The American Committee of the Corpus Vitrearum is pleased to continue the foundational work established by its Checklist series, published in the 1980s and 1990s, with this new website page dedicated to stained-glass panels dating to before 1700 that have recently come to our attention or that have been lately acquired by American museums. The works highlighted here have not been included in either the Checklists or in our Corpus Vitrearum volumes. For this page, we have closely followed the format of the Checklist series, with some augmentations intended to reflect current technology and to aid the researcher. New panels will be added as we become aware of them. If you know of a panel or panels not included here, in the Checklists, or in one of the published CV US volumes, please contact us.
We sincerely thank the authors and institutions that have contributed to and supported this effort.
Corning Museum of Glass: Julie Bellemore and Andy Fortune
University of Missouri: Daniel Eck, Linda Endersby, Rima Girnius, Anne Stanton
Philadelphia Museum of Art: Jack Hinton
MISSOURI
COLUMBIA
UNIVERSITY OF MISSOURI-COLUMBIA, MUSEUM OF ART AND ARCHAEOLOGY
Kristin Clark Gadsden, School of Visual Studies, University of Missouri, MA class of 2023
ORNAMENTAL QUATREFOIL BOSS
France, possibly Normandy
Late-13th/early 14th century
Stained pot-metal glass with vitreous paint
6.1/12 x 6.1/12 in. (15.5 x 15.5 cm)
Condition: All medieval glass. Weathering and pitting on panel’s verso follow lead lines. Possible stopgap repairs from the same series. Asterisk-shaped marks together with a single ‘B’- shaped mark painted on the back of the lobes. Individual pieces of glass loose in leads, which are modern with heavy soldering.
Collections History: Barbara Giesicke, Badenweiler, Germany; Ward and Company, Works of Art, New York, NY
Bibliography: Nichole Papagni, “Reflecting on a Medieval Quatrefoil,” Museum Magazine, no. 48 (Winter 2006): 10
Inventory number: 2005.11, Gilbreath-McLorn Museum Fund
http://maacollections.missouri.edu/ArgusNET/Portal/Portal.aspx?component=AAER&record=7da7f2d2-84ce-4f7d-b1df-216cb0448dffhttp://maacollections.missouri.edu/ArgusNET/Portal/Portal.aspx?component=AAER&record=7da7f2d2-84ce-4f7d-b1df-216cb0448dff
Entry Date: 2023
NEW YORK
CORNING
CORNING MUSEUM OF GLASS
Mary B. Shepard, Professor Emerita, University of Arkansas-Fort Smith
THREE BORDER SECTIONS WITH FLEURS-DE-LIS
France (Picardy?)
Late-13th century
Stained and colorless pot-metal glass with vitreous paint
Each section measures 27.95 x 4.1 in. (71 x 10.5 cm)
Condition: The three border sections are in excellent condition, with few to no stopgap repairs. Some cracks are present; most have been repaired with lead cames. Interestingly, the fleurs-de-lis are made from colorless glass (with a greenish tint), negating any royal associations (as per personal conversation with Meredith Lillich). Weathering is consistent and follows the lead lines. Leading is modern.
Collections History: Adolphe-Napoléon Didron (1806-1867) and/or Édouard-Amédée Didron (1836-1902), Paris; Bashford Dean (1867-1928), Riverdale, N.Y.
Bibliography: Arms and Armor: Gothic and Renaissance Furniture, Sculpture, Decorations, Stained Glass, Books on Arms and Armor from the Collection Formed by the Late Bashford Dean, sale catalogue, New York: Parke-Bernet Galleries, Inc. (October 26, 1950): 33, lot 161
The border panels were inadvertently not included in the Corning section of CV US Checklist I, pp. 74-76 and in CV US II/1, pp. 63-108.
Inventory number: 50.2.117 A, B, C
https://glasscollection.cmog.org/objects/79/stained-glass
Entry Date: 2024
Inventory number: 50.2.117A
Photographs generously provided by the Corning Museum of Glass. CMoG 50.2.117. Image licensed by The Corning Museum of Glass, Corning, NY (www.cmog.org), under CC BY-NC-SA 4.0.
PENNSYLVANIA
PHILADELPHIA MUSEUM OF ART
Renée K. Burnam, Corpus Vitrearum USA and Italy
ADORATION OF THE MAGI
Attributed to Jean Chastellain (French, active c. 1517—d. 1541/42) and his workshop after a design by Noël Bellemare (French, active Antwerp and Paris 1512—d. 1546)
France, Paris, Temple Church (demolished 1796), Chapel of the Holy Name of Jesus
c. 1529
Patron: Philippe de Villiers de l’Isle-Adam (1464—21 August 1534), the forty-fourth Grand Master of the Order of Saint John of Jerusalem (elected 21 January 1521)
Pot metal, white, and flashed glass. Silver stain, ranging from pale, cool-yellow to warm amber, used in combination with abraded flashed red and blue glass. The whites of Balthazar’s eyes created by removing a layer of light-brown, flashed glass. Brown and black vitreous paint, and sanguine. Painting on recto and verso.
