J. Kenneth Moore, Bradley Strauchen-Scherer, Jayson Kerr Dobney. Musical Instruments: Highlights of the Metropolitan Museum of Art. First Printing. © 2015 by the Metropolitan Museum of Art, New York
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This painting has been dated convincingly to about 1658 (Gudlaugsson 1948–49). The careful dovetailing of shapes between the man and woman is similar to Vermeer’s approach to design at about the same time, but Ter Borch’s style differs strongly in most respects
collection/search/435717 https://www.metmuseum.org/art/collection/search/435717 Link
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collection/search/249058 https://www.metmuseum.org/art/collection/search/249058 Link
collection/search/241098 https://www.metmuseum.org/art/collection/search/241098 Link
collection/search/437835 https://www.metmuseum.org/art/collection/search/437835 Link
Lawrence Rubin, New York; Lewis Cabot, Boston; Lawrence Rubin, New York (in 1967); Carter Burden, New York (in 1972); (sale, Sotheby Parke Bernet, New York, May 21, 1975, no. 203); Peder Bonnier, New York; [Young Hoffman Gallery, Chicago]; [Leo Castelli Gallery, New York]; Roger I
collection/search/485043 https://www.metmuseum.org/art/collection/search/485043 Link
collection/search/359161 https://www.metmuseum.org/art/collection/search/359161 Link
collection/search/324061 https://www.metmuseum.org/art/collection/search/324061 Link
The first convincing argument for the attribution of this work to Van Borssom was made by Niemeijer in 1962, and the attribution was adopted by the Museum in 1990. In his approximately two dozen known paintings and in his numerous drawings, Van Borssom proves to have been an eclectic artist whose ideas came from a considerable variety of Dutch painters and draftsmen
collection/search/435723 https://www.metmuseum.org/art/collection/search/435723 Link
