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De mooiste objecten gepresenteerd door {name}

Leo Setz

Gerard Dou 
The evening school, ca. 1660 Florence, Galleria degli Uffizi
No. 0900131428

The painting is recorded in Palazzo Pitti at the end of the 17th century. In May 1700 it was sent to the Villa of Poggio a Caiano from where it seems to have passed to the Uffizi Gallery in February 1704, according to an archive document from that year in which the painting is described in detail, although without the author's name. The canvas must have returned between that year and 1713 to the Villa of Poggio a Caiano, where it was part of Grand Prince Ferdinando's collection of paintings that passed to the Uffizi in 1773. The date it was sent to Poggio a Caiano excludes the possibility that it could be one of the paintings sent to the Prince by his brother-in-law, the Elector Palatine of Dusseldorf, in 1705 and 1708, according to the correspondence between the two personalities, as hypothesised by Marco Chiarini in "Gli Uffizi. The General Catalogue' (1979). The possibility remains that it was bought in Holland by Cosimo III de' Medici, who visited the painter on the second of his trips to the Netherlands (1669), as suggested by Hoogewerff (1919) and Gerson (1942). However, it is still unclear why the painting was sent by Prince Ferdinando to Giovanni Bianchi, custodian of the Uffizi Gallery, in February 1704, and when it returned to the villa in Poggio a Caiano (but certainly before 1713, the year of Ferdinando's death). The subject of the painting recurs, but with considerable variations in the arrangement of the figures and in the addition of two others in the foreground on the left, in a painting (signed) in the Rijksmuseum, Amsterdam, which is slightly larger than the Uffizi exemplar. Martin (1901) considered the Amsterdam painting to be the original and that of the Uffizi to be a copy: an opinion he later revised in 1911 and 1913, accepting it (probably influenced by the opinion of Hofstede de Groot, 1908) as an autograph work; but considering the signature to be false. The other authors who have considered the painting have always considered it to be autograph. It is probable that Martin's judgement was due in part to the poor condition of the painting, which, nevertheless, presents pictorial qualities that seem to us to be in agreement with those of the artist's safe works. As for the dating, it is difficult to propose one corresponding to a specific year. Martin (1913) indicated 1660-1665, a period that would fit well with the mature stylistic traits of the painting and would correspond to its possible purchase by Cosimo III in 1669. Another smaller version is in the Metropolitan Museum in New York

Source: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900131428


Provenance of my copy: 

George Theodore Cruft was the grandson of Edward Cruft (b. 1776), lawyer and friend to both John and John Quincy Adams (6th President of the Unites States of America), and cousin by marriage to Abigail Smith Adams. The painting at hand descended in the Cruft family to the current consignor's estate in Concord, Massachusetts (Sold at Skinner Auctions). 


Literature: 

Martin 1901 , p. 235, nr. 320a , as a copy Hofstede de Groot 1907-1928 (German edition) , vol. 1 (1907), p. 409, nr. 207 Martin 1913 , p. 171, ill. , as ca. 1660-1665 Gerson 1942/1983 , p. 182 Baer 1990 , nr. 81 

The original at the Uffizi has some remnants of a false signature in the lower right of the painting. On the crossbar of the stool in the bottom right-hand corner are the initials GDOV in capital letters, which are, however, considered to be false.

Dimensions of original at Uffizi: Rectangle (portrait format) 45,9 x 36,4 cm 
Dimensions of my copy: 46,9 x 36,2 cm


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