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PABLO PICASSO:Original copper plate III from Carmen Portfolio, with its accompanying etching on paper (2 works) (Bloch 531-568; Baer 80; Cramer Bk. 51), 1949
Original copper plate with cancellation marks, from the Carmen portfolio with its accompanying etching and engraving on Montval paper (printed before cancellation), a proof (aside from the total edition of 289), published by La Bibliothèque Française, Paris, printed by Atelier Roger Lacourière, Paris, copper plate inscribed lower left \'Golf-Juan 6.5.48 III\', etching with full margins, both framed. (2 works)
copper plate 15 x 10 1/4in (38 x 25.6cm)
etching image 8 3/4 x 7 3/8in (22.2 x 18cm)
sheet 13 x 10in (33 x 25.5cm)

巴勃罗·毕加索 卡门投资组合（Carmen Portfolio）的原版铜版III，附带纸上蚀刻

图片文件尺寸 : 5146 x 4356px

LYCOSTHENES, CONRAD (CONRAD WOLFFHART). 1518-1561. :Prodigiorum Ac Ostentorum Chronicon. Basel: Heinrich Petri, 1557.
Folio (302 x 210 mm). Large woodcut on title, numerous woodcuts in the text throughout, including one double-page and two full-page, woodcut printer\'s device on final verso. [12], 670, [2] pp. Modern quarter red-brown morocco and marbled boards; some light staining at lower margin of portion of text block
Provenance: Étienne Pariset, French physician, 1770-1847 (manuscript note by previous owner that the present volume was bought at the sale of Pariset\'s library, 1849, beneath bibliographic note in unknown hand; small shelf mark in stamp at foot of title).

FIRST EDITION of this copiously illustrated anthology of portents, natural marvels, monsters, curiosities and unsolved mysteries. Includes sightings of Halley\'s Comet and an unidentified flying object sighted in Arabia in 1479 that resembles a spaceship (see p. 494). Adams W-250; Durling 2878; Wellcome I, 3917.

康拉德·利科斯梯尼（康拉德·沃尔夫哈特）。1518-1561. Prodigiorum Ac Ostentorum Chronicon。巴塞尔：海因里希·佩特里，1557年。

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UDA KUNIFUSA (ACTIVE CIRCA 1530-1550):An Etchu tanto with mounts
Muromachi period (1333-1573), 16th century
Kanmuri-otoshi configuration forged in itame-hada along the shinogi and masame-hada along the cutting edge, with a narrow suguha tempered edge with nie and sunagashi and a suguha boshi, both sides carved with bohi, the ubu tang with four holes (two overlapping), katte sagari file marks and signed Uda Kunifusa, 10 3/4in (27.3cm) long, with a one-piece silvered copper habaki
The 19th-century koshira-e comprising a russet-lacquer saya decorated with a variety of insects in shell and bone inlays and fitted with a russet-iron kojiri and a kozuka handle, both carved with a dragonfly in relief highlighted in gilt, the dark wood tsuka decorated in inlays to match the saya and fitted with shinchu fuchi-gashira decorated with figures in a landscape in takabori, signed Nara Toshishige, the oval shinchu plate tsuba decorated with landscapes in takabori and gold takazogan
With Kanteisho certificate no. 11259 issued by the Nihon Token Hozonkai (Society for the Preservation of the Japanese Sword) (NPO), dated April 18, 2021
With Hozon Tosogu certificate no 4018203 issued by the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Art Sword), dated January 15, 2021

UDA KUNIFUSA（活跃于1530-1550年） 16世纪，蒙马奇时期，一个有山的蚀刻坦陀

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Circle of Adriaen van Stalbemt: A river landscape with travellers on a wooded path
oil on panel, the reverse stamped with the castle and hands of the City of Antwerp and the panelmaker\'s mark of Guilliam Gabron
71.8 x 105.7cm (28 1/4 x 41 5/8in).

Adrian van Stalbermt圈 树木繁茂的小路上有游客的河流景观

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VEGETIUS RENATUS, FLAVIUS. FL. LATE 14TH CENTURY.:De re militari libri quatuor. Paris: [Chretien Wechel for] Charles Perier, 1553.
BOUND WITH: FRONSPERGER, LEONHARDT. c.1520–1575. Von Kayserlichem Kriegsrechten Malefiz und Schuldhändlen Ordnung und Regiment.... Frankfurt-am-Main: Georg Rab for Sigmund Feyerabend and Simon Hüter, 1565. First title with woodcut printer\'s mark on title and colophon, 2 woodcuts on verso of title, 121 full-page woodcut illustrations, and 1 woodcut diagram in the text. Second title in blackletter, title page in red and black with woodcut vignette, 5 folding engraved plates, numerous woodcuts in text by Jost Amman (1539-1591). Contemporary blind-tooled pigskin with old re-backing, two brass clasps, date 1565 tooled on upper cover. Covers soiled, dampstaining to lower margins through Vegetius, and to outside margin edges throughout; light worming to first few leaves, spotting and browning throughout.

