图片文件尺寸 : 4058 x 3937px

SWAMMERDAM, JAN. 1637-1680.:2 titles:
1. Bibel der Natur. Leipzig: Johann Friedrich Gleditsch, 1752. Folio (370 x 235 mm). Title page in red and black with engraved vignette, 53 engraved folding plates. Modern half morocco and marbled boards. Marginal dampstaining to upper outside corner throughout, a few plates reinforced at folds, scattered stains and spotting, penciled marginalia. FIRST GERMAN EDITION. Dibner 191; Nissen ZBI 4056.
2. Histoire generale des insectes. Utrecht: Jean Ribbius, 1685. 4to (200 x 145 mm). Woodcut vignette on title, folding table, 13 engraved plates (8 folding). Rebacked contemporary paneled calf. Dampstaining to lower corner throughout, repaired tears to lower margin of title and across header of H2, light browning and spotting. Second French edition. Krivatsy 11602; Nissen ZBI 4054.

斯瓦默达姆，1637-1680年1月。 2个标题：

图片文件尺寸 : 4102 x 4202px

MÜNSTER, SEBASTIAN. 1488-1552.:Erklerung des newen Instruments über den Mon. Worms: Peter Schöffer, 1529.
Small 4to (186 x 145 mm). Woodcut title page, woodcut diagrams in text, woodcut printer\'s device on colophon. Modern calf antique. Margins closely trimmed, to edges of printed marginalia, scattered light spotting and browning.

FIRST EDITION OF MÜNSTER\'S SECOND COMSOGRAPHICAL-ASTRONOMICAL WORK, following the 1528 Erklerung des newen Instruments der Sunnen. Rare, with only 8 copies found in libraries on Worldcat. Graesse, p 662; VD 16 M 6674.

塞巴斯蒂安先生。1488-1552. Mon上新仪器的解释。蠕虫：彼得·舍弗，1529年。

图片文件尺寸 : 4050 x 5275px

SCHEUCHZER, JOHANN JACOB. 1672-1733.:Ouresiphoites Helveticus, sive, Itinera Alpina tria. London: 1708.
3 parts in 1 volume. 4to (220 x 174 mm). 3 engraved frontispieces (1 folding), 41 engraved plates (2 folding).
Rebacked contemporary paneled calf, old bookseller\'s advertisement applied to front past-down. Wear to covers, light chipping at some page corners, paper repairs to margins of first 8 leaves, with some restoration of text on title, scattered spotting and browning.

FIRST EDITION THUS, in three parts (the first of which had been previously published in 1702). Feller/Bonjour 509; Haller 1, 955; Lonchamp 2640; Nissen ZBI 3656.

乔汉·雅各布·谢切尔。1672-1733. 黑尾蛇，灰色，阿尔皮纳三线虫。伦敦：1708。

图片文件尺寸 : 4366 x 4695px

WILKINS, JOHN. 1614-1672.:Mercury: or the Secret and Swift Messenger. London: Richard Baldwin, 1694.
8vo (159 x 100 mm). Engraved portrait frontispiece (on verso of advertising leaf), woodcut diagrams in text. 20th century quarter vellum and marbled boards, red morocco gilt lettering piece. Covers lightly soiled, small wormhole through first three leaves, margins closely trimmed, browning heavy in places, chipping to edges of A3, old ownership inscription on first leaf recto.

Second, posthumous edition of this work on cryptography and semiotics by the iconoclastic Wilkins. Toole Stott 732; Wing W2203.

约翰·威尔金斯。1614-1672. 水星：或是秘密和迅捷的信使。伦敦：理查德·鲍德温，1694年。

图片文件尺寸 : 4250 x 4064px

Robert Rauschenberg:Sling-Shots Lit #3, from Sling-Shots Lit Series (Gemini G.E.L. 1175)
Lithograph and screenprint in colours on mylar sheets and sailcloth, set into a wooden lightbox with fluorescent light and moveable window shades, 1985, incised with signature, title and dated on a metal plaque affixed to the left side, from the edition of 25 (there were also seven artist\'s proofs), published by Gemini G.E.L., Los Angeles, in good overall condition

Overall 2146 x 1295 x 311mm. (84 1/2 x 50 3/4 x 12 1/4in.)

罗伯特·劳森伯格 Sling Shots Lit系列中的Sling Shot Lit#3

图片文件尺寸 : 4304 x 5477px

CORTI, BONAVENTURA, 1729-1813.:Osservazioni Microscopiche sulla Tremella e sulla Circolazione del Fluido in una Pianta Acquajuola. Lucca: Giuseppe Rochi, 1774.
8vo (223 x 150 mm). 3 folding engraved plates at rear. 207, [1] pp. Uncut in later half vellum and marbled boards; title foxed and toned, occasional light foxing throughout.

FIRST EDITION of this work presenting Corti\'s discovery of cyclosis, the continuous flow of cytoplasm inside the cell.

波纳文图拉科尔蒂，1729-1813年。 Aquajuola工厂银耳和液体循环的显微观察。卢卡：朱塞佩·罗奇，1774年。

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STELLUTI, FRANCESCO. 1577-1652.:Trattato del legno fossile minerale. Rome: Vitale Mascardi, 1637.
Folio (312 x 210 mm). Woodcut printer\'s device and woodcut border on title page, 13 engraved plates (2 double-page). Modern quarter green morocco and marbled boards. Light foxing, some ink underlining in text.

Stelluti\'s examination of petrified wood and other fossils follows his earlier works Apiarium (1625, with Federico Cesi) and Persio tradotto in verso sciolto e dichiarato (1630), among the first published works containing illustrations of organisms as viewed through the microscope. Brunet V, 529; Nissen ZBI 3989.

弗朗西斯科·斯特鲁蒂。1577–1652. 矿物化石木材处理。罗马：维塔利·马斯卡迪，1637年。

图片文件像素：5704 x 5632 px

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

图片文件尺寸 : 4066 x 5133px

UTAGAWA TOYOKUNI II (TOYOSHIGE, 1777-1835):Three woodblock prints
Edo period (1615-1868), circa 1806 and 1802
Oban tate-e prints including two from the series Shin nishikide Inoguchi, the fist depicting a courtesan lighting a pipe from a brazier, the second depicting a beauty carrying a child on her shoulder as he plays with a toy, each signed Ichiryusai Toyoshige ga, published by Nishimuraya Yohachi, the third from an unknown series depicting a beauty holding a fan, and a landscape cartouche, signed Toyokuni ga, published by Izumiya Ichibei (3)
14 3/8 x 9 3/4in (36.5 x 24.7cm) each approximately

芥川丰久二世（丰治，1777-1835年） 三幅木版版画多时期，约1806年和1802年

图片文件尺寸 : 4634 x 4737px

ALCIATI, ANDREAE. 1492-1550.:Emblemata Iurisconsulti Clarissimi. Lugduni: Mathias Bonhomme) for Gulielmum Rouillium.
8vo (178 x 116 mm). Woodcut printer\'s device, woodcut borders to title; 128 woodcut emblems by Pierre Vase (i.e. Eskrich), each with decorative woodcut border. Morocco antique, contemporary strapwork morocco covers laid-down, new endpapers. Light stain to lower margin of leaves, small wormhole running throughout, title page re-margined, some headlines shaved, ink inscription effaced from title page.

FIRST EDITION WITH VASE/ESTRICH CUTS, AND THE FIRST TO INCLUDE THE BORDERS. Adams A-603; Brunet V, 148.

安德里亚·阿尔西亚蒂。1492–1550. 克拉拉西米教堂徽章。卢格杜尼：马蒂亚斯·邦霍姆）。