Research Master Thesis of the Low Countries in its European Context

Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’.

Student: Adele-Marie Dzidzaria 0507954

Supervisor: Prof. Dr. Rudi Ekkart

Utrecht University 2007

Table of contents

Introduction...... 3 1 Biography/Overview of Naiveu’s oeuvre ...... 5 1.1 From Leiden to ...... 5 1.2 From early genre to theatrical compositions...... 8 1.3 Portraiture ...... 14 2 Historiographic context/ Theatricality in ...... 19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities...... 24 4 Theatrical paintings - thematic sources and pictorial models...... 32 4.1 Out-door festivities and performances...... 32 4.2 In-door celebrations and amusements...... 56 5 Conclusion ...... 62 6 Preliminary catalogue of paintings by Matthijs Naiveu ...... 64 II. Signed and dated paintings in chronological order ...... 64 II. Undated paintings in thematic order ...... 86 7 Abbreviations / Bibliography...... 108

2 Introduction

The oeuvre of Leiden-born artist Matthijs Naiveu (1647-1726) has primarily been discussed in précis writings on the Leiden school of painters including only some of his works that fit within the context of fijnschilderen. The principal reference added to Naiveu both in the art historical surveys and auction catalogues is him being the pupil of the famous Gerrit (Gerard) Dou, the founder and one of the central figures of ‘beau fini’ school in Leiden. Random works by Naiveu have been used as illustrations for the books on cultural history representing the fashions and customs of his time but only few of them have been examined in detail. As there is no overview of works by this last pupil of Dou, the peculiarity of his paintings has only been noticed and appreciated by few connoisseurs.

The established biographical sources of the Dutch artists by and Jacob Campo Weyerman both mention Matthijs Naiveu (Neveu) as a genre painter: ‘schilder van vrolijke gezelschapjes’ whose works were ‘bevallig voor’t oog’1, although there are also few still-lives and a considerable number of portraits known by his hand. Besides the ‘merry companies’ that the contemporary art writers saw as Naiveu’s characteristic yield and many other genre works that continue and improvise with the traditional themes invented by predecessors, Naiveu managed to generate an artistic niche of his own - curious paintings depicting both indoors and open-air theatrical performances. While the largest number of signed and dated genre paintings by Naiveu are related to the theme of entertainment, festive events and popular theatre, few of them have been published outside the auction catalogues and they have never been studied as a group.

Naiveu’s genre paintings that show strong theatrical content relate to the previous genre subjects as much as to the following vogue of thespian paintings. Grown interest towards the art of the late 17th-century and early 18th- century that was previously seen solely as a decline of the Golden Age, has contributed to the appreciation of the works of artists from that period. However, Naiveu was not a

1 Houbraken 1718 (1953): 179, Weyerman 1729 : 62. Interestingly a slightly later artists’ biographer Johan van Gool (1750) has left Matthijs Naiveu out of his publication.

3 mainstream artist in his days and so have his paintings that do not conform to the classicist ideals of the time seldom been given an attention.

For these reasons I will begin my thesis with the biographical information and give an overview of Naiveu’s early genre paintings and portraiture in the first chapter followed by the outline on the previous research into the relationship between theatre and genre painting in the 17th-century northern . In the chapter 3 I will discuss the changes in Naiveu’s thematic choices and artistic style after his move from Leiden to Amsterdam and in the 4th chapter focus on the group of Naiveu’s theatrical genre paintings from his Amsterdam-period in more detail. The accompanying preliminary catalogue of Naiveu’s paintings that have been compiled together here for the first time is listed under chapter 6. For Naiveu’s works that will be discussed in this thesis reference will be made to the catalogue entries that besides the visual image also give the primary provenance information and bibliography on the paintings.

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1 Biography/Overview of Naiveu’s oeuvre

1.1 From Leiden to Amsterdam

The most comprehensive biographical information on Matthijs Naiveu to date has been published in the catalogue for the exhibition “Klein, maar fijn” held at the Leiden Stedelijk Museum De Lakenhal in1988 2 where also five paintings by Naiveu were exhibited. For this catalogue extensive research was done into the archival documents to confirm or add to the previous knowledge of the artists included in the publication. As a result two new conclusions were drawn concerning important events in Naiveu’s life. Artist’s move to Amsterdam was set to a year later (1678) and he gained five years of life.

Baptismal register of the Dutch Reformed Church shows that Matthijs Naiveu was baptised on the 16th of April 1647 at the Hooglandse Church in Leiden. He was the eldest son3 of wine merchant and inn-keeper Matheus Naiveu from Rotterdam and Jannetgien (Janneken) Melcke from Leiden.4 It is known that his grandfather Mathys Willemsz had been a skipper in Liège.5 The biographical information concerning the artists future métier rests upon Houbraken’s account that mentions Leiden glass painter and drawing master Abraham Toorenvliet (c. 1620-1692), who also had taught Frans van Mieris the Elder (1635-1681), as Naiveu’s first teacher in the art of drawing. In March 1667 ‘Mathys Naveu de Jonge’ has been documented buying ‘een schylderback met bleck en kooper beslaegen’6 in order to begin his studies as a painter. Subsequently, Gerard Dou (1613-1675) is reported as his tutor in the art of painting.7 The latter has been confirmed by three receipts kept in the Leiden regional archive signed by Gerard Dou. Each of the three small documents attest to master

2 Sluijter 1988: 186 3 Two other sons were baptized in 1649 and 1651 of which one is later mentioned in 1674 together with ‘Matthijs Naiveu, Konst-Schilder’ as ‘Jan Naiveu, brootbacker’ to be the custodian of their underage sister Susannah - Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD 4 RAL, Doopboeken Nederlands Hervormd 5 Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD: “9. July 1665 Matthys Naiveu, wijnkooper te Leiden, is zoon van za: Mathys Willemsz, in zyn leven, mares schipper van Luyck. M. Beeckman, Den Haag.” 6 Ibid. 7 Houbraken 1718 (1953) III: 179

5 Dou receiving hundred guilders a year, in total 300 guilders (substantial sum of money for tutelage at a time) from Leiden notary Tersijden8, who was the custodian of late Matheus Naiveu the Elder’s four orphaned children. We can only speculate whether the decision to study at Dou’s studio that took place from 1667 to 1669 was Naiveu’s own (being under 25 years old and unmarried he was not yet considered as an amenable adult) or his custodian was acting according to the will of his parents who had died less than two years prior. Artist’s father was buried 4th of December 1665 and his mother Janneke Melcke less than two months later, 1st of February 1666, both at the graveyard of Pancras Church in Leiden.9 As this period of time is known for many plague-epidemics, the infection with a contagious malady could explain the proximity of death of both parents.

It seems quite apparent that becoming Gerard Dou’s pupil and learning the highly polished style of the master involved an expectation for a lucrative income as an artist, hence the will to pay the high tutelage. The cost of paintings by fijnschilders, especially of Dou and his pupil Frans van Mieris the Elder were among the highest and they were sought after by high dignitaries of both local and foreign descent.10 Contemporaries admired the intricate fijn style and the astounding illusion of reality contained in these small cabinet size pictures. This is well illustrated by the significant fact that one of the fervent admirers and collectors of Dou in his hometown, Johan de Bye organised an exhibition in 1665 of 27 paintings from his collection painted by ‘Monsieur Douw’11 that became one of the required sightseeing spots for wealthy art lovers visiting Leiden. Already much earlier, in 1641 when Dou was only 28 years

8 Receipts from May 1667, 1668 and 1669 - Martin 1902: 64. Additionally there is a receipt from 29th of September in 1668 of frame maker Jac. Swanckers receiving ‘een Somme van 4 gld. 5 st.’ from Notaris Tersyden as the custodian to make ‘een swarte Ebbe Lyst aen Schilderije ten behouven van Mathys Naiveu.’ - Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD 9 RAL, Begraafboeken 10 Well-known facts for example of Spiering Silvercroon, the envoy of Christina of Sweden paying an amount of 500 guilders per year to have the first choice of the work by Dou (Angel 1642:23) and that his painting of “Young Mother” was bought for 4000 guilders by the States East-India Company as a gift for the English king Charles II (Houbraken 1718 (1953) II : 4). Also Frans van Mieris the Elder received high amounts for his paintings and was invited to work at the court of Duke Leopold Wilhelm (Houbraken 1718 (1953), III : 4) 11 For this occasion Johan de Bye had rented ‘eene voorcamer’ in the Breestraat from the painter Johannes Hannot who lived just across the Town Hall in order to give Dou’s paintings an appropriate space to be seen. Wilhelm Martin who published the contract between De Bye and Hannot as Appendix IV in his book on Dou, commented that in this way the works by Dou were exhibited in the northern light, the same as they were painted in. In the advertisement of the exhibition the number of paintings is 29 but there are only 27 on the list – Martin 1901: 72, note 1-3

6 old, he had been eulogised by Philips Angel in his festive address given in occasion of St. Luke’s Day and the foundation of the painters’ guild in Leiden.12

About a year after leaving Dou’s studio, in 1671 Matthijs Naiveu was also accepted as a member of the St. Luke’s Guild in Leiden and is additionally recorded as a witness signing with big distinguished letters and his tenure of appointment being ,Schilder’.13 Further he paid his contribution to painters’ confraternity every year until 1677 when he became one of the Head’s of the guild. This fact does suggest that Naiveu had earned the respect of his fellow painters during these troublesome years after ‘rampjaar’ 1672 and in six years time was seen worthy of a senior administrative position. He has been indicated as the Head of St. Luke’s Guild also in the following year 1678 together with his former drawing teacher Abraham Toorenvliet but with the comment ‘woont uyt de stadt’14 and later in 1679 as ‘woont stad Amsterdam’15 implying that he had already moved out of Leiden.

12 Angel 1642, discussed in Sluijter 1993 13 “10 Nov. 1671 Mathys Naiveu, Schilder teekent als getuige. Not.J. wenck, Leiden” - Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD. Bredius has added the remark ‘groote letters’ and later on ‘fraaie handtekening en groote letters!’ that is also true of Naiveu’s signatures in St. Luke’s Guild book. 14 RAL, Gildeboek St. Lucas-gilde Leiden, p. 230 15 Ibid., p. 232

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1.2 From early genre to theatrical compositions

Although there is no archival evidence of Naiveu’s study of drawing at the studio of Abraham Toorenvliet, the father of another known Leiden artist Jacob Toorenvliet, we have no reason not to believe Houbraken’s account who published the last part of his book in 1721 when Naiveu was still very much alive. It is an interesting fact that two illustrious predecessors in fijnschilder tradition, both Gerard Dou and Frans van Mieris the Elder had been taught drawing by glass-painters too. It might indicate the foundation for the detailed, meticulously polished and ‘enamel-like’ painting to be in connection with the exacting work-method of glass-painters.

Unfortunately there are no extant drawings by Naiveu known, although there is one record of the existence of at least two of them in the collection of painter Jean Duvignon in The Hague when they were sold in the same town in December 1776 by Wetters.16 These entries suggest that for his figurative compositions he drew preliminary sketches using ink or red chalk.

The earliest dated genre paintings by Naiveu stem from the period of his apprenticeship at Dou’s studio in Leiden. In these works as customary he is following the compositional schemes and subject matters of his master. There are only few works of Naiveu’s early period known today, probably because they were not signed and dated and can be attributed to any other Leiden school painter of ‘Dou’s circle’ or the panels have been reused as it often happened with the works of apprentices. “Interior with a woman spinning”17 dated 1668 and the “Woman selling cherries”18 from 1669 both represent the traditional genre-scenes of the Leiden school. Like on Dou’s genre paintings we can see strong light and shadow contrasts, the light always falling from the left corner and casting a deep and velvety shadow on the right side of the object or figure. Alternating bright light and impenetrable shadow, into where the colours gradually fade, forms the basis for the compositional

16 Bredius Archive at RKD – Oud Hollandsche Kunstinventarissen. Two drawings by Naiveu – “Een Juffrou en Heer in een vertrek, luchtig met bruin gewassen, door Naiveu” and “Een zittende dame en een oudere vrouw, met roodaard door Naiveu”. It can be however also possible that these drawings were copies of the original works by Naiveu as was often the case with the drawings in artists’ collections in the 18th-century. 17 See cat. no. 1 18 See cat. no. 2

8 structure of Dou’s paintings. Mastering the light effects gave Dou the ability to render various materials with the sense of tangibility. This exceptional illusionistic quality of Dou’s paintings was seen as the greatest accomplishment in his artistic creation.19 The fascination with light effects stays one of the important aspects of Naiveu’s artistic feature as well. It is also apparent in the works where Naiveu like most prominently the other pupil of Dou, Godfried Schalcken (1643-1706), concentrates on the depiction of natural light emanating from the candle, lantern or a fire-place and reflecting on the faces of the figures and surfaces of surrounding objects. As an early example of these candle-light paintings by Naiveu a small panel signed and dated 1670 and depicting “The Adoration”20 can be presented. Here the candlelight is adding not only Christian symbolism to the subject of admiring the newborn baby but in accordance with the simplicity of the composition and the depicted figures, adds the sensation of warmth and affection. The skilfulness in rendering the reflection of the flame on the faces of depicted personages shows that in three years the artist had learned the essentials of minute and realistic style of Dou. Naiveu’s colours are though already on these trainee-works more brisk when juxtaposing the light cadmium red with the chrome-cobalt green – exemplified by the red bodice and green petticoat of the spinner and red skirt with the green apron of the woman buying the cherries of the paintings mentioned above. Here a parallel is apparent with the early works of Frans van Mieris the Elder from the first half of the 1650’s who in comparison to Dou favoured strong local colours.21 The faces of these women bring to mind the repeated, rather insipid features of Dou’s young women as much as the ones painted by the master’s more fervent follower Pieter Corneliszoon van Slingelandt (1640-1691), representing a certain common ‘type’.22

In general the changes in taste in the last quarter of the 17th century can also be detected in the works of genre painters where the warm and simple domestic scenes are replaced by the elegant past-time of the more refined company. This transition can be seen in the oeuvre of Gabriel Metsu (1629-1667), Frans van Mieris and Jan Steen (1626-1679) to mention but the artists in contact with the Leiden school. Also

19 Sluijter 1993: 19-20 20 See cat. no. 3 21 Naumann 2005: 28 22 Wilhelm Martin called the repetitive features of Dou ‘karakterkoppen’ and wondered if he reused a set of preliminary drawings of the same woman or had studied the model long and well enough to paint her ‘uit het hoofd’ – Martin 1901: 56

9 Naiveu’s works show the transition from the warm, diluted tones of colour and Dou’s types of ‘common people’ towards intense and acute colour combinations and elegantly dressed genteel characters during the second half of the 1670’s. Extant signed and dated paintings “ with Songbooks”23 from 1677 and “Merry Company Playing Cards”24 from 1679 illustrate the type of Naiveu’s genre paintings of which there must have been a considerable number known during his lifetime to give him a characterization of a ,schilder van vrolijke gezelschapjes’. In addition there is also a painting of the popular subject, “A Musical Party”25 in the Kelvingrove Art Gallery and Museum in Glasgow that has after the recent restoration on the basis of a sketchy signature been dated 167226. On the stylistic grounds and also because of the exceptional form of signature27, this painting is more likely to have been painted after 1675. The pose of the woman holding the lute is similar to the woman holding the child in Naiveu’s painting of “The Newborn Baby”28 dated 1675 in the collection of the Metropolitan Museum of Art in New York. The curtain on the other hand is rather similar to the one depicted on the “ in a Rich Interior”29 and the above-mentioned “Merry Company with Songbooks” both dated 1677. The theme might have been induced by a well-known painting of a similar subject by Frans van Mieris the Elder painted in 1675 and acquired by Cosimo III de Medici, the Grand Duke of Tuscany for a vast amount of money.30 Van Mieris’s influence is compositionally more apparent in the 1677 painting of “Merry Company with Songbooks” that was mentioned above, where the chair in the corner of the painting with the woman standing with three-quarter of her back towards the viewer acts as a repoussoir element to generate spatial depth. Especially the chair, often copiously embellished, in the corner of the pictorial space becomes one of the recurring elements in Naiveu’s interior genre paintings.

23 See cat. no. 21 24 See cat. no. 23 25 See cat. no. 6 26 Wenley 2006:44 27 There are no other signatures of Naiveu known where he would have marked the year with only two last digits. In stead of ‘M. Naiveu’72’ it is more likely that it should read ‘M.Naiveu Fe…’ as he often signed ‘M. Naiveu Fecit’ with sometimes the full written year following. Also the melinex-transcript made by restorer that was kindly forwarded by Robert Wenley and gives the signature as ’16:M Naiveu:72’ is unique and remains one possible interpretation. 28 See cat. no. 11 29 See cat. no. 17 30 Although seen as one of the qualitatively weaker works of Van Mieris’s late oeuvre painting known as “The Family Concert” earned a large sum of ‘duizent Ryksdaalders’ for the artist and was praised later by Houbraken in his Groote Schouburgh – Houbraken 1718(1953), III: 4-5

10 In these paintings of merry companies, Naiveu has followed the preceding tradition of composition combining the standing and sitting figures around the table, some of them in profile or with their back towards the viewer. Common suggestion of courtship inherent in paintings depicting musical parties as well as a hint of cheating occurring in the paintings depicting card-games are apparent in these representations. In addition the artist’s attention to the detailed depiction of the costumes and costly materials both continues the fijnschilder tradition of showing ones skilfulness as well as appealing to the contemporary taste of pretentious elegance. Although it is not instantly clear for today’s unprepared viewer, these scenes are rather likely conceived as taking place in brothels. The interiors have been given a richly appearance characteristic of a patrician’s house, that stands in contrast to many earlier depictions of the subject. It might be in connection with the fact that the public form of the brothels had changed by the last quarter of the 17th-century, this sort of establishments being referred to as music houses.31 In this context also the fashionable and seemingly costly clothing of women acquires an extra significance. Prostitutes of the period have been documented as wearing cheap imitations of the attire customary for the women of the elite.32 In the context of theatricality they can therefore also be seen as playing the ‘role’ of a desired yet less accessible woman of acceptable standing. Moreover, there could be an association with the popular plays enacted at a time as prostitutes were one of the frequent characters in contemporary collections of anecdotes and farces that were enjoyed by all social standings alike.33 One of the particularities of Naiveu’s ‘gezelschapjes’ that additionally suggests ambiguity is his use of curtains on both sides that give the symmetric appearance to the composition. This structural element of the painting distances the viewer from the affair taking place in the painting. In the light of Naiveu’s apparent interest towards theatre that becomes more evident in his later oeuvre, also these earlier genre works give a suggestion of staginess.

It seems that the most lasting compositional element of the ‘fine’ school that continues to emerge in works attributed to Naiveu, besides the use of curtains in his earlier works, are window arches. As well as curtains, also arches have been seen in

31 Van de Pol 1985 - Reference from Franits 2004:69 32 Van de Pol 1996:312-313 – Reference from Ibid. 33 Ibid.

11 relation to the theatricality. These window-paintings have an inbuilt ‘communication- play’ between the figures in the painting and the spectator, where the act of looking and being looked at is central to the essence of the image. Very often the persons depicted on these genre paintings with curtains and niches are looking out of the picture and holding something as to show to the viewer. This imbedded contact with the onlooker reveals the awareness of being watched, hence being on show or part of the show. This orientation to the public and amalgamation of the real world with the ‘play world’ makes a connection to the adjoining art of theatre.34 Exchange of ideas between art forms and rivalry in creating believable and fascinating illusionism has been explained by the mutual interest towards rhetorical means in pursuit of eloquence and mesmerizing effect on the viewer. Accordingly, it has been suggested that there is a connection between how the contemporaries saw the ‘images’ on stage, tableau vivant and how they perceived paintings. 35

Interesting fact here is that one of the earliest window-paintings by Naiveu (undated but clearly from the Leiden-period) known as “Vegetable and Fish Saleswoman”36 is positioning the viewer indoors and the two female figures outside. This kind of positioning as well as the subject is exceptional in the extant oeuvre of Naiveu.37 The Blauwpoort of Leiden visible in the background of this painting also appears on the painting of “Children blowing bubbles”38 dated 1671. In this early version of the traditional window-painting subject by Naiveu the scene is depicted without the common window arch although we could speculate that the arched form given to the panel means that the painting was framed to give a suggestion of an arched window. In that case the onlooker would have been looking at the children being ‘outdoors’ again. In comparison the later version of the subject, a painting “Boy and a Girl Blowing Soap Bubbles”39 attributed to Naiveu in the Boston Museum of Arts is despite its classicist embellishments much more traditional in its nature. Although the window has been given a rectangular form, Naiveu has used the typical Dou parapet

34 Sonntag 2006: 21 35 Raupp 1984: 259 36 See cat. no. 85 37 Similar composition, although with one of the figures ‘indoors’ is present on the painting by Louis de Moni “Fish-saleswoman with the Reel and a Housemaid” in the Boymans van Beuningen Museum in Rotterdam (inv. nr. 1545). This painting on the other hand has been seen in connection with a painting in Musée des Beaux Arts in Nîmes “Woman selling vegetables in the alley” also attributed to Naiveu by Sturla Gudlaugsson (photo at RKD from the museum in 1961) - Sluijter 1988: 177, 178 footnote 4 38 See cat. no. 5 39 See cat. no. 88

12 with the decoration of ‘putti bacchanal’ where the little romps are teasing the goat. This particular relief by François Duquesnoy that Dou had started to use from the 1650’s onwards in his window-paintings,40 most remarkably also on his self-portrait from 1658 that was acquired for Cosimo de Medici’s collection in 1676 41, was reused by many Leiden school painters.42 Here again Naiveu is mixing the traditional scheme with his contemporary fashions. The underlying paragone of painting being superior to sculpture in competition with nature43 is still very evident.

Also Naiveu’s later works of “Flora”44 and “Ceres”45 (ca 1715) represent the classical versions of Dou’s ‘young woman at the window’ formula. The use of established motives in the renewed setting is furthermore apparent in the ways the artist has used the same type of saleswomen and women drawing water from the well from his apprentice-period. These women that he had positioned in one corner of the painting, often with their back towards the spectator or sideways, find their part in his later multi-figured compositions with the open-air theatrical performances as will be discussed in the first part of the fourth chapter in this thesis.

40 Hecht 2002:186 41 Oil on panel, 50 x 40 cm, Galleria degli Autorittrati, Uffizi, , inv. no. 1882 42 Although Dou’s most eminent pupils, Frans van Mieris the Elder and Godfried Schalcken were an exception – Hecht 2002: 196 43 The debate on the meaning of the ‘putti teasing the goat’ discussed in Hecht 2002. It is hard to see the possible erotic content of this relief also considering the combination with children – Ibid.: 191 – note 16. See also Sluijter 1993: 21-24 44 See cat. no. 91 45 See cat. no. 89

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1.3 Portraiture

Besides painting genre scenes and allegorical ‘historien’, there are also to date approximately 17 securely credited portraits known by Naiveu. There are many more attributions, but especially for his later period in Amsterdam it is hard without any documented proof to make decisions based solely on the stylistic analysis. The estate inventories list portraits of men and women without any specified description which makes the linking with the actual portraits impossible. Although portraits were not seen as inventive creation of artists it was the principal and solid income for most of them.

