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  • Leonora. Translated from the German of Gottfried Augustus Bürgher, by W. R. Spencer, Esq. With designs by the Right Honourable Lady Diana Beauclerc. by [BEAUCLERK, Lady Diana, illustrator]. BÜRGER, Gottfried August. [BEAUCLERK, Lady Diana, illustrator]. BÜRGER, Gottfried August. ~ Leonora. Translated from the German of Gottfried Augustus Bürgher, by W. R. Spencer, Esq. With designs by the Right Honourable Lady Diana Beauclerc. London: Printed by T. Bensley; for J. Edwards, and E. an S. Harding, 1796.
    First edition of this translation and with the striking large engraved plates by Lady Diana Beauclerk. The artist was the eldest daughter of Charles Spencer,… (more)

    First edition of this translation and with the striking large engraved plates by Lady Diana Beauclerk. The artist was the eldest daughter of Charles Spencer, third duke of Marlborough. ‘Lady Di, as she was familiarly known, grew up at Langley Park, Buckinghamshire... There she enjoyed a happy upbringing, her taste for drawing developing early under the influence of Sir Joshua Reynolds’ (Oxford DNB). Her second marriage to Topham Beauclerk brought her into the orbit of Edward Gibbon, David Garrick, Charles Fox, Edmund Burke, and others. Her work — often in the gothic taste — was admired by Horace Walpole who commissioned seven large panels in black wash illustrating his tragedy, The Mysterious Mother, which he hung in a special hexagonal closet at Strawberry Hill (six of them are now at the Lewis Walpole Library, Farmington, CT). She also produced designs for Josiah Wedgwood.

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  • Paul et Virginie depicted in a printed toile fabric. by CARON, [Jean Louis Toussaint, engraver]. CARON, [Jean Louis Toussaint, engraver]. ~ Paul et Virginie depicted in a printed toile fabric. Lyons-la-Fôret (Normandy): Goutan, [first quarter of the nineteenth century]
    A SUPERB RENDERING OF BERNARDIN DE SAINT PIERRE’S TALE OF PAUL ET VIRGINIE ON A FRENCH TOILE FABRIC. The six repeated scenes depict the principal… (more)

    A SUPERB RENDERING OF BERNARDIN DE SAINT PIERRE’S TALE OF PAUL ET VIRGINIE ON A FRENCH TOILE FABRIC. The six repeated scenes depict the principal episodes of the Rousseau-inspired story, set among the exotic vegetation of the Île Maurice (then Île de France, now Mauritius). In the first, a letter from Virginie’s European family is brought to her, in the presence of Paul, their respective mothers and two black servants. In the second, the governor of the isle summons Virginie to order her return to Europe, before the horrified Paul and the supplications of their kneeling servant; in the third she leaves the island by night, borne on a litter by four servants. The fourth depicts the tragic climax of her shipwreck, as she attempts to return to Mauritius. Two small secondary scenes are symbolic of the the young couple’s pure and untainted love — braving the storm together under her apron, and Paul weeping over the body of his beloved.

    First published in 1788, Paul et Virginie was an immense success partly on account of the rich and visual culture it inspired, encompassing prints, games, ceramics and fabrics. Its abolitionist themes also coincideded with other popular fabric patterns, notable a rendition of the Traite des nègres produced around the same time. Several renderings in toile are known, but this example from the Normandy firm of Goutan around the year 1820 is one of the most impressive. The engraver Toussaint Caron (1790-1832), whose name appears as though carved on a rock in this scene, made several other toile designs around the year 1820 as well as engraved prints on paper.

    French toile prints (often referred to generically as ‘Toiles de Jouy’ after the products of the famous factory at Jouy-en-Josas) were one of the great successes of French industrial production, but are often overlooked as examples of popular iconography and of engraved printmaking. This example from Normandy was printed using the mordant technique ― the design printed from large engraved copper plates with an invisible mordant. Once the cloth was dyed, the pink colour adhered only to the mordant-printed areas, being entirely washed away from the remaining blank background. Quand les toiles racontent des histoires. Les Toiles d’ameublement normandes au XIXe siècle [exhibition catakogue] (2007), no. 25.

