FERDINAND BOL | An angel appearing to an old man

Frederik Carel Theodoor, Baron van Isendoorn a Blois (L.1407);
Adalbert, Freiherr von Lanna, Prague (L.2773, with numbering: 293);
His sale, Stuttgart, Gutekunst, 8 May 1910, lot 457;
Dr. Charles Simon, Zurich (according to Benesch);
Sale, London, Sotheby's, 3 July 2013, lot 133

O. Benesch, The Drawings of Rembrandt, vol. III, London 1973, p. 154, no. 563, reproduced fig. 735 (as Rembrandt)

Hinged at all the four corners. Heavy brown washes in lower left may have spread slightly in places. Gum from old hinges showing through, both top corners. Paper generally a little yellowed, except in area of correction in white heightening, on old man's face. Overall condition none the less reasonably good, and image strong and atmospheric. Sold in a modern gilt frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

As Benesch pointed out, the extensive shading in the lower part of the sheet might indicate that this was intended to be a night scene, suggesting that it may be a study for a painting of the Liberation of St. Peter.   The drawing that Benesch cited as the closest in style to this is Jacob's Dream, in the Louvre,¹ which is now considered by many to be by Ferdinand Bol, rather than Rembrandt.  Also similar is another representation of Jacob's Dream, this time in the Ecole des Beaux-Arts, where much the same rapid, almost scratchy, shading and hatching is mixed, just as in the present work, with strikingly fluid and broadly executed outlines.² 

There is a broad consensus among current scholars of Rembrandt's drawings that all these sheets should be attributed to Ferdinand Bol, who was active in Rembrandt's studio from 1637 until 1641, and was one of the most gifted draughtsmen among the master's many pupils and followers. 

1.  Inv. 22881; Benesch, op. cit., no. 557
2.  Inv. 34.525; Benesch, op. cit., no. 555; Rembrandt et son entourage, exhib. cat., Paris, Ecole des Beaux-Arts, 2012 and Ajaccio, Palais Fesch, 2014, no. 11