Portrait of Gaspar Gevaerts after Anthony van Dyck

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Portrait of Gaspar Gevaerts, half-length in frontal view but looking towards the left, wearing a doublet and lace collar, the forefinger of his right hand between the pages of a book on a parapet in front, after Anthony van Dyck.  Soft-ground etching by William Baillie made in 1773. The image is 30 x 25 cm (excluding text) the sheet is 52 x 34 cm. The print is in good condition.

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Antoon van Dyck, also Anthony van Dyck, (Antwerp, March 22, 1599 – London, December 9, 1641) was a Flemish Baroque painter from the Antwerp School. Van Dyck was the most important Flemish painter of the 17th century after Rubens, whose works influenced the young Van Dyck. He also studied and was profoundly influenced by the work of Italian artists, above all, Titian.Van Dyck was an extremely successful portraitist and painter of religious and mythological pictures in Antwerp and Italy. He was also an accomplished draughtsman and etcher. However, he is now best remembered for his elegant representations of Charles I and his court. Van Dyck was born in Antwerp. A precocious artist, his first independent works date from 1615-16, when he would have been about 17. In 1621 he was in the service of James I of England, but left to visit Italy, where he remained until 1627. His aristocratic rendering of Genoese patricians, like the so-called ‘Balbi Children’, were very well received in that city. After a second period in the Netherlands, greater success awaited Van Dyck when he settled at the English court in 1632. His authoritative and flattering representations of Charles I and his family set a new standard for English portraiture to which members of the court were keen to aspire.

William Baillie (1723–1810) often known as “Captain William Baillie” was an Irish printmaker. Baillie was born at Kilbride, County Carlow, on 5 June 1723. He was educated at Dr. Sheridan’s school in Dublin, and at about the age of eighteen his father sent him to London to study law. However he decided to follow the example of a younger brother and join the army. After some opposition from his father, he was allowed to accept of a commission offered to him by Lord Archibald Hamilton, in the 13th Regiment of Foot. He joined the regiment as the senior ensign before the battle of Lafeldt, where he carried the colours. He served with this regiment for many years, and was at the battle of Culloden, and at several engagements in Germany. He then became an officer in the 51st Regiment and was with them as captain of the grenadiers and paymaster at the battle of Minden. He then spent some time in the 17th Light Dragoons before selling his commission. He made his first etchings while still in the army. The earliest dated ones, from 1753, depict soldiers, one a named member of his regiment. He was largely self-taught as an artist, though he had some lessons from his fellow Irishman, Nathaniel Hone. After leaving the army in 1761, Baillie devoted his life to the arts, although from 1773–95 he also held the post of Commissioner of Stamps. He made prints in various styles, first exhibiting his work with the Society of Artists in 1762, but his most notable productions were those in the style of, or directly copied from, the etchings of Rembrandt. To imitate Rembrandt’s effects of chiaoscuro, he used mezzotint, a technique not employed by the Dutch artist. He also obtained the badly worn original plate of Rembrandt’s “Hundred Guilder Print” and reworked it. When a limited number of impressions had been made, the plate was cut into four pieces, and impressions taken from the individual sections.  His main business however was as a picture dealer, acting as agent for the Earl of Bute and Lord Liverpool among others. His works were published in two folio volumes by John Boydell, in 1792,under the title of A Series of 225 Prints and Etchings after Rembrandt, Teniers, G. Dou, Poussin, and others. He died at Paddington, London, on 22 December 1810.

Source: https://en.wikipedia.org/wiki/William_Baillie_(engraver)