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  • Nouvelles heures gravées au burin dediées au Roy par N. Duval, secrétaire ordinaire de sa Chambre & M.e ecrivain juré a Paris demeurant à Versailles à la petite Place; ou ils se vendent. by DUVAL, Nicolas. DUVAL, Nicolas. ~ Nouvelles heures gravées au burin dediées au Roy par N. Duval, secrétaire ordinaire de sa Chambre & M.e ecrivain juré a Paris demeurant à Versailles à la petite Place; ou ils se vendent. & à Paris chez N. Langlois, rüe S.t Jacques à la Victoire.... [1691-1701?]
    A SUPERB SMALL-FORMAT EXAMPLE OF THE CALLIGRAPHY OF THE WRITING MASTER DUVAL, rendered with engraved plates, here with fine hand-colouring, probably contemporary. Duval (born in… (more)

    A SUPERB SMALL-FORMAT EXAMPLE OF THE CALLIGRAPHY OF THE WRITING MASTER DUVAL, rendered with engraved plates, here with fine hand-colouring, probably contemporary. Duval (born in 1635) was from a family of master writers. He became secrétaire ordinaire de la Chambre du Roi and lived at Versailles, where he published a series of treatises on administrative writing in the 1670s and 80s, some in partnership with Louis Senault. This Nouvelles heures probably appeared after the death of Senault and is a very scarce variant of one of the several reprints Heures nouvelles en françois dediées au Roy published jointly by Senault and Duval in the 1680s. Bonacini, 561, p. 114

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  • L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... by STELLA-BOUZONNET, Antoinette, engraver. STELLA-BOUZONNET, Antoinette, engraver. ~ L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... ‘A Paris au Galleries du Louvre... 1675 et chez Chereau et Joubert rue des Mathurins aux deux piliers dor’. [1787 or soon after].
    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of… (more)

    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of a successful French goldsmith. Despite the restrictions placed on women in art academies at the time, her family’s prominent social status allowed her and her sisters, Françoise and Claudine, to receive private training. Her uncle Jaques Stella, a painter and close friend of Nicolas Poussin, assisted his nieces and nephew in their artwork, inviting them to live in his prestigious lodgings at the Louvre. As the youngest of the children, Antoinette was additionally trained by her older siblings. The family frequently collaborated in painting, engraving, and publishing prints. Remembered for her masterfully executed aquatints and engravings, Stella suffered a tragic fall and died in Paris at the age of 35. One of Stella’s most notable works, The Entrance of the Emperor Sigismond into Mantua, 1675, consists of 33 relief-style engravings on paper depicting crowds of men, women, children, and horses traveling alongside the emperor’ (National Museum of Women in the Arts website).

    Stella-Bouzonnet’s plates were prepared after drawings by her father Antoine Stella at Mantua. They were printed first in 1675 and were later purchased and reprinted by Joubert, with Chereau, in 1787 (and probably for some time after). In this copy their imprint line giving the date of the reprint has been erased. Each of the plates has been closely cut and mounted in a large album c. 1800. It is of a type (and condition) suggesting use as an artist’s model book. Both the 1675 and 1787 editions are rare.

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  • Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. by DENNE-BARON, P[ierre-Jacques-René]. DENNE-BARON, P[ierre-Jacques-René]. ~ Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. Paris: [Lachevardiere fils for] Librairie d’Alexis Eymery, 1825.
    FIRST EDITION of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the… (more)

    FIRST EDITION of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the plate simultaneously. They are described by the online catalogue of the Bibliothèque nationale as lithographs, but they appear to be a kind of stipple engraving. A couple are marked as being after drawings by Poitreau, one of the most prominent botanical artists of the era (alongside Redouté). The work is dedicated to the young salon host, collector and bibliophile, the duchesse de Berry (1798-1870). An Italian princess, she had married the duc de Berry in 1816, bearing him four children before his assassination in 1820. Her children were direct descendants of Louis XIV and thus her family were important during the Bourbon restoration as representatives of the Legitimist claim to the throne of France. She was exiled after the 1830 July Revolution and lived successively at Bath and Edinburgh before returning to Italy, where she intrigued for an unsuccessful Legitimist rebellion and a return to France.

    The plates comprise: Le lis, la rose, la violette, la fleur d’oranger, la scabieuse, le bleuet, l’immortelle, la perce-neige, le soleil, les marguerites, le laurier rose, l’hortensia, le souci, l’astérie, le pavot et le narcisse and le lilas.

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  • [A book form trinket or pill box. by (BOX). (BOX). ~ [A book form trinket or pill box. France, early nineteenth century].
    A DELIGHTFUL BOOK-FORM BOX, complete with gilt spine bands, gilt borders to the sides, four gilt bosses (one on the upper cover apparently missing) and… (more)

    A DELIGHTFUL BOOK-FORM BOX, complete with gilt spine bands, gilt borders to the sides, four gilt bosses (one on the upper cover apparently missing) and gilt edges. The lid incorporates a mirror and the base a hand coloured print.

