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John Oliver Hand (Editor), Ron Spronk (Editor)
Description: Essays in Context: Unfolding the Netherlandish Diptych
~The following list corresponds to the objects included in the exhibition catalogue Prayers and Portraits: Unfolding the Netherlandish Diptych (National Gallery of Art, Washington, in association with Yale University Press, 2006).
Author
John Oliver Hand (Editor), Ron Spronk (Editor)
PublisherHarvard Art Museums
https://doi.org/10.37862/aaeportal.00045.019
Exhibition Catalogue Checklist
The following list corresponds to the objects included in the exhibition catalogue Prayers and Portraits: Unfolding the Netherlandish Diptych (National Gallery of Art, Washington, in association with Yale University Press, 2006).
1. Jean Bellegambe (active 1504–1534)
Virgin and Child
panel, painted surface 40.4 × 25.7 (15 × 10)
Cistercian Monk with Saint Bernard
panel, painted surface 40.4 × 25.1 (15 × 9)
reverse: Abbess Jeanne de Boubais
The Frick Art and Historical Center,
Pittsburgh (1970.036)
2. Ambrosius Benson (active 1518–d. 1550)
Cornelius de Scheppere, c. 1540
panel, 22 × 19 (8 × 7½)
reverse: coat of arms of the De Scheppere family
Elisabeth Donche, c. 1540
panel, 22 × 19 (8 × 7½)
reverse: coats of arms of the De Scheppere and Donche families
Collection Art Gallery of New South Wales, Sydney, Gift of James Fairfax 1994 (301.1994 a,b)
3. Albrecht Bouts (c. 1452/1455–1549)
Ecce Homo, 1st quarter, 16th c.
oak, 45.5 × 31 (17 × 12¼), arched at the top
Mater Dolorosa, 1st quarter, 16th c.
oak, 45.5 × 31 (17 × 12¼), arched at the top
These panels both have original, integral frames but are inserted into a rectangular secondary frame that is not original—64.5 × 84 (25 × 33Description: 1by16)—to form the center of a triptych.
exterior of left wing: The Angel Gabriel
oak, 51.5 × 37.8 (20¼ × 14)
exterior of right wing: The Virgin Annunciate
oak, 51.6 × 38.2 (20 × 15)
Suermondt-Ludwig Museum, Aachen (GK 5007)
4. Albrecht Bouts (c. 1452/1455–1549)
Man of Sorrows, mid-1490s
oak, 37.5 × 26.7 (14¾ × 10½)
Harvard University Art Museums, Fogg Art Museum, The Kate, Maurice R. and Melvin R. Seiden Special Purchase Fund in honor of Seymour and Zoya Slive
Mater Dolorosa, mid-1490s
oak, 37.5 × 26.7 (14¾ × 10½)
Harvard University Art Museums, Fogg Art Museum, The Kate, Maurice R. and Melvin R. Seiden Special Purchase Fund in honor of Marjorie B. Cohn (2001.170–171)
5. Robert Campin (c. 1375–1444)
Christ Blessing with the Virgin in Prayer, c. 1430–1435
oak, 28.6 × 45.1 (11¼ × 17¾)
Philadelphia Museum of Art, John G. Johnson Collection, 1917 (332)
6. Robert Campin (c. 1375–1444)
The Trinity panel, 34.3 × 24 (13½ × 9Description: 7by16)
painted surface, 28.5 × 18.5 (11¼ × 7Description: 5by16)
Virgin and Child panel, 34.3 × 24 (13½ × 9Description: 7by16)
painted surface, 28.5 × 18.5 (11¼ × 7Description: 5by16)
