Portrait of a Woman with a Lace Collar

This portrait has been described by Ekkart (1988; unpublished opinion in departmental archives) as a "characteristic work by the painter," which does not imply that it is entirely by his hand. Miereveld is probably responsible for the face alone, which is remarkable for its suggestion of both friendliness and reserve. The execution of the collar, dress, and even the jewelry appears routine, by comparison,
when examined firsthand.

The hairstyle and dress, in particular the layered lace collar, suggest a date of about 1632–35. Lace collars varied considerably within certain patterns, and were prized possessions (they are often listed in inventories of estates). The one depicted here was probably the sitter's own.

[2017; adapted from Liedtke 2007]

Count Potocki, London (sold to Barres); Monsieur Barres, Paris; [Durand-Ruel, New York, until March 1891; sold for $2,000 to Davis]; Theodore M. Davis, Newport, R.I. (1891–d. 1915; his estate, on loan to the MMA, 1915–30)

Museum of Fine Arts, Boston. Winter 1903–4, no catalogue? [see Chalfin 1903].

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.

P. C[halfin]. "Pictures in the Fourth Gallery." Museum of Fine Arts Bulletin 1 (November 1903), pp. 30–31, suggests that it may be by the younger [i.e., Pieter] van Miereveld.

Bryson Burroughs. "The Theodore M. Davis Bequest: The Paintings." Metropolitan Museum of Art Bulletin 26, section 2 (March 1931), p. 16, as "Dame à la Collerette".

Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 618, no. 1639, ill. (cropped).

Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 474–75, no. 120, colorpl. 120, states that the hairstyle and dress suggest a date of about 1632–35.