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collection/search/336570 https://www.metmuseum.org/art/collection/search/336570 Link

This crucifix was made to be carried in processions and is painted on both sides. Before entering the Kress collection (Shapley 1966) the two sides were separated, but they were re-united in the Museum in 1988
collection/search/437020 https://www.metmuseum.org/art/collection/search/437020 Link

From the monastery of Moutiers-Saint-Jean, Côte d’Or, Burgundy, France; near Dijon; M. Ohresser, Moutier-Saint-Jean, France (until 1909) ; [ Demotte Inc., Paris (sold 1909) (?)] ; Michel Manzi French, Paris (through M
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collection/search/324444 https://www.metmuseum.org/art/collection/search/324444 Link

collection/search/472381 https://www.metmuseum.org/art/collection/search/472381 Link

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This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
collection/search/435658 https://www.metmuseum.org/art/collection/search/435658 Link

Met in 1913 through Altman’s bequest.Tiffany Racco 2023[1] Negro and Roio 1998, p. – Shearman 2003, pp. 158–59[4] Negro and Roio 1998, pp. 116–17[5] Hickson 2009, p.
collection/search/436333 https://www.metmuseum.org/art/collection/search/436333 Link

collection/search/471920 https://www.metmuseum.org/art/collection/search/471920 Link

collection/search/468720 https://www.metmuseum.org/art/collection/search/468720 Link