Isack van Ostade, 1646 - Travellers outside an Inn - fine art print

Specification of the print product

Travellers outside an Inn was created by the male artist Isack van Ostade. The original version of the artpiece has the dimensions of height: 75,8 cm width: 109,4 cm | height: 29,8 in width: 43,1 in. Oil on panel was applied by the Dutch artist as the medium of the artpiece. The original artpiece has the following inscription: signed and dated: Isack: van. Ostade 1646. Today, the artwork belongs to the Mauritshuis's digital collection in The Hague, South Holland, Netherlands. We are glad to state that this public domain artwork is supplied with courtesy of Mauritshuis, The Hague. The creditline of the artwork is the following: Probably Pieter Fouquet Gallery, Amsterdam; Pierre-Louis Randon de Boisset, Paris, until 1776; his sale, Paris, 27 February-25 March 1777 (Lugt 2652), no. 118 (for 15,000 francs to Le Brun for Radix Sainte-Foix); Claude-Pierre-Maximilien Radix Sainte-Foix, Paris, 1777; possibly Louis de Noailles, Maréchal de France, Paris; Joseph Duruey, Paris, 1791-1794; his sale, Paris, 21 June 1797 (Lugt 5625), no. 7 (for 7,400 francs to Robit); François-Antoine Robit, Paris, 1797-1801; his sale, Paris, 6 December 1800 (Lugt 6161), no. 77 and again offered for sale at second Robit sale, Paris, 11-18 May 1801 (Lugt 6259), no. 78 (for 9,020 francs to Séguin); Armand Séguin, Paris, 1801; Ferdinand d’Artois, Duc de Berry, Paris; his widow, Marie-Caroline-Ferdinande-Louise de Bourbon, Duchesse de Berry, Paris; offered for sale in London, Christie’s, 1834 (cf. Lugt 13608a), no. 33, unsold and incorporated in the Berry sale, Paris, 4-6 April 1837 (Lugt 14643), no. 18 (for 32,655 francs to Demidoff); Anatole Demidoff, San Donato, 1837-1868; his sale, 18 April 1868 (Lugt 30437), no. 9 (for 104,000 francs to Mannheim for the 4th Marquess of Hertford); Richard Seymour-Conway, 4th Marquess of Hertford, Paris, 1868-1870; by inheritance to his illegitimate son, Richard Wallace, Paris, 1870 (inventory 1871, no. 359; exhibited at the Bethnal Green Museum, London, 24 June 1872-April 1875, no. 173; subsequently exhibited as part of The Wallace Collection, Hertford House, London); his widow, Amélie-Julie-Charlotte Castelnau, Lady Wallace, Hertford House, London, 1890; acquired by Alfred de Rothschild, London, in exchange for another painting by Isack van Ostade (London, The Wallace Collection, inv. no. P 73), after 1890 and before 1898; by inheritance to his illegitimate daughter, Almira, Countess of Carnarvon, 1918; Knoedler Gallery, New York (inv. no. 15881), with Colnaghi Gallery, London and Arthur Ruck Gallery, London, March 1924; sold to Jan Kleykamp of Kleykamp Gallery, The Hague, October 1925 (sold to the Mauritshuis for 35,000 guilders); acquired with the support of the Rembrandt Association and private individuals, 1925. In addition to that, the alignment is landscape and has a side ratio of 1.4 : 1, which implies that the length is 40% longer than the width.

