- Duststained; paper remnants along one edge.

= On laid paper with (part of) an unidentified watermark (perhaps "Gothic P") in one of the corners. The style slightly reminds us of some of the drawings by Paulus van Vianen. Curious drawings: the first one has clearly a vanitas or memento mori theme; the boy with hourglass touching a skull with his finger can also be found in a print after Crispijn van de Passe and a young boy beneath a tree with a skull and hourglass can be found on an engraving by Paulus van Wtewael. Both have a connection with Utrecht, so perhaps an artist from that city. The other drawing combines the famous parable with a Till Owlglass theme. Probably alludes to the blindness/ ignorance of people towards others. The second drawing also shows a fox and three men conversing, one reading a book and standing on a sword (the Levite?), another man with a stick in his eyes and standing on a key (the Priest?) and the third man unpacking a box of books. Provenance: an unidentified circular collector's mark; the collection of C.P. van Eeghen (1880-1968) with his mark (Lugt 6016) and by descent from the latter to the present owners. SEE ILLUSTRATION PLATE XCVI.

- Paper remnants of former mount on verso. = Slightly in the style of Baccio Bandinelli.

- Sm. hole near right edge; duststained/ soiled; paper remnant (from former mount) near right/ left edge on verso.

= French or Flemish School. With the collector's mark of Wilhelm Koller (died in 1871) (Lugt 2632, collection auctioned in 1872). And an unread manuscript collector's mark in pencil ("Ba(...??) 1867) on verso. With an attribution "Lefebre" in pencil on verso. SEE ILLUSTRATION PLATE XCVI.

- Formerly folded. Some stains and folds; paint partly worn away.

= Skillful drawing with cartouche in auricular style.

- Both upper corners dam. and partly repaired; old folds.

= With "Primaticio" in lower outer corner. For the watermark cf. Heawood 1769 (dating 1616).

- Drawing rubbed, sl. worn away.

= With an attribution to Willem de Heer on verso, but not really his style. The innkeeper seems to be wearing a wreath, like a bacchant. Perhaps an allegory on wine or wine making.

- Soiled; browned and duststained.

= With an attribution in pen and brown ink to (Allaert van) "Everdingen" and in pencil to Adriaen van de Velde on verso.

- Laid down on linen; soiled w. waterstains in lower part; prob. w. a closed tear.

= According to a ticket on the mount, from the collection of Adriaan Neetesonne (son of artist Leopold).

- Browned; chafed; corners clipped; laid down on later stiff paper.

= Inscription perhaps "Caracci".

- Various sm. holes; paper remnants along right edge.

= With an annotation on the accompanying mount: "circle of Felice Torelli" in pencil.

- Laid down on later stiff paper; closed marginal tears.

= In the background the Trojan horse can be seen, for which Laocoon warned the citizens of Troy. SEE ILLUSTRATION PLATE XCVII.

- With waterstains; leaf w. irregular shape.

- Doubled w. modern paper; sl. frayed; a few closed holes (mostly in upper part) and a larger section in right edge near lower right corner and in upper right corner.

= With an annotation on verso 'Boscoli' (a very doubtful attribution to Andrea Boscoli (c.1560-1606). Francis was canonized in 1622). SEE ILLUSTRATION PLATE XCVII.

- Creased; w. a few sm. holes and weak spots; edges frayed/ chipped.

= Perhaps a funeral monument? The annotations are unread ("wa(..)hen" (?) and "(...)oeris"). With a later annotation "Kamberlin" (perhaps a reference to the collector Joseph-Guillaume-Jean Camberlyn or the artist Luca Ciamberlano?). From the collection of C.P. van Eeghen (1880-1968) with his collector's mark (Lugt 6016) on verso, by descent to the present owners.

- Sl. browned/ sl. foxed and sl. brittle along edges.

= On laid paper with part of horned watermark (cf. Churchill 315).

- The left hand of the seated man pasted over with paper, probably because of its position in front of the crotch of a woman; margins extended with modern paper.

= On laid paper with a watermark showing a jug, with a foot, shaped from a fleur-de-lis, the monogram IM on its body and topped by a clover. On verso part of a contemporary address in French. With a later attribution to Andries Both in pencil, but not by him.