On the theme of sleep in Dutch genre painting, see Nanette Salomon, “Dreamers, Idlers, and Other Dozers: Aspects of Sleep in Dutch Art” (Ph.D. diss., Institute of Fine Arts, New York University, 1984). Specifically on sleeping soldiers in the work of Ter Borch and others, see David Kunzle, From Criminal to Courtier: The Soldier in Netherlandish Art, 1550–1672 (Leiden and Boston, 2002), 603–4.
See Nanette Salomon, Jacob Duck and the Gentrification of Dutch Genre Painting (Doornspijk, 1998), especially nos. 31, 73, 78A-C, 91 and 92. Ter Borch painted at least two other scenes incorporating sleeping soldiers; see Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 2:98, 158–61, nos. 79 and 146.
Susan Donohue Kuretsky, The Paintings of Jacob Ochtervelt (1634–1682) (Oxford, 1979), especially nos. 11, 14, 15, 99, 100, and 100A.
On this painting see Walter Liedtke, in The Taft Museum: Its History and Collections, ed. Edward J. Sullivan, 2 vols. (New York, 1995), 1:170–71.
Oil on panel, 46 x 46.5 cm, Alte Pinakothek, Munich, inv. 206. Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 2:137–38, no. 124.
See the examination report prepared by Jevon Thistlewood, 27 April 2012; additional information on the painting’s restoration is provided in a research memo prepared by Lara Yeager-Crasselt, December 2011. These reports are kept at The Leiden Gallery.
The painting was attributed to Netscher in Nanette Salomon, “Dreamers, Idlers, and Other Dozers: Aspects of Sleep in Dutch Art” (Ph.D. diss., Institute of Fine Arts, New York University, 1984), and in the sales catalogues of 2001 and 2004 (see Provenance).
In addition to the paintings listed in the Versions section, paintings of similar description appeared in the following sales, which may or may not be identical to the present painting or one of the versions listed:
—Sale, Belville, Christie’s, London, 13–14 June 1825, no. 71 (“An officer asleep; his wife waking him, as a trumpeter awaits his orders,” bought in for £70.7).
—Sale, Stanley, London, 22 April 1830, no. 71 (“A Trumpeter, and a lady waking an officer,” for £55.13).
—Sale, H. Williams, Christie’s, London, 2 July 1836, no. 111 (“The Trumpeter: a lady in a crimson corset is tickling the face of a sleeping soldier in a cuirass; the trumpeter standing by”; for £19.19 to Talbot).
See Marjorie E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting (Doornspijk, 2002), 53–55 and 169–70, no. 5; and eadem, “The Craeyvanger Portraits in Context—Shedding Light on Caspar Netscher’s Early Career,” Oud Holland 127 (2014): 31–47.
Entry based on 2012 examination report by Jevon Thistlewood, paintings conservator, Ashmolean Museum, University of Oxford.