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ALCHEMY MANUSCRIPT.:Alchemical manuscript in German, \"Opuscula Alchymica, Saeculum XVIII,\" collecting 5 separate alchemical treatises in different hands, including one on the philosopher\'s stone, 309 x 188 mm, ink on paper, 81 leaves, written rectos and versos, Germany, 18th-century, bound in modern calf backed paper boards, titled in gilt to spine, manuscript contents to paper title label on first leaf, with additional note beneath.
Provenance: Emanuel Mai (his catalogue: Catalogue des Buecher-Lagers Berlin, 21 January, 1854 number 264).

AN 18TH-CENTURY ALCHEMICAL MANUSCRIPT, five treatises in five different hands, including a brief tract on the philosopher\'s stone. A manuscript label lists the contents of the manuscript which include a look at the medical aspects of human excrement, the tract on the philosopher\'s stone, a commentary on the 1660 edition of Joachim Poleman\'s Novum Lumen Medicum, a commentary on Johann Gottfried Jugel\'s Prima Materia Metallorum (first published 1754), and finally a tract titled Aurea Catena Homeri, on the medical applications of sulphurs and metals.

炼金术手稿。 德语炼金术手稿“Opuscula Alchymica，Saeculum XVIII”，收集了5篇不同的炼金术论文，其中一篇在哲学家的石头上，

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THE MOON.:2 titles:
1. WILKINS, JOHN. 1614-1672. A Discovery of a New World ... \'tis Probable there may be another Habitable World in the Moon London: J. Rawlins for John Gellibrand, 1684. 2 parts in 1 volume. 8vo (172 x 112 mm). Woodcut illustrations in text. Modern calf. Front blank heavily browned and chipped, corners chipped on first several leaves, browning and spotting throughout.

Fifth edition, \"Corrected and Amended.\" Wilkins\' bold assertions in his various editions of this book include the possibility that the moon might be inhabited, that humans might be able to find a way to travel there, and that the Earth might indeed be a planet. An Anglican clergyman and Bishop of Chester, Wilkins was a visionary polymath who served as both Warden of Wadham College, Oxford, and Master of Trinity College, Cambridge. He remained well-respected in science and the clergy, despite his sometimes controversial writings. In addition to writing on mathematics, religious philosophy, and astronomy, he proposed a universal language, and a universal system of measurement that predated the metric system. ESTC R22749; Wing 2186.

2. NASMYTH, JAMES HALL. 1808-1890; and JAMES CARPENTER. 1840-1899. The Moon: Considered as a Planet, a World, and a Satellite.... London: John Murray, 1874. 4to (280 x 220 mm). Lithographic frontispiece, and 23 plates. Publisher\'s blue cloth, rebacked retaining original spine and covers. Shaken, corners and edges bumped, slight warping to pages, fingermarks and spotting.

FIRST EDITION. The authors sculpted detailed models of the lunar surface as observed through telescopes, and then photographed them to create images of the moon that could not otherwise be taken using existing techniques of telescopic photography at the time. Truthful Lens 125.

月亮。 2个标题：

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GOTTFRIED, JOHANN LUDWIG. c.1584-1633.:Newe Welt und Americanische Historien. Frankfurt: Merians Erben, 1655.
Folio (320 x 205 mm). Additional engraved title, 174 half-page engravings (several with partial or full hand-coloring), 3 (of 8) plates (the folding views of Olinda, folding map of Brazil and the single-page map of Tierra del Fuego). Modern half red morocco and marbled board; engraved title trimmed and mounted with closed tear at top edge, letterpress title and following two leaves mounted at gutter, pages toned and brittle, a few engravings trimmed, lower corner of three leaves repaired with loss to text, a few other small paper repairs, gouge to top edge of text block, in a custom cloth slipcase.

