Supporting museums Art we've helped buy Drawing of a kneeling man

Art we’ve helped buy at The Courtauld Gallery

View of a castle
 Acquired 1963
The Virgin and Child
 Acquired 1972
The Royal Family at the Academy
 Acquired 1994
The Last Judgement
 Acquired 1975
The King's Clock
 Acquired 1991
The Holy Family with St John the Baptist
 Acquired 1932
The Gower House Table
 Acquired 1995
The Four Riders
 Acquired 1997
Study for `La Grande Odalisque'
 Acquired 1995
Sheet of studies
 Acquired 1961
Self-Portrait
 Acquired 1994
Sacra Conversazione
 Acquired 1972
River Town in Northern France
 Acquired 1987
Portrait of Sir Nicholas Goodison
 Acquired 2006
Portrait of Lord Conway of Allington
 Acquired 1974
Portrait of Lady Witt
 Acquired 1983
Portrait of a Young Woman
 Acquired 1972
Portman Square in 1813 & Royal Institution, Interior of the Library
 Acquired 1992
Porter of the Royal Academy
 Acquired 2000
Picnic
 Acquired 1972
Mountainous Landscape with Cattle and River - Tower of Arkinlow
 Acquired 1988
Meeting of Charles V and the Bey of Tunis
 Acquired 1951
Madonna and Child
 Acquired 1965
Lord Charlemont's medal cabinet & 3 designs
 Acquired 1987
Gilpin's Day (A Book of Aquatints)
 Acquired 1950
Drawing of a kneeling man
 Acquired 1961
Collection of 9 drawings & watercolours
 Acquired 1971
Collection of 147 architectural drawings
 Acquired 1985
Athens
 Acquired 1968
A Collection of Drawings by William Henry Hunt
 Acquired 1983
A Collection of 16 Drawings
 Acquired 1983
A boat near the riverbank, Asnières (Bateau près de la berge Asnières)
 Acquired 2000
28 Studies for 'The Elves and the Shoemaker'
 Acquired 2010

Made in 1772, a splendid clock with a case of ormolu, glass and enamel was a version by Matthew Boulton of the clock-case made for King George III in 1771. It is one of several made after the initial royal commission, which set a small-scale fashion in motion.

A mosaic portrait of Sir Nicholas Goodison (former Chairman of the Coutauld Institute and the Art Fund) by Tom Phillips is an evocative exercise in contrast, setting the classical formality of its technique against the modern, informal portrait it creates.

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