Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 169: 

Technical notes: The support consists of a single
piece of fine, dense, even, plain weave fabric, probably
linen. The tacking edges are preserved on the left, right
and lower edges. The motif extends beyond the folded
edges on three sides. Cusping is present on the left, right
and lower side. The ground consists of a thin and evenly
applied reddish layer followed by a light grey imprimatur.
This is visible in part where the paint has been
worn. The paint layers have been applied using an
opaque technique and only small impasto highlights can
be seen. The figures are intact without retouches apart
from one holding a sack in the bottom left-hand corner
of the painting. Partial retouches can be found in the
drapery and the foreground and background. The contours
of the left side of the table and the figure in the
centre of the image have been enhanced. The painting
underwent conservation treatment in 1832, 1949 and
1985.

Provenance: Possibly Prague War Booty 1648; KM
1795, no. 21 (as Gernandt van den Eeckhout); KM 1816,
no. 666.

Bibliography: NM Cat. 1867, p. 29 (as G. Van den
Eeckhout); Sander IV, pp. 98–99, no. 666 (as school of
Teniers); Göthe 1887, p. 169 (as anonymous Netherlands
master, c. 1650); Göthe 1893, pp. 133–134 (as anonymous
Dutch master); Göthe 1900, p. 138 (as anonymous
Dutch?, c. 1650); Granberg 1902, p. 111, no. 110 (as
anonymous Flemish Master, early 17th century); Göthe
1910, p. 149; NM Cat. 1958, p. 178 (as David Ryckaert
III); NM Cat. 1990, p. 322; Van Haute 1999, p. 170, no.
C 5 (as not by David Ryckaert).

Acording to Granberg (1902) this painting could have
been part of the Prague Booty 1648; The motif is the
parable of the labourers in the vineyard (Matt
21:33–46; Mark 12:1–10). In this parable Christ is
telling the story about a landowner who hired labourers
for his wineyard. He gave all the labourers the
same wage regardless of the hours they had worked.
The ones who had worked all day protested in vain.
“Thus will the last be first, and the first last” in the
kingdom of heaven, was Christ’s message.
In the painting we can see the owner of the vineyard,
an elderly man with a headdress resembling a turban, sitting
behind a table covered with a green velvet cloth.
Behind him a red drapery can be seen and in its shadow
stands a servant, while another kneels holding a bag of
money. The labourers are approaching the table, the
first, dressed in white, is pointing back at the others, who
are unsteady on their feet and supporting each other.
This work has been attributed to a large number of
artists, above all those influenced by David Teniers.
Göthe refers in his catalogue to Francois Duchatel, H.
M. Sorgh and the monogrammist C. R. Göthe also
speculated about Dutch masters like Jan Victors and Jan
Molenaer (Göthe 1893). In a later edition of his catalogue
(1910) Göthe mentions, however, that certain figures
resemble those of David Ryckaert III. The
Nationalmuseum catalogue 1958 contains the first certain
attribution to Ryckaert III resulting from a letter
from Gerson and Gudlaugsson.1 Romdahl and
Nicholsson have also attributed the work to David
Ryckaert III.
The attribution has however been questioned by
Van Haute (1999).
GCB
1 See NM curatorial files, 16–17 August 1956. [End]

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