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Probably Joris Vezeleer [d. 16 October 1570], Antwerp;[1] probably his widow, Margaretha Boghe [d. perhaps 20 August 1574], Antwerp;[2] Possibly Prince Karl Eusebius of Liechtenstein [1611- 1684].[3] Prince Johann Adam Andreas of Liechtenstein [1657-1712], "Fideikomissgalerie," Vienna; his nephew, Prince Emanuel of Liechtenstein [d. 1771], 1712-1722; Reigning Prince Josef Johann of Liechtenstein [1690 -1732], Vienna, by 1722;[4] his son, Prince Johann Nepomuk [1724 -1748], Vienna;[5] Princes of Liechtenstein; Prince Franz Josef II of Liechtenstein, Vienna, until 1939, afterward Vaduz, Principality of Liechtenstein; sold 1962 through (Marianne Feilchenfeldt, Zurich) to NGA.

Exhibition History

Meisterwerke aus den Sammlungen des Fürsten von Liechtenstein, Kunstmuseum, Lucerne, 1948, no. 74.
Joos van Cleve: Leonardo des Nordens [Joos van Cleve: Leonardo of the North], Suermondt-Ludwig-Museum, Aachen, 2011, no. 48, fig. 71.
François ler et l'art des Pays-Bas, Musée du Louvre, Paris, 2017-2018, no. 92, repro.

Technical Summary

The panel is made up of two members joined vertically. It is likely that sometime in the past the panel was taken apart, perhaps because of movement along the join line. X-radiographs show three empty dowel holes, and it is possible that the dowels were replaced by the five butterfly reinforcements now in place. Moderate losses along the join line have been repainted, with the heaviest retouching on the bottom half of the join. The panel is in generally good condition. The bottom finger of the sitter's gloved hand is repainted; there is feathered retouching along the left side of the black robe and scattered retouching in the face and throat and along the edges of the hat.

Examination with infrared reflectography revealed scattered areas of underdrawing in the outline of the gloved hand, in the knuckles, and along the edge of the sitter's nose.

At the bottom left is a resinous circular seal that is partially destroyed and has been covered with black paint. This is almost certainly the same seal of the house of Liechtenstein as that found on the reverse. Reverse: At the center is a black, resinous circular seal that is largely destroyed. At the top center is a red, resinous, circular seal bearing the coat-of-arms of the house of Liechtenstein and the date 1733. Also on the reverse are a paper label from the Lucerne exhibition of 1948 and a black stamp.


Fanti, Vincenzio. Descrizzione Completa di Tutto ciò che Ritrovasi nella Galleria di Pittura e Scultura di Sua Altezza Giuseppe Wenceslao ... della Casa di Liechtenstein. Vienna, 1767: 91, no. 405, 451.
Liechtenstein, François Joseph de. Description des Tableaux et des pièces de sculpture que renferme la gallerie de son altesse François Joseph ... de Liechtenstein. Vienna, 1780: 179, 181, nos. 586, 589.
Waagen, Gustav. Die vornehmsten Kunstdenkmäler in Wien. Vienna, 1866: 279-280.
Falke, J. Katalog der Fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau, zu Wien. Vienna, 1873: 124, nExh. cat.os. 1077, 1079.
Worp, Jacop Adolf, ed. De Briefwisseling van Constantijn Huygens. 6 vols. The Hague, 1916: 5:162-163.
Friedländer, Max J. Die altniederländische Malerei 14 vols. 1924-1937. Berlin, 1931: 9:53, 144, no. 117. (English ed., 14 vols., 1967-1976. Leiden, 1972: 9:117, pls. 122-123.)
Baldass, Ludwig. Joos van Cleve. Der Meister des Todes Mariä. Vienna, 1925: 21, nos. 37-38, figs. 41-42.
Kronfeld, Adolf. Führer durch die Fürstlich Liechtensteinsche Gemäldegalerie in Wien. Vienna, 1927: 136, 138, nos. 704, 707.
Denucé, Jan. The Antwerp Art-Galleries. Inventories of the Art-Collections in Antwerp in the 16th and 17th Centuries. The Hague, 1932: 6.
Baldass, Ludwig. "Die niederländischen Bilder in der Liechtenstein-Galerie." Meisterwerke aus den Sammlungen des Fürsten von Liechtenstein. Exh. cat. Kunstmuseum, Lucerne, 1948: xxvii, 75.
Denucé, Jan. Na Peter Paul Rubens. Documenten uit de Kunsthandel te Antwerpen in de XVIIe eeuw van Matthijs Musson. Antwerp, 1949: 127-128.
Cairns, Huntington. "Report on the National Gallery of Art." Smithsonian Institution. Report of the Secretary and Financial Report of the Executive Committee of the Board of Regents (1955): 208, pl. 12.
Gerson, Horst. "Joos van Cleve." Oud Holland 70 (1955): 129-130, figs. 1-2.
"Acquisti della National Gallery di Washington." Domus no. 406 (1963): 57, repro.
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 305, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 28.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 22, repro.
Regteren Altena, J.Q. van. "Rembrandts Persönlichkeit. Versuch einer Profilierung." Neue Beiträge zur Rembrandt-Forschung. Berlin, 1973: 186, pl. 37, fig. 150.
Kerkhove, A. van den. "Joris Vezeller, Een Antwerps Koopman-Ondernemer van de XVIde Eeuw." Annalen, 63 Congres Sint-Niklaas-Waas 1974: 326-334, figs. 1-2.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 72, repro.
Hand, John Oliver. "Joos van Cleve: The Early and Mature Paintings." Ph.D. dissertation, Princeton University, 1978: 18, 147-150, 299, no. 30, figs. 37-38.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 135, no. 129, color repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 92, repro.
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 57-62, repro. 58.
Hand, John Oliver. Joos Van Cleve. The Complete Paintings. New Haven and London, 2004: 61, 129-130, no. 29, fig. 64A.
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 124, no. 93, color repro.
Buchanan, Iain. Hapsburg Tapestries. Turnhout, Belgium, 2015: 22, 324 n. 79.
Wheelock, Arthur K., Jr. "In Pursuit of Masterpieces: The National Gallery of Art’s Acquisitions from the Prince of Liechtenstein." Artibus et historiae 42, no. 83 (2021): 322, 325, 328, color fig. 12.

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