11 02 ‘ 2022   museomag 
question were painted on panel. The discovery of the 
identity of the painter and the proposed man was of 
course shared with the London art gallery where we 
bought the painting (but only after the sale of the work 
as an anonymous portrait with an uncertain attribution 
to Nicolas Neufchâtel had been concluded, as we work 
with public funds). 
ORIGINALLY THREE PLANKS 
The discovery of the female portrait led to a search 
that ended in Amsterdam, where Adriaen’s wife, 
Maria van Loo, had found a home in a private collec- 
tion. Of the wooden panel on which the portrait was 
painted, (which like Adriaen’s originally consisted of 
three planks), only the middle section survived unfor- 
tunately. The two outer panels were probably removed 
between 1938 and 1961, possibly because they were 
damaged or tarnished. Luckily, the most beautiful part 
was preserved and still shows, even in its incomplete 
form, the elegant appearance in Spanish court dress 
at Adriaen’s side. The owner knew his lady as «Louise 
van Leyden», which was not far from the truth. He was 
kind enough to lend the portrait to the museum and 
already declared his willingness to cooperate in the 
eventual sale of the painting to the museum. 
Now that the portraits hang side by side again, it 
is easy to see that the composition, colour scheme, 
pose and clothing in both works are attuned to one 
another and can best be understood in combination. 
The background of both works is the same, Adriaen’s 
fur collar and Maria’s fur arm pieces correspond, and 
then of course there is the play of hands and gloves. 
While Adriaen’s one hand is holding a glove and 
Maria’s a so-called pomander, their other hands 
make a subtle connection. They communicate with 
each other. Where Maria’s right hand makes an 
apparent movement outwards with the glove, it is 
noticeable that Adriaen’s left hand is open and in- 
clined forward, as if he wants to take on the glove 
of his wife in the other painting. It took a while be- 
fore this could be observed again. From the prove- 
nance research I did, it became clear that both works 
were last in the same collection in 1872, at a private 
residence on the distinguished street Het Rapenburg 
in Leiden. Now, just in time for Valentine’s Day, Adriaen 
and Maria were reunited on 14th February last, after 
150 years. Anyone who wants to can come and greet 
the couple at the museum again. We look forward to 
your visit with them. 
Ruud Priem 
FINE ARTS