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Identification and Creation

Object Number
1999.138
People
Cornelis Dusart, Dutch (Haarlem, Netherlands 1660 - 1704 Haarlem, Netherlands)
Title
Drunken Lovers
Classification
Drawings
Work Type
drawing
Date
c. 1670-1700
Places
Creation Place: Europe, Netherlands
Culture
Dutch
Persistent Link
https://hvrd.art/o/191887

Physical Descriptions

Medium
Brown ink and gray wash over traces of black chalk on off-white antique laid paper, laid down on card and attached to mount
Dimensions
10 x 8.5 cm (3 15/16 x 3 3/8 in.)
primary mount: 10.4 x 8.9 cm (4 1/8 x 3 1/2 in.)
secondary mount: 17.2 x 15.5 cm (6 3/4 x 6 1/8 in.)
Inscriptions and Marks
  • inscription: lower right, brown ink: JS [in ligature] teen.
  • collector's mark: lower left, black ink, stamp: L. 909 (Edward Vernon Utterson)
  • inscription: secondary mount, center, graphite: Sam Woodbn Colln
  • inscription: secondary mount, verso, lower right, brown ink: N 8 - Jean Steen
  • inscription: secondary mount, verso, lower right, brown ink, abraded: [illegible]
  • inscription: secondary mount, verso, right center, brown ink, abraded: [illegible]
  • inscription: secondary mount, verso, upper edge, graphite, Italian: Un altro disegno della stessa grandezza / con due figure allegre l'ho lasciata a 21. dis / no a far comprato per 54 ghinee -- in suoi disegni / qui quando sono segnati sono in gran prezze / Febo[superscript] 1875 --


    [Another drawing of the same size / of two happy figures [?] / [?] purchased for 54 guineas--with these drawings / when they are signed they have a larger price [value] / February 1875]
  • inscription: secondary mount, lower left, graphite: Jan. Steen
  • watermark: possible fragment of a watermark, unidentified. Beta will not be made. Mount is too thick.
  • inscription: secondary mount, center, underneath drawing, graphite: J Steen 1 [in a box] / [circle with a cross through it]
  • inscription: verso of primary mount, lower right, graphite: J. Steen 1 [in a box] / [circle with a cross through it]
  • inscription: primary mount, verso, lower left, brown ink: reuf- [?]

Provenance

Recorded Ownership History
Probably Hendrik Busserus, Amsterdam, his sale, Amsterdam (Van der Schley…Maarszen), 21 October 1782, kb 6, lot 315. Perhaps Samuel Woodburn, London. Edward Vernon Utterson, London (L. 909, lower right). George W. Northrop, Boston. Boston art trade, ca. 1965 to Maida and George Abrams, Boston.

Published Text

Catalogue
Drawings from the Age of Bruegel, Rubens, and Rembrandt: The Complete Collection Online
Authors
Multiple authors
Publisher
Harvard Art Museums (Cambridge, MA, 2017–)

Entry by Susan Anderson, completed November 01, 2017:

Cornelis Dusart was a painter, draftsman, and printmaker specializing in peasant genre scenes during the last quarter of the 17th century in Haarlem. Here he depicts a lecherous man caressing the chin of a reticent woman. Amorous couples appear frequently in Dusart’s oeuvre, either with a refused caress or with an eager embrace.1 In this sheet, the man’s angled standing posture and tipped hat, together with the seated woman’s downward glance and nearly spilled pitcher and roemer (a type of drinking glass), indicate that his rapid advances were startling and ill-received. The scene takes place in a nondescript interior, although the waffles on the table—commonly seen in 17th-century Dutch images of couples—suggest a festive and indulgent occasion.