The earliest known signed and dated portrait by Naiveu is his self-portrait that stems from 1670.46 Painted at the age of 23, this self-portrait dates from the year after he had finished his apprenticeship at Dou’s studio. Therefore it can be seen in the light of a young painter in pursuit of establishing and advertising himself as a fully capable independent artist. It is also very likely related to Naiveu’s acceptance to the St. Luke’s Guild of Leiden the following year. This first extant self-portrait reveals that he was still very much under the influence of his master, although the bright little accents of red and white paint that are characteristic of his works are already visible. Compositionally this self-portrait bares strong likeness to ’s self-portrait now in the Metropolitan Museum in New York.47 Like his master, Naiveu is presenting himself as a learned painter with the palette and brushes in his left hand and his right hand resting on the book. The pupil has however simplified master’s composition by taking a close-up of the niche, leaving out the arch and the rampant vegetation surrounding it as well as some other additional details. The facial expression of Naiveu is also different from the serious and still appearance of Dou. His mouth is open as if he has been caught in a moment when trying to say something to the spectator. Naiveu’s face appears much more emotional and in this way again closer to Frans van Mieris the Elder’s way of portrayal. While the forte of Dou lied in suggesting the depth of space and in the illusionistic difference of materials, Frans van Mieris the Elder was putting less emphasis on the surrounding objects and

46 See cat. no. 4 47 Oil on panel, 48,9 x 39, 1 cm. The Metropolitan Museum of New York, inv. no. 14.40.607

14 concentrated on depicting the passions of men. This invention as a feature of the ‘second stage’ in the Leiden fijnschilders development had found its peak48 at about the same time when Naiveu emancipated as an artist and certainly affected his work.

The second, slightly smaller self-portrait from 167549 that used to be in the famous collection of Johan van der Marck in Leiden50 is painted in the same year Naiveu’s former master Dou died. In the background we can see the same Blauwpoort (Blue gate) in Leiden as we can find on another Dou’s self-portrait from 1663.51 This gate that both Dou and Naiveu have used as back setting on many of their other paintings has been suggested as something Dou was able to observe from his studio’s window.52 An interesting detail is also Naiveu making an eloquent gesture with his right hand that leans on the console holding the beret. This motion gives the impression of the artist presenting himself and welcoming the viewer. The risible expression on the face of Naiveu seems to attest to his cheerful nature that can be perceived from many of his genre paintings. While in the 1670 self-portrait Naiveu had opted for simplicity and clarity, on the 1675 self-portrait he has chosen for more restless backdrop of leafy tree-branches. Together with the two white swans gliding in the canal (a motive used by Naiveu relatively often) these ‘vernal’ branches could also symbolize the change in the private life of the artist as at the very beginning of 1675 when Matthijs Naiveu had married a widow Agatha van Strichtenhuyse 53 and became a father.54

48 Hecht 1989: 16 49 See cat. no. 12 50 Sold at the auction in Amsterdam in 1773, lot nr. 436: “Deze kunstschilder heeft zich verbeeld, leunende met zyn arm op een baluster, hebbende zyn groene fulpe muts in zyn regterhand, en in zyn linker een palet met opgezette verwen, penseelen en een schilderstok. Achter hem ziet men een pilaar met geboomte; wat verder, een water, waarin een trekschuitje, en voorts de over eenige jaren afgebroken blaauwe poort en eenige huizen daarnaast , binnen Leyden, zeer fraai en uitvoerig behandeld; op panel; h. 10 ½ , br. 9 dm.” 51 Oil on panel, 50 x 40 cm. William Rockhill Nelson and Atkins Museum of Fine Arts, Kansas City 52 Martin 1901: 58 53 RAL, Kerkelijke ondertrouw Nederlands Hervormd, W 128 54 Naiveu’s son Matheus was baptized on the 6th of October 1675 – RAL, Doopboeken Nederlands Hervormd. The first dated ‘Kraamkamer’ of Naiveu, titled “The Newborn Baby” now in the collection of the Metropolitan Museum in New York (oil on canvas, 64 x 80 cm) dates from the same year and could be seen in connection with this biographical fact. It appears to be supported by the detail that another child has been depicted clinging to the dress of the nurse. Naiveu’s wife, Agatha van Strichtenhuysen had a daughter from her first marriage to Johannes Sleuw, named Johanna, who was about three years old in 1675 – Johanna Sleuw mentioned as being 19 years old in the testament of Matthijs Naiveu drawn up on the 14th of December 1691 – GAA, Notariele Akten 5539b, not. S. van Assingh, Amsterdam

15 An interesting addition here would be his Vanitas composition from the same year (1675) 55 that we could speculatively consider as a tribute to his deceased master. The scholar represented in the picture wears big round glasses, holds one hand to his chest and in the other one a book titled “Vanity of knowledge by M. Naiveu 1675”. As we know from the life accounts of Gerard Dou he had started to use a magnifying glass while painting already in his thirties and probably had sacrificed his eyesight to his meticulous technique of painting. Therefore it is not all too improbable that the scholar shown contemplating upon the vanity of life, fame and knowledge could refer to Naiveu’s recently departed teacher Dou who in his lifetime had painted a self- portrait with the skull56 as well as with attributes of a scholar. Although this Vanitas- allegory does not seem very characteristic to Naiveu, it bears the double signature and date as Hofstede de Groot has described it when he had seen the painting in 1926 at ‘John C. Nairn & Son in Dublin’.57

From the existing dated works from the Leiden period we could conclude that the most productive year for Naiveu was 1677, just before his move to Amsterdam. Consequently his relocation could also be interpreted as an ambitious undertaking of professional advancement contrarily to Wilhelm Martin’s view of the artist just following the material need.58 Having established himself as a respected member of the artists’ community in his hometown and having worked for several commissioners, he might have decided to try and make it in the centre of the trade. His motivation might have been not just a bigger market but also a possibility to create more history paintings instead of portraits to prove his talent and gain fame. On the other hand Amsterdam had recently lost a number of established portrait painters59 so Naiveu might have seen an opportunity in there. Two large group portraits from 1677 attest to his growing flare and confidence as he moved from panel to canvas and from small and minute depictions to larger compositions. These two group portraits –

55 See cat. no. 13 56 Earlier mentioned self-portrait from 1658 for the collection of Cosimo de Medici – see note 41 57 ”Grijsaard aan een tafel, waarop een groot gefrommeld rood kleed ligt, een doek, papieren, een doodshoofd met lauwerkrans een degen en een hemelsglobe. In zijn rechterhand houdt hij een boekje tot titel hebbende ‘Ijdelheit der wetenschappen door M.Naiveu 1675’ Hij heeft een bril op en houdt de linkerhandt voor de borst. Rechts boven een fraaie kalligrafische handteekening en opnieuw ‘t jaartal.” – Hofstede de Groot filing cards on Naiveu in the archive of RKD. 58 In Martin’s opinion Naiveu moved to Amsterdam solely because he could not earn enough in Leiden – Martin 1901: 141 59 Bartholomeus van der Helst died in 1670, Abraham van den Tempel in 1671 and Isaack Luttichuys in 1673 while Ferdinand Bol had retired about a decade ago since his lucrative marriage - Ekkart 2002: 39-40

16 “Chairman and Heads of the Peat Carriers Guild of Leiden”60 and a “Family portrait”61 are rather different from each other. Whereas the “Family portrait” despite to its larger format still reveals a stylistic connection to other individual and smaller portraits of the period as well as to his genre paintings, the other group-portrait of the “Peat Carriers Guild” in its utter sobriety of colours, robustness of the figures and roughness of the painting technique stands apart. It seems that the ‘boorishness’ of the peat carriers required a totally different treatment or was it the relation of painting’s size to the financial means of the guild. It is also the only known painting from 1677 that does not suggest a divergent space at the background.

The shift towards the ‘elevated’ and classical as discussed in the part on Naiveu’s genre works is also visible in the portraiture of the fijn style artists especially as these two fields are related. Leiden fijnschilders often used the compositional motifs and details characteristic to genre painting in their portraits and therefore straight distinction between genre scenes and portraiture very often escapes the viewer. In these ‘genre-like’ portraits the sitters are surrounded by meaningful space or objects that denote important activities in the depicted person’s life and refer to the status of the sitter. This sort of attributive interior also adds certain quotidian and intimate atmosphere to the portrait in contrast to the formality of the plain or neutrally abstract background. The attention given to the objects is even greater on the ‘genre-like’ portraits of the fijn style painters as it is imbedded in their tradition of showing ones virtuosity in meticulous depiction of different materials.

The most representative portrait by Naiveu in the fijn style is the “Man in Interior”62 one of the individual portraits painted also in 1677 that so eloquently exemplifies the association between genre painting and portraiture. The exacting painterly skills that Naiveu had attained at Dou’s studio have here been applied to the detailed depiction of the interior surrounding the sitter. The interchanging patches of light and shadow, bright colour and neutral dark space guide the eyes of the viewer towards the portrayed person. Young gentleman depicted sitting upright in the middle of a lofty room gazes at us with his head slightly tilted, his right hand resting on his hip and left

60 See cat. no. 18 61 See cat. no. 19 62 See cat. no. 17

17 hand on the skull on the table. The table is covered with a colourful minutely rendered carpet on which we can see a celestial globe and an open book showing a design of a fountain and a view of a square with yet another fountain. This detail has lead to a supposition that this gentleman might be an architect of country estates or more believably someone emphasising his travels as part of the education of a wealthy patrician.63 The static pose of the sitter has been enlivened by the whirling of the curtains, volatile position of the book at the very edge of the table and the playful stance of the little white lapdog (more common in female portraits) in front of the man.

The composition of this ‘genre-like’ portrait is rather old-fashioned to its period, reminding of the ‘scholar in his study’ type of paintings created by many Leiden painters in the 1640-50’s. In Naiveu’s version this traditional composition-type has although been transformed into the elegant portrait of a wealthy gentleman. 64 From the 1670’s onwards the developments of the ‘fine’ manner enfolds the combination of the fijnschilderkunst with the contemporary classicist ideals – biblical and antique stories painted in this smooth and preciously polished manner.65 This development also affects the portraiture as the more traditional environs of the sitters acquire the requisite classical elements.

Naiveu’s portraiture from the Amsterdam period also took on the general fashionable style by the end of the 1690’s – beginning of the 1700’s as exemplified by the two oval portraits of spouses Arent van der Houven and Margaretha Maes in the collection of the Budapest Museum of Fine Arts.66 The poses of the sitters, their garments and the background resemble the works of another artist who had moved to Amsterdam (from Rotterdam) already in the late 1660’s, Michiel van Musscher. Next to this set of elegant ladies and gentlemen a “Portrait of Hendrick Staets standing in front of his house”67 of 1683 stands apart and is more in tone with Naiveu’s genre paintings from the beginning of 1990’s depicting older men smoking tobacco or reading in a courtyard.68

63 Sluijter 1988: 187 64 Ibid. 65 Hecht 1989: 16 66 See cat. no. 101 and no. 102 67 See cat. no. 24 68 See cat. no. 27 and no. 28

18 2 Historiographic context/ Theatricality in genre painting

The link between stage performances and visual art became an investigative topic in the beginning of the 20th-century. In the two-part series of articles in the Burlington Magazine in 1935 Oskar Fischel paved the way for the research combining the histories of art and theatre. There had been several separate articles considering the matter more specifically in relation to the 17th century northern Netherlands but it was first concisely outlined by one of Fischel’s students, eminent art historian Sturla Gudlaugsson in his dissertation “Ikonographische studien über die holländische Malerei und das Theater des 17. Jahrhunderts” that was published in 1938. In his preface Gudlaugsson states the scarcity of literature on the subject and lists preceding articles and catalogue texts that have considered certain particular elements or artists connected to the matter. Characteristic of the period, the first treatments of the subject are related to the studies, considering the connection between 17th-century drama literature and historical paintings of this iconic artist. Additionally studies on works by Willem Buyteweg, Jan Steen and Pieter Quast are mentioned.

Being primarily interested in extracting information for the iconographic study of paintings central attention was given to the possibility of linking the actual texts, scenes from dramas and comedies of Dutch playwrights with the subjects represented on paintings and secondly analytically group the types of figures that have been depicted in order to find common allegorical meanings. Whereas the first method proved useful when discussing the , the latter promised more applicable results for the study of genre paintings. Therefore it is understandable that in the following book on comedians in the works of Jan Steen69 and his contemporaries Gudlaugsson has used the second approach and concentrated upon identifying the comic personages in paintings and looking into their forming and transformation within theatre history. In his research he made use of his connoisseurship with thorough attention to detail and vast knowledge of costume and interior design history. Preceding article by Albert Heppner70 had already given an indication of the extensiveness of possible contacts between the artists, their

69 Gudlaugsson 1945 70 Heppner 1939/1940

19 compositional inventions and the popular theatre of the rhetoricians, Gudlaugsson narrowed his research down to the characters. Besides discussing these ‘komedianten’ in Dutch plays he also made connections with their likely counterparts from the Italian commedia dell’arte performance culture. In his view similarities between the personages played on stage and figures depicted on paintings had originated in the common cultural traditions.

Although Gudlaugsson had raised the matter of decorum already in the preface of his “Ikonograpische Studien” he did not fully address the issue of the hierarchy between genres and the relation of ‘high’ and ‘low’ in rhetoric mode and visual art. He did however begin with the questioning of the ‘everyday reality’ supposedly depicted in the genre paintings and focused on the matter even more in “De Komedianten”. Dealing with the imminent theatricality in certain genre paintings, he was looking for the allegorical meanings behind the characteristic and repeatedly depicted ‘disguised’ personages. His observations brought about the following major discussion topics in the field of research as revealing the hidden message concealed in genre paintings becomes a central subject in the research of Eddy de Jongh who started publishing his findings in the end of 1960’s. The catalogue of 1976 exhibition compiled under his supervision at the titled “Tot lering en vermaak” (To Instruct and Delight) has become a classic text for the students of art history on the matter of genre paintings in the northern Netherlands. Interpretations based on prints and texts contemporary to the creation of works of art under investigation irrevocably detached art historical research from the merely style-critical approach. Central role in De Jongh’s method of revealing ‘disguised symbolism’ behind the ‘seeming realism’ in the Dutch paintings has been given to the emblematics. Detailed comparison of separate compositional elements (objects, figures etc.) in genre paintings with similar images in emblem books that include textual explanations has instigated many intrinsic studies, most pungent of these studies concentrating on concealed eroticism.

The latter has lead to wider questions about the general attitudes of the society in relation to the limits of decorum in the 17th- century and the purpose of different modes of representation. In order to explain the choice of subjects and their ‘crossing’ of the ‘verge of shame’ the study of contemporary theoretical writings on performing and visual arts was inevitable. One of the connecting traits found in these texts is the

20 notion of both the performative and visual arts ‘imitating the world’ and ‘holding the mirror’ towards the society.71 What comes to the hidden meanings and didactic messages in genre paintings, Dutch art literature does not give any explicit clue. More curiously the contemporaries seem to have appreciated the aesthetical as well as in many case the obviously entertaining and emotionally evocative qualities of these paintings. Presumption that all artists were purposefully using the emblematic symbolism in their works induced strong criticism in the 1980’s. Overexertion of the iconographic approach without the collation of the formal qualities of genre paintings was among others acknowledged by Peter Hecht and Eric Jan Sluijter who initiated the combined research of both form and content. In this sensible view possible allegorical meanings in genre paintings can be retrieved by means of historical research into social conventions as well as conventions of subject and style but the interpreter has to realize the limits of explaining the medium meant primarily for visual delight and take into consideration distinctive ways in which each artist varied the existing conventions and themes.

What comes to the different modes of pictorial representation the connection between ‘sister arts’ of literature and painting do seem plausible when dealing with the history painting as this elevated genre was in the late 17th century art theoretical writings (Samuel van Hoogstraeten 1678, Gerard de Lairesse 1707) discussed in comparative terms with poetic and rhetorical terminology. In case of genre painting there is no systematic contemporary theory available, however, significant observations have been made by scholars to show that the aspiration to formulate the ideas concerning genre painting were made at the time. Hans-Joachim Raupp in his article published in 198372 managed to conceivably uncover rhetorical structure of the classicist ideas on painting and by looking into poetic rules and categories comparatively applied to history and genre painting revealed the connection between the intended function and mode of the work of art. Accordingly, history painting as the highest form of art was intended to emotionally elevate the viewer by employing idealised and heroic subjects of virtue, whereas the aim of the low form of genre painting was to amuse and entertain similarly to farces, burlesque and popular comedies in both literary as performative form. Raupp also mentions Naiveu in passing using Houbraken’s

71 De Jongh 1976:15-16 72 Raupp 1983

21 comment on his genre work being ‘bevallijk voor’t oog’ as one of his examples of descriptions given to genre paintings that supports the idea of their intended function to please the eye.73

As classicizing art theory of the last half of the seventeenth century follows rigid norms of artistic creation in accordance with the standings in society it would therefore be consistent to see genre positioned in the same social level of rustic peasants. Raupp noticed though that De Lairesse discussed genre painting in the second chapter of the third book in “Groot Schilderboek” in terms of “burgerlijke en cierlijke Modern” 74 and in his understanding was thus diverging from the traditional hierarchy of genres. Claus Kemmer who further examined De Lairesse’s writings on the matter explained this different categorisation as an endeavour to ennoble the genre painting. 75 This ‘improved’ form of genre painting should depict the present “real occurrences” in the ‘modern’ manner76, in other words in contemporary fashion (costumes, interior, poses) as opposed to ‘antique’ and timeless manner of history painting. As an improvement certain important elements inherent to history painting like depiction of different expressions of emotions should be implemented. Inspiration was suggested by De Lairesse to be looked among other places on the stages of theatres.77 Although these suggestions were published at the beginning of the 18th- century the ideas dictated by the blind artist might have been already in practice in the late 17th-century.

Since the 1990’s many authors have discussed the links between performative culture and visual art in the 17th-century and related it to the oeuvre of different artists adding new interdisciplinary methodological approaches. It would be too extensive to discuss them all here. For some artists there is proof of their direct engagement with the theatre for some it is just a suggestion based on their paintings. 17th-century popular theatre often performed by the travelling comedians at fairs and festivals is vastly different from the contemporary professional stage that was promoted by the classicist circle. These mostly comical acts were very often based on sketchy plots that were

73 Raupp 1983: 406 74 Ibid. : 408 75 Kemmer 1998: 91 76 De Lairesse 1707(1696): 187 77 Kemmer 1998: 100

22 completed by improvisation. The repertoire of many strolling commedia dell’arte companies is therefore also almost impossible to reconstruct. Finding the contemporary plays that would correspond with the scenes visible on Naiveu’s ‘stages’, as has been done with the oeuvre of some predecessors is in most cases unfeasible. These comic plays that did affect the fashion of the period and hence created a market for Naiveu’s works generally have their basis in the 17th-century jest books that continued 15th – century comic literary tradition. Although Naiveu cannot be seen as an artist who would have followed the theoretical debates, his works do seem to attest to his responsiveness to novel and fashionable ideas keeping in mind that closing decades of the 17th- century paved the thematic choices for the following ‘Theatre Age’.

23

3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities.

When Matthijs Naiveu arrived in Amsterdam, most probably sometime in the second half of 167878 he was 32 years old and a head of a family of five79. As there are no documents found to this point about Naiveu and his family dating from the first decade of his life in Amsterdam it is also difficult to explain the reasons for his move. Naiveu might have left his birthplace with the hope of advancing his artistic career or perhaps simply in search of any kind of suitable work in the central city of trade. As discussed in the first chapter in the part on his portraiture his works from the period before move do show an increase in self-confidence. He did venture from small and minute depictions to larger compositions and in so doing included more figures in interaction with each other to make it a lively ‘story’. Even in his portraits the depicted persons, when not in direct interaction, are depicted in the ‘genre-like’ manner as if there is a ‘plot’ to be unravelled in the painting. It is hard to agree with the opinion that his “descriptive manner” is dry and “reminiscent of followers of Dou”80, at least not when it comes to his late genre works from his Amsterdam- period.

One of the central themes in his mature oeuvre becomes the depiction of out-doors and in-doors events and amusements. It seems as if his inspiration had come from the streets and markets as well as plays. He chose aspects from life that would entertain - people in hilarious situations, some in exaggerated poses or costumes, either playing the part of fool consciously or unconsciously. Showing people acting out during the festivities is to amplify the everyday scene of the ‘theatre of life’ like Naiveu and his contemporaries saw in the plays performed by actors. By collating the actors on the

78 In June 1678 Naiveu is documented as a witness and guarantor in two notarial deeds in Leiden – Transcription of documents in Bredius notes on Naiveu – Bredius Archive at RKD. 79 His wife Agata van Strichtenhuysen, widow of Johannes Sleuw, had a daughter Johanna Sleuw from her previous marriage who was born in 1672 and about 6 years old during their move to Amsterdam. Naiveu’s son Mattheus had been baptized on the 6th of October 1675 in Hooglandsche church and daughter Susanna 1st of December 1677 in Loodskerk, both in Leiden. At the time of family’s relocation they were 3 and almost 1 year old. 80 Liedtke 2007: 501

24 stage with the ‘scene’ of audience comprising people of different social layers he had plenty of activities to choose for his composition. In his depiction of the crowd he had the chance to mix the ‘low’ and ‘high’ class stereotypes and diverse emotions revealed through gestures and expressions on the faces. Further he could show both his skill in rendering details of costumes and ‘toneeltoestellen’ as well as his aptitude to generalization of the crowds and architectural décor in the background. Weather he had some moralistic message to convey, comments on social mores of his time or just chose aspects from life that would entertain is another question.

It is fascinating that the first painting with the out-door performance81 as a subject from his time in Amsterdam dates from the same year as his testament. In this document from 1691 he is recorded living on the “Prinsengracht over de Spiegelgracht”82. Five years later he was appointed inspector of hops and paid his burgher tax as an official citizen of Amsterdam. It is not clear what his occupation had been before the appointment in 1696 as the scarce number of extant paintings from the period between 1678-1691 does not show him as a successful painter by profession. Maybe Houbraken’s comment of his late years when he “still daily practices art with big pleasure and fervour”83 alludes to him being someone who only painted for leisure. Although an ambition is apparent in some of his compositions densely filled with figures as well as in his choice and mix of subject matter, he does not seem to have been following any ‘trendy’ and hence profitable style of the moment. Being a kind of ‘odd-one-out’, Naiveu most probably painted for the free market that in turn generated some occasional commissions. It is rather evident that Naiveu eventually found his specialization within the group of artists that Hoogstraten calls “schilders van kleijne beuzelingen” or ”rhyparographi” who paint “nocturnal scenes, and fires, Shrove Tuesday’s, and its masquerades: or paintings, farces of Jan Hagel, or barbers- and shoemakers shops” 84 but managed to add his own twist to it with theatrical elements. These cabinet paintings with theatrical components became his ‘trademark’ and must have created a certain circle of customers, even if it was a modest one. The biggest documentarily retraceable collection of Naiveu’s paintings was of Anna Agges, the wife of merchant Everardus Switser in Amsterdam

81 See cat. no. 29 82 GAA, Notariële Archieven. 5539b, not. Van Assingh, December 14th , 1691 83 Houbraken 1721(1953) III : 179 84 Hoogstraten 1678(1969): 77

25 as recorded on 21st of May 1714 in the inventory of home contents in their house on the IJgracht. Anna Agges owned in total of 12 paintings by Naiveu – “Fortune Teller” that hung in the ‘voorhuys’, “Fool” that hung in the ‘zijkamer’, “Woman with the letter” that hung in the ‘gang’, “Farmers Fair” and ”Golfcourse” (“Klosbaan”) in the dining room together with the portrait of a woman by the same artist. Further in the green room, ‘in een boekecassie’ she had “The Quack” (“Een charletan”), two “nagtliggie’s” (nocturnal/candlelight paintings, one ‘met gaten’) and “Elders Spying Upon Susanna” (“Susanna boef”).85

Although the artistic scene in Amsterdam was much diversified, most of the thriving artists in this city during the last quarter of the 17th-century were fascinated by French classicism and even the artists working in the ‘modern manner’ had started to draw on ‘antique’ subject matter. Paintings made for the local market of bourgeois class with often humorous themes for the delight of the eye and cheerfulness of the mind had also gained in elegance and left aside the more coarse representations. While in the beginning of the 18th-century De Lairesse is still complaining about the popularity of vulgar ‘bambootsiades’ where the depicted scenes take place in brothels and bars86 the taste in cabinet paintings had gradually changed in response to the lifestyle of the wealthy Dutch who aspired living according to the model of French aristocracy.

