Stolen Art Watch, Brighton Antiques Knocker Boy "Floppy" Ansboro Gets Seven & Half Years, Burglar Gets Nine Years & His Pot Lid Gets Bottle & Half

Antiques burglars who targeted elderly and vulnerable jailed for 19 years

L-R: Mason Abberley, Steven Abberley, Paul "Floppy" Ansbro

BURGLARS who stole cherished antiques from the homes of elderly Alzheimer’s sufferers while they slept have been jailed for a total of 19 years.
Paul Ansbro used his antiques business to identify vulnerable victims living in detached rural houses, so that tattooist Steven Abberley and his teenage son Mason could break in and steal valuable belongings.
The goods, which ranged from paintings to china to silver trinket boxes, were deemed to be worth more than £120,000.
Only £1,000 was recoverable, the rest having disappeared to fund the gang’s drugs and gambling habits.
Sentencing at Hove Crown Court, Judge Anthony Niblett told the men they faced long sentences due to the seriousness of the burglaries.
Steven Abberley, 42, of Findon Close, Hove, was sentenced to nine years for 12 counts of burglary. The judge considered the involvement of his son a “significant aggravating factor.”
Paul Ansbro 55, of Westbourne Gardens, Hove, was jailed for seven and a half years for three counts of handling stolen goods and four counts of burglary.
Mason Abberley, 19, of Ventnor Villas, Hove, was ordered to spend two and a half years in a young offender’s institution for committing eight counts of burglary, which the judge considered the minimum possible sentence given the younger man’s more junior role in the enterprise.
The judge praised the “extremely thorough and detailed police investigation”, and singled out Detective Constable John Stadius, and analyst Helen Crunden for praise.
The case files included more than 4,000 pages of data and drew on forensic analysis, shoe prints, identification and recovery of stolen items and number plate recognition in order to track down and arrest the perpetrators.
In mitigation, defence lawyers pointed to letters written by the defendants and their families, to a lack of previous convictions for acquisitive crimes, and to Ansbro’s and Steven Abberley records as law-abiding businessmen.
Despite not physically taking part in the burglaries, Ansbro’s role in tipping off the Abberleys was singled out for particular condemnation.
Judge Niblett said: “I think targeting vulnerable and elderly people, those with Alzheimer’s, those he knew had valuable antiques in their home and he was tipping off the burglars; I think it’s worse.”
The 12 burglaries took place between December 31, 2013, and February 4, 2014.
CRIMES HELPED PAY FOR GAMBLING AND DRUGS
AHEAD of his sentencing for multiple counts of burglary, antiques dealer Paul Ansbro was described as a “failed businessman, a failed gambler, and a man whose reputation for honesty built over 30 years stands in tatters.”
But the words of mitigation from Ansbro’s barrister were not enough to spare him a significant seven-and-a-half-year sentence for his role in the campaign of burglaries.
It was an addiction to gambling which had led the Hove man into criminality, following a “spiral of decline”.
Treasured possessions and family heirlooms, stolen from sleeping elderly owners, are now lost forever, sold cheaply to fund Ansbro’s gambling addiction and Steven Abberley’s cocaine debts.
Judge Anthony Niblett said the insignificant funds recovered were proof the proceeds of the burglaries, items collected over years and generations, were “frittered away”.
Only £435 was recovered from Steven Abberley’s £121,600 proceeds, and £675.35 from Mason Abberley’s £94,000.
A nominal sum of £1 was confiscated from Paul Ansbro who had no assets, everything he once owned already forfeited to the bank due to massive gambling debts.
The court heard Abberley burgled an 87-year-old woman with Alzheimer’s, and stole Royal Doulton china, the result of a lifetime of travelling and collecting.
He and his son took artworks lovingly painted by the deceased wife of an 84-year-old man with Alzheimer’s, now terrified of what might have happened if he had bumped into the burglars.
Many victims have live-in carers who are now similarly traumatised.
During the sentencing, Judge Anthony Niblett said: “The Items stolen were of huge monetary and emotional value. These were dearly loved and cherished possessions.”
He said to Steven Abberley: “You must have known what you were doing was terribly wrong and you seem to have carried out these offences as a professional burglar would.”
Abberley, who had no previous convictions, and had owned a tattoo parlour, cried in the dock as he was sentenced.
The court heard he suffered physical and mental abuse at the hands of his wife and turned to cocaine, leading him into a spiral of addiction, debt and criminality.
His barrister said Abberley had made two attempts on his own life and expressed genuine remorse.
Art Hostage Comments:
Whilst not excusing these crimes, this seems a very harsh sentence if we look at previous sentences for antiques theft.
Graham Harkin, with many previous antiques related convictions, burgled Firle Place and stole over £1 million in porcelain as well as other thefts from country houses and even tried to ransom back a Tompion clock worth £200,000.
He got nine years jailtime.
http://arthostage.blogspot.co.uk/2011/03/stolen-art-watch-graham-harkin-firle.html

