Girl with a Flute

c. 1669/1675

Shown from the waist up, a young woman sits on the other side of the edge of a table, leaning toward us on one elbow in this vertical painting. She looks at us with dark brown eyes under faint, arched brows. She has pale skin with flushed cheeks, a long, rounded nose, and her ruby-red lips are parted. Her brown hair is tucked into a wide, conical hat with gray, pale yellow, and ash-brown vertical stripes. Light falls across her face from our right, so the hat casts a shadow over her eyes and on the far cheek, to our left. Light glints off of two teardrop-shaped pearl earrings. Her muted blue bodice has a few touches of topaz and sky blue create a brocade-like floral pattern. The bodice is trimmed with a wide band of white fur down the front and around the cuffs, which come down just beyond her elbows. A white kerchief tucked into the bodice covers her shoulders. She leans onto her left forearm, to our right, and that arm is close and parallel to the bottom edge of the composition. In that hand she holds a golden flute like a pencil, and her other hand rests against the edge of the table. She leans to our right so we can see the gold lion's head finial at the top of her wooden chair. The area behind her is painted with patches of harvest yellow, fawn brown, muted brick red, and parchment white to create a loosely patterned drapery that fills the background.

Media Options

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Once cautiously attributed to Johannes Vermeer, Girl with a Flute was more likely painted by a studio associate of Vermeer. Although the general character and appearance of the work relate closely to works by Vermeer, especially Girl with the Red Hat, the quality falls short of Vermeer’s standards. Girl with a Flute demonstrates an awareness of Vermeer’s idiosyncratic painting processes—such as the use of certain unusual pigments and the distinctive application of highlights—but a lack of skill or experience in reproducing them.

The two paintings are so close in concept that it seems likely that the artist of Girl with a Flute was inspired by Girl with the Red Hat. The paintings are not portraits, but informal studies exploring the effects of light and facial expression. Both women gaze at the viewer from beneath striking hats that cast strong shadows over much of their faces. Each wears a rich blue garment and occupies a shallow space defined by a patterned tapestry and a chair with lion-head finials. While the model in Girl with the Red Hat seems to regard the viewer with a quick turn of her head and an inquisitive gaze, her counterpart in Girl with a Flute leans forward in a more static frontal posture.

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Artwork overview

  • Medium

    oil on panel

  • Credit Line

    Widener Collection

  • Dimensions

    painted surface: 20 x 17.8 cm (7 7/8 x 7 in.)
    framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.)

  • Accession

    1942.9.98

More About this Artwork

Shown from about the knees up, a pale, smooth-skinned woman in a fur-lined yellow jacket looks out at us as she sits writing at a table in this vertical painting. The woman’s body faces the table to our left. She turns her head to gaze at us from the corners of her dark gray eyes under faint brows. She has a wide nose, and her pale lips are closed. Her light brown hair is pulled back and held in place with white bows, and gleaming teardrop-shaped pearl earrings dangle from her ears. Her lemon-yellow jacket is trimmed with ermine fur, which is white with black speckles, at the cuffs and down the front opening. A full, elephant-gray skirt falls to the floor beneath the jacket. Both hands rest on the table, and she holds a quill in her right hand, farther from us, on a piece of paper. She leans forward in her wooden chair. The back panel of the chair is covered in black fabric and lined with brass studs. Two gilded finials, carved into lions’ heads, face the woman’s back with mouths open. The table is covered with a celestial-blue cloth crumpled near the left edge of the canvas. On the table are a strand of pearls, a pale yellow ribbon, and a black box with three brown panels studded with pearls around silver keyholes. Two pewter gray vessels are visible just beyond it, in front of a second chair, which faces us. On the putty-gray wall behind the woman, a framed painting hangs in the upper left quadrant of the composition. The painting-within-the painting is done in muted tones of brown and shows a cello and other unidentifiable objects.

