图片文件尺寸 : 4255 x 5369px

MOFFETT, THOMAS. 1553-1604.:Insectorum sive Minimorum animalium theatrum. London: Thomas Cotes for William Hope, 1634.
Folio (297 x 194 mm). Large woodcut vignette on title, numerous woodcut illustrations (including 4 unnumbered full-pages at end). Contemporary calf, rebacked. Covers scuffed, light soiling around edges of title, scattered browning and spotting.
Provenance: Arthur Hugh Smith-Barry [Anglo-Irish Baron, 1843-1925] (Marbury Hall bookplates); Oliver Howard [English bookseller and Managing Director of Bernard Quaritch, 1905-1961] (bookplate).

FIRST EDITION of \"the first book about insects published in Britain\" (Salmon, Aurelian Legacy, p 95). Compiled in the late 16th century by Moffett, who is often mistakenly said to have used a microscope in his observations, but in fact made the highly accurate woodcuts with the naked eye. Sir Theodore Turquet de Mayerne published the work posthumously from the manuscript, which is preserved today in the British Library. The illustration of the American Swallowtail on p 98 is the first printed representation of an American butterfly. There are three variant imprints, this example with p 48 incorrectly numbered 52, but these variants do not indicate a chronology — simply that the edition was shared among booksellers. Garrison-Morton-Norman 288; Lisney 3; Nissen ZBI 2852; STC 17993a.

托马斯，莫费特。1553-1604. 昆虫或最小玩家。伦敦：托马斯·科茨为威廉·霍普创作，1634年。

图片文件尺寸 : 4253 x 5455px

GOTTFRIED, JOHANN LUDWIG. c.1584-1633.:Newe Welt und Americanische Historien. Frankfurt: Merians Erben, 1655.
Folio (320 x 205 mm). Additional engraved title, 174 half-page engravings (several with partial or full hand-coloring), 3 (of 8) plates (the folding views of Olinda, folding map of Brazil and the single-page map of Tierra del Fuego). Modern half red morocco and marbled board; engraved title trimmed and mounted with closed tear at top edge, letterpress title and following two leaves mounted at gutter, pages toned and brittle, a few engravings trimmed, lower corner of three leaves repaired with loss to text, a few other small paper repairs, gouge to top edge of text block, in a custom cloth slipcase.

SECOND EDITION of this compilation of voyages to the Americas. \"It contains a resumé of the Histories of Acosta, Oviedo, Peter Martyr, Herrera, Laet, tc. An account of 33 voyages to America, from Columbus to Spilbergen and Schouten; notices of the expeditions of Lemaire and Peter Heyn, the conquests of Brazil by the Dutch, and descriptions of Greenland and Spitzbergen. The first edition was published in 1631\" (Sabin). The 174 half-page engraved illustrations had been previously published in De Bry\'s Great Voyages. Borba de Moraes 372; Sabin 50.

抓到了，约翰路德维希。c、 1584-1633年。 新世界和美国历史。法兰克福：梅里安的继承人，1655年。

图片文件尺寸 : 5219 x 5993px

Gerald Cassidy: Indian Chief, Sun Dance and Indian in Headdress, Sketch for Master of Ceremonies (Three Works)
the first, signed \'Gerald Cassidy\' (along the lower edge); the second and third, unsigned
each oil on canvas laid to board
8 3/4 x 5 1/4in; 4 3/4 x 4in; 4 1/4 x 4in
framed 14 3/4 x 11 1/4in; 9 1/2 x 9in; 9 1/4 x 9in
Painted circa early 1920s.

杰拉尔德·卡西迪 印度酋长，太阳舞和印度头饰，仪式大师素描8 3/4 x 5 1/4英寸4 3/4 x 4英寸4 1/4 x 4英寸框架14 3/4 x 11 1/4英寸9 1/2 x 9英寸9 1/4 x 9英寸

图片文件尺寸 : 5005 x 5514px

James March Phillips:The Golden Gate Bridge, Coit Tower, and Fisherman\'s Wharf (a group of three)
signed \'James / March / Phillips\' (lower left and lower right)
each watercolor on paper
sight 15 3/4 x 22 in.; 15 1/4 x 12 in.; 14 1/2 x 20 3/4 in.
framed 24 3/4 x 30 3/4 in.; 22 3/4 x 20 3/4 in.; 23 3/4 x 29 3/4 in.

