The Music Lesson

• John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. 4 (London, 1833), p. 124, no. 20.
• “Famous Pictures for Chicago,” Chicago Daily Tribune (July 3, 1890).
• “Notes on Current Art,” Chicago Daily Tribune (July 6, 1890), p. 32.
• “Chicago an Art Center,” Chicago Daily Tribune, November 9, 1890, p. 1.
• Art Institute of Chicago, Catalogue of Works of Old Dutch Masters and Other Pictures (Chicago, 1890), p. 19, no. 6.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1901), pp. 147, no. 15.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago, 1904), p. 152–53, no. 15.
• Art Institute of Chicago, Important Facts Regarding the Art Institute of Chicago: with Reproductions of the Demidoff Masterpieces (Chicago, 1905), pp. 8–9.
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago, 1910), pp. 161–62.
• Franz Hellens, Gérard Terborch (Brussels, 1911), p. 127.
• C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 5 (London, 1913), pp. 46, 47–48, 54, no. 130.
• Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago, 1917), p. 113, no. 15, ill.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, 1920), p. 19, no. 15.
• “Old World Masters in New World Galleries,” The Antiquarian 3 (1924), p. 27.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), pp. 15, 127, no. 15, ill.
• Philip Hendy, The Isabella Stewart Gardner Museum: Catalogue of the Exhibited Paintings and Drawings (Boston, 1931), p. 355.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 22, ill.
• Official Souvenir Guide and Picture Book: New York World’s Fair (New York, 1939), no page.
• Charles Fabens Kelley, “Chicago: Record Years,” Art News 51 (1952), p. 59.
• Sturla J. Gudlaugsson, Katalog der Gemälde Gerard ter Borchs: sowie biographisches Material (The Hague, 1960), vol. 1, p. 335, ill; vol. 2, pp. 205.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 446.
• Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 190.
• Philip Hendy, European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), p. 34.
• Colin Simpson, Artful Partners: Bernard Berenson and Joseph Duveen (New York, 1986), p. 83.
• Peter. C. Sutton, A Guide to Dutch Art in America (Washington D.C. and Grand Rapids, 1986), p. 53.
• Ruud Priem, “The ‘most excellent collection’ of Lucretia Johanna van Winter: the years 1809–22,” Simiolus 25 (1997), p. 162.
• Mark Leonard, “The Artist’s Voice,” in Personal Viewpoints: Thoughts about Paintings Conservation (Los Angeles, 2003), p. 58 n. 7.

• Detroit Institute of Arts, The Ninth Loan Exhibition: Dutch Genre and Landscape Painting of the Seventeenth Century, October 16–November 10, 1929, no. 74.
• New York World’s Fair, European Paintings and Sculpture from 1300–1800, May–October 1939, no. 368.
• City Art Museum of St. Louis, 40 Masterpieces: A Loan Exhibition of Paintings from American Museums, October 6–November 10, 1947, no. 37.
• Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 79.
• Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 113.

Possibly sold Amsterdam, October 1, 1738, no. 19 for 200 florins [according to Gudlaugsson 1960; see Gerard Hoet, Catalogus of naamlyst van Schilderyen (The Hague, 1752), p. 556]. Probably Johan Pieter Wierman, Leyden; his sale, Amsterdam, August 18, 1762, no. 34 to Diemen [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague; although the provenance of this painting and the Getty example have been confused in the past, the AIC view was probably in the Wierman collection because the music master is described as beating time with a – strykstok – or bow]. Probably Jan Jacob Brants (died 1813); sold his sale Pieter Yver, Amsterdam, April 20, 1813, lot 30 for 275 florins to Jer. deVries [price and buyer according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague; although the provenance of this painting and the Getty example have been confused in the past, the AIC view was probably in the Brants collection because the music master is described as beating time with a – strijkstok – or bow]. Possibly John Fairlie, Esq. [according to Smith 1833]; possibly his sale, 1830, for 130 gs to Michael Peacock [sale information according to Smith 1833]; possibly Michael Peacock (died 1843), London; possibly sold his sale Foster and Son, February 28, 1844, lot 12. Presumably Prince Anatole Demidoff, Villa San Donato, near Florence (died 1870); by descent to his nephew Prince Paul Demidoff (died 1885) and later to Paul Demidoff’s widow Helena Troubetskoi, Pratolino, near Florence [according to an entry in William French’s 1889 travel notebook dated April 19, 1889, the painting was on view with the Demidoff collection in Pratolino, Art Institute Archives]; included in the group of 13 paintings from the Demidoff collection sold to trustees of the Art Institute through Durand-Ruel, Paris, in 1890; purchase price reimbursed by Charles T. Yerkes, 1890.