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[Nymphs Sporting]
[Nymphs Sporting]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs March. 1 1787 by F. Bartolozzi.
Etching printed in sepia, platemark 260 x 200mm (10 x 8"), with very large margins.
Decorative nude scene. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 462.ii
[Ref: 43417]   £220.00   (£264.00 incl.VAT)
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Nymphs Bathing.
Nymphs Bathing.
Drawn by J.B. Cipriani. Engraved by F. Bartolozzi.
London Published June 1st 1796 by Dietmar 114, Strand.
Stipple, printed in brown, fine.
Beautiful nymphs bathe at the stream.
De Vesme: 461.
[Ref: 45366]   £320.00  
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A Dissertation on Oriental Gardening;  by Sr: William Chambers, Knt: Comptroller General of his Majesty's Works.
A Dissertation on Oriental Gardening; by Sr: William Chambers, Knt: Comptroller General of his Majesty's Works.
G.B. Cipriani inv. F. Bartolozzi sculp.
[London] Printed by W. Griffin, Printer to the Royal Academy [also Davies, Dodsley, Wilson, Nicoll, Walter and Elmsley]. 1772.
Engraved illustrated titlepage to the first (4to) edition, with large margins, rare. 230 x 170mm, 9 x 6¾".
According to Colvin, the book was “primarily an attack on the bare style of landscape gardening associated with Capability Brown, and the oriental dress was merely a literary camouflage. To Chamber’s embarrassment his supposed championship of the Chinese garden as a model for imitation was taken seriously by the public, obliging him in 1773 to publish a second edition with an “Explanatory Discourse.’ Scottish architect Sir William Chambers (1723-1796) was responsible for many of Kew Gardens' temples, Carlton House, the north and south wings of Buckingham Palace, Richmond Palace, Sir Joshua Reynolds house, internal decorations of St James's Palace, Somerset House and many others. He was appointed tutor in architecture to the future George III. The classical design in an oval after Giovanni Battista Cipriani (1727 - 1785) shows a spirit with butterfly wings decorating a statue with flower garlands; on the right, a woman seated on a chair, and on the left, three naked putti, one drawing.
See BL L.32/58. Colvin p. 205. De Vesme 1693.
[Ref: 26329]   £220.00   (£264.00 incl.VAT)
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[Orlando Furioso] [Angelica & Madora.]
[Orlando Furioso] [Angelica & Madora.]
G.B. Cipriani inc.t. Tho.s Burke sculp.t.
London Publish'd Oct/r 1783, by G. Durand, No 8 Catherine Street, Strand.
Stipple, proof before title, printed in brown. 135 x 170mm (5¼ x 6¾"), with very large margins. Uncut.
A scene from Italian epic 'Orlando Furioso' by Ludovico Ariosto. Having been nursed back to health by Angelica, the Saracen knight Medora carves their names into a tree, before they elope to China.
See BM 1931,0618.56 for a 1790 edition published by Read.
[Ref: 54744]   £260.00   (£312.00 incl.VAT)
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[Argalia appearing to Ferraù.]
[Argalia appearing to Ferraù.]
[G.B. Cipriani. F. Bartolozzi.]
[n.d., c.1773.]
Etching on india paper, proof before all letters and engraved border. Sheet 270 x 195mm, 10½ x 7¾". Age-toning and light spotting.
Two soldiers in Romanesque uniform; Argalia standing in river to left, holding helmet, and on the right Ferraù standing on the bank, holding a pole. An illustration after Giovanni Battista Cipriani (1727 - 1785) to 'Orlando furioso (The Frenzy of Orlando)' (G. Baskerville, Birmingham) by Lodovico Ariosto (1474 - 1533). Ariosto's Italian romantic epic takes place against the backdrop of the war between Charlemagne and his Christian paladins, and the Saracen army which is attempting to invade Europe.
De Vesme 1638, I of VI. See BL C.70.f.4.
[Ref: 21170]   £140.00   (£168.00 incl.VAT)
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[Painting and Engraving]
[Painting and Engraving]
G.B. Cipriani inv.t F. Bartolozzi sculp.
Publish'd by F. Bartolozzi, 1788
Etching printed in sepia, platemark 235 x 315mm (9¼ x 12½"), with very large margins.
Women and putti studying works of art. Etching by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 692 iii/iii
[Ref: 43146]   £280.00   (£336.00 incl.VAT)
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Perseus having rescued Andromeda from imminent danger, is enamoured with her beauty.
Perseus having rescued Andromeda from imminent danger, is enamoured with her beauty.
