Adriaen Brouwer

Poor Folk Drinking in a Tavern

c. 1625 - c. 1630

Inscriptions

  • inscription, indistinct, bottom left, on the barrel chair near the stoneware jar:·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: revarnished
  • H. Kat, 1996: paint consolidated, revarnished

Provenance

…; ? collection Hendrik van Heteren (1672-1749), The Hague;1See E.W. Moes and E. van Biema, De Nationale Konst-Gallery en Het Koninklijk Museum, Amsterdam 1909, p. 192; T.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. 31. his son, Adriaan Leonard van Heteren (1724-1800), The Hague, (‘Eenige drinkende en zingende boeren en boerinnen, door Adriaan Brouwer. h. 9 en drie vierde d., br. 12 en drie vierde d. P. [25.4 x 33.3 cm]’);2‘Catalogus van Schilderyen, In’t Kabinet van den Heer Bewindhebber, Adriaen Leonard van Heteren in’s Hage’, in G. 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, II, p. 452. The discrepancies given in the measurements, both in the Van Heteren catalogues and by the museum, cannot be explained (see Collection Catalogues). That the support was inset was already noted in 1843. his third cousin and godson, Adriaan Leonard van Heteren Gevers (1794-1866), Rotterdam, (‘Adriaan Brouwer. Plusieurs paysans buvant et dansant. Très bien peint, 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. 14. 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. pp. 17, 58, notes 2, 3. on loan to the Mauritshuis, The Hague, 1948-2002, and since 2003

ObjectNumber: SK-A-64

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 3, 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 indistinct initial, bottom left, there is no reason to doubt Adriaen Brouwer’s authorship of the present painting; indeed, it has never been questioned. The work has been generally dated to the artist’s first period of activity in Haarlem circa 1625-30.26W. von Bode, Adriaen Brouwer: Sein Leben und seine Werke, Berlin 1924, p. 40 and fig. 14; M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, no. 1: ‘early period in Haarlem’; Sutton in P. Sutton et al., The Age of Rubens, exh. cat. Boston (Museum of Fine Arts)/Toledo (Museum of Art) 1993-94, p. 407 under no. 63; H. Buvelot, Royal Picture Gallery Mauritshuis: A Summary Catalogue, The Hague 2004, p. 80, no. 247. But whether the inscription is a monogram (as was believed in 1887), or, as here proposed, an initial B, and whether it is authentic, is hard to determine beneath the discoloured varnish which obscures the handling and range of colours.

The treatment of the faces in the present work is less caricatural than in the Peasant Feast in the Ruziscka Foundation (Kunsthaus, Zürich),27G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 65-70 and colour pl. I. and the handling is more fluent than in the Tavern Yard with a Game of Bowls (private collection).28P. Sutton et al., The Age of Rubens, exh. cat. Boston (Museum of Fine Arts)/Toledo (Museum of Art) 1993-94, pp. 407-08, no. 63. Knuttel placed it in the artist’s later years in Holland, and earlier than his Card Fight outside a Country Tavern (SK-A-65).29G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 87-89. The development of Brouwer’s style in Haarlem has not been satisfactorily established. It may well be that the present painting should indeed be placed earlier than the fighting scene of circa 1628-30, but a more precise dating would be premature while both works are obscured by discoloured varnish, especially the former.

The two sleeping figures in the foreground were perhaps inspired by, or painted in emulation of, those in the foreground of the print by Pieter van der Heyden (c. 1530-after 1572) after Pieter Brueghel the Elder’s Fat Kitchen of 1563.30F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, III, p. 287, no. 159. But Brouwer’s subject is rather the effects of alcohol. At about the same time he treated the same subject, but in a different way, in the Museum Boijmans Van Beuningen’s Interior of an Inn,31G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, p. 83, fig. 44. in which there also appears a prone drinker and one with both arms raised. In his near-contemporary Peasant Interior (Staatliches Museum Schwerin),32G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, p. 85 fig. 45, as The Slaughter Feast. the woman on the left has a white headdress, but it remains done up as opposed to that of the stupefied mother in the foreground of the present picture, which has fallen undone. The headdress of the woman singing has also become undone; she may have been the same model who had appeared earlier, pouring a flagon, in the Ruziscka Foundation’s Peasant Feast. The motif of the point of a knife stuck in a table top recurs in Brouwer’s Personification of Envy, known through Lucas Vorsterman I’s (1595-1675)
print.33F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLIII, p. 114, no. 121, fig. 117.

For a discussion of the popularity of smoking at the time, see SK-A-4040.

Gregory Martin, 2022

Literature

G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 87-89, figs. 46-49, col. pl. III, p. 190; Van Suchtelen in A. van Suchtelen et al., Genre Paintings in the Mauritshuis, coll. cat. The Hague 2016, no. 7

Collection catalogues

1809, p. 13, no. 55; 1843, p. 12, no. 52 (with no. 65) (‘Twee stuks vrolijke, drinkende en vechtende Boerengezelschappen’; ‘van een is het panel rondsome met stukken aangesat’); 1853, p. 17, no. 49 (fl. 1,000); 1858, p. 19, no. 42 (unknown); 1880, p. 74, no. 58 (24 x 31 cm); 1887, p. 26, no. 203 (as signed with monogram, 24 x 31 cm); 1903, p. 66, no. 641 (26 x 33 cm); 1934, p. 64, no. 641 (19.15 x 26.5 cm); 1976, p. 152, no. A 64

Citation

G. Martin, 2022, 'Adriaen Brouwer, Poor Folk Drinking in a Tavern, c. 1625 - c. 1630', in Flemish Paintings in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.6660

(accessed 19 August 2025 21:45:29).

Footnotes

  • 1See E.W. Moes and E. van Biema, De Nationale Konst-Gallery en Het Koninklijk Museum, Amsterdam 1909, p. 192; T.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. 31.
  • 2‘Catalogus van Schilderyen, In’t Kabinet van den Heer Bewindhebber, Adriaen Leonard van Heteren in’s Hage’, in G. 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, II, p. 452. The discrepancies given in the measurements, both in the Van Heteren catalogues and by the museum, cannot be explained (see Collection Catalogues). That the support was inset was already noted in 1843.
  • 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. 14.
  • 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. pp. 17, 58, 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 3, 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.
  • 26W. von Bode, Adriaen Brouwer: Sein Leben und seine Werke, Berlin 1924, p. 40 and fig. 14; M. Klinge, Adriaen Brouwer, David Teniers the Younger: A Loan Exhibition of Paintings, exh. cat. New York/Maastricht (Noortman & Brod Ltd) 1982, no. 1: ‘early period in Haarlem’; Sutton in P. Sutton et al., The Age of Rubens, exh. cat. Boston (Museum of Fine Arts)/Toledo (Museum of Art) 1993-94, p. 407 under no. 63; H. Buvelot, Royal Picture Gallery Mauritshuis: A Summary Catalogue, The Hague 2004, p. 80, no. 247.
  • 27G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 65-70 and colour pl. I.
  • 28P. Sutton et al., The Age of Rubens, exh. cat. Boston (Museum of Fine Arts)/Toledo (Museum of Art) 1993-94, pp. 407-08, no. 63.
  • 29G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, pp. 87-89.
  • 30F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, III, p. 287, no. 159.
  • 31G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, p. 83, fig. 44.
  • 32G. Knuttel, Adriaen Brouwer: The Master and his Work, The Hague 1962, p. 85 fig. 45, as The Slaughter Feast.
  • 33F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700, Amsterdam/Roosendaal 1948-, XLIII, p. 114, no. 121, fig. 117.