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Rebecca and Eliezer at the Well

Ferdinand Bol (Dordrecht 1616 – 1680 Amsterdam)
ca. 1645–46
oil on canvas
171 x 171.8 cm
inventory number

Yeager-Crasselt, Lara. “Rebecca and Eliezer at the Well” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. (accessed February 02, 2023).

This work was gifted to the Musée du Louvre in 2017, having been on loan to the Louvre’s Dutch galleries since its acquisition in 2010.

Ferdinand Bol’s tender portrayal of the Old Testament story of Rebecca and Eliezer at the Well demonstrates the artist’s sensitivity and invention in rendering biblical narratives. As told in the Book of Moses, the aging patriarch Abraham sent his servant Eliezer to Mesopotamia in search of a wife for his son, Isaac. Upon reaching the edge of the city of Nahor, Eliezer stopped by a well and prayed to God for guidance. He asked that the first woman to show him and his camels kindness by offering them water would become Isaac’s chosen wife. “And so it came to pass, before he had done speaking, that, behold, Rebecca came out . . . with her pitcher upon her shoulder. And the damsel was very fair to look upon, a virgin, neither had any man known her: and she went down to the well, and filled her pitcher and came up. And the servant ran to meet her, and said, ‘Let me, I pray thee, drink a little water of thy pitcher.’ ‘Drink, my lord’: and she hasted, and let down her pitcher upon her hand, and gave him a drink” (Gen. 24:10–20).

Seated with his back to the viewer, Eliezer cups Rebecca’s large pitcher between his hands to take his first sip of water. Broad passages of light and dark define his thick shoulders and torso, which are clothed in a brown tunic and accented by a bright red-belted sash. Rebecca supports the heavy vessel from below, and gently tilts the pitcher towards Eliezer’s lips. She forms the core of the painting’s pyramidal composition, holding a position of strength and stability. As Rebecca gazes down on Eliezer with a soft, compassionate expression, she seems to have already accepted God’s will. Light falling over her face and cream-colored robes accents her earring, as well as a jewel nestled into the cascade of maroon fabric behind Eliezer, jewelry that Rebecca would receive as a gift for her hand in marriage.

Next to Rebecca is a young maidservant whose crimson dress echoes the color of Eliezer’s belted sash. She empties a bucket of water into a trough for sheep, three of which are partially visible in this tightly cropped composition. Behind the figures is a rugged, mountainous landscape with a view of Nahor’s rooftops visible in the left background. Near the city are Eliezer’s retinue and camels, one of which peers out toward its master, eager to receive its own drink.

By focusing on the interaction between Rebecca and Eliezer, Bol captured the humanity and grace that accompanied this divine moment. In doing so, he evoked not only Rebecca’s own attributes, but also the universal qualities of generosity and humility that made her a model for wives in the sixteenth and seventeenth centuries. The story of Rebecca and Eliezer was celebrated in prints, emblem books, and penningen, marriage tokens given to brides on their wedding day.  The two figures were traditionally depicted in a large stage-like setting before the well, where a group of onlookers watches Rebecca’s formal and reserved passing of the pitcher to Eliezer. Bol’s approach, which emphasized the delicate human relationship between Rebecca and Eliezer, reflected the influence of Rembrandt van Rijn (1606–69), whose studio Bol left around 1641.

Although Rembrandt himself never painted this Old Testament story, several drawings both by and attributed to the artist from the late 1630s and early 1640s demonstrate that the subject interested him and members of his workshop. A drawing attributed to Rembrandt at the National Gallery of Art in Washington, dated to the 1640s, depicts Rebecca gently guiding the pitcher to Eliezer’s lips, much as in this painting. A slightly later pen and wash drawing in Darmstadt (), a copy of a lost Rembrandt painting, is a particularly close compositional prototype for Bol’s painting. The image shows Eliezer seated with his back to the viewer, rendered in half shadow. Rebecca tenderly clasps her hand to her chest as she and her maidservant gaze down toward him. In his painting, Bol simplified the narrative by monumentalizing the figures and focusing on Rebecca’s act of kindness.

Bol’s treatment of this story corresponded to other biblical history paintings he executed in the mid-1640s, such as the Leiden Collection’s The Angel Appearing to Elijah, dated to ca. 1642, and The Rest on the Flight into Egypt and Judah Gives Thamar His Signet Ring, both dated to 1644. In each of these works Bol similarly situated large, weighty figures in tightly composed landscapes. With his rich chiaroscuro and tonal palette, Bol focused on quiet narrative moments that emphasized intimate human interaction. Among these works, Rebecca and Eliezer at the Well displays a more assured command of form, space and the exchange of gestures, suggesting that he executed it at a slightly later date, probably around 1645–46.

