ArtworkStatus unknown
Diptych of the Virgin and Child Enthroned and the Crucifixion
by Unknown artist
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tempera59 × 37 Cm
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About the artwork
Artist supplied description.
This diptych, a hinged and portable work used for private devotion, was probably made in the Latin Kingdom established in the Holy Land by the Crusaders. In style, technique, and the use of both Latin and Greek inscriptions, it shows a mixture of Eastern and Western elements. The diptych may have been made by an Italian craftsman, possibly working in the coastal city of Acre, which was the capital of a reduced crusader kingdom in the late 13th century. This type of private devotional work, and related Byzantine models imported back into Western Europe, exerted a powerful influence on later painting in Italy, France, and the Low Countries.
Artwork metadata
Structured fields synced from connected systems.
| Medium | tempera |
| Dimensions | 59 × 37 Cm |
| Tags | Virgin and child/Madonna and childinscriptionangelsbiblicalChristian subjectsChristianitycrucifixionsreligionreligioussaintsThroneVirgin MaryCentury of Progressworld's fairsChicago World's Fairs |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Sat
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Feb
note
Albin Chalandon, Paris, by 1850
Albin Chalandon, Paris, by 1850
Sat
14
Feb
exhibition
New York, Metropolitan Museum of Art, Jerusalem: 1000-1400, Every People Under Heaven, September 26, 2016-January 8, 2017, no. 26 [entry by Jaroslav Folda]
New York, Metropolitan Museum of Art, Jerusalem: 1000-1400, Every People Under Heaven, September 26, 2016-January 8, 2017, no. 26 [entry by Jaroslav Folda]
Sat
14
Feb
note
Rebecca W. Corrie, “Sinai, Acre, Tripoli, and the ‘Backwash from the Levant’: Where Did the Icon Painters Work?” in Approaching the Holy Mountain. Art and Liturgy at Saint Catherine’s Monastery in the Sinai, ed. Sharon E.J. Gerstel and Ro...
Rebecca W. Corrie, “Sinai, Acre, Tripoli, and the ‘Backwash from the Levant’: Where Did the Icon Painters Work?” in Approaching the Holy Mountain. Art and Liturgy at Saint Catherine’s Monastery in the Sinai, ed. Sharon E.J. Gerstel and Robert S. Nelson (Turnhout, 2010), pp. 430-35, 442-45, figs. 132, 133.
Sat
14
Feb
note
Larry J. Feinberg and Christina M. Neilsen in “The Silk Road and Beyond. Travel, Trade, and Transformation,” Museum Studies 33, 1
Larry J. Feinberg and Christina M. Neilsen in “The Silk Road and Beyond. Travel, Trade, and Transformation,” Museum Studies 33, 1 (2007), pp. 44-45, 92, ill.
Sat
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Feb
exhibition
Art Institute of Chicago, The Silk Road and Beyond: Travel Trade and Transformation, September 30, 2006-April 22, 2007, no cat.
Art Institute of Chicago, The Silk Road and Beyond: Travel Trade and Transformation, September 30, 2006-April 22, 2007, no cat.
Sat
14
Feb
note
Victor M. Schmidt, Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250-1400
Victor M. Schmidt, Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250-1400 (Florence, 2005), pp. 45, 67 n. 58, 119, 138 n.43, fig. 74.
Sat
14
Feb
note
Jaroslav Folda, Crusader Art in the Holy Land, From the Third Crusade to the Fall of Acre, 1187-1291
Jaroslav Folda, Crusader Art in the Holy Land, From the Third Crusade to the Fall of Acre, 1187-1291 (New York, 2005), pp. 556-7, figs. 412, 413.
Sat
14
Feb
note
L[arry] J. F[einberg] in “Devotion and Splendor. Medieval Art at the Art Institute of Chicago,” Museum Studies 30, 2
L[arry] J. F[einberg] in “Devotion and Splendor. Medieval Art at the Art Institute of Chicago,” Museum Studies 30, 2 (2004), pp. 20-21, 90, ill.
Sat
14
Feb
exhibition
Metropolitan Museum of Art, New York, Byzantium: Faith and Power (1261-1557), March 15, 2004 – July 4, 2004, no. 288, as probably Saint-Jean d'Acre, c. 1275/85.
Metropolitan Museum of Art, New York, Byzantium: Faith and Power (1261-1557), March 15, 2004 – July 4, 2004, no. 288, as probably Saint-Jean d'Acre, c. 1275/85.
Sat
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Feb
exhibition
The Art Institute of Chicago, Devotion and Splendor: Medieval Art at the Art Institute of Chicago, September 25, 2004–January 2, 2005 (no. cat.).
The Art Institute of Chicago, Devotion and Splendor: Medieval Art at the Art Institute of Chicago, September 25, 2004–January 2, 2005 (no. cat.).
Sat
14
Feb
note
Jaroslav Folda, “Icon to Altarpiece in the Frankish East: Images of the Virgin and Child Enthroned” in Italian Panel Painting of the Duecento and Trecento, edited Victor M. Schmidt
Jaroslav Folda, “Icon to Altarpiece in the Frankish East: Images of the Virgin and Child Enthroned” in Italian Panel Painting of the Duecento and Trecento, edited Victor M. Schmidt (National Gallery of Art, Studies in the History of Art, 61) (Washington, D.C., 2002), pp.131-32, 142 n. 27, figs. 9, 10.
