The description of this print in the Petit sale of 1928 misattributes the print to Gilles-Antoine's uncle, Demarteau l'aîné and incorrectly describes the medium referring to 'une superbe planche de blanc'. Demarteau l'aîné's formula for the white ink of his prints was a well-guarded secret which he did not share presumably with his nephew. Gilles-Antoine's use of white, which was learnt from his uncle, was created by the selective burnishing of the overall tone plate allowing the white of the paper to emerge and serve as a colour. The medium and its lack of a white ink, and the fact that this print was announced in the Mercure de France in March 1777, some seven months after Demarteau l'aîné's death, supports the correct attribution to Gilles-Antoine given in Regency to Empire French Printmaking 1715-1814, Baltimore and Minneapolis, 1985, pp. 222-3, no. 74 (repr.)