Pietro Aquila’s etching with engraving, “Labours of Hercules”, c.1680, after Annibale Carracci

Pietro Aquila (1650–1692)

“Labours of Hercules”, (published) 1674 (c.1680 [BM]), plate 9 from a suite of plates showing ornamentation in the Galerie Farnese, “Imagines Farnesiani Cubiculi cum ipsarum Monocromatibus et Ornamentis”, after a fresco by Annibale Carracci (1590–1609) in the Camerino Farnese, published in Rome by Giovanni Giacomo de' Rossi (aka Giovanni Jacomo de' Rossi; Jo Jacobus de Rubeis) (1627–1691).

Etching with engraving on laid paper, watermarked with a Fleur-de-lis in a double circle.

Size: (sheet) 31.1 x 41.8 cm; (plate) 28 x 39.4 cm.

Lettered in plate along the upper edge: (left) “Annibal Carraccius pinx. in Ædibus. Farnesianis”; (centre) “Io.Iacobus de Rubeis formis Romæ ad Templ. S. Mariæ de Pace cum priu. Sum. Pontificis”; (right) “Petrus Aquila delineauit, et sculp.”

Numbered in plate: (lower right corner) “9”.

The British Museum offers the following description of this print: “Details from the decoration of the Camerino Farnese; on the left is a large irregular shaped frieze with three putti clambering over floral scrollwork surrounding an oval frame showing the figure of Constance; to the right are four separate friezes, one large oval showing a full-length female figure holding a shield; and three smaller, circular medallions showing the labours of Hercules, including Hercules wrestling Antaeus and the Nemean lion, and killing the Hydra; after Annibale Carracci, c.1680” (https://www.britishmuseum.org/collection/object/P_1865-1111-217).

See detailed information about this print offered by Hamburger Kunsthalle:  https://www.hamburger-kunsthalle.de/sammlung-online/pietro-aquila-annibale-carracci-giovanni-giacomo-de-rossi/details-der-dekoration-der; see also the account about Pietro Aquila featuring this print offered by Wikipedia: https://it.wikipedia.org/wiki/Pietro_Aquila.

Condition: a strong and near faultless impression with reasonably large margins (approx. 10 mms) around the platemark. Beyond a faint mark at upper centre, the sheet is in a near pristine condition for its size and considerable age with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this lifetime impression (based on quality of line showing no sign of wear to the printing plate) featuring a composite arrangement of details from Annibale Carracci’s fresco depicting episodes of Hercules labours—viz. slaying the Nemean lion; slaying the nine-headed Lernaean Hydra; wrestling Antaeus—for AU$298 (currently US$199.18/EUR180.22/GBP158.65 at the time of posting this print) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this finely executed etching of Baroque fresco ornamentation, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Copy after Pietro Aquila’s engraving, “Plate 12: Triumph of Bacchus and Ariadne”, c1674, after Annibale Carracci

Unidentified copyist after Pietro Aquila (1650–1692)

“Plate 12: Triumph of Bacchus and Ariadne”, c1674, after Pietro Aquila’s engraving, after Annibale Carracci’s (1560–1609) fresco in the Farnese Gallery (west wing of the Palazzo Farnese), from the series of 24 engravings, “Galeriae Farnesianae Icones”, published in Rome by Giovanni Giacomo de' Rossi (1627–1691).

Note that the Smithsonian Libraries showcases Aquila’s print and its series in the larger publication, “Galleria Dipinta nel Palazzo del Prencipe Panfilio”, after the ceiling frescoes by Pietro da Cortona depicting the history of Aeneas in the Palazzo Pamphili, Rome” (1690), involving prints by Carlo Cesi; the series of prints by Pietro Aquila after Annibale Carracci in which this print features begins on page 96 and this print is on page 126: https://archive.org/details/Galeriadipintan00Cesi/page/12/mode/1up;  https://library.si.edu/digital-library/book/galeriadipintan00cesi.

Etching with engraving on laid paper, trimmed around the image borderline (with loss of the writing edge and replenished restoration of the lower right corner) and backed with a support sheet.

Size: (sheet) 19.7 x 35.7 cm.

The British Museum offers the following description of Aquila’s print (not illust.):

“Plate 12: Scene from the painted ceiling of the Farnese gallery, Rome: the triumph of Bacchus and Ariadne; a boisterous procession led by drunken Silenus, riding on an ass; To left, Bacchus and Ariadne seating on a cart, Ariadne seen crowned by a putto flying overhead; several drunken figures surrounding the cart, including Maenads, Satyrs and putti; 1674 Etching with some engraving”

(https://www.britishmuseum.org/collection/object/P_1896-1118-114-15)

See also the descriptions at the Hamburger Kunsthalle and the National Gallery of Victoria (Australia):

https://www.hamburger-kunsthalle.de/sammlung-online/pietro-aquila-annibale-carracci-giovanni-giacomo-de-rossi/der-triumph-des-bacchus;

https://www.ngv.vic.gov.au/explore/collection/work/34372/.

