Adriaen Jansz. van Ostade

Anonymous sale, Madame X, Paris, Drouot, 13/14 June 1956, lot 47;
Jack and Belle Linsky, New York;
Their sale, New York, Sotheby's, 21 May 1985, lot 141;
With Johnny van Haeften, London, by 1985/6;
With Gebr. Douwes, Amsterdam, by 1988/9.

Maastricht, Pictura, 1986 (with Johnny van Haeften);
Maastricht, Pictura, 1988;
Maastricht, TEFAF, 1989 (both the above with Gebr. Douwes).

London, Johnny van Haeften, Catalogue IV, 1986, no. 13, reproduced;
Tableau VIII, no. 4, February 1986, p. 47 (advertisement);
Apollo, March 1989, p. 72 (advertisement).

The actual painting is softer and less red in tone than the catalogue illustration suggests. The single, oval panel is flat and stable and bevelled along the edges. No damages seem to be apparent and the paint surface is in excellent condition. Some minimal strengthening can be observed in the figure's hat and hair, and in his neck. The paint surface is covered with a slightly dirty layer of varnish. Inspection under ultra violet light furthermore reveals very tiny scattered retouchings in the background, around the figure's left eye, and in his costume. Offered in a later plain wood frame, in good condition. (MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This laughing peasant can be dated to the late 1630s, early 1640s, when Adriaen van Ostade had only been active for a few years. In its rapid and fluid brushwork it still is reminiscent of Adriaen Brouwer (1605/6-1638), who had been in Haarlem a few years earlier and influenced the young Van Ostade strongly. Similar depictions of peasants by Van Ostade, also on oval panels and of equal size, are in the Boijmans Van Beuningen Museum, Rotterdam (inv. nos. 1635-6).¹

We are grateful to Fred G. Meijer for confirming the attribution on the basis of first hand inspection.

1. See F. Lammertse, Nederlandse genreschilderijen uit de zeventiende eeuw, eigen collectie museum Boijmans van Beuningen, Ghent 1998, pp. 126-7, cat. nos. 41-2, reproduced p. 146.