\u003e\u003cp\u003eAn associated inscription (see photo) gives the provenance of this drawing, given to Mary Twopenny by her cousin David at Little Casterton in 1832. David Twopenny, commoner at Oriel College, Oxford and lifelong Vicar of Stockbury in Kent, was a collector of art (a sale of his collection at Christie’s included an extensive collection of fine engravings after Turner).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017166909769,"sku":"JT-078","price":88.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-078.jpg?v=1743497448"},{"product_id":"italian-footbridge-tower-after-a-sketch-by-salvator-rosa-1849-watercolour-jt-178","title":"Italian Footbridge \u0026 Tower after a Sketch by Salvator Rosa – 1849 watercolour","description":"\u003cp\u003eAn original 1849 watercolour painting Italian Footbridge \u0026amp; Tower after a Sketch by Salvator Rosa.\u003c\/p\u003e\u003cp\u003eAn interesting painting is brown wash. An inscription on the verso indicates that it is 'From a sketch of Salvator Rosa's', with a location of 'Longdon Lodge Sep-1849', presumably where the Rosa sketch was hanging.\u003c\/p\u003e\u003cp\u003eSalvator Rosa (1615–1673) was an Italian Baroque painter, poet, and printmaker, who was active in Naples, Rome, and Florence. He was among the first to paint 'romantic' landscapes, often turbulent and rugged scenes peopled with shepherds, brigands, seamen, soldiers.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017173463369,"sku":"JT-178","price":74.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-178.jpg?v=1743497497"},{"product_id":"diana-bathing-after-francois-boucher-original-early-20th-century-pastel-drawing-jt-544","title":"Diana Bathing after François Boucher – early 20th-century pastel drawing","description":"\u003cp\u003eAn original early 20th-century pastel drawing Diana Bathing after François Boucher.\u003c\/p\u003e\u003cp\u003eAn impressive large pastel drawing, sensitively recreating François Boucher's celebrated oil painting of 1742 (now in the Louvre).\u003c\/p\u003e\u003cp\u003eDiana, goddess of the hunt and the moon, is depicted here, not as a strong bow-wielding huntress, but rather naked and innocent, at her bath, assisted by a lovely nymph. Boucher, a proponent of Rococo taste and master of the flirtatious and erotic, has reimagined the mythological scene in a way which explores the sensuous beauties of the female body. As a symbol of chastity, Boucher is able to play up Diana's innocence as a foil against charges of impropriety.\u003c\/p\u003e\u003cp\u003eThe choice of pastel in the present drawing creates an appropriately soft-focused effect, and allows for fresh colouration—capturing the playfulness and youthful luminosity of Boucher's subject.\u003c\/p\u003e\u003cp\u003eThe drawing was possibly creating around the first decade of the 20th century, during which time Rococo was in a revival period that in turn influenced the contemporary style movement of Art Nouveau.\u003c\/p\u003e\u003cp\u003eOn laid paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017229398345,"sku":"JT-544","price":368.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-544.jpg?v=1743497619"},{"product_id":"arthur-pond-after-parmigianino-holy-family-with-st-john-original-1734-etching-print-jt-555","title":"Arthur Pond after Parmigianino, Holy Family with St John – 1734 etching print","description":"\u003cp\u003eAn original 1734 etching print, Arthur Pond after Parmigianino, Holy Family with St John.\u003c\/p\u003e\u003cp\u003eA fine etching in brown ink produced by the English painter and engraver Arthur Pond (c.1705–1758) after a 16th-century drawing by Francesco Mazzola, also known as Parmigianino (1503–1540). Pond visited Italy in 1725–7 with the painter George Knapton, the painter and poet John Dyer and the antiquary Daniel Wray. This print is from Pond's 1734 series 'Prints in Imitation of Drawings', which he produced in collaboration with George's brother, Charles Knapton, also an artist.\u003c\/p\u003e\u003cp\u003eParmigianino's graphic work was highly sought after and praised in England in the late 18th century. Sir Joshua Reynolds and Benjamin West were avid collectors of Parmigianino's drawings and original prints.\u003c\/p\u003e\u003cp\u003eAn associated inscription (see photo) gives the provenance of this drawing: Given to Mary Twopenny by her cousin David at Little Casterton in 1832. David Twopenny, commoner at Oriel College, Oxford and lifelong Vicar of Stockbury in Kent, was a collector of art (a sale of his collection at Christie’s included an extensive collection of fine engravings after Turner).\u003c\/p\u003e\u003cp\u003eTrimmed to the image and laid down on backing paper with wash line border.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017232871753,"sku":"JT-555","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-555.jpg?v=1743497628"},{"product_id":"e-burton-after-correggio-christ-presented-to-the-people-c19th-watercolour-jt-560","title":"E. Burton after Correggio, Christ Presented to the People – C19th watercolour","description":"\u003cp\u003eAn original mid-19th-century watercolour painting, E. Burton, Christ Presented to the People after Antonio Allegri Correggio.