ID:2397

Domenico Mona, also known as Monio or Moni, (Ferrara 1550 – 1602), Study of a frieze in the Palace Gaddi (currently Palazzo Cesi) in Rome, pen and brown ink, brown wash, framed.

18.1 by 30.5 cm. (7 1/8 by 12 in.)

ID:2442

A drawing in black chalk and brown wash, A saint hermit praying, Venetian school of the end of the seventeenth or beginning of the eighteenth c., black chalk, framed.

24.1 x 17.8 cm (9 ½ x 7 inches)

ID:2273

Drawing, Flemish school, in black chalk on laid paper, study for three men in bust, fully laid down to the mount, with an old attribution to Rubens, 17th century. On the mount verso, lower left, the Cachet of the Societe Frits Lugt pour l’Etude des Marques de Collection (Lugt no. 3031); center, a monogram C. de R.; and various inventory numbers.

5 by 4 ½ inches (125 by 118 mm)

ID:2394

Attributed to Ercole Bazicaluva (Pisa ca. 1600 – ca. 1641 Florence), a drawing, River landscape with figures, pen and brown iron gall ink, brown wash, on laid paper, framed. Tears, creases, and stains.

29 by 21 cm (11 ½ by 8 ¼ in.)

ID:2436

A drawing attributed to Ludovic Toeput, called Il Pozzoserrato (Antwerp towards 1550 – 1604 Treviso): A rooftop view of a city, perhaps Treviso, in northern Italy. Pen and brown ink, with extensive brown wash, on paper with the Blaue watermark. Indications verso, the back carries an old attribution to Claude Lorraine. Fully laid down, with a small tear upper right. Framed.

10 by 19.5 cm (4 x 7 ¾ in.)

ID:2456

A 17^th c. Italian drawing in sanguine, The family of satyrs, attributed to Filippo Lauri (Rome 1623 – 1694). Stamped with the mark of the Alliance des Arts (Lugt 61).

16.5 x 22.4 cm (6 ½ x 8 7/8 inches)

ID:2460

A drawing, French school of the 19th century, on 18^th - 19^th century laid paper with no watermark, Tree with a fence, in red chalk (sanguine); Verso: further study for the tree and a classical temple, plus architectural sketches in black chalk. An unidentified signature lower right.

30 x 30 cm.

ID:2473

Jacob de Wit (Amsterdam 1695-1754), Putti crowning a statue, a drawing in pen and black ink, brown and grey wash, and highlighted with white, in a fine sculpted wood frame.

10 ¼ in. By 6 ½ in. (26 x 16 cm.)

ID:2032

Attributed to Christian Bernhard Rode (Berlin 1725-1797), Joseph interpreting Pharaoh’s dreams, black chalk, brown wash, heightened with white, on brown woven paper, late 18^th c.; sheet is taped around the edges in a window mount, losses, some water-staining, slight oxidization of some of the whites.

11¾ by 15¾ in. (29.8 by 40 cm.).

ID:2036

Attributed to Pier Francesco Mola (Coldrerio near Lugano 1612-1666 rome), a framed drawing in pen and sepia ink, and sepia wash, on laid paper, Classical Figures in a Landscape, unsigned; inscribed “Pe F. Mola 1609-1665,” “No 50,” “6,” and “Collection of John Bailey” in pencil on verso; some wear to lower right.

Sheet size: 10 in by 7 ¼ in (25.4 by 18.4 cm)

Provenance: From the Collection of John Bailey;

Kennedy & Co. Rare Prints, 705 5^th Ave., New York, inv # 20380

ID:2053

Drawing attributed to Antonio Domenico Gabbiani (Florence 1652-1726), “The Asumption of the Virgin,” on laid paper with

a fleur-de-lys watermark, in pen and brown ink. On the reverse, Head of Christ in black chalk. Small tear at the bottom.

sight view 232 by 162 mm (9 1/8 by 6 3/8 in)

ID:2055

Bolognese school, around 1700, Two studies of female heads, on laid paper with a watermark circle surmounted by three circles, in black chalk with accents of white chalk. Fragmentary sketch in sanguine lower left, small loss at the top. On the reverse upper left, the number 69.

Sight view 300 by 245 mm (11 ¾ by 9 5/8 in)

ID:2078

Italian school of the early 18th c, circle of Giovanni Battista Piazetta (Venice 1683-1754), study of a standing nude

male seen from behind, black chalk and stumping with white chalk highlights. Laid down, small corner losses.

376 mm by 242 mm

ID:2079

Italian school of the early 18th c, circle of Giovanni Battista Piazetta (Venice 1683-1754), study of a standing nude male seen from behind, black chalk and stumping with white chalk highlights. Laid down, small corner losses.

376 mm by 242 mm

ID:2162

Drawing by Pieter Bout (Bruxelles 1658-after 1731), The conversion of St Paul, pen and india ink, gray wash, marked lower right. Fold marks and small spots, framed.

7 ¾ by 10 in (19.5 by 24.5 cm)

Provenance: Collection Nicos Dhikeos, his stamp (L. 3529) lower left

Pieter Bout is best known for his collaboration with Adriaen Boudewyns: Bout provided figures for their joint production.

ID:2281

School of Guido Reni (Bologna 1575 - 1642), The assumption of the Virgin, pen and brown ink with grey wash on laid paper with a fragment of a watermark. The Hebrew name of god is present upper right. The upper left angle has been cut out and the top of the sheet has been laid down on a mount. Annotated on the mount in an old hand in ink: upper right “Teresa!”; lower right “guido Reni 1575 – 1642 Ec. Ital”; lower left “Assumption”; the lower annotations are repeated on the mount lower left beneath the drawing.

7 by 6 inches (17.7 by 15.2 cm)

This study relates to the upper section of Reni’s Assumption of Mary in the church of Saint Ambrose (Chiesa del Gesu) in Genoa.