Pieter Pietersz. Lastman Paintings & Artwork for Sale | Pieter Pietersz. Lastman Art Value Price Guide

Jan. 31, 2025
Pieter Lastman (1583-1633)-circle
Est: €180 - €360
Pieter Lastman (1583-1633)-circle , Samson and Delila, oil on oak panel, in a classicistic gilded frame. 33 x 25 cm
Deutsch Auktionen
Mar. 09, 2024
PIETER LASTMAN (ATTR.)
Est: €1,200 - €2,400
ATTRIBUTED TO PIETER LASTMAN Around 1583 Amsterdam - 4 April 1633 ibid. DAVID'S TRIUMPH: THE WOMEN OF ISRAEL COME OUT TO WELCOME DAVID, SINGING, DANCING AND PLAYING THE TAMBOURINE AND LYRE Oil on copper panel. 56 x 73 cm (F. 70 x 87 cm). Part. slightly old rest. Frame. Provenance: International private collection. PIETER LASTMAN (ATTR.) Um 1583 Amsterdam - 4. April 1633 ebenda DAVID'S TRIUMPH: DIE FRAUEN ISRAEL'S KOMMEN HERAUS, UM DAVID WILLKOMMEN ZU HEISSEN, SINGEN, TANZEN UND SPIELEN TAMBURIN UND LEIER Öl auf Kupfertafel. 56 x 73 cm (R. 70 x 87 cm). Part. leicht altrest. Rahmen. Provenienz: Internationale Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Feb. 18, 2023
Lastman Pieter
Est: €70 - €100
(1583 Amsterdam 1633). Habiti della Nobilté di Fiorenza Bl. 1 Rad. Hrsg. V. Visscher, C.J., 1. Drittel 17. Jh, ca. 17 x 11,5 cm. Num. unten re. m. 1. 1. Teller einer Serie v. 12 ital. Kostümen. - Bl. zeigt ein edles florent. Paar u.a. m. gefiedertem Hut, Pelzumhang, Schleier u. Federfächer. R
Kiefer Buch- und Kunstauktionen
Jul. 01, 2022
Pieter Lastman (1583-1633)-circle
Est: €250 - €500
Pieter Lastman (1583-1633)-circle, Jakob and the Angel , oil on canvas, framed. 37X28 cm
Deutsch Auktionen
May. 18, 2022
Pieter Pietersz. Lastman – Juda und Tamar (Judah and Tamar)
Est: €1,500 - €1,800
Etching on laid paper. (c. 1615). 21.6 x 17.9 cm (sheet).
Karl & Faber
Mar. 15, 2022
Circle of Pieter Lastman (1583-1633), Aeneas and his family fleeing Troy, oil on copper, 39 x 50 cm
Est: €2,000 - €3,000
Circle of Pieter Lastman (1583-1633), Aeneas and his family fleeing Troy, oil on copper, 39 x 50 cm Very fine quality, especially the faces and hands.
Carlo Bonte Auctions
Jul. 10, 2021
Lastman Pieter
Est: €80 - €120
(1583 Amsterdam 1633) Habiti della Nobilté di Fiorenza Bl. 1 Rad. Hrsg. V. Visscher, C.J., 1. Drittel 17. Jh, ca. 17 x 11,5 cm. Num. unten re. m. 1. 1. Teller einer Serie v. 12 ital. Kostümen. - Bl. zeigt ein edles florent. Paar u.a. m. gefiedertem Hut, Pelzumhang, Schleier u. Federfächer. R
Kiefer Buch- und Kunstauktionen
May. 08, 2021
Lastman Pieter
Est: €100 - €150
(1583 Amsterdam 1633) Habiti della Nobilté di Fiorenza Bl. 1 Rad. Hrsg. V. Visscher, C.J., 1. Drittel 17. Jh, ca. 17 x 11,5 cm. Num. unten re. m. 1. 1. Teller einer Serie v. 12 ital. Kostümen. - Bl. zeigt ein edles florent. Paar u.a. m. gefiedertem Hut, Pelzumhang, Schleier u. Federfächer. R
Kiefer Buch- und Kunstauktionen
Sep. 24, 2020
PIETER LASTMAN (attr. a)
Est: €3,000 - €5,000
(Amsterdam, 1583 - 1633) Abramo e i tre angeli Olio su tela, cm 105X171 La tela esibisce inequivocabili stilemi nordici che suggeriscono l'attribuzione ad un autore olandese o fiammingo. Il tema e il sapore italianizzante, tuttavia, indicano che l'artista abbia visitato la nostra penisola e verosimilmente soggiornato a Roma. Infatti, i caratteri evocano le opere di Cornelis Van Poelenburgh (Utrecht, 1595-1667) ma in modo particolare quelle di Pieter Lastman. Quest'ultimo, il cui soggiorno a Roma è documentato dal 1603 al 1607, fu influenzato dall'arte di Adam Elsheimer e Peter Paul Rubens sviluppando un linguaggio figurativo che esercitì un ascendente decisivo sulla pittura dei Paesi Bassi nel Seicento, coniugando la tradizione del realismo nordico e l'ideale classico italiano. Bibliografia di riferimento: P. Schatborn, Een tekening van Pieter Lastman uit ItaliÃ«, Kroniek van het Rembrandthuis 2011, pp. 36-41
Wannenes Art Auctions
Apr. 02, 2020
LASTMAN PIETER (1583 - 1633) Landscape with Tobia and the angel.
