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A pair of Irish Regency period Side Chairs, and a small attractive Bedside Pot Cupboard, the top door with blind drawers over three further drawers on plinth base. (3)

A large early Victorian Irish mahogany Partner's Desk, with blind and other frieze drawers on four turned legs, 160cms (63")wide. (1)Provenance : The Aske, Shankill, Co. Dublin.

17th Century Italian School"The Blind Tobit," O.O.C., 104cms x 127cms (41" x 50"), in gilt frame. (1)

GEORGE III PERIOD MAHOGANY BUREAU BOOKCASEthe superstructure with a moulded and blind fretwork carved crown, above two square and gothic arched glazed doors enclosing shelves; the base with a slope front opening to a fitted and tooled leather writing interior, above two short and three long drawers, furnished with pierced armorial brass handles, raised on ogee bracket feet227 cm. high; 105 cm. wide; 59 cm. deep

GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London. 

Edwardian mahogany display cabinet with broken arched pediment and dentil moulding, blind fretwork to frieze and marquetry inlay, astragal-glazed panel flanked by harebell inlay, with cupboard below having cup and floral marquetry inlay, on shaped bracket feet, 76cm wide

Mid 20th century silver snuff style box, rectangular, engine turned with blind cartouche to top, bead edging with ribbed sides, gilt interior, Birmingham 1963, .5oz approx

A Chippendale style blind fret-carved mahogany silver table and a Georgian style mahogany side table, W.69cm and W.137cm

After Sir William Russell Flint gilt framed print of a reclining nude, artist blind proof stamp and monogram in pencil.

Sir William Russell Flint RA (British,1880-1969): 'Campo San Trovaso', artist's proof, signed in pencil, with blind stamp, order number 12686 on label verso, published by Frost and Reed Ltd of Bristol and London, 55 by 62cm.

Sir William Russell Flint RA (British, 1880-1969): 'The Hidden Target', artist's proof, signed in pencil, with blind stamp, published by Frost and Reed Ltd of Bristol and London, 1966, with wash lines to mount and framed, 55 by 62cm.

Sir William Russell Flint RA (British, 1880-1969): 'Retreat from the Sun' signed artist's proof, with blind stamp, limited edition published by Frost and Reed Ltd of Bristol and London, blue hand written label verso, wash lines to mount and framed 41 by 61cm.

Sir William Russell Flint RA (British, 1880-1969): 'Red Background', a limited edition of 750, dated 1973, with blind stamp, published by Chorley and Pickersgill Ltd. 34 by 48cm.

Sir William Russell Flint RA (British, 1880-1969): 'A Question of Attribution' signed in pencil, blind stamp, published by Frost and Reed Ltd of Bristol and London, blue hand written label verso, dated 1963, with wash lines to mount and framed, 53 by 43cm.

A George III oak longcase clock, with silvered brass face, signed Samuel Young, Nantwich, date roller aperture and floral engraving, silvered chapter ring with Roman numerals and minute band, cast spandrels to the corners, thirty hour movement with an anchor escapement striking on a bell, the hood with caddy top, blind carved frieze, flanking turned columns, plain trunk with single door, plinth base reduced in height, 40 by 24 by 196cm high.

A colour photograph of Guy Ritchie and Madonna signed indistinctly to the margin and dated 2008, together with one other of Noel Gallagher and Meg Matthews by the same hand, each with Dave Hogan Photography blind stamped to the margin, 40x27cm

An early 20th century writing desk, with blind fret carved decoration, on turned legs, 122cm

Quantity of Bus Related Collectables including The Bell & Co Printing Bus Conductors Ticket Machine no.72567 plus Various Unused Bus Tickets, Bristol Bus Co Destination Blind Changing Handle plus Various Bus Tins together with German Railway Enamel Route Sign between Munich and Milan

An Edwardian mahogany corner cupboard with blind fretwork decoration, in two pieces - Height 182cm x Width 76cm Condition report: In good condition

Lee R. : Trees, Plants and Flowers - Their beauties, Uses and Influences, 1854. 8vo Hb. Original blind stamped cloth, gilt, aeg. Hand coloured plates. CONDITION REPORT: Vg

After Colin Burns,A study of a windmill on a winters morning,signed in pencil and numbered 493,limited edition Fine Art Trade Guild coloured reproduction with blind stamp,image 44 x 53 cm CONDITION REPORT: Even discolouration and fading

La Ronde du Bon Bock Musique Libre, Nd. C. 1890?. Landscape Folio, red cloth, blind-stamped & gilt. Variety of monochrome illustrative plates & sketches with an accompanying text in a printed manuscript style. Scarce. CONDITION REPORT: Text block becoming loose.

