Provenance
Prince Golitzyn, Paris; (sale, Lebrun, Paris, 28 February 1825, no. 40, as _Chapeau rouge_); (De Fontaine).[1] M. Boursault, Paris; (his sale, at his residence, Coutellier and Paillet, Paris, 7 May 1832, no. 53); purchased by (Falkner), probably for Edmund Higginson [1802-1871], Saltmarshe Castle, near Bromyard, Herefordshire;[2] (his sale, Christie & Manson, London, 4 June 1846, no. 207, as _Card Players-Chapeau Rouge_); Falkner.[3] Samuel Sandars, Esq.; by inheritance to his wife, Mrs. Samuel Sandars.[4] Alan Rofe, London.[5] (sale, Christie, Manson & Woods, London, 15 March 1929, no. 70); (De Casseres).[6] Ernst Wilhelm Sachs, London; (sale, Sotheby's, London, 24 June 1970, no. 99, as _A Tavern Scene ["Le Chapeau Rouge"]_); (Terry-Engell Gallery, London); sold October 1972 to Robert H. and Clarice Smith, Washington, D.C.; gift 1975 to NGA.
[1] The exact identity of the prince is unknown; two possibilities are Dmitry Alexseevich Golitzyn (1734-1803), who was the Russian ambassador to France for many years and negotiated numerous acquisitions and commissions on behalf of the Hermitage, or Dmitry Mikhailovich Golitzyn (1721-1793), also a diplomat and the first member of the family to collect privately on a large scale. The painting was known at that time by the title _Le Chapeau Rouge_. An annotated copy of the catalogue in the Rijksbureau voor Kunsthistorische Documentatie (RKD) lists the buyer as "de Fontaine." The entry indicates that the painting had, at one point, already been engraved under the title _Chapeau rouge_.
[2] An annotated copy of the 1832 sale catalogue in the RKD lists the buyer as "Falkner" (see n. 3; no "u"). John Smith, _A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters_, 9 vols., London, 1829-1842: 9(1842):no. 210, describes the painting as "Purchased with the Boursault Collection for E. Higginson, Esq."
[3] Algernon Graves, _Art Sales from Early in the Eighteenth Century to Early in the Twentieth Century (Mostly Old Master and Early English Pictures_, 3 vols., London, 1918-1921: 3(1921):199, 331 cites "Faulkner" as the purchaser, although the name is spelled "Falkner" in an annotated copy of the sale catalogue (in NGA curatorial files). This is possibly the same buyer as at the 1832 sale.
[4] Mr. Sandars is listed as the owner of the painting when it was exhibited at the Royal Academy in 1882. After his death Mrs. Sandars came into possession of the picture, for she is listed as its owner in the 1908 _Winter Exhibition_ at the Royal Academy.
[5] Alan Rofe is cited as a previous owner, following Sandars, in the 1970 auction catalogue.
[6] The name De Casseres (possibly an art dealer or Arthur de Casseres) is found in an annotated copy of the auction catalogue in the Frick Art Reference Library, New York. Once again, the painting is listed as _Le Chapeau Rouge_.
Accession Number
1975.77.1
Medium
oil on panel
Dimensions
overall: 48.7 x 68.7 cm (19 3/16 x 27 1/16 in.) | framed: 69.2 x 89.5 cm (27 1/4 x 35 1/4 in.)
Classification
Painting
Credit Line
Gift of Robert H. and Clarice Smith
Tags
Painting Baroque (1600–1750) Oil Painting Panel Painting Flemish
Background & Context
Background Story
The Tavern Scene from 1658 is a mature work by Teniers the Younger, painted at the height of his powers and his fame. The tavern interior — with its smokers, drinkers, card players, and general atmosphere of rustic sociability — is Teniers' signature subject rendered with the compositional sophistication and technical refinement that distinguish his best work. The figures are arranged in a carefully constructed spatial recession that leads the viewer's eye from the foreground group into the depth of the tavern, and the light falling from an unseen window illuminates the scene with the warm chiaroscuro that makes Teniers' interiors so atmospheric.
Cultural Impact
By 1658, Teniers was the most famous genre painter in Europe, and his tavern scenes were so widely collected and copied that they constituted a recognizable subgenre of Flemish painting. This painting participates in that tradition while demonstrating the qualities that set the originals apart from the copies: the subtlety of the spatial construction, the naturalness of the figure groupings, and the warmth of the interior light that makes the tavern feel like a place you might actually want to enter.
Why It Matters
Tavern Scene is Teniers the Younger at the height of his powers: the tavern is not just a backdrop for genre figures but a space constructed with architectural precision and lit with theatrical warmth. The figures are not types but individuals, and the tavern is not a moral lesson but a place of genuine social comfort.