The State Hermitage Museum, Saint Petersburg (442, 443)
7. Gerard David (c. 1460–1523)
Virgin and Child with Two Angels
oak, 11.5 × 8 (4½ × 3)
Christ Taking Leave of His Mother
oak, 11.5 × 7 (4½ × 2¾)
Öffentliche Kunstmuseum, Basel (G1958.15–16)
8. Jan van Eyck (c. 1390–1441)
The Angel Gabriel, c. 1435–1441
panel, 38.8 × 23.3 (15¼ × 9), including original frame
The Virgin Annunciate, c. 1435–1441
panel, 38.8 × 23.3 (15¼ × 9), including original frame
Museo Thyssen-Bornemisza, Madrid (1933.11.1–2)
9. Assistant of Jan van Eyck (active c. 1440)
Saint John the Baptist
oak, 38.3 × 23.5 (15 × 9¼), frame original but possibly reworked
Virgin and Child
oak, 38.3 × 23.5 (15 × 9¼), frame original but possibly reworked
Musée du Louvre, Paris (RF 38-22)
10. Nicolas Froment (active c. 1460–1484)
René I, Duke of Anjou
poplar, 17.7 × 13.4 (6Description: 15by16 × 5¼), original frame
reverse: lilies surmounted by a crown [device of Jean de Matheron], against a field of fleurs-de-lis
Jeanne de Laval
poplar, 17.7 × 13.4 (6Description: 15by16 × 5¼), original frame
reverse: lilies surmounted by a crown, against a field of fleurs-de-lis
Musée du Louvre, Paris (RF 665)
11. Geertgen Tot Sint Jans (active c. 1475–1495)
The Crucifixion with Saints Jerome and Dominic and Scenes from the Passion
oak, integral frame, 26.8 × 20.5 (10½ × 8Description: 1by16) painted surface, 24.4 × 18.4 (9 × 7¼)
National Galleries of Scotland, Edinburgh (1253)
The Glorification of the Virgin
oak, integral frame, 26.8 × 20.5 (10½ × 8Description: 1by16)
painted surface, 24.4 × 18.4 (9 × 7¼)
Museum Boijmans Van Beuningen, Rotterdam (2450)
12. Hugo van der Goes (c. 1440–1482)
The Fall of Man
oak, 32.3 × 21.9 (12Description: 11by16 × 8) separated
reverse: Saint Genevieve
The Lamentation, c. 1479
oak, 34.4 × 22.8 (13½ × 9)
reverse: image largely destroyed
Kunsthistorisches Museum, Gemäldegalerie, Vienna (5822.a,b and 945)
13. Jan Gossaert (c. 1478–1532)
Virgin in the Church, c. 1478–1532
panel, 45.9 × 27.5 (18 × 10)
painted surface, 40.2 × 22 (15¾ × 8¾)
Antonio Siciliano and Saint Anthony
panel, 45.9 × 27.5 (18 × 10)
painted surface, 40.2 × 22 (15¾ × 8¾)
Galleria Doria Pamphilj, Rome
14. Quentin Massys (c. 1465/1466–1530) and/or Jan Massys (c. 1509–1575)
Virgin at Prayer, 1529
oak, 44.7 × 35.4 (17 × 14)
Christ as Savior, 1529
oak, 44.7 × 35.4 (17 × 14)
Museo Nacional del Prado, Madrid (1562, 1561)
15. Quentin Massys (c. 1465/1466–1530)
Virgin at Prayer, c. 1505
oak, 40.9 × 30.8 (16 × 12)
Christ as Savior, c. 1505
oak, 40.9 × 30.8 (16 × 12)
Koninklijk Museum voor Schone Kunsten, Antwerp (241, 242)
16. Quentin Massys (c. 1465/1466–1530)
Desiderius Erasmus
canvas, transferred from panel, 58.4 × 46 (23 × 18)
Galleria Nazionale d’Arte Antica, Palazzo Barberini, Rome (1529)
Peter Gillis
panel, 61.3 × 47 (24¼ × 18)
Koninklijk Museum voor Schone Kunsten, Antwerp (198)
