The Terrace

• [Mettra Fils (Magasin du Bureau des Arts)], Notice d’une collection de tableaux choisis, la plupart originaux de grands maîtres.., Berlin 1802, p. 23, ill. with a print.
• W. Buerger, “Van Der Meer de Delft,” Gazette des Beaux-Arts 21 (1866) p. 320 as Metsu.
• Théophile Thoré (W. Buerger), Jan Vermeer van Delft (Leipzig: J. Zeitler, 1906), p. 26.
• Wilhelm R. Valentiner, “Ein unbekanntes Meisterwerk der holländischen Genre-Malerei,”Pantheon 3 (1929), pp. 104–5 (ill.).
• Wilhelm R. Valentiner, Pieter de Hooch; des meisters Gemälde (Klassiker der Kunst, [1930]), pp. 251 (ill.), 296.
• A. Heppner, “Vermeer—the Origin and the Influence of his Art —Inaugural Exhibition of the new Boijmans Museum at Rotterdam,” Pantheon 16 (1935), p. 260 (ill.).
• Mary Chamot, “The Rembrandt and Vermeer Exhibitions,” Apollo 22, 130 (1935), p. 202 (ill.).
• L. H., “Rundschau,” Pantheon 23 (1939), pp. 210 (ill.), 212.
• Daniel Catton Rich, “The Terrace,” Bulletin of the Art Institute of Chicago 43, 1 (1949), pp. 32–3 (ill.).
• J. Q. van Regteren Altena, “Een jeugdwerk van Johannes Vermeer,” Oud Holland 75 (1960), p. 188.
• Peter C. Sutton, Pieter de Hooch: Complete Edition (Phaidon, 1980) pp. 18, 66 n. 19, fig 11.
• Neil MacLaren, The Dutch School, 1600–1900, National Gallery Catalogues (London: National Gallery, 1991), p. 100.
• Christopher Brown, Carel Fabritius: Complete Edition with a Catalogue Raisonné (Phaidon, 1981) pp. 136, 145, cat. R23.
• Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids: Eerdmans, 1986), p. 52, fig. 71.
• Roland E. Fleischer and Stephen Reiss, “Attributions to Ludolf de Jongh: Some Old, Some New,” Burlington Magazine 85 (1993), p. 672–4, fig. 16.
• Martha Hollander, An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art (University of California Press, 2002), pp. 60-1, fig. 26.
• Frances Suzman Jowell, “Thoré-Bürger’s art collection: ‘a rather unusual gallery of bric-à-brac,’” Simiolus 30 (2003), pp. 40, 98, appendix 4.
• Frederik J. Duparc, Carel Fabritius 1622–1654 (Royal Cabinet of Paintings Mauritshuis, The Hague/Zwolle: Waanders Publishers, 2004), pp. 66-7, fig. 61.
• Benjamin Binstock, Vermeer’s Family Secrets: Genius, Discovery, and the Unknown Apprentice, New York and London, 2009, pp. 109-110, 115, 124, 128, 130, 134, 142, 144, 377, pl. 4b.

• Rotterdam, Museum Boymans, Vermeer Oorprong en Invloed Fabritus, De Hooch, De Witte, July 9 – October 9, 1935, p. 21, cat. 39, pl. 42.
• Providence, Rhode Island School of Design, Dutch Painting in the Seventeenth Century, 1938, cat. 23, pl. 23, as Pieter de Hooch.
• New York, World’s Fair, Masterpieces of Art, 1939, p. 98, cat. 203, as Pieter de Hooch.
• New York, Duveen Galleries, Paintings by the Great Dutch Masters of the Seventeenth Century, October 8 – November 7, 1942; Art Institute of Chicago, November 18– December 16, 1942, cat. 3, as Hendrik van der Burch.
• Art Association of Montreal, Five Centuries of Dutch Art, March 1–31, 1944.
• Cologne, Wallraf-Richartz Museum, Park und Garten in der Malerei vom 16. Jahrhundert bis zur Geganwart, May 15 – July 14, 1957, cat. 8, pl. 5, as Hendrik van der Burch.
• St. Petersburg, Fla, Dutch Life in the Golden Century, January 21 – March 2 1974; Atlanta, High Museum of Art, April 4 – May 4, 1975, pp. 31-2, cat. 16 (ill.), as Hendrik van der Burch.
• Art Institute of Chicago, Faces, Places, Inner Spaces, June 2003-July 2007 (Hammerman Gallery of the Kraft Education Center; no. cat.)
• The Art Institute of Chicago, A Case for Wine, July11—September 20, 2009, no exhibition catalogue.

Possibly Aernout Eelbrecht, Leiden, inventory 1683 [“Een stuck van Fabritius, daar van Aelst sijn degen ingeschildert heeft” (A piece by Fabritius, in which Van Aelst painted his sword); suggested by J. G. van Gelder in Rotterdam 1935]. Pierre Fouquet, Amsterdam, before 1802 [according to Mettra Fils, Notice d’une collection…, 1802, no. 111 and manuscript version cited below]. Mettra Fils (Magasin du Bureau des Arts), Berlin, by 1802 [see Notice d’une collection…, no. 111, ill., as Metzu [sic] and manuscript version of this catalogue in the Staatsbibliothek zu Berlin, Libri. PIct. A112]; presumably sold by Mettra Fils to Prince Radziwill, Nieborow, by 1803; by descent to Prince Sigismund Radziwill, Paris, 1866; sold, March 22–23, 1866, lot. 78, as Metsu, Interior de cour d’une maison hollandaise to Théophile Thoré-Bürger [see Jowell, 2003 pp. 72, 98]; sold his private sale, Paris, February 1870, listed as Metzu [sic], Interior hollandais for F15,000 [see Jowell 2003 p. 114, appendix 4]. Duke George Nicolaevich de Leuchtenberg (died 1929), St. Petersburg [according to Rotterdam exhibition 1935]. Spink, London, by 1920 [according to Colnaghi index card]; P. and D. Colnaghi, London, by March 1920; sold by Colnaghi to Calouste S. Gulbenkian on 3 March 1920 [according to Colnaghi index card]; P. and D. Colnaghi, London, by 1929 [according to Valentiner 1929]. Leonard Gow, Camis Eskan, Dumbartonshire (died 1936), by 1935 [according to Heppner 1935]; by descent to Leonard Harper Gow, Glasgow; sold through D. Katz, Dieren, The Netherlands, as agent for Gow to the Museum of Art, Rhode Island School of Design, 1939 [RISD Museum Committee meeting minutes, March 7, 1939]; exchanged through E. and A. Silberman, New York, February 1945 [according to records of RISD, copy in curatorial file]; sold by Silberman to the Art Institute, February 1948.