\u003c\/p\u003e\u003cp\u003eA miniature copy after Correggio's emotive painting 'Christ presented to the People (Ecce Homo)', now in the National Gallery, London. We occupy the viewpoint of the crowd that condemned Christ to death, looking squarely at Christ, bound and crowned with thorns, and Pontius Pilate, wearing a turban at the left. The Virgin Mary swoons in the foreground, supported by Saint John the Evangelist.\u003c\/p\u003e\u003cp\u003eThis picture derives from a collection of works owned by the Burton family of Clifden House, near Corofin, Co Clare, Ireland. The most notable member of the family was Sir Frederic William Burton RHA (1816–1900), the eminent Pre-Raphaelite painter, to whom there is a watercolour attributed in the collection (see stock code JS-837).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017233232201,"sku":"JT-560","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jt-560.jpg?v=1743497630"},{"product_id":"rock-cave-dwellings-with-spearsmen-india-early-c19th-grisaille-wash-drawing-jw-175","title":"Rock Cave Dwellings with Spearsmen, India – early C19th grisaille wash drawing","description":"\u003cp\u003eAn original early 19th-century watercolour painting Rock Cave Dwellings with Spearsmen, Possibly India.\u003c\/p\u003e\u003cp\u003eA beautiful drawing on blue laid paper in grey wash and white bodycolour. The distinctive landscape, with rock cave dwellings cut into a steep hillside and small turbaned soldier figures with spears, is most likely in India or possibly the Near East. It is unclear whether this is an observed view or something of a confection.\u003c\/p\u003e\u003cp\u003eOn the verso of the paper is an Italianate fresco-style arched composition with what appear to be figures in prayer and a putto.\u003c\/p\u003e\u003cp\u003eThe age of the paper and style of drawing indicate a date around the early years of the 19th century.\u003c\/p\u003e\u003cp\u003eThe drawing derives from the collection of renowned British drawings and watercolours dealer William Drummond (Covent Garden Gallery, London) and is designated OMD (Old Master Drawing) on the verso of the backing. The backing also bears the indistinct attribution 'Callcott?', which possibly refers to the artist-traveller Lady Maria Callcott.\u003c\/p\u003e\u003cp\u003eCallcott lived in India as a young lady between 1809 and 1810, when her naval father was put in charge of the East India Company’s dockyard in Bombay. She met her first husband, Thomas Graham, a young Scottish naval officer, here and she travelled widely in India India, going as far north as Kashmir and south into Sri Lanka (then Ceylon). In 1811 the Grahams returned to England and Maria turned her notes and drawings into her first book, 'Journal of a Residence in India' published in 1812, followed in 1814 by 'Letters on India'.\u003c\/p\u003e\u003cp\u003eShe went on to live in Italy and Chile, staying on in South America despite the death of her husband. On her return to England she went on to marry the painter Augustus Wall Callcott and her lodgings very quickly became a focal point for London's intellectuals and artists.\u003c\/p\u003e\u003cp\u003eShe produced numerous other illustrated publications, including 'Journal of a Residence in Chile during the Year 1822. And a Voyage from Chile to Brazil in 1823'; 'Journal of a Voyage to Brazil, and Residence There, During Part of the Years 1821, 1822, 1823'; 'Voyage Of The H.M.S. Blonde To The Sandwich Islands, In The Years 1824–1825', and 'A short history of Spain', 1828.\u003c\/p\u003e\u003cp\u003eGrey wash and white bodycolour on blue laid paper. There are remnants of a historic brown paper border at the upper and right edges. The drawing is accompanied by (but separate from) its historic cream paper backing which bears the Drummond annotations.\u003c\/p\u003e\u003cp\u003eProvenance: William Drummond (Covent Garden Gallery, London).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017870635337,"sku":"JW-175","price":595.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jw-175.jpg?v=1743502751"},{"product_id":"william-lock-the-younger-sheet-of-facial-studies-original-c-1780-graphite-drawing-jw-277","title":"William Lock the Younger, Sheet of Facial Studies – c.1780 graphite drawing","description":"\u003cp\u003eAn original c.1780 graphite drawing, William Lock the Younger, Sheet of Facial Studies.\u003c\/p\u003e\u003cp\u003eA wonderful early sheet of characterful facial studies by William Lock the Younger of Norbury (1767–1847).\u003c\/p\u003e\u003cp\u003eWilliam Lock was a talented draughtsman working in the circle of Henry Fuseli in Rome towards the end of the 18th century, known for his drawings of historical, mythological, biblical and Shakespearean subjects. Sir Horace Walpole was a great admirer of his work and Fuseli described the young Lock's drawings as 'unrivaled by any man of this day … for invention, taste and spirit.'\u003c\/p\u003e\u003cp\u003eThis drawing is one of a collection of Lock's drawings that we have for sale, the cover of which beared the signature of Lock (see photo).\u003c\/p\u003e\u003cp\u003eAlthough this drawing is undated, others in the group are dated 1780. This dates the works to early in Lock's adolescence and shows his precocious talent and the early influence of Henry Fuseli.\u003c\/p\u003e\u003cp\u003eIn graphite on laid paper. \u003c\/p\u003e\u003cp\u003eThe sheet is laid down on a backing sheet in a rough textured buff-coloured paper, which was the corresponding backing page from a folio.\u003c\/p\u003e\u003cp\u003eProvenance: Covent Garden Gallery. Christie's 2016.