Quiringh Gerritsz. Brekelenkam (1622-1668), Circle of - Inn with large Company

Inn scene with a large group
Circle of Quiringh Gerritsz. Brekelenkam (1622–1668)
Oil painting on panel, 17th century
It is advised to pick up.

Introduction
Within Dutch genre painting of the Golden Age, the Leiden fine painting school holds a special place. The work offered here – a tavern interior with a dancing group – is a characteristic example of this tradition and can be attributed to the circle of Quiringh Gerritsz. Brekelenkam. This painter, active in Leiden around the mid-17th century, was strongly influenced by his presumed master Gerard Dou and gained fame with carefully composed interiors filled with everyday scenes, executed with great attention to detail. The panel in question reflects the thematic and stylistic features of this movement and was likely created under the direct influence of Brekelenkam.

Description of the work
The scene depicts a busy inn interior, constructed in a central perspective where the space unfolds into the depth. In the middle of the floor, within a circle of light deliberately kept free of busy details, a young couple dances. Their bodies are slightly turned away from each other but connected by a hand gesture, which holds the viewer's gaze. The woman wears a bright white apron and headscarf, typical of the bourgeois clothing style from the second half of the seventeenth century. The man is dressed in simple travel attire, with stockings over knee breeches and a slouch hat.

Around it, a lively scene develops. On the left, a violinist plays on a simple stool, with listening figures beside him. On the right, we see drinkers, card players, and a woman leaning over a jug and a drinking bowl. In the background, there is a staircase leading to an open door, while niches, shelves, and jugs are visible on the wall. At the top of the composition, meat products hang from the ceiling of a wooden entresol, which also seems to suggest that the tavern functions as a butcher's shop.

Remarkable is the trompe-l’oeil detail on the wooden mantelpiece in the upper right of the image: a painted sheet of paper, seemingly glued onto the wood, with a rudimentary sketch of a double portrait. This depiction suggests it might be an artistic joke, possibly as a pendant to the genre scene below, or as a subtle reference to the craft of painting. Under UV light, this passage becomes particularly clear, as do some retouches in the floor area and the contours of certain figures, which have been updated in later periods.

Technique, use of color, and execution
The work is painted on a wooden panel and exhibits the characteristic careful brushwork associated with the Leiden fine painters' school. The paint has been applied in thin glaze layers, with attention to transparency and color nuance. The dominant color tones are built up around broken reds, ochers, warm brown areas, and gray-green tones for the background architecture.

Unlike the monochrome painting style of early fine painters, this work features a subtle polychromy that brings liveliness to the composition without falling into decorative excess. The attention to characterizing faces and the alternation between coarse figures and refined details such as glasses, jugs, and wood textures indicate a hand familiar with the techniques of Brekelenkams atelier.

Style and art historical placement
Quiringh Brekelenkam was active in Leiden from the 1640s until around 1668, and his oeuvre focuses on depicting craftsmen, reading figures, interiors, and social behavior within recognizable bourgeois contexts. His style was often compared to that of Gerard Dou, but he diverged in some aspects: Brekelenkam generally employed a looser brushwork, worked with larger groups of figures, and frequently chose scenes with more social dynamics, such as shop interiors, tailors' workshops, or taverns.

The work presented here falls within that line. Although it cannot be directly attributed to Brekelenkam himself, the technical construction, theme, and atmosphere point to an artist from his immediate surroundings. This aligns with the broader genre of Dutch interior genre scenes, in which artists such as Jan Miense Molenaer, Cornelis Bega, and Pieter Codde were also active. Internationally, the work shows affinities with the oeuvre of David Teniers the Younger and Adriaen van Ostade, both known for their depictions of folk life in rural interiors.

Condition and restoration history
The painting has previously been cleaned and was provided with a new protective varnish layer at that time. Under UV light, some retouches are visible, especially in the shadow areas and on the floor beneath the dance couple. In some sections, the paint layer is locally thin, likely due to earlier cleaning. The structure of the panel is stable, with no visible cracks or warping. There are no reinforcing battens at the back.

Presentation and origin
The work is framed in an elaborately decorated gilded frame from the 19th century, which enhances the presentation without overpowering the artwork. The painting is part of a private collection with a pronounced focus on Northern Dutch painting from the 17th century, and is now being offered on the public market for the first time.

Conclusion
With its detailed and nuanced depiction of an inn interior, this work presents a convincing example of genre painting from the circles around Quiringh Gerritsz. Brekelenkam. The piece combines a narrative composition with technical mastery and thematic relevance within the culture of the Dutch Republic. For enthusiasts and collectors of the fine painting tradition, this panel offers an authentic window into the visual culture of the Golden Age. The work is offered at a premium auction with No Reserve.

The work 'Herberg met Groot Tafereel' is a gilded, gold-bronze frame with plaster ornaments.

Total dimensions: 82.5x101cm
Panel dimensions: 59.5x78cm

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