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At the right a woman in red recoils, spilling wine from a gold goblet; at the left guests in pearls, feathers and fur stare in alarm. Gold dishes and a bunch of grapes stand on the table.\u003c\/p\u003e\u003cp\u003eRembrandt painted it between about 1636 and 1638, while he was establishing himself in Amsterdam. The National Gallery explains that the Hebrew inscription follows a formula published by his neighbour, the Jewish scholar Menasseh ben Israel, who held that the letters were written top to bottom as well as right to left, which is why Babylon's wise men could not read them. First recorded at Knowsley Hall in 1736, it was bought from the Earl of Derby in 1964.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, about 1636–8; The National Gallery, London.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn (1606–1669) was a Dutch painter, etcher and draughtsman working in Leiden and Amsterdam, and is generally regarded as one of the greatest artists in Western art history. He painted group portraits such as The Anatomy Lesson of Dr Nicolaes Tulp (1632, Mauritshuis) and The Night Watch (1642, Rijksmuseum), alongside numerous self-portraits, including one from around 1628 also in the Rijksmuseum. Across his career he additionally produced around 300 etched plates, among them The Hundred Guilder Print (c. 1647–49); the Rijksmuseum alone holds some 1,300 impressions of his prints. His paintings and prints are held by the Rijksmuseum and Mauritshuis in the Netherlands, the Metropolitan Museum of Art and the National Gallery in London.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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She sits with her back to us in an olive-gold dress with a jewelled collar and looks over her shoulder. On the table at the left stand a pie crowned with a peacock's head and plumage, a plate and a knife, and a heavy curtain hangs at the right.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, about 1635; Gemäldegalerie Alte Meister, Dresden.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn (1606–1669) was a Dutch painter, etcher and draughtsman working in Leiden and Amsterdam, and is generally regarded as one of the greatest artists in Western art history. He painted group portraits such as The Anatomy Lesson of Dr Nicolaes Tulp (1632, Mauritshuis) and The Night Watch (1642, Rijksmuseum), alongside numerous self-portraits, including one from around 1628 also in the Rijksmuseum. Across his career he additionally produced around 300 etched plates, among them The Hundred Guilder Print (c. 1647–49); the Rijksmuseum alone holds some 1,300 impressions of his prints. 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Born in Siegen and trained in Antwerp, he spent eight years in Italy working for the Duke of Mantua before returning in 1609 as court painter to the Archdukes Albert and Isabella. From his Antwerp house and studio, with Anthony van Dyck as his most famous pupil, he produced altarpieces such as The Elevation of the Cross and The Descent from the Cross, the Marie de' Medici cycle now in the Louvre and the Banqueting House ceiling in London. He also served as a diplomat, and was ennobled by Philip IV of Spain and knighted by Charles I of England.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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A fiddler in a grey hat plays from a bench at the right, beside a laughing man in a yellow waistcoat and a young woman in a blue skirt holding a glass. Others drink and doze at the left, a child sits on the floor with a doll, and a stoneware jug stands on the boards.\u003c\/p\u003e\u003cp\u003eAdriaen van Ostade (1610–1685) spent his whole life in Haarlem, painting peasants at their drink, their music and their quarrels in smoky inns and cottage yards. Early pictures are rough and comic; later ones turn warmer and gentler, with sunlit doorways and vine-hung walls. He was also a prolific etcher and taught his younger brother Isack. His work is held by the Rijksmuseum, the Mauritshuis, the Wallace Collection and the Louvre.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. 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