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This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Girl with a Flute, c. 1669/1675

Artwork history & notes

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] (sale, Amsterdam, 16 May 1696, probably no. 39 or 40).[2] possibly the van Son family; Jan Mahie van Boxtel en Liempde and his wife, Geertruida van Boxtel en Liempde [née van Son, d. 1876], 's-Hertogenbosch; purchased from the estate by their daughter, Jaqueline Gertrude Marie de Grez [Dowager de Grez, née Mahie van Boxtel en Liempde, d. 1917], Brussels, wife of Jonkheer Jean de Grez [1837-1910]; sold by 1911 to (Antiquar E. Jonas, Paris);[3] sold 16 June 1911 to (Thos. Agnew & Sons, Ltd., London); half-share sold June 1911 to (M. Knoedler & Co., New York, and P. & D. Colnaghi, London); Agnew's half-share sold 21 November 1913 to (M. Knoedler & Co., New York);[4] Knoedler's three-quarter share sold July 1915 to (P. & D. Colnaghi, London). August Janssen [1863-1918], Amsterdam, after August 1916;[5] his estate; sold 1919 with the entire Janssen collection to (Jacques Goudstikker, Amsterdam);[6] purchased jointly April 1921 by (M. Knoedler & Co., New York, and Frederick Muller & Co., Amsterdam);[7] sold February 1923 to Joseph E. Widener; inheritance from Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania, after purchase by funds of the Estate; gift 1942 to NGA.
[1] The 1683 inventory of goods accruing to Jacob Dissius after the death of his wife Magdalena van Ruijven 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 John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 363-364, doc. 439. Item no. 38 in the sale is described as "a tronie in antique dress, uncommonly artful"; item no. 39 as "Another ditto Vermeer"; and item no. 40 as "A pendant of the same."
[3] The exact date when the painting was sold by the De Grez family is uncertain; it seems to be either 1911 or 1914. The 1911 date used in the Provenance comes from three sources. The first is a letter of 18 May 1995 from Melissa De Medeiros, librarian at M. Knoedler (in NGA curatorial files) that says "Under Knoedler #12403 we purchased a 1/2 share in the painting from Thos. Agnew & Sons in June 1911 and sold it in July 1915 to P&D Colnaghi, London." A follow-up letter of 31 May 1995 clarifies the fact that the half share purchased from Agnew's was actually split with Colnaghi. The second is a letter of 25 July 1995 from Fred Bancroft, director of Agnew's Inc., New York (in NGA curatorial files), that says: "According to our stock books, the Vermeer was purchased from E. Jonas on June 16, 1911 and then sold outright to Knoedler on November 21, 1913. There seems to be no record of shares being sold to other dealers." The phrase "sold outright," however, hints that there may have been shares involved, as evidenced by Knoedler's records. The third is a letter of 30 May 1996 from Stephen Rudge, Colnaghi, London (in NGA curatorial files), indicating that, despite the lack of a stock book record, "there is an old record card that confirms both the purchase with Knoedler and the fact that we took it over in July 1915." From these records, it appears that the painting had left the De Grez family by 1911, since Agnew's purchased it from E. Jonas in June of that year.
However, correspondence in the NGA curatorial files from Dr. J. B.V. M.J. van de Mortel, a relation of the Dowager de Grez, consistently relates the story that his father, Henri van de Mortel, who was the Dowager's nephew and handled her affairs, sold the painting for her in 1914 to Antiquar Jonas in Paris (letters to David Finley of 31 October 1946 and to John Walker of 18 November 1946). Because it was his father who was handling the Dowager's affairs, it is possible that Dr. Van de Mortel had the year of the sale wrong. The dealers' records would imply so.
[4] At this point, it appears Knoedler held a three-quarter share and Colnaghi a one-quarter share in the painting.
[5] According to a letter of 30 May 1996 from Stephen Rudge, Colnaghi, London (in NGA curatorial files), the old record "card does mention that it was still present [with Colnaghi] in August 1916."
[6] “Janssen Paintings Sold in Holland,” The Milwaukee Journal (3 August 1919): 10; Otto Hirschmann, “Die Sammlung August Janssen,” Der Cicerone 12 (January 1920): 17-18.
[7] Letter of 18 May 1995 from Melissa De Medeiros, librarian at M. Knoedler (in NGA curatorial files). This letter also provides the date of sale to Joseph Widener.

Associated Names

Exhibition History

1907

  • Loan for display with permanent collection, Mauritshuis, The Hague, 1907.

1919

  • La Collection Goudstikker d'Amsterdam, Pulchri Studio, The Hague, 1919, no. 131, repro.

1920

  • Collection Goudstikker d'Amsterdam, Statens Museum for Kunst, Copenhagen, January-February 1920, no. 15, repro.

  • Goudstikker Collection, Stockholm; Kristiana, April 1920.

