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Provenance

Queen Isabel of Castile [d. 1504], castle of Toro, Zamora province. Diego Flores, by 13 March 1505, possibly as agent for Margaret of Austria.[1] Margaret of Austria, Regent of the Netherlands [d. 1530], Mechelen.[2] Jules Quesnet, Paris, by 1904.[3] Private collection, Zurich, from c. 1941;[4] (Feilchenfeldt, Zurich, by 1964); purchased 1965 by NGA.

Exhibition History
1904
Exposition des primitifs français, Musée du Louvre and Bibliothèque Nationale, Paris, 1904, no. 111, as a follower of the Master of Moulins.
1969
In Memoriam, Ailsa Mellon Bruce, National Gallery of Art, Washington, D.C., 1969, unnumbered checklist.
1991
Circa 1492: Art in the Age of Exploration, National Gallery of Art, Washington, 1991-1992, no. 42, repro.
1992
Hispania-Austria: Die Katholischen Könige - Maximilian I und di Anfange der Casa de Austria in Spanien, Schloss Ambras, Innsbruck (part of the Kunsthistorisches Museum, Vienna), July-September 1992, no. 53a, repro.
1992
Reyes Y Mecenas: Los Reyes Católicos - Maximiliano I y los Inicios de la Casa de Austria en España, Museo de Santa Cruz, Toledo, Spain, March-May 1992, no. 208, repro.
Bibliography
1904
Bouchot, Henri. L'Exposition des primitifs français. Paris, 1904: not paginated, pl. 81.
1904
Durrieu, Paul. "L'exposition des primitifs français." Revue de l'art ancien et moderne 16 (1904): 419.
1904
Fry, Roger. "The Exhibition of French Primitives." The Burlington Magazine5 (1904): 369-370, repro. 371.
1904
Lafenestre, Georges. "L'exposition des primitifs français." Gazette des Beaux-Arts 32 (1904): 127.
1907
Winkler, Friedrich. "Juan de Flandes" and "Zittoz, Miguel." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 19(1926):278-279, 36(1947):531-533.
1929
Friedländer, Max J. "Neues über den Meister Michiel und Juan de Flandes." Der Cicerone 21 (1929): 249-254, 115-118, 132, pl. 25.
1930
Sánchez Cantón, Francisco Javier. "El retablo de la Reina Católica." Archivo Español de Arte y Arqueologia 6 (1930): 101-105, 132, pl. 25.
1931
Isherwood, Kay H. "Two Paintings by Juan de Flandes." The Burlington Magazine 58 (1931): 197-201.
1931
Sánchez, Cantón, Francisco Javier. "El retablo de la Reina Católica (Addenda et corrigenda)." Archivo Español de Arte y Arqueologia 7 (1931): 150.
1931
Winkler, Friedrich. "Master Michiel." Art in America 19 (1931): 247-248, 252, fig. 2.
1931
Winkler, Friedrich. "Neue Werke des Meisters Michiel." Pantheon 7 (1931): 175-178.
1932
H[ulin] de L[oo], [Georges]. In Trésor de l'art flamand du moyen âge au XVIIIme siècle. Mémorial de l'exposition de l'art flamand ancien à Anvers 1930. 2 vols. Paris, 1932: 1:50.
1933
Post, Chandler Rathfon. A History of Spanish Painting. 14 vols. Cambridge, Mass., 1930-1966: 4:35, 38, 470.
1935
Baldass, Ludwig. "The Portraiture of Master Michiel." The Burlington Magazine for Connoisseurs 67, no. 389 (August 1935): 77, 78, 81.
1939
Richardson, E. P. "Three Paintings by Master Michiel." The Art Quarterly 2 (1939): 103.
1940
Johansen, Paul. "Meister Michel Sittow, Hofmaler der Königin Isabella von Kastilien und Bürger von Reval." Jahrbuch der königlich Preussischen Kunstsammlungen (Jahrbuch der Berliner Museen) 61 (1940): 2, 16-17, 35, fig. 8.
1943
Winkler, Friedrich. "Neuentdeckte Altniederländer III: Michel Sittow." Pantheon 31 (1943): 98.
