References H. W. "Van der Meer." Athenæum no. 2585 (May 12, 1877), p. 616, attributes it to Vermeer.Van der Meer de Delft . Paris, 1888, p. 39, no. 56, ill. p. 31 (engraving), as "L'aiguière".De Nederlandsche Spectator (1889), p. 62 [see Ref. Wheelock and Broos 1995].L'art 48, part 1 (1890), ill. p. 176.Die Graphischen Künste 18 (1895), p. 24.Memorials of Christie's: A Record of Art Sales from 1766 to 1896 . London, 1897, vol. 1, p. 269.A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century . 1, London, 1907, p. 272, no. 62, p. 590, no. 19, catalogues it on p. 272 as "A Lady Opening a Window," by Metsu, bought by Colnaghi at the Vernon sale of 1877 for £404.5, and on p. 590 as "A Young Woman with a Water-Jug (or, A Young Woman Opening a Casement)".Vermeer de Delft . Brussels, 1908, pp. 40, 98, ill. opp. p. 102.Tribune (September 19, 1909) [reprinted in the Metropolitan Museum of Art Bulletin 4 (October 1909), p. 166].Jan Vermeer of Delft and Carel Fabritius . Amsterdam, 1909, pp. 25–29, pl. 11.Evening Post (September 20, 1909) [reprinted in Metropolitan Museum of Art Bulletin 4 (October 1909), p. 172, ill. p. 168].The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 138, no. 137, ill. opp. p. 138.L'art flamand & hollandais 13, no. 2 (1910), p. 57, ill. p. 55 [published in Dutch in Onze Kunst 17 (February 1910), p. 41, ill. p. 42].Burlington Magazine 16 (January 1910), p. 246.Repertorium für Kunstwissenschaft 33 (1910), p. 98.Monatshefte für Kunstwissenschaft 3, no.1 (1910), p. 11.Zeitschrift für bildende Kunst , n.s., 21, no. 4 (1910), p. 84, ill. p. 85.Niederländisches Künstler-Lexikon . 2, Vienna, 1910, p. 776.New York Times (December 31, 1911), p. SM4.Vermeer van Delft . Leipzig, 1911, pp. 50–51, 118, no. 27, pl. 12.L'oeuvre de Jan Vermeer de Delft dit Van Der Meer de Delft (1632–1675) . Paris, 1912, pp. 16, 28.Jan Vermeer of Delft . Boston, 1913, pp. 99–101, 132, 136, 138, 163, 178, 180–81, 183, 187–88, 244, 248–50, 368, 373, ill. (color, frontispiece).Die Meister der holländischen und vlämischen Malerschulen . Leipzig, 1917, p. 76, ill. p. 75.American Magazine of Art 8 (August 1917), pp. 386, 390.Oud-Holland 38 (1920), pp. 196, 198, dates it about 1660–65.Vermeer of Delft . London, [1922?], pp. 35, 37, ill. opp. p. 44.Die Kunst für Alle 38 (October 1922), p. 6, ill. p. 10.Vermeer van Delft . Munich, 1924, p. 24, pl. 16.International Studio 82 (November 1925), pp. 123–24, ill. p. 125.Ver Meer De Delft . Paris, 1926, pp. 36, 52, 59–60, 76, 83, 94, 99–101, ill. p. 25, places it with a group of paintings he dates between 1654 and 1660.Gazette des beaux-arts , 5th ser., 16 (December 1927), p. 309.Pantheon 10 (October 1932), p. 322, dates it about 1657.L'art et les artistes , n.s., 25 (February 1933), p. 166.Pantheon 8 (August 1935), p. 262, ill. opp. p. 287 (color).Bulletin de l'art [supplement of Revue de l'art] 68 (November 1935), p. 366, ill. p. 365.La Renaissance 18 (October 1935), p. 102.Meisterwerke europäischer Malerei in Amerika . Vienna, 1935, p. 337, pl. 185 [English ed., "Masterpieces of European Painting in America," New York, 1939, pp. 321–22, pl. 185], dates it about 1665.Vermeer . Boston, 1937, pp. 64, 73, 81, 84, 107–11, 120, 190, colorpl. 1.Vermeer van Delft . Munich, 1939, pp. 18, 21–22, 59, fig. 1.Jan Vermeer van Delft . Amsterdam, 1939, pp. 40, 81–82, no. 11, fig. 37, dates it about 1658.in Allgemeines Lexikon der bildenden Künstler . 