Crispijn van de Passe I

Window mounted. Some surface abrasions, especially in angel's left sleeve. A little light foxing. Light water stain in centre, visible only from the reverse. Chalk generally still good and strong.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This outstanding, free drawing by de Passe is a preliminary study, in the same direction, for the final plate in the series, Speculum Passionis Christi (fig. 1), engraved by de Passe after his own designs, with the help of his son Crispijn the Younger.¹  The series consists of a title-plate plus ten half-length depictions of angels with instruments of the Passion, each with four lines of verse by Arent Buchelius below.  The preparatory drawing, in reverse, for the seventh print, Angel with Sponge and Dice, is in the Liberna Collection.²  That drawing is in red chalk as well as black and is indented for transfer, but is otherwise very similar in style, and is also signed with the distinctive, large monogram seen here.  It is likely that the present drawing represents an earlier stage in the process of designing the print to which it relates.  Although de Passe was a prolific printmaker, relatively few of his preparatory drawings are known, and this is an exceptionally accomplished, grand example of his draughtsmanship.  Ilja Veldman has confirmed the attribution, in an email to the present owner.³ 

1.  F.W.H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts.., vol. XVI, Amsterdam 1974, pp. 21-23, nos. 57-67 ad
2.  J. Bolten & A.T. Folmer-von Oven, Liberna Foundation, catalogue of Drawings, Hilversum 1989, pp. 24-5, no. 12 
3.  9 August 2014