After Richard Wyndham,'Fishing on the Medway',signed in pencil,coloured reproduction with blind stamp,image 44 x 53 cm CONDITION REPORT: All over discolouration and foxing

Sowerby J. & Johnson C. : The Ferns of Great Britain, 1859, bound with : The Fern Allies ( Supplement ), 1859. 8vo. Hb, decorated cloth,gilt, aeg. Hand coloured plates; Stark R. : Popular History of British Mosses, 1854. 8vo. Hb. Blind-stamped cloth, gilt. Colour plates; Archer T. : Popular Economic Botany, 1853. 8vo. Hb. Cloth, gilt. Colour plates ( features of plants used for food, clothing, tanning, dyeing, medicine & perfumery etc.). CONDITION REPORT: Bindings requiring some repairs.

Mallet R. : The First Principles of Observational Seismology, 1862. Vols. I & II. As developed in the report to the Royal Society of London of the Expedition made by command of the Society into the interior of the Kingdom of Naples, to investigate the circumstances of the Great Earthquake of December 1857. Royal 8vo. Original green textured & blind-stamped cloth, gilt titling on spine. Folding colour panorama litho frontis to Vol.1 and plate to Vol.II. Two folding maps ( A & B ) as required in separate pockets in vol. II. Coloured and tinted lithograph plates & vignettes; folding plans, maps, charts & diagrams. The set is ex lib. ( Yorkshire Philosophical Society) and has small oval stamps on the very margins of maps & plates and some minor wear to the extremities to the binding, otherwise it can be described as a very good, near fine set and represents a seminal treatise in the science of Seismology.

Victorian mahogany wardrobe, moulded pediment and curved corners above central mirrored door, flanked by blind panels, base drawer below, on plinth, 116cm wide.

Handsome 17th century Continental oak armoire with dentil cornice above pair of carved multi panel doors, above three carved blind panels, panelled ends, on reeded stile supports. 162cm wide.

Edwardian mahogany display cabinet, inlaid dentils, bellflowers and stringing, glazed astragal door above blind panel on square tapered support with splayed feet, 72cm wide.

Complete Version of Ye Three Blind Mice published by Frederick Warne illustrated by Walton Corbould

A Victorian mahogany blind fretwork bookcase fitted with a pair of astragal glazed doors over two short drawers and two panelled cupboard doors, raised on cabriole shaped supports and pad feet

Basaldella Afro. Composizione verde. 1966 Litografia a tre colori su carta Fabriano, mm 420x605; 546x718. Firmata e numerata 'afro, 15/50', in basso. Tibro a secco Alberto Caprini Stampatore in Roma, in basso. Esemplare in perfetto stato. In riferimento a medesima tiratura si veda: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 78 n. 31. Three-color lithography on Fabriano paper, 420x605 mm; 546x718 mm. Signed and numbered 'afro, 15/50', at the bottom. Blind-tooled stamp Alberto Caprini Stampatore in Roma, at the bottom. Very good conditions. Regarding this copy see: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 78 n. 31.

Basaldella Afro. Nero IV. 1969 Incisione ad acquaforte e acquatinta , mm 323x419; 497x647. Firmata e numerata 'afro, 34/60', in basso. Timbro a secco Grafica Romero, Roma, in basso. Esemplare in perfetto stato. In riferimento a medesima tiratura si veda: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E. Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.  Etching, 323x419 mm; 497x647 mm. Signed and numbered 'afro, 34/60', at the bottom. Blind-tooled stamp Grafica Romero, Roma, at the bottom. Very good conditions. Regarding this work see: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.   

Basaldella Afro. La chiave. 1974 Incisione ad acquaforte e acquatinta a tre colori su carta Fabriano Rosaspina, mm 490x700; 700x985. Firmata e numerata a matita 'afro, 40/89', in basso. Timbro a secco 2RC, Roma, in basso a sinistra. Perfetto stato. In riferimento a medesima tiratura si veda: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 130 n. 57; M. Calvesi, F. Tedeschi, Afro a Ravenna. Opere su carta, grafiche, arazzi, mosaici, R.L. Stamperia d'Arte, Torino, 1991, n. 69. Etching, 323x419 mm; 497x647 mm. Signed and numbered 'afro, 34/60', at the bottom. Blind-tooled stamp Grafica Romero, Roma, at the bottom. Very good conditions. Regarding this work see: L. Bettini, C. Caini, M. Graziani, testo critico e note bio-bibliografiche di E.Crispolti e con un testo di N. Ponente, Afro Balsadella, Catalogo ragionato delle incisioni e litografie, Edizioni Top Graphic, Milano, 1986, pag. 110 n. 47.   

