to exist in the early 19th century, the traces to the real origins were lost. The Swiss family Tschiffely sold the painting in 1832. In the end of the 19th century it was known as depicting the Familie des Kaufmanns Gelfing. In 1907 the known Dutch art-historian Hofstede de Groot mentioned the parrot in the painting of the Familie Geelvinck. Remarkably he described the painting as langweilig (= boring). In 1984 also Bob Haak describes it as depicting the Geelvinck family. In 1976 Van Eeghen renamed the painting to De familie van burgemeester Gillis Valckenier, and dated it in 1657. This was mainly based on the bird in the painting, which van Eeghen imagined to be a falcon. Irene Groeneweg reasons that the bird, held by the boy, is a Cuban amazon parrot. Another reason to doubt the classification is that, according to the Amsterdam City Archives, burgomaster Gillis Valckenier had six children at the time of the painting's creation. Judith van Gent discovered that there was a resemblance with Hinlopen's on the works of Bartholomeus van der Helst and the family, depicted by Metsu on the painting in Berlin. Additionally she discovered support for her view in Hinlopens will. Nevertheless, the painting is still and erroneously referred to as: The Family of burgomaster Gillis Valckenier. The painting in the Metropolitan Museum of Art, called A Visit to the Nursery, dated 1661, may depict the family Hinlopen. According to Walter Liedtke there is some general resemblance. The scene is set in an imaginary room. The chimney resembles the one in the former Amsterdam townhall, also painted by Pieter de Hooch. A guest is greeted by the new mother and her hat-doffing husband. There is a seascape, a painting of a brawny fisherman on the wall and Persian carpets on the table and the floor. The dog in the painting could be a Bolognese. The history of this painting is well-known, except for between the years 1666 and 1706. In 1662 Jan Vos published a poem about this painting, belonging to Jan J. Hinlopen. Most of Jan Hinlopen's collection passed to his daughters. In 1680, after the burial of his brother and guardian Jacob J. Hinlopen his paintings were divided in lots and given to his daughters but none of the paintings or painters are mentioned. See also Museum Geelvinck-Hinlopen, for more on Sara and the family Sources External links Deeds