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詹姆斯·杰布萨·香农（James Jebusa Shannon）的《威尼斯月光泻湖圣乔治·马焦尔》（San Giorgio Maggiore From The Lagoon By Moonlight）-Moonlight, Venice by James Jebusa Shannon

San Giorgio Maggiore From The Lagoon--James Jebusa Shannon (美国, 1862-1923)

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DELLA PORTA, GIOVANNO BATTISTA. 1538-1615. :3 titles:
1. La fisonomia dell\'huomo, et la celeste ... Libri sei. Venice: Nicolò Pezzana, 1668. 4to (222 x 161 mm). Woodcut printer\'s device on title. Modern half calf.
2. Phytognomonica. Frankfurt:. Wechel and Fischer, 1591. 8vo. (173 x 114 mm). Woodcut printer\'s device on title, woodcut portrait and numerous woodcut illustrations in text. 16th century calf. Repairs to spine ends, light wear to joints.
3. De humana physiognomonia. Hanau: W. Antonius, 1593. 8vo (185 x 118 mm). Woodcut printer\'s device on title and numerous woodcut illustrations in text. Adams P-1925.

开门，年轻的击球手。1538–1615. 3个标题：

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卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1962, signed and dated, brown watercolor, holes and graffiti on green blotting paper, 70 x 50 cm, framed

This work is accompanied by a certificate of authenticity released by the Fontana Foundation, Milan

Provenance:
Studio Bellini, Milan
Cieffe, Milan-Rome
Galleria Vecchiato Arte, Padua
Galleria Contini, Venice
Acquired directly from the above by the present owner

Literature:
L. M. Barbero, Lucio Fontana. Catalogo ragionato delle opere su carta, Skira Milan, vol. III, no. 62–63 DSP 1, p. 857

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皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Ex Tempore VI, 1963, signed, dated and titled on the reverse, oil on canvas, 41.2 x 33.5 cm, framed

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

Provenance:
H. Gross Collection, Zurich
Sale, Aste Boetto, Genoa, 25 October 2016, lot 110
European Private Collection

Literature:
M. Volpi Orlandini, Dorazio, Alfieri Edizioni, Venice 1977, no. 676
W. Guadagnini, Fontana e Milano - Continuità di una storia, Galleria Tega, Milan 2019, p. 95 with ill.

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

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:Il Decameron. Florence: Giunta, 1573.
4to (228 x 165 mm). Title with woodcut printer\'s device, 2 small woodcut portraits to verso of 4*4, large woodcut historiated initials. 19th century half calf. Covers detached. Adams B-2156; EDIT 16 CNCE 6361.
WITH: Das Dekameron. Leipzig: Insel 1912.
4to. Numerous woodcut illustrations after the 1492 venetian edition by Giovanni und Gregorio de\' Gregori. Contemporary brown morocco ruled and lettered in gilt. Heavily rubbed, adhesive residue from removed bookplate on front paste-down. LIMITED EDITION number 619 of 825. Cover design by Emil Rudolf Weiss. Sarkowski 186 D.
WITH: Il Decamerone. Edited by Niccolo Delfino. Venice: Gregorio de Gregori, 1516.
8vo (203 x 150 mm). Lacks title and other leaves. Modern wrappers. Scarce Venetian edition of the Decameron. Brunet I:997.

无 题 《十日谈》。佛罗伦萨：Gianta，1573年。

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RELIGION. :7 titles in 10 volumes:
1. BONANNI, FILIPPO. Numismata summorum pontificum templi Vaticani fabricam indicantia.... Rome: D.A. Herculis, 1700. Folio. 88 engraved plates. Later vellum, Ex-Bibliotheca Abbatiae Vallis Dei (stamps, bookplate).
2. PICART, B. L\'Alcoran des Cordeliers. Tant in Latin qu\'en Francois. Amsterdam: Aux Depens de la Compagnie, 1784. 2 volumes. 8vo. 22 engraved plates by Picart, some folding. Recent morocco-backed marbled paper boards. Foxing.
3. JOACHIM, ABBOT OF FIORE. Vaticinia, sive prophetiae. Venice: Bertonum, 1600. 8vo. Engraved portraits. Old vellum.
4. FLEURY, ABBE. Moeurs des Israelites et des Chretiens. Paris: Martin, et al, 1739. 8vo. Early calf.
5. D\'ARGENS, LE MARQUIS, translator. La Defense du Paganisme par l\'Empereur Julien. Paris: Barrois (vol 1) and Berlin: Voss (vol 2), 1769. 8vo. Early calf. A MIXED SET, SYMPATHETICALLY BOUND.
6. Histoire des Conclaves Depuis Clement V. Cologne, 1694. 2 volumes. 12mo. Old vellum.
7. Der Neuen Himels-burg. VOLUME TWO ONLY. 8vo. Engraved plates. Recent morocco-backed marbled paper boards.

