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David Teniers the Younger
A tavern interior with a dog and kitchen utensils in the foreground

About the Item

David Teniers, the Younger (1610, Antwerp – 1690, Brussels) A tavern interior with a dog and kitchen utensils in the foreground. Signed lower left: TENIERS F. Oil on panel. 28 x 36,2 cm. Attribution RKD, the Hague Provenance Private collection, Belgium. Sotheby's, London, 13.5.2003, Lot 9. Kunsthandel P. de Boer, Amsterdam. European private collection. David Teniers was one of the most famous 17th-century artist dipicting peasant life. He enjoyed international popularity in his own lifetime and especially during the 18th century. Teniers's success was marked by the acquisition of a country house in 1662 and by the grant in 1680 of a patent of nobility. His work was imitated by many followers, including his son, David Teniers III. Teniers was born in Antwerp and probably trained by his father, David Teniers the Elder. An important influence for the young artist were works by Adrian Brower and than by the art if Rubens, who was a a witness at Teniers' wedding. From the beggining Teniers produced a more refined version of Brouwer's peasant scenes, and later created scenes of fashionable life. With time he also abandoned dark frank colour in favour of a magic which is able to give his warm neutrals a suggestion of every sort of colour. The characteristic which was influenced by his father-in-law Jan Breughel. Teniers became a master in the guild of Saint Luke in Antwerp in 1632 or 1633. By 1649 he was probably already working for the King of Spain, as well as for Prince William of Orange and the Governor of the Netherlands, the Archduke Leopold William. In 1651 Teniers moved to Brussels where Archduke Leopold became his main employer. The archduke had assembled a famous collection of paintings, which became the nucleus of the Kunsthistorisches Museum in Vienna. This still life is not a characteristic and a rare work by the master. His work mostly consists of genre painting. the 1640s. The subject, with its variety of still life and picturesque possibilities of illumination, waas very popular in Hollande of 17th century. Teniers gave it its most sumptuous. The present painting is one of these genre paintings. It is not clear is it a still life or a genre painting, it is more kind of a view from the back kitchen to a tavern where two mer keep talking. But the foregournd is occupied by the utensils and a sleeping dog. All this sounds like illustrative features carelessly heaped up. All the objects, colours and textures have their compositional value, the light gives delicacy to every piece, no matter how old or old it can seem. Nothing could be shifted, taken away or added without some impairment of pictorial unity. Perhaps the picture should be regarded chiefly as a stunt-if so, a stunt magnificently carried off.
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