The Johnson gang leader Ricky Johnson, again, with previous antiques related convictions, got eight years jailtime for many millions in country house raids.
https://en.wikipedia.org/wiki/The_Johnson_Gang

Furthermore, Paul "Floppy" Ansboro pleaded guilty which should have given him a third off and in mitigation his beloved mother passed away recently, as well as Ansboro having no previous convictions.

Doris Ansbro

ANSBRO DORIS Peacefully on the 16th November 2015. A loving mum of John, Paul and Maria, a nan and great nan who will be sadly missed by all her family and many friends.
There are grounds for an appeal on the basis, severity of sentence, given the fact previous sentences handed down for much more valuable antiques thefts that were silmilar, if not less. Worth taking a look at sentencing guidlines as this seems like the top end?

Worth also noting two other stories in the argus about criminality, one of fraud involving millions, and the other a gang of youth burglars, see below and compare sentences with those given to Paul Ansboro & co:

Youth Burglars
 http://www.theargus.co.uk/news/14143241.The_young_Whitehawk_thieves_who_stole___200k_of_property/

Fraud:
http://www.theargus.co.uk/news/14143221.Four_and_a_half_years_for_greedy_investment_banker_in_tax_fraud/

Stolen Art Watch, Westfries Museum Haul, Danegeld Demanded

Stolen Dutch art found in Ukraine risks being sold illegally: Museum

THE HAGUE (AFP) - Two dozen 17th-century Dutch paintings stolen a decade ago have resurfaced in Ukraine, a Dutch museum revealed on Monday (Dec 7), warning that the works were in danger of being sold on the black market after its own efforts to retrieve them failed.
The 24 paintings by Jan Linsen, Jan van Goyen, Jacob Waben and other Dutch artists were taken when robbers broke into the Westfries Museum in the northwestern city of Hoorn in early 2005.
The robbers also stole 70 pieces of silverware before disappearing without a trace, the museum said in a statement.
Five months ago, two men claiming to be from the ultra-nationalist Organisation of Ukrainian Nationalists militia entered the Dutch embassy in Kiev claiming to have stumbled upon the complete collection of paintings.
There was no mention of the silverware.

