Reliquary Monstrance with a Relic of Saint Christina

• G. W. Molanus, Lipsanographia sive Thesaurus sanctarum Reliquiarum Electoralis Brunsvico-Luneburgicus (Hanover, 1697), no. 23.
• W. A. Neumann, Der Reliquienschatz des Hauses Braunschweig-Lüneburg (Vienna, 1891), pp. 300-301, no. 67.
• O. von Falke, R. Schmidt, and G. Swarzenski, The Guelph Treasure (Frankfurt am Main, 1930), pp. 89, 91, 189, no. 56.
• Bessie Bennett, “Some Ecclesiastical Objects,” Bulletin of the Art Institute of Chicago 25, 6 (September 1931), pp. 78-79 here 79.
• “Chicagoan Buys Objects from the Guelph Treasure,” The Art News, 29, 16 (January, 17, 1931), p. 8.
• Joseph Braun, Die Reliquiare des christlichen Kultes und ihre Entwicklung (Freiburg im Breisgau, 1940), pp. 316-17, fig. 325.
• Johann Michael Fritz, Gestochene Bilder: Gravierungen auf deutschen Goldschmiedearbeiten der Spätgotik (Cologne and Graz, 1966), p. 457, no. 91.
• Patrick M. De Winter, The Sacral Treasures of the Guelphs, Bulletin of the Cleveland Museum of Art 72, 1 (March 1985), p. 118, fig. 148. and 142, no. 74.
• Patrick M. De Winter, Der Welfenschatz: Zeugnis sakraler Kunst des Deutschen Mittelalters (Hanover, 1986), p. 174, no. 74.
• Klaus Jaitner, “Der Reliquienschatz des Hauses Braunschweig-Lüneburg (Welfenschatz) vom 17. bis 20. Jahrhundert,” Jahrbuch Preußischer Kulturbesitz 23 (1986) [1987], fig. 101.
• Andrea Boockmann, Die verlorenen Teile des ‘Welfenschatzes’: Eine Übersicht anhand des Reliquienverzeichnisses von 1482 der Stiftskirche St. Blasius in Braunschweig (Göttingen, 1997), pp. 36, 145, no. 96.
• Christina Nielsen, “‘To Step into Another World’: Building a Medieval Collection at the Art Institute of Chicago” in To Inspire and Instruct: A History of Medieval Art in Midwestern Mueums, ed. Christina Nielsen (Newcastle, 2008), pp. 34, 199 n. 35.
• Suzanne Karr Schmidt, Altered and Adorned: Using Renaissance Prints in Daily Life, exh. cat., Art Institute of Chicago, 2011, p. 63, fig. 53.
• Christina Nielsen, “‘The greatest group of medieval objects ever offered for sale’: The Guelph Treasure and America, 1930-1931,” Journal of the History of Collections 27, 3 (2015), pp. 447, 452 n. 58.

• The Guelph Treasure Exhibition took place in 1930-31 at the following venues: Frankfurt, Städelsches Kunstinstitut; Berlin, Deutsche Gesellschaft; New York, Reinhardt and Goldschmidt Galleries; Philadelphia, Pennsylvania Museum of Art (now the Philadelphia Museum of Art); the Cleveland Museum of Art; the Detroit Institute of Arts; The Art Institute of Chicago (March 31st to April 20th, 1931); and San Francisco, The M. H. de Young Museum, cat. 56.
• Chicago, Loyola University Museum of Art, Pilgrimage and Faith: Buddhism, Christianity, and Islam, 21 August - 14 November 2010, p. 154, fig. 15 (no cat. no.).
• Art Institute of Chicago, Altered and Adorned: Using Renaissance Prints in Daily Life, 30 April - 10 July 2011, no cat. no.

The collegiate church of Saint Blaise, Braunschweig [probably no. 96 in the 1482 inventory of the relic treasure; see Boockmann 1997, pp. 36, 145], remaining there along with other treasure objects after the congregation abolished the Catholic service in 1540; Saint Blaise being under the direct patronage of the dukes of Braunschweig-Lüneburg, 1962.90 was given, together with the bulk of the church’s relic treasure to Duke Johann Friedrich (died 1679) in 1671 as part of a settlement among members of the ducal family [see Jaitner 1986 [1987], pp. 391-92]; by descent in the Hannover branch of the ducal family of Braunschweig-Lüneburg and preserved with the rest of the treasure in the court chapel of the Leineschloss, Hannover; temporarily removed for safe-keeping during the Seven Years War ( from 1757-64) and the Napoleonic Wars (removed 1803-1816) [Jaitner 1986 [1987], p. 393]; in 1862 installed in the Welfenmuseum in the Altenburg-Palais, Hannover, founded by King George V of Hannover (died 1878) [Hannover became a kingdom at the Congress of Vienna 1814/15; for the foundation of the museum, whose name evoked the medieval glory of the Welf or Guelph dynasty, see Jaitner 1986 [1987], pp. 393-98 and de Winter 1985, p. 13]; in 1867, following the annexation of the kingdom of Hannover by Prussia, moved with the bulk of the treasure to the exiled former king’s villa in Hietzing near Vienna; deposited at the Österreichisches Museum für Kunst und Industrie, Vienna, 1869 to 1906 [Jaitner 1986 [1987], pp. 402, 420 n. 59–the former king was styled duke of Cumberland];1906 sent to the duke of Cumberland’s palace in Penzing on the outskirts of Vienna and in 1920 to Schloss Cumberland in Gmunden, Austria [Jaitner 1986 [1987], p. 404]; in November 1927, the treasure was deposited with a bank in Aarau, Switzerland; at the end of 1929 under Ernst August III as head of the house of Hannover, the treasure was sold to a consortium of Frankfurt dealers: Julius Falk Goldschmidt of the firm I. S. Goldscmidt, Zacharias Max Hackenbroch, and Isaak Rosenbaum and Saemy Rosenbaum of the firm J. Rosenbaum [see De Winter 1985, p. 133; Jaitner 1986 [1987], p. 415 gives January 6, 1930 as the conclusion of the transaction]; they sold 1962.90 to Mrs. Chauncey McCormick, née Marion Deering, in 1931; on loan to the museum from 1931 [receipt R. 4806 of April 24, 1931 in Registrar’s office]; given to the museum in 1962.