SECOND EDITION of this compilation of voyages to the Americas. \"It contains a resumé of the Histories of Acosta, Oviedo, Peter Martyr, Herrera, Laet, tc. An account of 33 voyages to America, from Columbus to Spilbergen and Schouten; notices of the expeditions of Lemaire and Peter Heyn, the conquests of Brazil by the Dutch, and descriptions of Greenland and Spitzbergen. The first edition was published in 1631\" (Sabin). The 174 half-page engraved illustrations had been previously published in De Bry\'s Great Voyages. Borba de Moraes 372; Sabin 50.

抓到了，约翰路德维希。c、 1584-1633年。 新世界和美国历史。法兰克福：梅里安的继承人，1655年。

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Giuseppe Capogrossi，当代艺术I-

Giuseppe Capogrossi * - Zeitgenössische Kunst I-

(Rome 1900–1972)
Superficie n. 149, 1956, signed and dated; signed, titled and dated again on the reverse, oil on canvas, 65 x 50 cm, framed

We are grateful to Archivio Capogrossi, Rome for the kind assistance with the cataloguing of this work

Provenance:
Galleria d’Arte Selecta, Rome (stamp on the reverse)
F. Russoli Collection, Milan
European Private Collection

Exhibited:
Rome, Galleria Selecta, 1956
Paris, Galerie Rive Gauche, 1956, exh. cat. no. 18
Berlin, Fünf italienischte Maler der Galleria La Bussola, Turin und Rom, 1957
Wuppertal, Städtisches Museum, Fünf italienische Maler, 1957, exh. cat. with ill. (label on the reverse)

Literature:
G. C. Argan, Capogrossi, Editalia, Rome 1967, p. 29, p. 164 no. 235 with ill.

The theme he discovers - this claw, this hand, this trident, this gallows - is already a style. He bends it to his moods, imprints his fantasies on it, calms it or exacerbates it, unleashes it, puts it to sleep, haunts it, indulges it. There is nothing he cannot make it do, nothing he cannot make it say.

One theme: the whole world.

Since Mondrian, I have never seen such an intimate and tenacious union of personal style. Allowing for due differences, of course, as the contrast between the two is remarkable. Capogrossi is infinitely richer than Mondrian, who is infinitely deeper. One established solid and simple foundation from which the other can profit, build upon, and afford a thousand fantasies.
Michel Seuphor in the catalogue of the exhibition Capogrossi, Galleria del Naviglio, Milan 1953

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Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件尺寸 : 4614 x 4383px

Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to the backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件像素：5670 x 3940 px

克里斯托（Javacheff Christo，当代艺术I-

Christo * (Javacheff Christo) - Zeitgenössische Kunst I-

(Gabrovo, Bulgaria 1935–2020 New York)
Running Fence (Project for Sonoma County and Marin County, State of California) - Estero Road, 1975, signed, dated Christo 1975, fabric, pencil, charcoal, crayon, gouache and technical data collage on board, 55.5 x 70.5 cm, framed under plexiglass

This work is registered in the Christo and Jeanne-Claude Archives, New York.

We are grateful to Jonathan Henery, Christo and Jeanne-Claude Archives, New York, for his scientific support in cataloguing the work.

Provenance:
Studio of the artist
Joan Sonnabend, Obelisk Gallery Massachusetts, 1975
Villa Grisebach, Berlin, 29 November 2008
Private collection, 德国y

The installation Running Fence, which was installed in 1976 and lasted for 14 days, is considered one of the most impor¬tant early works by the famous artist duo Christo and Jeanne-Claude. Standing 5.5m tall and stretching over 39km across Sonoma County and Marin County in California. The white fabric billowed in the wind, reflecting light at a variety of angles and shades, cre¬ating dazzling, shimmering contours that cut across the landscape in soft yet sharp lines. The sheer beauty of the play of light and weather on the fence contrasted sharply with the theme of separation and boundary that fences generally convey. According to the artists, a fence embodies a larger theme of human freedom and limitation.

All costs of the project were covered with the sale of studies, preparatory drawings and collages, scale models and original lithographs. The artwork being auctioned off is an original drawing which was created in this process.

