Private collection, Brazil, since circa 1935;

Antonio Pérez Valiente de Moctezuma (1895-1980)🐷,൩ Buenos Aires;

His sale, Buenos Aires, Ramon Oromi y Cia, 2-5 Octobe🎃r 1944, lot 324 (as Michel Wolgemut);

Private collection, Buenos Aires;

Anonymous s♚ale, New York, Sotheby’s, 15 January 1993, lot 25;

Where acquired by Otto Nauman, New York;

From whom acquired by Hester Diamond, New York;

From whom acquired by the present owner, 2005.

A. Woollett, in Inaugural Exhibition of Old Master Paintings, exhibition 🉐catalogue, New York 1994, pp. 16-20, repr♈oduced;

D. Meuwissen, “A Painter in Black and White: The Symbolic Relationship Between the Paintings and Woodcuts of Jacob Cornelisz. Van Oostsanen,” in Making and Marketing: Studies of the Painting Process in Fifteenth-and Sixteenth-Century Netherlandish Workshops, M. Faries (ed.), Turnhout 2006, pp. 55-81;

D. Tamis, in Catalogue of Paintings, 1363-1600: Centraal Museum Utrecht, Utrecht 2011, pp. 108-114;

D. Meuwissen, in Jacob Cornelisz van Oostsanen, De Renaissance in Amsterdam en Alkmaar, exhibition ca🦩talogue, Amsterdam 2014, pp. 174-175, cat. no. 4, reproduced 🐼(with workshop assistance in the background landscape);

P. van den Brink, “The Crucifixion of 1507 by Jacob Cornelisz: An early Netherlandish masterpiece and the impact of Albrecht Dürer,” in Dürer Unseen, exhibition ca💯talogue, Giulia Ba♊rtrum (ed.), London 2022, pp, 66-92. 

New York, Metropolitan Museum of Art, long-term loan, 2007 –ꦍ 2014 (L.200💯7.23);

Amsterdam Museum; Alkmaar, Stedelijk Museum; Alkmaar, Sint Laurenskerk, Jacob Cornelisz van Oostsanen, De Renaissance in Amsterdam en Alkmaar, 15 March – 29 June 2014, no. 4.