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SEA CREATURES. :13 titles:
1. LISTER, MARTIN. Historiae animalium angliae. London: 1678. 4to. 9 folding engraved plates. Modern quarter morocco and marbled boards. Foxing.
2. BUONANNI, FILIPPO. Recreatione dell\'Occhio e della Mente nell\' Osservation\' delle Chiocciole. Roma: 1681. 4to. Engraved frontispiece, 3 engraved plates (only). Contemporary vellum, inked titles on spine. Lacking most plates, title page repaired at lower margin, browning and spotting.
3. FOLKES, MARTIN. An Attempt Towards a Natural History of the Polype. London: 1743. 8vo. Engraved frontispiece, numerous woodcut illustrations in text. Modern quarter morocco and cloth. Light toning and spotting.
4. TREMBLEY, A. Memoires pour servir a l\'histoire d\'un genre des polypes. Leiden: 1744. 12 (of 13) plates. Modern quarter morocco and boards. Ink notations on title page, foxing and spotting.
5. BOHADSCH, JOHANN BAPTIST. De quibusdam animalibu. Dresden: 1761. 4to. 12 engraved plates. Modern quarter morocco and cloth. Browning and spotting.
6. EICHHORN, JOHANN CONRAD. Naturgeschichte der kleinsten Wasserthiere. Berlin: 1781. 4to. 8 engraved plates. Modern quarter morocco and cloth. Ink marginalia, foxing.
7. HERBST, JOHANN FRIEDRICH WILHELM. Versuch einer Naturgeschichte der Krabben und Krebse. Zurich: 1782. Volume I (only). 4to. 13 plates. Modern quarter morocco and cloth. Foxing.
8. EHRENBERG, C.G. Zur Erkenntniss der Organisation in der Richtung des kleinsten Raumes. Berlin: 1832-1834. 2 parts in 1 volume. Folio. 16 plates. 20th century orange cloth. Foxing, some heavy browning.
9. ---. \"Beobachtung einer bisher unbekannten auffalenden Structur des Seelenorgans bei Menschen und Thieren.\" OFFPRINT FROM: Physich-Mathematische Abhandlung. [Berlin]: 1834. 6 plates. Modern quarter morocco and boards. Foxing to plates, scattered browning.
10. ---. Sammelband of 5 works, including Die fossilen Infusorien, Kreidefelsen und des Kreidemergels, Lebende Thierarten der Kreidebildung, Curländischen Meteorpapiers von 1686, and Mikrospischen Lebens in Süd- und Nord-Amerika. Berlin: 1837-1843. Folio. 19th century half calf and textured cloth. Heavily rubbed, joints starting at spine ends, scattered staining and browning.
11. AGASSIZ, ALEXANDER. \"Embryology of the Starfish.\" EXTRACTED FROM: Contributions to the Natural History of the United States, Volume V. [Boston: 1865]. Folio. 8 engraved plates. 19th century half blue morocco and boards. Rubbed, spine sunned, dampstaining to top quarter of all plates, toning.
12. HAEKEL, ERNST. Arabische Koralen. Berlin: 1876. Folio. Color lithographic plates, lithographic illustrations in text. Heavily rubbed, tape labels to spine, soiling to covers, library stamps, toning and some staining.
13. SAVILLE-KENT, W. The Great Barrier Reef of Australia, its Products and Potentialities. London: [1893]. Folio. Numerous illustrations and maps. Publisher\'s blue cloth stamped in gilt. Rubbed, slightly soiled, spine a little loose, toning.

