Portrait of a Seated Woman

• Sir Richard Worsley, A Catalogue Raisonné of the Principal Paintings, Sculptures, Drawings &c. at Appuldurcombe House, taken June 1, 1804, London, 1804, pp. 25–26.
• [Gustav Friedrich] Waagen, Treasures of Art in Great Britain, vol. 2, London, 1854, p. 87 n.
• [Gustav Friedrich] Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857, pp. 64–65.
• W. Bürger [Théophile Thoré], Trésors d’art en Angleterre, Brussels and Ostend, 1860, p. 172.
• Henri Hymans, Antonio Moro: Son Oeuvre et son temps, Brussels, 1910, pp. 134–35 n. 1 (ill. opp. p. 134).
• Lionel Cust, “Notes on Pictures in the Royal Collections—XVIII: On Some Portraits Attributed to Antonio Moro and on a Life of the Painter by Henri Hymans,” Burlington Magazine. 18 (1910), p. 11.
• Helen Comstock, “The Connoisseur in America,” Connoisseur 93 (1934), pp. 407, 409 (ill.).
• Georges Marlier, Anthonis Mor van Dashorst (Antonio Moro), Brussels, 1934, p. 103, no. 51.
• Max J. Friedländer, Die altniederländische Malerei, vol. 13, Leiden, 1936, p. 176, no. 405, pl. 77; rev. English ed., Brussels and Leiden1975, p. 106, no. 405, pl. 196.
• A[lfred] M. F[rankfurter], “The Harding Collection: A Document of American
• Taste,” Art News 37, 11 (1938), p. 22.
• The Collection of the Late J. Horace Harding, New York, 1938, pp. 14–15 (ill.). “Old Masters of J. Horace Harding,” Art Digest 13, 5 (1938), p. 16.
• Elizabeth McCausland, “Exhibitions in New York,” Parnassus 11 (1939), p. 23
• (ill.).
• “Acquires Lady Who Might Have Been Queen,” Art Digest 16, 8 (1942), p. 12 (ill.).
• Dorothy Odenheimer, “Portrait of a Lady by Antonio Moro,” Bulletin of the Art Institute of Chicago 36 (1942), pp. 2–3 (cover ill.).
• “Recent Important Acquisitions of American Collections,” Art Quarterly 5 (1942), p. 98 (ill.).
• L. C. J. Frerichs, Antonio Moro, Amsterdam, 1947, pp. 48, 57.
• H. E. van Gelder, “Moro’s ‘Goudsmid,’” Nederlands kunsthistorisch jaarboek
• 1 (1947), p. 51.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 339.
• Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 196.
• Joanna Woodall, “The Portraiture of Antonis Mor,” Ph.D. diss., University of London, 1990, pp. 59, 420–23, no. 12, fig. 57.
• 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. 346, no. 309.
• Elizabeth Rodini, “The Language of Stones,” Art Institute of Chicago Museum Studies 25, 2 (2000), fig. 4.
• Joanna Woodall, Anthonis Mor: Art and Authority, Zwolle, 2007, pp. 413-17, fig. 157.
• Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 260-64, ill.
• Koenraad Jonckheere, Willem Key (1516-1568). Portrait of a Humanist Painter, Turnhout, 2011, p. 96, under no. A34.

• London, British Institution, 1850, no. 12, as Queen Mary.
• Manchester, Art Treasures of the United Kingdom, 1857, no. 503, as Queen Mary.
• London, Royal Academy, Old Masters Exhibition, 1903, no. 64, as Portrait of Queen Mary.
• London, Burlington House, Loan Exhibition of Flemish and Belgian Art, 1927, no. 226, cat. by Sir Martin Conway.
• Art Institute of Chicago, A Century of Progress, 1934, no. 126.
• New York, Saint James O’Toole Galleries, Portraits of Masters of the XVI, XVII and XVIII Centuries, 1939, no. 6.
• San Francisco, California Palace of the Legion of Honor, M. H. de Young
• Memorial Museum, Seven Centuries of Painting: A Loan Exhibition
• of Old and Modern Masters, 1939–40, no. L-29.
• Kansas City, Mo., William Rockhill Nelson Gallery of Art, Atkins Museum
• of Fine Arts, Seventh Anniversary Exhibition of German, Flemish
• and Dutch Painting, 1940–41, no. 42.
• Art Institute of Chicago, Masterpiece of the Month, Apr. 1942 (no cat.).

Sir Richard Worsley, Bart. (d. 1805), Appuldurcombe, Isle of Wight, by 1804, as pendant to a Portrait of a Seated Man [Worsley 1804]; by descent to his niece Henrietta Anna Maria Charlotte Bridgeman, who in 1806 married Charles, 2nd Baron Yarborough (1781–1846; created Earl of Yarborough 1837), Brocklesby Park, Lincolnshire, and London [Waagen 1854 and 1857; for this descent, see Dictionary of National Biography, vol. 21, Oxford, 1973, p. 952; and Burke’s Peerage, 105th ed., London, 1970, p. 2893]; by descent to Charles, 4th Earl of Yarborough. Robert Langton Douglas, London [according to undated notes, Katherine Moore, Knoedler, to Barry Hannegan, North Carolina Museum of Art, copy in curatorial file]. Knoedler, New York, Oct. 1916 [notes cited above [according to notes cited above, this transaction had Knoedler stock number 13970, which is and with other numbers in a photograph of the reverse taken before the removal of the cradle]; Andrew W. Mellon, Pittsburgh, July–Dec. 1918; Knoedler, New York, 1918 [notes cited above; this transaction had Knoedler stock number 14555]; sold to J. Horace Harding (d. 1929), New York, 1925 [Harding lent this portrait and its pendant to London 1927]; estate of Mrs. J. Horace Harding [With Knoedler from September to December 1937 (no. CA1151), and lent through Saint James O’Toole Galleries, New York, to the 1940–41 exhibition]; sold, Parke-Bernet Galleries, New York, Mar. 1, 1941, no. 57, to Knoedler as agent for the Art Institute.