Description

Claude Gellée, known as LE LORRAIN (1600-1682) Seaport with lantern. C. 1638 -41 Mannocci 37 Etching. Good proof on laid paper of the final state, cut at the edge of the composition. H. 13.6 cm - W. 19.4 cm

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Claude Gellée, known as LE LORRAIN (1600-1682) Seaport with lantern. C. 1638 -41 Mannocci 37 Etching. Good proof on laid paper of the final state, cut at the edge of the composition. H. 13.6 cm - W. 19.4 cm

Estimate 150 - 200 EUR

* Not including buyer’s premium.
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For sale on Thursday 26 Sep : 14:00 (CEST)
lyon, France
De Baecque et Associés
+33158408292

Exhibition of lots
vendredi 20 septembre - 10:00/12:00, Lyon
vendredi 20 septembre - 14:00/18:00, Lyon
lundi 23 septembre - 09:00/12:00, Lyon
lundi 23 septembre - 14:00/18:00, Lyon
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J. STRIXNER (*1782) after LORRAIN (*1600), Italian harbour city, around 1808, Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Claude Lorrain (1600 Chamagne, Lorraine - 1682 Rom): Italian harbour town with fishing boats, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "Cl: Geéle[?] | N: Strixner del:". Date: c. 1808 Description: Johann Nepomuk Strixner was a German draughtsman and printmaker who made a name for himself particularly through the print reproduction of old hand drawings. Around 1808, he worked together with the inventor of lithography, Aloys Senefelder, on the publication of a series of lithographic reproductions after Albrecht Dürer. In 1809, he enrolled at the Academy in Munich, where he deepened the technical skills he had already learnt in engraving and lithography through intensive study. He was particularly interested in the works of the Old Masters. Between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after Old Master drawings. This multifaceted work emphasises the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and convey a good impression of the original work in their reproductions. A characteristic feature of many of the sheets is the basis of a discreetly coloured clay plate with scratched-out areas, presumably intended to imitate the white heightening and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always endeavoured to give their reprints the same delicacy and depth that characterise the hand drawings of the Old Masters. Keywords: Lithograph series, Old Masters, Study, Harbour, Ships, 19th century, Romanticism, Architecture, Italy, Size: Paper: 17,4 cm x 22,7 cm (6,9 x 8,9 in), Depiction: 14,1 cm x 19,5 cm (5,6 x 7,7 in) Condition: Rather good condition. Occasional minimal foxing and age-related discolouration.