About Us

To the left and right, we show two of the illustrations that were the subject of reproductions

chosen  by an Event Specialist to decorate her grand-daughter's bedroom. The images are

selected from 16 illustrations selected (8 colour and 8 monotone) from Ida Rentoul Outhwaite's

suite for "The Little Green Road to Fairyland" (1922).

The illustration on the the left is associated with the following text from 'The Fairy': "I am Kexy,

friend to Fairies".

The image on the right is associated with the following text from 'Dance of the Fairies: "Then

the Fairies came".

To the left, we show the illustration that was the subject of a large format Poster purchased

recently by an American Psychologist. The image - "Dream of the Orient; or, The Peri" - is by

Gustave Moreau and is replete with symbolic references for which Moreau is renowned.

On the right, we show an illustration from Arthur Rackham's suite for "The Fairy Tales of the

Brother Grimm" (1909) - one of two colour images for the tale of 'Jorinda and Joringel'.

To the left, we show and illustration that was included in an Order placed by an American artist for a number of Fine Art Posters.

That on the left is from the suite of colour images by William Russell Flint for "Theocritus, Bion and Moschus" (1922). It depicts

the following text from 'Idyl XIII - Hylas and Heracles':

The nymphs all clung to his hand, for love of the Argive

lad had fluttered the soft hearts of all of them.

To the left, we show the illustration that caught the eye of an American obstetrician. The image is from Eleanor Fortescue-Brickdale's

suite of illustrations for "The Book of Old English Songs and Ballads" and accompanies "A Sweet Lullaby".

This illustration is associated with the following lines:

Although a lion in the field,

A lamb in turn thou shalt him find.

On the left and right, we show illustrations that were sourced from the Collection by a UK-based

television production company for the purposes of a future documentary.

The image on the left is from Gustave Doré's suite for "Les Contes de Perrault" - one of a number

illustrating the tale of "Little Red Riding Hood". That on the right is from Virginia Sterrett's suite

for "Arabian Nights".

On the right, we show an illustration selected by the owners of a multi-national brokerage firm as a

gift for their hosts at a UK-based retreat. The image is from Warwick Goble's "The Water-babies:

A Fairy Tale for a Land-baby".

To the left, we show one of the illustrations from Kay Nielsen's "Red Magic". A Japanese pop star

purchased complete sets of color and monotone Greeting Cards to accompany gifts to friends.

To the right, we show the illustration that caught the eye of a screenwriter. The image is from Adrienne Ségur's suite of illustrations

for "Il était une fois ... vieux contes français" and accompanies "Cendrillon ou le pantoufle de vair" ("Cinderella; or, The Slipper of

Squirrel Fur").

To the left and right, we show two illustrations among those selected by a Middle East-based researcher.

The image on the left is from Léon Bakst's designs accompanying "Serge de Diaghileff's Ballet Russe". That on

the right is from the suite prepared by Warwick Goble for "Green Willow and other Japanese Fairy Tales".

To the left and right, we show two illustrations chosen by an English academic to accompany published research.

Both images are from Vernon Hill's suite for "Ballads Weird and Wonderful". The illustration on the left

accompanies "The Great Sealchie of Sule Skerrie", while that on the right is associated with "Kemp Owyne".

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