5793 - 6157 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Tipped onto hardboard; closed tear in upper margin; vague horizontal fold.
= With 9 coats of arms filled in (36 shields left blank). "Dit gilde werd op 2 november 1621 opgericht. Hiertoe behoorden de uitslijters van kaas in het klein, de verkopers van erwten, bonen, gort, meel enz. bij de kleine maat, de vettewariers of commenijhouders en de kaarsenmakers. In de 18de eeuw werd het bestuur van het gilde gevormd door één overman uit de kaarsenmakers, één uit de graankopers en één uit de vettewariers. Alleen de kaarsenmakers hadden een proef af te leggen. Zij, die deze waren wilden verkopen, behoefden geen poorter te zijn, doch moesten een klein inkomgeld betalen en een gulden per jaar aan de bos. De kaarsenmakers daarentegen moesten fl. 25 gildegeld betalen en een leertijd van drie jaar doorlopen. (...). Tot 1721 had het gilde een kamer boven de Vleeshal in de Nes. In dit jaar werd een gildehuis in het Klooster in gebruik genomen, dat in 1792 werd verkocht. Er werd toen een huis in de Kerkstraat aangekocht, dat tot 1822 in het bezit van het gilde bleef." (quoted from the website of the Stadsarchief Amsterdam). SEE ILLUSTRATION PLATE CXV.
WITH (attached to hardboard): Ordonnantie van 't Klein Kramers Gild. Amst., Stadsdrukkerij, 1808, 71,(3)p., contemp. wr. (one quire browned).
= With an (unread) contemporary annotation in pen and brown ink on verso and a later and modern attribution to J. de Wit. Perhaps the surroundings of Bartholomeus Spranger. SEE ILLUSTRATION PLATE CXV.
- Vaguely waterst. in right margin; old vage folds and vaguely foxed.
= Verso w. "Zollamt" mark. Perhaps portraying Saint Helena carrying the cross. SEE ILLUSTRATION PLATE.
- Mounted (along edges); creases (prob. formerly rolled).
= Slightly in the style of Bartholomeus Spranger. SEE ILLUSTRATION PLATE CXV.
- Laid down; waterstain in lower left corner.
= On verso of the drawing a sketch (visible when lights shines through) of the lower body of a female nude and part of an ornamental sculpture with manuscript writing: "v(?)sa(?) di qu adri (?)". An attribution to Jacopo Chimenti da Empoli on mount.
- A few browned spots in lower margin; lower right corner torn loose from mount; formerly folded three times.
= Probably a study after a painting.
AND 1 other anonymous study in pen and ink and pencil, prob. late 17th cent. (22,5x17,5 cm. Laid down).
- Dam. in and near all corners; laid down under passepartout.
- Somewhat soiled and foxed.
= On verso a small sketch of a figure pulling a stubborn mule and a manuscript contemporary annotation in pen and ink: "gelant te moede jieve (?) die al sijt dat heij wiel, die moet dirmael dierhmael hoeren dat heij niet in wielt (?)". From the collection of Albert Welcker with his stamped collector's mark (Lugt 2793c) and manuscript inventory no. "403". The drawing was framed together with a Dutch newspaper dated 1942.
- Sm. waterstain near left edge.
= The burgonet is faintly in the style of Filippo Negroli. On laid paper with a watermark showing a crowned double-headed eagle. On the watermark cf. Haywood 1300 (printed work, 1644) and Laurentius, watermerken 1600-1650, 385 (very similar but with a shield on the breast) (date 1643). SEE ILLUSTRATION PLATE CXVI.
- Sl. foxed and fingersoiled. = Surroundings of Aelbert Cuyp. SEE ILLUSTRATION PLATE CXVI.
- Brownish (water?)stain in the sky; upper left corner section of the sky cut off, repaired w, later paper.
= City or town unidentified, but perhaps Naarden. With a later attribution in pencil to Salomon Ruysdael on mount. On laid 17th century paper with part of an unidentified watermark. Perhaps surroundings of Jacob Ruysdael or Jan van Kessel. SEE ILLUSTRATION PLATE CXVII.
= With later inventory number "No.79" in pen and brown ink on recto. With partial watermark of a crowned eagle. With a modern attribution to Esaias van der Velde. Perhaps by Jan Baptist Weenix. SEE ILLUSTRATION PLATE CXVII.
- Sl. fingersoiled and agetoned; a few spots.
= Somewhat in the style of Jan van Goyen. On laid paper with partial watermark showing a coat of arms with a french lily. SEE ILLUSTRATION PLATE CXVIII.
- Foxed.
= With an attribution on verso to Aelbert Cuyp ("A Cuyp). Perhaps by Jacob Esselens. Provenance: Collection Jacob de Vos (auctioned in 1883) and "gek. van R.W.P. de Vries 1917 F.150. Hft (Hooft)". SEE ILLUSTRATION PLATE CXVIII.
- A few sm. remnants of former mount along edges on verso.
= Perhaps surroundings of Paul Bril. SEE ILLUSTRATION PLATE CXIX.
- Stain in centre.
