- Ink trifle faded; sl. yellowed; a few vague foxed spots; tiny closed tear in outer margin; tiny closed hole in upper right part.
= Possibly St. Francis or Anthony of Padua.
- Foxed; cut on the borderline on left side. = With attribution to Jean-Baptiste Oudry on verso.
- Some brown soiling/ sl. foxing in left half; some old handling creases.
= On thick laid paper.
- Verso w. unidentified collector's mark "A.L" [?].
- Vague unobtrusive traces of a former smaller frame. = SEE ILLUSTRATION PLATE CXIV.
= Provenance: the collection A.M. van den Broek, with his collector's mark on verso. After the drawing now in the Noordhollands Archief. Attributed by Van den Broek to Hermanus van Brussel. SEE ILLUSTRATION PLATE CXV.
- Slightly thumbed; 2 tiny closed tears in right margin; upper right corner sl. worn.
= With calligraphed text "Pecato au lit de la mort des suites de son assasinat mars 1793", figure sketches and the collector's mark of Albert van Loock on verso (Lugt 3751).
- Trifle browned; nevertheless attractive.
- A few (vague) spots in the left half.
- Tipped onto mount; lacks sm. portion of upper left margin. = English school.
= Most probably by Daniel Dupré (1752-1817). There is no 18th century artist known as J. Weissenbruch. It appears to be added later.
= On woven paper. In the style of Egbert van Drielst. Cf. the drawing (RP-T-1918-20) by Van Drielst and the etching by Hendrik Schwegman (1761-1816) after Van Drielst in Rijksmuseum (RP-P-OB-59.363), with a very similar composition. On verso a attribution (?) to "v. Huysum". Schwegman made prints both after Van Huysum and Van Drielst. So perhaps by him.
= Provenance: the collection A.M. van den Broek.
- Yellowed; trifle foxed.
= Delicate drawing.