1948
Weinberger, Martin. "Notes on Maître Michiel." The Burlington Magazine 90 (1948): 251.
1950
Sánchez Cantón, Francisco Javier. Libros, tapices y cuadros que coleccionó Isabel la Católica. Madrid, 1950: 188.
1952
MacLaren, Neil. National Gallery Catalogues. The Spanish School. London, 1952: 22, 24-25 (2d ed. rev. by Allan Braham, 1970: 42-43, 45-46).
1953
Michel, Edouard. Musée National du Louvre. Catalogue raisonné des peintures du moyen âge, de la renaissance et des temps modernes. Peintures flamands du XVe et du XVIe siècle. Paris, 1953: 182.
1956
Lépicier, Augustin-Marie. L'Immaculée Conception dans l'Art et l'Iconographie. Spa, 1956: 76, pl. 4.
1958
Gaya Nuño, Juan Anotonio. La pintura española fuera de España; historia y catàlogo. Madrid, 1958: 305, no. 2662.
1958
Margareta van Oostenrijk en haar hof. Exh. cat. Mechelen, 1958: 10, under no. 86.
1959
Brans, Jan V. L. Vlaamse Schilders in dienst der Koningen van Spanje. Louvain, 1959: 44, 189.
1961
Goldblatt, Maurice H. Deux grands maîtres français, le Maître de Moulins identifés, Jean Perréal. Paris, 1961: 42, fig. 18.
1962
Bermejo, Elisa. Juan de Flandes. Madrid, 1962: 11.
1962
Puyvelde, Leo van. La peinture flamande au siècle de Bosch et Breughel. Paris, 1962: 355, 455-456.
1963
Folie, Jacqueline. "Les oeuvres authentifiées des primitifs flamands." Bulletin de l'Institut royal du Patrimoine artistique 6 (1963): 245-246, fig. 36.
1965
Eisler, Colin T. "The Sittow Assumption." Art News 64 (September, 1965): 34-37, 52-54, fig. 1.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 123
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:94-95, color repro.
1966
"Chronique des arts." Gazette des Beaux-Arts 67 (1966): 46, no. 179, repro.
1966
Gudlaugsson, S. J. "Sittow (Zittoz)." In Kindlers Malerei Lexicon. 6 vols. Zurich, 1968: 5:363.
1966
Schiller, Gertrud. Ikonographie der christlichen Kunst. 6 vols. Gütersloh, 1966-1990: 4, pt. 2:151, 257, 423 fig. 743.
1967
Christie, Manson & Woods. Christie's Review of the Year, October 1966 - July 1967. London, 1967: 25.
1967
Reynaud, Nicole. "Le Couronnement de la Vierge de Michel Sittow." RLouvre 17 (1967): 345-351, fig. 3.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 110, no. 1928, repro.
1968
Koch, Robert A. Joachim Patinir. Princeton, 1968: 30.
1970
Cooke, Hereward Lester. The National Gallery of Art in Washington. Munich and Ahrbeck/Hanover, 1970: 66-67, color fig. 30.
1970
Davies, Martin. Primitifs flamands. Corpus. The National Gallery London. 3 vols. Brussels, 1970: 3:9, 11.
1974
Walker, John. Self-Portrait with Donors: Confessions of an Art Collector. Boston and Toronto, 1974: 42-44.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 330, repro. 331.
1976
Lurie, Ann Tzeutschler. "The Birth and Naming of St. John the Baptist Attributed to Juan de Flandes. A Newly Discovered Panel from a Hypothetical Altarpiece." Bulletin of the Cleveland Museum of Art 63 (1976): 119, 129, 132, 133, fig. 26.
1976
Trizna, Jazeps. Primitifs flamands. Contributions. Michel Sittow, peintre revalais de l'école brugeoise (1468-1525/26). Brussels, 1976: VIII, 25-28, 73, 91-92, pls. 1-3.
1977
Campbell, Lorne. Review of Michel Sittow ... by Jazeps Trizna. In Apollo 105 (1977): 225.
1978
