61. Paris – [Anonymous].

A View of the Royal Palace of the Fontainbleau.

Original engraving. [no place], [no year / c.1780]. Plate Size: 23.3 cm x 19 cm. Sheet Size: 26.5 cm x 20.5 cm. Original engraving. In very good condition.

62. Paris – Chereau, Jacques. (1688 – 1776).

Vue de L’Édifice de l’Observatoire et du Collège des Jésuites.

Original hand-coloured engraved vue d’optique. Paris, Jacques Chereau, [c.1700s]. Plate Size: 39.3 cm x 28.5 cm. Sheet Size: 41.5 cm x 29.7 cm. Original print. In very good condition. Clean, crisp and bright impression.

63. Paris – Mondhare, Louis-Joseph. (1734 – 1799).

1er Vue des Boulvard pris de la Porte St Antoine on averty le Public que cette Vuë est graveé pour estre vuë au naturet dans l’Optique.

Original hand-coloured copper engraved vue d’optique. Paris, Mondhare, [c.1750-1780]. Plate Size: 38.7 cm x 23.2 cm. Sheet Size: 44.7 cm x 28. 6 cm Original print. In very good, actually remarkable, condition. Clean and crisp and radiant impression, with only the faintest trace of browning. Some very minor traces of light staining to outer margin corner.

64. Pemberton, H.M. [Hilda Mary]. (1871 – 1957)

Blaawberg Strand [Bloubergstrand] (with shipwreck) and Hermanus.

Two original etchings, signed and titled in pencil. [South Africa], no year [c. 1915]. Beautifully framed. The frames with the etchings measure: 39 cm x 34.5 cm. The etchings themselves measure: c. 26 cm x 24 cm. Excellent condition but with some foxing. Frames with minimal signs of wear.

65. Pierre, Frédéric.

Du Coin De L’Oeil La Pleine Lune. [With thirteen (13) stunning, original and signed erotic, colour-engravings]. Gravé et imprimé par Frédéric Pierre à l’atelier de l’été Juin – Septembre 1991. Texte par A. Kallur / C. Aldridge / F. Pierre.

Henley-on-Thames / Stockholm, Published by Artwenty, September 1991. Folio (31.3 cm wide x 41.4 cm high). (3), 27, (1) sheets of finest BFK Rives Velin Paper with deckled edges. Hardcover / Original blue cloth with gilt lettering on spine and ornament on board. Excellent, as new condition. No.10 of only 21 copies, signed by the artist. The entire edition of this artist-book comprised of 28 copies of which 7 copies were numbered in roman numerals from I – VII and accompanied by an original, unique and signed engraving [please enquire for one of the roman numbered editions]. This is one of the 21 copies without the additional engraving. EXTREMELY Rare !!!

66. Pierre, Frédéric.

“Meme les Dieux ont ami de toi” [With five (5) original and signed erotic, colour-engravings]. 5 gravures érotiques par Frédéric Pierre.

1991. Quarto (25 cm wide x 30 cm high). Six sheets of folded velin of which the first sheet is the title and introductory Poems “The Fruit of your Body” and the following five sheets are the original erotic gravures, titled, limited and signed by the artist Frédéric Pierre. Hardcover / Original blue clamshell-box, housing the artwork. Excellent, as new condition. No.18 of only 21 copies, signed by the artist. EXTREMELY Rare !!!

67. Pohli, Paula.

“This – That – These – Those – ? –”.

Original Linocut – Experimental Art, philosophizing on Pronouns. [County Mayo], Paula Pohli, no year [c.2015]. 15 cm x 29 cm. Excellent condition. Signed and limited edition (No.2 of only 25).

68. Preißler, Johann Daniel / Preißler, Georg Martin.

Die durch Theorie erfundene Practic, Oder Gründlich-verfasste Reguln deren man sich als einer Anleitung zu berühmter Künstlere (sic) Zeichen-Wercken bestens bedienen kan (sic). [Drei Werke in sechs Teilen auf zwei Bände verteilt !] Vier Theile inclusive dem vierten “Fortsetzungsband”. Zwei Anhänge angebunden – Anhang I: L’Anatomia Deipittori del Signore Carlo Cesio, das ist: deutliche Anweisung und gründliche Vorstellung von der Anatomie der Mahler (sic), wie in den Gliedern des menschlichen Leibs die vornehmste Gebeine und Musculn, nach ihren Namen, Stellen, Anfängen und Enden, auch fordersten Verrichtungen, bey ihren unterschiedlichen Bewegungen und Handlungen zu erkennen, anzusehen und vorzustellen seyn; anfänglich von dem Kunst=berühmten Meister Carlo Cesio in netten und deutlichen Tabellen, auch kurtzen, doch gründlichen in Italiänischer Sprache beygefügten Erklärungen an das Licht gegeben: Nun aber zu mehrern Aufnahm der Mahler= und Zeichen=Kunst in das Teutsche getreulich übersetzet mitgetheilet von Johann Daniel Preißlern, der Nürnbergischen Kunstmahler=Academie Directore bey welchem sie auch zu finden. / Anhang II: Gründliche Anleitung welcher man sich im Nachzeichnen schöner Landschafften oder Prospecten bedienen kan (sic), den Liebhabern der Zeichen-Kunst mitgetheilet und eigenhändig in Kupfer gebracht, von Johann Daniel Preißler. Mit 104 Kupfertafeln von Georg Martin Preißler.

