Angel Appearing to Elijah
Ferdinand Bol(Dordrecht 1616 – 1680 Amsterdam)ca. 1642
oil on canvas
162.6 x 177.8 cm
FB-104© 2024 The Leiden Collection

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How to cite
Schatborn, Peter. “Angel Appearing to Elijah” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K.
Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–23. https://www.theleidencollection.com/archive/ (archived
December 2023).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by apermanent URL. New versions are added only when a substantive change to the narrative occurs.

© 2024 The Leiden Collection

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This extremely powerful and well-preserved painting, which was unknown until 2007

Comparative Figureswhen it appeared at auction, is a prime example of Ferdinand Bol’s early biblicalrepresentations. Executed soon after his apprenticeship with Rembrandt van Rijn
(1606–69), Angel Appearing to Elijah is boldly executed with a tonal color schemethat lends the composition great unity.
The painting depicts an episode from the Old Testament (I Kings 16:29–34 andchapters 17–19). In this complex and rather gory story, Ahab, the king of Israel(reigned ca. 874–53 BC), and his wife, Jezebel, reject the God of the Israelites andbuild an altar for the worshippers of Baal. The prophet Elijah then challenges thepriests of Baal to set up a sacrificial altar to rival his own. When only Elijah’ssacrifice is consumed by fire, the people reject the false god, Baal, and turn again to
the God of the Israelites. At Elijah’s instigation, the people then seize the prophets ofBaal, and Elijah kills them. After Jezebel subsequently threatens to kill Elijah, theFig 1. Ferdinand Bol, Jacob’s Dream,ca. 1642, oil on canvas, 128.5 x 97 cm,
Gemäldegalerie, Dresden, Gal.-Nr.
1604

prophet flees into the wilderness where he sits under a juniper tree and prays fordeath before falling asleep. The moment that Bol depicts is when an angel comes to
Elijah and says: “Arise and eat.” Elijah eats and drinks, but then he falls asleep again,
whereupon the angel returns and exhorts him once more to get up and eat. Thus
fortified, Elijah “went in the strength of that food forty days and forty nights unto
Horeb the mount of God.”In Bol’s painting the figures loom large in the picture plane. Elijah, lying under a tree,
supports his head with his right hand and rests his left arm on the ground. In his lap isthe end of the belt tied around his waist, a motif often seen in portrayals of biblicalfigures by, among others, Pieter Lastman (1583–1633) and Rembrandt.[1] BehindFig 2. Ferdinand Bol, Judah andTamar, 1644, oil on canvas, 123.2 x
172.4 cm, Museum of Fine Arts,
Boston, 17.3268, Photograph ©2017
Museum of Fine Arts, Boston

Elijah hangs a gourd, while leaves and flowers fill the right foreground. The
approaching angel looks at Elijah with slightly raised eyebrows as he prepares towaken the prophet with his raised left hand and provide him with water from theflask hanging from his right hand. Light falling onto Elijah’s face and hands and onto
the hair of the angel lends plasticity to their forms and anchors them firmly in thedarkened landscape surrounding them.
The painting likely dates around 1642, as Sumowski has proposed. He rightly
compared this work to Bol’s Jacob’s Dream in Dresden, which also depicts an angel
appearing with a sleeping figure (fig 1).[2] Bol gained his fascination with Old

Fig 3. Ferdinand Bol, Elijah Restingunder a Tree, ca. 1642, pen and brown
ink, 85 x 115 mm, Frits Lugt
Collection, Fondation Custodia, Paris,
inv. 2520

Testament scenes that stressed God’s spiritual guidance in the interactions of a young,golden-haired angel in a white, flowing robe with an aged bearded patriarch from
Rembrandt, particularly from the master’s compelling Sacrifice of Isaac.[3] Bol madeother paintings depicting an angel and a biblical figure in the early 1640s that are
similar in composition, including Gideon and the Angel of 1640/41[4] and Hagar and© 2024 The Leiden Collection

