Claude Lorrain’s etching, “Coast Scene with an Artist”, c1638–41

Claude Lorrain (aka Claude Gellée, Claude; Claude Le Lorrain; Claudio di Lorena) (1600–1682)

“Coast Scene with an Artist” (aka “Le Dessinateur”), c1638/39–41. This impression is from McCreery’s 1816 edition of “200 Etchings” printed from the original plate.

Etching on wove paper, trimmed with a narrow margin around the image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions; see Mannocci [1988] p. 28).

Size: (sheet) 13 x 17.9 cm; (image borderline) 12.5 x 17.5 cm.

State v (of v)

Mannocci 35 (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 217–223, cat. no. 35, fifth state); Blum 14; Robert-Dumesnil 9; Duplessis 9; Russell 45.

The British Museum offers the following description of this print: “Coast scene with an artist; an artist sitting and drawing near a bridge crossed by a woman riding a donkey; fortified city and ships in the background. c.1638/41/ Etching” (https://www.britishmuseum.org/collection/object/P_1868-0822-902).

Regarding the subject portrayed in this print, H Dianne Russell in “Claude Lorrain 1600–1682 (1982, National Gallery of Art, Washington, Exh. cat.) offers the following insights: “This etching reproduces in reverse a painting by Claude, LV 44, signed and dated 1639 and now in the Cincinnati Art Museum […]. The print probably dates from the same year. The motif of an artist drawing out-of-doors is found in several of Claude’s paintings, a number of drawings, and another etching, […’Landscape with Artist Drawing’]. The earliest known example is a drawing depicting an artist sitting in front of a sculpture and sketching it […]. Sandrart recorded that Claude himself frequently drew out-of-doors” (p. 394).

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the image borderline in an excellent/near pristine condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions).

I am selling this curiously interesting etching by the one of the most famous artists of the 17th century, featuring an artist at work—mindful that Lino Mannocci (1988) advises: “The theme of the artist drawing from nature recurs frequently in Claude’s work” (p. 223)—for the total cost of AU$398 (currently US$276.68/EUR262.04/GBP225.49 at the time of this listing) 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 superb impression of a very beautiful etching with the verso showing a fragment of an engraving from the 1784 Paris edition of “Stirpes Novae” (as discussed by Mannocci [1988] p. 28 and by H Diane Russell [1982] in “Claude Lorrain 1600–1682”, p. 300), 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