dou after gerard (7 Ergebnisse)

Zustand: Good. Engraving. 42 x 33 cm. sheet size. Lettered below image with title and production details: "Peint par Gerard Dou" and "Dessiné par Gianni" and "Gravé par J: Defrey".Rustic interior with an elderly couple seated around a side-table, the woman reading the Bible while the man looks on; within arched composition; after Gerrit Dou. c.1800-1805Etching and engraving.

Stipple engraving, with etching and engraving, good margins, A fine engraving of a celebrated painting now in Boijmans van Beuningen Museum, Rotterdam. The doctor below a parasol outside a house in Leiden offers a phial to a group of onlookers including a woman changing a baby. On his desk is a bleeding bowl, a monkey and a document with a seal no doubt purporting to be a medical diploma. The artist himself is seen leaning out of the window holding his brushes and palette. In the 19th century when it was at Munich, Dou's painting was considered one of twelve most important paintings in the Old Royal Pinakothek.Part of the imprint states 'In Mons.r Pigage's Catalogue of the Dusseldorf Gallery this Subject is No.63'. Valentine and Rupert Green published mezzotints and engravings after paintings in the Dusseldorf Gallery, having secured the privilege from the elector Carl Theodor in 1789. In 1793, they had exhibited in Spring Gardens, London painted copies of some of the paintings they were going to make engravings of, to encourage subscribers. The cost of producing the engravings on such a large scale and to such high quality proved their undoing and led to bankruptcy, with only twenty-one engravings being printed. Carl Ernst Christoph Hess had come to Dusseldorf in 1777 at the behest of Lambert Krahe, the director of the gallery, who had himself hoped to produce a set of engravings of the gallery's pictures. His stipple engravings were considered in the 19th century to be among the finest of the group. Louis Marchesano, Curator of Prints at the Getty Institute, considers, ''Hess not only translated the contours and details of the various characters and objects that populate the composition but also used a sophisticated graphic vocabulary to capture the quality of light and sense of textures and reality that made the painting so rightly famous'. This impression is dated three years before the British Museum print, a state which has not been previously recorded. It seems natural that this painting would be one of the earliest to be engraved by the Greens as in their 1793 exhibition the Dou had been one of the few paintings to be copied at its full size and the picture had been greeted with popular acclaim.See Gaehtgens, T & Marchesano, L. 'Display & Art History: The Dusseldorf Gallery and Its Catalogue' Getty Institute, 2011.

Two men and a woman sit around a table by candlelight. One of the men is teasing the woman who is asleep. Another young woman approaches from next door holding a jug.The inscription at the bottom was removed.[NL] Een interieur met twee soldaten met gepluimde hoed. De rechter man houdt zijn pijp bij de vlam van een kaars. De ander houdt zijn pijp onder de neus van een slapende vrouw of kietelt haar met een strohalm. Links op de voorgrond staat een lamp.   Mezzotint on red paper, trimmed within plate mark; total: 314 x 254 mm; small damage on the bottom right. In good condition.  .

Two men and a woman around a table by candle light, one of the men is teasing the woman who is asleep. Another young woman approaching from nextdoor holding a jug. Inscribed at the bottom: 'From the Original Picture by G.d Dou in the Possession of W.m Baillie Esqr. / Publish'd 1st Jan.ry 1774' signed on the bottom right: 'WBaillie fecit'. In our collection also a version in red. l Mezzotint on paper, with small margins; plate mark: 354 x 256 mm, total: 366 x 260 mm; some minor mold traces otherwise in very good condition.

Half-length portrait of an old woman, Dou's mother at an old age, seated on a chair, turned towards the right. In an oval.Counter-proof of another portrait by Dou/Baillie, see British Museum invv. nrs 1870,0813.574 and 1861,1109.73, or Rijksmuseum invv. BI-1935-674-14 / 15.Dou's signature and date [1638] are here missing, and also some intervention in the background close to the back of the chair are here not present. This diaphane impression is thus a counterproof of an earlier state of the final coloured etching by Baillie.The drawing is currently untraceable, however, a handwritten note in pen and ink in an impression on the art market testifies that it was bought by Baille at the 1759 sale of the collection of Sybrand Feitama II, for 299 florins. Feitama possessed an extensive collection of Old Master Dutch drawings.      Counterproof of a printdrawing or soft ground etching on paper, with some grey wash trimmed within the plate; total: 201 x 186 mm; small stain under the cheek; Le Blanc 44.    .

Half length portrait of an old woman, likely Dou's wife at an old age, seated on a chair, turned towards the right. In an oval. Signed within oval on the right: 'GDou. 1638' (GD monogrammed). Lettered at the bottom: 'From a Drawing of G.d Dou, in / the Collection of W.m Baillie Esq.r'. In old handwriting at the bottom in brown ink: 'Het origineel v. tekening is van deze grooten 16. Octob. 1759 uit de versameling van syb. Fijtama is verkogt voor f. 299-'. Signed also on the bottom of the frame to the right: 'WBaillie f', dated on the bottom left: '17 March 1775'. A frame in gray is added around the oval frame. l Printdrawing or soft ground etching and watercolor on paper, trimmed to plate; total: 327 x 226 mm; two pin holes on the top corners. Le Blanc 44.

A woman holding on one hand a mouse trap and on the other a lit candle, a boy with cap on the left pointing at the mouse trap. The scene takes place on a niche. A pewter jug with open lid, fallen on the right foreground.Signed on the bottom: 'G. DOUW PINX / N. Verkolje Fec.'[NL] In een vensteropening laat een vrouw, bij kaarslicht, een muizenval aan een jongen zien. De jongen wijst op de val. Mezzotint on laid paper, with some margin; plate mark: 256 x 210 mm, total: 278 x 223 mm; only state; some stains on the verso, one slightly affecting the face of the woman, rare. J. Aono, Reproducing the Golden Age: Copies after Seventeenth-Century Dutch Genre Painting in the First Half of the Eighteenth Century, in: Oud Holland 121 (2008), nr. 1, p. 20.