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A ZANE GREY FISHING REEL.:Pflueger ... Oceanic Free Spool Surf Casting Reel, 135 x 115 (dia) mm, stamped \"400,\" patented 1920s, housed in fitted leather case blindstamped \"Mills\" and stenciled \"Z.G.\" in red ink to lid.
Provenance: estate of Zane Grey; purchased by the owner from Houle Rare Gallery, 1990s.

Author and adventurer Zane Grey was also an avid fisherman, and today his best-remembered writings record his experiences fishing around the globe in both fresh- and saltwater bodies. Like any avid fisherman, Grey had a large collection of rods and reels which were sold off over the years by his heirs. Though he is often associated with the Hardy brand, he also used Pflueger, another popular purveyor of the early 20th century.

扎恩灰色的钓鱼线轴。 Pflueger…Oceanic Free线轴表面铸造卷筒，

图片文件尺寸 : 4022 x 5880px

Frank Myers Boggs:Paris-Port St. Nicolas
signed, inscribed, and dated \'FRANK-BOGGS Paris 1904\' (lower left), numbered and titled \'2079 Paris-Port St. Nicolas\' (on the reverse), identified on a label from Childs Gallery, Boston (affixed to the frame backing cardboard)
watercolor on paper
9 1/2 x 15 1/4 in. (4.3 x 38.7cm)
framed 17 7/8 x 21 3/4 x 1 1/4 in.

弗兰克·迈尔斯-博格斯 巴黎圣尼古拉斯港9 1/2 x 15 1/4英寸。框架17 7/8 x 21 3/4 x 1 1/4英寸。

图片文件像素：4600 x 3500 px

皮埃尔·奥古斯特·雷诺阿-现代-

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(Limoges 1841–1919 Cagnes bei Nizza)
Enfants jouant à la balle, um 1900, Farblithographie auf Velin, Probedruck neben einer Edition von 200 Exemplaren, Bildgröße 59 x 51,8 cm, Blattgröße 74 x 55,5 cm, Verlag Ambroise Vollard, Paris, gerahmt

Das von Pierre-Auguste Renoir rechts unten im Stein schwarz signierte Werk „Enfants jouant à balle“ stammt aus einer Auflage von 200 Exemplaren, die von Auguste Clot gedruckt und von Ambroise Vollard verlegt wurde. Dieses in 10 Farben gezogene Werk ist einer von nur vier Farbdrucken, die Renoir Zeit seines Lebens geschaffen hat. Unter anderem ist es auch unter dem Titel „La Récolte des Pommes de Terre“ (Die Kartoffelernte) bekannt. Die Farblithographie zeigt vier Mädchen, die an einem schönen Sommertag sorglos auf einem Feld spielen. Exemplare dieses Werkes sind in öffentlichen Sammlungen auf der ganzen Welt ausgestellt, darunter das Cabinet des Estampes in Paris, das Kupferstich-Kabinett in Dresden, das Metropolitan Museum of Art in New York, das Museum of Fine Arts in Boston, die New York Public Library oder die National Gallery of Art in Washington, D.C.

图片文件尺寸 : 4944 x 4852px

Edwin Lord Weeks:Loading the Camels, Salé, Morocco, alternately titled Along the Nile and Loading in the Donkeys, Near East
Signed \'E.L. Weeks\' (lower right), identified on a label from The Jordan-Volpe Gallery, New York (affixed to the foamcore backing board), dated to c. 1880 in a letter from Edward S. Levin that accompanies the lot
oil on canvas
22 1/4 x 36 in. (56.5 x 91.0 cm)
framed 33 3/4 x 47 5/8 x 3 in.

埃德温·洛德·威克斯 装载骆驼，萨莱，摩洛哥，交替标题为《尼罗河沿岸》和《驴子装载》，近东22 1/4 x 36英寸。框架33 3/4 x 47 5/8 x 3英寸。

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)

图片文件像素：5842 x 5474 px

皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection

Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)


Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.

He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.

[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.

Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]

Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]

In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.

(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)

图片文件像素：5880 x 4350 px

朱塞佩·桑托马索-

Giuseppe Santomaso * - Zeitgenössische Kunst I-

(Venice 1907–1990)
Nero e giallo, 1959, signed and dated, oil on paper laid down on wood, 66.5 x 47 cm, framed

This work is registered in the Archivio Santomaso, Galleria Blu, Milan

Provenance:
Alitalia Collection
Sale Finarte, Asta della Collezione Alitalia, Rome, 8 December 2009, lot 132
Sale Farsetti, Prato, 28 November 2014, lot 405 (certificate of provenance available)
European Private Collection

Exhibited:
Rome, Santomaso, Galleria Pogliani, 28 November - 20 December 1959, mentioned in the exh. cat. (with wrong medium)

Literature:
L. Alfieri, Santomaso. Catalogue raisonné 1931–1974, Alfieri,
Venice 1975, no. 318 (with wrong medium)

The great achievements of the Alitalia airline between 1960 and 1961 also comprise the exact period in which the nucleus of the entire collection was formed. The idea of bringing works of art on board aircraft was Corrado Cagli’s, who had to garner the support of engineer Bruno Velani. He had two clear objectives: to make the flight more pleasant by stimulating the traveller\'s aesthetic sensibilities and to disseminate 意大利 artistic culture abroad. Cagli, helped by his friend and gallery owner Bruno Herlitzka, directly commissioned some of the paintings exhibited in the aircraft from the most talented young artists.

[...] Taken as a whole, the collection constitutes a rare compendium of what was happening mainly between 1954 and 1962, thus documenting a good part of the major trends in the 意大利 art world (Burri, Fontana, Gruppo degli Otto, Forma 1, etc.).
(Cfr. Finarte, Asta della Collezione Alitalia, Rome, 8 December 2009)

图片文件像素：4600 x 3500 px

多梅尼科·玛丽亚·弗雷塔-

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(Bologna 1696-1763) Das Urteil des Salomon (recto), Studie für den linken Teil derselben Komposition (verso), Feder in Braun, grau laviert, auf Bütten, 16,8 x 21,5 cm, Passep., ohne Rahmen, (Sch)

Die Zuschreibung an Domenico Fratta wurde von Dr. Marco Riccòmini anhand einer hochauflösenden digitalen Fotografie bestätigt.

Domenico Maria Fratta war einer der talentiertesten Schüler des bologneser Malers Donato Creti (1671-1749), dessen Zeichnungen lange seinem Meister zugeschrieben waren, bis man sie seinem individuellen Stil zuordnen konnte. Die Vorderseite der zeichnung ist vor allem in den Figuren der Krieger mit zwei Studien des Künstlers im Musée du Rouen vergleichbar (Inv. 1975.4.5301; Inv. 1975.4.5302), die in den Körperhaltungen und den antiken Rüstungen große Ähnlichkeiten mit dem vorliegenden Blatt aufweisen. Die Kombination der grauen Lavierung mit der braunen Feder findet sich auch in einer Zeichnung in der Glasgover Art Gallery (Inv. PR2000.4. t) Die Rückseite der Zeichnung zeigt die große Leichtigkeit des Künstlers im Umgang mit der Feder und die stilistische Nähe zu seinem Lehrer Creti. Vgl. M. Riccomini, "Guerriers en scene: Fratta et le Maitre de Philippe", in: Revue du Louvre, 2016, Nr. 5, S. 67-73;
V. Abbate / A. Mazza , Il Libro dei Panduri. Disegni di Domenico Maria Fratta nelle collezioni di Palazzo Abatellis, Ausst. Kat. Palermo, 10. November 1994 - 5. Februar 1995.