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V. C. Habicht, Das Schloss zu Bückeburg, Norddeutsche Kunstbücher 16, Wienhausen, 1928, p. 14, no. 1.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), p. 61.
“The Rearrangement of the Painting Galleries,” Bulletin of the Art Institute of Chicago 27 (1933), p. 112 (ill.).
Hans Tietze, Meisterwerke europäische Malerei in Amerika, Vienna, 1935, p. 341, no. 245; 1939, p. 326, no. 245 (Eng. ed., Masterpieces of European Painting in America, New York, 1939).
Charles Sterling [Charles Jacques, pseud.], La Peinture française: Les Peintres du moyen âge, Paris, 1941, pp. 60–61, no. 30.
Maurice H. Goldblatt, “The ‘Master of Moulins’ Identified—Part II,” Connoisseur 122 (1948), p. 5, no. 16 (ill.).
Art Institute of Chicago Annual Report, 1954–55, pp. 9–10 (ill.).
Hans Huth, “A Lamentation of Christ in the Art Institute of Chicago,” Art Quarterly 18 (1955), pp. 213–15 (ill.).
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 139 (ill.), 164–65.
John Maxon, The Art Institute of Chicago, London, 1970, pp. 250 (ill.), 280.
Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 155-8, ill.
Art Institute of Chicago, A Century of Progress, 1933, no. 30.
Art Institute of Chicago, A Century of Progress, 1934, no. 18.
Sold by the art dealer Harzen, Hamburg, to the Prince of Schaumberg-Lippe, as Rogier van der Weyden, 1828 [according to Alexander Perl, Fürstliche Schlossverwaltung, Bückeburg; letter to Martha Wolff, Jan. 16, 2003, in curatorial file]; sold to Rosenbaum, Frankfurt, Apr. 3, 1929 [letter of Alexander Perl cited above]; sold to Max Epstein (d. 1954), Chicago, 1929 [receipt in registrar’s records and photograph in the Friedländer Archive, R.K.D., The Hague annotated Rosenbaum / M. Epstein / Chicago]; bequeathed to the Art Institute, 1954.
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