THE SEVENTEENTH CENTURY
A World Of Interpretations
A World Of Interpretations
- Gandini, Madonna and Child
- de Bry, Eleazar and Rebecca
- de Bry, The Venetian Ball
- Jamnitzer, Three Genii
- Saenredam, Paris and Oenone
- Muller, Johann Neyen
- Major, View of a River
- Elsheimer, Tobias
- van Sichem, The Musicians
- Cantagallina , Ship of Amerigo
- Ribera, The Poet
- Callot, Cap. Spessa Monti
- Callot, Vue du Pont Neuf
- van de Velde, Aer
- Schut, Martyrdom of St. George
- after van Dyck, Lucas van Uden
- Lorrain, Les Quatre Chèvres
- Franck, Soldiers Drinking
- Bosse, The Prodigal Son
- Mauperché, La Bergère Assise
- van Scheyndel, Peasant Woman
- Pérelle, Evening Landscape
- van den Steen, Saint Pepin
- Janssen, The Four Elements
- Matham, Phyllis
- Grimaldi, Landscape
- Grimaldi, Three Boats
- Rembrandt, Jan Cornelis Sylvius
- Rembrandt, The Flight into Egypt
- Rembrandt, Lieven van Coppenol
- Lievens, Jacques Gaultier
- Hollar, Caricature Head
- Attributed to Jan Fyt , Pigeons
- Della Bella, Le Reposoir du Saint Sacrement
- Della Bella, A Pikeman Standing
- van Ostade, Man and Woman
- van Ostade, The Singers
- Dubois, Extensive Landscape
- Carpioni, Madonna
- Chauveau, Timbalier et Trompette Turcs
- Faithorne, Thomas Mace
- Castiglione, The Nativity
- Master CpP, Apollo Flaying
- Stoop, Bridled Horse
- Berchem, The Rest
- Courtois, A Cavalry Battle
- Nanteuil, Godefroy-Maurice de la Tour d’Auvergne
- Nanteuil, Pierre Séguier
- van der Ulft, Aqueduct
- van der Ulft, Villa on a Hill
- Visscher, The Gypsy Woman
- Bega, The Family
- van Heemskerck, Peasants
- Thuenkel, Floral Ornaments
- van Somer, The Drinker Asleep
- Anonymous English, Faiths
- Meyer, Landscape with Trees
Les Quatre Chèvres
Etching, ca.1630-33, Robert-Dumesnil 36, Blum 5, Manocci 8 iiA/iv, 203 x 132 mm. Fine, early impression, with the scratches in the lower margin and the dark patch still visible, on laid paper with a watermark of a Cross and IHS in a Circle, large margins. Old collector's number recto in ink. Manocci identifies the watermark as Heawood 2974, in use from after 1578 until 1660s. There is only a single impression known of the first state (before the large plate, also including the Trois Chèvres, was divided in two), which is in the British Museum. "Early impressions from the separate halves of the plate are not common," comments Manocci.