Mischauflage (vierte bis siebente Auflage). 5 Teile in 2 Bänden (vollständig). Nürnberg, Kunst-Mahler-Academie, 1747-1780. Folio. Band I enthält die Teile 1-3 mit der Vorrede und dem “Nöthigen Vorbericht” aufgeteilt auf die ersten zwei Teile. Paginierung: Teil I: (2 Bll.), 19 ganzseitige Kupfertafeln / Teil II: (5 Bll.), 18 ganzseitige Kupfertafeln / Teil III: (4 Bll.), 17 ganzseitige Kupfertafeln, (3 Bll.). Eine Kupfer in einer Ecke minimal beschmutzt. Band II enthält den vierten “Fortsetzungs” – Band und im Anhang das Werk von Carlo Cesio. Paginierung: Teil IV: (4 Bll.), 18 ganzseitige Kupfertafeln / ANHANG I: L’Anatomia Deipittori / Anatomie der Mahler – Paginierung: (2 Bll.), 16 ganzseitige Kupfer (im Stile Vesalius’ und Eustachius’) / Anhang II: Nachzeichnen schöner Landschaften – Paginierung: (2), 16 ganzseitige Kupfertafeln // Wunderschöne Halblederbände des späten 18.Jahrhunderts oder frühen 19.Jahrhunderts. Das Halbleder auf fünf unechten Bünden mit zweifarbigen Rückenschildchen und reicher Rückenvergoldung. Exzellenter Erhaltungszustand mit nur einem der Kupferstiche mit minimaler Verschmutzung. Eine der schönsten Ausgabe einer Malerschule die wir je gesehen haben.

69. Rivière [Riverius], Lazare – Brunand, Claudine. (1630-1674)

Original 17th-century portrait of french pioneer pharmacologist, anatomist and surgeon Rivière [Riverius] / [Portrait originale du XVIIe siècle de Lazare Rivière [Riverius] – pionnier français pharmacologue, anatomiste et chirurgien] – Oval Portrait, titled: “Lazarus Riverius Regis consiliarius et medicus et in Monspeliensi uniuersitate medicinae professor an. 1653 aet. 63. Riverium iures, pictum si videris, idem / Hippocrates, librum si mediteris, erit”.

Original copper / line engraving / [Gravure originale]. [France], [c. 1660]. Size of the vintage engraving: c. 22 cm x 32 cm. Size of the framed engraving: 32,5 cm x 42 cm. Very rare, original 17th – century engraving. Excellent condition (mounted). Frame with minor signs of wear only. Price includes international shipping, framed and insured, per courier (3-5 working days guaranteed delivery).

70. Roberts, David. (1796 – 1864)

Site of Cana [Lebanon] of Galilee, April 21st, 1839 [″Cana, Vue Generale” – “Cana – General View”].

Original, mid-19th century, vintage Lithograph after the original painting in the Victoria & Albert Museum. [The original Lithograph is shown in the wonderful David Roberts-publication on page 23 and 24 in full colour. The History of the image is explained in full on page 22. The original monograph on David Roberts and his work, accompanies the Lithograph as a gift to any future buyer, showing on 120 colour plates 123 colour-facsimile-illustrations and reproductions from his Journal from his visits to the Holy Land]. London, Cassell etc., c. 1850. Beautifully Framed. Size of frame with Lithograph: 62 cm x 45.5 cm. Size of actual Lithograph: c. 34 cm x 50 cm. Excellent condition !

71. Sartorius, John Nost / Peltro, J. / Neagle, J. (1759-1828).

Hunting – Plate I – Brushing Into Cover.

Original hand-coloured engraving. London, John Deeley, [c.1790]. Plate Size: 61 cm x 46.5 cm. Frame Size: 77 cm x 63 cm. In very good condition. Some minor traces of browning and tearing to outer margins only.

72. Sendak, Maurice (1928 – 2012).

Collection / Archive of three (3) very large gicleé prints of original drawings from the book “Where the Wild Things are” by Maurice Sendak of which one is beautifully signed by Maurice Sendak. The collection includes: ‘Off to Bed without their Supper’ (signed) / ‘Let the Wild Rumpus Start’ (I and II).

