Null Copy from self-portrait by Rembrandt measures 100 x 70 cm in frame 129 x 98…

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Copy from self-portrait by Rembrandt measures 100 x 70 cm in frame 129 x 98 cm Oil on canvas Signed on back Gully

218

Copy from self-portrait by Rembrandt measures 100 x 70 cm in frame 129 x 98 cm Oil on canvas Signed on back Gully

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Estim. 900 - 1 000 EUR

OLD SCHOOL after REMBRANDT (1606-1669) Self-portrait of the artist OIL ON OCTAGONAL PANEL After the painting in the Walker Art Gallery, Liverpool, Circa 1630-31 54 x 43 cm (Rubbing, wear and tear, minor missing parts) 17th-century Dutch-style modern frame in blackened wood and imitation tortoiseshell

Estim. 200 - 400 EUR

After REMBRANDT (1606-1669) Self-portrait of the artist OIL ON CANVAS 63 x 50 cm 17th century Dutch-style modern frame in blackened wood and imitation tortoiseshell

Starting price 400 EUR

William Baillie (1723 Killbride (Carlow) - 1810 London) after Nathaniel Hone (1718 - 1730 ): Self-portrait, after the painting by Nathaniel Hone, 1783, Copper engraving Technique: Copper engraving on China paper, rolled-on on Paper Inscription: Signed in the printing plate: "William Baillie". Date: 1783 Description: During his lifetime, after his career in the army, William Baillie was particularly known for his expertise in the field of fine art. As an advisor and dealer, he looked after the collections of the Earl of Bute and Lord Liverpool. His enthusiasm for printmaking techniques, which he taught himself for the most part, probably helped him on his way to becoming a respected connoisseur. He was particularly fond of Rembrandt and copied many of the Dutchman's works, thus, together with his friend Nathaniel Hone, greatly increasing Rembrandt's fame, especially in England. Our self-portrait, engraved by Baillie after his friend Hone's painting, is not only an expression of friendship, but also of Rembrandt's enthusiasm. It reveals not only the highly skilful mastery of printmaking technique, but also Rembrandt's strong influence on both artists. For example, Hone quoted the hat and the fur-trimmed coat for the portrait almost verbatim from Rembrandt's etching Portrait of Cornelis Anslo. In his print, Baillie finally fitted the painting into an oval frame, whereby the hand still visible in the painting has disappeared and the effect becomes more gravitational. The integration of the curtain, which the two putti open in front of Baillie's quasi-immortalised portrait, is certainly to be understood as an homage to Rembrandt's Holy Family with the Curtain or Vermeer's Girl Reading a Letter. Keywords: Artist, Self-portrait, Putti, Irish, English, 18th century, Classicism, Portraits, United Kingdom, Size: Paper: 41,8 cm x 48,3 cm (16,5 x 19 in), Depiction: 23,8 cm x 27,2 cm (9,4 x 10,7 in)

Starting price 160 EUR

Ignace Joseph de Claussin (around 1766 Lunéville (Meurthe-et-Moselle) - 1844 Les Batignolles (Paris)) after Rembrandt: Rembrandt Harmenszoon van Rijn (1606 Leiden - 1669 Amsterdam): Portrait of Titus, the son of Rembrandt, c. 1790, Etching Technique: Etching on Paper Inscription: Lower middle inscribed in the printing plate: "Le fils de Rembrandt". Date: c. 1790 Description: The etching with fine lines shows the portrait of a young man with soft facial features in a robe with visible button plackets. He wears long, loosely waved hair and a beret. Copy after Rembrandt, by Ignace Joseph de Claussin. 19th century impression on paper. Person: Titus van Rijn (1641 Amsterdam - 1668 Amsterdam) Keywords: Adolescent; Facial features; Character study; Innocence; Artist's life; Titus van Rijn; Rembrandt's son; Nepo Baby, 18th century, Baroque, Portraits, Netherlands, Amsterdam, Size: Paper: 11,0 cm x 7,7 cm (4,3 x 3 in), Depiction: 9,8 cm x 7,0 cm (3,9 x 2,8 in)

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