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the Angel, ca. 1650.[5] The free and confident brushwork of the Leiden Collection
painting, as well as its large-scale figures, also relate to Bol’s Judah and Tamar of
1644 in Boston (fig 2)[6] and his David’s Dying Charge to Solomon in Dublin, 1643.[7]The Frits Lugt Collection, Fondation Custodia, in Paris has a preliminary drawing of
this composition depicting Elijah (fig 3). The sheet was previously ascribed toRembrandt,[8] but Martin Royalton-Kisch called that attribution into question in
1992.[9] Schatborn subsequently assigned the drawing to Bol, noting that Elijah’s poseand clothing correspond to those in the painting.[10] At the lower left of the drawing isa partial left hand that could be that of the angel, even though in the painting it
appears in a different position.
Lugt, who believed that Rembrandt executed the drawing, dated it to ca. 1635, andOtto

Benesch,
[11]

1638.

who

concurred

with

that

attribution,

dated

it

to

ca.

Nevertheless, a date to the early 1640s is appropriate for Bol, for hecontinued to make rather sketchy, Rembrandtesque drawings after he left the master’s
workshop, particularly when they were preliminary studies for subject
paintings.[12] Indeed, a passage from Samuel van Hoogstraten’s Introduction to theHigh School of the Art of Painting, 1678, reveals that Rembrandt’s pupils were
expected to work for a long time in the master’s style. Hoogstraten, who had studied
with Rembrandt in the 1640s, wrote: “You pupils must obey your master, and entrust
your education to him. He who wishes to learn from his master’s lips must follow him
without question, until such time as he properly and correctly understands what has
been taught.” He goes on to say, “Therefore I should rather impose five years ofsilence on pupils and recommend constructive obedience . . . so that they first learn
thoroughly to apply what is recommended to them.”[13] Elijah Resting under aTree corresponds in several respects to other Rembrandtesque drawings Bol made at
this time, such as David on His Deathbed in Besançon,[14] a preparatory drawing forthe above mentioned David’s Dying Charge to Solomon in Dublin, 1643, and thedrawing of Two Marys in Kraków,[15] which is probably a study for The Three Marysat the Tomb, 1644, now in Copenhagen.[16]Elijah is often seen as a prefiguration of Christ, which may explain why this subject
appealed to Dutch patrons.[17] Just who these patrons may have been is an intriguingquestion since in the seventeenth century there was practically no difference in theway the various religious denominations viewed the iconography of different biblicalthemes. Apart from portrait commissions and works ordered by civic authorities,
such as those made for the Amsterdam Town Hall, little is known about the patrons
who commissioned biblical scenes.[18] Manuth, however, has posited that the theme of
Elijah, owing to his prophecies and his role as a harbinger of the Messiah, was ofparticular importance in the Jewish faith.[19] Elijah was considered the protector of© 2024 The Leiden Collection

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the oppressed and persecuted people of Israel. The inventories of art in the collectionsof Jewish burghers in the seventeenth century also reveal a preference for subjects
that include Elijah.[20]Around 1650 Bol painted another depiction of the angel appearing to Elijah, which
differs from the present work in the way light falls on the figures, and in the detailed
depiction of the foliage.[21] The only other Rembrandt pupil to paint this subject was
Govaert Flinck (1615–60), who did so in the early 1640s, although the lack of
specific dates make it impossible to know which artist depicted the subject first.[22]Interestingly, the theme of Elijah and the Angel does not occur in Rembrandt’s
painted and etched oeuvre, and he only turned to it in a drawing of the early 1650s(Frits Lugt Collection, Fondation Custodia, Paris).[23] Several drawings that Sumowski
assigned to Bol portray the same subject, but their attribution to Bol seems uncertain,even though they fit stylistically into the artist’s circle.[24] Moreover, Cornelis
Bisschop (1630–74), one of Bol’s pupils, made a painting[25] and a drawing [26]inspired by his teacher’s work, thereby testifying to this painting’s importance as amodel for artists in Bol’s orbit.
The painting was apparently once in the collection of the Elector Maximilian II
Emanuel of Bavaria (1662–1726), a provenance history that was handed down by
word of mouth in the family of Count Johann Franz Ignaz Seyboltsdorff(1673–1711). It is said that Maximilian gave the painting to the count in gratitude forthe count’s political support. This provenance is quite plausible considering thatMaximilian collected paintings, particularly while serving as regent of the Southern
Netherlands (1692–1701).[27] In 1698 he acquired 101 paintings from the Antwerp
collector Gisbert van Colen that are now in the Alte Pinakothek in Munich and the
Staatsgalerie Schleissheim. There is no surviving inventory made before Maximilian’s
death, however, that confirms the provenance of Elijah and the Angel from hiscollection.[28] In any event, the painting remained with the count’s descendants until
1945.

