21.3 × 21.3 cm (8 3/8 × 8 3/8 in.)
Left Panel: 21.1 × 10.6 cm (8 5/16 × 4 3/16 in.); Right Panel: 21.3 × 10.6 (8 3/8 × 4 3/16 in.)
Kate S. Buckingham Endowment
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Advertisement, The Connoisseur 173, 697 (1970), n.p.
Richard H. Randall, Jr., The Golden Age of Ivory: Gothic Carvings in North American Collections (New York, 1993), pp. 76-77, no. 76, ill.
Harvey Stahl, “Narrative Structure and Content in Some Gothic Ivories of the Life of Christ” in Images in Ivory: Precious Objects of the Gothic Age, ed. Peter Barnet, exh. cat. Detroit Institute of Arts, 1997), pp. 104-106, fig. VII-5.
C[hristina] M. N[eilsen] in Christina M. Nielsen, ed., “Devotion and Splendor: Medieval Art at the Art Institute of Chicago,” Museum Studies 30, 2 (2004), pp. 61, 94, no. 39, ill.
Nina Rowe, “Pocket Crucifixions: Jesus, Jews, and Ownership in Fourteenth-Century Ivories,” Studies in Iconography, 32 (2011), pp. 81, 39, 111 n. 17, fig. 1.
John Lowden, Medieval and Later Ivories in The Courtauld Gallery. Complete Catalogue (London, 2013), p. 80 under no. 12.
Art Institute of Chicago, Medieval Decorative Arts from Chicago Collections, 2 October 1985–5 January 1986, no. cat. no..
The Jesuit Church at Bury St. Edmunds, Suffolk, England, before 1900 [according to undated memo from John Maxon in curatorial file]. Stonyhurst College, Clitheroe, Lancashire, England, 1900 [according to source cited above and Stonyhurst accession number, 00.13, on front of object and letter of 23 December 1969 from Ronald Lee to Richard Randall, copy in curatorial file]. Offered for sale, London, Sotheby’s, 2 December 1969, lot 13, bought in and subsequently sold to Ronald A. Lee, London [according to letter cited above and email from Elizabeth Wilson, Sotheby’s, 15 July, 2003, copy in curatorial file]; sold by Ronald A. Lee to the Art Institute, 1970.
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