Condition: a well-printed impression, trimmed around the image borderline with loss of the writing edge and a significant replenished lower right corner, but without significant stains or foxing, and laid onto a support of archival (millennium quality) washi paper.

I am selling this jewel-like engraved scene of mythological figures (after Aquila’s design) that translates a section of Annibale Carracci’s fresco ceiling in the Farnese Gallery into line, for AU$269 (currently US$197.59/EUR166.43/GBP142.07 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this very beautiful engraving (after Aquila’s design), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Pietro Aquila’s etching, “Plate 10: Hero & Leander…”, 1674, after Annibale Carracci

Pietro Aquila (1650–1692)

“Plate 10: Hero & Leander; Hercules & Iole; Pan & Syrinx”, 1674, after Annibale Carracci’s (1560–1609) fresco in the Farnese Gallery (west wing of the Palazzo Farnese), from the series of 24 engravings, “Galeriae Farnesianae Icones”, published in Rome by Giovanni Giacomo de' Rossi (1627–1691).

Note that the Smithsonian Libraries showcase this print and its series in the larger publication, “Galleria Dipinta nel Palazzo del Prencipe Panfilio”, after the ceiling frescoes by Pietro da Cortona depicting the history of Aeneas in the Palazzo Pamphili, Rome” (1690), involving prints by Carlo Cesi; the series of prints by Pietro Aquila after Annibale Carracci in which this print features begins on page 96 and this print is on page 122: https://library.si.edu/digital-library/book/galeriadipintan00cesi.

Etching with engraving on laid paper, trimmed around the platemark and backed with a support sheet.

Size: (sheet) 30 x 70.6 cm.

Lettered on plate below the image borderline: (left) “Annibal Carraccius pinx. in. Ædibus farnesianis”; (left of centre) “Leander, Amore duce Hellespontum trasnatans ad Hero./ Io. Iacob de Rubeis formis Romæ ad Temp. S. Mariæ de Pace cu Priv. S. Pont.”; (right of centre) “Molle latus sæuis IOLE tegit aspera villis,/ Armauitque manum clauâ domitrice ferarum./ Tymparna Iasciuis caua pulsat cantibus Heros;/ Iactat AMOR spolium Nemees, victorque superbit.”; (right) “10/ SYRINGA vim PANOS effugiens, in calamum versa./ Petrus Aquila delin. et sculp.”

Borea XLII D.14 i/i

The British Museum offers the following description of this print:

“Plate 10: View from one of the painted walls in the Galleria Farnese; at centre, in a squared frame, a scene from Apollodorus (2.6:3), Hercules and Omphale; Omphale seen seated to left, wearing Hercules' headdress and Hercules seen playing the tambourine; to left; in a roundel, Hero and Leander (Heroides 18,19); in another roundel, Pan and Syrinx (Metamorphoses 1:689-713) c.1674 Etching with some engraving”

(https://www.britishmuseum.org/collection/object/P_1896-1118-114-13)

See also the description of the print at the National Gallery of Victoria (Australia): 

https://www.ngv.vic.gov.au/explore/collection/work/34370/.

Condition: a strong and well-printed impression, trimmed along the platemark with many restorations, but without significant stains or foxing, and laid onto a support of archival (millennium quality) washi paper.

I am selling this very large and dramatically glowing etching, for AU$360 (currently US$272.35/EUR222.62/GBP203.23 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this amazing etching translating with great visual impact Carracci’s fresco painting into line and dot, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Pietro Aquila’s engraving, “Apollo's Abduction of Hyacinth; Polyphemus and Galatea”, c1674, after Annibale Carracci

Pietro Aquila (1650–1692)

“Apollo's Abduction of Hyacinth; Polyphemus and Galatea” (aka “The Apotheosis of Hyacinthus by Apollo; Polyphemus and Galatea”; “Hyacinthus ab Apolline in florem conuersus” [plate title]), c1674, plate 1 from the series, “Galeriae Farnesianae Icones”, after a detail of the famous fresco paintings in the Palazzo Farnese in Rome by Annibale Carracci (1560–1609), published by Giovanni Giacomo de' Rossi (aka Jo Jacobus de Rubeis; Giovanni Jacomo de' Rossi) (1627–1691) in Rome.

Etching with engraving on laid paper trimmed along (or close to) the platemark, backed with a support sheet.

Size: (sheet) 45.3 x 60.5 cm.

