Christ Carrying the Cross

1. Julius Böhler, Munich, by July 1928 [letter from Böhler dated July 22, 1928 in Art Institute archives]; sold to Charles H. Worcester, Chicago, July 1928; given by Mr. and Mrs. Charles Worcester, 1947.

Recorded by Art Institute of Chicago.

• New York, Kleinberger, Loan Exhibition of German Primitives for the Benefit of the American Red Cross, 1928, no. 3, as Master of Vienna.
• Art Institute of Chicago, A Century of Progress, 1933, no. 26, as Master André (?).
• Cleveland Museum of Art, The Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition, 1936, no. 197, as Master André (?).
• Art Instititute of Chicago, Devotion and Splendor: Medieval Art at the Art Institute of Chicago, 2004 (no cat.).
• 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.
• Bruges, Groeningemuseum, From Van Eyck to Dürer: Artistic Exchanges between the Netherlands and Central, Eastern and Northern Europe, c. 1420-1530, October 28, 2010 - January 30, 2011, cat. 177.
• Munich, Neuburg Palace, Art and Faith: Otteinrich's Illustrated Bible and the Neuburg Palace Chapel, May 12-August 7, 2016, no cat.

• “Early German Exhibition at Kleinberger’s,” Art News 27, 6 (1928), p. 1.
• Frank E. Washburn Freund, “Ausstellung altdeutscher Malerei in den F. Kleinberger Galleries zu New York,” Belvedere 8 (1929), p. 285, fig. 4.
• Ludwig Baldass, “Der Meister des Grazer Dombildes und seine kunstgeschichtliche Stellung: Ein Beitrag zur Lösung der Pfenning-Laib Frage,” Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 4 (1930), p. 196.
• Otto Benesch, review of Elfried Bock, Die Zeichnungen in der Universitätsbibliothek Erlangen, in Belvedere 9 (1930), pp. 76–77.
• E. Heinrich Zimmermann, “Nürnberger Malerei, 1350–1450: Die Tafelmalerei,” Anzeiger des Germanischen National-museums (1930–31), pp. 40–42, 53, pl. 145.
• Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), p. 18 (ill.), 60.
• Ludwig Baldass, “Der Wiener Schnitzaltar,” Jahr-buch der kunsthistorischen Sammlungen in Wien, n.s., 9 (1935), pp. 38, 43–46, fig. 24.
• Otto Benesch, Die Meisterzeichnung, vol. 5, Österreichische Handzeichnungen des XV. und XVI. Jahrhun-derts, Freiburg im Breisgau and London, 1936, pp. 17–21, 41.
• Otto Benesch, “Zur österreichischen Handzeichnung der Gotik und Renaissance,” Monatsschrift für Kultur und Politik 1 (1936), p. 249; repr. Benesch, Collected Writings, ed. Eva Benesch, vol. 3, London, 1972, pp. 393–94, fig. 416.
• Charles L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, Mass., 1936, p. 52, no. 185.
• Karl Oettinger, Hans von Tübingen und seine Schule, Berlin, 1938, pp. 112–13. Worcester Collction 1938, p. 31, no. 27, pl. 19.
• Niko-laus Csánky, “Das Bartfelder Madonnen-bild: Entwicklungsge-schichtliche Studie,” Az országos Magyar Szépmüvészeti Múzeum Évkönyvei 10 (1940), p. 70.

Christ Carrying the Cross

Art Institute of Chicago

Christ Carrying the Cross

Art Institute of Chicago

Christ Carrying the Cross

Art Institute of Chicago

Joseph Sold by his Brothers

Art Institute of Chicago

Fragment from Christ Carrying the Cross: Mourning Virgin

Art Institute of Chicago

Christ Carrying the Cross, from The Small Passion

Art Institute of Chicago

Fragment from Christ Carrying the Cross: Saint John the Evangelist

Art Institute of Chicago

Putti Carrying the Cross (recto); Studies of a Hand (verso)

Art Institute of Chicago

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