A dynamic ink and wash sketch by Ferdinand Bol, depicting the biblical scene of the angel Raphael departing from the family of Tobit.

This sketch by Ferdinand Bol captures the dramatic conclusion of the biblical narrative concerning Tobit and his family. Bol, a pupil of Rembrandt, demonstrates a clear stylistic affinity with his master in this work. The composition relies on rapid, calligraphic pen strokes and fluid washes to define the figures as they react to the sudden disappearance of the angel Raphael. The scene is set within a domestic interior, where the family members are depicted in various states of awe and prostration.

Bol uses the ink wash to create a sense of atmosphere, suggesting the supernatural presence of the angel through light and shadow rather than explicit detail. The figures are grouped centrally, with the lines of their bodies drawing the viewer toward the centre of the action. The sketch reflects the typical Dutch Golden Age interest in humanising biblical stories, focusing on the emotional response of the characters to divine intervention.

As a preparatory study, the work provides insight into Bol's creative process. The economy of line is characteristic of his drawings from the 1640s, a period when he was closely associated with Rembrandt's studio. The paper retains its original tone, and the application of the wash adds depth to the figures, grounding them in the space despite the sketch-like quality of the execution. This piece offers a glimpse into the technical approach of a seventeenth-century Dutch master, prioritising gesture and narrative clarity over finish. It is an example of the expressive potential of ink and wash, where minimal marks convey complex theological and emotional themes.