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Waterloo, Anthonie
Le Jeune Tobie et l’Ange (#4 of series of 6 of subjects of the Old Testament) Le Jeune Tobie et l’Ange (#4 of series of 6 of subjects of the Old Testament)
Around 1660–1680 Around 1660–1680

In one of the most poetic renderings of the Tobit narrative, the backlit figures of Tobias and the Angel crest a rocky promontory, with the Angel pointing the way ahead, his arm reaching out over the dog at his side. The prolific landscape etcher Waterloo looked primarily to the work of Hercules Seghers (1589/90–after 1633) and Jacob van Ruisdael (1628/29–1682). This print is consistently, and justifiably, marked as his masterpiece. The rugged Alpine landscape, likely concocted, underscores the important role of the Guardian Angel in protecting travellers.

 
Waterloo, Anthonie
Lille, France 1609-Utrecht, Netherlands 1690 Lille, France 1609-Utrecht, Netherlands 1690
Le Jeune Tobie et l’Ange (#4 of series of 6 of subjects of the Old Testament) Le Jeune Tobie et l’Ange (#4 of series of 6 of subjects of the Old Testament)
Around 1660–1680 Around 1660–1680
Etching on paper, state 2 of 2 Etching on paper, state 2 of 2
height / width: 30.00 x 25.50 cm; 11.81 x 10.04 in.
Gift from the estate of Mabel E. Segsworth, through the Queen's University Art Foundation, 1944 Gift from the estate of Mabel E. Segsworth, through the Queen's University Art Foundation, 1944
00-671

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