Elegant Lady Writing at Her Desk
Gabriel Metsu(Leiden 1629 – 1667 Amsterdam)ca. 1662–64
oil on panel
39.4 x 33.5 cm
signed in dark paint, upper left corner:“G.Metsu”
GM-110© 2020 The Leiden Collection

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How to cite
Waiboer, Adriaan. “Elegant Lady Writing at Her Desk” (2017). In The Leiden Collection Catalogue, 2nd ed.
Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artwork/an-elegant-ladywriting-at-her-desk/ (archived May 2020).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrative
occurs.

© 2020 The Leiden Collection

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A lady in a black fur-trimmed jacket and brownish skirt has paused from her

Comparative Figures

letter to look at the viewer in a friendly fashion, with a slight smile crossing
her face. Poised to resume writing as soon as the interruption has passed,
she sits with her right hand holding her quill pen above an inkwell resting on
the tapestry-covered table before her. Adding to the momentary character ofthe scene is the inquisitive small brown and white dog by the woman’s side,
who peers toward the table while balancing expectantly on one paw.
Although the content of the letter is unknown, it is undoubtedly amorous innature, as is the case with virtually all Dutch seventeenth-century high-life
genre scenes of letter writers. Images of ships at sea appear with somefrequency in the background of such works, evoking the traditional notionthat love is as changeable as the sea.[1] A calm sea, as evident in thisseascape, was considered a good omen for the relationship between twolovers.

Fig 1. Gabriel Metsu, Man Writinga Letter, ca. 1664–66, oil on panel,
52.5 x 40.2 cm, National Gallery of
Ireland, NGI.4536

Together with Metsu’s celebrated companion pieces Man Writing a
Letter and Woman Reading a Letter in the National Gallery of Ireland, Dublin((fig 1) and (fig 2)), Elegant Lady Writing at Her Desk from 1662–64 is one of
the artist’s most mature depictions of elegant individuals engaged inamorous correspondence.[2] Metsu was undoubtedly inspired to paint scenesof letter writers by Gerard ter Borch (1617–81), whose images of men andwomen writing, reading, receiving and sealing letters also prompted otherartists, including Caspar Netscher (ca. 1639–84), Frans van Mieris (1635–81), and Johannes Vermeer (1632–75), to focus on this type of subject
matter.[3] The most influential of Ter Borch’s letter writing scenes was A
Woman Writing a Letter of ca. 1655–56 (fig 3), although how the artist’scontemporaries would have known this painting is uncertain.[4] Metsu

Fig 2. Gabriel Metsu, Woman
Reading a Letter, ca. 1664–66, oil
on panel, 52.5 x 40.2 cm, National
Gallery of Ireland, NGI.4537

certainly had seen it by 1657–59, when he painted A Woman Drawing (fig 4). In this work, he followed Ter Borch’s concept of a pensive female figure
working at a table, but changed the subject to a drawing after a statue
instead of a woman writing a letter.
In the present painting, Metsu presented the letter writer as a striking beautysmiling seductively at the spectator, a shift of focus that reflects the artist’s
customary manner of adapting Ter Borch’s compositions in the 1660s.
Metsu frequently appropriated Ter Borch’s subjects and figure groups, butloosened the social and emotional corset of that master’s elegant ladies andgentlemen. Metsu repeatedly depicted women interacting with and inviting
the viewer to take part in courting rituals. Likewise, he generally placed his
figures in more fancifully conceived, opulent interiors than did Ter Borch.

Fig 3. Gerard ter Borch, A Woman
Writing a Letter, ca. 1655–56, oil© 2020 The Leiden Collection