Two important military works in one volume: The fifth Wechel edition of De re militari, a compendium of ancient military writings, illustrated with woodcut illustrations by Guillaume Budé, together with Fronsperger\'s most renowned work, which gives us a clear picture of military life and routine military operations in Europe in the 16th century. First work: Adams V334; Brunet V, 1162. Second work: Becker, Amman 4 b.

蔬菜雷纳图斯（VEGETIUS RENATUS）、黄曲霉（flavious）。14世纪晚期。 军事自由四分之一。巴黎：查尔斯·佩里尔，1553年。

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THOMSON, GEORGE. Fl. 17th CENTURY.:Loimotomia [in Greek]: or, the Pest Anatomized. London: Nathaniel Crouch, 1666.
12mo (145 x 87 mm). Engraved frontispiece (small closed tear and shaved, with loss to imprint). Contemporary speckled sheep; rebacked, title finger soiled, some toning to text
Provenance: Library of the Medical Society of Abderdeen (donor\'s inscription on front paste-down, August 22, 1820, and ink stamp to recto of frontispiece and rear blank, ink shelf mark to frontispiece)

FIRST EDITION of the first account of an autopsy on a plague victim. The author remained in London during the plague of 1665, during which he treated several cases and contracted the illness himself. Wing T1027; Krivatsy 11830.

汤姆森，乔治。佛罗里达州17世纪。 Loimotomia[希腊语]：或，被解剖的害虫。伦敦：纳撒尼尔·克劳奇，1666年。

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DARWIN, CHARLES. 1809-1882.:4 titles:
1. The Expression of the Emotions in Man and Animals. London: John Murray, 1872. 8vo. 7 heliotype plates, publisher\'s advertisements at end, wood-engraved illustrations. Publisher\'s green cloth. Corners bumped, wear to cloth at edges, rear hinge cracked, bookplate on front paste-down. FIRST EDITION, SECOND ISSUE.
2. On the Origin of Species by Means of Natural Selection. New York: D. Appleton Company, 1860. 8vo. Folding lithographed diagram. Publisher\'s blind-stamped brown cloth, gilt title on spine, brown coated endpapers. Text block broken, lower joint cracked through, spine loose, cloth heavily chipped, old adhesive repair to upper joint, hinges cracking with old repair to front hinge. FIRST AMERICAN EDITION, FIRST PRINTING.
3. The Origin of Species by Means of Natural Selection. New York: Hurst and Company, n.d. Publisher\'s red cloth. Sunned, spine ends bumped, front hinge cracked, toning. Marked \"Reprinted from the Sixth London edition, with all additions and corrections.\"
4. The Descent of Man, and Selection in Relation to Sex. New York: D. Appleton Co., 1871. 2 volumes. 8vo. Publisher\'s russet cloth stamped in black, spines titled in gilt. First American edition. Spine ends chipped, large chip from upper panel of volume II, soiling and staining to covers, corners bumped, free front endpaper slightly loose in volume I, toning throughout.
5. The Descent of Man, and Selection in Relation to Sex. London: John Murray, 1885. 20th century half morocco and marbled boards, gilt titles on spine, marbled endpapers, top edge gilt. Shelfwear, light toning. Second edition, 19th thousand.

达尔文，查尔斯。1809-1882. 4个标题：

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杰森·马丁，当代艺术I-

Jason Martin * - Zeitgenössische Kunst I-

(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm

Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner

Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011

Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)

The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.

“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22

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Dylan Lewis: Leopard Lying on back maquette
signed and numbered \'Dylan Lewis/ 9/15\' and bears foundry mark to cast; inscribed with artist name, title, catalogue no. \'S82/9\', edition no \'9/15\' and cast date \'07/2001\' (to plaque on the base)
bronze
21 x 46.5 x 40cm (8 1/4 x 18 5/16 x 15 3/4in).

迪伦·刘易斯 豹子躺在背上，尺寸为21 x 46.5 x 40厘米。

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Utagawa Kuniyoshi (1797-1861):The Monster Skeleton
Edo period (1615-1868), circa 1844
An oban tate-e print triptych entitled Soma no furudairi ni Masakado himegimi Takiyasha yojutsu o motte mikata o atsumuru, Oya no Taro Mitsukuni yokai o tamesan to koko ni kitari tsui ni kore o horobosu (In the Ruined Palace of [Taira] Masakado at Soma His Daughter Princess Takiyasha Uses Sorcery to Summon Allies, Oya no Taro Mitsukuni Comes to Put the Monster to the Test and Finally Destroys It), with red cartouches identifying (right to left) Takiyasha\'s faithful servant Araimaru, Oya no Taro Mitsukuni, and Princess Takiyasha; each sheet signed Ichiyusai Kuniyoshi ga (the right-hand sheet with paulownia-leaf seal); publisher\'s marks Hachi; censor\'s seals Watari (3)
14 3/4 x 10 1/8in (37.4 x 25.7cm) each approximately

Utagawa Kuniyoshi（1797-1861） 怪物骷髅时期，约1844年