New York. The Metropolitan Museum of Art. "Loan Collection of Paintings," May–November, 1891, no. 6.

New York. American Fine Arts Society. "Loan Exhibition," February 13–March 26, 1893, no. 16 (as "Interior," lent by Mr. H. O. Havemeyer, probably this picture).

New York. The Metropolitan Museum of Art. "The Hudson-Fulton Celebration," September–November, 1909, no. 53 (lent by Mrs. Henry O. Havemeyer, New York).

New York. M. Knoedler & Co.. "Loan Exhibition of Masterpieces by Old and Modern Painters," April 6–24, 1915, no. 5 (lent anonymously).

New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 71 [2nd ed., 1958, no. 15].

Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 28).

University Art Museum, University of California at Berkeley. "Dutch Masters from The Metropolitan Museum of Art," November 25, 1969–January 4, 1970, checklist no. 7.

Houston. Institute for the Arts, Rice University. "Dutch Masters from The Metropolitan Museum of Art," January 18–March 1, 1970, checklist no. 7.

New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A326.

Delft. Prinsenhof. "Delft Masters, Vermeer's Contemporaries," March 1–June 2, 1996, unnumbered cat. (fig. 134).

Paris. Musée d'Orsay. "La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme...," October 20, 1997–January 18, 1998, no. 6.

London. Dulwich Picture Gallery. "Pieter de Hooch, 1629–1684," September 3–November 15, 1998, no. 8.

Hartford. Wadsworth Atheneum. "Pieter de Hooch, 1629–1684," December 17, 1998–March 14, 1999, no. 8.

New York. The Metropolitan Museum of Art. "Vermeer and the Delft School," March 8–May 27, 2001, no. 25.

London. National Gallery. "Vermeer and the Delft School," June 20–September 16, 2001, no. 25.

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.

Tokyo Metropolitan Art Museum. "Vermeer and the Delft Style," August 2–December 14, 2008, no. 18.

New York. The Metropolitan Museum of Art. "Vermeer's Masterpiece 'The Milkmaid'," September 9–November 29, 2009, no. 2.

John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 4, London, 1833, p. 229, no. 34, as in the collection of baron Delassert [sic].

Notice sur la collection de tableaux de MM. Delessert. Paris, 1844, p. 24, no. 58, as "Intérieur d'une chambre".

Notice sur la collection de tableaux de MM. Delessert. Paris, 1846, p. 52, no. 80, as "Intérieur d'une chambre".

W. Bürger [Théophile Thoré]. "Galerie de MM. Pereire." Gazette des beaux-arts 16 (April 1864), p. 313, as "L'Intérieur de chambre"; attributes it to Vermeer.

W. Bürger [Théophile Thoré]. "Van der Meer de Delft (1er article)." Gazette des beaux-arts 21 (October 1866), pp. 316–17, 551, no. 14, as in the collection of François Delessert; as "Conversation"; attributes it to Vermeer.

Charles Blanc. "Galerie Delessert." Gazette des beaux-arts, 2nd ser., 1 (1869), pp. 202–4, ill. opp. p. 202 (engraving by Ch. Courtry), as "Intérieur d'une chambre"; rejects Bürger's [see Refs. 1864 and 1866] attribution to Vermeer.

Henry Havard. L'Art et les artistes hollandais. 3, Paris, 1880, pp. 104–5, as "La Collation".

L'art 1 (1883), ill. p. 113 (etching by Daniel Mordant) [see Ref. Wurzbach 1906].

Henry Havard. Van der Meer de Delft. Paris, 1888, p. 36, no. 15, as "Conversation," in the Secrétan collection, Paris; as by Vermeer.

A[braham]. Bredius. "Bijdragen tot de Biographie van Pieter de Hooch." Oud-Holland 7 (1889), p. 161 n. 2.

C[ornelis]. Hofstede de Groot. "Proeve eener kritische Beschrijving van het Werk van Pieter de Hooch." Oud-Holland 10 (1892), p. 188, no. 87e, p. 189, no. 34, as the famous interior from the Secrétan sale, now in America.

W. Bode. "Alte Kunstwerke in den Sammlungen der Vereinigten Staaten." Zeitschrift für bildende Kunst, n.s., 6, no. 1 (1895), p. 72, ill. p. 17, as "Unterredung," in the Havemeyer collection, New York.

Alfred von Wurzbach. Niederländisches Künstler-Lexikon. 1, Vienna, 1906, pp. 716–17, as "La Consultation".

C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 1, London, 1907, pp. 529–30, no. 192, as "Two Ladies and Two Gentlemen in an Interior"; gives provenance information.

Royal Cortissoz. "Old Dutch Masters." Tribune (September 19, 1909) [reprinted in the Metropolitan Museum of Art Bulletin 4 (October 1909), pp. 166–67].

Wilhelm R. Valentiner. 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. 54, no. 53, ill. opp. p. 54, as "The Visit," lent by Mrs. Henry O. Havemeyer, New York; dates it about 1658.

Joseph Breck. "L'art hollandais à l'exposition Hudson-Fulton à New York." L'art flamand & hollandais 13, no. 2 (1910), p. 57 [published in Dutch in Onze Kunst 17 (February 1910), p. 42], as from the artist's best period, 1655–65.

Kenyon Cox. "Dutch Pictures in The Hudson-Fulton Exhibition—III." Burlington Magazine 16 (February 1910), p. 305.

Wilhelm R. Valentiner. "Die Ausstellung holländischer Gemälde in New York." Monatshefte für Kunstwissenschaft 3, no.1 (1910), p. 9, as from the artist's best period, about 1658–60.

