= SEE ILLUSTRATION PLATE CI.
- Signature sl. faded (due to ink?); numb. "630" in contemp. hand on verso. = A fine river view.
= SEE ILLUSTRATION PLATE CI.
= M.W. Heijenga-Klomp, Nicolaas Wicart. Landschapstekenaar en porseleinschilder (2003), p.26. Verso w. printed owner's ticket of A.J. v.d. Poest Clement, Amsterdam, w. ms. annot. "Uit Auctie Frederik Muller & Co, te Amsterdam, 29 Nov: 1893. Catalogus No.863" and w. the orig. catalogue cllipping tipped on.
- Sl. yellowed.
= M.W. Heijenga-Klomp, Nicolaas Wicart. Landschapstekenaar en porseleinschilder (2003), p.105.
- Yellowed; restored/ closed tears in lower right corner.
= Provenance: the collection of A.M. van den Broek with his collector's mark on verso.
- Very vague unobtrusive waterstain near left edge; otherwise fine.
= Very rare drawing by the famous Dutch architect. Provenance: the estate of the architect and then the collection A.M. van den Broek, w. his collector's stamp on verso. SEE ILLUSTRATION PLATE CII.
= SEE ILLUSTRATION PLATE CII.
- Cut just outside/ inside the borderline. Partly waterst. (especially upper half); some small tears, especially upper margin.
- 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.
- 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).
- 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.
- Tiny repairs in upper margin; trimmed ±0,5 cm. outside the platemark.
= Slightly resembling the style of Hans Bol. Probably by a Flemish artist.
- 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.
- Some brown staining, mostly in outer margins and lower part. = F.M. 134.
- 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."
= Jan Huibert Prins (1756-1806) made a printdrawing of this same dog (Rijksmuseum RP-P-1882-A-5681), so perhaps by him.
- Browned and partly waterst. in blank margins; outer blank margins folded due to former framing.
= Borders showing numerous attributes linked to various professions of the seated men.
AND an embossed and contemp. dec. lithograph of a couple, laid down on velvet mount (browned; formerly framed).
= Curtis/ Prouté 47, 2nd and final state.
= Curtis/ Prouté 41, the 2nd state (of 4).
- Verso with engr. text for another (unidentified) work, but largely worn off/ dam.
- With an 18th century manuscript caption below (partly vanished) "t Afbranden van van 't Oude Stadthuijs te Amsterdam (unread) 1652.
= On thick, sl. stiff 18th century laid paper, with watermark (prob. 'IV"(jean Villedary?)). Hollstein 1. FM 2027.
Etching from the series of 10 Seascapes with views of the IJ and Amsterdam (...), 17,1x23 cm., signed "L Bak" and "1701" (in reverse) in the plate, with the address of the artist below.
- Fine. = Hollstein 7, 3rd state of 3.
Etching from the series of 10 Seascapes with views of the IJ and Amsterdam (...), 17x23,5 cm., signed [below image] "L. Bakhuizen fec: et exc" and [in the image in reverse] monogrammed and "1701" in the plate, framed.
- Good impression. = Hollstein 10, 3rd state of 3.
Five (of 10) etchings from the series, all later (partly vaguely) handcoloured, 1701, each 17,2x23 cm., unif. framed.
- All fine.
= Hollstein 2-5 and 9, the 3rd state (of 3). Famous and very rare etchings by Holland's leading marine painter, etched when he was at the age of 71. SEE ILLUSTRATION PLATE CIII.
The Set of Seascapes with views of the IJ and Amsterdam, Rotterdam, Katwijk, etc.
Five (of 10) etchings from the series, 3x w. modern handcolouring, 1701, each ±17x23 cm., on various kinds of 18th cent. laid paper.
- Occas. trifle yellowed (in blank margins); otherwise fine.
= Hollstein 1, 2, 6, 7 and 9, the 3rd state (of 3). The first etching without the six line verse by Backhuizen, printed from a separate plate. Famous and very rare etchings by Holland's leading marine painter, etched when he was at the age of 71. SEE ILLUSTRATION PLATE CIV.
= Later impression on velin paper.
AND 4 others, all after David TENIERS, i.a. by the same and "La Lecture Diabolique" by F. BASAN.
- Browned.
- Without the accomp. text leaf.
= F.M. 4486: "Vuile spotprent op de prinsgezinden. Eene zaal, waar in het midden de Prins achter de deur staat en P. Wierdsma, een: Plan om Friesland onder 't juk te brengen aan de op den grond liggende en met vrouwenzadels bedekte heeren: van Hambroick en Col. Plettenberg aanbiedt.(...) Met gefingeerd adres te 's Hage bij P.F. Gosse, en de namen Went en H.W. Plettenberg als teekenaar en graveur. Zeer zeldzaam."
