About This Artwork

Master of the Female Half-Lengths
Netherlandish, active about 1520–40

A Lady Reading (Saint Mary Magdalene), About 1530

Oil on panel
52.4 x 37.5 cm (20 5/8 x 14 3/4 in.)

Max and Leola Epstein Collection, 1954.290

Exhibition, Publication and Ownership Histories

Exhibition History

Renaissance Society, University of Chicago, Max Epstein Memorial Exhibition, 1955, no. 9.

Publication History

Johanna Schopenhauer, Ausflug an der Niederrhein und nach Belgien im Jahr 1828, vol. 2, Leipzig, 1831, pp. 148–49.

Franz Wickhoff, “Die Bilder weiblicher Halbfiguren aus der Zeit und Umgebung Franz I von Frankreich,” Jahrbuch der kunsthistorischen Sammlung des allerhöchsten Kaiserhauses 22 (1901), pp. 226, 228, 236, 244.

Max J. Friedländer, Die altniederländische Malerei, vol. 12, Leiden, 1935, p. 174, no. 89; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1975, p. 99, no. 89, pl. 42.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 299–300.

John Maxon, The Art Institute of Chicago, London, 1970, pp. 251 (ill.), 283.

Erik Hinterding and Femy Horsch, “‘A Small but Choice Collection’: The Art Gallery of King Willem II of the Netherlands (1792–1849),” Simiolus 19 (1989), pp. 10 n. 19, 63, cat. 31.

Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 246-50, ill.

Ownership History

C. J. Nieuwenhuys, Apr. 20, 1823; sold to Willem, Prince of Orange, later King Willem II of the Netherlands (d. 1849), as Barend van Orley [Hinterding and Horsch 1989, p. 63]; sold, The Hague, to Christoph Rhaban Ru_hl, Cologne, 1850 [Hinterding and Horsch 1989, p. 63]; sold, J. M. Heberle, Cologne, May 15–18, 1876, no. 30, as Bernard van Orley, to Heinrich Vieweg (d. 1890), Braunschweig; sold, Rudolph Lepke, Berlin, Mar. 18, 1930, no. 44, to Julius Böhler, Munich [Friedländer 1935, reprinted 1975]; sold to Max Epstein (d. 1954), Chicago, 1930 [undated note in curatorial file]; bequeathed to the Art Institute, 1954.




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