1
Supplementary material
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
Benjamin Binstock
Appendix A:Extant paintings assigned to Johannes Vermeer and Maria Vermeer
JV1. Vermeer, Copy after Dirck van Baburen, Procuress, ca. 1653, Amsterdam, Rijksmuseum
JV2. Vermeer, Christ, Mary, and Martha, ca. 1654, Edinburgh, National Gallery
JV3. Vermeer, Copy after FeliceFicherelli, St. Praxedes, ca. 1655, Japan, priv. coll.
JV4. Vermeer, Diana and Her Companions, ca. 1655, The Hague, Mauritshuis
JV5. Vermeer, Procuress, 1656, Dresden, Gemäldegalerie
JV6. Vermeer, DrunkenGirl Asleep, ca. 1656, New York, Metropolitan Museum
JV7. Vermeer, Letter Reader, ca. 1657, Dresden, Gemäldegalerie.
JV8. Vermeer, Woman with a Pitcher, ca. 1657, New York, Metropolitan Museum
JV9. Vermeer, Milkmaid, ca. 1657, Amsterdam, Rijksmuseum.
JV10. Vermeer, Soldier and Laughing Girl, ca. 1658, New York, Frick Collection.
JV11. Vermeer, The Glass of Wine, ca. 1658, Berlin, Gemäldegalerie.
JV12. Vermeer, Girl with a Wineglass, ca. 1659, Braunschweig, Ulrich-Museum.
JV13. Vermeer, Concert, ca. 1660, Boston, Gardner Museum (stolen).
JV14. Vermeer, Music Lesson, ca. 1661, London, Royal Collection.
JV15. Vermeer, Woman with a Balance, ca. 1662, Washington, National Gallery
JV16. Vermeer, Woman in Blue, ca. 1663, Amsterdam, Rijksmuseum
JV17. Vermeer, The Little Street, ca. 1664, Amsterdam, Rijksmuseum
JV18. Vermeer, View of Delft, ca. 1665, The Hague, Mauritshuis.
JV19. Vermeer, Girl with a Pearl Necklace, ca. 1666, Berlin, Gemäldegalerie
JV20. Vermeer, Art of Painting, ca. 1667, Vienna, Kunsthistorisches Museum
JV21. Vermeer, Astronomer, 1668, Paris, Musée du Louvre.
JV22. Vermeer, Geographer, 1669, Frankfurt, Städelsches Museum.
JV23. Vermeer, Girl Writing, ca. 1670, Washington, National Gallery
JV24. Vermeer, Girl with a Pearl Earring, ca. 1670, The Hague, Mauritshuis
JV25. Vermeer, “Love Letter,” ca. 1671, Amsterdam, Rijksmuseum.
JV26. Vermeer, Allegory of Faith, ca. 1671, New York, Metropolitan Museum
JV27. Vermeer, Lady Standing at a Virginal, ca. 1672, London, National Gallery.
JV28. Vermeer, Lady Seated at a Virginal, ca. 1672, London, National Gallery
JV29. Vermeer, Lady Writing with her Maid, ca. 1673, Dublin, National Gallery
JV30. Vermeer, Girl with a Guitar, ca. 1674, London, Iveagh Bequest
JV31. Vermeer, Lacemaker, ca. 1674, Paris, Louvre
MV1. Maria Vermeer?,Girl with a Flute (Chinese Hat), ca. 1672, Washington, National Gallery
MV2. Maria Vermeer?,Girl with a Red Hat, ca. 1672, Washington, National Gallery
MV3. Maria Vermeer?,Portrait of a Young Woman, ca. 1672, New York, Metropolitan Mus.
