Follower of Hieronymus Bosch, first half of the 16th century

Baron Léon de Pitteurs Hugaerts d'Ordange (1833-1902), Brussels;

By whose estate sold, Brussels, Galerie Fiévez, 14 December 1927, lot 1 (as Hieronymus Bosch);

Alberto J. Pani (1872-1955), Paris and Mexico, by 1933; 

His sale ("The Collection of Alberto J. Pani"), New York, Kende Galleries, 17 December 1942, lot 30 (as Jan de Cock);

Anonymous sale, New York, Sotheby's, 19 January 1984, lot 105 (as The Putative Jan Wellens de Cock);

Anonymous sale ("Property of a Private Collector"), New York, Sotheby's, 11 January 1990, lot 37 (as Jan Wellens de Cock);

Where acquired by Wendell Cherry (1935-1991), New York;

By whom sold ("Property from the Estate of Wendell Cherry"), Sotheby's, 11 January 1996, lot 187 (as The Putative Jan Wellens de Cock);

Where acquired by George Sarlo, San Francisco.

M.J. Friedländer, Die Altniederländische Malerei, vol. XI, Berlin 1933, p. 127, cat. no. 121 (as "Der vermeintliche Jan de Cock");

Alberto J. Pani, La Segunda Coleccion Pani de Pinturas, Catalogo Descriptivo y Comentado, Mexico,1940, p. 79, cat. no. 29, reproduced pl. 29 (as Attributed to Bosch);

M.J. Friedländer, Early Netherlandish Painting, vol. XI, Leyden 1974, p. 79, cat. no 121, reproduced pl. 98 (as "J. de Cock (?)");

G. Unverfehrt, Hieronymus Bosch: die Rezeption seiner Kunst im frühen 16. Jahrhundert, Berlin 1980, p. 270, cat. no. 78 (as Jan de Cock);

P. van den Brink, “Friedländer list. Updated overview of all Antwerp Mannerist paintings published by Max J. Friedländer in part XI of his Early Netherlandish Painting,” in Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen 2004/05 Antwerp Royal Museum Annual 2004/05 (2006), p. 364, no. 121;

M. R. de Vrij, Jan Wellens de Cock, Zwanenburg 2009, p. 169-170, cat. no. 16, reproduced pl. 49 (as The Master of the Vienna Lamentation);

Hieronymus Boschs "Weltgerichts-Triptychon" in seiner Zeit: Publikation zur gleichnamigen internationalen Konferenz vom 21. bis 23. November 2019 in der Gemäldegalerie der Akademie der Bildenden Künste Wien, Vienna 2020, p. 153.