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52017872929097,"sku":"JW-277","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jw-277_1.jpg?v=1743502769"},{"product_id":"john-white-abbott-madonna-after-francesco-solimena-original-c-1805-pen-ink-drawing-jy-233","title":"John White Abbott, Madonna after Francesco Solimena – c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Madonna after Francesco Solimena.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after the Italian Baroque painter Francesco Solimena (1657–1747).\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '1' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018985206089,"sku":"JY-233","price":88.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-233.jpg?v=1743507615"},{"product_id":"john-white-abbott-madonna-with-the-infant-christ-after-raphael-c-1805-drawing-jy-236","title":"John White Abbott, Madonna with the Infant Christ after Raphael – c.1805 drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Madonna with the Infant Christ after Raphael.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael (1483–1520).\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '10' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018985402697,"sku":"JY-236","price":88.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-236.jpg?v=1743507617"},{"product_id":"john-white-abbott-joseph-kneeling-after-raphael-vatican-c-1805-ink-drawing-jy-238","title":"John White Abbott, Joseph Kneeling, after Raphael, Vatican – c.1805 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Joseph Kneeling in Front of the Pharaoh after Raphael Fresco, Vatican.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael's fresco design depicting Joseph Kneeling in Front of the Pharaoh for the Stanza di Eliodoro, Vatican City.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '14' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018985632073,"sku":"JY-238","price":98.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-238.jpg?v=1743507621"},{"product_id":"john-white-abbott-sibyls-after-raphael-santa-maria-della-pace-c-1805-drawing-jy-239","title":"John White Abbott, Sibyls after Raphael, Santa Maria della Pace – c.1805 drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Sibyls after Raphael Fresco, Santa Maria della Pace, Rome.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael's Sybils fresco design for the interior of Santa Maria della Pace in Rome.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '16' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018986221897,"sku":"JY-239","price":88.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-239.jpg?v=1743507624"},{"product_id":"john-white-abbott-sack-of-grain-after-raphael-c-1805-pen-ink-drawing-jy-240","title":"John White Abbott, Sack of Grain, after Raphael – c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Joseph's Cup Discovered in Benjamin's Sack of Grain after Raphael.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael's subject Joseph's Cup Discovered in Benjamin's Sack of Grain.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '20' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018986320201,"sku":"JY-240","price":68.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-240.jpg?v=1743507624"},{"product_id":"john-white-abbott-achilles-at-skyros-after-raphael-original-c-1805-pen-ink-drawing-jy-241","title":"John White Abbott, Achilles at Skyros after Raphael – c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Achilles at Skyros after Raphael.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael. The subject resembles Raphael's fresco subject, Achilles at Skyros, decorating the Loggia of Villa Madama, Rome.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018986418505,"sku":"JY-241","price":68.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-241.jpg?v=1743507626"},{"product_id":"john-white-abbott-demeter-sculpture-original-c-1805-pen-ink-drawing-jy-242","title":"John White Abbott, Demeter Sculpture – Original c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Demeter Sculpture.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) depicting a classical sculpture of Demeter, the Ancient Greek goddess of the harvest.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper. Numbered '23' in the series on backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018986746185,"sku":"JY-242","price":78.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-242.jpg?v=1743507630"},{"product_id":"john-white-abbott-madonna-child-after-raphael-c-1805-pen-ink-drawing-jy-246","title":"John White Abbott, Madonna \u0026 Child after Raphael – c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Madonna \u0026amp; Child with Saint John the Baptist after Raphael.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after Raphael.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52018986910025,"sku":"JY-246","price":78.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-246.jpg?v=1743507632"},{"product_id":"madonna-della-seggiola-after-raphael-original-early-19th-century-watercolour-painting-jy-571","title":"Madonna della Seggiola after Raphael – early 19th-century watercolour painting","description":"\u003cp\u003eAn original early 19th-century watercolour painting Madonna della Seggiola after Raphael.\u003c\/p\u003e\u003cp\u003eA tiny miniature copy after Raphael.\u003c\/p\u003e\u003cp\u003eThe paper has been cut to an circle. Please note the small size of this artwork.