Van Mieris, for instance, made several portraits of the De la Court family, as Pieter de la Court van der Voort was his art patron and gave him numerous commissions. A pair of portraits of this benefactor and his wife is said to date to 1708, and the portrait of his son Allard de la Court, mentioned in the current entry, was made in 1705; see C. Willemijn Fock and R. E. O. Ekkart, “De portretgalerij van de familie De la Court,” Jaarboek Centraal Bureau voor Genealogie 35 (1981): 179, 181, 201, no. 17, 203, no. 21, 204, figs. 15 and 16, 205, no. 23, 206, fig. 19.
See note 1 and T. H. Lunsingh Scheurleer, ed., Het Rapenburg: Geschiedenis van een Leidse gracht, 6 vols. and index (Leiden, 1986–92), 2:457–58. The collection of Jhr. De la Court, sold on 21 September 1904, contained “portraits en buste de Pieter de la Court et de sa femme Sara Poelaert” (lot no. 104, copper, oval, 10.5 cm high). Hofstede de Groot identified this portrait of Sara Poelaert with the one mentioned by Moes under no. 359. This pair of portraits was also found in the eighteenth-century inventories of the De la Court family, but these two paintings cannot be identified with WM-103.a–b, since the sizes of WM-103.a–b are much larger and the supports are panel, not copper. Ernst Wilhelm Moes, Iconographia Batava: Beredeneerde lijst van geschilderde en gebeeldhouwde portretten van Noord-Nederlanders in vorige eeuwen, 2 vols. (Amsterdam, 1905), 2:219, no. 5971; Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, 8 vols. (London, 1907–27), translated from Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten höllandischen Maler des XVII. Jahrhunderts, 10 vols. (Esslingen and Paris, 1907–28), 10:199, nos. 358, 359.
Sale, Count Philippe Vilain XIIII, Paris, 2 May 1857, nos. 43, 44 [760 and 850 francs, respectively, to Van Loo]; sale, Christophe van Loo, Paris, 25 May 1881, nos. 15, 16 [1,920 and 1,600 francs, respectively, to F. Hérard].
Van Mieris’s wife, Agneta Chapman, was born in 1663 and died in 1744. For a pair of drawn portraits of this couple, possibly made upon the occasion of their marriage in 1684, see Albert J. Elen, “Willem van Mieris and His First Model: Agneta Chapman as the Morgan Flora,” Master Drawings 47 (2009): 465, figs. 2–3.
The characterization of the wood is based on visual examination of the X-radiograph and panel reverse images by Ian Tyers. According to Tyers, the panel does not have great potential for dendrochronology.
Sold by Count Philippe Vilain XIIII, Brussels (his sale, Paris, 2 May 1857, nos. 43, 44 (respectively for 760 and 850 francs to Van Loo).