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Catalogue: Decorative
[The Athlete; a classical cameo]  XXXV.
[The Athlete; a classical cameo] XXXV.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching on india paper, 250 x 185mm. 9¾ x 7¼". Light spotting; a fine impression, with margins.
Nude young male figure with inscription and table with jar; in an oval design. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2292. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21168]   £130.00   (£156.00 incl.VAT)
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[Bacchanalian festival; a classical cameo]  XLIX.
[Bacchanalian festival; a classical cameo] XLIX.
G.B. Cipriani del. F. Bartolozzi sculp.
[London, c.1781-1791.]
Etching printed in brown ink on india paper, sheet 260 x 200mm. 10½ x 8". Trimmed within plate; light spotting.
Two satyr-type male figures and a female reveller. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2306. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21169]   £75.00   (£90.00 incl.VAT)
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[Bacchus; a classical cameo]
[Bacchus; a classical cameo] [Plate 13.]
[G.B. Cipriani. F. Bartolozzi.]
[London, c.1781-1791.]
Stipple and etching printed in brown ink on india paper, 270 x 210mm. 10½ x 8¼". Light spotting.
Bust of Bacchus, looking up towards top right; in an oval medallion. After Giovanni Battista Cipriani's (1727 - 1785) study for 'Gemmarum antiquarum delectus: ex præstantioribus desumptus, quæ in Dactyliothecis Ducis Marlburiensis conservantur (Marlborough gems)'; a two volume folio of antiquities in the collection of George Spencer, 4th Duke of Marlborough.
De Vesme 2320, I. See BL 139.h.3,4. 683.k.9,10.
[Ref: 21171]   £75.00   (£90.00 incl.VAT)
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[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.]
[Classical sculpture: a nude warrior seated on the ground surrounded by his armour, weapon and shields.] Tire du Cabinet de Mr. Denon.
[French, c.1820.]
Rare lithograph, sheet 275 x 265mm. 10¾ x 10½". Cut, repaired damage at top.
Unidentified sculpture from the collection of Dominique Vivant, Baron de Denon (1747-1825), French artist, writer, diplomat, author, and archaeologist. From a series of antiquities depicted by the printmaker and painter Pierre Bouillon (1776-1831). Bouillon, from Thiviers, was joint winner of the prestigious Prix de Rome in 1797 with his painting 'Death of Cato the Younger'.
[Ref: 15794]   £230.00  
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[Landscape with Flight into Egypt]
[Landscape with Flight into Egypt] [Engraved from the Original Picture, in the Collection of the Revd Dr Newton...Published by F. Vivares may 5th 1757]
Chatelin & Vivares fecit [1757]
Etching and engraving, platemark 415 x 500mm (16¼ x 19¾"). Small margins; stains; very fine unfinished proof.
Landscape with Mary, Joseph and the Christ child on left, peasant and cows crossing a bridge on right, and a flock in distance. After a painting by Claude Lorrain (c.1600-82), 17th century landscape painter whose paintings were immensely important for the development of British landscape painting in the 18th century, largely disseminated through prints such as this.
[Ref: 38587]   £260.00  
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After a Picture of Claude Lorrain [ms]
After a Picture of Claude Lorrain [ms] [In the Collection of Dr. Mead]
[Claudio Gillee Lorenese pinxit 1656. Vivares Sculp]
[Published by C. Knapton 1741]
Engraving, platemark 315 x 405mm (12½ x 16"). Scarce proof before letters; platemark broken in places. Very large margins.
Landscape with bridge in background, fishermen casting nets from a small boat, and a group of figures in the foreground, including a lady putting on stockings, typical of Claude Lorrain's earlier works. Engraving (in reverse) of Claude's painting 'The Ford', executed by Francis Vivares while the painting was in the collection of the physician and collector Dr Richard Mead. The painting is now in the collection of the Metropolitan Museum of Art, New York, and it is now believed that it was executed in 1636 rather than 1656 as claimed on the lettered later state of this print. From a successful and well-known series of landscape prints from paintings in important British collections.
For a portrait of Mead see ref. 11688. Private Collection.
[Ref: 38516]   £320.00  
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[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.
[The finding of Moses] From the Original Drawing in the Collection of the Duke of Devonshire. No 47.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical pastoral scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21833]   £130.00   (£156.00 incl.VAT)
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[Classical harbour scene after Claude Lorrain's 'Liber Veritatis'.] From the Original Drawing in the Collection of the Duke of Devonshire. No 49.
