Richard Earlom, “Diana and Her Nymphs”, 1787, after Giovanni Battista Cipriani

Richard Earlom (aka [pseud.] Henry Birche) (1743–1822)

“Diana and Her Nymphs”, 1787, number 36 in a series of 50 etchings after drawings by Giovanni Battista Cipriani (aka Giuseppe Cipriani; John Baptist Cipriani) (1727–1785), “A Collection of Prints after the Sketches and Drawings of the late Celebrated Giovanni Battista Cipriani, Esqr R.A.” (see https://www.nga.gov/collection/art-object-page.43533.html), published in London by John Boydell (1719–1804) and his nephew, Josiah Boydell (1752–1817).

The portrayed scene shows Diana, the Roman goddess of the hunt, standing at left holding her iconic bow and offering a rabbit to the closer of her four companion nymphs (see description of this print by the British Museum [inv. no. 1861,0518.369]).

Etching and aquatint on wove paper, trimmed around the image borderline with loss of publication details and backed with a support sheet.

Size: (sheet) 24.2 x 32.7 cm.

Wessely 485 (J E Wessely 1886 “Richard Earlom, Verzeichniss seiner Radirungen und Schabkunstblätter”, Hamburg, cat. no. 485).

Condition: a strong impression trimmed around the image borderline and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this seemingly loosely inscribed etching following a drawing by Giovanni Battista Cipriani—a founding member of the Royal Academy—for the total cost of AU$289 (currently/approximately US$191.44/EUR176.83/GBP147.63 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. Note that payment is in Australian dollars (AU$289) as this is my currency.

If you are interested in purchasing this freely drawn composition revealing not only a haptic leaning to drawing (viz. drawing as if describing a form by the sense of touch rather than describing its superficial details) but also a deep knowledge of anatomy—note how the lines follow the course of muscles rather than defining a silhouette outline of the portrayed subjects—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

Francesco Bartolozzi’s etching with engraving, “Concert Ticket for Felice Giardin”, 1780, after Giovanni Battista Cipriani

Francesco Bartolozzi (1728–1815)

“Concert Ticket for Felice Giardini”—billhead for the Italian violinist and composer, Felice Giardini (1716–1796), possibly for a performance on, or around, April 6^th 1780 (based on a hand-written note on another copy of this concert ticket held by the British Museum [BM inv. no. C,3.12])—1780, after the design by Giovanni Battista Cipriani (aka John Baptist Cipriani) (1727–1785). A proof impression before the addition of the publication details, “Publish'd as the Act directs Feby. 4th, 1780,,”, and the later inscription on oval banner: “For the Benefit of Mr Giardini”. See another proof impression from a later state after the publication details were added, but before the addition of the banner inscription: https://www.britishmuseum.org/collection/object/P_C-3-11.  

Etching with engraving on heavy laid paper backed with a support sheet.

Size: (sheet) 18.2 x 15.5 cm; (plate) 14 x 11.3 cm; (image borderline)11 x 9.3 cm.

Lettered in plate below the image borderline: (left) “G. B. Cipriani inv:”; (right) “F. Bartolozzi sculp. 1780”.

State i (of iii) before the addition of the publication details of state ii and before the addition of the dedication to Mr Giardini of state iii.

Calabi & De Vesme 1923 (Augusto Calabi & Alexandre de Vesme 1928, “Francesco Bartolozzi : Catalogue de Estampes et Notice Biographique”, Milan, Guido Modiano, cat. no. 1923).

The British Museum offers the following description of this print: “Bill-head for the benefit of Mr Giardini; a young woman seated on a pedestal, touching a lyre on a table with her left hand, holding a quill pen in her right, turned and looking towards a putto who stands behind her; on the right, Cupid seated on floor, holding an arrow, covering his face with hands; in an oval; after Cipriani. 1780” (https://www.britishmuseum.org/collection/object/P_C-3-12).

Condition: a strong impression laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this curiosity of an etching that is not only a first state impression but I understand that it is also executed as a concert ticket for the performance by the celebrated Italian violinist (and composer) of the time, Felice Giardini, for AU$233 (currently US$155.74/EUR140.91/GBP124.04 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 rare and historically interesting concert ticket, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

William Wynne Ryland’s “Britannia directing Painting, Sculpture, and Architecture to address themselves to Royal Munificence”, 1779

William Wynne Ryland (1733–1783)

“Britannia directing Painting, Sculpture, and Architecture to address themselves to Royal Munificence”, 1779, after the design by Giovanni Battista Cipriani (aka John Baptist Cipriani) (1727–1785), published by William Wynne Ryland in London in 1779.

Etching and dot roulette printed in sanguine coloured ink on laid paper.

Size: (sheet) 33 x 27 cm; (plate) 25.2 x 22.8 cm; (round image borderline) 22.4 cm dia.

Inscribed on plinth within the image borderline: “ROYAL ACADE/ OF ARTS/ INSTITUTED/ MDCCLXVIII”.

Lettered on plate below the image borderline: (left) “G. B. Cipriani Invent. / Published Aug, 18, 1779”: (centre) BRITANNIA directing PAINTING, SCULPTURE, and ARCHITECTURE,/ to address themselves to ROYAL MUNIFICENCE, who receives, ahd offers/ them, protection and rewards.”; (right) W. W. Ryland Fecit/ at No.159 Strand, London.”

Le Blanc 15

The British Museum offers the following description of this print:

“Britannia seated to left with a lion wearing a breastplate with the Gorgon's head (the aegis of Minerva) indicating Royal Munificence, a female figure enthroned on a plinth inscribed 'Royal Acade of Arts Instituted MDCCLXVIII', who gestures with left arm as she directs three female figures to right: Painting seated with panel and brush looking back over her shoulder at Architecture who holds up a plan, and Sculpture, who holds a chisel and hammer; after Cipriani; lettered state. 1779 Stipple and etching printed in red ink”

(https://www.britishmuseum.org/collection/object/P_1873-0809-218).

See also the description of this print at the Royal Academy:

https://www.royalacademy.org.uk/art-artists/work-of-art/britannia-directing-painting-sculpture-and-architecture-to-address.

Condition: well-printed strong impression with margins and laid upon a support sheet of archival (millennium quality) washi paper. There is a small (8 mm) tear on the left margin and a few minor marks otherwise the sheet is in excellent condition.

I am selling this exceptionally beautiful allegorical representation of the arts for AU$344 (currently US$236.63/EUR211.07/GBP190.50 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 sensitively executed etching designed to celebrate the creation and reception of the arts in Britain—note how Britannia’s lion keeps a watchful eye on the viewer!—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