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  • The Cruise of the Mary by Smith. by ‘SMITH’ [pseudonym of James O’HARA]. ‘SMITH’ [pseudonym of James O’HARA]. ~ The Cruise of the Mary by Smith. Dublin: Foster & Co, [n.d. c. 1858].
    First edition of a rare lithographed work, pseudonymously issued, but the artist/author James O’Hara is identified in this copy with a contemporary manuscript key. The… (more)

    First edition of a rare lithographed work, pseudonymously issued, but the artist/author James O’Hara is identified in this copy with a contemporary manuscript key. The album is in the form of a graphic narrative recording a yachting cruise from Ireland to Iceland by a group of friends aboard Captain Henry’s Maroquita (a fine two-masted schooner wrecked in Holyhead harbour in 1860). While the initial scenes depict the voyage out (with predictible sea-sickness) most of the images are Icelandic vignettes, with local characters and landmarks. One shows a member of the party photographing geysers with a tripod camera — surely an early record of photography in Iceland.

    The manuscript key identifies the four sailors, ‘Smith, Jones, Robinson and Brown’ as James O’Hara, Captain Sandes, Mr. Lane Fox and Captain Henry, ‘proprietor of the yacht Maroquita’ respectively. The National Library of Ireland copy bears the imprint ‘Wm. Robertson’. WorldCat locates only the copy in the Universitäts- und Stadtbibliothek, Cologne, which has the imprint of Robertson of Sackville Street, Dublin at the foot of the title-page (where ours is blank). There is also a copy in the National Library Ireland (also with Robertson imprint). No copy found in the National Library of Iceland Catalogue.

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  • The House at Pooh Corner... with decorations by Ernest H. Shepard. by MILNE, A. A. MILNE, A. A. ~ The House at Pooh Corner... with decorations by Ernest H. Shepard. London: Methuen & Co, 1928.
    First trade edition in a very presentable dust-jacket. (more)

    First trade edition in a very presentable dust-jacket.

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  • MILNE, A. A. ~ Now we are Six... with decorations by Ernest H. Shepard. London: Methuen & Co Ltd, 1927].
    First edition, published October 13th 1927. (more)

    First edition, published October 13th 1927.

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  • The Life and Letters of Sir John Everett Millais... second edition. by MILLAIS, John Guille. editor. MILLAIS, John Guille. editor. ~ The Life and Letters of Sir John Everett Millais... second edition. London: Methuen & Co, 1900.
    First published the previous year. (more)

    First published the previous year.

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  • La Constitution en vaudevilles suivie des Droits de l’homme, de la femme & de plusieurs autres vaudevilles constitutionnels. by MARCHANT, [François]. MARCHANT, [François]. ~ La Constitution en vaudevilles suivie des Droits de l’homme, de la femme & de plusieurs autres vaudevilles constitutionnels. Paris: Maradan, 1792.
    A satirical song collection, in the form of an almanac, lampooning the new Revolutionary institutions. The frontispiece (here in rare colour-printed state) is probably the… (more)

    A satirical song collection, in the form of an almanac, lampooning the new Revolutionary institutions. The frontispiece (here in rare colour-printed state) is probably the first book illustration to depict a yo-yo, a toy which became a craze in France in the 1790s under the name of the émigrette, reflecting its popularity among the French nobility at precisely the time they were forced to flee their country. A 1789 painting of the future King Louis XVII now in the Louvre shows him with a yo-yo, while in a revival of the Mariage de Figaro of 1792 Beaumarchais brings his hero on stage playing with his émigrette.

    Several issues are known from 1792. An issue with identical pagination and the same plate but with the imprint ‘chez les libraires royalistes’ is usually cited as the first. In this issue Maradan has put his own name on the title. cf. Martin & Walter, 22975; cf. Cohen-de Ricci, p. 677 (’Frontispice non signé, attribué par Mehl à Debaucourt. Ce frontispice existe en couleurs (avant la lettre) en bistre et à la sanguine’).

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  • Album. by (MONOGRAMS and CRESTS). (MONOGRAMS and CRESTS). ~ Album. [British: c. 1850-60].
    A well-presented Victorian monogram album containing over 1600 cut monograms. Many here are private monograms and include a large number of women’s christian names, while… (more)

    A well-presented Victorian monogram album containing over 1600 cut monograms. Many here are private monograms and include a large number of women’s christian names, while there are pages devoted to regiments, naval ships, clubs, associations and Oxford and Cambridge colleges. The presentation is typical, but especially neat and varied, with the cut monograms arranged on decorative pen and watercolour grounds. These are often geometric (circles and other interlocking figures are frequent) but include a gothic window, patriotic flags, mossy borders, anchors and a heraldic garter. Monogram collecting was hugely popular in the mid-nineteenth century and collections like this usually included genuine examples cut from stationery, together with others specially produced by stationery companies capitalising on the fashion. These latter monograms, evidently sold in sets can be quite elaborate, often featuring gold inks and sometimes with amusing and whimsical subjects.

