Lodewijk Toeput, called Pozzoserrato

From the Sagredo album (L.2103a, numbering, verso: P.O. N^o: 86),
the provenance of which is possibly as follows:
Doge Nicolò Sagredo, Venice, by circa 1654;
his brother, Stefano Sagredo, Venice;
his nephew, Zaccaria Sagredo, Venice;
his wife, Cecilia Sagredo, until sold, circa 1743;
Maurice Marignane (L.1872);
sale, Amsterdam, Sotheby's, 9 November 1999, lot 1 (as Attributed to Frederik van Valckenborch) 

Hinge mounted. There is a loss to the lower centre which has been sensitively made up. The sheet has slightly discolored and there are some small stains and areas of surface dirt. The pen and ink medium remains reasonably fresh throughout this highly atmospheric sheet.
"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."

Though previously offered on the art market as Attributed to Frederik van Valkenborch, an attribution to Pozzoserrato seems more convincing based on the handling of the present sheet.  Indeed our drawing can be compared on a number of grounds to a drawing by Pozzoserrato, depicting a Fantastical landscape with an amorous couple, in the collection of the Accademia Carrara, Bergamo.¹  Both works share a signature style of hatching and wash to denote shadow, which is particularly noticeable at the base of the ruins in the present sheet and corresponds closely to the base of the tree in the Bergamo drawing.  Similarly the handling of the achitectural elements in both works seem to bear a strong resemblance to one another, with the somewhat spiky, energetic handling of the ink evident in both. While the dating of the two works differs chronologically by 15 years the very fact that both are inscribed by a seemingly identical hand, lends further credence to the new attribution.

The sheet was once part of the Sagredo collection (see Provenance). The beginnings of the collection are believed to lie with Doge Nicolò Sagredo who acquired a large number of drawings from the Bassano studio in 1651.  His collection passed to his brother Stefano and then to his son Zaccaria who added greatly to the collection, notably through his acquisition of the Caliari family collection.

^1.  See L. Menegazzi, 'Grafica del Pozzoserrato,' in Toeput a Treviso, Asolo 1988, p. 69, fig. 12