When the works of genre painters started to take their subject from the classicist heroical drama like history painters did, and tried to apply hierarchical positioning and measured movements to their figures, Naiveu turned to performing arts as well but with the ‘old school’ eye. His works are noticeably emulating the longstanding paintings depicting ‘volksvermaak’ during the ‘jaarmarkten’ in all its facets, giving the impression of different sounds and movements involved with popular festivities. It seems that his ‘models’ lie in the works of the 16th-century ‘kermistafereelen’ as much as in the works of 17th-century predecessors who captured the popular feasts and festivals. To satisfy the contemporary vogue, he has included figures in fashionable attire, often to contrast with the plain types. Another new incentive for his

85 Additionally in the ‘binnekamer’ she had ‘de portraite van mijn zalige man, nevens dat van de mijne’ – portrait of herself and of her deceased previous husband Christian Scholten. – GAA, NAA 7227, akte 111. Further research might show if there were any personal relations involved between the artist and Agges family as some of the paintings were already listed in deceased merchant Jan Hendriksz Agges’s inventory dating from 27th of February 1702 – GAA, NAA 5624, ff. 213-275. 86 De Lairesse 1707 (1696) : 171

26 works might have come from the specialists of city-scapes, both italianate and local. Using italianate décor and especially architectural details was Naiveu’s effort to conform to the prevailing classicist style. He also started using extra clear and cool local colours, so eminent in classicist painting, but remained faithful to his light-and- shadow effects with the light seemingly emanating from a particular source. This is even more apparent in his in-door paintings where the source of light is often central, giving these compositions a more intimate atmosphere.

Depiction of human emotions, different tempers and also the interaction between the personages is also something that was noted to bring genre close to the elevated field of history painting. ‘Little dramas’ in ‘modern’ paintings were also something that De Lairesse had seen as comparable to the grand narratives of historical scenes.87 This plays part also when considering Naiveu’s evident ambitions as a history painter trying his hand with the costumed couples already during his Leiden-period like “Judah and Tamar” in 167488, and a couple of decades later following the mainstream fashion with subjects as “Antonius and Cleopatra with numerous attendants in the banqueting hall of a palace”89, “Antiochus and Stratonice”90 and “Odysseus and Circe”91 from 1709 among others. Naiveu’s attempts to depict mythological subjects show a strong discrepancy with the treatment of the subject by the contemporary classicist painters. The features and gestures of Naiveu’s figures are far from fitting the model of serene and elevated personages from the classical tales. They have a certain laughable effect in them the same way certain history paintings by Jan Steen do. The comment by Wilhelm Martin made about Jan Steen’s mythological paintings being “a sort of disguised Dutch reality” were “Leiden or Haarlem people are acting”92 could easily be used to describe these works of Naiveu. This sensation of witnessing a costumed drama is in Naiveu’s treatment intensified with excess of figures in the foreground as well as in the background. It is hard to find a focus point among these detailed costumes and intertwining draperies plus all the sculptural embellishments of the depicted interiors. These few extant history paintings

87 De Lairesse 1707 (1969)I : 184-185 88 See cat. no. 8 89 See cat. no. 51 90 See cat. no. 52 91 See cat. no. 40 92 “De mythologische voorstellingen van Jan Steen zijn een soort van verkleede Hollandsche werkelijkheid. Het is alsof Leidenaars of Haarlemmers er tooneel spelen en dus gaat het zeer theatraal toe.” – Martin 1942: 260

27 are clearly too dense and variegated for the classicist standard. Also Naiveu is far from the classicist aspiration of rendering ideal beauty and grace, clearly expressed by the choice of actually depicting Odysseus’s fellow Argonauts in their disfigured appearance after Circe had cast her spell. Even the more unruffled composition of “Antiochus and Stratonice” becomes derisory with Antiochus’s strange pose. It is fascinating that it was the painting of “Anthony and Cleopatra” by Naiveu that Albert Heppner mentioned first in his pioneering article adding that the oeuvre of this artist “throws more light on the stage than that of any other Dutch artist of the 17th –century with the exception of Jan Steen.” 93

There are two allegories though painted by Naiveu that stand apart from the rest of his extant oeuvre – the large painting “Allegory of Peace and Prosperity”94 from 1688 in the collection of the Lakenhal Museum in Leiden and “Seven Acts of Mercy”95 from 1705. The first one is the most classicist of Naiveu’s oeuvre, his figures probably one by one compiled from prints after eminent predecessors.96 Although De Lairesse’s book was published later, we can see similarities between the poses that the eminent classicist has proposed for the representation of different ‘beweegingen’97, where the body would express the emotions of depicted characters, and certain figures painted by Naiveu.98 However, even in this painting Hercules and the mythological creature, that most likely is meant to be a Harpy, look ludicrous next to the stated versions of similar nature. That might be the reason why the other allegorical painting of “Seven Acts of Mercy” was chosen in stead by Houbraken, conforming to the classicist hierarchy of genres, to highlight his account on Naiveu. The visual form and composition of these two allegorical works seem to correspond better to the decorum of their subject matter, although certain details yet again demonstrate Naiveu’s amusing originality.

Coming back to the genre painting, his ambition is visible also here as he did choose certain subjects that had been painted by renowned artists before him. Instead of

93 Heppner 1939/1940: 37 94 See cat. no. 26 95 See cat. no. 37 96 The analysis of Naiveu’s sources in relation to prints needs further research. 97 In De Lairesse’s approach understood both as emotion and motion – Kemmer 1998 : 99 98 For example Hercules’s pose starkly reminds of the lower right figure on table C – De Lairesse 1707 (1969)I : 30, and figure 6 the woman depicted in the middle in the red cape - De Lairesse 1707 (1969)I : 34, both in mirror- image.

28 following their successful model like many of his colleagues, Naiveu opted for creating his own, rather particular versions. Besides taking up a popular ‘old’ subject of ‘the quack’ that will be discussed in the following chapter, Naiveu also painted several versions on the subject of ‘nursery’ – both themes had already successful formulas painted by renown artists, among them Dou and Steen. Naiveu’s painting “The Newborn Baby”99 dated 1675 that was briefly discussed in the first chapter shows the more intimate side of birth celebrations where the male participants have been receded to the background in comparison to the paintings by Steen where father stands central as a laughing stock for horde of women that have taken over the whole household.100 In “The Newborn Baby” the elegance and emphatic atmosphere a kin to Gabriel Metsu is discernible. The deep warm colour palette of Leiden school is still resilient unlike in another version of the subject by Naiveu, a signed but not dated “Nursery”101 in De Lakenhal Museum in Leiden. Deducing from the interior and clothing style this painting has been executed about a quarter of a century later and shows the change in artist’s painterly manner and colour scheme. Certain classicist influence seeps from the coolness of light and colours as well as from the comparatively serener composition. Due to the eloquence of the gestures and the symmetrical structure this work also emanates more theatricality in comparison with the early version. Two other paintings of the subject, one signed by102 and other attributed103 to Naiveu form a stylistically separate group with their over- embellished interiors and puppet-like figures. Both of these panels are presenting the scene in vertical format and the compositions are framed with almost identical draperies.

Also Dou’s “The Schoolmaster”104 as well as Steen’s rendering of the same subject105 have clearly inspired Naiveu to paint his versions. Naiveu’s signed, not dated work “Unruly classroom”106 compositionally clearly ‘quotes’ from Steen’s “Schoolmaster” when the naughty boy in jester’s clothes on the table recalls a

99 See cat. no. 11 100 “Celebrating the Birth” 1664, oil on canvas, 87,7 x 107 cm, Wallace collection, Hertford House inv. nr. 1890 and another one from 1668 titled “Twin Birth Celebration”, oil on canvas, 69,2 x 78,8 cm, Hamburg Kunsthalle 101 See cat. no. 73 102 “A sumptuous interior with a lady preparing to nurse her baby” – see cat. no. 74 103 “Richly Decorated Nursery” – see cat. no. 75 104 Oil on panel, 1645, 27 x 19,4 cm. Fitzwilliam Museum, Cambridge, inv. no. 33 105 “The Schoolmaster” ca 1663-65, oil on canvas, 110 x 80,2 cm. National Gallery of Ireland, Dublin, inv.no. 226; “The Stern Schoolmaster” ca 1665-1668, oil on panel, 57,5 x 57 cm. Private collection – Chapman 1996: 213 106 See cat. no. 97

29 schoolboy in the background of the “Village school”107 by the same author. On “The interior of a classroom with a schoolmaster sharpening a plume”108 an undated but signed painting by Naiveu we can see how Naiveu has included another Leiden fijnschilder motif to his oeuvre. His schoolmaster recalls Dou’s “Old schoolmaster sharpening his quill”109 as well as the laid-back teacher on a painting attributed to Steen.110 Additionally works by Frans van Mieris the Elder, “Cloth shop” and “Doctor’s visit” to name but the most conspicuous ones, were by the time Naiveu painted his versions already widely admired paintings. As Van Mieris’s “Cloth shop” 111 left the Netherlands shortly after its execution it is not likely that Naiveu had seen it, but he might have heard of the work that was bought by the Archduke Leopold Wilhelm of Austria112. Naiveu’s “Cloth Shop”113 from 1709 has in comparison to Van Mieris’s painting reversed the roles of main central characters – a man is selling the textiles and a woman is the purchasing party. It is obvious that the allusion here is not of amorous kind but refers to chance and fortune. The indication is given by a boy on the right hand side of the canvas who looks straight at the viewer and by another boy who stands at the door on the left. The former has thrown a pair of dices and is smiling as the latter, poorly dressed one at the door, is asking for alms.114 The other subject mentioned, “Doctor’s visit”, was a popular theme taken up by many artists in the 17th century, most well-known being the version by Dou. Both Naiveu’s as well as Frans van Mieris’s renderings of the subject115 keep embroidering on their teacher’s “The dropsical woman”116 although both rearrange the key elements in novel assortment. Naiveu’s interpretations of ‘doctor’s visit’s’ that will be further referred to in the following chapter are innovative with the addition of the commedia dell’arte figures and close-ups of certain medical treatments.

107 Oil on canvas, ca 1670-72, 83,8 x 109,2 cm. The National Gallery of Scotland, Edinburgh ( on loan from Duke of Sutherland) 108 See cat. no. 96 109 Oil on panel, 26,5 x 20,4 cm. Gemäldegalerie Alte Meister Dresden, inv. nr. 1709 – Laabs 2001: 43 110 “Village School” ca 1670-72, oil on canvas, 81,7 x 108, 6 cm. National Galleries of Scotland, Edingburgh – Chapman 1996: 232 111 Oil on panel, 1660, 55 x 43 cm. Kunsthistorisches Museum Vienna, Gemäldegalerie, inv. no. 586 112 Naumann 1981, II: 33-34, no. 31 113 See cat. no. 41 114 Sutton 1984: 168 115 Oil on copper, 1657, 34 x 27 cm. Kunsthistorisches Museum Vienna, Gemäldegalerie; Oil on panel, 1667, 44 x 33 cm. The J. Paul Getty Museum, Los Angeles. The former has possibly inspired Van Mieris’s good friend Jan Steen as his “Doctor’s visit” – oil on panel, 49 x 42 cm, ca 1661-1662, Wellington Museum, Apsley House, London - bears resemblances in the composition (Buvelot 2005: 110) 116 Oil on panel, 1663, 86 x 67,8 cm. Musée du Louvre, Paris

30 It is not always possible to prove but very often Naiveu seems to have painted his theatrical genre works in pairs. Some of them are known to have been considered as pairs by previous owners and sold as such at auctions, whereas others seem to suggest parity through the size and relating subject. A good example for the former case is past Snouck van Loosen collection sold at auction in 1886117 that included at least 2 pairs of paintings on the theatrical subject by Naiveu. These works will be discussed further in the following chapter where I have divided Naiveu’s theatrical paintings into two main groups with the separating character being their occurrence either out- doors or in-doors.

117 Ekkart 1998

31

4 Theatrical paintings - thematic sources and pictorial models

4.1 Out-door festivities and performances

The first painting by Naiveu where the out-door performers have been depicted is “Woman selling apples and the theatre performance in the background”118 dating from 1673. This painting attests to Naiveu’s interest towards the stage performers already before the 1690’s, the period that has mostly been presented as the beginning of his theatre-related subjects. In this early work that includes kermis actors we can also see the artist’s innovative approach towards the traditional Leiden school subjects that might suggest the influence from Jan Steen who by that time had moved back to Leiden (sometime around 1670).119 Although there are no documents found that would attest to an actual contact between Naiveu and Steen, they must have met as Steen had registered anew at the Leiden St. Lucas Guild120 and had been appointed as one of the Heads by the time Naiveu became a member. Additionally Jan Steen’s son Cornelis Steen was among the group of artists who took over the guild’s board as one of the Heads in the year after Naiveu’s leave.121 If we are to believe Houbraken then Steen was very openhearted and prepared to give advice to young painters.122 It is not all too farfetched therefore to suggest the impact of the renowned and established artist who brought his original subject matter and work methods with him from Haarlem on the beginning young colleague that Naiveu was in the beginning of 1670’s. A market scene by Jan Steen depicting buffoons on the stage with the quack similar to the ones painted by Naiveu has been dated around 1673 as well.123

118 See cat. no. 7 119 Weyerman 1729/69, II : 353; 120 RAL, Stadsarchief Leiden II, 940-940, Dienstboeken 121 RAL, Gildeboek St. Lucas-gilde Leiden, p. 230 122 Houbraken 1721 (1953)III : 20 123 “Dorpskermis” ca 1673, oil on canvas, 75 x 109 cm. Instituut Collectie Nederland, Amsterdam/Rijswijk, in. nr. Nk2499. The indication of date has been given by Mariët Westermann in Chapman 1996: 58; Braun dates the painting ca 1675-76 – Braun 1980: 141, nr. 366

32 As already mentioned, this panel shows the artist’s first attempts to combine the traditional Leiden fijnschilder subject of market women selling their goods with the stage of the out-door performers. The saleswoman and a boy depicted in the left corner of the painting are rather similar to the group motif represented on the painting attributed to Naiveu by Hofstede de Groot.124 Whereas the fijn style genre subjects are mostly intimate ‘close-up’s’ of few figures, in this ‘woman selling apples’- theme from 1673 Naiveu ‘steps back’ and broadens the view. In order to harbour his subsequent troubles with the perspective he has placed his extras in wise spots and used the twisted old tree, that so prominently recurs in the Leiden fijnschilder paintings, in the left corner to overarch towards the middle top of the painting. It seems as if this tree has taken in the place of the drapery that so often acts as a curtain in Naiveu’s in-door genre works. Due to regrettably poor quality of the reproductions available of this painting it is impossible to thoroughly comment on the composition, although we can see a number of figures in front of the stage and one of them half- turned appears looking at the observer outside the picture plane. Also we can see three figures on the stage of which one in the back looks female, one has the appearance of the fool and the last one with his hand raised could very well be one of the itinerant vendors of medicine who very often had costumed extras enliven their sales pitch. On the other hand it can also be a play presented by the local rhetoricians, although the monkey sitting on what looks like the salient woodshed mostly appears in connection with the quacks. It is an intriguing fact that this painting is actually painted when theatrical performances were officially prohibited. From the ‘rampjaar’ 1672 until the year of Nijmegen Peace Treaty in 1678 all theatre performances, including the ones that would be played at ‘jaarmarkten’ were banned. 125 The publication named “Nederland ontkermist” from 1672 voiced the clerical discontent with all the popular festivities and merriment. It is hard to establish weather Naiveu painted any theatre-related subjects in the years between but the next signed and dated painting depicting an out- door performance dates already from his Amsterdam-period.

124 Sale William Matheson a.o. Christie’s London (anon. part) 9-3-1895, nr. 94. This work was previously attributed to Dominicus van Tol. 125 Albach 1977 :114

33 This “Theatre performance in Italian setting”126 from 1691 that was briefly mentioned in the previous chapter, shows a scene taking place at the centre of the Piazza Navona in . Unlike other paintings by Naiveu that include a townscape or a street-scene this painting as well as its counterpart from 1698 “Market scenery with the Palazzo Quirinale in the background”127 have a particular and entirely topographically identifiable setting. The buildings that surround the Navona square were relatively new when Naiveu painted the scene and the outwardly truthful depiction most certainly stems from contemporary print series that represent the outstanding achievements of Italian architects and sculptors.128 It is slightly symbolic that this square was built on the remains of an old ‘Circo Agonale’ of Emperor Domitian and actually carried along the tradition of entertainment by hosting the out- door festivities of the ‘eternal city’. On the left side the church of Sant’Agnese in Agone with its characteristic façade concave, twin belfries and a cupola designed by Francesco Borromini is depicted by Naiveu about forty years after it was completed. In the middle at the back, behind the dancing actors on the stage, we can see the Roman obelisk originating from the circus of Maxentius that makes the upper part of the fountain group, Gian Lorenzo Bernini’s famous masterpiece ‘Fountain of the Rivers’(Fontana dei Fiumi) that was only completed in 1651. To further emphasize the location of this scene the italianate woman carrying an open basket on her head is seated on the horse. She looks similar to those on the paintings by Nicolaes Berchem. There is an italianate detail in the background of “The Family Portrait”129 from 1677 as well, where the woman at the well has been dressed into ‘southern’ costume and we can see plants exotic to the Netherlands with the idyllic clear-blue sky above it. For the further research it would be interesting to find out the depicted family and see if there is a connection to later works by Naiveu. The vegetable and fruit-baskets in the foreground guide the eyes to the market woman already familiar from Naiveu’s earliest works in Leiden, sitting half-turned towards the customers on the left. Instead of a plainly dressed boy with a mother we see an elegant couple purchasing vegetables. Behind the man we see a black servant, one of the extras Naiveu has used also in his other paintings as for instance “The Letter”130 and aforementioned

126 See cat. no. 29 127 See cat. no. 32 128 Tracing these prints would be part of further research. 129 See cat. no. 19 130 See cat. no. 25

34 “Antonius and Cleopatra”131. To the left of the couple we also see two Franciscan monks, representatives of the order of itinerant preachers that was established in Italy. One of them appears to point towards the stage and commenting the performance to his fellow. Next to them is an itinerant hawker advertising his merchandise, with his figure turned towards the viewer. The two pairs of actors shown dancing on the stage are still in an auxiliary role although the viewer’s eye is drawn to them by the vertical axis of the obelisk as well as the dynamism of the actors’ figures themselves. In the right middle corner also two accompanying musicians are visible. Dance performances very often accompanied plays in order to enliven the staging and seem to bear the same function within this composition.

The painting “Market scenery with the Palazzo Quirinale in the background”132 dating from 1698 could be seen as a pendant to the previous one. Although dated seven years later its pictorial setting, same size and the fact of belonging to the same owner indicates a link with the previous work.133 As already pointed out above, this painting also depicts a fairly faithful topographical image of a location in Rome. The two colossal marble statues of two ‘horse tamers’ known as Dioscuri or Castor and Pollux (found in the Baths of Constantine and re-erected 1588) are visible in the background. Behind these statues we can see the Palazzo del Quirinale that remained the residence of the popes until 1870 when the Italian state took it over. In the same way as on the previously described painting, the subject depicted is a lively market scene, although here Naiveu has a set of lead personages in the foreground. The saleswoman appears in a similar position as the one on the Piazza Navona, although in the reverse. The dynamic midpoint in this painting is here the woman inspecting the saleswoman’s cabbage. Both the red colour of the jacket as her waiving gesture towards the man on the right animate the scene. This painting recalls Italian market- scenes of alias Bamboccio (1599-1642) who had been the first artist to specialize in street scenes and focus on rendering different figures instead of just using them as staffage for landscapes. Van Laer as well as his followers, known as Bamboccianti, were fairly popular on the art market in spite of the art theorists

131 See cat. no. 51 132 See cat. no. 32 133 Also last time these two paintings appeared on sale together – Art dealers Carola van Ham, Cologne, 17-11- 2006, lot 1027 and 1028, p. 72 in the catalogue. The paintings were withdrawn from the auction due to the claim by the heirs of a former owner, Gallery Stern in Düsseldorf.

35 disparaging comments to their works. Crowded markets with the variety of action as well as the architectural décor, with often obelisks or other sculptural objects accentuating the scene take an important place in the oeuvre of most them. Also works of Johannes Lingelbach (1622-1674), who spent some time in Rome in 1640’s and fell in with Bamboccianti come to mind. Even after his return to Amsterdam in 1653 he continued painting Italianate scenes, often mixing his memories and sketches of Rome in his compositions. His palette is lighter and colours brighter than on the works of most Bamboccianti, although he does use the same strong clair-obscure contrasts. There is one painting by Lingelbach that is actually situated on the Piazza Navona134 like the canvas by Naiveu discussed previously. Lingelbach’s work is though topographically less accurate than Naiveu’s. This sort of non-topographical Roman subjects became known as ‘capriccio’s’. As another example here a painting by Anton Goubau could be presented – “A capriccio of a Roman Market with numerous Figures in the foreground and St. Peter’s beyond”135 where we see a similar compositional centre created by the obelisk. Also artists who had never been to Italy themselves started composing these Italianate scenes. Certain places that re-emerge most probably derive also from contemporary popular topographical prints.136 Considering the fact that Lingelbach’s is listed among the top of artists’ names that most frequently appeared in the art dealers notes in the second half of the 17th- century137, his works were highly marketable. Since his death in 1674 it is very likely that his works became scarce on the market along with the works of Bamboccianti. To fulfil the demand, Naiveu might have seen an opportunity here. These two paintings with Roman street-life as a subject might have also been executed by order of someone who wished to own a fresh ‘bambootserij’. Although there are seven years between the execution, both of these paintings with ‘italianate’ setting were in the 19th-century together in the collection of Snouck van Loosen and afterwards seen as pendants, that could imply them being commissioned works. Probably these paintings and many other works of the Snouck van Loosen collection were originally part of the collection of merchant Johannes Bontekoning (ca 1693-1749) in Amsterdam.138

134 “The Market in Piazza Navona” – Oil on canvas, 86 x 140 cm. Frankfurt Städelsches Kunstintitut, inv. nr. 1335 – Briganti 1983: 273-275 135 Oil on panel, 37,5 x 47 cm. Sale Christie’s New York, 12-1-1996, 1st part, lot 122. Another version of this scene on canvas, signed and dated 1651 was sold at Christie’s London, 12-12-1980, lot 69 136 Jansen & Luijten 1988: 8 137 Montias 1988: 256 138 Ekkart 1998: 9-11; Further research could show if these works might have been purchased by Johannes Bontekoning’s father and if there was any particular interest towards Italy and theatre or direct relation to Naiveu.

