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Gerrit Dou

Netherlands (1613 -  1675 ) Wikipedia® : Gerrit Dou
DOU Gerrit The Herring Seller With A Young Woman.

Galerie Koller
Mar 29, 2019
Find artworks, auction results, sale prices and pictures of Gerrit Dou at auctions worldwide.
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Variants on Artist's name :

Dou Gerard

Dou Geriit

Gerard Dou

 

Artworks in Arcadja
411

Some works of Gerrit Dou

Extracted between 411 works in the catalog of Arcadja
Gerrit Dou - The Penitent Magdalene

Gerrit Dou - The Penitent Magdalene

Original
Estimate:

Price:

Lot number: 20
Other WORKS AT AUCTION
Description:
THE PENITENT MAGDALENE Gerrit Dou LEIDEN 1613 - 1675 signed on the book: GDOV (GD in ligature) oil on oak panel, with two unidentified collectors' seals on the reverse 25.4x 17.8 cm.; 10x 7 in. Colonel John Frederick Everett JP (1834–1903), Greenhill House, Sutton Verney, Warminster; Augustus Meyers, Forest Lodge, Ashtead, Surrey; His posthumous sale et al., London, Christie's, 13 May 1949, lot 78, for £546 to Speelman; With Edward Speelman, London; By whom sold in 1950 to Sir Robert Bland Bird (1876–1960) for £1,100; Possibly by inheritance to Pamela Stephanie Helen Bird, Viscountess de Maudit (1910–2006); Possibly Dr Sydney Wood Bradley (1896–1967), Ottawa, by 1967; Possibly Helen M. Bradley Langstaff (1912–1986); Helen Langstaff, Toronto, Canada; Thence by inheritance to the present owner in 1986. Literature R. Baer, The Paintings of Gerrit Dou (1613–1675), Ph.D Thesis, New York University, 1990, Appendix A (Untraced Works of Undetermined attribution); W. Sumowski, Gemälde der Rembrandt-Schuler, Landau/Pfalz 1983, vol. I, pp. 527, 548, no. 251, reproduced. This beautiful small panel by Gerrit Dou has only recently been re-discovered, and is offered here at auction for the first time since 1949. Dou was the founder of the Dutch school of fijnschilderij (\‘fine painters\’), and this intimate cabinet picture epitomises the meticulous and refined style of painting that he pioneered, and which has since become synonymous with the school of Leiden, the city where he spent his entire career. This is one of only four paintings of Mary Magdalene by Dou that have survived, and the only one to remain in private hands. It is a relatively late work, and was probably painted in the early 1660s, for it reflects Dou\’s interests at that date in the female nude and feminine beauty, as well as his lifelong interest in the theme of solitary religious figures, such as hermits. By this date Dou\’s work had acquired a truly international reputation, and his paintings commanded some of the highest prices of their day, frequently higher than even those of his more famous teacher, Rembrandt himself. The Danish scholar Ole Borch, who visited Dou\’s studio in 1662 described him as \‘the excellent painter of Leiden... unequalled in the Netherlands and even in all other countries of the world\’.1 Aside from the present panel, the small extant group of paintings of the Magdalene by Dou include those in the Staatliche Kunsthalle in Karlsruhe; the Hamburg Kunsthalle; and the Nationalmuseum, Stockholm (fig. 1).2 All four paintings are painted on small oak panels of similar size.3 In each picture the saint is depicted in a rocky grotto beside a dying tree, whose branches curve over and above her in a form of natural arch, while Mary sits or kneels before an open book, presumably a bible. In each painting the saint has one breast exposed – undoubtedly as a reference to her former life as a prostitute– which she modestly covers with her hand in the Karlsruhe version. Her eyes are uniformly cast heavenwards in contemplation, and in the present painting and that in Karlsruhe, the saint additionally holds a crucifix and a scourge respectively. The rocky ledge before which she prays is in each case adorned with various objects symbolic of the theme of vanitas, which alludes to the transitoriness of life on earth: here a skull and a snuffed-out candle, in Karlsruhe an hour glass and skull, in Hamburg an extinguished lamp, and lastly a skull in the Stockholm version. All of these, as well as the wonderful old gnarled bark of the dead tree, are rendered by Dou with the utmost care and attention to detail and the play of