詹姆斯·马奇·菲利普斯 金门大桥、Coit Tower和渔人码头景观15 3/4 x 22英寸。15 1/4 x 12英寸。14 1/2 x 20 3/4英寸。框架24 3/4 x 30 3/4英寸。22 3/4 x 20 3/4英寸。23 3/4 x 29 3/4英寸。

图片文件尺寸 : 5462 x 4991px

Various Artists:Peter Norton Christmas Art Projects, 1989-2017
A group of 27 multiples in various media, from the editions of 2500-5000, published by the Peter Norton Family Christmas Project, Santa Monica, California. (27)

Artists, titles and dates include:
Untitled (Stereoscopic Slide Viewer), Mitchell Syrop, 1989; Untitled (Four Napkins), May Sun, 1990; Untitled (Stars Don\'t Stand Still in the Sky for Anybody pin), Lawrence Weiner, 1991; Untitled (NO IT CAN ASSESS AN ACTION wall template, Fred Fehlau, 1992 (2); Untitled (Miniature Book), Luciano Perna, 1993; III (Three Wishbones in a Wood Box), Lorna Simpson, 1994; Aimai-no-bi (Ambiguous Beauty), Yasumasa Morimura, 1995; Oblique Strategies, Brian Eno/Pae White, 1996; Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, Kara Walker, 1997; Untitled (Double-sided Blanket), Jim Hodges, 1998; Untitled (Peep Show), Anna Gaskell, 2001; Untitled (Dollhouse), Yinka Shonibare, 2002; Teacup, Robert Lazzarini, 2003; Untitled (Glass Bowl), Do Ho Suh, 2004; Untitled (Music Box), Christian Marclay, 2005; Untitled (Spiral, Pop-up Photo Album), Peter Coffin, 2006; Salt and Pepper Shaker, Nina Katchadourian, 2007; Cheshire Smile, Sanford Biggers, 2008; Untitled (Sequined Antler), Marc Swanson, 2009; Ikebana Kit, Escher GuneWardena Architecture, 2012; Trophy Modern, Ry Rocklen, 2013; Once Again, But Different This Time: The Canasta Edition, Kevin Sommers, 2014; Lazerian et al. Gerald the Dog, 2015; This is the End, 2017; Untitled (Holiday Card Portrait), Catherine Opie, n.d.; Currency, Brenna Youngblood, 2006 (signed in pencil, titled, dated and numbered 156/200 verso)
various sizes

各种艺术家 彼得·诺顿圣诞艺术项目

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HORTUS SANITATUS. :Ortus Sanitatis. De herbis plantis. De Animalibus reptilibus. Venice: Bernardinus Benalius Johannes de Tridino alias Tacuinus, 1511.
Folio (302 x 207 mm). Double column, 53 lines and headline; initial spaces with guides; four-piece decorative woodcut title border with scrolling foliage and dolphin motifs, more than 1000 column-width woodcut illustrations, and three full-page woodcuts, two within white-on-black borders. 367 (of 368) leaves, lacking the final blank. Title remargined, some light browning, gathering cc with some lines crossed out in ink.

First edition printed in Italy and fifth edition of the Latin text. The woodcut are reverse copies of Johann Prüss\'s c.1496 Strasbourg copies of the woodcuts of the first edition, printed in Mainz by Jacob Meydenbach in 1491. Two full-page woodcuts depict physicians, one based on the famous illustration in Ketham\'s Fascicolo di medicina, the other a repeated from a 1504 Venice edition of Guillelmus de Saliceto, Chirurgia. The pseudo-Galen tract De facile acquisibilibus is added for the first time. Tacuino\'s woodcut title border with dolphins, is \"one of the most influential pieces of ornamentation of the sixteenth century\" (Mortimer). Adams H-1016; Durling 2468; Essling 1723; Hunt 1:12; Mortimer Italian 238; Nissen BBI 2368; Sander 3470.

霍图斯·桑坦提乌斯。 奥尔图斯卫生。赫比斯和普兰蒂斯。动物与爬行动物。威尼斯：Bernardinus BenaliusJohannes de Tridino别名Tacuinus，1511年。