Drawn by I.B. Cipriani. Engraved by F. Bartolozzi R.A. Historical Engraver to His Majesty.
London, Published May 1.st 1789, bu E.M. Diemar, No.114 Strand.
Stipple and etching. 300 x 229mm. 11¾ x 9". Some paper loss to left just inside image area, trimmed.
Near the sea, Perseus releasing Andromeda from her chains.
De Vesme: 477; iii/iii.
[Ref: 20441]   £240.00   (£288.00 incl.VAT)
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Perseus cautiously relating to Andromeda_the transforming power of Medusa's head.
Perseus cautiously relating to Andromeda_the transforming power of Medusa's head.
Drawn by I.B. Cipriani. Engraved by F. Bartolozzi R.A. Historical Engraver to His Majesty.
London, Published May 1.st 1789, by E.M.Diemar No.114 Strand.
Stipple with small margins. Plate 304 x 241mm (12 x 9½").
Perseus, naked kneeling on a river shore, holding the head of Medusa in his right hand, the reflection in the water; Andromeda, looking at the head from behind him
See Ref: 20444 for trimmed version. De Vesme: 478.
[Ref: 30380]   £220.00   (£264.00 incl.VAT)
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Perseus cautiously relating to Andromeda_the transforming power of Medusa's head.
Perseus cautiously relating to Andromeda_the transforming power of Medusa's head.
Drawn by I.B. Cipriani. Engraved by F. Bartolozzi R.A. Historical Engraver to His Majesty.
[London, Published May 1.st 1789, by E.M. Diemar, No.114 Strand.]
Stipple and etching. 272 x 198mm. 10¾ x 7¾". Publication line cut. Surface scratching in the body of Perseus. Trimmed.
Perseus, naked kneeling on a river shore, holding the head of Medusa in his right hand, the reflection in the water; Andromeda, looking at the head from behind him.
De Vesme: 478; iv/iv.
[Ref: 20444]   £130.00   (£156.00 incl.VAT)
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Physic.
Physic.
G.B. Cipriani Inv.t. J.M. Lelattre Sculp.t.
London, Published March 31st 1788 for the Proprietor, by Palmer & Fielding, No 163 Strand.
Rare stipple, printed in brown. 180 x 165mm (7 x 6½"), with large margins. Uncut.
A winged cherub sitting on a cloud, holding the Rod of Asclepius in his right hand, a bowl in his left. A lyre rests behind him.
[Ref: 55074]   £180.00   (£216.00 incl.VAT)
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[Poetry.]
[Poetry.]
G.B. Cipriani del. Fra.s Bartolozzi sculp.
London Publish'd as the Act directs Feb.y 15th 1783 by A. Torre No44 Market Lane.
Stipple, fine. Plate: 230 x 175mm (9 x 7"). Small margins.
A portrait of a young woman, wearing a laurel crown and holding a harp.
[Ref: 45413]   £230.00   (£276.00 incl.VAT)
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[Galatea]
[Galatea] [Galat. 'Ah taci, Acide amato,/ Taci...' La Galatea, Parte Prima]
[G.B. Cipriani inv.- F. Bartolozzi sculps. 1783]
Engraving printed in brown ink. Sheet 215 x 175mm (8½ x 6¾"). Trimmed inside platemark.
Polyphemus seated on a rock, playing a pan flute. Below, Acis and Galatea embracing each other on a beach; the sea behind them. One of three vignettes engraved by Bartolozzi for the 'Opere' of Pietro Metastasio.
Calabi & De Vesme: 1747.ii
[Ref: 28321]   £160.00   (£192.00 incl.VAT)
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Prosperity.
Prosperity.
I.B. Cipriani, Del. Le Grand, Sculpt.
[n.d. c.1780] A Paris chez Mme. Breton, Mde. d'Estampes, au Pavillon, Jardin du Palais Royal, et rue du Chantre, Maison du Chandellier.
Coloured stipple, printed in colour. 190 x 206mm. 7½" x 8¼".
[Ref: 8480]   £420.00  
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Prosperity.
Prosperity.
G.B. Cipriani, Del. F. Bartolozzi Sculp.t
Pub.d as the Act directs December 19th 1783, by G. Bartolozzi No 5 John Street Oxford Street.
Stipple printed in sanguine, platemark 230 x 190mm (9 x 7½"). Slight crease near Cipriani name. Trimmed to platemark.
Allegory of prosperity, with a woman and two children amongst emblems of natural and material wealth. Engraved by Francesco Bartolozzi, Royal Academician and greatest proponent of the stipple method of engraving, and one of many works he made from designs by draftsman G.B. Cipriani.
