OLD PRINTS

Plate n ° 5 from the following: Raccolta Di Varii Cappriccii Et Nove Inventtioni Di Cartele Et Ornamenti (DV: 1027 to 1044) State I / III before the order number De Vesme: 1031 Proof cut to the limit or slightly to the inside copper, three brown spots on the back in the upper border...

AUTRE FUITE EN EGYPTE

State III/IVProof before the removal of the excudit and privilege.De Vesme: 12Cut at the copper limit, inscription in brown ink at the top left, on the back thinning of the paper at three of the angles...

DEUX DRYADES OU FEMMES TRANSFORMEES EN ARBRES ( MYRRHA ET DAPHNE ? )

Cartridge n ° 6 in the following: New inventions of cartridges 1647 De Vesme: 1020 Good impression, proof cut to the limit of copper...

MARCHE D UN CHAR AYANT LA FORME D UN VAISSEAU

CALLOT JACQUES (1592-1635)

From the following: Combattimento e balletto a cavallo (Carrousel represented in Florence De Vesme 65 to 68) Nice proof De Vesme: 66..

LA FACTORIA

From the set : Caprices, second version engraved in NancyBeautiful print cut to the limit of copperLieure : 433 Etat I/II..

PREMIER COMBAT NAVAL

CALLOT JACQUES (1592-1635)

State I/II before the inscriptions in the margin.From the suite: The life of Ferdinando I de Medici (Lieure : 147 to 162)Engraved and printed by Callot in Florence in the office workshop which had been allocated to him.Ca.1619-1620Watermark n°3: at the three rocksGood proof with short margins.Lieure: 157..

MELLIFERIS INFESTI APIBUS

GALLE CORNELIS (1576-1650)

Print after Jan van der Straet (aka Stradanus), from the following: Venationes, Ferarum, Avium ..., ca.1595 Proof with good margins..

DANSEUSE EN COSTUME DE FANTAISIE

LEPAUTRE JACQUES (ca.1653 – 1684)

Superb proof of the first state with beautiful marginsReference: I.F.F n° 32 State I/III..

PATER NOSTER

WIERIX HIERONYMUS (1553–1619)

Pater Noster qui es in coelis sanctificetur nomen tuum, burin with short margins after HeemskerckNagler : 167..

BARQUEROLE DE VENISE JOUANT DU FIFRE ET DU TAMBOURIN A L'OPERA

BONNART NICOLAS (1637?-1718)

Proof in beautiful antique color with heightened gold and silver, consolidated tears in the upper and lower margins not affecting the subject, slightly yellowed paper.Reference : Le Blanc n° 182..

L'EMPEREUR COMMODUS EN HERCULE OU HERCULE COMMODE

BOS JACOB (1549-1580)

Proof executed in 1550 and edited by Antonio Lafreri (1512-1577), near Bernstein filigree: cote 46853 (between 1567 and 1600) Very nice impression Hollstein: 16..

LA FRESQUE DE LA BATAILLE DU PONT MILVIUS

DENTE DA RAVENNA MARCO ( 1486/1500-1527 )

Also say: Battle scene in a landscape with men on horseback, several others on the ground and a group of horsemen in the background.From a drawing by Raphaël.The fresco was produced and painted by Giulio Romano for Constantine's room in the Vatican.To Carlo Losi's address.Late 17th century print.Bartsch : 420Copper cut proof...

DIEU ORDONNANT A NOE DE BÂTIR L'ARCHE

DENTE DA RAVENNA MARCO ( 1486/1500-1527 )

According to Marc-Antoine Raimondi, after a drawing by Raphaël Reference: Bartsch No. 3.ANice proof..

LE MARTYRE DE SAINT SEBASTIEN OU LE ROI MORT PERCE DE FLECHES

ZASINGER MATTHAUS (c.1477-1533)

Intituled " The martyr of Saint Sebastian" it coul be an episode taken from the "Gesta Romanorum" (The Acts of the Romans) where the print illustrates the episode of the dead king pierced by the arrows of his sons. Filigree "Eagle with one head" (near Briquet 183 or 191) Collector's mark on the back "CD", known by Lugt but not yet indexed, for Carl Drandt (born in Darmstadt in 1842)Very nice impression Reference: Bartsch: 4 (Master MZ)..

OISEAUX, PLANCHE III

LE ROY HENRY (1579-1651)

Plate from a set of six at the adress of Herman Weyen ( 1643 et 1680 ) engraver and editor in Paris.these patterns are elements of an engraved set by par Nicolaes de Bruyn ( Volatilium Varii Generis)Good proof, some creases and stains mainly in large margins. Guilmard: p.38 and Berlin K.O.S : 4380..

