Fine Art
Fine Art | Auction: 14.11.2019 | Preview: 08.11.2019 - 11.11.2019

Lot was sold

Lot 1043

20.000 - 30.000 €
16.000,00 €

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Auction results from: Adriaen von Ostade
Ostade, Adriaen von
Haarlem 1610 - 1684

Dancing Farmers in the Barn. Oil on wood. Parquetted. 44 x 59.5cm. Framed.

Collection stamp on the panel.

- Auction collection T. Shiff, Paris, Drouot, 21.03.1905, lot 124 with ill. as I. van Ostade;
- Auction collection J.H[omberg], Paris, Petit, 11.03.1923, lot 30 with ill., sold to Mensing;
- Auction Amsterdam, 25.11.1924, lot 57 with ill.;
- Auction Amsterdam, F. Muller, 11.12.1956, lot 88 with ill.;
- F.H. Enneking, Amsterdam, here exhibited at Oude Kunst- en Antiekbeurs, Delft, 1957;
- Private collection North Rhine-Westphalia.

With his variations on peasant themes, Abraham von Ostade stands in the tradition of Pieter Breughel the Elder, who had elevated this theme to an independent pictorial genre some 100 years earlier. The city's public, collectors, and critics were very fond of the depictions of this different type of life, and Adriaen, along with his younger brother Isaak of Ostade, became the Dutch specialists for this subject.

In the southern Netherlands, Adriaen Brouwers, who is said to have studied with Frans Hals together with Adrian von Ostade, made peasant themes his theme. Adriaen von Ostade, who lived in Haarlem and was a respected member and in the course of his career also dean of the Lukasgilde, has stylistically dealt more with the work of his great contemporary Rembrandt than with that of his master Frans Hals. There are 20 kilometres between Haarlem and Amsterdam, a distance that allowed an exchange even in the 17th century.

The design of light and shadow revolutionised by Rembrandt is also tangible in the "peasant dance" offered here. In contrast to many of Ostade's early works, the light source that illuminates the scenery can be seen here: Through the lead-glazed window on the left bright light falls on the exuberant company that cavorts in the rural ambience. The violinist standing on the low table, the three men dancing a roundelay with great gesture, the laughing spectators are all within this strip of light. The discreet but clear colourfulness of the robes, typical for Ostade, shines in the illuminated "stage space" and contrasts with the brown and grey tones of the surrounding space, which is not captured by the light.

Ostade captured very fine details: how the streak of light falls on the back wall, on which the high hat of the front dancer casts a large shadow; or how straws peer out of the shoes of the front dancer. The viewer will always be able to discover something new in this scene.

The actions of the peasants are depicted here as pure cheerfulness. The only moral indication of the need to keep oneself in check is given by the figure in the lower left corner of the picture, who is so far removed from the light that - although he is closest to the viewer - can easily be overlooked.
Perhaps for the educated viewer of the 17th century, however, a political interpretation of this superficially innocuous scene was readable: The posture of the three dancers conspicuously corresponds to the movement types of the Moorish dancers. Should Ostade have here made an allusion to the minority suppressed by the Spaniards as well and expelled from Spain only between 1609 and 1611?

This painting, which has been in German private ownership since the 1950s and may have highly political content, can be offered here completely fresh from the market.

We thank Fred G. Meijer, Amsterdam, for his kind support.

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VAT margin scheme, VAT included, but must not be indicated, not refundable

29.00 % buyer’s premium on the hammer price

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Adriaen von Ostade         Old Masters   Genre   Painting   Village Life