36

Between these two paintings with the background settings of Rome, Naiveu executed two works that have been associated with Amsterdam although it is not really possible to establish the exact topographical location of these two compositions. “Amsterdam street scenery with the quack”139 and “Amsterdam street scenery with the bear- tamer”140 are both currently in the collection of Amsterdam Historical Museum and have been painted in the same year, in 1696. Additionally, same way as the previous pair, these works are of the same size and have been auctioned in 1822 as part of the same collection. These paintings were executed in the year of which one of the few documented facts of Naiveu’s life has been revealed, namely the artist’s attestation as an inspector of hop. An interesting detail on the firstly mentioned “Amsterdam street scenery with the quack” could be seen in connection with this biographical fact. The painting has been signed on one of the sacks in the left corner right under the man who is sitting and seemingly observing the scene taking place in front of him. This sack not only bears artist’s signature and the date, but has also been marked with two signs that look like property- or quality marks. These sacks could very well be filled with hops and at least one of the marks could be Naiveu’s own ‘keurmerk’ as it is written in the close proximity of his signature. This sitting man plays compositionally the same ‘introductory’ role as the saleswomen placed into the corner in the Roman market-scenes. Although the central subject of the painting is the quack seen standing under his tent and holding his ‘miracle remedy’, the attention is drawn towards the smiling woman who is standing with her back towards the quack’s ‘theatre’ and looks amused by her children instead. To her right, a young boy makes the scene livelier with the visible joy of playing with his stick horse. Since Pieter Brueghel’s popular depiction of children’s games from 1560141 many artists, including Adriaen van de Venne and Jan Steen had used this subject in their works. Often these games were seen in line with the genre of feasting peasants as being something in opposition to the sophisticated manners of cultured elite.142 Foolishness of children’s games and childish lack of caution might here stand in association with becoming the victim of a

An interesting fact is though that young Cornelis Ploos van Amstel was an apprentice in Bontekoning’s woodwork company and even lived in his house. 139 See cat. no. 30 140 See cat. no. 31 141 “Kinderspiele”, oil on panel, 118 x 161 cm. Kunsthistorisches Museum Vienna, Gemäldegalerie, inv. nr. GG 1017 Even earlier versions by Maarten de Vos were reproduced as prints – for example an engraving by Nicolaes de Bruyn, in Graphische Sammlung Albertina – De Jongh & Luijten 1997: 90 142 Dekker 1995: 120

37 quack. In search for a thematic source the first painting that immediately comes to mind is with no doubt one of the few multi-figured paintings of Dou, his famous “Kwakzalver”143 that includes the artist’s self-portrait. This panel has along with other works of art of the same subject been interpreted as an image with moralising content, namely people being easily deceived.144 On Naiveu’s painting we can see children being innocent and trustful as to fall for swindler’s talk – one of them is handing the money to quack’s help, a monkey dressed in human clothes, and the other one seems to cadge money from the mother to do the same. The reading of Dou’s painting where the presence of the artist’s self-portrait would refer to the artists’ ability of deceiving people’s eyes with ones artistic skills145 has no connection to Naiveu’s version. The details on this painting are more amusing then symbolic. The quack appears to advertise himself as both the dentist (big tooth with the crown hanging above from his tent) and possibly as an eye-doctor (the eye within a circle represented on the above left corner of the poster behind him) whereas he himself looks to be cock-eyed.

Another painting signed by Naiveu “A village scene with a jester showing a bird to children”146 depicts the same subject using a different composition that reminds of Frans van Mieris the Elder’s “The Quack”147. Naiveu has depicted a man so immersed in vendor’s performance that he doesn’t notice a boy behind him nicking something from his backpack the same way as on Van Mieris’s version. The figure of a vendor, who has inexplicably been seen for a jester, has been made into a much bigger figure than the rest of the depicted personages in this painting. In the back right we can see two tents where actors are inviting people to enter to see performances where the limelight would be taken by what on the poster looks like a female trapeze artist. Attractions that would take place at kermis and in this sort of tents have been mirthfully depicted on an engraving by Adriaen van de Venne in “Tafereel van de belachende werelt.”148

143 Oil on panel, 112,4 x 83,4 cm. Signed and dated 1652. Museum Boymans-van Beuningen, Rotterdam, inv. no. St.4 144 De Jongh 1976: 87-89 145 Ibid.: 89 146 See cat. no. 78 147 Oil on panel, ca 1653-55, 45 x 36 cm. Galleria degli Uffizi, Florence 148 Van de Venne 1635: 69

38 The other panel from 1696 “Amsterdam street scenery with the bear-tamer”149 shows an utterly original subject. Entertainment industry of kermis included numerous market stalls, pedlars and actors, musicians, mummers, puppeteers, quacksalvers and fortune-tellers. Also dwarfs and giants as well as rare animals were part of the amusement programme. Bears as well as camels and elephants were though much more exceptional than monkeys. It is hard to find pictorial sources for this particular subject, but the posture of the bear that holds one of the attacking dogs in its claws might derive from the paintings depicting bear hunt. These were mostly popular among the aristocracy, famous versions being depicted by Flemish masters and Frans Snyders. Prints of their work might have been attainable also in Amsterdam. As an example, the bear and dog are depicted in the similar arrangement to Naiveu on the vast canvas by Paulus Potter from 1649 150 that in 1969 was in the Van Reenen collection in the Hague.

Another exciting element of Naiveu’s composition are the two figures lying on the street – man and woman seem to have stumbled on each other in the fright created by the roaring bear. We see the woman in the front depicted in a difficult position, struggling to remain decent by trying to pull down her skirt. Both the boy who is leaping away from the bear on the left as well as the drummer on the right are entertained by the site and laugh at the incident. Right above the bear we can see though a woman looking over her shoulder with a less amused gaze, seemingly condemning the silly behaviour of the group. This rather complicated composition also includes a trumpeter on the horse and two bear-tamers both with distinct expression on their face. To portray these animated faces must have been an interesting challenge for the artist. His choice of the subject includes the possibility of rendering so many different emotions and poses in one picture plane. It seems that Naiveu like ‘the prince’ of Dou’s pupil’s, Frans van Mieris was taken by the possibilities of depicting different ‘hartstochten’, in his case with the emphasis on the humorous effect. The actors in this painting are playing a secondary role as the stage with two dancing actors stands at the left background. The movements of the actors though will become recurring as will be discussed later.

149 See cat. no. 31 150 Oil on canvas, 305 x 338 cm. Rijksmuseum, Amsterdam, in. no. Sk-A-316

39 Chronologically the following painting, dating from 1699 is a “Carnival scene”.151 Although it has been executed a year after his second Roman market-scene with Quirinale, the architectural background seen here with the castle, the obelisk and a cupola seems more likely to be a fantasy composition rather than a particular location. The event that has been depicted is the carnival procession or ‘ommegang’ that begins the three-day merriment preceding the Ash Wednesday when in the catholic calendar starts the period of fast up until the Easter Saturday. This originally pagan fertility ritual of rural inhabitants transformed into the Christian ‘vastelavond’ that during the Middle Ages pervaded to the urban centres. By the end of the 17th-century this event that mostly took place in February had in the Netherlands taken up the foreign name of ‘carnaval’.152 Again we can see a vast variety of personages with individual appearance and motion, all taking part in the festive merriment. To the left, on the stage we see the carnival king with his pointed cap and a mask, holding a sceptre. This ‘prins carnaval’ would according to the custom have his own entourage with the fool, the cook and the cupbearer being the most important ‘courtiers’ standing for the extensive amusement and consumption. We can see the fool sitting in the left corner of the painting looking out at the viewer with a face that stands in contrast to the principally joyful appearance of other figures. Here we can see yet again Naiveu’s intention to establish a link between the pictorial space and the viewer through this ‘commenting’ character.

There are many individual figures that could add to the ‘story’ composed by Naiveu but unfortunately available reproductions do not allow us to see all the details clearly enough to be sure of every personage’s role. The man in Harlequin clothes and feathered hat to the right from the fool is for example pointing at the cat that he is holding from its neck – would that be wordplay with ‘kattenkwaad’? The figure standing next to the carnival king has fishes hanging down his costume. Also his headgear resembles a fish with its tale curling on top and he is holding what looks like a guild banner on the lance with again some fishes at the tip. Figure of this sort has been depicted as signifying the Lent, the opposite temper to the Carnival. Commonly the antagonism between the excessive feasting and ascetic atonement was depicted by the battle between the followers of these dispositions. The Carnival would be

151 See cat. no. 33 152 Van Gilst 1974: 12-13

40 represented as a fat figure carrying abundance of drink and meat with him, often personified by Hans Worst or Mijnheer Sausage whereas Lent would either be embodied by a lean woman bearing fish and mussels or by Pekelhareng, the brackish fool of fish.153 A well-known depiction of this sparring match is the painting by Pieter Brueghel the Elder from 1559 154 although here the fishes are shown on the griddle carried by the skinny Lent. Two examples where Lent is wearing fishes on its costume similarly to the personification on Naiveu’s painting is an engraving by Schelte Adams Bolswert after Boetius Adams Bolswert155 and a painting by David Vinckboons.156 Although on Naiveu’s version we do not see the personification of Carnival carrying chunks of meat on his spear or sausages around his neck like on the panel by Vinckboons, one of his supporters depicted in the middle is bearing what looks like an enormous pancake on the spear, another food item associated with the Shrovetide. Meat is present though in the form of one of the most elaborated dishes of the time – ‘gekonfijte pauw’, where the head, neck and especially the fan of the peacock would be draped over the pasty. This delicacy is shown crowning the head of a chubby figure left from the fool, most likely personifying the cook. At the end of the stage we see a figure proclaiming from the long sheet of paper. Represented occurrence might be the Fools’ Court (‘narrengericht’), also part of the carnival tradition, where small iniquities and scandals of the past year were recited in a comic manner.157 That might explain the apologetic gesture of the woman standing in front of the carnival king. Otherwise a comic play or ‘vertooning’ might be enacted on the stage that was often carried out by the rhetoricians’ guilds during popular celebrations.

Depiction of figures that wear costumes similar to commedia dell’arte characters in relation to the carnival festivities emerge in the Lowlands in the second half of the 16th-century, probably inspired by foreign (Italian or French) travelling companies that took part in the carnival programme. Examples include Jacques de Gheyn II’s series of nine prints known as “The Masks” from 1595 and Johannes Sadeler’s print

153 Schama 2004: 153 154 “Kampf zwischen Fasching und Fasten” Oil on panel, 118 x 164, 5 cm. Kunsthistorisches Museum Vienna, Gemäldegalerie, inv. no. GG 1016 155 “De strijd tussen Vastenavond en Vasten” 29,8 x 40,5 cm. Amsterdam, Rijksprentenkabinet, Rijksmuseum, inv. no. BI 2602 156 “The struggle between Carnival and Lent”, oil on panel, 69, 5 x 115 cm. Sale Sotheby’s London, 9-7-1998, lot 24 157 Van Gilst 1974 : 45

41 “Nocturnal banquet with masquerade” after Joos van Winghe from 1588158 where figures in commedia dell’arte costumes are carrying instruments that are also carnival attributes.159 The most popular ones are of course depictions of Italian carnivals in their ‘original’ setting. Another example by Johannes Lingelbach here is “Carnival in Rome” from 1670160 with the compilation of separate buildings from different parts of Rome as the artist resided for decades back in Amsterdam. The figure of ‘Dottore’ in the front middle of the painting is looking over his left shoulder straight at the viewer, link used also by Naiveu as pointed out earlier.

It is worth mentioning that this subject as well as some following ones was taken up by Naiveu when protestant government was disdainful about the continuous celebration of catholic festivities. These ‘vile relics of the popish past’ continued to be popular in spite of the clergy’s repetitive attempts of prohibition.161 Although these themes are religious in their root and therefore make it possible that the artist had a certain commissioner with an affinity to the catholic faith, it is also very likely due to the general popularity of the type of paintings throughout the 17th-century that Naiveu chose these subjects just for the opportunity to paint what he was good in – merrymaking people in funny costumes. In case this “Carnival scene” is the same painting mentioned as “Brabant procession” (‘brabantse ommegang’) in the possession of late Johanna Timmers, the widow of Lucas Wateringe, documented in property inventory from 29 August 1718 in Amsterdam, Naiveu’s skills were appreciated. The painting hung ‘in de eerste kamer’ of her house ‘op het water bij de Nieuwebrug’ that is now known as Damrak and was with 40 florins valued quite high in comparison to most of her paintings of which the average price was 6 florins.162 By the time this painting was executed, Naiveu must have had already some repute as an artist as it is known from the document signed by him in 1702 that a pupil by the name of Focke Stapert163 had come to learn the artistic trade from Naiveu in 1699.164

158 Engraving, 38, 1 x 45,4 cm. Rijksprentenkabinet, Rijksmuseum, Amsterdam, inv. no. RP-P-OB-7500 – De Jongh & Luijten 1997: 67 159 Nine engravings with title page, each ca. 22 x 16,5 cm. Hollstein 1952: 133, no. 115 – 124 (4 illustrated) Three of them, no. 117, 118, 124 in Rotterdam, Museum Boymans-van Beuningen, - Mooij 1992: 91 – 92, no. 20a-c 160 Oil on canvas, 51,5 x 67 cm. Private collection – Mooij 1992: 135, no. 74 Another “Carnival in Rome” is not dated or signed but convincingly attributed to – oil on canvas, 86 x 170 cm. The Wadsworth Atheneum Museum of Art, Hartford, Connecticut, inv. nr. 1938. 603 - Begemann Haverkamp 1978: 162-164, no. 92 161 Schama 2004: 182-185 162 GAA, NAA 7235, akte 151 163 Focke Stapert was born in 1683 in Harlingen, Frisia and later returned to his native city, where he died in 1736. Some signed paintings by this only documented pupil of Naiveu show simple compositions, partly in the style of the Leiden fijnschilders.

42

Naiveu continued with his depictions of popular celebrations as we can see from his “Saint Nicholas festivities”165 painted in 1703. Although in this case we are hardly dealing with the pendant of ”Carnival scene” as there is no factual material to support it, the sizes of these paintings are again similar. Also we can detect a gradual enlargement of the size of Naiveu’s paintings, whereas he kept using the vertical format. The first theatrical in-doors scene of 1702 as well as the continuation of calendar festivities from 1706 that will be discussed in the next paragraph have already interestingly enough been painted in the horizontal format as well as the following painting of a “Foot Doctor” from 1704.

In “Saint Nicholas festivities” we can see a close-up on the performers where Naiveu for the first time has given the view point from the stage in place of the market or square corner. Instead of being part of the backdrop to various urban social gatherings, here the two actors dressed in commedia dell’arte costumes take up one of the focus points with their animated dance. The other focus point of the painting unfolds the main subject with Saint Nicholas shown seated on his horse and two children fighting on the street in front of him, right under the basket of toys that hangs down at the side of the horse. Even though the exact poses of these children are different, the situation recalls the couple struggling after fall in front of the bear- procession in “Amsterdam street-scene with the bear-tamer”. This fighting scene is also comparable and might even be inspired by two brawling kids on the painting of Jan Steen of the same subject that is only known through a copy but once belonged to the De la Court-Backer family in Leiden.166

Most of the paintings in the 17th-century that depict this particular calendar event show the more private side of this primarily children’s celebration, the figure of Saint Nicholas himself only present in the form of a doll.167 Activities depicted on these familial versions portray well-behaved children happy with their gifts and ill- mannered ones remorseful and disappointed with their reward of a rod as a symbol of

164 GAA, Notariële Archieven. 5335a, not. Ijpelaar, July 28th, 1702 165 See cat. no. 35 166 Chapman 1996: 199, note 6 167 This ‘genrefication’ of a catholic feast might indirectly be in connection with the Calvinist dislike of ‘idolatry’ – even the dolls sold during this celebration have been documented as under clerical attack – Schama 2004: 184

43 castigation. Take for example again famous depictions of the subject by Steen.168 Naiveu though has chosen for the spectacle taking place on an open square where he can once more display plenty of people. This may perhaps also indicate a certain nostalgic aspect to these depictions of out-door festivities that had gradually moved to the intimate sphere of people’s homes.169 On this painting besides the mother also Saint Nicholas has been shown in the reprimanding role, known for his patronage of children’s upbringing. This legendary bishop of Myrna who had been venerated at convent schools during the Middle Ages retained more temper than most of the saints and that is exactly what Naiveu needed for his composition. This situation would give Naiveu again a chance to show his skills in rendering strong passions, anger being one of the most challenging ones.

The opposite emotion of joyful indulgence has been embodied by two commedia dell’arte actors dancing in the foreground, judging from their costumes most probably the merry couple of Harlequin and Scaramouche. Their dancing poses obliquely recall two performers frolicking on the “Interior of a Tavern” by Pieter van Laer.170 These two are bringing obvious delight to the man standing below the stage in the right corner of the painting. This man portrayed from the waist up and in profile is so engaged with the act that does not seem to respond to the persuasion of his female companion to depart and furthermore leaves the fighting in the square unnoticed. Conversely, the little boy on the stage behind the actors, who is also part of the act in his colourful clothes, does have a look at the incident. Besides this performance we can also see another stage far at the back of the square and market stalls aligned around the corner of a large building. It seems as if Naiveu has paid attention up to the farthest character in his composition and his ‘humoresque’ would not be complete without the small figure behind the stage taking a leak.

Next dated painting by Naiveu is the “Foot-doctor”171 from 1704. As already mentioned above, this painting is the first of the out-door performances that Naiveu painted in the horizontal format. In comparison to the previously discussed painting

168 “Het Sint-Nicolaasfeest” ca. 1663 – 1665, oil on canvas, 82 x 70,5 cm. Rijksmuseum, Amsterdam, Objectnummer SK – A - 385. Another one: ca. 1669-70, oil on panel, 58,5 x 49 cm, Museum Boymans-van Beuningen, Rotterdam, inv. nr.1826 169 Mooij 1992: 41 170 Munich, Alte Pinakothek, inv. nr. 4834 ( Bayerische Staatsgemäldesammlungen) – Briganti 1983: 73 171 See cat. no. 36

44 the artist has approached the actors on the stage even closer. Here the public is clearly playing the secondary role, with few heads shown staring at the actors on the left side of the painting. This subject is again reminiscent of themes that were popular in the 1630-1640’s as representations of ‘leedvermaak’ or as signifying the sense of touch. Traditional depiction would show a village physician treating the foot of a peasant or an itinerant surgeon extracting teeth when often bystanders are amused by patient’s face that is racked with pain. This is clearly visible on the series of drawings by Pieter Jansz Quast that show a chiropodist, dentist and surgeon at work.172 Naiveu has transformed this old formula into the grotesque comic performance with the attendance of commedia dell’arte characters.

In the 17th century specialist tooth-drawers and surgeons often had an additional support act of travelling performers at fairs to combine medical treatment with entertainment. Because they worked outside the guild system of locally established surgeons, the latter often tried to protect their own business by dubbing the interlopers as charlatans or quacks and taking them to court. Even though in many cases these itinerant physicians were not efficiently educated or equipped, they were quite popular and more accessible to the poor. The inbuilt dramatic character of these public medical treatments served as an incentive for many artists. Thematically this painting can therefore be seen as a ‘descendant’ of 16th- century ‘stone extractions’, ‘tooth-pullers’ and ‘chiropodists’ from Bosch and Lucas van Leyden via Haarlem school to in Naiveu’s case more obvious antecedent examples of Dou and Steen. Naiveu might have also been familiar with the works of Caravaggesque painters with their dramatic close-ups via prints like the ones after .173 Also works by Bamboccianti, already mentioned in connection to Naiveu’s paintings, included this type of motifs often in their market-scenes as could be exampled here by again Lingelbach’s “Italian Marketplace with an itinerant tooth-puller” of 1651.174

172 “Surgery”, “The Dentist” 1634, “An itinerant surgeon extracting stones from a man’s head” 1645 - Wellcome Library, London, M0006878, M0006889, L0007012. In the same collection also a print by Clemendt de Jonghe after Pieter Quast showing a chiropodist at work - L0018618 173 “Tooth-puller” engraving, 29,6 x 38,2 cm by Andries Pauli after Rombouts – Museum Boymans-van Beuningen, Rotterdam, inv. nr. BdH 17082 – De Jongh & Luijten 1997: 221 174 Oil on canvas, 68,5 x 86 cm. Rijksmuseum, Amsterdam, objectnummer SK-A-226

45 The face of the person being treated is central in this painting the same way as on the “Tooth-puller” of Jan Steen from 1651.175 Although getting the splinter out of the sole of a foot does not seem half as grave as getting one’s tooth extracted, the peasant (or actor in the role) in Naiveu’s version is experiencing some serious panic. One of the actors is pulling back the hat of the patient to let the public see the extreme expression of fear and pain. An accompanying variety of expressions on public’s features that is part of artist’s usual challenge with this subject matter is seemingly less relevant here. Usual scale of public’s reaction from compassion, shared fair of pain or just plain curiosity is here interpreted in a rather detached manner. The actress is looking at the public instead of the patient, Harlequin goes on with his buffoonery and the public seems to be as coolly rapt as the surgeon himself. The only character that shows compassion is the actor in the middle holding his hand on the shoulder of the patient and looking concernedly at the operation. The basket of eggs that Harlequin is lifting up as part of his act often appears to be the accompanying attribute to the peasant at the market. Here in mid air, these eggs are probably also suggesting the fragile condition of the patient. Similar basket of eggs can also be seen on the “The Quack Dentist” by from 1630176 and later by Jan Victors from 1654177.

Naiveu’s further interest towards the subject of medical treatments can be seen in two signed but undated paintings in the collection of Wellcome Library in London - “A physician and surgeon attending to a woman patient”178 and “A physician taking a pulse of a woman”179, both showing an archaic popular medical practice of phlebotomy. On both paintings we see the doctor feeling the pulse of the woman and a surgeon on his knees attending to the bloodletting procedure. Whereas “A physician taking a pulse of a woman” gives an impression of a plain illustration of medical practice, the threesome in “A physician and surgeon attending to a woman patient” seem more likely of participating in a performance. Although the face of the patient looks believably pale and distressed, the faces of attending medics seem to suggest some foul play. The attention given to the décor, with various surfaces of textiles and colourful patterns, the style of this painting is similar to Naiveu’s last dated work

175 Oil on canvas, 32,5 x 26,7 cm. Royal Picture Gallery Mauritshuis, The Hague, inv. nr. 165 176 Oil on canvas, 66 x 81 cm. Herzog Anton Ulrich-Museum, Braunschweig. 177 Oil on canvas, 78 x 94,5 cm. Amsterdams Historisch Museum, Amsterdam, Van der Hoop Collection. 178 See cat. no. 79 179 See cat. no. 81

46 “Open- air theatre performance with the jester sitting on the table”180 that will be discussed at the end of this part. The formerly mentioned “A physician taking a pulse of a woman” is also of a much lesser quality than the latter and with the central couple of figures matching the “Doctor’s Visit” of Focke Stapert181, it might despite Naiveu’s signature very well be the work of the artists pupil in stead.

There are two more works attributed to Naiveu in the Wellcome collection of which “A physician feeling the pulse of a seated woman”182 is similar in size and composition with the previously discussed “A physician and surgeon attending to a woman patient”. Both of them present women with intricate lace headscarves surrounded by distinguished interiors, particularly elaborate being the chairs. Whereas the patient is shown pale and weak on the former, looking seriously ill, the woman on the latter only seems melancholy. These two paintings contain the familiar ingredients - urine flask in doctor’s hand and the feeling of female patient’s pulse refer to the popular subject of ‘doctor’s visit’s’ with the allusion to the patient’s illness being of amorous nature as shortly discussed in preceding chapter. In comparison to the well- known antecedent works by Van Mieris the Elder and Steen where the incompetence of the doctors has been implied through their outdated costumes, Naiveu’s physicians are dressed in contemporary costume and wear a fashionable wig.

The second one of attributed works at Wellcome is the “Interior of a surgery”183 – similar in central compositional element to Cornelis Saftleven’s “Shoulder Operation” from 1636184 and to ’s “Barber shop”185. The patient is also reminiscent of men in two other paintings of Naiveu – the man sitting at left in “Cloth shop” and a man being escorted home in “Morning after the festivities” that will be considered later in this part.

