A Lady Reading (Saint Mary Magdalene)

c. 1530

Master of the Female Half-Lengths (Netherlandish, active about 1520–1540)

Status: On View, Gallery 238
Department: Painting and Sculpture of Europe

Artist: Master of the Female Half-Lengths
Title: A Lady Reading (Saint Mary Magdalene)
Place: Netherlands (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: 52.4 × 37.5 cm (20 5/8 × 14 3/4 in.); Framed: 65.1 × 50.2 cm (25 5/8 × 19 3/4 in.)
Credit Line: Max and Leola Epstein Collection
Reference Number: 1954.290
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/80538/manifest.json

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.

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

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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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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