About This Artwork

French, Limoges

Triptych with The Crucifixion, The Flagellation, and The Entombment, c. 1500

Polychrome enamel and gold on copper
central plaque: 18.9 x 17.2 cm (7 7/16 x 6 3/4 in.); wings: 18.9 x 7.4 cm (7 7/16 x 2 15/16 in.)
Inscription on figure holding up the sponge: MARCV.
Inscription on the left wing of the Flagellation, on the leg of a soldier: MARCVS ESALESOTENRC (sic)

Mr. and Mrs. Martin A. Ryerson Collection, 1937.822

Exhibition, Publication and Ownership Histories

Exhibition History

London, South Kensington Museum (now Victoria and Albert Museum), Special Exhibition of Works of Art of the Mediaeval, Renaissance, and More Recent Periods on Loan at the South Kensington Museum, June 1862, no. 1,652.

New York, Museum of Contemporary Crafts, Enamels, September 18-November 29, 1959, no. 1.

The Art Institute of Chicago, Renaissance Decorative Arts from Chicago Collections, March 2-June 14, 1987, no. 22.

Art Institute of Chicago, Kings, Queens, and Courtiers: Art in Early Renaissance France, 2011, no. 88.

Publication History

J. C. Robinson, Catalogue of the Special Exhibition of Works of Art of the Mediaeval, Renaissance, and More Recent Periods on Loan at the South Kensington Museum (London, 1862, rev. ed. 1863), p. 142, no. 1652.

Claudius Popelin and Émile Molinier, La collection Spitzer, vol. 2: Emaux peints, etc. (Paris, 1891), p. 19, no. 1.

Edmond Bonnaffé and Émile Molinier, Catalogue des objets d'art et de haute curiosité...composant l'importante et précieuse collection Spitzer (Paris: Chevallier & Mannheim, 1893), no. 417, pl. 13.

J. J. Marquet de Vasselot, Les Emaux limousins (Paris, 1921), pp. 69, 77, and 240, no. 48.

Bessie Bennett, "Some Examples of French Enamel Painting," Bulletin of the Art Institute of Chicago, vo. 27 (November, 1933), pp. 98-99.

William H. Monroe, "Painted Renaissance Enamels from Limoges," Bulletin of the Art Institute of Chicago 71, 6 (1977), pp. 10-14, fig. 1.

Susan L. Caroselli, The Painted Enamels of Limoges: A Catalogue of the Collection of the Los Angeles County Museum of Art (Los Angeles, 1993), p. 66.

Martha Wolff et al., Kings, Queens, and Courtiers: Art in Early Renaissance France (New Haven and London, 2011). pp. 168, ill.

Ownership History

Samuel Addington (d. 1886), England, by 1862 [see Robinson 1863, p. 142]. Frédéric Spitzer (d. 1890), Paris; his sale, Paris, Chevallier and Mannheim, April 17 - June 16, 1893, no. 417; acquired by Durand-Ruel as agent for Martin A. Ryerson (d. 1932), Chicago [according to copy of receipt in curatorial file]; by descent to his widow (d. 1937); bequeathed to the museum.




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