图片文件像素：5558 x 5317 px

Karl Schmidt Rottluff-现代-

Karl Schmidt-Rottluff * - Moderne-

(Rottluff/Chemnitz 1884–1976 Berlin)
Blumenstillleben, 1963, signiert SRotluff, von fremder Hand datiert/nummeriert 637, Aquarell, Gouache auf festem Papier, 70 x 50 cm, gerahmt

Provenienz:
Frankfurter Kunstkabinett, Hanna Bekker vom Rath, Frankfurt am Main
Privatsammlung, Deutschland - dort im Jahre 1967 erworben.

Karl Schmidt-Rottluff gründet im Jahr 1905 gemeinsam mit Ernst Ludwig Kirchner, Erich Heckel und Fritz Bleyl die Künstlergemeinschaft „Brücke“, deren Stil für den deutschen Expressionismus prägend werden sollte.

Im Laufe seiner Schaffenszeit entwickelt Schmidt-Rottluff eine zunehmend reduzierte und geometrische Formensprache. Der Künstler erreicht ein hohes Maß an formaler und farblicher Abstraktion, verliert aber nicht den Bezug zur Wirklichkeit. Als Mäzenin und wichtigste Unterstützerin seiner Kunst tritt zwischen den beiden Weltkriegen Hanna Bekker vom Rath hervor. Sie ist selbst Malerin und Sammlerin, was sie dazu veranlasst, in späteren Jahren ihre eigene Galerie zu eröffnen. Als Schmidt-Rottluff von den Nazis verfemt wird und Malverbot erhält, bietet sie ihm Zuflucht und ein Atelier in ihrem Blauen Haus in Hofheim am Taunus. In der Berliner Wohnung in der Regensburger Straße organisiert sie bis 1943 heimliche Ausstellungen für die verbotene, als entartet gebrandmarkte, expressionistische Kunst und hilft, Bilder in Sicherheit zu bringen. 1947 eröffnet Hanna Bekker vom Rath das Frankfurter Kunstkabinett, deren Provenienz die beiden hier angebotenen Arbeiten entstammen. Beide Aquarelle sind Schmidt-Rottluffs Spätwerk zuzuordnen. Sie zeigen, dass der Künstler sich bis ins hohe Alter auch inmitten der beginnenden abstrakten Tendenzen der Nachkriegsjahre stets der Gegenständlichkeit und seinem Stil treu blieb.

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POGANY, WILLY. 1882-1955.:14 costume designs for The Thunderbird, one-act Aztec ballet choreographed by Michel Fokine with libretto by his wife Vera Fokina, performed in the revue Get Together, opened at the New York Hippodrome, September 3, 1921, watercolor, gouache and silver paint over pencil, 13 measure 480 x 348 mm (19 x 13 5/8 inches); and one for Vera Fokina measuring 535 x 370 mm (20 1/2 x 14 1/2 inches), all but one signed \"Willy Pogany\" and four with Fokine\'s autograph pencil notation \"O. K./ M. Fokine,\" with additional manuscript notes in Russian and English, many in his hand, on versos, various date labels affixed to the versos, fabric samples to the verso of one, some chipping to corners, minor soiling. Housed in custom cloth box, morocco title label Willy Pogany 1882-1955 on spine.

FINE COLLECTION OF POGANY COSTUME DESIGNS FOR FOKINE\'S THE THUNDERBIRD. Hungarian-born artist Willy Pogány was one of the most versatile artists of the early 20th Century. He first gained fame as an exceptional children\'s and other gift book illustrator after he moved to London in 1908. Ten years later he came to the United States where he became a prolific contributor to books and magazines and a busy set and costume designer for Broadway, the Metropolitan Opera and the movies. His murals graced theaters and apartment buildings. In Hollywood, he was art director for many motion pictures including Dames, Dante\'s Inferno, Kid Millions and Wonder Bar. Walter Lantz\'s Technicolor animated short Scrambled Eggs (1939) featured Pogány\'s Peterkin, a mischievous satyr.