Product materials our customers can pick

We offer a range of different sizes and materials for every product. Pick your favorite size and material among the following options:

• Aluminium print (aluminium dibond): Aluminium Dibond prints are metal prints with a true depth effect. A direct Direct Print on Aluminum Dibond is the excellent introduction to art reproductions produced with aluminum. Colors are luminous and bright, the details of the print appear crisp and clear, and you can truly perceive a matte appearance of the surface.
• Canvas: A printed canvas material applied on a wood stretcher frame. Additionally, a canvas print produces a soft and positive effect. How can I hang a canvas on my wall? The advantage of canvas prints is that they are relatively low in weight. This means, it is easy and straightforward to hang up the Canvas print without extra wall-mounts. Canvas prints are suitable for all types of walls.
• Printed poster on canvas material: A poster print is a printed flat cotton canvas with a granular finish on the surface. The printed poster is suited for framing the art print with a personal frame. Please bear in mind, that depending on the absolute size of the canvas poster print we add a white margin of approximately 2-6cm around the print, which facilitates the framing with your custom frame.
• Print on acrylic glass: An print on acrylic glass, which is sometimes referenced as a print on plexiglass, will change the original into amazing home décor and forms a great alternative option to aluminium or canvas fine art replicas. The acrylic glass protects your custom fine art print against light and heat for between four and 6 decades.

Legal disclaimer: We try our best in order to describe the art products as precisely as possible and to showcase them visually. Still, the colors of the print materials, as well as the printing may diverge somehwat from the representation on your monitor. Depending on your settings of your screen and the condition of the surface, color pigments can unfortunately not be printed as realistically as the digital version on this website. Considering that all our art prints are printed and processed manually, there might also be slight variations in the exact position and the size of the motif.

The product

Artwork table

Contextual artist metadata

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Supplemental information by Mauritshuis (© Copyright - by Mauritshuis - Mauritshuis)

Probably Pieter Fouquet Gallery, Amsterdam; Pierre-Louis Randon de Boisset, Paris, until 1776; his sale, Paris, 27 February-25 March 1777 (Lugt 2652), no. 118 (for 15,000 francs to Le Brun for Radix Sainte-Foix); Claude-Pierre-Maximilien Radix Sainte-Foix, Paris, 1777; possibly Louis de Noailles, Maréchal de France, Paris; Joseph Duruey, Paris, 1791-1794; his sale, Paris, 21 June 1797 (Lugt 5625), no. 7 (for 7,400 francs to Robit); François-Antoine Robit, Paris, 1797-1801; his sale, Paris, 6 December 1800 (Lugt 6161), no. 77 and again offered for sale at second Robit sale, Paris, 11-18 May 1801 (Lugt 6259), no. 78 (for 9,020 francs to Séguin); Armand Séguin, Paris, 1801; Ferdinand d’Artois, Duc de Berry, Paris; his widow, Marie-Caroline-Ferdinande-Louise de Bourbon, Duchesse de Berry, Paris; offered for sale in London, Christie’s, 1834 (cf. Lugt 13608a), no. 33, unsold and incorporated in the Berry sale, Paris, 4-6 April 1837 (Lugt 14643), no. 18 (for 32,655 francs to Demidoff); Anatole Demidoff, San Donato, 1837-1868; his sale, 18 April 1868 (Lugt 30437), no. 9 (for 104,000 francs to Mannheim for the 4th Marquess of Hertford); Richard Seymour-Conway, 4th Marquess of Hertford, Paris, 1868-1870; by inheritance to his illegitimate son, Richard Wallace, Paris, 1870 (inventory 1871, no. 359; exhibited at the Bethnal Green Museum, London, 24 June 1872-April 1875, no. 173; subsequently exhibited as part of The Wallace Collection, Hertford House, London); his widow, Amélie-Julie-Charlotte Castelnau, Lady Wallace, Hertford House, London, 1890; acquired by Alfred de Rothschild, London, in exchange for another painting by Isack van Ostade (London, The Wallace Collection, inv. no. P 73), after 1890 and before 1898; by inheritance to his illegitimate daughter, Almira, Countess of Carnarvon, 1918; Knoedler Gallery, New York (inv. no. 15881), with Colnaghi Gallery, London and Arthur Ruck Gallery, London, March 1924; sold to Jan Kleykamp of Kleykamp Gallery, The Hague, October 1925 (sold to the Mauritshuis for 35,000 guilders); acquired with the support of the Rembrandt Association and private individuals, 1925