The death of Orpheus
| Reference: | S7719 |
| Author | Richard EARLOM |
| Year: | 1789 |
| Zone: | - |
| Measures: | 166 x 200 mm |
€100.00
| Reference: | S7719 |
| Author | Richard EARLOM |
| Year: | 1789 |
| Zone: | - |
| Measures: | 166 x 200 mm |
€100.00
Description
Aquatint and etching, printed in sepia ink, 1789.
From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789.
The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789.
Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery.
Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
Richard EARLOM (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
|
Richard Earlom (baptised 14 May 1743 – 9 October 1822) was an English mezzotinter.
Earlom was born and died in London. His natural faculty for art appears to have been first called into exercise by his admiration for the lord mayor's state coach, which had just been decorated by Giovanni Battista Cipriani. He tried to copy the paintings, and was sent to study under Cipriani. He displayed great skill as a draughtsman, and at the same time acquired without assistance the art of mezzotint. In 1765, Earlom was employed by Alderman Boydell, a publisher and promoter of the fine arts, to make a series of drawings from the pictures at Houghton Hall; and these he engraved in mezzotint. His best works are perhaps the fruit and flower pieces after the Dutch artists Van Os and Jan van Huysum. Among his historical and figure subjects are Agrippina, after Benjamin West; Love in Bondage, after Guido Reni; the Royal Academy, the Embassy of Hyderbeck to meet Lord Cornwallis, Colonel Mordant's Cock Fight and a Tiger Hunt, all after Johan Zoffany, and Lord Heathfield, after Sir Joshua Reynolds. Earlom was commissioned by John Boydell to copy all 200 drawings of Claude Lorraine's record of his paintings as prints, which were published from 1774 to 1777, when a collected edition in two volumes was published as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... with the inscription on the reverses, a "descriptive catalogue of each print" and the current owner, where it was known. A further volume of 100 prints after other Claude drawings from various British collections was added in 1819, also using "Liber Veritas" as its title. The title Liber Veritatis was invented for these reproductions, but is now used for the originals as well. These were then in a rebound book at Devonshire House in London; they are now in the British Museum. The prints used etching for Claude's pen lines, and mezzotint for the ink washes, giving a good impression of the originals. All used brown ink on white paper, so disregarding the blue of half the original pages. The prints were a huge success, reprinted and the plates reworked to give increasingly detailed reproductions. They were recommended by drawing teachers as models for copying, and influenced the technique of English watercolour artists in particular, for example Francis Towne.
|
Richard EARLOM (Londra, 14 maggio 1743 – Londra, 9 ottobre 1822)
|
Richard Earlom (baptised 14 May 1743 – 9 October 1822) was an English mezzotinter.
Earlom was born and died in London. His natural faculty for art appears to have been first called into exercise by his admiration for the lord mayor's state coach, which had just been decorated by Giovanni Battista Cipriani. He tried to copy the paintings, and was sent to study under Cipriani. He displayed great skill as a draughtsman, and at the same time acquired without assistance the art of mezzotint. In 1765, Earlom was employed by Alderman Boydell, a publisher and promoter of the fine arts, to make a series of drawings from the pictures at Houghton Hall; and these he engraved in mezzotint. His best works are perhaps the fruit and flower pieces after the Dutch artists Van Os and Jan van Huysum. Among his historical and figure subjects are Agrippina, after Benjamin West; Love in Bondage, after Guido Reni; the Royal Academy, the Embassy of Hyderbeck to meet Lord Cornwallis, Colonel Mordant's Cock Fight and a Tiger Hunt, all after Johan Zoffany, and Lord Heathfield, after Sir Joshua Reynolds. Earlom was commissioned by John Boydell to copy all 200 drawings of Claude Lorraine's record of his paintings as prints, which were published from 1774 to 1777, when a collected edition in two volumes was published as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... with the inscription on the reverses, a "descriptive catalogue of each print" and the current owner, where it was known. A further volume of 100 prints after other Claude drawings from various British collections was added in 1819, also using "Liber Veritas" as its title. The title Liber Veritatis was invented for these reproductions, but is now used for the originals as well. These were then in a rebound book at Devonshire House in London; they are now in the British Museum. The prints used etching for Claude's pen lines, and mezzotint for the ink washes, giving a good impression of the originals. All used brown ink on white paper, so disregarding the blue of half the original pages. The prints were a huge success, reprinted and the plates reworked to give increasingly detailed reproductions. They were recommended by drawing teachers as models for copying, and influenced the technique of English watercolour artists in particular, for example Francis Towne.
|