Elegant Lady Writing at Her Desk
Page 4 of 11Here, he placed the letter writer in front of a white and red marble

on panel, 39 x 29.5 cm,
Mauritshuis, The Hague, 797

mantelpiece comprising Corinthian columns and an elaborately carved frieze,
which is based on a chimneypiece in the Burgomasters’ Council Chamber ofthe Amsterdam Town Hall.[5] This building, designed by Jacob van Campen(1596–1657), was so splendid that the Dutch considered it to be the Eighth
Wonder of the World.[6] This visual reference to an architectural element inthis grandiose building communicated to the viewer that the woman
belonged to the highest echelons of Dutch society, an evocation of luxury
that would have appealed strongly to Metsu’s wealthy Amsterdam clientele.
Many of Metsu’s genre scenes painted during the last few years of his life
depict women whose facial features are based in various degrees on thoseof his wife, Isabella de Wolff. Elegant Lady Writing at Her Desk, however, isan exception. The woman’s pronounced eyelids and broad nose bridge are
not those of the artist’s spouse. Her features are so distinctive that it isprobable that the painting is a portrait of a woman posing as a letter writer;Fig 4. Gabriel Metsu, A Woman
Drawing, 1657–59, oil on panel,
36.3 x 30.7 cm, Presented by the
1st Viscount Rothermere, 1940,
The National Gallery, London, NG
5225, © National Gallery, London /Art Resource, NY

the ring on her finger may indicate that she is married. As such, the painting
is similar to a portrait Metsu completed during the last year of his life that has
a similar genre-like character: Portrait of Lucia Wijbrants(?), probablycommissioned by the sitter’s husband, Jan Jacobsz Hinlopen.[7]About two to four years after Metsu completed Elegant Lady Writing at Her
Desk, Vermeer also painted an attractive letter-writing woman smiling subtly
at the viewer (fig 5). Although the works differ in many respects, thepaintings share the portrait-like character of the women, who differ from theother figure types in the rest of the artists’ oeuvres. It remains undetermined
whether these similarities are the result of the two artists independently
transforming Ter Borch’s image in the same way, or whether the Delft
painter knew Metsu’s painting, which was probably part of a collection in
Amsterdam.[8]Fig 5. Johannes Vermeer, A Lady
Writing, ca. 1665, oil on canvas,
45 x 39.9 cm, National Gallery ofArt, Washington, Gift of Harry
Waldron Havemeyer and Horace
Havemeyer, Jr., in memory of theirfather, Horace Havemeyer,
1962.10.1- Adriaan Waiboer, 2017

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Endnotes

1. See, for instance, Eddy de Jongh, ed., Tot Lering en vermaak: betekenissen van Hollandse
genrevoorstellingen uit de zeventiende eeuw (Exh. cat. Amsterdam, Rijksmuseum)(Amsterdam, 1976), 121, who cites a poem by Jan Hermansz Krul: “Wel te recht mach Liefde
by de Zee vergeleecken werden / aenghesien haer veranderinge / die d’eene uyr hoop /d’ander uyr vreese doet veroorsaecken: even gaet het met een Minnaer / als het een
Schipper doet / de welcke sich op Zee beghevende / d’eene dagh goedt we’er/d’ander daghstorm en bulderende wint gewaer wort” (Love may rightly be compared with the sea / fromthe viewpoint of her changes / which one hour causes hope / the next fear: so too goes it witha lover / who like a skipper / who journeys to the sea / one day encounters good weather / thenext storm and roaring winds). Jan Harmenszoon Krul, Minne-beelden: Toe-gepast delievende ionckheyt (Amsterdam, 1640), 2–3; translation taken from Peter C. Sutton, “Love
Letters: Dutch Genre Painting in the Age of Vermeer,” in Love Letters: Dutch Genre Paintings
in the Age of Vermeer, ed. Peter C. Sutton (Exh. cat. Dublin, National Gallery of Ireland;
Greenwich, Conn., Bruce Museum of Arts and Sciences) (New Haven, 2003), 45.
2. Adriaan E. Waiboer, Gabriel Metsu, Life and Work: A Catalogue Raisonné (New Haven,2012), 255–58, nos A-166, A-177, both ill. Metsu painted no fewer than nine such scenes, theearliest of which dates from around 1657–59.
3. Peter C. Sutton in Love Letters: Dutch Genre Paintings in the Age of Vermeer, ed. Peter C.
Sutton (Exh. cat. Dublin, National Gallery of Ireland; Greenwich, Conn., Bruce Museum ofArts and Sciences) (New Haven, 2003), 92. For Netscher’s painting, see Marjorie
Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting (Doornspijk,
2002), 57–58, 181, no. 23, color pl. 5; for Van Mieris’s paintings, see Otto Naumann, Frans
van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2:95–96, nos. 82, 83, ill.
4. They may have seen it at the home of the Rotterdam architect and painter Jacob Lois (ca.
1620–76), whose posthumous inventory included a painting described as “a writing woman
byTer

Borch”(“Een

SchryventvroutgenvanTer

Borch”).

