 The Magdalen Reading can first be traced to an 1811 sale of the estate of Cassino , a little @-@ known collector in Haarlem , when the work was already cut down . The painting is recorded in the inventory of Demoiselles Hoofman , also of Haarlem . After passing to the Nieuwenhuys brothers , who were leading dealers in art of the early Netherlandish period , it moved to the collector Edmond Beaucousin in Paris , whose " small but choice " collection of early Netherlandish paintings was purchased for the National Gallery , London by Charles Lock Eastlake in 1860 ; an acquisition that also included two Robert Campin portraits and panels by Simon Marmion ( 1425 – 1489 ) . This was during a period of acquisition intended to establish the international prestige of the gallery . Probably before 1811 , all the background except the red robe on the left and the alabaster jar and floorboards was overpainted in plain brown , which was not removed until the cleaning begun in 1955 . In general the " painted surface is in very good condition " , although better in the parts that were not overpainted , and there are a few small losses . 
 The Magdalen Reading can first be traced to an 1811 sale of the estate of Cassino , a little @-@ known collector in Haarlem , when the work was already cut down . The painting is recorded in the inventory of Demoiselles Hoofman , also of Haarlem . After passing to the Nieuwenhuys brothers , <a href='null_relcl' title='1'><mark>who</mark></a><a href='uninflect' title='2'><mark>were</mark></a> leading dealers in art of the early Netherlandish period , it moved to the collector Edmond Beaucousin in Paris , whose " small but choice " collection of early Netherlandish paintings was purchased for the National Gallery , London by Charles Lock Eastlake in 1860 ; an acquisition <a href='null_relcl' title='3'><mark>that</mark></a>also included two Robert Campin portraits and panels by Simon Marmion ( 1425 – 1489 ) . This was during a period of acquisition intended to establish the international prestige of the gallery . Probably before 1811 , all the background except the red robe on the left and the alabaster jar and floorboards was overpainted in plain brown , which was not removed until the cleaning begun in 1955 . In general the " painted surface is in very good condition " , although better in the parts <a href='null_relcl' title='4'><mark>that</mark></a><a href='uninflect' title='5'><mark>were</mark></a> not overpainted , and <a href='dey_it' title='6'><mark>there</mark></a> are a few small losses . 
Da Magdalen Reading can first be traced to an 1811 sale of the estate of Cassino , alil @-@ known collector in Haarlem , when the wrk was already cut downn . Tdapainting is recorded in thdanventory of Demoiselles Hoofman , also of Haarlem . After passing to the Nieuwenhuys brothers , was leading dealers in art of the early Netherlandish period , it moved to the collector Edmond Beaucousin in Paris , whose " small but choice " collection of early Netherlandish paintings was purchased for thedational Gallery , London by Charles Lock Eastlake in 1860 ; an acquisition also included two Robert Campin portraits and panels by Simon Marmion ( 1425 – 1489 ) . This was during a period of acquisition intended to establish the international prestige of the dalery . Probably before 1811 , all the background except the rdarobe on the left and the alabaster jar and floorboards was overpainted in plain brown , which was not removed till the cldaing begun in 1955 . In general the " pdated surface is in very good condition " , although betta in the partdaas not overpainted , and it is a few small losses .