About This Artwork

Exhibition, Publication and Ownership Histories

Exhibition, Publication and Ownership Histories

Exhibition History

Rotterdam, Museum Boymans, Jeroen Bosch: Noord-Nederlandsche Primitieven, 1936, no. 49.

Worcester (Mass.) Art Museum and Philadelphia Museum of Art, Exhibition of Flemish Paintings, 1939, no. 40.

Art Institute of Chicago, Masterpiece of the Month, November 1942.

Brooklyn Museum, Landscape: An Exhibition of Paintings, 1945–46, no. 13.

Indianapolis, John Herron Art Museum, Holbein and His Contemporaries, 1950, no. 6.

Art Institute of Chicago, The Artist Looks at the Landscape, 1974, no cat.

Publication History

H. M. Smith, “Flemish Paintings at Worcester and Philadelphia,” Art in America 27 (1933), p. 92.

AIC Annual Report 1936, p. 41.

“Report for the Year 1936,” Art Institute of Chicago Bulletin 31 (1937), pp. 19 (ill.), 41.

Charles de Tolnay, Hieronymus Bosch, Basel, 1937, p. 104, no. 53; Eng. ed., New York, 1966, p. 384, no. 53.

Max J. Friedländer, Die altniederländische Malerei, vol. 14, Berlin and Leiden, 1937, p. 101; rev. English ed., Early Netherlandish Painting, vol. 5, Brussels and Leiden, 1969, p. 90, Supp. 128, pl. 112.

J. B. Neumann, Living Art: Old Masters, New York, 1937, n.pag. (ill.).

Leo van Puyvelde, “The Character of Flemish Art,” Art News 37, 22 (1939), p. 52 (ill.).

Dorothy Odenheimer, “The Garden of Paradise by Bosch,” Art Institute of Chicago Bulletin 34 (1940), pp. 106–07 (cover ill.).

“When Bosch Dreamed of Paradise,” Art Digest 15, 6 (1940), p. 13 (ill.).

“A Tour of the World of Art in 150 Masterpieces,” Masterpieces 1 (1950), p. 62 (ill.).

Wilhelm Fränger, The Millenium of Hieronymus Bosch, trans. Eithne Wilkins and Ernst Kaiser, Chicago, 1951, pp. 49–50, pl. 6.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, pp. 28, 143 (ill.).

Herbert Kessler, “The Solitary Bird in Van der Goes’ Garden of Eden,” Journal of the Warburg and Courtauld Institutes 28 (1965), p. 328, pls. 50a–b.

Mia Cinotti, The Complete Paintings of Bosch, New York, 1966, pp. 101–102, no. 31, ill.

Wilhelm Fränger, Hieronymous Bosch, Dresden, 1975, pp. 34–35, p. 504, no. 35 (Engl. ed. trans. Helen Sebba, New York, 1983, pp. 34–35, 508).
.
Sandra Orienti and René de Solier, Hieronymous Bosch, Milan, 1976; Eng. ed., New York, 1979, p. 81,ill.

Jacques Chailley, Jérôme Bosch et ses symboles: Essai de décryptage, Brussels, 1978, p. 190, no. 31.

Gerd Unverfehrt, Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert, Berlin, 1980, pp. 148–50, 246, no. 17, fig. 95.

D. Bax, Hieronymus Bosch and Lucas Cranach: Two Last Judgment Triptychs, Amsterdam, Oxford, and New York, 1983, pp. 61, 70, 339–40, 343, 357, 384.

Karl Schütz, in Das Capriccio als Kunstprinzip: Zur Vorgeschichte der Moderne von Arcimboldo und Callot bis Tiepolo und Goya, exh. cat., ed. Ekkehard Mai, Cologne, Wallraf-Richartz-Museum, 1996, p. 200.

Peter Klein, “Dendrochronological Analysis of Works by Bosch and His Followers,” in Hieronymus Bosch: New Insights into His Life and Work, ed. Jos Koldeweij and Bernard Vermet, Rotterdam, 2001, p. 124.

Frédéric Elsig, “Hieronymus Bosch’s Workshop and the Issue of Chronology,” in Hieronymus Bosch: New Insights into His Life and Work, ed. Jos Koldeweij and Bernard Vermet, Rotterdam, 2001, p. 98.

Jos Koldeweij, Paul Vandenbroeck, and Bernard Vermet, Hieronymus Bosch: The Complete Paintings and Drawings, Amsterdam, Rotterdam, and New York, 2001, p. 102.

Susan Frances Jones, “The ‘Garden of Paradise’ at the Art Institute of Chicago and Its Relationship to the Work of Hieronymus Bosch,” in Le Dessin sous-jacent dans la peinture Colloque XIV, ed. Roger van Schoute and Hélène Verougstraete, Louvain-la-Neuve, 2003, pp. 140–49, fig. 1.

Frédéric Elsig, Jheronimus Bosch: La Question de la chronologie, Geneva, 2004, p. 227, fig. 51.

Ownership History

Max Bondi sale, Galleria Lurati, Milan, December 9–20, 1929, no. 59. K. Postma, Carlton Hotel, Amsterdam, by January 1936 [according to a photograph in the Friedländer Archive, Rijksbureau voor Kunsthistorische Documentatie, The Hague]; sold to Kunsthandel P. de Boer, Amsterdam, January 1936 [according to letter and stockcard kindly supplied by Hilde de Boer, November 15, 2000]; sold to J. B. Neumann Gallery, New York, December 1936 [according to De Boer stockcard cited above]; sold to the Art Institute, December 1936.