German, possibly Rhineland, first quarter 16th century

in a wood frame; the frame incised N^o 20 and inscribed L.632 in yellow paint

Alfred W. Beadleston, Rumson, New Jersey
American Art Association, Anderson Galleries, New York, 12 May 1938, lot 335
George A. Douglass, Sr., Connecticut
Sotheby's New York, 12 January 1996, lot 1050

Studies in the History of Art, Stained Glass before 1700 in American Collections: New England and New York, vol. 15, National Gallery of Art, Washington, 1985, p. 27

Overall the condition of the panel is good. Due to a break of a joint at the top of the frame there is some movement in the panel. A few small panels may have been replaced. There is some wear and dirt to the surface consistent with age.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The stained glass in the Barbara Piasecka Johnson Collection (lots 9 to 11, 17 and 18) demonstrates the high level of craftsmanship achieved by 16^th-century Northern European glaziers. When Abbott Suger introduced his ideas on the Divine light and church architecture at St. Denis in the mid-12^th century, stained glass windows became a dominant liturgical feature of churches throughout Europe and a source of great prestige for the Church's benefactors. By the 16^th century, the glaziers attained a fluidity of design that rivalled the work of classically trained painters.

Several of the technical innovations that enabled this progress are present in this Crucifixion. Subtle gradations in colour were achieved through the use of silver stain, which produces varying shades of yellow, and sanguine, a pigment for rose to reddish-brown tones. The development of more sophisticated tools and enamel painting also allowed greater improvements in detail. These advancements freed the artisan to use the lead to emphasise elements of the composition as well.