De Vesme 697 iii/v; for a continental copy, printed in colours, see ref. 8480.
[Ref: 40482]   £220.00   (£264.00 incl.VAT)
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Prudence [ms]
Prudence [ms]
G.B. Cipriani Delin.t F. Bartolozzi Sculp.t
Pub.d 2.d May 1783 by Mrs. Bryer N.13 Poland Street.
Stipple, platemark 260 x 205mm (10¼ x 8"). Thread margins;
Etching by Francesco Bartolozzi (1725-1815), Florentine engraver who in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 698 ii/iv.
[Ref: 43135]   £160.00   (£192.00 incl.VAT)
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Prudence and Beauty.
Prudence and Beauty. Prudence endeavouring to retain Beauty from following the Insinuation of Love.
G.B. Cipriani inv.t, F. Bartolozzi Sculp.t 1782.
Pub'd as the Act directs Sep.r 15th 1782, by A. Torre No. 44 Market Lane London. A Paris chez L' Torrè Porte St. Antoine A. P. D. R.
Stipple with etching, printed in sanguine. Sheet 225 x 255mm (8¾ x 10"). Trimmed within plate, small tear in top edge.
A scantily-dressed Beauty with Prudence, with helmet and staff with snake, trying to restrain her. Two putti hold a torch and a mirror.
Calabi & De Vesme 700.V.
[Ref: 46195]   £230.00   (£276.00 incl.VAT)
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Psyche Going to Dress.
Psyche Going to Dress.
I. G. Cipriani del.t R.A. F. Bartolozzi sculp.t. R.A. Engraver to His Majesty.
Published as the Act directs December the 12. 1786 by E.M. Diemar No. 114 Strand London.
Stipple, fine. Plate: 300 x 220mm (12 x 8¾"), with large margins.
A scene showing the classical figure of Psyche getting dressed with the help of two women.
De Vesme 484.
[Ref: 47376]   £230.00   (£276.00 incl.VAT)
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Svbsn: Masqe: Ranelagh XIIII. June. MDCCLXXVI.
Svbsn: Masqe: Ranelagh XIIII. June. MDCCLXXVI. HDV.
G.B. Cipriani inv. F. Bartolozzi sculp.
[n.d. c.1776.]
Etching with engraving, fine. Plate 222 x 185mm. 8¾ x 7¼". Trimmed to platemark, very slight foxing
Ticket. The Birth of Venus; Venus standing naked in front of the sea combing her hair with her fingers. Two birds above the over and two putti seated at each end of the console holding masks. Ranelagh Gardens, adjoining the Wren's Pensioner's Hospital, became popular as a place to escape the city and take in the cleaner air in Chelsea. Balls, concerts, dinners and of course gossip were shared here almost daily. It quickly exceeded Vauxhall in popularity, but it's popularity waned until the season of 1804 when the fashionable set abandoned it entirely.
De Vesme: 1957; iii/iii. See Ref: 20539 for earlier state.
[Ref: 20538]   £320.00  
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[Svbsn: Masqe: Ranelagh XIIII. June. MDCCLXXVI.]
[Svbsn: Masqe: Ranelagh XIIII. June. MDCCLXXVI.] HDV.
G.B. Cipriani inv. F. Bartolozzi sculp.
[n.d. c.1776.]
Etching with engraving. 158 x 102mm. 6¼ x 4". Cut nearly to image, slight foxing.
Ticket. The Birth of Venus; Venus standing naked in front of the sea combing her hair with her fingers. Two birds above the over and two putti seated at each end of the console holding masks. Ranelagh Gardens, adjoining the Wren's Pensioner's Hospital, became popular as a place to escape the city and take in the cleaner air in Chelsea. Balls, concerts, dinners and of course gossip were shared here almost daily. It quickly exceeded Vauxhall in popularity, but it's popularity waned until the season of 1804 when the fashionable set abandoned it entirely.
De Vesme: 1957; ii/iii. See 20538 for later state.
[Ref: 20539]   £240.00   (£288.00 incl.VAT)
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The Graces crowning the Bust of Raphael.
The Graces crowning the Bust of Raphael. Immortal Chaplets...all divine.
G. B. Cipriani del. Fra. Bartolozzi R.A. sculpt.
London: Publish'd as the Act directs 28 July 1778, by S. Watts, No. 28, Walcot place Lambeth.
Stipple and etching in brown ink, 150 x 190mm. 6 x 7½". A fine impression with full margins.
