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.
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.
Oswald Goetz, “‘Hie hencktt Judas’,” in Form und Inhalt, Kunstgeschichtliche Studien Otto Schmitt zum 60. Geburtstag, ed. Hans Wentzel (Stuttgart, 1950), pp. 105-137, fig. 1.
Art Institute of Chicago Bulletin 44, 4 (1950), n.p., ill.
C. J. Bulliet, “Art in Chicago,” Art Digest 25, 6 (15 December 1950), p. 15.
Lee R. Sullivan, “The Hanging of Judas: Medieval Iconography and the German Peasants’ War,” Essays in Medieval Studies 15 (1998), pp. 93-102, fig. 1.
Virginia Chieffo Raguin and Helen Jackson Zakin, Corpus Vitrearum, United States of America, part VIII, Stained Glass before 1700 in the Collections of the Midwest States, (London, 2001), pp. 86-90, no. AIC 5, ill. p. 87.
John Christopher Hampp, Norwich, c. 1808 [according to letter of January 23, 1951 from Roy G. Thomas to Oswald Goetz in curatorial file]; sold to an ancestor of Sir Thomas Neave, 5th Bart. (died 1940), Dagnam Park, Essex [according to letter cited above]; Roy Grosvenor Thomas [according to letter cited above, see also R. Grosvenor Thomas Stock Book, I, pp. 102-103, N-29]; sold through R. G. Thomas and Co, London to the Art Institute of Chicago, 1949.
Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.