MV4. Maria Vermeer?,Mistress and Maid, ca. 1673, New York, Frick Collection
MV5. Maria Vermeer?,Girl Interrupted, ca. 1673, New York, Frick Collection
MV6. Maria Vermeer?,Woman with a Lute, ca. 1674, New York, Metropolitan Museum
MV7. Maria Vermeer?, copy after Vermeer, Girl with a Guitar, ca. 1674, Philadelphia,
Philadelphia Museum
MV8. Maria Vermeer?, Young Woman at the Virginals, ca. 1674, New York, private collection
Appendix B: Selected written documents relevant to paintings assigned to Vermeer
I. Catalogue of paintings sold in Amsterdam May 16, 1696, belonging to Jacob Dissius, which originally belonged to his father-in-law Pieter van Ruijven, Vermeer’s patron (Montias 1989, pp. 363-4 doc. 439)
Description with price in guildersCorresponding painting
1 A young lady weighing gold, in a box by Woman with a Balance, Washington,
J. van der Meer of Delft, extraordinarily artful National Gallery, 42.5 x 38 cm (JV15)
and vigorously painted. 155-
2 A maid pouring out milk, extremely Milkmaid, Amsterdam, Rijksmuseum,
welldone. by ditto. 175-45.5 x 41 cm. (JV9)
3 Portrait of Vermeer in a room with various Astronomer, 1668, Paris, Louvre,
accessoriesuncommonly beautifully painted50 x 45 cm. (JV21)
by him. 45-
4 A young lady playing guitar, very good Girl with a Guitar, London, Kenwood,
of the same. 70-53 x 46 cm. (JV30)
5 In which a Gentleman is washing his handsLost or unknown (self-portrait?)
in a through-view room with paintings
[sculptures?], artful and rare, by ditto. 95-
6 A young woman playing clavecin in a room, Music Lesson, London, Royal Collection,
with a listening gentleman by the same. 80- 73.3 x 64.5 cm. (JV14)
7 A young lady who is brought a letter by a“Love Letter,” Amsterdam, Rijksmuseum,
maid, ditto. 70-44 x 38.5 cm. (JV25)
8. A drunken, sleeping maid at a table,DrunkenGirl Asleep, New York,
by the same.62-Metropolitan mus., 87.6 x 76.5 cm. (JV6)
9 A merry company in a room, vigorouslyConcert, ca. 1660, Boston, Gardner Museum and well [painted] by the same. 73- (stolen), 72.5 x 64.7 cm. (JV13)
10 A gentleman and a young lady makingThe Glass of Wine, Berlin,Gemäldegalerie,
music in a room, by the same. 81-65 x 77 cm. (JV11)
11 A soldier and laughing girl, verySoldier and Laughing Girl, New York,
beautiful, by ditto. 44-10Frick Coll., 50.5 x 46 cm. (JV10)
12 A young lady doing needlework,The Lacemaker, Paris, Louvre,
by the same. 28-24.5 x 21 cm. (JV31)
31 The town of Delft in perspective, seen from TheView of Delft, The Hague,Mauritshuis,
south-west, by J. van der Meer van Delft. 200-98.5 x 117.5 cm. (JV18)
32 A view of a house standing in Delft,TheLittle Street, Amsterdam,
by the same. 72-10Rijksmuseum, 54.3 x 44 cm. (JV17)
33 A view of some houses by ditto. 48-Lost or unknown (view of merchant’s house and surrounding buildings on the main square across from Vermeer’s house?)
35 A young lady writing, very good,Girl Writing, Washington,
by the same. 63-National Gallery, 45 x 39.9 cm. (JV23)
36 A young lady adorning herself, very Girl with a Pearl Necklace, Berlin,
beautiful, by ditto. 30-Gemäldegalerie, 55 x 45 cm. (JV19)
37 A young lady playing the clavecin, Lady Standing at a Virginal, London,
by ditto. 42-10National Gall., 51.7 x 45 cm. (JV27)
38 A head study in antique dress,Girl with a Pearl Earring, The Hague,
uncommonly artful. 36- Mauritshuis, 46.5 x 40 cm. (JV24)
39 Another ditto Vermeer. 17-Lost or unknown (portrait of Lijsbeth?)
40 A pendant of the same. 17-Portrait of a Young Woman,New York, Metropolitan Mus., 44.5 x 40 cm. (MV3)
II. References to Vermeer’s Art of Painting, February 22 or 24, 1676and March 12, 1677(Montias 1989, pp. 338-9, 350 docs. 363, 379): “…a painting done by her aforementioned late husband, wherein ‘Painting’ is being depicted (or) rendered as a role (or) personified as a character on a stage” [seeker stuck schilderije, geschildert by den voorn. Vermeer, waerinne wert uitgebeelt ‘de Schilderkonst’; seeker stuck schilderije, geschildert by den voorn. Vermeer, waerinne wert uitgebeeltde schilderkonst].
