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Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 204:

Technical notes: The painting’s support is an oak
panel constructed of a single radial board with vertical
grain. Bevelling occurs along the top, left and right edges
on the verso. Worm holes are visible at the edges on the
verso. Wood splintered along the right edge near the
lower right corner. Dendrochronological examination
and analysis have determined a felling date for the tree
between c. 1634 and 1653. The wood originates from the
Baltic region. Under the assumption of a median of 15
sapwood rings and a minimum of 2 years for seasoning of
the wood, the most plausible date for use of the panel
would be 1651 or later. The verso of the support bears
the personal panel-maker’s mark with the initials “LS”
(monogram), and was therefore made by the
Antwerp panel-maker Lambrecht Steens II, a master in
the Guild of St. Luke in 1640/1641, and who died ten
years later, in 1650/1651.1 The painting underwent conservation
treatment in 1868.

Provenance: Coll. Carl Gustaf Tessin, Paris before
1742 (1742 pack list, no. 8; inv. 1744); Lovisa Ulrika
1760, no. 39; purchased by the State 1777; Gustav III
1792, no. 74 (as David Teniers II); KM 1795, no. 49.

Exhibited: Stockholm 1977/1978: no. 96; Stockholm
2010, no. 101.

Bibliography: NM Cat. 1867, p. 47; Sander I, pp. 60
no. 118, 74 no. 39; Sander II, p. 108 no. 74; NM Cat.
1885, p. 56; Göthe 1887, pp. 258–259; Göthe, 1893, p.
316; Granberg 1911–1913, II, p. 19 no. 87; NM Cat.
1958, p. 195; NM Cat. 1990, p. 347

Within the confines of a spacious tavern interior peasants
have gathered to pass the afternoon hours, to
warm themselves by the fire and engage in conversation,
while enjoying the soothing effects of tobacco
and beer.

More than any other Flemish artist, with the exception
of Dutch-born Antwerp painter Adriaen Brouwer,
Teniers devoted himself to the depiction of the
lower echelons of Flemish society. The theme of
smoking, introduced into Flemish genre painting by
Brouwer in the late 1620s, was a favoured subject of
Teniers, from his early genre scenes of the 1630s (see
no. 203) to paintings from his late years in Brussels
such as the present picture. Strongly influenced by
Brouwer during his early career, Teniers initially executed
images of peasant life that were often quite
unflattering. Gradually, especially after the 1640s, the
peasants in Teniers’ paintings, who show the introversion
and lack of affect typical of the artist, begin to lose
the uncouth and caricature appearance of those early
years. By the early 1660s, when he executed the present
picture, Teniers’ images had changed considerably.
The artist now seems to represent the enjoyment of
tobacco in a more favourable light. Despite the presence
of beer and tobacco, none of the peasants in his
many later tavern interiors have succumbed to the
vices so often associated with those who have yielded
to sensual pleasures: instead of raucous behaviour
within smoky taverns, they now sit quietly enjoying
their leisure hours.

As the character of the peasants in Teniers’ pictures
changed over the course of his career, so, too, did his
style of painting. The handling of space, the composition
and the general disposition of the interior in this
painting are still comparable to a mature early work
from Teniers’ Antwerp period such as “Le bonnet vert”
of c. 1336/1337 in Madrid (Museo Thyssen-Bornemisza).
2 Not only are the architectural elements similar,
but the peasants are likewise organized in two
groups, one situated around a table set in the foreground
beneath the window and the other before the
hearth in the background, a compositional arrangement
frequently employed by the artist in the 1630s.
Teniers must have composed his scenes with the aid of
individual figure studies, of which there are many,
although no such study exactly matches any of the figures
in the present composition. In his later tavern
scenes, however, the smoky, monochrome tonality of
his early Brouwer-influenced works gives way to a
clearer, silvery atmosphere: the artist now favoured a
lighter tonality with more transparent shadows, and
less saturated but no less colourful hues.3 As with
many artists, Teniers’ spätstil tends to be looser and
more painterly than his more detailed early style (cf.
no. 203).
CF
1 On Lambrecht Steens II, see Van Damme 1990, pp. 207–210.
2 Oil on oak, 39.4 x 37.3 cm, Madrid, Museo Thyssen-Bornemisza, inv. no.
387 (1970.35); for which see Karlsruhe 2005, cat. no. 12, illus.Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 204:

