Interior of a Cobbler’s Shop

Entry

This painting by David Ryckaert III of the interior of a cobbler’s shop provides a detailed description of the shoemaker’s craft around the middle of the seventeenth century. The theme was popular with the artist; on every occasion he showed the cobbler’s wife preparing twine either with a spindle or distaff, or with a spinning wheel. The twine is for the use of the cobbler who is shown here – as on four other occasions – tightening the thread with which he has fastened the sole to the welt. The shoe is held in place on his knee by the traditional stirrup strap.³

The boot on the work surface beneath the hammer and that on the floor were known in France as ladrines, fashionable during the reign of Louis XIII (r. 1614-43); the cuff of the heavier bottes à chaudron could be pulled up over the knee when riding or otherwise allowed to fall around the calf. Inside the boot are the boot stockings and the straps with which to pull the boot on.⁴

The present picture was acquired as the work of Adriaen Brouwer (1603/05-1638) and in 1805 it was engraved as such,⁵ but the attribution was soon changed to Van Arp (sic), i.e. Willem van Herp (c. 1614-1677). David Ryckaert was confusingly but significantly appended to this appellation in the 1832 catalogue; he alone was nominated in the 1880 catalogue. Since then the attribution has been generally accepted, most recently by Van Haute.⁶ But such unanimity should be qualified as the discoloured varnish may well conceal cursory and less than satisfactory handling, apart that is from in the principal figures. And it may well be that there was a fair degree of studio participation in the execution of this work.

Van Haute has argued that the present painting, which is on a support of a single piece of oak timber from the German/Netherlandish region, available for use from 1626 and more plausibly from 1635, should be dated to the last decade of Ryckaert’s activity, in the 1650s.⁷ Van Manteuffel preferred a dating of 1642-48.⁸ It would seem that the lighting and composition fits with Ryckaert’s paintings dated 1648 – the Alchemist at Le Havre⁹ and another at Brussels¹⁰ – where the pairing and physiognomies of the bearded old man and toothless old woman are clearly also similar. Possibly Ryckaert worked from drawn prototypes or patterns for these figures; the old man, his head likewise inclined against the light, recurs in the two Concerts of 1650.¹¹ Both models may have made an earlier appearance – looking younger – in the Dresden As the Old Ones Sing, so the Young Ones Pipe of 1639.¹²

Van Haute lists a dozen extant authentic depictions of cobblers by Ryckaert, the earliest being of 1638.¹³ Why he should have made a speciality of this particular trade – in which he was followed in Leiden by Quiringh van Brekelenkam (active 1648-died 1668)¹⁴ – is unclear. The print of a cobbler’s shop published by Hieronymus Cock’s (1518-1570) widow¹⁵ would have been well known to him; but Van Haute’s view,¹⁶ that Ryckaert subverted its contemporary message, needs refining. Whereas in the print the laziness of the two main protagonists – Sorgheloos and Verlega – infects the apprentices, the industry of the cobbler and his wife – sewing and spinning – in Ryckaert’s depictions is contrasted with the indulgence of the youthful group in the background. Indeed, perhaps this is a commentary on the waywardness of youth in contrast to the endeavour¹⁷ of the older generation (whose example is followed by the infant apprentice to the left). Comparable to this contrast between the behaviour of youth and the elderly is the theme of poor parents and rich children.¹⁸

Van Haute has also drawn attention to the likely relevance of emblem xliv in Johan de Brune, Emblemata en Zinnewercke, Amsterdam 1624, illustrated by Adriaen van de Venne (1589-1662), ‘Wat rust en ghewin gheest luttel onderwin’, where an old woman spins beside her husband, with accompanying verses extolling in God’s eyes a mand and woman working to maintain themselves.¹⁹

Gregory Martin, 2022