A4.2.2 - A4.2.6
A4.2.2a Workshop of Frans Hals, Laughing boy, c. 1624-1626
Oil on panel, 33.7 x 31.1 cm
Detroit, Detroit Institute of Arts, inv. no. 48.383
Judging from the numerous variants, depictions of laughing children were greatly in demand. They were probably read as representations of Vanitas, as suggested by the combinations with soap bubbles and musical instruments, but also with dogs – probably representing the sense of taste. Even though there is a large number of these paintings, they can be traced back to a handful of prototypes. Three cases where an autograph contribution by Hals is recognizable are discussed above (A3.4, A3.5, A3.6). The remaining five groups are listed below, mentioning mainly the best versions. The Laughing boy in the Musée Jacquemart-André has not been included, since in spite of its FH monogram, it can certainly be associated with the workshop of Jan Miense Molenaer (c. 1609/10-1668), as Slive had concluded earlier.1
The present frontal view of a child in Detroit is close to the Laughing boy in the Mauritshuis (A3.4) in terms of the head turn and facial expression. Yet, it was executed independently after a template, which is especially noticeable in the zone around the eyes and nose. The composition is preserved in three further variants on panel of identical size, one of them a roundel. The face corresponds in all versions, whereas the dress varies.
A4.2.2a
A4.2.2b Workshop or follower of Frans Hals, Laughing child
Oil on panel, ø 32,5 cm
Helsinki, Finnish National Gallery, inv.no. S 110
A4.2.2b
A4.2.2c Workshop or follower of Frans Hals, Laughing boy
Oil on panel, 33 x 32 cm
Formerly Philadelphia, private collection George W. Elkins2
Variant of the original composition, on a square format.
A4.2.2d Workshop or follower of Frans Hals, Laughing boy
Oil on panel, 33 x 37.5 cm
Havana, Museo Nacional de Bellas Artes de la Habana, inv. no. 90-3376
A4.2.2d
A4.2.3a Workshop of Frans Hals, Laughing boy with a flute, c. 1624-1629
Oil on panel, ø 27.9 cm, monogrammed upper right: FH
Sale New York (Sotheby’s), 15 January 1993, lot 173
Slive lists a total of seven versions of this roundel on panel.3 Four of them are identical in size – with a diameter varying between 27,9 and 30,9 cm – and two measure 38, respectively 39 cm in diameter. In the first group, there is one example that is diamond shaped. The present child’s face appears identically in the 1629 painting of two children with a cat, signed by Judith Leyster (1609-1660) (A4.2.10). The close relationship in subject matter between the two compositions sheds new light on the inscription in the engraving by Cornelis Danckerts (1604-1656), who faithfully reproduced the scene, but wrongly noted down F. Hals pinxit (C15).
A4.2.3a
A4.2.3b Workshop of Frans Hals, Head of a laughing boy, c. 1624-1629
Oil on panel, ø 30 cm, monogrammed upper right: FH
Cincinnati, Cincinnati Art Museum, inv. no. 1973.450
The size of the present picture is the same as of the Laughing boy in the Mauritshuis (A3.4), and both were part of the Oppenheim collection in Cologne during in the late 19th century. This led Hofstede de Groot and Valentiner to assume an original conception as a pair of pendants.4 Valentiner described the Cincinnati picture as the best of the many variants. Based on the differences in quality, Slive cast doubt on the relationship, while still placing the present painting at the top of his listing. However, based on the assumption of a shared workshop production process for marketable motifs, the connection between the two paintings cannot be entirely ruled out. Even the signature gains a different importance, which is only visible in versions the present variant and the one that was auctioned in 1993 (A4.2.3a) – both being of notably higher quality.
