- Trimmed 2 to 5 mm outside the platemark.
= Hollstein 56 and 59. Both from a series of 4 pastoral landscapes.
Perelle, G. (1600-1675). (Pastoral landscapes in a circle). Two circular etchings, 20,5x20,5 cm. (platemark), w. the address of P. Mariette.
- Ample margins partly foxed; w. waterstains. = Le Blanc 77-102.
- Cut to/ on the borderline.
= Hollstein 1-108, 1st state (before the text on verso). Published in E. DE DENE, De warachtighe Fabulen der Dieren (Brugge 1567). All with collector's mark of P.C. Séchan (1803-1874) on recto.
- Stained in lower half; lower blank margin sl. frayed/ dam. (restored). = Delteil 22, only state.
Filosi, G. (act. 1732-1754). "Ponte a Signa, dalla parte di Levante". Engraved view after G. ZOCCHI, 27,5x47 cm., engr. captions below (trifle soiled).
- The number "5" in lower left corner rubbed off; some sm. stains.
= Hollstein 19, the 2nd state (of 2). Verso w. collector's mark of J.H. Jurriaanse (Lugt 1403b).
AND an engr. portrait of Johannes Aventinus by T. DE BRY (trimmed to the borderline).
- With wide, ample margins.
= Rare, this print not traced. Not in New Hollstein (Van der Borcht or Bol). Hollstein (Julius Goltzius), lists 8 prints after Bol with landscapes with scenes from the Old and New Testament, divided in two series, each numbered 1 to 4 and published by Janssonius (Hollstein 1-8). Not specified by Hollstein which scenes and without images. New Hollstein (Bol) lists those 8 prints as no.11-14, together with the 4 prints (rejected as Bol) R22-25. Those last 4 prints are numbered 1 to 4, so they are probably the same as the 4 (of 8) as described in Hollstein (Julius Goltzius). However, the engravings in New Hollstein, Bol 11-14, are only partly numbered in the edition by Janssonius (with NH 15 numbered "5"!). So it is not certain if these 4 are part of the 8 listed under Julius Goltzius. There is an engraving in the Rijksmuseum by Goltzius after Bol: Abraham kneeling for the three angels, numbered "2"(according to the museum, Hollstein (Julius Goltzius) 2). This print is for some reason omitted from the New Hollstein (Bol). Although the name of van der Borcht is on our print, the style is very similar to the print in the Rijksmuseum and the 8 prints in the New Hollstein (11-14 and Rejected prints 22-25). So they are probably all by the same artist and part of an (unfinished?) series of biblical scenes. Cf. New Hollstein (Hans Bol) 11-14 and Hollstein (Julius Goltzius) 1-8. SEE ILLUSTRATION PLATE LXXXIII.
- Sl. browned. = Fine night-piece. Hollstein 5, only state.
- Somewhat foxed; ample margins frayed and first print w. closed tear and hole in left blank margin.
= Bartsch 36 and 37. Part of a series of theatrical backdrops. "They were made as illustrations to the musical pastoral fable 'La sincerità trionfante' 1639 (libretto by Ottaviano Castellil and music by Angelo Cecchini) commissioned by François-Annibal d'Estrées, Marchese di Coeuvres on occasion of the birth of the Dauphin (future Luis XIV)" (British Museum). On laid paper with watermark showing a fleur-de-lis on top of a triple hill and with monogram AN, all within a double circle.
Gimignani, G. (1611-1681). (Semiramis leaving her toilette to quell a revolt). Etching, 19,7x27,4 cm., w. the address of Domenico de Rossi, Rome, (1647).
- Vertical fold; brown offsetting in left blank margin, from paper remnant on verso. = Bartsch 22, 2nd state.
AND 4 others.
- Rich impression. = Verso w. the collector's stamp of P.W. van Doorne (Lugt 4731).
- Good impression; trimmed outside the borderline; 2 vertical blank printing folds in the image; edges neatly mounted on later laid paper.
= Hollstein 3, 2nd state (of 2), with strong borderlines and the number added.
AND 2 others, i.a. a landscape etching (Hollstein 36) by JAN VAN ALMELOVEEN on wove paper.
- Sl. grey impression. Upper edge worn/ trifle dam. = Hollstein 28, only state. Rare.
- Both (sl.) (finger)soiled in the margins.
= Rare. Probably part of an unidentified series. Hansen was a student of J.A. Daiwaille who owned a lithography business between 1822 and 1826. Perhaps created during that period.
- Present are 1-9, 12, 14 and 18.
= Rare series of propaganda prints, published without address in 1829. It shows king William I of the Netherlands on various occasions and situations, i.a. meeting people incognito and presenting himself as a liberal and benevolent king.
= A young boy, said to be a son of Mather Brown, sitting in a landscape with hands clasped on his lap, looking upwards; after Reynolds (Mannings 2046). Proof before letters and before publication line.
= Pennington 731, 2nd state (of 2).
Idem. Merchants: wife of Holland. Etching, 9,3x5,9 cm. (platemark), signed "WHollar fecit 1644 London" and "Mercatoris Hollandici Uxor" in the plate.
= Parthey 1826. Fine and delicate print. From the series Theatrum Mulieris.
AND an etched portrait by the same of Johannes de Reede lord of Renswoude (Parthey 1487).
- Sl. foxed.
= Title to the atlas by J. OGILBY, Britannia (...) or, an Illustration of the Kingdom of England and Dominion of Wales: By a Geographical and Historical Description of the Principal Roads thereof (London, 1675). With a miniature inset plan of London in one of the flags.
= Pennington 1205; New Hollstein 1108.
AND 1 other landscape etching by the same, framed together w. the above (Pennington 1242).
- All sl. yellowed. = Pennington 522ff.
- Mounted on board; yellowed; a few tears/ dam. spots.
= Landwehr, R. de Hooghe as bookillustrator 97.