Adriaen Brouwer

Card Fight outside a Country Tavern

c. 1628 - c. 1630

Inscriptions

  • inscription, indistinct (remnant of a monogram), bottom right:B

Scientific examination and reports

  • technical report: I. Verslype / C. Wittop Koning, RMA, 25 september 2007
  • dendrochronology: P. Klein, RMA, 23 maart 2010

Conservation

  • J.J. Susijn, 1982: paint consolidated

Provenance

…; sale, Thomas Count of Fraula (1646-1738, Brussels), Brussels (auction house not known), 21 July 1738 sqq., no. 208 (‘Een Ordonnantie vervult met figuren, daar men met de kaart Speelt, ende daar men de Degen trekt, door Adriaan Brouwer, h. 10 en een half d. br. 13 en een half d. [27.5 x 35.3 cm]’), fl. 37, to De Roore for Willem Lormier (1682-1758), The Hague;1G. Hoet, Catalogus of Naamlyst van Schilderyen, met derzelver Pryzen Zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt. Benevens een Verzamelingvan Lysten van Verscheyden nog in wezen zynde Cabinetten, 3 vols., The Hague 1752-70, I, p. 536. E. Korthals Altes, ‘The Eighteenth-Century Gentleman Dealer Willem Lormier and the International Dispersal of Seventeenth-Century Dutch paintings’, Simiolus 28 (2000-01), pp. 251-311, esp. p. 262, under note 41, giving the price as fl. 48. his sale, The Hague (A. Franken), 4 July 1763, no. 39 (‘Vegtende Boeren en Boerinnen, door denzelven; P.P. breet an 1 voet 1 duim, hoog 10 duim [26.2 x 34.1 cm]’), fl. 60, to Adriaan Leonard van Heteren (1724-1800), The Hague;2P. Terwesten, Catalogus of naamlyst van schilderyen, met derzelver prysen, zedert den 22. Augusti 1752, tot den 21. November 1768 Zo in Holland, als Braband en andere Plaatzen in het openbaar Verkogt. Dienende tot een vervolg of Derde Deel op de Twee Deelen der uitgegeeve Cataloguen door wylen de Heer Gerard Hoet; Zynde hier agter gevoegt: Catalogus van een gedeelte van’t vorstelyk Kabinet Schilderyen van Zynde Doorl. Hoogheid, den Heere Prince van Orange en Nassau, Erfstadhouder, Capitain-Generaal en Admiraal der Verëenigde Nederlanden, &c. &c. &c., The Hague 1770, p. 316. C. Bille, De Tempel der Kunst. Of, het kabinet van den Heer Braamcamp, 2 vols., Amsterdam 1961, I, p. 109. his third cousin and godson, Adriaan Leonard van Heteren Gevers (1794-1866), Rotterdam, (‘Un pendant. [to SK-A-64] Plusieurs paysans buvant et de querellant, bois, h. 10 l. 12½ [26.2 x 32.7 cm]’);3‘Catalogue Raisonné d’une Collection de Tableaux appartenant à Monsieur A.L. Gevers, Page de Leurs Majestés le Roi et la Reine de Hollande’, s.l. 1808, transcribed in E.W. Moes and E. van Biema, De Nationale Konst-Gallery en Het Koninklijk Museum, Amsterdam 1909, pp. 145-51, esp. p. 145, no. 15. from whom, fl. 100,000, with 136 other paintings en bloc (known as the Kabinet van Heteren Gevers), to the museum, by decree of Lodewijk Napoleon King of Holland, and through the mediation of his father Dirk Cornelis Gevers (1763-1839), 8 June 1809;4T.L.J. Verroen, ‘‘Een verstandig ryk Man’: de achttiende-eeuwse verzamelaar Adriaan Leonard Van Heteren’, in C. Scheffer (ed.) et al., Achttiende-eeuwse kunst in de Nederlanden, Leids Kunsthistorisch Jaarboek 4 (1985), pp. 17-61, esp. p. 17, notes 2, 3. on loan to the Mauritshuis, The Hague, since 1954

ObjectNumber: SK-A-65

The artist

Biography

Adriaen Brouwer (Oudenaarde (?) 1603-05 - Antwerp 1638)

