How you can use this image
This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s).
Review the copyright credit lines that are located underneath the image, as these indicate who manages the copyright (©) within the artwork, and the photographic rights within the image.
The collection that owns the artwork may have more information on their own website about permitted uses and image licensing options.
Review our guidance pages which explain how you can reuse images, how to credit an image and how to find images in the public domain or with a Creative Commons licence available.
Buy a print or image licence
If you like this artwork you can support the collection by purchasing a reproduction as a framed OR unframed art print. We offer a selection of professionally made frames that will make your purchase look great in your home, office or other preferred setting.
Need a digital version for your site or publication? You can purchase a digital licence from Art UK and download an electronic copy of this reproduction.
Add or edit a note on this artwork that only you can see. You can find notes again by going to the ‘Notes’ section of your account.
Sir Watkin Williams-Wynn set out on his Grand Tour in June 1768. He was accompanied by Edward Hamilton, a cavalry officer and amateur musician, and Thomas Apperley of Plas Grono, near Wrexham, his 'governor' who had been with him at Oxford. After visiting Paris and Florence the party arrived in Rome in November, where Sir Watkin ordered history paintings from Anton Raphael Mengs and Pompeo Batoni. He also commissioned this portrait from Batoni, who was the most celebrated painter in the city. His work was particularly appreciated by British notables, and this is his finest 'Grand Tour' portrait. Sir Watkin stands on the left holding a crayon and a copy of a Raphael fresco. At the table, Apperley draws his patron's attention to a passage from Dante's Divine Comedy.
oil on canvas
H 293.2 x W 195.5 cm
NMW A 78