- Peter Schatborn, 2017

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Endnotes
1. Kindly communicated by Marieke de Winkel.
2. See Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), no. 5, pl. 3(1642); Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no.
80, repro. (1642).
3. Oil on canvas, 193 x 133 cm., Hermitage, St. Petersburg, inv. no. 727.
4. Oil on canvas, 83 x 71 cm, Rijksmuseum Het Catharijneconvent, Utrecht, inv. no. RMCCs24. See
Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), no. 11, pl. 2(1641); Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no.
79, repro. (1641); Robert Schillemans, Bijbelschilderkunst rond Rembrandt (Utrecht, 1989) no. 4, repro.
This author reads the date as 1640.
5. Oil on canvas, 115.6 x 97.8 cm, Museum Pomorskie, Gdansk. See Albert Blankert, Ferdinand Bol(1616–1680): Rembrandt’s Pupil (Doornspijk, 1982) no. 1, pl. 11 (ca. 1650); Werner Sumowski,
Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no. 89, repro. (ca. 1650).
6. See Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), no. 7, pl. 6;
Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no. 82,
repro.
7. Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 5: no. 2005,
repro.
8. Otto Benesch, Otto Benesch Collected Writings, ed. Eva Benesch, 2 vols. (New York, 1970), 1: no. 167,
fig. 196 (Rembrandt).
9. Martin Royalton-Kisch, Drawings by Rembrandt and His Circle in the British Museum (London, 1992),
under no. 90, note 2 (doubtful attribution); Martin Royalton-Kisch, Catalogue of Drawings by
Rembrandt and His School in the British Museum (London, 2010), no. 117, note 2 (doubtful attribution).
10. Peter Schatborn, Rembrandt and His Circle: Drawings in the Frits Lugt Collection (Paris, 2010), no. 33,
repro.
11. Otto Benesch, Otto Benesch Collected Writings, ed. Eva Benesch, 2 vols. (London and New York, 1970),
1: no. 167, fig. 196 (Rembrandt).
12. Ingrid Oud, “De tekeningen van Ferdinand Bol: De relatie tussen de stijl en de functie van detekeningen,” Kunstlicht 13, no. 1 (1992): 9.
13. “Gy leerlingen zult niet alleen uwe meesters gehoorzaemen, maar hem ook in’t onderwijs gelooven. Die
uit den mont van de meester wat leeren wil, moet datzelve naekomen, zonder eenige onderzoekinge, soolange totdat hij hetgeenige dater geleert is, wel en terecht verstaet.” “Daarom zoude ik de leerlingen
liever een vijfjaerig stilzwijgen opleggen en een stiktelijke gehoorzaemheid aanbevelen … op dat zij© 2024 The Leiden Collection