34, Leipzig, 1940, p. 268.Art Digest 18 (June 1, 1944), p. 26.The Book of Costume . New York, 1948, vol. 2, p. 625, no. 1663, ill. (cropped).Metropolitan Museum of Art Bulletin 7 (November 1948), pp. 76, 78, ill. p. 75 and on cover (color detail).Jan Vermeer van Delft . London, 1948, pp. 36–37, 84, pl. 10, dates it about 1658–60.Johannes Vermeer, Painter of Delft, 1632–1675 . Utrecht, 1950, pp. 56, 72, 83, 85, 87–88, 118, 144, no. 16, pl. 16, as possibly acquired by Lord Powerscourt's grandfather, Lord Castlereagh.Vermeer . London, 1952, pp. 130–31, no. XV, pls. 38–39 (overall and detail), places it in the same period as "Young Woman with a Wineglass" (Herzog Anton Ulrich-Musuem, Brunswick).Vermeer de Delft . Paris, 1952, p. 74, no. XVII, ill. p. 75 (color).Tutta la pittura di Vermeer di Delft . Milan, 1954, pp. 21, 32–33, pls. 35–37 (overall and details) [English ed., New York, 1963, pp. 23, 32–33, pls. 35–37 (overall and details)], dates it about 1660.Art News 52 (January 1954), p. 71, ill. p. 33 (color).Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 3, ill. on cover (color detail).Vermeer . Warsaw, 1956, p. 22, pl. 13.Metropolitan Museum of Art Bulletin 16 (November 1957), p. 100, ill. p. 87.Jan Vermeer: The Paintings . London, 1958, pp. 5, 136–37, no. 16, colorpl. 43, dates it about 1663.Johannes Vermeer . London, 1961, pp. 22, 31, no. 59, colorpl. 59.Bulletin Museum Boymans-van Beuningen 12, no. 3 (1961), p. 95.in Dutch Art and Architecture: 1600 to 1800 . Baltimore, 1966, p. 121.in L'opera completa di Vermeer . Milan, 1967, p. 90, no. 13, ill. p. 90 and colorpl. XXXIII [English ed., 1970].in Encyclopedia of World Art . 14, New York, 1967, col. 742, dates it before 1660.The World of Vermeer, 1632–1675 . New York, 1967, pp. 16–17, 26–27, 147–48, ill. (color, overall and detail).in Masterpieces of Fifty Centuries . Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 261, no. 283, ill. pp. 261 and 56 (color).Metropolitan Museum of Art Bulletin 28 (January 1970), p. 199, ill.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, pp. 74, 172 [rev., enl. ed., 1989].in Dutch Art and Architecture: 1600 to 1800 . rev. ed. Harmondsworth, England, 1972, pp. 200–203, fig. 148.Letters of Roger Fry . New York, 1972, vol. 1, p. 255 n. 1 to letter no. 177 (March 2, 1906).La grande histoire de la peinture . 10, [Geneva], 1973, pp. 49, 58.Vermeer . [Paris], [1973], unpaginated, ill. (color), dates it about 1662.Proceedings of the American Philosophical Society 117 (August 1973), p. 247, fig. 21.Metropolitan Museum of Art Bulletin 31 (Summer 1973), unpaginated, figs. 80 (color detail), 81 (detail, before restoration), 91 (x-ray detail), ill. front cover (color detail).Metropolitan Museum of Art Bulletin 31 (Summer 1973), unpaginated, ill. front cover and fig. 7 (color, overall and detail), dates it early 1660s.Jan Vermeer van Delft . Cologne, 1974, pp. 54, 56, 105, no. 18, ill. and frontispiece (color), dates it about 1662–63.Johannes Vermeer van Delft, 1632–1675 . Utrecht, 1975, pp. 59–60, 62, 109, 146–47, 159, no. 12, colorpl. 12 [English ed., "Vermeer of Delft," Oxford, 1978, pp. 62, 73, 159–60, no. 12, colorpl. 12].Art Bulletin 57 (December 1975), pp. 534–35, fig. 5 [expanded in Ref. Welu 1977], dates it about 1662 and identifies the wall map as the Seventeen Provinces of the Netherlands, published by Hugo Allart.Vermeer . London, 1976, pp. 11, 39, 79, 82–83, colorpl. III and pl. 13.Dutch Painting . New York, 1978, p. 59, fig. 40 (color).Jahrbuch der Staatlichen Kunstsammlungen Dresden 11 (1978/79), p. 98 n. 15.Arts Magazine 53 (January 1979), pp. 118–21, ill.The Metropolitan Museum of Art . New York, 1980, pp. 13, 344–45, fig. 1 (color).Frans van Mieris (1635–1681) the Elder . Doornspijk, The Netherlands, 1981, vol. 1, p. 68.Vermeer and His Contemporaries . New York, 1981, p. 50, ill. p. 51 (color), dates it about 1662.Jan Vermeer . New York, 1981, pp. 44, 48, 114, 116, colorpls. 