17. Quentin Massys (c. 1465/1466–1530)
Saint Mary Magdalen, c. 1520–1530
panel, 31.2 × 21.2 (12¼ × 8)
Saint Mary of Egypt, c. 1520–1530
panel, 31.2 × 21 (12¼ × 8¼)
Philadelphia Museum of Art, John G. Johnson Collection, 1917 (367, 366)
18. Master of the Benson Portraits (active c. 1540–1550)
Portrait of a Man
panel, original integral frame, 11.2 × 7.4 (4 × 2)
painted surface, 8.9 × 5.5 (3½ × 2Description: 3by16)
Portrait of a Woman
panel, original integral frame, 11.2 × 7.4 (4 × 2)
painted surface, 8.9 × 5.5 (3½ × 2Description: 3by16)
Museum Mayer van den Bergh, Antwerp (368)
19. Master of the Female Half-Lengths (active c. 1500–c. 1550)
Saint Peter
panel (oak?), including original frame, 19 × 7.8 (7½ × 3)
painted surface, 16.5 × 5.5 (6½ × 2Description: 3by16)
Saint Paul
panel (oak?), including original frame, 19 × 7.8 (7½ × 3)
painted surface, 16.5 × 5.5 (6½ × 2Description: 3by16)
Museum Mayer van den Bergh, Antwerp (369)
20. Master of 1499
The Angel Gabriel, 1499
oak, original integral frame, 18 × 11.5 (7 × 4½)
painted surface, 15.5 × 9.5 (6¼ × 3¾)
The Virgin Annunciate, 1499
oak, original integral frame, 18 × 11.5 (7 × 4½)
painted surface, 15.5 × 9.5 (6¼ × 3¾)
Staatliche Museen zu Berlin, Gemäldegalerie (548)
21. Master of 1499
Virgin in the Church, 1499
oak, original integral frame, 37.1 × 20.4 (14 × 8)
painted surface, 31.3 × 14.7 (12 × 5)
reverse: Salvator Mundi
Abbot Christiaan de Hondt, 1499
oak, original integral frame, 37.5 × 20.3 (14¾ × 8)
painted surface, 31.2 × 14.8 (12¼ × 5)
reverse: Abbot Robrecht de Clercq
Koninklijk Museum voor Schone Kunsten, Antwerp (255, 256, and reverses 530, 531)
22. Master of the Lille Adoration (active c. 1523/1535)
The Trinity
oak, 42.9 × 31.7 (16 × 12½)
Saint Jerome
oak, 41.9 × 31.8 (16½ × 12½)
Private Collection, on long-term loan to Harvard University Art Museums, Fogg Art Museum (6.2005.1–2)
23. Master of the Magdalen Legend (active c. 1475/1480–1525/1530) and unknown French artist
Virgin and Child, 1523
oak, integral frame, 30.4 × 20.7 (12 × 8)
painted surface, 24.4 × 14.5 (9 × 5¾)
Willem van Bibaut, 1523
walnut (except left member of frame, which is oak), integral frame, 30.4 × 20.4 (12 × 8)
painted surface, 24.6 × 14.3 (9Description: 11by16 × 5)
reverse: The Five Wounds of Christ
Private Collection
24. Master of the Saint Ursula Legend (active c. 1470–c. 1500)
Virgin and Child, 1486
oak, including original frame, 33.2 × 25.3 (13 × 10)
painted surface, 28 × 21 (11 × 8½)
reverse: chalice and host (later addition)
Three Donors, 1486
oak, including original frame, 33.2 × 25.3 (13 × 10)
painted surface, 28 × 21 (11 × 8½)
reverse: crucifix (later addition)
Koninklijk Museum voor Schone Kunsten, Antwerp (5004, 5004 bis)
25. Hans Memling (active by 1465–1494)
Saint John the Baptist, c. 1470–1475
oak, 31.6 × 24.4 cm (12Description: 7by16 × 9)