A4.2.3b
A4.2.3c Workshop of Frans Hals, Laughing boy with a flute, c. 1624-1629
Oil on panel, ø 38 cm
Paris, Kleinberger Galleries
A4.2.3c
A4.2.3d Workshop of Frans Hals, Laughing boy with a flute, c. 1624-1629
Oil on panel, ø 39 cm, monogrammed upper left: FH
Zürich, Kunsthaus Zürich
A4.2.3d
A4.2.3e Workshop of Frans Hals, Laughing boy with a flute, c. 1624-1629
Oil on panel, 29 x 29 cm
Sale, New York (Sotheby's), 24 April 1995, lot 52
A4.2.3e
A4.2.3f Workshop of Frans Hals, Laughing boy with a flute, c. 1624-1629
Oil on panel, ø 29.8 cm
London, private collection Sir G. Cecil Jacques Newman
A4.2.3f
© Royal Academy of Arts
A4.2.3g Follower of Frans Hals, Laughing boy with a flute
Oil on panel, ø 30.9 cm
Amsterdam/London, art dealer J.F. Minken (possibly)
This stylistically weak replica was ironically ascribed by Slive to a ‘Fat Boy Master’, to whom he also attributed the version of the Two Laughing Children from the same collection (A4.2.4f). Based on the style of the painting, it was most likely created outside of Frans Hals’s workshop.
A4.2.3g
A4.2.3h Follower of Frans Hals and attributed to Robert Griffier, Park landscape with birds startled by a dog, c. 1700
Oil on canvas, 130 x 150 cm
Sale Cologne (Van Ham), 17 November 2017, lot 1215
The composition of this game scene is closely related to works by Melchior d’Hondecoeter (1636-1695) and Jan Weenix (1642-1719), which Robert Griffier (1678-1743) could have studied in person after his move to Amsterdam around 1700. The face of the laughing boy is a loosely executed, colorful copy, based on one of the versions of the child’s head listed above. It does not exactly match any of the variants listed here, and its size belongs with the larger ones.
A4.2.3h
© Foto: VAN HAM Kunstauktionen | Saša Fuis Photographie
A4.2.3i Follower of Frans Hals, Laughing boy with a flute
Oil on panel, 30 x 32 cm
Sale London (Phillips), 3 July 1990, lot 202
Slive's preceding record of Hals' doubtful and wrongly attributed works was limited to listing seven variants of the laughing boy motif. Further research has brought forward numerous other variants and pastiches. Despite having little information regarding the whereabouts of most, we compiled a more comprehensive overview of the Laughing boy with a flute variants.
A4.2.3i
A4.2.3j Follower of Frans Hals, Laughing boy with a flute
Support and dimensions unknown
Formerly London/New York, art dealer Duveen Brothers
A4.2.3j
A4.2.3k Follower of Frans Hals, Laughing boy with a flute
Support and dimensions unknown
Dieren, art dealer David Katz
A4.2.3k
A4.2.3l Follower of Frans Hals, Laughing boy with a flute
Oil on canvas, 33 x 28 cm
Paris, Galerie S. Koti
A4.2.3l
A4.2.3m Follower of Frans Hals, Laughing boy with a flute
Oil on canvas, on panel, 13.5 x 11 cm
Arnhem, private collection dr. L. D. van Hengel
A4.2.3m
A4.2.3n Follower of Frans Hals, Laughing boy with a bunch of grapes
Oil on panel, 38 x 27.5 cm
Sale Amsterdam (Adams), 6 April 2014, lot 111
This variant deviates from the common typology by replacing the flute with a bunch of grapes and by the addition of a slightly more elaborate background. It was offered for sale in 2013 and 2014 as a work by Judith Leyster (1609-1660).
A4.2.3n
A4.2.3o Follower of Frans Hals, Laughing boys with a bunch of grapes and drinking glass in a landscape
Oil on canvas, 58.5 x 65.5 cm
Sale Paris (Charpentier), 23 June 1950, lot 5
This pastiche brings together two prototypes from the Hals workshop: the Laughing boy with a wine glass from Schwerin (A1.35), and the motif of the laughing boy with a flute – the latter replaced here by a bunch of grapes. Set in a classical landscape, it bears similarities to the Park landscape with birds startled by a dog (A4.2.3h).
