- Browned; partly doubled.
= Rare map after the English map by P.D. BOHN, showing the Sea of Marmora and its surrounding regions, including Constantinople, Hellespont, the Dardeanelle Strait and the contiguous parts of Turkey and Greece.
- Trifle dustsoiled; middle fold splitting at top; otherwise fine. = Van der Krogt/ Koeman I, 8100:1B.2.
- A few vague brownish stains. = The scarce German edition of Tavernier's map of Indo-China.
- Trifle yellowed. Otherwise fine. = SEE ILLUSTRATION PLATE LXXIII.
- Trifle yellowed; nevertheless an attractive map.
= Impressive and decorative map, the title-cartouches (one in Latin and one in French) with mythical sea creatures, plants and animals.
- Fine. = Shirley 254.
- Nicely handcol.; a few foxed spots; overall fine. = Shirley 356A. SEE ILLUSTRATION PLATE LXXIII.
= The map shows the trajectory of Schouten's voyage around the world and is one of a few variant maps published in the various editions of Schouten's book. This copy has replaced the ships Victoria and Eendracht in the upper left and right corner with the portraits of Francis Drake and Thomas Candish. Cf. Shirley 297.
- Foxed; marginal tears and remains of tape in outer corners. = On fine laid paper with "CDC" watermark.
= SEE ILLUSTRATION PLATE LXXIV.
- Backed w. thin paper; professionally restored w. sm. closed holes and tears from acid biting; sl. soiled.
= With small letter annotations by the artist, perhaps colour indications. Perhaps by a Flemish artist. From the collection Ulmann, with their collector's mark on verso.
- Old closed tears in upper and lower margin.
= Curious drawing which appears to have an older underdrawing with a different subject.
- Formerly folded. Some stains and folds; paint partly worn away.
= Skillful drawing with cartouche in auricular style. SEE ILLUSTRATION PLATE LXXIV.
- Sm. dam. spot near lower right corner; a few tiny holes
= On verso a contemporary (?) annotation "Vale" in pen and brown ink and a later "G(?) van Dyers" in pencil. On laid paper with part of an unidentifed watermark. From the Ulmann collection with their collector's mark on verso.
- Two tiny closed holes; tipped onto mount.; sl. foxed.
= On thin laid paper. The Pharisee with the glasses and holding the book is a recurring figure in the Dutch and Flemish depiction of this scene. So perhaps by a Flemish artist or northern France.
- Soiled; left margin frayed, sl. within the image; two vertical folds.
= On thick laid paper (probably late 17th century), no watermark visible.
- Outer margins strengthened on verso; a few small holes due to acid bite. = On paper with anchor watermark.
- Mediocre copy. Lacks upper right corrner; closed tear affecting image; doubled and worn/ soiling.
- Fingersoiled and agetoned; sm. repairs in upper corners.
= On laid paper, no watermark visible. Probably Italian School.
- Closed tear in upper right corner.
= On laid paper with watermark showing a word (unread). With the collector's mark of Jaap Wiegersma (1898-1967) on recto (Lugt 1552b).
- Upper left corner dam.; panel formerly split in centre, repaired and strengthened on verso and repainted along the vertical crack; painted ticket on verso partly worn away.
- Sl. creased; sm. chip and hole in lower margin; lead white partly oxidized.
= On laid paper with watermark "IHS" topped by a cross and within a oval.
- Small brown (water)stain left of the chair. = From the collection of the artist Francina Schot (1816-1894).
- Sm. restorations and repairs, mostly along edges.
= Provenance: the collection A.M. van den Broek, with his collector's mark on verso.
= On laid paper w. a large crowned watermark with a fleur-de-lis.
AND 3 others, i.a. a drawing of a funeral medallion, after an engraving from Le Francq van Berkhey, Natuurlijke Historie van Holland, 1776 (supplied with the orig. engraving).
= Provenance: the collection A.M. van den Broek, all with his collector's mark on verso.
- Verso w. traces of former mounting in corners. = On paper with watermark "IV".
- Minuscule holes in right margin; sl. yellowed. = On rather thick laid paper.
- Formerly mounted under passepartout, w. remnants along edges.
- Some oblique folds and some soiling; verso w. sellotape along margins (shining through). = On laid paper with Jean Villadry watermark.
= On thick laid paper w. (part of) watermark "LVG" (Lubertus van Gerrevink).
- Drawing trimmed to framing line; sm. tear in upper left corner closed; sm. part in upper edge retouched.
= Provenance: the collection A.M. van den Broek, with his collector's mark and attribution to Hendrik Spilman on verso.
- Trimmed to the framing line.
= With contemp. title and "Rademaker" in brown ink on label on verso.
AND 7 engr./ lithogr. views of city gates of Haarlem (18th-20th cent.).
- Tipped onto mount; two tiny chips in right blank margin; trifle yellowed; some vague foxed spots.
= SEE ILLUSTRATION PLATE LXXIV.
- Drawing trimmed to framing line.
= Provenance: the collection A.M. van den Broek, with his collector's mark on verso.
= Probably a copy after a 16th cent. Italian painting.
- Sl. duststained; paper remnants of former mount on verso.
= On laid paper with the watermark of D & C Blaauw.
- Edges frayed and creased (especially right edge).
= On verso a contemporary annotation in pencil: "bove de Zyraam". On laid paper with fleur-de-lis in crowned shield and below monogram "LVG" (dated ±1780).
AND two small drawings, red chalk, showing a rose and ornamental flowers, late 17th/ early 18th cent.
= On paper with Pro Patria and J. Hessels watermark.
- Remnants of former mount on verso; browned.
- Mounted; trifle foxed.
- Sl. offsetting from former passepartout in margins. Otherwise fine.
= Provenance: coll. John C. Schaller, of San Jose, California sold by Christie Manson & Woods, December, 1978. On laid paper with Pro Patria watermark. SEE ILLUSTRATION PLATE LXXV.
- Vague vertical fold.
AND 2 similar anonymous watercolours, unif. framed with the above.
- Nice, sl. naive watercolours.
- Sl. foxed.
= Pen drawing unfinished. With the collector's mark of Van Eekelen (Lugt 5101) and sold in auction Pault Brandt in April 1946 and december 1972. With an attribution to Jan Hulswit. Right in the centre on the edge of the potruding wall a monogram ("L.K.V.") seems to be written.