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eerst te degen hetgene hen aanbevolen is, zouden leeren in ’t werk stellen.” Samuel van Hoogstraten,
Inleyding tot de hooge schoole der schilderkonst: Anders de zichtbaere werelt (Rotterdam, 1678), 26.
14. Pen and brown ink, brush and brown and white ink, 158 x 217 mm, Musée des Beaux-Arts, Besançon,
inv. no. D.2756. See Werner Sumowski, Gemälde der Rembrandt-Schüler in vier Bänden, 5 vols.
(Landau and Pfalz, 1983), 5: no. 1277, repro.
15. Pen and brown ink, 157 x 115 mm, Ossolineum, Kraków; Werner Sumowski, Gemälde der RembrandtSchüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no. 98, repro.
16. Signed and dated 1644, oil on canvas, 280 x 358 cm, Statens Museum for Kunst, Copenhagen, inv. no.
77; See Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no.
83, repro.
17. Christian Tümpel, “Religious History Painting,” in God, Saints and Heroes: Dutch Painting in the Age of
Rembrandt, ed. Albert Blankert (Exh. cat. Washington D.C., National Gallery of Art; The Detroit
Institute of Arts; Amsterdam, Rijksmuseum, 1980) (Washington, 1980), 54, n. 24.
18. On this subject, see Gabriël M. C. Pastoor, “Bijbelse historiestukken in particulier bezit,” in ChristianTümpel et. al., Het oude testament in de schilderkunst van de gouden eeuw (Exh. cat. Amsterdam, Joods
Historich Museum; Jerusalem, Israel Museum) (Zwolle, 1991), 122–33.
19. The significance of Elijah to the Jews is also apparent from the rite of circumcision in which the child isplaced upon the “chair of Elijah,” who is thus present as a witness; Volker Manuth, “IkonographischeStudien zu den Historien des Alten Testaments bei Rembrandt und seiner frühen Amsterdamer Schule”(PhD diss. Freie University, Berlin, 1987), 79–81; Gabriël M. C. Pastoor, “Bijbelse historiestukken inparticulier bezit,” in Christian Tümpel et. al., Het oude testament in de schilderkunst van de gouden eeuw
(Exh. cat. Amsterdam, Joods Historisch Museum; Jerusalem, Israel Museum) (Amsterdam, 1991), 125.
20. Kindly communicated by Marieke de Winkel. This is also true of representations of such subjects asElijah Fed by Ravens.
21. Oil on panel, 48 x 35 cm, present whereabouts unknown. See Werner Sumowski, Gemälde derRembrandt-Schüler in vier Bänden, 5 vols. (Landau i.d. Pfalz, 1983), 4: no. 2196, repro. Sumowski dates
this painting close to the one in Gdansk (ca. 1650); see Albert Blankert, Ferdinand Bol (1616–1680):
Rembrandt’s Pupil (Doornspijk, 1982) no. 1, pl. 11 (ca. 1650); Werner Sumowski, Gemälde derRembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no. 89, repro. (ca. 1650).
22. Joachim Wolfgang von Moltke, Govaert Flinck, 1615–1660 (Amsterdam, 1965), no. 32+, repro.
(1642?); Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 2:
no. 620, repro. (1640). According to the museum’s documentation, the dating to 1645 was assigned by
Hofstede de Groot in “Govaert Flinck,” Ulrich Thieme and Felix Becker, eds. Algemeines Lexikon der
Bildenden Künstler Antike bis zur Gegenwart 37 vols. (Leipzig, 1907–50) 12: 28–30. With thanks to Tom
van der Molen.
23. Peter Schatborn, Rembrandt and His Circle: Drawings in the Frits Lugt Collection (Paris, 2010), no. 14,
repro. (early 1650s). Willem Drost also made a drawing of this subject in the early 1650s© 2024 The Leiden Collection

Angel Appearing to Elijah
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24. These drawings comprise: 1) a copy in Musée Bonnat-Helleu, Bayonne, see Werner Sumowski,
Drawings of the Rembrandt School, ed. and trans. Walter L. Strauss, 10 vols. (New York, 1979–92), 1:
no. 210*, repro.; 2) a drawing, worked up later, which is now preserved in Hessisches Landesmuseum,Darmstadt, see Werner Sumowski, Drawings of the Rembrandt School, ed. and trans. Walter L. Strauss,
10 vols. (New York, 1979–92), 1: no. 266*, repro; and 3) a variant in Buenos Aires of the drawing inBayonne, Z. Bruck Collection, see Werner Sumowski, Drawings of the Rembrandt School, ed. and trans.
Walter L. Strauss, 10 vols. (New York, 1979–92), 1: 268*, repro.
25. Oil on canvas, 96.5 x 121.9 cm, Collection of Mr. and Mrs. Harry Moore, Kenilworth, Illinois. Alfred
Bader, The Bible through Dutch Eyes: From Genesis through the Apocrypha (Exh. cat. Milwaukee,
Milwaukee Art Center) (Milwaukee, 1976), no. 52, repro.

