Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 114:

Technical notes: The support consists of a single
piece of plain-weave fabric similar to no. 115. The two
canvases have probably been cut from the same bolt. The
painting has been marouflaged to a piece of hardboard
and all the edges trimmed along the four sides of the
stretcher. Only fragments of the tacking edges have been
preserved. The pale brownish ground has been applied
evenly and thinly and covers the entire texture of the
canvas. The paint surface is simply composed 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. The fabric of the canvas, the pale brownish
ground as well as the palette and brushwork are identical
to no. 115. The painting underwent conservation treatment
in 1935.

Provenance: Tessin−Fredrik I−Lovisa Ulrika 1749;
Lovisa Ulrika 1760, Drh. no. 226; KM 1804, no. 184;
KM 1816, no. 265; KM 1865, no. 265.

Bibliography: Sander I, p. 97, no. 226; Göthe 1887, p.
133; Göthe 1893, p. 166; Granberg 1930, p. 164; NM
Cat. 1958, p. 106; NM Cat. 1990, p. 191.

This painting, which has a companion piece in no.
115, once belonged to Lovisa Ulrika’s art collection.
Compared with the genre paintings by Lambrechts
with provenance to Johan Gabriel Stenbock as early as
1705 (nos. 112 and 113), the figures in both of these
paintings are not as large in scale and are depicted further
into the image. In this work three other individuals
are visible with their backs to us. The subjects are
depicted in an interior. Similar motifs by Lambrechts
can be found in the collections of the Brunswick
museum of art and in 1902 in the collection in Widerhofer.
The existence of different versions of Lambrechts’
motif, with minor variations of detail, testify
to their popularity with his contemporaries. The circulation
of his works in various versions1
may possibly be linked with his activities as an artdealer.
In terms of painting technique the structure of
the work is similar to its companion piece, no. 115.
KS

1 Collation en plein air devant une auberge, P1104 and Collation en plein air
devant une maison, P1103, Palais des Beaux-Arts, Lille. [End]

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