Peasants Dancing in a Tavern
- Date
- 1659
- Material
- Oil on panel
- made in
- Haarlem, Noord-Holland province, Netherlands, Europe
- Classification
- Paintings
- Collection
- European Art to 1800
- Current Location
- On View, Gallery 238
- Dimensions
- 17 3/8 x 23 3/4 in. (44.1 x 60.3 cm)
framed: 28 5/8 × 34 3/8 × 2 7/8 in. (72.7 × 87.3 × 7.3 cm) - Credit Line
- Friends Endowment Fund
- Rights
- Public Domain
- Object Number
- 147:1966
NOTES
This scene of comic revelry displays the artist’s attention to the details of everyday life for which Dutch art is admired. Pipes, playing cards, and tree branches clutter the floor, and the crockery vase and pewter platters on the cupboard are rendered with great fidelity. Debauchery is evidenced throughout. Couples dance to the fiddler’s tune, while dazed expressions on several faces indicate the excessive consumption of alcohol. Such depictions of everyday life, known as genre scenes, often convey warning against the vices of sloth (cards) and sin (wine jug).
Provenance
- 1777
Pierre-Louis-Paul Randon de Boisset (d.1776/1777), Paris, France [1]
- 1787
Nicolas Beaujon (d.1786) Paris, France [2]
- 1800
Jan Jansz. Gildemeester (1744-1799), Amsterdam, The Netherlands [3]
1800/06/11 -
J. Yver, purchased at the Gildemeester sale, Schley, Bosch, Yver, Roos, and Pruysenaar, Amsterdam, June 11, 1800, lot no. 160 [4]
by 1806 - 1809
George Craufurd, Rotterdam, The Netherlands [5]
1809/05/30 -
Thomas Emmerson, purchased at sale of Craufurd Collection, Christie's, London, May 30, 1809, lot no. 57 [6]
by 1829 - 1844
Thomas Penrice (d.1816), Great Yarmouth, Norfolk, England; John Penrice, by inheritance [7]
1844/07/06 -
Farrar Collection, purchased at John Penrice sale, Christie's, London, July 6, 1844, lot no. 15 [8]
- still in 1854
Charles Heusch (c.1775-1848), London, England; Frederick Heusch, London, England, by inheritance [9]
by 1879 - 1946
Baron Lionel de Rothschild (1808-1879), London, England, purchased from Frederick Heusch; Leopold de Rothschild (1845-1917), by inheritance; Lionel Nathan de Rothschild (1882-1942), by inheritance; Edmund de Rothschild (b.1916), by inheritance [10]
1946/06/17 -
Frank Partridge Ltd., London, England, purchased from Edmund de Rothschild [11]
- 1966
Edward Speelman, Ltd., London, England, purchased from Frank Partridge Ltd. [12]
1966 -
Saint Louis Art Museum, purchased from Edward Speelman, Ltd. [13]
Notes:
[1] The painting was in the February 27, 1777 sale of the Randon de Boisset collection, Paris, lot no. 69 [Smith, John. "A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters." Vol. 1. London: Smith and Son, 1829, cat. no. 57; and "Catalogue des Tableaux & Desseins précieux". Pierre Remy, Paris, 1777.] Smith also states that the painting was in the 1750 sale of the Wassenaar collection. According to De Groot, however, Smith had "wrongly identified" the painting with the one in the sale [Hofstede de Groot, Cornelis. "A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century: Based on the Work of John Smith", Vol. 3. London: Macmillan, 1910, cat. no. 549].
[2] The picture was in a sale of the Beaujon collection on April 25, 1787 ["Catalogue de tableaux, marbres ... après le décès de M. Beaujeon". P. Remy & C.F. Juilliot, Paris, April 25, 1787, lot no. 42].
[3] Smith mentions the sale in his entry for this painting (see note [1]). Jan Gildemeester was a Dutch merchant and art collector. When he returned to Amsterdam about 1755 he established a trading company with his sons, Daniel and Jan. Gildemeester was extremely successful and acquired an extensive art collection with works by renowned Dutch and Flemish seventeenth and eighteenth century artists. His vast collection included paintings by Peter Paul Rubens, Jan Steen, Gerrit Dou, and Adriaen van Ostade. One of his most notable possessions was Johannes Vermeer's "The Astronomer," now at the Louvre in Paris. When Gildemeester died in 1799, his collection was comprised of about 300 paintings, 31 art books, and 14 portfolios of prints; most of his collection was sold at auction [Veen, J. A. van der. "Jan (Jansz.) Gildemeester." The Grove Dictionary of Art Online, www.groveart.com].
