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阿德里安·范·乌得勒支（Adrian van Utrecht）的《栖木上的孔雀和雌孔雀、火鸡、野鸡和水井边的家禽》-a well by Adriaen van Utrecht

栖息的孔雀和雌孔雀、火鸡、野鸡和家禽--Adriaen van Utrecht (Flemish, 1599 - 1652)

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Levi Wells Prentice:Apples Spilling from a Basket
signed \'L.W. Prentice\' (lower left), signed again on the reverse
oil on canvas
20 x 24 in. (50.7 x 60.8 cm)
framed 29 1/2 x 35 x 3 1/2 in.

李维·威尔斯·普伦蒂斯 苹果从篮子里溢出20 x 24英寸。框架29 1/2 x 35 x 3 1/2英寸。

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Gunter Damisch，当代艺术I-

Gunter Damisch * - Zeitgenössische Kunst I-

(Steyr/Upper Austria 1958–2016 Vienna)
“Gelbfeldweltversammlung”, signed, dated (illegible) G. Damisch 94 (?) on the reverse as well as titled “Gelbfeldweltversammlung”, oil on canvas, 110 x 110 cm, on stretcher

Exhibited and full-page colour ill. in catalogue:
Gunter Damisch. Malerei, Galerie Hilger, 1995, plate 4

Provenance:
Private Collection, Vienna

Für mich ist die Kunst eine Kraft zum Leben und eine Lebensform, sich selbst zu finden.
Gunter Damisch – im Gespräch mit Friedhelm Mennekes
aus dem angeführten Katalog

For me, art is a life force and a way of life through which to find oneself.
Gunter Damisch, in conversation with Friedhelm Mennekes from the aforementioned catalogue

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Levi Wells Prentice:Raspberries and Leaves, A Plein-Air Still Life
signed and dated \'L.W. Prentice/1890\' (lower right)
oil on canvas
9 x 15 in. (23.0 x 38.0 cm)
framed 16 1/2 x 22 1/2 x 3 in.

李维·威尔斯·普伦蒂斯 树莓和树叶，Plein Air Still Life 9 x 15英寸。框架16 1/2 x 22 1/2 x 3英寸。

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MOXON, JOSEPH. 1627-1691.:A Tutor to Astronomy and Geography. London: S. Roycroft, for Joseph Moxon, 1686.
Small 4to (199 x 158 mm). Engraved portrait frontispiece, engraved and woodcut illustrations in text. Contemporary brown suede, rebacked. Covers worn, browning and spotting, marginal tear to Bb4 and larger tear to Hh1 into text, ink ownership inscription (dated 1692) on free front endpaper.

Fourth edition, enlarged and corrected. Moxon was Hydrographer to Charles II, as well as a mapmaker, globe maker, and mathematical instrument maker. ESTC R11899; Wing M3025.

约瑟夫·莫森。1627-1691. 天文和地理导师。伦敦：S.Roycroft，代表约瑟夫·莫森，1686年。

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乔治·康多，当代艺术I-

George Condo - Zeitgenössische Kunst I-

(born in Concord, New Hampshire, USA in 1957)
Cap d’ Antibes, 1990, signed, titled and dated on the reverse, oil on canvas, 65 x 46 cm, framed

Provenance:
Bischofberger Gallery, Zurich
Acquired from the above by the present owner

« I just wanted to say, \'There must be a way to work figuratively that doesn’t end up looking like some boring realism, some boring photorealism.\'

The point is not to see how well somebody paints a figure, but something beyond that. A way of saying that the figure itself becomes a map of a number of intellectual processes involved in the idea of making an art work.»

George Condo, 2004, www.brunobischofberger.com/condo-bio

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卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana

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MUNDINUS (DI LUZZI, MONDINO). 1275–1326.:MELLERSTADT, MARTINUS, editor. c.1455-1513. Anathomia Mundini emendata per doctorem melerstat. [Leipzig: Martin Landsberg, 1493.]
4to (200 x 140 mm). 40 leaves, 34 lines, title with full-page woodcut of an anatomical scene. Modern calf antique. Inner margin of title neatly reinforced, tiny repair to blank outer margin of last leaf, illegible old library stamp to lower margin of title page, scattered light browning, mostly marginal.