E[mil]. Waldmann. "Die Ausstellung Holländischer Gemälde des 17. Jahrhunderts in New York." Zeitschrift für bildende Kunst, n.s., 21, no. 4 (1910), p. 82, as from the artist's best period, around 1660.

William Bode. "More Spurious Pictures Abroad Than in America." New York Times (December 31, 1911), p. SM4.

Hans Jantzen. Farbenwahl und Farbengebung in der holländischen Malerei des XVII. Jahrhunderts. Parchim i. M., Germany, [1912], p. 24.

Arthur de Rudder. Pieter de Hooch et son oeuvre. Brussels, 1914, p. 105, as "Deux dames et deux gentilshommes".

W[ilhelm]. R. Valentiner. "Pieter de Hooch, Part One." Art in America 15 (December 1926), pp. 47, 61, fig. 2, places it in the period between 1658 and 1663.

Clotilde Brière-Misme. "Tableaux inédits ou peu connus de Pieter de Hooch." Gazette des beaux-arts, 5th ser., 16 (1927), p. 60, ill. p. 57, as "La Collation," sometimes called "La Courtisane".

W[ilhelm]. R. Valentiner. "Pieter de Hooch, Part Two." Art in America 15 (February 1927), pp. 74, 76, no. 7.

Abraham Bredius. "Pieter de Hooch und Ludolph de Jongh." Zeitschrift für bildende Kunst 62 (September 1928), p. 65, as "Das Frühstück".

Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 462, ill. p. 474.

Wilhelm R. Valentiner. Pieter de Hooch. New York, [1930], pp. X–XI, XV–XVI, 275, ill. p. 62 [German ed., 1929, pp. XIII, XVII–XVIII, 275, ill. p. 62], dates it about 1661.

Bryson Burroughs. The Metropolitan Museum of Art: Catalogue of Paintings. 9th ed. New York, 1931, p. 168.

H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 18–19, ill.

Wilhelm R. Valentiner. "Zum 300. Geburtstag Jan Vermeers, Oktober 1932: Vermeer und die Meister der holländischen Genremalerei." Pantheon 10 (October 1932), p. 317.

Georg Pudelko. "Per la datazione delle opere di Fra Filippo Lippi." Rivista d'arte 18 (1936).

Franzsepp Würtenberger. Das holländische Gesellschaftsbild. Schramberg, Germany, 1937, p. 82, as "Zwei junge Paare beim Wein," in the collection of Mrs. Havemeyer [sic]; dates it about 1655–60.

Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 19, as "Interior, a Glass of Wine".

Peter C. Sutton. Pieter de Hooch. Ithaca, N.Y., 1980, p. 79, no. 19, pl. 18, as "A Merry Company with Two Men and Two Women"; dates it about 1657; tentatively identifies it as a picture included in the Odon sale of 1704.

Frances Weitzenhoffer. "The Creation of the Havemeyer Collection, 1875–1900." PhD diss., City University of New York, 1982, pp. 109, 119 n. 24, pp. 127, 131–32, 138, 144–45 n. 37, pp. 149, 166 n. 7.

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 58, 66, 77, 254, ill. p. 224 (installation photograph from Exh. New York 1915).

Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 46, dates it about 1657.

Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 19, 191, 310 n. 37, p. 329 n. 268.

Walter A. Liedtke in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 65.

Rebecca A. Rabinow. "The Suffrage Exhibition of 1915." Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 91, 95, fig. 10 (installation photograph from Exh. New York 1915).

Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 209, pl. 187.

Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 349–50, no. A326, ill.

Frances Suzman Jowell. "Thoré-Bürger and Vermeer: Critical and Commercial Fortunes." Shop Talk: Studies in Honor of Seymour Slive. Cambridge, Mass., 1995, pp. 126–27 n. 29, fig. 7, as "The Visit ('Merry Company')"; dates it about 1657.

Frances Suzman Jowell. "Thoré-Bürger—A Critical Rôle in the Art Market." Burlington Magazine 138 (February 1996), pp. 123–24, fig. 69.

Michiel C. C. Kersten in Delft Masters, Vermeer's Contemporaries. Exh. cat., Prinsenhof, Delft. Zwolle, The Netherlands, 1996, pp. 143–45, 224, fig. 134 (color), as "A Merry Company with Two Men and Two Women ('The Visit')"; dates it about 1657.

Peter C. Sutton. Pieter de Hooch, 1629–1684. Exh. cat., Dulwich Picture Gallery, London. Hartford, 1998, pp. 13, 26, 28, 31, 102–3, no. 8, ill. (color), as "A Merry Company with Two Men and Two Women"; dates it about 1657–58.

Walter Liedtke. A View of Delft: Vermeer and his Contemporaries. Zwolle, The Netherlands, 2000, pp. 178–79, colorpl. XII, fig. 242, dates it about 1657.

Walter Liedtke et al. Vermeer and the Delft School. Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 16, 135, 140, 156, 270–72, 280, 351, 376, no. 25, ill. (color), dates it about 1657.

Frank Wynne. I Was Vermeer: The Rise and Fall of the Twentieth Century's Greatest Forger. New York, 2006, p. 169, colorpl. 14.

Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 355–60, no. 84, colorpl. 84, fig. 93 (color detail); vol. 2, p. 871.

Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 15, 28, 70, fig. 13 (color).

Walter Liedtke. Vermeer: The Complete Paintings. Antwerp, 2008, pp. 41–42, fig. 29 (color).

Peter C. Sutton. Vermeer and the Delft Style. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2008, pp. 52, 65, 138–41, no. 18, ill. (color, overall and detail).

Walter Liedtke. "The Milkmaid" by Johannes Vermeer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 20, 26, 29, no. 2, colorpl. 2.

Leo J. O'Donovan. "An Eternal Now: Vermeer at the Met." Commonweal 136 (October 23, 2009), p. 25.