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赫尔穆特·费德勒，当代艺术I-

Helmut Federle * - Zeitgenössische Kunst I-

(born in Solothurn in 1944; lives and works in Vienna and Camaiore)
Null Bild Serie, 2. Phase, Tafel A, 1993, on the reverse titled, signed, dated Federle 93, acrylic on aluminum, 70 x 100 cm

Provenance:
Galerie nächst St. Stephan, Vienna
Private collection, Austria
Private collection, France

Exhibited/Literature:
Galerie nächst St. Stephan, Vienna, 1993
Kunstmuseum Bonn, 12 October 1995 – 21 January 1996, Düsseldorf 1995, p. 82/83, exhib. cat. with color illustration on p. 83

The 瑞士 artist Helmut Federle currently lives and works in Vienna. At the end of the 1950s, he began to create geometric-abstract works based on a minimalist, reduced surface design. A decade later, his work is definitively characterised by a strictly geometric formal language. His works show geometric forms and their position and balance in the pictorial plane. The artist himself does not see his work as belonging to any category, but above all as a spiritual search for meaning.

In the aluminium work of the ‘Null Bild’ Series, 2nd Phase, Panel A from 1993, the artist harks back to his paintings of the late 1970s, not least through its dimensions. Federle anchors \"upright or transverse rectangular anthracite-coloured fields to the opposite corners of the picture, with a dark grey surface acting as a foil.\" (Kunstmuseum Bonn, Bonn, 12 October 1995 - 21 January 1996, Düsseldorf 1995, p. 82). Panel A shows a reclining, resting light grey surface in the lower right corner of the picture against a charcoal grey, darker background.

\"In the Null-Bild works, the preoccupation with the Black Series is resonant, with the difference that processual events are once again concentrated on the individual image.\" (Ibid.)

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A PAIR OF GILT-DECORATED BLACK-LACQUERED CABINETS:20th century
Each of upright rectangular form, the front set with a shallow drawer above pair of doors fitted with a stylized metal lock, all supported on four short rectangular feet divided by an apron and stretchers, the top and front lacquered black and the latter adorned with gilt-painted motifs, the sides, interior, and back stained black.
34 1/2 x 23 1/2 x 15in (87.6 x 59.7 x 38.1cm) (2).

一对镀金的黑色装饰橱柜 二十世纪

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AMERICANA. :6 titles:
1. DE BRY, THEODOR, and ULRICH SCHMIDEL. Das VII Theil America. Warhafftige und lieblich Beschreibung estlicher fürnemmen indianische Landschafften und Insulen.... Frankfurt: 1597. Folio. Engraved title page, one engraved illustration in text, 31 leaves. 20th century decorative paper wrappers.
2. A Curious Collection of Voyages, Selected from the Writers of All Nations.... London: 1761. Volume V (only). 8vo. Engraved illustrations. Modern quarter morocco and marbled boards. Edges trimmed, with some losses, paper repair to front flyleaf, browning and spotting.
3. [ANONYMOUS]. The North-American and the West-Indian Gazetteer. London: 1778. Small 4to. 2 folding maps. Rebacked contemporary calf. Corners chipped, tape residue on spine, browning and spotting.
4. ROBERTSON. Histoire de l\'Amerique. 1779. Volume III (only). 8vo. Folding map. Contemporary sheep, gilt decorations on spine. Rubbed, some chipping to corners, library stamp to title, toning.
5. GOSSE, PHILIP HENRY. Letters from Alabama (U.S.), Chiefly Relating to Natural History. London: 1859. 8vo. Wood engraved illustrations in text. Early 20th century red morocco gilt, marbled endpapers, marbled edges. Rubbed, spine darkened, corners bumped, scattered spotting and toning.
6. HARIOT, THOMAS. Voyages en Virginie et en Floride. Paris: 1927. 4to. Portrait of Theodor De Bry, reproductions of woodcut engravings in text. Publisher\'s wrappers printed in red and black. Covers soiled, bumped and chipped, library blind stamp on title page, toning.

美洲。 6个标题：

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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：

图片文件像素：5822 x 4298 px

Hans Hartung，当代艺术I-

Hans Hartung * - Zeitgenössische Kunst I-

(Leipzig 1904–1989 Antibes)
T 1964 - E 40, 1964, signed, dated Hartung 64, titled and inscribed and with directional arrow on the stretcher, acrylic on canvas, 81 x 130 cm, framed

This work is registered at the Foundation Hans Hartung and Anna-Eva Bergman, Antibes, and will be included in the forthcoming Catalogue Raisonné being prepared by the Foundation Hartung Bergman, Antibes (confirmation via email 3. October 2022).

