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Provenance

Count Johann Rudolph Czernin von Chudenitz [1757-1845], Vienna, by 1823;[1] by inheritance through the family of the counts Czernin, Vienna; Count Eugen Czernin von Chudenitz [1892-1955], Vienna, until about 1954. (Wildenstein & Co., Inc., New York), by 1954; purchased 1955 by the Samuel H. Kress Foundation, New York;[2] gift 1961 to NGA.

Exhibition History
1930
CX. Ausstellung der Vereinigung bildender Künstler Wiener Secession: Drei Jahrhunderte vlämische Kunst 1400-1700, Wiener Secession, Vienna, 1930, no. 31.
2009
Rogier van der Weyden, 1400-1464: Master of Passions, Municipal Museum Vander Kelen-Mertens, Leuven, 2009.
2013
The Heritage of Rogier van der Weyden: Painting in Brussels 1450-1520, Musées royaux des Beaux-Arts de Belgique, Brussels, 2013, no. 14.3, repro.
Bibliography
1823
Böckh, Franz Heinrich. Merkwürdigkeiten der Haupt- und Residenz-Stadt Wien und ihrer nächsten Umgebungen; ein Handbuch für Einheimische und Fremde. 2 vols. Vienna, 1823: 1:295.
1841
Passavant, J. D. "Beiträge zur Kenntniss der alniederländischen Malerschulen des 15ten und 16ten Jahrhunderts." Kunstblatt no. 5 (1841): 19.
1847
Waagen, Gustav Friedrich. "Nachträge zur Kenntniss der alniederländischen Malerschulen." Kunstblatt no. 47 (1847): 186.
1866
Waagen, Gustav Friedrich. Die vornehmsten Kunstdenkmäler in Wien. 2 vols. Vienna, 1866: 1:306, no. 27.
1872
Crowe, J. A., and G.B. Cavalcaselle. The Early Flemish Painters: Notices of their Lives and Works. 2nd ed. London, 1872: 219.
1889
Leprieur, Paul. "Des répliques de l'Adoration des Mages d'Utrecht." La Chronique des Arts et de la Curiosité no. 40 (1889): 316.
1903
Friedländer, Max J. Meisterwerke der niederländischen Malerei des XV. u. XVI. Jahrhunderts auf der Ausstellung zu Brügge 1902. Munich, 1903: 14.
1906
Voll, Karl. Die altniederländische Malerei von Jan van Eyck bis Memling. Leipzig, 1906: 287.
1907
Vollmer, Hans. "Memling." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 24(1930):375.
1908
Katalog der Graf Czernin'schen Gemälde-Galerie in Wien. Vienna, 1908: 5, no. 27.
1924

Friedländer, Max J. Die altniederländische Malerei. 14 vols. Berlin and Leiden, 1924-1937. Berlin, 1934: 6:18-20, 133, no. 99B. (English transl. 14 vols. Leiden, 1967-1976. Leiden, 1971: 6 pt. 2:15-16, 57, no. 99B, pl. 125) under "Doubtful works of Memlinc."

Friedländer, Max J. Die altniederländische Malerei 14 vols. Berlin and Leiden 1924-1937. Berlin, 1924: 2:119, no. 85. (English ed., 14 vols., 1967-1976. Leiden, 1967: 2:77, 101, no. 85, pl. 106) as "follower of Rogier."