[Classical harbour scene after Claude Lorrain's 'Liber Veritatis'.] From the Original Drawing in the Collection of the Duke of Devonshire. No 49.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Italianate harbour scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21834]   £130.00   (£156.00 incl.VAT)
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[Classical interment scene after Claude Lorrain's 'Liber Veritatis'.] From the Original Drawing in the Collection of the Duke of Devonshire. No 48.
[Classical interment scene after Claude Lorrain's 'Liber Veritatis'.] From the Original Drawing in the Collection of the Duke of Devonshire. No 48.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Sept.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines printed in sepia. 260 x 210mm, 10¼ x 8½". Uncut, with large margins, slight soiling of margins.
Classical interment scene, engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21835]   £75.00   (£90.00 incl.VAT)
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[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.
[Pastoral scene with nymph and satyr.] From the Original Drawing in the Collection of the Duke of Devonshire. No 55.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Aug. 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut with large margins, slight soiling of margins.
St Ursula was a a Romano-British princess who set sail to get married with 11,000 virginal handmaidens. All were beheaded by the Huns. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21839]   £120.00   (£144.00 incl.VAT)
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[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.
[Italianate port scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 61.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21841]   £120.00   (£144.00 incl.VAT)
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[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.
[Italianate pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 62.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 270 x 190mm, 10½ x 7½". Uncut, with large margins, slight soiling of margins.
Peasants driving a cow and goats across a bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21842]   £120.00   (£144.00 incl.VAT)
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[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.
[The Landing of Cleopatra.] From the Original Drawing in the Collection of the Duke of Devonshire. No 63.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
The landing of Cleopatra at Tarsus. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21843]   £170.00   (£204.00 incl.VAT)
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[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.
[The women of Troy destroying the Greek fleet.] From the Original Drawing in the Collection of the Duke of Devonshire. No 71.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Trojan women setting fire to the Greek fleet. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21849]   £160.00   (£192.00 incl.VAT)
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[Shipwreck in a storm.] From the Original Drawing in the Collection of the Duke of Devonshire. No 72.
[Shipwreck in a storm.] From the Original Drawing in the Collection of the Duke of Devonshire. No 72.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
A shipwreck off a rocky coastline with a keep. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21850]   £110.00   (£132.00 incl.VAT)
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[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.
[Ulysses restituting Chryseis to her father Chryses.] From the Original Drawing in the Collection of the Duke of Devonshire. No 80.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins. Creased left of centre.
A sea-port, with Ulysses returning Chryseis to her father Chryses, a Trojan priest of Apollo. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21858]   £120.00   (£144.00 incl.VAT)
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[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.
[Pastoral scene.] From the Original Drawing in the Collection of the Duke of Devonshire. No 52.
Claude le Lorrain delin.t. R. Earlom fecit.
Published Nov.r 1st 1774 by John Boydell Engraver in Cheapside.
Mezzotint with etched lines, printed in sepia. 210 x 260mm, 8½ x 10¼". Uncut, with large margins, slight soiling of margins.
Herdsmen driving cattle and goats across a small wooden bridge. Engraved by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Richard Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
[Ref: 21859]   £120.00   (£144.00 incl.VAT)
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Claude Lorraine.
Claude Lorraine. From the Original Drawing in the Collection of Arthur Chapernowne.
Drawn by Claude. Engraved by G. Lewis.
London Published by G. Lewis, Salisbury Street, Strand.
Aquatint, printed in brown with small margins, rare. 300 x 400mm (11¾ x 15¾").
Pastoral landscape. Goats grazing under trees, the outlines of buildings in the distance.
BM 1867,0309.1791 (but with 'Etched by' rather than 'Engraved by').
[Ref: 32389]   £230.00  
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[Landscape with a Herd of Goats]
[Landscape with a Herd of Goats] Engraved by W.m Wilson from an Excellent Picture of Claud Lorrain painted in 1641 in the Collection of the Rt. Hon.ble L.d James Cavendish. 6
[c.1750]
Engraving, in ink top right 1406; platemark 315 x 410mm (12½ x 16"). Small margins. Very fine; pinhole upper centre.
Landscape after Claude Lorrain (1604/5-82), French painter often regarded as the greatest of all ideal landscape artists, whose depictions of idealised pastoral scenes were immensely popular amongst the European nobility and clergy. Subsequent British landscape painters such as Richard Wilson and JMW Turner were strongly influenced by his work.
