This is part of a collection of 105 prints depicting scenes from the Aprocryphal Biblical book of Tobit (etchings, engravings, and woodcuts) from the 16th through to the 19th centuries; English, Italian, Dutch, Flemish and French, but mostly 17th century Dutch and Flemish. They were acquired systematically over a period of around 20 years by Alphons Hamer, who has served as Ambassador of the Kingdom of the Netherlands in various posts, currently to the UN in Vienna. Mr. Hamer’s interest has not been theological, but rather art historical, a fascination with the ways in which European artists have approached and interpreted a fertile and significant text. The collection is topped by a number of well-known images connected to the theme’s most famous interpreter, Rembrandt. It includes Rembrandt’s famous depiction of the Angel Departing from Tobias and his Family, dating to 1641, just before he completed his masterpiece known as The Night Watch, when he was at the height of his fame and influence. There is also Jan van de Velde’s print after Willem Buytewech, showing Tobit and Anna quarreling, which Rembrandt used as a compositional template for his early painting of this theme, now in Amsterdam. Most surprisingly, Mr. Hamer managed to acquire a copy of Dirck Volckertsz. Coornhert’s woodcut, after Maarten van Heemskerck’s design, of the Angel’s departure, which likewise served as a direct model for Rembrandt’s print as well as an earlier painting. This print is not otherwise known to have appeared on the market in modern times.This large collection is also rich in prints that were produced in series, of various scenes from Tobit. All the major artists are represented: Hans Bol, Georg Pensz, Van Heemskerck, Marten de Vos, Moyses van Wtenbrouck, and Claes Cornelisz. Moeyaert. In a remarkably sophisticated twist, of great interest to print scholars, Mr. Hamer collected two editions of the same series by Wtenbrouck, as well as a series after it by Jan van de Velde, offering a compelling look at the way in which such images lived longer lives in the hands of publishers and subsequent artists. Indeed, the collection demonstrates the sustained attention that artists paid to each other’s works, and transmited themes.