Giovanni Battista de’ Cavalieri (aka Joannes Baptista Cavalleris; Giovanni
Battista Cavallieri) (c.1525–1601)
“Dionysus with Panther and
Satyr” (aka “Bacchus”), 1594, etching after the 2nd century AD Roman marble
sculpture, “Dionysus with Panther and Satyr”, in the
Palazzo Altemps in Rome, published in Rome as plate 74 in Cavalieri’s “Antiquarum
Statuarum Urbis Romae tertius et quartus liber ... Io. Baptista de Caualleriis
authore” (this publication may be viewed online or downloaded free-of-charge
from archive.org: https://archive.org/details/bub_gb_5biC5PEvYj0C/page/n159/mode/2up).
According to Michael Bury (2001)
in “The Print in Italy 1550–1620” (British Museum, p. 224), the first book of
prints in the series was issued before 1561/2, the second was re-issued with
the first before 1584, and books 3 and 4 (in which this print features) were
added in 1594.
Etching and engraving with
pale plate tone on laid paper with a small margin around the platemark and
backed with a support sheet.
Size: (sheet) 25.4 x 19.5
cm; (plate) 22.1 x 15.6 cm.
Inscribed on plate: (upper
right corner) “Bacchus, cu Sileno Colossus miræ/ pulchritudinis. In Palatio
Mucij Mat;/ thæi, in Quirinali, ibidem nuper/ repertus.”; (lower right) “74”.
Regarding the subject,
Wikipedia offers the following insights:
“The formula, with
somewhat exaggerated contrapposto, the god's right hand resting on his head, is
based on the Apollo Lyceus, which is variously attributed and dated. This
ivy-crowned Dionysus is accompanied by the panther that signalises his numinous
presence, and a satyr of reduced size, a member of his retinue. Long locks of
his hair fall girlishly over his shoulders and in his left hand he holds a
bunch of grapes, emblematic of his status as god of wine” (https://en.wikipedia.org/wiki/Ludovisi_Dionysus).
Condition: richly inked
and strong impression showing the printer’s clumsy wiping of the plate edge at
upper-right and traces of plate movement during printing at the upper edge. The
sheet is in very good condition (i.e. there are no tears, folds, holes, losses,
abrasions, stains or foxing) and is laid upon a support sheet of archival
(millennium quality) washi paper.
I am selling this bold late
Renaissance etching exemplifying the Italian leaning at that time towards very
direct linework and unapologetic printing—note the poorly wiped plate edges,
the surface scratches on the plate and the ink traces of movement in the
printing process—for AU$320 (currently US$220.84/EUR196/GBP175.88 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 visually arresting etching of an equally strong Roman sculpture,
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
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