FIRST ILLUSTRATED EDITION OF THE FIRST DEDICATED ANATOMY BOOK. \"The first modern book devoted solely to anatomy ... Mundinus re-introduced human dissection, which had been neglected for 1500 years before him; he was the most noted dissector of his period, and he set forth the medieval anatomical vocabulary, deriving it mainly from Arabic\" (Garrison). Mondino de\' Luzzi, professor at Bologna, is considered to be the founder of anatomy in the Middle Ages. His treatise remained popular until the beginning of the 16th-century and appeared in multiple editions.

\"The subject of anatomy was not taught either by lectures or by dissection in the universities at the middle of the fifteenth century. An occasional \'anatomy\' was held, but the neglect of the subject is well illustrated by the absence of anatomical books. There is only one in the list, that of Mundinus . . . Mundinus was a professor at Bologna from 1306 to 1326, and was the first to teach anatomy from the subject, usually the corpse of a condemned criminal; but there is the record of a procedure in 1319 against four medical students for body-snatching. His Anatomia, written in 1316, was for two hundred years the popular text book\" (Osler).

In the introduction of the book, Mundinus says, \"proposui meis scholaribus in medicina quoddam opus componere, \'I have proposed to compose a work in medicine for my scholars.\" The work \"met a need universally felt just at that time and commended itself for its brevity, conciseness, and completeness, as well as for the fact that it taught for each separate organ the necessary anatomic technique, as. for example, in the first chapter: \'Situato itaque corpore vel homine mortuo per decollationem vel suspensionem supino\', etc., \'accordingly, laying out the body of a man dead by decapitation or hanging, etc....\" (Choulant). VERY RARE: According to American Book Prices Current no copy sold in the past 42 years. Choulant-Frank History and Bibliography of Anatomic Illustration (Chicago 1920, pp 88-93); Garrison-Morton-Norman 361 (for the 1478 edition); Goff M-874; GW M-25671 (recording only 2 copies/fragments); Hain 11633; see Osler Incunabula Medica 156; Wellcome I, 4484.

蒙迪尼斯（DI LUZZI，MONDINO）。1275–1326. 阿纳托米娅·蒙迪尼由梅勒斯塔特医生修正。[莱比锡：马丁·兰茨贝格，1493年。]

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GERARD, JOHN. 1545-1612. :The Herball or Generall Historie of Plantes. London: John Norton, 1597.
Folio (340 x 240 mm). Engraved title, portrait, woodcut illustrations throughout (2 with early hand-coloring). Contemporary paneled reverse calf, rebacked, later free endpapers. Lacking colophon 5i4, title trimmed and soiled, small hole on 3V3 with loss to 2 woodcuts, some foxing, staining and occasional small tear throughout, index leaves heavily worn and soiled, with one leaf strengthened at fore-margin.
Provenance: Thomas Leman (contemporary ownership signature on paste-down and title); another inscription dated 1656.

FIRST EDITION of this great herbal by \"the best known of English herbalists\" (Arber). The woodcuts include nearly 200 native plants which had not previously been described, as well as the first illustration of the potato. STC 11750; Henrey 154; Hunt 174; Nissen BBI 698.

杰勒德，约翰。1545-1612. 植物的草本或一般历史。伦敦：约翰·诺顿，1597年。

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HOLBEIN, HANS, THE YOUNGER. 1497-1543.:Icones historiarum Veteris Testamenti. Lyon: J. Frellon, 1547.
Small 4to (150 x 100 mm). Text in Latin and French, 94 woodcuts after Holbein, 4 portraits of evangelists by another artist at back. 20th century vellum. Lacking colophon leaf, chipping to lower edge with paper repairs to first 5 leaves, not affecting text, light browning.

Fourth edition of this work, first published in 1538, with preface, postscript and verses by Gilles Corrozet, as well as a Latin preface by Nicolas Bourbon. The woodcuts were prepared by Hans Lutzelberger after drawings by Holbein, and were also used in three folio editions of the Bible published by Frellon. Adams B-1963; Bruent III, 252; Baudrier V, 209; Hollstein 14A, 100; Mortimer French 281; USTC 79186.

霍尔拜因，汉斯，年轻一点。1497-1543. Icones Historiarum Veteris Testamenti。里昂：J。弗雷隆，1547年。