海洋生物。 13个标题：

图片文件尺寸 : 4250 x 4414px

MEDICINE AND PHYSIOLOGY. :13 titles:
1. LINACRE, THOMAS. De emendata structura latini sermonis libri VI. Cologne: 1555. 8vo. 20th century vellum, inked titles on spine. Margins trimmed, with some loss of printed marginalia; ink markings on title page, bookplate on front paste-down, scattered spotting.
2. BROWNE, THOMAS. Pseudodoxia Epidemica: or Enquiries into very many received Tenents and commonly presumed Truths. London: 1650. Folio. Modern half green morocco and cloth. Margins slightly trimmed, ink ownership inscription on title page, toning.
3. ROSS, ALEXANDER. Arcana Microcosmi: or, The Hid Secrets of Mans Body Disclosed. London: 1652. 8vo. Title page in red and black. Early 20th century library cloth. Rubbed, margins trimmed into some headers, extensive ink underlining and some annotations, scattered spotting and foxing.
4. DIGBY, KENELM. Religio Medici. London: 1672. 4to. Rebacked contemporary calf, red morocco lettering piece on spine. Armorial bookplate on front paste-down (\"Nath. Cholmley, Esq.\"), ink ownership inscription on title, browning and spotting. Seventh edition.
5. TULP, NICHOLAS. Observationes medicae. Editio nova. Amsterdam: 1672. 8vo. Engraved title page, engraved portrait, and numerous engraved illustrations. Ink notations on front flyleaf, library stamp on title page, some heavy browning and scattered spotting.
6. [VARIOUS CONTRIBUTORS]. Miscellania curiousa, sive ephemeridum medico-physicarum Germanum. Bratislava and Brzeg: 1680. 4to. Engraved frontispiece and 33 engraved plates. Modern quarter morocco and wooden boards. Margins trimmed, heavy browning, some dampstaining, one plate replaced in facsimile.
7. BIDLOO, GOVARD. Brief aan Antony van Leeuwenhoek. Delft: 1698. 4to. 1 full-page engraved plate, engraved illustrations in text. Modern half calf and marbled boards. Lower margins trimmed (into plate line on full-page plate), light toning and spotting.
8. ALWOERDEN, HENRIK VAN. Historie van Michael Servetus den Spanjaart. Rotterdam: 1729. 4to. Engraved portrait frontispiece, title page in red and black. Contemporary vellum, re-cased with renewed endpapers. Covers soiled, corners bumped, dampstaining through most of text block, bottom margin of title page repaired with reinforcement on verso.
9. EBSTEIN, ERICH. Ärzte-Briefe aus vier Jahrhunderten. Berlin: 1920. 8vo. Photographic illustrations. Publisher\'s printed boards. Stains and soiling to covers, corners bumped, toning throughout.
10. KEYNES, GEOFFREY. The Personality of William Harvey. Cambridge: 1949. 8vo. Photographic reproductions of portraits. Publisher\'s beige cloth. Slightly rubbed, lined-out ink ownership inscription on free front endpaper.
11. LEEUWENHOEK, ANTONI VAN. On the Circulation of the Blood ... Facsimile. Nieuwkoop, Netherlands: 1962. 4to. Publisher\'s white boards, glassine dust jacket. Toning.
12. Another, as above. Chip to edge of spine.
13. ---. Letter from G. Bidloo to Antony van Leeuwenhoek About the Animals ... Facsimile. Nieuwkoop, Netherlands: 1972.

医学和生理学。 13个标题：

图片文件尺寸 : 4455 x 4726px

BRY, THEODOR DE. 1528-1598; AND THOMAS HARIOT.:Admiranda Narratio Fida Tamen, de Commodis et Incolarum Ritibus Virginiae. Frankfurt: Johann Wechel, 1590.
Folio (332 x 240 mm). Engraved title (first issue, see below), engraved arms on dedication leaf, double-page engraved map of Virginia in first state, engraved plate of Adam and Eve in first state with inscription \"Iodocus a winghe in Theodore de Bry fe.\" and 27 engraved plates after John White. Late 19th-century red morocco gilt by \"Bradstreet\'s for J. Comly MacCoy,\" gilt edges. Some light mostly marginal staining. Provenance: J.C. MacCoy (booklabel and binding).


FIRST EDITION, MOSTLY FIRST ISSUE (see below) OF THE FIRST VOLUME OF DE BRY\'S GREAT VOYAGES, BEING THOMAS HARIOT\'S DESCRIPTION OF VIRGINIA, and published during De Bry\'s lifetime. Thomas Hariot accompanied the 1585 expedition to Roanoke funded by Sir Walter Raleigh and acted as a translator. He had learned Carolina Algonquian from two Roanoke chiefs brought to England by Raleigh the year before. His account is a very encouraging one as the mysterious disappearance of Roanoke colony was not reported in Europe until John White, the expedition artist and mapmaker, returned in 1590.The 23 illustrations to the text, which are after John White\'s drawings, are by far the most important visual record of New World natives as first encountered by the English colonists. Also included is the highly important double-page map, the first map to identify Chesapeake Bay and \"the first printed map of this degree of detail and accuracy for any part of the present area of the United States\" (Cumming). It was dubbed by Burden \"one of the most significant cartographical milestones in colonial North American history ... the most accurate map drawn in the sixteenth century of any part of that continent. It became the prototype of the area until long after James Moxon\'s map in 1671... This is the first map to focus on Virginia (now largely North Carolina), and records the first English attempts at colonization in the New World. First issue engraved title as Church 140a, the plate not worn but without the printed \"cum gratia et privilege...\" at the bottom of the title panel. Map and most plates in first issue (plates 4, 7, 11, 12 second issue). D6 is a blank and genuine. Burden 76 (first state); Church 140; Cumming Southeast 12-13; European Americana 590/31; Sabin 8784.

