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An essay exploring a particular pietà iconography in the work of Darrel Ellis, related to the art world context of his life in 80s New York City. [ABSTRACT FROM AUTHOR]

The article examines whether a boxwood Pietà in the collection of the Metropolitan Museum of Art in New York City can be attributed to Matthieu van Beveren, a sculptor in wood, stone and ivory in Antwerp, Belgium and his circle and followers. It relates the similarities of the Pietà with the marble tomb monument for Lamoral Claude-François, count of Thurn und Taxis in Germany. It explains why James David Draper attributed the Pietà to the workshop of van Beveren. A comparison of the Pietà boxwood group with other works of van Beveren is presented.