  • La Collection Goudstikker d'Amsterdam exposee dans les localites de la Rotterdamsche Kunstkring,Rotterdam, May 1920, no. 19, repro.

1921

  • Loan for display with permanent collection, Alte Pinakothek, Munich, 1921.

1922

  • Old and More Recent Dutch Paintings, Statens Museum for Kunst, Copenhagen, 1922, no. 133, repro.

1995

  • Johannes Vermeer, National Gallery of Art, Washington, D.C.; Royal Cabinet of Paintings Mauritshuis, The Hague, 1995-1996, no. 23, repro., as Young Girl with a Flute by Circle of Johannes Vermeer.

1998

  • A Collector's Cabinet, National Gallery of Art, Washington, D.C., 1998, no. 62.

1999

  • Johannes Vermeer: The Art of Painting, National Gallery of Art, Washington, D.C., 1999-2000, not in brochure.

Bibliography

1906

  • Bredius, Abraham. "Der 36. (oder 37.) Delfter Vermeer." Kunstchronik 18 (1906–1907): 385-386.

1907

  • Hofstede de Groot, Cornelis. Jan Vermeer von Delft und Carel Fabritius. Amsterdam, 1907: 32, 34, no. 42, repro.

  • Martin, Wilhelm. "Jan Vermeer van Delft. Het Meisje met de Fluit." Onze Kunst 12 (July-December 1907): 20-24, repro.

  • Martin, Wilhelm. "La Jeune Fille à la Flute de Vermeer de Delft." L’Art Flamand & Hollandais 8 (July 1907 ): 20-23, repro.

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 1(1907):591-592, no. 22d.

1910

  • Veth, Jan. "Gemälde von Johannes Vermeer in niederländischen Sammlungen." Kunst und Künstler 8 (November 1910 ): 102-117.

1911

  • Plietzsch, Eduard. Vermeer van Delft. Leipzig, 1911: 55, 78-79, 115, no. 13, repro.

1912

  • Dreyfous, Georges. L'Oeuvre de Jan Vermeer de Delft. Paris, 1912: 29.

1913

  • Hale, Philip L. Jan Vermeer of Delft. Boston, 1913: 244, 264-265, 373, repro.

1919

  • Bode, Wilhelm von. Die Meister der holländischen und vlämischen Malerschulen. 2nd ed. Leipzig, 1919: 79.

  • Goudstikker, Jacques. Catalogue de la collection Goudstikker d'Amsterdam. Exh. cat. Pulchri Studio, The Hague. Haarlem, 1919: no. 131, repro.

1920

  • Hirschmann, Otto. "Die Sammlung August Janssen." Der Cicerone 12 (January 1920): 70, 73 fig. 13.

1921

  • Vanzype, Gustave. Jan Vermeer de Delft. Brussels and Paris, 1921: 72, repro.

1923

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro., as by Jan Vermeer.

1924

  • Hausenstein, Wilhelm. "Vermeer van Delft." Das Bild Atlanten zur Kunst 10 (1924): 27, fig. 33.

1925

  • Constable, W.G. "Review of Hausenstein 'Vermeer of Delft' (Das Bild Atlanten zur Kunst, 10. Munich, 1924)." The Burlington Magazine 47 (November 1925): 269.

  • Cortissoz, Royal. Personalities in Art. New York and London, 1925: 47.

  • Lavallée, Pierre. "Un Tableau Inconnu de Vermeer: La Jeune Femme au Chapeau Rouge." La Revue de l’Art 47 (1925): 323–324.

  • Lloyd, David. "The Vermeers in America." International Studio 82 (November 1925): 124, repro. 127.

1927

  • Siple, Ella S. "Recent Acquisitions by American Collectors." The Burlington Magazine 51, no. 297 (1927): 303.

1929

  • Lucas, Edward Verrall. Vermeer the Magical. London, 1929: vii-viii.

  • Wilenski, Reginald Howard. An Introduction to Dutch Art. New York, 1929: 271, 277, 284.

1931

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 100, repro.

1932

  • Hind, Arthur M. Rembrandt: Being the Substance of the Charles Eliot Norton Lectures Delivered before Harvard University 1930-1931. Cambridge, Massachusetts, 1932: 91, repro.

  • Valentiner, Wilhelm R. "Zum 300. Geburtstag Jan Vermeers, Oktober 1932: Vermeer und die Meister der Holländischen Genremalerei." Pantheon 5 (October 1932): 305-324.

