The Baker Sounding His Horn - Adriaen van Ostade
Archival giclée
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Description
This etching by Adriaen van Ostade, titled 'The Baker Sounding His Horn', depicts a baker at a window, rendered with fine detail and tonal range typical of the artist's genre scenes.
Adriaen van Ostade (1610-1685) was a Dutch Golden Age painter and printmaker, known for his genre scenes depicting peasant life. His works often present everyday activities with a focus on realism and detail. Van Ostade's etchings, in particular, demonstrate his skill in capturing light and texture through fine lines and shading. He was a prolific artist, and his works were widely collected during his lifetime and continue to be appreciated for their historical and artistic value. 'The Baker Sounding His Horn' is an etching that portrays a baker standing at what appears to be a window or doorway, sounding a horn. The composition is simple yet effective, with the figure occupying the majority of the space. The baker, wearing a cap and an open shirt, is rendered with careful attention to detail, from the wrinkles on his face to the folds in his clothing. The etching technique allows for a range of tonal values, creating a sense of depth and atmosphere. The scene is framed by architectural elements, including a wooden beam with the artist's name inscribed on it, adding to the intimate, enclosed feeling of the image. A basket of grapes hangs to the right, perhaps indicating the baker's other wares.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Baker Sounding His Horn - Adriaen van Ostade
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Adriaen van Ostade
He was born in Haarlem in 1610, the eldest son of a weaver from the hamlet of Ostade near Eindhoven. He and his younger brother Isaack (also a painter) adopted "van Ostade" as a professional name. Both studied under Frans Hals, though neither absorbed much of Hals's style. The stronger influence on Adriaen was Adriaen Brouwer, whose earthy peasant scenes and tavern interiors set the template that Van Ostade refined over five decades.
His subjects were the daily activities of common people: peasants drinking, smoking, fighting, making music, gathering at fairs. The early paintings are rough and dark; as his career progressed, the interiors became lighter, the compositions more carefully arranged, the figures less grotesque. He was enormously productive. Estimates of his total output range from 385 to over 900 paintings, and at his death his studio contained more than two hundred unsold works.
In 1657 he married Anna Ingels, a wealthy Catholic woman from Amsterdam, and appears to have converted to Catholicism himself. He continued painting without decline into old age; two of his latest dated works, from 1676, show no weakening. He was buried in Haarlem in 1685, at seventy-four.
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