图片文件尺寸 : 5462 x 4991px

Various Artists:Peter Norton Christmas Art Projects, 1989-2017
A group of 27 multiples in various media, from the editions of 2500-5000, published by the Peter Norton Family Christmas Project, Santa Monica, California. (27)

Artists, titles and dates include:
Untitled (Stereoscopic Slide Viewer), Mitchell Syrop, 1989; Untitled (Four Napkins), May Sun, 1990; Untitled (Stars Don\'t Stand Still in the Sky for Anybody pin), Lawrence Weiner, 1991; Untitled (NO IT CAN ASSESS AN ACTION wall template, Fred Fehlau, 1992 (2); Untitled (Miniature Book), Luciano Perna, 1993; III (Three Wishbones in a Wood Box), Lorna Simpson, 1994; Aimai-no-bi (Ambiguous Beauty), Yasumasa Morimura, 1995; Oblique Strategies, Brian Eno/Pae White, 1996; Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, Kara Walker, 1997; Untitled (Double-sided Blanket), Jim Hodges, 1998; Untitled (Peep Show), Anna Gaskell, 2001; Untitled (Dollhouse), Yinka Shonibare, 2002; Teacup, Robert Lazzarini, 2003; Untitled (Glass Bowl), Do Ho Suh, 2004; Untitled (Music Box), Christian Marclay, 2005; Untitled (Spiral, Pop-up Photo Album), Peter Coffin, 2006; Salt and Pepper Shaker, Nina Katchadourian, 2007; Cheshire Smile, Sanford Biggers, 2008; Untitled (Sequined Antler), Marc Swanson, 2009; Ikebana Kit, Escher GuneWardena Architecture, 2012; Trophy Modern, Ry Rocklen, 2013; Once Again, But Different This Time: The Canasta Edition, Kevin Sommers, 2014; Lazerian et al. Gerald the Dog, 2015; This is the End, 2017; Untitled (Holiday Card Portrait), Catherine Opie, n.d.; Currency, Brenna Youngblood, 2006 (signed in pencil, titled, dated and numbered 156/200 verso)
various sizes

各种艺术家 彼得·诺顿圣诞艺术项目

图片文件像素：5010 x 4183 px

马克斯·贝克曼-摩登-

Max Beckmann - Moderne-

(Leipzig 1884–1950 New York)
Selbstbildnis mit steifem Hut, 1921, signiert Beckmann, mit 2. Zustand bezeichnet, Kaltnadel auf Bütten, 32,5 x 24 cm (Darstellungsgröße), 45 x 32,5 cm (Blattgröße), gerahmt

Provenienz:
Privatsammlung Thomas Olbricht, Essen

Literatur:
James Hofmaier: Max Beckmann - catalogue raisonné of his prints, Bd. II, 1921–1948, Bern 1990, Nr. 180/III/B

Zeit seines Lebens schuf Max Beckmann eine Vielzahl von Selbstbildnissen. Das Selbstbildnis mit steifem Hut zählt zu den ausdruckstärksten druckgrafischen Selbstbildnissen des Künstlers und gilt somit als ein Hauptblatt in seinem Oeuvre. Es existiert in mehreren Zuständen, das bedeutet, dass der Künstler die Druckplatte immer wieder bearbeitete, er dokumentierte die einzelnen Zustände durch die Herstellung von Abzügen. Das Selbstbildnis zeigt den Künstler mit steifen Kragen, Anzug und Melone, eine Zigarette in seiner linken Hand haltend. Sein frontal ausgerichtetes Porträt ist auf das Brustbild beschränkt und dicht an den Bildrand herangerückt. Im Hintergrund sind links eine Katze, die auf einem kleinen Tisch sitzt, und rechts eine Petroleumlampe zu erkennen. Die Lampe wirft jedoch kein erkennbares Licht. Stattdessen wird das Gesicht des Künstlers von einer Lichtquelle außerhalb des Bildes beleuchtet.
Bei dem vorliegenden Blatt handelt es sich um den dritten Zustand nach Klärung des Hintergrunds, jedoch vor dessen völligem Wegfallen im vierten Zustand. Das hier angebotene Blatt ist von fremder Hand fälschlicherweise unten links mit „2. Zustand“ bezeichnet. Im Vergleich der beiden Zustände zueinander fällt auf, dass Beckmann im dritten Zustand das Hell und Dunkel weiter ausgearbeitet hat, sodass kräftige Kontraste das Selbstbildnis bereichern. Das 1921 entstandene Selbstbildnis zählt zu den Meilensteinen der deutschen Grafik des 20. Jahrhunderts.

图片文件尺寸 : 4410 x 4488px

GREW, NEHEMIAH. 1641-1712. :Musaeum Regalis Societatis, or a Catalogue Description of the Natural and Artificial Rarities Belonging to the Royal Society and Preserved at Gresham College ... Whereunto is Subjoyned the Comparative Anatomy of Stomachs and Guts. London: W. Rawlins, for the author, 1681.
Folio (320 x 205 mm). Engraved portrait and 31 engraved plates. Later quarter vellum and marbled boards, dark green morocco spine label; covers rubbed, light browning throughout, title and final leaves extended at inner margin, B1 soiled, 3D2 torn away at lower outer corner, not affecting text.

