Godefridus Schalcken, 1690 - nkuzi omume na-abaghị uru - mbipụta nka mara mma

Nkọwa ngwaahịa nka izugbe

Ihe nka nka A Useless Moral Lesson onye na-ese ihe sere ya Godefridus Schalcken na 1690. The 330 year old version of the work of art was made with the size of height: 34,8 cm width: 28,1 cm | height: 13,7 in width: 11,1 in. Mmanụ na panel onye na-ese ihe ji mee ihe dị ka onye na-eme ihe nkiri. Signed: G. Schalcken. is the painting's inscription. Moveover, this piece of art is included in the digital collection of Maurithuis. Site n'ikike nke Mauritshuis, The Hague (ọha na eze). In addition to that, the artwork has the creditline: Evert van Sypesteyn, Utrecht, until 1713; his sale, Utrecht, 11 April 1714 (Lugt 244), nos. 4-5 (450 guilders, together with inv. no. 161); Adriaan Bout, The Hague; his sale, The Hague, 11 August 1733 (Lugt 427), nos. 75-76 (for 930 guilders to Philip van Dijk for Prince William IV, together with inv. no. 161); Prince William IV, Het Loo Palace, Apeldoorn, 1733-1751; by inheritance to Prince William V, Het Loo Palace, Apeldoorn and The Hague, 1751-1795; both paintings confiscated by the French, transferred to the Muséum central des arts/Musée Napoléon (Musée du Louvre), Paris, 1795-1815; Royal Picture Gallery, housed in the Prince William V Gallery, The Hague, 1816; transferred to the Mauritshuis, 1822; on loan to the Gemeentemuseum, Arnhem, 1952-1977 (together with inv. no. 161). In addition to this, the alignment is in portrait format ma nwee ihe onyonyo nke 1: 1.2, nke pụtara na ogologo ya dị 20% dị mkpụmkpụ karịa obosara.

Họrọ ngwa ngwaahịa gị

Anyị na-enye ihe dị iche iche dị iche iche na nha maka ngwaahịa ọ bụla. Nha na ihe ndị a bụ nhọrọ anyị na-enye gị maka nkeonwe:

• Mbipụta kwaaji: The canvas print, which should not be confused with a painting on a canvas, is an image printed from a UV direct printing machine. It produces the unique look of three dimensionality. A printed canvas of your favorite artwork will allow you to transform your personal into a large artwork. Canvas Prints have the advantage of being relatively low in weight, meaning that it is quite simple to hang up the Canvas print without the use of any wall-mounts. Hence, canvas prints are suited for all kinds of walls.
• Aluminom dibond (ọkpụkpụ ọla): Aluminium Dibond prints are metal prints with an outstanding effect of depth. Its non-reflective surface structure creates a contemporary impression. The Direct Print on Aluminum Dibond is the ideal start to the sophisticated world of fine art prints on aluminum. For your Aluminium Dibond option, we print the favorite work of art onto the surface of the white-primed aluminum composite. The white & bright parts of the original artpiece shine with a silk gloss, however without the glow. This print on Aluminum Dibond is one of the most demanded entry-level products and is a sophisticated way to showcase art reproductions, since it draws focus on the image.
• Mbipụta enyo acrylic: A glossy print on acrylic glass, often named a an art print on plexiglass, makes an artwork into magnificient home décor. Above all, it forms a distinct alternative to canvas or dibond fine art prints. With a glossy acrylic glass fine art print contrasts as well as small color details become more recognizeable with the help of the very subtle tonal gradation in the picture. The plexiglass protects your custom art print against light and heat for many decades.
• Bipụta akwụkwọ mmado n'ihe kwaaji: The poster is a UV printed canvas paper with a slightly roughened texture on the surface. The print poster is optimally suited for putting your art replica with the help of a special frame. Please note, that depending on the size of the canvas poster print we add a white margin of around 2-6cm around the print motif, which facilitates the framing with your custom frame.

Ihe dị mkpa: We try everything to describe the products as closely as possible and to display them visually. Still, the colors of the print materials, as well as the printing may vary slightly from the image on the screen. Depending on your settings of your screen and the nature of the surface, not all color pigments are printed as exactly as the digital version. Since our art reproductions are printed and processed manually, there may as well be slight discrepancies in the motif's size and exact position.

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Evert van Sypesteyn, Utrecht, until 1713; his sale, Utrecht, 11 April 1714 (Lugt 244), nos. 4-5 (450 guilders, together with inv. no. 161); Adriaan Bout, The Hague; his sale, The Hague, 11 August 1733 (Lugt 427), nos. 75-76 (for 930 guilders to Philip van Dijk for Prince William IV, together with inv. no. 161); Prince William IV, Het Loo Palace, Apeldoorn, 1733-1751; by inheritance to Prince William V, Het Loo Palace, Apeldoorn and The Hague, 1751-1795; both paintings confiscated by the French, transferred to the Muséum central des arts/Musée Napoléon (Musée du Louvre), Paris, 1795-1815; Royal Picture Gallery, housed in the Prince William V Gallery, The Hague, 1816; transferred to the Mauritshuis, 1822; on loan to the Gemeentemuseum, Arnhem, 1952-1977 (together with inv. no. 161)