The three Graces decorating the bust of the painter Raphael (1483 - 1520) with festoons and a crown of laurel leaves; Painting is seated on the pedestal and crying, and a winged putto leans over the pedestal, also grieving. After Giovanni Battista Cipriani (1727 - 1785), engraved by Francesco Bartolozzi (1728 - 1815).
See reference 60325 for earlier state.
[Ref: 14697]   £280.00   (£336.00 incl.VAT)
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The Graces crowning the Bust of Raphael.
The Graces crowning the Bust of Raphael. Immortal Chaplets...all divine.
G. B. Cipriani del. Fra. Bartolozzi R.A. sculpt.
London: Publish'd as the Act directs 28 July 1778, by S. Watts, No. 28, Walcot place Lambeth.
Fine stipple and etching in brown ink, 150 x 190mm. 6 x 7½". A fine impression with full margins.
The three Graces decorating the bust of the painter Raphael (1483 - 1520) with festoons and a crown of laurel leaves; Painting is seated on the pedestal and crying, and a winged putto leans over the pedestal, also grieving. After Giovanni Battista Cipriani (1727 - 1785).
De Vesme: 2225, iv/iv. See 60325 for earlier state.
[Ref: 21164]   £280.00   (£336.00 incl.VAT)
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Regatta = Ball at Ranelagh
Regatta = Ball at Ranelagh XXIII June MDCCLXXV.
G.B. Cipriani inv. F. Bartolozzi sculp. 1775.
[London, c.1775.]
Etching. Image 165 x 205mm (6½ x 8"). Fold creases as normal; trimmed within plate.
A ticket for the Regatta Ball held at the Ranelagh Rotunda in Ranelagh Gardens, Chelsea, on 23rd June 1775. Old Father Thames stands at the front of a conch shell on the river holding forth three medals from Britannia; Abundance and a putto with shield behind, Triton and Siren in water, two naked children rowing boats far left. The Rotunda on far bank to left background. Ranelagh Gardens, adjoining Wren's Pensioner's Hospital, became popular as a place to escape the city and take in the cleaner air in Chelsea. Balls, concerts, dinners and of course gossip were shared here almost daily. It quickly exceeded Vauxhall in popularity, but it's popularity waned until the season of 1804 when the fashionable set abandoned it entirely. After Giovanni Battista Cipriani (1727 - 1785).
De Vesme 1969, iii/iii. See 20451.
[Ref: 21163]   £260.00   (£312.00 incl.VAT)
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Regatta = Ball at Ranelagh
Regatta = Ball at Ranelagh XXIII June MDCCLXXV.
G.B. Cipriani inv. F. Bartolozzi sculp. 1775.
[London, c.1775.]
Etching, very fine impression. Image 195 x 225mm (7¾ x 8¾"), with large margins.
A ticket for the Regatta Ball held at the Ranelagh Rotunda in Ranelagh Gardens, Chelsea, on 23rd June 1775. Old Father Thames stands at the front of a conch shell on the river holding forth three medals from Britannia; Abundance and a putto with shield behind, Triton and Siren in water, two naked children rowing boats far left. The Rotunda on far bank to left background. Ranelagh Gardens, adjoining Wren's Pensioner's Hospital, became popular as a place to escape the city and take in the cleaner air in Chelsea. Balls, concerts, dinners and of course gossip were shared here almost daily. It quickly exceeded Vauxhall in popularity, but it's popularity waned until the season of 1804 when the fashionable set abandoned it entirely. After Giovanni Battista Cipriani (1727 - 1785).
De Vesme 1969, iii/iii.
[Ref: 51270]   £320.00  
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Rosina A comic Opera
Rosina A comic Opera as performed at the Theatre Royal Covent, Garden; Composed and selected by William Shield. Price 8.s.
G.B. Cipriani inv. F.Bartolozzi sculp.
London. Printed for Will.m Napier, Music-seler to their Majesties, No.474, Strand.
Rare engraving. Sheet 185 x 230mm (7¼ x 9"). Trimmed. Some creases and foxing.
A frontispiece to the comic opera, Rosina, by William Shield to an English-language libretto by Francis Brooke. The opera was written in 1771/72 but first performed at the Theatre Royal, Covent Garden, on 31 December 1782. On the left a naked woman draped with cloth reaches out. To the right a faun grapples with some reeds. Above two winged putti are playing instruments; a horn trumpet and pan pipes.
