Virgin and Child

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1530

Circle of Adriaen Isenbrant (Netherlandish, c. 1485–1551)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Circle of Adriaen Isenbrant
Title: Virgin and Child
Place: Bruges (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1525–1535
Medium: Oil on panel
Dimensions: 46.7 × 31.3 cm (18 3/8 × 12 5/16 in.)
Credit Line: A. A. Munger Collection
Reference Number: 1929.863
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/111663/manifest.json

Max J. Friedländer, “Ein Madonnenbild Gerard David’s im Kaiser Friedrich Museum,” Jahrbuch der königlich preussischen Kunstsammlungen 27 (1906), p. 145.
Alfred Scharf, “Die Primitieven der Sammlung Cremer,” Der Cicerone 21 (1929), p. 259.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 177.
“Chicago to Show a Strong Group of Old Masters,” Art News 31, 33 (1933), p. 4.
Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.
Max J. Friedländer, Die altniederländische Malerei, vol. 11, Leiden, 1934, p. 137, no. 195a; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1974, p. 90, no. 195a.
Georges Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint, Damme, 1957, pp. 110, 213, 326, nos. 184 and 185.
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), p. 201.
Jean C. Wilson, Painting in Bruges at the Close of the Middle Ages, University Park, Pa., 1998, p. 199.
Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 151-4, ill.

Art Institute of Chicago, A Century of Progress, 1933, no. 42.
Tulsa, Okla., Philbrook Art Center, Annual Fall Exhibition, 1950 (no cat.).
Birmingham (Ala.) Museum of Art, North European Masters, 1952, no. 11, traveled to Atlanta, New Orleans, and Chattanooga.

Dowdeswell and Dowdeswell, London, 1903 [Friedländer 1906]. Josef Cremer, Dortmund, Germany, by 1929; sold, Wertheim Antiquitätenhaus, Berlin, May 29, 1929, no. 21, to Knoedler, London [according to receipt from Knoedler, July 17, 1929, in registrar’s records]; sold to the Art Institute, 1929; offered for sale, Parke-Bernet, New York, Mar. 2, 1944, no. 66, bought in.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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