PIETER DE HOOCH* (1629-1684)

细节

PIETER DE HOOCH* (1629-1684)

An Interior with a Man and a Woman eating Oysters at a Table with a seated Woman holding a Glass and opening the lid of a Pewter Jug

signed and dated (strengthened): 'P Hoogh 1681'--oil on canvas
24 5/8 x 19½in. (62.5 x 49.5cm.)

来源

D. van Dijl, sale, Vinkeles, Amsterdam, Nov. 22, 1813 (postponed to Jan. 10, 1814), lot 70
Reverend H. King, by descent to G. Mahon, from whom it was acquired by M. Knoedler & Co., New York, 1920
with Goudstikker, Amsterdam, 1928-9,
Baron Thyssen, Schloss Rohoncz, Lugano,
F.E. Short et al., Sotheby's, London, Nov. 2, 1949, lot 148, to MacGregor Germaine Hochschild, Lausanne
Anon. Sale, Lucerne, Nov. 20, 1962, lot 2435
Anon. Sale, Lempertz, Cologne, Nov. 11, 1964, lot 93
Anon. Sale, Sotheby's, London, July 9, 1975, lot 40

出版

C. Hofstede de Groot, A Catalogue Raisonné, etc. I, 1907, p. 536, no. 218
C. Brière-Misme, Tableaux inédits ou peu connus de Pieter de Hooch, Gazette des Beaux Art, XIV, November 1927, p. 285
W. R. Valentiner, Pieter de Hooch. Des Meisters Gemälde in 180 Abbildungen, Klassiker der Kunst, XXXV, 1929, p. xx, no. 161, illustrated
R. Heinemann, Stiftung Sammlung Schloss Rohoncz, 1937, I, no. 201
P. C. Sutton, Pieter de Hooch, Complete Edition, 1980, pp. 40, 118-9, no. 159, pl. 162

展览

Malmö, Malö Museum, Utställning av en Samling Gamla Mälningar, February 1926, no. 20, illustrated
Munich, Neue Pinakothek, Sammlung Schloss Rohoncz, 1930, no. 159

拍品专文

Dated 1681, this painting was executed in Amsterdam at the end of Pieter de Hooch's career. Celebrated for his expressive use of space and light, de Hooch depicted more elegant subjects in his later years, employing darker shadows, stronger contrasts, and a more emphatic palette of reddish orange, silver and gold. The subject of an oyster meal shared between the sexes was a popular "high life" theme among Dutch genre painters, especially after the mid-seventeenth century. Frans van Mieris, Jan Steen, and de Hooch's fellow pupil under Berchem, Jacob Ochtervelt, all treated the subject repeatedly. De Hooch himself painted the subject earlier in his masterful late courtyard scene of 1677 in the National Gallery, London (Inv. no. 3047). Called "minne-kruyden" (love herbs) by the popular Dutch poet, Jacob Cats, oysters have been regarded since Antiquity not only as delicacies but also as aphrodisiacs; for a discussion of their potential meanings and associations in Dutch paintings, see E. de Jongh, et al, in the catalogue of the exhibition, Tot Leering en Vermaak, Rijksmuseum, Amsterdam, 1976, nos. 51 and 62; and L. Cheney, The Oyster in Dutch Genre Paintings: Moral or Erotic Symbolism, Artibus et Historiae, XV, 1987, pp. 135-58