light. Although in reverse, the present painting is closest in design to that in Stockholm, in which Mary wears a very similar white chemise and prays before a crucifix rather than clasping it. The present work appears to be unique in that it shows the distant night sky through the arch of the grotto. Although Dou signed a great many of his works, relatively few are also dated, and this makes dating his works problematic. Dou\’s brushwork and the consistently smooth, and at times almost enamelled finish which concealed it– no doubt a legacy of his earliest training in glass painting,4 – shows little sign of development until his latest years, and thus offers few clues. The first compiler of a catalogue of his paintings, Wilhelm Martin, was unaware of this panel, but he dated all three of the other Magdalene paintings to around 1635–40.5 More recently, however, Dr Ronni Baer has argued for a much later dating, probably around 1660–65, for both the Hamburg and Karlsruhe Magdalenes, drawing attention to the creamy whites of the chemise as more typical of the second half of Dou\’s career. Thematically, she also suggests that the subject of the Magdalene is as closely related, if not more so, to the beautiful young girls at windows that Dou had begun to paint in the mid-1650s than to the ascetic hermits in meditation.6Nevertheless, the general composition of this panel can certainly be compared with his later depictions of hermits from this period, such as the Hermit of 1664 at the Rijksmuseum in Amsterdam.7 Another possible pointer to a dating would be Dou\’s use of what seems to be the same model for the nude figure in his Bather, today at the Hermitage in Saint Petersburg (fig. 2), and for the figure of Mary Magdalene in the present picture. The physiognomy and even the arrangement of the hair seems extremely close in both paintings (fig. 3). The St Petersburg panel forms part of a remarkable group of three studies of nudes that were owned by Dou\’s most important patron in the second half of his career, Johan de Bye (c. 1621–before 1672), a prominent citizen of Leiden and a pious Remonstrant. If we are looking at the same model then a possible dating around or before 1665 for our panel is provided by the fact that the Bather (and the other two nudes) formed part of an exhibition of no less than twenty-seven of Dou\’s paintings displayed by de Bye in the house of the painter Johannes Hannot (1635–1685) in Leiden in September 1665.8On stylistic grounds Baer dates all three of these nudes to the same period as the Hamburg and Karlsruhe Magdalenes, and the many parallels between the present panel and these other works would strongly suggest that it too was painted in the same period at the beginning of the 1660s.9 Most recently Irena Sokolova has also suggested a dating around 1660–65 for the group.10 Dou\’s depictions of both Mary Magdalene and the hermit saints were no doubt intended as paradigms of the contemplative life but whereas the iconography of the hermit pictures stressed the constancy of their devotions and their ultimate triumph over death through prayer, those of the penitent Magdalene present not only a personification of piety, but additionally hold out the hope of redemption through prayer and repentance. As an inscription on the Hamburg panel declaims (to both saint and spectator): Vive ut vivas (\‘Live so that you may live\’). In the present panel this redemption is symbolised by the detail of the new branches springing from the withered bark of the old tree, representing the possibility of new life. The contemporary viewer was thus offered a simple moral warning, that of the choice between good and evil, as symbolised by the two trees, one living and one dead. As Baer and others have pointed out, this imagery was based upon an emblem from Roemer Visscher\’s contemporary Sinepoppen, which carried the motto Keur baert angst (\‘Choice brings anxiety\’).11 Dou\’s Mary certainly seems to be a suitable model for contemplation. In complete contrast to the often naked and tousle-haired beauties painted by Italian artists such as Titian or Reni, the Magdalene is here portrayed by Dou, not as a fallen wanton, but as a moral exemplar. Her golden tresses are carefully pulled back into a neat bun, and her steadfast demeanour suggests