Michel Fokine (1880-1942) was one of the most influential dancers and choreographers of the Modern Era. Sergei Diaghilev made him resident choreographer of the Ballets Russes in 1909. Among his greatest ballets for this company were The Firebird (1910); Petrushka (1912); and Le Spectre de la Rose (1911) in which Nijinsky danced the lead role. He and his wife, ballerina Vera Fokina, left Russia in 1918. After the triumphal 1918 New York debut of Rimsky-Korsakov\'s opera Le Coq d\'or at The Met as a ballet by Fokine with sets and costumes by Pogány (\"as mad as Trotzky [sic] and twice as exhilarating\"), the choreographer and his designer teamed again for a new ballet based on an Aztec legend. The Thunderbird was the highlight of Dillingham\'s oddly assorted Broadway revue Get Together. Fokina was responsible for the libretto; and she and her husband danced as Princess Nahua and Atzlan. The music was a selection from Russian composers Borodin, Glinka and Tchaikovsky, and Fokine also choreographed a ballet on ice for the show based on \"The Red Shoes.\" \"Fokine has done a gorgeous piece of choreography, and Mr. Pogany has given it setting and costumes that surpass anything he has heretofore done, not even his \'Coq d\'Or.\' The story of the princess released by love from the power of a wizard and her union with her warrior lover is beautifully told\" (New York Tribune, Sept. 5, 1921). The Thunderbird was like a Native American Firebird. Perhaps the loveliest of Pogány\'s designs was for Fokina\'s princess, a silver costume with white ostrich plumes.

帕甘，威利。1882-1955. 《雷鸟》（The Thunderbird）的14件服装设计，由米歇尔·福金（Michel Fokine）编舞，由其妻子维拉·福金娜（Vera Fokina）演唱剧本，是一幕阿兹特克芭蕾舞剧，于1921年9月3日在纽约竞技场开幕，

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Karl Schmidt Rottluff-现代-

Karl Schmidt-Rottluff * - Moderne-

(Rottluff/Chemnitz 1884–1976 Berlin)
Weißer Krug mit Zedernzweig, 1965, signiert SRottluff, von fremder Hand datiert/nummeriert 65/32, auf der Rückseite betitelt „Weisser Krug mit Zedernzweig“, Aquarell auf festem Papier, 70 x 50 cm, gerahmt

Provenienz:
Frankfurter Kunstkabinett, Hanna Bekker vom Rath, Frankfurt am Main
Privatsammlung, Deutschland - dort erworben

Karl Schmidt-Rottluff gründet im Jahr 1905 gemeinsam mit Ernst Ludwig Kirchner, Erich Heckel und Fritz Bleyl die Künstlergemeinschaft „Brücke“, deren Stil für den deutschen Expressionismus prägend werden sollte.

Im Laufe seiner Schaffenszeit entwickelt Schmidt-Rottluff eine zunehmend reduzierte und geometrische Formensprache. Der Künstler erreicht ein hohes Maß an formaler und farblicher Abstraktion, verliert aber nicht den Bezug zur Wirklichkeit. Als Mäzenin und wichtigste Unterstützerin seiner Kunst tritt zwischen den beiden Weltkriegen Hanna Bekker vom Rath hervor. Sie ist selbst Malerin und Sammlerin, was sie dazu veranlasst, in späteren Jahren ihre eigene Galerie zu eröffnen. Als Schmidt-Rottluff von den Nazis verfemt wird und Malverbot erhält, bietet sie ihm Zuflucht und ein Atelier in ihrem Blauen Haus in Hofheim am Taunus. In der Berliner Wohnung in der Regensburger Straße organisiert sie bis 1943 heimliche Ausstellungen für die verbotene, als entartet gebrandmarkte, expressionistische Kunst und hilft, Bilder in Sicherheit zu bringen. 1947 eröffnet Hanna Bekker vom Rath das Frankfurter Kunstkabinett, deren Provenienz die beiden hier angebotenen Arbeiten entstammen. Beide Aquarelle sind Schmidt-Rottluffs Spätwerk zuzuordnen. Sie zeigen, dass der Künstler sich bis ins hohe Alter auch inmitten der beginnenden abstrakten Tendenzen der Nachkriegsjahre stets der Gegenständlichkeit und seinem Stil treu blieb.