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oil paint (paint)88 × 151 Cm
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About the artwork
Artist supplied description.
A prolific painter in Brussels, Colijn de Coter continued the pioneering symbolism of 15th-century Northern artists on a large scale. In this panel, the central image in a three-part altarpiece called a triptych, the painter imbued household objects with Christian meanings. The green curtain hanging from the bed, for example, doubles as the cloth of honor that traditionally frames Mary as she is crowned Queen of Heaven. The glassware and wash basin on the sideboard allude to her purity, as does the bouquet of lilies at the bottom right, while the lion finial marks her seat as the throne of wisdom. The fusion of contemporary bourgeois interior with religious iconography underscores Jesus’s humanity as well as the continued relevance of the biblical narrative.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 88 × 151 Cm |
| Tags | Century of ProgressThronelionsred (color)liliesbasinwashbowlsgreen (color)curtainsscrolls (motifs)bedflowersinteriorangelsJesusVirgin MaryVirgin and child/Madonna and childworld's fairsChicago World's Fairs |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Sat
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two angels crown her and another presents a basket of flowers to the Child)]....
two angels crown her and another presents a basket of flowers to the Child)]. J. G. Arthur, London [according to Colnaghi stock card]
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Catheline Périer-d’Ieteren, “Coter
Catheline Périer-d’Ieteren, “Coter (Colyn ou Collin De),” in Académie
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then attributed to Rogier van der Weyden, is described as “La Vírgen y el Niño
then attributed to Rogier van der Weyden, is described as “La Vírgen y el Niño
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pp. 24–25.
pp. 24–25.
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dos Angeles la coronan y otro presenta al Niño un canastillo de flores” (the Virgin and Child
dos Angeles la coronan y otro presenta al Niño un canastillo de flores” (the Virgin and Child
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Probably Don Luis Portilla, Madrid, by 1880
Probably Don Luis Portilla, Madrid, by 1880
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John Nolan in Trinita Kennedy and John Nolan, A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery, exh. cat., Frist Center for the Visual Arts, Nashville, Tennessee, 2011, pp. 151, 153.
John Nolan in Trinita Kennedy and John Nolan, A Divine Light: Northern Renaissance Paintings from the Bob Jones University Museum & Gallery, exh. cat., Frist Center for the Visual Arts, Nashville, Tennessee, 2011, pp. 151, 153.
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Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 192-97, ill.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 192-97, ill.
Sat
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Didier Martens, “Le Groupe des oeuvres au Feuillage brodé: Quelques Propositions,” in Le Maître au Feuillage brodé: Primitifs flamands; Secrets d’atelier, exh. cat., Lille, Palais des Beaux-Arts, 2005, pp. 59, 64, fig. 59.
Didier Martens, “Le Groupe des oeuvres au Feuillage brodé: Quelques Propositions,” in Le Maître au Feuillage brodé: Primitifs flamands; Secrets d’atelier, exh. cat., Lille, Palais des Beaux-Arts, 2005, pp. 59, 64, fig. 59.
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Rolf Fritz, “Aquilegia: Die symbolische Bedeutung der Akelei,” Wallraf-Richartz-Jahrbuch 24
Rolf Fritz, “Aquilegia: Die symbolische Bedeutung der Akelei,” Wallraf-Richartz-Jahrbuch 24 (1952), p. 108, no. 42. AIC 1961, p. 106.
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An American Correspondent, “Flemish and Dutch Paintings in the Ryerson Collection,” Connoisseur 119
An American Correspondent, “Flemish and Dutch Paintings in the Ryerson Collection,” Connoisseur 119 (1947), pp. 48–49, fig. 5.
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Jeanne Maquet-Tombu, Colyn de Coter, peintre bruxellois, Brussels, 1937, pp. 31–32, 100–01, pl. 5.
Jeanne Maquet-Tombu, Colyn de Coter, peintre bruxellois, Brussels, 1937, pp. 31–32, 100–01, pl. 5.
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exhibition
Art Institute of Chicago, A Century of Progress, 1934, no. 118.
Art Institute of Chicago, A Century of Progress, 1934, no. 118.
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Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6
Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.
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bequeathed to the Art Institute, 1933.
bequeathed to the Art Institute, 1933.
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exhibition
Art Institute of Chicago, A Century of Progress, 1933, no. 37.
Art Institute of Chicago, A Century of Progress, 1933, no. 37.
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note
Martin A....
Martin A. Ryerson (d. 1932), Chicago
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The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 179, no. R 1201/17.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 179, no. R 1201/17.
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Feb
exhibition
New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no. 33.
New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no. 33.
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H. Fierens-Gevaert and Paul Fierens, Histoire de la peinture flamande des origines à la fin du XVe siècle, vol. 3, Paris and Brussels, 1929, p. 92.
H. Fierens-Gevaert and Paul Fierens, Histoire de la peinture flamande des origines à la fin du XVe siècle, vol. 3, Paris and Brussels, 1929, p. 92.
Sat
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Max J. Friedländer, Die altniederländische Malerei, vol. 4, Berlin, 1926, pp. 119–20, 147, no. 99, pl. 72; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1969, pp. 65, 84, no. 99, pl. 91.
