Property from the SØR Rusche Collection
HENDRICK MAERTENSZ. SORGH
Rotterdam 1609 or 1611 - 1670
A TAVERN SCENE WITH PEASANTS SMOKING AND DRINKING
signed on edge of table: HM Sorgh (HM in ligature)
oil on oak panel
unframed: 38 x 42.8 cm.; 15 x 16¾ in.
framed: 54.5 x 58.5 cm.; 21½ x 23 in.
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The panel is cradled, flat and stable. The paint surface is relatively clean and the varnish is only slightly discoloured. There are some visible discoloured retouchings in the background, for example above the red hatted peasants head. These are difficult to discern under the thick varnish under ultraviolet light. Newer tiny spot retouchings however, are visible scattered throughout with a slightly more concentrated area in the shoulder of the peasant on the left, and his hat. In overall fairly good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Adolf Wollenberg (1874–1951/51), Berlin, by 1925;
His sale, Berlin, R. Lepke, 17 March 1932, lot 201, for 1400 Reichsmark;
With Daniel and Nathan Katz, Dieren, 1946;
With Galerie Kurt J. Müllenmeister, Solingen, 1970 (by whom advertised in Weltkunst, vol. 40, 1970, p. 1248, reproduced);
Girardet collection, Essen, by 1970;
Whence acquired in 1974.
Berlin, Der Akademie Der Künste, Gemälde alter Meister aus Berliner Besitz, July – August 1925, no. 362 (lent by Adolf Wollenberg);
Oelde, Rathaus der Stadt Oelde, Niederländische Originalgemälde der Zeitgenossen Rembrandt Harmensz. van Rijn, 30 November – 17 December 1983;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 59.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
Akademie der Künste, Gemälde alter Meister aus Berliner Besitz, exh. cat., Berlin 1925, p. 56, cat. no. 362;
A. Heppner, 'Rotterdam as the centre of a 'Dutch Teniers Group'', in Art in America, vol. 34, 1946, p. 21, reproduced fig. 6;
E. Edman, The Influence of David Teniers the Younger on the Watteau Circle, doctoral diss., Oberlin 1963, p. 149, reproduced fig. 44;
K.J. Müllenmeister, Aktuelle Themen und Beiträge über einige Werke niederländischer Maler, Solingen 1970, p. 17, reproduced;
L.T. Schneeman, Hendrick Martensz. Sorgh: a Painter of Rotterdam, doctoral diss., Pennsylvania State University 1982, p. 203, cat. no. 22, reproduced fig. 18;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 218–21, cat. no. 53, reproduced in colour;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 75, reproduced in colour fig. 59.
Hendrick Maertensz. Sorgh was born, worked and died in the port city of Rotterdam in the Southern Netherlands. He was chiefly a genre painter executing portraits, scenes of young lovers music-making, and predominantly tavern interiors such as this. According to Houbraken he trained under David Teniers the Younger, although his work is in fact closer to that of Adriaen Brouwer, and at the end of his career the influence of Jan Steen is apparent – here, the figure at the back with his raised hands and jovial expression is particularly reminiscent of the lampooning Steen.
This painting was in the collection of the great pre-war Berlin architect Adolf Wollenberg who left Berlin in 1933 (following the sale of much of his collection at Lepke in 1932, see Provenance), and went into exile in Paris, and later in London.