Man Caressing the Young Hostess
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.)