Her older brother Jan married in Amsterdam and it is there that she met Michiel de Wael who she became engaged to in Haarlem on 2 April 1625.

Though Michiel and Cunera ran a brewery in Haarlem, they remained friendly with Jan's family and Michiel was registered at the baptism of Jan's youngest daughter Aeffjen van Baersdorp on 8 June 1631 in the Oude Kerk.

[2] 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.

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.

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.

She wears a black silk dress with a flowered pattern, a white lace-trimmed cap, a broad ruff, and lace wristbands.

[4] Hofstede de Groot did not identify it as a pendant of Cunera's portrait, but he wrote of Michiel's portrait:242.

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.

[5] 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.

[2] 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.

[6] 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.