The Resurrection with Saints and Donors
A: 51 × 17 × 2 3/8 inches (129.54 × 43.18 × 6.05 cm)
B: 51 × 35 × 2 3/8 inches (129.54 × 88.9 × 6.05 cm)
C: 51 × 17 × 2 3/8 inches (129.54 × 43.18 × 6.05 cm)
Masterpiece of the Month, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, MO, April 1938, no cat.
Fifth Year Anniversary Exhibition, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, MO, December 1938, no cat.
Seventh Anniversary Exhibition of German, Flemish, and Dutch Painting, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, MO, December 1940-January 1941, no. 34.
Lucas van Leyden and the Renaissance, Stedelijk Museum De Lakenhal, Leiden, Netherlands, March 18-June 26, 2011.
Origins: Collecting to Create the Nelson-Atkins, The Nelson-Atkins Museum of Art, Kansas City, MO, August 14, 2021-March 6, 2022.
G. Straus, Germany, by October 28, 1936 [1];
Purchased at her sale, Pictures and drawings of the Dutch, Italian and English schools, etc., Sotheby and Co., London, October 28, 1936, lot 46, as by School of Lucas van Leyden, by the Spanish Art Gallery, London, 1936-June 18, 1937;
With Durlacher Brothers, New York, stock no. AH3, on joint account with the Spanish Art Gallery, as by Cornelis Engelbrechtsen, June 18, 1937-1938 [2];
Purchased from Durlacher by The Nelson-Atkins Museum of Art, Kansas City, MO, 1938.
NOTES:
[1] This painting is listed in the October 28, 1936 sale catalogue under the designation “The Property of a Lady resident abroad.” Straus’s name is written in the auctioneer’s book, according to Georgina Eliot, Sotheby’s, in an email to MacKenzie Mallon, Provenance Specialist, September 7, 2015, NAMA curatorial files. According to Kirk Askew, Durlacher Brothers, in a letter to Paul Gardner, January 12, 1938, NAMA curatorial files, the painting came out of Germany.
[2] The Getty Research Institute, Los Angeles, Durlacher Brothers Records, Box 17, Paintings stock book 1937-1967.
Catalogue of pictures and drawings of the Dutch, Italian and English schools, etc., including a parcel of English and Welsh views (London: Sotheby and Co., October 28, 1936), 9, as by School of Lucas van Leyden.
Art Prices Current: A Record of Sale Prices at the Principal London and other Auction Rooms September 1936-July 1937, vol. 16, Part A: Pictures, Drawings, and Miniatures (London: Art Trade Press, 1937), 13, as by School of Lucas van Leyden.
H.C.H., “Gallery Gift in Debut: Prize Altarpiece is Added to Permanent Collection,” Kansas City Star 58, no. 205 (April 10, 1938): 14a, (repro), as by an unidentified artist.
“Museum Directors Have to Play Detective Now and Then,” Kansas City Star 58, no. 210 (April 15, 1938): 14, (repro.), as by Cornelis Engelbrechtsz.
“Five Years of Collecting,” News Flashes (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 5, no. 2 (December 1, 1938): 1, as by Cornelis Engelbrechtsz.
Seventh Anniversary Exhibition of German, Flemish, and Dutch Painting, exh. cat. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1940), 20, as by Lucas van Leyden.
“Gallery Changes,” Gallery News (William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 7, no. 6 (November 1941): 6, as by Circle of Lucas van Leyden.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 56, 62, 167, (repro.), as by Circle of Engelbrechtsz.
Ethlyne Jackson, “Museum Record: Kansas City’s Tenth Birthday,” ARTnews 42, no. 15 (December 15-31, 1943), 16, as by Circle of Lucas van Leyden.
Letter from Paul Wescher, October 19, 1957, NAMA curatorial files, as attributed to Aertgen van Leyden.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 84, 259, (repro.), as by Pieter Cornelisz.
Michael Jaffé, “The Flemish and Dutch Schools,” Apollo 96, no. 130 (December 1972): 504-505, (repro.), as attributed to Pieter Cornelisz [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 36-37, (repro.)].
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 103, 256, (repro.), as attributed to Pieter Cornelisz.
Liesbeth M Helmus, Mechtelt van Lichtenberg toe Boecoep (ca. 1520-1598), een onderzoek naar haar “Piëta,” ( Utrecht: Centraal Museum, 1989), 15-16, as by Pieter Cornelisz.
Burton L. Dunbar, The Collections of The Nelson-Atkins Museum of Art: German and Netherlandish Paintings, 1450-1600 (Kansas City, MO: Nelson-Atkins Museum of Art, 2005), 9, 20, 21, 22, 23, 29, 30, 251-268, (repro.) as by Circle of Aertgen Claessoon van Leyden.
