Ink drawing by Giovanni Sassoferrato, 17thc, possibly depicting The Lamentation, but otherwise unknown subject.There is a God like figure thrusting his arm upper left, and an angel with the cross right center, and what appears to be the Virgin Mary in mourning lower right.Drawing is 8" by 10" in a frame 18" x 22".////////////////////////////////////////////////////////////////////////////////////////////////////////(From Wiki):"Giovanni Battista Salvi da Sassoferrato (August 25, 1609 – August 8, 1685), also known as Giovanni Battista Salvi, was an Italian Baroque painter, known for his archaizing commitment to Raphael's style.[1] He is often referred to only by the town of his birthplace (Sassoferrato), as was customary in his time, and for example seen with da Vinci and Caravaggio.The details of Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the Marche region of central Italy, half-way between Rome and Florence, east of Apennines.Sassoferrato was apprenticed under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese Domenichino, a main apprentice of Annibale Carracci (c. 1580). Two other Carracci trainees Francesco Albani and Guido Reni also influenced Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master.[2] His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael. He appears to also have been influenced by Pierre Mignard, whom he may have met in Rome in the 1630s.Few public commissions by Sassoferrato exist, and, like Carlo Dolci he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the Counter-Reformation of the Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of San Pietro in Perugia (1630) and the imposing altarpiece in Santa Sabina, Rome, portraying La Madonna del Rosario (1643).[3] In 1683 Cardinal Chigi presented Sassoferrato’s self-portrait to Cosimo III de' Medici.[4]Sassoferrato died in 1685. His will is dated June 29 of the same year.Sassoferrato's work was held in high regard through to the mid-19th century. His paintings were sometimes believed to be contemporary with the School of Raphael. However, by the late 19th century, reaction against sweet devotional art work was reinforced in England by the critical commentary of John Ruskin.The late 20th century saw a revival of interest in Italian Baroque archaizing painting with Guido Reni leading the way in generating a surge of auction interest also in Sassoferrato.There are over three hundred works by Sassoferrato in public collections in 2006 throughout the world including almost all of his extant drawings in the British Royal Collection at Windsor Castle.Sassoferrato was also active as a copyist and reproduced paintings by other masters. His copying style was highly free and individualistic and he rather modified the original compositions or their dimensions than slavishly copy.[5]///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////Provenance:Krzystof Postawa Estate, Jackson Heights(Queens)New York.Descended directly and kept in the family that descended from Frederick Mont.Frederick Mont was born in Vienna, Austria on 3/26/1894. He died on 8/20/1994 in N.Y.C.He was survived by his wife Anna Mont nee Suchestow. He had no children.Anna Mont died on 7/28/2010 in N.Y.C. She was survived by her sister Lottie Brandel.Lottie Brandel died on 7/20/11 in Jackson Heights, NY and was survived by her husband, Krzysztof Postawa.Krzysztof Postawa died on 7/11/2018 in Jackson Heights, NY.(From the Frick Museum online archives):”Frederick Mont, aka A. F. (Adolf Fritz) Mondschein or Frederick Mondschein, was a New York dealer of Old Master paintings. Before immigrating to New York in the 1930s, Mont, owned and directed Galerie Sanct Lucas (Yeide, Nancy H. The AAM Guide to Provenance Research, AAM, Washington DC., 2001).Frederick Mont sold mostly European old masters mostly to U.S. museums; he was chosen as sole agent by the Prince of Liechtenstein for the sale of masterpieces from his collection; favored his relationships with American dealer Victor Spark (1898-1991) and the Newhouse Galleries.Mont was married at least three times; his first wife, Betty (née Berta Austerlitz, 1897) Mont, was also involved in the art business and Frederick was a partner in her father’s, Wilhelm Austerlitz [d. 1940], London art business; his second wife, Eva (née Seiler, 1919–1953), died on vacation with her husband in Naples, Italy; his third wife, Anna S. (1914-2010), bequest some works of art to the Metropolitan Museum of Art in 2010 in memory of Frederick Mont, other works from her bequest entered the collection in 2012.”

Good condition overall.Age stain upper left corner and another dark stain middle right side.