Private Collection.
[Ref: 38517]   £240.00  
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[Pastoral landscape with figures and cattle by a shore]
[Pastoral landscape with figures and cattle by a shore]
Claude fecit Roma 1676 [in image lower left]. R. Earlom sculpt.
Pub. Jan. 20 1802 by J. & J. Boydell, No 90, Cheapside &c at the Shakespeare Gallery, Pall Mall.
Etching, platemark 270 x 360mm (10½ x 14¼"). Large margins. State before mezzotinting.
Etching by Richard Earlom (1743 - 1822) after a sketch in the copy of Claude le Lorrain's 'Liber Veritatis' owned by the Duke of Devonshire at Chatsworth. Claude (c.1600-82) was a prolific and successful landscape painter, and, even during his lifetime, forgeries of his work appeared for sale. To combat this Claude made up six albums of tinted sketches of his completed works, each sketch with the name of the purchaser of the painting on the back. The 'Liber Veritatis' (Book of Truth) was then distributed around Europe so that his genuine paintings could be authenticated. The Chatsworth copy of the 'Liber Veritatis' contained 200 drawings, including a frontispiece portrait of Claude and five unrelated drawings. Commissioned by John Boydell, Earlom engraved the full set between 1774 and 1777, when they were published by Boydell in two volumes, each containing 100 prints, numbered 1-200. A third volume of 100 prints was published by Boydell in 1819, which was numbered separately, containing mezzotints by Earlom after other drawings by Claude in various collections.
For a set of 20 plates from the series, in etched outline states, see ref. 20226.
[Ref: 37197]   £140.00   (£168.00 incl.VAT)
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[An engraved silver dish or tray.] Presented to Edward Page Clowser, Esquire, by his Neighbours and Friends As a Small Testimonial of the many and various services rendered by him to the Parish of St. John, Hampstead;  during a long series of Years.
[An engraved silver dish or tray.] Presented to Edward Page Clowser, Esquire, by his Neighbours and Friends As a Small Testimonial of the many and various services rendered by him to the Parish of St. John, Hampstead; during a long series of Years. January 1847.
Standidge & Co. Litho. London.
[n.d., c.1850.]
Lithograph, sheet 230 x 205mm. 9 x 8". Horizontal crease.
A generous retirement gift for a parishioner of St John-at-Hampstead, north London. Perhaps the Mr. Clowser to whom the tray is inscribed was a long-serving churchwarden.
[Ref: 15444]   £90.00   (£108.00 incl.VAT)
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Coast Scene. R.P. Bonington.
Coast Scene. R.P. Bonington. From a Picture in the Possession of Sir George Warrender.
J.D. Harding lithog.
Published June 1st. 1830 by J. Carpenter & Son, Old Bond Street. Printed by C. Hullmandel.
Lithograph on india, with very large margins. 286 x 380mm. 11¼ x 15". Uncut.
View of a beach on the coast at low tide, with a young girl and her mother looking at a dead ray; a horse and cart in the background to the left and a ship caught in the sand to the right. A castle in the far background. One of a series of lithographs published in 4 parts from 1829-1830 and entitled: A series of subjects from the works of the late Richard Parkes Bonington
[Ref: 24972]   £120.00   (£144.00 incl.VAT)
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Great Britains Coasting Pilot being a new Survey of the Sea Coast By Captain Greenvile Collins Hydrographer to his Majesty.
Great Britains Coasting Pilot being a new Survey of the Sea Coast By Captain Greenvile Collins Hydrographer to his Majesty.
[London, Mount & Page? c.1720.]
Engraved title page, very large margins. 445 x 280mm (17¾ x 11"). Ink stamp of 'Dover Public Library' on reverse.
The title page to the first British sea atlas of British waters, surveyed by Greenville Collins between 1681-88, then first published by Richard Mount in 1693 after five years of preparation. The title is on a shell held aloft by a mer-man, with figures of Britannia and Neptune in his chariot drawn by sea-horses, and other mer-people holding up a sea chart of the British Isles, a cross-staff and a plumb-line. Above is the royal crest. This state has Richard Mount's inscription removed from under the image.
[Ref: 33215]   £290.00  
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[Coastal scene]
[Coastal scene]
[Anon. Dutch/Flemish., c.1660]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45264
[Ref: 45266]   £260.00  
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[Coastal scene with fishermen eating and drinking] 3.