Max J. Friedländer, Die altniederländische Malerei, vol. 4, Berlin, 1926, pp. 119–20, 147, no. 99, pl. 72; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1969, pp. 65, 84, no. 99, pl. 91.
Sat
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Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 80–81.
Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 80–81.
Sat
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Erwin Hensler, “Eine neuentdeckte Madonna von Colijn de Coter,” Jahrbuch der preussischen Kunstsammlungen 45
Erwin Hensler, “Eine neuentdeckte Madonna von Colijn de Coter,” Jahrbuch der preussischen Kunstsammlungen 45 (1924), pp. 117, 120, fig. 2.
Sat
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The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 70.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 70.
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Martin Conway, The Van Eycks and Their Followers, London, 1921 , pp. 263–64, pl. 12.3.
Martin Conway, The Van Eycks and Their Followers, London, 1921 , pp. 263–64, pl. 12.3.
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The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 61.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 61.
Sat
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The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p. 208.
The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p. 208.
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“Loan Collections,” Bulletin of the Art Institute of Chicago 7
“Loan Collections,” Bulletin of the Art Institute of Chicago 7 (1914), p. 38.
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“Notes,” Bulletin of the Art Institute of Chicago 6
“Notes,” Bulletin of the Art Institute of Chicago 6 (1913), pp. 36–37 (ill.).
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The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1913, p. 196.
The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1913, p. 196.
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on loan to the Art Institute from 1913
on loan to the Art Institute from 1913
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Walter Cohen, in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 7, Leipzig, 1912, p. 553.
Walter Cohen, in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 7, Leipzig, 1912, p. 553.
Sat
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Feb
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sold by Knoedler, New York, to Ryerson, for $15,000, Oct....
sold by Knoedler, New York, to Ryerson, for $15,000, Oct. 31, 1912 [bill of sale, Art Institute Archives]
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Max J. Friedländer, “Bernaert van Orley,” Jahrbuch der königlich preussischen Kunstsammlungen 29
Max J. Friedländer, “Bernaert van Orley,” Jahrbuch der königlich preussischen Kunstsammlungen 29 (1908), pp. 229–31, fig. 4.
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sold to Colnaghi, London, Dec....
sold to Colnaghi, London, Dec. 1906, with a half-share owned by Knoedler, Paris and New York [Colnaghi stock card]
Wed
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C[atheline] Périer-d’Ieteren, “Coter, Colijn,” in Dictionary of Art, vol. 8, 1996,
C[atheline] Périer-d’Ieteren, “Coter, Colijn,” in Dictionary of Art, vol. 8, 1996,
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Art Institute of Chicago, Glad Tidings of Great Joy, Chicago, 1993, pp. 36–37
Art Institute of Chicago, Glad Tidings of Great Joy, Chicago, 1993, pp. 36–37 (ill.), 39.
Fri
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Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 324, no. 161
Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 324, no. 161 (ill.).
Thu
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C[atheline] Périer-d’Ieteren, Colyn de Coter et la technique picturale des peintres flamands du XVe siècle, Brussels, 1985, pp. 57, 64–66, 68, 78, 85, 94–97, 128–29, 132, 146–48, 175–76, figs. 206–08.
C[atheline] Périer-d’Ieteren, Colyn de Coter et la technique picturale des peintres flamands du XVe siècle, Brussels, 1985, pp. 57, 64–66, 68, 78, 85, 94–97, 128–29, 132, 146–48, 175–76, figs. 206–08.
Sat
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sold, Madrid, 1880, no....
sold, Madrid, 1880, no. 89 [first suggested by Campbell 1981
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Lorne Campbell, review of Elisa Bermejo Martinez, La pintura de los primitivos flamencos en España, in Burlington Magazine 123
Lorne Campbell, review of Elisa Bermejo Martinez, La pintura de los primitivos flamencos en España, in Burlington Magazine 123 (1981), p. 555.
Sat
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Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique, Biographie nationale, vol. 39, fasc. 1, Brussels, 1976, cols. 204, 206.
Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique, Biographie nationale, vol. 39, fasc. 1, Brussels, 1976, cols. 204, 206.
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Ursula Hoff and Martin Davies, The National Gallery of Victoria, Melbourne, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 12, Brussels, 1971, p. 32.
Ursula Hoff and Martin Davies, The National Gallery of Victoria, Melbourne, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 12, Brussels, 1971, p. 32.
Wed
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Beneth A. Jones, Bob Jones University: Supplement to the Catalogue of the Art Collection, Greenville, S.C., 1968, p. 47, under no. 201.
Beneth A. Jones, Bob Jones University: Supplement to the Catalogue of the Art Collection, Greenville, S.C., 1968, p. 47, under no. 201.
Wed
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Hélène Adhémar, Le Musée National du Louvre, Paris, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 5, vol. 1, Brussels, 1962, p. 96.
Hélène Adhémar, Le Musée National du Louvre, Paris, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 5, vol. 1, Brussels, 1962, p. 96.
© Artist-Unknown. All rights reserved.