Virgin and Child

• Max J. Friedländer, Von Eyck bis Brueghel: Studien zur Geschichte der niederländerischen Malerei, 2nd ed. (Berlin, 1921), pp. 133, 198.
• Friedrich Winkler, “Gossaert” in Thieme-Becker vol. 14, Leipzig, 1921, p. 412.
• Martin Conway, The Van Eycks and their Followers (London, 1921), p. 373.
• Achille Segard, Jean Gossart dit Mabuse (Brussels and Paris, 1923), pp. 68-69, 185, no. 53, ill. opp. p. 64.
• Max J. Friedländer, Die altniederländische Malerei (Berlin, 1930), vol. 8, p. 156, no. 33 (rev. ed. 1972, pp. 94-95, no. 33, pl. 32).
• Max J. Friedländer, Early Netherlandish Painting: From Van Eyck to Bruegel (London, 1956), p. 103.
• The Art Institute of Chicago Quarterly 51 (1956/57), pp. 88-89, ill.
• “Accessions of American and Canadian Museums, April-June, 1957,” The Art Quarterly, 20 (1957), p. 318, ill. p. 320.
• Gert von der Osten, “Studien zu Jan Gossaert” in De Artibus Opuscula XL: Essays in Honor of Erwin Panofsky, ed. Millard Meiss (New York, 1961), p. 465.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 200, ill. p. 137.
• Sadja Jacob Herzog, “Jan Gossart, called Mabuse (ca. 1478-1532), A Study of his Chronology with a Catalogue of his Works”, PhD. dissertation, Bryn Mawr College, 1968, pp. 272-273, no. 29, pl. 36.
• John Maxon, The Art Institute of Chicago (London, 1970), p. 283, ill. p. 252.
• Walter S. Gibson, “Jan Gossart de Mabuse: Madonna and Child in a Landscape,” The Bulletin of the Cleveland Museum of Art, 61 (1974), p. 292, fig. 10.
• Masterworks of the Gemäldegalerie, Berlin with a History of the Collection (New York, 1986), p. 274, ill.
• Larry Silver, The Paintings of Quinten Massys with Catalogue Raisonné (Montclair, N.J., 1984), p. 183, pl. 172.
• Larry Silver, “Figure nude, historie e poesie: Jan Gossaert and the Renaissance Nude in the Netherlands,” Nederlands Kunsthistorisch Jaarboek 37 (1986), pp. 11, 24, fig. 38.
• Larry Silver, “The ‘Gothic’ Gossaert: Native and Traditional Elements in a Mabuse Madonna,” Pantheon 45 (1987), p. 59, fig. 3.
• Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America (Antwerp, 1992), p. 337, no. 250, ill.
• Jefferson C. Harrison, “Jan Gossaert’s Madonna and Child: A Newly Proposed Mabuse Triptych,” The Chrysler Museum Journal 1 (1994), pp. 8, 10, fig. 6.
• Didier Martens, “Un Tüchlein flamand de la Renaissance au château de Peralada et le Maître de la Madone,” Locus Amoenus 6 (2002/2003), pp. 126-27, fig. 16.
• Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 227–31, ill. as frontispiece, p. 228.
• Nancy H. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection, Dallas, 2009, pp. 120, ill., 336, no. A801.
• Shira Brisman, “Jan Gossart’s Immaculate Art,” in Peter Bokody and Alexander Nagel, eds., Renaissance Metapainting (London and Turnhout: Harvey Miller, 2020), 269, 270 fig. 2, 275, 277, 280-81, 283-84, 286 fig. 8, 287, 290.

• Tourcoing, Musée d’Art, Exposition d’Art Ancien, 1906, cat. no. 18.
• 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.
• Metropolitan Museum of Art, Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance, October 5, 2010 - Jan 17, 2011, no. 14.

Etienne-Edmond Martin, 2nd Baron de Beurnonville, Paris; sold Paris, May 9-16, 1881, no. 289, ill., for 4,000 francs to Baer [annotated sale cat. in Bibliothèque Nationale, Paris]. Dr. Max Wassermann (died 1932), Paris, by 1906 [lent by him to Tourcoing 1906]; by descent to his widow; confiscated by the Einsatzstab Reichsleiter Rosenberg (E.R.R.) from the Banque de l’Union Parisienne where it had been placed on deposit [Consolidated Interrogation Report no. 2, 1945, p. 27 and May 26, 2000 report of Louis Amigues in curatorial file]; transferred to the collection of Hermann Goering and recovered by the Allies in Berchtesgaden, then sent to the Central Collecting Point, Munich on Aug. 1, 1945 (Munich property card no. 6168) and returned to France on Sep. 19, 1946; returned to Mme Pierre Lemand (née Wassermann), Nov. 29, 1946 [Louis Amigues report and May 19, 2000 letter from Françoise Cachin to James Wood]; sold by the heirs of Max Wassermann to Wildenstein and Co, 1954 [Apr. 4, 2000 letter of Daniel Wildenstein and letter of Sep. 17, 1999 of Joseph Baillio, both in curatorial file]; Wildenstein and Co., Paris and New York, from 1954 to 1957; sold to the Art Institute, 1957.