布莱，西奥多·德。1528-1598年托马斯·哈里奥特。 弗吉尼亚州商业和国际贸易部。法兰克福：约翰·韦切尔，1590年。

图片文件尺寸 : 4868 x 4335px

BRY, JOHANN THEODOR DE. 1561-1623; and JACQUES LE MOYNE. C.1533-1588.:Brevis Narratio eorum quae in Florida Americae provincia Gallis acciderunt ... Frankfurt am Main: Johannes Wechel for T. de Bry, 1609 [engraved title and colophone dated 1591].
Folio (338 x 220 mm). Engraved title, colored engraved arms on dedication leaf, engraved sectional title \"Indorum Floridam provinciam inhabitantium eicones,\" engraved vignette of Noah\'s Arc on )(3r, ALL COLORED IN A CONTEMPORARY HAND, 42 numbered half-page engravings after Le Moyne above Latin letterpress descriptions, engraved folding map \"Floridae Americae Provinciae recens exactissima descriptio\" (398 x 445 mm), additional leaf \"Mendae quaedam...\" bound in at end. Modern morocco gilt. All leaves mounted on stubs, section title laid down, folding map laid down, trimmed with minor chipping along edges, lacking blank H6, colored leaves slightly shorter, some light browning and staining.

Second Latin edition (most plates in first state, see below) of the second part of de Bry\'s \"Great Voyages.\" This is the foundation book \"of any Florida collection because of its first printing of the Le Moyne narrative. Lawrence Wroth has characterized it as the most informative and satisfactory of all the books on the Huguenot colony in Florida. The fascinating plates of Florida Scenes and life engraved by De Bry after Le Moyne\'s drawings, make this an indispensable Florida items. Le Moyne\'s narrative was first published in French, Paris 1586\" (Streeter). The map was considerable interest: Hondius based his maps of the area in 1606 on this one, \"the atlas in which it occurred was Mercator\'s and his fame was enough to prolong its authority until the Blaeu VIRGINIAE partis australis, c. 1638\" (Burden 79). Plates in first state except 8, 10, 16, and 17. Church 146; Sabin 8784; Streeter 1172.

布里，约翰·西奥多，1561-1623年还有雅克·勒莫恩。约1533-1588年。 布雷维斯·纳拉蒂奥（Brevis Narratio）是美国佛罗里达州位于法国省的人物……美因河畔法兰克福：约翰内斯·韦切尔（Johannes Wechel）为T.de Bry创作，1609年[雕刻的标题和文字标记日期为1591年]。

图片文件尺寸 : 5043 x 4532px

MUNDINUS (DI LUZZI, MONDINO). 1275–1326.:MELLERSTADT, MARTINUS, editor. c.1455-1513. Anathomia Mundini emendata per doctorem melerstat. [Leipzig: Martin Landsberg, 1493.]
4to (200 x 140 mm). 40 leaves, 34 lines, title with full-page woodcut of an anatomical scene. Modern calf antique. Inner margin of title neatly reinforced, tiny repair to blank outer margin of last leaf, illegible old library stamp to lower margin of title page, scattered light browning, mostly marginal.

FIRST ILLUSTRATED EDITION OF THE FIRST DEDICATED ANATOMY BOOK. \"The first modern book devoted solely to anatomy ... Mundinus re-introduced human dissection, which had been neglected for 1500 years before him; he was the most noted dissector of his period, and he set forth the medieval anatomical vocabulary, deriving it mainly from Arabic\" (Garrison). Mondino de\' Luzzi, professor at Bologna, is considered to be the founder of anatomy in the Middle Ages. His treatise remained popular until the beginning of the 16th-century and appeared in multiple editions.

