Triptych of the Crucifixion with Saints Anthony, Christopher, James and George

About 1400

Netherlandish or German (Rhenish?)

Status: On View, Gallery 237
Department: Painting and Sculpture of Europe

Title: Triptych of the Crucifixion with Saints Anthony, Christopher, James and George
Place: Rhine (Object made in)
Date 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.: 1390–1410
Medium: Tempera and oil (estimated) on panel
Inscriptions: Inscribed: inri (on tablet on cross), vere:filius:dei:erat i[nh]r (on banderole)
Dimensions: 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.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1947.394
IIIF Manifest 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. Learn more.: https://api.artic.edu/api/v1/artworks/90071/manifest.json

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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Date 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.

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Triptych of the Crucifixion with Saints Anthony, Christopher, James and George

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Date 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.

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IIIF Manifest 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.

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