[Coastal scene with fishermen eating and drinking] 3.
[Anon. Dutch/Flemish., c.1660]
Etching, platemark 240 x 375mm (9½ x 14¾"). Crease through centre.
See 45266
[Ref: 45264]   £260.00  
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[Vintners' Company Coat of Arms]
[Vintners' Company Coat of Arms] St. Martin Patron
[Anon., c.1700]
Engraving, sheet 180 x 245mm (7 x 9½"). Glued to album sheet; 18th century engraving of Vinters' Hall verso.
The coat of arms of the Vinters' Company, one of the Twelve Great City of London Livery Companies (it was placed eleven out of the twelve in the 1515 order of precedence). The crest depicts three tuns (large barrels) used for transporting wine, with satyrs holding flasks perched above. St. Martin is the patron saint of the company. From "Londons Armory Accuratly delineated in a Graphical display of all the Arms, Crests, Supporters, Mantles and Mottos of every distinct Company and Corporate Societie in the Honourable City of London". View of Vintners Hall on Upper Thames Street verso.
[Ref: 37624]   £160.00   (£192.00 incl.VAT) view all images for this item
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The Life, Death and Burial of Cock Robin.
The Life, Death and Burial of Cock Robin. Dulce est desipere in loco.
Fer.d Bawer delt. / M.no Bovi Sculp. [c.1810]
Very rare engraving, sheet 410 x 290mm (16 x 11½"). Trimmed inside platemark.
"Who Killed Cock Robin" is an English nursery rhyme, which is often used as a murder of archetype in world culture. The earliest record is in 'Tommy Thumb's Pretty Song Book' published c. 1744. Here it is accompanied by images of the animals from each stanza.
[Ref: 38330]   £260.00  
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Collegium Academie Naturea Curiosirum
Collegium Academie Naturea Curiosirum
[n.d. c.1652.]
Engraving. 205 x 165mm (5 x 6½"). Trimmed. Damaged.
Frontispiece to 'Collegium Academie Naturea Curiosirum'. This refers to the Leopoldina, the national academy of Germany. In 1670 the society began to publish the 'Ephemeriden Medico-Physicarum Germanicarum', the world's first medical and scientific journal.
[Ref: 29638]   £120.00   (£144.00 incl.VAT)
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[A compass rose.]
[A compass rose.]
[Dutch, n.d., c.1620.]
Hand coloured engraved compass rose, sheet 100 x 100mm. 4 x 4". Excised from an atlas and glued to card.
Finely engraved and decorated with floral and animal motifs, fine later colour. From a Dutch atlas.
[Ref: 10752]   £120.00   (£144.00 incl.VAT)
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Autumnal Sunset.
Autumnal Sunset.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 250 x 175mm (9¾ x 7") very large margins. Foxing mainly in margins.
A rural landscape at sunset near East Bergholt after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 3. Shirley: 14. Osbert Barnard: I of VI.
[Ref: 44380]   £230.00  
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Mill Stream.
Mill Stream.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 220 x 180mm (8¾ x 7") very large margins. Slight foxing.
A view of a mill stream and mill after an oil painting by Constable now housed in the Wolsey Gallery in Ipswich. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 12. Shirley: 25. Osbert Barnard: I of V.
[Ref: 44382]   £190.00   (£228.00 incl.VAT)
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Noon.
Noon.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1830.
Mezzotint. Plate: 250 x 190mm (9¾ x 7½") very large margins. Foxing.
A rural scene in which a shepherd watches his flock on a hillside. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 4. Shirley: 16. Osbert Barnard: II of VI.
[Ref: 44379]   £190.00   (£228.00 incl.VAT)
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Summer Afternoon- After a Shower.
Summer Afternoon- After a Shower.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub. by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 220 x 180mm (8¾ x 7") very large margins. Slight foxing.
A rural landscape with a church spire in the distance and a windmill on a hill. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 19. Shirley: 28. Osbert Barnard: I of V.
[Ref: 44376]   £230.00  
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Summer Morning.
Summer Morning.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 250 x 175mm (9¾ x 7") very large margins. Slight foxing.
A rural landscape with a milkmaid and cows on Dedham Vale, after an oil painting by Constable now in the V&A. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 6. Shirley: 26. Osbert Barnard: III of VI.
[Ref: 44381]   £190.00   (£228.00 incl.VAT)
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A Summerland.
