COWS HORSES SHEEP CHILDREN KIDS PLAY in Farm Yard ~ Old 1856 Art Print Engraving

Description: MILKING TIME Artist: P. Potter ____________ Engraver: J. Godfrey Note: the title in the table above is printed below the engraving PRINT DATE: This lithograph was printed in 1856; it is not a modern reproduction in any way. PRINT SIZE: Overall print size is 8 1/2 inches by 11 1/2 inches including white borders, actual scene is 7 inches by 9 1/2 inches. PRINT CONDITION: Condition is excellent. Bright and clean. Blank on reverse. Paper is quality woven rag stock paper. SHIPPING: Buyer to pay shipping, domestic orders receives priority mail, international orders receive regular air mail unless otherwise asked for. We take a variety of payment options, more payment details will be in our email after auction close. FROM THE ORIGINAL DESCRIPTION: Paul Potter, a native of Enkhuysen, in North Holland, was born in 1625. In. his history we fin one among the many examples which might adduced to prove that a long life is not essential to gain an immortality of renown. Struck down consumption ere. lie. had reached his thirtieth year, yet had accomplished in Art what will for ever all his name, in his peculiar walk, with the greatest painters of any age or time. We scarcely pass to' high an. eulogium upon him Ly saying that, as painter of what the farmer would call " stock," stands without a rival; and this opinion is give with a full appreciation of all which both his country men and our own have produced in this way, Next to the extraordinary faculty with which lie was endowed-for even at the early ago of fourteen In exhibited such proofs of talent as to be considered prodigy in his profession-the great success of may be attributed to his constant and close study of Nature, It has been truly said that " she was indeed, his nurse in childhood, his mistress in youth and his constant companion to the end of his days lie bestowed unremitting attention on every objected circumstance that might tend to give beauty of picturesque effect. The dawn of day frequently found him in the field. The dewy freshness of early morning, the dazzling brightness of the mid-day splendor, and tile glowing refulgence of the declining SUM, together with the valuable appearance of this atmosphere, resulting from mists, rain, and wind, are depicted with unequalled truth by his magic pencil." When about twenty years of age, Paid Potter went to reside at the Haggie, but tile last six or seven years of his life were passed at Amsterdam, where lie died in 1654. In Mr. Fairholt's article, "The Home of Paul Potter," published in the number of the Journal for May, the reader will hand an excellent account of this fine painter, and of the country which was his studio. Although he left comparatively few pictures behind him, about 150 genuine specimens have been assigned to him by connoisseurs who have made Ills works their study: the sizes of some, and the exquisitely delicate finish of almost the whole, proclaim the industry with which he labored during his brief career. To the extreme beauty of his pictures, no less than to their rarity) must be ascribed the difficulty which the collector finds in meeting with them) and the high price he is compelled to pay when the opportunity is afforded for making a purchase. They may be valued at many guineas the square inch of canvas. Within the last century or longer, his paintings have wonderfully increased in value- for instance, one which was sold in 1780, at Leyden, for £495, in 1816 realized £1480. His famous work, " The Young Bull," now at Hague, was sold at Haarlem, in 1749, for £57; it is now valued at 5000 guineas. "Four Oxen in a Meadow" was sold, in 1750, for about £25; in 1812, it rose to £320; and in 1815 was purchased for the late Emperor Alexander, of Russia., for about £2800; it is now in the Imperial collection in the Hermitage, St. Petersburg. Numerous other examples might readily be cited to show the increased value of Potter's pictures. "Milking Time," or, "The Dog and her Puppies," as the picture is usually called by connoisseurs, has universally classed among the leading works of this painter; Dr. Waagen calls it " Pleasing in composition, and admirable in execution." Its history had its gradual rise in value is traced back for a century in Smith's "Catalogue." In 1754, it was in he collection of M. Lormier, from which it passed nto that of M. Braarncamp, who sold it, in 1771) or £364, to M. Randon de Boisset, who parted with it, in 1777, for £372. In 1800, it was sold from the collection of M. Gelderineester for £'. Whether or not it came at once into the Royal Collection, we know not, but presume that it did; it as exhibited at the British Institution ill 1815, 826, and 1827. The picture is painted on panel; it is in the collection at Buckingham