With his Haarlem colleague Pieter Claesz, Heda was one of the leading painters of the so-called monochrome banquet piece in the Netherlands. In this panel of 1635 he shows off his virtuoso ability to describe reflections and arrange elliptical shapes.
Inscription: Signed and dated (lower right): HEDA ·1635·
C. Freiherr Grote, Schloss Wedesbüttel (until 1886; his estate sale, Heberle & Lempertz, Cologne, June 7–8, 1886, part 2, no. 93, for 2,000 marks to Oldenbourg); [Galerie Oldenbourg, 1886–1924; anonymous sale, F. Muller, Amsterdam, June 26, 1923, no. 18, for fl. 3,300, bought in; their sale, F. Muller, Amsterdam, June 25, 1924, no. 131]; Abraham Albert Andriesse, Amsterdam, later New York, later Scarsdale (until d. 1965); his son-in-law, Frits Markus, New York (1965–d. 1996); his widow, Rita Markus, New York (1996–d. 2005)
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
N. R. A. Vroom. De Schilders van het Monochrome Banketje. Amsterdam, 1945, pp. 193, 211, no. 186, fig. 179, dates it 1633.
N. R. A. Vroom. A Modest Message as Intimated by the Painters of the "Monochrome Banketje". Vol. 2, Schiedam, The Netherlands, 1980, pp. 67–68, no. 339a, ill., states that its present location is unknown; catalogues a panel sold at Paul Brandt, Amsterdam, November 25, 1969, no. 8, which he calls a later replica of the MMA work.
Walter Liedtke in "Recent Acquisitions, A Selection: 2005–2006." Metropolitan Museum of Art Bulletin 64 (Fall 2006), pp. 36–37, ill. (color).
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 65, 67, fig. 81 (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 312–13, no. 73, colorpl. 73.
Walter Liedtke. "The Milkmaid" by Johannes Vermeer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, p. 9, fig. 9 (color).
Vroom [see Ref. 1980] catalogues a panel (present whereabouts unknown) which he calls a later replica of this picture.