FRISE A L'ENFANT TERRASSE PAR UN BOUC

Very nice print of this burin after Raphaël. 1532. Proof cut at the copper limitBartsch : 29..

LE PERE DE PSYCHE CONSULTANT L'ORACLE

Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )..

APULEE CHANGE EN ANE ECOUTANT LA FABLE DE PSYCHE

Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )Short tear in the upper margin not reaching the subject, small restoration, some brown spots...

PSYCHE AUPRES DE L'AMOUR

Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )..

ZEPHYR ENLEVANT PSYCHE SUR LES ORDRES DE L'AMOUR

Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )Few brown spots...

La victoire de Scipion sur Syphax

CASTIGLIONE GIOVANNI BENEDETTO (1609-1664)

Very nice proof with a net of margins carrying a filigree with lilyReference : Bartsch : 73..

SATYRE DEVANT UNE STATUE DE PRIAPE ET PAN ASSIS A COTE D' UN VASE

Satyr in front of a statue of Priapus (B.illust.017) Proof with net of margins, thinning of the paper in the border and the lower right corner. State II / III before the retouch in the sky but after modification on the statue and with the letter. Collector's mark in pen on the back: BE? unidentified. Pan seated beside a vase (B.illust.018) Proof with net of margins. Bartsch illustré : 017-018..

THETIS ET CHIRON

PENCZ GEORG (CA.1500-1550)

Nice proof, margins, some scattered rednessesBartsch : 90, Hollstein : 119..

ENSEVELIR LES MORTS

PENCZ GEORG (CA.1500-1550)

Print from the set : Seven works of mercy.Proof cut at the edge of the subject, slight thinning of the paper on the back...

LA RIVIERE PASSEE A GUE

PENCZ GEORG (CA.1500-1550)

Bartsch : 94Some scattered foxing...

MASCARON 7

GHISI ADAMO (1530–1585)

Nice proof from the set : Mascarons after Giulio Romano (B.108-127), stain in the left outer borderEarly 17th century printBartsch : 114..

MASCARON 17

GHISI ADAMO (1530–1585)

Nice proof from the set : Mascarons after Giulio Romano (B.108-127), stain in the left outer border.Early 17th century print.Bartsch : 124..

MASCARON 8

GHISI ADAMO (1530–1585)

Nice proof from the set : Mascarons after Giulio Romano (B.108-127), slight thinning in large margins, proof early seventeenthBartsch : 115..

BACCHANALE

Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 150..

BACCHANALE

Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Proof slightly cut inside or at the limit of copper, the upper corners redone.Reference: Inventory of the French Fund n ° 147..

BACCHANALE

Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice impression slightly cut inside the copper.Reference: Inventory of the French Fund n ° 146..

BACCHANALE

Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 149..

BACCHANALE

ALDEGREVER HEINRICH ( 1502-1558 )

Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 151..

DAVID DECHIRANT SES VETEMENTS A L'ANNONCE DE LA MORT DE SON FILS

From the continuation of: The History of Amnon and Tamar (B: 22 to 28) State II / II Bartsch: 28 Proof with small margins, tiny tear in the right margin not reaching the subject. Remains of old assembly with three angles on the back. Unidentified (collector's brand ?) mark on the back, letter v in a red circle...

CHRIST EN CROIX

HOPFER DANIEL (1470?-1536)

Proof with good marginsRéférence : Hollstein n° 18..

ALEXANDRE RECEVANT LA REINE DES AMAZONES, THALESTRIS

By the monogramist FG after Primaticcio. Print from 1773 published by Carlo Losi, merchant and publisher active in Rome between 1757 and 1790.Print cut at subject line, median fold along left border..

PAYSAGE ET RUINES

From the continuation : Ruinarum varii prospectus, ruriumque aliquot delineationes. Beautiful print, scattered foxing, cut at the limit of the subject on three sides, slight thinning of the paper on the back. Ca.1581-1600 Hendrick van Cleve or Cliven III, son and disciple of William van Cleve, settled in Italy in the middle of the 16th century; around 1587 he returned to Antwerp and collaborated with Philip Galle...

LE BON SAMARITAIN

After Aldegrever: the story of the good Samaritan (cf. Bartsch: 40 to 43)Stamp on the back of the L.K.B collection(Leroy Kirwin Burket (1920-2003) artist, teacher of fine arts in the United States, great collector of old masters)..