Burri Alberto (Città di Castello 1915 - Nizza 1995). Lettere. 1969. Set completo di sei serigrafie a colori, su carta cm Fabriano Rosaspina, mm 198x232 ca ; 350x500 ca. Firmate e numerate a matita 'BURRI, 61/90', in basso. Timbro a secco 2RC, Edizioni d'Arte Roma, in basso a sinistra. Ottimo stato di conservazione. In riferimento a medesima tiratura si veda: Chiara Sarteanesi, Maurizio Calvesi, Burri grafica. Opera completa, catalogo della mostra, Città di Castello, ex Seccatoi del Tabacco, 11 ottobre 2003 - 11 gennaio 2004, Fondazione Palazzo Albizzini Collezione Burri, Petruzzi Editore, 2003, pp. 56-60.  Complete set of six color serigraphs, on cm Fabriano Rosaspina paper, ca 198x232 mm. Signed and numbered in pencil 'BURRI, 61/90', at the bottom. Blind-tooled stamp 2RC, Edizioni d'arte Roma, bottom left. Very fine conditions.  Refererring to this edition see: Chiara Sarteanesi, Maurizio Calves, Burri grafica. Opera completa, catalogo della mostra, città di Castello, ex Seccatoi del Tabacco, 11 ottobre 2003- 11 gennaio 2004, Fondazione Palazzo Albizzini Collezione Burri, Petruzzi Editore, 2003, pp. 56-60.  

Chagall Marc (Vitebsk 1887 - Saint-Paul-de-Vence 1985). Naissance de la nuit. 1972. Bellissimo esemplare di litografia a colori, mm 325x246; 588x425. Firmata e numerata a matita 'Marc Chagall, 26/30'. Timbro a secco Orangerie Cologne. Esemplare in ottimo stato. In riferimento a medesima tiratura si veda: Charles Sorlier, Chagall litographe, Crown Publishers, New York, 1974, n.644.  Beautiful lithograph in colours, 325x246 mm; 588x425. Signed and numbered 'Marc Chagall, 26/30'. Blind-tooled stamp Orangerie Cologne. Very good conditions. Regarding this work see: Charles Sorlier, Chagall litographe, Crown Publishers, New York, 1974, n.644. 

Marini Marino. Giocoliere. 1977 Incisione ad acquaforte e acquatinta a colori, mm 275x198; 480x380. Firmata 'MARINO' e numerata in numeri romani 'XX / L', in basso. G. A 206. Timbro a secco Stamperia d'Arte Il Cigno. Ottimo stato di conservazione. L'acquaforte e acquatinta è stata edita nel 1977 da ZWR, Londra, stampatore Labyrinth, Firenze; la tiratura è di 100 esemplari in numeri arabi, 50 esemplari in numeri romani più 20 prove d'artista, tutti firmati e numerati. In riferimento a medesima tiratura si veda: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 206, p. 223.  Colored etching, 275x198 mm; 480x380 mm; Signed 'MARINO' and numbered in Roman numbers 'XX / L' at the bottom. G. A 206. Blind-tooled stamp by Stamperia d'Arte il Cigno. Very good conditions. The etching was edited in 1977 by ZWR, London, printer Labyrinth, Florence. The printing was in 100 works in arabic numbers, 50 works in roman numbers plus 20 artist's proofs, all signed and numbered. Regarding this work see: Giorgio e Guido Guastalla, Mario De Micheli (saggio critico), Marino Marini, Catalogo Ragionato dell'Opera grafica (Incisioni e Litografie) 1919-1980, 1990, scheda opera n. A 206, p. 223.