A4.2.3o
A4.2.4a Workshop of Frans Hals, Two laughing boys, one holding a flute, c. 1624-1626
Oil on panel, 35 x 32.9 cm
Cincinnati, Taft Museum of Art, inv. no. 1931.401
Slive lists a total of six versions of this composition, in which the depicted details slightly vary.5 Three of these are roundels with diameters between 28 and 35 cm, and three are rectangular. Of the latter, two have a feigned round or oval frame. All versions are on panel.
A4.2.4a
Courtesy Taft Museum of Art, Cincinnati, Ohio, Tony Walsh Photography
A4.2.4b Workshop of Frans Hals, Laughing boy, c. 1624-1626
Oil on panel, 34.5 x 30.5 cm
Sale London (Christie's), 5 December 1969, lot 69
In this instance, the visible scene is narrower, and the main motif of the child’s head is further inclined to the right. On the left, the hair has been broadened. Nevertheless, the overall format and design conform to the other versions. Based on the available illustrations, it is not clear if the second child’s head is missing here, or whether was once present and overpainted later on. This version is closest to Hals’s own style in the details of the faces and hair, especially in the alternating opaque and transparent brushwork.
A4.2.4b
A4.2.4c Workshop of Frans Hals, Two laughing children, one with a flute, c. 1624-1626
Oil on panel, ø 32 cm
New York, private collection
The composition corresponds broadly to the Cincinnati version (A4.2.4a).
A4.2.4c
A4.2.4d Follower of Frans Hals, Laughing boy holding a nut, 18th or 19th century
Oil on panel, ø 28 cm
Stockholm, Hallwylska Museet, inv.no. XXXII:B.123._HWY
The depiction of the nut is probably caused by a misunderstanding of the template, in which a flute was not quite recognizable.
A4.2.4d
Foto: Motzkau, Holger, Hallwylska museet/SHM
A4.2.4e Follower of Frans Hals, Two laughing children, one with a flute, late 17th or 18th century
Oil on panel, 38.5 x 30.5 cm
Formerly Dresden, Staatliche Kunstsammlungen Dresden, inv.no. BA474
Judging from the poor manner of execution, this variant is probably created in the later 17th or 18th century.
A4.2.4e
A4.2.4f Follower of Frans Hals, Two laughing children, one with a flute, 17th or 18th century
Oil on panel, ø 35 cm
Amsterdam/London, art dealer J.F. Minken
A4.2.4f
A4.2.5a Workshop of Frans Hals, Head of a boy with a whistle, c. 1624-1626
Oil on panel, ø 29.2 cm
Glasgow, Glasgow Museums, inv.no. 717
Pendant to A4.2.6a [1]
Slive lists a total of three versions of this roundel, two of them with identical measurements and one with a smaller diameter of 22.5 cm.6 All are executed on panel. Based on the brushwork in the execution of the hair, the more coherent modelling of the head shape, and the greater detailing in the face, the present painting appears to be the superior version. It may be assumed that it was created in accordance with a template or first design by Hals.
In the present case, an original combination with another picture of the same size seems likely, which would be the Head of a boy with a dog (A4.2.6a) in the same collection. Slive refers to an engraving by Thomas Gaugain (1756-c. 1810) published in 1801, which shows both compositions next to each other, and at least implies a longer tradition for the combination.7 Stylistically, the two pictures match broadly. If they originally belonged together indeed, it would also be conceivable to consider a series of three, four or five corresponding depictions of the five senses. This would correspond to similar series of small-scale paintings that were created at the time.
