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This work is the only surviving painting in the
Metropolitan Museum of Art that was acquired before 1906 and after the initial purchase of 1871, and though it is officially recorded as entering the collection in 1873, Liedtke mentions that it was grouped as one of two paintings that came into the
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Liedtke wonders if it could possibly a portrait of the artist's wife, as has sometimes been claimed for the female pendant of a shepherd by Van der Helst that has often been claimed to be a self-portrait:
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The
Vermeer was donated to the MET's collection in 1900, and the Ter Borch in 1914, both of which had been recently imported to the US, probably also based on the popularity at the time of this painting.
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and presumably therefore via his dealer Leon
Gauchez. The other painting (accession number 73.1) was a double portrait by Carel de Moor, but it was deaccessioned in 1988.
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collection in 1872 after the initial 1871 purchase, but also via the same vice-president of the Board of
Trustees
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J.J. de Gelder, dissertation on
Bartholomeus van der Helst with a monograph of his work, 1921, cat. nr. 17
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Bartholomeus van der Helst (ca. 1613–1670). Een studie naar zijn leven en werk'
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The art historian J.J. de Gelder mentioned the lute shown in the painting is a
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The woman is looking at the viewer and according to art historian
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138.4 cm (54.5 in) × 111.1 cm (43.7 in)
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This article about a seventeenth-century painting is a
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301:List of paintings by Bartholomeus van der Helst
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16:1662 painting by Bartholomeus van der Helst
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137:on canvas painting by the
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147:Dutch Golden Age painting
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110:The Met object ID: 436642
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145:. It is an example of
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234:William T. Blodgett
456:Paintings of women
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73:Dimensions
441:Lutenists
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66:oil paint
295:See also
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