that she is instead a symbol of redemption and renewal. Her exposed breast hints at her sensual past, but the painting is never overtly erotic, and its redemptive message is never undermined. As Naumann has observed, the popularity of the subject of the penitent Magdalene in Dutch painting of this period must be seen against the background of contemporary Calvinist doctrines of repentance and piety.12 The poem Mary Magdalene dedicated to the saint by the staunch Calvinist preacher Jacobus Revius (1586–1658) gives us an indication of a contemporary viewer\’s response to such a painting: \‘Woman, thy love has been a passion strong and ardent, And God forgave thy many sins by act of grace. By His undeserved love our many faults are pardoned, That we may serve Him, ay, each in his humble place.\’13 Dou\’s home city of Leiden was also the seat of a famous university, and such themes such as the Magdalene and the concomitant vanitas elements would have been equally appreciated intellectually by Calvinists and Catholics alike. Dou\’s paintings such as this were greatly admired from his own lifetime until late in the nineteenth century. According to his earliest biographer Joachim Sandrart (1606–1688), Dou\’s small pictures sold for between 600 and 1,000 Dutch guilders, then a substantial price. He further claimed that Dou had needed eyeglasses by the age of thirty, and commented on his very slow working method, apparently taking days to paint the smallest details.14 While the more colourful details of Sandrart\’s account may not be entirely trustworthy, there is no doubt of the reputation Dou held among his contemporaries. By 1648, when he is recorded among the founder-members of the Guild of Saint Luke in Leiden, Dou's works already fetched some of the highest prices of their day. Queen Christina of Sweden owned at least eleven of his works, and other royal patrons included the Archduke Leopold Wilhelm of Austria and probably the Grand Duke Cosimo III of Tuscany. By 1660 Dou was sufficiently famous for the Dutch States General to acquire three paintings from him as a gift to the newly crowned Charles II of England. Dou\’s skills so favourably impressed Charles that he singled out his works for praise and invited him to his court. Dou declined the offer and remained in Leiden where he died a wealthy man. We are grateful to Dr Ronni Baer for endorsing the attribution to Gerrit Dou following first-hand inspection of the painting, and for suggesting a likely date of execution of around 1660–65. 1 Cited byRonni Baer in\‘The Life and Art of Gerrit Dou\’, in Gerrit Dou 1613–1675. Master Painter in the Age of Rembrandt, exh. cat., National Gallery of Art, Washington; Dulwich Picture Gallery, London; and Mauritshuis, The Hague2000–01, p. 32, n. 68. 2 Another closely related variant, in which the saint sits by candlelight in her grotto was sold New York, Sotheby\’s, 29 January 2009, lot 117 (as attributed to Dou). 3 The Karlsruhe panel measures 25.5 x 19 cm., the Hamburg panel 25 x 19 cm., and the Stockholm Magdalene 26 x 19 cm. 4 Dou trained with his father, a glazier, and the glass painter Pieter Couwenhorn for two years, and was a member of the Glaziers\’ Guild from 1625–27, before leaving to join Rembrandt\’s workshop in February 1628. 5 W. Martin, Gerard Dou. Des Meisters Gemälde, Stuttgart and Berlin 1913, nos 3, 4 and 5, all reproduced. 6 Baer 1990, underno. 101.2. 7 Baer 1990,no. 91. 8 All three paintings are now at the Hermitage in St Petersburg and were jointly exhibited Amsterdam, Hermitage Museum, Dutch Masters from the Hermitage, 2018,nos 12–14; see R. Baer, \‘Dou's Nudes\’, in Aemulatio: Imitation, Emulation and Invention in Netherlandish Art from 1500–1800, Essays in honor of Eric Jan Sluijter, Zwolle 2011, pp. 371–81. For a discussion of de Bye\’s exhibition see Baer in Washington–London–The Hague2000–01, p. 30, n. 43. 9Baer 2011, pp. 371–81. 10 I. Sokolova, in Dutch Masters from the Hermitage, exh. cat., Amsterdam 2018, pp. 96–105. 11 R. Visscher, Sinepoppen, Amsterdam 1614, no. 11. 12 O. Naumann, Frans van Mieris the Elder, Doornspijk 1981, vol. I, p. 90. 13Cited in Naumann 1981, vol. I, p. 90. 14 J. von Sandrart, Teutsche Academie, 1675–79,A.R. Peltzer (ed.), Munich 1925, pp. 195–96.
Gerrit Dou - The Herring Seller With A Young Woman.