FIRST EDITION of Grew\'s catalogue of the museum of the Royal Academy. He was the secretary of the Society, and an early advocate of microscopy who coined the term \"comparative anatomy.\" Garrison-Morton 297; Nissen ZBI 1714; Wing G-1952; Wood, p 369.

长大了，尼希米亚。1641-1712. Musaeum Regalis Societatis，或是一份属于皇家学会并保存在格雷沙姆学院的自然和人工罕见物目录和描述……这里被称为胃和肠道的比较解剖学。伦敦：W.Rawlins，作者，1681年。

图片文件像素：5713 x 4685 px

托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly

图片文件尺寸 : 4250 x 5676px

LE BRUN, CORNELIUS. 1652-1727/28.:Voyages De Corneille Le Brun ... Moscovie, en Perse ... Vol. I II. Amsterdam: Freres Wetstein, 1718.
2 volumes. Folio (330 x 210 mm). Engraved frontispiece in volume 1, title-pages printed in red and black, engraved portrait frontispiece in volume 2, 2 (of 3) double-page engraved maps, 115 engraved plates, many double-page, some folding, the majority with multiple images, and numerous engraved illustrations in text. Modern quarter morocco and red cloth. Paper repair to portrait, a few small tears, some penciled marginalia, scattered spotting and browning.

FIRST EDITION IN FRENCH of Le Brun\'s travels to Russia, Persia, India and Java, copiously illustrated with flora, fauna, native studies, costumes, antiquities and views. Also included are two particularly wide folding panoramas, one of Moscow and a second of Isfahan. Following an initial voyage to the Levant, \"In 1701, Le Bruyn started on the second of his journeys taking a ship to the country of the Samoyeds, and then proceeding to Moscow. Traveling by way of Asia Minor, he arrived in Persia where he remained for the years 1704-05. Leaving Persia he proceeded [by ship] to India [stopping at Cochin], Ceylon and the East Indies [i.e. Batavia]. He returned by much the same route, residing in Persia between 1706 and 1707 and describing the ruins of Persepolis and Pasargades\" (Howgego). Brunet III, 911; Cohen-de Ricci 610; Howgego B177; Lipperheide 546; Wilson p 33.

棕色的，科尼利厄斯。1652-1727/28年。 棕色科内尔之旅…莫斯科，波斯…第一卷和第二卷。阿姆斯特丹：韦茨坦兄弟，1718年。

图片文件像素：6259 x 4573 px

杰森·马丁，当代艺术I-

Jason Martin * - Zeitgenössische Kunst I-

(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm

Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner

Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011

Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)

The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.

“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22

图片文件尺寸 : 4967 x 4295px

WILKINS, JOHN. 1614-1672.:The Discovery of a New World or, a Discourse Tending to Prove, That tis Probable There May Be Another Habitable World in the Moone. London: John Norton, for John Maynard, 1640.
2 parts in 1 volume. 8vo. (160 x 102 mm). Additional engraved title by W. Marshall, engraved illustration on p 222 of part 2, numerous woodcut diagrams in text. 18th century calf, spine with 4 raised bands and morocco gilt lettering piece, marbled endpapers. Covers detached, front endpapers and first leaf (additional engraved title) separated from text block, top margins somewhat tightly trimmed, scattered browning and spotting.
Provenance: Boies Penrose II (American travel writer and historian, 1902-1976, 2 bookplates).

Third edition. 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 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 S119973; Macclesfield 2125; Nicholson 93.

约翰·威尔金斯。1614-1672. 一个新世界的发现，或者一个倾向于证明的话语，月球上可能有另一个可居住的世界。伦敦：约翰·诺顿，约翰·梅纳德，1640年。

图片文件像素：4600 x 3500 px

马克·夏加尔-摩登-

-

(Witebsk 1887–1985 Saint Paul de Vence)
Animal fabuleux: Fabel-Tier, 1926–27, signiert, Aquarell, Gouache, Pastelle auf braunem Papier auf Karton, 66 x 51,5 cm, gerahmt

Die vorliegende Arbeit ist im Archiv des Comité Marc Chagall registriert. Ein Fotozertifikat liegt bei.

Marc Chagall modelliert keine Gegenstände, er modelliert seine Erinnerungen zu einem Gefühl des Staunens und einer schwebenden Atmosphäre, die in den Alltag einbricht.

