Lot Essay
The composition follows the woodcut by Hans Sebald Beham (see F.F.R. de Maar, Vijf Eeuwen Tandheelkunde in de Nederlandse en Vlaamse Kunst, 1993, p. 21, fig. 1.3)
Marlier (loc.cit) mentions only one other version of the present lot, that in the Bayerische Staatsgemälde Sammlungen, Munich, inv.no. 5012, which is signed and dated 1616
Two more versions, which have been attributed to Pieter Brueghel II, are recorded in the R.K.D., The Hague: in the collection of Vittorio Duca, Milan, offered at Sotheby's London, 9 June 1983, lot 66, with ill.; Anon. Sale, Sotheby's London, 16 July 1980, lot 62, with ill.
The inscription 'Salve' on the banner is taken from the woodcut, where the inscription reads Wilde Boeren Salue. The scene of the dentist at work, although copied from Beham, derives from Lucas van Leyden's etching of 1523 (B. 157)
See colour illustration
Marlier (loc.cit) mentions only one other version of the present lot, that in the Bayerische Staatsgemälde Sammlungen, Munich, inv.no. 5012, which is signed and dated 1616
Two more versions, which have been attributed to Pieter Brueghel II, are recorded in the R.K.D., The Hague: in the collection of Vittorio Duca, Milan, offered at Sotheby's London, 9 June 1983, lot 66, with ill.; Anon. Sale, Sotheby's London, 16 July 1980, lot 62, with ill.
The inscription 'Salve' on the banner is taken from the woodcut, where the inscription reads Wilde Boeren Salue. The scene of the dentist at work, although copied from Beham, derives from Lucas van Leyden's etching of 1523 (B. 157)
See colour illustration
