Fragment of a Capital, Abby of Coulombs
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Treasures from Medieval France, Cleveland Museum of Art, November 15, 1966-January 29, 1967, no. III 18, as Capital Fragment with Scenes from the Story of Daniel (?).
Songs of Glory: Medieval Art from 900-1500, Oklahoma City Museum of Art, January 22-April 29, 1985, no. 5, as Capital with Scene of Daniel in the Lions’ Den.
Tempus Fugit: Time Flies, Nelson-Atkins Museum of Art, Kansas City, MO, October 15, 2000-December 31, 2000, no. II.3, as Fragment of a Capital.
Abbey of Coulombs, France [1];
With Paul Mallon, Paris, by 1955;
Purchased from Paul Mallon by The Nelson-Atkins Museum of Art, Kansas City, MO, 1955.
NOTES:
[1] Robert Branner, “A Romanesque Capital from Coulombs,” The Nelson Gallery and Atkins Museum Bulletin 2, no. 3 (January 1960): 3.
L. Merlet, “Histoire de l’abbaye de Coulombs,” Mémoires de la société archéologique d’Eure-et-Loire 3 (1863): 24-52.
L. Merlet, “Histoire de l’abbaye de Coulombs,” Mémoires de la société archéologique d’Eure-et-Loire 4 (1867): 52-104.
“Accessions of American and Canadian Museums: July-September 1955,” Art Quarterly (Spring 1956): 72, 75, (repro.), as Capital.
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), 49, (repro.), as Limestone Capital.
Robert Branner, “A Romanesque Capital from Coulombs,” The Nelson Gallery and Atkins Museum Bulletin 2, no. 3 (January 1960): 1-6, 6n1, (repro.).
Art de France 1 (1961): 267.
William D. Wixom, Treasures from Medieval France, exh. cat. (Cleveland, OH: Cleveland Museum of Art, 1966), 80-81, 355, (repro.), as Capital Fragment with Scenes from the Story of Daniel (?).
Marilyn Stokstad, “Romanesque and Gothic Art,” Apollo 96, no. 130 (December 1972): 20, (repro.), as Fragment of a cloister capital [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 486, 488].
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), 61, (repro.), as Historiated Capital.
Marilyn Stokstad, “Romanesque Sculpture in American Collections. XV. Kansas City, Missouri and Lawrence, Kansas,” Gesta 16, no. 1 (1977): 49, (repro.), as Capital.
Richard Hamann-Mac Lean, “Die Anfänge des Monumentalen stils,” À travers l’art français, Archives de l’art français 25, nouvelle période (1978): 64-65, (repro.), as Chapiteau provenant de Coulombs.
David Mickenberg, Songs of Glory: Medieval Art from 900-1500, exh. cat. (Oklahoma City, OK: Oklahoma City Museum of Art, 1985), 76-77, (repro.), as Capital with Scene of Daniel in the Lions’ Den.
Walter Cahn, ed., Romanesque Sculpture in American Collections: New York and New Jersey, Middle and South Atlantic States, the Midwest, Western and Pacific States (Turnhout, Belgium: Brepol, 1999), 212-13, (repro.), as Fragment of a capital. Abbey of Coulombs.
Jan Schall, ed., Tempus Fugit: Time Flies, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2000), 223-27, 349, (repro.), as Fragment of a Capital.
