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The portrait was dated around 1635–1638, but since 2012 it has been attributed as a wedding pendant and thus is dated 1625. Similar to Hals' Portrait of a Woman Standing in Chatsworth House, this woman is wearing a wedding ring on her right forefinger, a figure-eight collar and lace wrist collars over sleeves that match her bodice, and a vlieger over a wheel-shaped fardegalijn. Her diadem cap lacks wings however and is more similar to the cap worn by Hals's Catholic sitter Catharina Both-van der Eem and by his brewer Aletta Hannemans. Unlike her colleague Haarlem brewer Aletta, who is wearing a colorful skirt and ornamented wedding stomacher, Cunera is wearing a black skirt and her bracelets are black and white, which together possibly indicate mourning, probably for her mother. Also like Aletta, she is holding a wedding glove. Her stance with arm akimbo is striking and, though men in Hals wedding pendant portraiture often take this pose, Cunera is the only known woman in his oeuvre to stand this way. Her portrait was documented by Hofstede de Groot in 1910, who wrote:391. PORTRAIT OF A DUTCHWOMAN STANDING. M. 195. Three-quarter-length. She is turned three-quarters left, and looks at the spectator. Her left hand rests on her hip; her right hand holds a glove. She wears a black silk dress with a flowered pattern, a white lace-trimmed cap, a broad ruff, and lace wristbands. Canvas on panel, 46 inches by 36 inches. In the possession of the Paris dealer C. Sedelmeyer, "Catalogue of 100 Paintings," 1899, No. 19. In the collection of the Marquis de Ganay, Paris.
Hofstede de Groot did not identify it as a pendant of Cunera's portrait, but he wrote of Michiel's portrait:242. MICHIEL DE WAEL (?). B. 73; M. 83. Three-quarter-length, life size. He is seen in full face, and looks at the spectator. His right hand holds his gloves; his left hand is pressed on his hip. He is in black with a broad-brimmed black hat. He has a fresh and ruddy face. Brown background. On the bottom of the frame is a coat-of-arms, bearing a bird facing right on clouds. On the top of the frame is a monogram composed of the letters, C, H, R, and G. There is apparently no evidence for the identification of the sitter as M. de Wael. [Pendant to 243. Compare 282.] Canvas, 47 inches by 30 inches. See Moes, lconographia Batava, No. 8794, 3. Engraved by Achille Gilbert in the collection of C. Fillet. Exhibited at the Royal Academy Winter Exhibition, London, 1902, No. 101. Sale. (Supplementary) Utrecht, June 27, 1825, No. 153 (200 florins, with pendant). In the collection of Charles Fillet, Paris. In the possession of the London dealers Lawrie. In the collection of Arthur Sanderson, Edinburgh. In the collection of Charles Taft, Cincinnati. Oddly, the pendant that Hofstede de Groot did identify for this portrait, catalog number 243, had no distinguishing characteristics besides that the woman's hands were both visible, it was named "Cornelia van Baardorp", and it had been sold June 27 in Utrecht in 1825. This was later determined to be earlier information regarding the same portrait he included in his catalog as number 391.In 1974 Seymour Slive listed another painting, catalog 130, as a possible pendant, based on an attribution by W.R. Valentiner, but he found it doubtful, as Cunera is portrayed in a distinctively different style with her arm akimbo. Slive agreed that her dress implies a date of 1625 but felt that fashions were worn for long periods and placed the painting on stylistic grounds in 1635. In 1989 Claus Grimm included these portraits but also did not identify them as pendants.
Achille Gilbert Haarlem Moes Hofstede de Groot Seymour Slive Claus Grimm Charles Fillet fardegalijn Royal Academy Arthur Sanderson Chatsworth House W.R. Valentiner stomacher C. Sedelmeyer Aletta Hannemans Portrait of a Woman Standing Charles Taft Catharina Both-van der Eem Marquis de Ganay catalog 130