26–27 (overall and detail), dates it about 1664–65.Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday . London, 1984, p. 231.Vermeer: Consciousness and the Chamber of Being . Ann Arbor, Mich., 1984, pp. 8, 11, 15, 18, 26, 29, 41, 46, 53, 55, 89, 95, figs. 5–7 (overall and diagrams).in Masters of Seventeenth-Century Dutch Genre Painting . Exh. cat., Philadelphia Museum of Art. Philadelphia, 1984, p. LV, fig. 100.Vermeer . Paris, 1986, pp. 47, 50, 108–9, 112, 180–81, no. 12, fig. 38 (detail), colorpl. XI [English ed., 1988, pp. 47, 50, 108–9, 112, 156, 179, no. 12, fig. 38, colorpl. 11].Karten in Bildern: Zur Ikonographie der Wandkarte in holländischen Interieurgemälden des siebzehnten Jahrhunderts . Hildesheim, 1986, pp. 94–95, 98–99, 102–3, fig. 95 and ill. on cover.A Guide to Dutch Art in America . Grand Rapids, Mich., 1986, p. 189, fig. 270.Holländische Genremalerei im 17. Jahrhundert . Berlin, 1987, p. 159, fig. 11 [same text published in Die Kunst (January 1987)].Holländische Genremalerei im 17. Jahrhundert . Berlin, 1987, pp. 385, 390–91, 412 n. 15, figs. 1–2 (overall and reflectogram details).Vermeer and His Milieu: A Web of Social History . Princeton, 1989, pp. 190, 266, fig. 42.Great Dutch Paintings from America . Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, pp. 17, 36, 40, fig. 1.Rutgers Art Review 12–13 (1991–92), pp. 52, 68, fig. 2.Vermeer . London, 1991, pp. 26, 28, 31, 94, 96–98, ill. (color).Rembrandt och hans Tid: Människan i Centrum . Exh. cat., Nationalmuseum. Stockholm, 1992, pp. 92, 102–3, fig. 9 [reprinted in Wayne E. Franits, ed., "The Cambridge Companion to Vermeer," Cambridge, 2001, pp. 30, 39, pl. 18].L'Ambition de Vermeer . Paris, 1993, pp. 129, 148–49, 188 n. 17, fig. 29 [English ed., "Vermeer, Faith in Painting," Princeton, 1994, pp. 50, 64, 113 n. 17, fig. 29].Apollo , n.s., 137 (March 1993), p. 193, ill. on cover (color) and table of contents.A Study of Vermeer . rev., enl. ed., Berkeley, 1994, pp. xi, 61, 104, 116, 139, 161, 164, 168 n. 5, p. 183 n. 16, pp. 212–13 nn. 11, 22, colorpl. 62.in Johannes Vermeer . Exh. cat., National Gallery of Art. Washington, 1995, p. 40.in Johannes Vermeer . Exh. cat., National Gallery of Art. Washington, 1995, p. 61.Dutch Painting 1600–1800 . New Haven, 1995, pp. 145, 148, fig. 188.Shop Talk: Studies in Honor of Seymour Slive . Cambridge, Mass., 1995, p. 273.Vermeer & the Art of Painting . New Haven, 1995, pp. 104–11, figs. 75 (color), 76 (infrared reflectograms), 77, 78, 79 (color details), A19.in Johannes Vermeer . Exh. cat., National Gallery of Art. Washington, 1995, p. 25, fig. 11 (color detail).in Johannes Vermeer . Exh. cat., National Gallery of Art. Washington, 1995, pp. 140, 146–51, 166, no. 11, ill. (color; overall and detail), fig. 2 (infrared reflectogram), and back cover of dust jacket (color).in The Dictionary of Art . 32, New York, 1996, pp. 263, 265, fig. 2.Jan Vermeer: Catalogo completo . Florence, 1996, pp. 18, 33, 98–99, no. 9, ill. pp. 58–60 (color, overall and details).A Worldly Art: The Dutch Republic 1585–1718 . New York, 1996, pp. 39, 83, fig. 21 (color).in The Scholarly World of Vermeer . Exh. cat.Zwolle, The Netherlands, 1996, p. 75, ill. opp. p. 75 (detail).Looking at Seventeenth-Century Dutch Art: Realism Reconsidered . Cambridge, 1997, p. 66, fig. 41, ill. on cover (color).Looking at Seventeenth-Century Dutch Art: Realism Reconsidered . Cambridge, 1997, pp. 126–27, ill. on cover (color).Vermeer: The Complete Works . New York, 1997, p. 38, colorpl. 