National Gallery of Art - THE COLLECTION
image of A Lady Writing Johannes Vermeer (artist)
Dutch, 1632 - 1675
A Lady Writing, c. 1665
oil on canvas
overall: 45 x 39.9 cm (17 11/16 x 15 11/16 in.) framed: 68.3 x 62.2 x 7 cm (26 7/8 x 24 1/2 x 2 3/4 in.)
Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer
1962.10.1
On View
From the Tour: Johannes Vermeer and Dutch Scenes of Daily Life in the 1600s
Object 8 of 8

Provenance

Possibly Pieter Claesz van Ruijven [1624-1674], Delft; possibly by inheritance to his wife, Maria de Knuijt [d. 1681]; possibly by inheritance to her daughter, Magdalena van Ruijven [1655-1682], Delft; possibly by inheritance to her husband, Jacobus Abrahamsz. Dissius [1653-1695], Delft;[1] (his sale, Amsterdam, 16 May 1696, no. 35).[2] J. van Buren, The Hague; (his sale, Bernardus Scheurleer, The Hague, 7-12 November 1808, 6th day [12 Nov.], no. 22 of the paintings). Dr. Cornelis Jan Luchtmans [1777-1860], Rotterdam; (his sale, by Mierop, Muys van Leen, and Lamme, Rotterdam, 20 and 22 April 1816, 1st day, no. 90); J. Kamermans, Rotterdam; (his sale, by A. Lamme, Rotterdam, 3 October 1825, no. 70); Lelie.[3] Hendrik Reydon; (his sale, by J. de Vries, A. Brondgeest, E.M. Engelberts, and C.F. Roos, Amsterdam, 5-6 April 1827, no. 26). François-Xavier, comte de Robiano [1778-1836], Brussels; (his estate sale, Hotel du Défunt, Brussels, 1 May 1837 and days following, no. 436); purchased by Héris for François-Xavier's son. Ludovic, comte de Robiano [1807-1887], Brussels; by inheritance to Ludovic's heirs, possibly his daughter and only child, Jeanne [1835-1900] and her husband, Gustave, baron de Senzeilles de Soumagne [1824-1906], until 1906;[4] (J. & A. LeRoy, Brussels); purchased 1907 by J. Pierpont Morgan [1837-1913], New York; by inheritance to his son, J. P. Morgan, Jr. [1867-1943], New York; consigned 1935-1939 to, and purchased 1940 by (M. Knoedler & Co., New York); sold 1940 to Sir Harry Oakes [1874-1943], Nassau, Bahamas; by gift or inheritance to his wife, Lady Eunice Myrtle McIntyre Oakes [c. 1894-1981], Nassau, Bahamas; consigned 1946 to (M. Knoedler & Co., New York);[5] sold 1946 to Horace Havemeyer [1886-1956], New York; by inheritance to his sons, Harry Waldron Havemeyer [b. 1929], New York, and Horace Havemeyer, Jr. [1914-1990], New York;[6] gift 1962 to NGA.

[1] The 1683 inventory of goods accruing to Jacob Dissius after the death of his wife Magdalena van Ruyven lists twenty paintings by Vermeer. For the complete transactions between her husband Jacob Dissius and his father Abraham Dissius following her death, see John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 246-257, 359-361, docs. 417, 420.

[2] For this sale see Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 363-364, doc. 439.

[3] This name is recorded in an annotated copy of the sale catalogue in the NGA Library.

[4] This is suggested by the Getty Provenance Index© Databases, Public Collections, record 17464.

[5] The Knoedler’s consignment numbers were CA 1503 (from Morgan) and CA 2758 (from Lady Oakes), per the Getty Provenance Index© Databases, Public Collections, record 17464.

[6] Harry W. Havemeyer (correspondence 12 August 2010) indicated that Vermeer’s painting hung over the fireplace in the library of their residence at 720 Park Avenue, but emphasized that the fireplace, therefore, was never used. He wrote that his father probably had first admired the painting at the Hudson-Fulton exhibition in 1909, and was pleased to be able to acquire it from Knoedler’s when it was offered to him in 1946. Harry and Horace Havemeyer decided to donate the painting to the National Gallery of Art because of their father’s admiration for the Gallery and its director John Walker.

Associated Names

Full Screen Image
Artist Information
Conservation Notes
Exhibition History
Inscription
Location
Narratives

«back to gallery