Lawrence Gowing, letter to Marlborough Fine Art, London, in 1959, quoted in Libby Sheldon and Nicola Costaras, “Johannes Vermeer’s Young Woman Seated at a Virginal,” Burlington Magazine 148 (2006): 90.
Conservator Jørgen Wadum reported 13 cases of a pinhole at the vanishing point in canvases by Vermeer, in his article “Vermeer in Perspective,” in Arthur K. Wheelock Jr. Johannes Vermeer (Exh. cat. The Hague, Mauritshuis; Washington D.C., National Gallery of Art) (New Haven and London, 1995), 67, 71. In later reports Wadum has cited 17 examples (personal communication to the Walter Liedtke, 6 July 2009).
Walter Liedtke, C. Richard Johnson Jr., and Don H. Johnson, “Canvas Matches in Vermeer: A Case Study in the Computer Analysis of Fabric Supports,” Metropolitan Museum Journal 47 (2012): 101–8.
John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 341, under doc. 364.
Arthur K. Wheelock Jr., Dutch Paintings of the Seventeenth Century: The Collection of the National Gallery of Art, Systematic Catalogue (New York and Oxford, 1995), 387–93, ill.
Narrow remnants of primed canvas remain along all but the left edge.
TCAP codirectors Dr. C. Richard Johnson Jr. of Cornell University and Dr. Don H. Johnson of Rice University.
The Burlington Magazine 148 (February 2006): 89–97.
From page one of the painting analysis report by C. Hassall and L. Sheldon, UCL Painting Analysis Ltd, May 1997 (on file at the Leiden Collection).
Ca. 1 cm below and slightly to the left of the two white pearls along the figure’s neck.