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Additional notes:
  This is not a modern print. This impression is more than 160 years old. The strike is crisp and the lines are sharp. The original oil on panel is housed in the Galleria Sabauda.

Extra Information:
  A young woman leaning through a window while picking grapes, wearing fur-trimmed dress and looking at the viewer. Formerly attributed to Gabriel Metsu (Dutch, 1629-1667).
Artist Biography:
   Gerrit Dou also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. He specialised in genre scenes and is noted for his trompe l'oeil "niche" paintings and candlelit night-scenes with strong chiaroscuro. He was a student of Rembrandt. Dou was first trained by his father, a glazier and glass engraver. From 1628 to 1631 he studied with Rembrandt, adopting the master’s choice of subject matter and his use of impasto, careful draftsmanship, and dramatic treatment of light and shadow—e.g., Rembrandt’s Mother (c. 1630). After Rembrandt left Leiden in 1631, his influence on Dou gradually weakened. Dou continued to paint on wood in a small scale, often enclosing his works in specially made cases, which he decorated. The portraits of his Rembrandtesque phase gave way to a predominance of domestic genre subjects, rich in accessory details. His colours became cooler and his technique more highly refined. The enamel-smooth surfaces of his works are equaled by only a few contemporary painters of still life in the 17th-century Netherlands. Still life itself played an important role in Dou’s work: for example, his kitchen scenes are often crowded with vegetables, poultry, and utensils—as in The Young Mother (1658). His most characteristic device is the painted “frame within the frame,” pictures where the viewer looks through a grayish stone window into a domestic interior—e.g., A Poulterer’s Shop (c. 1670). After 1650 he painted many nocturnal scenes lit by candlelight—e.g., Night-School (c. 1660). Dou’s jewel-like effects and his laboriously perfected style often became, in the hands of his numerous followers, an empty and tedious accomplishment.

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