A4.2.5a
CSG CIC Glasgow Museums Collection
1
Workshop of Frans Hals (I)
Head of a boy with a dog
panel, oil paint, 29.2 x 29.2 cm
Glasgow, Glasgow Museums, inv.no. 716
CSG CIC Glasgow Museums Collection
cat.no. A4.2.6a
A4.2.5b Workshop or follower of Frans Hals, Laughing boy with a flute, after c. 1624-1626
Oil on panel, ø 28 cm
New York, Schaeffer Galleries
A4.2.5b
A4.2.5c Workshop or follower of Frans Hals, Laughing boy with a flute, after c. 1624-1626
Oil on panel, ø 22.5 cm
Sale Monte Carlo (Sotheby's), 26 June 1983, lot 402
A4.2.5c
A4.2.5d Workshop or follower of Frans Hals, Laughing boy with a flute, after c. 1624-1626
Oil on panel, ø 22.4 cm
Sale Munich (Hampel), 22 September 2006, lot 272
A4.2.5d
A4.2.6a Workshop of Frans Hals, Head of a boy with a dog, c. 1624-1626
Oil on panel, ø 29.2 cm
Glasgow, Glasgow Museums, inv.no. 716
Pendant to A4.2.5a [2]
Slive lists a total of four versions on panel, with the present painting and the next one as executed best.8 Both are close to Hals’s style, while differing in details that are done more or less expertly here and there. The similarity between them can only be explained through mutual dependence on a common model that may be imagined either as a sketch or as a fully finished painting. This is especially noticeable in the execution of the facial features and the hand.
The motif of snuggling up against a dog is part of moralizing depictions of everyday activities and belongs to the subject matter of sensual activity – in this case symbolizing touch, and possibly also smell. It is not clear if pictures with such an emphasis on sensual experiences were always planned as groups or series. However, the present case suggests a matching picture of the same size: Head of a boy with a whistle (A4.2.5a), symbolizing the sense of hearing.
A4.2.6a
CSG CIC Glasgow Museums Collection
2
Workshop of Frans Hals (I)
Head of a boy with a whistle
panel, oil paint, 29.2 x 29.2 cm
Glasgow, Glasgow Museums, inv.no. 717
CSG CIC Glasgow Museums Collection
cat.no. A4.2.5a
A4.2.6b Workshop of Frans Hals, Boy with a dog, c. 1624-1626
Oil on panel, 35.6 x 31.1 cm
Sale New York (Christie’s), 14 January 1993, lot 87
A4.2.6b
A4.2.6c Workshop or follower of Frans Hals, Boy with a dog, after c. 1624-1626
Oil on panel, ø 20 cm
Sale London (Sotheby's), 1966-07-06, lot 115
A4.2.6c
A4.2.6d Imitation after Frans Hals, Boy with a dog
Oil on panel, 27.5 x 27.0 cm
Oslo, Nasjonalmuseet, inv.no. NG.M.01360
According to Stukenbrock, close investigation of the paint layers in 1990 showed that ‘the painting has been executed in a couple of stages, where each stage apparently has been subjected to some kind of artificial patination (sandpapering and rubbing of the surface with brownish transparent paint?)’.9 Following this observation, the paintings conservator in Oslo supposed the painting to be a ‘hard core fake’.10
A4.2.6d
Notes
1 Slive 1970-1974, vol. 3, no. D3, fig. 104.
2 Slive 1970-1974, vol. 3, no. D1-3
3 Slive 1970-1974, vol. 3, no. D5.
4 Hofstede de Groot 1907-1928, vol. 3 (1910), p. 11-12, no. 29; Valentiner 1923, p. 307.
5 Slive 1970-1974, vol. 3, no. D6.
6 Slive 1970-1094, vol. 3, no. D4.
7 Slive 1970-1094, vol. 3, p. 129. Thomas Gaugain, The piping boy, 1801, Vienna, MAK – Museum für angewandte Kunst, inv.no. KI 6565.311734
8 Slive 1970-1974, vol. 3, no. D8.
9 Stukenbrock 1993, p. 135.
10 L.E. Plather in a letter of 29 October 1990, see Stukenbrock 1993, p. 136, note 421.