Bernard van Orley

Major Thomas Lancelot Constable Curtis (1888–1956), Langford Hall, Newark, Nottinghamshire;

By whom sold, London, Christie’s, 9 July 1937, lot 69 (as 'B. van Orley'), for £420; 

Where acquired by Frank T. Sabin Ltd, London;

Baron Robert Gendebien (1885–1954), Brussels, by 1939;

Thence by descent;

Until acquired by a private collection, Belgium;

From whom acquired by Sami Tarica, Geneva;

From whom acquired by a private collector, New York, in 1982;

By descent to a private collector, New York, in 2012.

London, Burlington Fine Arts Club, Winter Exhibition, 1937 (as Attributed to B. van Orley);

Worcester, Worcester Art Museum; Philadelphia, The John G. Johnson Collection, The Worcester–Philadelphia Exhibition of Flemish Painting, 23 February – 26 April 1939, no. 53 (lent by Baron Robert Gendebien);

Brussels, Exposition d'Art Ancien, Noël dans l'art ancien, 18 December 1941 – 6 January 1942, no. 28;

Paris, Musée de l'Orangerie, Les Primitifs Flamands, 5 June – 7 July 1947, no. 86;

Brussels, Cercle Gaulois, Bruxelles vu par les Artistes; Brussel gezien door de Kunstenaars, 12 September – 4 October 1959, no. 12;

New York, Neue Galerie, The Ronald S. Lauder Collection: selections from the 3rd century B.C. to the 20th century: Germany, Austria and France, 27 October 2011 – 2 April 2012, no. 86;

New York, Neue Galerie, The Ronald S. Lauder Collection: selections of Greek and Roman antiquities, medieval art, arms and armour, Italian gold-ground and Old Master paintings, Austrian and German art and design, 11 November 2022 – 17 April 2023, no. 133.

The Worcester–Philadelphia Exhibition of Flemish Painting, exh. cat, Worcester 1939, p. 38, no. 53, reproduced fig. 53;

Exposition d'Art Ancien: Noël, exh. cat., Brussels 1941, p. 18, no. 28, reproduced pl. 2;

J.W. Moltke, 'Eine Madonna des Bernart van Orley', in Pantheon, vol. XXX, July–December 1942, pp. 259–60, reproduced;

C. Terlinden, J. Lavalleye and M. Crick-Kuntziger, et al., Bernard van Orley, 1488–1541, Brussels 1943, p. 200, reproduced pl. XIX;

G. Marlier, 'Un tableau inédit de B. van Orley', in Le Nouveau Journal, 6 January 1943, p. 2;

L. Baldass, 'Die Entwicklung des Bernart van Orley', in Jahrbuch der Kunsthistorischen Sammlungen in Wien, vol. XIII, 1944, pp. 149–150, reproduced fig. 129;

L. van Puyvelde, Les Primitifs Flamands, exh. cat., Paris 1947, pp. 43–44, no. 86;

Bruxelles vu par les Artistes; Brussel gezien door de Kunstenaars, exh. cat., Brussels 1959, p. 12, no. 12, reproduced;

M.J. Friedländer, Early Netherlandish Painting, vol. VIII, New York 1972, p. 113, no. Add. 166, reproduced pl. 116;

J.D. Farmer, Bernard van Orley of Brussels, PhD diss., Princeton 1981, pp. ix and 103–4, no. 53 (as Bernard van Orley and workshop);

E. Szancer et al., The Ronald S. Lauder Collection: selections from the 3rd century B.C. to the 20th century: Germany, Austria and France, exh. cat., Munich 2011, p. 525, no. 86, reproduced in colour p. 219;

C. Paredes and S. Demeter, ‘Bernard van Orley et Bruxelles. Un peintre dans sa ville’, in V. Bücken and I. De Meüter, Bernard van Orley, exh. cat., Brussels 2019, pp. 20–21, n. 18 (as Circle of Bernard van Orley, on the basis of a photograph);

M. Ainsworth, 'Early German and Netherlandish Paintings', in The Ronald S. Lauder Collection: selections of Greek and Roman antiquities, medieval art, arms and armour, Italian gold-ground and Old Master paintings, Austrian and German art and design, E. Szancer (ed.), exh. cat., Munich 2022, pp. 85–86, reproduced in colour fig. 11;

E. Szancer et al., The Ronald S. Lauder Collection: selections of Greek and Roman antiquities, medieval art, arms and armour, Italian gold-ground and Old Master paintings, Austrian and German art and design, exh. cat., Munich 2022, p. 444, no. 133, reproduced in colour p. 224.