Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 112:

Technical notes: The support consists of a single
piece of medium-coarse plain-weave fabric which is identical
with the canvas of no. 113. The two canvases may
perhaps have been cut from the same bolt. The painting
has been marouflaged to a piece of fibreboard and the
verso covered with a piece of fabric. All the edges have
been trimmed to fit the four sides of the current nonoriginal
stretcher. Vertical broad cusping can be seen
over the entire painting and seem to correspond to those
in no. 113. The whiteish ground is applied evenly and
thickly and covers the texture the support. The brown
imprimatura has been applied thinly and is semi-transparent
as is in no. 113. The paint surface is simply
applied and consists mainly of a thin, opaque layer.
Between the figures in the foreground and background
there are areas in which the ground is visible, which indicates
that the figures have been outlined. There are a few
areas with highlights in impasto in white. The painting is
executed delicately and with many details and the palette
and brushwork is identical with no. 113. The painting
underwent conservation treatment in 1947 and 1977.
provenance: Johan Gabriel Stenbock 1705, Stockholm;
Christina Beata Lillie, 1705; Erik Sparre af Sundby; Ulrika
Lovisa Sparre af Sundby 1727; Carl Gustaf Tessin
1735; Carl Gustaf Tessin 1739; Tessin−Fredrik I−Lovisa
Ulrika 1749; Lovisa Ulrika 1760, Drh. no. 24; KM 1795,
no. 228; KM 1816, no. 157; KM 1865, no. 157.
exhibited: Stockholm 2000, no. 117.
bibliography: Sander I, p. 107, no. 24; Göthe 1887, p.
132; Göthe 1893, pp. 165–166; NM Cat. 1958, p. 106;
NM Cat. 1990, p. 191.

This genre painting entitled Private Meal is signed
clearly under the tabletop in the bottom left and has
been painted on simple, medium-coarse plain-weave
fabric similar to that of no. 113. The latter is a companion
piece and was probably painted on fabric from
the same bolt. Both paintings have been cropped and
display resemblances in their colour surfaces and the
underlying whiteish ground and imprimatura in a
shade of brown. Several versions of the two paintings
are known, for instance in the collections of the Brun -
swick museum of art, where there are two works with
similar motifs (cat. nos. 639, 640), in the collections at
Widerhofer, where there is a suite of works by Jan
Baptist Lambrechts that resemble the present painting
as well as nos. 113–115 as well as in the Musée des
Beaux-Arts in Lille where the versions of motifs of this
work and its companion piece can also be found. Lambrechts’
inn scenes depict a well-dressed man and
woman sitting at a table, both with chalk pipes in their
hands, and in the background two women and a man
with a hat, all three dressed in simpler garb and who
seem to be peasants. The painting is characterised by
its delicate and detailed execution and its individual
details, among them the figures, the jug on the table
and the plate. The significance of the motif could also
be linked to its companion piece which could be seen
as a development of the narrative content. It depicts a
new couple in an inn interior with peasants in the
background. An item of clothing hanging over the
edge of the wooden wall of an adjacent room suggests
that the inn provides not only food and drink but also
erotic interludes. A version of this motif was sold at
Christie’s in London in the spring of 2006.1
KS
1 See Christie’s Auction, London, 14−23 February 2006, lot 1913. [End]

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Jan Baptiste Lambrecht | Måltid på tu man hand | Nationalmuseum

Private Meal | Nationalmuseum

Foto: Erik Cornelius / Nationalmuseum 2000