After few close-up displays of revellers and actors, in 1708 Naiveu turned back to the composition of market ‘vistas’ with the canvas titled “Theatre performance in a

180 See cat. no. 50 181 “The Doctor’s Visit”, 1717, oil on panel, 31,5 x 25 cm. Sale Dorotheum Vienna, lot 131 182 See cat. no. 80 183 See cat. no. 82 184 “Die Schulteroperation”, oil on panel, 42 x 61,5 cm, Staatliche Kunsthalle Karlsruhe, inv. nr. 250 185 “The Feeling”, oil on panel, 24 x 20 cm. Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich, inv. no. 851

47 village”186. Familiar compositional elements and figures from his earlier works are present again. The general arrangement reminds of the painting depicting festivities on Piazza Navona in Rome - we see the stage with actors at the far right and the crowd that gads about and watches the play. A boy is buying something from the vegetables saleswoman, both of them in the similar position as on the painting from 1673. This time the twosome is moved to the centre of the painting though, merging with the rest of the activities in the crowd. In the lower right side of the canvas we see a woman scooping water from the well, another motif recognizable from Naiveu’s Leiden period. The ‘entry’ corner on the left has been filled with a group of figures engaged in some bizarre activity. As it already was the case with the ‘jester’-vendor from the second version of Naiveu’s paintings of quacks, also here we see a woman on the left side that looks oddly big next to other figures. It might be intended to point out that the other figures are children, but the size of this figure remains peculiar next to the construction partly visible on the left. Could this be one of the giants that took part in kermis freak shows?

The partition of animated performers from different types of observing spectators is a challenging setting that the artist has fully utilised again in this painting. We see a horse carriage, men discussing among themselves, mother with children, a small boy on the shoulders of his father to see the play. This time the actors are not shown during the dance act but interact with each other in a peculiar ensemble, their troupe involving an animal that looks like a big cat. Their movements and attributes have been deciphered as depicting a scene from “Pyramus and Thisbe”187 – popular play based on the tale from Ovidius’s “Metamorphoses” (VI, 55-165), nowadays most known as part from Shakespeare’s “Midsummer Night’s Dream”. The lying figure is Pyramus, the woman stabbing herself is Thisbe, the actress with a crescent moon on the stock is the personification of the moon Diana or Semele that should light what according to the script is a nocturnal scene. One of the male actors is playing the role of a ‘wall’ that separated the protagonists and another one with the tree personifies the forest. The figure in Harlequin clothes is the ‘souffleur’ that prompts the text to the

186 See cat. no. 39 187 “De Kluchtige Tragoedie of den Hartoog van Pierlepon” by M. Gramsbergen was published in 1648 and later in 1700 and 1752 as “Piramus en Thisbe, of de bedrooge hertog van Pierlepon” – Wurfbain 1983: 238; The subject of Pyramus and Thisbe was also popular among rhetoricians – see: Happé 2006

48 cast from his long roll of paper. The animal at the fore of the stage hence is the lion that caused the whole lethal misunderstanding between the two unfortunate lovers.

This painting was in the collection of Snouck van Loosen together with the two works depicting Roman scenery that were discussed before and with “Open-air theatre performance”188 that does not bear a signature or a date but can clearly be attributed to Naiveu. Although its size is similar to “Theatre performance in a village” and it has been part of the same collection, the composition does not really allow to see them as pendants. The corner ‘entrance’ of this painting is formed by the couple in the lower right corner who are shown nonchalantly lying on the paddock apparently enjoying a day of rest. The woman who is looking straight at the viewer points at the crowd and stage below. As anticipated the stage is occupied by a group of actors, two of them clearly in commedia dell’arte costumes. Structure of commedia dell’arte was based on binary pares of personages, performance was physical, verbal and emotional and the exchanges between these antagonistic pairs gave the chance for depiction of a vast scale of gestures and countenances. Nevertheless, all these roles had certain characteristic poses that recurred in actors’ play and were reproduced in prints, most well-known being the illustrations of Jacques Callot. Although Harlequin is wearing somewhat unusual clothes on this painting, more typical of Pierrot, the particularity of his pose that Naiveu repeatedly depicts makes him recognizable. At the back, next to one of the central elements of the play - a couple of lovers, dances a zanni with a violin wearing a long-pointed hat. This hat is usually typical of Fristelin (Fritellino) or Turlupin, both Harlequin’s assistants with some musical talent. Another actress is ascending to the stage using the ladder at the front and with the helping hand of a gentleman from the public.

The crowd around the stage is again full of activity. New motif that stands out is a small embellished open carriage pulled by a goat with a well-dressed girl sitting inside. A gentleman dressed in red coat is walking close behind the carriage at the back and a boy is steering the goat from the side. To the left from this gentleman we see a man with the catch on his back, apparently a hunter looking at the stage. To the left a vegetables vendor is shouting to attract customers and a woman next is baking

188 See cat. no. 59

49 pancakes. To further show his versatility in depiction, Naiveu has included the horsemen again.

The stage construction looks similar to the one in the “Theatre performance in a village”189 in its simple yet distinguished classicist appearance but is adorned with slightly different details. On top we can see several coats of arms, in the upper middle of the stage front, inside a golden cartouche a red heraldic lion is visible holding a sword. On the top of the roof of the stage we can see a globe alike the one in “Theatre performance in a village” though here in stead of the statue of Mercury we see a putto blowing into the trumpet. Both of these open-air stages are certainly statelier than the previous market podiums depicted by Naiveu and the presence of some regalia seems to allude at a professional troupe of actors that performs under the auspice of a certain benefactor. The stage in “Open-air theatre performance” is also shown from a different angle as to give a look at the exchangeable set in the back that appears to represent a symmetric view of the park. Another painting, titled “Dance company”190 that has been attributed to Naiveu shows the same type of proper stage with columns and space for exchangeable decorations on the left. Here the scene has been shown from the stage side again showing two couples in detailed attire dancing while the Harlequin larks about in the far right of the stage. In this case Naiveu must have had a loftier customer in mind as the background is almost entirely occupied by a grand palace-looking edifice.

The following two paintings have certainly been created as a pair, the ‘story’ and the compositions as well as the size and the year of completion of these works are the same. “Festivities on the street”191 and “Morning after the festivities”192 have both been dated 1710 and remained together in successive ownership. “Festivities on the street” shows a procession of revellers once more. The man on the right standing sideways is wearing what looks like a paper crown on his hat and a girl dancing with her back to the viewer on the left is playing a ‘rommelpot’ that suggests the event being the Twelfth Night celebration. In that case the interpretation is highly unusual as the traditional depictions either show the “king drinks” version

189 See cat. no. 39 190 See cat. no. 65 191 See cat. no. 44 192 See cat. no. 45

50 (that will be discussed in the following part on the in-doors performances) or the out- doors version depicting the ‘sterrenzangers’ outside at night singing on the street with a big star-shaped lantern at someone’s front door. Here though what we see is a group of entertainers rejoicing on the street, the front dancer clicking the castanets in his hands. A drummer similar to the one on “Amsterdam street-scene with the bear- tamer”193 adds to the rhythmic batter as well as a little boy at the back of the group. From the man with the flag on his shoulder who is addressing the little boy we could assume that this group is advertising a play by rhetoricians. During public festivities rhetoricians guilds often prepared theatrical performances for the occasion. The accompanying canvas of “Morning after the festivities” gives the moral of the subject showing one utterly tired and drunk merrymaker being supported by his son and wife on the way home. The boy is trying with a persuasive look to remove the tobacco pipe from the hand of his father. To the right of this threesome three other revellers are suffering from excessive feasting as well. For the sake of equality also a shaken gentleman in his chamber robe is shown in the company of two others at the stairway of a stately house.

After these pendants with the close-ups of revellers, in 1711 Naiveu took up wider ‘vistas’ of performers and public again. “Theatre performance in the open air with the goat-cart on the left”194 shows already familiar-looking scenery with the actors on the stage at the right and a gathering of masses around them. Certain elements of ‘low humour’ are visible amidst the numerous characters. The dogs in the foreground, with one of them ‘unburdening’ himself, are depicted in the same position as in the right lower corner of the “Dance in a Barn”195 from 1706 that will be discussed in the following part on in-doors scenes. Another peculiar motif stands right in the middle of the painting – a little boy turned towards the onlooker has lifted up his shirt and seems to urinate right in the centre of the crowd. These are certainly elements to be paired with the “smirched children in potty-chairs” so despised by the classicist theoretician De Lairesse.196 Further we see a couple of well-dressed women standing in the middle fore accompanied by a black servant and surrounded by men, two on the horse to the right and one standing next to them chatting. The latter acts as a focal point with his

193 See cat. no. 31 194 See cat. no. 46 195 See cat. no. 38 196 De Lairesse 1707(1969): 171

51 bright red coat and with a dead hare on his back reminds of the hunter depicted as one of the spectators on Dou’s “Kwakzalver” already mentioned earlier in this thesis. In Naiveu’s version the underlying hint might have to do with the fact that social gatherings also often acted as marketplaces for matchmaking.

“Theatre performance in the open air with the goat-cart on the left” could well be a pendant or at least it seems likely to have been painted close in time with the signed, not dated canvas “Carnival scene in a Dutch riverside town, with actors performing”.197 The colour-scheme of these two paintings sharing the brownish overtone is warmer than on the previously discussed works and their size is almost identical. Additionally the motif of a goat-carriage that was new in the “Open-air theatre performance”198 has been used in both of these paintings, entering the scene from opposite directions. Whereas on the dated painting, where the carriage moves from left to right, it is backed by the man, on the other painting, where it is moving from right to left, it is backed by a woman. There is another striking small element that appears in both – a distinctive character with a tall exotic-looking hat199 that sits in the middle of the crowd on the camel in “Carnival scene in a Dutch riverside town” appears on the poster in the upper right of the “Theatre performance in the open air with the goat-cart on the left”, this time riding a horse. This detail might indicate the performers on both paintings being part of the same group. The English State’s Yacht moored at the quay might suggest a visit from an English company of actors under royal patronage.

Two signed not dated paintings by Naiveu in Geneva - “Open-air theatre performance with dancing”200 and “Open-air theatre performance with a monkey on the right”201 have the same brownish overtone as the “Theatre performance in the open air with the goat-cart on the left” of 1711 and its possible pair discussed above. In the “Open-air theatre performance with dancing” we see the poster upper right depicting two men carrying halberds, used by German and especially Swiss militaries in the 14th-15th century. An analogous poster is visible again on the “Theatre

197 See cat. no. 60 198 See cat. no. 59 199 Same type of hat is also visible on the “Anthonius and Cleopatra” and “Abraham and Sarah” – see cat no. 51 and no. 58 200 See cat. no. 61 201 See cat. no. 62

52 performance in the open air with the goat-cart on the left”202 from 1711 – is that merely another recurring element or a reference to the same acting company? On the same decorative poster of the “Open-air theatre performance with dancing” also a Hunter and Farmer are presented above and beneath a blaze of fire coming from underneath the earth is visible that two men seem to be ‘forking’. Additionally there are partly detectable words on this poster - , Spie(l), or ‘Spie(r)’ and ‘Babel’ or ‘Basel’ that either refer to the origin of the troupe or to company’s name. The actors have been painted in fine manner, faces and hands neatly polished. Naiveu’s typical sharp dark outlines of the figures and strong shadows as well as white accents and very decorative textile details are apparent. Behind the stage we see rows of faces, many of them with distinct features and facial expressions, enjoying the spectacle.

The other one of the Geneva-paintings, “Open-air theatre performance with a monkey on the right” is in comparison with its pendant less colorful, brown shades are dominant and faces less detailed. In the background we see the zanni in Harlequin’s clothes playing the violin – the same pose as on the pair painting, though here he is depicted much smaller and is sticking out his tong. In the front the character of Capitano who seems to be cock-eyed has castanets in his right hand, whereas his left hand is supporting the hand of the leading lady whom he with his elegant bow is inviting for a dance. Here again we can see some distinctive faces in the public. Two men are discussing the play at the very front of the stage; a small boy is on his father’s shoulders and wearing his big hat. There is also a couple of women in the crowd who are looking straight at the onlooker outside of the picture plane. In the background, on the right a drawbridge and a building in the style of Van Campen can be perceived. Naiveu has even meticulously depicted the small posters on the poles of the bridge. In the lower left corner we see a monkey out of the cage with an apple, who has a rather distinct little red detail sticking out – pungent hint of the amorous encounter taking place in the play?

The Geneva paintings seem to be in connection with another pair of signed, not dated works both titled simply “Actors playing in the open air”203. In the first one with the dancing couple, another peculiar stage decoration is visible - the poster in the right is

202 See cat. no. 46 203 See cat no. 63 and no. 64

53 depicting a nude figure of a man showing with the finger at his head that has a knife in it. Smaller figures in pictures around this exposed man are showing different poses – usually a pictorial glossary of situations played out by the actors. To the left from the dancing couple, at the height of their faces someone’s feet can be seen – there is a spectator apparently sitting on the branch of the tree. At the back in the centre we can observe another theatre tent where two actors are standing and waiving at spectators.

The other canvas in this pair is showing one of the actors kneeling with his face contorting from fear as he seems to be begging for mercy from the man attacking him with a stagger in his hand. This situation is again a profitable choice for the artist who longs to show different human emotions in action. The responding sentiments are reflected on the faces of the viewers. An actress standing behind the kneeling man is making a commenting gesture by holding up two fingers and looking straight at the viewer outside of the picture plane. Similar gesture has been depicted by Naiveu on the “Carnival scene”204 of 1699 where a man on the right amidst the crowd is holding up two hands with the similar sign. Although it is not clear, it might be the ‘sign of a fool’.

Chronologically last of the open-air performances is “Open- air theatre performance with the jester sitting on the table”205 dated 1721. Here Naiveu has taken the close-up of the stage again like on the “Foot-doctor”206 from 1704 and has given the main role to the jester sitting on the table. On this painting similarly to the “Foot doctor” the female actor has been shown in interaction with the crowd further back at the stage. In comparison to the two previously discussed paintings, this canvas bursts of strong local colours and decorative surfaces. Vivid contrasts of red and blue and elaborate patterns invigorate the whole scene. Despite some recurring poses of the characters the composition seems apart from all the preceding ones. Interesting detail is also that the masked figure at the back of the stage takes up the bouncy pose of Harlequin yet he is wearing black clothes characteristic of the Doctor. It might give the clue for the scene at hand – Harlequin in the role of the Doctor has prescribed a potion for the young woman who seems to be holding a small red vial in her hand.

204 See cat. no. 33 205 See cat. no. 50 206 See cat. no. 36

54 The story has most likely to do with love trouble, main subject in commedia dell’arte performances.

The colourful figure sitting on the table is a fascinating combination too, this time of a Harlequin and a jester. The clothes point towards the previous and the stick (‘narrenstock’ or ‘marot’) to the latter character, but in the end they both embody same qualities. This fool’s bauble holds at its tip the head of its beholder that is to portray people who can only see themselves.207 That little counterpart has been shown accompanying the jesters since the Middle Ages. One of the many depictions of a jester with his ,marot’ is by Jacques de Gheyn II who has portrayed two conceited jests tenderly relating to their baubles – this print was made for the rhetoricians guild in Leiden ‘Liefde is ’t Fondament’ in 1596 to illustrate the rules for jesters.208 Usually a jester alike Harlequin played the role of a narrator, the same way as in the written collections of farces and jokes.209 The monkey in the right lower corner recalls the other cheeky one on the “Open-air theatre performance with a monkey on the right”.

Since in 1726 Naiveu died in the respectable age of 79 and has been documented as buried in the Nieuwezijdskapel,210 this painting of “Open- air theatre performance with the jester sitting on the table” remains his last extant dated painting.

207 Moser 1992: 139 208 “Elck Sotken prijst zijn Marotken” 19,5 x 30 cm. Brussel, Koninklijke Bibliotheek Albert I, Print Room, in. nr. S. II. 27057 folio – Mooij 1992: 93, nr. 21 209 Popular characters in Dutch ‘kluchtboeken’ and in plays were jester Gonella, Klaas Nar or Clement Marot – the latter was an actual burlesque actor the same way as Frans de Geck (Amsterdam actor Frans Schuyling) and Jan Tamboer (another Amsterdam actor Jan Meerhuizen) – Dekker 1997: 46-47, 51 210 GAA, Ambtenboek 11, fol.11; GAA, Begraafboeken Nieuwezijdzkapel, 1071/43

55

4.2 In-door celebrations and amusements

Although in the previous part on depictions of out-door festivities we already saw the figure in Harlequin costume depicted in the central role, “Theatre performance in the candle-light”211 dated 1702 is actually the first of Naiveu’s paintings were this character stands out in focus. By the beginning of the 18th-century Harlequin had become one of popular figures in comedy theatre – the tradition emanating from no less than comic plays for the entertainment of the French king. This costume would immediately provide the comic allure and would set the wearer marked as unfair out of the society.212 Serious interest towards the Italian masked comedies in the Netherlands only started after 1682 when Parisian ,comédiens italiens’ started to play in French and made the repertoire accessible for the French-oriented Dutch public.213 This painting by Naiveu has been executed when Harlequin had entered the Dutch scene and would during the 18th-century become as popular a character as it had become in the French culture.

“Theatre performance in the candle-light” most probably shows an in-door entertainment part of the Carnival celebrations as the street revelries were often accompanied with various out-doors and in-doors performances. Both Jan Steen’s “Nocturnal Serenade”214 with costumed singers in the torch-light and the “Serenade”215 attributed to Frans van Mieris the Elder (which was possibly inspired by the former) seem to draw their subject from this festive tradition. Although Naiveu depicts his scene in an artificial light as well, the performance takes place in-doors and instead of a serenade this ‘home play’ seems thematically close to the popular subject of ‘the doctor’s visit’ already discussed previously in this thesis. The quack- doctor who is visiting a melancholic love-sick woman and prescribes fictitious cures that in various degrees of subtlety refer to physical pleasures of love was a well-liked comic subject.216 One of these ambiguous treatments involved the clyster-pipe that on

211 See cat. no. 34 212 Dekker 1997: comment on illustration 15 213 Erenstein 1981: 94 214 Oil on canvas, ca 1668-72, 40,5 x 31 cm. National Gallery Prague, inv. nr. O 253 215 Oil on wood, ca 1678-80, 14,6 x 11,1 cm. Metropolitan Museum of Art, New York, inv. nr. 60.71.3 216 Westermann 1997: 102

56 Naiveu’s painting is seen in the hands of a laughing Harlequin. The same object recurs in Steen’s “The Doctor’s visit”217, this time in a little boy’s hand who laughs together with the Doctor and two other figures in the room.

Another version of the same subject, although without the clyster-pipe218 has been presented on “A candle-light interior with a Harlequin presented to a lavishly dressed woman at her dressing table”219 that is convincingly attributed to Naiveu. Here we see the Harlequin in the pose already familiar from other paintings by Naiveu, although the pattern on the costume is unique again. On this painting the artificial light in the form of the torch is stronger than on the “Theatre performance in the candle-light” giving the artist the opportunity to represent more of the interior and costumes. We see elaborately decorated textiles on the floor and on the chairs, the latter ones similar to the ones depicted on two ‘doctor’s visit’s’ in the Wellcome collection - “A physician feeling the pulse of a seated woman” and “A physician and surgeon attending to a woman patient”.

The central attention has been drawn to the seated woman whose face and ornate costume glow in the light of the torch. An incentive here might have been numerous depictions of distinguished women and female mythological figures in candle- or torchlight by Godfried Schalken, fellow student of Dou’s who had made paintings with artificial light source his specialty. A “Lady in front of the mirror in candlelight”220 gives an example of Schalken’s revealing yet sophisticated style of depicting women favoured by aristocratic circles. Alike Schalken, Naiveu strove to show his skills in rendering the light-effects on different materials and therefore the frames of the mirror and paintings, metal pots on the mantelpiece as well as small decorations on clothes all shimmer and reflect the torchlight. In this dampened light also two paintings on the wall are visible that add to the insinuation of the scene. To the left above the lady we see the depiction of “Lot with his daughters” that seems to refer to the leading lady’s lack of suitors and above the Harlequin we see “The

217 ‘Here booteth no medicin, it is sweet paine’, ca 1663-67, oil on panel, 61 x 49,5 cm. Boymans van Beuningen Museum in Rottredam, inv. nr. vdV76 218 The most recent catalogue text (Sale Sotheby’s London, 12-12-2002, lot 39) did suggest the Harlequin carrying a clyster-pipe but with a closer look it is just a wooden imitation of a sword that is part of Harlequin’s costume. 219 See cat. no. 66 220 Oil on canvas, ca 1685-90, 76 x 64 cm. Royal Picture Gallery Mauritshuis, The Hague, inv. nr. 159

57 sleeping Endymion” that gives the impression of him being represented as an irresistible lover.

Another painting attributed to Naiveu - “The Doctor’s visit with Harlequin on the right”221 features a more familiar object than the clyster-pipe. Here the Doctor holds a urine vessel to the candlelight were we can detect a small foetus inside. This small detail does not appear often but is for example also visible on the painting by Schalken once more – “The Doctor’s examination”.222 Naiveu’s version gives the impression of a scene from a play again that has been enhanced by the curtains on both sides. The Harlequin who stands timidly in the right corner seems to be in the role of the culprit and is angrily grabbed by the figure most likely being the father of the pregnant woman in the middle. The quality of available reproductions does not unfortunately give the chance to see all the details of the interior and appreciate the light effects in colour. The same applies to two other , nachtstukken’ by Naiveu that represent ‘unequal couples’223 – another old formula that Naiveu revived and depicted in the artificial light to show his painterly skills and add drama to the scene.

The combination of artificial light and the figure of a Harlequin is once more visible in the signed, not dated painting “Nocturnal scene with a Harlequin surprising a merry company in a curtained interior”.224 This canvas shows the costumed jester with a read feathered hat on his head as if just leaping in from behind the curtains. At the back we can see someone giving a glimpse from the backroom to the segregated company in front. Whereas the couple on the left seems joyfully surprised, the man on the right stays unmoved and concentrates solely on his glass of drink. The latter’s pose reminds of the solder in “Lady offering a herring and an onion to a soldier”225, a rather poorly executed painting attributed to Naiveu. In comparison to “A candle-light interior with a Harlequin presented to a lavishly dressed woman at her dressing table” the interior depicted here is simple and unembellished and could be intended to represent a secluded corner in a tavern.

221 See cat. no. 68 222 Oil on panel, ca 1680-85, 35 x 28,5 cm. Royal Picture Gallery Mauritshuis, The Hague, inv. nr.161 223 See cat. no. 69 and cat no. 70 224 See cat. no 67 225 See cat. no. 84

58 Plays were seemingly staged at home also in the daylight as can be assumed from the signed but undated “Elegant company in an interior”.226 The man and a woman in the middle of the scene are wearing ‘Roman’ costumes that were meant for the actors in leading roles.227 A man entering from the right side is carrying what looks like a Harlequin’s costume on his arm. The situation could as well represent a rehearsal so that the man who enters is slightly late and still needs to put on his costume while the woman at the back of the leading actress is the seamstress bringing last adjustments to her costume. The man at the back in the far left corner of the room in this scenario would be the producer seen commenting the act in front. Besides the costumes Naiveu has of course paid attention to the detailed interior. Typical embellishments like gilded frames and fashionable fluted half-columns as well as colourful and ornamented carpeting are present. The back wall is further adorned with paintings. The middle one, on the mantelpiece depicts Venus and Amor while the two side ones represent the stories related to the mythological figure of Bellerophon. On the left we see Bellerophon riding Pegasus and defeating the terrible monster Chimera while on the right we see a preceding tale where Bellerophon was visited by Athena while he was asleep in the temple dedicated to this particular goddess. In this dream Athena gave Bellerophon the golden bridle to capture the untamed winged horse who would help him in his heroic deeds.