Rebecca and Eliezer at the Well is Bol’s only known painting of this subject, but he also rendered this biblical narrative in a drawing from the latter half of the 1640s (). In this work, Bol expanded the scope of the composition by adding more figures and enlarging the setting. Most significantly, he distanced the relationship between Rebecca and Eliezer. Rebecca, now wearing a large broad-brimmed hat, stands above Abraham’s servant as he looks past her and balances the pitcher on his knee. To the left, an arched doorway reveals a gentle landscape, while Eliezer’s camels gather at the well to the right. The substantial differences that exist between the drawing and the painting suggest that the two works were created independently of each other.

In about 1648, Bol executed a portrait historié of Anna van Erckel and her first husband, Erasmus Scharlaken, as Isaac and Rebecca (). The wealthy couple’s decision to have themselves portrayed in the guise of Old Testament figures was in line with seventeenth-century fashions, but it also demonstrates the importance of this biblical episode as a model for married couples. The woman’s costume in the Dordrecht work is nearly identical to the cream-colored dress worn by Rebecca in the Leiden Collection painting, and both works share an earth-toned palette and undulating use of light and shadow. These similarities, while establishing an iconographic relationship between the two images, also reinforce the dating of Rebecca and Eliezer at the Well to this same period of Bol’s career. These two paintings indicate that Bol continued to explore the pictorial possibilities of the subject during the latter part of the 1640s, much as did other artists who had studied with Rembrandt earlier in that decade, including Gerbrand van den Eeckhout (1621–74) and Carel Fabritius (1622–54).

- Lara Yeager-Crasselt, 2017
  • Possibly J. de Bos, Amsterdam (his sale, Amsterdam, 6 August 1810, no. 15, not sold; his sale, Amsterdam, 6 April 1812, no. 68 [to W. Reyers for 35 florins]).
  • Private collection, France (sale, Perrin-Royère-Lajeunesse, Versailles, 14 June 2009, no. 38 [to Salomon Lilian B. V., Amsterdam]).
  • From whom acquired by the present owner in 2009.
  • Paris, Museé du Louvre, November 2010–November 2015, on loan with the permanent collection [lent by the present owner].
  • Paris, Museé du Louvre, “Masterpeices of the Leiden Collection: The Age of Rembrandt,” 22 February–22 May 2017 [lent by the present owner].
  • Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age. Masterpieces from The Leiden Collection and the Musée du Louvre,” 14 February–18 May 2019 [lent by the Musée du Louvre].
  • Perris-Delmas, Stéphanie.  “À la une: Le Marché.” La Gazette de l’Hôtel Drouot 17 (2 May 2009): 5.
  • Ducos, Blaise. “Paris – New York – Paris: Éliézer et Rébecca au puits de Ferdinand Bol: un don au Louvre.” In Masterpieces of The Leiden Collection: The Age of Rembrandt. Edited by Blaise Ducos and Dominique Surh, 15. Exh. cat. Paris, Museé du Louvre. Paris, 2017.
  • Ducos, Blaise.  “Rebecca and Eliezer at the Well,” In Masterpieces of The Leiden Collection. Edited by Blaise Ducos and Dominique Surh, 22, no. 1. Exh. cat. Paris, Musée du Louvre. Paris, 2017.
  • Yeager-Crasselt, Lara. “The Leiden Collection and the Dutch Golden Age.” In Rembrandt, Vermeer and the Dutch Golden Age. Masterpieces from The Leiden Collection and the Musée du Louvre. Edited by Blaise Ducos and Lara Yeager-Crasselt, 24, 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, 53, 183–3 , no. 95. [Exhibition catalogue also published in French and Arabic.]

The support is composed of two sections of fine-weight, plain-weave fabric, joined with a horizontal seam at the height of Eliezer’s shoulders, and has been lined. The tacking margins have been removed and a rectangular canvas insert has been applied to the upper right corner. There is slight cusping along the lower and right edges; no cusping but a stretcher-bar crease along the upper edge, which is tightly cropped at the top of Rebecca’s head; and no cusping or stretcher-bar crease along the left edge, which all suggests that the upper and left edges may have been trimmed.

An area measuring a few centimeters of a previously applied 20 cm-high fabric addition along the width of the upper edge was retained during the recent lining procedure, and the painting was brought back to what appears to be close to the composition’s original format. No wax collection seals, import stamps, stencils, inscriptions, or labels are located along the lining or stretcher reverse.

A double ground, comprising a warm earth-colored lower ground followed by a white ground, has been thinly and evenly applied. The paint has been applied with thin brushstrokes of madder glazes along Eliezer’s garments and with impasto along the flesh tones of the women’s faces. Before the recent conservation treatment, the sheep on the extreme right had been painted out. Despite its awkward appearance, the canvas does not appear to have been cut significantly on this side, and it does not appear that the entire figure of the sheep was ever included in the picture.

The painting is unsigned and undated.

The painting was cleaned, lined, and restored in 2009 and remains in a good state of preservation.

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