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center on edge of Madonna's mantle: ALELVI REGINA CELI LET[ARE ALLE]LVIA QVIA EVAM (Alleluia, Queen of Heaven, rejoice because He whom) [inscription is from the _Regina Coeli_, an Easter antiphon]


Private collection, Lyon, France.[1] (Alessandro Contini Bonacossi, Florence); purchased July 1950 by the Samuel H. Kress Foundation, New York;[2] gift 1952 to NGA.

Exhibition History

The Road to Van Eyck, Museum Boijmans Van Beuningen, Rotterdam, 2012 - 2013, unnumbered catalogue.


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: 174, no. 76, repro., as School of Amiens.
Feudale, Caroline. "The Iconography of the Madonna del Parto." Marysas 7 (1954-1957): 13, fig.11.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 329, repro., as School of Amiens.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 7, as School of Amiens.
Castelnuovo, Enrico. Il gotico internationale in Francia e nei Paesi Bassi. Milan, 1966: pl. 15.
Laclotte, Michel. Primitifs français. Paris, 1966: pl. 13.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 1, repro., as School of Amiens.
Urbach, Zsuzsa. "'Dominus Possideit me...' (Prov. 8:22). Beitrag zur Ikonographie des Josephzweifels." Acta Historiae Artium 20 (1974): 236-237, fig. 31.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 10, repro., as School of Amiens.
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 236-238, fig. 227.
Sterling, Charles. "Un nouveau tableau bourguignon et les Limbourg." In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. 2 vols. New York, 1977: 424-426, fig. 11.
Foster, Marjory Bolger. "The Iconography of St. Joseph in Netherlandish Art: 1400-1550." Ph.D. dissertation, University of Kansas, Lawrence, 1978: 89.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 125, no. 108, color repro., as by School of Amiens.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 23, repro.
Hall, Edwin, and Horst Uhr. "Aureola super Auream: Crowns and Related Symbols of Special Distinction for Saints in Late Gothic and Renaissance Iconography." The Art Bulletin 67, no. 4 (December 1985): 575, 577, fig. 6.
Sterling, Charles. La peinture médiévale à Paris 1300-1500. 2 vols. Paris, 1987: 1:413-418, no. 58, fig. 294.
Seidel, Linda. Jan van Eyck's Arnolfini Portrait: Stories of an Icon. Cambridge, 1993: 37, 100, fig. 21.
Mills, John S., and Raymond White. The Organic Chemistry of Museum Objects. Oxford and Boston, 1994: 171.
St. Anthony Messenger. Cincinnati, Ohio, 1997: front cover, repro.
Gersch-Nešic, Beth. “Pregnancy." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:753.
Conisbee, Philip, et al. French Paintings of the Fifteenth through the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2009: no. 42, 204-208, color repro.

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