[Ref: 53718]   £130.00   (£156.00 incl.VAT)
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[Henry-Macbeth-Raeburn Certificate of Entry as an Associate of the Royal Academy of Arts.]
[Henry-Macbeth-Raeburn Certificate of Entry as an Associate of the Royal Academy of Arts.] His Majesty having been graciously pleased to establish in this his City of London, A Society for the Purposes of Cultivating and Improving the Arts of Painting, Sculpture, and Architecture, Under the Name and Title of the Royal Academy of Arts…The President and Academicians of the said Royal Academy, by Virtue of the said Power, and in Consideration of your Skill in the Art of Engraving, do by these presents constitute, and appoint you Henry-Macbeth-Raeburn, Gentleman, To be One of the Associates of the Royal Academy Hereby Granting unto you all the Privileges thereof…Your are required to sign the obligation in the Manner Prescribed, and the Secretary is Hereby Directed to Insert your Name in the Roll of Associates. Royal Academy. 3rd. July 1922.
G.B. Cipriani inv.t et del.t F. Bartolozzi Engraver to his Majesty Sculp.t
[n.d. c.1922.]
Fine engraving with ink signature. Plate 653 x 478mm. 25¾ x 18¾". Some glue stains along lower edge. Small tear lower right-hand corner.
Certificate recognising the membership of Henry Macbeth Raeburn as an Associate of the Royal Academy; signed by the President at the time. Henry Macbeth-Raeburn (1860-1947) was a noted Scottish painter and mezzotint engraver, active in Edinburgh during the 1920s. He was made a member of Royal Academy in 1922, and similarly was a made a member of the Royal Society of Painters, Etchers, and Engravers.
[Ref: 19165]   £280.00   (£336.00 incl.VAT)
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Sappho embracing Love. She gives up all her soul to Loves alarms, And the sly Tyrant triumphs in her charms.
Sappho embracing Love. She gives up all her soul to Loves alarms, And the sly Tyrant triumphs in her charms.
G.B. Cipriani inv: F. Bartolozzi Sculp.
London Publish'd August th.12. 1783 by Sus.a Vivares Great Newport Street.
Stipple printed in red ink. Plate 255 x 185mm. 10 x 7¼".
Sappho, the Ancient Greek poet. Here she looks up to kiss an infant cupid.
[Ref: 17022]   £320.00  
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Sçavoir = Vivre Masquerade May. XVIII. MDCCLXXV. Mvto, Non Ciecho.
Sçavoir = Vivre Masquerade May. XVIII. MDCCLXXV. Mvto, Non Ciecho.
C.B. Cipriani inv. F. Bartolozzi Sculp.
[n.d. c.1775.]
Etching with engraving, uncut sheet. Title means "know how to live!" folded around margins. Plate 152 x 116mm. 6 x 4½". Creasing.
Ticket. Cupid standing on clouds with his mouth gagged. He stands holding and admiring a picture of Thalia in his left hand, leanding on his bow with his right and carrying a quiver on his back. Two doves on the right.
De Vesme: 1958 [only state].
[Ref: 20531]   £280.00   (£336.00 incl.VAT)
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[Autumn]
[Autumn]
G.B. Cipriani Inv.t F. Bartolozzi Sculp.t
[London Pub.d Oct.r 12. 1783 by T. Macklin]
Stipple, Proof before publication line and title; platemark 185 x 145mm (7¼ x 5¾"), with large margins.
One of a set of allegorical representations of the four seasons engraved by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Shows a female Bacchus holding wine. Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 711 ii/iv
[Ref: 43142]   £220.00   (£264.00 incl.VAT)
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[Spring.]
[Spring.]
G.B. Cipriani Inv.t F. Bartolozzi Sculp.t.
London Pub.d Oct.r 12. 1783 by T. Macklin.
Stipple, Proof before title; platemark 185 x 145mm (7¼ x 5¾"), with very large margins.
One of a set of allegorical representations of the four seasons engraved by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi (1725-1815) was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 709 iii/iv
[Ref: 43136]   £180.00   (£216.00 incl.VAT)
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Shepherds in Arcadia.
Shepherds in Arcadia.
G.B. Cipriani Inv.t. Kirk Sculpsit.
Published March 25th 1789 by John & Josiah Boydell No.90 Cheapside London.
Stipple. Plate: 275 x 365mm (11 x 14½''). Thread margins.
A classical scene showing a group of shepherds and women coming across a large tomb.
[Ref: 48091]   £190.00   (£228.00 incl.VAT)
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[Sleeping nudes unveiled by putti.]
