+ Expand
Dimensions: 11 1/4 by 15 1/2 in.; 28.5 by 39.4 cm
+ Expand
Provenance: PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
With Wolfgang Gurlitt, Munich, 1962;
Anonymous sale, Cologne, Lempertz, November 18, 1965, lot 65 (as Cornelis van Haarlem), where purchased by Schickman;
With H. Shickman Gallery, New York, from whom purchased by the present collector in circa 1975.
+ Expand
Exhibited: Munich, Galerie Wolfgang Gurlitt, Meister der Manierismus, 1962, no. 29;
New York, H. Schickman Gallery, Exhibition of Dutch and Flemish Paintings, 1968, no. 10.
+ Expand
Literature: C.M.A.A. Lindeman, Joachim Anthonisz. Wtewael, Utrecht 1929, p. 84;
Jan Piet Filedt Kok, "Jan Harmensz. Muller as Printmaker", in Print Quarterly, Vol. XI, Number 3, September 1994, p. 251, note 63 (as Jan Muller);
P. van Thiel, Cornelis Cornelisz. van Haarlem 1562-1638, Doornspijk 1999, p. 294, under cat. no. 9, and p. 486 (under Rejected Attributions).
+ Expand
Notes: An engraving by Muller of the same composition and in the same sense as the present painting is recorded by Bartsch (B.III, p. 284, no. 64). The engraving was originally thought to have derived from a design by Cornelis van Haarlem or by Bartholomeus Spranger but it is most likely that Muller conceived of it himself, and the "signature" lower right is really just a later inscription (Cornelis van Haarlem never signs in this manner). There are some differences between the engraving and the painting, namely that the hair of the girl in the foreground and the margins of the composition have been altered. Jan Piet Filedt Kok (see Literature below) considers this panel to be a study for the print and therefore attributes the painting to Muller in full.
