Copyright by Dr. Elizabeth Garner, all rights reserved worldwide, September 18, 2013
With all due respect to all the world museums that have title to magnificant Albrecht Dürer oil paintings (especially the Prado), it appears the Haller Madonna and the painting painted on the back of the Madonna, known as Lot and his Family Fleeing Sodom, owned by the National Gallery of Art in Washington, D.C. may be the most important paintings that Albrecht Dürer created, for these two paintings are so heavily intertwined in their meanings and are so heavily encoded together, there is no other Albrecht Dürer painting that comes close to this level of encoding.
Please notice the emblem in the lower right hand corner in this version of the painting.
The following is the official provenance history of this painting as known by the National Gallery of Art and published on their website http://www.nga.gov/content/ngaweb/Collection/art-object-page.41598.html
“Probably a member of the Haller family, Nuremberg. Possibly Paul von Praun [d. 1616] and descendants, Nuremberg, until at least 1778. Charles à Court Repington [d. 1925], Amington Hall, Warwickshire; sold to Mrs. Phyllis Loder, London. (sale, Christie’s, London, 29 April 1932, no. 51, as Bellini); (Vaz Dias.) Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, by 1934. (Pinakos, Inc. [Rudolf Heinemann] on consignment to M. Knoedler & Co., New York, 1950); purchased 1950 by the Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.
 From the coat-of-arms at the lower left, there would seem to be little doubt that the Gallery’s panel was first owned and probably executed for a member of the Haller family of Nuremberg; see Otto Titan von Hefner and Gustav Adelbert Seyler, die Wappen des bayerischen Adels. J. Siebmacher’s grosses Wappenbuch. 34 vols. (Neustadt an der Aisch, 1971) 22: 38, pl. 36, and additional information in NGA manuscript for systematic catalogue number 5 on German painting, entry on Madonna and Child by Dürer. The Hallers were one of Nuremberg’s largest and most influential patrician families, but our inability to identify the coat-of-arms at the lower right renders it all but impossible to find a candidate. The direction of the Haller arms is reversed so that it may “respect” the arms of what is presumed to be the wife’s family at the lower right; see Gustav A. Seyler, “die Orientirung der Wappen”, Geschichte der Heraldik. J. Siebmacher’s grosses Wappenbuch. vols. A-G (Neustadt an der Aisch, 1970) A: 454-487, and letter of 16 April 1988 from Walter Angst to John Hand in NGA curatorial file. Anzelewsky raised the possibility that the panel was painted for Wilhelm Haller (d. 1534) whose second marriage to Dorothea Landauer took place in 1497; see Fedja Anzelewsky, Albrecht Dürer Das malerische Werk. (Berlin, 1971), 142. On the other hand, Sally E. Mansfield suggested, in a report in the NGA curatorial file, Hieronymus II Haller (d. 1519) who married Catharina Wolf von Wolfstal in 1419.”
The current expert on Patricians, Peter Fleischmann, Rat und Patriziat in Nürnberg, Nürenberger Forschungen, ISBN 978-3-87191-33-4, published in 2009, provided flowcharts of the convoluted intermarriages among the Nuremberg families with this three volume set of enormous scholarship for which I have exceptional respect for all the work he did.
There are six “linies (lines)” of Hallers that could have commissioned this painting.
Konrad IV of the “Konrad linie” who married Barbara Ortoloph in 1487