[Sleeping nudes unveiled by putti.]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pubd. as the Act directs Marh. 1 1787 by F. Bartolozzi.
Etching, image 225 x 280mm. 8¾ x 11". Trimmed to plate; some spotting.
From the collection of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth.
[Ref: 9644]   £220.00   (£264.00 incl.VAT)
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La contemplatrice des étoiles.
La contemplatrice des étoiles.
G.B. Cipriani pinx. G. Venzo sculp.
[n.d. c.1790.]
Rare stipple, printed in colour. Plate 248 x 185mm. Sheet 420 x 305mm.
A beautiful lady on a cloud in the night sky holding a blue orb, and with a star on her head.
[Ref: 14990]   £240.00   (£288.00 incl.VAT)
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[A Group of Figures Representing Study]
[A Group of Figures Representing Study]
G.B. Cipriani invt. F. Bartolozzi sculpt.
London Pub.d as the Act directs F. Bartolozzi, 1788
Etching printed in sepia, platemark 240 x 295mm (9½ x 11½"), with very large margins.
A drawing lesson. Etching by Francesco Bartolozzi (1725-1815), Florentine engraver and founding member of the Royal Academy in 1768. After meeting George III's librarian Richard Dalton in Italy in 1763, Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. This is the medium employed here, one of many prints he made from designs by his fellow Italian, G.B. Cipriani (it was published in 'A Set of Etchings by Francis Bartolozzi R.A. in Imitation of Drawings from the Sketches of the Late John Baptist Cipriani R.A.' in 1788.
Calabi & De Vesme 692.iii.
[Ref: 43415]   £180.00   (£216.00 incl.VAT)
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[Study.]
[Study.]
G.B. Cipriani Ra.l Ac.n Del.t. Rob.t Sa.l Marcuard scul.t.
[n.d., c.1784.]
Stipple. Proof. Plate: 265 x 225mm (10½ x 9"), with large margins.
An allegorical scene showing the figure of study holding a trumpet and harp, she is flanked on either side by two cupids.
Provenance: Edge Hall Library, Cheshire
[Ref: 47383]   £230.00   (£276.00 incl.VAT)
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[Tancred and Erminia]
[Tancred and Erminia] [Then views the hero's wounds... Dedicate to James Tamesz Grieve Esq.r by W. Palmer]
G.B. Cipriani inv.t F. Bartolozzi sculp.
[London, Pub. Dec.r 1st 1784 by W. Palmer]
Stipple printed in sepia, Proof before all letters; platemark 300 x 390mm (11¾ x 15¼"). Small margins. Few foxing marks.
The injured Tancred supported by Vafrin, while Erminia, kneeling on the ground, holds his hand. Scene from 'Jerusalem Delivered' by Torquato Tasso (1544 - 1595).Stipple by Francesco Bartolozzi (1725-1815) after his frequent collaborator Giovanni Battista Cipriani (1727-85). Bartolozzi was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work.
Calabi & de Vesme 1367 ii/iv; for another scene from 'Jerusalem Delivered' by Bartolozzi see ref. 25067.
[Ref: 43147]   £240.00   (£288.00 incl.VAT)
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[Thalia.]
[Thalia.]
G.B. Cipriani inv. et del. 1776. F. Bartolozzi sculp. 1776.
Etching with engraving. 274 x 209mm (10¾ x 8¼"). Trimmed to the plate.
Thalia, seated on a rock, holding a lyre and a mask, with a winged child flying the air trying to touch the mask; another mask and panflute on the ground. Illustration to 'Songs, duets etc. in the Duenna,...as performed at the Theatre Royal in Covent Garden', written by Richard Brinsley Sheridan.
De Vesme: 1787 ii/iii.
[Ref: 20477]   £320.00  
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Si Giacerebbe Inutile Per Terra Deserta Senza Frutto, E Senza Onore.
Si Giacerebbe Inutile Per Terra Deserta Senza Frutto, E Senza Onore.
G.B. Cipriani inv: F. Bartolozzi sculp. 1777.
Theatre ticket, printed in red, etching, sheet 200 x 175mm. 8 x 7". Lightly soiled. Trimmed within plate and at corners.
A classical male and female figure, with a putto flying above holding a dramatic mask, enclosed in an oval frame of fruit, corn, vine and grapes.
De Vesme: 1966; ii/ii. See 20506.
[Ref: 10554]   £180.00   (£216.00 incl.VAT)
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Si giacerebbe invtile per terra deserta, senza frvtto, e senza onore.
Si giacerebbe invtile per terra deserta, senza frvtto, e senza onore.
