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  • "Diepimbec"
    Type: inscription
    Location: old mount (removed)
    Materials: pen and brown ink
  • "P.56, LL.6, No. 43"
    Type: inscription
    Location: verso of old mount
    Materials: pen and ink
  • P. H. Lankrink, the artist/collector Sir Peter Lely's own assistant
    Type: collector's mark
    Location:
    Materials:
  • James ºÚÁϳԹÏÍø±¬ÍøÕ¾ III( Collector, Boston) - 1811.
  • P. H. Lankrink( Unknown, ) - .
    (1628-1692); assistant to the artist/collector Sir Peter Lely
  • ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art( Museum, Brunswick, Maine) 1811- . Bequest
  • Old Master Drawings at ºÚÁϳԹÏÍø±¬ÍøÕ¾ College
    • ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art. ( 5/17/1985 - 7/7/1985)
    • Clark Art Institute. ( 9/14/1985 - 10/27/1985)
    • University of Kansas. ( 1/19/1986 - 3/2/1986)
    • Art Gallery of Ontario. ( 5/17/1986 - 6/29/1986)
  • Baroque Drawings
    • ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art. ( 2/3/1981 - 3/5/1981)
  • Drawing on Basics
    • ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art. ( 10/14/1993 - 12/19/1993) 
Type: catalogue
Author: Henry Johnson
Document Title: Catalogue of the ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Art Collections
Publ. Place: Brunswick, Maine
Location: pp. 44-45
Reference: no. 19
Publisher: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College
Section Title: Pt. I, The ºÚÁϳԹÏÍø±¬ÍøÕ¾ Drawings
Date: 1885

Type: catalogue
Author: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art
Document Title: ºÚÁϳԹÏÍø±¬ÍøÕ¾ Museum of Fine Arts, Walker Art Building
Edition: 4th
Publ. Place: Brunswick, Maine
Reference: no. 52
Publisher: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College
Section Title: Descriptive Catalogue of the . . .
Date: 1930

Type: exhibition catalogue
Author: David P. Becker
Document Title: Old Master Drawings at ºÚÁϳԹÏÍø±¬ÍøÕ¾ College
Publ. Place: Brunswick, Maine
Location: pp. 44-45
Reference: no. 19
Publisher: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College
Date: 1985

The subject of the Crucifixion was depicted often by Flemish artists of the early seventeenth century. Rubens and Van Dyck had both executed altarpieces of the subject by the 1630s. Van Dyck in particular influenced van Diepenbeeck's representations. The latter completed at least two oils: a sketch dating from the 1640s now in the Fitzwilliam Museum, Cambridge,1 and an altarpiece in the Church of St. Amelberga at Zanthoven, finished in 1652.2 The Fitzwilliam sketch is thought by Steadman to have been specifically designed to be engraved; there are prints after that depiction by Paulus Pontius and Cornelis Visscher.3 In addition to the ºÚÁϳԹÏÍø±¬ÍøÕ¾ sheet, there is another van Diepenbeeck drawing of the Crucifixion in the Uffizi.4

The format and figural composition of the ºÚÁϳԹÏÍø±¬ÍøÕ¾ and Fitzwilliam Crucifixions are similar, but with certain differences. They are in reverse to each other; the Fitzwilliam sketch includes the Good and Bad Thieves and eliminates the profusion of hovering putti seen here. The disposition of Christ and his attendant figures, including the departing soldiers, is much the same. The ºÚÁϳԹÏÍø±¬ÍøÕ¾ drawing could have been a preliminary idea for the more fully developed composition in the engravings after the Fitzwilliam model.

1. Inv. no. PD 77-1972, 450 x 328 mm.; discussed in Steadman 1973, pp. 66-68, 162-163, cat. no. 46, repr. pl. 141.

2. Repr. Steadman 1973, vol. 2, pl. 99.

3. The Metropolitan Museum owns two impressions of prints after the Fitzwilliam oil, both in reverse: a larger engraving, expanded horizontally, with three figures added, published by Visscher (Inv. no. 51.501.1641); and a reduced copy by Abraham Cuenradus (Inv. no. 51.501.1616).

4. Inv. no. 14228F (Kloek 1975, no. 399; photo in Witt Library).

Commentary credited to David P. Becker (or not otherwise captioned) appeared in his catalogue Old Master Drawings at ºÚÁϳԹÏÍø±¬ÍøÕ¾ College (Brunswick: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art, 1985).