Lot 49: Adriaen Verdoel (circa 1620-after 1695)

The Raising of Lazarus indistinctly signed A:V...el/Fecit lower left oil on panel 32.1 x 38.8 cm PROVENANCE P. Vincent Duffy, Dublin. Anon. Sale, Sotheby's, London, 29 June 1966, lot 114, one of a pair. LITERATURE H. Guratzsch, Die Auferweckung des Lazarus in der Niederl„ndischen Kunst von 1400 bis 1700, 1980, I, p.162;II, p.358, no.344, fig.159. W. Sumowski, Gem„lde der Rembrandt Schler, 1983, IV, p.2732, note 71. B. Broos, "Fame shared is fame doubled", Rembrandt, the Impact of a Genius, exhibition catalogue, Kunsthandel Waterman, Amsterdam, 1983, p.57, note 69. EXHIBITION Leyden, Stedelijk Museum De Lakenhal, Rondom Rembrandt, 1968, no.53, ill. NOTES Houbraken records Verdoel as a pupil of Rembrandt. However this apprenticeship has not been confirmed by any documentary evidence. It seems likely that Houbraken made the suggestion on the basis of the stylistic qualities of his work, which, as in the present lot, show distinct Rembrandtesque features. This style must have come to Verdoel through his master, Jacob Willemsz. de Wet, with whom he is known to have been apprenticed in 1641 in Haarlem. As pointed out by W. Sumowski, op. cit., p.2728, Verdoel's style recalls that of his master, however his figures are less refined and wear costumes of which the decorative effect is emphasized. As pointed out by H. Guratzsch, loc. cit., the figure of Lazarus derives from Rembrandt's etching of the same subject of circa 1631/32. The present picture once formed the pendant to the The three Maries at the Grave, signed and dated 1630 (?), of which the present location is unknown (see under provenance). The subject is taken from John XI:38-44.