- Good impression with margins.
= Hollstein 63, the 2nd state (of 3), before the Basan edition. Showing two huntsmen on horseback with a servant running behind them.
- Left blank margin cut on the border line.
- Fine
= Nice and rare view of a stranded sperm whale, with an inset view of the whale seen from the back. Ingalls 380; F.M. 4150; Atlas van Stolk 4136; Sliggers/ Wertheim p.92ff, i.a. on the legal argument that unfolded in the wake of the stranding of this sperm whale. Two groups claimed the ownership of the sperm whale, basing their argument on customary law at sea that dead whales were possession of those that staked the first claim. This specific whale was displaced from its original stranding place (where it had been claimed by the first group) by strong winds in combination with a flood and was then claimed by a second group of claimants. The bailiff in charge judged that right of salvage and not sea laws prevailed, which meant that neither of the two groups had any claiming rights and the proceeds of the sale had to go to the States of Holland. Provenance: the collection A.M. van den Broek. SEE ILLUSTRATION PLATE CXII.
- Sl. stained and fingersoiled; central fold partly strengthened on verso (shining through on recto).
= From H. Grotius, Nederlandtsche Jaerboeken en Historien (...) (Amst., 1681). Ingalls 359.
- Lower half partly mounted.
= Hollstein 52.1, first state (of 2); Mauquoy-Hendrickx III.1 no. 1983, first state; cf. Koeman II, p.211. The fine large print depicts 49 important church- or military leaders in costume. SEE ILLUSTRATION PLATE CXII.
- Sl. browned. = Hollstein 917; Mauquoy-Hendrickx 707b.
AND 14 others by the same and other members of the WIERIX family and 1x by Adriaen COLLAERT, i.a. 10 plates from J. NADAL, Evangelicae Historiae Imagines (Antw., 1593).
- One print. w. closed tear in lower margin; sl. fingersoiled in margins. Fine impressions w. ample margins, formerly bound in a contemporary album.
= Hollstein 573-575, Mauquoy-Hendrickx 278-280. Interesting series which combines the parable with scenes from the Old and New Testament, i.a. the Last Supper.
= Bartsch 31. Copy without (before?) the signature.
- Sl. browned/ foxed; repaired section in the centre (w. loss of image); a few tiny holes.
- Trimmed to the border line (lower right corner just within borderline); two sm. foxed spots.
= After the gobelin by Peter Candid. Rare.
AND 9 others, i.a. Jan VAN DER MEER DE JONGE, (Wooded landscape) (etching and engraving, signed in lower right corner. Vague creases); Richard VAN ORLEY, (Two scenes, both(?) from Il Pastor Fido) (2 engravings, both signed "R. van Orleÿ fecit" below image. One laid down) and Aelbert MEYERINGH, (Mountainous landscape with a traveler crossing a river) (engraving, signed "A. Meyeringh Inv. et Fecit" below image).
- Two closed tears in left margin (1x two centimeters into image).
Voyez, Francois (1746-1805). "La jeune bergère". Engraving after BOUCHER, 43x28,3 cm., w. engr. caption, verses and address ("A Paris chez Beauvarlet") below image. - AND 4 others, i.a. by Jacob OUYS and Willem Hendrik HOOGKAMER.
= Provenance: the collection of A.M. van den Broek with his collector's mark on verso.
- Laid down; browned and soiled; various closed holes.
= A combination after two engravings by Johannes Sadeler after Maerten de Vos (cf. Hollstein 20 and 23 or Hollstein 28 and 31 (Vos)).
= With later pencil attribution(?) to Cornelis van Haarlem.
- Doubled w. Japanese; some vague foxed spots; flattened vertical fold in centre.
= With an unidenfied circular watermark showing a border filled with circles.
- Slightly foxed; a few sm. stains; margins strengthened on verso.
= With similar sketches on verso. With reference to Bernardo Buontalenti on passepartout.
- Browned (unevenly) and foxed; laid down, closed holes in lower part; lower right corner worn away and repaired with part of another drawing showing a semi-nude sitting man.
= With the collector's marks of R. Lamponi (Lugt 1760, act. 2nd half 19th cent.) and unidentified collector (Lugt 609, sometimes attributed to the Belgian industrialist Charles Henri Marcellis). With a later (plausible) attribution on verso to Anton Domenico Gabbiani. According to Lugt several drawings were bought by Lamponi from the alleged Marcellis.