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C1885
Cellaria Rigida
Artist:
James Ripper (1840 - 1916)
Rare Australian lithograph from Frederick McCoy’s, Prodromus of the Zoology of Victoria. McCoy arrived in Melbourne in 1854 to assume the inaugural Professorship of Natural Science at the recently established University of Melbourne. Over the ensuing four decades, he played … Read Full Description
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Details
Full Title:
Cellaria Rigida
Date:
C1885
Artist:
James Ripper (1840 - 1916)
Condition:
In good condition.
Technique:
Lithograph printed in colour.
Image Size:
150mm
x 250mm
AUTHENTICITY
Genuine antique
dated:
1885
Description:
Rare Australian lithograph from Frederick McCoy’s, Prodromus of the Zoology of Victoria.
McCoy arrived in Melbourne in 1854 to assume the inaugural Professorship of Natural Science at the recently established University of Melbourne. Over the ensuing four decades, he played a central role in the scientific community of the colony. Serving as the first Director of the newly established National Museum of Victoria. McCoy played a pivotal role in the museum’s rapid growth and the expansion of its collection. He meticulously curated an exceptional natural history and geological collection, incorporating mining models and drawing on his extensive knowledge of international sources. In 1870, the Museum of Natural and Applied Sciences, Melbourne, was placed under the oversight of the Public Library trustees. Despite persistent challenges in securing funds and navigating plots to relocate the museum, McCoy’s steadfast defence and solace lay in the institution’s popularity and scientific reputation.
Fig 1. Cellaria Rigida.
Fig 2. Tubucellaria Cereoides.
Fig 3 & 4. Urceolipora Dentata.
Fig 5-7. Urceolipora Nana.
Collections:
National Library Australia: Bib ID: 850045
State Library New South Wales: Call Number: DSM/Q591.992/M
State Library Victoria: RARELT 591.9945 M13
State Library South Australia: 591.9945 M131 b
Smithsonian Institution: Call Number QL339.V6 M12
Royal Collection Trust UK: RCIN 1055668
Artist:
James Ripper (1840 – 1916)
James Ripper was described as one of Bendigo’s most talented Cornish-born citizens. Although he made his living from tuning instruments he was also a gifted bassoonist, vocalist and recognized authority and exponent of the arts Little is known of his lithographic and drafting training and yet, his work in the Prodromus is his most lasting legacy.
Ripper’s Prodromus contribution was limited to the Bryozoan plates, as he worked exclusively for Paul Howard McGillivray. It is unclear whether this professional arrangement was due to anything other than geography. The arts-centric Ripper would likely have crossed paths with McGillivray at the Bendigo Institute, where the latter was both founder and an influential member.
James Ripper was first employed in the lithography of the Bryozoan plates for decade five, published in 1880. Within five years this had developed to the stage where he and McGillivray co-drafted the illustrations for decade ten, but Ripper ceased drafting for the final six decades, although he continued the lithography.
This may have been due to the rather simplistic nature of Ripper’s drafting, or simply McGillivray’s frugality in the economic climate of the late 1880s. But as has been noted, Ripper’s rendering, whilst simpler than earlier works, was much larger and clearer2.
While it appears Ripper did no other lithographic or drafting work in his lifetime, he had a lucrative career as an instrument tuner. At the conclusion of the Prodromus, he returned to an amateur interest in art.
Ripper died in 1916 at the age of 76, the head of a prodigiously large family. Although no photos survive, his great great nephew Don Ripper provided a vivid description: ‘James, like all Ripper men would have been a short man – 5’8″, relatively rotund, a bit ruddy in the cheeks, and definitely a Methodist.’