宗教。 10卷7个标题：

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西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

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JUDAICA. :9 titles:
1. KIRCHNER, PAUL CHRISTIAN. Jüdisches Ceremoniel. Nuremburg: Peter Conrad Monath, 1726. 4to. Engraved frontispiece and 27 double-page plates. Modern quarter vellum and marbled boards. Frontispiece laid down, a few marginal repairs including first plate, scattered staining and spotting.
2. REELAND, ADRIAN. Temply heirosolymitani in Arcu Titiano. Utrecht: William Broedelet, 1716. 8vo. 7 engraved plates (3 folding). Contemporary calf. Upper cover detached, library stamp on title and library bookplate on front paste-down, light browning.
3. JOSEPHUS, FLAVIUS. The Works of Josephus. London: 1683. Folio. Engraved portrait, folding engraved map, engraved illustrations in text. Rebacked late 19th century half morocco and marbled boards, spine gilt in 6 compartments, morocco lettering piece, marbled edges. Rubbed, corners bumped, ink markings on title and some early leaves, staining and spotting.
4. [Atlas geographique ed iconographique du cours complet d\'ecriture sainte. [c.1850.] 69 engraved plates(only), tipped to binder\'s stubs. 20th century green cloth. Spotting and browning, a few marginal dampstains.
5. HERZFELD, L. Geschichte des Volkes jisrael on Vollengun des zweiten Tempels bis zur Einsetzung des Mackabaers Schimon zum hohen Priester und Fuersten. Nordhausen and Leipzig: 1857-1863. 2 parts in 1 volume. 8vo. Contemporary black cloth and boards. Rubbed, foxing and spotting throughout.
6. SCHIFFMANN, KONRAD. Johannes Reuchlin. N.p.: 1914. 12mo. Publisher\'s pictorial cloth. Staining to covers, toning.
7. MUNK, S. Editor. Melange de philosophie juive et arabe. Paris: 1927. Contemporary quarter morocco and marbled boards by D. Robyn. Spine sunned, rubbed, joints tender, toning.
8. BENZIGER, I. Hebraische Archaeologie. Leipzig: 1927. 4to. Later blue-gray cloth, morocco lettering piece. Toning.
9. JOSEPHUS, FLAVIUS. Delle antichita et guerre giudaiche diviso in ventisette libri. Venice: Alessandro Vecchi, 1608. 4to. Woodcut illustrations throughout. Modern off-white morocco. Defective: lacking title page and numerous leaves of main text, staining, paper repairs, some leaves re-margined, light dampstaining.

犹大。 9个标题：

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Heinz Mack，当代艺术I-

Heinz Mack * - Zeitgenössische Kunst I-

(born in Lollar, Hessen 1931)
Wing relief, 1989, signed, dated Mack 89, on the reverse again signed, dated, inscribed and with directional arrow, relief of aluminum grid, board and mirror, 81.5 x 101.5 cm, framed

Certificate:
Atelier Mack, Mönchengladbach, signed by the artist

Provenance:
Private Collection, Rhineland Palatinate
Private Collection, North Rhine-Westphalia - acquired from the above in 2006
Private Collection, Venice
Ketterer Kunst, Munich, 5 December 2006, lot 335

Literature:
Exhibition catalogue Galerie Ludorff, Düsseldorf 2020, p. 88

The Zero artist Heinz Mack discovered the effect of light on a piece of aluminium foil by accident. When he stepped on a piece of the foil lying on the floor, he created a carpet of light, a light reflector with the embossed pattern of his sisal carpet. This showed him how the light from the aluminium foil refracts and at the same time reflects the embossed pattern of the carpet. From then on, the effect of light in his works played a decisive role for Heinz Mack in the conception of his art. The character of the reliefs is that they capture the light and at the same time return it to the room.

The work offered here is from the series of so-called ‘wing reliefs’ (Flügelreliefs). Here Mack - unlike in his painting - does not experiment with colour, but with material and form, with the reflection and location of the viewer in the work. Mack uses a fine-meshed flexible expanded metal aluminium fabric for his wing reliefs, originally created for the aerospace industry. Its technical materiality allow the metal mesh to be given soft contours and to form varied patterns from the individual honeycombs. The artistic intention of making light, structure and movement visible is accentuated in a special way in the wing reliefs by the fine structure of the honeycomb fabric.

The structure of the relief allows the viewer to experience the refraction of light from different angles anew each time. The light refracts in the depths of the honeycombs and captivates the viewer.