Sat
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Luciano Bellosi in Duecento: Forme e colori del Medioevo a Bologna, ed. Massimo Medica, exh. cat., Musei Civici d’Arti Antica, Bologna, 2000, p. 206, under no. 52.
Luciano Bellosi in Duecento: Forme e colori del Medioevo a Bologna, ed. Massimo Medica, exh. cat., Musei Civici d’Arti Antica, Bologna, 2000, p. 206, under no. 52.
Sat
14
Feb
note
Hugo Buchthal, Miniature Painting in the Latin Kingdom of Jerusalem
Hugo Buchthal, Miniature Painting in the Latin Kingdom of Jerusalem (Oxford, 1957), pp. 48–49, 51, pls. 57a, b.
Sat
14
Feb
note
Fredrick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15
Fredrick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 689–90.
Sat
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Feb
note
Edward B. Garrison, Italian Romanesque Panel Painting: An Illustrated Index
Edward B. Garrison, Italian Romanesque Panel Painting: An Illustrated Index (Florence, 1949), pp. 32, 97, no. 241, ill. (rev. ed., Edward B. Garrison and Courtauld Institute of Art, University of London, 1998. CD-ROM).
Sat
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note
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 25, ill. of right wing.
Sat
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Feb
note
Edward B. Garrison, “Post-War Discoveries: Early Italian Paintings, II,” Burlington Magazine 89
Edward B. Garrison, “Post-War Discoveries: Early Italian Paintings, II,” Burlington Magazine 89 (1947), p. 210.
Sat
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Feb
note
Art Institute of Chicago, A Brief Illustrated Guide to the Collections
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 20.
Sat
14
Feb
exhibition
The Art Institute of Chicago, A Century of Progress, 1934, no. 39, 2nd half of XIII century.
The Art Institute of Chicago, A Century of Progress, 1934, no. 39, 2nd half of XIII century.
Sat
14
Feb
exhibition
The Art Institute of Chicago, A Century of Progress, 1933, no. 100, as Tuscan School, 2nd half of XIII century.
The Art Institute of Chicago, A Century of Progress, 1933, no. 100, as Tuscan School, 2nd half of XIII century.
Sat
14
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note
bequeathed to the Art Institute, 1933.
bequeathed to the Art Institute, 1933.
Sat
14
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note
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.
Sat
14
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note
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 183, no. 2922.24.
Sat
14
Feb
note
Evelyn Sandberg-Vavalà, “A Dugento Diptych in Chicago, “ International Studies 95
Evelyn Sandberg-Vavalà, “A Dugento Diptych in Chicago, “ International Studies 95 (April 1930), pp. 32–36, 88, fig. 9.
Sat
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note
Evelyn Sandberg-Vavalà, La croce dipinta italiana e l’iconografia della passione
Evelyn Sandberg-Vavalà, La croce dipinta italiana e l’iconografia della passione (Verona, 1929), p. 394.
Sat
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Feb
note
Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 7–10.
Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 7–10.
Sat
14
Feb
note
R[ose] M[ary] F[ischkin], “Two Thirteenth-Century Paintings,” Art Institute Bulletin 20
R[ose] M[ary] F[ischkin], “Two Thirteenth-Century Paintings,” Art Institute Bulletin 20 (1926), pp. 77-80, ills.
Sat
14
Feb
note
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2048.
Sat
14
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note
sold by Langton Douglas to Martin A....
sold by Langton Douglas to Martin A. Ryerson (d. 1932), Chicago, 1924 [incoming receipt dated November 17, 1924, copy in curatorial file]
Sun
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note
Joseph Polzer, “Some Byzantine and Byzantinising Madonnas Painted during the Later Middle Ages, Part I,” Arte Cristiana 87
Joseph Polzer, “Some Byzantine and Byzantinising Madonnas Painted during the Later Middle Ages, Part I,” Arte Cristiana 87 (1999), pp. 85, 88 n. 6, fig. 7.
Sun
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note
Joseph Polzer, “Some Byzantine and Byzantinising Madonnas Painted during the Later Middle Ages, Part II,” Arte Cristiana 87
Joseph Polzer, “Some Byzantine and Byzantinising Madonnas Painted during the Later Middle Ages, Part II,” Arte Cristiana 87 (1999), pp. 174-76, 179-80 n. 26, fig. 31.
Sun
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Feb
note
Joanna Cannon, “The Stoclet ‘Man of Sorrows’: a thirteenth-century Italian diptych reunited,” Burlington Magazine 141
Joanna Cannon, “The Stoclet ‘Man of Sorrows’: a thirteenth-century Italian diptych reunited,” Burlington Magazine 141 (1999), p. 110.
Sat
14
Feb
note
Luciano Bellosi, Cimabue
Luciano Bellosi, Cimabue (Milan, 1998), pp. 61, 63 n. 29, 116, ill.
