- Browned; sl. soiled and w sm. waterstain in upper part; vertical closed tear in upper part; paper doubled (w. an 18th cent. incorrect attribution to Albrecht Dürer).

= Design for the woodcut (Hollstein 210.51) in Artliche vnnd Kunstreiche Figurn zu der Reutterey (...) (Frankfurt, 1584). SEE ILLUSTRATION PLATE LXXXV.

- Both upper corners dam. and partly repaired; old folds.

= With "Primaticio" in lower outer corner. For the watermark cf. Heawood 1769 (dating 1616). SEE ILLUSTRATION PLATE LXXXVI.

- Waterstained and w. duststains; tipped onto a mount.

= With an attribution to Simon de Vlieger in pen and ink on mount. But perhaps by Wouter Knijff.

- Mediocre condition. Some corrosion visible; foxing and soiling; lower corners repaired.

= Interesting drawing with temptative attribution on verso of old frame (preserved) to Claude le Lorrain and with mounted tickey of artdealer Bruno de Bayser, Paris. SEE ILLUSTRATION PLATE LXXXVI.

- Corners cut off; partly stained/ foxed; verso worse; old restorations.

- Formerly folded.

- Folded; brown stain in centre; fingersoiled.

= On laid paper with watermark showing a crowned heart, flanked by ascending gryphons, all within a circle. The composition in the style of Philips Wouwerman.

- Browned and foxed.

= The annotation reads as: "Dit visken en dient nerghens toe als om antesien weghen syne frayen glinzende couleur. Want het leefft van de fenijnghe zeeblasen in de zee" (This fish is only useful to look at because of its shiny colour. Because it lives from the vicious sea bladders [jelly fish] in the sea). The man-of-war fish only eats the smaller tentacles of the Portuguese man-of-war (from which it derives its name) and has a symbiotic relation with the jelly fish. From the collection of C.G. 't Hooft, former curator of Museum Fodor, with his manuscript collector's mark ("Hft") and annotations in pencil on verso. 't Hooft attributes this drawing to Rochus van Veen, comparing it to a drawing sold in 1924 at R.W.P. de Vries. But probably not by Van Veen. SEE ILLUSTRATION PLATE LXXXVII.

- Creased.

- Tipped on later leaf; drawing soiled and stained; paper brittle and w. sm. tears in lower part.

= From the collection of the brothers Amadée-Paul-Emile and Charles Gasc with their collector's marks on recto (Lugt 1131 and 543). Although the drawing bears a signature Luadis (?) Backhuijsen, not in the style of Ludolf Backhuijsen. A drawing with the same composition was found In the collection of Cornelius Gurlitt (www.proveana.de, Lost Art-ID: 478169), signed "A Storck" (originally from the collection of Teodor de Wyzewa). The ships are meticulously executed. SEE ILLUSTRATION PLATE LXXXVII.

- Tipped on early 19th cent. paper (D&C Blaauw watermark). On thin laid paper with a watermark showing a rampant lion(?) 'holding' a sword and a small crescent moon(?) above. Perhaps from the early 18th century, the small watchtower with gate over the bridge that was still standing in the 17th century is not depicted. But perhaps an artistic choice.

- Sm. chip in lower edge; somewhat duststained and agetoned; sl. soiled; vertical glue stain from tape along right edge on verso.

= With an unread annotation in (lead) pencil on verso.

- A few foxed spots; sl. yellowed.

= With the watermark of D & C Blaauw (coat of arms with horn, below monogram D&C B) (1750-1782).

- Formerly folded w. vertical folds near right edge and horizontal in upper part; a few dustspots near left edge; left edges sl. frayed and chipped.

= On laid paper with water mark showing "CC" monogram. With an attribution in pen and brown ink to Nicolaas Verkolje on verso.