1934

  • Fell, Herbert Granville. Vermeer. Masterpieces in colour. Edited by T.L. Hare. London and Edinburgh, 1934: 22, 67.

1935

  • Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 189, 338, repro.

1937

  • Hale, Philip Leslie. Vermeer. Edited by Frederick W. Coburn and Ralph T. Hale. Boston and New York, 1937: 132, 143, pl. 28.

1938

  • Waldmann, Emil. "Die Sammlung Widener." Pantheon 22 (November 1938): repro. 334, 336, 341.

1939

  • Craven, Thomas A. A Treasury of Art Masterpieces from the Renaissance to the Present Day. New York, 1939: 317-319, color repro.

  • Plietzsch, Eduard. Vermeer van Delft. Munich, 1939: 29, 63, no. 39, pl. 29.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Amsterdam, 1939: 48, 88-89, no. 28, pl. 52.

  • Tietze, Hans. Masterpieces of European Painting in America. New York, 1939: no. 189, repro.

1940

  • Bodkin, Thomas. "Review of de Vries, Jan Vermeer van Delft, Amsterdam, 1939." The Burlington Magazine 77 (August 1940): 67-68.

  • Goldscheider, Ludwig. The Paintings of Jan Vermeer. Oxford and New York, 1940: 7, 14, pl. 40.

1941

  • Comstock, Helen. "The Connoisseur in America." The Connoisseur 107 (May 1941): 165-170, repro.

1942

  • National Gallery of Art. Works of art from the Widener collection. Washington, 1942: 7.

1944

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. Translated. New York, 1944: 102, color repro.

1945

  • Wilenski, Reginald Howard. Dutch Painting. Revised ed. London, 1945: 178, 187.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Basel, 1945: 58, 117, no. 28, pl. 53.

1946

  • Blum, André. Vermeer et Thoré-Burger. Geneva, 1946: 30, 194.

1948

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Washington, 1948: 64, repro.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Translated by Robert Allen. Revised ed. London and New York, 1948: 40, 89-90, pl. 21.

1949

  • Thienen, Frithjof van. Jan Vermeer of Delft. Masters of Painting. New York, 1949: 19, 23, no. 26, repro.

1950

  • Swillens, P. T. A. Johannes Vermeer: Painter of Delft, 1632–1675. Translated by C.M. Breuning-Williamson. Utrecht, 1950: 64-65, no. E. 1952.

1952

  • Gowing, Lawrence. Vermeer. London, 1952: 64, 145, repro., color repro.

  • Malraux, André, ed. Vermeer de Delft. Paris, 1952: 94-96, no. xxvi, color repro.

  • Craven, Thomas A. A Treasury of Art Masterpieces from the Renaissance to the Present Day. Rev. & enlarged ed. New York, 1952: 127, repro. 127, 159 color pl. 79.

1954

  • Bloch, Vitale. Tutto la Pittura di Vermeer di Delft. Milan, 1954: 35, pl. 57.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 10, repro., as by Vermeer.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 80.

1958

  • Goldscheider, Ludwig. Jan Vermeer: The Paintings. London, 1958: 137, no. 18, color pl. 61.

1959

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Reprint. Washington, DC, 1959: 64, repro.

1960

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 26, as by Vermeer.

1961

  • Mirimonde, Albert P. de. "Les sujets musicaux chez Vermeer de Delft." Gazette des Beaux-Arts 57 (January 1961): 40 fig. 10, 42.

  • Reitlinger, Gerald. The Rise and Fall of Picture Prices 1760-1960. (Vol. 1 of The Economics of Taste). London, 1961: 483-484.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 188, repro.

  • Bloch, Vitale. All the Paintings of Jan Vermeer. Translated by Michael Kitson. The Complete Library of World Art 15. New York, 1963: 35, pl. 57.

  • Gimpel, René. Journal d'un collectionneur, marchand de tableaux. Paris, 1963: 228, 234, 415.

1964

  • Seymour, Charles, Jr. "Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura." Art Bulletin 46, no. 3 (September, 1964): 323-331, repro.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 135, as by Vermeer.

1966

  • Emiliani, Andrea. Vermeer (1632-1675). Milan, 1966: 9, repro.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture: 1600–1800. Pelican History of Art. Baltimore, 1966: 122, pl. 96a.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2: 258, color repro.

  • Descargues, Pierre. Vermeer. Translated by James Emmons. Geneva, 1966: 132-133, color repro. 104.

