5092 - 5387 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Trifle yellowed/ sl. foxed.
= SEE ILLUSTRATION PLATE XLVIII.
- Sl. soiled; tipped onto paper; crease in lower corner.
AND ±15 other drawings.
= The monogram resembling Nagler 2325 ("Nicolas Briot, Kupferstecher, war zu Anfang des 17. Jahrhunderts in Lyon thätig (...)"). SEE ILLUSTRATION PLATE XLVII.
- Corners cut off. = Later "L" in pencil on verso. SEE ILLUSTRATION PLATE XLVIII.
- Possibly part of a signature in lower left margin (illegible). A few tiny holes/ thin spots, otherwise fine.
= SEE ILLUSTRATION PLATE XLVI.
- Formerly folded; some soiling/ foxing.
- Doubled; vaguely foxed/ soiled; restoration in upper corner.
= With attribution on mount to G. Reni (1575-1642). SEE ILLUSTRATION PLATE XLIX.
- Partly traced w. some pen and brown ink; some stains/ sl. dustsoiled.
- Mediocre condition. Formerly folded; lower corners cut off; (repaired) tears in margins.
= Impressive drawing, probably French School.
- Lower corner reattached.
= Or perhaps the scene shows Aeneas meeting the ghost of his wife Creusa. On laid paper with a watermark showing 3 crescent moons in a row, from big to small.
= With a small contemp. letterpress clipping describing the event that took place in Delft tipped onto mount. Another unrelated 18th cent. manuscript note is tipped onto the mount (stating the total sum collected on 10 September 1731 for the needy displaced Piemontese (Waldensians) in Delft and surroundings amounted to "f.11437-8-". A huge amount of money was collected throughout Calvinist Holland (over f.250.000 on that one day alone)).
- Laid down; browned; various holes and chips; paper brittle.
= With an attribution below in pencil to BACCIO DEL BIANCO.
- Upper margin dam. and repaired on verso; glue (badly) shining through.
AND 1 other drawing probably by the same artist, (Working man) (pen and brown ink, brown ink framing line, 13,5x12,7 cm. Waterst.; lower corner torn off (repaired)).
- Attached to mount along upper margin. Sl. soiled/ foxed; some vague flattened folds and creases (vertical middlefold strengthened on verso at ends); tiny wormholes; verso w. remnants of former mounting along left margin.
= SEE ILLUSTRATION PLATE XLVII.
= On 17th century laid paper with part of a watermark showing part of a horn in a heraldic shield.
AND 7 other drawings, all showing buildings or architectural designs, 18th-early 20th cent.
- Foxed.; attached to passepartout w. yellow painter's tape.
- A few restorations; vertical fold in left margin; lacks portion in upper blank margin.; sl. foxed.
= Very much in the style of Abraham de Verwer (1585-1650). SEE ILLUSTRATION PLATE XLVII.
- Laid down on board. = SEE ILLUSTRATION PLATE XLIX.
- Doubled; 2 large closed tears through image (repaired and only sl. visible); margins occas. sl. chipped; tipped-in.
= Attributed to ADRIAEN HANNEMAN (ca.1601-1671) by the previous owner (see: O. ter Kuile. Adriaan Hanneman 1604-1671, ill.16 en 70 for the portraits of Sophie van der Palts showing great similarities). With pencil annotation on mount stating the drawing was previously in the collection of Johan Lord Somers (Lugt 2981). With annotation in pencil on verso "Original drawing by Van Dyck". And with annotation in pencil on verso mount "Sir Peter Lely".