G.B. Cipriani inv. F. Bartolozzi. 1777.
Etching with engraving, fine. 266 x 209mm. 10½ x 8¼".
Ticket for a masquerade. Vertumnus seated with Pomona standing, upper body bear, next to a basket of flowers. Above them a putto flies holding a mask.
De Vesme: 1966; ii/ii. See ref 32426 & 10554 for one printed in red.
[Ref: 20506]   £320.00  
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[Si giacerebbe invtile per terra deserta, senza frvtto, e senza onore].
[Si giacerebbe invtile per terra deserta, senza frvtto, e senza onore].
G.B. Cipriani inv. F. Bartolozzi.
1777.
Engraving. Sheet size: 277 x 206mm (10¾ x 8¼"). Timmed inside platemark.
A ticket for a masquerade. On the right, Vertumnus is seated, opening his arms. On the left, Pomona stands, her upper body bare, next to a basket of flowers. Above them, a putto flys, holding a mask. In a decorative oval with grapes and vegetables and a banner beneath.
De Vesme: 1966; i/ii. See ref 10554 & 20506 for later states.
[Ref: 32426]   £280.00   (£336.00 incl.VAT)
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To The King.
To The King. I Humbly beg leave to lay at Your Majesty's feet the folllowing Dissertation.... May it please Your Majesty, Your Majesty's dutiful servant and faithful subject, William Chambers.
[n.d., 1772.]
Titlepage, engraved dedication with stipple engraved and etched vignette, 235 x 175mm. 9¼ x 7".
From 'A Dissertation on Oriental Gardening', W. Griffin, London, 1772. The book represented an unfortunate literary venture by the architect Sir William Chambers (1726 - 1796), in which he endeavoured to prove the superiority of the Chinese system of landscape gardening over that practised in Europe. His preface is animated with irritation against Lancelot ‘Capability’ Brown, whose design for Lord Clive's villa at Claremont had been preferred to his. The ‘Dissertation’ itself, with its absurd depreciation of nature, its bombastic style, and its ridiculous descriptions (mainly borrowed from other works) of the gardens of the emperor of China, was sufficient to account for the satires which it called into life. The most important of these was ‘An Heroic Epistle to Sir W. C.,’ followed by ‘An Heroic Postscript’ to this epistle, in both of which the satire was keen and the verses pointed. These lively pieces were published anonymously, and their authorship was for some time a matter for conjecture. There is now no doubt that they were by William Mason, the poet, the first book of whose ‘English Garden’ was published in 1772. Chambers commenced to exhibit with the Society of Artists (in Spring Gardens) in 1761, and was one of the first members and the first treasurer of the Royal Academy when established in 1768. In 1775 he was appointed architect of Somerset House at a salary of 2,000l. a year. With image above of two sides of a coin depicting George III as a Roman emperor and the facade of the Royal Academy. After Cipriani, engraved by Bartolozzi.
British Library system number: 000655477.
[Ref: 9314]   £80.00   (£96.00 incl.VAT)
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[Woman and Naked Child Mourn.]
[Woman and Naked Child Mourn.]
G.B. Cipriani inv.t F. Bartolozzi sculp.t
[n.d. c.1766.]
Etching, proof before title. Plate 300 x 229mm (11¾ x 9"). Large margin top and bottom.
A woman with a veil, standing in profile to right, holding a tomb in form of a large pot; on the right, a winged naked child, mourning by the side of the pedestal, hiding his face under a veil, looking down, placing his torch upside down.
See Calabi & De Vesme (1928): 1794.
[Ref: 52400]   £130.00   (£156.00 incl.VAT)
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Tragedy.
Tragedy.
G.B. Cipriani inv. F. Bartolozzi sculp.
[Pub.d June 30. 1788 by Macklin...]
Stipple. Sheet 355 x 265mm (14 x 10½"). Trimmed within plate, losing publisher's inscription, creased bottom left.
A female allegorical figure of Tragedy leans against a balustrade. At her feet are three sleeping cherubs, about to be scared awake by a fourth who holds her mask over his face.
De Vesme 733, iii of iii.
[Ref: 53331]   £190.00   (£228.00 incl.VAT)
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The Triumph of Beauty and Love.
The Triumph of Beauty and Love. From an original Drawing by J.B. Cipriani in the Possession of W. Palmer.
J.B. Cipriani R.A. Inv.t. F. Bartolozzi R.A. sculp.t.
London Published Fb.y 1st 1810, by Ant.y Molteno, Printseller to her R.H. the Dutchess of York, No. 29 Pall Mall.