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  • Idylls of the King. by FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. ~ Idylls of the King. London: Hodder & Stoughton, [ 1911].
    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who… (more)

    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who was also unmarried, at 23 Elsham Road, Shepherd's Bush. She travelled often to the continent and was clearly influenced by the fifteenth- and early sixteenth-century art which she saw on visits to Italy. There were further exhibitions of her works at Leighton House in 1904, with a catalogue containing appreciative remarks by George Frederic Watts, and at Dowdeswell’s in 1905 and 1909. She continued her illustrative work, which from about 1905 consisted of both line drawings and watercolours made for reproduction as half-tone colour plates. In 1911 two editions of Tennyson’s Idylls of the King (de luxe and popular) were published with illustrations from her watercolours while the originals were on show in another of her one-woman exhibitions, this time at the Leicester Galleries. From that year she taught in the art school in Kensington founded by Byam Shaw’ (Oxford DNB).

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  • Poems... new and enlarged edition. by ROSSETTI, Christina G. ROSSETTI, Christina G. ~ Poems... new and enlarged edition. London: Macmillan and Co, 1901.
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  • The Amateur’s Greenhouse and Conservatory; a complete Guide to the Construction, Heating, and Management of Greenhouses and Conservatories, and the Selection, Propagation, Cultivation, and Improvement of Plants adapted for growing therein... a new edition. by HIBBERD, [James] Shirley. HIBBERD, [James] Shirley. ~ The Amateur’s Greenhouse and Conservatory; a complete Guide to the Construction, Heating, and Management of Greenhouses and Conservatories, and the Selection, Propagation, Cultivation, and Improvement of Plants adapted for growing therein... a new edition. London: W.H. and L. Collingridge, [n.d., 1897].
    First published in 1873 and reprinted several times. (more)

    First published in 1873 and reprinted several times.

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  • Chambre à air. by BOURNAZEL, Diane de. BOURNAZEL, Diane de. ~ Chambre à air. [Marliac, 2022].
    One of Diane de Bournazel’s magical optical ‘peepshows’ with a window opening onto a mysterious three-dimensional scene within. It features some of the distinctive features… (more)

    One of Diane de Bournazel’s magical optical ‘peepshows’ with a window opening onto a mysterious three-dimensional scene within. It features some of the distinctive features of the artist’s much-admired artist’s books, but makes use of the peepshow form to bring added depth and perspective to her enchanted world. The paper peepshow was popularised by publishers such as Martin Engelbrecht in Munich from the middle of the eighteenth century, evidently inspired by baroque stage sets, but reached the peak of their elaboration in the Victorian era. They were either sold as toys or souvenirs or, in expanded form, were popular fairground attractions. Each of Diane de Bournazel’s peepshows is a unique creation.

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  • Fourteen Poems by C P Cavafy chosen and illustrated with twelve etchings by David Hockney translated by Kikos Stangos and Stephen Spender. by HOCKNEY, David. HOCKNEY, David. ~ Fourteen Poems by C P Cavafy chosen and illustrated with twelve etchings by David Hockney translated by Kikos Stangos and Stephen Spender. London: Editions Alecto Limited, [ 1966].
    First edition. An unnumbered artist’s proof copy from Edition A (which consisted of 250 numbered copies, plus 50 artist’s proof copies). The total edition was… (more)

    First edition. An unnumbered artist’s proof copy from Edition A (which consisted of 250 numbered copies, plus 50 artist’s proof copies). The total edition was of 550 bound copies and 120 loose sets of the plates only. Edition A was issued with an additional loose signed print ‘Cavafy II’, sometimes framed by owners and not present in this copy. The very rare publisher’s prospectus and an uncompleted order form are inserted at the rear. The plates are not edition stamped on the rear.
    ‘Cavafy wrote two kinds of poem — love and historical. The fourteen selected for this book are, with the exception of Caesarian, poems of homosexual love: short, unrhymed, deeply felt but totally unsentimental. They appear in a new, hitherto unpublished translation by Nikos Stangos and Stephen Spender... For several years Hockney has admired the work of Cavafy’ (from the Prospectus). The book was included by Neil McGregor in the BBC/British Museum’s History of the World in 100 Objects as an emblem of the struggle for human rights and sexual freedom ― homosexual acts in private were decriminalised in Britain only in 1967, the year Hockney’s startling collection appeared (McGregor, pp. 635-9).

