Crucifix

c. 1150/1175

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On View

West Building Ground Floor, Gallery G18

Artwork overview

  • Medium

    gilded copper alloy with champlevé enamel, one jasper stone, and glass

  • Credit Line

    Widener Collection

  • Dimensions

    overall (cross): 28.9 x 20.8 cm (11 3/8 x 8 3/16 in.)
    overall (corpus): 15.3 x 15.8 cm (6 x 6 1/4 in.)
    overall (cross height with base): 37 cm (14 9/16 in.)

  • Accession

    1942.9.282

Artwork history & notes

Provenance

Rodolphe Kann, Paris, before 1907, as "made on the banks of the Rhine," twelfth century;[1] (Duveen Brothers, London or New York), 1908; purchased 2 October 1908 by Peter A. B. Widener, Elkins Park, Pennsylvania, as Rhenish, twelfth century; inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.
[1] Catalogue of the Rodolphe Kann Collection: Objets d'Art, I. Middle Ages and Renaissance (Paris, 1907), (Objets d'Art section by Jules Mannheim), 49, n. 63. The year of Kann's death is given as either 1905 or 1907, depending on the source.

Associated Names

Bibliography

1907

  • Catalogue of the Rodolphe Kann Collection; Objets d'Art I. Middle Ages and Renaissance. (by Jules Mannheim) Paris, 1907: 49, n. 63.

1935

  • Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 31.

1942

  • Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 9, as Rhenish 12th Century, Cross of copper gilt with champlevé enamel.

1952

  • Christensen, Erwin O. Objects of Medieval Art from the Widener Collection. National Gallery of Art, Washington, D.C., 1952: 8-10, 30.

1961

  • Verdier, Philippe. "Un monument inédit de l'art mosan du XIIe siècle. La crucifixion symbolique de la Walters Art Gallery." Revue belge d'archéologie et d'histoire de l'art 30 (1961): 123, fig. 6.

1975

  • Verdier, Philippe. "Emaux mosans et rhéno-mosans dans les collections des Etats-Unis." RB 44 (1975): 25.

1983

  • Hürkey, Edgar. Das Bild des Gekreuzigten im Mittelalter: Untersuchung zu Gruppierung, Entwicklung und Verbreitung anhand der Gewandmotive. Worms, 1983: 11, 56, 160.

1987

  • Henig, Martin and Mary Whiting. Engraved Gems from Gadara in Jordan: the Sa'd Collection of Intaglios and Cameos. Oxford University Committee for Archaeology, monograph no. 6. Oxford, 1987: 32 (on the engraved gem).

1993

  • Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 13-18, color repro. 14.

2004

  • Devotion & Splendor: Medieval Art at the Art Institute of Chicago. Art Institute of Chicago, 2004: 35, 92.

2017

  • George, Philippe. Art et patrimoine en Wallonie des origines à 1789: Essai de synthèse à la lumière des collections américaines et européennes. Namur, 2017: 105, fig. 151.

2019

  • Vignon, Charlotte. Duveen Brothers and the Market for Decorative Arts, 1880-1940. New York, 2019: 231 fig. 85.

Inscriptions

on plaque at top of cross, in reserved letters surrounded by enamel: IHC.NAZA / RENVS.REX. / IVDEORVM

Wikidata ID

Q62092277

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