Provenance:
Galerie Kallenbach, Munich
Private collection, North Rhine-Westphalia
Ketterer Kunst, Munich, 18 June 2021, lot 302 - acquired there by the present owner

Hans Hartung\'s entire oeuvre is characterised by abstract, non-objective painting. This interplay of light and shadow, structure, texture and airiness would become the formative elements of his later works. The non-figurative painting T 1964 - E 40 offered here also belongs to his catalogue of work. The canvas is primed in yellow, the upper part of the painting is dipped in a rich black. Above this is a layer of dark blue paint splashes with white accents, which the artist has worked on with a steel brush and scraper. A particular focus of the work is the complementary contrast of blue and yellow as well as the contrast between surface and stroke. The pictorial space is composed of light, shadow and their contrast.

The multitude of brushstrokes and scratches, the result of the painter\'s activity on the canvas, represent Hartung\'s style of the 1960s. The compositional scheme of the work offered here is reminiscent of the depiction of fireworks. The rockets explode in the night sky and colour it a sulphurous yellow.

“The first and most important thing is to remain free, free in each line you undertake, in your ideas and in your political action, in your moral conduct. The artist especially must remain free from all outer restraints.”
Hans Hartung

图片文件像素：6259 x 4573 px

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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George Strahan:A folio containing twelve views of Kashmir from 1884 to 1907
two signed \'GSTRAHAN\' and one dated \'1898\' (lower left); many indistinctly inscribed with location and date in pencil (verso); the ten unsigned works bear a note on the reverse by the artist\'s wife, Beatrice Strahan, authenticating the works
watercolour
each 35.5 x 25.4cm (14 x 10in). (12)
Together with a handwritten extract by V. Hilderbrand from The Royal Engineer Journal on the 3rd of September 1911.
all unframed

乔治·斯特拉汉 包含1884年至1907年克什米尔十二个视图的对开本，每幅35.5 x 25.4厘米。

图片文件像素：5713 x 4685 px

托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly

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KIRCHER, ATHANASIUS. 1602-1680.:Ars Magna Sciendi. Amsterdam: Janssonius van Waesberge, 1669.
2 parts in 1 volume. Folio (372 x 245 mm). 2 extra engraved title pages, engraved portrait of Emperor Leopold I, engraved volvelle plates at p 13 and p 173, engraved \"philosophical tree\" plate after title page for part 2, 5 folding letterpress tables, woodcut initials, head and tailpieces, engraved diagrams and illustrations in text. Contemporary calf, rebacked and re-cornered in brown morocco with gilt titles and six raised bands on spine. Scuffs and wear to binding, corners bumped, Browning and foxing throughout.
Provenance: George Frederick Robinson, 1st Marquess of Ripon (British politician, Viceroy and Governor General of India, 1827-1909, bookplate).

FIRST EDITION. One of Kircher\'s most influential works, which \"... represents the seventeenth-century search for a universal language that would allow scientists and philosophers to describe and circumscribe all knowledge into a unified system\" (Merrill). Caillet II, 5771; Dünnhaupt Kircher 23-24; Merrill 22-23.

阿塔纳修斯·基尔彻。1602-1680. 《大科学》杂志。阿姆斯特丹：Janssonius van Waesberge，1669年。

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Cecil Edwin Frans Skotnes:Eight woodcuts from the series Baudelaire\'s Voyage to the Cape (i-viii), 1975:
(i) 1. Tropical Island
(ii) 2. To A Creole
(iii) 3. Black Venus
(iv) 4. The Albatross
(v) 5. The Flying Dutchman
(vi) 8. Groot Constantia
(vii) 9. The Prisoner
(viii) 10. Sailing Home
all signed, titled, dated, imprinted, and numbered \'54/75\' (lower margin)
woodcut
each image: 38 x 50cm (14 15/16 x 19 11/16in)
each sheet: 48 x 64cm (18 7/8 x 25 3/16in).
(each individually framed)
(8)

塞西尔·埃德温·弗朗斯·斯科特内斯 1975年波德莱尔的《海角之旅》系列中的八幅木刻：