1967

  • Koningsberger, Hans. The World of Vermeer 1632-1675. New York, 1967: 141-142, repro.

  • Bianconi, Piero. The Complete Paintings of Vermeer. New York, 1967: 94, no. 31, repro., color repro. pl. 41.

1968

  • Kühn, Hermann. "A Study of the Pigments and the Grounds Used by Jan Vermeer." Report and Studies in the History of Art 2 (1968-1969):194, no. 20.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 122, repro.

1970

  • Walicki, Michal. Jan Vermeer van Delft. Dresden, 1970: 39-40, 125, fig. 57.

  • Gowing, Lawrence. Vermeer. 2nd ed. New York, 1970: 146-147, repro.

1973

  • Mistler, Jean. Vermeer. Collection Le Peintre et l’Homme. Paris, 1973: 45-46, no. 28, color repro.

  • Fahy, Everett, and Francis John Bagott Watson. The Wrightsman Collection. Vol. 5: Paintings, drawings, sculpture. New York, 1973: 313-314, repro.

  • Sonnenburg, Hubertus von. "Technical Comments." Bulletin of the Metropolitan Museum of Art 31, no. 4 (Summer 1973): unpaginated.

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 93.

1974

  • Grimme, Ernst Günther. Jan Vermeer van Delft. Cologne, 1974: 61, no. 22, fig. 14.

1975

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 362, repro.

  • Blankert, Albert. Johannes Vermeer van Delft, 1632-1675. Utrecht, 1975: 108-110, 168, 203, repro.

1976

  • Wright, Christopher. Vermeer. London, 1976: 47, repro. no. 21, 81.

1978

  • Young, Eric. "Review of Christopher Wright, Vermeer, 1976." Apollo 108 (October 1978): 282.

  • Blankert, Albert. Vermeer of Delft: Complete Edition of the Paintings. Oxford, 1978: 73-74, 172, cat. B.4, color repro.

1981

  • Slatkes, Leonard J. Vermeer and His Contemporaries. New York, 1981: 97-98, repro.

  • Wheelock, Arthur K., Jr. Jan Vermeer. New York, 1981: 45, 156, color pl. 47.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 304, no. 401, color repro., as by Circle of Jan Vermeer.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture. The Pelican History of Art. Revised ed. Harmondsworth, 1984: 122, pl. 96a.

1985

  • Brentjens, Yvonne. "Twee meisjes van Vermeer in Washington." _Tableau _ 7 (February 1985): 54-58, repro.

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 421, repro.

1986

  • Aillaud, Gilles, Albert Blankert, and John Michael Montias. Vermeer. Paris, 1986: 200-201, no. B4, repro.

1989

  • Montias, John Michael. Vermeer and His Milieu: A Web of Social History. Princeton, 1989: 265.

1990

  • Liedtke, Walter A. "Dutch Paintings in America: The Collectors and their Ideals." In Great Dutch Paintings from America. Edited by Ben P.J. Broos. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. The Hague and Zwolle, 1990: 51.

1993

  • Schneider, Norbert. Jan Vermeer 1632-1675: Verhüllung der Gefühle. Cologne, 1993: 95, no. 71, repro.

1995

  • Wheelock, Arthur K., Jr., and Ben P. J. Broos. Johannes Vermeer. Edited by Arthur K. Wheelock, Jr. Exh. cat. National Gallery of Art, Washington; Royal Picture Gallery Mauritshuis, The Hague. Zwolle, 1995: no. 23, repro.

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 387-393, color repro. 389.

  • Bailey, Martin. Vermeer. London, 1995: 89-90, repro.

  • Wright, Christopher. Vermeer: catalogue raisonné. London, 1995: no. 22, 44-45, repro.

  • Wheelock, Arthur K., Jr. Vermeer and the Art of Painting. New Haven, 1995: no. A36, repro. 186.

1996

  • Hunter, Sam, and Melissa de Mederios. The Rise of the Art World in America: Knoedler at 150. Exh. cat. M. Knoedler & Company, New York, 1996: 13.

  • Haks, Donald, and Marie Christine van der Sman. Dutch society in the age of Vermeer. Exh. cat. Haags Historisch Museum, The Hague. Zwolle, 1996: Appendix 123.

  • Larsen, Erik. Jan Vermeer. Translated by Tania Gargiulo. Biblioteca d'arte. Florence, 1996: no. A 8, 120-121, repro.

