Although Teniers mostly depicted scenes of peasant life, he also painted several interiors of guardrooms, full of armour and military paraphernalia. Here, the light enters from an obscured window on the left and falls on the objects, allowing Teniers to display his skill in depicting various materials and textures.

The blues, reds and whites concentrated in this area create a passage of colour, contrasting with the shady browns in the remainder of the picture. The splendidly ornate breastplate and helmet on the stand must belong to the commander.


  • Title: A Guard Room
  • Date: Probably 1640s
  • Physical Dimensions: w558 x h724 cm
  • Type: Painting
  • Medium: Oil
  • null: Probably painted in the 1640s. Appears in the top right of Zoffany's portrait of Sir Laurence Dundas. In that collection it had a pair fo a similar subject acc. to Smith.Query the provenance of the picture in the coll. of Sir Laurence Dundas - Smith says it was on copper and the description of the work refers to a 'man entering': here it is a child.A detailed drawing of armour of a very similar type is in the Witt Collection, Uni. of London.Perhaps this work, other works by Teniers from this sale at DPG (107 and 109) - would also explain the 'variation' between this and the Dundas work: Lot 0057 from Sale Catalog Br-459Artist Name TENIERS, DAVID (THE YOUNGER) (Flemish)Lot Title Corps de Garde. -- A Variation of the delightful Picture, formerly in the celebrated Collection of Sir Thomas DundasObject Notes [3 h x 2 3/4 w]Transaction Unknown, 10 1/2 Auction House Squibb (George)
  • Work Nationality: Flemish
  • Support: Canvas
  • Provenance: ?Sir L. Dundas; his sale, Greenwood's, 30 May 1794, lot 32 or 33; London, Noel Desenfans, 1804-1807: 1804 Insurance List, no. 30; London, Sir Francis Bourgeois, 1807-1811; Bourgeois Bequest, 1811.
  • Inscriptions: Signed, bottom right: 'D. TENIERS Fe'
  • Further Information: For a long time David Teniers II’s work was confused with that of his father, but his work demonstrates influences from many Dutch and Flemish artists. From Herman and Cornelis Saftleven he derived the idea of prominent still lifes in the foreground of his interiors. His landscapes belong to the tradition of Antwerp artists such as Joos de Momper II, Paul Bril, and Frans Francken II. The greatest influence was that of Adriane Brouwer: the two artists’ pictures of taverns with drinkers, card-players, and smokers are almost indistinguishable. Through his father-in-law, ‘Velvet’ Brueghel, he was introduced to the tradition of Pieter Brueghel I, with scenes of peasants at fairs and in winter settings, and he adopted the same moralising tendencies.
  • Artist: Teniers, David the younger
  • Acquisition Method: Bourgeois, Sir Peter Francis (Bequest, 1811)

Get the app

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more


Google apps