THE ART WORLD DUTCH TREAT

A bravura show at the Rijksmuseum gathers more Vermeers at once than the artist himself ever saw.

- REBECCA MEAD

In “View of Delft” (circa 1660), Vermeer hangs the sky with low cumulus clouds. He paints dampness as well as light. 

In the spring of 1914, James Simon, an art collector in Berlin, was approached by a London-based dealer with a proposition: Would he accept two hundred and fifty thousand dollars for a work in his collection, Johannes Vermeer’s “Mistress and Maid”? The would-be buyer was Henry Clay Frick, the American industrialist, who in the late nineteenth century had embarked on an acquisition binge of Old Masters, and who already owned two works by the seventeenth-century painter from Delft. Simon’s answer was definitive: although he had received equally lavish offers from other buyers—Frick was far from alone in his desire to gild his Gilded Age fortune with Golden Age masterpieces—he would not part with the painting. Five years and a crippling Great War later, however, Simon found himself in a weaker bargaining position, and for nearly three hundred thousand dollars—the equivalent of roughly five million dollars today—“Mistress and Maid” was shipped across the Atlantic to Frick’s mansion, on Fifth Avenue, where its new owner enjoyed only a short while in its company before his death, in late 1919. The painting—which depicts a lady seated at a table with a writing set, interrupted by a maid holding a letter—has remained at the mansion more or less undisturbed ever since. Frick turned his home into a museum bearing his name, and it has long been its policy not to lend his acquisitions to other institutions.