Once well known as a Rembrandt, this large canvas has also been attributed to the master"s pupil, Nicolaes Maes (1643–1693), and to Abraham van Dijck (ca. 1635?–1680?). The two artists were closely associated in Dordrecht, the southern Dutch city from which several Rembrandt followers came. Whatever its authorship, the painting must date from about 1655–60. The sewing materials and the act of clipping nails probably suggest domestic virtues of a kind often associated with widowhood. The monumental treatment is unexpected and surely inspired by Rembrandt.