Abraham

Bredius, Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst des XVI.,XVII. und XVIII. Jahrhunderts, 8 vols. (The Hague, 1915–22), 4: 589; Sturla Gudlaugsson,
Gerard ter Borch, 2 vols. (The Hague, 1959–60), 2: 126. The same or another painting,described as “Een brieveschrijfstertje gedaan na ‘t schijnt door Gerard ter Burg“ (A woman
writing a letter, as it appears, by Gerard ter Burg), was in the collection of Albert Houting, asecretary of the Dutch East India Company, at the moment when his estate was drawn up in
Amsterdam, in April 1704 (Getty Provenance Index, Archival Inventory N-451 [Houting], no.
24).
5. Peter C. Sutton in Love Letters: Dutch Genre Paintings in the Age of Vermeer, ed. Peter C.
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Sutton (Exh. cat. Dublin, National Gallery of Ireland; Greenwich, Conn., Bruce Museum ofArts and Sciences) (New Haven, 2003), 134; see also Adriaan E. Waiboer, Gabriel Metsu,
Life and Work: A Catalogue Raisonné (New Haven, 2012), 73.
6. Eymert-Jan Goossens, Schat van beitel en penseel: Het Amsterdamse stadhuis uit deGouden Eeuw (Amsterdam and Zwolle, 1996), 11.
7. Adriaan E. Waiboer, Gabriel Metsu, Life and Work: A Catalogue Raisonné (New Haven,2012), 95, 142, 230, no. A-87, ill.; 271–72, no. A-132, ill.; Irene Groeneweg, “Regenten in het
zwart: vroom en deftig?” Nederlands Kunsthistorisch Jaarboek 46 (1995): 201–4; Sturla
Gudlaugsson, “Kanttekeningen bij de ontwikkeling van Metsu,” Oud Holland 83 (1968): 26 n.
32, 35.
8. For more on Vermeer’s painting, see Arthur K. Wheelock Jr., The Collection of the National
Gallery of Art Systematic Catalogues: Dutch Paintings of the Seventeenth Century(Washington, D.C., 1995), 377–82, ill.

Provenance
Dr. Van Cleef (d. 1861), Utrecht (his sale, Hotel Drouot, Paris, 4–5 April 1864, no. 59 [for5,020 francs]).
Marquis Da Fosse, Lisbon, Portugal.
Charles T. Yerkes (1837–1905), New York, by 1893 (his sale, American Art Association,
Mendelssohn Hall, New York, 5–8 April 1910, no. 98 [for $17,200 to Kleinberger Galleries,
Paris and New York]).
Oscar Huldschinsky (1846–1931), Berlin.
James Simon (1851–1932), Berlin, by 1914.
[Haberstock, Berlin, by 1924].
Leo van den Bergh, Berlin (his sale, Mak van Waay, Graupe, Amsterdam, 5–6 November
1935, no. 13 [for 14,000 florins to Van Raalte]).
Arthur Hartog (1892–1986), Wassenaar, by 1935; removed from his house by the Nazi
occupation authorities in December 1941 (sale, 16 January 1942 [to Adolf Hitler for his
Gemäldegalerie Linz, no. 2167]); recorded at the Munich Central Collecting Point, 15 July
1945, no. 4315; restituted to the Stichting Nederlandsch Kunstbezit, 9 October 1945; returned
to Arthur Hartog, March 1948, London, New York, by 1952; by descent to private collection,
New York (sale, Christie’s, New York, 27 January 2000, no. 76 [to private collection]).
Private collection, Darien, Conn., 2000 [Otto Naumann, Ltd., 2004].
From whom acquired by the present owner in 2004.
© 2020 The Leiden Collection