They said they had found the art in a villa in war-torn eastern Ukraine, where Kiev's forces are battling pro-Russian separatists.
As proof, the men showed a picture of one of the paintings alongside a recent Ukrainian newspaper edition, the Westfries Museum said.
"The men said they wanted to give back the paintings" but did not want Ukrainian authorities involved, according to the museum.
The Dutch government decided to give the city of Hoorn a chance to negotiate their return and employed an art historian who specialises in tracing stolen works to act as an intermediary.
But after meeting with the militia members, the expert, Arthur Brand, said "it was clear their estimate of the art was totally unrealistic," according to the museum.
"They wanted 50 million euros (S$76 million).""We offered them 50,000 euros as a 'finder's fee' -- and as a token of our gratitude -- but we refused to pay them money for our very own paintings," he said. "We started the talks with high hopes, but they had a very inflated idea about the actual value of the paintings."
While the paintings were valued at 10 million euros when they were stolen, Brand said that judging by the state of one of the paintings, the collection was now worth 500,000 euros at most.
The militia members then claimed a "finders' fee" of five million euros "and not a cent less," after which negotiations reached a dead end.
Fears that the works would next turn up on the stolen art circuit prompted the museum to go public with the saga.
"The reason for our revelation is that there are very strong indications the paintings are now being offered for sale to other parties," Westfries Museum director Ad Geerdink told a press conference.
"Some may even already have been sold." The museum said it hoped potential buyers would be warned as well as aware of the artworks' real value.
The museum however said the paintings are "priceless to us, as they tell the story about a fascinating time in West Friesland during the Golden Age."
Dutch Foreign Affairs Minister Bert Koenders said he had contacted Ukrainian officials at the "highest level" to get the paintings back.
"It's a bad situation and if the paintings are over there they should be returned as soon as possible," Koenders told the NOS public broadcaster.
Art Hostage Comments:
Arthur Brand has consistently pledged never to pay for the recovery of stolen art and has been critical of those who have paid any kind of reward or finders fee.
In this case however, he has agreed to offer a token finders fee, or in reality a ransom.
Still, Arthur has changed tact and has valued the Westfries stolen art haul very low indeed, therefore making any ransom offer poultry in comparison with the true value.
All of this was to no avail and now there is a Mexican stand-off.
It must be said, that perhaps Arthur Brand had no intention of paying anything at all, and was only trying to sting those with the Westfries stolen art haul and when it was revealed, Police would swoop? That said, a sting may not have been possible as allegations of Ukrainian Secret Service involvement appear and the current holders of the Westfries stolen art haul are paramilitaries.

West Frisian stolen art located in Ukraine, but unattainable

 
The art that was stolen in 2005 from the Westfries Museum in Hoorn is located in Ukraine. All attempts to recover the 17th century paintings and bring them back to Hoorn have failed, however. Contact with the present owners of the stolen art, as well as diplomatic efforts on the highest levels have not amounted to anything. Because the collection may be on the brink of being sold to others and because it is in a steadily deteriorating condition, Hoorn is now looking for publicity on a national as well as international scale to deter potential buyers and to expose the practices of the Ukrainian art criminals who have contacts on the highest political levels.
On the night of January 9, 2005, 24 paintings and 70 pieces of silverware, the heart of the 17th and 18th century collection, were stolen from the Westfries Museum during a burglary. For years, the municipality of Hoorn had been hoping that the paintings and silver would resurface when last year, one of the stolen paintings first appeared on a Ukrainian website. In July 2015, two individuals reported to the Dutch embassy in Kiev who said that they represented a Ukrainian volunteer battalion. This OUN militia claimed to have the complete collection of stolen paintings from the Westfries Museum in their possession. A photo showing one of the paintings accompanied by a current Ukrainian newspaper was presented as proof for this claim.
The militia stated that it was prepared to hand over the paintings to the Netherlands on certain conditions, one of which was that the Ukrainian authorities were not to be involved.
After the embassy informed the Dutch police and justice department, they decided to offer the municipality of Hoorn the opportunity to contact the owners of the stolen art themselves. Because the municipality of Hoorn had no experience in such matters, they decided to bring in Mr. Arthur Brand who specializes in art crimes and tracking down stolen art.
Wrong value expectations
Brand noticed during the initial interactions that the present owners had a completely unrealistic idea of the value of the stolen paintings. They estimated the value at 50 million euros. Brand presented a research report to his Ukrainian contacts that showed that, based on recent auction proceeds of comparable works of the same painters, the entire collection should be estimated at a minimum of 250,000 euros and a maximum of 1.3 million euros, if in good condition. Because the latter did not appear to be the case, he estimated the current market value at no more than 500,000 euros. On behalf of the municipality of Hoorn, Brand offered the militia a compensation, but received no response to the offer. The other party contended that a 5 million euro finder’s fee was in order and would not settle for less
whereupon the municipality urged the ministry of Foreign Affairs to attempt to expedite the case along diplomatic channels. Talks on the highest political levels were held but to no avail. At present, there are serious indications that the current owners of the stolen art are attempting to sell it to others. Further research by Brand shows that other highly placed individuals are operating behind the scenes of the volunteer battalion. The stolen art is used as a pawn in a non-transparent Ukrainian political arena riddled with internal power struggles, favouritism and corruption.
Sounding the alarm
The Westfries Museum has but one interest: to return the looted art to Hoorn as soon as possible before the collection is sold off in parts or deteriorates any further. According to the museum director Ad Geerdink: “We have done everything we can and have reached a dead end. Now that it seems that the art works are disappearing again, we want to sound the alarm to let potential buyers know that they are dealing with stolen art, to give a correct representation of the actual value of the art works, but also to send a signal that these art works only belong in Hoorn. They are invaluable to the story we are telling about the extremely riveting period of the Golden Age in West Friesland.”
Mayor Yvonne van Mastrigt has expressed the hope that the Ukrainian government realizes that they have a responsibility in this matter and that they can play an important part in returning the stolen art to Hoorn.
Further information
Images of all the stolen works can be found in this message.
At the end of this message (next page), please find attached a timeline of the most important facts and developments.

