- Some foxing. = From the collection of J.A.M. Bijvoet, with his collector's stamp on verso (Lugt 2841b).

- Traces of former mount on verso (closing a tiny hole in upper right corner and above that a tiny rubbed spot); tiny tear in lower left corner and two foxed spots in lower right corner; a few very vague folds in upper right quarter.

= Bolten A17 (dating 1600-1605). Verso with contemp. annotation "Den 4. Martij: 1680" in pen and ink and w. later number in pen and ink "No.31"; with unidentified collector's mark (RPB or PRB) stamped on verso. On paper with watermark of Basler staff with appended M (Meder 212, dating 1567-1591) and Heawood 1198 (dating 1597). SEE ILLUSTRATION PLATE XCVII.

- Upper margin w. remnants of sellotape and waterst.

- Middle-fold; sl. yellowed.

= On thick laid paper. With various demonic figures, mostly shaped out of bones, but also a goat and a sphere and an hour glass. A curious drawing. Perhaps the figure of Saint John the Baptist being tormented or Saint Anthony or perhaps Hercules in the Underworld. SEE ILLUSTRATION PLATE CI.

- Laid down.

= Provenance: Gallery Lodewijk Houthakker, Amsterdam (catalogue 1964), bought by C.P. van Eeghen (1880-1968), by descent to the present owners. SEE ILLUSTRATION PLATE CI.

- Laid down on board; a few worn spots (nibbled by silverfish).

= Splendid drawing. In June 2014 a painting with this composition was sold at Im Kinsky, Vienna (lot 0499) (circle of Jan Both). The composition is partly depicted in reverse in the etching by Jan Both (Hollstein 4). SEE ILLUSTRATION PLATE CII.

- With a wrongful attribution to Francesco Salviati in pen and ink on recto; laid down on an 18th cent. mount.

= Sold by auction to the present owner in 2001 at Christies, London (sale 6475, lot 96). Study for a lost painting of the same composition (dated to circa 1668 by Jacques Thuillier) (J. Thuillier, Sebastien Bourdon, Paris, 2000, no. 328), copied by various artists and known through a print by François de Poilly. SEE ILLUSTRATION PLATE CII.

= The Rijksmuseum holds an anonymous 17th century Italian drawing (RP-T-1960-178) showing a very similar chapel on a very similar outcrop (also the small bushes on the outcrop are almost in the same place). The Kunsthalle in Bremen owns a drawing by Pieter van Laer showing a view of the Tiber near Acqua Acetosa with a very similar chapel on a outcrop (1955/254). This suggests that all three artists took inspiration from the same chapel. From the collection of the Irish artist Nathaniel Hone (1718-1784), with his collector's mark (Lugt 2793) on recto. On slightly thick laid paper. SEE ILLUSTRATION PLATE CII.

- Some foxing and soiling; blue stain near lower edge.

= A very similar drawing in style, manner and composition in the British Museum (inv. 5236.65), certainly by the same artist. That drawing (attributed by the British Museum to Paul Bril) is a preliminary study for this one. A print by Guillam van Nieulandt II after Paul Bril shows the same composition but mirrored and with large figures in the foreground (Hollstein 111).

= With the watermark of a fleur-de-lis in a crowned shield and "C.& I. Honig".

= The National Gallery of Scotland holds another drawing by the same artist of the same Scottish castle, depicted from a slightly different angle (cf. D 5344).

= The monstrans is just visible.

- Neatly restored copies. The first drawing w. restored strip in upper margin (±2x17,4 cm.) and w. small vertical restored strips in left and right margin (w. loss of image/ retouches). The second drawing w. upper half restored (9x18,2 cm.).

= Nice drawings, which can also be attributed to Ercole Bazzicaluva (1590/1610-1641). SEE ILLUSTRATION PLATE CIII.

= One drawing shows a couple dancing while others watch or converse. The other drawing shows a group of men seated at a table, watching another man grope a prostitute(?) under her skirts.

= Study for an allegorical sculpture. Perhaps Venus and Amor. Provenance: from the collection of C.P. van Eeghen (1880-1968), by descent to the present owners.

= A Rembrandtesque drawing.

- Yellowed; some scrachtes.

= Nice watercolour. Provenance: collector's mark of J.A.M. Byvoet on verso (Lugt 2841b) and sale A. Mak bv, Dec. 1991; title supplied on mount, together with reference to a smaller undated study for this watercolour in the Utrecht Gemeente-Archief.