A refined stipple engraving by Peter William Tomkins depicting a saint's ascension, rendered with the delicate tonal qualities of a classical drawing.

This stipple engraving by Peter William Tomkins depicts the apotheosis of a saint, a subject rooted in traditional religious iconography. The central figure, dressed in monastic robes, gazes upward with arms outstretched as he is elevated toward the heavens. He is supported by a group of winged putti, while additional cherubic figures occupy the clouds above, preparing to place a crown upon his head. The composition follows the conventions of late eighteenth-century British printmaking, where the stipple technique allows for soft, tonal transitions that mimic the appearance of chalk drawings.

Tomkins, a pupil of Francesco Bartolozzi, became highly skilled in the stipple method, which was popular for reproducing drawings and paintings with a delicate, painterly quality. The work reflects the influence of Italian Baroque compositions, particularly those depicting the ascension or glorification of holy figures, yet it is executed with the refined, linear clarity characteristic of the Neoclassical period. The figures are rendered with graceful, flowing lines, and the overall arrangement creates a sense of upward movement and ethereal lightness. The monochromatic sepia tone enhances the classical aesthetic, providing a sense of historical distance and formal restraint.

This print was produced during a period when the reproduction of Old Master drawings was a significant commercial and artistic endeavour in London. The inscription at the base indicates its provenance from the Royal Collection, reflecting the high regard in which Tomkins was held by his contemporaries. The work demonstrates the technical precision required to translate complex, multi-figure scenes into the medium of engraving, maintaining the fluidity of the original design while ensuring clarity in the final impression.