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Gerrit van Honthorst (Dutch 1590-1656) Shepherdess Holding Apples Signed upper right Oil on canvas 78 x 63.5cm; 30½ x 25in Provenance: Catton Hall, Osmaston, Coll. Sir Robert Horton by 1822 Exhibited: Birmingham, 1938, No. 149, as Paulus Moreelse Birmingham, 1953, No. 89 as Dutch School Literature: Davis, 1811, pp.277-279 Waterhouse, 1953 p.306 Judson, 1959, pp.98, note 3, 216, no. 133 Nicolson, CII, 1960, p.81, note 4 Braun, 1966, pp. 211, 212, no 71 Nocolson-Vertova, I, p.127, III, pl.1299 Utrecht-Luxemburg, 1993-1994, p.168 J. Richard Judson & Rudolf E.O. Ekkart, Gerrit van Honthorst (1592-1659), Davaco Publishers, 1999, p.166 Gerrit van Honthorst (Gerard van Honthorst) was a Dutch Golden Age painter who was influenced by the chiaroscuro of Caravaggio, adopting a similar style and becoming a leading portrait painter in the Netherlands. He was particularly noted for his depiction of artificially lit scenes, often painted by a single candle, earning him the nickname of Gherardo delle Notte (Gerard of the Nights). This painting has not been on the market for over 100 years and was in the collection of Sir Robert Horton in the 19th Century at Catton Hall, Osmaston and has come down through the Anson family at Catton Hall in the 20th Century. The painting features in the catalogue raisonnée by J. Richard Judson (Published 1999, p.166) where he notes it has 'the same soft surface quality and physiognomy that one finds in Honthorst's paintings dating from the years around 1622-1623'. He also suggests that it may be related to a 'lost pendant', another similar portrait, where she may be offering the fruit to a person, perhaps a Shepherd to her right where her smiling gaze is cast. The roses paired with the snowdrops in her hat are typical of Dutch Golden Age painting; depicting rare petals that could never actually bloom together at the same time and creating a botanical impossibility. The two apples in the hand are held a way that alludes to the erotic, in conjunction with the staff leaning on her shoulder and the revealing décolleté. She symbolises temptation and the apples are a reference to the Eve's seduction of Adam. In addition to this, apples were often used as symbols of fertility, the beauty of the female form and also to love. The pose, costume and the model clearly hold strong similarities to the famous painting by Honthorst of the young woman playing the viola da gamba. The model recurs in several of his paintings, often holding a musical instrument which at the time were a conventional motif of brothel scenes and it is clear from her suggestive pose in this painting and her provocative dress that she is a courtesan or strumpet. Her warm and appealing smile resulted in her being called 'The Laughing Girl' by the vendor's family for several generations. Read more »