Claude Lorrain (Claude Gellée)

(1600 - 1682)
Paysage de bord de mer italien au levé du jour
Paysage de bord de mer italien au levé du jour
Black chalk, pen and brown ink, brown wash, with indications of the perspective in black chalk
13.2 x 20.8 cm



Possibly Samuel Woodburn; Christie’s 22 June 1854, lot 1446 (2gns to Hall). Reverend H. Wellesley; Sotheby’s 25 June – 8 July 1866, lot 842, according to an inscription on the mount.
With H M Calmann, 1960-2.
Lore and Rudolf Heinemann collection, New York.


New York, The Pierpont Morgan Library. Drawings from the collection of Lore and Rudolf Heinemann, 1973, No 13, illustrated.
Washington, National Gallery of Art, Claude Lorrain 1600-1682, No 32, illustrated. Tokio, The National Museum of Western Art,  Claude Lorrain and the ideal landscape, 1998, No 70, illustrated.


M Röthlisberger, Claude Lorrain: The Paintings, New Haven, 1961, under Nr LV64. M Röthlisberger, Claude Lorrain: The Drawings, Berkeley and Los Angeles, 1968, p.210, Nr 507, illustrated.
M Röthlisberger, L’opera completa di Claude Lorrain, Milan, 1975, under Nr 128.
M Röthlisberger, Claude Lorrain and the ideal landscape, Tokio 1998.

The present drawing is a study for the «Italienische Küstenlandschaft im Morgenlicht, » (fig. 1) dated 1642, at the Gemälde Galerie, Berlin. Inv. Kat. Nr 448B. Although the view is generally accepted as a pastoral scene, Friedländer and Zeri interpret the figures as Mercury and Aglauro, with the motiv of the tent as used by Paul Brill and Nicolas Poussin. In Claude’s Liber Veritatis, (fig.2) at the British Museum, there is a drawing which corresponds to this painting.

M Röthlisberger, Claude Lorrain: The Drawings, Nr 508.

The lines in black chalk, marking the perspective, are characteristic of Claude’s drawings and are an important part of the careful building of the composition in the sheet. There are many examples of drawings with black chalk perspective markings, some at the Fitzwilliam Museum, Cambridge, and at the National Museum, Stockholm.

Inv.Nr. 494