About This Artwork

Netherlandish (Bruges)

Virgin and Child, 1520/50

Oil on panel
46.7 x 31.3 cm (18 3/8 x 12 5/16 in.)
Painted surface: 45.4 x 30.2 cm (17 7/8 x 11 3/4 in.)
A. A. Munger Collection, 1929.863

Exhibition, Publication and Ownership Histories

Exhibition History

Art Institute of Chicago, A Century of Progress, 1933, no. 42.

Tulsa, Okla., Philbrook Art Center, Annual Fall Exhibition, 1950 (no cat.).

Birmingham (Ala.) Museum of Art, North European Masters, 1952, no. 11, traveled to Atlanta, New Orleans, and Chattanooga.

Publication History

Max J. Friedländer, “Ein Madonnenbild Gerard David’s im Kaiser Friedrich Museum,” Jahrbuch der königlich preussischen Kunstsammlungen 27 (1906), p. 145.

Alfred Scharf, “Die Primitieven der Sammlung Cremer,” Der Cicerone 21 (1929), p. 259.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 177.

“Chicago to Show a Strong Group of Old Masters,” Art News 31, 33 (1933), p. 4.

Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.

Max J. Friedländer, Die altniederländische Malerei, vol. 11, Leiden, 1934, p. 137, no. 195a; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1974, p. 90, no. 195a.

Georges Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint, Damme, 1957, pp. 110, 213, 326, nos. 184 and 185.

Jean C. Wilson, “Adriaen Isenbrant Reconsidered: The Making and Marketing of Art in Sixteenth-Century Bruges,” Ph.D. diss., Johns Hopkins University, 1983 (Ann Arbor, Mich., University Microfilms, 1983), p. 201.

Jean C. Wilson, Painting in Bruges at the Close of the Middle Ages, University Park, Pa., 1998, p. 199.

Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 151-4, ill.

Ownership History

Dowdeswell and Dowdeswell, London, 1903 [Friedländer 1906]. Josef Cremer, Dortmund, Germany, by 1929; sold, Wertheim Antiquitätenhaus, Berlin, May 29, 1929, no. 21, to Knoedler, London [according to receipt from Knoedler, July 17, 1929, in registrar’s records]; sold to the Art Institute, 1929; offered for sale, Parke-Bernet, New York, Mar. 2, 1944, no. 66, bought in.