Ecce Homo Triptych

Workshop of Hieronymus Bosch (Netherlandish, active by 1480, died in 1516)

For Good Friday

Held by Museum of Fine Arts, Boston

Medium Oil on panel

Dimensions 73 x 57.2 cm (28 3/4 x 22 1/2 in.)

Sizes

Wall left 24×36 in + centre 30×60 in + right 24×36 in + predella 16×32 in $769 · $910 bought separately

One object, sold whole, as Museum of Fine Arts, Boston shows it. 4 sheets, one edition, $769 — the printed panels are at one scale within 1.4%.

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Christ stands at the head of the steps in a crown of thorns, His hands bound and a blue cloak on His shoulders, and the crowd below raises its hands. Pilate, unable to find fault with Jesus, presents Him to the unruly crowd to judge, as the Museum of Fine Arts, Boston describes it. The museum finds the paint handling excessively careful, the work of assistants following the model of Hieronymus Bosch, about 1496-1500. On the wings Peter van Os and Hendrixke van Langel kneel in black with their patron saints, and the museum places Hendrixke's parents, Franco van Langel and Heilwich van der Rullen, on the outside of the wings. Beneath runs a row of things laid out: pincers, nails, a column, a lantern, jars, and at the centre a white cloth from which His face looks straight out.

The three panels above, the predella below the centre, as in the file. Printed at one scale: the wings 36 in high, the taller centre 38.3 in, the predella 6.7 in.

Provenance of the files
Held by	Museum of Fine Arts, Boston the museum’s record
Source file	Wikimedia Commons · Ecce Homo Triptych, ca. 1496-1500.jpg
Licence	Public domain
Panel · left	Ecce Homo Triptych (left wing) — 6,491 × 17,711 px
Panel · centre	Ecce Homo Triptych (centre panel) — 14,850 × 18,959 px
Panel · right	Ecce Homo Triptych (right wing) — 6,581 × 17,662 px
Panel · predella	Ecce Homo Triptych (predella) — 15,919 × 3,345 px
Chain	Each panel taken from the source file above and cut to its own painted field; held as 4 print masters.

Sources

Printed on demand as one edition. The whole image is printed on every sheet — never cropped to fit — so each panel carries an archival margin.