Ferdinand BOL (Dordrecht 1616 - Amsterdam 1680)
The Departure of the Young Tobias Sold
Pen and brown ink and brown wash, with framing lines in brown ink. Inscribed l b f in red chalk on the verso.200 x 303 mm. (7 7/8 x 11 7/8 in.)ENQUIRE
Werner Sumowski dated the present sheet to the second half of the 1640s, and compared it stylistically with Ferdinand Bol’s drawings of Abraham Bowing Before the Lord and an Angel in the Victoria and Albert Museum and Abraham and the Angels in the Boijmans-van Beuningen Museum in Rotterdam. As Felice Staempfle has noted of Ferdinand Bol’s drawings, the composition of his history subjects often ‘adheres to a formula...with bold, highly abstract forms on the outer edges of the sheet, often drawn in reed pen, and more carefully rendered and detailed figures at the center, executed with a thinner pen.’ Bol treated episodes from the book of Tobit in a handful of finished compositional drawings, of which this is one of the finest.In his seminal 1957 study of the drawings of Fedinand Bol, Wilhelm Valentiner compared the present sheet in particular with a drawing of The Departure of the Prodigal Son, formerly in the Julius Weitzner collection in New York. As Valentiner points out, with reference to both the present sheet and the Weitzner drawing, ‘The young Tobias can be compared in pose to the prodigal son, while the expression of the woman comes as near to Rembrandt as only Bol could achieve. Characteristic of him are the angel and the two women in the doorway; the background with the restless curves in the left corner and the many divergent hatchings to the right and also the baroque forms of the building itself, with the shadows washed in bistre, recall the treatment of the drawing of The Prodigal Son. Both drawings belong to the best we know of Bol.’ The present sheet belonged to the German scholar Wilhelm Reinhold Valentiner (1880-1958), a noted art historian and curator who served as the director of the North Carolina Museum of Art from 1955 until his death. This drawing was one of several works which he bequeathed to the museum.
With Edward Speelman, LondonWilhelm R. Valentiner, Detroit and Raleigh, North CarolinaBequeathed by him to the North Carolina Museum of Art, Raleigh, in 1963Their sale, New York, Sotheby’s, 27 January 1999, lot 69Spink-Leger, LondonEric Martin Wunsch, New York.
‘Old Master Drawings’, Wadsworth Atheneum Bulletin, November 1950, p.2; W. R. Valentiner, ‘Notes on Old and Modern Drawings: Drawings by Bol’, The Art Quarterly, 1957, pp.59, illustrated p.62, fig.17; ‘Accessions of American and Canadian Museums January – March 1963’, The Art Quarterly, Summer 1963, p.275, illustrated p.258; North Carolina Museum of Art Bulletin. Biennial Report Issue, 1963-1965, p.80, illustrated p.56, fig.15; Charlotte Vestal Brown, A Catalogue of Drawings and Watercolors: North Carolina Museum of Art, Raleigh, Raleigh, 1969, p.6, no.9; Thérèse [Teréz] Gerszi , ‘Études sur les dessins des élèves de Rembrandt’, Bulletin du Musée Hongrois des Beaux-Arts, 1971, pp.104 and 106; Gianni Carlo Sciolla, ‘Disegni rembrandtiani a Torino’, Critica d’Arte, November-December 1972, p.64; Wolfgang Wegner, Kataloge der Staatlichen Graphischen Sammlung München: Die Niederländischen Handzeichnungen des 15.-18. Jahrhunderts, Munich, 1973, Vol.I, p.178, under no.1217; D.M. Tsurutani, The Etchings of Ferdinand Bol, unpublished Ph.D. dissertation, Oberlin College, 1974, p.3; Hanne Weskott, Die Darstellung der Tobiasgeschichte in der bildenden Kunst West-Europas, unpublished Ph.D dissertation, Berlin, 1974, p.103; Werner Sumowski, Drawings of the Rembrandt School, Vol.I, New York, 1979, pp.554-555, no.265X (where dated to the second half of the 1640s), also p.524, under no.250x and pp.558-560, under nos.267x and 268x.