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Old Masters in the Collection of Max Epstein, Chicago, 1928, n.pag. (ill.).
“Gifts and Loans,” Bulletin of the Art Institute of Chicago 22 (1928), p. 82.
Max J. Friedländer, Die altniederländische Malerei, vol. 13, Leiden, 1936, p. 175, no. 393 (rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1975, p. 105, no. 393).
F. M. Kelly, “Don Juan of Austria (A Postscript),” Connoisseur 103 (1939), p. 229.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 339.
Carmen Bernis, “La moda en la España de Felipe II a través del retrato de corte,” in Alonso Sánchez Coello y el retrato en la corte de Felipe II, exh. cat., Madrid, Museo del Prado, 1990, p. 74, fig. 9.
F[ernando] Ch[eca], Felipe II, un monarca y su época: Un príncipe de renacimiento, exh. cat., Madrid, Museo del Prado, 1998, p. 404, under no. 95.
Maria Kusche, Retratos y retratadores: Alonso Sánchez Coello y sus competidores Sofonisba Anguissola, Jorge de la Rúa y Rolán Moys, Madrid, 2003, pp. 132, 148, 171, 559, fig. 103.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 111-16, ill.
Art Institute of Chicago, Loan Exhibition of Old Masters from the Collections of Cyrus H. McCormick and Max Epstein, 1928, as Antonio Moro, François
de’Alençon [sic] by (no cat.).
Renaissance Society, University of Chicago, Max Epstein Memorial Exhibition, 1955, no. 12, as Antonio Moro, François d’Alençon.
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.
Ehrich Galleries, New York, by 1925, as attributed to Antonis Mor, François, duc d’Alençon [according to Kelly 1939 and the undated photograph in the library of the National Gallery of Art]. Max Epstein (d. 1954), Chicago, by 1928; bequeathed to the Art Institute, 1954.
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