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安杰洛·萨韦利-

Angelo Savelli * - Zeitgenössische Kunst I-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed

This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity

Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection

Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.

Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.

Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.

Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.

His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.

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GUERICKE, OTTO VON. 1602-1686. :Experimenta nova (ut vocantur) Magdeburgica, de vacuo spatio. Amsterdam: Johannes Jansson Waesberge, 1672.
Folio (313 x 192 mm). Engraved portrait frontispiece, engraved additional title and 7 full-page engraved plates (one repeated), 2 double-page engraved plates and 24 engraved diagrams and figures in text. Contemporary calf, rebacked. Some light browning and staining.
Provenance: Institution of Naval Architects, Scott Library Collection (bookplate).

FIRST EDITION of Guericke\'s record of the famous 1657 Magdeburg experiments with air and vacuum, in which he demonstrated that two copper hemispheres could not be pulled apart by teams of horses once a vacuum was created. \"A book of prime importance in electrical discovery, air-pressure and the vacuum pump\' states Dibner, though Guericke was a Copernican and \'his experimental work represented only one facet of his attempt to reach a complete physical world view.\' As the sub-title makes clear, his book also dealt with the problems of empty space and the movement of heavenly bodies, making \'infinite space ... a conceptual possibility\" (DSB V, p 576). Dibner Heralds 55; Grolier/Horblit 44; Sparrow Milestones of Science 90; NLM/Krivatsy 5074; Norman 952; Wellcome III, p 175; Wheeler Gift 170.

盖里克，奥托·冯。1602-1686. 尝试新的马格德堡，真空空间。阿姆斯特丹：约翰内斯·扬松·瓦斯贝格，1672年。

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EMERSON, RALPH WALDO. 1803-1882.:Autograph Manuscript from Emerson\'s notebook, discussing key figures of the French Enlightenment and the Academie, 241 x 182 mm, laid into a larger sheet, ink on light blue paper, numbered \"80\" in upper right corner, [Boston? c.1853], tape to verso at fold.

AN UNPUBLISHED AUTOGRAPH LEAF FROM EMERSON\'S NOTEBOOK CONCERNING FIGURES OF THE FRENCH ENLIGHTENMENT. Headed \"Academie,\" the manuscript gives a brief relation of major French thinkers to the Academie Francaise: Richelieu \"wd not have established it if he cd have seen revolution in it...\"; Saint-Pierre \"induced the Acad to substitute Hope of great men for frivolous subjects\"; Montesquieu \"said, the academie had no other functions than to chatter without end.\" Emerson had visited Paris during the revolution of 1848 and held a high opinion of the French. It is likely this manuscript was produced in 1853 in conjunction with an important series of lectures Emerson would give beginning in January 1854, including \"France, or Urbanity.\" The subject, tone and wit exhibited in the manuscript resemble that of the lecture but has never been published or identified in the lecture.

爱默生，拉尔夫·沃尔多。1803-1882. Emerson笔记本上的亲笔签名手稿，讨论了法国启蒙运动和学术界的关键人物，

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DARWIN, CHARLES. 1809-1882.:4 titles:
1. The Expression of the Emotions in Man and Animals. London: John Murray, 1872. 8vo. 7 heliotype plates, publisher\'s advertisements at end, wood-engraved illustrations. Publisher\'s green cloth. Corners bumped, wear to cloth at edges, rear hinge cracked, bookplate on front paste-down. FIRST EDITION, SECOND ISSUE.
2. On the Origin of Species by Means of Natural Selection. New York: D. Appleton Company, 1860. 8vo. Folding lithographed diagram. Publisher\'s blind-stamped brown cloth, gilt title on spine, brown coated endpapers. Text block broken, lower joint cracked through, spine loose, cloth heavily chipped, old adhesive repair to upper joint, hinges cracking with old repair to front hinge. FIRST AMERICAN EDITION, FIRST PRINTING.
3. The Origin of Species by Means of Natural Selection. New York: Hurst and Company, n.d. Publisher\'s red cloth. Sunned, spine ends bumped, front hinge cracked, toning. Marked \"Reprinted from the Sixth London edition, with all additions and corrections.\"
4. The Descent of Man, and Selection in Relation to Sex. New York: D. Appleton Co., 1871. 2 volumes. 8vo. Publisher\'s russet cloth stamped in black, spines titled in gilt. First American edition. Spine ends chipped, large chip from upper panel of volume II, soiling and staining to covers, corners bumped, free front endpaper slightly loose in volume I, toning throughout.
5. The Descent of Man, and Selection in Relation to Sex. London: John Murray, 1885. 20th century half morocco and marbled boards, gilt titles on spine, marbled endpapers, top edge gilt. Shelfwear, light toning. Second edition, 19th thousand.