  • Netta, Irene. Das Phänomen Zeit bei Jan Vermeer van Delft: eine Analyse der innerbildlichen Zeitstrukturen seiner ein- und mehrfigurigen Interieurbilder. Studien zur Kunstgeschichte 105. Hildesheim, 1996: fig. 18.

  • Hertel, Christiane. Vermeer: Reception and Interpretation. Cambridge, 1996: 73-74, fig. 21.

1997

  • Gowing, Lawrence. Vermeer. 3rd ed. London, 1997: no. 56, repro.

  • Scholz, Georg. Lyrische Bilder: Gedichte nach Gemälden von Jan Vermeer. Munich, 1997: 52-53, repro.

  • Wheelock, Arthur K., Jr. Vermeer: The Complete Works. New York, 1997: 50, fig. 21.

1998

  • Broos, Ben P. J. "Vermeer: Malice and Misconception." In Vermeer Studies. Ivan Gaskell and Michiel Jonker, eds. Studies in the History of Art 55, Symposium Papers 33 (1998): 25.

  • Wheelock, Arthur K., Jr. A Collector's Cabinet. Exh. cat. National Gallery of Art, Washington, 1998: 68, no. 62.

1999

  • Sweet, Christopher. The Essential Johannes Vermeer. New York, 1999: 111, repro.

2000

  • Wheelock, Arthur K., Jr. The Public and the Private in the Age of Vermeer. Exh. cat. Osaka Municipal Museum of Art. London, 2000: 203, no. 24, repro.

2001

  • Franits, Wayne E., ed. The Cambridge companion to Vermeer. Cambridge, England, and New York, 2001: pl. 36.

  • Netta, Irene. Vermeer's world: an artist and his town. Pegasus Library. Munich and New York, 2001: 89, repro.

2002

  • Bailey, Anthony. Vermeer. Translated by Bettina Blumenberg. Berlin, 2002: 202-203, repro.

2005

  • Fahy, Everett, ed. The Wrightsman Pictures. New Haven, 2005: 134-135, under cat. 37, fig. 5.

2006

  • Conforti, Michael. The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat. Sterling and Francine Clark Art Institute, Williamstown; Metropolitan Museum of Art, New York. Williamstown and New Haven, 2006: 48, 50, fig. 53.

2008

  • Dolnick, Edward. The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York, 2008: 130-131, 142, 169.

  • Liedtke, Walter A. Vermeer: the complete paintings. Ghent, 2008: no. 25, 140-142, color repro.

  • Sutton, Peter C. Reclaimed: paintings from the Collection of Jacques Goudstikker. Exh. cat. Bruce Museum of Arts and Science, Greenwich, Connecticut; The Jewish Museum, New York. Greenwich and New Haven, 2008: 21, fig. 22.

2009

  • Binstock, Benjamin. Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice. New York, 2009: 249-257, repro. 253 (detail).

2012

  • Tummers, Anna. The Eye of the Connoisseur: Authenticating Paintings by Rembrandt and His Contemporaries. Amsterdam, 2012: 28, 29, color fig. 8.

  • Wheelock, Arthur K., Jr., Walter A. Liedtke, and Sandrina Bandera Bistoletti. Vermeer: il secolo d'oro dell'arte olandese. Exh. cat. Scuderie del Quirinale, Rome. Milan, 2012: 36, 38 fig. 12.

2014

  • Krempel, León. "Allegorische Tronie-Paare bei Johannes Vermeer." in Tronies: das Gesicht in der frühen Neuzeit. Edited by Dagmar Hirschfelder and León Krempel. Berlin, 2014: 97-107, 123, color pl. 10, as "Synagogue."

2022

  • Georgievska-Shine, Aneta. Vermeer and the Art of Love. London, 2022: 110, 113, 115, color fig. 82, 149 nt. 7.

  • Libby, Alexandra, E. Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, and John K. Delaney. "Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art." Journal of Historians of Netherlandish Art 14, no. 2 (Summer 2022): fig. 67.

  • Gifford, E. Melanie, Kathryn A. Dooley, and John K. Delaney. "Methodology & Resources: New Findings from the National Gallery of Art." Journal of Historians of Netherlandish Art. 14, no. 2 (Summer 2022): figs. 4, 31, 44, 47, and 52.

Wikidata ID

Q3739200

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