A painting by Naiveu from 1706 carries the name “Dance in a Barn”228 although after a closer look it can also be titled “Twelfth Night” (“Driekoningen”). As well as Shrovetide festivities also Twelfth Night celebrations included nocturnal feasts with special dishes and often also masked entertainers. It might be symbolic that the scene has been situated in a barn as this revelry was originally meant to commemorate the Epiphany when three eastern kings Caspar, Melchior and Balthasar came to revere the newborn Christ according to the legend in a small shed for animals. Here again like on the painting depicting “Saint Nicholas festivities” the main subject of the painting has been receded to the background whereas costumed dancers take up the centre fore. The character that engages the eye first is the one in colourful Harlequin costume, with his back towards the viewer and feet halt in frolicking movement quite

226 See cat. no. 72 227 Mai 2006: 220 228 See cat. no. 38

59 similar to the pose of the Harlequin in “Saint Nicholas festivities”. At this time in stead of rattling his tambourine, this merry comedian is raising a glass to support one of the main activities during this festivity. In the background of Naiveu’s painting we see the group of people engaged with this central element of the feast– it is the moment when the king, chosen by drawing lots or by finding a bean in the cake, drinks. The rest of the party would in accordance with the custom shout “the king drinks” and join in. Famous and numerous depictions of this event by and Jan Steen229 all show the king, albeit an adult or a child in the centre of attention. Here though he is shown sitting half-turned with his back towards the viewer, being recognisable only because of wearing a paper crown. Carousing group around the king has been cleverly separated from the dancers in the foreground and at the same time elicited as a result of strong light emanating from the fireplace in the middle of the composition. This inspired positioning of light gave Naiveu the chance to show his abilities in rendering reflections on different objects and figures once more as well as strong shadows that add to the dynamism of this painting. A dramatic axis of light and dancers’ movements draws the performers out with sharp contour. The dancing characters besides Harlequin could be the couple of lovers, mostly named Capitano and Isabella and at the table in the back we can also see a man dressed in black except of a broad white collar that might be the Doctor. Instead of the traditional Carnival and Twelfth Night instruments - ‘rommelpot’ and kitchenware, a violin and bass viol players together with a female singer support the vigorous act.

Another important feast has been depicted on the canvas dating from 1710, the same year when Naiveu executed also “Festivities on the street” and “Morning after festivities” that were already discussed in the previous part. In the “The wedding dance”230 the central role of dancing has been continued, here in the way that evokes peasant’s festivities that was a popular subject in the Netherlands since 16th-century. Numerous versions of wedding celebrations have been painted, among them by Brueghel, Ostade, Dusart, Vinckboons and Steen. In many of these works rather grotesque manners have been presented to take place during the wedding banquet, depictions that relate to the peasant satire that was popular among other social classes.

229 For thorough overview of customs of Twelfth Night and paintings on the subject see: Van Wagenberg-ter Hoeven 1997, Naiveu’s painting is mentioned on page 143 230 See cat. no. 43

60 Source of inspiration besides the farcical literature might have been the performances depicting ‘peasant weddings’ that were staged to entertain the urban community during public festivities.231 Naiveu’s version though shows an interior more plausible as urban home with the tiled floor and the back wall adorned with a large painting of yet unidentifiable subject. Also the bridal couple who is shown in the middle does not necessarily look belonging to peasantry even though their attire is not in the contemporary fashion of the elite. There is no rowdiness, no uncivilized behaviour visible as the table for the celebratory meal is only being prepared. Next to them on the right side we see an older couple in outdated clothes sitting and shaking each others hands that would indicate them being the successful matchmakers. To the left from the couple we see the source of ‘music’ – a woman seated in the left corner of the painting is clicking coal pincers while the man in the far left is beating the saltbox.

The last two paintings to be mentioned are a pair of signed works representing less dynamic past-time entertainment than dancing. “Card players”232 and “Gentlemanly discussion”233 have exactly the same size and have been on auction as pendants. The underlying compositional structure of these two works is the same, depicting a table in the middle with a group of people around it as customary to the ‘merry companies’. The former one though is situated in what looks like a barn or a cheap tavern, whereas the latter canvas shows a more sophisticated interior. On the “Card players” we can see some traditional attributes of the chambers of rhetoricians – a standard and a drum in the right corner of the painting. These might have been in use similarly to the scene depicted on “Festivities on the street” from 1710 as very often the rhetoricians were important part-takers of the calendar feasts and village fairs. Also the headgear of the character on the right that looks like bishop’s mitre might indicate towards festive disguise or a part in play. In the “Gentlemanly discussion” the scene seems to depict a discussion or a debate between men seated around the table. This could be one of rhetoricians’ ,tafelspelen’ - dramatized debates that were held at homes, generally involving two or three allegorical figures.234 This seems to be supported by the ‘Roman style’ curtains visible at the back of the room.

231 Vandenbroeck 1984: 91-92 232 See cat. no. 76 233 See cat. no. 77 234 Ramakers 2006: 141

61 5 Conclusion

This thesis opted to give a first overview of Matthijs Naiveu’s oeuvre with more detailed regard given to his late genre paintings that depict festivities and performances. In the first chapter an outline of his early genre paintings from Leiden- period as well as his portraiture was presented as these often show the beginnings of recurrent motifs that he integrates in his later works of Amsterdam-period. From this first chapter we can conclude that Naiveu’s characteristic ‘storyteller’ nature revealed itself from early on and that he had enough ambition to break with his fijnschilder training and start emulating the ‘old and traditional’ genre subjects by giving them his own, often amusing twist. After the second chapter that briefly summarized previous scholarly research in relation to the theatricality in genre painting, the third chapter introduced changes in Naiveu’s painterly style after his move to Amsterdam and considered his peculiarity against the mainstream classicist style of the late 17th century art in the Netherlands.

As Naiveu’s painterly style evolved to become more colourful and his compositions versatile in movement and characters, he seems after brief experimentation with the history painting to have found his particular ‘niche’ on the art market by depicting theatre performances and urban celebrations. Here he follows the trait of earlier depictions of fairs and markets by artists like Brueghel, Vinckboons, and most of all Steen, but he enchances these models with new characters and bold close-up’s. The influence of Italianate market-painters, the Bamboccianti, also seems plausible when looking at Naiveu’s compositional structure and the link to the characters from Italian carnival celebrations. These new characters are mostly wearing commedia dell’arte costumes that makes Naiveu one of the first in the Netherlands to specialise in portrayal of personifications from Italian comedies that became so popular during the 18th-century, most notably seen in the works of Cornelis Troost. Possible influence of Naiveu on the work of Troost might be one of the prospective subjects for further investigation. Also first findings on the owners of Naiveu’s theatrical paintings have been given in this thesis, but further study of archival documentation might reveal more on the aspects of the artist’s market situation in Amsterdam. The questions that were raised in relation to Naiveu’s artistic position - weather he was just painting for

62 pleasure, who were his main customers and whether they had any relations to theatre – will hopefully find answers during additional investigation as well.

The fourth chapter of this thesis has fully been dedicated to the group of Naiveu’s genre paintings that present celebrations and performances. This assembly contains most of Naiveu’s dated works from calendar festivities to ,doctor’s visits’ that have been divided according to the location either out-doors or in-doors. Whereas in the depictions of out-doors performances the artist’s attention is given to the comprehensive depiction of separate characters and their facial expressions and movements, in the in-doors scenes, especially on the more intimate nocturnal scenes we see stronger interest towards depicting the light-effects and intricate embellishments within the interiors. All of these paintings have been given a brief description and an indication of thematic sources and pictorial models. In this thesis only the first associations have been presented as a more thorough research into prints fell out of the scope due to the time limits. For the forthcoming research topographical prints, title prints from jest books and illustrations of popular plays as well as from instructive books to artists could become revealing.

To serve as a reference material for this thesis the preliminary catalogue of Naiveu’s paintings is presented in the following chapter. This catalogue compiles the artist’s work for the first time and will certainly function as a basis for further examination of Naiveu’s fascinating oeuvre.

63 6 Preliminary catalogue of paintings by Matthijs Naiveu

II. Signed and dated paintings in chronological order

1. 1668 Interior with a woman spinning

Oil on panel, 48,5 x 35,5 cm Signed indistinctly and dated upper right on ceiling beam

Provenance: Sale Sotheby’s London 6-4-1977, lot 98

Comments: In the background two pictures on the wall; one is a print. They seem to be portraits of men; old and bearded one on the right. Children’s chair in the left corner

2. 1669 Woman selling cherries

Oil on panel, 45 x 55 cm Signed and dated

Provenance: Collection Orsini Mansi in Lucca, Italy until 1969; Art dealer Gianfranco Mazzoleni in Milan 1969 (exhibited at 6th International Antique Dealers’Fair, Florence – Guide p. 652)

Bibliography: Jacobsen1864: 94

Comments: A small paper on the wall of the house above left bears a text stating that the house is for sale: ‘Dit huis is te koop (…)’

3. 1670 The holy family in the candle-light (The Adoration)

Oil on panel, 21 x 18 cm Signed and dated above right (on the wall behind the torch) ‘M. Naiveu 1670’

Provenance: Collection of Prof. Singer, London 1941; Art dealer Brian Koetser Gallery, Oct.-Dec. 1969 London (from a private collection);

64 Sale Edmund Peel, Madrid 12-7-1990, lot 13; Art dealer Heide Hübner Kunsthandel, Würzburg (advertisement at Burlington Magazine October 1991)

4. 1670 Self-portrait of the artist at a window holding a palette and brushes

Oil on panel, 28, 6 x 26, 4 cm Signed lower middle ‘M.Naiveu’ and dated ‘1670’ lower right

Provenance: Sale Amsterdam 1-10-1738; Art dealer Norton Galleries, New York until November 1962; Sale Estate of the Late Heinz Schneider, Sotheby’s New York 11-01-1996, lot 68: Art dealer Otto Naumann, New York, 1997

5. 1671 Children blowing bubbles

Oil on panel, (arched top) 28 x 25 cm Signed and dated

Provenance: Sale Cornelis Sebille Roos, Schley (Philippus) Amsterdam 3-7-1805, lot 34 bought by Alexandre d’Allard Museum Ferdinandeum (Tiroler Landesmuseum) Innsbruck, cat. 1928, nr. 627; 1963: “nicht mehr im museum” Sale O. Bondy, Kende Gallery New York 3-3- 1949, lot 64

Bibliography: Sluijter 1988: 72, fig. 63

65 6. 1672? A musical party - Kelvingrove Art Gallery and Museums, Glasgow, inv. no. 300

Oil on panel, (arched top) 51 x 38,5 cm Signed and dated sketchily

Provenance: Possibly – Sale Jackson Christie’s London 12- 12-1801, lot 49 (‘A Musical Conversation’) sold to Peter Delcour; Presented to the museum by D.Dreghorn 1856

Bibliography: Hofstede de Groot 1893a: 144, no. 445 Miles 1961, I : 92-93; II: 63 Wenley 2006 : 40-48

Comments: Signature copied by the restorer on the melinex sheet: “16:M Naiveu:72” is unique for Naiveu. Older woman was probably painted over for commercial reasons – to sell a painting without the brothel connotation. Couple in the background; an older man seems to give money to the younger woman.

7. 1673 Woman selling apples and the theatre performance in the background

Oil on panel, 22,5 x 27 cm Signed and dated lower right

Provenance: Collection of Isidor Ritter von Klarwill, Vienna before 1875; Collection of Henriette von Klarwill, Vienna 1898; Sale Klarwill, Lepke Berlin, 17-4-1928, lot 88 (‘Jahrmarkt im Dorfe’: vom links handelt ein knabe äpfel bei einer alten Verkäuferin ein, rechts Bude mit Kasperletheater, Affenführer u. dgl.m. (...) G.R. Signiert und datiert 1673)

Bibliography: Frimmel 1906: 6-8

Comments: Compare with the painting attributed to Naiveu by HdG (previously attr. to D. van Tol) - Sale William Matheson a.o., Christie’s London (anon. part) 9-3-1895, lot 94

66 8. 1674 Judah and Tamar

Oil on panel, 33,7 x 43,5 cm Signed and dated lower right: ‘M. Naiveu Fecit 1674’

Provenance: Sale Sotheby’s New York, 15-1- 1993, lot 266; Sale Sotheby’s New York 26-1-2007, lot 448

9. 1674 Portrait of Reverend (Dominie) Johannes Weeckstein - New York Historical Society, inv. no. 1950.6

Oil on canvas, 69,2 x 57,7 cm Signed and dated lower left: ‘M. Naiveu/ 1674’

Provenance: Collection of Cornelius H. van Gaasbeek, Jr. (whose first American ancestor was Dominie Laurentius Van Gaasbeek, brother-in-law of the subject) in 1894; Sale Beers Parke-Bernet , New York 1/2 - 5-1942, lot 307 (‘Dominie Johannes Weeckstein, born 1648 in Leiden, Holland appeared in 1681 before the Amsterdam Classis of the Dutch Reformed Church asking for an appointment to a church in America. He arrived in New Amsterdam October 17, 1681’); Collection of New York Historical Society (The Beekman Family Association Fund)

Bibliography: Craven 1974: 876-877, nr. 2233 Craven 1986: 93 – 94: ‘Weeckstein, a Latin teacher at Haarlem in Holland, immigrated in 1681 to become (Third) Minister of the Dutch Reformed Church at Kingston, New York. His portrait (…) was brought to the colony by the subject; (…)

67 10. 1675 Equestrian portrait

Oil on panel, 43 x 36 cm Signed and dated indistinctly ‘M:N**/1675’ lower right

Provenance: Sale Cremer 26-10-1886, lot 69 (HdG excerpts: ‘Ruiterportret van een kapitein, met een grijzen hoed, een geel costuum, op een bruinen bles, tegen een onrustigen achtergrong met boomen, een donkere lucht. Rechts een legerkamp enz. Voluit gemerkt, maar eigenlijk zijn alleen de beide eerste letters duidelijk leesbaar.’); Sale Van Pappelendam, 11-6-1889, lot 131; Art dealer Leger Gallery, London, exhib. June-July 1978 ; Sale The Churchwardens of the Parish a.o. (anon. part), Christie’s London 17-6-1988, lot 72; Sale Christie’s London, 20-7-1990, lot 162; Sale Visser Bonhams London 5-12-2007, lot 31 (signature with the date 1675, previously 1674)

Comments: The sitter’s holster cover is embroidered with initials ‘VOC’, the mark of the Dutch United East India Company.

11. 1675 The newborn baby (Kraamkamer) – Metropolitan Museum of Art, New York, inv. no. 71.160

Oil on canvas, 64,1 x 80 cm Signed and dated lower left ‘M: Naiveú F/ 1675’

Provenance: Collection of Léon Gauchez, Paris, with Alexis Febvre, until 1870 when sold to William T. Blodgett; Collection of William T. Blodgett, Paris 1870-71 (sold half share to Johnston); William T. Blodgett, Paris, and John Taylor Johnston, New York 1870–71; Sold to MMA in 1871

Bibliography: Sutton 1986: 188; Sluijter 1988: 72, fig. 64; Franits 2004: 233, fig. 215 Liedtke 2007: 501-504

68 12. 1675 Self-portrait with the beret

Oil on panel, 26 x 22 cm Signed and dated lower right ‘M.N. 1675’

Provenance: Sale of coll. Joh. Van der Marck from Leiden in Amsterdam 25-8-1773, lot 436; Sale from private coll. Michel in Mainz 1887, lot 134 (as Frans van Mieris); Sale Lepke, Berlin 27-2- 1917, lot 26

Bibliography: Kramm 1860, IV: 1195; Hofstede de Groot 1893b: 149-150; Frimmel 1906: 8-9

13. 1675 Vanitas with scholar

Oil on panel (?) Signed and dated on the book in the left and above right ‘M.Naiveu 1675’

Provenance: Art dealer John C. Nairn & Son in Dublin in 1926 (HdG excerpts: ”Grijsaard aan een tafel, waarop een groot gefrommeld rood kleed ligt, een doek, papieren, een doodshoofd met lauwerkrans een degen en een hemelsglobe. In zijn rechterhand houdt hij een boekje tot titel hebbende ‘Ijdelheit der wetenschappen door M.Naiveu 1675’ Hij heeft een bril op en houdt de linkerhandt voor de borst. Rechts boven een fraaie kalligrafische handteekening en opnieuw ‘t jaartal.” )

14. 1676 Man reading a letter to the sitting woman and a pipe-smoking man

Oil on panel, 27,7 x 21,5 cm Signed and dated

Provenance: Sale Chillingworth, Luzern, 5-9-1922, lot 32; Art dealer P. de Boer, Amsterdam 1963 (exhibited in May 1963, P. de Boer, no. 29)

69 15. 1676 Sitting woman restraining the dog (Interieur avec figures)

Oil on panel, 36 x 29 cm Signed and dated

Provenance: Sale Palais des Beaux-Arts, Brussels 16-3-1954

16. 1676 Saint Jerome kneeling (Heilige Hieronymus) – Rijksmuseum, inv. no. A 286

Oil on panel, 37 x 29,5 cm Signed and dated lower left: , M. Naiveu Fecit Ao 1676’

Provenance: Acquisition by Rijksmuseum 1808

Bibliography: Moes 1909: 214; Van Thiel 1976: 408

17. 1677 Portrait of a man in a rich interior

Oil on panel, 64,5 x 49,5 cm Signed and dated on the painting in the back wall: ‘M. Naiveú 1677’

Provenance: Collection of Sawbridge-Erle-Drex; Sale London Christie’s 10-5-1935, lot 114 (as ); Collection C.M.A. Butler; Sale London Christie’s 26-6-1964, lot 53; Sale London Christie’s 11-7-1980, lot 12; Art dealer S. Nijstad, The Hague; Private collection in The Hague 2007

Bibliography: Sluijter1988: 187-188, no. 57

70 18. 1677 Chairman and the Heads of the Peat Porters Guild (De hoofdlieden van het Turfdragersgilde) – De Lakenhal, inv. no. 341

Oil on canvas, 200 x 340 cm Signed on the paper on the table: ‘M. Naiveu’ & signed and dated lower left; ‘M. Naiveu F: Ao 1677’

Provenance: Peat Porters Guild until 1870 when it was bestowed to the City of Leiden; 1872 in the Municipal Museum De Lakenhal

Bibliography: Wurfbain 1983: 237

Comments: The men on the painting are members of three successive years of Guilds heads: Pieter Arents (first Dean in 1675 – Guild was established 1st of December that year), David Fredericksz. (Dean in 1676), Louris Willemsz, Steven de Horge (Dean in 1677), Elias Vlees, Jacob de Gardijn and Elias Honsbeeq. The 8th man on the picture is the only one identifiable with full certainty – the servant of the Guild, Isaack Graafschap.

19. 1677 Family portrait (Een familieportret met in de achtergrond een landschap)

Oil on canvas, 139 x 129 cm Signed and dated lower left

Provenance: Possible - Sale B.A.C. de Lange v. Wijngaarden 22-4-1846 Rotterdam, lot 183 (HdG excerpts: ‘Een kapitaal Familiestuk, in gesneden lijst’); Collection of Lady Dr. Barendia Christina Vogeley, née Hollerman until 1890; On loan to Kunsthalle Hamburg from 1890; Sale A. Prouvost, Brussel 20-6- 1928, lot 76; Sale Wolterbeek Muller a.o. Amsterdam, Mak an Waay, lot 288; Art dealer T. Hermsen, The Hague 1936; Sale Amsterdam Sotheby’s 2-6-1986, lot 87; Sale Amsterdam Sotheby’s 1-6-1987, lot 16; Sale Amsterdam Sotheby’s 22-5-1989, lot 77

71 20. 1677 Portrait of a lady with a lapdog – Hessisches Landesmuseum, Darmstadt

Oil on panel, 44,5 x 35 cm Signed and dated lower right on the bench ‘M. Naiveu Fecit 1677’

Provenance: Sale Helbing, München (Bremer private collections) 17-3-1910, lot 120; Sale C.M.C. Obreen a.o. Grimaldi Amsterdam 4-12-1912, lot 237; Collection of M.E.Os, The Hague (HdG expertise in April, 1929); Art dealer M. Porkay, München, 1960; Darmstadt Landesmuseum, 1961

Comments: Possible pair: attributed to Naiveu ‘Portrait of a man in a garden’ – see cat. no. 105

21. 1677 Merry company with songbooks - Brou-en-Bresse, Musée de Brou, inv. no. 853.3

Oil on canvas, 72 x 57 cm Signed and dated ‘M.Naiveu 1677’ lower right underneath the harpsichord

Provenance: Possibly – Sale Hardenberg Utrecht 21-9- 1802, lot 70 (, M.Naiveu. een Heer en Dame met elkander spreekende, terwijl een Dame op een Orgel speeld, en een Heer zijn Viool stelt. Uitvoerig op doek, hoog 23, breed 28 duimen’) sold to Verhoude; Bequest of A. Lorin 1853 to Musée de Brou

Bibliography: Nivière 1990: 83 Foucart 1992: 218-219, no. 91

72 22. 1678 Portrait of a lady with a lapdog (Portrait d’une jeune femme tenant un petit chien) – Louvre, Paris, inv. no. RF 1990-28

Oil on panel, 20,4 x 17,8 cm Signed and dated lower left : ‘M. Naiveu Fecit 1678’

Provenance: Art dealers Johnny Van Haeften, London 1989 (on show at TEFAF Maastricht 1989); Art dealers J.O. Leegenhoek, Paris 1989; donated to Louvre in 1990

23. 1679 Merry company playing cards

Oil on canvas, 80 x 101 cm Signed and dated lower right ‘M. Naiveu 1679’

Provenance: Possibly- Sale Amsterdam 26-7- 1775, lot 230; Sale Jacques Balthazar van den Branden, Brussels 13-4-1801, lot 10 (‘Un tableau représentant un salon où quelques seigneurs et dames jouent aux cartes, sur toile’) sold to Guillaume Joseph Verbelen; Sale Phillips London 24-5-1810, lot 95; Sale Countess van Southesk (anon. part) Christie’s London 19-6-1942, lot 30; Sale Sir Chester Beatty, Sotheby’s London 19-6-1968, lot 36; Collection Basil Appleby, London, 1989

73 24. 1683 Portrait of Hendrick Staets – Amsterdam Historical Museum, inv. no. SA41038

Oil on canvas, 39,4 x 32,4 cm Signed and dated above middle on the sidewall of a house: ‘M. Naiveu Anno 1683’ Restored in 1995

Provenance: Sale Christie’s New York, 19-5-1993, lot 10; Sale Christie’s New York, 12-1-1994, lot 136 (as dated 1663); bought by Amsterdam Historical Museum

Bibliography: Jonker 2002 Middelkoop 2002: 41, illustr. 48

25. 1687 The letter

Oil on canvas, 60 x 51 cm Signed and dated lower right ‘M. Naiveu Pinxit’

Provenance: Possibly - Collection of Anna Agges, Amsterdam 21-5-1714 (home inventory): Schilderij – Een juffvrouw die een brief werd gebragt’ Sale Andriel, Paris 21-9-1814, lot 36: ‘Naiveu. Intérieur dún riche appartement. On y oit une jeune dame dans le plus riche costume, refusant avec indifférence une lettre que lui apporte un messager: on distingue encore derrière elle un nègre debout; et sur la gauche, à l’entree d’un vestibule, deux personnages qui paraissent attendre l’issue du message. (...)’ Art dealer Kunstgalerie Thomas Metlewicz, Vienna 1974 (exhib. at Wiener Antiquitätenmesse, May 1974, stand 17 – see: Weltkunst nr.9, 1. May 1974,p. 717)

