Jan van Scorel and Workshop

Private collection, Lyon;

With Bob Haboldt, Paris, by 2004 and until at least 2016;

With Selvaggio Fine Art;

From whom acquired by the late collector, 2018.

W. Kloek, in Singular Vision: Haboldt & Co.'s Old Master Paintings and Drawings Since 1983, Amsterdam 2012, p. 44, cat. no. 3, reproduced;

A. van Suchtelen, The Baptism of Christ, Jan van Scorel in Haarlem, Haarlem 2015, p. 39, reproduced;

S.A.C. Dudok van Heel, "Het hoogaltaar in de Oude kerk door Jan van Scorel en Maerten van Heemskerck 1525 - 1537 - 1566," in De Oude Kerk van Amsterdam, Amsterdam 2018, p. 76 (as a modello);

M. Faries and H. Defoer, "Jan van Scorel's Crucifixion for the Oude Kerk, Amsterdam: The "finest painting in all the regions of Flanders," in Journal of Historians of Netherlandish Art 12, no. 2 (Summer 2020), pp. 8-11, reproduced figs. 6, 7a, 7b (in detail and and as an infrared reflectogram).

Haarlem, Frans Hals Museum, long-term loan, 2006 - 2017 (and as part of The Baptist of Christ: Jan van Scorel in Haarlem, 14 November 2015 - 13 March 2016, lent by Bob Habolt).

Produced in the early 1530s, some years following Jan van Scorel's 1524 return from Rome, this panel originally formed the right wing of an altarpiece. Marching toward Calvary, where he will be crucified, Christ wears the crown of thorns and struggles under the weight of wooden cross. At right kneels the figure of Veronica, whose veil, used to wipe the blood and sweat off of Christ's brow, bears the miraculous imprint of his face. Four variants of the subject produced by Jan van Scorel and his workshop are known. The present painting is closely related to a triptych in the Beguinage (or Begiijnhof) in Amsterdam, which pairs the subject with depictions of Calvary and the Resurrection (with the versi of the lateral wings illustrating Adam and Eve) and another in the Catharijneconvent Museum, Utrecht. Here, the loosely sketched black chalk underdrawing was perhaps executed by Scorel himself.