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拍品專文
Two other versions of this subject exist, the earliest one is dated 1781 (Ashmolean Museum Oxford, 18.4 x 26.6 cm.) the other (British Museum, 20.3 x 25.4 cm.) is from the 1790s (see D. Morris, Thomas Hearne and his Landscape, London, 1989, pl. 58 and pl. 57, illustrated in colour). Both compositions are close, with only slight variations in size, the arrangements of the clouds and the reflections in the water also slightly more of the left of the bridge is visible in the British Museum version, to which the present drawing is closest. The Ashmolean Watercolour was engraved by J.C. Varrell, in Britton's Picturesque Antiquities of the English Cities, 1830, no. 61.
Hearne was one of the most admired and influential topographical artists of the 18th Century. His most important engraved publication The Antiquities of Great Britain, elevated the standard of the depiction of antiquities to a fine art. His composition, restrained tonal values and close attention to detail and textures were a major influence on the next generation of British Artists, including Turner and Girtin who both copied his work in the mid 1790s at Dr Monro's Academy in Adelphi Terrace, when they were students.
Hearne was one of the most admired and influential topographical artists of the 18th Century. His most important engraved publication The Antiquities of Great Britain, elevated the standard of the depiction of antiquities to a fine art. His composition, restrained tonal values and close attention to detail and textures were a major influence on the next generation of British Artists, including Turner and Girtin who both copied his work in the mid 1790s at Dr Monro's Academy in Adelphi Terrace, when they were students.