Frederik Duparc, Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection (New Haven, 2011), 279–81, no. 57, with outdated biographical information. For a more up-to-date biography of Maria, see the online note by Marloes Huiskamp.
Thierry Beherman, Godfried Schalcken (Paris, 1988), nos. 104, 130, 131, and 149. According to Beherman, the signature on his no. 4, the Holy Family in Frankfurt, is followed by a capital F, but illustration no. 457 in Mirjam Neumeister, Holländische Gemälde im Städel 1550–1800: Künstler geboren nach 1630 (Petersburg, 2010), 3:408, shows it to be a lowercase F. According to the RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) website, Schalcken’s Self-Portrait, now in the Dordrechts Museum (RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) kunstwerkno. 13042), bears a capital F, but in this case, too, Schalcken in fact used the small s-like letter F. As far as I could discover, these are the only instances in which Schalcken signed his work with an F after his name.
Cornelis Schalcken (1610–74) and Aletta Lydius (1612–after 1674) married in Heusden in 1636 and would have eight children: Balthasar (1637–79), Anna (1638–80), Godefridus (1643–1706), Maria (ca. 1645–before 1700), Cornelis (ca. 1650–1709), Aletta (1654–1700), Barbara (ca. 1655–1709), and Johannes (1660–1724).
Johannes Immerzeel, De levens en werken der hollandsche en vlaamschkunstschilders, beeldhouwers, graveurs en bouwmeesters, van het begin der vijftiende eeuw tot heden… (Amsterdam, 1842–43), 3:59.
Maria and Severijn had their banns read on 26 July 1682, which means that the marriage must have taken place several weeks later. Gemeentearchief Dordrecht (now the Regionaal Archief Dordrecht), ONA 20.243 (unnumbered). This date is not provided in the online note by Marloes Huiskamp.
Professor Peter Klein, who subjected the current painting to dendrochronological examination in July 2012, came to the conclusion that “an earliest felling date can be derived for the year 1640. . . . With a minimum of 2 years for seasoning an earliest creation of the painting is possible from 1642 upwards. Under the assumption of a median of 17 sapwood rings and 2 years for seasoning a creation is plausible from 1652 upwards.” Apparently it was more than 20 years before the panel was actually put to use.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 47 (ill.). Trafalgar Galleries, Trafalgar Galleries at the Royal Academy, vol. 2 (London, 1979), 46–47, with color illustration; oil on panel, 36.2 x 26.2 cm. The work is signed in full “Maria . Schalcken . F .” in the lower left-hand corner, exactly as on her Self-Portrait.
The woman eating comfits (oil on panel, approx. 50 x 40 cm) was first recorded at the sale in The Hague of the collection of Seger Tierens, 23 July 1743 (lot 167); on 21 May 1790 the piece was put up for auction again in The Hague (lot 165); RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) excerpts nos. 1483885 and 1483896. The drunken woman on a panel of approximately the same dimensions first surfaced at the sale on 7 November 1768 in Dordrecht (lot 7) and was later included in the sale of the Cornelis van Heemskerck collection, which was held on 18 November 1783 in The Hague (lot 13). It subsequently belonged to the Jacques Bergeon collection, which was auctioned off on 4 November 1789 in The Hague (lot 59); RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) excerpts nos. 1483891, 1483894, and 1483892, all with much more detailed descriptions of the painting than the one given in the 1768 catalogue. The portrait of a young girl (oil on panel, 28 x 21 cm) was part of the collection of Count F. de Robiano, which was sold in Brussels on 1 May 1837 (lot 594). The same painting was described in detail in July 1922 by Hofstede de Groot, who also noted that an attempt had been made to pass it off as the work of Godefridus; RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History) excerpts nos. 1483888 and 1483895.