LE GOUT

HONDIUS HENDRICK ( 1573-1650 )

After Saenredam. From a set of : Cinq senses Proof cut with a square line or slightly inside, restoration in the upper left corner...

IONICA ODOR

Ionic Order or Smell.Plate after Jan (or Hans) Vredeman de Vries (1526-circa 1609) from the following: "The Five rows of architecture, to know: Tuscan, Doric, Ionic, Corinthian, and composed, with basic instruction, made by Henricus Hondius. Amstredam [sic], Jean Jeansson ".Vredeman de Vries (1526-circa 1609) Flemish painter, occupied an essential place in Flemish architecture of the Renaissance, in particular for his ideas and theories on the perspective which he disseminated through his publications.Each of the orders is enriched with an allegory of one of the five senses.Between 1617 and 1620Hollstein: 161 Good proof, short tear in the left margin, tiny points of freckles mainly visible on the back, usual median fold of tab...

ANGELIQUE ET MEDOR

GHISI GIORGIO (1512/1520–1582)

Beautiful subject illustrating the loves of Angelique and Medor taken from the Orlando furioso (or Roland furious) epic poem in Italian composed by Ludovico Ariosto, called "Ariosto", at the beginning of the 16th century, composed of 46 songs in ottava rima , counting 38,736 vers.After Teodoro Ghisi, 17th century print by Giacomo Rossi.Reference: Bartsch n ° 410Remains of a strip of old mounting on the back..

SAINT THOMAS

Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 248Good impression cut to the limit of copper and mounted on a page of an old album...

FIGURE DE L'HABIT DE CHEVALLIER (SIC) A LA PLUVINELLE

Good impression, usual median fold, slightly yellowed borders, three old restorations in the large margins not reaching the subject.From : " L'instruction du Roy en l'exercice de monter a cheval . Par messire Antoine de Pluvinel, son soubs-gouverneur, conseiller en son Conseil d'Estat, chambellan ordinaire, & son escuyer principal. Lequel respondant a Sa Majesté luy faict remarquer l'excellence de sa methode pour reduire les chevaux en peu de temps à l'obeyssance des justes proportions de tous les plus beaux airs & maneiges. Le tout enrichy de grandes figures en taille-douce, representant les vrayes & naïsves actions des hommes & des chevaux en tous les airs, & maneiges, courses de bague, rompre en lice, au quintan, & combattre à l'espee, ensemble les figures des brides, les plus necessaires à cet usage, desseignees & gravees par Crispian de Pas le jeune ""A Paris, chez Michel Nivelle, ruë Sainct Jacques, à l'Escu de Bretagne, devant l'eglise Sainct Benoist. M. DC. XXV. Avec privilege du Roy, pour six ans"1625This famous treatise on riding, supported by philosophical remarks, is written in the form of interviews for the attention of the young Dauphin (future Louis XIII). To introduce him to the art of "reducing horses to obedience in a short time", Antoine de Pluvinel softened the teaching he himself received in Italy. It is illustrated by Crispin de Passe, whom Pluvinel met in Holland during one of his diplomatic missions...

LES MUSES

Complete set in 9 plates :Clio: history (H.403)Thalie: comedy (H.404)Melpomene: tragedy and song (H.405)Calliope: epic poetry (H.406)Terpsichore: dance (H.407)Euterpe: music (H.408)Erato: lyric and erotic poetry (H.409)Polymnia: rhetoric, eloquence (H.410)Urania: astronomy (H.411)Planks cut at the edge of the border and reassembled in the past on laid paperHollstein n°403-411Dimensions of each print: Subject: diameter 130 mm Sheet: 190 x 145 mm..

SAINT PIERRE

Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 241Good impression cut to the limit of copper and mounted on a page of an old album...

SAINT JACQUES LE MINEUR

VOLCKERTSZ COORNHERT DIRCK (1522-1590)

Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 249 Good impression cut to the limit of copper and mounted on a page of an old album...

HISTOIRE DE JACOB

Test with fillets of margins, small coloring on one of the sheep of the flock..

LA PARABOLE DU BON SAMARITAIN

VOLCKERTSZ COORNHERT DIRCK (1522-1590)

After Maarten van Heemskerck Proof cut with a square line, two printing folds, tiny consolidated tear in the right border. Hollstein: 105 to 108..

