G. W. Molanus, Lipsanographia sive Thesaurus sanctarum Reliquiarum Electoralis Brunsvico-Luneburgicus (Hanover, 1697), no. 23.
W. A. Neumann, Der Reliquienschatz des Hauses Braunschweig-Lüneburg (Vienna, 1891), pp. 300-301, no. 67.
O. von Falke, R. Schmidt, and G. Swarzenski, The Guelph Treasure (Frankfurt am Main, 1930), pp. 89, 91, 189, no. 56.
Bessie Bennett, “Some Ecclesiastical Objects,” Bulletin of the Art Institute of Chicago 25, 6 (September 1931), pp. 78-79 here 79.
“Chicagoan Buys Objects from the Guelph Treasure,” The Art News, 29, 16 (January, 17, 1931), p. 8.
Joseph Braun, Die Reliquiare des christlichen Kultes und ihre Entwicklung (Freiburg im Breisgau, 1940), pp. 316-17, fig. 325.
Johann Michael Fritz, Gestochene Bilder: Gravierungen auf deutschen Goldschmiedearbeiten der Spätgotik (Cologne and Graz, 1966), p. 457, no. 91.
Patrick M. De Winter, The Sacral Treasures of the Guelphs, Bulletin of the Cleveland Museum of Art 72, 1 (March 1985), p. 118, fig. 148. and 142, no. 74.
Patrick M. De Winter, Der Welfenschatz: Zeugnis sakraler Kunst des Deutschen Mittelalters (Hanover, 1986), p. 174, no. 74.
Klaus Jaitner, “Der Reliquienschatz des Hauses Braunschweig-Lüneburg (Welfenschatz) vom 17. bis 20. Jahrhundert,” Jahrbuch Preußischer Kulturbesitz 23 (1986) , fig. 101.
Andrea Boockmann, Die verlorenen Teile des ‘Welfenschatzes’: Eine Übersicht anhand des Reliquienverzeichnisses von 1482 der Stiftskirche St. Blasius in Braunschweig (Göttingen, 1997), pp. 36, 145, no. 96.
Christina Nielsen, “‘To Step into Another World’: Building a Medieval Collection at the Art Institute of Chicago” in To Inspire and Instruct: A History of Medieval Art in Midwestern Mueums, ed. Christina Nielsen (Newcastle, 2008), pp. 34, 199 n. 35.
Suzanne Karr Schmidt, Altered and Adorned: Using Renaissance Prints in Daily Life, exh. cat., Art Institute of Chicago, 2011, p. 63, fig. 53.
Christina Nielsen, “‘The greatest group of medieval objects ever offered for sale’: The Guelph Treasure and America, 1930-1931,” Journal of the History of Collections 27, 3 (2015), pp. 447, 452 n. 58.
The Guelph Treasure Exhibition took place in 1930-31 at the following venues: Frankfurt, Städelsches Kunstinstitut; Berlin, Deutsche Gesellschaft; New York, Reinhardt and Goldschmidt Galleries; Philadelphia, Pennsylvania Museum of Art (now the Philadelphia Museum of Art); the Cleveland Museum of Art; the Detroit Institute of Arts; The Art Institute of Chicago (March 31st to April 20th, 1931); and San Francisco, The M. H. de Young Museum, cat. 56.
Chicago, Loyola University Museum of Art, Pilgrimage and Faith: Buddhism, Christianity, and Islam, 21 August - 14 November 2010, p. 154, fig. 15 (no cat. no.).
Art Institute of Chicago, Altered and Adorned: Using Renaissance Prints in Daily Life, 30 April - 10 July 2011, no cat. no.
The collegiate church of Saint Blaise, Braunschweig [probably no. 96 in the 1482 inventory of the relic treasure; see Boockmann 1997, pp. 36, 145], remaining there along with other treasure objects after the congregation abolished the Catholic service in 1540; Saint Blaise being under the direct patronage of the dukes of Braunschweig-Lüneburg, 1962.90 was given, together with the bulk of the church’s relic treasure to Duke Johann Friedrich (died 1679) in 1671 as part of a settlement among members of the ducal family [see Jaitner 1986 , pp. 391-92]; by descent in the Hannover branch of the ducal family of Braunschweig-Lüneburg and preserved with the rest of the treasure in the court chapel of the Leineschloss, Hannover; temporarily removed for safe-keeping during the Seven Years War ( from 1757-64) and the Napoleonic Wars (removed 1803-1816) [Jaitner 1986 , p. 393]; in 1862 installed in the Welfenmuseum in the Altenburg-Palais, Hannover, founded by King George V of Hannover (died 1878) [Hannover became a kingdom at the Congress of Vienna 1814/15; for the foundation of the museum, whose name evoked the medieval glory of the Welf or Guelph dynasty, see Jaitner 1986 , pp. 393-98 and de Winter 1985, p. 13]; in 1867, following the annexation of the kingdom of Hannover by Prussia, moved with the bulk of the treasure to the exiled former king’s villa in Hietzing near Vienna; deposited at the Österreichisches Museum für Kunst und Industrie, Vienna, 1869 to 1906 [Jaitner 1986 , pp. 402, 420 n. 59–the former king was styled duke of Cumberland];1906 sent to the duke of Cumberland’s palace in Penzing on the outskirts of Vienna and in 1920 to Schloss Cumberland in Gmunden, Austria [Jaitner 1986 , p. 404]; in November 1927, the treasure was deposited with a bank in Aarau, Switzerland; at the end of 1929 under Ernst August III as head of the house of Hannover, the treasure was sold to a consortium of Frankfurt dealers: Julius Falk Goldschmidt of the firm I. S. Goldscmidt, Zacharias Max Hackenbroch, and Isaak Rosenbaum and Saemy Rosenbaum of the firm J. Rosenbaum [see De Winter 1985, p. 133; Jaitner 1986 , p. 415 gives January 6, 1930 as the conclusion of the transaction]; they sold 1962.90 to Mrs. Chauncey McCormick, née Marion Deering, in 1931; on loan to the museum from 1931 [receipt R. 4806 of April 24, 1931 in Registrar’s office]; given to the museum in 1962.
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