Beskrivning: Se även beskrivning i den engelska versionen
 

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 113: 

Technical notes: The support consists of a single
piece of medium-coarse plain-weave fabric and probably
comes from the same bolt as no. 112. 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 non-original
stretcher. Horizontal broad cusping can be seen over the
entire painting and seem to correspond to those in no.
112. The whiteish ground is applied evenly and thickly
and covers the texture of the support completely. The
brownish imprimatura has been applied thinly and is partially
visible around the outlines of the figures. The paint
layer consists of opaque layers. Between the figures in
the foreground and background there are areas in which
the ground is visible. There are a few areas with highlights
in impasto in white. It is likely that a larger piece
of fabric from the same bolt was grounded at one and the
same time for nos. 112 and 113 and then cut into two
smaller canvases. The painting underwent conservation
treatment in 1947.

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. 23; KM 1795,
no. 232; KM 1816, no. 160; KM 1865, no. 160.

Exhibited: Stockholm 2000, no. 117.

Bibliography: Sander I, p. 107, no. 23; Göthe 1887,
pp. 132–133; Göthe 1893, p. 166; NM Cat. 1958, p. 106;
NM Cat. 1990, p. 191.

This painting is a companion piece to the previous
entry (no. 112) and is clearly signed with the monogram
“LB” in pale yellowish-brown on the barrel in
the left of the painting. Technically and stylistically it
is similar to no. 112 and the two were probably produced
together. The motif is an inn scene with a man
and woman sitting at a table with a tankard of ale next
to them and a plate and a glass standing on a barrel. In
the background we can see a man and woman who
seem to be peasants and a composition with various
pitchers and plates on a shelf that resembles a still life.
The individual objects are rendered in detail and in
places the highlights on the various vessels are
enhanced in white. The two main figures have been
outlined against the surrounding scene with the other
figures, a wooden wall and brickwork that is exposed
in places.
KS [End]

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