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KIRCHER, ATHANASIUS. 1602-1680. :Romani Collegii Societatus Jesu Musaeum Celeberrimum. Amsterdam: Janssonius van Waesberge, 1678.
Folio (375 x 260 mm). Engraved additional title, engraved portrait of Kircher, 17 engraved plates (9 folding), 4 engravings and numerous woodcuts to text, initials, tailpieces. Later half vellum and boards; few stray pen marks to rear cover, margins of text toned and spotted, final few leaves foxed.

FIRST EDITION of the first catalogue of the Museo Kircheriano at the Roman College, a detailed inventory of Kircher\'s cabinet of curiosities of Chinese and Egyptian antiquities, scientific instruments, optical devices and ancient musical instruments. Kircher \"was in an excellent situation, at the hub of the Jesuit order, to gather relics, specimens, manuscripts, and any other oddities or rarities his fellow Jesuits brought back to Rome from all parts of the world ... In 1678 , the Museo Kircheriano was at its peak, with a new exhibit hall and a printed catalogue\" (Merrill, p xxvii). A second catalogue was published in 1709 followed by a long period of decline in the maintenance of the collection. Much of Kircher\'s collection was eventually incorporated into the Museo Nazionale. Caillet 5784.

阿塔纳修斯·基尔彻。1602-1680. Romani Collegii Societatus Jesu Museum Celeberrrimum。阿姆斯特丹：Janssonius van Waesberge，1678年。

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ALCHEMICAL MANUSCRIPT.:Seventeenth-century English manuscript transcription of Thomas Norton\'s The Ordinal of Alchemy, 182 x 150 mm, 104 numbered pp, ink on paper, written rectos and versos, initial blank lettered \"A.a.a.a.b.b.b.c.c.d.d.,\" and two additional blanks at rear, [England, 17th-century]. Bound in modern paper wrappers.
Provenance: From the collection of Robert Raymo.

One of the most famous works of English Alchemy, the Ordinal is a 15th-century poem of 3000+ lines composed by Thomas Norton (c.1433–1513) the chief disciple of England\'s grandmaster of Alchemy, George Ripley (from whom Norton here says he \"learned all the secrets of Alkimy\"). The Ordinal is a broad-based work of alchemy discussing the philosopher\'s stone and the transmutation of the elements into gold, together with the medicinal aspects of alchemy; it additionally conveys specific information about the relevance of color, music, and the positioning of the planets to the alchemical process. The Ordinal was first published in English in Ashmole\'s Theatrum Chemicum Britannicum (1652). There are minor differences between this text and that printed by Ashmole, suggesting either a pre-1652 date of transcription or an alternative manuscript tradition. Only some 32 manuscript exemplars of this text are known to be extant.

炼金术手稿。 十七世纪托马斯·诺顿的《炼金法则》的英文手稿，

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HERO OF ALEXANDRIA. Fl. c. 65 A.D. :Gli Artifitiosi et Curiosi Moti Spiritale di Herrone. Tradotti da M. Gio. Battista Aleotti d\'Argenta. Ferrara: Vittorio Baldini, 1589.
4to (220 x 160 mm). Title page with woodcut architectural border, 85 woodcut illustrations to text, initials, head- and tailpieces, printer\'s device on colophon. Modern full burgundy morocco, covers tooled in blind to panel design, citron morocco spine labels; sporadic spotting or staining (heavy at top margin of p 97), else a clean, crisp copy.

FIRST EDITION of Aleotti\'s Italian translation of Hero\'s Pneumatics, the first edition in Italian. Hero\'s treatise describes and illustrates various steam-powered devices and toys, including fire engines, mechanical signing birds, a pipe organ, and automatic doors. At the end of the work the translator Aleotti adds his own contributions following a separate title page with sequential pagination. Adams H-367; Mortimer, Italian, 230.

亚历山大的英雄。公元65年左右。 Herrone的手工艺品和好奇主题酒。M.Gio翻译。巴蒂斯塔·阿莱奥蒂·德阿根塔。费拉拉：维托里奥·巴尔迪尼，1589年。

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PICART, BERNARD. 1673-1733.:The Ceremonies and Religious Customs of the Various Nations of the Known World. London: Claude Du Bosc, 1731-39.
7 volumes in 6. Folio (447 x 275 mm). Half titles, titles in red and black with engraved vignettes, engraved dedication page in volume IV, 215 (of 220) engraved plates, many double-page or folding, engraved illustrations and headers in text. Modern quarter morocco and marbled boards. A few pages re-margined at outside edges, leaf 5O2 (pp 419-420) in volume 3 torn through but complete, dampstaining, especially to last volumes, browning and spotting throughout.

