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Provenance

Sir John Frechville Ramsden [1877-1958], 6th Bart., Bulstrode, Gerrards Cross, Buckinghamshire; (sale, Christie's, London, 11 July 1930, no. 23, as Joos van Cleve); sold 1930 to (Hermann Ball, Berlin);[1] (Schaeffer Gallery, Berlin, by 1930);[2] Adolph Caspar Miller, Washington, by 1937;[3] bequest 1953 to NGA.

Exhibition History
1937
Paintings and Sculpture Owned in Washington, Phillips Memorial Gallery, Washington, 1937, no. 1, as Ambrosius Benson.
Bibliography
1924
Friedländer, Max J. Die altniederländische Malerei 14 vols. 1924-1937. Berlin, 1934: 11:107, 147, no. 296, pol. 93-94. (English ed., 14 vols., 1967-1976. Leiden, 1974: 11:61, 101, no. 296, pl. 183).
1957
Marlier, Georges. Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint. Damme, 1957: 256-257, 320-321, no. 146, pl. 75.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 14, as Wife of Niclaes de Hondecoeter by Ambrosius Benson.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 6, repro., as Wife of Niclaes de Hondecoeter by Ambrosius Benson.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 26, repro., as Wife of Niclaes de Hondecoeter by Ambrosius Benson
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 158, no. 172, color repro., as by South Netherlandish School.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 32, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 7-12, repro. 9.
Technical Summary

The painting is generally in good condition. There are small scattered retouchings throughout and a small abraded loss in the hair on the right side of the face. As with its pendant, the background is covered with a green pigmented varnish that may cover damage and partial restoration. Infrared examination and infrared reflectography reveal underdrawing in the face and hands.

Reverse: A layer of black paint has been applied over the ground.