French School, circa 1600

Unframed. Mounted with the print. The drawing is hinged just at the top ot the sheet. Remains of an old 17th backing in six points on the verso. The drawing was never completely laid down. Traces of a vertical fold at the centre. A loss at the upper left corner, with a tear just below. The lower right corner is also missing. A few nicks to the lower edge. A number of light brown stains coming through from the verso, in some places where the ink from the inscription has bled. The paper at the top of the sheet is slightly buckled. The seated lute player drawn on a separate piece of paper, attached to the main sheet. The ink in the original is darker in tone than the catalogue illustration. The contrast between the ink and the paper is much more vivid than the photograph. The print is torn at the lower edge and has some creases and small losses. The paper is slightly yellowed.
"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."

Although the artist is unknown, this drawing relates to a print of the same composition published by Paul de la Houve, a Paris-based print publisher, active between 1599 and 1614.  (An impression of the print is included in the lot.)  The print is in reverse to the drawing, but it is unclear whether the latter was made in preparation for the print, rather than the print-maker simply copying the composition.  Neither the draughtsman nor the printmaker has compensated for the fact that the image is to be reversed, as both the lute player and oboist in the drawing are holding their instruments correctly, but those in the print are not.  However, the tight cross-hatching and neatly corrected figure of the seated lutenist seem to suggest that the drawing was made with the intention of being passed to a print-maker.  Furthermore, there are some small differences between the two, which one would not expect to see if the drawing was simply copied: the second musician from the right in the small group behind the women strewing flowers is looking up to the left in the drawing, whereas in the print she looks down.  The left-hand flower girl is also drawn with her eyes open, but in the print they are cast down.