Est: €700 - €1,200
LASTMAN PIETER (1583 - 1633). Landscape with Tobia and the angel.. Signature and dated, 1614, lower right.. Cm 114,00 x 73,00.
Capitolium Art
Jun. 25, 2019
ATELIER DE PIETER LASTMAN (AMSTERDAM 1583-1633) David jouant de la harpe après avoir ramené l'Arche à Jérusalem huile sur panneau 83 x 123,2 cm. (32 ½ x 48 ½ in.)
Est: €20,000 - €30,000
ATELIER DE PIETER LASTMAN (AMSTERDAM 1583-1633) David jouant de la harpe après avoir ramené l'Arche à Jérusalem huile sur panneau 83 x 123,2 cm. (32 ½ x 48 ½ in.)
Christie's
Jun. 14, 2019
Pieter Lastman (1583-1633)-attributed
Est: €500 - €1,500
Pieter Lastman (1583-1633)-attributed, couple in landscape oil on metal framed
Deutsch Auktionen
Apr. 04, 2019
Pieter Lastman (1583-1633), Paesaggio con Tobia e l'Angelo
Est: €800 - €1,000
olio su tavola, cm 73x114, opera firmata e datata
Cambi Casa d'Aste
Nov. 14, 2018
Pieter Lastman (Amsterdam 1583 - 1633), La predica di San Giovanni
Est: €5,000 - €6,000
olio su tela, cm 120x130, in cornice dorata
Cambi Casa d'Aste
Oct. 29, 2018
Attributed to Pieter Pieterszn. Lastman
Est: €6,000 - €9,000
Attributed to Pieter Pieterszn. Lastman, Amsterdam 1583 - 1633 Amsterdam, The Adoration of the Child Jesus, oil on canvas, 77 x 108 cm. Provenance: private collection
Van Zadelhoff Veilingen en Taxaties
Nov. 15, 2016
Pieter Lastman (Amsterdam 1583 - 1633), La predica di San Giovanni
Est: €10,000 - €12,000
olio su tela, cm 120x130, in cornice dorata
Cambi Casa d'Aste
Sep. 21, 2016
LASTMAN, PIETER (CIRCLE OF)
Est: CHF7,000 - CHF10,000
LASTMAN, PIETER (CIRCLE OF) (1583 Amsterdam 1633) The Finding of Moses. Oil on panel. 70 x 105 cm. Provenance: - Lempertz sale, 19.11.2011, Lot 1226. - Private collection, Germany. --------------- LASTMAN, PIETER (UMKREIS) (1583 Amsterdam 1633) Auffindung des Mose. Öl auf Holz. 70 x 105 cm. Provenienz: - Auktion Lempertz, Köln, 19.11.2011, Los 1226. - Privatsammlung, Deutschland.