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  • Introductiones apotelesmaticae elegantes, in chyromantiam, physiognomiam, astrologiam naturalem, complexiones hominum, naturas planetarum, cum periaxiomatibus de faciebus signorum, & canonibus de aegritudinibus, nusquam ferè simili tractata compendio. by INDAGINE, Johannes ab. [or Johannes ROSENBACH]. INDAGINE, Johannes ab. [or Johannes ROSENBACH]. ~ Introductiones apotelesmaticae elegantes, in chyromantiam, physiognomiam, astrologiam naturalem, complexiones hominum, naturas planetarum, cum periaxiomatibus de faciebus signorum, & canonibus de aegritudinibus, nusquam ferè simili tractata compendio. [Strasbourg: Johannes Scott for the author], 1522.
    First edition of this copiously illustrated treatise on chiromancy, physiognomy and astrology, which includes three fine woodcuts by Hans Baldung, former apprentice to Albrecht Dürer.… (more)

    First edition of this copiously illustrated treatise on chiromancy, physiognomy and astrology, which includes three fine woodcuts by Hans Baldung, former apprentice to Albrecht Dürer. They are: the large title portrait of the author, the final full-page decorative arms and one physiognomical diagram of a man and a woman (p. 5 in the second part) — all three show clear echoes of Dürer’s style. The book was printed for the author, who was an adviser to Cardinal Albert of Brandenburg, Archbishop of Mainz and Magdeburg, the dedicatee (it was to Cardinal Albert that Martin Luther had addressed his 95 Theses in 1517).
    Indagine (1467-1537) was a Carthusian prior and humanist theologian who saw no conflict between orthodox faith and the occult sciences. The book was widely read across Europe and frequently reprinted, with a small format octavo edition from Frankfurt in the same year, a vernacular German edition appearing the following year, and an English translation in 1558 (with at least 12 more editions in English before 1700). It was placed on the Index Librorum Prohibitorum in 1559.
    Though we have been unable to identify the early owner of this copy, whose monogram appears on each cover, the early inscription is from Rainold, Marquis of Canhilac (Languedoc). Adams I 88; VD16 R 3108; Mende, Hans Baldung Grien, 458-460. Worldcat: Cambridge, Leeds, Folger (portrait mostly lacking), Duke, Princeton (2 copies, one lacking a leaf), Philadelphia College of Physicians, UCLA outside continental Europe.

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  • ‘Histories of the Tête-à-Tète annexed; or, Memoirs of the Circumnavigator and Miss B—n’ [chapter title in] The Town and Country Magazine; or, Universal Repository of Knowledge, Instruction, and Entertainment for September 1773. by (BANKS, Joseph). (BANKS, Joseph). ~ ‘Histories of the Tête-à-Tète annexed; or, Memoirs of the Circumnavigator and Miss B—n’ [chapter title in] The Town and Country Magazine; or, Universal Repository of Knowledge, Instruction, and Entertainment for September 1773. London: for A. Hamilton, 1773.
    The short article plays on Banks’s youthful reputation at Oxford, his curiosity for the natural world and his experiences in the South Seas: ‘As nature… (more)

    The short article plays on Banks’s youthful reputation at Oxford, his curiosity for the natural world and his experiences in the South Seas: ‘As nature has been his constant study, it cannot be supposed that the most engaging part of it, the fair sex, have escaped his notice; and if we may be suffered to conclude from his amorous descriptions, the females of most of the countries he has visited, have undergone every critical inspection by him...’ The plate is described in BM Satires 5146.

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  • Effets merveilleux des lacets. by (FASHION). (FASHION). ~ Effets merveilleux des lacets. Paris: chez Basset, M[archan]d d’estampes et fabricant de papiers peints, [n.d., c. 1807-11].
    A French satire on the excesses of contemporary fashion for both women and men — a woman has her corset laces mechanically tightened by a… (more)

    A French satire on the excesses of contemporary fashion for both women and men — a woman has her corset laces mechanically tightened by a fop in a ridiculously exaggerated version of Napoleon’s headgear and a young woman in a scooped bonnet and corset (which leaves her breast almost entirely bare). The corset enjoyed a brief resurgence in popularity in the Empire era, before being swept away once more at the Restoration. It was a frequent subject of mirth in the popular press on both sides of the English Channel, and while there are several French and English prints on the same theme, this one is very rare. Not in the British Museum catalogue; WorldCat lists a copy in the Spanish national library, and there is also a copy at the Musée Carnavalet in Paris.

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