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PAUL JACOULET (1902-1960):Four large vertical prints
Showa era (1926-1989), 1940-1948
The first, entitled L\'Homme accroupi. Chinois (The Squatting Man. Chinese), carved by Maeda Kentaro, printed by Fujii Shunosuke, owl seal, with edition number 18/250 on verso; the second, Le Betel \"Yap\" (The Betel Nut Boy, Yap), carved by Maeda Kentaro, printed by Uchikawa Matashiro, boat seal, with edition number 255/350 on verso; the third, LE NID \"Coree\" (The Nest. Korea), carved by Maeda Kentaro, printed by Ogawa Fusakichi, sparrow seal, with edition number 123/350 on verso; the fourth, La Soupe aux Huitres. Chinois (Oyster Stew. Chinese), carved by Maeda Kentaro, printed by Ogawa Fusakichi, peach seal, with edition number 243/350 on verso; all signed in pencil Paul Jacoulet (4)
The first, and largest, 18 7/8 x 14 1/4in (47.9 x 36.3cm)

保罗·雅克莱特（1902-1960） 昭和时代，1940-1948年，四幅大型垂直版画

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UTAGAWA HIROSHIGE (1797-1858):Six woodblock prints
Edo period (1615-1868), circa 1840-1841
All chuban yoko-e, from the series Tokaido gojusan tsugi (53 Stations of the Tokaido Road), also known as the Kyoka Tokaido, each signed Hiroshige ga, published by Sanoya Kihei, including: Ishiyakushi, toiyaba no zu (Ishiyakushi: The Station House); Goyu; Miya; Minakuchi; Yui; and Hodogaya (6)
6 5/8 x 9in (16.8 x 22.8cm) each approximately

芥川广志（1797-1858） 六幅木版版画多时期，约1840-1841年

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KANETANE (ACTIVE CIRCA 1467):A Mino tanto with mounts
Muromachi period (1333-1573), 15th century
Hirazukuri, iorimune forged in itame-hada with visible ji-nie, the narrow suguha tempered edge ending in a short turnback and a very small boshi, the omote side carved with suken and the ura side with goma-bashi, the machi-okuri tang with three holes (one plugged), indistinct file marks and signed Kanetane, 11in (27.9cm) long, with a one-piece silver habaki
The koshira-e comprising a black-lacquer saya and tsuka wrapped with same stained dark, the en-suite silver fittings all carved with chrysanthemums with dew drops, the gilt-metal menuki formed as crabs
With Tokubetsu Hozon Token certificate no. 1013969 issued by the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Art Sword), dated August 28, 2020

卡尼坦（约1467年活跃） 带山的米诺坦陀罗摩町时期，15世纪

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Wifredo Lam。-

Wifredo Lam * - Moderne-

(Kuba 1902–1982 Paris)
Ohne Titel, 1974, signiert und datiert (verblaßt), rückseitig signiert, datiert, Öl auf Leinwand, 50 x 40 cm, gerahmt

Provenienz:
Galleria Il Prisma, Cuneo
Galleria d’Arte Borgogna, Mailand
Galleria d’Arte Rizziero, Teramo (rückseitig Etikett)
Galleria Cafiso, Mailand (Fotozertifikat vorhanden)
Europäische Privatsammlung

Literatur:
L. L. Lam, E. Lam, Wifredo Lam. Catalogue Raisonné of the Painted Work, Bd. II 1961–1982, S. 460, Nr. 75 102 mit Abb.

Damals, in den 1950er Jahren, reisten wir sehr wenig. Die Strecke Mailand-Paris mit dem Nachtzug galt als eine große Reise.

Für Lam, den großen Nomaden der modernen Malerei, galt das nicht. Seine unbändige Neugier zu sehen und zu lernen trieb ihn dazu, ständig von einem Kontinent zum anderen zu reisen. Es heißt, er sei immer auf der Suche nach sich selbst, seinen Ursprüngen, den Voodoo-Mythen und dem Gott Changò. Wie Matta und Camacho wurde er im Dschungel geboren, in einer Welt der Magie und der Gewalt, der Stacheln, der Klauen, der Zähne und der Hörner. Der Urwald wimmelt von Wesen, die seine Formen reproduzieren: Schilf, Bambus, Palmen, Ebenholz, Mahagoni und Kakteen, alles in einem Universum aus Stacheln und speerartigen Sträuchern, die der Mensch fällen muss, um den Dschungel zu durchqueren.

(Enrico Baj, Il nomade della giungla, in „Wifredo Lam. Cuba Italia. Un percorso“, Silvana Editoriale 2002)

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BLAEU, JOAN. 1596-1673.:Nuevo atlas de las partes orientales de Europa. Amsterdam: Joan Blaeu, 1659.
Folio (552 x 356 mm). Volume II only. Engraved title page with imprint slip pasted on, 29 double-page hand-colored engraved maps, woodcuts in text. Publisher\'s Dutch vellum gilt, yapp edges, green silk ties (mostly lacking), all edges gilt. Covers warped, slightly bumped and soiled, dampstaining to lower margins throughout and occasionally at upper corners, with some intrusion into printed areas, scattered browning and spotting.

