Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 99:

Technical notes: The painting’s original support,
now lined, is a single piece of medium-weight, loosely
woven, plain weave, single-threaded fabric, with a weave
count per cm of 10 horizontal and 11 vertical threads, of
similar construction to that of no. 98. The tacking edges
of the original fabric support have been cropped and the
painting attached to a non-original stretcher at the tacking
edges of the lining fabric. No cusping is visible, indicating
that the painting may have been slightly cut down
along all four edges.
The preparatory layers consist of a thick, evenly
applied, white ground, followed by a thin, semi-transparent
light brown imprimatura.

Paint was applied thinly in opaque and semi-transparent
layers, with slight impastos in the whites, such as the
collar of the young apprentice seated painting on the left
and the sheets of paper on the drawing board of the
apprentice drawing on the right and lying on the floor in
the right foreground, as well as in the tiny highlights on
the metal studs of the painter’s chair and the lock in the
door on the right. The light brown imprimatura is visible
in many areas of the figures and background.
The paint surface has suffered extensive abrasion overall.
The light brown imprimatura is clearly visible in
abraded areas of the painting. A thick layer of discoloured
old varnish is present. Retouching covers losses
of paint and ground layers along the edges. Scattered
small, discoloured retouches occur in both the figures
and the background wall. Several horizontal cracks
through the paint and ground layers may have resulted
from the rolling of the fabric support. The painting
underwent conservation treatment in 1983.

Provenance: Coll. Holterman-Wahrendorff; KM 1861,
no. 1290; bequeathed by Martin von Wahrendorff in
1863.

Exhibited: Stockholm, 1956, no. 7 (as Balthasar van den
Bossche); Stockholm 1978–79; Stockholm 1980, no. 11;
Stockholm 1991, no. 7; Stockholm 2010, no. 69.

Bibliography: NM Cat. 1867, p. 23 (as Pieter van
Bloemen); Sander IV, no. 90, p. 126 (as anonymous master);
Frimmel 1886, p. 30; Göthe 1887, p. 23 (as
Balthasar van den Bossche); Göthe 1893, pp. 29–30 (as
Balthasar van den Bossche); Göthe 1900 (as Jan Josef
Horemans); Bautier 1924, p. 136 (as Balthasar van den
Bossche); NM Cat. 1958, p. 96 (as attributed to Jan Josef
Horemans); NM Cat. 1990, p. 175.

This painting is a companion piece to no. 98.
At the centre of the work an elderly painter is depicted
sitting at his easel. He is wearing a pair of spectacles
as well as a hat trimmed with fur and a grey cloak. On
the left an apprentice is standing mixing paint. There
are a number of pupils seated at their easels or with
sketchbooks in the room. An old woman, probably a
servant, is entering through the door on the right.
The light falls through a large studio window on the
left. The oval portrait in the bottom right-hand corner
was considered by Göthe (1893) to be a self portrait of
the artist as a young man.

One remarkable circumstance is that the Nationalmuseum’s
work is listed as cat. no. 37 and fig. no. 3 in
a catalogue of an exhibition of artists’ studios arranged
in Nijmegen in 1964. This must, however, be a mistake
as no such loan has ever been made.1
GCB

1 Nijmegen, 1964, Het Schildersatelier, 15 April−19 May 1964, cat. no. 37,
fig. 3. [End]

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