Tripytych with the Lamentation, Joos van Cleve
Joos van Cleve
Tripytych with the Lamentation
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This work consists of multiple parts

Joos van Cleve

Tripytych with the Lamentation, 1524


Gesamtmaß offen 45°
121.1 x 163.6 cm
Gesamtmaß geschlossen
121.1 x 92.8 x 10.4 cm
Mitteltafel
113.5 x 84.2 x 0.4 cm
Linker Flügel
113.5 x 38.4 x 0.8 cm
Rechter Flügel
113.6 x 38.5 x 0.8 cm
Physical Description
Mixed technique on oak
Inventory Number
803
Acquisition
Acquired in 1830
Status
See Parts

Texts

About the Work

In 1524 the Cologne merchant Gobel Schmitgen donated this altarpiece showing the Lamentation of Christ. It was intended for the north side altar of his parish church, St Maria Lyskirchen. The donor, shown at the left edge of the central panel, procured the services of Joos van Cleve, a leading Antwerp painter of his day, who executed many comparable commissions for export. Very effectively, the body of Christ is presented to the viewer just as the sacred host would be offered during a Mass celebrated at the altar adorned by this scene.

Audio

  • Basic information
    01:23
  • Focus on art history
    01:54
  • Focus on cultural history
    02:17
  • Focus on material
    02:10

Work Data

Basic Information

Title
Tripytych with the Lamentation
Painter
Parts
Lamentation of Christ
Saint Veronica Displaying the Sudarium
Joseph of Arimathea
Period Produced
School
Object Type
Physical Description
Mixed technique on oak
Material
Technique

Property and Acquisition

Institution
Departement
Collection
Creditline
Städel Museum, Frankfurt am Main
Picture Copyright
Public Domain
Acquisition
Acquired in 1830

Work Content

Iconclass

Primary
  • 73D72121 Christ's body supported by Mary, others present
  • 73D721 lamentation over the dead Christ by his relatives and friends (Christ usually without crown of thorns)
  • 11HH(MARY MAGDALENE) the penitent harlot Mary Magdalene; possible attributes: book (or scroll), crown, crown of thorns, crucifix, jar of ointment, mirror, musical instrument, palm-branch, rosary, scourge
  • 11H(JOHN) the apostle John the Evangelist; possible attributes: book, cauldron, chalice with snake, eagle, palm, scroll
  • 11H(NIKODEMUS) male saints (NIKODEMUS)
  • 61B2(SCHMITGEN, Gobel)2(+53) historical person (SCHMITGEN, Gobel) - scene ~ historical person(SCHMITGEN, Gobel) (SCHMITGEN, Gobel) (+ half-length portrait)
  • 11HH(VERONICA) Veronica; possible attributes: 'Sudarium' (veil with the image of Christ)
  • 11D3121 'Vera Icon', held up by Veronica
  • 11H(JOSEPH OF ARIMATHAEA) the Jewish councillor Joseph of Arimathaea; possible attributes: Holy Grail, instruments of the Passion (e.g. three nails, crown of thorns)
Secondary
Associative
  • 73E34 the journey to Emmaus: two disciples (Cleopas and Peter) under way

Research and Discussion

Provenance

Object History
Auftrag von Gobel (Jobelinus) Schmitgen d. Ä. für den nördlichen Seitenaltar in St. Maria Lyskirchen, Köln, 1524
Pfarrgemeinde St. Maria Lyskirchen, Köln
wahrscheinlich verkauft an den Kunsthändler Cunibert Fochem (1771-1847), Köln, April 1812
verkauft an den Kunsthändler Scheibner, München, 1820/21
...
im Kunsthandel
Kunsthandel Eberhardt-Winter, Frankfurt am Main
verkauft am als „Johann Scooreel“ an das Städelsche Kunstinstitut, 8. Mai 1830.

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

If you have any questions or suggestions, please contact the museum at .

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Last update

25.04.2024