[4] According to the Getty Provenance of Paintings, the painting was bought at the Gildemeester sale in 1800. Although it notes that Yver was a broker/dealer, it does not state if Yver was purchasing the object for an unknown buyer or for himself.
[5] The painting was in auctions of the Craufurd collection at Christie's on April 26, 1806, March 11, 1808, June 24, 1808, and February 4 & 6, 1809 but was not sold [The Getty's Sales Contents database; and "A Catalogue of a Small but Exquisite Assemblage of Thirty-two Cabinet Pictures." Christie's, London, April 26, 1806, lot no. 28; "A Catalogue of a Valuable and Choice Assemblage of Italian, French, Flemish, and Dutch Pictures." Christie's, London, March 11, 1808, lot no. 72; "A Catalogue of a Genuine Collection of Italian, French, Flemish and Dutch Pictures." Christie's, London, June 24, 1808, lot no. 27; "A Catalogue of a Valuable Collection of Italian, French, Flemish, and Dutch Pictures." Christie's, London, February 4 & 6, 1809, lot no. 113].
The name Craufurd has been spelled various ways: Smith uses Crauford, Buchanan spells the name Crawford, and de Groot uses Crawford [Buchanan, W. "Memoirs of Painting". London: R. Ackermann, 1824, p. 186]. According to notes in the Getty Sales Catalogues Database, the collector can be identified as George Craufurd, Esq., "a banker who lived for an extended time in Rotterdam and whose brother, James, was a British consul there and for a time a partner in the same banking firm." George had "a small but very choice collection of Dutch pictures which he apparently acquired both in the Netherlands and Paris." According to Michael Hall, Curator to Edmund de Rothschild, the collector can be assumed to be the family of Craufurd of Dromsoy of Auchinames in Scotland. The brothers were John, James and George [E-mail from Michael Hall dated April 22, 2002 and July 29, 2002, SLAM document files]. In the provenance provided by Hall, however, the collector is given as James Crawford.
[6] According to the Getty Provenance Index, the picture was sold to the dealer,Thomas Emmerson, in the May 1809 sale. Michael Hall has Emmerson buying the picture at the February 2, 1809 sale (see note [5]). See also the sale catalog ["A Catalogue of a Capital, Valuable, and Choice Collection of Pictures." Christie's, London, May 30, 1809, lot no. 57].
[7] According to Smith, the picture was in the Penrice collection at the time of publication in 1829. De Groot lists both Thomas Penrice and John Penrice [See note 1].
According to Michael Hall (see note [5]), the picture was in a sale of the Emmerson Collection on June 6, 1834, and was purchased by 'Wise." This seems unlikely, however, since the Smith publication contradicts this, and the description in the 1834 sale catalog is too brief for a positive identification with this picture ["The Splendid and Important Collection of Pictures, The Sole Property of Thomas Emerson, Esq." Phillips, London, June 6, 1834, lot no. 139].
[8] According to a handwritten entry in the annotated copy of the 1844 sale catalog from the Getty Research Institute, "Farrar" purchased the painting ["Catalogue of the Celebrated Collection of Pictures, of the Very Highest Class." Christie's, London July 6, 1844, lot no. 15].
[9] Michael Hall (see note [5]) referred to Charles Heusch as an immigrant who arrived in London around 1809-1810. He lived at 34 Bedford Square, London, and was an avid collector, buying and selling in the 1830s and 1840s. Charles Heusch's obituary was published in the Gentleman's Magazine, May 15, 1848. His collection of art was then inherited by his son, Frederick. In Waagen's 1854 publication, the painting is listed as being in the F. Heusch collection [Waagen, Gustav Friedrich. "Treasures of Art in Great Britain." London: J. Murray, 1854, p. 252-253].
Hall also states that after Frederick Heusch inherited his father's art collection, it was bought by Baron Lionel de Rothschild sometime after 1848 and before 1855. Given that Gustave Waagen would have needed to view the Heusch collection around 1852-53 in order to meet an 1854 publication date, it seems probable that the painting was purchased by Baron Lionel in 1854 [SLAM document files].
[10] Per provenance given by Michael Hall (see note [5]). The painting was inherited by the son of each respective father, from Baron Lionel de Rothschild to Leopold de Rothschild; Leopold to Lionel Nathan de Rothschild; and finally, Lionel Nathan de Rothschild to Edmund de Rothschild.