26. Pen and brush and brown ink, traces of black chalk, 153 x 157 mm, with Martin Moeller, Hamburg, as
by 2003. See Alfred Bader, The Bible through Dutch Eyes: From Genesis through the Apocrypha (Exh.
cat. Milwaukee, Milwaukee Art Center) (Milwaukee, 1976), no. 52, repro.; Christian Dittrich andThomas Ketelsen, Rembrandt: Die Dresdener Zeichnungen (Exh. cat. Dresden, Staatliche
Kunstsammlungen Dresden, Kupferstich-Kabinett) (Cologne, 2004), no. 75B, repro. and p. 16, fig. 12.
27. Johann Georg Prinz von Hohenzollern, ed., Staatsgalerie Schleissheim: Verzeichnis der Gemälde (Munich,1980), 8–9.
28. Oil on canvas, 128 x 97 cm, Gemäldegalerie, Dresden, inv. 1604. See Albert Blankert, Ferdinand Bol(1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), no. 5, pl. 3 (1642); Werner Sumowski, Gemälde
der Rembrandt-Schüler, 6 vols. (Landau and Pfalz, 1983–94), 1: no. 80, repro. (1642). Jacob’s Dreamalso has an old German provenance, for it was recorded as early as 1722 in the inventory of thecollection in Dresden of August the Strong, Elector of Saxony (1670–1733).

Provenance
Probably purchased by Maximilian II Emanuel, Bavarian Elector (1662–1726).
Count Johann Franz Ignaz Seyboltsdorff (1673–1711); by descent to Karl August Graf von FreyenSeyboltsdorff (1867–1945), Schloß Seyboltsdorff, Germany, until 1945.
Private collection, Germany (Sotheby’s, London, 5 December 2007, no. 27 [Johnny van Haeften Ltd.,
London]).
From whom acquired by the present owner in 2007.

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Exhibition History
Los Angeles, J. Paul Getty Museum, on loan to permanent collection, September 2009–November 2016
[lent by the present owner].
Beijing, National Museum of China, “Rembrandt and His Time: Masterpieces from The Leiden
Collection,” 17 June–3 September 2017 [lent by the present owner].
Shanghai, Long Museum, West Bund, “Rembrandt, Vermeer and Hals in the Dutch Golden Age:
Masterpieces from The Leiden Collection,” 23 September 2017–25 February 2018 [lent by the present
owner].
Moscow, The Pushkin State Museum of Fine Arts, “The Age of Rembrandt and Vermeer: Masterpiecesof The Leiden Collection,” 28 March 2018–22 July 2018 [lent by the present owner].
St. Petersburg, The State Hermitage Museum, “The Age of Rembrandt and Vermeer: Masterpieces of
The Leiden Collection,” 5 September 2018–13 January 2019 [lent by the present owner].
Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age. Masterpieces fromThe Leiden Collection and the Musée du Louvre,” 14 February–18 May 2019 [lent by the present
owner].
Amsterdam, Hermitage Amsterdam, “Rembrandt and his Contemporaries: History Paintings from The
Leiden Collection,” 4 February–27 August 2023, no. 10 [lent by the present owner].

