Folding Altar with Scenes from the Passion of Christ

A rare and intimate folding altar designed for private devotion, likely used within the home, and perhaps carried on journeys, as a constant reminder of Christ’s suffering and sacrifice.
Attributed to the workshop of Jan van Scorel and dated to the mid-16th century, the altar combines quiet restraint with emotional clarity. The central tondo is understood to be a later copy of a now-lost composition by Hieronymus Bosch, known through a small group of early reproductions.
At the centre is a deeply moving Lamentation. Christ is shown close to the viewer, surrounded by mourners in a tightly compressed composition that heightens the sense of intimacy and grief. Mary supports the body of her son, while other figures lean in with solemn intensity. One figure, possibly Joseph of Arimathaea, meets our gaze directly, drawing the viewer into the act of mourning itself. Above, Saint John appears in quiet witness.
The wings unfold to reveal scenes from the Passion. On one side, the Flagellation of Christ appears with controlled severity; on the other, the Crowning with Thorns and Mocking of Christ are combined into a single, layered narrative of humiliation and endurance. Across each scene, Christ remains composed, meeting suffering with quiet acceptance.
Designed as an object of devotion, the altar invites reflection through repetition and proximity. In opening it, the viewer enters a cycle of contemplation, of pain, endurance, and compassion, centred always on the figure of Christ.
One can imagine it belonging to a prosperous 16th-century Dutch household, opened in moments of private reflection after the day’s concerns. Its message remains direct and enduring: a meditation on suffering, dignity, and grace.

Provenance: Collection of Joseph Clemens, Prince of Bavaria (until 1990); Hugo Ruef, Munich (1990); Hans Constantin Faußner, Munich (until 2024)