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Exhibition History
Berlin, Königlichen Akademie der Künste, “Ausstellung von Werken alter Kunst aus dem
Privatbezitz der Mitglieder des Kaiser Friedrich Museum-Vereins,” May 1914, no. 103 [lent byJames Simon].
The Hague, Gemeentemuseum, “Oude Kunst uit Haagsch bezit,” 12 December 1936–31
January 1937, no. 63 [lent by Arthur Hartog].
The Hague, Mauritshuis, “Herwonnen kunstbezit: Tentoonstelling van uit Duitschland
teruggekeerde nederlandsche kunstschatten,” March–May 1946, no. 35 [lent by Stichting
Nederlandsch Kunstbezit].
Dublin, National Gallery of Ireland, “Love Letters: Dutch Genre Paintings in the Age ofVermeer,” 1 October–31 December 2003; Greenwich, Conn., Bruce Museum of Art andScience, 31 January–2 May 2004, no. 15 [lent by Mr. Robert McKeon].
San Diego, Timken Museum of Art, “Gabriel Metsu: The Love Letter,” 15 May–29 August
2004 [no number, lent by the present owner].
Los Angeles, The J. Paul Getty Museum, on loan with the permanent collection, March
2009–31 July 2010 [lent by the present owner].
Dublin, National Gallery of Ireland, “Gabriel Metsu,” 4 September–5 December 2010;
Amsterdam, Rijksmuseum, 16 December 2010–21 March 2011; Washington D.C., National
Gallery of Art, 10 April–24 July 2011, no. 36 [lent by the present owner].
Los Angeles, The J. Paul Getty Museum, on loan with the permanent collection, August
2011–September 2012 [lent by the present owner].
Rome, Scuderie Del Quirinale, “Joannes Vermeer and the Golden Age of Dutch Art,” 26
September 2012–20 January 2013 [lent by the present owner].
Los Angeles, The J. Paul Getty Museum, on loan with the permanent collection, January
2013–November 2016 [lent by the present owner].
Paris, Musée du Louvre, “Vermeer et les maîtres de la peinture de genre / Vermeer and theMasters of Genre Painting: Inspiration and Rivalry,” 20 February–22 May 2017; Dublin,
National Gallery of Ireland, 17 June–17 September 2017; Washington, National Gallery of Art,
22 October–21 January 2018 [lent by the present owner].
Moscow, The Pushkin State Museum of Fine Arts, “The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection,” 28 March 2018–22 July 2018 [lent by the present
owner].
St. Petersburg, The State Hermitage Museum, “The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection,” 5 September 2018–13 January 2019 [lent by thepresent owner].
© 2020 The Leiden Collection

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Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age.
Masterpieces from The Leiden Collection and the Musée du Louvre,” 14 February–18 May
2019 [lent by the present owner].

