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Provenant d'une importante collection particulière parisienne
DAVID TENIERS LE JEUNE (ANVERS 1610-1690 BRUXELLES)
L'Intérieur d'une cuisine avec une grande nature morte et une veille femme endormie
Details
DAVID TENIERS LE JEUNE (ANVERS 1610-1690 BRUXELLES)
L'Intérieur d'une cuisine avec une grande nature morte et une veille femme endormie
signé 'D. TENIERS. F' (en bas, vers la gauche, sur le promontoire)
huile sur panneau, transposé sur toile
45 x 66,4 cm (17 ¾ x 26 1⁄8 in.)
L'Intérieur d'une cuisine avec une grande nature morte et une veille femme endormie
signé 'D. TENIERS. F' (en bas, vers la gauche, sur le promontoire)
huile sur panneau, transposé sur toile
45 x 66,4 cm (17 ¾ x 26 1⁄8 in.)
Provenance
[Peut-être] Benjamin Vandergucht (1753-1794) ; [peut-être] sa vente, Christie's, Londres, 15 mars 1788 (= deuxième jour), lot 60 (comme 'The inside of a kitchen - An old woman is sleeping on the fore ground, three men are in the distance, the left hand of the picture is enriched with a great variety of utensils, herbage, &c. exquisitely painted in his best manner - A companion to lot 57') ;
[Peut-être] acquis au cours de celle-ci par Smith.
Rev. Robert Knight Longden (1817-1895), Brent Eleigh Rectory, Suffolk ; sa vente, Christie's, Londres, 8 février 1879, lot 118 ;
Acquis au cours de celle-ci par L. Lesser, 123 New Bond Street, Londres.
Vente anonyme, Drouot Richelieu, Paris, 30 juin 1993, (Mes Beaussant & Lefèvre), lot 42 ;
Acquis au cours de celle-ci par la famille de l'actuel propriétaire, Paris ;
Puis par descendance dans la famille.
[Peut-être] acquis au cours de celle-ci par Smith.
Rev. Robert Knight Longden (1817-1895), Brent Eleigh Rectory, Suffolk ; sa vente, Christie's, Londres, 8 février 1879, lot 118 ;
Acquis au cours de celle-ci par L. Lesser, 123 New Bond Street, Londres.
Vente anonyme, Drouot Richelieu, Paris, 30 juin 1993, (Mes Beaussant & Lefèvre), lot 42 ;
Acquis au cours de celle-ci par la famille de l'actuel propriétaire, Paris ;
Puis par descendance dans la famille.
Further Details
DAVID TENIERS THE YOUNGER (1610-1690), THE INTERIOR OF A KITCHEN WITH A LARGE STILL LIFE AND AN ELDERLY WOMAN ASLEEP, OIL ON CANVAS, TRANSFERRED FROM PANEL, SIGNED (LOWER LEFT)
According to Margaret Klinge, this meticulous painting by David Teniers (1610-1690) dates from the mid-1640s, the artist’s Antwerp period. Teniers ingeniously divides the composition into two parts through an ‘L’-shaped design, creating a shallower space in the left foreground, filled with pots, baskets, vessels, fruit, and vegetables, and a deeper space to the right, where figures can be seen conversing and smoking in the background. The two areas are converge in the figure of an elderly woman dozing to the right.
Teniers’ use of this ‘L’-shaped arrangement allows him to combine two distinct subjects: a still life and a peasant gathering. As his treatment of tavern scenes and rural life became increasingly refined, he paid greater attention to still-life elements within his works, as the remarkable arrangement of copper basins, earthenware vessels, and utensils here exemplifies. This seemingly random assortment of everyday objects is rendered with such care and mastery that it commands the viewer’s attention as a still life in its own right. This attention to detail is evident in several of Teniers’ paintings from the mid- to late 1640s, notably his Kitchen Interior of 1644 in the Mauritshuis, The Hague (fig. 1, inv. 260).
According to Margaret Klinge, this meticulous painting by David Teniers (1610-1690) dates from the mid-1640s, the artist’s Antwerp period. Teniers ingeniously divides the composition into two parts through an ‘L’-shaped design, creating a shallower space in the left foreground, filled with pots, baskets, vessels, fruit, and vegetables, and a deeper space to the right, where figures can be seen conversing and smoking in the background. The two areas are converge in the figure of an elderly woman dozing to the right.
Teniers’ use of this ‘L’-shaped arrangement allows him to combine two distinct subjects: a still life and a peasant gathering. As his treatment of tavern scenes and rural life became increasingly refined, he paid greater attention to still-life elements within his works, as the remarkable arrangement of copper basins, earthenware vessels, and utensils here exemplifies. This seemingly random assortment of everyday objects is rendered with such care and mastery that it commands the viewer’s attention as a still life in its own right. This attention to detail is evident in several of Teniers’ paintings from the mid- to late 1640s, notably his Kitchen Interior of 1644 in the Mauritshuis, The Hague (fig. 1, inv. 260).
Brought to you by
Olivia Ghosh
Specialist