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019001491785,"sku":"JY-571","price":31.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jy-571.jpg?v=1743507765"},{"product_id":"john-white-abbott-female-figure-after-salvator-rosa-c-1805-ink-wash-drawing-jz-516","title":"John White Abbott, Female Figure after Salvator Rosa – c.1805 ink \u0026 wash drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Warrior Figure after Salvator Rosa.\u003c\/p\u003e\u003cp\u003eA delicate ink and wash drawing by John White Abbott (1763–1851) after a figure by 17th-century Italian Baroque painter Salvator Rosa (1615–1673).\u003c\/p\u003e\u003cp\u003eThis drawing is one of a series of studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk and wash on thin wove paper. Please note that the paper is extremely brittle.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019758432585,"sku":"JZ-516","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jz-516.jpg?v=1743510813"},{"product_id":"john-white-abbott-detail-after-domenichino-original-c-1805-pen-ink-drawing-jz-518","title":"John White Abbott, Detail after Domenichino – Original c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Detail after Domenichino.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after the Italian Baroque painter Domenico Zampieri, known by the diminutive Domenichino (1581–1641).\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on cream laid paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019758629193,"sku":"JZ-518","price":78.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jz-518.jpg?v=1743510816"},{"product_id":"john-white-abbott-a-sibyl-after-domenichino-original-c-1805-pen-ink-drawing-jz-522","title":"John White Abbott, A Sibyl after Domenichino – Original c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, A Sibyl after Domenichino.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after the Italian Baroque painter Domenico Zampieri, known by the diminutive Domenichino (1581–1641).\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019759808841,"sku":"JZ-522","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jz-522.jpg?v=1743510823"},{"product_id":"john-white-abbott-diana-after-domenichino-original-c-1805-pen-ink-drawing-jz-524","title":"John White Abbott, Diana after Domenichino – Original c.1805 pen \u0026 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Diana after Domenichino.\u003c\/p\u003e\u003cp\u003eA remarkably precise ink drawing by John White Abbott (1763–1851) after the Italian Baroque painter Domenico Zampieri, known by the diminutive Domenichino (1581–1641).\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019759874377,"sku":"JZ-524","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jz-524.jpg?v=1743510823"},{"product_id":"john-white-abbott-madonna-child-after-raphael-original-c-1805-pen-ink-drawing-jz-526","title":"John White Abbott, Madonna \u0026 Child after Raphael – c.1805 ink drawing","description":"\u003cp\u003eAn original c.1805 pen \u0026amp; ink drawing, John White Abbott, Madonna \u0026amp; Child after Raphael.\u003c\/p\u003e\u003cp\u003eA sheet of remarkably precise ink drawings by John White Abbott (1763–1851) after Raphael.\u003c\/p\u003e\u003cp\u003eThis drawing is one a series of linear ink studies by John White Abbott after the Old Masters. Although overwhelming a landscape artist, Abbott is known to have studied Old Master prints, and his figures and animals in his landscape compositions are usually classical in nature rather than freely observed. These ink studies are evidence of Abbott's connoisseurship and his status as a gentleman amateur rather than a professional landscapist.\u003c\/p\u003e\u003cp\u003eFor an example of 'Old Master' animals in a landscape by Abbott, see British Museum no. 1880,0313.22. For a further example of a drawing after an Old Master print see BM 1860,0211.347. An example of an Italianate landscape oil with figures can seen at the Yale Center for British Art, Paul Mellon Collection no. B1976.7.1, as well as a Classical Composition after Annibale Carracci, no. B2013.5.\u003c\/p\u003e\u003cp\u003eInk with traces of graphite underdrawing, on thin wove paper laid down on original backing paper.\u003c\/p\u003e\u003cp\u003eProvenance: Sotheby’s sale 21 March 2002.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52019760005449,"sku":"JZ-526","price":79.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/jz-526.jpg?v=1743510825"},{"product_id":"r-j-blesard-the-three-crosses-after-rembrandt-original-1833-watercolour-painting-ka-193","title":"R.J. Blesard, The Three Crosses after Rembrandt – 1833 watercolour painting","description":"\u003cp\u003eAn original 1833 watercolour painting, R.J. Blesard, The Three Crosses after Rembrandt.\u003c\/p\u003e\n\u003cp\u003eThe Three Crosses (Christ Crucified between the Two Thieves) is considered one of Rembrandt's finest works in any medium. This interpretation of the subject in dark chiaroscuro watercolour shows Blesard's penchant for dramatic and darkly Gothic subjects of emotional intensity. The image is described as being 'From the Etching by Rembrandt. Reduced ¼.'\u003c\/p\u003e\n\u003cp\u003eThe artist is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/artist-collections\/r-j-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e\n\u003cp\u003eIn watercolour with gum arabic to intensify the colour.