80 6000 Aelst Nicolaus van ±1527 1613 
- Cut just outside/ inside the borderline. Partly waterst. (especially upper half); some small tears, especially upper margin.
80 6001 Altdorfer Albecht 1480 1538 
- Small hole in upper left blank corner; some foxing; verso traces of former mounting in corners. Copy with rounded corners (especially lower left corner).
= Verso w. collector's mark (partly visible) and "319" in pen and red ink. Hollstein 41.
80 6002 Animals Diderot D and d'Alembert J 
80 6002 Animals Diderot D and d'Alembert J 
80 6002 Animals Diderot D and d'Alembert J 
80 6002 Animals Diderot D and d'Alembert J 
80 6003 Anonymous 16th cent 
- Browned and soiled; tipped onto mount.
= Extremely rare, no other copies traced by us of this engraving. In 1537 monogrammist FG engraved the same composition but mirrored (cf. Nagler Monogrammisten, 2914, no.8), after which the present engraving was almost certainly copied. Nagler identifies FG as a German artist; our copy is possibly also from the German School. The composition is based on a design for a large series of tapestries "Giochi di Putti", commissioned by pope Leo X (for the Sala di Constantino in the Vatican) in Brussels around 1521. According to Vasari the designs are originally by Giovanni da Udine, leaving it unclear to what extent the designs of the series were based on a conception by Raphael (who died in 1520). The supervision of the project in Brussels, in the tapestry atelier of Van Aelst, lay in the hands of Tomasao Vincidor, who had been part of Raphaels workshop together with Giovanni da Udine. The tapestries and the cartoons are lost, but drawings of Vincidor have survived, including the drawing on which this composition was based (now in The British Museum).
80 6004 Anonymous 16th cent 
- Dam. sectrion in right margin and small dam. spot upper in right corner; closed tears; a few tiny stains.
= Very rare, unrecorded portrait. On laid paper with unicorn watermark (probably Germany, ±1550). With the collector's stamp of A.P. van den Briel on verso (Lugt 407a). SEE ILLUSTRATION PLATE CIII.
80 6005 Anonymous 16th cent 
- Tiny repairs in upper margin; trimmed ±0,5 cm. outside the platemark.
= Slightly resembling the style of Hans Bol. Probably by a Flemish artist.
80 6006 Anonymous 17th cent 
- Left margin w. sm. repairs on verso.
= Rare sheet showing four scenes of the arrival of the later king William III of Great Britain at Exmouth, at Exon, William meeting the Duke of Grafton and other nobles and finally arriving in Salisbury on 13th of December,1689. F.M. 2693-A. The start of the Glorious Revolution.
80 6007 Anonymous 17th cent 
- Some brown staining, mostly in outer margins and lower part. = F.M. 134.
80 6008 Anonymous early 18th cent 
- Closed tear in lower margin; trimmed to/ within plate mark.
= Remarkable mezzotint (not traced). With printed on verso a cropped optical view "Il Mercurio, quarta Pianeta, e'l suo influsso."
80 6009 Anonymous late 18th/ 19th cent 
= Jan Huibert Prins (1756-1806) made a printdrawing of this same dog (Rijksmuseum RP-P-1882-A-5681), so perhaps by him.