David Teniers II (Antwerp 1610-1690 Brussels)
David Teniers II (Antwerp 1610-1690 Brussels)

Le Cuisinier Flamand; A kitchen interior with a cook preparing game at a table

細節
David Teniers II (Antwerp 1610-1690 Brussels)
Le Cuisinier Flamand; A kitchen interior with a cook preparing game at a table
signed 'D·TENIERS· FEC' (lower left), and dated '1669' (upper right)
oil on canvas
60.9 x 48.3 cm.
來源
M. Bellanger, Paris (when engraved in 1748).
Anonymous sale; Paris, 18 February 1790, lot 9.
Captain Frederick Marryat, R.N., C.B., F.R.S. (1792-1848).
Thomas Howard, Blackheath; Christie's, London, 10 May 1873, lot 83, (410 gns. to Agnew).
H.W.F. Bolckow; Christie's, London, 2 May 1891, lot 108, (267 gns. to McLean).
James Ross, Montreal; Christie's, London, 8 July 1927, lot 25, (162 gns. to Duits).
with Galerie Sanct Lucas, Vienna.
Private collection, Germany.
with Noortman, Maastricht, 1988.
出版
J. Smith, A Catalogue Raisonné, etc., III, London, 1831, p. 322, no. 228.
M. Klinge and D. Lüdke, in the catalogue of the exhibition, David Teniers der Jüngere 1610-1690 - Alltag und Vergnügen in Flandern, Staatliche Kunsthalle Karlsruhe; and Sonderausstellung des Landes Baden-Württemberg, 2005-2006, p. 335, under no. 116.
展覽
London, British Institution for promoting the Fine Arts in the United Kingdom, 1835, no. 125 (on loan by Mrs. Marryat).
Antwerp, Vleeshuis, Tis al vant Vercken, 27 December 1988-27 January 1989.
刻印
Renée Elisabeth Marlié Lépicié, Le Cuisinier Flamand, 1748, in reverse, Staatliche Kunsthalle, Karlsruhe (inv. no. VI/2877).

榮譽呈獻

Kimberley Oldenburg
Kimberley Oldenburg

查閱狀況報告或聯絡我們查詢更多拍品資料

登入
瀏覽狀況報告

拍品專文

This picture gained its French appellation, Le Cuisinier Flamand, from the title given to an engraving made after it by Renée-Elisabeth Lepicié in 1748 (Nagler, 1839, VII, p. 448, no. 4; see fig.1). The kitchen interior was a theme that Teniers first took up in the 1640s and frequently returned to throughout his career. The earliest known dated example is a picture of 1643 (The Prado, Madrid; inv. no. 1798), in which a seated man is opening mussels in a well-stocked kitchen with a hearth behind. The following year Teniers made a more ambitious treatment of the subject, portraying his wife peeling apples, with their son David at her side, at a laden table in a large kitchen (Mauritshuis, The Hague; inv. no. 260), and in 1646 he painted the Palace Kitchen (Hermitage, St. Petersburg). The exact meaning of these subjects has been debated. Van Thiel opined that the inclusion of a swan and a pie in the Mauritshuis picture suggests that it might have been painted for a wedding feast, while Margret Klinge later suggested that it may have been executed in honour of his wife, or as a more general paradigm of domestic virtue (see J. van Thiel, Openbaar Kunstbezit, XIV, 1970, no. 40; and M. Klinge, in the catalogue of the exhibition, David Teniers the Younger, Antwerp, 1991, p. 120, no. 36). More plausible perhaps is Klinge's interpretation of these pictures as displays of earthly abundance (ibid.). As exemplified by the present work, Teniers includes creatures from the four elements: fish from the sea, birds from the air, game and domestic animals from the earth, while fire is symbolised by the hearth beyond, to affect a representation of the Four Elements within a domestic genre scene.