Saint Peter and a Donor (recto); Saint Thomas (verso)

Charles H. Worcester, Chicago

S. Newberger, New York [according to the catalogue of the Roerich sale

Newberger is given as a source for numerous pictures in this sale]. Roerich Museum, New York

pp. 113, 116, 122, 157, figs. 62–63.

Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 180-84, ill.

Daniel Catton Rich, ed., Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture and Drawings, Chicago, 1938, p. 49, no. 44 (ill.).

Kurt Steinbart, Das Holzschnittwerk des Jakob Cornelisz von Amsterdam, Burg bei Magdeburg, 1937, p. 121, under no. 141 (1936.241).

Charles L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, Mass., 1936, p. 56, nos. 212–13.

given to the Art Institute, 1936.

Art Institute of Chicago, A Century of Progress, 1933, nos. 22–23, as attributed to Hans von Kulmbach.

sold, American Art Association, Anderson Galleries, New York, March, 27–28, 1930, no. 134, as attributed to Michael Wohlgemuth, to Worcester

on loan to the Art Institute from 1930

Jeremy Dupertuis Bangs, “The Masters of Alkmaar and Hand X: The Haarlem Painters of the Van Waterlant Family,” Wallraf-Richartz-Jahrbuch 60 (1999),

C[unera] V[ergeer], in Museum Boymans-van Beuningen, Van Eyck to Bruegel, 1400– 1550: Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam, 1994, pp. 316, 317.

Jane L. Carroll, “The Paintings of Jacob Cornelisz. van Oostsanen (1472–1533),” Ph.D. diss., University of North Carolina, Chapel Hill, 1987 (Ann Arbor, Mich., University Microfilms, 1988), pp. 402–03, cat. A9, figs. 107–08.