74 26. 1688 Allegory of Peace and Prosperity (Allegorische voorstelling van Vrede en Voorspoed) – De Lakenhal, inv. no. 342

Oil on canvas, 112,5 x 151 cm Signed and dated below right: ‘Matthijs Naiveu Fecit Ao 1688’

Provenance: HdG excerpts: “Ik heb een aantekening, naar het my voorkomt van de hand van A.D. de Vries, van een schildery dat als volgt beschreven wordt: In het midden ligt een jood geknield, die uit handen van een godin, de Vrede?, een olyftak ontvangt. Links van den jood knielt een vrouw by een knaap, rechts Hercules een gedrocht verbryzelende, en een vrouw (gelyk op de prent van Blooteling naar Lairesse) die den temple van Janus sluit. Op de wolken troont links Mercurius en op den voorgrond links de Tweedracht en een Amor. Voluit gemerkt en 1688 gedateerd.” Sale Coll. Prof. W.A. Freund Amsterdam 20-2-1906, lot 110 (‘Les bienfaits de la paix’ as signed 1683); bought by De Lakenhal in 1907

Bibliography: Wurfbain 1983: 237

27. 1690 Man in a Courtyard Smoking a Pipe

Oil on canvas, 45,7 x 39,4 cm Signed and dated lower in the middle ‘M.Naiveu Fecit 1690’

Provenance: Sale Viscount Chandos, Sotheby’s London a.o., 24-11- 1971, lot 118; Sale Sotheby’s New York, 24-4-1995, lot 75

28. 1692 Man Reading in a Courtyard

Oil on panel, 33 x 25,5 cm Signed and dated lower right ‘M. Naiveu…1692’

Provenance: Sale Vosmaer, Roos Amsterdam, 26-3-1901, lot. 75; Sale Sotheby Parke Bernet, London 12-7-1978, lot 17

75 29. 1691 Theatre performance in Italian setting (Italienische Volkszene auf der Piazza Navona in Rom)

Oil on canvas, 49,5 x 41 cm Signed and dated lower left ‘M. Naiveu F 1691’

Provenance: Sale M.M. Snouck van Loosen, Enkhuizen 29-4- 1886, lot 46, to Fr. Muller en C.P. van Pappelendam; Sale Dr. Frank a.o. Hugo Helbing Frankfurt am Main, 11/13-5-1936, lot 163; Art dealer Gallery Stern, Düsseldorf, 1937; Frye & Sohn art dealers, Münster, 1997 together with a pendant (see: Weltkunst, 1-4-1997, p. 673); Sale Carola van Ham, Cologne 17-11-2006, lot 1027, withdrawn

Bibliography: Ekkart, R. 1998

Comments: Seen as a pendant of cat. no. 32

30. 1696 Amsterdam street scenery with the quack (Amsterdams stadstafereel met kwakzalver) – Amsterdam Historical Museum, inv. no. SA 22991

Oil on canvas, 57 x 49 cm Signed and dated left below on the sack: ‘Ao1696 M: Naiveu. Fecit’ Relined before 1964; restored last in 2002

Provenance: Sale Abr. Van Twist a.o. Amsterdam 11-9-1822, lot 72 (cat. nr. 296); Sale William, 7th Earl of Darthmouth a.o. (anon. part) Sotheby’s London 8- 7-1964, lot 153; bought by Amsterdam Historical Museum

Bibliography: Blankert 1975/1979: 217

76 31. 1696 Amsterdam street scenery with the bear-tamer ( Amsterdams straattafereel met berenleider) – Amsterdam Historical Museum, inv. no. SA 22992 (a pair with the previous one)

Oil on canvas, 57 x 49 cm Signed and dated left below ‘M: Naiveu. Fecit/ Ao1696’ Relined before 1964; restored last in 2005

Provenance: Sale Rietmulder The Hague 18-9-1781, lot 35: “Een stadskermis met zeer veel gewoel, en waarop een Quackzalver op zijn theater en een Beere-dans door M. Naiveu; op Doek, h. 21 ½ br. 18 ½”; Sale Abr. Van Twist a.o. Amsterdam 11-9- 1822, lot 71; Sale Sotheby’s London 8-7- 1964, lot 152; bought by AHM together with the previous one

Bibliography: Blankert 1975/1979: 217-218

Comments: This painting was auctioned together with another painting by Naiveu with the description: “No. 36 Een dito weerga, met een Quakzalver op een Kameel, zijnde in alles niet minder dan het vorige, door denzelven. Op doek, hoog en breed als vooren.” – chk. “Carnival scene in a Dutch riverside town,...” – see: cat. no.

77 32. 1698 Market scenery with the Quirinale in the background (Italienische marktszene vor dem Palazzo Quirinale in Rom)

Oil on canvas, 49 x 41 cm Signed and dated lower right: ‘M. Naiveu F. 1698’

Provenance: Sale Snouck van Loosen, Enkhuizen 29-4- 1886, lot 47, f. 85.- to Fr. Muller en C.P. van Pappelendam; Sale Carola van Ham, Cologne 17-11-2006, lot 1028, withdrawn

Bibliography: Ekkart, R. 1998

Comments: Seen as a pendant to cat. no. 29

33. 1699 Carnival scene

Oil on canvas, 67 x 56 cm (66,5 x 55,5 cm?) Signed and dated ‘M.Naiveu 1699’

Provenance: Possible - Collection of Johanna Timmers as “Brabant procession” (“brabantse ommegang”) as listed in property inventory from 29-8- 1718 in Amsterdam ; Sale Lambert ten Kate, Amsterdam 29-5-1776, lot 93 (HdG excerpts ´Op Doek. H. 25 B. 21 Een gezicht binnen een Stad, alwaar langs de straat in triomph omgevoerd word, het koks gilde, zynde ryk van Ordonnantie met een menigte beelden. Sluis. F. 24,10 ´) ; Sale Collection Hoogendijk, Amsterdam; Sale F. Müller Amsterdam 28-4-1908, lot 95 (‘Carnaval: un foule accoutrée des plus étranges costumes se presse devant un grand édifice duquel vient de sortir le roi de la fête et ses dignitaires. Dans le fond un château, obélisque, couples etc.’); Sale Lempertz Cologne 20/22-11-1986, lot 117

78 34. 1702 Theatre-performance in the candle-light (The Doctor’s Visit)

Oil on canvas, 33 x 39,5 cm Signed and dated lower right ‘Mas Naiveu.l. 1702’

Provenance: Possibly - Sale Simon Styl (Stijl) Baur Harlingen 29-10-1804, lot 69 (‘Nepveu, M. Dit bevallig Schildery vertoont eene jonge Juffer, die door een Doctor schynt adergelaaten te worden, welke haar naar een comicquen Apothecar wyst, die met een Clisteer komt aanloopen, waar over zy schynt te glimlachgen; dit alles wordt door een Kaars, welke door een Knegt, die oor Juffer op de knie ligt, gehouden worst, verlicht. Alles is uitmuntend, delicaat en uitvoerig, en het licht der Kaars zeer natuurlyk behandeld, in de manier van Schalken. Op doek, hoog 13, breed 15 ½ duim.’) Sale Paignon Dijonal, Morel Vindé, Paillet, C.P.: Bonnefonds Paris 17-12-1821, lot 61 (HdG excerpts “Mathieu Naiveux. Un personage vêtu d’un habit de carnaval s’est introduit dans l’appartement d’une dame et l’invite à venir au bal. Cette scène est éclairéepar la lumière d’un flambeau que tient un jeune garcon. (…) Celui-ci vient du cabinet du maréchal de Noailles. Larg. 23, haut. 20 pouc., sur toile”); Anon. sale Christie’s Amsterdam, 2-12-1987, lot 262 (‘Carnaval revellers in a lady’s bedroom at night’); Gallery Raffael Valls, London; Private coll. in Rheinland; Anon. sale Lempertz, Cologne, 21-5-1992, lot 102; Sale Meerbusch-Büderich, Meerbuscher Auktionshaus 10-10-1992, lot 2245; Sale Tajan, Paris, 12-6-1995, lot 115; Sale Christie’s, Amsterdam 7-11-2001, lot 85 (repro p. 73, not sold), Paris, Tajan (S.V.V.) 13-12-2005, lot 26 (repro p. 34, not sold); Sale Sotheby’s New York 27-1-2007, lot 581

35. 1703 Saint Nicholas festivities (Sint-Nicolaasfeest)

Oil on canvas, 65 x 55,5 cm Signed and dated

Provenance: Private collection in Switzerland; Art dealer P. De Boer, Amsterdam 1990; Art dealer Rob Smeets, Milano

Bibliography: Boer 1997: 53 (as dated 1721)

79 36. 1704 ‘Foot-doctor’

Oil on panel, 53,3 x 61 cm Signed and dated ‘Naiveu 1704’

Provenance: Sale Lieutenant Colonel E.H. D. Stracey, Christie’s London 25-6-1948, lot 18 (as Jan Victors) ; Art dealer Nijstad, The Hague, 1949; Art dealer De Boer Amsterdam, 2007 (on show at TEFAF) ; Private collection in United States

37. 1705 Seven Acts of Mercy

Oil on panel, 73 x 99 cm Signed and dated: ‘Ms. Naiveu Fecit 1705’

Provenance: Sale Sotheby’s London 9/10-04-1986, lot 73

Bibliography: Houbraken 1718 (1953): 180

38. 1706 Dance in a barn (Driekoningen/ Der Bohnenkönig) - Schloss Wahn, Cologne, Theaterwissenschaftliche Sammlung/ Institut der Universität Köln, inv. no. 98/343

Oil on canvas, 55 x 64,5 cm Signed below right and dated: ‘M. Naiveu 1706’

Provenance: Possible- Sale Jacob van Hoek, Amsterdam, 12-4-1719, lot 71 (HdG excerpts: “Een Vasten-avond Plaisant, van Neveu. 50.0”); Sale J.v.d. Velden, Amsterdam, 3-12-1781, lot 49 (second part): “Naivut (M.) Een Vastenavond Vreugd: op Doek, h. 25 ½ b. 20 d. Dit is eene zeer ryke Ordinantie, welke zoo geestig als aartig en bevallig geordineerd is, en niet min fraai geschilderd. P. Ijver f. 23.10; Sale in Leiden 30-4-1791, lot 96: “Een Vasten Avonds vrolijk Gezelschap, met een menigte Dansende en Speelende Persoonen, op doek, door M. Naiveu.; Sale J.W.Wessel, Amsterdam, 28-9-1791, lot. 96: “Een Vasten-Avond Feest, met eenige Masqueraaden op Doek geschildert door Naiveu. Van der Veen, f. 5.5”; Sale Barbier, Paris 28/29-1-

80 1822, lot 55: “Danse d’Arlequinade au flambeau. Tableau fin, comme Gérard Dow.”; Sale Arthur Kay, 11-5-1901, lot 90: “M.Naiveu. an Interior, with figures feasting and dancing, 21 by 24 ½ in. Signed.” Sale G. Ahlemeyer, Lempertz Cologne 22-3-1909, lot 161; Sale Rudolph Lepke Berlin 22/23-4-1938, lot 275 (at the back of the painting “bes. Niessen, gek. Schleif Berlin ‘39”; Private collection in Switzerland, 1956; Schloss Wahn, Cologne/ Theaterwissenschaftliche Sammlung/ Institut der Universität Köln 1995

Bibliography: Van Wagenberg-ter Hoeven 1997: 143

39. 1708 Theatre performance in a village (Toneelvoorstelling in een dorp) – De Lakenhal, inv. no. 343

Oil on canvas, 54,5 x 73 cm Signed and dated on the right side on the wall (partly visible): ‘Matth…Nai…A 1708’

Provenance: Collection M.M. Snouck van Loosen, Enkhuizen; Sale Enkhuizen, 29-4-1886, lot 49 to Koenen; Sale Amsterdam, G. Theod. Bom en Zoon, 7-4-1908, lot 1014; bought by De Lakenhal Museum

Bibliography: Wurfbain 1983: 238

Comments: Pendant of this painting from the Snouck van Loosen collection is on continuous loan from the Rijksmuseum to the Theatermuseum in Amsterdam - see cat. no. 59

40. 1709 Odysseus and Circe

Oil on canvas, 72 x 89 cm Signed and dated

Provenance: Sale Johann Jacob Hermann Wild, Nürnberg 1793: “Nevau. Die Zauberin Circe, mit vielen Figuren, wie sie dem Ulysses seine Leute, in wilde Thiere verwandelt, (…) 3 Schuh hoch, 3 schuh 7 Zoll breit “ Collection of Mr. Gip, ca 1970; Mrs. Cecilia Gip; Sale Göteborg’s Auktionsverk , Göteborg 24-3-1976, lot 330; Sale Göteborg’s Auktionsverk , Göteborg 27-5-2004; Private coll. in Australia, Perth, Peppermint Grove 2005 (restored by E. Mosenbacher, Den Haag 2004)

81 41. 1709 The Cloth shop – Leiden, Stedelijk Museum De Lakenhal, inv. no. 567

Oil on canvas, 53 x 62 cm Signed and dated below in the middle: ‘Ms Naiveu 1709’

Provenance: Possible-Sale J.H. Troost van Groenendoelen 29-8-1774 Amsterdam, lot 81: (HdG excerpts: “Een Zijde Fabriquers winkel, alwaar een Dame een stuk stof beziet, ter zijde de winkelier, en voor de toonbank een zittende Boer, die een arme jongen een aalmoes geeft, verders bijwerk van verscheiden Winkel goederen, alles ongemeen delicaat en uitvoerig behandelt, en Zonagtig geschildert, op Doek, door J. Naiveu. Hoog 21, breed 25 duim. F. 16 ¼.-“; Collection of Dr W.A. Luz, Berlin-Zehlendorf; bought by De Lakenhal in 1933

Bibliography: Bins 1973: 214; Sutton 1984: 268, no. 81, plate 127; Sluijter 1988: 191, no. 59

42. 1710 Holy family in an embrasure with fruit and flowers

Oil on panel, (arched top) 33 x 24,1 cm Signed and dated right on the plinth

Provenance: Sale Countess A.Apponyi a.o, (anon. part) Christie’s London 15-7-1977, lot 104 (plate 38)

43. 1710 The Wedding Dance

Oil on canvas, 54,5 x 62 cm Signed and dated on one of the ceiling beams

Provenance: Possible - Sale P. Van Romondt Amsterdam 11-5-1835, lot 313: (HdG excerpts: “Een Binnenhuis, in hetwelke een gezelschap een bruiloftsfeest schijnt te Vieren, door J. Naiveu, h. 5 p. 4 d., br. 6 p. 2 d. Doek; de Boer f. 100.-“); Sale H.J. Degens an Kervendonk Berlin 11- 4-1893, lot 55; Sale Estate Dorothea E.

82 Kaiser a.o. (anon. part) Sotheby’s-Parke-Bernet, New York 14-3—1980, lot 8; Art dealer Rafael Valls, London (advertisement in Apollo, July 1980, p.72); Art dealer Dr. Arndt, Bamberg 1982 (advertisement in Weltkunst, 15.Aug. 1982,p. 2133)

44. 1710 Festivities on the street (Feestelijkheden op straat)

On canvas, 45,5 x 42,5 cm (49 x 44 cm?) Signed and dated middle left ‘Naiveu F. 1710’

Provenance: Collection of R.W. Munro, 1908; Art dealer Leger Galleries, London, 1971; Sale Lady Balfour a.o. London Christie’s 27-6-1975, nr. 82; private collection, Tilburg, The Netherlands 1987; Private coll. in Belgium 2007

Bibliography: Sluijter 1988: 193-195, no. 60

45. 1710 Morning after the festivities - a pair with the previous one

Oil on canvas, 45,5 x 42,5 cm (49 x 44 cm?)

Signed and dated in the middle on top ‘Naiveu F. 1710’

Provenance: Collection of R.W. Munro, 1908; Art dealer Leger Galleries, London, 1971; Sale Lady Balfour a.o. London 27-6-1975, lot 82; Private coll. in Belgium 2007

Bibliography: Sluijter 1988: 193-195, no. 61

83 46. 1711 Theatre-performance in the open air with the goat-cart on the left - Schloss Wahn/ Theaterwissenschaftilche Sammlung Universität Köln, inv. nr. 41161

Oil on canvas, 55 x 65 cm Signed and dated middle right ‘Naiveu Fecit’ on the letter on the table (under the box)

Provenance: Sale Hahn Frankfurt 5-6/12-1934; Sale Hahn Frankfurt 20-2-1935; Schloss Wahn/ Theaterwissenschaftilche Sammlung Universität Köln (Sammlung Niessen – no inventarisation notes on acquisition)

47. 1711 Portrait of a Man at Korenbeurs by the Oude Brug on Damrak (self- portrait?)

Oil on metal, (oval) 18 x 15,5 cm Signed left: ‘Naiveu 1711’

Provenance: Art dealer W.Wheeler & Son, London 1957

48. 1715 Young woman with the parrot at the window (Jonge vrouw met papegaai) – Instituut Collectie Nederland, inv. no. NK 1893

Oil on canvas, 40,5 x 32,5 cm Signed and dated lower left: ‘(..) Naiveu 1715’

Provenance: Collection D.A. Hoogendijk, Amsterdam; Collection Hoffmann, München; Stichting Nederlands Kunstbezit,The Hague, inv. nr. 1441; Rijksdienst Beeldende Kunst, The Hague; Instituut Collectie Nederland, Amsterdam; Residence of the Governor of the Dutch Antilles Willemstad, Curacao 1992

Bibliography: Sluijter 1988: 73, fig. 65 Van der Pols-Harris 1992: 219

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49. 1715 “Charles II and La Grande Demoiselle” (Ein Maler huldigt seinem Modell/ Allegorie op grootmoedigheid)

Oil on panel, 56,5 x 69,5 cm Signed and dated on wall left: ‘Naiveu Fec. 1715’

Provenance: Sale J.A. Edgell a.o. (anon.part) Christie’s London 20-11-1933, lot 75; Phillips London 11-12-1990, lot 232 (‘An artist presenting himself to his sitter in a reception room of her palace; marked as signed indistinctly); Sale 19- 4-1991, lot 83 (signed indistinctly); Dorotheum, Vienna 9-3-1993, lot 101 (as signed ‘M.Naiveu’)

50. 1721 Open-air theatre performance with the jester sitting on the table (Potsenmakers in een toneelopvoering in de open lucht)

Oil on panel, 39,5 x 48 cm Signed and dated on the letter unfolded on the right side of the table: ‘M. Naiveu F. MDCCXXI’

Provenance: Possibly- Sale Stewart, Christie’s London 16-3-1819, lot 27 (‘M. Naiveu, 1721 – A Masquerade scene, and the companion, highly finished’) sold to John Lewis Ruttley; Art dealers Sanct Lucas, Vienna 1957; Sale Metropolitan Museum of Art, New York a.o. (A Private Collector, Palm Beach) Sotheby’s New York, 7-11-1985, lot 150; Sale Paul H. Ganz a.o. (anon. part), Christie’s New York, 3-6-1987, lot 92 ; Sale Köller Zürich 16-3-2005, lot 3054 (repro p. 53)

85

II. Undated paintings in thematic order

II a. History/Religious painting

51. Antonius and Cleopatra with numerous attendants in the banqueting hall of a palace

Oil on panel, 48 x 62 cm Signed centre below

Provenance: Sale Vernon Roberts a.o. (The Dauntesey Heirlooms) Puttick and Simpson London 26-10-1928, lot 162; Sale W.J. Abraham a.o. (anon. part), Christie’s London 24-7-1933, lot 30; Sale Keiller (anon. part) Robinson & Fischer, London 8-6-1939, lot 140

52. Antiochus and Stratonice

Oil on panel, 56 x 69 cm Signed bottom centre

Provenance: Sale Christie’s London 16-12-1977, lot 3; Sale H.D.I.Carr-Ellison a.o. (anon.part) Christie’s London 26-10-1984, lot 58

53. Couple seated in a garden

Oil on panel, 42 x 51 cm Signed

Provenance: Sale Hereford Cathedral a.o. (anon. part) Sotheby’s London, 8-11-1978, lot 38

Comments: Similar with ‘Judah and Tamar’, signed and dated 1674

86

54. Susanna and the Elders

Oil on panel, 36 x 29 cm Signed with initials

Provenance: Possibly - Sale The Hague 29-4-1769, lot 21 (HdG excerpts: ‘Susanna met de boeven, door Naiveu”) Sale A. Mak Dordrecht 16/22-6-1992

Comments: There is possibly another version by Naiveu - Sale Leiden, 17-8-1778, lot 26 “Susanna Zittende by een Fonteyn, met een Hondje en klederen nevens haar in een Lantschap, de twee Oude in’t verschiet, door M. Naiveu, op Panneel, hoog12, breet 10 duym. Heenck. F. 10-10-

55. Adoration of the Shepherds

Size omitted in the auction catalogue Signed

Provenance: Sale Van Marle & Bignell The Hague 26- 7-1943, lot 43

56. Angels bringing gifts to Christ-child

Size omitted in the auction catalogue Signed

Provenance: Sale Van Marle & Bignell The Hague 26- 7-1943, lot 44

87 57. Couple in Costumes (Paris en Hélène dans un paysage Hollandais)

Oil on panel, 33 x 39,5 cm Signed lower centre

Provenance: Sale Neuilly St. James 11-11-1990, lot 5

58. Abraham and Sarah being spied upon by King Abimelech

Oil on panel, 39 x 32 cm

Provenance: Sale Wedewer, Berlin 2-12-1913 (as E.v. d. Neer)

Comments: Bears Eglon van der Neer signature

88

II b. Genre painting

59. Open-air theatre performance (Toneelvoorstelling in de open lucht) – Theater Instituut Nederland (on continuous loan from Rijksmuseum) inv. no. 077.000

Oil on canvas, 53 x 70 cm Restored in 2002, relined

Provenance: Sale of coll. M.M. Snouck van Loosen, Enkhuizen 29-4-1886, lot 48; Rijksmuseum Amsterdam since 1959; Theater Instituut Nederland (on continuous loan from Rijksmuseum)

Bibliography: Ekkart 1998

Comments: Was sold as pendant of cat. no. 39

60. Carnival scene in a Dutch riverside town, with actors performing, an elegant couple promenading and a young child in a cart being pulled by a dog

Oil on canvas, 55 x 66 cm Signed lower left: ‘M. Naiveu/ Fecit’

Provenance: Collection of Scudamore Griffiths (1868-1968), Bedfont House, Chipping Campden, Gloucestershire, by whom bought after the First World War; Thence by descent; Sale Sotheby’s London 9-12-2004, lot 139 (repro p. 53)

Comments: Sold at the same auction with cat. no. 67 Possible pair with cat. no. 45

89 61. Open-air theatre performance with dancing. (Scène de théatre en plein air) – Musées d’Art et d’Histoire Geneva, inv. no. 1914-0111

Oil on canvas, 51 x 42 cm (68 x 59 with frame) Signed lower left with monogramme: ‘M N’

Provenance: Sale Muriset-Gicot, Geneva, May 1910 Collection of Julia Bertrand, Geneva (with pair as attr. to Claude Gillot); bequest of J. Bertrand to Musées d’Art et d’Histoire, Genève in 1914

Bibliography: Gielly 1928: 64; Hautecoeur 1948: 55

Comments: Inscribed at the back of the frame : “no. 8 M. Simon V”

62. Open-air theatre performance with a monkey on the right (Scène de théatre en plein air. Le menuet) – Musées d’Art et d’Histoire, Geneva, inv. no. 1914-0112

Oil on canvas, 51 x 42 cm (68 x 59 with frame) Signed indistinctly middle left ‘Naiveu’

Provenance: Sale Muriset-Gicot, Geneva, May 1910 Collection of Julia Bertrand, Geneva (with pair as attr. to Claude Gillot); bequest of J. Bertrand to Musées d’Art et d’Histoire, Genève in 1914

Bibliography: Gielly 1928: 64; Hautecoeur 1948: 55

Comments: Inscribed at the back of the frame : “no. 8 M. Simon V”

90

63. Actors playing in the open air (with a dancing couple)

Oil on canvas, 48 x 37,5 cm Signed lower left on platform ‘M. Naiveu Fecit’

Provenance: Sale Brockman (anon. part) Christie’s London 31-7-1931; Collection of R. Cecil, London

64. Actors playing in the open air (with a kneeling actor) - a pair with the previous one

Oil on canvas, 48 x 37,5 cm Signed lower right ‘Matthys Naiveu Fecit’

Provenance: Sale Brockman (anon. part) Christie’s London 31-7-1931; Collection of R. Cecil, London

91 65. Dance company

Oil on panel, 48 x 40 cm (attr. by Dr. Theodor Frimmel, Vienna)

Provenance: Sale Slatner Prague 7/9-6-1926, lot 65 (“Zwei vornehme Paare beim Menuett-Tanz. In Hintergrund vor einem palastartigen Gebäude zahlreiche Zuschauer.”)

