Adriaen Jansz. van Ostade

Hanging at Brinkburn Priory, Northumberland, probably since the mid-19th century;
Thence by direct family descent.

The support consists of a single flat panel which has been bevelled along three edges. The paint surface appears to the naked eye to be in good condition, secured by a thick and dirty varnish. Scattered painterly strengthenings which have discoloured can be made out in the figures. Inspection under UV light is hindered by the varnish but the aforementioned strengthenings do flouresce. Removal of the present varnish and application of a new one would greatly improve the overall tonality. Offered in a later wood and plaster frame with some losses.
"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 is one of Adriaen van Ostade's most ambitious and accomplished early works. The pale, pastel colours of pinks and blues are typical of Ostade's work in the 1630s. Furthermore, and as noted by Frau Hiltraud Doll, the repoussoir device at the left margin is entirely consistent with his work in the mid-1630s and, indeed, can be viewed as firm evidence of his authorship; in his early works this device is always found on the side from which the light source emanates.

Ostade's art did not adopt the style and subject matter for which he is perhaps most famous until the mid-1640s. Until then his paintings closely followed the example of Adriaen Brouwer (c.1605-1638), whose interiors of boisterous peasants had a profound influence not only on Ostade, but on numerous artists throughout The Netherlands, both North and South. Ostade continued to paint in this manner until the mid-1640s when his paintings begin to lose both the pallid tones and bawdy subjects in favour of a richer palette and milder subjects such as schoolrooms, weddings or kermesses.

We are grateful to Frau Hiltraud Doll for endorsing the attribution to Ostade following first hand inspection.

For a history of Brinkburn Priory see J. Crawford Hodgson F.S.A.,  A History of Northumberland, vol. VII, 1904.