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| Ferdinand Bol Self-portrait 1653 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Portrait of Elisabeth Dell ca. 1653 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Portrait of Margarita Trip as Minerva instructing her sister Anna Maria Trip 1663 oil on canvas Rijksmuseum, Amsterdam |
"In 1662 the fabulously wealthy Trip family moved into the stateliest private residence in all of Amsterdam. Hanging above a mantelpiece in one of the private rooms was this portrait of two of the Trip daughters: Margarita (1640-1714) wearing a helmet and breastplate, represents Minerva (goddess of art and science), and the eager student kneeling by her side is her eleven-year-old sister Anna Maria (1652-1681). In reality, Anna Maria received instruction from a private tutor."
– label text from the Rijksmuseum
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| Ferdinand Bol Portrait of the three Regentesses of the Amsterdam Lepers' Asylum ca. 1668 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Portrait of a man ca. 1669 oil on canvas Los Angeles County Museum of Art |
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| Ferdinand Bol Portrait of an old woman ca. 1657-60 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Portrait of a man 1663 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Caritas : Joanna de Geer with her children Cecilia Trip and Laurens Trip ca. 1662-69 oil on canvas Rijksmuseum, Amsterdam |
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| Ferdinand Bol Portrait of the painter Carel Fabritius ca. 1645 oil on canvas Hermitage, Saint Petersburg |
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| Ferdinand Bol Portrait of a naval officer 1667 oil on canvas Rijksmuseum, Amsterdam |
"Such as wrote the lives of great and famous men, were wont also to joyne their painted images unto the relation made of them; that posteritie might as well view the picture of their bodies as of their mindes. T. Pomponius Atticus expressed in verse who they were among the Romanes that did excell in honour and great deeds, 'so that their deeds and honours are described under every one his image with no more but foure or five verses,' sayth Corn. Nepos. Varro likewise studied to extend the fame of illustrious men after the same manner. Plinie speaketh of them both at once; 'that the love of images hath been much in request,' sayth he, 'is witnessed by Atticus, that friend of Cicero, seeing he published a volume of images: it is witnessed also by M. Varro, who by a most bountifull invention inserted into the fertilitie of his volumes not the names onely but in some manner the images also of seven hundred illustrious Worthies; not suffering their shapes to perish, nor age to prevaile against men; deserving the envie of the Gods themselves by the invention of such a gift; since he did not onely bestow immortalitie upon them, but sent them also abroad into all Countries, that they might be present every where and carried about.'"
– from Book Two (chapter eight) of The Painting of the Ancients by Franciscus Junius, first published in English in 1638 – edited by Keith Aldrich, Philipp Fehl & Raina Fel for University of California Press, 1991
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| Ferdinand Bol Portrait of an old woman with a book 1651 oil on canvas Hermitage, Saint Petersburg |
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| Ferdinand Bol Lady with a fan ca. 1645-50 oil on canvas National Gallery, London |
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| Ferdinand Bol Portrait of an officer 1650s oil on canvas Hermitage, Saint Petersburg |
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| Ferdinand Bol Self-portrait 1669 oil on canvas Rijksmuseum, Amsterdam |
"Ferdinand Bol painted this distinguished self-portrait on the occasion of his second marriage. Both the portrait and the frame – made especially for the painting – allude to love. The statuette of the sleeping Cupid refers to chastity and elevated spiritual love. As a sunflower (like that atop the frame) always turns to the sun, so should a suitor direct himself to his beloved."
– label text from the Rijksmuseum
Ferdinand Bol lived another dozen years after his prosperous second marriage of 1669. Yet there are no paintings from his hand dated later than 1669.