HARRIS SCHRANK FINE PRINTS » Cornelis Bega

The Young Hostess

Harris Schrank — Tue, 18 Aug 2009 22:08:35 +0000

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

The Inn

Harris Schrank — Tue, 23 Jun 2009 19:25:51 +0000

Cornelis Bega (1631/2-64), The Inn, etching, c. 1660-64. Reference: Hollstein 35. First state of three. With the Foolscap watermark. In good condition, with some (flattened) printing creases, a few unobtrusive (printer’s oil?) stains, archival mounting. With margins, 8 3/4 x 6 3/4, the sheet 9 5/8 x 7 1/2 inches.

A fine impression of this very early state, before the address was added (“J Covene et C. Mortier excudit” was added in the second state).

Hollstein notes several other first state impressions with the Foolscap watermark.

Provenance: 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.

Cornelis Bega was born in Haarlem, the son of Pieter Bega, a wood carver and silversmith, and Maria Cornelisdr, 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.

Bega’s few later etchings are his most complex, and – as is especially evident in The Inn - they have a dark, cold sense to them – not the warm hominess of some of the other 17th Century etchings of Van Ostade, Van Vliet or Dusart. Here, the two men talk with the girl in an accusatory or threatening manner, and she appears contrite. The scene is dark, two other men talk in the background. Food and a jug are on an overturned half barrel at the right, shoes and hat and a broom on the ground at the left. The composition is triangular, tight and structured, and the lighting focuses on it effectively.

The Mother Seated in an Inn

Harris Schrank — Tue, 23 Jun 2009 19:22:16 +0000

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.

Man Caressing the Young Hostess

Harris Schrank — Tue, 23 Jun 2009 19:12:28 +0000

Cornelis Bega (1631/32-64), Man Caressing the Young Hostess, ca. 1660-64, etching. Reference: Hollstein, Bartsch 34, first state of two, with the name of the artist showing in the lower left corner through the crosshatching. Printed on old laid paper with a dark brown ink, a Fleur de Lys with Crown watermark (Godefry’s watermark number 11, found also on lifetime impressions of Van Ostade prints, so it is quite certain that this is a lifetime impression). In very good condition, touched with grey wash, with margins, 8 3/4 x 6 7/8, the sheet 9 3/4 x 8 inches, archival matting.

A fine delicately printed early impression of this 17th Century Dutch masterpiece.

Provenance: ex Collection Dr. Karl Herweg, with his stamp verso (not in Lugt), and Thomas Graff, with his stamp verso (Lugt 1092a). Dr. Herweg was a noted collector of 17th Century Dutch prints, especially those of Van Ostade and Bega.

Dr. Herweg made most of his old master print 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. Working with Trautscholdt, Dr. Herweg collected meticulously and with great discernment, selecting the best impressions of diverse states, often buying a further impression of a print already acquired. This Bega print is still in Herweg’s mat and with his cataloguing notes.

In this late stage of Bega’s career he typically grouped his figures tightly in a pyramidal cluster. Here the setting is rather austere, with various elements extending the middle grouping. The light comes from an undisclosed source, although some light may be coming from the lamp (above the cabinet) which serves as the apex of the composition.

The depiction of sex, drinking, smoking and gambling is both direct and symbolic. Obviously the two men are leering at and embracing the young barmaid – the one at the right is holding her hand; the one at the left is rocking toward her, and it’s not clear where his right hand is going. Cards are on the floor; the ace of spades could symbolize death, but the other cards have no special meaning. The pipe was typically shared in 17th C. Holland, and perhaps the bottle was too. The hat on the floor (which is superfluous since both men have hats) denoted irresponsibility; and the open cabinet with its wrinkled linens, and the empty shoes may refer to the sexual favor which is being arranged. But no great moralizing seems to be operative; the margin below the picture was not used for any message, at least among the known impressions.

(Note: for an interesting and detailed discussion of the iconography of this print see the catalogue Dutch Prints of Daily Life by Linda A. Stone-Ferrier, published by the Spencer Museum of Art, University of Kansas.)