reverse: Skull in a Niche Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich (652)
Saint Veronica, c. 1470–1475
oak, 31.2 × 24.4 (12¼ × 9¾)
reverse: Chalice of Saint John the Evangelist, c. 1470–1475
National Gallery of Art, Washington, Samuel H. Kress Collection (1952.5.46)
26. Hans Memling (active by 1465–1494)
Virgin and Child, 1487
panel, including original frame, 52.5 × 41.5 (20½ × 16)
painted surface, 44.7 × 33.5 (17 × 13¼)
Maarten van Nieuwenhove, 1487
panel, including original frame, 52.5 × 41.5 (20½ × 16)
painted surface, 44.7 × 33.5 (17 × 13¼)
Musea Brugge, Hospitaalmuseum Sint-Janshospitaal (OSJ.178.1)
27. Hans Memling (active by 1465–1494)
Young Woman with a Carnation, c. 1485–1490
oak, 43.1 × 18.7 (17 × 7)
Lent by The Metropolitan Museum of Art, The Jules Bache Collection, 1949 (49.7.23)
Two Horses and a Monkey in a Landscape, c. 1485–1490
oak, 43.5 × 18 (17 × 7)
Museum Boijmans Van Beuningen, Rotterdam (2470)
28. Jan Mostaert (active by 1498–1555/1556)
Christ Appearing to His Mother in Limbo, c. 1515–1525
oak, integral frame (outer profile cropped), 26.7 × 18.8 (10½ × 7)
Collection Rijksmuseum Twenthe, Enschede (0013)
Kneeling Female Donor (Mary of Burgundy?) with the Redeemed of the Old Testament, c. 1520
oak, integral frame (outer profile cropped, with added strips), 26.7 × 18.8 (10½ × 7)
Museo Thyssen-Bornemisza, Madrid (1930.76)
29. Netherlandish Artist (active early sixteenth century)
Lentulus Letter, 1490–1500
oak, 37 × 26.7 (14Description: 9by16 × 10½)
Portrait of Christ
oak, 37.1 × 26.7 (14 × 10½)
Museum Catharijneconvent, Utrecht (BMR 52)
30. Netherlandish Artists (active c. 1460–1500)
Virgin and Child, 1485–1499
oak, 35 × 23.4 (13¾ × 9¼)
painted surface, 29 × 18 (11 × 7)
Two Donors, 1485–1499
oak, 35 × 23.4 (13¾ × 9¼)
painted surface, 29 × 18 (11 × 7)
Koninklijk Museum voor Schone Kunsten, Antwerp (517, 518)
31. Jan Provoost (c. 1465–1529)
Christ Carrying the Cross, 1522
panel, original engaged frame, 50 × 41 (19¾ × 16)
reverse: imitation porphyry
Portrait of a Fifty-four-year-old Franciscan, 1522
panel, original engaged frame, 50 × 40 (19¾ × 15¾)
reverse: skull in a niche
Musea Brugge, Hospitaalmuseum Sint-Janshospitaal (OSJ 191.1)
32. Bernard de Rijckere (c. 1535–1590)
Adriaan van Santvoort and His Sons Guillaume and Adriaan, 1563
oak, 84.3 × 65.4 (33¼ × 25½)
frame (original), 100.3 × 82.5 (39½ × 32½)
Anna van Hertsbeeke and Her Daughter Catharina and Son Jan Baptiste, 1563
oak, 84.6 × 66 (32Description: 5by16 × 25)
frame (original), 100.5 × 82.9 (39Description: 9by16 × 32Description: 11by16)
reverse: coats of arms of the Van Santvoort and Van Hertsbeeke families in a niche
Private Collection
33. Jan van Scorel (1495–1562)
Virgin and Child
panel (probably oak), 66 × 44 (26 × 17Description: 5by16)
Kartinnaja Galereja, Tambov (13)
Portrait of a Man
oak, 66 × 44 (26 × 17Description: 5by16)
painted surface, 65 × 43.7 (25 × 17)