= Cf. F.M. 4834 and 4940.
- All w. vertical and horizontal middle-fold; some imperfections in blank margins.
= F.M. 5054: "Ze stellen de groote optogten, allen by avond, met lampions en fakkellicht, van Wittenburg en het Admiraliteits-Magazijn uitgaande, voor, met alle zinnebeelden, werktuigen, insigniën, enz. en zijn daardoor zeer curieus voor de geschiedenis van dien tijd."
- Both slightly foxed (mainly) in blank margins
= F.M. 4756: "Een groote boom met 7 wortels (De Provinciën) staat op eene kaart van de Nederlanden; de stam duidt de Algemeene Staaten, de takken de verschillende Collegiën aan. (...) De Patriottische geest van deeze schets der Regeeringsvorm blijkt daaruit dat het Stadhouderschap bovenaan een der uiteinden van den boom is geplaatst, afhankelijk van den Souverein, de Staten." The 4-line verse in lower margin reads: "Tracht Batoos edel kroost! tracht dezen Boom te kennen/ En zo ge ontaarding ziet in Wortel, Tak of Vrucht;/ Spoor vlijtig de oorzaak na, en zoek hem zo te wennen/ Dat hij door Eendracht bloeije in uwe vrije lucht!"
- Slightly frayed.
= F.M. 4986a (chapter "Zinneprenten op het herstel des stadhouders", 1787): "De Oranjeboom, waaraan de portretten in medaillon van den Stadhouder, Gemalin en drie kinderen en onderaan die zijner vier voorouders, wordt door den Pruissischen adelaar beschermd."
- Fine. = F.M. 5425.
"De moedige Batavieren." Engraving by Gaspar BOUTTATS(?), 16x16 cm. (incl. captions), with Dutch and French caption/ legend in 3 columns below, ±1763.
- Fine. = F.M. 2514.
AND 4 others, mainly on the same subject.
- Fine. = F.M. 5423a.
"Vervloekte Tweedracht! Helsch gedrocht, van elk gedoemd; Zolang 't Gemeenebest op 's Hemels bijstand roemt (...)." Engraving, 27,5x20,5 cm., with engr. explanatory verse in 2 columns below, ±1787.
- Fine. Without the separate letterpress explanation in Dutch and French.
= F.M. 4993a (chapter "Zinneprenten op het herstel des Stadhouders", 1787): "Zinneprent, waar de prins op een hoeksteen naast de Nederl. Maagd staat. De Tweedracht tracht de hoeksteen door een hefboom te verplaatsen, doch wordt door den Pruissischen adelaar belaagd enz. (...)."
AND 2 others, i.a. (Vallende Oranjeboom) (anonymous engraving, 1795. F.M. 5304a).
- A (very) fine copy, trimmed on/ just outside the borderline.
= Hollstein 34, the 2nd state (of 2), without the name.
Idem. The Three Drinkers. Etching, 10,5x10 cm., tipped onto mount.
= Hollstein 29, probably the third and final state.
- Sl. agetoned; cut on/ just within the borderline.
= Part of the Passion series. Hollstein 820.
Altdorfer, Albrecht (1480-1538). Christ's entry in Jerusalem. Christ bearing the Cross. Two woodcuts, each 7,3x4,9 cm., monogrammed in the block.
= New Hollstein w.17 and w.27.
AND 10 other woodcuts, partly cut from or complete leaves from various works, i.a. by/ after Thomas GEMINI (skeleton) and 2 lvs. w. woodcuts by Michael WOHLGEMUT.
- Fine, trimmed 1 mm outside the borderline. = Pauli/ Hollstein 34, 5th state (of 5).
- View w. Haringpakkerstoren w. wide margins; sl. yellowed; other two prints cut to the image; 'autre veue' w. small dam spot in upper left corner and w. extended margins.
= Part of the series of 8 Vues de ports de mer. De Vesme 798, 799 and 800.
- Margins foxed/ duststained; leaf frayed and creased along edges.
= Contemporary portrait with a facsimile manuscript poem signed and dated 1825.
- Trimmed on/just outside the platemark; fine impression.
= Hollstein 2, 2nd state of 5. With the manuscript collector's marks of Wilhelm Koller (died in 1871, Vienna. Lugt 1583), dated 1849 and "Molitor Reich" (?). Laid paper with a watermark showing a large heraldic crowned shield with the Agnus Dei bearing a cross.
- Minor imperfections, fine copies.
= Hollstein 41-48, 5th state of 98. All with the collector's mark of Arenberg (Lugt 567).
- Margins browned; 2 sm. repairs on verso in central fold.
- A few lvs. (vaguely) creased/ soiled/ (ink)stained.
- Several prints doubled; partly (sl.) yellowed, waterstained, frayed and fingersoiled.
= The second print partly foxed.