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拍品專文
The present composition is an exquisite work from the Master of 1518. Most likely the left wing from an altarpiece, the panel shows similarities with the left wing of the crucifixion triptych in the Chapel of the Holy Blood in Bruges. There are differences between the two compostions such as the architecture, the soldiers' faces to the left of Christ and the man assisting with the cross.
The term, the Master of 1518, was first put forward by M. J. Friedländer and was named after the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in the Marienkirche, Lübeck. Over time a number of works have been grouped under this name, however, it has become evident that this name should not be understood as being a single master but include a whole workshop active in Antwerp in the first quarter of the 16th Century. It is believed that Jan Mertens van Doernicke (Antwerp c. 1470-1527) headed this workshop but even this fact is disputed.
The term, the Master of 1518, was first put forward by M. J. Friedländer and was named after the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in the Marienkirche, Lübeck. Over time a number of works have been grouped under this name, however, it has become evident that this name should not be understood as being a single master but include a whole workshop active in Antwerp in the first quarter of the 16th Century. It is believed that Jan Mertens van Doernicke (Antwerp c. 1470-1527) headed this workshop but even this fact is disputed.