Triptych with the Crucifixion (centre panel), St Peter and a Male Donor (inner left wing), St James and a Female Donor (inner right wing), St Christopher and the Christ Child on the Road of Life (outer wings)

Pseudo Jan Wellens de Cock is a workshop identity named for a Flemish painter active in Antwerp around 1510–30 who was confused with Jan Wellens de Cock in early scholarship. This Crucifixion triptych (c. 1525) with Christopher and the Christ Child on the outer wings belongs to the transition period in Antwerp painting between the old Flemish devotional style and the emerging influence of Italian Mannerism. Christopher on outer wings was practical: the saint who protected against sudden death was displayed on the exterior face so that even passersby who glimpsed the closed triptych received protective benefit. The interior Crucifixion combines traditional pathos with increasingly Italianate figural types.

The exterior Christopher is painted in a deliberately simplified, graphic style appropriate for its public-facing function: strong contours, clear color areas, and a readable narrative even at distance. The interior Crucifixion is more sophisticated with atmospheric landscape background and crowded figure groups typical of the Antwerp Mannerist crowd scenes developing in this decade. The spatial recession of the landscape follows the Patinir-influenced world-landscape convention then fashionable in Antwerp.