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

letter in AIC archives]

letter in Art Institute archives

Rotterdam, Museum Boijmans Van Beuningen, De weg naar van Eyck, 13 October 2012 - 10 February 2013, no. 53.

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.

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.

for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44]

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.

Harry Bober, “The Cleveland ‘Crucifixion’” in Miscellanea Prof. Dr. D. Roggen, Antwerp, 1957, pp. 42-44, fig. 5.

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.

Erwin Panofsky, Early Netherlandish Painting, Its Origins and Its Character, Cambridge, Mass., 1953, pp. 97, 395.

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.

Hans Huth, “A Medieval Painting,” Bulletin of the Art Institute of Chicago 42 (1948), pp. 18-20, ill. p. 18.

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”

A. and E. Silberman, New York, 1947

acquired by the Art Institute with de-accession funds, 1947.

sold to Dr. Oskar Bondy (d. 1944), Vienna and New York

the painting was not among the objects sealed in the Bondy’s Vienna apartment in 1938

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

Kunsthandlung Silbermann, Vienna, about 1922

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.