Timeline:
January 2014
A Dutch police detective discovers a colour image of one of the missing art works on a mysterious Ukrainian website believed to be the painting Rebecca en Eliezer by Jan Linsen. However, because the Westfries Museum is only in possession of black and white photos of the stolen art, a colour representation is deemed sufficient evidence to prove that this is one of the stolen pieces.
July 2015:
A phone call is made to the Dutch embassy in Kiev by someone claiming to speak on behalf of the Ukrainian volunteer battalion Saint Mary and that this battalion is in possession of the complete collection of paintings.
August 4:
First meeting between two representatives of the volunteer battalion and Arthur Brand, followed by several contacts.
September:
The museum management requests the Dutch ambassador in Ukraine to attempt to expedite the process along diplomatic channels. Foreign intelligence services are also notified by Arthur Brand’s contacts.
October:
Knowledgeable informants notify Brand that Oleh Tyahnybok, leader of the right-wing extremist party Svoboda, is pulling the strings behind the scenes. The name Valentyn Nalyvaichenko, former head of the secret service is repeatedly mentioned.
November:
Negotiations do not yield any results. Brand receives information that a group of foreign criminals is offered a collection of 16 Dutch Masters. The accompanying photo shows that the collection being offered is comprised of some of the works from the Westfries Museum. Aside from that, there is also a Ukrainian lawyer that is attempting to sell the paintings via foreign channels.