Art of Painting, Vienna, Kunsthistorisches Museum, 120 x 100 cm. (JV20)
III. BalthazarMonconys, Journal de voyage de Monsieur de Monconys (Lyon: 1666), vol. 2, p. 149, recounting a visit on August 11, 1663: “At Delft I saw the painter Vermeer who had none of his works; but we saw one at the house of a baker who paid 600 livres [guilders] for it, although it is only a single figure, which I would have thought he had paid too much for at six pistoles [sixty guilders].” Agreement between Catharina Bolnes and the baker Hendrick van Buyten concerning two paintings traded against a debt for bread on January 27, 1676 (Montias 1989, p. 318, 338 docs. 294, 361): “…two paintings done by the said Vermeer, one representing two persons one of whom is sitting and writing a letter and the other person playing a cittern [cyter].”
Young Woman with a Pitcher, New York, Metropolitan Museum, 45.7 x 40.6 cm. (JV8);
Mistress and Maid, New York, Frick Collection, 90.2 x 78.7 cm. (MV4); Woman with a Lute,
New York, Metropolitan Museum, 41 x 46 cm, 24.5 x 21 cm. (MV6)
IV. Paintings in Vermeer’s estate February 29, 1676 (Montias 1989, pp. 339-44, doc. 364)
In the front hall: a large painting of Mars and Apollo in a bad black frame; 2 paintings somewhat smaller; four more paintings with bad frames.
Mars, Venus, and Mercury(?), lost or unknown,(JV3); Girl Interrupted at her Music, New York, Frick Collection, 39.3 x 44.4 cm. (MV5); copy after Vermeer, Girl with a Guitar, Philadelphia, Philadelphia Museum of Art (depot), 53 x 46.3 cm. (MV7); Copy after Dirck van Baburen, Procuress, ca. 1653, Amsterdam, Rijksmuseum (depot), 101 x 107.3 cm. (JV1); Diana and Her Companions, The Hague, Mauritshuis, 98.5 x 105 cm. (JV4); Christ, Mary, and Martha, Edinburgh, National Gallery, 160 x 142 cm. (JV2); Copy after Ficherelli, St. Praxedes, private collection, 101.6 x 82.6 cm. (JV3)
In the interior kitchen: two “tronie” painted in Turkish fashion; … a painting hanging in front of the mantelpiece.
Girl with a Flute, Washington, National Gallery, 20 x 17.8 cm. (MV1); Girl with a Red Hat, Washington, National Gallery, 23.2 x 18.1 cm. (MV2); Procuress, 1656, Dresden, Gemäldegalerie, 143 x 130 cm. (JV5)
Above in the back room(Maria Thins’ room): six paintings.
Letter Reader, ca. 1657, Dresden, Gemäldegalerie, 83 x 64.5 cm. (JV7); Woman in Blue,
ca. 1663, Amsterdam, Rijksmuseum, 46.5 x 39 cm. (JV16); Geographer, 1669, Frankfurt,
Städelsches Museum, 53 x 46.6 cm. (JV22); Lady Seated at a Virginal, ca. 1672, London,
National Gallery, 51.5 x 45.5 cm. (JV28); Lady Writing with her Maid, ca. 1673, Dublin,
National Gallery, 71.1 x58.4 cm. (JV29); Young Woman at the Virginals, ca. 1674,
Private Collection, 25.2 x 20 cm.(MV8)
Over in the cellar room: a painting representing a woman wearing a necklace.
Allegory of Faith, ca. 1671, New York, Metropolitan Museum, 114.3 x 88.9 cm. (JV26)
V. Other recorded lost or unknown paintings by Vermeer (Montias1989, pp. 139-40, 182, docs. 269, 298)
“A Visit to the Tomb by Van der Meer” in collection of the art dealer Johannes
Renialme, June 27, 1657 (Three Marys at the Tomb), lost or unknown, ca. 1654; “Jupiter, Venus,
and Mercury by J. van der Meer” in the collection of Gerard van Berckel, March 24, 1761
(Mars, Venus, and Mercury?), lost or unknown, ca. 1654; “A Face by Vermeer” owned by the
sculptorJohannes Larson, August 4, 1664 (Headstudyof Gertruyd Vermeer?), lost or unknown,
ca. 1658.
VI. Unaccountedfor painting
Possibly given to Vermeer’s sister Gertruyd:
Girl with a Wineglass, ca. 1659, Braunschweig, Herzog Anton Ulrich-Museum, 78 x 67 cm. (JV12)
VII. Lost or unknown paintings
Montias assumed that as much as one third of Vermeer’s paintingsmight be lost, yetonly three of the twenty paintings on the Dissius list are unknown, nos. 5, 33, 39,roughly one sixth, together with three other unknown paintings, whichconstitute a total of six of thirty-seven recorded paintings, roughly one sixth of Vermeer’s production.