SOME HIGH POINTS OF THE LOW COUNTRIES
(Dutch and Flemish Prints and Drawings)
(Dutch and Flemish Prints and Drawings)
- Anonymous, Christ Crowned
- van Leyden, A Young Man
- Claesz, St. Peter Seated
- att. to Aertsen, St. John
- Cort, Maria Magdalena
- Wierix, Perseus and Andromeda
- Sadeler, Annunciation
- Collaert, Italian Landscape
- Sadeler, May and June
- Sadeler, July and August
- Muller, Albert, Archduke of Austria
- Casembrot, A Galley at Anchor
- van Uden, Landscape with a Man
- Uyttenbroeck, Mercury Accuses
- Akersloot, View of Haarlem
- Rembrandt, The Descent
- Rembrandt, Beggars Receiving
- Rembrandt, Jews in Synagogue
- Rembrandt, Faust
- Rembrandt, The Pancake Woman
- Pupil Of Rembrandt, Old Woman
- Lievens, Jacques Gaultier
- Post, Public Executions
- Waterloo, Farmhouse
- Waterloo, The Little Hunchback
- Both, Two Hinnies
- Van Ostade, The Fiddler
- Van Ostade, The Breakfast
- Fyt, Set of Animals
- Nolpe, Four Gentlemen
- Suyderhoef, Peasants in an Inn
- Berchem, Animalia
- Everdingen, The Mineral Springs
- Dujardin, Man and Two Donkeys
- Zeeman, Harbor Scene
- Visscher, Angel Appearing
- Bega, The Family
- van der Cabel, River Landscape
- Schoonebeck, Frontispiece
- Dusart, The Violinist
- Gole, Backgammon Players
- Pickaert, The Five Senses
- Tanjé, Pieter Tanjé
- Le Loup, View of the Town
- Soeterik, Boaters on a Lake
- Jongkind, Jetée en Bois
- Rops, La Messagère
- Toorop, Venise Sauvée
- Van Hoytema, Ducks in a Pond
- de Bruycker, Autour le Chateau
- Nieuwenkamp, Tooren van Amersfoort
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28. Adriaen Van Ostade (1610-1684) The Breakfast |
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(click on image to print)
The Breakfast
Etching, ca. 1647-52, 218 x 258 mm., Bartsch 50, Davidsohn 50 v/xi, Godefroy 50 v/xii, Hollstein 50 v/xii, ex collection: Waldburg Wolfegg'sches kabinet (Lugt 2542). Superb impression of the rare fifth state, with the verses, on laid paper with watermark of a phoenix in a laurel wreath (same as the Pelletier impression), trimmed along the plate mark but with a white space outside the borderline all around and the full text below. The state is before diagonal shading on the chair behind the standing man and on the right cellar door. The etching is one of Ostade’s largest, exceeded only by The Dance in the Inn, and is clearly one of the artist’s masterpieces, the scene coming alive not only through the expressions and attitudes of the participants but through every detail of the interior and the light creeping through the windows and the Dutch door.