\"The subject of anatomy was not taught either by lectures or by dissection in the universities at the middle of the fifteenth century. An occasional \'anatomy\' was held, but the neglect of the subject is well illustrated by the absence of anatomical books. There is only one in the list, that of Mundinus . . . Mundinus was a professor at Bologna from 1306 to 1326, and was the first to teach anatomy from the subject, usually the corpse of a condemned criminal; but there is the record of a procedure in 1319 against four medical students for body-snatching. His Anatomia, written in 1316, was for two hundred years the popular text book\" (Osler).

In the introduction of the book, Mundinus says, \"proposui meis scholaribus in medicina quoddam opus componere, \'I have proposed to compose a work in medicine for my scholars.\" The work \"met a need universally felt just at that time and commended itself for its brevity, conciseness, and completeness, as well as for the fact that it taught for each separate organ the necessary anatomic technique, as. for example, in the first chapter: \'Situato itaque corpore vel homine mortuo per decollationem vel suspensionem supino\', etc., \'accordingly, laying out the body of a man dead by decapitation or hanging, etc....\" (Choulant). VERY RARE: According to American Book Prices Current no copy sold in the past 42 years. Choulant-Frank History and Bibliography of Anatomic Illustration (Chicago 1920, pp 88-93); Garrison-Morton-Norman 361 (for the 1478 edition); Goff M-874; GW M-25671 (recording only 2 copies/fragments); Hain 11633; see Osler Incunabula Medica 156; Wellcome I, 4484.

蒙迪尼斯（DI LUZZI，MONDINO）。1275–1326. 阿纳托米娅·蒙迪尼由梅勒斯塔特医生修正。[莱比锡：马丁·兰茨贝格，1493年。]

图片文件尺寸 : 5080 x 4062px

BIBLE IN ENGLISH: THE GREAT \"SHE\" BIBLE.:The Holy Bible, Conteyning the Old Testament, and the New. London: Robert Barker, [1613] - 1611. Folio (390 x 257 mm). title and final leaf supplied in facsimile, lacking 2 quires A and F, and with 19 leaves supplied from a later edition, engraved map of Canaan by John Speed, loosely inserted, and with its margins restored with some loss. Title to New Testament title dated 1611, set within wide woodcut pictorial borders, wood-cut head and tail pieces, calendar and almanack printed in red and black, occasional light toning, a few upper margins cut slightly close to border line. Paneled calf, antique, red speckled edges.
Collation: A1 (General Title, a facsimile of the He Bible and dated 1611), A2-4 (a2 margin slightly restored, a few restored holes affecting letters), B1-4, C1-6, D1-4: Quire A1-6 lacking (Title to genealogies and first 11 pages), B-E6, (Lacking quire F1-6), G-Z6, Aa-Zz6, Aaa-Zzz6 (rrr1 outer and lower margins torn with loss), Aaaa-Zzzz6, Aaaaa-Ccccc6;
New Testament: A-Z6 (with 15 leaves P1-6, S3-4, V5, X2-6 and Z3 all silked and damaged, and supplied from a shorter later edition, possibly the 1617 folio edition), 6A 1-5 supplied from another folio edition, 6A6 a facsimile leaf.
Provenance: Exhibited by Mr. Young (of Leicester, UK) in the early 20th Century, with a printed and manuscript exhibition label, containing manuscript notes on the typographical errors in the \"SHE\" Bible, the label loosely inserted at the front.

THE KING JAMES\' GREAT \"SHE\' BIBLE, THE SECOND FOLIO EDITION, with the reading in Ruth 3:15 corrected to \"She went into the citie,\" and with other errors including Matthew 26:36 where Judas appears for Jesus, but in this copy that error has been a corrected in an 18th century manuscript hand.

The King James Great Bible is considered to be the most important English Bible to have been printed. The biblical scholar Francis Fry described the \"SHE\" Bible as the first edition second issue without reprints, printed within two years of the first issue to correct typographical errors that were found in the text. The King James Bible was drawn up to reconcile the versions of the bible used by the Clergy, on the one hand, and the laity on the other. The translators, who numbered around 50, were divided into committees based in Oxford. Cambridge and London, and they were instructed to take the Bishops Bible as their basis and then consult with Tyndale\'s, Coverdale\'s, Matthew\'s, Whitchurch\'s and the Geneva versions to come up with an authorized text. This copy, although with facsimile first and last leaves, and two quires lacking, is substantially complete. \"From about the middle of the seventeenth century until the appearance of the Revised Bible of 1881-5, the King James\' version reigned without rival\"(Herbert 319). cf. PMM 114; STC 2224.