Technical notes: The painting’s support is an oak
panel constructed of a single radial board with vertical
grain. Bevelling occurs along the top, left and right edges
on the verso. Worm holes are visible at the edges on the
verso. Wood splintered along the right edge near the
lower right corner. Dendrochronological examination
and analysis have determined a felling date for the tree
between c. 1634 and 1653. The wood originates from the
Baltic region. Under the assumption of a median of 15
sapwood rings and a minimum of 2 years for seasoning of
the wood, the most plausible date for use of the panel
would be 1651 or later. The verso of the support bears
the personal panel-maker’s mark with the initials “LS”
(monogram), and was therefore made by the
Antwerp panel-maker Lambrecht Steens II, a master in
the Guild of St. Luke in 1640/1641, and who died ten
years later, in 1650/1651.1 The painting underwent conservation
treatment in 1868.

Provenance: Coll. Carl Gustaf Tessin, Paris before
1742 (1742 pack list, no. 8; inv. 1744); Lovisa Ulrika
1760, no. 39; purchased by the State 1777; Gustav III
1792, no. 74 (as David Teniers II); KM 1795, no. 49.

Exhibited: Stockholm 1977/1978: no. 96; Stockholm
2010, no. 101.

Bibliography: NM Cat. 1867, p. 47; Sander I, pp. 60
no. 118, 74 no. 39; Sander II, p. 108 no. 74; NM Cat.
1885, p. 56; Göthe 1887, pp. 258–259; Göthe, 1893, p.
316; Granberg 1911–1913, II, p. 19 no. 87; NM Cat.
1958, p. 195; NM Cat. 1990, p. 347

Within the confines of a spacious tavern interior peasants
have gathered to pass the afternoon hours, to
warm themselves by the fire and engage in conversation,
while enjoying the soothing effects of tobacco
and beer.

More than any other Flemish artist, with the exception
of Dutch-born Antwerp painter Adriaen Brouwer,
Teniers devoted himself to the depiction of the
lower echelons of Flemish society. The theme of
smoking, introduced into Flemish genre painting by
Brouwer in the late 1620s, was a favoured subject of
Teniers, from his early genre scenes of the 1630s (see
no. 203) to paintings from his late years in Brussels
such as the present picture. Strongly influenced by
Brouwer during his early career, Teniers initially executed
images of peasant life that were often quite
unflattering. Gradually, especially after the 1640s, the
peasants in Teniers’ paintings, who show the introversion
and lack of affect typical of the artist, begin to lose
the uncouth and caricature appearance of those early
years. By the early 1660s, when he executed the present
picture, Teniers’ images had changed considerably.
The artist now seems to represent the enjoyment of
tobacco in a more favourable light. Despite the presence
of beer and tobacco, none of the peasants in his
many later tavern interiors have succumbed to the
vices so often associated with those who have yielded
to sensual pleasures: instead of raucous behaviour
within smoky taverns, they now sit quietly enjoying
their leisure hours.

As the character of the peasants in Teniers’ pictures
changed over the course of his career, so, too, did his
style of painting. The handling of space, the composition
and the general disposition of the interior in this
painting are still comparable to a mature early work
from Teniers’ Antwerp period such as “Le bonnet vert”
of c. 1336/1337 in Madrid (Museo Thyssen-Bornemisza).
2 Not only are the architectural elements similar,
but the peasants are likewise organized in two
groups, one situated around a table set in the foreground
beneath the window and the other before the
hearth in the background, a compositional arrangement
frequently employed by the artist in the 1630s.
Teniers must have composed his scenes with the aid of
individual figure studies, of which there are many,
although no such study exactly matches any of the figures
in the present composition. In his later tavern
scenes, however, the smoky, monochrome tonality of
his early Brouwer-influenced works gives way to a
clearer, silvery atmosphere: the artist now favoured a
lighter tonality with more transparent shadows, and
less saturated but no less colourful hues.3 As with
many artists, Teniers’ spätstil tends to be looser and
more painterly than his more detailed early style (cf.
no. 203).
CF
1 On Lambrecht Steens II, see Van Damme 1990, pp. 207–210.
2 Oil on oak, 39.4 x 37.3 cm, Madrid, Museo Thyssen-Bornemisza, inv. no.
387 (1970.35); for which see Karlsruhe 2005, cat. no. 12, illus.
Technical notes: The painting’s support is an oak
panel constructed of a single radial board with vertical
grain. Bevelling occurs along the top, left and right edges
on the verso. Worm holes are visible at the edges on the
verso. Wood splintered along the right edge near the
lower right corner. Dendrochronological examination
and analysis have determined a felling date for the tree
between c. 1634 and 1653. The wood originates from the
Baltic region. Under the assumption of a median of 15
sapwood rings and a minimum of 2 years for seasoning of
the wood, the most plausible date for use of the panel
would be 1651 or later. The verso of the support bears
the personal panel-maker’s mark with the initials “LS”
(monogram), and was therefore made by the
Antwerp panel-maker Lambrecht Steens II, a master in
the Guild of St. Luke in 1640/1641, and who died ten
years later, in 1650/1651.1 The painting underwent conservation
treatment in 1868.