[11] Frank Partridge purchased the painting from Edmund de Rothschild on June 17, 1946 (see note [10]).
[12] According to a telephone conversation on May 14, 2002, between Museum researcher Beth Hinrichs and Anthony Speelman, son of Edward Speelman, his father purchased the painting from Frank Partridge, but he did not provide a date [notes, SLAM document files].
[13] Invoice from Edward Speelman, Ltd., dated April 26, 1966 [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, May 19, 1966.
Pierre-Louis-Paul Randon de Boisset (d.1776/1777), Paris, France [1]
- 1787
Nicolas Beaujon (d.1786) Paris, France [2]
- 1800
Jan Jansz. Gildemeester (1744-1799), Amsterdam, The Netherlands [3]
1800/06/11 -
J. Yver, purchased at the Gildemeester sale, Schley, Bosch, Yver, Roos, and Pruysenaar, Amsterdam, June 11, 1800, lot no. 160 [4]
by 1806 - 1809
George Craufurd, Rotterdam, The Netherlands [5]
1809/05/30 -
Thomas Emmerson, purchased at sale of Craufurd Collection, Christie's, London, May 30, 1809, lot no. 57 [6]
by 1829 - 1844
Thomas Penrice (d.1816), Great Yarmouth, Norfolk, England; John Penrice, by inheritance [7]
1844/07/06 -
Farrar Collection, purchased at John Penrice sale, Christie's, London, July 6, 1844, lot no. 15 [8]
- still in 1854
Charles Heusch (c.1775-1848), London, England; Frederick Heusch, London, England, by inheritance [9]
by 1879 - 1946
Baron Lionel de Rothschild (1808-1879), London, England, purchased from Frederick Heusch; Leopold de Rothschild (1845-1917), by inheritance; Lionel Nathan de Rothschild (1882-1942), by inheritance; Edmund de Rothschild (b.1916), by inheritance [10]
1946/06/17 -
Frank Partridge Ltd., London, England, purchased from Edmund de Rothschild [11]
- 1966
Edward Speelman, Ltd., London, England, purchased from Frank Partridge Ltd. [12]
1966 -
Saint Louis Art Museum, purchased from Edward Speelman, Ltd. [13]
Notes:
[1] The painting was in the February 27, 1777 sale of the Randon de Boisset collection, Paris, lot no. 69 [Smith, John. "A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters." Vol. 1. London: Smith and Son, 1829, cat. no. 57; and "Catalogue des Tableaux & Desseins précieux". Pierre Remy, Paris, 1777.] Smith also states that the painting was in the 1750 sale of the Wassenaar collection. According to De Groot, however, Smith had "wrongly identified" the painting with the one in the sale [Hofstede de Groot, Cornelis. "A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century: Based on the Work of John Smith", Vol. 3. London: Macmillan, 1910, cat. no. 549].
[2] The picture was in a sale of the Beaujon collection on April 25, 1787 ["Catalogue de tableaux, marbres ... après le décès de M. Beaujeon". P. Remy & C.F. Juilliot, Paris, April 25, 1787, lot no. 42].
[3] Smith mentions the sale in his entry for this painting (see note [1]). Jan Gildemeester was a Dutch merchant and art collector. When he returned to Amsterdam about 1755 he established a trading company with his sons, Daniel and Jan. Gildemeester was extremely successful and acquired an extensive art collection with works by renowned Dutch and Flemish seventeenth and eighteenth century artists. His vast collection included paintings by Peter Paul Rubens, Jan Steen, Gerrit Dou, and Adriaen van Ostade. One of his most notable possessions was Johannes Vermeer's "The Astronomer," now at the Louvre in Paris. When Gildemeester died in 1799, his collection was comprised of about 300 paintings, 31 art books, and 14 portfolios of prints; most of his collection was sold at auction [Veen, J. A. van der. "Jan (Jansz.) Gildemeester." The Grove Dictionary of Art Online, www.groveart.com].
[4] According to the Getty Provenance of Paintings, the painting was bought at the Gildemeester sale in 1800. Although it notes that Yver was a broker/dealer, it does not state if Yver was purchasing the object for an unknown buyer or for himself.