A Summerland.
Painted by John Constable R.A. Engraved by David Lucas.
London, Pub.d by M.r Constable, 35 Charlotte S.t Fitzroy Square 1831.
Mezzotint. Plate: 250 x 180mm (9¾ x 7") very large margins. Slight foxing.
A countryside view showing a man ploughing a field. From about 1829 Constable and Lucas worked together on a series of mezzotints after sketches and paintings by Constable called 'Various Subjects of Landscape...' published in parts between 1830 and 1832. In 1843 Charles Robert Leslie published his 'Memoirs of John Constable Esq. R.A'. He obtained directly from the Constable family 186 sets of 22 images of the Various Subjects of Landscape in return for 30 copies of his book. This mezzotint is one of those; "see Tate John Constable, David Lucas".
Wedmore 16. Shirley: 9. Osbert Barnard: I of V.
[Ref: 44390]   £230.00  
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Conversation.
Conversation.
G. Morland 1792.
Published & Sold by Edw.d Orme 59 New Bond Street July.1.1804.
Crayon-manner. 356 x 470mm. 14 x 18½".
A donkey tethered in a yard at left, beside which a man and woman sitting at a bench speak to a boy standing behind, a child to left, at the side of a house.
Abbey Life: 280.19.
[Ref: 24978]   £140.00   (£168.00 incl.VAT)
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[Plate 5:] Conversation Chinoise.
[Plate 5:] Conversation Chinoise.
Mondon le fils In. A. Aveline Sculp.
[Avec privilege du Roy. 1736.]
Engraving, paper watermarked. 229 x 178". 9 x 7". Staining outside platemark. Uncut, large margins.
Below and ornate Rococo design feature sit a Chinese couple in conversation. From "Cinquième Livre de Figures Et Ornemens Chinois, Dédié A ... Monseigneur Alexis Madelaine Rosalie Duc de Chatillon, Pair de France, Gouverneur de Monseigneur le Dauphin". From a series of forty-two ornament prints, divided into six sets of seven plates each; this plates belongs to the fifth set.
[Ref: 23046]   £190.00   (£228.00 incl.VAT)
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[Italianate landscape after Il Borgognone.] In the Collection of Peter Delmé Esq.r.
[Italianate landscape after Il Borgognone.] In the Collection of Peter Delmé Esq.r.
Giacomo Cortesi, detto il Borgognone pinx. Chatelain Sculp.
Publish'd by Ar: Ponf Feb.y 1744.
Etching with some engraving. 315 x 405mm, 12½ x 16". Edges worn.
A river scene with a bridge leading to a ruined keep, from a painting by Giacomo Cortese (1621-75), known as Il Borgognone, a Frenchman who spent his career in Italy, with an output mainly of battle scenes. The original painting belonged to Peter Delmé (1710-70), a wealthy English merchant, MP for Ludgershall 1734-41 and for Southampton 1741-54. He was nicknamed 'Peter the Czar' for his considerable inherited wealth, but he spent the lot before shooting himself in his house in Grosvenor Square.
BM: 1869,0410.1182.
[Ref: 23125]   £140.00   (£168.00 incl.VAT)
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Habitus Variarum orbis gentium.[showing the continents]
Habitus Variarum orbis gentium.[showing the continents]
[Malines, Caspar Rutz, 1581.]
Engraving with original hand colour, representing the continents of America Asia Europe and Africa. 230 x 320mm, 9 x 12½". Two areas of loss just affecting printed area.
Titlepage to an early book of 70 world costume plates, 'Habitus Variarum orbis gentium' ('Costume of the Various Peoples of the World'), usually found uncoloured.
[Ref: 13167]   £220.00  
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Divers Costumes représentés dans une peinture dun MS: intitulé Echects Amoureux. Concerts vocal et instrumental tires du même MS:
Divers Costumes représentés dans une peinture dun MS: intitulé Echects Amoureux. Concerts vocal et instrumental tires du même MS:
A Marotte del.t et sculp.t Gabriel sculp.t
Bibliothèque Nationale. [n.d c.1839.]
Mixed-method, coloured; paper watermarked Blacons. Plate 325 x 215mm. 12¾ x 8½". Four worm holes.
