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.
Inscription on cross: IH[ESUS] C[HRISTUS]. NAZAREN[US]. REX IUDEORU[M].
Overall to Spike: 21.9 × 13.2 cm (8 5/8 × 5 3/16 in.); Cross: 16.8 × 13.2 cm (6 5/8 × 5 3/16 in.); Corpus: H.: 9.8 cm (3 7/8 in.)
Kate S. Buckingham Endowment
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Dorothy Odenheimer, “Medieval and Modern Treasures in Enamel,” Chicago Sun (October 18, 1942).
Oswald Goetz, “Medieval Enamels and Metalwork in the Buckingham Collection,” Bulletin of the Art Institute of Chicago 38, 7 (1944), pp. 108-9, fig. 2.
Meyric R. Rogers and Oswald Goetz, Handbook to the Lucy Maud Buckingham Medieval Collection (Chicago: Art Institute of Chicago, 1945), pp. 65–66, no. 22, pl. 31.
Washington, D.C., National Gallery of Art, Objects of Medieval Art from the Widener Collection (1952), p. 30, no. C–6.
Philippe Verdier, “Un monument inédit de l’art mosan du XIIe siècle,” Revue Belge d’archéologie et d’histoire de l’art 30 (1961), pp. 123, 125, fig. 7.
Peter Bloch, “Bronzekruzifixe in der Nachfolge des Reiner von Huy” in Rhein und Maas: Kunst und Kultur 800-1400 (exh. cat., Schnütgen Museum, Cologne, 1973), vol. 2, Berichte, Beiträge und Forschungen zum Themenkreis der Ausstellung und des Katalogs, pp. 251, 254, 258, no. 7, fig. 7
Philippe Verdier, “Emaux Mosans et Rheno-Mosans dans le collections des Etats-Unis,” Revue Belge d’archéologie et d’histoire de l’art 44 (1975), pp. 24–26, ill.
Peter Bloch, Romanische Bronzekruzifixe (Berlin: Deutscher Verlag für Kunstwissenschaft, 1992), pp. 142, 289, 292, no. VII D 10 (ill).
A[lison] L[uchs] in Washington, D.C., National Gallery of Art, Western Decorative Arts: Medieval, Renaissance, and Historicizing Styles, including Metalworks, Enamels, and Ceramics, Part 1 (Washington, D.C., National Gallery of Art, 1993), pp. 15–17.
Christina M. Nielsen in Devotion and Splendor: Medieval Art at the Art Institute of Chicago, Christina M. Nielsen, ed., Museum Studies 30, 2 (2004), pp. 35, 91-92, no. 17, ill.
Art Institute of Chicago, Masterpieces of Craftsmanship from Medieval Church Treasuries, 8 October – 30 November, 1942.
South Bend, Indiana, University Art Gallery, University of Notre Dame, Art of the Romanesque, 6 November – 4 December, 1960, cat. 21.
Cologne, Schnütgen-Museum, Rhein und Maas: Kunst und Kultur 800-1400, 14 May – 23 July 1972, and Brussels, Musées royaux d’art et d’histoire, 15 September – 31 October 1972, cat. 7.
Art Institute of Chicago, Medieval Decorative Arts from Chicago Collections, 2 October 1985 – 5 January, 1986.
Moscow, State Pushkin Museum of Fine Arts, “Decorative-Applied Art from Late Antiquity to the Late Gothic Style,” 14 May - 14 July, 1990, and the Hermitage Museum, Leningrad, 14 August - 14 October, 1990, cat. 27.
Richard von Kaufmann, Berlin, before 1917; sold, Paul Cassirer and Hugo Helbing, Berlin, 12 December 1917, lot 470. Harry Fuld (b. 1879 - d. 1932), Frankfurt; by descent to his widow, Lucie Mayer-Fuld (d. 1966), Frankfurt, Berlin, and New York, 1932-1942 [according to incoming shipping receipt in curatorial file]; on loan to the Art Institute starting October 17, 1942 [according to incoming receipt in Registrar’s file]; sold, through Raphael Stora, to the Art Institute, 1942 [according to incoming shipping receipt, mentioned above].
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