List of paintings and silver objects that were stolen from the Westfries Museum on januari 10, 2005. Paintings Painting, Henrik Savrij, View on Andijk, rond 1900. Oil on canvas, 51 x 37 cm. Invnr. 11383 Painting, Jan van Goyen, Landscape with cart, 1632 Oil on canvas, 126 x 94,5 cm. Invnr. 00529 Painting, Floris van Schooten, Kitchenscene, 17th century Oil on canvas, 178 x 112 cm. Invnr. 00524 Painting, Jacob Waben, Vanity, 1622 Oil on canvas, 151 x 131 cm. Invnr. 00237 Painting, Matthias Withoos (1621/7 – 1703), Grashaven Hoorn (1) Oil on canvas, 100 x 63,5 cm. Invnr. 13717 Painting, Matthias Withoos (1621/7 – 1703), Grashaven Hoorn (2) Oil on canvas, 101 x 65 cm. Invnr. 01739 Painting, Jan Claesz. Rietschoof, View on Oostereiland, Hoorn, 1652-1719 Oil on canvas, 127,5 x 93,5 cm. Invnr. 18149 Painting, Steven van Duyven, Portrait of a lady, 1679 Oil on canvas, 62,5 x 74 cm. Invnr. 00704 Painting, Steven van Duyven, Portrait of a man, 1679 Oil on canvas, 62,5 x 74 cm. Invnr. 00703 Watercolour, Herman Henstenburgh, Stillife, 1680-1726 29,5 x 38,7 cm. Invnr. 50400 Watercolour, Herman Henstenburgh, Stillife, memento mori, 1698 26,4 x 31,2 cm. Invnr. 00574 Painting, Gerrit Pompe, View on Enkhuizen Oil on canvas, 153 x 92 cm. Printing, Hendrik Heerschop, Biblical scene, 1652 Oil on canvas, 103 x 88 cm. Invnr. 00719 Painting, Egbert Lievens van de Poel, Interior, 1620-1653 Oil on canvas, 32,5 x 25 cm. Invnr. 00525 Painting, Hendrik Bogaert, A farmer’s wedding, 1671-1675 Oil on canvas, 174 x 109 cm. Invnr. 00528 Painting, Jan Linsen, Rebecca and Eliëzer, 1629 Oil on canvas, 59,9 x 36,7 cm. Invnr. 00573 Painting, Salomon Rombouts, Winterscene, 1670-1700 Oil on canvas, 30,1 x 23,3 cm. Invnr. 00523 Painting, Izaak Ouwater, The Nieuwstraat in Hoorn, 1784 Oil on canvas, 55,7 x 44,4 cm. Invnr. 01575 Painting, Reinier Nooms, Ships at sea, 1640-1668 Oil on canvas, 49,5 x 37 cm. Invnr. 00531 Painting, Jacob Waben, The return of Jephta, 1625 Oil on canvas, 163 x 103 cm. Invnr. 12154 Painting, Claas Molenaer, Winter, 1647 Oil on canvas, 118 x 85 cm. Invnr. 02183 Drawing, J. Groot, Surgeon, ca. 1850 13,3 x 16,8cm. Invnr. 04022 Print, D. Teniers, Quack, 1766 24,6 x 35 cm. Invnr. 09069 Painting, Claas van Heussen, Kitchenscene (1), 1672 Oil on canvas,27 x 35 cm. Invnr. 00526 Painting, Claas van Heussen, Kitchenscene (2), 1672 Oil on canvas, 27 x 35 cm. Invnr. 00527 Silver objects Little cup Germany (?), unknown master, end 16th century 6,5 x 7,5 cm. Invnr. 00133 Cup Hoorn, unknown master, 17h cent. 8,8, x 7,6 cm.Invnr. 00135 Cup Hoorn,unknown master, 1670-1694 7,8 x 7,1 cm. Invnr. 02454 Plate Enkhuizen, Klaas Freerks (?), ca. 1680. Invnr. 00137 33 cm. Sugarbowl Hoorn, Jan Krook, 1742 or 1767. 4,3 x 14,5 cm. Invnr. 