Inscribed: inri (on tablet on cross), vere:filius:dei:erat i[nh]r (on banderole)
Center 56.7 × 40.4 cm (22 5/16 × 16 7/8 in.); Left Wing 56.6 × 20.6 cm (22 1/4 × 8 1/8 in.); Right Wing 56.8 × 20 cm (22 3/8 × 7 7/8 in.)
Mr. and Mrs. Martin A. Ryerson Collection
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Hans Huth, “A Medieval Painting,” Bulletin of the Art Institute of Chicago 42 (1948), pp. 18-20, ill. p. 18.
Charles de Tolnay, “An Early Dutch Panel: A Contribution to the Panel Painting before Bosch” in Miscellanea Leo Van Puyvelde, Brussels, 1949, pp. 49-54, figs. 1-3.
Erwin Panofsky, Early Netherlandish Painting, Its Origins and Its Character, Cambridge, Mass., 1953, pp. 97, 395.
J[osef] Duverger, “Brugse Schilders ten tijde van Jan van Eyck” in Bulletin des Musées Royaux des Beaux-Arts de Belgique 4 (1955), p. 92.
Harry Bober, “The Cleveland ‘Crucifixion’” in Miscellanea Prof. Dr. D. Roggen, Antwerp, 1957, pp. 42-44, fig. 5.
Jan Bialostocki, “Opus Quinque Dierum”: Dürer’s ‘Christ Among the Doctors” and Its Sources,” Journal of the Warburg and Courtauld Institutes 22 (1958), p. 24.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, p. 174.
Gerhard Schmidt, “’Pre-Eyckian Realism’: Versuch einer Abgrenzung” in Flanders in a European Perspective, Manuscript Illumination around 1400 in Flanders and Abroad, ed. Maurits Smeyers and Bert Cardon, Leuven, 1995, pp. 748-9, fig. 3.
Martha Wolff in Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection, Martha Wolff, general editor, Chicago, 2008, pp. 371-74, ill.
Victor M. Schmidt, “Painting around 1400 and the road to Van Eyck: notes on an exhibition and a catalogue,” Simiolus 36 (2012), pp. 212-13, 216.
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June - 14 September 2008, no cat.
Rotterdam, Museum Boijmans Van Beuningen, De weg naar van Eyck, 13 October 2012 - 10 February 2013, no. 53.
Count Johann Nepomuk Wilczek (d. 1922), Burg Kreuzenstein, near Vienna [in a letter of 31 March, 1947, Abris Silberman stated to Art Institute director Daniel Catton Rich that he had acquired the picture “about twenty-five years ago” from the Wilczek collection; letter in AIC archives]; Kunsthandlung Silbermann, Vienna, about 1922; sold to Dr. Oskar Bondy (d. 1944), Vienna and New York; his widow Elisabeth Soinig Bondy until shortly before March 1947 [in a letter of 5 March, 1947 Abris Silberman stated, “We have re-acquired [the triptych] from Mrs. Bondy recently”; letter in Art Institute archives; the painting was not among the objects sealed in the Bondy’s Vienna apartment in 1938; for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44]; A. and E. Silberman, New York, 1947; acquired by the Art Institute with de-accession funds, 1947.
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