Rinaldo and Armida 1780 |
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Original etching with aquatint.
Signed in the plate.
Ref: Andresen 16 i-ii/ii; Manners-Williamson 11
S 169 x 214 mm ; I 158 x 209 mm
£1,400
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Original Angelica Kauffman etching with aquatint.
Very good early impression with the 1780 publication line and with the aquatint printing well.
Andresen describes the first state as being before the aquatint and with the 1780 lettering, whilst in his second state he notes that the artist’s name and address have been removed. A third state exists (not listed by Andresen) which carries the 1804 publication line of J.P. Thompson – impressions from the 1804 printing have very pale and worn appearance. Impressions from the first issue with the 1780 publication line vary greatly in quality and their price fluctuates in accordance with these quality variations – the example offered here is a very good, tonal impression at the better end of the range.
Angelica Kauffman came to England in 1766 and during her stay of only 16 years she became one of the most successful and popular painters in this country. Born in Switzerland, she had been trained as an artist by her father, himself a painter, and had completed her formal training at the Italian Schools. Her fashionable interpretation of portraits in allegorical or classical settings, handled in the Italianate manner, caught the mood of the time and were suited perfectly to the style of decorative interiors which were then much in demand. In 1782 she moved to Rome with her husband, the decorative painter Zucci, where she lived until her death in 1807.
Many engravings were produced after Kauffman's painted works but she also produced a considerable body of original etchings by her own hand. She is known to have begun etching by 1764 and continued until shortly before her death. Kauffman's original etched works are now relatively scarce and are rare in early impressions.
A charismatic and highly attractive lady of considerable charm, Angelica Kauffman attracted a host of suitors and admirers throughout her life. She was a close personal friend of Sir Joshua Reynolds and became a founder member of the Royal Academy - she stands out as one of the few women to achieve success as a painter during this period of British art.
On warm white laid antique paper with margins around the image and engraved lettering on all sides but trimmed just within the platemark. Generally very good original condition.
Provenance: the Hon.Christopher Lennox-Boyd, with his collection reference number in pencil verso. |
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