Tue
14
Feb
note
Jaroslav Folda, “The Kahn and Mellon Madonnas: Icon or Altarpiece?” in Byzantine East, Latin West: Art-Historical Studies in Honor of Kurt Weitzmann
Jaroslav Folda, “The Kahn and Mellon Madonnas: Icon or Altarpiece?” in Byzantine East, Latin West: Art-Historical Studies in Honor of Kurt Weitzmann (Princeton, N.J., 1995), p. 506, figs. 8 and 9.
Mon
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note
Hans Belting, Likeness and Presence: A History of the Image before the Era of Art, translated by Edmund Jephcott
Hans Belting, Likeness and Presence: A History of the Image before the Era of Art, translated by Edmund Jephcott (Chicago and London, 1994), pp. 364, 593 n. 53.
Sun
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note
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), p. 131–135, ills.
Sun
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Feb
note
Ignace Vandevivere, Les Musées de l'Institut de France : Musées Jacquemart-André et Marmottan à Paris, Musée Condé à Chantilly
Ignace Vandevivere, Les Musées de l'Institut de France : Musées Jacquemart-André et Marmottan à Paris, Musée Condé à Chantilly (Primitifs flamands. I, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 15) (Brussels, 1988), p. 99.
Fri
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Feb
note
Valentino Pace, “Italy and the Holy Land: Import-Export. I. The Case of Venice” in Vladimir P. Goss, ed., The Meeting of Two Worlds: Cultural Exchange between East and West during the Period of the Crusades
Valentino Pace, “Italy and the Holy Land: Import-Export. I. The Case of Venice” in Vladimir P. Goss, ed., The Meeting of Two Worlds: Cultural Exchange between East and West during the Period of the Crusades (Kalamazoo, Michigan, 1986), p. 335.
Sat
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Feb
note
Mojmír Frinta, “Raised Gilded Adornment of the Cypriot Icons, and the Occurrence of the Technique in the West,” Gesta 20
Mojmír Frinta, “Raised Gilded Adornment of the Cypriot Icons, and the Occurrence of the Technique in the West,” Gesta 20 (1981), pp. 335–36, 340, fig. 3.
Thu
14
Feb
note
Andrea Berger-Fix, "Das Wimpassinger Kreuz und seine Einordnung in die Kunst des 13. Jahrhunderts," Wiener Jahrbuch für Kunstgeschichte 33
Andrea Berger-Fix, "Das Wimpassinger Kreuz und seine Einordnung in die Kunst des 13. Jahrhunderts," Wiener Jahrbuch für Kunstgeschichte 33 (1980), p. 64.
Wed
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note
Denys Sutton, “Robert Langton Douglas: Dramatic Days,” Apollo 109
Denys Sutton, “Robert Langton Douglas: Dramatic Days,” Apollo 109 (1979), p. 469, fig. 37.
Thu
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Feb
note
Grgo Gamulin, "La pittura su tavola nel tardo medioevo sulla costa orientale dell'Adriatico" in Venezia e il Levante fino al secolo XV, ed. Agostino Pertusi
Grgo Gamulin, "La pittura su tavola nel tardo medioevo sulla costa orientale dell'Adriatico" in Venezia e il Levante fino al secolo XV, ed. Agostino Pertusi (Florence, 1974), p. 195 n. 3.
Mon
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Feb
note
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 244, 288, 311.
Sun
14
Feb
note
Grgo Gamulin, Madonna and Child in Old Art of Croatia
Grgo Gamulin, Madonna and Child in Old Art of Croatia (Zagreb, 1971), pp. 11, 15, 51 n. 15, fig. 5.
Sat
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note
John Maxon, The Art Institute of Chicago,
John Maxon, The Art Institute of Chicago, (London, 1970), pp. 23, ill, 288.
Tue
14
Feb
note
Wolfgang Kermer, Studien zum Diptychon in der sakralen Malerei; von den Anfängen bis zur Mitte des sechzehnten Jahrhunderts
Wolfgang Kermer, Studien zum Diptychon in der sakralen Malerei; von den Anfängen bis zur Mitte des sechzehnten Jahrhunderts (Düsseldorf, 1967), pp. 89–93, 246–47, part 2, pp. 70–71, pls. 80–81.
Thu
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Feb
note
Kurt Weitzmann, “Thirteenth-Century Crusader Icons on Mount Sinai,” Art Bulletin 45
Kurt Weitzmann, “Thirteenth-Century Crusader Icons on Mount Sinai,” Art Bulletin 45 (1963), pp. 181, 189, reprinted in his Studies in the Arts at Sinai (Princeton, N. J., 1982), pp. 293, 301.
Wed
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note
Edward B. Garrison, “A Sacramentary for Roman Use with Sicilian Decoration,” Studies in the History of Medieval Italian Painting 4, 3–4
Edward B. Garrison, “A Sacramentary for Roman Use with Sicilian Decoration,” Studies in the History of Medieval Italian Painting 4, 3–4 (1962), p. 415 n. 4.
Tue
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note
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516.
Tue
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note
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 224.
© Unknown artist. All rights reserved.