References
Schatborn, Peter. Rembrandt and His Circle: Drawings in the Frits Lugt Collection. 2 vols. Paris, 2010, 1:
106; 2: 127, no. 14.
Schatborn, Peter, and Leonore van Sloten. Old Drawings, New Names: Rembrandt and His
Contemporaries. Exh. cat. Amsterdam, Museum Het Rembrandthuis. Varik, 2014, 33, no. 2a.
Yeager-Crasselt, Lara. “Angel Appearing to Elijah”. In Rembrandt and His Time: Masterpieces from The
Leiden Collection. Edited by Lara Yeager-Crasselt, 62; 177, no. 21. Translated by Li Ying. Exh. cat.
Beijing, National Museum of China. Beijing, 2017.
Long Museum, West Bund. Rembrandt, Vermeer and Hals in the Dutch Golden Age: Masterpieces fromThe Leiden Collection. Exh. cat. Shanghai, Long Museum, West Bund. Shanghai, 2017, 82.
Yeager-Crasselt, Lara. “The Leiden Collection and the Dutch Golden Age.” In The Age of Rembrandt
and Vermeer: Masterpieces of The Leiden Collection. Edited by Polina Lyubimova. Translated by Daria
Babich and Daria Kuzina, 18; 29. Exh. cat. Moscow, The Pushkin State Museum of Fine Arts; St.
Petersburg, The State Hermitage Museum. Moscow, 2018.
Yeager-Crasselt, Lara. “Angel Appearing to Elijah.” In The Age of Rembrandt and Vermeer:© 2024 The Leiden Collection

Angel Appearing to Elijah
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Masterpieces of The Leiden Collection. Edited by Polina Lyubimova, 68–69; 232, no. 1. Translated by
Daria Babich and Daria Kuzina. Exh. cat. Moscow, The Pushkin State Museum of Fine Arts; St.
Petersburg, The State Hermitage Museum. Moscow, 2018.
Yeager-Crasselt, Lara. “The Leiden Collection and the Dutch Golden Age.” In Rembrandt, Vermeer andthe Dutch Golden Age. Masterpieces from The Leiden Collection and the Musée du Louvre. Edited by
Blaise Ducos and Lara Yeager-Crasselt, 26, 29. Exh. cat. Abu Dhabi, Louvre Abu Dhabi. London, 2019.
[Exhibition catalogue also published in French and Arabic.]
Ducos, Blaise, and Lara Yeager-Crasselt, eds. Rembrandt, Vermeer and the Dutch Golden Age.
Masterpieces from The Leiden Collection and the Musée du Louvre. Exh. cat. Abu Dhabi, Louvre Abu
Dhabi. London, 2019, 98, no. 30. [Exhibition catalogue also published in French and Arabic.]
De Witt, David. Life and Work of a Late Rembrandt Pupil: Abraham van Dijck, c. 1635–1680. Zwolle,
2020, 16–17, fig. 1.9.
Wheelock, Arthur K., Jr., Christiaan Vogelaar, and Caroline van Cauwenberge. Rembrandt and His
Contemporaries: History Paintings from The Leiden Collection. Exh. cat. Amsterdam, Hermitage
Amsterdam. Zwolle, 2023, 54–57, no. 10. [Exhibition catalogue also published in Dutch.]

Technical Summary
The support is composed of two sections of fine-weight, plain-weave fabric, joined with a vertical seam leftof center, which has been lined.[1] There are tacking margin fragments along all four sides and slight cuspingalong the upper and lower edges. No wax collection seals, import stamps, stencils, inscriptions or labels arelocated along the lining or stretcher reverse.
A dark-colored ground has been thinly and evenly applied followed by multiple glazes of paint applied toachieve volume and modeling. A cool underlayer delineates the veins and gives form to Elijah’s proper left
hand, followed by warm flesh-toned glazes. The drapery appears to have been similarly built up fromundermodeling to final glazes. Feathered strokes, where one color meets another, further enhance the illusionof volume.
No underdrawing or compositional changes are readily apparent in infrared images or X-radiograph.
The painting is unsigned and undated.
The painting has not undergone conservation treatment since acquisition in 2007 and remains in a good stateof preservation.[2]Technical Summary Endnotes

1. Approx. 85.1 cm from left edge. The seam is not visible in the X-radiograph or infrared images
provided.
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2. Entry based on an examination report prepared by Yvonne Szafran, head of paintings conservation, J.
Paul Getty Museum, Los Angeles, 2011.

© 2024 The Leiden Collection