10059 Tea-caddy Hoorn, mastersign horentje, 1768 of 1793. 9,8 x 16,3 x 5,8 cm. Invnr. 00142.a-c TTobaccobox, G. Bellekin. 10,4 x 4,5 x 9,3 cm. Invnr. 00143 Snuffbox Engraved: “De vlooye steeke vel daardoor kan ik niet slaaen. Had ik een frs ( vrij?) gesel bij mijn om vreught te raapen. Dan waar mijn hert gerust ik sou om geen vlooye denke. Maar hem door mijn lust mijn maagde roosie schenke”. 6,5 x 8,3 x 3,2 cm. Invnr. 17644 Plaquette Gilde silver with the coat of arms of Hoorn, maker unknown, ca. 1700. 23,5 x 30 cm. Invnr. 01849 Plate Hoorn, Pieter Schuurman, probably made in 1801. 21 x 21 cm. Invnr. 10932 Sugar basket Amsterdam, J. H. Stellingwerf,1805. 16,4 x 12,5 x 11,8 cm. Invnr. 00174 Mustardjar, Amsterdam, Wouter Verschuur, 1790. 14 x 6,2 cm. Invnr. 00158.a-c Two salt containers, Blue glass. Amsterdam, Diederik Willem Rethmeyer, 1803. 13,5 x 7,5 x 5,3 cm. Invnr. 00159.1-2 Breadbasket. Amsterdam, Barend van Mecklenburg, 1792. 9,1 x 24,2 cm. Invnr. 00009 Container (powder, liniment) Amsterdam, Jacobus Das, ca. 1730 Ca. 9 cm. Invnr. 19289 Container made for the wedding of Jacob Jansz. Van Bronckhorst en Celitie Theunis Bruyningh. Master unknown, 1682. Ca. 10 cm. Invnr. 12284 ‘Knottekistje’ Possibly by Claes Bel ( 1675-1700) 7,3 x 4,8 x 6,0 cm. Invnr. 14947 ‘Knottekistje’ Hoorn, Reyndert or Claes Bell (?) 17th cent. 7,6 x 5,3 x 8,2 cm. Invnr. 00138 Silver container for needles Engraved: J.K. Hoorn, master unknown, 1793.9,7 x 1,8 cm. Invnr. 15530 Small plate Zwolle, H. Zweering 1760. 19,2 x 19,2 cm. Invnr. 11274 Tobaccobox Pieter de Gilde, 1807. 92 grams Invnr. 00169 Pipe cleaning set Enkhuizen, master unknown, ca.1750 7,5 x 3,2 cm. Invnr. 10353 Grater for nutmeg Amsterdam, J.G. Koen, 1858. 3 x 6,7 x 3 cm. Invnr. 04948 Two golden book-locks. Made between 1700 and 1740. 5,8 x 6,7 cm. Invnr. 00665 Two silver book-locks Hoorn, Jan Kamps, 1777. 9 x 2,8 cm. Invnr. 18043 Golden snuffbox Hoorn, Willem Zip, 1833. 5,8 x 2,5 x 4,4 cm. Invnr. 00167 Container Amsterdam, master unknown,  18th cent. 65 gram Invnr. 12256 Bowl, Enkhuizen, 18th cent. 21,7 x 5,3 Invnr. 12102 Bowl Leeuwarden, J. Adringa, 1776. 24,8 x 12 x 7,8 cm. Invnr. 18036 Cup Engraved with the coat of arms of Maria Jacob van Akerlaken, 7 november 1848. Amsterdam, Wed. E.H. de Haas 10,5 x 6,8 cm. Invnr. 000185 Necklace Of Mr. W.C.J. de Vicq, Mayor of Hoorn 1862-1875 . Amsterdam, J. M. van Kempen en C.B.H. Canté. Ca 70 cm. Invnr. 10471 Container for spoons Hoorn, J.Verhoogt , 1911. 17,2 x 5,4 x 7,2 cm. Invnr. 55872 Container Joure, C.J. Brunings, 1862. 11,3 x 6,3 x 8,8 cm. Invnr. 02450 Container Rotterdam, C. Knuysting , 1805. 8 x 12,2 cm. Invnr. 00175.1 Container Rotterdam, C.J. Knuysting, 1805. 7,9 x 15,1 x 10,3 cm Invnr. 00175.2 Two silver containers Amsterdam, H. Smit, 1829. 