About This Artwork

Flemish

Philip the Good, Duke of Burgundy; Isabelle of Bourbon (?), c. 1520/30

Oil on panel
Each 8 5/16 x 6 3/8 in. (21 x 16.2 cm); image: 6 1/2 x 4 11/16 in. (16.5 x 12 cm)
Inscribed in black on the bottom edge of the frame of the left panel: phs d • g • dux burg • [co?]• fland; in black on the bottom edge of the frame of the right panel: Isabella – portugalie • conjunx
Frederick T. Haskell Collection, 1940.1146

Exhibition, Publication and Ownership Histories

Exhibition History

New Gallery, London, 1899-1900, Exhibition of Pictures by Masters of the Flemish and British Schools including a Selection from the Works of Sir Peter Paul Rubens, cat. 57.

Bruges, 1907, Exposition de la Toison d'Or, cat. 13.

Bibliothèque Nationale, Paris, 1907, Exposition de portraits peints et dessinés du XIIIe au XVIIe siècle, cat. 532.

Art Institute of Chicago, 1997, The Meeting of Heaven and Earth: Van Eyck's 'Annunciation', no cat.

Publication History

Gustav Friedrich Waagen, Über Hubert und Johann van Eyck (Breslau, 1822), pp.255-256.

Max J. Friedländer, "Die Leihausstellung der New Gallery in London, Januar-März 1900. Hauptsächlich niederländische Gemälde des XV. und XVI Jahrhunderts", Repertorium für Kunstwissenschaft, 23 (1900), p. 247.

H. Kervyn de Lettenhovoe et al., Les chefs-d'oeuvre d'art ancien à l'exposition de la toison d'or à Bruges en 1907 (Brussels, 1908), p. 10.

[ ] Court, session of 1 June 1907, compte-rendu, and session of 1 march 1908, compte-rendu in Commission des antiquités du Département de la Côte d'Or, Mémoires, 15 (1906-1910), pp. LXXXVII and LCCVII-CXXVIII.

W. H. James Weale, Hubert and John van Eyck, Their Life and work (London, 1908), pp. 177-178.

W.H. James Weale and Maurice W. Brockwell, The Van Eycks and their Art, London, 1912, p. 199.

Marguerite Devigne, "Une collection d'oeuvres d'art à Tournai au commencement du XVIIe siècle," Fédération archéologique et historique de Belgique, Annales, 24 (1921), p. 349, 353.

Seymour de Ricci, "A Flemish Triptych for Melbourne II", The Burlington Magazine, 40 (1922), p. 171.

Luiz Reis Santos, "Un portrait d'Isabelle de Portugal duchesse de Bourgogne, daté de 1470," Revue belge d'archéologie et d'histoire de l'art, 5 (1935), p. 135.

Jeffrey Chipps Smith, "The Artistic Patronage of Philip the Good, Duke of Burgundy (1419-1467)", PhD. dissertation (Columbia University, 1979), pp. 289, 321.

Micheline Comblen-Sonkes, Le Musée des Beaux-Arts de Dijon. Les Primitifs flamands. Corpus (Brussels, 1986), pp. 15, no. 4 and 226, no. 17.

Ownership History

Jacob Daniel Abegg, Mannheim, by 1822 [according to Waagen 1822]. Hollingworth Magniac (died 1867), Colworth House, Bedfordshire; heirs of Hollingworth Magniac, sold, Christie's, London, July 2 and 4, 1892, no. 14, to Durlacher for 55 gns. [according to an annotated copy of the sale catalogue at the Fitzwilliam Museum, Cambridge]. Wickham Flower, Guildford and London; his estate sale Christie's, London, December 17, 1904, to Dowdeswell for £325 10s [according to annotated catalogue at the Art Institute]. Wildenstein, Paris, by 1907 [lent to Paris 1907]. Dr. Albert Figdor, Vienna, by 1913 [letter of 30 March 1999 from Simona Brusa, Agnew’s]; sold to Thomas Agnew and Sons, London, 16 December, 1913 [according to letter cited above]; sold by Agnew's to Sir John Ramsden, Bart., 21 March, 1918 [according to letter cited above]. James P. Labey, London [according to registrar’s records; this information could not be verified, though Haskell did buy other pictures from Labey in Paris]; sold to Frederick T. Haskell, (died 1935), Chicago, by whom given to the Art Institute in 1935; accessioned in 1940 [Haskell’s wife disputed his gift, hence the delay in accessioning the painting].