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52020360282441,"sku":"KA-193","price":128.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ka-193.jpg?v=1743514126"},{"product_id":"r-j-blesard-holy-family-after-parmigianino-c-1834-watercolour-painting-ka-194","title":"R.J. Blesard, Holy Family after Parmigianino – c.1834 watercolour painting","description":"\u003cp\u003eAn original c.1834 watercolour painting, R.J. Blesard, Holy Family with John the Baptist after Parmigianino.\u003c\/p\u003e\u003cp\u003eParmigianino's graphic work was highly sought and praised in England in the late 18th century. Sir Joshua Reynolds and Benjamin West were avid collectors of Parmigianino's drawings and original prints. Here Blesard interprets a drawing of Parmigianino formerly in the collection of West, dramatising the subject in chiaroscuro watercolour. The effect is skilfully achieved through application of a blue background wash with scratching out to reveal the white ground.\u003c\/p\u003e\u003cp\u003eThe artist is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/artist-collections\/r-j-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e\u003cp\u003eOn watermarked J Whatman wove paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52020360610121,"sku":"KA-194","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ka-194.jpg?v=1743514127"},{"product_id":"satyr-archer-original-17th-century-red-chalk-old-master-drawing-ka-583","title":"Satyr Archer – Original 17th-century red chalk old master drawing","description":"\u003cp\u003eAn original 17th-century red chalk drawing Satyr Archer.\u003c\/p\u003e\u003cp\u003eA beautiful drawing in red chalk on laid paper. Depicted is a satyr with bow and arrow, possibly Krotos, who in Greek mythology was the son of Pan and Eupheme and a satyr companion of the Mousai (Muses) on Mount Helikon in Boiotia. He was a great hunter and musician who invented the hunting bow and the rhythmic beats used to accompany music. The Mousai had him set amongst the stars as the constellation Sagittarius.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52020430012745,"sku":"KA-583","price":525.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ka-583.jpg?v=1743514353"},{"product_id":"henry-hemming-arcadian-landscape-after-claude-lorrain-1840s-watercolour-ka-929","title":"Henry Hemming, Arcadian Landscape after Claude Lorrain – 1840s watercolour","description":"\u003cp\u003eAn original 1840s watercolour painting, Henry Hemming, Arcadian Landscape after Claude Lorrain.\u003c\/p\u003e\u003cp\u003eA delicate drawing in brown ink and wash after Claude Lorrain.\u003c\/p\u003e\u003cp\u003eHenry Hemming is either Henry Keene Hemming (1793–1847\/68) of Grays, Essex, and of Upper Tooting, Surrey, or his son, Henry Hemming (1819–1903).\u003c\/p\u003e\u003cp\u003eHenry Senior was land agent to William Cavendish, 6th Duke of Devonshire, for the Lismore Castle estate in Ireland. He married Sophia Wirgman, daughter of Gabriel Wirgman, a successful London goldsmith and jeweller. His children also included the Canadian politician Edward John Hemming and the barrister George Wirgman Hemming.\u003c\/p\u003e\u003cp\u003eThis drawing is one of a small collection of works by Henry Hemming produced in the 1840s that we have for sale. One of the drawings depicts Ballyrafter House, which the Duke of Devonshire built in 1830 as an exclusive hunting and fishing lodge for his Lismore estate. Other Irish locations are also depicted, along with views in North Wales, and landscape compositions in the manner of Claude and Poussin.\u003c\/p\u003e\u003cp\u003eOn buff-coloured paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52020518519113,"sku":"KA-929","price":46.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ka-929.jpg?v=1743514655"},{"product_id":"henry-hemming-claudian-landscape-with-cows-ruin-original-1840s-watercolour-painting-ka-931","title":"Henry Hemming, Claudian Landscape with Cows \u0026 Ruin – 1840s watercolour painting","description":"\u003cp\u003eAn original 1840s watercolour painting, Henry Hemming, Claudian Landscape with Cows \u0026amp; Ruin.\u003c\/p\u003e\u003cp\u003eA delicate drawing in brown ink and wash. Likely after Claude Lorrain.\u003c\/p\u003e\u003cp\u003eHenry Hemming is either Henry Keene Hemming (1793–1847\/68) of Grays, Essex, and of Upper Tooting, Surrey, or his son, Henry Hemming (1819–1903).\u003c\/p\u003e\u003cp\u003eHenry Senior was land agent to William Cavendish, 6th Duke of Devonshire, for the Lismore Castle estate in Ireland. He married Sophia Wirgman, daughter of Gabriel Wirgman, a successful London goldsmith and jeweller. His children also included the Canadian politician Edward John Hemming and the barrister George Wirgman Hemming.\u003c\/p\u003e\u003cp\u003eThis drawing is one of a small collection of works by Henry Hemming produced in the 1840s that we have for sale. One of the drawings depicts Ballyrafter House, which the Duke of Devonshire built in 1830 as an exclusive hunting and fishing lodge for his Lismore estate. Other Irish locations are also depicted, along with views in North Wales, and landscape compositions in the manner of Claude and Poussin.\u003c\/p\u003e\u003cp\u003eOn buff-coloured paper. There is a further graphite sketch on the verso.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52020518814025,"sku":"KA-931","price":34.