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DE HOOGHE, Romeyn (1645 - 1708). Eau trouble, Gain de Pescheur. Hoe hooger d'apen klimmen willen, hoe meer men siet haar naakte billen. [?Haarlem: 1689]. Broadsheet (21 6/8 x 15 6/8 inches), illustrated with a fine engraved plate (15 x 15 inches), above the headline "The Fisherman is the Winner, when the Water is Muddied" / "The higher the monkey is prepared to climb, the more likely he is to see her naked buttocks", and three columns of letterpress (one or two spots and pale stains). A broadside referring to William III and the victory of Protestantism over Catholicism in Britain; with an engraving showing "an interior with on the left figures of Religion (1) and Truth (2) sitting underneath a canopy, on their sides the Dutch Lion (3), in front of them William III (4) kneeling and presenting a dish with oranges; on the right are Catholic and Jesuit clerics, including Father Petre (7), in the foreground the French cock (9) pursued by a pack of dogs" (British Library online). Provenance: From the Krown & Spellman Collection, their sale, Heritage, 4th November, 2015 lot 45243 The first political iconographer of the Netherlands and its first great caricaturist.Romeyn de Hooghe was the most significant and prolific Netherlandish engraver in the second half of the seventeenth century (The Getty Institute) Romeyn de Hooghe was born in Amsterdam in 1645 "and worked there until c.1680-1682, when he moved to Haarlem, where he died in 1708. For several Netherlandish provinces, he created interior architectural paintings and other works. In 1662 De Hooghe was invited by Adam Frans van der Meulen (1632-1690) to Paris, where he etched the baptism of the Dauphin in 1668. There he met King Jan III Sobieski of Poland and was knighted by him in 1675. "De Hooghe painted, engraved, sculpted, designed medals, enameled, taught drawing school, and bought and sold art as a dealer. During the 1690s he made sculptures for the palace of Het Loo (1689-1692), designed and etched triumphal arches and medals for William III's entry into the Hague (1691), and designed the Haarlem market festival decorations for the peace celebration after the capture of Naumur (1695). His political, legal, and economic interests are evident in his writings: Schouburgh der Nederlandsche Veranderingen (1674), Æsopus in Europa (1701), Spiegel van Staat des Vereenigde Nederlanden (1706), and Hieroglyphica of Merkbeelden der oude Volkeren (1735), all of which he also illustrated. He was well-educated and may have attended law classes at a university in Harderwijk or Leiden. "De Hooghe's earliest print, after Nicolas Berchem, was made around 1662. He created about 3500 images, most after his own designs, some after other artists, for himself and other authors, publishers, and printers. His plates were often retouched and adapted for later events, sometimes by De Hooghe, sometimes by others. He etched allegories and mythological scenes, portraits, caricatures, political satires, historical subjects, landscapes, topographical views (especially of Netherlandish cities), battle scenes, genre scenes, title pages, and book illustrations. From 1667-1691 he illustrated various newspapers: Hollandsche Mercurius, Princelycke almanach, Orangien Wonderspiegel. "The first political iconographer of the Netherlands and its first great caricaturist, De Hooghe was closely associated with William of Orange. He repeatedly caricatured James II and Louis XIV, sometimes using pseudonyms on his most audacious images. He was an expressive master of physiognomy; and his original, lively style displayed the baroque fashion for spectacular and allegorical fantasy. Romeyn de Hooghe was the most significant and prolific Netherlandish engraver in the second half of the seventeenth century" (Anne-Marie Schaaf, The Getty Research Institute, Research Library). BM Satires 1220; Muller 1863-1882 2758 a. N° de ref. del artículo 72edv151
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