References
Yerkes, Charles T. Catalogue from Collection of Charles T. Yerkes, Chicago, U.S.A. Chicago,
1893, no. 30.
Stephens, F. G. “Mr. Yerkes’ Collection at Chicago: The Old Masters, II.” Magazine of Art(March 1895): 143, 147.
Yerkes, Charles T. Catalogue of Paintings and Sculpture in the Collection of Charles T.
Yerkes Esq. 2 vols. New York, 1904, 1: no. 60.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch
Painters of the Seventeenth Century Based on the Work of John Smith. Edited and translatedby Edward G. Hawke. 1: 275–76, no. 76a. 8 vols. London, 1907–28. Originally published as
Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten höllandischen
Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907–28.
Königlichen Akademie der Künste. Ausstellung von Werken alter Kunst aus dem Privatbezitz
der Mitglieder des Kaiser Friedrich Museum-Vereins. Exh. cat. Berlin, Königlichen Akademie
der Künste. Berlin, 1914, 30, no. 103.
Gemeentemuseum. Oude Kunst uit Haagsch Bezit. Exh. cat. The Hague, Gemeentemuseum.
The Hague, 1936, 34, no. 120.
Mauritshuis. Herwonnen kunstbezit: tentoonstelling van uit Duitschland teruggekeerde
nederlandsche kunstschatten. Exh. cat. The Hague, Mauritshuis. The Hague, 1946, no. 35.
Robinson, Franklin W. Gabriel Metsu (1629–1667): A Study of His Place in Dutch Genre
Painting of the Golden Age. New York, 1974, 85 n. 103.
Bénézit, Emmanuel. Dictionnaire critique et documentaire des peintres, sculpteurs,
dessinateurs et graveurs de tous les temps et de tous les pays par un groupe d’écrivains
spécialistes français et étrangers. 10 vols. Paris, 1976. Revised edition by Jacques Busse.
14. vols. Paris, 1999, 9:537.
Ydema, Onno. Carpets and Their Datings in Netherlandish Paintings 1540–1700. Zutphen,
1991, 164–65, no. 518.
Sutton, Peter C., Lisa Vergara, and Ann Jensen Adams eds. Love Letters: Dutch Genre
Painting in the Age of Vermeer. Exh. cat. Dublin, National Gallery of Ireland; Greenwich,
Connecticut, Bruce Museum of Arts and Sciences. New Haven, 2003, 133–35, no. 20.
Schwarz, Birgit. Hitlers Museum: Die fotoalben Gemäldegalerie Linz—Dokumente zum© 2020 The Leiden Collection

Elegant Lady Writing at Her Desk
Page 9 of 11“Führermuseum.” Vienna-Cologne-Weimar, 2004, 325.
Waiboer, Adriaan E. “Gabriel Metsu (1629–1667): Life and Work.” PhD diss. New York
University, 2007, 1:210–11 n. 4, 730–31, no. A-120, 4:1169.
Franits, Wayne F. “Gabriel Metsu and the Art of Luxury.” In Gabriel Metsu. Edited by Adriaan
E. Waiboer, 58–60, fig. 43. Exh. cat., Dublin, National Gallery of Ireland; Amsterdam,
Rijksmuseum; Washington, National Gallery of Art. New Haven, 2010.
Waiboer, Adriaan E., ed. Gabriel Metsu. Exh. cat. Dublin, National Gallery of Ireland;
Amsterdam, Rijksmuseum; Washington, National Gallery of Art. New Haven, 2010, 195, no.
40.
Waiboer, Adriaan E. Gabriel Metsu, Life and Work: A Catalogue Raisonné. New Haven andLondon, 2012, 111, 250, no. A-108.
Waiboer, Adriaan E. “Donna che scribe una lettera.” In Vermeer: Il secolo d’Oro dell’arteolandese. Edited by Sandrina Bandera, Walter Liedtke, and Arthur K. Wheelock Jr. Exh. cat.
Rome, Scuderie del Quirinale. Milan, 2012, 158, 159.
Wheelock, Arthur K., Jr. “Épistolières.” In Vermeer et les maîtres de la peinture de genre.
Edited by Adriaan E. Waiboer, Blaise Ducos, and Arthur K. Wheelock Jr., 208, 211, cat.no. 8.
Exh. cat. Paris, Louvre Museum; Dublin, National Gallery of Ireland; Washington, National
Gallery of Art. Paris, 2017.
Wheelock, Arthur K., Jr. “Pen to Paper.” In Vermeer and the Masters of Genre Painting:
Inspiration and Rivalry. Edited by Adriaan E. Waiboer, Blaise Ducos, and Arthur K. Wheelock
Jr., 122, 124–25, 245, cat. no. 2.2. Exh. cat. Paris, Louvre Museum; Dublin, National Galleryof Ireland; Washington, National Gallery of Art. New Haven and London, 2017.
Yeager-Crasselt, Lara. “The Leiden Collection and the Dutch Golden Age.” In The Age of
Rembrandt and Vermeer: Masterpieces of The Leiden Collection. Edited by Polina
Lyubimova, 17; 29. Translated by Daria Babich and Daria Kuzina. Exh. cat. Moscow, The
Pushkin State Museum of Fine Arts; St. Petersburg, The State Hermitage Museum. Moscow,
2018.
McCarthy, Alexa. “Elegant Lady Writing at Her Desk.” In The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection. Edited by Polina Lyubimova, 128–29; 237, no. 31.
Translated by Daria Babich and Daria Kuzina. Exh. cat. Moscow, The Pushkin State Museumof Fine Arts; St. Petersburg, The State Hermitage Museum. Moscow, 2018.
Yeager-Crasselt, Lara. “The Leiden Collection and the Dutch Golden Age.” In Rembrandt,
Vermeer and the Dutch Golden Age. Masterpieces from The Leiden Collection and the
Musée du Louvre. Edited by Blaise Ducos and Lara Yeager-Crasselt, 25. Exh. cat. Abu
Dhabi, Louvre Abu Dhabi. London, 2019. [Exhibition catalogue also published in French andArabic.]Ducos, Blaise, and Lara Yeager-Crasselt, eds. Rembrandt, Vermeer and the Dutch Golden© 2020 The Leiden Collection

