on the border of the red robe worn by the seated figure at the right: NVLLE ION.NE.M. ..
Abbot Jacques Coëne [d. 1542], Marchiennes. (Paul Bottenwieser, Berlin); acquired January 1928 by (F. Kleinberger Galleries, Inc., New York and Paris); sold 6 February 1928 to Albert J. Kobler [d. 1936], New York; by inheritance to Mrs. Albert J. [Mignon Sommers] Kobler; by inheritance to her sons, John Kobler, Weston, Connecticut, and Jason S. Kobler, New York; consigned 18 June 1946 and sold 16 October 1947 to (Duveen Brothers, Inc., London, New York, and Paris); purchased 1949 by the Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.
- Loan Exhibition of Flemish Primitives, F. Kleinberger Galleries, New York, 1929, no. 86.
- An Exhibition of Flemish Paintings, Duveen Art Galleries, New York, 1946, no. 15.
- Vollmer, Hans. "Orley, Bernart van." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 26(1932):49.
- Friedländer, Max J. Die altniederländische Malerei 14 vols.,1924-1937. Berlin, 1930: 8:86, 87, 167, no. 90, pl. 74-76. (English ed., 14 vols., 1967-1976. Leiden, 1972: 8:54,55, 103, no. 90, pl. 88.)
- Burrows, Carlyle. "Exhibition of Flemish Primitive Painting." Parnassus 1 (November 1929): 9.
- "Flemish Show Opens Today at Kleinbergers." Art News 28 (26 October 1929): 12, nos. 85, 86.
- "Partial List of Flemish Primitives in Kleinberger Show." Art News 28 (12 October 1929): 5.
- Lavalleye, Jacques. "Le Style du peintre Bernard van Orley." In Bernard van Orley 1488-1541. Brussels, 1943: 46.
- Baldass, Ludwig. "Die Entwicklung des Bernart van Orley." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses (Jahrbuch der kunsthistorischen Sammlungen in Wien) N.F. 13 (1944): 145.
- Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 200, no. 88, repro.
- Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 287, repro.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 98.
- European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 86, repro.
- Osten, Gert von der, and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500 to 1600. Harmondsworth, 1969: 145.
- Gelder, J. G. van. "Scorel, Mor, Bellegambe und Orley in Marchiennes." Oud Holland 87 (1973): 171-172, figs. 16-18.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 256, repro. 257.
- Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 81-82, figs. 76, 78.
- Farmer, John David. "Bernard van Orley of Brussels." Ph.D. dissertation, Princeton University, 1981: 49, 61, 63-65, 68-69, 79, 338, no. 90, figs. 19-21.
- Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 130, no. 122, color repro.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 294, repro.
- Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 216-223, color repro. 219.
The painting is in very good condition. There are small, scattered retouchings, particularly in the upper portions of the architecture and the columns. Remnants of unpainted edges and a barbe indicate that the panel was painted in an engaged frame. A narrowing of the painted surface on the sides 9 cm from the bottom may indicate an irregularly shaped decorative frame. Examination with infrared reflectography reveals extensive underdrawing in both brush and what appears to be pen or chalk. There are large areas of cross hatching in the figures and the architecture. The young Jesus originally stood on a small round dais, and in the upper story of the loggia shallow arches are drawn underneath the horizontal lintel on either side of the portico.
The reverse has suffered more damage than has the front. There are large areas of loss and retouching in the putto's face and thigh and generally in the lower half of the painting. No underdrawing was made visible with infrared reflectography.