图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

图片文件像素：4899 x 4623 px

罗伯托·塞巴斯蒂安·马塔-现代-

Roberto Sebastian Matta * - Moderne-

(Santiago, Chile 1911–2002 Civitavecchia, Italien)
Le palle della palla, Öl auf Leinwand, 52,3 x 50 cm, gerahmt

Das Werk ist bei Archives de l’oeuvre de Matta, Tarquinia, registriert. Ein Fotozertifikat liegt bei.

Provenienz:
Riva Yares Gallery, Scottsdale
Galleria d’Arte Maggiore, Bologna
Europäische Privatsammlung

Ausgestellt:
Riva Yares Gallery, Scottsdale, 7. Februar - 5. März 1991, S. 8 mit Abb.

Zitat:
„Seit vierzig Jahren hat Matta ununterbrochen gemalt, gedacht, geliebt, gekämpft, angeeckt, diskutiert, bewegt, empört, erleuchtet. Er ist Jongleur, Ingenieur, Illusionist, verwirrt, inspiriert, stammelnd, redselig, Magier, Zauberer, Clown, Hellseher, Dichter, rebellisch, großzügig. Die Sonne begleitet ihn immer. Da überrascht uns nichts; eines seiner Mottos lautet: die Sonne für diejenigen, die zu sammeln verstehen. Aber es gibt noch eine andere Sonne, eine geheime, vor der er es versteht, allein zu bleiben und Nein zu sagen. Matta wird abwechselnd von zwei Sonnen beleuchtet, der Sonne des großen Ortes und der Sonne der Zelle. Der Surrealismus war eine große, warmherzige Rebellion in diesem grausamen und eisigen Jahrhundert. Matta bleibt diesem subversiven und großzügigen Impuls treu. Matta ist einer unserer großen zeitgenössischen Künstler. Das war er von Anfang an und das bleibt er auch.”

Octavio Paz, „Vestibule,“ in: Matta, Centre National d\'Art et
de Culture Georges Pompidou, Paris 1985

图片文件尺寸 : 5065 x 4684px

ALCHEMY: ILLUSTRATED MANUSCRIPT.:An illustrated alchemical manuscript on paper, in German, \"Ver Rechten Alchemy,\" Germany, 15th century, 150 x 105 mm. 48 leaves, foliated 1-47, xliii in a contemporary hand, complete. Collation: [i + 1-412 + i], horizontal catchwords. 18-20 long lines, written in German cursive script, single vertical bounding lines faintly ruled in lead, written area: 100 x 75 mm. Chapter titles and single-line initials in red. 22 pages with illustrations of chemical apparatus in brown and red ink inserted into the text by the scribe. Occasional contemporary annotations in the margins and on f. 48r-v. (Occasional slight discoloration to blank margins of leaves.) Bound in a vellum wrapper: dimensions 157 x 114 mm.
Contents: ff. 1r-35v, Der rechter Alchamey. Recipe i tail reingold ii tail vera silber und iii tail kupfer purgiert ... so ist es gut; ff. 36r-48r, Das ist das puch das ysac seinem sun von Babilon sandt ... und wirt nymmer mer lebendig.

This small manuscript contains two treatises on alchemy, the first of which is liberally illustrated with depictions of chemical apparatus drawn by the scribe of the codex. The texts consist primarily of recipes for creating silver and gold from baser metals, a topic of considerable interest in the late Middle Ages and early modern period.

炼金术：插图手稿。 一份纸上有插图的炼金术手稿，德文，“Ver Rechten Alchemy”

图片文件尺寸 : 4578 x 4565px

BROWN, PAUL DESMOND. 1893-1958.:Aintree Grand Nationals Past Present. New York: The Derrydale Press, 1930.
4to. Half-title, title printed in red and black, verso with limitation page, numerous illustrations and plates. Original full scarlet morocco, covers ruled in gilt with gilt horse head devices at each corner, spine in six panels, raised bands, top edge gilt. Some scuffs and soiling to covers, light chipping at outside edge of upper cover, upper joint starting, a few fingermarks.

LIMITED EDITION, LARGE PAPER COPY, number 10 of 50 copies, with an ORIGINAL PEN-AND-INK DRAWING, highlighted in gouache, of the race in the blizzard of 1901, signed by Brown, and bound in before the title. A classic work on the history of the Grand National, one of the great horse races of the sporting calendar, run every April since 1839 at Aintree, near Liverpool. The Grand National is considered to be one of the hardest steeplechase races in the world, with over 30 huge jumps, run over 4 miles and 514 yards. At least 40 horses start, and fewer than 10 generally finish — in 1928 only two horses finished. The drawing in this copy is the original of the illustration opposite p 37.