66. A candle-lit interior with a Harlequin presented to a lavishly dressed woman at her dressing table

Oil on canvas, 32,8 x 39,4 cm

Provenance: Collection of M. Wolff, Amsterdam, (as possibly by Cornelis Troost); Coll. of Max van Gelder, Brussels; Arnold Seligmann, Ray & Co, by whom sold Sale Parke Bernet, New York 23-1- 1947, lot 255 (as by Willem van Mieris); Collection Bensimon, Paris, 1980 (as Willem van Mieris); Sotheby’s London 12-12-2002, lot 39 (repro p. 69; not sold)

Comments: Almost identical size with two other nocturnal paintings – see: cat. no. 34 and cat. no. 67

67. Nocturnal scene with a Harlequin surprising a merry company in a curtained interior (Harlequinade)

Oil on canvas, 33 x 39,5 cm Signed indistinctly lower left ‘M. Nai…/…’ ( formerly attributed to Egbert van Heemskerck)

Provenance: Scudamore Griffiths 1968, Bedfont House, Chipping Campden, Gloucestershire, by whom bought shortly after the First World War; Thence by descent; Sotheby’s London

92 9-12-2004, lot 121( repro p. 32)

Comments: Was sold at the same sale with cat. no. 60

68. The Doctor’s visit with Harlequin on the right

Oil on canvas, 52 x 61 cm

Provenance: Sale Sotheby’s London 7-7-1982, lot 214; Sale Sotheby’s London 29/10 – 5/11 – 1986, lot 170 (as Jan Joseph Horemans II “The Loss of Innocence”)

69. Interior with a young couple and an old woman

Oil on canvas, 32,5 x 39,5 cm

Provenance: Sale Olga, Princesse Paul de Yougoslavie a.o. , the Property of Julian Inglis Jones, Esq.; Sale Sotheby’s London 12-12-1979, lot 59 (together with a pendant – see next)

70. Interior with a young couple and an old man – a pair with the previous one

Oil on canvas, 32,5 x 39,5 cm

Provenance: Sale Olga, Princesse Paul de Yougoslavie a.o. , the Property of Julian Inglis Jones, Esq.; Sale Sotheby’s London 12-12-1979, lot 59

93 71. An elegant couple eating oysters with two servants (Oesters etend paar bij het hardvuur bediend door personeel)

Oil on panel, 19,7 x 30 cm

Provenance: Sale Philips, London 1-7-1997, lot 53 Sale Glerum, Amsterdam, 13-11-2005, lot 45 (not sold); Gebr. Douwes Fine Art, Amsterdam

72. Elegant company in an interior

Oil on canvas, 54,6 x 64,8 cm Signed in the middle on the mantelpiece: ‘Naiveu’ (ca. 1695 – ‘De kroon op het werk’, nr. 57, p. 220)

Provenance: Sale Haffner Amsterdam Schley (Philippus) 7-5-1804, lot 123; Sale Amsterdam (Schley) 10-7-1805,lot 115; Sale Willem Gruyter, Amsterdam (Schley) 17-4-1809, lot 149; Sale Sotheby’s London 28-10-1987, lot 113; Sale Christie’s London 13-12-2000, lot 46

Bibliography: Gierhards 2002, no.3; Mai 2006: 220-221, no. 57

73. Nursery – Leiden, Stedelijk Museum De Lakenhal, inv. no. 1071

Oil on canvas, 70,5 x 87 cm Signed left on the back of the chair: ‘Naiveu F’

Provenance: Private collection in England; Sale Drouot, Paris 17-2-1960; Art dealer S. Nijstad, The Hague 1960; bought by De Lakenhal in 1961

Bibliography: Lunsingh-Scheurleer 1971/1972: 301 Robinson 1974: 93 Wurfbain 1983: 238-239 Sluijter 1988: 189 – 190, no. 58

94

74. A sumptuous interior with a lady preparing to nurse her baby (Een voorname vrouw geeft haar kind de borst, geholpen door haar dienstmaagd terwijl een spelend jongetje toekijkt)

Oil on panel, 70,3 x 56,2 cm Signed indistinctly centre left (on chimney): ‘nai..’

Provenance: Sale Nicholson, Drouot Paris 1900 (as ‘Le sevrage du Prince’); Sale Schmid-Paganini, Fischer Lucerne 23-26/10-1946 ; Sale Christie’s London 6-7-1984; Sale Albi Palais de la Berbie 2-3-1990 (advertisement in La Gazette); Sale Christie’s London 10-5-1833, lot 22 : “Mathys Neveu. The Young Mother. Panel. 27 ¾ x 22 in. In a beautiful apartement, adorned with superb hangings a lady is sitting with a child upon her knee; she appears speaking to the servant, who offers some refreshment on a silver waiter. The door opens into an inner room where three other figures are seen...” Sale Sotheby’s New York, 30-1-1997, lot 199A; Sale Christie’s New York, 6-4-2006, lot 265 (not sold)

75. Richly decorated nursery (Elegant gezelschap in een rijk gestoffeerde kraamkamer)

Oil on panel, 70 x 56 cm

Provenance: Sale 9-12-1902 Amsterdam, lot 46 (HdG : “M. Naiveu. Het bezoek aan de kraamkamer. De moeder zit in een prachtig ledikant met groote gordijnen en rijk versierd en verguld houtwerk. Het kindje wordt aan een aantal dames vertoond, die op bezoek kome. Links eenige heeren. Met zoegvuldig, maar bont uitgevoerde details, en eigenlijk alleen voor de zeden en gewoonten van die dagen van belang. Als kunstwerk zeer onaantrekkelijk. Komt van Snoeck v. Loosen. 70 x 56, F. 330.- Frederik Muller.”

Sale Fischer, Luzern, 23-26/10-1946, lot 1371; Sale Christie’s London, 6-7-1984, lot 22; Sale Christie’s New York, 11-1-1989, lot 31; Sale Christie’s New York, 31-5-1990, lot 47; Sale Christie’s New York, 26-5-2000, lot 41 (not sold); Sale Dorotheum, Vienna, 4-10-2000, lot 275

95 76. Card players

Oil on canvas, 45 x 49 cm Signed above left

Provenance: Art dealer G. de Salvatore, Dijon 1961

77. Gentlemanly discussion - a pair with the above one

Oil on canvas, 45 x 49 cm Signed above centre

Provenance: Art dealer G. de Salvatore, Dijon 1961

78. A village scene with a jester showing a bird to children (Kwakzalver)

Oil on canvas, 54 x 44 cm Signed

Provenance: Collection of the Baroness Braye; Collection the Countess of Beauchamp; Sale Sotheby Mak van Waay Amsterdam 24-11-1986, lot 47; Sale Sotheby’s Amsterdam 12-5-1992, lot 99

96 79. Doctor’s visit ( A physician and a surgeon attending to a woman patient) - Wellcome Institute Library, Iconographic collection no. 44718i

Oil on panel, 33,2 x 40,7 cm Signed indistinctly at the back wall top right ‘Naiveu Fec(..)’

Provenance: Possibly - Sale Knight Frank and Rutley, London, 17-7-1936 (possibly sold together with Wellcome Icon. Coll. nr. 44711i – see cat. no. 80); Bought by Henry S. Wellcome.

Bibliography: Greenspan 2006: 86

80. A physician feeling the pulse of a seated woman patient - Wellcome Institute, London; Iconogr. Coll. no. 44711i

Oil on panel, 33,5 x 40,5 cm Attributed to Naiveu by Wellcome Library staff by 1970 (possible traces of signature on the tablecloth)

Provenance: Possibly – Sale Foster London, 29-11- 1832, lot 22 (Neveau. The Water Doctor and Sick Lady’) bought by Edwards; Sale Knight Frank and John Lewis, Rutley, London, 17-7-1936, lot 850/2 (sold together with the Wellcome Icon. Coll. nr. 44718i – see cat. no. 79); Bought by Henry S. Wellcome

81. Doctor’s visit (A Physician taking the pulse of a woman and a surgeon preparing to let blood from her foot) – Wellcome Institute Library, Iconographic collection no. 45023i

Oil on canvas, 49 x 57,6 cm Signed below centre ‘M(..)Naiveu Fecit 17(..)’ Painted over in several places, cracelure, relined

Provenance: Sale Christie’s London, 21-12-1921, lot 99 (‘The Venesection. A Visit to the doctor by J.J. Horemans’). Bought by Henry S. Wellcome Library

97

82. Interior of a surgery with a surgeon treating a wound in the arm of a man, with a boy and five other figures - Wellcome Institute, London, Iconogr. Coll. no. 45041i

Oil on panel, 50,8 x 44 cm Attributed to Naiveu by Wellcome Library staff in the 1990’s (traces of signature on the above the door on the right) Panel broken from left upper corner, damaged and painted over (esp. left middle)

Provenance: Possible- Sale Buys, Jan Swart, Viervant, Amsterdam 16-2-1802, lot 88 (HdG excerpts: ‘J. Naipveu. In een dito Vertrek (Chirurgijns Winkel) word een Boer door den Heelmeester aan den arm met een Lancet gesondeert , ter zyde een zittende Vrouw, en een staande Juffvrouw: door een openstaande deur ziet men in de winkel; in alles als de orige, uitvoerig behandeld, door denzelven – nrs. 87 t/m 88 Jb Royers26.); Possible- Sale Bond Phillips London, 18-5-1827 (M. Neveu. Interior of a Flemish Barber’s Shop)

Comments: Possible pair (nr. 87) at Sale Buys, Jan Swart, Viervant, Amsterdam 16-2-1802 has been described as: “Verbeeld een Chirurgijns Winkel, waar in een patient aan zijn arm verbonden word, ter zyde zit een schryvende Vrouw, waar by een Juffvrouw een kind; gestoffeert,, met een menigte bywerk kragtig en uitvoerig gepenceeld, door J. Naipveu.’)

83. Cobbler working on the street (Een schoenlapper werkzaam op straat) – Amsterdam Historical Museum, in. no. SA8427

Oil on panel, 39 x 28 cm Signed above left on the poster: ‘Ms. Naiveu’

Provenance: Sale Lebrun Paris 13-2-1793, lot 50 (as M.S. Naiveu , Un savetier conversant avec une jeune femme qui lui présente une pantouffle déchirée; il est assis devant une maison: près d’eux est un jeune garcon qui les écoute; diverses accesoires enrichissent cette composition qui offer des details rendus avec beaucoup de soin. Sur bois, haut. 15p. larg. 10; vendu 151 livres’ sold to Saubert; Collection W.J.R. Dreesmann, Amsterdam; Sale Coll. Dreesmann, F.Muller & Co Amsterdam 22-3- 1960, lot 521; bought by AHM in 1960

Bibliography: Blankert 1975/1979: 217

98 84. Lady offering a herring and an onion to a soldier (Een vrouw bide een proostende man een haring en een ui aan, met kegelaars op de achtergrond)

Oil on panel, 25,5 x 39,4 cm

Provenance: Sale Sotheby’s London, 1-11-2001, lot 100; Sale Sotheby’s Amsterdam 14-11-2006, lot 122 (not sold), Art dealer De Boer, Amsterdam 2007

85. Vegetables and fish saleswoman (with Leiden Blauwpoort in the background)

Oil on canvas, 35 x 26 cm Signed in the middle of the lower windowpane ‘Naiveú’

Provenance: Collection of Count Quincey, Paris; Collection A. Imbert, Rome; Collection Zanelli, Sanremo; Collection Sebastiano Sandri, Torino; Sale Christie’s Rome 13-4-1989, lot 102

86. Man and a woman in the niche (Le marchand de marrons) – Musée des Beaux- Arts, Dijon, inv. no. G 16

Oil on canvas, 47 x 36 cm Signed in the middle of the lower windowpane ‘Naiveu F.’

Provenance: Bequest of Mme Grangier née Villeneuve, Dijon 1905

Bibliography: Magnin 1933: 208 Vergnet-Ruiz 1968: 14, no. 31 (as copy)

99 87. A young boy at a window (raising a beaker)

Oil on panel, 34 x 25,4 cm

Provenance: Sale Schley Philippus Amsterdam, 5-5-1802, lot 155 (HdG excerpts: ‘155. Nepveu. Voor een Open Nits ziet men een Jongeling in prachtige kleeding, in zijn hand een Roemer wijn houdende, verders is de rand van de Nits overdekt met een afhangeld Tapijt, uitvoerig gepenceeld door Denzelen. ( 14.- aan LeDantú, P.)’ Art dealer Brian Koetser Gallery, London, exhibited May/July 1973

88. Boy and girl blowing soap bubbles - Boston Museum of Fine Arts; inv. no. 89.506

Oil on canvas, 49.6 x 41.6 cm

Provenance: Anonymous sale, Grim Amsterdam, 27–6-1752, lot 21, to Paul Pavlovich Demidoff, 2nd Prince of San Donato; Demidoff Sale, San Donato Palace, Florence 15-3-1880, lot 1048 (as attributed to Gaspard Netscher ) to Stanton Blake, Boston; purchased for the Boston MFA under the will of Stanton Blake in 1889

Bibliography: Franits 2004: 234

Comments: Similar painting attributed to the circle of Naiveu (see below left) – oil on canvas, 50 x 42 cm with pendant (?) Provenance: Collection of Per Adolf Tamm (1774-1856), Österby Sweden; as inheritance to Mrs. E. Lijphart-Tamm, Noordwijkerhout, 1978

Painting “Child with the goldfinch” formerly attributed to Karel de Moor at Chartres Museum (no current catalogue available) presents similar compositional elements and style (see below right) - oil on canvas, 49 x 41 cm

100 89. Portrait of a young woman as Ceres in niche (Een jonge vrouw in een venster schenkt wijn)

Oil on (canvas on) panel, 39 x 32 cm

Provenance: Sale The Hague (Daalen Wetters) 13-10-1810, nr. 12 (M. Neveu. In een Nis ziet men een deftig gekleede dame, met een Drinkschaal in de hand, waarin zy wyn schenkt, op de Balustrade leggen eenige Vrugten, extra schoon van ligt en bruin, Meesterlyk geschilderd op doek op panel, hoog 15, breed 12 ½ duim.’) Dorotheum, Vienna, 24-3-2004, lot 113

90. Young woman with fruits and oysters (Jonge vrouw in een venster met fruit en oesters)

Oil on canvas, 40 x 33,5 cm

Provenance: Sale Bödiger, Bonn, 25-26/4-1986, lot 1622 (as Dutch master influenced by Frans van Mieris); Sale Christie’s Amsterdam, 20-6-1989, lot 29; Sale Sotheby’s London, 6-7-1994, lot 107; Sale Sotheby’s London, 18-10-1995, lot 23

91. Portrait of a young woman as Flora in a niche (Woman with garland of flowers) Sydney Art Gallery of New South Wales, no. 8947/377

Oil on canvas, 42 x 34,5 cm Signed lower left ‘Naiveu Fecit’

Provenance: Sydney Art Gallery of New South Wales (estate of Dr. and Mrs. Sinclair Gillies, Sydney, 1952 (RKD photo from 1960)

Bibliography: Tomory 1989

101 92. Mercenary love (man offering money to woman in a niche)

Oil on panel, 40,6 x 33,7 cm (16 x 13 1/4 in.)

Provenance: Sale Chester Sotheby’s London, 8/9-10-1986 (as ‘Earthly Delights’ by a follower of Nicholas Maes); Sale Christie’s London 23-1-1987

Comments: Date 1681 written on reverse/ Theodor Netscher signature; text “Colbert...” and “Louis le…” on the piece of paper depicted on the painting.

93. Violin player with an old woman in a niche

Oil on canvas, 39,5 x 33 cm Signed to right: ‘Naiveu fecit’

Provenance: Sale Countess Quadt-Wykradt, Isny and Helbing, Munich 26-3-1914, lot 196; Art dealer Erasmus, Berlin 1931; Art dealer Curt Naubert, Leipzig; Art dealer Franke, Leipzig, 1936

94. Violin player (Violin solo)

Oil on canvas, 51 x 43 cm Signed lower middle ‘M. Naiveu Fecit 17..’

Provenance: Art dealer P. de Boer Amsterdam, 1938; Sale Dorotheum, Vienna 3/5-12-1959, lot 81; Sale The Trustees of the Edward James Foundation a.o. (anon. part) Sotheby’s London, 13-7-1977, lot 256; Sale Sir John Ruggles-Brise a.o. (anon. part) Sotheby’s London, 14-6-1978, lot 139

102 95. Allegorical composition (‘Commodore’ from don Juan?)

Provenance: Sale Zürich Koller 10/11-3-1983

96. The interior of a classroom with a schoolmaster sharpening a plume

Oil on panel, 33,1 x 40,6 cm Signed indistinctly upper centre: ‘Naiveu Fecit’

Provenance: Sale Charles Joseph Francois Spruyt, Fernand Gent 28-7-1806, lot 8 (‘M.Naiveu. Une école d’enfants, dans laquelle le maitre est occupé à tailler une plume. Cette composition capitale entièrement painte dans la manière de Gerard Dou, sur bois, haut 32 larg 39 cent.’) sold to Cannaert; Sale Christie’s London 12-9-2001

97. Unruly classroom

Oil on panel, 32 x 38 cm Signed in the middle on the side of the table ‘Naiveu’

Provenance: Possibly – Anonymous sale Fernand Ghent 26-7-1802, lot 1 (‘Naiveu. Un école d’enfans, où un garcon est penitence poue avoir olé de macarons. C’est un composition des plus capitales de cet excellent élève du célèbre Gerard Douw, sur bois, haut 12 et large 14 pouces et demi’); Sale Henry Early Wyatt, 1876; Anonymous sale Christie’s London 5-3-1954, lot 33 (bought by Vanderkar as ‘E. an der Moeder’ because of the inscription “Eerwaarde Vader & Moeder’ on the painting)

Bibliography: Liedtke 1992

103 98. Pancake saleswoman on the street – via Dordrechts Museum

Comments: Only known photo of this painting is at RKD without any annotation, except the note: ‘aquired via Dordrechts Museum, bequested by Laurens Bol 1999’

99. Man smoking a pipe (Le fumeur)

Provenance: Art dealer Goudstikker, Amsterdam 1928(cat. 35, 1928, no. 27 as Metsu); Sale Hotel Drouot, Paris 24-3-1998, lot 98

Comments: Formerly attributed to Gabriël Metsu, was erroneously considered as a pendant of a “Pancake saleswoman” in Goudstikker collection. Looks similar to two dated paintings by Naiveu – see cat. no. 27 and 28

104

II c. Portraiture

100. Girl with a Dog – Bowes Museum, Barnard Castle, England, inv. no. B.M. 193

Oil on canvas, 46,3 x 34,6 cm (18 1/8 x 13 5/8 in.) Signed on plinth: ‘M. Neveu’

Bibliography: Bowes 1939

101. Portrait of Arent van der Houven’- Szepmüveszeti Museum, Budapest, inv. no. 1327

Oil on canvas (oval), 62,5 x 52,5 cm Signed to the left on the letter on the table: ‘Naiv(…)

Provenance: Sale Terbrugge a.o. (part: Holman and A. Dubourcq), Fr. Muller, Van Pappelendam and C.F. Roos Amsterdam 12/13-6-1888, lot. 64 (together with lot 65, its pair to Roos); Sale Fels, Verschuur and Scheibler, Roos Amsterdam 28-10-1891, lot 56; Art dealer J. Goudstikker, Amsterdam; acquired by museum 1894

Bibliography: Pigler 1967: 475, no. 1327; Ember 2000: 117

102. Portrait of Margaretha Maes - Szepmüveszeti Museum, Budapest, Inv. no. 1328 (a pair with the previous one)

Oil on canvas (oval), 62,5 x 53 cm Signed to the left above the table on the plinth: ‘Naiveu Feci(..)

Provenance: Sale Terbrugge a.o. (part: Holman and A. Dubourcq), Fr. Muller, Van Pappelendam and C.F. Roos Amsterdam 12/13-6-1888, lot 65 (together with lot 64, its pair to Roos); Sale Fels, Verschuur and Scheibler,

105 Roos Amsterdam, 28-10-1891, lot 56; Art dealer J. Goudstikker, Amsterdam; acquired by museum 1894

Bibliography: Pigler 1967: 475, no.1328; Ember 2000: 117

103. Portrait of Adriaan Alberding – Museum, Haarlem, inv. no. OS I-265

Oil on canvas, 115 x 92 cm Signed on the spine of a book in the bookcase lower left: ‘M. Naiveu Opera’ Ca 1690

Bibliography: Köhler 2006: 562, nr. 338

Comments: A.Alberding (1650/51 – in or after 1702) was a member of Haarlem Collegium Medicopharmaceuticum; studied in Leiden and apparently a supporter of Descartes’s ideas – written on the back of a book in the left middle “Descartes. Opera”

104. Portrait of a man with a view of a village in a mountainous landscape beyond

Oil on canvas, 64,2 x 53,8 cm Signed ‘Naiveu/Fecit 16**’

Provenance: Sale Christie’s London South Kensington 22-2-1996, lot 290

105. Portrait of a man in a garden

Oil on panel, 43 x 34 cm Signed right on the base of the pilaster: ‘….Slingeland’ – attr. by VdW 30-1-1980 to M. Naiveu

Provenance: Coll. of P. Rosenthal, Berlin

Comments: Seen as a pair to the signed female portrait from Landesmuseum Darmstadt, dated 1677 – see cat. no. 20

106

II d. Still-life

106. Bunch of grapes in the niche (Druiventros in een nis)

Oil on canvas, 57 x 46,5 cm Signed lower left ‘Naiveú’

Provenance: Sale Bukowski, Stockholm 26-10-1960, lot 295

Bibliography: Hoogsteder 2002: 38-39, illust. on the backside of the journal; Van der Willigen 2003: 148; Mai 2006: 218, no. 56

107. Still-life with a pitcher

Signed lower right ‘M. Naiveu’

Provenance: Sale Collection R. Peltzer, Frederik Muller & Cie, 26-27/5-1914, lot 150

108. Flowers in a sculptured vase

Oil on panel, 31 x 24 cm Signed lower right ‘M. Naiveu F.’

Provenance: Sale Christie’s London 28-2-1936, lot 19

107 7 Abbreviations / Bibliography

GAA=Gemeente Archief Amsterdam

HdG=Hofstede de Groot (excerpts at RKD)

RAL= Regionaal Archief Leiden

RKD= Rijksbureau voor Kunsthistorische Documentatie (The Hague)

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