Gerrit Dou - The Herring Seller With A Young Woman.

Original 1651
Estimate:

Price:

Gross Price
Lot number: 3059
Other WORKS AT AUCTION
Description:
GERRIT DOU (1613 Leiden before 1675) The Herring Seller with a Young Woman. Oil on panel. With signature and dated on the parapet of the niche: G. DOUW. 1651. 46 x 36.2 cm (arched). Provenance: - Count Lothar Franz von Schönborn (1655-1729), Pommersfelden, acquired before 1719; listed in inventory of R. Bys,1719, as 'Mahlereyen in dem Audienzzimmer des Churfürstlichen Privatschlosses zu Pommersfelden Nr.17: Eine Krämerin/ so Häring, Fisch und Krauter verkauffet. V. Gerard Dau (1/7; 1/3).' - Count Schönborn auction, Pommersfelden, Paris, 17.5.1867, Lot 19 (ffrs 42.000). - Russian collection of Prince B. Narischkine, Paris, 1867 until 1883. - Auction of the collection of Prince B. Narischkine, at Chevalier Paris, 5.4.1883, Lot 11, with ill. (50.000 ffrs.). - Auction of the collection of Sydney Lamon, New York, Christie's, London, 29.6.1973, Lot 23, ill. (11.000 gns. to Braendle). - European private collection - Koller, Zurich, 21.9.2007, Lot 3050. - Swiss private collection, acquired at the above auction. Exhibited: Pictures of Every Day Life. Genre Painting in Europe 1500 - 1900, Carnegie Institute, Pittsburg, October - December 1954, No. 33, ill. Literature: - Martin, Wilhelm: Het Leven en de Werken van Gerard Dou, Leiden 1901, p. 222, No. 254. - Martin, Wilhelm: Gerard Dou. Des Meisters Gemälde, in: Klassiker der Kunst, Berlin 1913, p. 132 (illustration of engraving by Le Faivre). - Hofstede de Groot, Cornelis: A Catalogue Raisonne, etc., London 1913, No. 193. - Hantsch, Hugo / Scherf, Andreas: Quellen zur Geschichte des Barocks in Franken unter dem Einfluss des Hauses Schönborn, 1931, p. 253. - Bys, Rudolf / Bott, Katharina (ed.): Fürtrefflicher Gemähld- und Bilderschatz. Die Gemäldesammlung des Lothar Franz von Schönborn in Pommersfelden, Weimar 1977, No. 191. Expertise: - Prof. Werner Sumowski, 12.2.2006, having examined the original (as Gerrit Dou). - microanalytic study Prof. Dr. Elisabeth Jägers and Dr. Erhard Jägers, 21.6.2006. - Dr. Albert Blankert confirmed the authenticity of this painting in 2007 having examined it in the original. Verbally confirmed as Gerrit Dou. The painting is registered at RKD, The Hague, as by the hand of Gerrit Dou.
Gerrit Dou - A Portrait Of A Woman At A Clavecin

Gerrit Dou - A Portrait Of A Woman At A Clavecin

Original
Estimate:

Price:

Lot number: 128
Other WORKS AT AUCTION
Description:
Follower of Gerrit Dou A PORTRAIT OF A WOMAN AT A CLAVECIN oil on oak panel 61.6 x 46 cm.; 24 1/4 x 18 1/8 in., with additions of 0.5 cm. along each edge. Provenance G. R. von Epstein, Vienna, 1873; Galerie St. Lucas, Vienna, 1960, from whom acquired. Vienna, 1873, lent by G.R. von Epstein; Vienna, Galerie Sanct Lucas, Gemälde alter Meister-Neuerwerbungen, December 1959 – January 1960. W. Martin, Het leven en de werken van Gerrit Dou, Leiden 1901, p. 231, cat. no. 302a (as signed G. Dou); C. Hofstede de Groot, A Catalogue Raisonné..., vol. I, London 1907, p. 390, cat. no. 134 (as signed by Dou); Galerie Sanct Lucas, Gemälde alter Meister-Neuerwerbungen, Vienna 1959, as Gerard Dou, reproduced; W. Sumowski, Gemälde der Rembrandt Schuler, Landau/Pfalz 1983, vol. I, p. 536, cat. no. 299, reproduced fig. 299 (as Dou); R. Baer, The Paintings of Gerrit Dou (1613–1675), dissertation, New York 1990, cat. no. C42 (under Rejected Attributions).
Gerrit Dou -  A Poulterer's Shop

Gerrit Dou - A Poulterer's Shop

Original
Estimate:

Price: Not disclosed
Lot number: 114
Other WORKS AT AUCTION
Description:
Follower of Gerrit Dou ( Dow) (1613-1675) Dutch Golden Age, XIX , oil on oak panel, ' A Poulterer's Shop ', a cabinet picture, Bears hand written label verso. 9 1/4 x 7" CONDITION: Please Note - we do not make reference to the condition of lots within catalogue descriptions. We are however happy to provide additional information regarding the condition of items on request.
Gerrit Dou -  A Young Woman At A Window

Gerrit Dou - A Young Woman At A Window

Original -
Estimate:

Price:

Lot number: 81
Other WORKS AT AUCTION
Description:
Gerard Dou (Leiden 1613–1675) A young woman at a window, with a cat, a mousetrap, a hanging duck and a tilted pewter jug beside her, signed with monogram lower centre: GD(ligated) OV, oil on panel, with later additions, original panel 28 x 16.7 cm, including later additions 32.6 x 24.6 cm, framed Provenance: Collection Comte de Merle, Paris; his sale, Paris, Paillet/Juillot, 1st March 1784 (sold for 900 francs); Chevalier Sébastien Erard (1752–1831), Château de La Muette, Bois de Boulogne, Paris; his deceased sale, Paris, Lacoste, 23rd April 1832, lot 28; Sir Edward Page-Turner, Battlesden House, Preston Park, Brighton; Lady Page-Turner, Battlesden House, Brighton; her deceased sale, Christie\’\’\’\’\’\’\’\’s, London, 21st February 1903, lot 19; Dr Jules Porgès, Paris (1906); Baron Max von Goldschmidt-Rothschild, Frankfurt am Main (by 1913); Alexander Oppler (1869–1937), Berlin-Grunewald; Samuel van den Bergh, Wassenaar (confiscated by German soldiers in May 1940 and brought to Germany in 1944); with F. Mont, New York (1950); Newhouse Galleries, New York; Collection of Walter P. Chrysler, Jr. (1909–1988), New York (1951); with Pieter de Boer, Amsterdam (1965); Property of a private Collection in co-operation with the heirs of Alexander Oppler and Samuel van den Bergh; their sale, Sotheby\’\’\’\’\’\’\’\’s, London, 3rd July 2013, lot 13 Exhibited: Rembrandt, Stedelijk Museum de Lakenhal, Leiden, 15 July – 15 September 1906, no. 11; Dutch Exhibition, Paris, 1911; Dutch Old Masters, Part II, from the collection of Walter P. Chrysler, Jr., University of Miami Art Gallery, Coral Gables (Florida), 6th February – 9th March 1951, no. 20; Dutch and Flemish Paintings from the Collection of Walter P. Chrysler, Jr., Virginia Museum of Fine Arts, Richmond (Virginia), 19th October – 25th November 1951; The Little Masters, Paintings by Artists of the Netherlands and Belgium from the Collection of Walter P. Chrysler, Jr., Virginia Museum of Fine Arts, Richmond (Virginia), 13th October 1953 – 11th May 1955, pp. 13/14 Literature: J. Smith, A Catalogue Raisonné of the Most Eminent…, vol. I, London 1829, p. 21, no. 62 (as dated 1645); W. Martin, Dou Catalogue, Leiden 1901; A. von Wurzbach, Niederländisches Künstlerlexikon, Wien/Leipzig 1906, S. 417; C. Hofstede de Groot, A Catalogue Raisonné…, vol. I, London 1907, p. 401, no. 164 (as dated 1645); W. Martin, Gerard Dou, Sa Vie et Son Oeuvre, Paris 1911, p. 182, no. 116; W. Martin, Gerrit Dou, Des Meisters Gemälde (Klassiker der Kunst), Stuttgart/Berlin 1913, pp. 195/96, ill. p. 113 (dated to circa 1670–75); R. Baer, The Paintings of Gerrit Dou, doctoral dissertation, New York University, 1990, cat. C72 (under \‘Works of Rejected Attribution\’\’\’\’\’\’\’\’); E. de Jongh, \“Erotica in vogelperspectief. De Dubbelzinnigheid van een reeks zeventiende-eeuwse genrevorstellingen\”, in: Simiolus, vol. 3, 1968/69; E. de Jongh, Kwesties van Betekenis, Thema en Motiev in de Nederlandse schilderkunst van de zeventiende eeuw, Leiden 1995, pp. 40/41, fig. 25 Gerard Dou, who had been a pupil of Rembrandt for three years, was greatly admired by contemporary collectors. He was the highest paid painter after Rembrandt, and his paintings continued to yield high prices in the ensuing centuries. Dou\’\’\’\’\’\’\’\’s illusionistic paintings frequently contain ambiguously emblematic messages that were well understood by his contemporaries. As a rule, his works can be read in moral and symbolic ways. In Dou\’\’\’\’\’\’\’\’s compositions, everyday objects that seem to have been arranged arbitrarily can take on entirely different meanings. A set of scales, for example could allude to the virtue of moderation, while an empty bird-cage would symbolise immorality. In the present painting, the combination of the open mousetrap and the \“lascivious\” expression of the cat can equally be interpreted as hints of eroticism. The stone window frame in this panel, composed of pilasters and volutes, is crowned by the trompe-l\’\’\’\’\’\’\’\’oeil of a bas-relief of putti playing with lions. This bas-relief recurs in several paintings by Dou and is closely related to François Duquesnoy\’\’\’\’\’\’\’\’s sculpture of Putti Playing with a Goat in the Galleria Doria Pamphilj in Rome. Originally, the panel had an arched top and consisted of the stone window frame and everything that lies within it. Old sources suggest that the panel was probably enlarged to form a rectangle in the first quarter of the 19th century. Ronni Baer, whose dissertation and catalogue raisonné of the paintings of Gerard Dou appeared in 1990, only knew the panel from a black and white illustration published in Klassiker der Kunst (1913). Certain doubts led her to reject the attribution to Dou. Having examined the work in question in the original a few years ago, Baer changed her opinion and now agrees with Eddy de Jongh and all other Dou experts that it is an authentic work by Dou. The painting has a long, impressive provenance. In the first half of the 19th century it was owned by the piano manufacturer Sébastien Erard at the Château de La Muette on the edge of the Bois de Boulogne in Paris (acquired in 1820). Via subsequent English and German owners, it entered the important collection of the American automobile heir Walter P. Chrysler, Jr. Specialist:
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