图片文件尺寸 : 4606 x 4200px

BOISSARD, JEAN-JACQUES. 1528-1602.:Bibliotheca Chalcographica. Heidelberg: Clement Ammon, 1669.
5 parts in 1 volume. 4to (203 x 155 mm). Engraved main title page, 2 engraved section title pages, and 438 engraved portrait plates. Contemporary calf, rebacked retaining original spine, modern brown cloth chemise and slipcase. Repairs to covers, scattered browning and spotting.

A compendium of engraved portraits of European scientists, theologians, and important thinkers, with plates engraved by Boissard, Theodor De Bry, and others. Originally published in 1650 with biographical summaries, the later editions (as here) excluded the biographies and added more portraits. Graesse I, 475; Cicognara 1998.

布瓦萨，杰安·雅克。1528-1602. 《查科志》书目。海德堡：克莱门特·阿蒙，1669年。

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卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Bluviola, 1972, signed; signed and dated on the reverse, casein on canvas, 60 x 68 cm, framed

This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome

Provenance:
Sale, Finarte, 28 March 1995, lot 105
Galleria Russo, Rome (stamp on the reverse)
European Private Collection

Literature:
G. Celant, Carla Accardi, Charta, Milan 1999, p. 339, no. 1972 22 with ill.

More than colors I have always loved the way they match, as well as the light they give off. Even my white-black phase was a period of light, this contrast, just like in my mother’s saltworks in Trapani, a truly blinding sort of light.

When I used red with green, and sometimes even pink with light blue, the two colors had to have the same strength and couldn’t be complementary.
This way they struggle against one other and create light.
Carla Accardi in A.M Boetti, Lo specchio ardente, in Data, Milan no. 18, 1975

图片文件尺寸 : 4384 x 4809px

HEROLD, JOHANNES. 1514-1567.:Heydenweldt Und irer Götter anfängcklicher ursprung.... Basel: Henricum Petri, 1554.
3 parts in 1 volume. 4to (292 x 185 mm). More than 400 woodcut illustrations in text. Title page re-margined; Part 1: o2 extended, o3-5 supplied in facsimile, y4-5 margin strengthened; Part 2: cut to margin of F1, H6 supplied in facsimile, M2 re-margined, M3 supplied in facsimile, bottom half of T1 supplied in facsimile. Margins shaved, some text loss, some staining to corners, soiling a number of pages supplied in facsimile (see above).

FIRST EDITION IN GERMAN, including a translation of Diodorus, and woodcuts throughout, many taken from Münster\'s Cosmography. Scarce.

哈罗德，约翰内斯。1514-1567. 海登威尔特和伊雷尔最初起源的神……巴塞尔：亨里克姆·佩特里，1554年。

图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

图片文件像素：5946 x 5480 px

彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric

图片文件尺寸 : 4828 x 5692px

PLAUTUS, TITUS MACCIUS. C.254-184 B.C.E. :Ex Plauti comoediis XX quarum carmina magna exparte in mensum suum restituta sunt .... Venice: Heirs of Aldus the Elder, 1522.
4to (210 x 138 mm). Woodcut printer\'s devices on title page and colophon. Contemporary vellum, spine with 5 raised bands, inked title on spine. Slightly rubbed and soiled, hinges cracking, dampstaining to some leaves, especially in quire \"l,\" extensive contemporary inked marginalia in more than one hand, scattered spotting.
Provenance: Thomas Ashby, Jr. (1874-1931, Archaeologist and director of the British School at Rome, bookplate).

The only Aldine edition of the comedies of Plautus, published from an earlier copy annotated by Erasmus and Aldus Manutius. Adams P-1487; Renouard p 94.

普拉图斯，蒂图斯·马奇乌斯。C、 公元前254-184年。 从普拉乌蒂，长老的第二十四位同志已经回到他们的餐桌上。威尼斯：阿尔杜斯长老的继承人，1522年。

图片文件尺寸 : 4933 x 4582px

HARVEY, WILLIAM. 1578-1657.:Anatomical Exercitations, concerning the Generation of Living Creatures. London: James Young for Octavian Pulleyn, 1653.
8vo (165 x 110 mm). Engraved portrait frontispiece of Harvey by William Faithorne, errata leaf at end. Rebacked contemporary calf, titled in ink on fore-edge, modern cloth chemise and slipcase. Corners bumped, armorial bookplate to verso of title page (Clan Home), spotting throughout.

FIRST EDITION IN ENGLISH with the often lacking portrait of the author. \"Harvey considered this to be the culminating work of his life, and more significant than de Motu Cordis. ... Harvey was among the first to disbelieve the erroneous doctrine of the \'preformation\' of the foetus; he maintained that the organism derives from the ovum by the gradual building up and aggregation of its parts. The chapter on midwifery in this book is the first work on that subject to be written by an Englishman\" (Garrison-Morton-Norman 467, 1651 edition in Latin). Keynes 43; Russell 384; Wing H-1083.

哈维，威廉。1578-1657. 解剖学练习，关于生物的产生。伦敦：詹姆斯·杨（James Young）为屋大维·普莱因（Octavian Pulleyn）创作，1653年。

图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

图片文件尺寸 : 4019 x 4105px

COLONNA, FABIO. 1567-1640.:Phytobasanos cui accessit Vita Fabi et Lynceorum notitia adnotationesque in Phytobasanon Iano Planco Ariminensi auctore.... Milan: I.P Aere P.C. Viviani, 1744.
4to (265 x 205 mm). Engraved device on title, 38 engraved plates. 19th century half calf and boards. Worming to spine, light soiling to boards, some spotting.
Provenance: Biblioteca Banzi (bookplate).

Second edition, published more than 150 years after the first edition of 1592, with commentary and notes by Giovanni Antonion Bianchi, and a biography of Colonna by Iano Planco. The illustrations are believed to have been printed from the original plates and hand-engraved by Colonna himself. Nissen BBI 386; Pritzel 1822.

科洛纳，法比奥。1567–1640. 在《Phytobasanon Iano Planco Ariminensi拍卖行》中，《Phytobasanos》一书中提到了Vita Fabi和Lynce的概念和笔记。米兰：I.P.AereP.C.Viviani，1744年。

图片文件尺寸 : 4364 x 5041px

SPARTIANUS, AELIUS, et al.:[Historia Augusta], Aelius Spartianus: De vita Hadriani.... Venice: [Joannes Rubens and] Bernardinus Rizus, Novariensis, 1498.
Folio (307 x 208 mm). 104 leaves, Roman letter text, spaces for initial capitals. Early 20th century half calf and cloth, edges colored in blue. Rubbed, dampstaining throughout, margins slightly trimmed, some ink annotations.

Part 2 only, lacking Suetonius, Vitae XII Caesarum, not included here. This edition was printed through quire C by Joannes Rubens, the remainder of the quires being struck and issued by Bernardinus Rizus, including the colophon which lists him as printer, and is dated October 1489. The credited authors of Historia Augusta include Aelius Spartianus and six other authors, although their true identities or even their actual existence has never been verified — the names may have been nothing more than satirical pseudonyms. Goff S-341; GW M-44252; Hain 14562; Proctor 4951.

SPARTIANUS、AELIUS等人。 [奥古斯塔历史]，阿尔留斯·斯帕蒂努斯：德维塔·哈迪亚尼……威尼斯：[乔安妮·鲁本斯和]贝尔纳丁斯·里祖斯，诺瓦里安西斯，1498年。