Inscription: Signed and dated (lower right): Maes / 1676
Mrs. F. Lemker (née Muller), Oldenbroek and Kampen (until 1908; her sale, Frederik Muller, Kampen, July 7, 1908, no. 26 [with 11.149.2], for 2,600 florins ?to an American dealer); [Frank T. Sabin, London, from 1908]; J. Pierpont Morgan, New York (until 1911)
New York. The Metropolitan Museum of Art. "Dutch Couples: Pair Portraits by Rembrandt and his Contemporaries," January 23–March 5, 1973, no. 12 (with MMA 11.149.2).
Cincinnati. Taft Museum. "Dutch Couples: Rembrandt and His Contemporaries," December 15, 1973–March 3, 1974, unnumbered cat.
Memphis. Brooks Memorial Art Gallery. "Seventeenth-Century Dutch Paintings from The Metropolitan Museum of Art," May 1–June 23, 1982, no catalogue?
Columbus, Ohio. Columbus Museum of Art. "Seventeenth-Century Dutch Paintings from The Metropolitan Museum of Art," August 28–November 28, 1982, no catalogue?
Hamilton, N.Y. Picker Art Gallery, Colgate University. "Dutch Painting in the Age of Rembrandt from The Metropolitan Museum of Art," February 6–April 17, 1983, no. 3.
Rochester, N.Y. Memorial Art Gallery of the University of Rochester. "Dutch Painting in the Age of Rembrandt from The Metropolitan Museum of Art," May 3–June 5, 1983, no. 3.
Amarillo, Tex. Amarillo Art Center. "Dutch Painting in the Age of Rembrandt from The Metropolitan Museum of Art," June 22–July 31, 1983, no. 3.
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
"London Letter." American Art News 6 (August 15, 1908), p. 2, notes that the two pendant portraits are at Sabin's Gallery, London.
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 6, London, 1916, pp. 517–18, no. 143, states that the two pendants were bought for 2,600 florins by an American dealer at the 1908 Lemker sale.
Stephanie Dickey et al. Dutch Painting in the Age of Rembrandt from The Metropolitan Museum of Art. Exh. cat., Picker Art Gallery, Colgate University. Hamilton, N.Y., 1983, pp. 18–19, no. 3, ill.
P. J. J. van Thiel and W. Th. Kloek inPrijst de Lijst: De Hollandse schilderijlijst in de zeventiende eeuw. Exh. cat., Rijksmuseum. Amsterdam, 1984, p. 179, fig. c, under no. 37, call the frames of the two pendants late examples of this type.
Walter Liedtke inRembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. Vol. 2, "Paintings, Drawings, and Prints: Art-Historical Perspectives."New York, , p. 151, under no. 53, mentions it and its pendant as "a pair of splendid small portraits".
León Krempel. Studien zu den datierten Gemälden des Nicolaes Maes (1634–1693). Petersberg, Germany, 2000, pp. 23, 28, 30, 121 n. 14, pp. 278, 316, no. A173, fig. 258.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 446–49, no. 114, colorpl. 114.
Norbert Schneider. Von Bosch zu Bruegel: Niederländische Malerei im Zeitalter von Humanismus und Reformation. Berlin, 2015, pp. 172–73, 316, fig. 120 (color, with 11.149.2).
The picture is the pendant to the portrait of Jacob Binckes (MMA 11.149.2), the betrothed of the sitter. Admiral Binckes died in battle in 1677, before the marriage took place, and Rotterdam later married Pieter d'Orville in Amsterdam.
The frame is original, and is decorated with flowers, putti, and doves—symbols of love.
Artist: Nicolaes Maes (Dutch, Dordrecht 1634–1693 Amsterdam)Date: 1655–57Medium: Pen and brown ink, brush and brown wash, with framing line in pen and brown inkAccession: 47.127.3On view in:Not on view