Gicleé prints. [New York], [Harper and Row], c.1975. Two prints measure: 37 cm x 60 cm / The signed print measures: 28 cm x 50 cm. Very good condition.

73. Sendak, Maurice (1928 – 2012).

Collection / Archive of two very rich and personal, handwritten & signed letters on cards by Sendak, plus a rare, multi-folded, advertising-leporello of Maurice Sendak’s publications, together with a wonderful collection of fourteen (14) loose gicleé prints of original drawings by Maurice Sendak in colour or black and white: ‘A Kiss for Little Bear’ x 2 (26.5 cm x 34.5 cm) / ‘Zlateh the Goat’ x 2 (24 cm x 30 cm and 37.5 cm x 30 cm) / ‘Mr. Rabbit and the Lovely Present’ x 1 (33.4 cm x 41.5 cm) / Lullabies and Night Songs’ x 2 (35 cm x 26.5 cm and 44.5 cm x 33.5 cm) / ‘Hector Protector’ x 1 (46 cm x 26 cm) / ‘In the Night Kitchen’ x 4 (50 cm x 36 cm) / Higglety Pigglety Pop x 2 (28 cm x 35.5 cm). The two cards are addressed to “Minnie” [that is “Minnie Kate”] and were written at Christmas 1986 and Christmas 1987. According to a colleague in the trade, who helped us to identify the recipient “Minnie”, Minnie Kate, together with her mother, maintained a long friendship with Maurice Sendak by sending him colored stones or rocks that they sourced from local beaches in the northwest of the United States (Washington Statel). Most of Maurice Sendak’s correspondence with Minnie Kate and her mother, is preserved at the Rosenbach Museum & Library, Philadelphia. Both cards are similar in content. One of the cards featuring Sendak’s art from the cover of Nutcracker and addressed to Minnie, reading in part “I worked all year on a picture-book – a Grimm tale (my first book in 8 years !!). I am in love with it and it gets published next year….my wild things celebrate their 25th anniversary. I hope i enjoy it all. Am hoping for a quiet year ahead illustrating a Grimm tale and staying put – I am tired of travelling and theatre projects. And look forward to creeping back into my old role as book illustrator” / “The rocks arrived while I was away working in England. They are wonderful, of course, and very much appreciated. Thank you again and again. My animals. I have but one. My darling Golden Retriever, Io, had to be put to sleep 2 weeks ago. She was 15 1/2 and I held her and stayed with her to the end. It is so sad, naturally, but the memory fills me with a kind of joy. I have a 3 1/2 year old German Shepherd named Runge after a German painter (19th century). It was anything but a lazy year – too full! This coming year will be lazy-ish”.

Letters: 4 pages on two cards / Gicleé prints: 15 sheets (unsigned). [New York], 1986 – 1987. Very good condition.

74. Smyth, Nicola Josephine. (*1969)

“Alien Trees I”.

Original Artwork / Acrylic on Canvas. Ireland, 2015. Framed: 74 cm wide x 63,5 cm high. Artwork (canvas): 60 cm wide x 50 cm high. Signed.

75. Smyth, Nicola Josephine. (*1969)

“Alien Trees II”.

Original Artwork / Acrylic on Canvas. Ireland, 2013. Framed: 74 cm wide x 63,5 cm high. Artwork (canvas): 60 cm wide x 50 cm high. Signed.

76. Smyth, Nicola Josephine. (*1969)

“At the Crossroads of Growth”.

Original Artwork / Acrylic on Canvas. Ireland, 2006. Framed: 71 cm wide x 90 cm high. Artwork (canvas): 60 cm wide x 80 cm high. Signed.

77. Smyth, Nicola Josephine. (*1969)

“But you didn’t”.

Original Artwork / Acrylic on Canvas. Ireland, 2011. Framed: 74 cm wide x 63,5 cm high. Artwork (canvas): 60 cm wide x 50 cm high. Signed.

78. Smyth, Nicola Josephine. (*1969)

“In the Cornfield I”.

Original Artwork / Acrylic on Canvas. Ireland, 2012. Framed: 74,5 cm wide x 90,5 cm high. Artwork (canvas): 63 cm wide x 78 cm high. Signed.

79. Smyth, Nicola Josephine. (*1969)

“In the Cornfield II”.

Original Artwork / Acrylic on Canvas. Ireland, 2012. Unframed. Artwork (canvas): 90 cm wide x 100 cm high. Signed.

80. Smyth, Nicola Josephine. (*1969)

“Les Fleurs Malade”.

Original Artwork / Acrylic on Canvas. Ireland, 2012. Artwork (canvas): 60 cm wide x 77 cm high. Signed.