Dank der Aufträge, die er ab den 1960er Jahren für Glasmalerei erhielt, entwickelte Chagall eine besondere Sensibilität für helle Töne, die Licht und Farbe zum wichtigsten und markantesten Aspekt seines Werks machten.
„Soll ich die Erde, den Himmel, mein Herz malen? Die brennenden Städte, meine fliehenden Brüder? Meine Augen in Tränen. Wohin soll ich laufen und fliegen, zu wem?“
Sein bewegtes Leben, seine Emigration nach Paris in den 1910er Jahren und seine Erfahrungen als jüdischer Flüchtling auf der Flucht vor den Nazis führten seine künstlerische Karriere zu einer Art „Flucht“ aus der tragischen realen Welt in eine traumhafte Dimension voller Farben und außergewöhnlicher Schönheit.
Einerseits bringt ihn die Einfachheit seiner Bildlinie dem russischen Primitivismus des frühen 20. Jahrhunderts von Natalia Gontscharowa und Michail Larionow sehr nahe, andererseits ermöglichte ihm Paris, sich auf chromatischer Ebene dem Expressionismus der Fauvisten zu nähern.
Animal fabuleux: Fabel-Tier, stellt ein Fabelwesen aus Chagalls Welt der Tiere, der Kindheit und der Märchen dar. Hier ist das Thema so sehr auf das Wesentliche reduziert, dass es auch an die Höhlenmalereien von Lascaux erinnert.
Seine naiven Figuren neigen dazu, mit dem Hintergrund zu verschmelzen, dank einer leichten Kontur, die eine „Einheit“ mit dem farbigen Hintergrund schafft und so zu einem freien, von der Form unabhängigen Element wird.

图片文件尺寸 : 4018 x 4668px

RÖSEL VON ROSENHOF, AUGUST JOHANN. 1705-1759.:Der monatlich-herausgegebenen Insecten-Belustigung. Nuremburg: Johann Joseph Fleischman, 1746-1761.
WITH: RÖSEL VON ROSENHOF, AUGUST JOHANN; KATHARINA BARABARA RÖSEL VON ROSENHOF; and CHRISTIAN FRIEDRICH CARL KLEEMANN. Der beyträge zur Natur-oder Insecten-Geschichte erster Theil. [Nuremburg: 1776].
Together, 5 volumes. 4to (209 x 174 mm). Hand-colored engraved frontispiece in volume I, hand-colored engraved half-titles in volumes II and III (with additional engraved section half-title after p 432 in volume III), engraved portrait in volume IV; 247 hand-colored engraved plates in volumes I-IV, some with two illustrations per plate, and 44 additional plates in the second work (volume V). Modern quarter tan morocco and marbled boards, tissue guards. Browning, foxing, and minor offsetting throughout; marginal dampstaining to volume V.

RÖSEL VON ROSENHOF\'S COMPLETE WORKS ON INSECTS, including the much rarer posthumous work, completed by his daughter Katharina and her husband, artist and astronomer Christian Friedrich Carl Kleemann. Born to an aristocratic family in Austria, August Johann Rösel was raised by his uncle, noted animal painter Wilhelm Rösel von Rosenhof, from whom he inherited the \"von Rosenhof\" title. His observations in this work cover marine invertebrates as well as insects, and his detailed classifications made him a pioneer among European entomologists, influencing Carl Linnaeus, among others. Nissen ZBI 3466 and 2201.

奥塞尔·冯·罗森霍夫（RÖSEL von ROSENHOF），8月JOHANN。1705-1759. 每月的昆虫娱乐。纽伦堡：约翰·约瑟夫·弗莱斯曼，1746-1761年。

图片文件尺寸 : 5062 x 5372px

ELLIOT, DANIEL GIRAUD. 1835-1915. :A Monograph of the Felidae or Family of the Cats. [London]: Published for the Subscribers by the author, [1878]–1883.
Folio (598 x 480 mm). 43 hand-colored plates. Contemporary green half morocco and marbled boards, protected by a contemporary cloth sleeve, some light wear to spine ends, corners and extremities, front hinge cracked, cords firm, the sleeve with splitting and dust soiling, a few text leaves and 3 plates with short marginal tears and minor dampstaining, a few leaves becoming loose at end.
Provenance: Edward James Norris (1851-1927), President of the Educational Publishing Company, presented to him by the country of France, 29 September 1889, as an honorary \"Medaille d\'Or\" accompanied by a diploma granted to \"A Popular éducator, Massachusetts\" (available as photocopy).

FIRST EDITION OF THE DEFINITIVE WORK ON THE FAMILY OF CATS, in which Elliot describes and illustrates all the species of cats then known. \"Among the Families which constitute the Class Mammalia no more attractive one can be found than that of Felidae, as its members possess in the highest degree a beauty, both of form and coloring, most gratifying to the eye, and are also endowed with physical strength and weapons of offence not surpassed by any known creature now living upon the earth. The Family comprises not only the largest and most ferocious of the beasts of prey, but in which Elliot describes and illustrates all the species of cats then known also the graceful little animal that delights to make its home within man\'s abode\" (Introduction). Wolf worked from specimens provided by Elliot, who visited all the great museums and zoological societies on both sides of the Atlantic. See Nissen ZBI 1279; see Wood p 332.

埃利奥特，丹尼尔·吉拉德。1835-1915. 猫科或猫科的专著。[伦敦]：作者为订户出版，[1878]–1883。