Hans Memling

Richard (Ricardo) Traumann (1849–1925), Madrid;

Baron Laurent Meeus (1872–1950), Brussels, by 1941;

With Thomas Agnew & Sons, London, by 1950;

From whom acquired by Captain Vivian Francis (1891–1968) and Cornelia Stuyvesant Vanderbilt Bulkeley-Johnson (1900–1976) for The Mount Trust Collection, Churchill, Oxfordshire, on 7 December 1950;

Whence posthumously sold ('From the Mount Collection'), London, Christie's, 1 December 1978, lot 111 (as attributed to Hans Memling);

Private collection, Antwerp and Antibes;

From whom acquired by the Cartin Collection, New York, in 2007;

By whom anonymously sold, London, Christie's, 8 December 2015, lot 11;

Where acquired after the sale by the present owner.

Brussels, Exposition d'Art Ancien: Noël, 18 December 1941 – 6 January 1942, no. 23;

Bruges, Musée Communal Groeninge, L’Art Flamand dans les collections britanniques, August – September 1956, no. 12;

Bruges, Groeningemuseum, Hans Memling: Five Centuries of Fact and Fiction, 12 August – 15 November 1994, no. 35; 

Philadelphia, Philadelphia Museum of Art, on loan, September 2007 – August 2010;

Philadelphia, Philadelphia Museum of Art, Hans Memling’s Virgin Nursing the Christ Child and the Early Netherlandish Tondo, 19 December 2009 – 14 March 2010;

Bruges, Memlingmuseum, on loan, 2013–2014;

Rome, Scuderie del Quirinale, Memling. Rinascimento fiammingo, 11 October 2014 – 18 January 2015, no. 18;

New York, Neue Galerie New York, The Ronald S. Lauder Collection: Selections of Greek and Roman Antiquities, Medieval Art, Arms and Armor, Italian Gold-Ground and Old Master Paintings, Austrian and German Art and Design, 11 November 2022 – 17 April 2023, no. 134.

F. Winkler, Der Meister von Flémalle und Rogier van der Weyden. Studien zu ihren Werken und zur Kunst ihrer Zeit mit mehreren Katalogen zu Rogier, Strasbourg 1913, p. 22, under n. 3 (as close to Memling);

M.J. Friedländer, Die Altniederländische Malerei. Hans Memling und Gerard David, vol. VI, Leyden and Berlin 1928, p. 126, no. 51 (as possibly a workshop replica; formerly Traumann Collection, present whereabouts unknown);

Exposition d'Art Ancien: Noël, exh. cat., Brussels 1941, p. 17, no. 23, reproduced;

F. Grossmann, ‘Flemish Paintings at Bruges’, in The Burlington Magazine, vol. XCIX, no. 646, January 1957, p. 4;

D. Sutton, ‘The Mount Trust Collection’, in The Connoisseur, vol. CXLVI, no. 588, November 1960, p. 105, reproduced p. 107, fig. 12;

J. Białostocki, Les Primitifs Flamands. I. Corpus de la Peinture des Anciens Pays-Bas Méridionaux au Quinzième Siècle, 9. Les Musées de Pologne (Gdansk, Kraków, Warszawa), Brussels 1966, p. 39, under no. 118(6) F (‘Groupe Campin – Maître de Flémalle’), Ib (‘panneau rond'), no. 11 (as possibly a workshop replica);

G.T. Faggin and M. Corti, L’opera completa di Memling, Milan 1969, p. 106, no. 72;

M.J. Friedländer, Early Netherlandish Painting. Hans Memlinc and Gerard David, vol. VI Part I, Leyden and Brussels 1971, p. 52, no. 51, reproduced pl. 99 (as possibly a workshop replica; incorrectly listed as in the Cleveland Museum of Art, Ohio);

D. de Vos, Hans Memling: The Complete Works, Antwerp 1994, pp. 294–95, no. 82, reproduced in colour;

D. de Vos (ed.), Hans Memling: Five Centuries of Fact and Fiction, Catalogue, exh. cat., Bruges 1994, pp. 136–37, no. 35, reproduced in colour;

M. Sprinson de Jesus, in From van Eyck to Bruegel, Early Netherlandish Painting in the Metropolitan Museum of Art, M.W. Ainsworth and K. Christiansen (eds), New York 1998, p. 236, under no. 55;

H. Mund, C. Stroo, N. Goetghebeur and H. Nieuwdorp, The Mayer Van den Bergh Museum, Antwerp. Corpus of Fifteenth Century Painting in the Southern Netherlands and the Principality of Liège, vol. XX, Brussels 2003, pp. 43, 51–53, reproduced p. 51, fig. 8;

T.-H. Borchert, Memling, Florence 2005, reproduced in colour p. 19;

B.G. Lane, Hans Memling. Master Painter in Fifteenth-Century Bruges, London and Turnhout 2009, pp. 295 and 331, no. B12, reproduced fig. 271 (as Hans Memling (?));

T.-H. Borchert, ‘Review, Hans Memling: Master Painter in Fifteenth Century Bruges’, in The Burlington Magazine, vol. CLII, no. 1283, February 2010, p. 102;

J. Scheel, Das altniederländische Stifterbild: Emotionsstrategien des Sehens und der Selbsterkenntnis, Berlin 2014, pp. 366–67, reproduced fig. 99 (incorrectly listed as Washington, Metropolitan Museum of Art);

T.-H. Borchert (ed.), Memling. Rinascimento fiammingo, exh. cat., Milan 2014, pp. 140–41, no. 18, reproduced in colour;

M. Ainsworth, 'Early German and Netherlandish Paintings', in The Ronald S. Lauder Collection: Selections of Greek and Roman Antiquities, Medieval Art, Arms and Armor, Italian Gold-Ground and Old Master Paintings, Austrian and German Art and Design, E. Szancer (ed.), exh. cat., New York 2022–23, pp. 84–85, reproduced in colour fig. 8;

E. Szancer et al., The Ronald S. Lauder Collection: Selections of Greek and Roman Antiquities, Medieval Art, Arms and Armor, Italian Gold-Ground and Old Master Paintings, Austrian and German Art and Design, exh. cat., New York 2022, p. 444, no. 134, reproduced in colour p. 225;

J.L. Arribas and S. Pérez Martín, 'Una "Maria Lactans" en la colección de Richard Traumann procedente del convento de Santa Sofía de Toro (Zamora)', in Philostrato. Revista de Historia y Arte, vol. 15, 2024, p. 87, n. 22.