35 7/16 in. x 6 ft. 6 ¾ in. (90 x 200 cm)
Condition: These three panels of glass originated in a window glazed for the de l’Isle-Adam family chapel, which was part of the chapel’s cycle of ten windows comprising twenty lancets and narrating events of Christ’s life and Passion. Each double-light window of the series consisted of round-headed lancets surmounted by a rose. The PMA glass preserves approximately three-fifths of one lancet. Most of the glass is original, and the vitreous paint is generally very well preserved.
Panel 1 is cropped at the bottom, resulting in the loss of the lower parts of the kneeling magus and seated Virgin. The head of the kneeling magus is a nineteenth-century replacement, possibly copied from the window’s damaged original or made after a magus (with remarkably similar facial features) in an oil painting of the same subject that Bellemare executed c. 1521 for the same de l’Isle-Adam chapel (Kunstmuseum, Basel, inv. no. 1721). In panel 2, there is limited repair, some probably with glass from the same window or series. In panel 3, original pieces may have been reorganized with glass from the same series and later replacements, perhaps partly to remedy missing pieces between panels 2 and 3 (?). The glass of the lancet’s uppermost section is lost. The museum’s panels exhibit small amounts of rust and corrosion residues. Evidence of undocumented restoration includes reflective splash and run marks, suggestive of cleaning with a chelating agent or acid, and cold paint application, employed to remedy small areas of paint loss perhaps caused by some over-zealous cleaning. During recent conservation (Holy Well Glass, Ltd., by 2016), the insertion of horizontal support bars remedied slight bowing and edge-bonding improved legibility with the removal of a vast network of mending leads. Extensive breakage—a total of 265 old breaks in the museum’s three panels—also typifies other surviving glass from the cycle. It could be hypothesized that the damage resulted from relocation or storage of several lancets of glass from the de l’Isle-Adam chapel within the Temple Church, since a 1783 model of the Temple complex in the Musée Carnavalet, Paris, shows that the number of lancets in the family chapel was reduced to from twenty to eleven in the mid-seventeenth century when an adjacent chapel was modified. Alternatively, the breakage may have resulted from removing the glass from the site in advance of the Temple Church’s demolition in 1796.
Collections History: From July 1793-1816?, Musée des Monuments français, Paris; private collection, France (said to have been in the possession of the same family for a considerable period); Val di Boyer, rue de Beaune, Paris, until 2010; private collection, Switzerland, until 2011; Sam Fogg, Ltd., London
Bibliography: Jack Hinton, “The Adoration of the Magi,” in Philadelphia Museum of Art: Highlights, revised edition, eds. Sarah Noreika and Karie Brennan (Philadelphia, 2023): 114; Sam Fogg Presents Wonders of the Medieval World, sale cat., Sam Fogg and Richard L. Feigen & Co., 22 January–17 March 2014, (New York, 2014): 2, ill.; Roger Rosewell, “Jean Chastellain Window for Sale in New York,” Vidimus 76 (2014), ill. https://www.vidimus.org/blogs/news/jean-chastellain-window-for-sale-in-new-york/; Françoise Perrot, “Adoration des Mages,” n.d., unpublished, in the curatorial files of the department of European Decorative Arts and Sculpture, Philadelphia Museum of Art; Guy-Michel Leproux, “Une oeuvre important de Noël Bellemare retrouvée au Kunstmuseum de Bâle: le retable de Philippe de Villers de L’Isle-Adam, grand maître de l’ordre de Saint-Jean de Jérusalem,” Zeitschrift für Kunstgeschichte 77/ 4 (2014): 481-490; E. J. J. Barillet, Recherches historiques sur la Temple (Paris, 1809): 54; Alexandre Lenoir, Notice historique des monumens des arts, rêunis au dépôt national, rue des Petits Augustins; suivis d’un Traité historique de la peinture sur verre (Paris, 1795-96): 98-99; Pierre Le Vieil, Traité de la peinture sur verre (Paris, 1724): 55; Henri Sauval, Histoire et recherches des antiquités de la ville de Paris, 1 (Paris, 1724): 454.
Related Material: Dispersed glass from the same cycle, removed from the site in 1793: Baptism of Christ, Raising of Lazarus, Entry into Jerusalem, Christ Mocked, east window, Southwell Minster (Nottinghamshire), CVMA GB, inv. nos. 022681, 022684, 022686, 022689 (https://www.cvma.ac.uk/jsp/location.do?locationKey=533&mode=LOCATION); Betrayal of Christ, Ecce Homo, and fragments (?), rose window, s2, Bristol, Lord Mayor’s Chapel (https://www.therosewindow.com/pilot/Bristol-LM/s2.htm); Pietà, Antwerp, Royal Museum of Fine Arts, inv. no. 999 (https://kmska.be/en/masterpiece/pieta-0). Oil painting commissioned by L’Isle-Adam for his family’s chapel in the Paris Temple Church, by Noël Bellemare, Adoration of the Magi with the donor Philippe de Villiers de l’Isle Adam, c. 1521, Basel, Kunstmuseum, inv. no. 1721, (https://rkd.nl/en/explore/images/248659)
Inventory number: 2017-93-1, Purchased with the Fiske Kimball Fund, Walter E. Stait Fund and Dean Walker Fund, 2017
https://philamuseum.org/collection/object/339554
Entry Date: 2023