Koller Auctions
Jun. 30, 2016
Pieter Pieterz. Lastman, 1583 Amsterdam – 1633
Est: €30,000 - €50,000
Pieter Pieterz. Lastman, 1583 Amsterdam – 1633 ARKADISCHE LANDSCHAFT MIT FIGUREN Öl auf Holz. 74,5 x 113 cm. Links unten signiert und datiert „PLastman/ fecit 161(4)“. Beigegeben eine Expertise von Dr. C. Tico Seifert vom 17. Oktober 2015, Edinburgh. Der vor allem für seine Historiengemälde berühmte, bedeutende holländische Künstler Pieter Lastman widmete sich gelegentlich auch der Landschaftsmalerei, wobei nur sehr wenige seiner Arbeiten heute uns überliefert sind. Unter den in den Dokumenten erwähnten Landschaften befindet sich auch eine italienische Landschaft mit Figuren, die möglicherweise dem vorliegenden Werk entsprechen könnte, wie Dr. Tico Seifert bemerkt. Dieses Gemälde wurde zusammen mit einem Pendant 1698 in Amsterdam verkauft. Zwei weitere, heute noch existierende Gemälde zeigen zum Einen eine Landschaft mit Tobias und dem Engel, zum Anderen eine pastorale Landschaft (Privatsammlung Amsterdam), wobei vor allem Letzteres im Zusammenhang mit dem vorliegenden Werk bedeutend ist, da sie keinen Historienzusammenhang zeigt. Das vorliegende Landschaftsgemälde wird durch eine Felsformation in der rechten Hälfte dominiert, auf der sich einige Gebäude wiederfinden sowie zwei hohe schlanke Zypressen, die auch auf anderen Gemälden Lastmans zu finden sind. Im zentralen Vordergrund sind Wäscherinnen am Fluss zu sehen. In der linken Bildhälfte, vor einer Felsformation mit aufragendem Geäst, befindet sich eine rastende Gruppe von Reisenden, bereits Weiterreisende ziehen im Mittelgrund in die Ferne. Auffallend ist, wie sich die skizzenhaft und doch sehr lebendig geschilderten Figuren der Landschaft unterordnen, während ihnen Lastman in seinen Historiengemälden sujetbedingt die größere Aufmerksamkeit schenkt. Wie Dr. Tico Seifert in seinem Gutachten ausführt, ist diese Behandlung der Figurenstaffage durchaus charakteristisch für der Handlung untergeordneten Figurengruppen, die er auf anderen Gemälden im Hintergrund wiedergibt. Das vorliegende und bislang unveröffentlichte Gemälde, mit der für Lastman charakteristischen Ligatur der Anfangsbuchstaben in der Signatur, stellt eine bedeutende Ergänzung des Werkekatalogs des Künstlers dar und zeigt die ganze Meisterschaft des Rembrandt-Lehrers in Bezug auf seine Landschaftsgemälde. Provenienz: Auktion Ashburton (Rendalls), 20. August 2011, Lot 1285. (1060781) (12) Pieter Pietersz. Lastman 1583 Amsterdam - 1633 ARCADIAN LANDSCAPE WITH FIGURES Oil on panel. 74.5 x 113 cm. Signed and dated “PLastman/ fecit 161(4)“ lower left. Accompanied by an expert's report by Dr C. Tico Seifert dated 17 October 2015, Edinburgh. The Dutch painter Pieter Lastman, who was best known for his oeuvre of historical paintings, also explored the landscape genre however very few of these works have survived. As Seifert points out in his report the treatment of his figures is quite typical as the figural groups are subordinate to the central artistic narrative, which he depicts in the background in other paintings. The present hitherto unpublished painting, which has Lastman's characteristic signature with the initial letters in ligature, is an important addition to the artist's catalogue raisonné and shows all the mastery of Rembrandt's teacher with regards to landscape painting. Provenance: Rendalls Fine Art, Ashburton, 20 August 2011, lot 1285.
Hampel Fine Art Auctions
May. 26, 2016
Lastman, Pieter Pietersz: Judah und Tamar
Est: €1,200 - €1,800
Judah und Tamar. Radierung. 21,9 x 17,9 cm. B. 74, Rovinski 74, Nagler, Die Monogrammisten, IV, 1253, Wurzbach 1, Hollstein 1 II. Hollstein listet lediglich drei Radierungen von Lastman auf, wobei vorliegende laut Bartsch ganz im "Geschmack Rembrandts" ist. Ausgezeichneter und lebendiger Druck, teils mit der Plattenkante, teils auf dieselbe geschnitten. Leichte einzelne Stockfleckchen, Ecke oben rechts mit kleinen Ausbesserungen sowie dünner Stelle im Papier, sonst in schöner originaler Erhaltung. Sehr selten.
Bassenge Auctions
Apr. 28, 2016
PIETER LASTMAN Judah and Tamar.
Est: $1,500 - $2,500
PIETER LASTMAN Judah and Tamar. Etching, circa 1620. 215x177 mm; 8 1/2x7 inches, narrow to thread margins. A very good impression of this extremely scarce etching. We have found only 8 other impressions at auction in the past 30 years. A native of Amsterdam, Lastman (1583–1633) was an important Dutch painter of historical scenes and was also the teacher of Rembrandt (see lots 214-282) and Jan Lievens (see lots 212 and 214). Hollstein 1.