布朗，保罗·德斯蒙德。1893-1958. 安特里大国民的过去和现在。纽约：德里代尔出版社，1930年。

图片文件像素：5850 x 5365 px

Valerio Adami，当代艺术I-

Valerio Adami * - Zeitgenössische Kunst I-

(born in Bologna in 1935)
The Guggenheim, 1968, dated, signed and titled on the reverse, oil on canvas, 97 x 130 cm, framed

This work is registered in the Archivio Valerio Adami

This work is accompanied by a certificate signed by the artist

Provenance:
Sale Farsetti, Prato, 26 November 1994
European Private Collection

As Valerio Adami wrote in 1968, “The hand is a kind of seismograph giving body to the traces left by the circuit of imagination”: the drawing hand is an instrument that records what the eye looks at and the mind sees. It is the starting point of the artist’s method: the hand-seismograph that in the “journey of drawing” goes through the kaleidoscope of his inspiration, and that in the essentiality of the line reworks, summarizes, juxtaposes, disassembles and reassembles it. […]

The lines of the drawing, eternally moving as the mind distilling them, - since for Adami “nulla dies sine linea” (no day without a line) – are the “off the beaten track” trails that the artist constantly crosses and connects. He does so by bringing distant worlds together, from the Ganges to the Matterhorn and from Paris to Finland by making the Greek mythological narrative coexist with New York street life, by recalling the light spells of Lake Maggiore or the clouds at sunrise.
(G. Ranzi, Valerio Adami and the lightly swaying desire, in “Valerio Adami. Immagine e pensiero”, Dep Art, Milan 2002)

图片文件尺寸 : 4888 x 5777px

SIX SURIMONO SHIKISHIBAN PRINTS:Edo period (1615-1868), 19th century
The first, a courtesan in a kimono decorated with a large dragon, and two poems, from the series Fuzoku onna Suikoden, hyaku-hachi ban no uchi (Fashionable Women as the 108 of the Water Margin), signed Ichiyusai Kuniyoshi ga (Utagawa Kuniyoshi, 1797–1861) and sealed; the second, the archer Miuranosuke confronting the court lady Tamamo no mae, with poems, signed Gakutei (Yashima Gakutei, 1786?–1868), with partially obscured publisher\'s seal; the third, depicting a beauty in a roundel and a peacock on a fan face, with a poem, from the series Honchoren juban tsuzuki (10 for the Honcho Circle), signed Gakutei (Yashima Gakutei, 1786?–1868) and sealed Sadaoka; the fourth, of the goddess Benzaiten playing a biwalute beneath prunus blossoms, with four poems, signed Eisen ga (Keisai Eisen, 1790-1848); the fifth, of two beauties, one preparing to put an inked brush to paper and the other holding a painting of Mount Fuji, with four poems, signed Keisai (Keisai Eisen, 1790-1848); the sixth, of two beauties playing with Japanese battledore and shuttlecock next to a blossoming prunus tree, with two poems, signed Eisho hitsu (Shunsai Eisho/Harukawa Eicho, 1784-1848) and sealed (6)
8 5/16 x 7 1/2in (21.1 x 19cm), the largest

六张＜I＞SURIMONO SHIKISHIBAN</I＞照片 江户时代，19世纪

图片文件尺寸 : 4271 x 4010px

KEPLER, JOHANNES. 1571-1630. :Dissertatio cum Nuncio Sidereo nuper ad mortales misso a Galilaeo Galilaeo. Frankfurt: Zacharias Palthenius, 1611.
8vo (162 x 90 mm). Woodcut device on title page. Modern blue morocco, ruled in gilt. Even toning, minor staining and some ink underlining.

Third, pirated edition of the Dissertatio cum Nuncio Sidereo, following the 1610 Prague and Florence editions. The work is an open letter to Galileo, responding enthusiastically to Galileo\'s telescopic observations published in Sidereus Nuncius in March of 1610. Galileo sent a copy to Kepler in April 1610, and Kepler felt it was necessary to publish a response in order to disseminate the knowledge of Galileo\'s discovery and its importance to the widest possible audience. He was also more than a little relieved that Galileo\'s conclusions did not undermine his own theories. The publisher of this edition, Zacharias Palthenius of Frankfurt, had also published a pirated edition of Galileo\'s Sidereus Nuncius in 1610. Caspar 34; Zinner 4277 (both for first edition).