Palace. BIOGRAPHY OF ARTIST: Paul Potter (1625-1654) was a Dutch animal painter, born at Enkhuizen, Holland. He was instructed in art by his father, Peter Potter, a landscape and figure painter of some merit, and by Nicolas Moeyaert, of Amsterdam. Other masters and influences are mentioned by various writers, but more than. any other of his contemporaries he learnt through direct study from nature. By the time he had attained his fifteenth year his productions were already much esteemed. In 1646 he went to Delft, where he became a member of the gild of St Luke. At the age of twenty he settled at the Hague, and there married in 1650. He was patronized by Maurice, prince of Orange, for whom he painted the life-size picture of the "Young Bull," now one of the most celebrated works in the gallery of the Hague. In 2652 he was induced by Burgomaster Tulp of Amsterdam to remove to that city. His constitution seems to have been feeble, and his health suffered from the unremitting diligence with which he pursued his art. He died on the 15th of January 1654 at the age of twenty-nine. His paintings are generally small; early in life, however, he attempted, but with ill success, to work on. a monumental scale, as in the "Bear Hunt " at the Rijks Museum and the "Boar Hunt " of the Carstanjen collection, Berlin. Even the famous "Equestrian Portrait of Tulp" in the Six collection, Amsterdam, is awkward and stiff and hard in handling. His animals are designed with careful accuracy, while the landscape backgrounds are introduced with spirit and appropriateness. His colour is clear and transparent, his execution firm and finished without being laboured. His view of nature is purely objective and unemotional; he painted with the greatest directness and simplicity the things he saw before him, and his paintings of horses and cattle are so individualized that they become faithful portraits of the animals. The best among his small portraits of horses are in the Louvre and in the Schwerin Gallery; and certain of his studies are the most brilliant of all. The earliest dated picture of importance is "Abraham Entering Into Canaan" (1642), at the Germanic Museum in Nuremberg, in which he makes the Scriptural subject an excuse for painting the patriarch's herds, just as in his " Orpheus " of 1650 (Rijks Museum, Amsterdam) he makes sinular use of the Greek myth. Among his finest works on a small scale are a cattle piece (1653) in the Duc d'Arenberg's collection, and a similar, though earlier, picture in the Munich Pinakothek. In spite of his early death Paul Potter produced a great number of works. He worked with feverish application, as though he were aware of the short span of life that was granted him. He executed a series of some twenty etchings, mainly of animals, which are simple and direct in method and handling. Here, as in painting, his precocity was remarkable: his large plate of the " Herdsman," produced when he was only eighteen, and that of the " Shepherd," which dates from the following year, show him at his best as an accomplished master of tile point. Potter's works have been engraved by Bartolozzi, Danckerts, Visscher, Le Bas and others. Authentic paintings from his brush command very considerable pnces. At the Stover sale in 1890 The Dairy Farm" realized the record price. There are two of his paintings at the National Gallery, three in Buckingham Palace and a few in the duke of Westminster's collection. On the continent of Europe the most numerous and representative examples are to be found at the Rijks Museum in Amsterdam, the Hermitage in St Petersburg, and the Dresden Gallery. Please note: the terms used in our auctions for engraving, etching, lithograph, plate, photogravure etc. are ALL prints on paper, and NOT blocks of steel or wood or any other material. "ENGRAVINGS", the term commonly used for these paper prints, were the most common method in the 1700s and 1800s for illustrating old books, and these paper prints or "engravings" were created by the intaglio process of etching the negative of the image into a block of steel, copper, wood etc, and then when inked and pressed onto paper, a print image was created. These prints or engravings were usually inserted into books, although many were also printed and issued as loose stand alone lithographs. They often had a tissue guard or onion skin frontis to protect them from transferring their ink to the opposite page and were usually on much thicker quality woven rag stock paper than the regular prints. So this auction is for an antique paper print(s), probably from an old book, of very high quality and usually on very thick rag stock paper. A RARE FIND! AND GREAT DECORATION FOR YOUR OFFICE OR HOME WALL.

Price: 7.99 USD

Location: New Providence, New Jersey

End Time: 2025-01-28T19:58:59.000Z

Shipping Cost: 7.95 USD