CREIGHTON, Mandell. Queen Elizabeth. London and Paris, Boussod, Valadon & Co., 1896.
Large 4to. Finely bound by Henderson & Bissey in full calf; spine with raised bands with gilt fillets, and lettering and ornamentation in gilt; boards with gilt and blind fillets and royal crest with letters in gilt; top edge gilt, others untrimmed; gilt dentelles; pp. , ii, 199, ; colour frontispiece portrait of Queen Elizabeth, with 39 plates and an accompanying extra suite of identical plates in sepia, with accompanying tissue guards captioned in red; slight cracking to spine, rubbing to extremities; hinges expertly strengthened; Hirsel Library label to front paste-down; some discolouration to margins of title, else very clean internally; a very attractive volume.
First edition, number 38 of a print run limited to 300. Facsimile in colours from a miniature by N. Hilliard, in the collection of the Earl of Dusart, at Ham House, Surrey. The publisher, Boussod et Valadon was 'Brother-in-law of the painter Gérome [1824-1904], Etienne Boussod was the son-in-law of Adolphe Goupil [b. 1806], whom he succeeded in 1875 as head of the Galerie Goupil. The name Goupil remained in use until around the turn of the century. The gallery, whose principal location was at 2, place de l'Opéra, handled academic artists such as Meissonier, Bouguereau and Gérome. A second location, at 19, boulevard Montmartre, showed less official artists like those of the Barbizon school. Galerie Goupil/Bousod et Valadon was directed from 1878 by Theo van Gogh, brother of the artist. Van Gogh proceeded, starting around 1884, to include works by the Impressionists. Van Gogh was succeeded as head of the gallery by Maurice Joyant [1864-1930], who with fellow Boussod et Valadon employee Michel Manzi [1849-1915] went on to establish his own gallery. Boussod et Valadon ceased operations in 1919, and its collections were dispersed at auction at Georges Petit. [Compiled from sources and references recorded on CMS]' (National Gallery of Art). Still one of the better short biographies of the Queen, Creighton points out that 'the Chief merit of the volume … lies in the attempt to bring together the most remarkable portraits of Elizabeth and her contemporaries, and to put before the readers careful reproduction of artistic sources of information which have hitherto been little known' (Preface).