FIRST EDITION IN ENGLISH, A richly illustrated landmark work on religious tolerance. \"No other work before then had ever attempted, in word and image, such a grand sweep of human religions, Religious Ceremonies of the World marked a major turning point in European attitudes toward religious beliefs and hence the sacred\" (Hunt, Jacob Mijnhardt The Book that Changed Europe: Picart and Bernard\'s Religious Ceremonies of the World p 1). Picart\'s engravings \"are indeed so finely executed, both in the drawing and engraving, that there are few plates even at this day which excel them\" (Field 1212, French edition). Sabin 4934.

皮卡特，伯纳德。1673-1733年。 已知世界各国的仪式和宗教习俗。伦敦：克劳德·杜·博斯克，1731-39年。

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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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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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ASTRONOMY: MUENSTER AND OTHERS. :4 titles:
1. MUENSTER, SEBASTIAN. Horologiographia. Basel: Henric Petri, n.d. 4to (200 x 149 mm). Woodcut diagram on title page and numerous woodcut diagrams in text, folding manuscript astronomical diagram tipped in, with ink notations, and 2 inserted leaves with manuscript diagrams. Modern quarter calf and marbled boards. Some browning and staining, a few marginal tears with some repairs, edges of manuscript diagrams trimmed with some loss, worming through last gatherings starting at ff.
2. WING, VINCENT. 1619-1668; and WILLIAM LEYBOURN. 1626-1716. Urania Practica. London: R. Leybourn, 1649. 8vo (165 x 105 mm). Engraved frontispiece (bound after title page), folding letterpress table, woodcut illustrations in text. Modern quarter calf and mottled boards. Lacking leaf M4 and final leaf Ff4 (table of contents), large tear to S3 with loss of text and part of illustration, paper repairs to Ff2-3, ink ownership inscription of front flyleaf, browning and spotting.
3. RAMESEY, WILLIAM. 1627-1675. Astrologia Restaurata; or Astrologie Restored. London: Robert White, 1654. 4 parts in 1 volume. Folio (275 x 178 mm). Rebacked contemporary calf. Repairs to covers, title, following text leaf and G4 re-margined, lacking gathering A⁴, large old repair to margin of Gg4, dampstaining to outside margins, scattered browning and spotting, a few ink annotations.
4. SMYTH, WILLIAM HENRY. 1788-1865. The Cycle of Celestial Objects. London: John Bowyer Nichols and Sons, 1840. Folio (293 x 236 mm). 5 engraved plates and 1 color lithographed plate, wood-engraved illustrations in text. Late 19th/early 20th century morocco by Zaehnsdorf, ruled in gilt, spine gilt with 5 raised bands, green and black morocco lettering pieces. Heavily rubbed, some chipping to covers, joints tender, scattered foxing.

天文学：明斯特等人。 4个标题：

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Gunter Damisch，当代艺术I-

Gunter Damisch * - Zeitgenössische Kunst I-

(Steyr 1958–2016 Vienna)
“Rotfeldweltwege/Doppelflämmerer”, signed and dated
G. Damisch 2000/2001 on the reverse as well as label with the title, oil on canvas, 160 x 140 cm, on metal stretcher

Provenance:
Galerie Ohse, Bremen
Private Collection, 德国y

Yes, in the sense that a painting actually always develops out of a proliferation and growth and evolutionary process and in the sense that every result cries out for a new one, so to speak, or generates something new. This always plays itself out in various ways. In principle, it has something to do with the phenomena that can be experienced in painting. This global issue results from the fact that I have found painting to be something that creates identity and meaning. You get to know yourself and express yourself and enter into a process where you are not only passively at the mercy of others, but can also achieve a lot on a creative level.
Gunter Damisch, in conversation with Friedhelm Mennekes

Ja, in diesem Sinne, daß sich ein Bild eigentlich immer aus einem Wuchern und Wachsen und evolutionären Prozeß heraus entwickelt und sozusagen jedes Ergebnis nach einem neuen schreit oder etwas Neues generiert. Das spielt sich immer in Variationen durch und hat grundsätzlich etwas mit Phänomenen zu tun, die in der Malerei erfahrbar sind. Dieses Weltthema resultiert daher, daß ich Malerei als etwas Identitäts- und Sinnstiftendes empfunden habe. Man lernt sich da kennen und ausdrücken und begibt sich in einen Prozeß, wo man nicht nur passiv ausgeliefert ist, sondern auch gestalterisch eine Menge bewirken kann.
Gunter Damisch aus einem Gespräch mit Friedhelm Mennekes

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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.)