[5] The painting was in auctions of the Craufurd collection at Christie's on April 26, 1806, March 11, 1808, June 24, 1808, and February 4 & 6, 1809 but was not sold [The Getty's Sales Contents database; and "A Catalogue of a Small but Exquisite Assemblage of Thirty-two Cabinet Pictures." Christie's, London, April 26, 1806, lot no. 28; "A Catalogue of a Valuable and Choice Assemblage of Italian, French, Flemish, and Dutch Pictures." Christie's, London, March 11, 1808, lot no. 72; "A Catalogue of a Genuine Collection of Italian, French, Flemish and Dutch Pictures." Christie's, London, June 24, 1808, lot no. 27; "A Catalogue of a Valuable Collection of Italian, French, Flemish, and Dutch Pictures." Christie's, London, February 4 & 6, 1809, lot no. 113].
The name Craufurd has been spelled various ways: Smith uses Crauford, Buchanan spells the name Crawford, and de Groot uses Crawford [Buchanan, W. "Memoirs of Painting". London: R. Ackermann, 1824, p. 186]. According to notes in the Getty Sales Catalogues Database, the collector can be identified as George Craufurd, Esq., "a banker who lived for an extended time in Rotterdam and whose brother, James, was a British consul there and for a time a partner in the same banking firm." George had "a small but very choice collection of Dutch pictures which he apparently acquired both in the Netherlands and Paris." According to Michael Hall, Curator to Edmund de Rothschild, the collector can be assumed to be the family of Craufurd of Dromsoy of Auchinames in Scotland. The brothers were John, James and George [E-mail from Michael Hall dated April 22, 2002 and July 29, 2002, SLAM document files]. In the provenance provided by Hall, however, the collector is given as James Crawford.
[6] According to the Getty Provenance Index, the picture was sold to the dealer,Thomas Emmerson, in the May 1809 sale. Michael Hall has Emmerson buying the picture at the February 2, 1809 sale (see note [5]). See also the sale catalog ["A Catalogue of a Capital, Valuable, and Choice Collection of Pictures." Christie's, London, May 30, 1809, lot no. 57].
[7] According to Smith, the picture was in the Penrice collection at the time of publication in 1829. De Groot lists both Thomas Penrice and John Penrice [See note 1].
According to Michael Hall (see note [5]), the picture was in a sale of the Emmerson Collection on June 6, 1834, and was purchased by 'Wise." This seems unlikely, however, since the Smith publication contradicts this, and the description in the 1834 sale catalog is too brief for a positive identification with this picture ["The Splendid and Important Collection of Pictures, The Sole Property of Thomas Emerson, Esq." Phillips, London, June 6, 1834, lot no. 139].
[8] According to a handwritten entry in the annotated copy of the 1844 sale catalog from the Getty Research Institute, "Farrar" purchased the painting ["Catalogue of the Celebrated Collection of Pictures, of the Very Highest Class." Christie's, London July 6, 1844, lot no. 15].
[9] Michael Hall (see note [5]) referred to Charles Heusch as an immigrant who arrived in London around 1809-1810. He lived at 34 Bedford Square, London, and was an avid collector, buying and selling in the 1830s and 1840s. Charles Heusch's obituary was published in the Gentleman's Magazine, May 15, 1848. His collection of art was then inherited by his son, Frederick. In Waagen's 1854 publication, the painting is listed as being in the F. Heusch collection [Waagen, Gustav Friedrich. "Treasures of Art in Great Britain." London: J. Murray, 1854, p. 252-253].
Hall also states that after Frederick Heusch inherited his father's art collection, it was bought by Baron Lionel de Rothschild sometime after 1848 and before 1855. Given that Gustave Waagen would have needed to view the Heusch collection around 1852-53 in order to meet an 1854 publication date, it seems probable that the painting was purchased by Baron Lionel in 1854 [SLAM document files].
[10] Per provenance given by Michael Hall (see note [5]). The painting was inherited by the son of each respective father, from Baron Lionel de Rothschild to Leopold de Rothschild; Leopold to Lionel Nathan de Rothschild; and finally, Lionel Nathan de Rothschild to Edmund de Rothschild.
[11] Frank Partridge purchased the painting from Edmund de Rothschild on June 17, 1946 (see note [10]).
[12] According to a telephone conversation on May 14, 2002, between Museum researcher Beth Hinrichs and Anthony Speelman, son of Edward Speelman, his father purchased the painting from Frank Partridge, but he did not provide a date [notes, SLAM document files].
[13] Invoice from Edward Speelman, Ltd., dated April 26, 1966 [SLAM document files]. Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, May 19, 1966.
We regularly update records, which may be incomplete. If you have additional information, please contact us at provenance@slam.org.