图片文件尺寸 : 5228 x 5615px

OCCULT. :8 titles:
1. AGRIPPA, HENRY CORNELIUS. Henry Cornelius Agrippa\'s fourth book of occult philosophy, and geomancy.... [London]: 1783. 4to. Woodcut illustrations in text. 20th century vellum, ruled in gilt, red morocco lettering piece on spine. Light soiling to covers, foxing, paper repair to lower margin of A2, ink stains to upper corner of last 11 leaves.
2. TRITHEMIUS, JOANNES. Steganographia: hoc est: ars per occultam scripturam animi sui voluntatem absentibus aperiendi certa.... Darmstadt: 1621. 2 parts in 1 volume. 4to. Modern half calf and marbled boards. Lacking the second of three parts, lightly rubbed, library stamp on fist title, top margin trimmed, just touching some headers; browning, dampstaining to some lower margins, worming to last several leaves at lower margin.
3. BACON, FRANCIS, and others. Cabala: sive Scrinia Sacra. Mysteries of State Government. London: 1654. 2 volumes. 4to. Title pages in red and black. Modern half morocco and marbled boards. Light dampstaining and toning.
4. PAGAN, FRANÇOIS. L\'astrologie naturelled du Comte de Pagan. Paris: 1659. 8vo. Engraved armorial vignette on title page. Modern quarter calf and marbled boards. Small paper repair to title with very slight loss of text, marginal dampstaining throughout, last page (Ii8) lacking both outside corners, with repairs.
5. GLANVILLE, JOHN. Saducismus Triumphatus: or Full and Plain Evidence Concerning Witches and Apparitions. London: 1681. 2 parts in 1 volume. 8vo. 2 engraved frontispieces. Early 20th century quarter calf and marbled boards. Spine rubbed and chipped at top, browning and spotting throughout.
6. ENGLEBER, JOHANN. Chiromantia, Metoscopia Physiognomia curioso-practica. Franfurt: 1792. 8vo. Engraved frontispiece and half-title, engraved diagrams in text. Modern quarter morocco and marbled boards. Margins trimmed very closely, light chipping to some corners, browning.
7. NOSTRADAMUS, MICHEL DE. Les propheties de maitre Michel Nostradamus. Lyon: 1697. 16mo. Engraved portrait frontispiece. Modern quarter calf and marbled boards. Light dampstaining, ink marginalia.

神秘的。 8个标题：

图片文件尺寸 : 5441 x 4214px

HEVELIUS, JOHANNES. 1611-1687. :Selenographia: sive Lunae descriptio; atque Accurata, Tam Macularum eius, addita est, lentes expoliendi nova ratio. Danzig: Andreas Hünefeld for the author, 1647.
Folio (336 x 217 mm). Half-title, engraved additional titles by Jeremias Falck after Adolf Boÿ with portraits of Alhazen and Galileo, title printed in red and black, engraved portrait of the author by Falck after Helmich von Iwenhusen the Younger, 112 engraved plates (including 2 additional plates, RRR and the solar eclipse plate) by Hevelius, some printed recto and verso, and including 3 double-page plates, plate 21 complete with volvelle and string, 26 illustrations in text. Modern morocco, edges stained blue. Some light marginal dampstaining.

FIRST EDITION OF THE FIRST EXHAUSTIVE LUNAR ATLAS, Hevelius\'s four-year observations of the surface and phases of the moon, recorded in his greatest work, accompanied by an account of his instruments and telescopes. \"No finer book on the moon has ever been published. In scores of illustrations, drawn and engraved by the author himself, Hevelius tracked the moon through every phase of an entire lunar cycle, and then incorporated the information gained into three large moon maps... the two other maps, though less often reproduced, are much more splendid examples of lunar cartography. One shows the full moon as it actually appears through the telescope—that is, with no shadows. The other is uniformly (and artificially) shadowed to show the craters as they appear at mid-morning on the moon\" (Ashworth, The Face of the Moon Linda Hall Library p 45). Brunet III:150; BYU/Hevelius 1; Cinti 120; Houzeau Lancaster 1252.

赫维柳斯，约翰内斯。1611-1687. 月色学：或月球描述Accurata，作为他的Macularum，被添加进来，慢慢地表达了新的比例。但泽：Andreas Hünefeld，作者，1647年。

图片文件像素：6353 x 5789 px

克里斯托（Javacheff Christo，当代艺术I-

Christo * (Javacheff Christo) - Zeitgenössische Kunst I-

(Gabrovo, Bulgaria 1935–2020 New York)
Wrapped Snoopy House (Collage), 2004, signed, dated Christo 2004, cloth, threads, charcoal, pencil, color crayon, paint and adhesive tape on cardboard, 61.2 x 55 cm,
framed under plexiglass

The wrapped Snoopy House is registered in the Christo and Jeanne-Claude Archives, New York.

We are grateful to Jonathan Henery, Christo and Jeanne-Claude Archives, New York, for his scientific support in cataloguing the work.

