图片文件尺寸 : 5225 x 5828px

ESCHSCHOLTZ, JOHANN FRIEDRICH VON. 1793-1831.:Zoologischer Atlas, enthaltend Abbildungen und Beschreibungen neuer Thierarten.... Berlin: G. Reimer, 1829-1833.
5 parts in one volume, folio (355 x 227 mm). Lithographed portrait of the author, 25 hand-colored engraved plates. Contemporary marbled boards, modern cloth-covered slipcase. Rubbed, corners bumped, foxing through text pages, some toning and offsetting to plates, repaired edge chips to plates 23 and 24, large tear into image of plate 25 with repaired chip at edge and reinforcing across outside half of leaf on verso.

FIRST EDITION. The work was published in 5 parts, with an author\'s preface, and a brief description of Kotzebue\'s second voyage around the world. \"This is the record of an important scientific journey around the world in which the fauna are systematically described and depicted\" (Wood). \"It is a valuable work of early zoology of various parts of the world including Alaska, by a talented naturalist. In addition, it is an unusually beautifully produced illustrated book\" (Lada-Mocarski 94). Nissen ZBI 1313; Wood p 334.

约翰·弗里德里希·冯·埃什霍茨。1793-1831. 动物图谱，包含新动物物种的图像和描述……柏林：G.Reimer，1829-1833。

图片文件尺寸 : 2574 x 4588px

“Le month，Journal Historical，Literature et Critical，with Figures，第1卷，第3期，第7年（1798-1799年）1.床单…匿名者-Anonymous

Le Mois, Journal historique, littéraire et critique, avec figures, Tome 1, No. 3, An. 7 (17981799); 1. draps...--Anonymous

图片文件尺寸 : 5196 x 3658px

弗朗西斯科·德拉·奎斯塔（Francesco della Questa）的一个别墅花园里，一篮倒下的水果、鲜花和蔬菜，上面插着草莓花环-Francesco della Questa

An overturned basket of fruit, flowers and vegetables with a strawberryfilled garland in a villa garden--Francesco della Questa (意大利, 1652–1723)

图片文件像素：5844 x 5142 px

马格努斯·普莱森，当代艺术I-

Magnus Plessen * - Zeitgenössische Kunst I-

(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher

Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above

Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)

The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

图片文件尺寸 : 2171 x 2610px

雅各布·吉利格（Jacob Gillig）的《鱼和梭子鱼在墙上的静物》（Fish still life with pike and bream at a wall）-Jacob Gillig

Fischstilleben mit Hecht und Brassen an einer Mauer--Jacob Gillig

图片文件尺寸 : 3748 x 2740px

威廉·克莱斯·赫达（Willem Claesz Heda）的《一张桌子上摆着翻倒的银色塔萨、玻璃器皿、馅饼和去皮柠檬的静物》-Willem Claesz Heda

A still life with an overturned silver tazza, glassware, pies and a peeled lemon on a table--Willem Claesz Heda (荷兰, 1594-1680)

图片文件尺寸 : 2487 x 3362px

米开朗基罗·布昂纳罗蒂（Michelangelo Buonarroti）的《葬礼纪念碑草图、雕像壁龛、人头头盔、Entablature和女性雕像》-After Michelangelo Buonarroti

Sketches of a Funeral Monument, a Niche with Statues, a Helmet in the Shape of a Human Head, an Entablature and a Female Statue--After Michelangelo Buonarroti (意大利, 1475-1564)

图片文件尺寸 : 4429 x 5980px

JESSICA CRAIG-MARTIN: (i) Givenchy Luncheon, Hotel Carlisle, New York, 2000
2000
(ii) Film Premiere, Cannes, 1997
1997
(iii) New Museum Benefit Gala, New York, 2000
2000

Each: Cibachrome print on aluminium

(i) 60.9 by 91.4 cm.
24 by 36 in.

This work was executed in 2000, and is number 1 from an edition of 5, plus 1 artist\'s proof.

(ii) 60.9 by 83.8 cm.
24 by 33 in.

This work was executed in 1997, and is number 1 from an edition of 5, plus 1 artist\'s proof.

(iii) 60.9 by 73.6 cm.
24 by 29 in.

This work was executed in 2000, and is number 1 from an edition of 5, plus 1 artist\'s proof.

杰西卡·克雷格·马汀 纪梵希午餐会，纽约卡莱尔酒店，2000年2000年电影首映，戛纳，1997年1997年纽约新博物馆福利晚会，2000年

图片文件尺寸 : 3489 x 4260px

玛格丽特·杰拉德（Marguerite Gérard）的《两位女士在室内读一封信，一条狗坐在长椅上看着镜子》-Marguerite Gérard

Two Ladies In An Interior Reading a Letter, With a Dog On a Bench Looking Into a Mirror--Marguerite Gérard (法国, 1761 - 1837)

图片文件尺寸 : 3000 x 2317px

Hubert Robert的《素描表跳舞的女人的花饰、方尖碑脚下的跳舞的女人和Pendentive中的双座女性人物》-Hubert Robert

Sheet of Sketches; Frieze of Dancing Women, Dancing Women at the Foot of an Obelisk, and Two Seated Female Figures in a Pendentive--Hubert Robert (法国, 1733-1808)