Supporting museums Art we've helped buy Ramparts of Montreuil
Ramparts of Montreuil Ramparts of Montreuil
© Ashmolean Museum

Ramparts of Montreuil

Philip Wilson Steer

Art Funded
1949
Dimensions
37 x 25 cm
Bequeathed by
Harwood C Laurence through The Art Fund
Part of a collection of 8 watercolours by Philip Wilson Steer presented to four public collections as part of the Laurence Bequest.

Provenance

The Mr Harwood C.Laurence Bequest.

Gouache & watercolour

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Art we’ve helped buy at Ashmolean Museum

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Christian descending into the Valley of Humiliation
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Christ and the Woman of Samaria
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Chalgrove II Hoard
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Cattle and Haystack, Twilight & Essex Fields
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Catching the Steamer
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Castle Crag, Derwentwater
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Capriccio Landscape with Figures, a Bridge over a Stream
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Cain & Abraham and Isaac
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Bust of Thomas Howard, Earl of Arundel
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British Troops in the Bois de Boulogne
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Boar's Head Tureen
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Berck, Cloudy Landscape
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Bell salt
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Basin with the arms of Spannocchi
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Autumn Landscape
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Assyrian relief
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Apples in a Bag
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Animals and birds in a landscape
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Anglo-Saxon bowl
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Angelica encountering the wounded Medoro
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An Allegory of Justice and Vanity
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Album of portrait drawings
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Album of drawings
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Abraham and Hagar Surprised by Sarah
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A View of Culzean Castle, Ayshire
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A Study of Henry Irving as Becket
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A Seated Bodhisattva
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A painted fan on silk
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A Man leading a Horse
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A Highland Scene - 'In Connernara'
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A Farmyard with a Well
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A drawing of the Virgin and Child
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A collection of Japanese metalwork sword fittings
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A Beach Scene with Fisherfolk
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9th century seated Buddha
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21 pieces of Meiji ceramics
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Nominally inspired by Lucretius' De rerum natura, Piero di Cosimo's The Forest Fire takes its scientific subject and embellishes it with fantastical creatures from the artist's imagination: Bulls, bears, lions and deer-like creatures with human faces all flee wearily from a fire.

Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. The Earl was a great collector, and Rubens had painted the earl's wife a few years earlier on a visit to Antwerp. This drawing in pen and ink with a chalk base is unusually informal, reflecting perhaps the comfortable relationship between artist and patron.

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