Diptych Fragment: The Death of the Virgin

1375/1400

Attributed to the Master of Kremsmünster
(German, active 1375–1400)

Status: On View, Gallery 236
Department: Painting and Sculpture of Europe

Artist: Master of Kremsmünster (Sculptor)
Title: Diptych Fragment: The Death of the Virgin
Place: Mainz (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.: 1400–1450
Medium: Ivory
Dimensions: 7 × 9.2 cm (2 3/4 × 3 5/8 in.)
Credit Line: Kate S. Buckingham Endowment
Reference Number: 1943.60
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/46218/manifest.json

Meyric R. Rogers and Oswald Goetz, Handbook to the Lucy Maud Buckingham Medieval Collection (Chicago, 1945), p. 70, no. 51, pl. XXIII.
Richard H. Randall Jr., The Golden Age of Ivory: Gothic Carvings in North American Collections (New York, 1993), p. 107, no. 149, ill.
Paul Williamson and Glyn Davies, Victoria and Albert Museum. Medieval Ivory Carvings 1200-1550 (London, 2014), p. 371, under no. 129.
Gothic Ivories Project, The Courtauld Institute of Arts:
http://gothicivories.courtauld.ac.uk/

Art Institute of Chicago, Masterpieces of Craftsmanship from Medieval Church Treasuries, 8 October – 30 November 1942 [no cat.].
Art Institute of Chicago, Medieval Decorative Arts from Chicago Collections, 2 October 1985 – 5 January 1986.

Salomon collection, Berlin, before 1917; sold, Rudolph Lepke’s Kunst–Auctions–Haus, Berlin, May 15, 1917, Skulpturen–Sammlung aus Berliner Privatbesitz, lot 102. Harry Fuld (died 1932), Frankfurt, before 1932 [according to copy of donor card]; by descent to his widow, Lucie Mayer-Fuld (née Cajzago) and by extension to her second husband, Acatiu Mayer-Fuld, Berlin, Biarritz, and New York, 1932 [according to copy of incoming shipping receipt in curatorial file; see also letter from Hans Strauss to Ardelia Hall, April 12, 1950, copy in curatorial file]; sold, through Raphael Stora, to the Art Institute, 1942.

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