[Flemish school] VAN DER WEYDEN, Roger (follower of) The Crucifixion in front of a walled town. Ca. Oil on oak panel, 91,4 x 61,6 cm, unsigned (large paint losses, particularly at the left lower section and on the figure of Christ, six tiny holes, five on the chest of the Christ). Contemp. gilt wooden frame, x cm (with defects and lacks). Central panel of a triptych, most probably mutilated in a remote time (maybe during the iconoclastic troubles in the 1570's), and since kept in the attic of the former owner’s family. The artist could be found in the Brussels milieu and considered as a follower of Roger van der Weyden (1399/1400-1464). The body of Christ is based on the models of van der Weyden. The few unadulterated areas, incl. the small figures, reveal a tight and quality model. The landscape and the city, with a rather low horizon figuring two monumental gates and a rich urban architectural decor with three towers, are of very good quality. The horseman on the right of the composition echoes the work of Gerard David (ca. 1460-or his workshop. The "Titulus Crucis" (Latin for "Title of the Cross") on this panel, which usually just says "INRI", is a an accurate depiction of the piece of wood kept in the Church of Santa Croce in Gerusalemme in Rome which is claimed to be the titulus of the True Cross on which Jesus was crucified. The inscription is in three languages: Hebrew, Greek and Latin; the two last lines written with reversed script.
[Flemish school] VAN DER WEYDEN, Roger (follower of) The Crucifixion in front of a walled town. Ca. Oil on oak panel, 91,4 x 61,6 cm, unsigned (large paint losses, particularly at the left lower section and on the figure of Christ, six tiny holes, five on the chest of the Christ). Contemp. gilt wooden frame, x cm (with defects and lacks). Central panel of a triptych, most probably mutilated in a remote time (maybe during the iconoclastic troubles in the 1570's), and since kept in the attic of the former owner’s family. The artist could be found in the Brussels milieu and considered as a follower of Roger van der Weyden (1399/1400-1464). The body of Christ is based on the models of van der Weyden. The few unadulterated areas, incl. the small figures, reveal a tight and quality model. The landscape and the city, with a rather low horizon figuring two monumental gates and a rich urban architectural decor with three towers, are of very good quality. The horseman on the right of the composition echoes the work of Gerard David (ca. 1460-or his workshop. The "Titulus Crucis" (Latin for "Title of the Cross") on this panel, which usually just says "INRI", is a an accurate depiction of the piece of wood kept in the Church of Santa Croce in Gerusalemme in Rome which is claimed to be the titulus of the True Cross on which Jesus was crucified. The inscription is in three languages: Hebrew, Greek and Latin; the two last lines written with reversed script.
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
