Lot Essay
The attribution of the present lot to Ferdinand Bol was first proposed by Dr. Wilhelm Bode in his catalogue raisonné for the Van Lanna sale in 1929. The painting was subsequently published by Valentier, who dated the work to the late 1630s, shortly after the artist left Rembrandt's workshop. Professor Werner Sumowski believes the present lot to be a fully autograph work by Bol, dating it to circa 1650. He compares the painting to a drawing by Ferdinand Bol in the Boymans-van Beuningen Museum, Rotterdam. Dr. Alfred Blankert, though noting that the painting shows clearly the influence of Rembrandt, believes the work to be stylistically closer to Flinck.
Though this painting is believed to have been executed after the Ferdinand Bol's departure from Rembrandt's workshop, the influence of the latter is exemplified here. Abraham and the Three Angels is close in style to the biblical scenes painted by Rembrandt between 1635 and 1640. It has been suggested that the present lot was directly inspired by Pieter Lastman's painting of the same subject in the Hermitage, St. Petersburg, which in turn, Sumowski notes, was based on a small painting by Rembrandt (private collection).
Though this painting is believed to have been executed after the Ferdinand Bol's departure from Rembrandt's workshop, the influence of the latter is exemplified here. Abraham and the Three Angels is close in style to the biblical scenes painted by Rembrandt between 1635 and 1640. It has been suggested that the present lot was directly inspired by Pieter Lastman's painting of the same subject in the Hermitage, St. Petersburg, which in turn, Sumowski notes, was based on a small painting by Rembrandt (private collection).