Art Institute of ChicagoPublic domain

Diptych of the Virgin and Child Enthroned and the Crucifixion

Eastern Mediterranean · c. 1280

Provenance

Ownership history

Albin Chalandon, Paris, by 1850; by descent to Henri Chalandon, La Grange Blanche, Parcieux, near Lyon [according to letter on November 11, 1924 from Robert Langton Douglas to Martin Ryerson in Art Institute Archives]; sold by Chalandon to Robert Langton Douglas, London, by 1924 [source cited above]; sold by Langton Douglas to Martin A. Ryerson (d. 1932), Chicago, 1924 [incoming receipt dated November 17, 1924, copy in curatorial file]; on loan to the Art Institute of Chicago from 1924; bequeathed to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

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, 1934, no. 39, 2nd half of XIII century.
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.
The Art Institute of Chicago, Devotion and Splendor: Medieval Art at the Art Institute of Chicago, September 25, 2004–January 2, 2005 (no. cat.).
Art Institute of Chicago, The Silk Road and Beyond: Travel Trade and Transformation, September 30, 2006-April 22, 2007, no cat.
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]

Literature

Published references

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2048.
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.
R[ose] M[ary] F[ischkin], “Two Thirteenth-Century Paintings,” Art Institute Bulletin 20 (1926), pp. 77-80, ills.
Evelyn Sandberg-Vavalà, La croce dipinta italiana e l’iconografia della passione (Verona, 1929), p. 394.
Evelyn Sandberg-Vavalà, “A Dugento Diptych in Chicago, “ International Studies 95 (April 1930), pp. 32–36, 88, fig. 9.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 183, no. 2922.24.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 20.
Edward B. Garrison, “Post-War Discoveries: Early Italian Paintings, II,” Burlington Magazine 89 (1947), p. 210.
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 25, ill. of right wing.
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).
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.

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