The Hirschvogel family was active in Nuremberg in the late fifteenth and early sixteenth centuries, painting glass commissions from most of the leading artists of the town, including the great Albrecht Dürer. It appears that two hands were involved here, one with a linear, graphic style that can be seen in the figure of the Virgin and elsewhere, while the work of a more subtle painter can be seen in the figure of Christ and the head of Saint John.
Artist workshop of Veit Hirschvogel the Elder, German, 1461-1525
  • The Crucifixion with the Virgin, St. John and Angels
Date 1514
Medium Pot metal; white glass with silver stain
Dimensions Overall (including leaded framework): 17 1/2 × 13 1/4 × 3/4 inches (44.5 × 33.7 × 1.9 cm)
Credit Line Gift of Mrs. Ralph Harman Booth
Accession Number 37.35
Department European Sculpture and Dec Arts
On View Decorative Arts S350, Level 3 (see map)
Mrs. Ralph Harman Booth (Grosse Pointe, Michigan, USA);
1937-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
Gothic and Renaissance Art in Nuremberg 1300-1550. Exh. cat., Metropolitan Museum of Art and Germanisches Nationalmuseum. New York and Nuremberg, 1986, no. 64, p. 206 (ill.).

Stained Glass Before 1700 in American Collections: Mid-western and Western States (Corpus Vitrearum Checklist III). Studies in the History of Art, vol. 28. Washington, DC, 1989, p. 163 (ill.).

Raguin, V. and H. Zakin. Stained Glass Before 1700 in the collections of the Midwest States (Corpus Vitrearum United States of America 7), vol. I, Illinois, Indiana, Michigan. London, 2001, pp. 212-217.