Pen and black ink, with touches of brown ink, and brush and black, brown, pink, green, blue, and yellow wash, on ivory laid paper, discolored to buff, laid down on cream laid paper
Inscribed lower left-lower right, in graphite: "Lucas Jacobs dit Lucas de Leyden"; lower left, in graphite: "Lucas van Leyden"; lower right , in graphite: "No 80" ("o" superscript, "80" underlined)
210 × 145 mm
Everett D. Graff Memorial Fund
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Dirk Hannema, Catalogue of the H. E. ten Cate Collection (Rotterdamn, 1955), vol. 1, p. 127, no. 219b, vol. 2, pl. 88 (as French School ca. 1500).
The Art Institute of Chicago Annual Report, 1964-1965, p. 60 (ill.), as French, about 1500.
Sotheby’s, Old Master Drawings (London, July 7, 1966), p. 57 (as French School, about 1500).
Harold Joachim, French Drawings of the Sixteenth and Seventeenth Centuries (Chicago, 1977), pp. 27-28, no. 6 (as Anonymous Northern France, around 1500).
Janet Backhouse, “The Tilliot Hours: Comparisons and Relationships,” The British Library Journal 13:2 (Autumn 1987), pp. 224-28, fig. 14.
Burton L. Dunbar and Edward J. Olszewski (editors), Drawings in Midwestern Collections, vol. 1: Early Works (Columbia, Mo., 1996), pp. 121-26, no. 23, pl. 23 (as French School, ca. 1500).
Christies, Old Master Drawings (New York, January 10, 1996), p. 164, fig. 1.
New York, The Pierpont Morgan Library, “Jean Poyet: Artist to the Court of Renaissance France,” January 25-May 6, 2001, no cat.
The Art Institute of Chicago, “Kings, Queens, and Courtiers: Art in Early Renaissance France,” February 27–May 30, 2011; also Paris, Galeries nationales d’exposition du Grand Palais, October 11, 2010-January 10, 2011.
Eugène Rodrigues (died 1928), Paris; sold, Frederik Muller, Amsterdam, July 12-13, 1921, lot 114, to Hendrikus Egbertus ten Cate (died 1955), Rotterdam. C. G. Boerner, Dusseldorf, 1964; sold to the Art Institute, 1965.
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