LA CREATION D'ADAM

DELAUNE ETIENNE ( 1519-1583 )

From the set: "History of Genesis"State I/II before addressNice print, cut at the copper limit, remnants of old mounts on the back, some small brown stains and thinning in the borders on the back.Bartsch: 25Carries three collector's brandsLugt.1731 ( and L.1701 ):" L. LÉPINGLE († around 1903), merchant, Brussels. Prints.L. Lépingle, a former ironmonger, owned a collection of ancient and modern prints which was purchased, perhaps only in part, by the print dealer Bihn, of Paris.The collector used, in addition to the mark reproduced, a stamp offering his initials in Roman characters (We have not yet encountered the third mark, cited by Lugt in 1956, offering the initials of the collector in Roman characters Romans), and a third giving his name in full.The Hermitage Museum in Saint Petersburg holds a set of twenty-two prints by Ignace Joseph Claussin after de Boissieu, eleven of them jointly bearing the marks L.1731 and L.1701, and two among them the marks L.1672b, L.1731 and L.4169 (archives of the Custodia Foundation, letter dated October 24, 2013).In several sales catalogs, the mark L.1731 was reported on prints accompanied by another unidentified mark, an initial L, stamped in blue-green ink; this has sometimes been identified as L.1701 (for example sale 2009, September 16, London, Christie's, n° 86, Rembrandt, The Flight into Egypt or online sale 2018, November 28 to December 6, Christie's, n° ° 99, Rembrandt, The Last Supper), or else described without mentioning the Lugt number (sale 2009, April 8, London, Christie's, no. 49, Rembrandt, Self-portrait with Saskia; sale 2004, November 25, Haarlem, Bubb Kuyper, no. 3527, W. Panneels, San Sebastian). This mark L.1701 is probably related to the collection of L. Lépingle. So many prints where the two marks, L.1701 and L.1731, appear together lead us to think that they may be linked.Note that this mark had been reported on a drawing given to Donato Creti (1671-1749) in the catalog of the Galerie Prouté in 1975, without specifying its color (cat. Prouté, Catalog “Dandré-Bardon”, Paris 1975, #8).The L.1731 mark may be affixed in blue, blue-green and/or red."Lugt:4172 (This is a larger size variant of the L.4171 mark): "CHARLES-FRÉDÉRIC MEWÈS (Strasbourg 1858-1914), architect, London. Ornamental and architectural drawings and prints .Charles Mewès (sometimes written Mewes), originally from a Jewish family in the Baltic countries, was the son of a merchant, Frédéric Mewès, and Julie Laure Schutzenberger. The family left Alsace in 1870 during the Prussian occupation. Charles entered the office of Jean-Louis Paul (1837-1920), a famous architect and teacher at the Beaux-Arts in Paris, at the age of twenty. In 1885, he competed for the Prix de Rome and graduated the following year. In 1900, he joined forces with the British architect Arthur Joseph Davis (1878-1951), his former classmate at the École des Beaux-Arts, and formed the “Mewès et Davis” agency. Charles Mewès owes his reputation as an architect to ..

JUILLET

DELAUNE ETIENNE ( 1519-1583 )

Print from the set : Twelve months Reference: Robert-Dumesnil n°191; IFF 16th century n ° 194Proof cut inside copper, formerly mounted on a large sheet of laid paper ( 235x310 mm) probably from an album..

NOVEMBRE

DELAUNE ETIENNE ( 1519-1583 )

Print from the set : Twelve months Reference: Robert-Dumesnil n°195; IFF 16th century n ° 198Proof cut inside copper, formerly mounted on a large sheet of laid paper ( 235x310 mm) probably from an album..

L'HOMME AU DRAPEAU

VENEZIANO AGOSTINO ( 1490- CA.1540 )

Print which would be engraved after the version of RaimondiBartsch: 482Proof cut on three sides at the copper limit and at 8 mm in the subject at the top...

LA DESCENTE DE CROIX

HOPFER LAMBRECHT ( CA. 1500 – CA. 1535 )

Proof after the Little Passion by Durer, from the XVIIth century with the numbers of the merchant Funck.Lined proof, cut to the limit of copper.Bartsch : 13..

BLASONS

HOPFER HIERONYMUS (1500?-1563?)

XVIIth edition with the number of the merchant Funck.Bartsch: 76Cut to the limit of copper...