Stipple. 250 x 315mm (10 x 12½"). Trimmed to plate, creasing. Some of inscription weakly inked.
Venus and Cupid in a chariot drawn by doves, attended by putti. Behind a young man embraces a nymph. First published by William Palmer in 1783.
[Ref: 48918]   £140.00   (£168.00 incl.VAT)
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[Une Femme, Trois Engants et un Genie.]
[Une Femme, Trois Engants et un Genie.]
G.B. Cipriani inv. F. Bartolozzi sculp.
[London: Griffin, 1772.]
Etching, rare. 127 x 157mm. 5 x 6¼". Very slight foxing. Cut to image with engravers and artists names.
A woman, three children and a spirit with butterfly wings, who is decorating a statue with flowers. The woman is seated on a chair and the three naked children sit by the statue, one drawing and the other two winged. Title-page to 'A Dissertation on Oriental Gardening' by William Chambers.
De Vesme: 1693.
[Ref: 20488]   £160.00   (£192.00 incl.VAT)
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[Untitled Classical figures]
[Untitled Classical figures]
G. B. Cipriani invt. F. Bartolozzi Sculp.
Publish'd as the Act directs, by F. Bartolozzi, 1788.
Coloured stipple. 235 x 270mm.
[Ref: 1294]   £280.00   (£336.00 incl.VAT)
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Venus.
Venus. Plate 1.
Designed by G.B. Cipriani & Engraved by Henry Richter.
[n.d., c.1820s.]
Hand coloured stipple with etching, sheet 355 x 235mm. 14 x 9¼".
Venus standing on one foot on a cloud, arm raised and holding a swirl of fabric which encircles her head, wearing a pearl necklace and her breasts bare. From a series, after Giovanni Battista Cipriani (1727 - 1785).
[Ref: 12615]   £160.00   (£192.00 incl.VAT)
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Venus.
Venus. Plate 2.
Designed by G.B. Cipriani & Engraved by Henry Richter.
[n.d., c.1820s.]
Hand coloured stipple with etching, sheet 355 x 235mm. 14 x 9¼".
Venus standing on one foot on a cloud, her right arm raised and holding up a swag of fabric. From a series, after Giovanni Battista Cipriani (1727 - 1785).
[Ref: 12618]   £160.00   (£192.00 incl.VAT)
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Venus Presenting the Cestus to Juno.
Venus Presenting the Cestus to Juno.
G.B. Cipriani Inv.t. F. Bartolozzi Sculp.t.
Publish'd as the Act directs Jan.y 1.st 1784 by A. Torre N.o 44 Market Lane.
Very fine stipple and etching, printed in sepia. 225 x 175mm (9 x 7"), with large margins. A little spottting mostly in margins.
Venus places a belt around Juno. Cupid flying in the air behind Venus, holding two arrows and a torch; on the right, a dove and two cupids in a cart, one holding a floral garland; on the left, a peacock..
De Vesme 496. Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60294]   £350.00  
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[Venus Presenting the Cestus to Juno.]
[Venus Presenting the Cestus to Juno.]
G.B. Cipriani Inv.t F. Bartolozzi Sculp.t
Publish'd as the Act directs Jan.y 1.st 1784 by A. Torres No.44 Market Lane.
A rare stipple and etching, very decorative. Plate 203 x 229mm. 8 x 9". Cut to plate along left-hand edge, margins on 3 sides.
Venus and Juno, half-naked; Cupid flying in the air behind Venus, holding two arrows and a torch; on the right, a dove and two cupids in a cart, one holding a floral garland; on the left, a peacock.
De Vesme: 496; iii/iv.
[Ref: 20431]   £280.00   (£336.00 incl.VAT)
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Vigilance.
Vigilance. See Vigilance stands rapt. Her starry Eyes, eternally on Guard, Bend their firm Gaze on heav'n: her deathless Torch Flames the bright Emblem of her ferved Zeal; And at her side her feather'd Centinel Unslumb'ring keep his watch.
G.B. Cipriani inv. F. Bartolozzi sculp.
London Pub.d Feb.t 1.st 1798 by Colnaghi, Sala, & Co. (late Torre) No.132 Pall Mall.
Stipple and etching. 185 x 140mm. 7¼ x 5½". Very slight foxing.
A girl with bare breasts looking up to the heavens holding a flaming torch in her right hand and a cockerel close to her left side.
De Vesme: 738; iii/iii, but later state.
[Ref: 20575]   £180.00   (£216.00 incl.VAT)
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