Cornelis Bega (1631/32-64), The Young Hostess, c. 1660-64, etching. Reference: Hollstein, Bartsch 33, third state (of 5). With the address of J. Covens and C Mortier bottom left - before the address was removed (in the fourth state) and the artist’s signature was added (in the fifth state). In excellent condition, printed in black/grey ink on an old laid paper, with a 3/16 inch margin outside the plate mark all around, archival matting.

Provenance: Ex collection Graff (with stamp verso, Lugt 1092a), LRV (with stamp verso, Lugt 1761), an unidentified collector’s stamp verso, and Dr. Karl Herveg (his stamp verso, not in Lugt). (Verso illustrated.)

A very good impression, with the guidelines of the address strongly visible.

Dr. Karl Herweg was a noted collector of 17th Century Dutch prints, especially those of Van Ostade and Bega. Dr. Herweg bought most of his old master prints from CG Boerner in Dusseldorf, where he was advised by legendary connoisseur and scholar-dealer Eduard Trautscholdt whose real passion was the etchings of the Haarlem genre painter-etchers: Cornelis Bega, Adriaen van Ostade, and the latter’s pupil Cornelis Dusart.

In this late stage of Bega’s career he typically grouped his figures tightly in a pyramidal cluster. Here the setting is austere, with various elements extending the middle grouping. The light comes from an undisclosed source in the foreground, and from the open window at the right.

The figures in this scene are characteristic of Bega’s portrayals of Dutch tavern life in the late 17th Century: one old patron caresses the barmaid as the other – his left foot seemingly placed between the feet of the girl - chews on a bone.

Verso, showing collector's marks

]]> http://harrisschrank.com/the-young-hostess.htm/feed 0 http://harrisschrank.com/the-mother-seated-in-an-inn.htm http://harrisschrank.com/the-mother-seated-in-an-inn.htm#comments Tue, 23 Jun 2009 19:22:16 +0000 Harris Schrank http://harrisschrank.com/?p=679 Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, first state of two. In good condition, trimmed outside of the plate mark top and sides, on the plate mark bottom; 6  1/4 x 4 7/8 inches, archival mounting. Cornelis Bega was born in Haarlem, the son of Pieter Bega, a wood carver and silversmith, and Maria Cornelis, daughter of the Mannerist painter Cornelis van Haarlem. He is known as a pupil of Adriaen Van Ostade, and of course his work bears a resemblance to Van Ostade’s. He was admitted to the Haarlem artists’ guild in [...]]]>

Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, first state of two. In good condition, trimmed outside of the plate mark top and sides, on the plate mark bottom; 6  1/4 x 4 7/8 inches, archival mounting.

Cornelis Bega was born in Haarlem, the son of Pieter Bega, a wood carver and silversmith, and Maria Cornelis, daughter of the Mannerist painter Cornelis van Haarlem. He is known as a pupil of Adriaen Van Ostade, and of course his work bears a resemblance to Van Ostade’s. He was admitted to the Haarlem artists’ guild in 1654.

A fine early impression, berfore the additional work on the head and hair of the child, and before the removal of the spots on the left leg of the seated man.

Provenance: ex Collection: Draut, with his mark verso (not in Lugt), ex. Collection: Dr. Karl Herweg, and with his stamp (not in Lugt) verso. The Herweg collection was distinguished for its collection of Van Ostade and Bega prints.

In this state the head of the child is unfinished, as is much of the bottom of the print. In a later state additional work was done (on the head of the child, for example), but the print was left substantially unfinished, in outline in the bottom of the composition. This may have been what Bega desired (and of course, as the Unfinished Print exhibit at the Frick Museum in New York recently documented, many great artists through the ages including Rembrandt, whose prints Bega surely knew, sometimes left their prints “unfinished” when they were satisfied with what they had done). Alternatively, Bega may simply have turned to other work (or this may have been his last). But the outline of the bottom of the composition is clearly delineated in this impression.