Artwork
The Inner Courtyard of Old Somerset House in the Strand
The Inner Courtyard of Old Somerset House in the Strand is an ink print by the Romanticist artist William Moss. It dates from 1777 and is held in the collection of the National Gallery of Art.
- Inscription
- Inscribed:in plate, below image, at left: Drawn & Etch’d by W. Moss; in plate, below image, at center: To the R.t Hon.ble E arl Ashburnham this PLATE part of Sommerset House in the Strand. / is most humbly Dedicated by his Lordships Obedient & Obliged Serv.t W. Moss. / publish’d as the Act directs 31.st March 1777 by W. Moss No. 8 Chapel Court Cavendish Square.; in plate, below image, at right: Engrav’d in Aquatinta by F. Jukes
- Markings
- Marked:William Augustus Fraser [1826-1898], London (Lugt 2830)
About this work
Overview
William Moss’s 1777 print, titled The Inner Courtyard of Old Somerset House in the Strand, depicts a bustling courtyard framed by a substantial stone façade with numerous windows and a clock tower. The scene is populated by figures in period dress and a horse‑drawn carriage, all set beneath a cloudy sky. The work is part of the National Gallery of Art’s collection in Washington.
Subject & Meaning
The composition captures a moment of everyday urban life in late‑18th‑century London, focusing on the interior space of Somerset House’s courtyard. The presence of pedestrians and a stationary carriage suggests a pause in the flow of traffic, while the architectural details emphasize the building’s civic importance and the orderly rhythm of the city’s public spaces.
Technique & Style
Moss combined etching with aquatint and mezzotint on laid paper, allowing for both fine line work and rich tonal variations. The aquatint provides broad washes that render the cloudy sky and stone surfaces, whereas mezzotint contributes deep shadows that model the arches and cobblestones, creating a nuanced atmospheric effect characteristic of the period’s printmaking.
History & Provenance
Created in 1777, the print was produced during a period of heightened interest in documenting London’s architecture. It entered the National Gallery of Art’s collection in Washington, where it remains accessible to scholars and the public. The work’s survival in good condition offers insight into both the city’s visual record and 18th‑century print techniques.
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