Jan Maurits Quinckhard (1688-1772)

A group portrait of a family, seated small full lengths at a table in an interior, eating oysters

細節

Jan Maurits Quinckhard (1688-1772)
A group portrait of a family, seated small full lengths at a table in an interior, eating oysters
signed and dated lower left JM.Quinckhard fecit 1735
oil on canvas
91.8 x 77.4 cm

來源

Mrs.L. Tholen-de Ranitz, The Hague, 1934, from whom purchased by A. Staring for ° 750

出版

A. Staring, 'De Beeldende Kunst in de achttiende eeuw', in H.E. van Gelder, Kunstgeschiedenis der Nederlanden, 1946, p.630, fig.621
A. Staring, De Hollanders Thuis, 1956, p.120, no.XXVII, with ill.
L. de Vries, Diamante Gedenkzuilen en leerzaeme voorbeelden, een bespreking van Johan van Gools Nieuwe Schouburg, 1990, p.132, fig.70

展覽

Rotterdam, Boymans Museum, Cornelis Troost en zijn tijd, 27 July-15 September 1946, p.16
London, Allied Circle, Dutch Conversation Pieces of the 18th and 19th Centuries, October-November 1947, no.11
Amsterdam, Rijksmuseum, Het Hollandsche Babbelstuk, 1730-1850, 9 December-24 January 1947/8, p.12, no.28, fig.4

拍品專文

As observed by Staring, loc.cit., 1956, the present lot is a characteristic 'conversation piece', as it developed in the 18th century, whose major exponents were Cornelis Troost, Tibout Regters, Hieronymus Lapis and later on Wybrand Hendriks and Adriaan de Lelie. Staring used the term conversation piece to describe family group portraits with the sitters depicted small full length in their domestic surroundings. For inspiration the 18th century artists turned to 17th century prototypes notably by Gonzales Coques, Gillis van Tilborch, Pieter de Hooch, Metsu, Terborch and Palamedesz. The family in the present lot has not been identified but has been described by A. Staring, loc.cit. as Mennonite, because of their sober appearance.

See colour illustration