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/ka-931.jpg?v=1743514657"},{"product_id":"after-charles-le-brun-physiognomy-study-of-ears-original-18th-century-chalk-drawing-kb-265","title":"After Charles Le Brun, Physiognomy Study of Ears – 18th-century chalk drawing","description":"\u003cp\u003eAn original 18th-century chalk drawing, After Charles Le Brun, Physiognomy Study of Ears.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century drawing in sanguine red chalk on Van der Lay laid paper.\u003c\/p\u003e\u003cp\u003eAnnotation in French on a historic mount (no longer extant) indicates that the drawing is likely French in origin. The watermark with fleur-de-lis and letters VDL indicate the Dutch papermaker Van der Lay. It is believed that they started using the monogram in watermarks shortly before 1750 (Henk Voorn, De papiermolens in de provincie Noord-Holland).\u003c\/p\u003e\u003cp\u003eThe ear studies appear to be a copy after the French painter and physiognomist Charles Le Brun (1619–1690), who produced a drawing manual on human emotions that has been used for centuries by artists and students as a model for depicting facial expressions. Le Brun's approach was insistently scientific, drawing on the work of the philosopher René Descartes to better understand what causes expressions in the first place.\u003c\/p\u003e\u003cp\u003eThis is one of two 18th-century French sanguine studies that we have for sale (see stock number KB-266).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021414035785,"sku":"KB-265","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-265.jpg?v=1743520513"},{"product_id":"manner-of-pierre-thomas-le-clerc-hand-study-original-18th-century-chalk-drawing-kb-266","title":"Manner of Pierre Thomas Le Clerc, Hand Study – 18th-century chalk drawing","description":"\u003cp\u003eAn original 18th-century chalk drawing, Manner of Pierre Thomas Le Clerc, Hand Study.\u003c\/p\u003e\u003cp\u003eA wonderful 18th-century drawing in sanguine red chalk on watermarked laid paper.\u003c\/p\u003e\u003cp\u003eAnnotation in French on a historic mount (no longer extant) indicates that the drawing is likely French in origin. The identity of the watermark, featuring grapes and a heart, is unknown, but grapes indicate a French paper.\u003c\/p\u003e\u003cp\u003eThe hand study subject resembles chalk drawings by the French artist Pierre Thomas Le Clerc (1740–1799), whose work was reproduced as crayon-manner etchings in the publication 'Cahier de Principes de Dessins d'après Nature' in 1773.\u003c\/p\u003e\u003cp\u003eThis is one of two 18th-century French sanguine studies that we have for sale (see stock number KB-265).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021414068553,"sku":"KB-266","price":368.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-266.jpg?v=1743520514"},{"product_id":"william-j-tipping-portrait-of-louis-xii-original-1856-graphite-drawing-kb-406","title":"William J. Tipping, Portrait of Louis XII – Original 1856 graphite drawing","description":"\u003cp\u003eAn original 1856 graphite drawing, William J. Tipping, Portrait of Louis XII.\u003c\/p\u003e\u003cp\u003eA fine portrait sketch in graphite heightened with white bodycolour. The drawing depicts Louis XII (1462–1515), drawn after a marble bust of the king.\u003c\/p\u003e\u003cp\u003eThis drawing is part of a series of 'Portraits Historique' that we have for sale by William J. Tipping (1816–1897), dated 1856. Drawn from the art collections of the Louvre and the Palace of Versailles, the portraits depict French kings and queens, noblemen and women and significant figures of court and culture from the 12th to the 18th centuries.\u003c\/p\u003e\u003cp\u003eWilliam J. Tipping (1816–1897) was a railway magnate, politician, amateur artist and archaeologist. The Tipping family was living in France at this time; his youngest son, Henry Avray Tipping, was born at the Château de Ville-d'Avray near Versailles in 1855.\u003c\/p\u003e\u003cp\u003eIn graphite with white bodycolour highlights. On beige wove paper laid down on blue backing paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021428519241,"sku":"KB-406","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-406a.jpg?v=1762264679"},{"product_id":"william-j-tipping-portrait-of-philippe-de-commines-original-1856-graphite-drawing-kb-411","title":"William J. Tipping, Portrait of Philippe de Commines – 1856 graphite drawing","description":"\u003cp\u003eAn original 1856 graphite drawing, William J. Tipping, Portrait of Philippe de Commines.\u003c\/p\u003e\u003cp\u003eA fine portrait sketch in graphite heightened with white bodycolour. The drawing depicts the French writer and diplomat Philippe de Commines (1447–1511), after a bust at the Louvre.\u003c\/p\u003e\u003cp\u003eThis drawing is part of a series of 'Portraits Historique' that we have for sale by William J. Tipping (1816–1897), dated 1856. Drawn from the art collections of the Louvre and the Palace of Versailles, the portraits depict French kings and queens, noblemen and women and significant figures of court and culture from the 12th to the 18th centuries.\u003c\/p\u003e\u003cp\u003eWilliam J. Tipping (1816–1897) was a railway magnate, politician, amateur artist and archaeologist. The Tipping family was living in France at this time; his youngest son, Henry Avray Tipping, was born at the Château de Ville-d'Avray near Versailles in 1855.