Swann Auction Galleries
May. 28, 2015
Lastman, Pieter Pietersz: Judah und Tamar
Est: €1,800 - €2,400
Judah und Tamar. Radierung. 21,7 x 17,9 cm. B. 74, Rovinski 74, Nagler, Die Monogrammisten, IV, 1253, Wurzbach 1, Hollstein 1 II. Hollstein listet lediglich drei Radierungen von Lastman auf, wobei vorliegende laut Bartsch ganz im "Geschmack Rembrandts" ist. Ausgezeichneter und lebendiger Druck, mit feinem Rändchen um die Einfassungslinie, teils mit Spuren der Plattenkante, teils auf dieselbe geschnitten. Die Ecken sorgfältig - vereinzelt mit dezenten Federretuschen - ausgebessert, ganz einzelne dünne bzw. angefaserte Stellen im Papier (überwiegend im oberen sowie unterem Rand), leichte Alters- und Gebrauchsspuren, sonst sehr schönes Exemplar. Sehr selten.
Bassenge Auctions
Nov. 28, 2014
Lastman, P.P. (1583-1633). "Judah and Tamar". Etching, 21,5x17,7 cm., monogrammed in the plate. - Trimmed to the platemark; browned/ foxed and some darker brown specks; thin spot at top between tree-branches and in upper right corner; strips of paper
Est: €700 - €900
Lastman, P.P. (1583-1633). "Judah and Tamar". Etching, 21,5x17,7 cm., monogrammed in the plate. - Trimmed to the platemark; browned/ foxed and some darker brown specks; thin spot at top between tree-branches and in upper right corner; strips of paper tape along margins on verso. = Hollstein 1, 2nd state of 2 (with the monogram). Scarce. SEE ILLUSTRATION PLATE CLI.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Sep. 24, 2014
Pieter Lastman, attributed to, Jesus and the Woman Taken in Adultery
Est: €3,000 - €4,000
Pieter Lastman, attributed to, Jesus and the Woman Taken in Adultery A copy of the painting by Pietre Lastman kept in the Rijksmuseum. Oil on canvas (relined) 79 x 109 cm
Kunsthaus Lempertz KG
Dec. 02, 2013
Pieter Lastman (Amsterdam 1583-1633) "La predica di San Giovanni"
Est: €15,000 - €18,000
Pieter Lastman (Amsterdam 1583-1633) "La predica di San Giovanni" olio su tela, cm 116x132
Cambi Casa d'Aste
Sep. 20, 2012
Pieter Lastman,1583 - 1633, zug.
Est: €3,000 - €5,000
Pieter Lastman, 1583 - 1633, zug. WALDRAND MIT KNORRIGER, DICKSTÄMMIGER EICHE, SCHAFEN UND ZIEGEN SOWIE EINEM KLEINEN HÜNDCHEN Öl auf Leinwand. 96 x 70 cm. Eichenstamm nachgewittrig erleuchtet, von Ranken umzogen, die Blätter der Krone in hellerem Licht aufleuchtend, dahinter gewittriger Wolkenhimmel mit wieder auffliegenden Vögeln. Darunter eine heller erleuchtete Lichtung mit Flusslauf. (8702816)
Hampel Fine Art Auctions
Jul. 03, 2012
Pieter Lastman (Amsterdam 1583-1633)
Est: £15,000 - £25,000
Pieter Lastman (Amsterdam 1583-1633) View of the Forum of Nerva from the Temple of Minerva, Rome inscribed and dated 'Roma 1606' pen and brown ink, brown wash, brown ink framing lines 7¼ x 9 1/8 in. (18.3 x 23.1 cm.)
Christie's
Jun. 19, 2012
Circle of Pieter Lastman (Amsterdam 1583-1633)
Est: €2,000 - €3,000
Circle of Pieter Lastman (Amsterdam 1583-1633) The Raising of Lazarus oil on panel 62.4 x 78.4 cm.
Christie's
Jan. 26, 2012
PIETER PIETERSZ. LASTMAN
Est: $200,000 - $300,000
AMSTERDAM 1583 - 1633 THE GOOD SAMARITAN oil on canvas 40 1/4 by 50 1/2 in.; 102.2 by 128.3 cm.
