- Museum number
The Entombment of Christ; St Joseph of Arimathea and Nicodemus lowering the body of Christ on a sheet into the tomb, the Virgin Mary and St John the Evangelist at centre, the Three Marys behind (including St Mary Magdalene), one of them holding the crown of thorns and nails (Instruments of the Passion) behind at left
Brush drawing in black and grey ink, with grey wash, over black chalk
- Production date
- 1505-1515 (c.)
Height: 253 millimetres
Width: 305 millimetres
- Curator's comments
- Prior to the acquisition by the National Art Collections Fund in 1952, the drawing had apparently been hanging in the billiard room of Pepper Arden Hall in Yorkshire. At the time it was considered an authentic Bosch drawing (see Popham, based on faded signature in lower right), which is not accepted anymore today. Fritz Koreny attributes the drawing to the Master of the Prado Haywain Triptych ('Maler des Prado-Heuwagens'). The head of the Mary at far left and Joseph of Arimathea resemble figures (especially the angular noses) on the side panels of the triptych showing the temptation of St Antony (Museu Nacional de Arte Antiga, Lisbon, inv.no.1498), also attributed to the Master of the Prado Haywain Triptych. There are also similarities with the underdrawing of the Haywain painting (Museo del Prado, Madrid, inv.no.2052), especially in the figure of the angel brandishing a sword on the left side panel.
The identification of the hitherto unidentified collector's mark CM to the Scottish artist and dealer Colin Morison is due to Elisabetta Giffi.
Literature: A.E. Popham, in British Museum Quarterly, XVII (1952), p.45; A.E. Popham, 'An Unknown Drawing by Hieronymus Bosch', in Extrait des Actes du XVIIme Congrès international d'histoire de l'art, 1955, The Hague, pp.247-250; Fritz Koreny, 'Hieronymus Bosch - Überlegungen zu Stil und Chronologie', in 'Jahrbuch des Kunsthistorischen Museums in Wien', vol.4/5, 2002-2003, pp.71-73, figs. 56 and 59 (as by a collaborator of Bosch, comparing especially certain heads in his painting of the 'Temptation of St Anthony' in Lisbon, Museu Nacional de Arte Antiga); Fritz Koreny, 'Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch', exh.cat. Rubenshuis Antwerp, 2002, cat.no.47; T. Ketelsen and U. Neidhardt (edd.), ''Das Geheimnis des Jan van Eyck", exh.cat. Dresden, 2005, p.88, fig.1; F. Koreny, 'Hieronymus Bosch: Die Zeichnungen: Werkstatt und Nachfolge bis zum Ende des 16. Jahrhunderts', Turnhout, 2012, cat.no.15; E. Giffi, 'Colin Morison (1734-1809) antiquaria, storiografia e collezionismo tra Roma e Aberdeen', Rome, 2016, p. 84, fig. 27
Text for 2003 label:
The drawing, though acquired as by Bosch himself, is almost certainly the work of an assistant in his workshop. The shading, which often runs in parallel lines from top left to lower right, suggests a left-handed artist, and such shading has been encountered in the underdrawings of some of Bosch's paintings (which can be revealed photographically by infra-red imaging). The drawing is a rare survival, being one of only around 25 sheets that may be associated with Bosch and his workshop.
- Not on display
- Exhibition history
1973, BM, Netherlandish prints and drawings (no cat.)
1984, BM, Master Drawings & Watercolours, no. 75
2001 Sep-Nov, Rotterdam, Mus. Boijmans van Beuningen, 'Jheronimus Bosch'
2002 Jun-Aug, Antwerp, Rubenshuis, 'Marvels of Delight:...'
2003/4 Dec-Apr, BM, NACF exhibition
2007 Mar-Apr, BM Easter Passion exhibition
2016 Feb-May, Den Bosch, Noordbrabants Museum, 'Jheronimus Bosch'
2016 31 May-11 Sep, Madrid, Prado, 'El Bosco'
- Acquisition date
- Acquisition notes
- One of a group of 11 drawings (1952,0405.1 to 9a) purchased from Mr Richard Gatty of Pepper Arden Hall, Northallerton, Yorks, by the NACF for presentation to the BM. See the report to the Trustees by Popham dated 25 February 1952. The transaction had been under discussion since 1949.
Unidentified collector (monogram: "CM" in a circle, stamped blind on recto, apparently the same as that on a number of drawings at Pepper Arden Hall)
Colin Morison (Lugt 605b-c); William Frederick Webb (1829-1899; Pepper Arden Hall, South Cowton; later Newstead Abbey, Ravenshead); by descent to his daughter Geraldine Katherine Webb, Lady Chermside (1860-1910, Pepper Arden Hall, South Cowton); by descent to her husband Sir Herbert Charles Chermside (1850-1929, Pepper Arden Hall, South Cowton); by descent to his second wife Clementine Maria Reuter (m. 1920); by descent to her nephew Richard Gatty (1909-1975, Pepper Arden Hall, South Cowton); acquired from Gatty by the National Art Collection Fund for the British Museum in 1952.
- Prints and Drawings
- Registration number