Second volume (only) of the 5-volume Spanish language \"Grand Atlas,\" published from 1659 to 1672. A wide-margined copy with contemporary hand-coloring and the original vellum binding. Most of the production run was destroyed by a fire at the Blaeu printing house in 1672. Koeman II:641.2.

蓝色，约翰。1596-1673. 欧洲东部的新地图集。阿姆斯特丹：琼·布劳，1659年。

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UTAGAWA HIROSHIGE (1797-1858):Six woodblock prints
Edo period (1615-1868), circa 1840-1841
All chuban yoko-e, from the series Tokaido gojusan tsugi (53 Stations of the Tokaido Road), also known as the Kyoka Tokaido, each signed Hiroshige ga, published by Sanoya Kihei, including: Okabe, Utsu no yama no zu (Okabe: View of Mount Utsu); Fukuroi; Hamamatsu; Arai; Nissaka; and Kanaya (6)
6 5/8 x 9in (16.8 x 22.8cm) each approximately

芥川广志（1797-1858） 六幅木版版画多时期，约1840-1841年

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安杰洛·萨韦利-

Angelo Savelli * - Zeitgenössische Kunst I-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed

This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity

Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection

Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.

Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.

Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.

Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.

His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.

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ALCHEMY.:Rosarium philosophorum, secunda pars alchimiae de lapide philosophico vero modo Frankfurt: Cyriaci Jacobi, 1550.
4to (180 x 132 mm). Engraved title vignette, engraved initial, 20 alchemical engravings. Recent vellum, spine titled in gilt, 12 of the engravings effaced with early ink and rubbing (possibly by a censor), engraving at Z3v stained, leaf O2r with large repaired tear, ink marginalia in several unidentified early hands, one trimmed.

RARE, ONE OF THE MOST FAMOUS BOOKS IN ALL OF ALCHEMY, printed as part two of De Alchemia Opuscula complura veterum philosophorum..., and containing the complete set of the 20 famous woodcuts. A collection of alchemical wisdom, this \"Philosophers\' Rose Garden\" appeared in many manuscript forms throughout the 16th-18th centuries, none of them however predating this printed edition. The influence of the work spans Michael Maier and Isaac Newton, carrying into the 20th-century from Carl Jung to Leonard Cohen. Ferguson I, p.19.

炼金术。 哲学家念珠的第二部分是来自哲学家之石的炼金术，但现在是法兰克福：塞勒斯·雅各比，1550年。

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KIRCHER, ATHANASIUS. 1602-1680. :Romani Collegii Societatus Jesu Musaeum Celeberrimum. Amsterdam: Janssonius van Waesberge, 1678.
Folio (375 x 260 mm). Engraved additional title, engraved portrait of Kircher, 17 engraved plates (9 folding), 4 engravings and numerous woodcuts to text, initials, tailpieces. Later half vellum and boards; few stray pen marks to rear cover, margins of text toned and spotted, final few leaves foxed.

FIRST EDITION of the first catalogue of the Museo Kircheriano at the Roman College, a detailed inventory of Kircher\'s cabinet of curiosities of Chinese and Egyptian antiquities, scientific instruments, optical devices and ancient musical instruments. Kircher \"was in an excellent situation, at the hub of the Jesuit order, to gather relics, specimens, manuscripts, and any other oddities or rarities his fellow Jesuits brought back to Rome from all parts of the world ... In 1678 , the Museo Kircheriano was at its peak, with a new exhibit hall and a printed catalogue\" (Merrill, p xxvii). A second catalogue was published in 1709 followed by a long period of decline in the maintenance of the collection. Much of Kircher\'s collection was eventually incorporated into the Museo Nazionale. Caillet 5784.

阿塔纳修斯·基尔彻。1602-1680. Romani Collegii Societatus Jesu Museum Celeberrrimum。阿姆斯特丹：Janssonius van Waesberge，1678年。

图片文件像素：5125 x 4380 px

Hans Hartung，当代艺术I-

Hans Hartung * - Zeitgenössische Kunst I-

(Leipzig 1904–1989 Antibes)
T 1987_EI5, 1987, acrylic on canvas, 65 x 50 cm, framed, is titled and dated on the reverse

This work is registered in the Fondation Hans Hartung et Anna-Eva Bergman and is accompanied by a photo certificate of authenticity

This work will be included in the artist’s forthcoming Catalogue Raisonné currently being prepared by the Fondation Hans et Anna-Eva Bergman

Provenance:
Folini Arte, Lugano
European Private Collection
Acquired from the above by the present owner

During his final years ( 1986-1989), Hartung makes a series of paintings that testifies to an enormous degree of freedom. They are very innovative and a perfect fit for the period of the Eighties when graffiti and Street Art are at a highpoint. The works explode by virtue of their use of color and speed of execution. It is as though all pressure has been lifted from the artist, and that he has regained total freedom of expression in the use of spray nozzles of varying intensities to create an ensemble of canvases where speed of execution is driven to the extreme.
(from Hans Hartung, Le père de l’abstraction lyrique Peintre des éclaires. S. Vanhoegaerden Gallery, Knokke-Belgium)