An unknown hand inscribed this sheet with the false signature “JSteen,” referencing the popular and often moralizing painter Jan Steen (1626–1679), who frequently created scenes of excessive merrymaking. Today, only a small number of drawings can be securely connected with Steen’s paintings, which suggests either that Steen did not typically draw or that his studio material is almost entirely lost.2 Dusart’s earlier drawings, like this one, drew inspiration from Steen’s comical character types. Later collectors or owners would therefore frequently add Steen’s monogram or signature to these sheets.3 The thin line, approach to the depiction of drapery, and the facial features and expressions are typical Dusart, however, and are in keeping with his sheets from the early 1680s.4

Notes

1 Other examples include Peasant Couple Kissing, gray wash, black chalk, graphite, and touches of brown ink, 158 × 129 mm, Paris, Fondation Custodia, Frits Lugt Collection, 3460; Drunken Couple, 1686, watercolor over black and red chalk on parchment, 221 × 186 mm, Konstanz, Städtische Wessenberg-Galerie, 28/16; and Amorous Man and a Bashful Woman, watercolor and black and red chalk on parchment, 185 × 165 mm, Rotterdam, Museum Boijmans van Beuningen, CD 1; among others.

2 I. Q. van Regteren Altena explores this question about Steen’s drawing practice in his 1943 article, “Hoe tekeende Jan Steen [How Did Jan Steen Draw]?,” Oud Holland 60 (1943): 97–117. Most of his attributions have not withstood the test of time. For a contemporary summary of Steen’s activity as a draftsman, including suggestions for several new attributions, see Jane Shoaf Turner, “Another Secure Preparatory Drawing by Jan Steen,” Master Drawings 47 (4) (Winter 2009): 433–36.

3 Some of these are recognizable today as Dusart’s hand, including Seated Man with a Glass, Singing, watercolor, brown ink, and graphite, 149 × 109 mm, Amsterdam, Rijksprentenkabinet, RP-T-1879-A-9; in Van Regteren Altena, pp. 110–11, repr. Fig. 15; another sheet with the same title: watercolor, brown ink and black chalk, 103 × 80 mm, Amsterdam, Rijksprentenkabinet, RP-T-1881-A-118, in Van Regteren Altena, pp. 110–11; Dancing Couple, brown and gray wash and graphite, 116 × 75 mm, Haarlem, Teylers Museum, Q* 19, in Van Regteren Altena, pp. 110–11, n. 4; Winter Landscape, brown ink and gray wash over graphite, 290 × 310 mm, Haarlem, Teylers Museum, Q* 18; and Ice Skaters, brown ink, gray wash and graphite, 157 × 267 mm, Dresden, Staatliche Kunstsammlungen Dresden, Kupferstichkabinett, C 1898-32, in Van Regteren Altena, p. 109, repr. Fig. 14.

4 Examples connected to Dusart’s signed paintings include Peasant Family at the Hearth, watercolor, brown ink and black chalk, 310 × 210 mm, Paris, École nationale superiéure des Beaux-Arts, PC 34158 (preparatory for his 1680 painting The Doll, oil on panel, 45.7 × 36.1 cm, Lord Northbrook Collection); and Fish Seller at Market, brown ink and brown and gray wash over black chalk, 160 × 222 mm, Brussels, Royal Museum of Fine Arts of Belgium, De Grez Collection, 4060/1177 (preparatory for his 1683 painting Fish Seller at Market, oil on canvas, 68.5 × 90.5 cm, Amsterdam, Rijksmuseum, SK-A-98).

Acquisition and Rights

Credit Line
The Maida and George Abrams Collection, Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Accession Year
1999
Object Number
1999.138
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
Permissions

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Publication History

  • Franklin W. Robinson, Selections from the Collection of Dutch Drawings of Maida and George Abrams, exh. cat., Jewett Arts Center (Wellesley, MA, 1969), cat. 28, p. ix, repr.
  • Annemarie Stefes, Niederländische Zeichnungen 1450-1850: Kupferstichkabinett der Hamburger Kunsthalle, ed. Andreas Stolzenburg and Hubertus Gaßner, Böhlau Verlag (Cologne, 2011), vol. 1, p. 199, under cat. no. 276 (n. 3)

Exhibition History

  • Selections from the Collection of Dutch Drawings of Maida and George Abrams, Hopkins Center Art Galleries, Hanover, 03/27/1969 - 04/28/1969; Wellesley College Museum of Art, Wellesley, 05/04/1969 - 06/04/1969; Rhode Island School of Design Museum, Providence, 09/17/1969 - 10/12/1969; University of Connecticut Museum of Art, Storrs, 10/18/1969 - 11/16/1969

Subjects and Contexts

  • Dutch, Flemish, & Netherlandish Drawings

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu