Another painting, probably also by Johannes Vermeer known as A Young Woman Seated at the Virginals, belongs to a private collection shows also a young woman seated at a virginal. This painting and Lady Seated at a Virginal are quite separate works, and as each are known by alternate names confusion between them may exist.
Description
The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings.[2] A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law.[2] The painting is 51.5 by 45.5 centimetres (20.3 in × 17.9 in).
Commentary
Because of its style, the painting has been dated to about 1670. It has been suggested that it and Lady Standing at a Virginal (also owned by the National Gallery) may have been created as pendants, because their sizes, date and subject matter are all similar. A recent study has shown that the canvas for the two paintings also came from the same bolt.[3] In addition, the ground applied to the canvas appears identical to that used for both the Lady Standing and the New York Young Woman Seated.[4] However their provenances before the 19th century differ, and Vermeer sometimes varied a theme in otherwise unrelated paintings. In the 19th century, both paintings were owned by the art critic Théophile Thoré, whose writings led to a resurgence of interest in Vermeer starting in 1866. The painting entered the National Gallery with the Salting Bequest in 1910.[2]