The genre and landscape painter, Adriaen Brouwer, or Adriaen de Brouwer, is best documented in the last eight years or so of his life which were spent in Antwerp. He was buried in the Carmelite monastery there on 1 February 1638. Isaac Bullart, in Peintres illustres du Pays Bas of 1682, states that he was thirty-two years old when he died; thus the year of his birth would be 1605 or 1606 (but see further below).5I. Bullart, Academie des Sciences et des Arts, contenant les vies, & les éloges historiques des hommes illustres etc., 2 vols., Brussels 1682, p. 488. His engraved portrait by Schelte Adamsz Bolswert (1584/1588-1659) after Anthony van Dyck (1599-1641) for The Iconography, modelled probably in the early 1630s, shows the artist in his late twenties or so.6S. Turner and C. Depauw, The New Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts, 1450-1700, Anthony van Dyck, 7 vols., Rotterdam 2002, II, no. 51; Vey in S.J. Barnes, N. de Poorter, O. Millar and H. Vey, Anthony van Dyck: A Complete Catalogue of the Paintings, New Haven (Conn.)/London 2004, no. III 146. Bullart also states that he was born in Oudenaarde which would substantiate references in the 1640s7In the inscription on the fifth state of the engraved portrait, in note 6, published by Gillis Hendricx. and in 16628C. de Bie, Het gulden cabinet van de edel vrij schilder const, inhoudende den lof vande vermartste schilders, architecte, beldtowers ende plaetsnijders van deze eeuwe, Antwerp s.a. (1662), p. 91. to his being a Fleming, a view corroborated by recent research. It has placed his date of birth between 1603 and 1605, and provides evidence that he moved with his family to Gouda after 1613.9Jager et al. in K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, pp. 40-43.

Brouwer is first heard of in Amsterdam in 1626 when he witnessed a notarial deposition; he may have been living in the house of the deponent, the art dealer Barend van Someren, who was to own drawings by the artist.10Jager et al. in K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, pp. 43-44. The following year a play was dedicated to the ‘richly artistic and famous young man, Adriaen Brouwer, painter of Haarlem’ (Den Constrijcken en Wijtberoemden Ionghman, Adriaen Brouwer, Schilder tot Haerlem). Houbraken states that he was apprenticed to Frans Hals (c. 1581-1666) in Haarlem,11P.T.A. Swillens (ed.), De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen door Arnold Houbraken, 3 vols., Maastricht 1943-53, I, p. 251. for which there is no contemporary corroboration; but in fact he became a member also in 1626 of the Haarlem chamber of rhetoric, the Wijngaertrancken, and was to enrol in the city’s guild of St Luke. Paintings by him are confidently dated to around this time.

In the guild accounting year from September 1631 to September 1632, Brouwer was admitted to the Antwerp guild of St Luke.12P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 22. Peter Paul Rubens (1577-1640) attested on 4 March 1632 that he had bought a Peasant Dance from Brouwer about a year previously.13E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, p. 268. His reputation as an artist may have thus preceded him, as also in that year Jan Baptist Dandoy (active 1631-38) was enrolled as a pupil of Brouwer,14P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 29. and his work was being copied as early as 1632.15E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VII, p. 439.

But by October 1632 he was in debt; an inventory of his possessions shows his exiguous circumstances.16E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, pp. 313-14. In February a year later, he is recorded as incarcerated in the Antwerp Kasteel in which he may have remained until the spring of the following year.17E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, pp. 333, 356. In May 1634 he became a lodger with the engraver Paulus Pontius (1603-1658) in the Everdijstraat.18E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, p. 431; F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, pp. 861-62. In 1634/35, with Pontius, he joined the rederijkerkammer, De Blom Violiere, and renewed his membership the next year.19P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, pp. 66, 78. No mortuary fee was paid to the guild, so he may have died impoverished or more likely without relatives in Antwerp.