COSTUMES POUR LES FETES DONNEES PAR LE DUC FRIEDRICH DE WURTEMBERG

KUCHLER BALTHASAR ( 1571-1641 )

Plate from: Repraesentatio Der Fürstlichen Auffzug und Ritterspil [...]. Schwäbischn Gmund, Küchler, s.d. [1611]Book immortalizing the celebrations which took place in Stuttgart in 1609 for the princely weddings of Johann Friedrich, Duke of Württemberg, and Barbara Sophie, Margravine of Brandenburg, composed of illustrations entirely engraved on copper by Balthasar Küchler (circa 1571-1641), painter from Silesia who made his career in Schwäbisch Gmund in Germany.Hollstein : 1-239Proof cut at the edge of the copper, formerly lined, a few scattered spots, old handwritten annotation in brown ink in the lower part...

SATURNE

MAITRE I.B ( ACTIF CA.1520-1530 )

Proof cut to the limit of copper, laminated on paper.The monogrammist IB was a German engraver active in Nuremberg around 1520-1530Bartsch: 11..

L'HUMANITE EN ATTENTE DU JUGEMENT DERNIER

After D. Barendsz.Proof with a margin net and marked in the lower right corner with a number in brown ink.Hollstein: 265The key to reading this print is found in the Bible verses at the bottom: "Ita erit et adventus filii hominis", referring to chapter 24 of the Gospel of Matthew: "38- In those days, before the deluge, we ate and we drank, we took a wife and we took a husband, until the day when Noah entered the ark; 39- people did not suspect anything, until the deluge that brought them all swallowed up: such will also be the coming of the Son of man. "..

ORNEMENT, FLEURS ET LIBELLULE

Plate from a series of ornaments of flowers, insects and various animals. Edited by Sadeler. Beautiful print, two small galleries of restored verses in the margins...

CHRIST AUX OUTRAGES

Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 216Beautiful impression cut at the edge of the subject and reassembled formerly..

LA CENE

Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 208Beautiful impression cut at the edge of the subject and reassembled formerly..

RHETORICA

Print after M.de Vos, from the suite of: Liberal Arts (Hollstein: 545 to 552)Cut to the limit of the square line.Hollstein: 548..

MERIDIES

from the rest of the four hours of the day (Hollstein: 509 to 512) after Dirck BarendszSlightly yellowed ProofHollstein : 510..

LA LAMENTATION

MERIAN MATTHAUS(1593-1650)

Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 218Beautiful impression cut at the edge of the subject and reassembled formerly..

LA MORT ET LE MAITRE DE CHAPELLE

Plate from the famous: Dance of the dead as it is portrayed in the laudable and famous city of Basle to serve as a mirror of human nature (...) Basle, Jean Rod (Between 1744 and 1789). This work included 43 figures on copper after Mérian. Each board was accompanied by a dialogue between death and the person concerned Pope, Emperor, King, Queen, Count, Magistrate, Merchant, Lame, Hermit, etc...

HERCULE ET IOLAUS TUANT L'HYDRE DE LERNE

CARAGLIO GIOVANNI GIACOMO ( 1500/1505-1565 )

Plate from a set of six (Bartsch 44 to 49) after Rosso Fiorentino.XVIIth edition.Print cut at the copper limit...

DIVERS COSTUMES FEMININS DE L'EUROPE DE L'EST

DE BRUYN ABRAHAM (1540?-1587)

Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Reference : Hollstein n° 248 à 306Nice proof..

DIVERS COSTUMES DE L'ALLEMAGNE

DE BRUYN ABRAHAM (1540?-1587)

Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Nice proof with margins, filigree fleur de lysReference : Hollstein n° 248 à 306..

DIVERS COSTUMES

DE BRUYN ABRAHAM (1540?-1587)

Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Reference : Hollstein n° 248 à 306Belle épreuve..

SAINT LAURENT

DE LEU THOMAS ( CA.1555-1612 )

From the following: Seven main churches of Rome, with the portrait of their Patron Saint (Robert-Dumesnil: 28 to 34)R.D: 32Three small wormholes...

SAINT PAUL

DE LEU THOMAS ( CA.1555-1612 )

From the following: Seven main churches of Rome, with the portrait of their Patron Saint (Robert-Dumesnil: 28 to 34)R.D: 30Two small wormholes...

LE MONASTERE ROYAL DE VAL DE GRACE

From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..

LE JET D'EAU, CHANTILLY

Double printing, one for the view the second for the cartridge.Nice print with large margins, brown spot in the lower left corner...

FONTAINE DE LA PORTE ST.DENIS. FONTAINE DE LA CHARITE. FONTAINE DES PETITS PERES NOIRS.

From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..

ARC DE TRIOMPHE HORS LE FAUXBOURG SAINT ANTOINE

From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..

LA PERSPECTIVE DANS LA MAISON DE MR LE MARQUIS DE DANGEAU