Eighteenth-century artistic theory condemned works like this for being unidealised depictions of unworthy subjects. In spite of this, collectors sought out ‘Dutch drolls’ (as low-life scenes by Dutch and Flemish artists were called) with increasing enthusiasm, especially valuing Teniers’s vivid, intricate realism and lively touch. What was a footnote to royal collecting in 1750 became its main thrust by 1820. Acquired by Frederick, Prince of Wales, who also commissioned the frame Cat. 141