Renger has estimated Brouwer’s extant oeuvre at some sixty paintings; none is dated.20K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, p. 48, and note 14, pp. 122-23. The rubric beneath his portrait in Van Dyck’s Iconography described him as ‘Gryllorum Pictor’ (painter of comic figures).21The fourth and fifth states of this print, see S. Turner and C. Depauw, The New Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts, 1450-1700, Anthony van Dyck, 7 vols., Rotterdam 2002, II, no. 51. His paintings were collected by both Rubens22E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, IV, p. 299, nos. 272-280 of the Specification. and Rembrandt van Rijn (1609-1669), who also owned drawings by him.23W. Strauss and M. van der Meulen, The Rembrandt Documents, New York 1979, pp. 349, 355, 371. A further measure of his contemporary reputation may be estimated by a comparison of prices paid for his work with those for other masters; thus Arnold Lunden (d. 1656) paid 400 guilders for a Village Fête as against the 1,000 guilders that Rubens’s masterpiece The Farm at Laeken had cost him.24Lunden was a brother-in-law of Rubens; the inventory, datable 1643/44, giving the cost prices, is known by a copy transcribed by Mols, see E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, V, p. 58; for The Farm at Laeken, see C. White, The later Flemish Pictures in the Collection of Her Majesty The Queen, London 2007, no. 58. Campo Weyerman described Brouwer in his Levensbeschryvingen as the ‘Democritus of painters’ (Demokriet der Schilders) – Democrites being traditionally considered the ‘laughing philosopher’, laughing at human folly;25J. Campo Weyerman, De levens-beschrijvingen der nederlandsche konst-schilders en konst-schilderessen, met een uytbreyding over de schilder-konst der ouden: Verrijkt met de konterfeytsels der voornamate konst-schilders en konst-schilderessen in koper gesneden door J. Houbraken, 4 vols., The Hague/Dordrecht 1729-69, II, p. 63. anecdotes arising from his scepticism are relayed by his early biographers. Some at least may have had a basis of truth.

REFERENCES
F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, pp. 847ff; J.H.W. Unger, ‘Adriaan Brouwer te Haarlem’, Oud Holland 2 (1884), pp. 161-69; G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 9-27; Jager et al. in K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, pp. 37-44

Entry

Irrespective of the status of the indistinct initial, there is no reason to doubt Adriaen Brouwer’s authorship of this painting, the authenticity of which has never been questioned. However, it should be pointed out that the two groups of figures, by the fallen tree trunk and round the wagon in the middle distance, are oddly out of scale with the dilapidated fence beneath the ruined tower and may not be autograph. In comparison the seated figure by the skittle pins also seems out of proportion.

The work is generally thought to have been painted while Brouwer was active in Haarlem between circa 1625 and 1630,26G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 78-79, 195; M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, no. 2; K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, p. 48; P. Biesboer, ‘Pieter Claesz in Haarlem’, in P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum Haarlem)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, pp. 10-26, no. 44, 1625-26 or 1625-28; K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, no. 7, c. 1625/26. and usually placed early in this period. An indication is provided by the dendrochronological dating of the single-member support, which was from an oak tree from the Baltic/Polish area; the timber would have been ready for use at the earliest in 1622, plausibly from 1628. It would be reasonable to take the latter date as an approximate terminus post quem. The more tonal colouring would seem to support this dating. The integrated action of the two sets of fighting men anticipates Brouwer’s style in the 1630s. It would thus be earlier than his two other extant renderings of quarrels over cards, at Munich27G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 109-10, pl. VIII; K. Renger with C. Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich/Cologne 2002, no. 562. and Dresden;28H. Marx et al., Gemäldegalerie Alte Meister Dresden: Illustrierte Katalog in zwei Bänden, I: Die Ausgestellten Werke, II: Illustriertes Gesamtverzeichnis, 2 vols., Dresden (Staatliche Kunstsammlungen), Cologne 2005-06, I, p. 352, no. 1059. the former contains a figure copied by Pieter de Bloot (c. 1601/1602-1658) in 1633 and therefore was probably painted late in Brouwer’s sojourn in Haarlem.29G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 109-10, pl. VIII; K. Renger with C. Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich/Cologne 2002, no. 562.

Renger30K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, pp. 30-33. has placed the present composition in the tradition of the print by Erhard Schön (c. 1491-1542) of the Four Properties of Wine.31W.L. Strauss (ed.), The Illustrated Bartsch, New York 1978-, XIII, p. 330, rep. p. 332. The effects of drunkenness, which fuels anger, is suggested by him as Brouwer’s subject, a view supported by Jacob Matham’s (1571-1631) prints of the Consequences of Drunkeness of circa 1621.32L. Widerkehr and H. Leeflang, The New Hollstein Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450-1700: Jacob Matham, 3 vols., Ouderkerk aan de IJssel 2007-08, II, nos. 166-69, esp. no. 169. The pigs entering the scene support this interpretation.33D. Bax, Hieronymus Bosch: His Picture-Writing Deciphered, translated by M.A. Bax-Botha, Rotterdam 1979, pp. 62-63; the pigs have also been thought to refer to the sin of gluttony, see, for instance, M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, under no. 2.