Bartolini Luigi. Gli amanti crucciati. 1950 Incisione ad acquaforte e acquatinta, mm 245x170; 450x318. Firmata e numerata a matita 'Luigi Bartolini, 75/75', in basso. Timbro a secco Prandi. Buono stato di conservazione. Sotto passe par tout editoriale. L'acquaforte è inclusa nella cartella Cinquanta incisioni di artisti italiani, pubblicata da Prandi nel 1963 (48 acqueforti e 2 puntesecche, testo di Marco Valsecchi, Reggio Emilia, Prandi, 1963). L'edizione è di 75 esemplari numerati in numeri arabi e di 5 esemplari fuori commercio segnati con le lettere A, B, C, D, E. Tra gli gli artisti presenti con una loro opera originale troviamo Ugo Attardi, Luigi Bartolini, Domenico Cantatore, Carlo Carrà, Felice Casorati, Bruno Cassinari, Arnoldo Ciarrocchi, Pericle Fazzini, Franco Gentilini, Virgilio Guidi, Renato Guttuso, Mino Maccari, Ardengo Soffici, Orfeo Tamburi, Renzo Vespignani, Tono Zancanaro, Alberto Ziveri. E' la più importante edizione di grafica incisa del Novecento italiano (in F. Dall'Aglio, I Prandi, Milano, Scheiwiller, 1987, nn. 164-213, pp. 127-139.  Etching, 245x170 mm; 450x318 mm. Signed and numbered in pencil 'Luigi Bartolini, 75/75', at the bottom. Blind-tooled stamp Prandi. Fair conditions. Under editorial passe par tout. The etching is part of the folder Cinquanta incisioni di artisti italiani, published by Prandi in 1963 (48 etchings and 2 'puntesecche', text by Marco Valsecchi, Reggio Emilia, Prandi, 1963). The edition is of 75 works numbered in arabic numbers and 5 works out of market numbered with the letters A, B, C, D, E. Among the artists with an original own work there are Ugo Attardi, Luigi Bartolini, Domenico Cantatore, Carlo Carrà, Felice Casorati, Bruno Cassinari, Arnoldo Ciarrocchi, Pericle Fazzini, Franco Gentilini, Virgilio Guidi, Renato Guttuso, Mino Maccari, Ardengo Soffici, Orfeo Tamburi, Renzo Vespignani, Tono Zancanaro, Alberto Ziveri. E' la più importante edizione di grafica incisa del Novecento italiano (in F. Dall'Aglio, I Prandi, Milano, Scheiwiller, 1987, nn. 164-213, pp. 127-139.  

Rotella Mimmo. Tengo. 1974 Litografia offset a colori incollata su carta, mm 323x276; 700x500. Firmata 'Rotella' e numerata '90/125', in basso. Al verso annotazione e firma: 'L'opera Tengo riprodotta è autentica, Rotella'. Timbri a secco Tempio dell'Arte e Arte Studio Macerata. La carta risulta lievemente e uniformemente ingiallita con uno strappo di circa 10 mm, in alto. Entrambe le defezioni si presentano fuori dalla stampa offset. La litografia Tengo fa parte della Cartella MIMMO ROTELLA, composta da 9 opere grafiche, stampate in 125 esemplari, numerate e firmate dall'artista, editate da Arte Studio Macerata di Pio Monti, nel 1974. L'annotazione firmata dall'artista, presente al verso, come il timbro a secco del Tempio dell'Arte, risultano essere di successiva esecuzione.  Offset colored litography attatched on paper, 323x276 mm; 700x500 mm. Signed 'Rotella' and numbered '90/125' on the bottom. On the verso note and signature: 'L'opera tengo riprodotta è autentica, Rotella'. Blind-tooled stamps of the Tempio dell'Arte and Arte Studio Macerata. The paper is slightly yellowed with a tear of around 10 mm, on the top. Both defections are out of the offset print. The litography 'Tengo' is part of the folder MIMMO ROTELLA, composed by 9 graphic works, printed in 125 copies, numered and signed by the artist, edited by Arte Studio Macerata of Pio Monti, in 1974. The note signed by the artist, on verso, with the blind-tooled stamp of Tempio dell'Arte, turn out to be of following execution.

Rotella Mimmo. Senza Titolo. Anni '80 Litografia materica a colori, mm 360x300; 700x500. Firmata e annotata 'Rotella, P.A.', in basso. Timbro a secco della Stamperia d'Arte Il Bulino, in basso a destra. Buono stato di conservazione.  Colored 'materica' lithography, 360x300 mm; 700X500 mm; Signed and noted 'Rotella, P.A.', at the bottom. Blind-tooled stamp by Stamperia d'Arte Il Bulino, bottom right. Fair conditions.

A 19TH CENTURY GOTHIC INSPIRED PINE DWARF LINEN PRESS With chinoiserie decoration and two cupboards enclosing slides above three drawers, the plinth base with a blind fret frieze. (94cm x 54cm x 123cm)

ARTHUR DELANEY. Two town scenes with figures and trams, signed lower right in pencil, coloured prints on paper, one with blind stamp. the other number 393 of 500, largest 36 x 45 cm, together with a Trevor Grimshaw modernist study of standing stones, signed lower left in pencil, limited edition print, number 150 of 150

WILLIAM LEE-HANKEY RE,RI,RBA,RWS (1869-1952). Interior scene with woman and children, signed lower middle in pencil with blind stamp, etching, framed and glazed, 25 x 25 cm

James McNeill Whistler,lithograph, Savoy pigeons 1896, Levy 164, signed in the plate with Whistler's monogram published by The Studio, with blind stamp, 8" x 5.75", mounted.

