Flemish School, early 17th Century

Acquired before 1984.

The catalogue illustration is representative for the actual painting. The panel consists of 3 planks, joined horizontally. All 3 planks have a convex bow, in particular the upper plank, which has resulted in a horizontal (restored and retouched) crack running from left to right edge, just below the upper edge. Another horizontal restored crack of approx. 30 cm. is visible in the lower left corner, and has been reinforced on the reverse with a strip of linen. Otherwise, no damages are apparent, and the paint layer is in excellent condition. Small retouchings and minor strengthening is visible along the joins and cracks, in the figures lower right, in the sky upper left, and in the foliage upper centre. The paint surface is under a thick and glossy layer of varnish. Inspection under Ultra-Violet light confirms the aforesaid, and reveals a few additional scattered small retouchings. Offered in a plain gilt wood frame, in good condition. (MW)
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This painting shows a village in a festive mood celebrating the feast of Saint George. The celebration of Saint George's Day, on 23 April, marked the arrival of Spring. In the foreground figures are preparing meals and in the background to the right, people are dancing and a large procession is moving towards the left. The saint's flag hangs from the top window of a town house on the left background. A dragon, Saint George's attribute, can be seen near the church and close to a wooden stage, suggesting it is part of the theatre group. Two figures seem to stand out, a couple in the right foreground, dressed in substantially more elegant dress than the figures among them, looking right at the viewer.

The pictorial theme of Kermesses held in honour of a certain saint derives from Pieter Brueghel the Elder (1520/5-1569) and was taken on by his son Pieter Brueghel the Younger (1564-1638) and contemporaries and followers such as Pieter Balten (1527-1584), Martin van Cleve (1527-1581), Hans Bol (1534-1593) and Jacob Grimmer (1526-1590). The composition of this work is not  derived from any known painting of Pieter Brueghel the Younger, and would appear to be an independent design. It has some affinities with a painting of the same subject by Hans Bol, published by Georges Marlier in a private collection in Brussels.¹ The setting of the composition, with its stage-like views and attention to detail is very close, but in the rendering of the staffage there is a difference. The figures in the present painting seem more elongated, instead of the somewhat bulkier figures in Bol's work. There can be little doubt that the author of this panel was familiar with works such as this and others from the Brueghel circle.

1. See G. Marlier, Pierre Brueghel Le Jeune, Brussels 1969, p. 455, fig. 300.