Pinpointing a closer visual precedent in Haarlem or the northern Netherlands in the first decades of the century has so far proved elusive. This may be an indication of Brouwer’s inventiveness; the tenuous similarity between the courtly guard drawing his sword against the oncoming swarm of death in Pieter Brueghel the Elder’s (c. 1525-1569) Triumph of Death34F. Grossmann, Pieter Bruegel: Complete Edition of the Paintings, London 1973, pl. 32. and the man drawing his dagger may be fortuitous.

The church and old, fortified manor house have not been identified; they are probably not wholly imaginary, and their setting in hilly country could not have been inspired by the environs of Haarlem.

Gregory Martin, 2022

Literature

G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 78, figs. 40-43, p. 190; Van Suchtelen in A. van Suchtelen et al., Genre Paintings in the Mauritshuis, coll. cat. The Hague 2016, no. 6

Collection catalogues

1809, p. 13, no. 56; 1843, p. 12, no. 52 (with no. 64); 1853, p. 7, no. 50 (valued at fl. 1,000); 1858, p. 191, no. 430 (unknown); 1880, p. 75, no. 59; 1887, p. 25, no. 204; 1903, p. 66, no. 641; 1934, p. 65, no. 642; 1976, p. 152, no. A 65

Citation

G. Martin, 2022, 'Adriaen Brouwer, Card Fight outside a Country Tavern, c. 1628 - c. 1630', in Flemish Paintings in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.6661

(accessed 19 August 2025 20:34:15).

