For the other three paintings, see Adriaan E. Waiboer, Gabriel Metsu, Life and Work: A Catalogue Raisonné (New Haven and London, 2012), 189–92, nos. A-41, A-43, A-44, all ill. (No. A-41, Woman Cleaning Carrots, is also in The Leiden Collection.)
Linda Stone-Ferrier, “Gabriel Metsu’s Street Vendors: Shopping for Values in the Dutch Neighbourhood,” in Gabriel Metsu, ed. Adriaan E. Waiboer (Exh. cat. Dublin, National Gallery of Ireland; Amsterdam, Rijksmuseum; Washington D.C., National Gallery of Art) (New Haven, 2010), 78.
Keith P. F. Moxey, “Pieter Aertsen, Joachim Beuckelaer, and the Rise of Secular Painting in the Context of the Reformation” (Ph.D. diss., University of Chicago, 1977), 26–53, 98–102.
On the sexual connotation of mid-seventeenth-century genre paintings featuring women handling fish, see Eric Jan Sluijter, Seductress of Sight: Studies in Dutch Art of the Golden Age (Zwolle, 2000), 275–76.
In Sorgh’s paintings the seller is usually an attractive young woman, but in some of his works a good-looking female customer is the focal point.
For Dou’s painting, see Wilhelm Martin, Gerard Dou: Des Meisters Gemälde in 247 Abbildungen (Stuttgart and Berlin, 1913), 136; for Van Mieris’s painting, see Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2:14–15, no. 10, pl. 10.
In other works, Dou depicted young women holding up dead roosters or baskets with fruit in this same way. See Wilhelm Martin, Gerard Dou: Des Meisters Gemälde in 247 Abbildungen (Stuttgart and Berlin, 1913), 113 (right), 120, both ill.
Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 1:43; 2:11–13, no. 7, fig. 7. Quentin Buvelot, “Frans van Mieris’ Reputation,” in Frans van Mieris 1635–1681, ed. Quentin Buvelot (Exh. cat. The Hague, Mauritshuis; Washington D.C., National Gallery of Art) (New Haven, 2005), 15, fig. 1. Katharina Schmidt et al., Die Sammlung Max Geldner im Kunstmuseum Basel: Vermächtnis und Ankäufe der Stiftung (Basel, 2000), 103–5, no. 21.
Jean-Baptiste Bedaux, “Fruit and Fertility: Fruit Symbolism in Netherlandish Portraiture of the Sixteenth and Seventeenth Centuries,” Simiolus 17 (1987): passim.
Thierry Beherman, Godfried Schalcken (Paris, 1988), 241, no. 147, ill.
Anna de Frey’s watercolor was recorded at the sale of J. C. Puyssenaar, Amsterdam (Van der Schley…Vinkeles), 27 February 27 1804, folder B, no. 8.
The painting was examined at the Metropolitan Museum of Art, New York, with infrared reflectography using an Indigo Systems Merlin Near Infrared (NIR) camera.
Fig 3. Frans van Mieris after Gerrit Dou, A Young Woman Gathering Water from a Well, ca. 1650–55, oil on panel, 24.2 x 19.1 cm, present location unknown (last recorded sale, Christie’s, London, April 2, 1976, no. 37, photograph at RKD (Rijksbureau voor Kunsthistorische Documentatie/Netherlands Institute for Art History)