Bruyn, Josua. Review of Michel Sittowpeintre revalais de l'école brugeoise 1468-1525/26 by Jazeps Trizna. In Oud Holland 92 no. 3 (1978): 212-213.
1981
Demus, Klaus, Friderike Klauner, and Karl Schütz. Kunsthistorisches Museum. Flämische Malerei von Jan van Eyck bis Pieter Bruegel der Ä. Vienna, 1981: 176.
1982
Kauffmann, C. M. Victoria and Albert Museum. Catalogue of the Paintings in the Wellington Museum. London, 1982: 78.
1984
Bauman, Guy C. "Juan de Flandes." In The Jack and Belle Linsky Collection in the Metropolitan Museum of Art. New York, 1984: 62; 63 nt.2 under no. 20.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 138, no 134, color repro., as by Miguel Sithium
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 377, repro.
1985
Haverkamp-Begemann, Egbert. "Paintings by Michiel Sittow Reconsidered." In Rubens and his World. Bijdragen opgedragen aan Prof. Dr. Ir R.-A. d'Hulst. Antwerp, 1985: 8.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 236-240, color repro. 237.
1991
Brown, Jonathan. The Golden Age of Painting in Spain. New Haven, 1998: 10, fig. 2.
1991
Circa 1492: Art in the Age of Exploration. Exh. cat. National Gallery of Art, Washington, 1991: no. 42, color repro. 162.
1994
Stratton, Suzanne L. The Immaculate Conception in Spanish Art. Cambridge, UK: 52-53, fig. 33.
1998
Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:905.
1998
Brown, Jonathan. Painting in Spain, 1500-1700. New Haven, 1998: 19, fig. 23.
1999
Mittler, Gene A., and Rosalind Ragans. Exploring Art. New York, 1999: 80-81, fig. 5.2.
2002
Eichenberger, Dagmar. "The Habsburgs and the Cultural Heritage of Burgundy." In Borchert, Till-Holger. The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430-1530. Exh. cat. Groeningemuseum, Bruges, 2002. London, 2002: 192-193, fig. 213.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 56-57, no. 39, color repro.
2005
Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Revised by Larry Silver and Henry Luttikhuizen. Upper Saddle River, 2005: 213, col. fig. 10.27.
2008
Nash, Susie. Northern Renaissance Art. Oxford History of Art series. Oxford, 2008: 236, 237, fig. 165.
2009
Frinta, Mojmír S. "Observation on Michel Sittow." Artibus et historiae 30, no. 60 (2009): 140-141, 144, color fig. 1, 1a.
2011
Weniger, Matthias. Sittow, Morros, Juan de Flandes: Drei Maler aus dem Norden am Hof Isabellas der Katholischen. Kiel, 2011: 55, 74-77, no. 4, fig. 17, 37.
Technical Summary

The panel consists of a single piece of wood with a vertical grain. The painted surface comes to the edge of the panel at the bottom, but there are unpainted margins on the other three sides. A thin band estimated to be lead white runs along the left and top edges of the painted surface. A nick in the panel at the top edge slightly to the right of center has been filled. The x-radiograph shows a very dense layer, probably containing lead white, applied over all with diagonal parallel strokes. Its purpose is unclear.[1] Contrary to Jazeps Trizna's statement,[2] the painting is in very good condition. There are some small areas of loss and inpainting in the Virgin's blue robe, at the edge of the paint surface, and along the vertical crackle pattern.

[1] The back of the panel is bare wood and is inscribed FR at upper right and Marie Stre 12 juin... in the center, along with other illegible notations.

[2] Trizna 1976, 90.