Lettered on plate: (upper centre) “HYACINTHVS ab APOLLINE in florem conversus”; (lower left) “Annibal Carraccius pinx. in. Ædibus farnesianis”; (lower centre) “Ardet amans, scopuloque sedens POLYPHEMVS acuto,/ Ad numerum inflatis calamis, dat sibila cantu;/ Concomitata choro gaudet GALATEA sub antro,/ Et latitans rauci suspiria ridet amantis.”; (right of lower centre) “Io. Iacob. de Rubeis formis Romæ ad Templ. S. Mariæ de Pace cū. Priu. S. Pont.”; (lower right) “1/ Petrus Aquila delin et sculp.”

State i (of i)

Borea XLII D.5 i/i

The British Museum offers the following description of this print:

“Plate 1: Scene from the vault of the Farnese Gallery: Polyphemus and Galatea; Polyphemus seen at centre, seated in a rock, playing the pipes; Galatea seen to right, approaching in a carriage carried by dolphins and accompanied by two nymphs; above, the scene of Hyacinthus and Apollo; surrounding both scenes, various 'ignudi', putti and other mythological figures; c.1674 Etching with some engraving”

(https://www.britishmuseum.org/collection/object/P_1896-1118-114-4).

See also the descriptions offered by the National Gallery of Victoria (NGV), the Wellcome Collection and the Hamburger Kunsthalle:

https://www.ngv.vic.gov.au/explore/collection/work/34360/; https://wellcomecollection.org/works/ht26382e;

https://www.hamburger-kunsthalle.de/sammlung-online/pietro-aquila-annibale-carracci-giovanni-giacomo-de-rossi/die-apotheose-des#.  

Condition: a strong impression with restored tears, but without significant stains or foxing. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this huge etching translating a section of Carracci’s fresco in the Farnese Gallery into a composition of line and dot for AU$294 (currently US$215.44/EUR189.95/GBP161.21 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this spectacular masterwork of interpretative printmaking, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

 

Pietro Aquila (1640–c1700) “Pieta with Saint Mary Magdalene, Saint Francis and Two Angels”, c1650

Pietro Aquila (1640–c1700)

“Pieta with Saint Mary Magdalene, Saint Francis and Two Angels”, c1607–1700, in reverse after the painting by Annibale Carracci (1560–1609), “Pietà with Sts Francis and Mary Magdalen” (1602–1607), in the collection of the Musée du Louvre, Paris (Room 716) (see https://www.wga.hu/html/c/carracci/annibale/2/pieta_s.html).

Etching on laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 48.4 x 33.3 cm; (image borderline) 46.2 x 32.5 cm.

Inscribed on plate within the image borderline: (lower left) “Si Vendono a S. Ignatio da Arnoldo V. Wofterhout” (my reading of this inscription may have errors).

Lettered on plate in three lines of Italian below the image borderline: “”Al. … Lorenzo Bernini/ Se da lungi …Anibale/ Caracci …. Pietro Aquilal”.

M.26 (reference offered by Harvard Art Museums)

See a brief description of this print at the Fogg Museum (Harvard Art Museums):

https://www.harvardartmuseums.org/collections/object/276304?position=0

The following insightful description of the composition is offered by Maggy Krebs (from the website, wefoundlove):

“The subject is the crucified Christ, in repose. His lifeless body draws us to a young face to increase emotion, as He is held by the young Mary. She, while keeping her composure, bears a most solemn expression.

Mary Magdalene is next to her with one hand covering her chest and one hand outstretched, engaging the audience into the scene. On the left, marvelously, is St. Francis, with his arms crossed; nearly twelve centuries would pass before Francis was born, so it is likely that he is portrayed in this scene to confirm the saintly bearing he had attained for his own life’s imitation of Christ. Finally, there are two angels illustrated at the bottom who are weeping. One angel looks out at us, engaging us like Magdalene—to respond and contemplate the subject more deeply. The other takes refuge behind Christ’s right arm. His glare might suggest that price of salvation would be soon forgotten and the pain which humanity has brought to Heaven.”

(https://00wefoundlove00.wordpress.com/about/pieta-with-st-francis-and-mary-magdalene) 

Condition: a slightly silvery impression (matching the same silvery grey as the impression held by the Fogg Museum (Harvard Art Museums) (https://commons.wikimedia.org/wiki/File:Pietro_Aquila_(after_Annibale_Carracci),.jpg). There is a restored tear in the lower text box, otherwise the sheet is in very good condition for its large size and considerable age. The sheet is laid onto a support of archival (millennium quality) washi paper.

I am selling this sensitively executed, large and rare etching—based on my online research, only the Fogg Museum seems to hold a copy of this print!—for the total cost of AU$360 (currently US$244.52/EUR221.80/GBP189.96 the time of this listing) including postage and handling to anywhere in the world.

If you are interested in this delicately beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold