Triptych with The Crucifixion, The Flagellation, and The Entombment

c. 1500

French; Limoges

Status: On View, Gallery 238
Department: Applied Arts of Europe

Title: Triptych with The Crucifixion, The Flagellation, and The Entombment
Place: Limoges (Object made in)
Date 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.: 1490–1510
Medium: Painted enamel and gold on copper
Inscriptions: 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)
Dimensions: Central plaque: 18.9 × 17.2 cm (7 7/16 × 6 3/4 in.); Wings: 18.9 × 7.4 cm (7 7/16 × 2 15/16 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1937.822
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/25319/manifest.json

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.

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.

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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Triptych with The Crucifixion, The Flagellation, and The Entombment

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Date 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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