Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
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“The Cover,” Bulletin of the Art Institute of Chicago 28 (1934), p. 20 (cover ill.).
“XIVth Century Primitive Presents Puzzle,” Art Digest 8, 16 (1934), p. 29 (ill.).
José Pijoán, Arte gótico de la Europa occidental: Siglos XIII, XIV y XV, Summa artis 11, Madrid, 1947, p. 435, fig. 741.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 174.
Barbara Wriston, “Joiners’ Tools in the Art Institute of Chicago,”
Art Institute of Chicago Museum Studies 2 (1967), p. 77, fig. 1.
John Maxon, The Art Institute of Chicago, London, 1970, p. 25.
Raquel Sáenz Pascual, “Un ejemplo de gótica lineal tardío: El retablo de San Andrés de Añastro,” in Revisión del arte medieval en Euskal Herria, cuadernos de sección: Artes plásticas y monumentales 15 (1996), pp. 478–81.
Raquel Sáenz Pascual, La pintura gótica en Álava: Una contribución a su estudio, Vitoria-Gasteiz, 1997, pp. 138, 167, 172–74, 176, fig. 19.
Marisa Melero-Moneo, “Retablo y frontal del convento de San Juan de Quejena en Álava (1396),” Locus Amoenus 5 (2000–01), pp. 37–40, fig. 2.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 107-111, ill.
Art Institute of Chicago, A Century of Progress, 1933, no. 17, as English School (?).
Art Institute of Chicago, A Century of Progress, 1934, no. 13, as English School (?).
Pittsburgh, Carnegie Institute, A Survey of British Painting, 1938, no. 13.
Worcester (Mass.) Art Museum, Condition: Excellent,
1951, no. 17, as probably Norwegian.
Arnold Seligmann, Rey and Company, Paris and New York, by
1932; sold to the Art Institute, 1932.
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