Last Hurrah
- Hopfer, The Soldier and His Wife
- van Leyden, The Baptism of Christ
- Italian School (Tuscan?), Eagles
- Marco Dente, Entellus and Dares
- Vincentino, Temperance
- Hopfer, Battle of the Naked Men
- Circle of Romano, Roman Battle
- van Leyden, The Fall of Man
- Scultori, Eros Playing a Clavier
- Bonasone, The Wounded Scipio
- Brun, The Drummer
- Cort, The Assembly of the Gods
- Wierix, The Virgin Nursing
- Sadeler, Annunciation
- de Gheyn, The Rest on the Flight
- Sadeler, Death as a Welcome Visitor
- Callot, Les Intermèdes, No.1
- Brebiette, Woman Nursing
- Dutch or Flemish School, Four Biblical Episodes
- Vauquer, Ornament Plate
- Hondius, Uylenspiegel, or Owlglass
- Roghman, River and Rocks, Italy
- Castiglione, Noah and the Animals
- Piranesi, Frontispiece
- Piranesi, Carceri XI: The Arch
- Pether, A Farrier’s Shop
- Tiepolo, Self Portrait
- Turner & Dunkarton, The Temple
- Lucas, The Vale of Dedham, Essex
- Weir, Study for a Monument
- Lalanne, View of Groningen
- Richmond, Landscape at Otford
- Harpignies, Troncs d’Arbres
- Loizelet, Le Petit Coblentz
- Whistler, The Smith
- Forain, Loge de Danseuse
- Toulouse-Lautrec, Au Pied du Sinai
- Orlik, Still Life with Fruit
- Marin, Sestiere di Dorso Duro
- Roussel, The Snow
- Vergé-Sarrat, Chambre de Malade
- Oppenheimer, Ferruccio Busoni
- Levine, Sewing Machine Operator
- Picasso, Femme Nue à la Jambe
- Oppenheimer, The Rosé Quartet
- Villon, Mon Vieux Luxembourg
- Epstein, Jackie
- Tobey, Untitled
15. Jacob de Gheyn II (1565-1629) after Cornelis Cornelisz. van Haarlem (1562-1638) The Rest on the Flight into Egypt |
(click on image to print)
The Rest on the Flight into Egypt
Engraving, 1589, Wurzbach 206a, Hollstein 348 ii/iii, New Hollstein 31 ii/iv, 264 x 204 mm. Very good, sharp impression, before the address of Visscher, on laid paper, trimmed on or close to the borderline but complete and with the full text below; a nick at the left edge, tears repaired, flattened folds, tiny surface losses, laid down to wove paper. Despite the many small defects, of good appearance. Although not as apparent here as elsewhere, Cornelis was a Mannerist artist. The exaggerated musculature and twisted poses are absent here, but the figures are monumental within the scope of the design. The date given is that on the print as Cornelis’ conception. The engraving itself could have been done anytime afterwards in de Gheyn’s life.