The Resurrection

Provenance

Data provided by the Abegg-Stiftung Foundation and formatted at Carnegie Museum of Art:

Carlo Crivelli [ca. 1430–ca. 1495], the artist, Camerino, Italy, 1482; Church of San Domenico, Camerino, Italy, 1482 until sometime before 1811. Accademia di Brera, Milan, Italy, 1811. Filippo Benucci, between 1832 and 1834. Colnaghi, London, England, by 1854; purchased by Thomas Baring, M. P. [1799–1873], London, England, in 1854; bequest to his nephew, Thomas George Baring, 1st Earl of Northbrook [1826–1904], Stratton Park, Hampshire and London, England, 1873; by descent to his son, Francis George Baring, 2nd Earl of Northbrook [1850–1929], Stratton Park, Hampshire, England, 1904; Robert Langton Douglas [1864–1951], London, England, in 1927. A.S. Drey, Munich, before April 1929; purchased by Carl Abegg-Stockar [1860–1943], Zurich, Switzerland, 1929; by descent to his son, Werner Abegg, 1943; donated to the Abegg-Stiftung, Riggisberg, Bern, Switzerland, 1963.

Data provided by the Abegg-Stiftung Foundation:

Church of San Domenico, Camerino; 1811, Accademia di Brera, Milan; 1832, Benucci; Colnaghi, London; 1854 Baring Collection, London; Northbrook Collection, London; Langton Douglas, London (?); A.S. Drey, Munich; acquired from A.S. Drey by Carl Abegg-Stockar, Zurich, in 1929; by descent to Carl Abegg-Stockar’s son Werner Abegg; donated by Werner Abegg to the Abegg-Stiftung, Riggisberg, in 1963.