Sotheby's
Jan. 26, 2012
Pieter Lastman (Amsterdam 1583-1633)
Est: $50,000 - $70,000
Pieter Lastman (Amsterdam 1583-1633) Judah and Tamar oil on panel 48¼ x 36 5/8 in. (122.6 x 93 cm.)
Christie's
Oct. 26, 2011
Pieter Pietersz. Lastman (Amsterdam 1583-1633) A seated man wearing a hat
Est: £1,000 - £1,500
A seated man wearing a hat red chalk, red chalk framing lines on paper 10.1 x 7.5cm (4 x 2 15/16in). inscribed 'F Bol' 'No 15' on the mount
Bonhams
Oct. 26, 2011
Circle of Pieter Lastman (Amsterdam 1583-1633)
Est: £1,000 - £1,500
Circle of Pieter Lastman (Amsterdam 1583-1633) Jacob and the Angel oil on panel, unframed 24½ x 20 3/8 in. (62.2 x 51.7 cm.)
Christie's
Jan. 26, 2011
PIETER PIETERSZ. LASTMAN
Est: $400,000 - $600,000
PIETER PIETERSZ. LASTMAN AMSTERDAM 1583 - 1633 SACRIFICE OF MANOAH signed and dated on the head of the axe lower left: P. Lastman 1624 oil on panel 28 1/2 by 20 3/4 in.; 72.3 by 52.6 cm.
Sotheby's
Sep. 13, 2010
LASTMAN, PIETER PIETERSZ. (CIRCLE OF) (1583
Est: CHF7,000 - CHF9,000
LASTMAN, PIETER PIETERSZ. (CIRCLE OF) (1583 Amsterdam 1633) The Archangel Raphael with Tobit, Tobias and Sara. Oil on panel. 70 x 106 cm. LASTMAN, PIETER PIETERSZ. (UMKREIS) (1583 Amsterdam 1633) Erzengel Raphael bei Tobit, Tobias und Sara. Öl auf Holz. 70 x 106 cm.
Koller Auctions
Jul. 08, 2009
Studio of Pieter Lastman (Amsterdam 1583-1633)
Est: £15,000 - £20,000
Studio of Pieter Lastman (Amsterdam 1583-1633) Hagar and the Angel dated 'Ano. 1618' (lower left, on a stone) oil on panel 20¼ x 27 in. (51.5 x 68.6 cm.)
Christie's
Jan. 30, 2009
Circle of Pieter Lastman (Amsterdam 1583-1633)
Est: $1,500 - $2,000
Circle of Pieter Lastman (Amsterdam 1583-1633) A male figure in Oriental dress traces of black chalk, pen and brown ink, brown wash 7 x 4 in. (178 x 102 mm.); and Dutch School, 17th Century, Portrait of a gentleman leaning on a balustrade, holding a glove; Circle of Anthony van Dyck, Portrait of a man, three-quarter length, holding a hat and gloves, the face unfinished; German School, 18th Century, Portrait of a man, three-quarter length; Jan Ryter, Self-portrait inscribed in an oval; German School, 16th Century, A knight holding a falcon and a shield; Johann Henrich Lips, A portrait of Gaspard Duchange (7)
Christie's
Jan. 24, 2003
Pieter Pietersz. Lastman (Amsterdam 1583-1633)
Est: $30,000 - $50,000
The Judgment of Midas oil on panel 33 x 391/4 in. (83.8 x 99.6 cm.) PROVENANCE Julius H. Weitzner, New York, April 1950, where purchased by Walter P. Chrysler, Jr; his sale, Sotheby's, New York, 1 June 1989, lot 43. with Verner Amell, London. LITERATURE P. Sutton, A Guide to Dutch Art in America, 1986, p. 205, fig. 296. EXHIBITION Birmingham, England, 1957-58, p. 21, illustrated. Brunswick, Maine, 1963, no. 12. On loan to the Chrysler Museum at Norfolk, July 1973. Sacramento, E. B. Crocker Art Gallery, The Pre-Rembrandtists, 7 December 1974 - 25 January 1975 (according to a label on the reverse). NOTES The present painting is one of three known versions of this subject by Lastman (the others being in Saint Petersburg and Kassel). Identified in the early literature as the Contest between Apollo and Marsyas, it actually depicts the Judgment of Midas . Lastman followed Ovid's account ( Metamorphoses XI, 179) quite closely. Timolus, the mountain deity, seated in the center, has judged a contest between Apollo and Pan, who appears on the right holding his pipes. Timolus correctly chose the musical gifts of Apollo over those of Pan, who initiated the contest. However, King Midas, at the right edge of the painting, indicates his disagreement by pointing to Pan. For his foolish judgment he is made to grow ass ears. This subject was a popular theme in both Italy and the North in the 16th and 17th centuries. Midas' punishment may be seen as a warning against choices for earthly enjoyments, but the judgment of Midas may be interpreted as an allegory of the uninformed connoisseur. The Birmingham catalogue (see above) notes a certificate by W.R. Valentiner dated 27 June 1946, stating the painting was by Lastman.