\u003c\/p\u003e\u003cp\u003eIn graphite with white bodycolour highlights. On beige wove paper laid down on blue backing paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021428912457,"sku":"KB-411","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-411a.jpg?v=1762264647"},{"product_id":"william-j-tipping-portrait-of-cardinal-de-retz-1856-graphite-drawing-kb-412","title":"William J. Tipping, Portrait of Cardinal de Retz – 1856 graphite drawing","description":"\u003cp\u003eAn original 1856 graphite drawing, William J. Tipping, Portrait of Jean François Paul de Gondi, Cardinal de Retz.\u003c\/p\u003e\u003cp\u003eA beautifully fine portrait sketch in graphite heightened with white bodycolour. The drawing depicts the 17th-century French clergyman Jean François Paul de Gondi, Cardinal de Retz (1613–1679).\u003c\/p\u003e\u003cp\u003eThis drawing is part of a series of 'Portraits Historique' that we have for sale by William J. Tipping (1816–1897), dated 1856. Drawn from the art collections of the Louvre and the Palace of Versailles, the portraits depict French kings and queens, noblemen and women and significant figures of court and culture from the 12th to the 18th centuries.\u003c\/p\u003e\u003cp\u003eWilliam J. Tipping (1816–1897) was a railway magnate, politician, amateur artist and archaeologist. The Tipping family was living in France at this time; his youngest son, Henry Avray Tipping, was born at the Château de Ville-d'Avray near Versailles in 1855.\u003c\/p\u003e\u003cp\u003eIn graphite with white bodycolour highlights. On beige wove paper laid down on blue backing paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021428977993,"sku":"KB-412","price":26.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-412a.jpg?v=1762264631"},{"product_id":"william-j-tipping-portrait-of-christopher-columbus-original-1856-graphite-drawing-kb-414","title":"William J. Tipping, Portrait of Christopher Columbus – 1856 graphite drawing","description":"\u003cp\u003eAn original 1856 graphite drawing, William J. Tipping, Portrait of Christopher Columbus.\u003c\/p\u003e\u003cp\u003eA beautifully fine portrait sketch in graphite heightened with white bodycolour. The drawing depicts Christopher Columbus (1451–1506) after Sebastiano del Piombo.\u003c\/p\u003e\u003cp\u003eThis drawing is part of a series of 'Portraits Historique' that we have for sale by William J. Tipping (1816–1897), dated 1856. Drawn from the art collections of the Louvre and the Palace of Versailles, the portraits depict French kings and queens, noblemen and women and significant figures of court and culture from the 12th to the 18th centuries.\u003c\/p\u003e\u003cp\u003eWilliam J. Tipping (1816–1897) was a railway magnate, politician, amateur artist and archaeologist. The Tipping family was living in France at this time; his youngest son, Henry Avray Tipping, was born at the Château de Ville-d'Avray near Versailles in 1855.\u003c\/p\u003e\u003cp\u003eIn graphite with white bodycolour highlights. On beige wove paper laid down on blue backing paper. The corners of the paper are clipped as shown.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52021429240137,"sku":"KB-414","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-414a.jpg?v=1762264611"},{"product_id":"philip-j-marvin-tintorettos-miracle-of-the-slave-venice-1876-watercolour-kb-924","title":"Philip J. Marvin, Tintoretto's Miracle of the Slave, Venice – 1876 watercolour","description":"\u003cp\u003eAn original 1876 watercolour painting – Philip J. Marvin, Tintoretto's Miracle of the Slave, Accademia, Venice (Detail).\u003c\/p\u003e\u003cp\u003eA beautiful detail from Tintoretto's painting Miracle of the Slave of Benvenuto, sketched by talented late-Victorian architect Philip J. Marvin (1849–1931). The wax model is in the Bargello National Museum in Florence, Italy.\u003c\/p\u003e\u003cp\u003eTintoretto's oil painting is in the Gallerie dell'Accademia in Venice.\u003c\/p\u003e\u003cp\u003eOn paper laid down on card.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52948277395785,"sku":"KB-924","price":52.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kb-924.jpg?v=1757941222"},{"product_id":"christ-with-crown-of-thorns-after-guido-reni-early-c19th-watercolour-painting-kc-043","title":"Christ with Crown of Thorns after Guido Reni – early C19th watercolour painting","description":"\u003cp\u003eAn original early 19th-century watercolour painting – Christ with Crown of Thorns after Guido Reni.\u003c\/p\u003e\u003cp\u003eA remarkably fine work, entirely hand painted. After the famous Head of Christ or Ecce Homo by the 17th-century Italian Baroque painter Guido Reni. The detailed portrayal of Christ's face convincingly conveys his anguish as a crown of thorns is placed on his head in the lead up to his crucifixion.\u003c\/p\u003e\u003cp\u003eExquisitely painted in watercolour with gum arabic to intensify the colour. On cream wove paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":52948280312137,"sku":"KC-043","price":280.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/kc-043.jpg?v=1757941285"},{"product_id":"r-j-blesard-male-figure-study-after-guercino-original-1834-graphite-drawing-kd-099","title":"R.J. Blesard, Male Figure Study after Guercino – 1834 graphite drawing","description":"\u003cp\u003eAn original 1834 graphite drawing – R.J. Blesard, Male Figure Study after Guercino.\u003c\/p\u003e\u003cp\u003eA skilful sketch after the Bolognese painter Giovanni Francesco Barbieri known as 'Guercino'.