80 5886 Muller Jan Harmensz 1571 1628 after

- Cut on/ just within the drawn borderline; a few tiny holes and sm. tears in the image; some marginal tears affecting the image; part of paper strengthened in left edge; some vague stains.

= Provenance: Van der Willigen auction (1829). Cf. New Hollstein 92, 2nd state of 3.

80 5888 Netscher Caspar 1639 1684 after

- With various parts retouched or repainted and probably revarnished (w. craquelure). In need of some restoration.

= A good late 17th or 18th century copy in almost the same dimensions as the original in the Staatliche Sammlungen Dresden.

80 5889 Netscher Caspar 1639 1684 style/ surroundings of

= With the collector's mark of the French artist and collector Jean Gigoux (1806-1894) on recto. With an attribution to Caspar Netscher "Gasp. Netscher del." in pencil on verso. With annotation "Mestres Laene" (?) in brush and ink and in different smaller hand "Mestres (...) Laene" in black pen and ink on verso. The covering of the crown is an allusion to aiding king Charles II to escape after the battle of Worcester in 1651. His companion, Lord Henry Wilmot, was at nearby Bentley Hall, the home of Jane's brother, Colonel John Lane. Jane had obtained a travel pass to visit a pregnant family member in Bristol. Charles accompanied her disguised as her manservant. They eventually reached the coast at Trent, where Charles set sail for France. She fled to France later that year after her part in the escape was discovered, joining the Court in exile. She returned to England after the Restoration. The drawing is very similar to the (mirrored) portrait in the National Portrait Gallery by an anonymous artist showing her also covering the crown with a veil, although there are also various small differences, especially in the background. There is also a portrait of her with very similar features in the collection of Moseley Old Hall, Staffordshire (National Trust Collection). Charles II did invite Caspar Netscher to England, but it is uncertain whether Netscher ever went. SEE ILLUSTRATION PLATE LXXXIX.

80 5890 Niwael Jan Rutgersz van 1595 1674

- Various small repairs and repainted areas, most noticable along the lower edge; revarnished (prob. in the 19th cent.), w. craquelure, causing tiny spots of paint to blister off.

= Provenance: the baronial family Van Hackfort tot Terhorst (residing at castle Ter Horst in Loenen, near Apeldoorn). The last member of this family, Maria Eugenia Antonia Olivia Victoria barones Hackfort tot Ter Horst (1854-1939), married a baron van Wijnbergen and eventually sold the castle and took the painting to their new residence in Arnhem. One of her daughters (in Amsterdam) inherited the painting and after she died, a cousin or nephew in Voorhout. On the prominent Persian carpet in the centre covering the table in front of the Holy Virgin, cf. O. YDEMA, Carpets and their datings in Netherlandish Paintings (Zutphen, 1991), p.185, no.800 (showing this painting). SEE ILLUSTRATION PLATE XC.

80 5891 Noorde Cornelis van 1731 1795

- Trifle foxed.

= On paper with watermark of a coat of arms with a central double bend. From the collection of A.M. van den Broek, with his collector's mark on verso.

80 5892 Noorde Cornelis van 1731 1795

- Slightly foxed.

= From the collection of A.M. van den Broek, with his collector's mark on verso.

80 5893 Noorde Cornelis van 1731 1795

- Fine.

= Showing the entrance to country estate De Rijp on the left and in the background the Voorbuurt in Bloemendaal. From the collection of A.M. van den Broek, with his collector's mark on verso.

80 5894 Noorde Cornelis van 1731 1795

- Small fold in lower left corner in the border.

= On paper with a large "Pro Patria" watermark. From the collection of A.M. van den Broek, with his manuscript collector's annot. on verso.

80 5895 Noorde Cornelis van 1731 1795

- Trimmed 2 mm. outside the framing line; very fine.

= On laid paper with a watermark reading "D. & G. Blauw". Provenance: the collection A.M. van den Broek, with his collector's mark on verso. SEE ILLUSTRATION PLATE XC.

80 5896 Noorde Cornelis van 1731 1795 after

- Laid down on modern paper mount.

= After a drawing and engraving by C. VAN NOORDE with this title. Conform cat. Harlemia Illustrata 586. On paper with a fleur-de-lis watermark. Provenance: the collection A.M. van den Broek with his collector's mark on verso mount.

80 5897 Oberman Anthony 1781 1845

- Slightly faded.

80 5898 Oltmans Alexander 1814 1853

80 5898 Oltmans Alexander 1814 1853

80 5898 Oltmans Alexander 1814 1853

80 5898 Oltmans Alexander 1814 1853

80 5898 Oltmans Alexander 1814 1853

= Provenance: the collection A.M. van den Broek, all with his collector's mark on verso.

80 5899 Overbeek Leendert 1752 1815 after

80 5899 Overbeek Leendert 1752 1815 after

= Provenance: the collection A.M. van den Broek, both with his collector's mark on verso.

80 5900 Pannebakker Jan 1755 ±1830

80 5900 Pannebakker Jan 1755 ±1830

= Provenance: the collection A.M. van den Broek, both with his collector's mark on verso.

80 5901 Pannebakker Jan 1755 ±1830

80 5901 Pannebakker Jan 1755 ±1830

80 5901 Pannebakker Jan 1755 ±1830

80 5901 Pannebakker Jan 1755 ±1830

= Provenance: the collection A.M. van den Broek, with his collector's marks and annotation on verso.

80 5902 Pannebakker Jan 1755 ±1830 attrib

80 5902 Pannebakker Jan 1755 ±1830 attrib

- Both drawings trimmed to the framing line.

= Provenance: the collection A.M. van den Broek, both with his collector's mark on verso.

80 5903 Picart Bernard 1673 1733

- A few vague soiled spots; vaguely waterstained in margins.

= On paper with watermark of double-headed eagle with crown.

80 5904 Picart Bernard 1673 1733 attrib

- A few (partly closed) tears in right margin; sm. portion of upper right corner lacking and upper right corner sl. creased; sl. duststained in lower right corner.

= On paper with fleur-de-lys watermark.

80 5905 Poussin Nicolas 1594 1665 after

= On 17th/ 18th century laid paper.