Monday, 14 November 2016
Jean Daullé’s engraving (1752) of Ruben’s painting, “Quos Ego”
Jean Daullé (1703–63)
“Neptune commanding the winds to stop”, 1752, based on the drawing by Charles François Hutin (1703–76) after the painting by Peter Paul Rubens (1577–1640) titled, “Quos Ego”, in the Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresdenfrom.
This print is number 48 in the series, “Recueil d'estampes d'après les plus célèbres tableaux de la Galerie Royale de Dresde”
Engraving with etching on laid paper on a support sheet of wove paper, trimmed to the image borderline and inscribed (verso) in brown ink by an old hand: “From a picture of Rubens in the gallery at Dresden. Size 11 feet 8 inches by 13 feet 8 inches. Engraving by J. Daulle 175”
Size: (sheet) 39.7 x 44.5 cm
The British Museum offers the following description of this print:
“Neptune commanding the winds to stop; seascape with the god standing on his horse-drawn chariot at centre, and pointing at the Winds in top centre, Triton in lower left, three Danaides in lower right, ships on a choppy sea in background; after Peter Paul Rubens.”
Schneevoogt 1873 123.34 (Schneevoogt, C G Voorhelm, Catalogue des estampes gravées d'après P.P.Rubens, Haarlem, 1873)
Condition: crisp and well-printed impression, trimmed to the image borderline and laid on a support sheet. The sheet is age-toned (i.e. yellowed appropriate to the age of the print) and there is a light scattering of dots of what I assume is foxing towards the left of centre, otherwise the sheet is in good condition (i.e. there are no tears, holes, abrasions or folds).
I am selling this rare and large old master engraving of Rubens’ painting, “Quos Ego”, for a total cost of AU$229 (currently US$172.80/EUR161.41/GBP138 at the time of this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this 18th century grand-scale interpretative print, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
When I was a young boy, I loved Rubens’ paintings. At that time I thought that what I was loving was all the swirling energy and the larger-than-life immortal heroes engaged in blockbuster action. Now when I look at the same images I can see clearly how and why I was “hooked."
Essentially, I was hooked by the way that the portrayed characters appeared to interact with me. Or, to express this idea differently, the image was not something that I passively looked at. Instead, the artist had crafted the image so that it subliminally invited me “into” it (i.e. to engage with the action). For instance, when I admire the three scantily clad ladies— Danaids—at the lower-right, I realise that the lady on the further right is looking at me as if she is frozen in thought. My reading of her “absent” gaze is that she is not only aware of my presence but she is also a happy participant with me looking at her. Similarly, when I look at the two horses in the foreground, their eyes seem to suggest that they are aware of my presence and reacting to it. If I may go further, even the eyes of the further away horses—seahorses I guess I should say—are looking at me. In short, this heaving image of Baroque energy is all about my active presence in the scene.