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Lot Essay
David Teniers turned repeatedly to the theme of kitchen interiors from about 1643 on, the year in which he painted The Kitchen in The Museo del Prado, Madrid (fig. 1). Though the precise interpretation of these works has been a point of debate, Margaret Klinge has plausibly posited that they represent the abundance of earthly goods as a means of subtly reminding the viewer not to be caught up in sensual, worldly pleasures (see M. Klinge, David Teniers the Younger: Paintings, Drawings, 1991, p. 120, under no. 36). As with other kitchen interiors of the period, here Teniers alludes to all four elements: mussel shells from the sea at lower left, birds from the air, apples from the earth, and fire symbolized by the hearth in the background. These still life elements, as well as the vibrant red cap draped over the chair back and the blue kraak porcelain plate carried by the boy at right, afforded Teniers the opportunity to add vibrant passages of local color. Such details distinguish his paintings of the 1640s from his earlier monochrome works.
Paintings by Teniers were among the most highly prized works of art in the 18th and early 19th centuries, with this painting having an especially illustrious provenance. At the 1801 sale of the exceptional collection of mostly Dutch and Flemish paintings formed by Claude Tolozan, the painting was described as 'from the master's best period, and possibly, on the side of perfection', with specific praise reserved for its 'clear, silvery tone'. Presumably on the advice of Dominic Vivant, Baron Denon, who had acquired the painting at Tolozan's sale, it then entered the collection of Empress Joséphine, first wife of Napoleon Bonaparte, where it was installed at the Château de Malmaison. Several decades later the English art historian and dealer John Smith, who knew the painting when it was in the collection of Joseph Barchard, likewise praised it as being 'admirably painted' (J. Smith, op. cit., p. 465, no. 185).
We are grateful to Margret Klinge for confirming the attribution of this painting following firsthand inspection of the work and suggested a date of the late 1640s.
Paintings by Teniers were among the most highly prized works of art in the 18th and early 19th centuries, with this painting having an especially illustrious provenance. At the 1801 sale of the exceptional collection of mostly Dutch and Flemish paintings formed by Claude Tolozan, the painting was described as 'from the master's best period, and possibly, on the side of perfection', with specific praise reserved for its 'clear, silvery tone'. Presumably on the advice of Dominic Vivant, Baron Denon, who had acquired the painting at Tolozan's sale, it then entered the collection of Empress Joséphine, first wife of Napoleon Bonaparte, where it was installed at the Château de Malmaison. Several decades later the English art historian and dealer John Smith, who knew the painting when it was in the collection of Joseph Barchard, likewise praised it as being 'admirably painted' (J. Smith, op. cit., p. 465, no. 185).
We are grateful to Margret Klinge for confirming the attribution of this painting following firsthand inspection of the work and suggested a date of the late 1640s.