达尔文，查尔斯。1809-1882. 4个标题：

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PATTERN BOOK.:[PAYNE, JOHN, engraver. 1607-1647.] Animalium quadrupedum, auium, florum, fructuum, muscarum et vermium omnis generis verae delineationes.... [London]: Roger Daniel, c.1630.
Oblong folio (290 x 183 mm). Engraved title page and 19 engraved plates. Modern brown morocco antique. Covers slightly warped, plates and engraved title trimmed to image borders and laid down on old laid paper, some with partial hand-coloring, a few chips and tears into image areas, light spotting and toning.

Though the plates are not signed by Payne, this appears to be a later edition of Payne\'s Flora, published by Roger Daniel under the dual Latin and English titles \"Animalium quadrupedum, auium, florum, fructuum, muscarum et vermium omnis generis verae delineationes in æes incisae. mdah; A booke of beast, birds, flowers, fruits, flies, and wormes, exactly drawne with their liuely colours truly described.\" This edition formed the basis for Roger Walton\'s pattern book A View of the Creation (1666), which copies the plates from this edition very closely. Payne studied engraving under the Dutch masters William and Simon van de Passe, and his flowers are copied from Crispijn van de Passe\'s Altera Pars (1603-1605). The animals are derived from Joris Hoefnagel\'s Archetypa studaque (1592).

图案书。 四足动物、海葵、花、水果、芥末和各种属的蠕虫都是真正的描绘。[伦敦]：罗杰·丹尼尔，约1630年。

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VEGETIUS RENATUS, FLAVIUS. FL. LATE 14TH CENTURY.:De re militari libri quatuor. Paris: [Chretien Wechel for] Charles Perier, 1553.
BOUND WITH: FRONSPERGER, LEONHARDT. c.1520–1575. Von Kayserlichem Kriegsrechten Malefiz und Schuldhändlen Ordnung und Regiment.... Frankfurt-am-Main: Georg Rab for Sigmund Feyerabend and Simon Hüter, 1565. First title with woodcut printer\'s mark on title and colophon, 2 woodcuts on verso of title, 121 full-page woodcut illustrations, and 1 woodcut diagram in the text. Second title in blackletter, title page in red and black with woodcut vignette, 5 folding engraved plates, numerous woodcuts in text by Jost Amman (1539-1591). Contemporary blind-tooled pigskin with old re-backing, two brass clasps, date 1565 tooled on upper cover. Covers soiled, dampstaining to lower margins through Vegetius, and to outside margin edges throughout; light worming to first few leaves, spotting and browning throughout.

Two important military works in one volume: The fifth Wechel edition of De re militari, a compendium of ancient military writings, illustrated with woodcut illustrations by Guillaume Budé, together with Fronsperger\'s most renowned work, which gives us a clear picture of military life and routine military operations in Europe in the 16th century. First work: Adams V334; Brunet V, 1162. Second work: Becker, Amman 4 b.

蔬菜雷纳图斯（VEGETIUS RENATUS）、黄曲霉（flavious）。14世纪晚期。 军事自由四分之一。巴黎：查尔斯·佩里尔，1553年。

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ARCHAEOLOGY AND ANTIQUITIES. :5 titles:
1. PATIN, CHARLES. Familiae Romane In Antiquis Numismatibus. Paris: 1663. Oblong 8vo. Engraved allegorical half-title, engraved dedication page, and 249 engraved plates. Contemporary calf. Crude older rebacking in pigskin, covers heavily chipped and stained, dedication page trimmed to plate line at lower margin, scattered staining and browning.
2. PERUCCI, FRANCESCO. Pompe funebri di tutte le nazioni del mondo. Verona: 1638. Folio. Engraved title page and 30 engraved illustrations in text. Modern quarter calf antique. Light soiling, especially to title page.
3. BIANCHINI, FRANCESCO. Camera ed inscrizioni sepulcrali. Rome: 1727. Folio. 7 engraved plates (2 folding). Contemporary vellum. Soiling to covers, foxing througout.
4. RAMBACH, JOHANN JACOB. Nachrichten zur Geschichte der herculanischen Entdeckungen. Halle: 1773. 8vo. Later marbled paper wrappers, hand-inked cloth lettering piece on spine. Wrappers warped, with tears, lettering piece loose, some rolling of corners, soiling and ink markings to title page, scattered spotting.
5. CHAMPOLLION, JEAN FRANÇOIS. Panthéon égyptien, collection des personnages mythologiques de l\'ancienne Egypte Paris: 1823. 4to. Original blue-green upper wrapper bound in as title page, 84 plates (83 hand-colored). Modern quarter morocco and cloth. Lacking 6 plates, lower margin of wrapper trimmed, foxing and offsetting.
6. SPIEGEL, FR. Die altpersischen Keilinschriften. Leipzig: 1881. 8vo. Gift inscription from the author on front paste-down. Contemporary quarter calf and marbled boards. Upper joint cracking, toning.
7. ERMAN, ADOLF. Aegyptische Chrestomathie. Berlin: 1904. 8vo. Hieroglyphic transcriptions. Publisher\'s cloth. Rubbed, ink notations on front flyleaf, some dampstaining.
8. WEBER, OTTO. Altorientalische Siegelbilder. Leipzig: 1920. 2 parts in 1 volume. 8vo. Numerous black and white photographic illustrations. Publisher\'s quarter cloth and printed boards. Some staining and spotting to covers, text portion in wrappers, loosely inserted into case.