7,8 x 12,6 en 14,3 x 10 x 7,5 cm. Invnr. 11272 en 11273 Pipe holder Amsterdam, F. Arnsen, 1837. 15 x 12 x 12 cm. Invnr. 01051 Tobaccojar Decorated with a snake Amsterdam, F. Arnsen, 1837. 15 x 18,5 x 11,5 cm. Invnr. 01054.a-b Tobaccojar Utrecht, F.C. Moot, 1807. 22 x 18,5 x 10,5 cm. Invnr. 00172.a-c Tea-caddy Amsterdam, P.H.la Ruelle,1806. 22 x 18,5 x 10,5 cm. Invnr. 00173 Milkjar Amsterdam, A. Horman 1833. 14 x 8 x 13 cm. Invnr. 13104 Teapot Amsterdam, A. Horman, 1833. 24 x 9,5 x 15,5 cm. Invnr. 13103 Miniature mill by Adr. Volkers, 1953 (niet afgebeeld) 18,5 x 13,5 x 16 cm. Invnr. 50008Miniature ship by Adr. Volkers, 1953 10,4 x 10 x 3,2 cm. Invnr.Miniature bird by Adrianus Volkers, 1950-1960. 3,5 x 2,9 x 3,4 cm. Invnr. 50011Miniature cabinet by Adrianus Volkers, 1950-1960. 4,9 x 7,5 x 1,9 cm. Invnr. 50010Miniature fountain, maker unknown 5 x 13 x 3 cm. Invnr. 00044Miniature bridge by Adrianus Volkers, 1951. 12,5 x 7,7 x 5,2 cm. Invnr. 50007 Guildmedal, koper, 1723, ‘mr. Floris Snel 1723′ Surgeonsguild. 2,8 cm. Invnr. 00697 Guildmedal, koper, 1753, ‘mr. Rijkwaart Duyvetter 1753′ Surgeonsguild 2,8 cm. Invnr. 00698 Guildmedal, 1740, ship and Klaas Jansz. Kaat’ Skippersguild 3,2 cm. Invnr. 00699 Guildmedal, 1775, ship and:’Volkert Cornelis Pool van Wieringe 1775 7M 26 dag’ Skippersguild 3,7 cm. Invnr 00700 Guildmedal, no date, cooper and ‘J.B.B.’ Coopersguild Enkhuizen 4,0 cm. Invnr. 00701 Guildmedal, 18h century, cooper and:’Waar heeft men grooter kunst ter weereld ooyt gevonde als daer men hout te saam heeft digt gebonde Coopersguild 2,9 cm. Invnr. 00702 10 guildspoons:00022.1 Albert Goversz Fortuyn, 1753′. Carpentersguild. 18,8 x 4,3 cm.00022.2 Albert Goversz. Fortuyn,  ’1754′, Carpentersguild 18,9 x 4,3 cm.00022.3 Albert Goversz Fortuyn,  ’1756′, Carpentersguiild 19,9 x 4,5 cm.00022.4 Albert Goversz Fortuyn, ’1757′, Carpentersguild 19 x 4,5 cm.00022.5 Maker unknown ’1759′, Carpentersguild 18,8 x 4,5 cm.00022.6 Dirk Hoep, ’1760′, Carpentersguild 19,1 x 4,5 cm.00023.1 Jacob Dirksz Schuyt,engraved: ’As J Schellinghout het Besemakersgildt Ao 1771′ Broommakersguild 19,9 x 4,9 cm.00023.2 Adrianus van Egmond,  ’As J Schellinghout het Besemakersgildt Ao 1771′ Broommakersguild 19,7 x 4,8 cm. 3 plates, 1697, Johannes Zschammer 33 cm. Invnr. 00131 2 cups, 1738, Francois van Stapele 17,3 x 10,6 cm. Invnr. 00123 1 plate, 1730, Francois van Stapele 25 cm. Invnr. 00123 2 plates 1695, Wouter Schrijver 32 cm. Invnr. 13376 2 cups, engraved: ‘Gifte tot het h. avondmaal der remonstranten tot Hoorn van Marijtie Boelen gestorve Anno 1662 den 26 maart.’ , 1662 17 x 11,1 cm. Invnr. 13377Silver jug, ca. 1900, Firma H.A. Jurst en Co 34 x 22 cm. Invnr. 13378Trowel, 1864, Jacob van Straten Alkmaar 16 x 11,5 x 14,5 cm. Invnr. 13379