5381 - 5728 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Leaf sl. soiled; verso partly pasted over w. paper; some holes/ sm. tears from acid biting, repaired on verso w. very thin Japanese.
= Attractive drawing on brownish paper. SEE ILLUSTRATION PLATE LXXIX.
= Perhaps later attribution (?) to Roeland Roghman in pen and ink on verso. According to the extensive annotation on the mount, this house could be identified as one of the houses visible on the plan of Amsterdam by Balthasar Florisz. van Berkenrode, on the Zeedijk, near the St. Anthonisgate. SEE ILLUSTRATION PLATE LXXX.
- Closed hole in upper part, affecting the hands of the left person and feet of St. Peter; some sm. holes/ tiny tears due to ink corrosion.
= Perhaps by Bartolomeo Coriolano who made several chiaroscuro prints after Reni. According to annotations on verso frame, bought by John O. Goodwin from a Catholic Irish tinkers community in 1972, inherited by his children and from 2018 part of the collection of E.J. Warren (?) from Shipston-on-Stour. SEE ILLUSTRATION PLATE LXXX.
- Brown offsetting along edges from former passepartout; sl. (finger)soiled; chip in upper edge.
= On verso a (later?) rough sketch in pencil of a sailing vessel. On laid paper with a partial watermark showing a crowned coat of arms with a horn.
- A few foxed spots.
= In 2012 an oil on copper painting was sold at Hampel auctions, Munich, with the same subject and the same composition as the drawing above. Most notable are the exact same position of the hands and feet of Christ and the profile of the face of Martha. According to Hampel auctions, it was painted by an unknown Flemish artist in possible cooperation with the artist Jan van Kessel (1626-1679), although the painting was dated 1638. Either this is a prepatory sketch for that painting or after the painting, but there are many details which seem to point to the first suggestion. According to an annotation on the mount, bought at Christies, Amsterdam in november 1988. SEE ILLUSTRATION PLATE LXXX .
ON VERSO: Anonymous (17th cent.). (A female shopkeeper hands a parcel to a beggar monk). Drawing, red chalk, 25,5x19 cm.
- Sm. portion of paper in lower left corner worn off.
= Appears to be painted on a letterpress broadside, dated "M.DC.III (?) , die XI Februarii". Tanchelm was a dissident preacher from Antwerp.
= On 17th cent. laid paper with a watermark showing a bunch of grapes.
= Perhaps ornamental designs or designs for an illustration.
AND 2 other sm. drawings, both pen and ink, tipped onto the same mount, i.a. showing a man in a robe.
- Doubled; old folds and tears.
AND a 17th cent. pencil drawing (Presentation in the temple of the Christ Child) after TITIAN.
- Leaf sl. (finger)soiled.
- Restored; laid down on mount.
= With attribution to F. Zuccarro (1539-1609) on mount. With unidentified collector's mark ("XIIII" topped by a crown, printed in red). SEE ILLUSTRATION PLATE LXXXI.
- Trifle soiled. = SEE ILLUSTRATION PLATE LXXXI.
- Sl. soiled.
= With the collector's marks of Victor Wintrop Newman (Lugt 2540) and an unidentified mark "A?" or "R?" on recto.
- Tiny tear near left edge from acid biting.
= With an unidentified and unread oval red collector's mark. SEE ILLUSTRATION PLATE LXXXI.
= On laid paper with small monogram watermark "LR" or "LB". SEE ILLUSTRATION PLATE LXXXII.
= SEE ILLUSTRATION PLATE LXXXI.
= The seventeenth century annotation in pencil is overwritten in pen and ink in 19th century handwriting. View of the Groenstraat in Mechelen, Belgium, towards the Onze-Lieve-Vrouw-over-de-Dijle church. With small annotations, i.a. next to the churchtower "wat hooger". On verso a drawing of samples of the ionic order in pen and ink (perhaps copied after a book illustration), dated "30 april 1624" and small sketches in pencil, i.a. people with a bow and arrow and some buildings. SEE ILLUSTRATION PLATE LXXXII.
- Vague waterstain near left edge; drawing sl. faded; tiny duststains.
= With part of an unidentified collector's mark in lower right corner recto. SEE ILLUSTRATION PLATE LXXXIII.