Robert Lenkiewicz,colour lithograph, study of Karen, blind stamp signature no. 291/500, certificate of authenticity verso, 28.5" x 10", framed.

Postcard, Raphael Kirchner, Demi Vierge, Dell Aquila D.3-6, with Bignell 13 Royal Arcade W blind stamp to bottom edge, undivided back (very sl edge knock to lower left o/w ex) (1)

Postcard, Raphael Kirchner, Demi Vierge, Dell Aquila D.3-5, with Bignell 13 Royal Arcade W blind stamp to bottom edge, undivided back (ex) (1)

Ephemera, P. Jones Collection, Revenues, a fine collection of legal documents, duty stamps & cypher labels, 1660's onwards, including conveyancing documents, marriage certificates, dog licence, money orders, tobacco duty relief tokens etc, noted King James 2nd blind embossed duty stamp, King William 3rd blind embossed duty stamps, Queen Anne blind embossed stamps, George 3rd blind embossed duty stamps, William 4th blind embossed duty stamps, various cypher labels (1700's to 1920's) etc. Most with typed information & associated reference material (gen gd) (80+ items).

Ephemera, P. Jones Collection, 1800 Hair Powder Tax Annual Duty Certificate with blind embossed £1, 1 shilling duty stamp. This tax was introduced in 1786 in an attempt to finance the American War of Independence, c/m on album page with typed reference information (gd)

Ephemera, P. Jones Collection, Victorian Seals, 9 album pages each containing a selection of original seals, all identified & written up, some with additional enlarged copies for reference inc. metallic wafers, motto wafer seals, metallic pierced wedding seals, envelopes with blind embossed mock seals on flaps, wax seals, mourning envelopes with seals etc (gd/vg)

A late 17th/early 18th century German bookbinder's blind stamp or seal, oval matrix with a coat of arms, 5cm long, c.1700; a 19th century desk seal, brass matrix, turned fruitwood handle, 8cm long (2)

A late 17th/early 18th century German bookbinder's blind stamp or seal, oval matrix with a coat of arms, 6.5cm long, c.1700; another, canted rectangular matrix, c.1700 (2)

A late 17th/early 18th century German bookbinder's blind stamp or seal, oval matrix with a coat of arms, 6cm long, c.1700; another, similar, c.1700 (2)

A late 17th/early 18th century German bookbinder's blind stamp or seal, oval matrix with a coat of arms, faceted stem, 6.5cm long, c.1700; another, similar, c.1700 (2)

A Regency mahogany bat wing Pembroke table, single drawer to frieze, brass drum handles, blind drawer to verso, tapering square legs, brass casters, satinwood stringing, c.1810. 70cm high x 84cm long x 51cm opening to 101cm, c.1815

A 1940s oak gentleman's wardrobe, blind fret worked cornice, two panel doors enclosing hanging space, shelves and drawers, 188cm high x 101cm wide x 62cm deep

A carved oak bookslide, the ends pierced and carved with vine leaves, the slide carved in blind fretworked fruiting vines.

A 20thC Luxor mantel clock, in decorative metal case, with 6.5cm dia. chapter ring with Roman numerals broken by fleur-de-lys, with a blind fret back plate, in shaped case, 13cm high. (AF)

A mid-20thC oak display cabinet, with a quarter veneered top raised above two glazed doors above a blind fret panel on compressed feet, 138cm high, 97cm wide, 34cm deep.

After Dav Wilkie. Blind man's buff, stipple engraving, Jerrard Art Gallery stamp, 40cm x 61cm.

Europe. Cret‚ (B.), Carte Symbolique de L'Europe, Guerre Lib‚ratrice 1914 - 1915, published Paris, 1914, lithograph, old folds, some staining and fraying with loss to upper margin, some splits to old folds, strengthened on verso, blind stamp to lower right corner, 455 x 570 mm A satirical French map showing the state of Europe at the outbreak of World War I. Great Britain is represented by a dreadnought whilst Ireland sails a dinghy in the battleship's wake. An enraged German bull charges at the French cockerel and Marianne pokes at the bull with a short sword. At the same time the German bull is poked in its rump by an imperious Tsar Nicholas II of Russia. The representation of Austria-Hungary as a fallen crown and a series of graves is deeply prophetic, suggesting the impending end of that empire. Poland is a young girl pleading to Russia whilst Italy turns its back on the continent and plays a lute. Sweden and Norway are shown as beautiful young girls in an almost sapphic embrace. The map is a relatively gentle depiction of European national characteristics before the continent descended into chaos. Uncommon. (1)