1928
Hulin de Loo, Georges. "Hans Memlinc in Rogier van der Weyden's Studio."The Burlington Magazine 52 (1928): 160-177, pls. 111 B, IV A.
1928
Kaines Smith, S. C. "An Isenbrant for Birmingham." The Burlington Magazine 53 (1928): 243.
1930
Baldass, Ludwig. "Drei Jahrhunderte flämische Malerei." Pantheon 5 (1930): 132, repro. 131.
1930
Destrée, Jules. Roger de la Pasture - Van der Weyden. 2 vols. Paris and Brussels, 1930: 1:162-163, pl. 110.
1930
Eisler, Max. "The Exhibition of Three Hundred Years of Flemish Art in Vienna." Apollo 11 (1930): 188-189.
1930
Glück, Gustav. "Drei Jahrhunderte vlämischer Kunst." Belvedere 9 (1930): 77, fig. 50.
1931
Friedländer, Max J. "Ein Jugendwerk Memlings." Pantheon 7 (1931): 186.
1933
Museo del Prado. Catálogo de las Pinturas. Madrid, 1933: 400-401.
1936
Wilczek, Karl. Katalog der Graf Czernin'schen Gemäldegalerie in Wien. Vienna, 1936: 100-101, no. 27, fig. 18.
1938
Hulin de Loo, Georges. "Rogier van der Weyden." In Biographie Nationale de Belgique. 29 vols. Brussels, 1938: 27:col. 241.
1939
Exposition Memling. Exh. cat. Musée Communale, Bruges, 1939: 65-66.
1941
De Tolnay, Charles. "Flemish Paintings in the National Gallery of Art." Magazine of Art 34 (1941): 200.
1942
Baldass, Ludwig von. Hans Memling. Vienna, 1942: 40.
1942
Bergmans, Simone. "Visages du passé." Apollo. Chronique des beaux-arts no. 12 (1942): 5-8.
1947
Friedländer, Max J. Memling. Amsterdam, [1947]: 10-11.
1952
Bergmans, Simone. La peinture ancienne, ses mystères, ses secrets. Brussels, 1952: 86-87.
1953
Panofsky Erwin. Early Netherlandish Painting: Its Origins and Character. 2 vols. Cambridge, Mass., 1953: 1:479.
1956
Paintings and Sculpture from the Kress Colllection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 11, 128, 130, repro. 129, 131.
1956
Walker, John. "The Nation's Newest Old Masters." National Geographic Magazine 110, no. 5 (November 1956): repro. 622 (X-ray), repro. 623, repros. 625 (details), 644-645.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 283, repro., as by Hans Memling.
1960
Flanders in the Fifteenth Century: Art and Civilization. Exh. cat. The Detroit Institute of Arts, 1960: 139.
1960
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 4, 11, 23, color repro., as by Hans Memling.
1961
Seymour, Charles. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection.London, 1961: 63-65, 213, color fig. 57, 58; color frontispiece. (As by Memling.)
1962
Cairns, Huntington, and John Walker, eds., Treasures from the National Gallery of Art, New York, 1962: 54, color repro., as by Hans Memling.
1962
Neugass, Fritz. "Die Auflösung der Sammlung Kress." Die Weltkunst 32, no. 1 (1962): 4.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 102, repro., as by Memling.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 89, as by Memling.
1965
Thos. Agnew & Sons Ltd. The Heathcote Amory Collection. Exh. cat. The Fermoy Art Gallery, King's Lynn, 1965: 5.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:80-81, color repro., as by Hans Memling.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 78, no. 1389, repro., as by Memling.
1969
Corti, Maria, and Giorgio T. Faggin. L'opera completa di Memling. Milan, 1969: 93, no. 17, repro.
1972
Davies, Martin. Rogier van der Weyden. London, 1972: 228.
1975
Biermann, Alfons W. "Die Miniaturenhandschriften des Kardinals Albrecht von Brandenburg (1514-1545)." Aachener Kunstblätter 46 (1975): 63, 273.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 232, repro., as by Memling.
1975
[Wells, William]. Treasures from the Burrell Collection. Exh. cat. Hayward Gallery, London, 1975: 13.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 57-60, figs. 52, 53, color repro.
1978
Deroubaix, Christiane. "Un triptych du Maître de la Légende de Saint Catherine (Pieter van der Weyden?) reconstitué." Bulletin de l'Institut royal du Patrimoine artistique 17 (1978/1979): 157-158, 160, 166-168.
1981
Hull, Vida Joyce. Hans Memlinc's Paintings for the Hospital of Saint John in Bruges. New York and London, 1981: 96, 131.
1981
Winter, Patrick M. de. "A Book of Hours of Queen Isabel la Católica." Bulletin of the Cleveland Museum of Art 67 (1981): 408, 427, fig. 95.
1982
Abrams, Richard I. and Warner A. Hutchinson. An Illustrated Life of Jesus, From the National Gallery of Art Collection. Nashville, 1982: 27, color repro.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. Washington, 1984: 128, no. 117, color repro., as by Hans Memling.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 255, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 155-161, repro. 157.
Technical Summary

The panel is composed of two vertical members with a join approximately 18 cm from the left edge. There are unpainted edges at top and bottom and on the right side. The left side has been cut and a narrow strip affixed at the edge. It is not clear how much, if any, of the design has been cut off at this side. The back of the panel is covered by a thin layer of wax. Removal of a small area of wax indicated that the panel has probably been thinned. The back of the panel appears to be beveled on all sides except on that corresponding to the front right edge.

Both architecture and figures are prepared with free, angular underdrawing in what appears to be black chalk, and guidelines for the architecture at the left are incised into the ground. The paint surface is in excellent condition, with only a few small areas of loss and little abrasion.