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拍品专文
In this cheerful painting, attributed to Frans Hals, a woman is shown in half-length holding a glass and flagon as though offering a drink to the viewer. A violin hangs on the wall nearby and below it, Hals' monogram. The distinctive features of the woman, which include thick eyebrows, a long nose, and thin mouth, suggest that Hals based his depiction on a real individual. This picture would, therefore, support the colorful account of early biographer Arnold Houbraken, recently refuted by Walter Liedtke, that Hals was a regular visitor to Haarlem's taverns (W. Liedtke, 'Frans Hals: Style and Substance,' The Metropolitan Museum of Art Bulletin, Summer 2011, pp. 6-9). While the physiognomy of the woman suggests that Hals based the figure on first-hand observation, this work hovers on the border between portrait and genre scene. As noted by Seymour Slive, the motif of the glass and flagon can be found in seventeenth-century Dutch emblems promoting temperance; the inclusion of the violin may imply 'the harmony men should establish between themselves and strong drink.' (op. cit., I, p. 77). In 1936, W.L. Valentiner suggested that this work was a companion to Man with a Jug (op. cit., 1936, [n.p.], nos. 11-12); Slive disagrees, however, rejecting the attribution of the painting of the man to Hals (op. cit., III, p. 15, no. 22).
Its surface somewhat abraded, Young woman holding a glass and flagon nevertheless displays Hals' spirited, visible brushstrokes that revolutionized painting in the seventeenth- century Netherlands. According to Slive, this work dates from the early 1620s and therefore would be contemporary to the iconic Young man and woman in an Inn (Jonker Ramp and his sweetheart) of 1623 now at The Metropolitan Museum of Art, New York. Like the present work, the Metropolitan Museum picture can be interpreted in a variety of ways, including as a pure genre picture or religious scene of the Prodigal Son. Both works also share the same controlled spontaneity of brushwork; the woman's left hand and the bright highlights of the flagon in the present work are composed of the same fluid strokes as the extended hand and glass of the Metropolitan Museum work. Also evident in Young woman holding a glass and flagon is Hals' use of the light brown ground as a middle tone, displaying the brilliant economy of his distinctive working method.
The painting formerly belonged to New York Senator and preeminent collector William Henry Clark (1839-1925), who adorned his palatial Fifth Avenue apartment with paintings and drawings before bequeathing a large portion of his collection to the Corcoran Gallery of Art, Washington. A watercolor by Vernon Howe Bailey shows the interior of Clark's New York residence before its destruction in 1925, and in this lively view (fig. 1) both the present work and a portrait of Charles Louis, Elector Palatine, from the circle of Anthony van Dyck (lot 293) are visible hanging near the right edge of the wall.
Its surface somewhat abraded, Young woman holding a glass and flagon nevertheless displays Hals' spirited, visible brushstrokes that revolutionized painting in the seventeenth- century Netherlands. According to Slive, this work dates from the early 1620s and therefore would be contemporary to the iconic Young man and woman in an Inn (Jonker Ramp and his sweetheart) of 1623 now at The Metropolitan Museum of Art, New York. Like the present work, the Metropolitan Museum picture can be interpreted in a variety of ways, including as a pure genre picture or religious scene of the Prodigal Son. Both works also share the same controlled spontaneity of brushwork; the woman's left hand and the bright highlights of the flagon in the present work are composed of the same fluid strokes as the extended hand and glass of the Metropolitan Museum work. Also evident in Young woman holding a glass and flagon is Hals' use of the light brown ground as a middle tone, displaying the brilliant economy of his distinctive working method.
The painting formerly belonged to New York Senator and preeminent collector William Henry Clark (1839-1925), who adorned his palatial Fifth Avenue apartment with paintings and drawings before bequeathing a large portion of his collection to the Corcoran Gallery of Art, Washington. A watercolor by Vernon Howe Bailey shows the interior of Clark's New York residence before its destruction in 1925, and in this lively view (fig. 1) both the present work and a portrait of Charles Louis, Elector Palatine, from the circle of Anthony van Dyck (lot 293) are visible hanging near the right edge of the wall.