Matthijs Naiveu

Anonymous sale, Amsterdam, Schley etc., 7 May 1804, lot 123;
Anonymous sale, Amsterdam, Schley etc., 10 July 1805, lot 115;
Willem Gruyter;
His sale, Amsterdam, Schley, 17 April 1809, lot 149;
Anonymous sale, London, Sotheby's, 28 October 1987, lot 113;
With Alan Jacobs Gallery, London, 1988;
Anonymous sale, New York, Sotheby's, 12 January 1989, lot 171;
Anonymous sale, London, Christie's, 13 December 2000, lot 46, when acquired by the present owner(?).

Cologne, Wallraf-Richartz-Museum, 14 October 2006 – 21 January 2007, Dordrecht, Dordrechts Museum, 18 February – 28 May 2007, Kassel, Gemäldegalerie Alte Meister, 21 June – 30 September 2007, Vom Adel der Malerei. Holland um 1700 (Dutch title De kroon op het werk: Hollandse schilderkunst 1670–1750), no. 57.

E. Mai, S. Paarlberg, G.J.M. Weber, Vom Adel der Malerei. Holland um 1700, exhibition catalogue, Cologne 2006, p. 220, no. 57, reproduced.

The canvas has a recent relining. The paint surface has been flattened. The paint surface is secure, stable and clean. The colours are strong and vibrant. Inspection under ultra violet light reveals a slightly uneven varnish and scattered and localised retouching to the faces of the two ladies at centre. Also revealed are retouchings to the folds in the drapery at the side of the seat of the chair, retouching to the breast of the prominent lady at centre, the hat held by the man at centre and the pocket of the man at the right. These retouchings have been sensitively done and are not visible under normal light. Otherwise the work is free of retouchings. Overall the work is in good condition. The work is offered in a gilt molded frame with floral decoration in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Although it was carried on into the 18th century by Frans van Mieris' sons and pupils, Naiveu represents the culmination of the development of the Leiden Fijnschilder tradition from its founding by Gerrit Dou. Two years younger than Michiel van Musscher, Naiveu was probably Dou's last pupil.

Many of Naiveu's later works depict the performing of plays – a subject matter popularized in Leiden by Jan Steen – or as here, a scene from a play. Unlike those of Cornelis Troost in the 18th century, the dramas depicted in Naiveu's theatrical pictures are seldom identifiable. In this picture the man entering to the right carries over his arm the costume of a Harlequin, or the Commedia dell'Arte figure of Arlecchino. Furthermore, as Marieke de Winkel observed, the two principal figures are dressed op z'n romeins (in the Roman style).¹ Her dating of the costumes is in accordance with the style of the painting, which was probably painted circa 1695. The interior of this is very lavish, probably more so than any theatre set would have been, and although the room depicted is arranged as a theatre set, it is probably not a literal depiction of the enactment of a play before an audience. The tapestries in the background depict to the left Bellerophon slaughtering the Chimaera and to the right The Bridle of Minerva.

1. See under Literature, n. 3.