Adriaen van Ostade

With Sedelmeyer, Paris, by 1902, cat. no. 29;
J. Monchen;
By whom sold, Amsterdam, Frederik Muller, 30 April 1907, lot 136, for 2750 guilders;
Direktor R. Zahn, Plauen;
His sale, Munich, Helbing, 21 November 1917, lot 31.

C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke..., vol. III, Esslingen/Paris 1910, p. 257, cat. no. 373.

The actual painting is less red and more subdued in tone than the catalogue illustration suggests. The single flat panel is in good condition and bevelled on all sides. No damages are apparent. The paint surface has grown thin and subsequent retouchings can be made out in several places, e.g. in the figure in the foreground, in the walls and door, and in the background figures. However, this recent restoration has been done very well. Under UV light the paint surface looks more substantially restored. Offered in a plain black wood frame with a gilt fillet 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."

Although Hofstede de Groot mentions that this painting was dated 1648, stylistically it fits Ostade's later period, the 1660-70s, better. Both Dr. Bernhard Schnackenburg and Dr. Pieter Biesboer, after having seen the original, endorse this later date, Schnackenburg precisely dating it to after 1672. According to Houbraken, Ostade fled to Amsterdam in this year and started producing watercolours, often repeating compositions of his paintings and prints. Of the present work, an almost identical watercolour exists, now in the Pushkin Museum, Moscow (fig. 1). One pentiment in this painting indicates a changed position of the pipe held by the peasant, which can still be seen in its former position on the watercolour, suggesting a proximitate origin of both works.

From the 1650s onwards, Ostade's style changed from his earlier period. His restricted palette of dark and earthly tones gave way to lighter, cooler and more local colours, as can be seen in this work. Also his representations of low-life types became more subdued, his peasants better dressed and their surroundings more comfortable.