A representation of various costumes; and a musical concert with a boy choir to the right. From "Monuments français inédits pour servir à l'histoire des arts depuis le Vie siècle jusqu'au commencement du XVIIe". Willemin's ambition was to present a parallel of antique and French art and design, but this proved an impossible task, and Willemin, perhaps spurred on by the revival of interest in medieval art across the Channel, decided to devote the latter half of his career to the production of the present volumes, chronicling the best examples of French design of the mediaeval and early renaissance period by examples taken from buildings, works of art, books and manuscripts. Willemin started work on it in 1806 (the engraved title leaf to the first volume bears this date), but he died in 1833 before the plates were quite finished, and it was left to his daughter to arrange for the engravings of the last of the plates and to commission an explanatory text from André Pottier. Willemin was the first to provide such accurate illustrations of French mediaeval decorative art and his plates had considerable influence in forming contemporary taste. It may be noted that he was a personal friend of Augustus Pugin senior, who allowed objects from his personal collection of mediaeval antiquities to be illustrated on one of the plates, and that the frontispiece to the younger Pugin's True Principles was evidently adapted from Willemin's illustration of King René of Anjou in his study.
[Ref: 26641]   £80.00   (£96.00 incl.VAT)
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[Cottage by River.]
[Cottage by River.] 5.
Engraved from a Drawing of Mr Smiths, by Wm. Wilson.
London, Printed for Rob.t Sayer Printseller, 53, Fleet Street. [n.d. c.1780.]
Etching and engraving. Plate 210 x 241mm. 8¼ x 9½". Some creasing and tear into upper margin and plate edge.
View of a cottage on the bank of a river, a crude footbridge crossing in foreground to part of a ruined wall at right; a figure standing beside the building, looking out towards a church and village in the distance. Number 5 from a series (unknown).
[Ref: 26571]   £95.00   (£114.00 incl.VAT)
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[Cattle and sheep in a field] Paul Potter.
[Cattle and sheep in a field] Paul Potter. D'après le Tableau Original peint sur Bois, d'un Pied 3 Pouces 6 Lignes de haut, sur 1 Pied 7 Lignes de Large.
Gravé par Couché.
AParis chez Michel Vauthier, Peintre, rue de la Liberté, ci-devant des Fossés M.r le Prince No 43, Faub. St. Ger.n. [n.d., c.1800.]
Soft ground etching on blue paper. Sheet 470 x 395mm (18½ x 15½"). Trimmed within plate.
An atmospheric rustic scene after Paulus Potter (1625-54) who produced about a hundred paintings before dying of tuberculosis at only 28.
[Ref: 43463]   £320.00  
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[Moonlit river scene with rowing boat]
[Moonlit river scene with rowing boat]
Thomas Creswick / Etching Club March 1839
Etching on india with large margins, platemark 95 x 150mm (3¾ x 6").
Skilful etching in the Dutch manner by landscape painter Thomas Creswick (1811-69), published in the portfolio 'Etched Thoughts by the Etching Club' (the influential printmaking society which Creswick was part of, alongside Samuel Palmer and Charles West Cope, among others). Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
[Ref: 35901]   £75.00   (£90.00 incl.VAT)
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[Landscape with figures; river and moutnains in distance]
[Landscape with figures; river and moutnains in distance]
Etching Club / Thomas Creswick May 1839
Etching on india with large margins, platemark 65 x 160mm (2½ x 6¼"). Slight foxing.
Skilful etching in the Dutch manner by landscape painter Thomas Creswick (1811-69), published in the portfolio 'Etched Thoughts by the Etching Club' (the influential printmaking society which Creswick was part of, alongside Samuel Palmer and Charles West Cope, among others). Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
[Ref: 35902]   £75.00   (£90.00 incl.VAT)
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The Overshot hill [ms]
The Overshot hill [ms]
T. Creswick R.A. [published 1857]
Etching on india with very large margins, platemark 145 x 125mm (5¾ x 5"). Uncut sheet.
Etching by landscape painter Thomas Creswick (1811-69), published by the Etching Club in 1857. The Etching Club was the influential printmaking society which Creswick was part of, alongside Samuel Palmer, who is believed to have been influenced by Creswick in his own printmaking. Creswick exhibited prolifically and successfully at the Royal Academy throughout his career (he became an R.A. in 1851) and his etchings 'demonstrate a sure grasp of the technique and conventions of etching (DNB).
[Ref: 35904]   £75.00   (£90.00 incl.VAT)
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Krone, Scepter und Reichsapfel der Konigin Victoria.
Krone, Scepter und Reichsapfel der Konigin Victoria.