考古和文物。 5个标题：

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赫尔穆特·费德勒，当代艺术I-

Helmut Federle * - Zeitgenössische Kunst I-

(born in Solothurn in 1944; lives and works in Vienna and Camaiore)
Null Bild Serie, 2. Phase, Tafel A, 1993, on the reverse titled, signed, dated Federle 93, acrylic on aluminum, 70 x 100 cm

Provenance:
Galerie nächst St. Stephan, Vienna
Private collection, Austria
Private collection, France

Exhibited/Literature:
Galerie nächst St. Stephan, Vienna, 1993
Kunstmuseum Bonn, 12 October 1995 – 21 January 1996, Düsseldorf 1995, p. 82/83, exhib. cat. with color illustration on p. 83

The 瑞士 artist Helmut Federle currently lives and works in Vienna. At the end of the 1950s, he began to create geometric-abstract works based on a minimalist, reduced surface design. A decade later, his work is definitively characterised by a strictly geometric formal language. His works show geometric forms and their position and balance in the pictorial plane. The artist himself does not see his work as belonging to any category, but above all as a spiritual search for meaning.

In the aluminium work of the ‘Null Bild’ Series, 2nd Phase, Panel A from 1993, the artist harks back to his paintings of the late 1970s, not least through its dimensions. Federle anchors \"upright or transverse rectangular anthracite-coloured fields to the opposite corners of the picture, with a dark grey surface acting as a foil.\" (Kunstmuseum Bonn, Bonn, 12 October 1995 - 21 January 1996, Düsseldorf 1995, p. 82). Panel A shows a reclining, resting light grey surface in the lower right corner of the picture against a charcoal grey, darker background.

\"In the Null-Bild works, the preoccupation with the Black Series is resonant, with the difference that processual events are once again concentrated on the individual image.\" (Ibid.)

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HORTUS SANITATUS. :Ortus Sanitatis. De herbis plantis. De Animalibus reptilibus. Venice: Bernardinus Benalius Johannes de Tridino alias Tacuinus, 1511.
Folio (302 x 207 mm). Double column, 53 lines and headline; initial spaces with guides; four-piece decorative woodcut title border with scrolling foliage and dolphin motifs, more than 1000 column-width woodcut illustrations, and three full-page woodcuts, two within white-on-black borders. 367 (of 368) leaves, lacking the final blank. Title remargined, some light browning, gathering cc with some lines crossed out in ink.

First edition printed in Italy and fifth edition of the Latin text. The woodcut are reverse copies of Johann Prüss\'s c.1496 Strasbourg copies of the woodcuts of the first edition, printed in Mainz by Jacob Meydenbach in 1491. Two full-page woodcuts depict physicians, one based on the famous illustration in Ketham\'s Fascicolo di medicina, the other a repeated from a 1504 Venice edition of Guillelmus de Saliceto, Chirurgia. The pseudo-Galen tract De facile acquisibilibus is added for the first time. Tacuino\'s woodcut title border with dolphins, is \"one of the most influential pieces of ornamentation of the sixteenth century\" (Mortimer). Adams H-1016; Durling 2468; Essling 1723; Hunt 1:12; Mortimer Italian 238; Nissen BBI 2368; Sander 3470.

霍图斯·桑坦提乌斯。 奥尔图斯卫生。赫比斯和普兰蒂斯。动物与爬行动物。威尼斯：Bernardinus BenaliusJohannes de Tridino别名Tacuinus，1511年。

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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。