Footnotes

  • 1G. Hoet, Catalogus of Naamlyst van Schilderyen, met derzelver Pryzen Zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt. Benevens een Verzamelingvan Lysten van Verscheyden nog in wezen zynde Cabinetten, 3 vols., The Hague 1752-70, I, p. 536. E. Korthals Altes, ‘The Eighteenth-Century Gentleman Dealer Willem Lormier and the International Dispersal of Seventeenth-Century Dutch paintings’, Simiolus 28 (2000-01), pp. 251-311, esp. p. 262, under note 41, giving the price as fl. 48.
  • 2P. Terwesten, Catalogus of naamlyst van schilderyen, met derzelver prysen, zedert den 22. Augusti 1752, tot den 21. November 1768 Zo in Holland, als Braband en andere Plaatzen in het openbaar Verkogt. Dienende tot een vervolg of Derde Deel op de Twee Deelen der uitgegeeve Cataloguen door wylen de Heer Gerard Hoet; Zynde hier agter gevoegt: Catalogus van een gedeelte van’t vorstelyk Kabinet Schilderyen van Zynde Doorl. Hoogheid, den Heere Prince van Orange en Nassau, Erfstadhouder, Capitain-Generaal en Admiraal der Verëenigde Nederlanden, &c. &c. &c., The Hague 1770, p. 316. C. Bille, De Tempel der Kunst. Of, het kabinet van den Heer Braamcamp, 2 vols., Amsterdam 1961, I, p. 109.
  • 3‘Catalogue Raisonné d’une Collection de Tableaux appartenant à Monsieur A.L. Gevers, Page de Leurs Majestés le Roi et la Reine de Hollande’, s.l. 1808, transcribed in E.W. Moes and E. van Biema, De Nationale Konst-Gallery en Het Koninklijk Museum, Amsterdam 1909, pp. 145-51, esp. p. 145, no. 15.
  • 4T.L.J. Verroen, ‘‘Een verstandig ryk Man’: de achttiende-eeuwse verzamelaar Adriaan Leonard Van Heteren’, in C. Scheffer (ed.) et al., Achttiende-eeuwse kunst in de Nederlanden, Leids Kunsthistorisch Jaarboek 4 (1985), pp. 17-61, esp. p. 17, notes 2, 3.
  • 5I. Bullart, Academie des Sciences et des Arts, contenant les vies, & les éloges historiques des hommes illustres etc., 2 vols., Brussels 1682, p. 488.
  • 6S. Turner and C. Depauw, The New Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts, 1450-1700, Anthony van Dyck, 7 vols., Rotterdam 2002, II, no. 51; Vey in S.J. Barnes, N. de Poorter, O. Millar and H. Vey, Anthony van Dyck: A Complete Catalogue of the Paintings, New Haven (Conn.)/London 2004, no. III 146.
  • 7In the inscription on the fifth state of the engraved portrait, in note 6, published by Gillis Hendricx.
  • 8C. de Bie, Het gulden cabinet van de edel vrij schilder const, inhoudende den lof vande vermartste schilders, architecte, beldtowers ende plaetsnijders van deze eeuwe, Antwerp s.a. (1662), p. 91.
  • 9Jager et al. in K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, pp. 40-43.
  • 10Jager et al. in K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, pp. 43-44.
  • 11P.T.A. Swillens (ed.), De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen door Arnold Houbraken, 3 vols., Maastricht 1943-53, I, p. 251.
  • 12P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 22.
  • 13E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, p. 268.
  • 14P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, p. 29.
  • 15E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, VII, p. 439.
  • 16E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, pp. 313-14.
  • 17E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, pp. 333, 356.
  • 18E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, III, p. 431; F.J. van den Branden, Geschiedenis der Antwerpsche schilderschool, 3 vols., Antwerp 1883, pp. 861-62.
  • 19P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, ondere zinspreuk: ‘Wt Ionsten Versaemt’, 2 vols., Antwerp/The Hague 1864-76 (reprint Amsterdam 1961), II, pp. 66, 78.
  • 20K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, p. 48, and note 14, pp. 122-23.
  • 21The fourth and fifth states of this print, see S. Turner and C. Depauw, The New Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts, 1450-1700, Anthony van Dyck, 7 vols., Rotterdam 2002, II, no. 51.
  • 22E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, IV, p. 299, nos. 272-280 of the Specification.
  • 23W. Strauss and M. van der Meulen, The Rembrandt Documents, New York 1979, pp. 349, 355, 371.
  • 24Lunden was a brother-in-law of Rubens; the inventory, datable 1643/44, giving the cost prices, is known by a copy transcribed by Mols, see E. Duverger, Fontes historiae Artis Neerlandicae Bronnen voor de Kunstgeschiedenis van de Nederlanden: Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Antwerpse kunstinventarissen uit de zeventiende eeuw, 13 vols., Brussels 1984-2004, V, p. 58; for The Farm at Laeken, see C. White, The later Flemish Pictures in the Collection of Her Majesty The Queen, London 2007, no. 58.
  • 25J. Campo Weyerman, De levens-beschrijvingen der nederlandsche konst-schilders en konst-schilderessen, met een uytbreyding over de schilder-konst der ouden: Verrijkt met de konterfeytsels der voornamate konst-schilders en konst-schilderessen in koper gesneden door J. Houbraken, 4 vols., The Hague/Dordrecht 1729-69, II, p. 63.
  • 26G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 78-79, 195; M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, no. 2; K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, p. 48; P. Biesboer, ‘Pieter Claesz in Haarlem’, in P. Biesboer et al., Pieter Claesz: Master of Haarlem Still Life, exh. cat. Haarlem (Frans Hals Museum Haarlem)/Zürich (Kunsthaus Zürich)/Washington (National Gallery of Art) 2004-05, pp. 10-26, no. 44, 1625-26 or 1625-28; K. Lichtert (ed.), Adriaen Brouwer, Master of Emotions: Between Rubens and Rembrandt, published to accompany the exhibition held at the MOU-Museum van Oudenaarde en de Vlaamse Ardennen, 2018, no. 7, c. 1625/26.
  • 27G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 109-10, pl. VIII; K. Renger with C. Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich/Cologne 2002, no. 562.
  • 28H. Marx et al., Gemäldegalerie Alte Meister Dresden: Illustrierte Katalog in zwei Bänden, I: Die Ausgestellten Werke, II: Illustriertes Gesamtverzeichnis, 2 vols., Dresden (Staatliche Kunstsammlungen), Cologne 2005-06, I, p. 352, no. 1059.
  • 29G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 109-10, pl. VIII; K. Renger with C. Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich/Cologne 2002, no. 562.
  • 30K. Renger, Adriaen Brouwer und das niederländische Bauerngenre 1600-1660, Munich 1986, pp. 30-33.
  • 31W.L. Strauss (ed.), The Illustrated Bartsch, New York 1978-, XIII, p. 330, rep. p. 332.
  • 32L. Widerkehr and H. Leeflang, The New Hollstein Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450-1700: Jacob Matham, 3 vols., Ouderkerk aan de IJssel 2007-08, II, nos. 166-69, esp. no. 169.
  • 33D. Bax, Hieronymus Bosch: His Picture-Writing Deciphered, translated by M.A. Bax-Botha, Rotterdam 1979, pp. 62-63; the pigs have also been thought to refer to the sin of gluttony, see, for instance, M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, under no. 2.
  • 34F. Grossmann, Pieter Bruegel: Complete Edition of the Paintings, London 1973, pl. 32.