Christie's
Nov. 07, 2001
School of Rembrandt, circa 1635/1640
Est: $9,570 - $13,920
The Sacrifice of Manoah - a fragment (?) oil on panel, inset into another panel 53.8 x 33.8 cm excluding the inset panel; overall measurements 55.2 x 37.8 cm LITERATURE A. Blankert, Ferdinand Bol, 1982, p.163, no.R12 (as not by Bol). W. Sumowski, Gem„lde der Rembrandt Schler, 1983, IV, p.2959, no.1967, ill. EXHIBITION Leyden, Stedelijk Museum de Lakenhal, Rondom Rembrandt, 1968, no.3, p.2, ill, as 'F. Bol'. NOTES The present picture is related to Rembrandt's circle and is datable to circa 1635/1640. By that time Old Testament subjects such as the Sacrifice of Manoah, which had been popular among Pre-Rembrandtesque painters, were being revitalised. Govaert Flinck painted the subject in 1640 in a picture now in the collection of Queens University, Kingston, Canada (W. Sumowski, Gem„lde der Rembrandt Schler, 1983, II, no.617, fig.1020). Jacob Willemsz. de Wet painted his interpretation as early as 1633 in a picture of which the present location is unknown (W. Sumowski, op. cit., p.2792, no.1825, ill.). Both Flinck's and De Wet's compositions are, like the present picture, strongly influenced by Pieter Lastman, who painted the subject on at least two occasions; one, dated 1624, was offered at Sotheby's, Amsterdam, 14 November 1995, lot 67 (A. Tmpel, P. Lastman, 1991, no.18, pp.120/1). The other, dated 1627, is in the Museum Het Rembrandthuis, on loan from a private collection ( ibid., no.21, pp.128/9, ill.). The subject is taken from Judges XIII: 19-20. We are grateful to Dr. Volker Manuth for his kind assistance in cataloguing this lot.
Christie's
Jul. 11, 2001
Pieter Lastman (Amsterdam 1583-1633)
Est: $84,600 - $112,800
The Angel appearing to Hagar in the desert of Beersheba dated 'An.1618' (lower left) oil on panel 201/4 x 27 in. (51.5 x 68.4 cm.) NOTES An autograph version of the picture of the same dimensions, signed and dated 1614, sold Sotheby's, New York, 6 June 1985, lot 76 ($230,000), now in the Los Angeles County Museum of Art.. Pieter Lastman was arguably the most important artist in early seventeenth-century Amsterdam, the master of the young Rembrandt. After studying in Italy in the first years of the century, he returned to the United Provinces, where he remained for the rest of his life. One of the most influential apsects of his art was his use of Biblical texts as the subjects of his pictures; this source of inspiration, and Lastman's resultant history paintings, were reflected in the work of the young Rembrandt. The subject of the present painting was first treated by the artist in his earliest known work, a drawing of 1601 (Yale University Art Gallery, New Haven). In that, Hagar sits facing to the right, looking with an expression of pleasant surprise at the angel which stands on the ground, his arm on her shoulder, pointing to the well. Ishmael is visible only as a pair of legs on the left, suggesting that the image has at some point been reduced. This subsequent composition is altogether more successful, and demonstrates Lastman's development in the intervening years: he has here succeeded in injecting a new force of dramatic tension into the subject. The angel no longer stands statically by Hagar like a friendly guide, but instead appears, aloft and foreshortened, with Hagar presented with her head raised and arms outstretched in gratitude and wonder. Lastman had first revisited the story of Hagar and Ishmael in a painting of The Dismissal of Hagar (1612; Kunsthalle, Hamburg), and his use of the general subject was to be repeated frequently by Rembrandt and his school. Rembrandt himself made a drawing after the three figures in the Hamburg painting (Albertina, Vienna), and treated the present subject in a drawing of circa 1652 (Kunsthalle, Hamburg).
Christie's