The description of the painting no. 1 of the Dissius auction catalogue is unanimously believed to correspond to the Woman Holding a Balance of the National Gallery. Although we know nothing about the box in which the painting was kept, we do know that in the inventory of Jacob Dissius's house there were three "Vermeer's in boxes" in the front room.
Particularly precious paintings (or nudes, for motives of decorum) may have been protected from dust in such a manner. Curtains were commonly used for the same purpose and were often represented in Dutch interior paintings.
Another supposition1 is that the painting was originally a piece of a so-called peep-box or peep-show,2 an unusual device3 which served to create the most complete sense of visual illusion as possible. Carl Fabritius, Vermeer's contemporary, was known to have constructed such a device. by Samuel van Hoogstraten is conserved in near perfect state in the London National Gallery.
In any case, the painting no. 1 fetched a very high price (155 guilders) considering its dimension. The buyer was Isaac Rooleeuw, a Mennonite merchant and painter, (c. 1650–1710) who also purchased The Milkmaid now in the Rijksmuseum. Rooleeuw must have known very well exactly which Vermeer's he wished to acquire seeing that he was willing to pay such disproportionate prices for the pair. For five years the two works hung side-by-side at his home in Amsterdam, until Rooleeuw went bankrupt and the paintings were sold.
The Woman Holding a Balance is the only painting by Vermeer which can be traced in an unbroken line from the seventeenth century.
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