开普勒，约翰内斯。1571-1630. 沙漠和修女西德雷奥云从加利利送到死者那里。法兰克福：撒迦利亚斯·帕罗修斯，1611年。

图片文件尺寸 : 4255 x 5369px

MOFFETT, THOMAS. 1553-1604.:Insectorum sive Minimorum animalium theatrum. London: Thomas Cotes for William Hope, 1634.
Folio (297 x 194 mm). Large woodcut vignette on title, numerous woodcut illustrations (including 4 unnumbered full-pages at end). Contemporary calf, rebacked. Covers scuffed, light soiling around edges of title, scattered browning and spotting.
Provenance: Arthur Hugh Smith-Barry [Anglo-Irish Baron, 1843-1925] (Marbury Hall bookplates); Oliver Howard [English bookseller and Managing Director of Bernard Quaritch, 1905-1961] (bookplate).

FIRST EDITION of \"the first book about insects published in Britain\" (Salmon, Aurelian Legacy, p 95). Compiled in the late 16th century by Moffett, who is often mistakenly said to have used a microscope in his observations, but in fact made the highly accurate woodcuts with the naked eye. Sir Theodore Turquet de Mayerne published the work posthumously from the manuscript, which is preserved today in the British Library. The illustration of the American Swallowtail on p 98 is the first printed representation of an American butterfly. There are three variant imprints, this example with p 48 incorrectly numbered 52, but these variants do not indicate a chronology — simply that the edition was shared among booksellers. Garrison-Morton-Norman 288; Lisney 3; Nissen ZBI 2852; STC 17993a.

托马斯，莫费特。1553-1604. 昆虫或最小玩家。伦敦：托马斯·科茨为威廉·霍普创作，1634年。

图片文件尺寸 : 4918 x 5680px

FOUR RARE ASTROLOGICAL TREATISES.:A sammelband including:
1. REGIOMONTANUS, JOHANNES. 1436–1476. Tabul[a]e Directionum... Cum plerisq[ue] additionibus: ac novis tabellis: quin [et] Gaurici compendiolo. Edited by Luca Gaurico. Venice: Lucas Antonius Junta, 1524.
8vo (210 x 145 mm). Title page in red and black, woodcut printer\'s device in red at base, and at colophon of each part. Contemporary German blindstamped pigskin over wooden boards, brass clasps, straps renewed.
Provenance: Gyorgy Kern? (ink inscription); two library stamps (illegible).
2. ALCHABITIUS [AL-QABISI, ABU AL-SAQR \'ABD AL-\'AZIZ IBN \'UTHMAN IBN \'ALI]. Fl.950. Opus ad scrutanda stellarum magisterial isagogicum. Venice: Melchior Sessa Petrus de Ravanis, 1521.
Sessa woodcut device to title, woodcut horoscopes and diagrams. Adams A-24.
3. LEOPOLD, DUKE OF AUSTRIA. 1176-1230. Compilatio de astrorum scientia Decem continentis tractatus. Venice: Melchior Sessa Petrus de Ravanis, 1520.
Adams L-516.
4. ALBUMASAR [ABU MA\'SHAR AL-BALKHI, JA\'FAR IBN MUHAMMAD]. 787-886. De magnis coniunctionibus annorum revolutionibus ac eorum profectionibus octo continens tractatus. Venice: Melchoir Sessa, 1515. Woodcut illustration of an astronomer to title, Sessa device to colophon, 271 woodcut illustrations of planets constellations, diagrams and horoscopes. Adams A-566.

A very rare compendium of early 16th-century Venetian editions of important astrological and astronomical works, bound in a contemporary German pigskin binding. Leopold\'s compendium consists primarily of the writings of Abu Ma\'shar. The woodcuts in the last work are executed in the most accomplished Venetian manner.

四本罕见的占星论著。 sammelband包括：

图片文件尺寸 : 4403 x 4744px

HYGINUS, CAIUS JULIUS. C.64 BCE-17 ADE.:Poeticon astronomicon, ad veterum exemplarium eorumque manuscriptorum fidem diligentissime recognitum, ab innumeris, quibus scatebat, uitiis repurgatum. Cologne: Johann Soter, 1534.
Folio (275 x 192 mm). Woodcut printer\'s device on title page and colophon, 47 woodcut illustrations in text. Modern quarter calf and marbled boards, gilt titles on spine. Old ink notations on title page, scattered browning and spotting.

Second Soter edition, published in the same year as the first, but with a notice to the reader on the final page of text, by Caspar Medebach. The woodcuts are by Anton Woensam, depicting 40 constellations and 7 allegorical representations of planets. The text, attributed to to the prolific Roman author Hyginus, was first published in an unillustrated edition in Ferrara in 1475. VD16 H 6483.

希吉努斯，凯尤斯·朱利乌斯。C、 12月17日上午64点。 例如，天文诗已经得到了作家们最勤奋的信仰的认可，从他散布的数字来看，并得到了重建。科隆：约翰·索特，1534年。