Entombment

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1500

German; possibly Cologne

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: German
Title: Entombment
Place: Germany (Artist's nationality:)
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.: 1495–1505
Medium: Tempera on panel
Dimensions: 48.3 × 70 cm (19 × 27 9/16 in.)
Credit Line: A. A. Munger Collection
Reference Number: 1926.570
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/29095/manifest.json

Salomon Reinach, Répertoire de peintures du moyen âge et de la renaissance (1280–1580), vol. 2, Paris, 1907, p. 454, no. 1.
Art Institute of Chicago Annual Report, 1926, p. 52.
R.M.F., “A Painting of the School of Avignon,” Bulletin of the Art Institute of Chicago 20 (1926), pp. 73, 75–76.
Lloyd Goodrich, “New York Exhibitions,” Arts 9 (1926), p. 284.
Frank Jewett Mather, Jr., “An Exhibition of French Primitives,” Arts 12 (1927), p. 245.
Walter Heil, “Kunstwerke der französischen Gotik: Leiausstel-lung im Museum zu Detroit,” Pantheon 3 (1929), p. 78 (ill.).
Albert C. Barnes and Violette de Mazia, The French Primitives and Their Forms, Merion, Pa., 1931, pp. 505, 509 (ill.).
Art Institute of Chicago 1932, pp. 37, 166.
“Robert B. Harshe as a Connoisseur,” Bulletin of the Art Institute of Chicago 32 (1938), p. 52.
Charles Sterling, La Peinture française: Les Primitifs, Paris, 1938, p. 134 n. 131.
Louis Gillet, Les Primitifs français, Marseilles, 1941, pl. 13.
Charles Sterling [Charles Jacques, pseud.], La Pein-ture française: Les Peintres du moyen âge, Paris, 1941, p. 64, no. 52.
Grete Ring, A Century of French Painting, 1400–1500, London, 1949, p. 232, no. 255.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 302, 141.
Jacqueline Marette, La Connaissance des primitives par l’étude du bois, du XIIe au XVIe siècle, Paris, 1961, pp. 189, 354, no. 199A.
Charles Sterling and Hélène Adhémar, Peintures: École française, XIVe, XVe et XVIe siècles, Paris, Musée du Lou-vre, 1965, p. 19.
Charles Sterling, La Peinture médiévale à Paris, 1300–1500, vol. 2, Paris, 1990, pp. 321–23, fig. 283.
Ludovic Nys, “Le Triptyque Seilern: Une Nouvelle Hypothèse,” Revue de l’art, no. 139 (2003), p. 6, fig. 3.

New York, Kleinberger, Loan Exhibition of French Primitives and Objects of Art, 1927, no. 9.
Detroit Institute of Arts, Seventh Loan Exhibition: French Gothic Art of the Thirteenth to Fifteenth Cen-tury, 1928, no. 6.
Art Institute of Chicago, A Century of Progress, June 1- Nov. 1, 1933, no. 33.
Art Institute of Chicago, A Century of Progress, June 1-Nov. 1, 1934, no. 21.

Lamponi, Florence, by 1902; sold, Jules Sambon, Flor-ence, Nov. 10 and following days, 1902, no. 2335, as Lucas van Leyden. 3 Possibly Rodolphe Kann (died 1905), Paris [according to New York 1927]; Comte Demandolx-Dedons, Marseilles, probably by 1916 ;4 collection of M. le Comte de D., Paris, Mar.–Nov. 1916, as Rogier van der Weyden [Sterling 1990, citing Seymour de Ricci; Demandolx-Dedons was probably the M. le Comte de D. mentioned in the dossier for the Pietà of Saint-Germain, in the Service de Documentation, Musée du Louvre, Paris]; Achillito Chiesa, Milan; sold, New York, American Art Association, Apr. 16, 1926, no. 32, as School of Avignon, to the Art Institute of Chicago.

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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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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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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.

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