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Circle of Jacob Toorenvliet
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Description
Property from a California Private Collection
Circle of Jacob Toorenvliet
Sleeping man with an earthenware jug
oil on panel
panel: 10 ¾ by 7 ½ in.; 27.3 by 19.1 cm.
framed: 18 by 14 ⅞ in.; 45.7 by 37.8 cm.
Provenance
Taylor collection (according to a stencil on the reverse);
Acquired by the grandparents of the present collector, New York, circa 1940;
Thence by descent to the present collector.Catalogue note
This work depicts a weatherworn man wearing tattered clothes who has nodded off after imbibing too generously from the earthenware vessel in his hands. A light source at left illuminates his wrinkled skin and coarse features, framed in profile beneath a wide-brimmed hat. The painting was likely intended to convey a moralizing message by illustrating the after-effects of intoxication: not only falling asleep, but also descending into poverty.
The present painting is closely related to a slightly larger autograph depiction of the composition last offered in 2010.1 The creator of the present work appears to have been especially well-versed with Toorenvliet's fijnschilder, or "fine painting," technique. The precise technical dexterity of this approach is apparent in the deft touches that animate the image: the flickering light reflected on the lusterware; the individual stiches that attach the cloth patches to the man's overcoat; and the intricately rendered salt-and-pepper strands of hair.
We are grateful to Dr. Susanne H. Karau for her assistance cataloguing the present painting.
1 London, Sotheby's, 29 April 2010, lot 122 (as Follower of Toorenvliet).
Circle of Jacob Toorenvliet
Sleeping man with an earthenware jug
oil on panel
panel: 10 ¾ by 7 ½ in.; 27.3 by 19.1 cm.
framed: 18 by 14 ⅞ in.; 45.7 by 37.8 cm.
Provenance
Taylor collection (according to a stencil on the reverse);
Acquired by the grandparents of the present collector, New York, circa 1940;
Thence by descent to the present collector.Catalogue note
This work depicts a weatherworn man wearing tattered clothes who has nodded off after imbibing too generously from the earthenware vessel in his hands. A light source at left illuminates his wrinkled skin and coarse features, framed in profile beneath a wide-brimmed hat. The painting was likely intended to convey a moralizing message by illustrating the after-effects of intoxication: not only falling asleep, but also descending into poverty.
The present painting is closely related to a slightly larger autograph depiction of the composition last offered in 2010.1 The creator of the present work appears to have been especially well-versed with Toorenvliet's fijnschilder, or "fine painting," technique. The precise technical dexterity of this approach is apparent in the deft touches that animate the image: the flickering light reflected on the lusterware; the individual stiches that attach the cloth patches to the man's overcoat; and the intricately rendered salt-and-pepper strands of hair.
We are grateful to Dr. Susanne H. Karau for her assistance cataloguing the present painting.
1 London, Sotheby's, 29 April 2010, lot 122 (as Follower of Toorenvliet).
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Property from a California Private Collection
Circle of Jacob Toorenvliet
Sleeping man with an earthenware jug
oil on panel
panel: 10 ¾ by 7 ½ in.; 27.3 by 19.1 cm.
framed: 18 by 14 ⅞ in.; 45.7 by 37.8 cm.
Provenance
Taylor collection (according to a stencil on the reverse);
Acquired by the grandparents of the present collector, New York, circa 1940;
Thence by descent to the present collector.Catalogue note
This work depicts a weatherworn man wearing tattered clothes who has nodded off after imbibing too generously from the earthenware vessel in his hands. A light source at left illuminates his wrinkled skin and coarse features, framed in profile beneath a wide-brimmed hat. The painting was likely intended to convey a moralizing message by illustrating the after-effects of intoxication: not only falling asleep, but also descending into poverty.
The present painting is closely related to a slightly larger autograph depiction of the composition last offered in 2010.1 The creator of the present work appears to have been especially well-versed with Toorenvliet's fijnschilder, or "fine painting," technique. The precise technical dexterity of this approach is apparent in the deft touches that animate the image: the flickering light reflected on the lusterware; the individual stiches that attach the cloth patches to the man's overcoat; and the intricately rendered salt-and-pepper strands of hair.
We are grateful to Dr. Susanne H. Karau for her assistance cataloguing the present painting.
1 London, Sotheby's, 29 April 2010, lot 122 (as Follower of Toorenvliet).
Circle of Jacob Toorenvliet
Sleeping man with an earthenware jug
oil on panel
panel: 10 ¾ by 7 ½ in.; 27.3 by 19.1 cm.
framed: 18 by 14 ⅞ in.; 45.7 by 37.8 cm.
Provenance
Taylor collection (according to a stencil on the reverse);
Acquired by the grandparents of the present collector, New York, circa 1940;
Thence by descent to the present collector.Catalogue note
This work depicts a weatherworn man wearing tattered clothes who has nodded off after imbibing too generously from the earthenware vessel in his hands. A light source at left illuminates his wrinkled skin and coarse features, framed in profile beneath a wide-brimmed hat. The painting was likely intended to convey a moralizing message by illustrating the after-effects of intoxication: not only falling asleep, but also descending into poverty.
The present painting is closely related to a slightly larger autograph depiction of the composition last offered in 2010.1 The creator of the present work appears to have been especially well-versed with Toorenvliet's fijnschilder, or "fine painting," technique. The precise technical dexterity of this approach is apparent in the deft touches that animate the image: the flickering light reflected on the lusterware; the individual stiches that attach the cloth patches to the man's overcoat; and the intricately rendered salt-and-pepper strands of hair.
We are grateful to Dr. Susanne H. Karau for her assistance cataloguing the present painting.
1 London, Sotheby's, 29 April 2010, lot 122 (as Follower of Toorenvliet).
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