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About This Artwork
Virgin and Child, 1515/25
Oil on panel
40.4 x 31.6 cm (15 7/8 x 12 7/16 in.)
Image: 38.7 x 30.5 cm (15 1/4 x 12 in.)
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1053
Medieval to Modern European Painting and Sculpture
Not on Display
New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no. 66.
Art Institute of Chicago, A Century of Progress, 1933, no. 41.
Art Institute of Chicago, A Century of Progress, 1934, no. 120.
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.
The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1913, p. 196, no. 2084.
The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914 , p. 207, no. 2084.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 64.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 74.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 161, no. 2090.
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, p. 90, no. 2090.
Max J. Friedländer, Die altniederländische Malerei, vol. 11, Leiden, 1933, p. 136, no. 182a; rev. English ed., Early Netherlandish Painting Brussels and Leiden, 1974, p. 88, no. 182a, pl. 135.
Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.
Ninfa Valvo, “A Madonna and Child by Adriaen Isenbrant,” Pacific Art
Review 1 (1941), pp. 6–13, fig. 2.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 224.
John Maxon, The Art Institute of Chicago, London, 1970, pp. 252 (ill.), 283.
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), pp. 67–70, 197.
Leslie R. Schwartz, “A Pounced Underdrawing in a Painting Attributed to Adriaen Isenbrant in the Art Institute of Chicago,” paper delivered at the
Midwest Art History Society Conference, Northwestern University, Evanston, Ill., 1986.
Jean C. Wilson, Painting in Bruges at the Close of the Middle Ages, University Park, Pa., 1998, pp. 115–17, 118, fig. 52.
Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 237-242, ill.
Steinmeyer & Fils, Paris, by 1911 [letter from Max J. Friedländer to Steinmeyer, July 20, 1911, in curatorial file]. V. G. Fischer Art Co., New York, and Washington, D.C., 1912; sold to Martin A. Ryerson (d. 1932), Chicago, 1912 [receipt dated Apr. 26, 1912, Art Institute Archives]; on loan to the Art Institute from 1912; bequeathed to the Art Institute, 1933.