Provenance:
Studio of the artist
Collection of the printer and fabricator Jack Lemon, Chicago
Private collection, 德国y

Literature:
This work is the prototype for the multiple, published by Schulz Museum, Santa Rosa, California see: Matthias Koddenberg, Jörg Schellmann: Christo and Jeanne-Claude: Prints and Objects. Catalogue Raisonné, p. 213, no 188

Charles M. Schulz (1922-2000) was the cartoonist of the globally successful comic series \"Peanuts\". The 美国 author and illustrator portrayed 美国 suburban life from the perspective of a group of children in the daily comic strips, which ran for decades. Peanuts was special in that it combined pointed wit with philosophical reflection.

Most of the comic strips focus on the main characters Charlie Brown and his dog Snoopy. Snoopy, the white dog with the black floppy ears, is now considered an integral part of our popular culture.
Snoopy lives in a kennel in Charlie Brown\'s garden. There, the beagle spends most of his time lying lazily on the roof of his hut, the so-called Snoopy Dog House, pondering his philosophical thoughts while waiting for his next meal.

In 1975, Charles M. Schulz met the packaging artists Jeanne-Claude and Christo at a discussion group in Colorado. The cartoonist then paid tribute to the artist couple by creating a Peanuts comic strip in 1978 in which Christo wraps Snoopy‘s House in fabric. In the comic strip, Snoopy wonders what Christo will cover next and finds his house wrapped at the end of the sequence. Christo returned the cartoonist\'s compliment by turning the comic image into reality decades later, designing a life-size, three-dimensional doghouse for the Charles M. Schulz Museum and wrapping it in tarpaulin, polyethylene and rope.
The work offered here is an original collage with real fabric wrapping, created by Christo in 1994 as a prototype for the later multiple. The multiple is number 188 in the catalogue raisonné.
This original work came from the estate of printer Jack Lemon, who founded his life\'s work, the Landfall Press, in Chicago in 1970. Lemon and his team printed lithographs by Christo, Philip Pearlstein and Sol LeWitt, among others.

图片文件像素：5347 x 5320 px

安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928-1987 New York)
Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985, signed in pencil and numbered 9/40, screenprint in colours on Lenox Museum Board with the blindstamp of the printer Rupert Jasen Smith, New York, published by George C.P. Mulder, Amsterdam, 100 x 80 cm, In plexiglass case

This is no. 9 from an edition of 40 + 10 artist’s proofs

Provenance:
Martin Lawrence Limited Editions, Inc., New York (label on the reverse)
European private collection

Literature:
F. Feldman J. Schellmann, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, II. 334-349, p. 138 with ill.

For the realisation of Queen Elizabeth II of the United Kingdom, a photograph taken on the occasion of the Silver Jubilee, the 25th anniversary of her reign, was used as a reference. The sitter\'s pose remains unaltered, retaining the structure and grandeur that are typical of classical portraiture. Warhol adds the commercial medium, emphasising it. His are classical depictions that praise the importance and solemnity of the subject depicted.

The same image of the queen appears in each of her four prints but they vary in colour. This one in particular has a primarily red background, and features graphic shapes printed from separate screens. Warhol began working in this style in the mid-1970s, fragmenting the image with various overlayed shapes and patches of colour.

The association of commercial medium and traditional portraiture is key, allowing Warhol to create a product that would subsequently be hailed as a work of art. Seriality, consumerism, the concept of fame and social hierarchy emanate from the superimposition of colour fields that enhance the subject\'s femininity. The pronounced make-up and bright colours denote the Pop character of mass culture, emphasising appearance and conveying a certain frivolity - unlike traditional portraits, where character and gravitas prevailed over aesthetics. Despite beginning with an impersonal approach and a mechanical reproduction of the subject, these interventions in the image gave the work a deliberately ‘artistic’ look. In many of his female portraits, such as here, the multicoloured surfaces and suggestion of make-up enhance the glamour and femininity of the subjects. With characteristic ambivalence, Warhol explained his additions to these later prints as immaterial:

‘I really would still rather do just a silkscreen of the face without all the rest, but people expect just a little bit more. That’s why I put in all the drawing.’ (Barry Blinderman, ‘Modern Myths: An Interview with Andy Warhol’, Arts, October 1981, p.145.)

This work is published in an edition of forty with ten artist’s proofs, five printer’s proofs and three hors commerce. The work is also published as a Royal Edition with diamond dust on the drawing lines, published in an edition of thirty with five artist’s proofs, two printer’s proofs and two hors commerce.