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[Ambroise Vollard, Paris, sold by winter 1924 to Reber]; Dr. Gottlieb Friedrich Reber, Lugano and Lausanne (1924–37; sold in November 1937 to Cooper); Douglas Cooper, London (1937–d. 1984; inv. no. 65; estate no. DC 35/34; his bequest to McCarty-Cooper); his partner and adopted son, William McCarty-Cooper, London (1984–86; sold in November 1986 to Lauder); Leonard A. Lauder, New York (1986–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–21; gift to MMA)
collection/search/490587 https://www.metmuseum.org/art/collection/search/490587 Link

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collection/search/436072 https://www.metmuseum.org/art/collection/search/436072 Link

This panel of about 1650–51 introduces the most admired qualities of Ter Borch’s mature style (as found, for example, in Curiosity of about 1660–62, The Met 49
collection/search/435718 https://www.metmuseum.org/art/collection/search/435718 Link

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This is a signed early work by Cuyp, probably painted about 1643–44. Although larger than most works painted by the artist when he was in his early to mid-twenties, the painting shares with them a fluid touch and a palette reminiscent of Jan van Goyen; pale browns and yellows blend together in the landscape, tans and grays in the costumes, and blues in the sky
collection/search/436062 https://www.metmuseum.org/art/collection/search/436062 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

Inscription: Inscribed: (reverse, in a later hand) Ambrogio Borgognone fe.; (on Christ’s halo) IESVS CRISTV[S]; (on Virgin’s halo) [BE?]NIGNA; (on hem of Virgin’s cloak) NOMEN DOM[I]NI
collection/search/435656 https://www.metmuseum.org/art/collection/search/435656 Link

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