17.Vermeer Studies . Washington, 1998, pp. 150, 155–57, 165, 167.Vermeer Studies . Washington, 1998, p. 262.Vermeer Studies . Washington, 1998, pp. 205, 209.Vermeer Studies . Washington, 1998, p. 329.Morgan: American Financier . New York, 1999, pp. 563, 611.Nederlands Kunsthistorisch Jaarboek 51 (2000), pp. 238, 251–52, 254–55, 257, 263–65, 267, fig. 13.Vermeer's Wager: Speculations on Art History, Theory and Art Museums . London, 2000, p. 177.A View of Delft: Vermeer and his Contemporaries . Zwolle, The Netherlands, 2000, pp. 18, 132, 191, 202, 207, 213, 217, 220, 226–28, 233, 238, 242, 289 n. 64, colorpl. XXVI and fig. 282, affirms a date of about 1661–62.in The Oxford History of Western Art . New York, 2000, p. 245, ill. (color).Vermeer: A View of Delft . New York, 2001, pp. 131, 133, ill. p. 145.The Cambridge Companion to Vermeer . Cambridge, 2001, p. 21, pl. 18.The Cambridge Companion to Vermeer . Cambridge, 2001, p. 153.Art in America 89 (March 2001), p. 100, ill. p. 99 (color).Vermeer and the Delft School . Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 112, 117, 156, 158, 161–62, 164–65, 362, 365, 379–81, 383, no. 71, ill. (color).Vermeer and Painting in Delft . London, 2001, pp. 59–60, fig. 50 (color).Vermeer's Camera . Oxford, 2001, pp. 133, 168–69, 193–94 n. 8, fig. 28 (diagram of window).The Cambridge Companion to Vermeer . Cambridge, 2001, pp. 167–68, 216 n. 21.Vermeer and the Invention of Seeing . Chicago, 2001, p. 71, fig. 28 (detail).Giants of Delft: Johannes Vermeer and the Natural Philosophers . . . Lewisburg, Pa., 2003, pp. 47, 50, 66, 90, 92, 95, 99, 139 n. 62, ill. p. 70.Vermeer y el interior holandés . Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 170, 172, 174, 253–54, no. 34, ill. p. 171 (color) and on cover (color detail).in Vermeer y el interior holandés . Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 82, 85, 87, 228, 230–31.Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution . New Haven, 2004, pp. 170, 172, 235, 287 n. 75, p. 288 n. 85, fig. 156 (color) and ill. p. 258 (color detail).in Senses and Sins: Dutch Painters of Daily Life in the Seventeenth Century . Exh. cat., Museum Boijmans Van Beuningen. Ostfildern-Ruit, Germany, 2004, p. 248, under no. 68, calls the composition closely related to "Woman With a Lute" (MMA 25.110.24).Vermeer and Plato: Painting the Ideal . Lewisburg, Pa., 2005, pp. 54, 89, 94–95, 98, 110, 131 n. 35.Vermeer in the Mauritshuis . Zwolle, The Netherlands, 2005, p. 12, no. 3, ill. (color).Only in America: One Hundred Paintings in American Museums Unmatched in European Collections . Milan, 2006, ill. p. 118.Vermeer ou l'action de voir . Brussels, 2007, pp. 96–97.Dutch Paintings in The Metropolitan Museum of Art . New York, 2007, vol. 1, pp. ix–x, 39 n. 8, p. 64 n. 9, p. 366; vol. 2, pp. 866, 870, 877–84, no. 203, colorpl. 203 and frontispiece (color).Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 3, 11–12, 28, 68, 70–71, figs. 8 (color), 82 (color, MMA Vermeer gallery photograph) and frontispiece (color detail).Vermeer: The Complete Paintings . Antwerp, 2008, pp. 20, 22, 36, 43, 45, 47–48, 71–72, 87–88, 98–102, 108, 113, 115, 118, 123, 127, 138, 195, no. 13, ill. (color, overall and detail) and fig. 38 (color detail).Vermeer and the Delft Style . Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2008, pp. 70–71, fig. 16 (color)."The Milkmaid" by Johannes Vermeer . Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 5–7, 21, 31–32, 34, no. 7, colorpl. 7.Commonweal 136 (October 23, 2009), p. 26, ill. p. 25 (color).New York Times (September 11, 2009), p. C29, ill. (color).
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