reverse: Lucretia Staatliche Museen zu Berlin, Gemäldegalerie (6448)
34. Michel Sittow (c. 1469–1525/1526)
Virgin and Child, c. 1515–1518
oak, 33.1 × 25.6 (13Description: 1by16 × 10)
Staatliche Museen zu Berlin, Gemäldegalerie (1722)
Portrait of Diego de Guevara (?), c. 1515–1518
oak, 33.6 × 23.7 (13¼ × 9)
National Gallery of Art, Washington, Andrew W. Mellon Collection (1937.1.46)
35. Jan Cornelisz Vermeyen (c. 1500–c. 1559)
Cardinal Érard de la Marck, c. 1525–1530
oak, 63.7 × 54.5 (25 × 21½)
Bonnefantenmuseum Maastricht, on loan from the Rijksmuseum, Amsterdam (A4069)
The Holy Family, c. 1525–1530
oak, 64.3 × 54.5 (25 × 21½)
Netherlands Institute for Cultural Heritage (ICN), Rijswijk/Amsterdam, on loan to Frans Hals Museum, Haarlem (OS75-328)
36. Rogier van der Weyden (c. 1399/1400–1464)
Saint George and the Dragon, c. 1432–1435
panel, 15.2 × 11.8 (6 × 4)
National Gallery of Art, Washington, Ailsa Mellon Bruce Fund (1966.1.1)
Virgin and Child, c. 1433
panel, 15.8 × 11.4 (6¼ × 4)
Museo Thyssen-Bornemisza, Madrid (1930.25)
37. Rogier van der Weyden (c. 1399/1400–1464)
Virgin and Child, c. 1460
oak, 38.7 × 28.5 (15¼ × 11¼)
reverse: double pulley Musée des Beaux-Arts de Tournai (481)
Jean de Gros, c. 1460
oak, 38.6 × 28.6 (15¼ × 11¼)
reverse: coat of arms of the De Gros family
The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection (1933.1052 a,b)
38. Rogier van der Weyden (c. 1399/1400–1464)
Virgin and Child, c. 1460
Masonite, transferred from canvas, originally on panel, 50.8 × 33.02 (20 × 13)
San Marino, The Huntington Library, Art Collections, and Botanical Gardens; The Arabella D. Huntington Memorial Art Collection (26.105)
Philippe de Croÿ, c. 1460
oak, 51.5 × 33.6 (20¼ × 13¼)
reverse: coat of arms of the De Croÿ family
Koninklijk Museum voor Schone Kunsten, Antwerp (254)
39. Rogier van der Weyden (c. 1399/1400–1464)
Virgin and Child
oak, 51.5 × 33.5 (20¼ × 13Description: 3by16)
Musée des Beaux-Arts, Caen (M91)
Jean de Froimont
oak, 51.5 × 33.2 (20 × 13)
reverse: Saint Laurence
Musées Royaux des Beaux-Arts de Belgique, Brussels (4279)
40. Follower of Rogier van der Weyden (active c. 1480), unidentified artist (active c. 1490), and Follower of Gerard David (revisions)
Virgin and Child, c. 1480
composite panel of redwood blocks (transfer), 56.6 × 36.9 (22¼ × 14½)
painted surface, 54.8 × 34.4 (21Description: 9by16 × 13½)
Joos van der Burch and Saint Simon of Jerusalem, c. 1480
oak, 56.1 × 35.7 (22Description: 1by16 × 14Description: 1by16)
painted surface, 54.8 × 34.4 (21Description: 9by16 × 13½)
reverse: epitaph and coats of arms of Joos van der Burch and Katheline van der Mersch
Harvard University Art Museums, Fogg Art Museum, Bequest to Harvard College of George W. Harris in memory of John A. Harris (1906.6 a,b)
Exhibition Catalogue Checklist
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