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Beschreibung

A. ROMANET (*1742) after HANDMANN (*1718), Portrait of Alexis (Jean) Grimoux (1688-ca. 1740), 1765, Antoine Louis Romanet (around 1742 Paris - after 1810 ) after Emanuel Handmann (1718 Basel - 1781 Bern): Portrait of the Malers Alexis (Jean) Grimoux (1688-ca 1740), 1765, Copper engraving Technique: Copper engraving on Paper Inscription: lower left signed in the printing plate: "Gravé à Bâle par AL. Romanet ". Lower middle inscribed in the printing plate: "Portrait de Jean Grimoux peint par lui même.". Lower middle numbered in the printing plate: "547 (in Bleistift)". lower left dated: "en 1765.". At the lower part further inscription: "Dediée à Monsieur Emmanuel Handmann Peintre à Bâle.". Date: 1765 Description: The portrait of Alexis Grimoux shows the painter as a bust. The portrait subject has long curly hair and is turned slightly to the right, but is looking at the viewer. Person: Depicted: Alexis Grimoux (1678 Argenteuil - 1733 Paris) Portrait painter Keywords: Portrait, Portrait, Curls, Buttons, Painter portrait, 18th century, Rococo, Portraits, Switzerland, Size: Paper: 32,0 cm x 25,5 cm (12,6 x 10 in), Plate: 24,6 cm x 19,5 cm (9,7 x 7,7 in), Depiction: 20,5 cm x 17,5 cm (8,1 x 6,9 in)

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A. ROMANET (*1742) after HANDMANN (*1718), Portrait of Alexis (Jean) Grimoux (1688-ca. 1740), 1765, Antoine Louis Romanet (around 1742 Paris - after 1810 ) after Emanuel Handmann (1718 Basel - 1781 Bern): Portrait of the Malers Alexis (Jean) Grimoux (1688-ca 1740), 1765, Copper engraving Technique: Copper engraving on Paper Inscription: lower left signed in the printing plate: "Gravé à Bâle par AL. Romanet ". Lower middle inscribed in the printing plate: "Portrait de Jean Grimoux peint par lui même.". Lower middle numbered in the printing plate: "547 (in Bleistift)". lower left dated: "en 1765.". At the lower part further inscription: "Dediée à Monsieur Emmanuel Handmann Peintre à Bâle.". Date: 1765 Description: The portrait of Alexis Grimoux shows the painter as a bust. The portrait subject has long curly hair and is turned slightly to the right, but is looking at the viewer. Person: Depicted: Alexis Grimoux (1678 Argenteuil - 1733 Paris) Portrait painter Keywords: Portrait, Portrait, Curls, Buttons, Painter portrait, 18th century, Rococo, Portraits, Switzerland, Size: Paper: 32,0 cm x 25,5 cm (12,6 x 10 in), Plate: 24,6 cm x 19,5 cm (9,7 x 7,7 in), Depiction: 20,5 cm x 17,5 cm (8,1 x 6,9 in)

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Schätzwert 750 - 1 000 EUR
Startpreis  500 EUR

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W. BAILLIE (*1723) after HONE (*1718), Self-portrait, 1783, Copper engraving William Baillie (1723 Killbride (Carlow) - 1810 London) after Nathaniel Hone (1718 - 1730 ): Self-portrait, after the painting by Nathaniel Hone, 1783, Copper engraving Technique: Copper engraving on China paper, rolled-on on Paper Inscription: Signed in the printing plate: "William Baillie". Date: 1783 Description: During his lifetime, after his career in the army, William Baillie was particularly known for his expertise in the field of fine art. As an advisor and dealer, he looked after the collections of the Earl of Bute and Lord Liverpool. His enthusiasm for printmaking techniques, which he taught himself for the most part, probably helped him on his way to becoming a respected connoisseur. He was particularly fond of Rembrandt and copied many of the Dutchman's works, thus, together with his friend Nathaniel Hone, greatly increasing Rembrandt's fame, especially in England. Our self-portrait, engraved by Baillie after his friend Hone's painting, is not only an expression of friendship, but also of Rembrandt's enthusiasm. It reveals not only the highly skilful mastery of printmaking technique, but also Rembrandt's strong influence on both artists. For example, Hone quoted the hat and the fur-trimmed coat for the portrait almost verbatim from Rembrandt's etching Portrait of Cornelis Anslo. In his print, Baillie finally fitted the painting into an oval frame, whereby the hand still visible in the painting has disappeared and the effect becomes more gravitational. The integration of the curtain, which the two putti open in front of Baillie's quasi-immortalised portrait, is certainly to be understood as an homage to Rembrandt's Holy Family with the Curtain or Vermeer's Girl Reading a Letter. Keywords: Artist, Self-portrait, Putti, Irish, English, 18th century, Classicism, Portraits, United Kingdom, Size: Paper: 41,8 cm x 48,3 cm (16,5 x 19 in), Depiction: 23,8 cm x 27,2 cm (9,4 x 10,7 in)