[Signed in plate.] Stdr: v.A. Kneisel.
Zu Euopa's Salon. Leipzig, E. Guntz. [n.d., c.1838.]
Hand coloured lithograph, sheet 320 x 260mm. 12½ x 10¼".
The regalia of Queen Victoria. For a series of German prints of the regalia of European monarchs titled 'Europa's Salon'. Fine colour.
[Ref: 11909]   £160.00   (£192.00 incl.VAT)
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[L'Académie des Sciences et des Beaux-Arts.]  Cyclopaedia [to scroll cartouche within image.]
[L'Académie des Sciences et des Beaux-Arts.] Cyclopaedia [to scroll cartouche within image.]
J. Sturt sculp.
[n.d., c.1710.]
Engraving, frontispiece/illustration to an encyclopaedia?, 340 x 385mm. 13½ x 15¼". Folding creases.
Figures engaged busily in feats of human endeavour, emblematic of science, art, painting, anatomy, medicine, music, geometry, history, figure sculpture, architecture. An English copy in reverse by engraver John Sturt (1658 - 1730) of a 1698 etching by Sébastien Le Clerc amalgamating the manifold activities of two separate Paris institutions: the Académie de Peinture et de Sculpture, and the Académie des Sciences. Le Clerc incorporated architectural elements of both into his composition.
Wellcome Library: 21492i.
[Ref: 15140]   £160.00   (£192.00 incl.VAT)
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Dalton's New England Traveller. Frontispiece.
Dalton's New England Traveller. Frontispiece. This Beautiful Print emblematically alludes to that highly pleasing Variety of Subjects which will be Presented by the New English Traveller to the Public at Large.
Ryley Delin Scott sculp
Publish'd by Alex.r Hogg Nov.r 22 1794
Engraving, sheet 365 x 230mm (14¼ x 9"). Repaired hole bottom centre in border. Borders tatty.
Frontispiece with imaginary landscape combining classical statuary, agriculture, modern engineering and coaching to demonstrate the range of topics to be included in a topographical periodical, includes view of Colebrook Dale Iron Bridge. 'Dalton' has been claimed as a pseudonym for the publisher Alexander Hogg.
[Ref: 40083]   £130.00   (£156.00 incl.VAT)
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La Forest Dangereuse.
La Forest Dangereuse. Gravée d'aprés le Tableau original de Philipe Wowermans, haut de vingt et un Poulees sur trente et un de la large.
Ph. Wowermans Pinx. C.E. Cousinet Sculp.
A Paris, chez Lempereur, Graveur du Roy, rue et Porte St Jacques, audessus du petit Marché. [n.d., c.1760.]
Engraving. 335 x 400mm (13¼ x 15¾"). Very large margins.
A snowy landscape on the edge of a forest, with bandits attacking and robbing travellers. In the background is a gibbet with a body hanging. The engraver Cousinet is actually Catherine Elizabeth Lempereur, wife of Louis Simon Lemperer the publisher of this print.
[Ref: 38116]   £290.00  
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Dassier's Medals. Pl: 1 - Pl: 6.
Dassier's Medals. Pl: 1 - Pl: 6.
Pye fc.t
London published 1.st Jan.y 1797 by M. Young Ludgate Hill.
Oblong 4to, with blue original paper covers, stitched spine. Etching and engraving 6 plates (plate size: 224 x 275mm (8¾ x 10¾")).
Set of medals from designs by Jean Dassier, of Geneva, (1676-1763), one of the most enterprising and prolific medallists of the eighteenth century. Dassier published his series of the medals of the Kings and Queens of England in 1731, dedicating it to George II. The medals were available individually and as complete sets. They were struck in bronzed-copper, damascened copper (the relief gilded in contrast to bronzed fields) and silver. The dies for the medals were eventually purchased by Sir Edward Thomason of Birmingham, who reissued the medals c.1820. New obverse dies were also modelled after the originals and used to strike sets in white metal with new reverses that carried an inscription describing notable events of the reign of the individual depicted on the obverse. Medals included the portraits of William the Conqueror, William II - Rufus, William III, Henry I-VIII, Stephen, Richard I-III, John, Edward I-VI, Mary I, Elizbeth I, James I, Charles I, Oliver Cromwell, Charles II, James II, Mary II, Anne, George I-III, Caroline, wife of George II and Charlotte, wife of George III.
[Ref: 29003]   £240.00   view all images for this item
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