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Age. Masterpieces from The Leiden Collection and the Musée du Louvre. Exh. cat. Abu
Dhabi, Louvre Abu Dhabi. London, 2019, 155, no. 75. [Exhibition catalogue also published in
French and Arabic.]

Versions
Versions and Copies

1. J. Rombouts, watercolor. L. Dupper Wz., Dordrecht (his sale, Roos…Engelberts,
Dordrecht, 28–29 June 1870, no. 283, as J. Rombouts after G. Metzu).

Technical Summary
The support, a single plank of vertically grained, rectangular oak, has 1.5 cm–wide oak additions
on all four sides. A photograph of the painting dated 1895 shows the enlarged panel andcomposition, which indicates the restoration took place prior to that date.[1] Narrow wood shims
have been applied to all four sides, and the enlarged panel has been marouflaged to a radially cut
oak plank and cradled. Three paper labels are affixed to the cradle members and a red wax seal
is located on the marouflage panel between the cradle members, but there are no import stamps,
panel maker’s marks or machine toolmarks.
A creamy brown-colored, thinly and evenly applied ground remains visible along the outer
contours of the figure and acts as a mid-tone in the composition. The paint has been applied inthin layers over opaque layers along the gray and light brown shadows of the white head
covering, the flesh tones, the subtle changes of tone in the skirt, the black ribbons of the jacket,
and the decoration of the oriental carpet. Small details such as the red in the corner of the
figure’s eyes and the minute dots of yellow and white suggest light reflecting off the figure’s
jewelry, the dog’s pearl collar and blue ribbon, the ornamentation on the upper part of thefireplace, and the lid of the inkwell. The texture of the white fur trim of the figure’s jacket and the
dog has been achieved with a thicker application of underlying paint.
The figure’s position within the composition, the quill in her hand, her earrings and garments, thecarpeted table, and the dog are found to have been painted in reserve, which indicates they were
carefully planned. In contrast, the mantelpiece, chair, and painting in the background do notappear to have been included in the initial design. Both the chair and the framed seascapepainting were added after the brown wash of the background was painted. The yellow highlights
found in the frame of the painting in the background extend, wet-on-dry, onto the white satin veilof the sitter and onto the dark brown of the chair, showing us that these highlights were painted at© 2020 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

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a later time when the underlying paint was dry.
A graphite underdrawing is revealed in infrared images captured at 900–1700 nanometers along
the carpet design and the contour lines of the figure and dog. The images also reveal minor
compositional changes to the position of the dog’s proper right leg and the third finger of the
figure’s proper left hand.
The painting is signed in dark paint along the upper left corner but is undated.
The painting was cleaned and restored in 2004 and remains in a good state of preservation.[2]Technical Summary Endnotes

1. According to a 2012 examination report by Devi Ormond, associate paintings conservator, J.
Paul Getty Museum, Los Angeles, the photograph was provided by the Leiden Collection.
2. Entry based on 2012 examination report by Devi Ormond, associate paintings conservator, J.
Paul Getty Museum, Los Angeles.

© 2020 The Leiden Collection