The Crucifixion with the Virgin, Mary Magdalen and St John was undoubtedly intended for private devotion. The fairly coarse manner of painting and the simple, clichéd composition mark it out as a workshop product. An almost identical Crucifixion with a different background in the Lakenhal in Leiden suggests that several versions were probably painted in the workshop.3 In the Rijksmuseum panel, though, costly gold was used for the haloes, the Magdalen’s jar of ointment and for the gold stitching along the hem of her dress. Gibson attributed this and several other small devotional panels to Hand A in Engebrechtsz’s workshop, and described them as ‘cruder interpretations of Engebrechtsz’s style’.4 Engebrechtsz’s style is indeed no longer recognisable, but the composition and figure types are clearly derived from a prototype from his workshop.5 Several workshop paintings have an underdrawing by the master himself, but his distinctive drawing style is lacking in this one, which makes it doubtful that it came from his shop. It can be dated c. 1510-20 on the evidence of the style, the models on which the composition is based, and the dendrochronology. Updated J.P. Filedt Kok, 2017