The Redemption Triptych (P01888, P01889 P01890, P01891, P01892) consists of three scenes. The central one shows Christ on the Cross, with the Virgin and Saint John under an archway with Gothic tracery leading to a church. In the archivolts are depictions of different passages from the Passion of Christ, and the lateral jambs bear various scenes from the sacraments.

When the triptych is open, the lateral compositions present a similar layout, as both are set under Gothic pointed arches. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch's orders. On the right, the Last Judgement is accompanied by small images alluding to different Works of Mercy. On the reverse of the triptych's wings, the gospel scene of the Tribute to Caesar is represented in grisaille (P01890, P01892).

Van der Stockt closely followed the esthetic of his teacher, Rogier van der Weyden, with his customary layout of sculpted reliefs on the arches that frame the scenes. Unlike his teacher, however, Van der Stockt colors these groups, creating the appearance of polychrome sculptures. He uses the same human types, but is unable to endow them with the same elegant movement and profound drama of his master's figures.

In the sixteenth-century, the triptych belonged to Leonor Mascareñas, who was Felipe II's governess. She donated it the the Convent of Nuestra Señora de los Ángeles, which she founded. During the Disentailment, it entered the Trinidad Museum, whose collection was added to that of the Prado Museum in 1872.