For the attribution compare the picture of The Incredulity of Thomas in the Catharina Gasthuis, Gouda, on loan from the Rijksmuseum (see P.J.J. van Thiel et.al., All the Paintings of the Rijksmuseum in Amsterdam, 1976, no. A 1965) and of the Ascension of the Virgin, signed and dated 1628, also in the Catharina Gasthuis, Gouda, on loan from the Oud-Katholieke Kerk (see X. van Eck, Wouter Pietersz. Crabeth II en de Parochie St.Johannes de Doper in Gouda, Oud Holland, 1987, p. 37, fig. 2). As Van Eck has pointed out (op.cit., pp. 37/45) the latter pictures once belonged to the Catholic Church of Saint John the Baptist in Crabeth's native town. Although officialy prohibited in Calvinist Holland, the Catholic rite was again worshipped at least 1625. Crabeth executed at least five pictures for this Church; he must have found the inspiration for these works from his stay in Italy, where he is recorded in Rome from 1619-1622 .
Thus, if the attribution is correct, the present lot is to be considered as another example of specifically Catholic devotional painting in Dutch seventeenth century art.
The subject has been identified as taken from Luke, XI 1-4, in which is related how Christ taught his Disciples the Lord's Prayer; the present lot is the only known illustration of this theme so far identified.

An alternative attribution to Pieter Claesz. Soutman (circa 1580-1657) has been suggested by Professor Leonard Slatkes, on the basis of comparison with the picture of The Four Evangelists in the Nationalmuseum, Stockholm.

The attribution to Crabeth was kindly suggested by Dr. Albert Blankert
See colour illustration