\u003c\/p\u003e\u003cp\u003eThe artist is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/rj-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e\u003cp\u003eOn watermarked J Whatman wove paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53800631042377,"sku":"KD-099","price":36.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-099.jpg?v=1770217407"},{"product_id":"r-j-blesard-classical-male-profile-after-reverdin-original-1835-graphite-drawing-kd-102","title":"R.J. Blesard, Classical Male Profile after Reverdin – 1835 graphite drawing","description":"\u003cp\u003eAn original 1835 graphite drawing – R.J. Blesard, Classical Male Profile after Reverdin.\u003c\/p\u003e\u003cp\u003eA striking classical male profile portrait after the Swiss artist and printmaker François-Gédéon Reverdin (1772–1828). Reverdin trained in David’s workshop and was a friend of Ingres. He became Director of the School of Drawing at the Société des Arts of Geneva.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe artist is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/rj-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53800708309321,"sku":"KD-102","price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-102.jpg?v=1770217636"},{"product_id":"r-j-blesard-christ-appearing-to-mary-magdalene-after-william-etty-original-1834-watercolour-painting-kd-094","title":"R.J. Blesard, Christ Appearing to Mary Magdalene after William Etty – 1834 watercolour painting","description":"\u003cp\u003eAn original 1834 watercolour painting – R.J. Blesard, Christ Appearing to Mary Magdalene after William Etty.\u003c\/p\u003e\u003cp\u003eA darkly dramatic watercolour after William Etty's biblical subject, 'Christ Appearing to Mary Magdalene after the Resurrection'.\u003c\/p\u003e\u003cp\u003eThe artist is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/rj-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e\u003cp\u003eWith gum arabic to intensify the colour.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53800729379145,"sku":"KD-094","price":68.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-094.jpg?v=1770217704"},{"product_id":"r-j-blesard-christ-with-the-doctors-original-1834-watercolour-painting-kd-095","title":"R.J. Blesard, Christ with the Doctors  – 1834 watercolour painting","description":"\u003cp\u003eAn original 1834 watercolour painting – R.J. Blesard, Christ with the Doctors.\u003c\/p\u003e\u003cp\u003eAn engaging biblical subject invented by the artist, 'R.J.B. inv \u0026amp; del'.\u003c\/p\u003e\u003cp\u003eR.J.B. is believed to be Robert John Blesard (1809–1839) of Woodhouse, Leeds, son of a woollen merchant and descendent of the prominent Quaker Blesard family of Guiseley. [See also collection \u003ca href=\"\/fr-eu\/collections\/rj-blesard-yorkshire-landscapes-1832-34\"\u003eR.J. Blesard: Yorkshire Landscapes 1832–34\u003c\/a\u003e.]\u003c\/p\u003e\u003cp\u003eOn watermarked J Whatman wove paper.\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53800730722633,"sku":"KD-095","price":72.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-095.jpg?v=1770217725"},{"product_id":"thomas-worlidge-head-of-a-man-in-a-fur-cap-original-c-1759-graphite-drawing-kd-227","title":"Thomas Worlidge, Head of a Man in a Fur Cap – c.1759 graphite drawing","description":"\u003cp\u003eAn original c.1759 graphite drawing – Thomas Worlidge, Head of a Man in a Fur Cap.\u003c\/p\u003e\u003cp\u003eA characterful miniature portrait head, sketched in graphite, by Thomas Worlidge (1700–1766).\u003c\/p\u003e\u003cp\u003eWorlidge was one of the most well-known portrait painters and etchers in England in the 18th century. He was heavily influenced by the prints and drawings of Rembrandt, and may be regarded as a leading figure in the Rembrandt revival in England in the 18th century.\u003c\/p\u003e\u003cp\u003eThe majority of Worlidge's works were his own creations, not direct copies from Rembrandt, but he either partially adapted or was inspired by Rembrandt's works, especially the costumes. The fur cap and coat in the present sketch are similar to other portrait subjects by Worlidge after Rembrandt described as 'oriental'. A similar portrait of a man 'in character' dressed in furs is in the collection of the Metropolitan Museum of Art, New York (no. 2014.765).\u003c\/p\u003e\u003cp\u003eIn graphite on heavy cream paper.\u003c\/p\u003e\u003cp\u003eThis is one of two drawings by Thomas Worlidge that we have for sale (see stock number KD-228). The other drawing is dated 1759.\u003c\/p\u003e\u003cp\u003eProvenance: from an album associated with Park Gate, Altrincham, home of Lennox Bertram Lee (1864–1949), son of Sir Joseph Cocksey Lee (1832–1894), cotton spinner, merchant and Chairman of the Manchester Ship Canal 1886–7. The works in the album predate this and include a drawing of the children of Henry Lascelles, 2nd Earl of Harewood (1767–1841).\u003c\/p\u003e","brand":"Somerset \u0026 Wood","offers":[{"title":"Default Title","offer_id":53972862894409,"sku":"KD-227","price":368.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/files\/KD-227.jpg?v=1772627839"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0930\/4306\/5161\/collections\/SC108-KA-583.jpg?v=1759406691","url":"https:\/\/somersetandwood.com\/fr-eu\/collections\/old-masters.oembed","provider":"Somerset \u0026 Wood Fine Art","version":"1.0","type":"link"}