= On blueish laid paper (no watermark visible). With the collector's mark of the 19th century Italian collector Pacini (Lugt 2011). SEE ILLUSTRATION PLATE CXIX.
- Heavily soiled w. mould spots; corners repaired
= Perhaps an allegory in which Faith chases the plague away. With attribution on recto "caracio". On verso a partial attribution to "Lanfra(....)" (G. Lanfranco?) and manuscript collector's (?) mark with remnant wax seal "de Paolo (?)avonaso" in pen and ink. SEE ILLUSTRATION PLATE CXX.
- Rather vague drawing; sl. browned/ dustsoiled; 2 vague oblique folds. Mount some moulding.
= With unidentified collector's mark in left corner (Lugt 4698), possibly attributed to Nicholas Lanier. SEE ILLUSTRATION PLATE CXX.
- Large tear in lower half (repaired w. tape on verso).
VERSO with another black pen and brown wash drawing of an angry woman.
= With the collector's mark of A. Weber (1844-1918, Verviers) (Lugt 2551b) on recto.
- Sm. cut in right part.
= According to annotations on the mount the drawing depicts the castle Nederhorst den Berg, but that is very unlikely. Perhaps it shows the castle Ter Horst in Wassenaar before the grand renovation by Reinier Pauw.
- Lower left corner restored/ retouched; lower right corner worn/ restored.
= Provenance: the collection of J. and C. Ulmann.
= One of the Stations of the Cross, prob. from a church interior. SEE ILLUSTRATION PLATE CXX.
- Dam. spot near left edge; some superficially worn spots.
= Provenance: from the collection of J. and C. Ulmann. Attribution to "Piazetta" in modern hand on verso.
- Oxidation spots and foxing; upper left corner sl. dam. = Verso w. attrib. to G. Romani.
- Some foxing.
= On paper with a crowned watermark and a lily, a V and an R. SEE ILLUSTRATION PLATE CXX.
- Browned; waterstain in lower left and upper right corner.
= Perhaps Mary Magdalene supporting the fainted Holy virgin. Probably by a Flemish artist.
- Vaguely foxed/ stained; some vague creases. Verso traces of former mount in upper margin.
= With watermark of a circle topped by a clover. SEE ILLUSTRATION PLATE CXXI.
- Partly foxed.
- Doubled; 2 large closed tears through image (repaired and only sl. visible); margins occas. sl. chipped; tipped-in.
= Attributed to ADRIAEN HANNEMAN (ca.1601-1671) by the previous owner (see: O. ter Kuile. Adriaan Hanneman 1604-1671, ill.16 en 70 for the portraits of Sophie van der Palts showing great similarities). With pencil annotation on mount stating the drawing was previously in the collection of Johan Lord Somers (Lugt 2981). With annotation in pencil on verso "Original drawing by Van Dyck". And with annotation in pencil on verso mount "Sir Peter Lely".
- Yellowed; crease in lower left part. = Provenance: the collection of J. and C. Ulmann.
- Verso w. unidentified collector's mark "A.L" [?]
- Sl. foxed.
= With the collector's mark of Giuseppe Vallardi (1784-1863) (Lugt 1223) on recto and Robert Witt (1872-1952) (Lugt 2228b). Cf. Hollstein 5 (after a design by H. Goltzius).
- Creased and heavily rubbed.
= Probably Jupiter and an unidentified goddess. Design for a ceiling. With an attribution to Johann Michael Rottmayr on passepartout.
AND 7 other drawings with human figures, all 19th cent.
= The ladies and gentlemen in the typical fashion of the 1690's. Perhaps part of a series showing the five senses. Cf. the mezzotint series by Jacob Gole, showing a similar couple drinking coffee (representing Taste). The other drawing of the amourous couple, could represent Touch. SEE ILLUSTRATION PLATE CXXI.
- Some foxing/ soiling.
- Slightly soiled; vaguely waterst.
AND 1 other anonymous 18th cent. pen drawing of two people and a dog in a rocky landscape (watermark "GR").
= On rather thick laid paper. With the part of the collector's mark of the 19th century italian collector Pacini (Lugt 2100).
- Verso oxidized remains of former mount in corners.
= According to note on verso of one of the panels, from the former collection of B. Smith van Gelder and W. Russell. With an older manuscript attribution to Paulus Potter.
- Some dustsoiling; blank margins some wear; verso foxed.
= WITH attrib. to Luca Giordano (1634-1705) in pencil on verso.
- White oxidated; text shining through; sl. browned/ foxed/ waterst.
- Horizontally split, but professionally reattached and restored on verso; a few sm. chips and holes.
= One of the allegorical figures is pouring a bucket of water and appears to extinguish the fire. Perhaps a design for a painting or wall painting commemorating a remarkable event. With the collector's mark of Erwin Holzer (Vienna) (not in Lugt) on verso.
- Waterstain on verso near left edge.
= On laid paper with watermark showing a large beehive. A small monogram/ annotation on verso "44 C. de R."
- Lvs. sl. fingersoiled, mostly along edges.
- Tipped onto mount; sl. fingersoiled.