Watermark: unreadable watermark, perhaps a grape inscribed in a circle.

Literature: I.F.F. 153;

                P. Rosenberg, J. Thuillier, Laurent de la Hyre, 1606-1656 : l'homme et l'oeuvre, Exh. Cat., Musée de Grenoble, 1988, p. 74, illustrated;

                H. Sandrine, Estampes françaises du XVIIe siècle. Une donation au musée des beaux-arts de Nancy, Paris, 2008, n° 433, illustrated.

Fine and dark impression with margins all around. Unknown state with different address to Langlois, lettered at the top Venus et Adonis and at the bottom Amori cede, si mori non vis/ Noli Venari, sed crede Veneri/F. Chauv. Fe. Ant. De Fer exc. au bout du pont au Change devant l'orologe du Palais a l'age de fer. avec Privil. du Roy.

Published by Antoine de Fer (beginning of 17th century- ca. 1675).

François Chauveau's "family belonged to the minor nobility; a decline in its fortunes obliged him to earn his living as an artist. Although he had been a pupil of Laurent de La Hyre, he forsook painting (except as an amateur), devoting himself wholly to printmaking; he became one of the most prolific etchers of his time, executing, in particular, a great many vignettes for books." (1)

François' sons were the painters Louis Chauveau (c. 1656 - post 1695), Charles Chauveau (b 1658/9 - c. 1683), Evrard Chauveau (1660 - 1793) and the sculptor René Chauveau (1663 - 1722).

(1) Maxime Préaud and Françoise de la Moureyre, Chauveau family, Grove Art Online, 2003, p. 1.