82 6520 Ehnle Adrianus Johannes 1819 1863 
- Doubled. = Provenance: the collection A.M. van den Broek.
82 6521 Emminger Eberhard 1808 1885 style of 
= Possibly a design for a lithograph. SEE ILLUSTRATION PLATE CII.
82 6522 Erkelens Jan Gerrit 1775 1857 
82 6522 Erkelens Jan Gerrit 1775 1857 
- Both drawings browned and soiled; portrait of the wife and child with closed tears and hole in her skirt; portrait of the husband with closed tear in upper left corner. Not examined outside of frame.
= Very rare portraits by the artist. Next to the husband lies a flute and a map of the northern provinces of the Netherlands. The woman wears a local costume with a headcap, probably from the Veluwe. Cf. C.J. VAN DEN BOSCH, Jan Gerrit Erkelens, een vergeten fijnschilder IN: De Nederlandsche Leeuw 100 (1983, p. 290-304), probably mentioning these portraits under no.7 and 8 (list of works).
82 6523 Eycken Ch II van den 1859 1923 ? 
82 6524 Eymer Arnoldus Johannes 1803 1863 
82 6524 Eymer Arnoldus Johannes 1803 1863 
82 6524 Eymer Arnoldus Johannes 1803 1863 
82 6524 Eymer Arnoldus Johannes 1803 1863 
82 6524 Eymer Arnoldus Johannes 1803 1863 
= The original drawing by Hulswit is currently in the collection of the Prentenkabinet Leiden (PK-T-AW-2672).
AND 4 others similar, all signed (2x only last part of signature visible), by the same or by Leonard Johannes EYMER.
= Provenance: the collection A.M. van den Broek.
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
82 6525 Eymer Arnoldus Johannes 1803 1863 
- Occas. sl. yellowed; some creases.
AND 7 others similar, all anonymous drawings, possibly by the same or by Leonard Johannes EYMER.
= Provenance: the collection A.M. van den Broek.
82 6526 Eymer Arnoldus Johannes 1803 1863 
82 6526 Eymer Arnoldus Johannes 1803 1863 
82 6526 Eymer Arnoldus Johannes 1803 1863 
82 6526 Eymer Arnoldus Johannes 1803 1863 
= All landscapes. From the estate of the artist as stated on verso drawings.
82 6527 Faunce de Laune Edmund 19th cent 
82 6527 Faunce de Laune Edmund 19th cent 
82 6527 Faunce de Laune Edmund 19th cent 
82 6528 Ferrari Gregario de 1644 1726 attrib 
= On laid paper with watermark showing a sun and the monogram "SC"
82 6529 Flowers Monogrammist 'JV' early 19th cent 
82 6529 Flowers Monogrammist 'JV' early 19th cent 
- Sl. foxed/ stained and fingersoiled; one drawing w. closed tear in blank margin.
82 6530 Folkema Jacob 1692 1767 
= Drawing after the etching by Rembrandt, curiously with mirrored composition. According to an annotation on verso mount, from the collection of R.P. Morris. SEE ILLUSTRATION ON TITLE-PAGE.
82 6531 Gabriël Paul 1828 1903 
- Remargined; a few sm. holes near the edges; oblique cut near upper edge; sm. tear near lower edge; a few (water)stains; most of the image intact; sold w.a.f.
82 6532 Gabriel Paul 1828 1903 
82 6533 Genealogy and heraldry Anonymous 17th cent 
82 6533 Genealogy and heraldry Anonymous 17th cent 
82 6533 Genealogy and heraldry Anonymous 17th cent 
= With contemporary annotations on verso: "Formenoys myn moeders moeder, wiens naam was Delprato, en de moeder van Delprato was weder Pellicorne" and on the other "Pottey myn grootmoeders de Tray's moeder". With correspondence and genealogical charts, researched by the curator and director of the Rijksprentenkabinet J.W. Niemeijer. From his collection.
AND 12 other 19th/ early 20th century drawings of coats of arms by i.a. monogrammists "J.E. v.L" and "G.A.", all loosely inserted in the same album, i.a. of the families Van Dortmont, Lulofs, Ermerins, Cloeck, Schorer, Bors van Waveren and De Ranitz. - AND a small drawing (17th cent.?) of the Amsterdam seal of 1656. - ADDED ±50 (cut-out) engr./ etched prints w. coats of arms.
82 6534 Gogh Vincent van 1853 1890 formerly attrib 
82 6534 Gogh Vincent van 1853 1890 formerly attrib 
- The canvas was possibly trimmed in upper margin (likely to fit the current strainer) and is partly sl. deformed with some damages around the corroded tacks on the sides; however the painting kept its original appearance. The paint is in moderate, fragile condition with a few small losses of paint mainly in the upper margin. The cow itself is in quite good condition, with hardly any paint loss nor retouches or overpaint present.
= J. Hulsker, The New Complete Van Gogh, no.389 (Amst., 1996). J.-B. de la Faille, The Works of Vincent van Gogh, no.F1c (Amst., 1970): "Provenance: Ed. van Biema, The Hague (according to him formerly in the collection of [art dealer] C. Mouwen jr, Breda and M. Janssen, Breda [shop owner across the street from Mouwen]); F.P. Hirschel, Amsterdam; Franz Heinz, Locham near Munich; Private collection, New York Sale Parke-Bernet, 11 November 1959, [lot] 41" (p.1). A photocopy of the Parke-Bernet sale catalogue (with an illustration of this painting) is supplied with the lot, together with a photocopy of the manuscript certificate of authenticity by De la Faille (referred to in the description of lot 41: La Vache). William Lustgarten bought the painting in the Parke-Bernet sale of 1959 and after that its whereabouts were unknown until 2023, when the present owner bought it at an online auction at Catawiki.
The current owner has had the painting examined by the Van Gogh Museum on art historical and technical grounds. The report of this examination, which is available for potential buyers, casts doubt on the authenticity of the work, even though it was long considered to be a genuine Van Gogh for (partly unverified) assumptions concerning its provenance. The main art historical argument for their doubt is that, together with one other similar painting of a lying cow attributed to Van Gogh from the same early period, it stands alone in his oeuvre. Regarding the technical argument, the researchers state that the painting shows little material similarity with the few Van Gogh paintings from those early years that they have examined. As the research team states, the only painting of a cow with which they could compare this painting was examined by them in 2000. On the basis of that examination, the painting was sold as a genuine Van Gogh by K-Auctions in Seoul in 2008 for just above 2.000.000 USD. The research team also states that only a few other paintings from Van Goghs early "Haagse periode" have undergone such a thorough study as the present painting. So even though they cannot with 100% certainty declassify it as a work by Van Gogh, the Van Gogh Museum research team considers it to be an artwork not by the hand of Van Gogh.
SEE ILLUSTRATION PLATE CIII.
82 6535 Hansen Carel Lodewijk 1765 1840 attrib 
= Provenance: the collection A.M. van den Broek, with his annotation in pen and ink on verso.
82 6536 Heijl Marinus 1836 1931 
82 6537 Heinel Eduard 1835 1895 
82 6537 Heinel Eduard 1835 1895 
- Sl. foxed; some margins tears.
AND 1 other brush and ink drawing (Lakeview) by the same, 35,2x54 cm. (central fold; soiling and small tears).
82 6538 Hendriks Wybrand 1744 1831 
82 6538 Hendriks Wybrand 1744 1831 
- Both sl. foxed; second drawing w. vague horizontal crease in lower margin.
82 6539 Hoedt Pieter Louis 1832 ±1893 
= With collector's mark of J.Q. van Regteren Altena on verso (Lugt 4617).