英语圣经：伟大的“她”圣经。 《圣经》、《旧约》和《新约》。伦敦：罗伯特·巴克，[1613]-1611。

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NUREMBERG CHRONICLE.:SCHEDEL, HARTMANN. 1440-1514. Liber chronicarum [in German: Das Buch der Croniken und Geschichten]. Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 23 December 1493.
Imperial folio (472 x 325 mm). 297 leaves (of 298, without final blank). 59-64 lines and headline, table and parts of the text in two columns. Types: 24:111G (text), 9:165G (headlines), c. 1809 woodcut illustrations printed from 645 blocks by Michael Wolgemut, Wilhelm Pleydenwurff and their workshop, including Albrecht Dürer, comprising 29 double-page town views, 8 full-page woodcuts and double-page maps of the World [Shirley 19] and of Europe by Hieronymus Münzer after Nicolas Khrypffs. Contemporary Nuremberg pigskin over wooden boards, stained pink, ruled and stamped in blind, upper cover lettered in German: \"Cronica von anfang der welt\" [\"Chronical of the beginning of the world\"] brass clasps and catch-plates. Some minor marginal tears and occasional light staining, a few leaves (138-150) with repair to inner margins slightly affecting woodcuts or text, leaf 281 loose, spine ends neatly repaired.
Provenance: Georg Frauenlob Landt, gift inscription to Wolfgang Häberl, dated 18 August 1599 (first numbered leaf verso); Häberl, Wolfgang (*1553) from Berchtesgaden, Pastor of the parish church of St. Martin in Thalgau, and motto dated 1595 (inscription \"Sum ex libris Wolfgangi Häberl Berchtersgadiam / Ecclesiae parochialis S. Martini in Talgeio Pastoris. / Honesti cultor uirtute content. 1599\" on title page).

FIRST EDITION IN GERMAN of the Nuremberg Chronicle, printed in the same year as the Latin edition. The German and Latin editions were planned simultaneously, with the German edition of Georg Alt\'s translation appearing five months after the Latin edition. A TALL COPY of the most extensively illustrated book of the 15th century. The 29 large double-page city views, many illustrated for the first time, are accurate in depicting distinguished features of each city. In addition, it includes many details of 15th-century daily life: carpenters with their tools, astronomers and their instruments, a chess player, archers, bridges, derricks, dishes, furniture, windmills, ships, beds, houses, fortifications, weapons, tents, wharves, ferries, books, drawing materials, dogs, horses, and other animals, as well as costumes. Hartmann Schedel\'s Nuremberg Chronicle epitomizes \"the commercial sophistication, economic power and technical virtuosity that brought the art of print to this extraordinary climax\" (Pettegree). Reference: BMC II 437; BSB-Ink. S-197; Bod-Inc. S-110; Goff S-309; GW M40796; HC *14510; Pettegree, The Book in the Renaissance, New Haven, 2011 p. 42; Reske, The Production of Schedel\'s Nuremberg Chronicle Wiesbaden, 2000; Ellen Shaffer The Nuremberg Chronicle, Los Angeles, 1950; Wilson, The Making of the Nuremberg Chronicle Amsterdam, 1976.

纽伦堡编年史。 Liber chronicarum[德语：《克洛诺斯和故事书》]。纽伦堡：Anton Koberger代表Sebald Schreyer和Sebastian Kammermeister，1493年12月23日。

图片文件像素：5457 x 4998 px

草间弥生，当代艺术I-

Yayoi Kusama - Zeitgenössische Kunst I-

(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box

This work is accompanied by a registration card issued by Yayoi Kusama Studio

We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database

Provenance:
European Private Collection

Iconic Pumpkin

Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.

Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.

Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.

\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.

Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.

图片文件像素：5844 x 5142 px

马格努斯·普莱森，当代艺术I-

Magnus Plessen * - Zeitgenössische Kunst I-

(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher

Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above

Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)

The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

图片文件像素：5842 x 5474 px

皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection

Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)


Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.

He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.

[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.

Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]

Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]

In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.

(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)