Provenance: Coll. Carl Gustaf Tessin, Paris before
1742 (1742 pack list, no. 8; inv. 1744); Lovisa Ulrika
1760, no. 39; purchased by the State 1777; Gustav III
1792, no. 74 (as David Teniers II); KM 1795, no. 49.

Exhibited: Stockholm 1977/1978: no. 96; Stockholm
2010, no. 101.

Bibliography: NM Cat. 1867, p. 47; Sander I, pp. 60
no. 118, 74 no. 39; Sander II, p. 108 no. 74; NM Cat.
1885, p. 56; Göthe 1887, pp. 258–259; Göthe, 1893, p.
316; Granberg 1911–1913, II, p. 19 no. 87; NM Cat.
1958, p. 195; NM Cat. 1990, p. 347

Within the confines of a spacious tavern interior peasants
have gathered to pass the afternoon hours, to
warm themselves by the fire and engage in conversation,
while enjoying the soothing effects of tobacco
and beer.

More than any other Flemish artist, with the exception
of Dutch-born Antwerp painter Adriaen Brouwer,
Teniers devoted himself to the depiction of the
lower echelons of Flemish society. The theme of
smoking, introduced into Flemish genre painting by
Brouwer in the late 1620s, was a favoured subject of
Teniers, from his early genre scenes of the 1630s (see
no. 203) to paintings from his late years in Brussels
such as the present picture. Strongly influenced by
Brouwer during his early career, Teniers initially executed
images of peasant life that were often quite
unflattering. Gradually, especially after the 1640s, the
peasants in Teniers’ paintings, who show the introversion
and lack of affect typical of the artist, begin to lose
the uncouth and caricature appearance of those early
years. By the early 1660s, when he executed the present
picture, Teniers’ images had changed considerably.
The artist now seems to represent the enjoyment of
tobacco in a more favourable light. Despite the presence
of beer and tobacco, none of the peasants in his
many later tavern interiors have succumbed to the
vices so often associated with those who have yielded
to sensual pleasures: instead of raucous behaviour
within smoky taverns, they now sit quietly enjoying
their leisure hours.

As the character of the peasants in Teniers’ pictures
changed over the course of his career, so, too, did his
style of painting. The handling of space, the composition
and the general disposition of the interior in this
painting are still comparable to a mature early work
from Teniers’ Antwerp period such as “Le bonnet vert”
of c. 1336/1337 in Madrid (Museo Thyssen-Bornemisza).
2 Not only are the architectural elements similar,
but the peasants are likewise organized in two
groups, one situated around a table set in the foreground
beneath the window and the other before the
hearth in the background, a compositional arrangement
frequently employed by the artist in the 1630s.
Teniers must have composed his scenes with the aid of
individual figure studies, of which there are many,
although no such study exactly matches any of the figures
in the present composition. In his later tavern
scenes, however, the smoky, monochrome tonality of
his early Brouwer-influenced works gives way to a
clearer, silvery atmosphere: the artist now favoured a
lighter tonality with more transparent shadows, and
less saturated but no less colourful hues.3 As with
many artists, Teniers’ spätstil tends to be looser and
more painterly than his more detailed early style (cf.
no. 203).
CF
1 On Lambrecht Steens II, see Van Damme 1990, pp. 207–210.
2 Oil on oak, 39.4 x 37.3 cm, Madrid, Museo Thyssen-Bornemisza, inv. no.
387 (1970.35); for which see Karlsruhe 2005, cat. no. 12, illus.
3 Cf. The Smoker, oil on wood, 55 x 43 cm, signed and dated “1660”, Luxembourg,
Musée J.-P. Pescatore, Luxembourg, inv. no. 341.[End]

Foto: Erik Cornelius / Nationalmuseum 2009

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