Pieter Pietersz.

Purchased by an ancestor of the present owner for the family collection between 1820 and 1845;
Thence by descent.

 

This work is made up of three vertical panels, uncradled, with light bevelling on the upper and lower edges. The panels are mostly flat except for the leftmost, which bows slightly at the outermost edge. There is a long split in the centre panel, which reaches 3/4 of the way down from the upper edge. It has been repaired and stabilised to a certain extent by a strip of canvas attached to the verso. From the front, this fissure has been smoothened over with gesso and repainted, but the overpaint is beginning to crack due to age and thus needs some minor attention. There are two fine splits in the wood panels, both beginning at the lower edge: the first towards the centre left (30 cm), and the second in the right hand corner (15 cm). Both have been repaired and do not appear critical. A faint line is visible in the paint surface at the join between the left and centre panel. The paint surface is not too worn, and contours of the paint strokes remain intact. Colours are well- preserved beneath an old and dirty varnish, and a gentle clean would no doubt reveal more. The darker pigments in the background are slightly mottled and there a number of small scratches in the paint along the lower right edge where the ground layer is visible. These are very fine and can be easily repaired. There are in addition some surface scratches along the left edge. The inscription has faded with time but is still legible. There is craquelure throughout. The texture of the man's clothing, especially the patterned weave on his sleeve retain their delicacy. He has a very gentle and lovely face, looking down in concentration, the curls of hair around his face and the mottled fur of the inside of his collar are delightfully greasy and indicative of his labours.. Inspection Under UV light reveals two campaigns of restoration. The former consists of retouching to the man's forehead, neck, sleeve, trousers, clogs and to the bowl, as well as small scattered retouchings throughout the background. The more recent restoration work consists of the repair of the fissure down the centre of the panel, to the curls in the man's hair, and to the splits in the lower edge, mentioned above. This lot is sold in a simple wooden frame, unpainted, with a thin inner gold band. It is in good condition.
"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 scene depicts an episode from a series called The Gortenteller, fables describing a topsy- turvy world where old men are tricked into doing the chores traditionally ascribed to women.¹ A popular debate on a woman's place in marriage took place in 16th century Holland, resulting in popular anecdotes that spread widely through prints, and were also adopted as moralizing themes by contemporary playwrights, writers, and painters like Pieter Aertsen and his son.

A comparable composition with similar measurements (110 by 81 cm.) is given to Pieter Aersten or Pieter Pietersz. and is in the Museum der bildenden Künste, Leipzig (inv. no. 259). It includes a female figure in the background, cooking and keeping a watchful eye on her husband whilst he spins away "for his food".² In the present there is a lion's skin hanging behind the man, a subtle cross- reference with the theme of Hercules and Omphale.

We are grateful to Peter van den Brink for identifying this as the work of Pieter Pietersz, son of Pieter Aertsen.

1. See P. van den Brink,  'De Gortenteller van Pieter Pietersz. Een teruggevonden schilderij', in J. L. de Jong and E. A. Koster (ed.), Onverwacht bijeengebracht. Feestbundel t.g.v. het 25-jarig jubileum van Lyckle de Vries en Ed Taverne bij de Vakgroep Kunstgeschiedenis aan de R.U.G. Groningen, Groningen 1996, pp. 13- 25.
2. Ibid., p. 25, reproduced fig. 3.