On this subject, see, among others, M. L. Moffitt Peacock, Harpies and Henpecked Husbands: Images of the Powerful Housewife in Netherlandish Art, 1550–1700 (Ann Arbor, 1989).
The etching is discussed at length in Eddy de Jongh and Ger Luijten, Spiegel van alledag: Nederlandse genreprenten 1550–1700 (Amsterdam, 1997), 137–40, no. 23 (English edition: Mirror of Everyday Life: Genreprints in the Netherlands 1550–1700 [Amsterdam, 1997]).
A similar text, accompanying a print by Hans Liefrinck, is quoted in M. L. Moffitt Peacock, Harpies and Henpecked Husbands: Images of the Powerful Housewife in Netherlandish Art, 1550–1700 (Ann Arbor, 1989), 125.
Examples include various representations of brawling card players: that of 1664 in Munich (Braun 1980, no. 205); of 1671, Rijksdienst Cultureel Erfgoed (Netherlands Cultural Heritage Agency), on loan to the Gemeentemuseum Arnhem (Braun 1980, no. 344); and of a subject such as “Wijn is een spotter” (Wine is a mocker) in Detroit. See Karel Braun, Alle schilderijen van Jan Steen (Rotterdam, 1980), no. 233
Karel Braun, Alle schilderijen van Jan Steen (Rotterdam, 1980), no. 344.
Report written by Peter Klein in 2011 indicates that the earliest felling date is after 1662.
Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, 8 vols. (London, 1907–27), 5:38–39, no. 95, translated from Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. (Esslingen and Paris, 1907–28), 1: 211–12, no. 783.
Restoration report, Annette Rupprecht, May 2012. This damage is barely noticeable in the painting’s present condition.
The characterization of the wood is based on Peter Klein’s dendrochronology report. The horizontal grain is oriented slightly diagonally. The bevel along right edge is extremely shallow.
14.5 cm up from lower edge along the left side, 13 cm up from lower edge along the right side.