Abraham van Diepenbeeck (1596-1675), Follower of - De Geseling van Christus (No reserve)
This painting, The Flagellation of Christ, executed in oil on panel, is an impressive representation of the imitation of religious iconography as designed by the Antwerp artist Abraham van Diepenbeeck (1596-1675) . Recent research has shown that this work is based on a well-known Antwerp print after a design by Van Diepenbeeck, with the same composition and pose of Christ, as seen in unique copies, including a hand-coloured copy on parchment by Alexander Voet (1608-1689) in the Rijksmuseum.
Composition and Design Influence of Van Diepenbeeck
The composition of the painting closely follows Van Diepenbeeck's print: Christ is depicted tied to a sturdy pillar, in a serene but painful pose, surrounded by the characteristic elements that are also present in the print. The painting contains some additions that do not appear in the original design, such as the crown of thorns and the architectural background. These elements give an extra dimension to the work and suggest a Southern European or possibly Antwerp influence, which is in line with the origin of many paintings that adopt this composition.
Technique and use of colour
The work is executed in oil on panel, using sober earth tones and greys, which enhance the drama of Christ’s Passion. The interplay of light and shadow adds depth to the scene and emphasises Christ’s body against the subdued background. The sharp red accents of the blood provide a visual focal point and give the work an emotional intensity. Although the detailing and execution are of high quality, the work fits into the tradition of copies and imitations of popular religious prints that were widespread in the seventeenth and eighteenth centuries.
Condition and Restoration Advice
The painting shows signs of age, including paint loss along the edges, possibly caused by prolonged framing and use. An old tear repair, probably carried out in the eighteenth century, and superficial wear and craquelure indicate a checkered history. The antique frame, with a later added nameplate referring to Cornelis Saftleven, adds to the mystique, but this frame is of later date and does not provide direct attribution to Saftleven. Professional restoration and conservation are recommended to stabilise the paint layer and to refresh the original colours and details.
Art Historical Context and Influences
The Flagellation of Christ is part of a broader tradition of religious paintings based on prints and designs by Van Diepenbeeck. The popularity of this composition is reflected in several variants that often appear at auction, where they have been attributed to the Spanish, Italian or Antwerp school. This particular work, probably made in Antwerp or southern Europe, shows the widespread influence of Van Diepenbeeck and the imitation of his iconography in the seventeenth century.
Abraham van Diepenbeeck was an influential artist who incorporated religious and allegorical subjects into powerful compositions. His work was not only appreciated in his own time, but also served as a source of inspiration for painters in Spain and Italy, where his engravings were often imitated. The emotional intensity and emphasis on Christ's sacrifice in this work reflect the Baroque tradition in which the suffering of Christ was often depicted as a central theme.
Resume
This work, based on a print by Abraham van Diepenbeeck and attributed to a follower within the Antwerp or Southern European school, offers a fascinating example of the influence of Van Diepenbeeck’s designs in the seventeenth century. The painting combines technical prowess with a strong religious symbolism that emphasizes the emotional depth of Christ’s suffering. For collectors and art lovers, this work is not only a visually powerful piece, but also a window into the history of religious art and the dissemination of iconographic motifs through printmaking and imitation.
The work "The Flagellation of Christ" is in a gilded gold-bronze frame with plaster ornaments
Total dimensions: 81x73cm
Panel dimensions: 51x43cm
NB: Works with a size larger than 50 cm (in height or width) will NOT be shipped outside the EU.
All shipping in professional packaging DPD or Post. NL for shipments outside the EU.
All shipments are subject to a surcharge for packaging materials, which is already included in the stated shipping price.
The customer is responsible for any import duties and additional costs that may apply for delivery abroad.
We strive to deliver your artwork safely and in optimal condition, paying careful attention to packaging and shipping procedures. If you have any questions or special requests, you can always contact Catawiki customer service.
Sale price
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Time, Location
Auction House
This painting, The Flagellation of Christ, executed in oil on panel, is an impressive representation of the imitation of religious iconography as designed by the Antwerp artist Abraham van Diepenbeeck (1596-1675) . Recent research has shown that this work is based on a well-known Antwerp print after a design by Van Diepenbeeck, with the same composition and pose of Christ, as seen in unique copies, including a hand-coloured copy on parchment by Alexander Voet (1608-1689) in the Rijksmuseum.
Composition and Design Influence of Van Diepenbeeck
The composition of the painting closely follows Van Diepenbeeck's print: Christ is depicted tied to a sturdy pillar, in a serene but painful pose, surrounded by the characteristic elements that are also present in the print. The painting contains some additions that do not appear in the original design, such as the crown of thorns and the architectural background. These elements give an extra dimension to the work and suggest a Southern European or possibly Antwerp influence, which is in line with the origin of many paintings that adopt this composition.
Technique and use of colour
The work is executed in oil on panel, using sober earth tones and greys, which enhance the drama of Christ’s Passion. The interplay of light and shadow adds depth to the scene and emphasises Christ’s body against the subdued background. The sharp red accents of the blood provide a visual focal point and give the work an emotional intensity. Although the detailing and execution are of high quality, the work fits into the tradition of copies and imitations of popular religious prints that were widespread in the seventeenth and eighteenth centuries.
Condition and Restoration Advice
The painting shows signs of age, including paint loss along the edges, possibly caused by prolonged framing and use. An old tear repair, probably carried out in the eighteenth century, and superficial wear and craquelure indicate a checkered history. The antique frame, with a later added nameplate referring to Cornelis Saftleven, adds to the mystique, but this frame is of later date and does not provide direct attribution to Saftleven. Professional restoration and conservation are recommended to stabilise the paint layer and to refresh the original colours and details.
Art Historical Context and Influences
The Flagellation of Christ is part of a broader tradition of religious paintings based on prints and designs by Van Diepenbeeck. The popularity of this composition is reflected in several variants that often appear at auction, where they have been attributed to the Spanish, Italian or Antwerp school. This particular work, probably made in Antwerp or southern Europe, shows the widespread influence of Van Diepenbeeck and the imitation of his iconography in the seventeenth century.
Abraham van Diepenbeeck was an influential artist who incorporated religious and allegorical subjects into powerful compositions. His work was not only appreciated in his own time, but also served as a source of inspiration for painters in Spain and Italy, where his engravings were often imitated. The emotional intensity and emphasis on Christ's sacrifice in this work reflect the Baroque tradition in which the suffering of Christ was often depicted as a central theme.
Resume
This work, based on a print by Abraham van Diepenbeeck and attributed to a follower within the Antwerp or Southern European school, offers a fascinating example of the influence of Van Diepenbeeck’s designs in the seventeenth century. The painting combines technical prowess with a strong religious symbolism that emphasizes the emotional depth of Christ’s suffering. For collectors and art lovers, this work is not only a visually powerful piece, but also a window into the history of religious art and the dissemination of iconographic motifs through printmaking and imitation.
The work "The Flagellation of Christ" is in a gilded gold-bronze frame with plaster ornaments
Total dimensions: 81x73cm
Panel dimensions: 51x43cm
NB: Works with a size larger than 50 cm (in height or width) will NOT be shipped outside the EU.
All shipping in professional packaging DPD or Post. NL for shipments outside the EU.
All shipments are subject to a surcharge for packaging materials, which is already included in the stated shipping price.
The customer is responsible for any import duties and additional costs that may apply for delivery abroad.
We strive to deliver your artwork safely and in optimal condition, paying careful attention to packaging and shipping procedures. If you have any questions or special requests, you can always contact Catawiki customer service.
Sale price
Estimate
Time, Location
Auction House
