A refined stipple engraving by Francesco Bartolozzi after Angelica Kauffman, depicting the Roman goddess Pomona in a classical pastoral scene.

This stipple engraving, titled Pomona, is a fine example of the collaborative output between the painter Angelica Kauffman and the engraver Francesco Bartolozzi. Published in London in 1788, the work depicts the Roman goddess of fruit trees and gardens in a classical setting. The composition features three female figures: one seated with a tambourine, while the others interact with the fruit-laden branches above. The soft, tonal quality achieved through the stipple technique allows for delicate transitions of light and shadow, characteristic of the refined printmaking popular in late eighteenth-century Britain.

Bartolozzi, an Italian engraver who spent much of his career in London, became a founding member of the Royal Academy. His mastery of the stipple method, which uses dots rather than lines to create form, provided a painterly effect that appealed to collectors of the period. The inclusion of verse beneath the image, referencing the citrus groves and the blending of colours, adds a literary dimension to the visual narrative. The oval format frames the figures within a pastoral environment, typical of the Neoclassical interest in classical mythology and idealised beauty.

This print reflects the aesthetic values of the era, where mythological subjects were frequently adapted for domestic display. The figures are rendered with graceful postures and flowing drapery, echoing the influence of antique sculpture. As a museum-grade reproduction, this print captures the subtle gradations of the original sepia-toned ink, preserving the technical precision of Bartolozzi's hand. It offers a glimpse into the sophisticated print culture of Georgian London, where such works were widely circulated among the educated public.