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About This Artwork
Holy Family, 1520/30
Oil on panel, with added strips
48.3 x 36.4 cm (19 x 14 3/8 in.)
Panel: 48.3 x 35.3 cm (19 x 13 7/8 in.)
Inscribed on knife handle: J
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1038
Medieval to Modern European Painting and Sculpture
Not on Display
New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no. 56, as Joos van Cleve.
Art Institute of Chicago, A Century of Progress, 1933, no. 36, as Joos van Cleve.
Art Institute of Chicago, A Century of Progress, 1934, no. 117, as Joos van Cleve.
The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p. 209, no. 2100.
“Loan Collections,” Bulletin of the Art Institute of Chicago 7 (1914), p. 38.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 61.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 70.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 159, no. 2013.
Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 87–89.
Max J. Friedländer, Die altniederländische Malerei, vol. 9, Berlin, 1931, p. 138, no. 66l; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1972, p. 65, no. 66l, pl. 85.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 179, no. 461.13.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), pp. 21 (ill.), 60.
Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.
An American Correspondent, “Flemish and Dutch Paintings in the Ryerson Collection,” Connoisseur 119 (1947), p. 50.
Harry B. Wehle and Margaretta Salinger, A Catalogue of Early Flemish, Dutch and German Paintings, New York, Metropolitan Museum of Art, 1947, p. 135.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 79–80.
Bob Jones University, Art Gallery and Museum, The Bob Jones University Collection of Religious Paintings, vol. 2, Greenville, S.C., 1962, p. 250, under no. 138.
Martin Davies, Early Netherlandish School, National Gallery Catalogues, 3rd rev. ed., London, 1968, pp. 101–02.
M[aryan] W. A[insworth], in Maryan W. Ainsworth and Keith Christiansen, eds., From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art, exh. cat., New York, Metropolitan Museum of Art, 1998, p. 250, under no. 62.
John Oliver Hand, Joos van Cleve: The Complete Paintings, New Haven, 2004, pp. 132, 134, no. 33.11.
Micha Leeflang and Peter Klein, “Dating Panel Paintings: The Workshop of Joos van Cleve,” in Colloque XV 2006, pp. 124, 128–29.
Micha Leeflang, “‘Uytnemende Schilder van Antwerpen’: Joos van Cleve; Atelier, productie, werkmethoden,” Ph.D. diss., Rijksuniversiteit Groningen, 2007, pp. 135–36.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 167-71, ill.
Marczell de Nemes, Budapest; sold, Galerie Manzi-Joyant, Paris, June 17–18, 1913, no. 18, as Master of the Death of the Virgin, to Kleinberger, Paris, as agent for Ryerson [Kleinberger stock card, Department of European Painting, Metropolitan Museum of Art, New York; and invoice, June 18, 1913, Art Institute Archives]; Martin A. Ryerson (d. 1932), Chicago, 1913; on loan to the Art Institute from 1913; bequeathed to the Art Institute, 1933.