图片文件像素：6353 x 5789 px

克里斯托（Javacheff Christo，当代艺术I-

Christo * (Javacheff Christo) - Zeitgenössische Kunst I-

(Gabrovo, Bulgaria 1935–2020 New York)
Wrapped Snoopy House (Collage), 2004, signed, dated Christo 2004, cloth, threads, charcoal, pencil, color crayon, paint and adhesive tape on cardboard, 61.2 x 55 cm,
framed under plexiglass

The wrapped Snoopy House is registered in the Christo and Jeanne-Claude Archives, New York.

We are grateful to Jonathan Henery, Christo and Jeanne-Claude Archives, New York, for his scientific support in cataloguing the work.

Provenance:
Studio of the artist
Collection of the printer and fabricator Jack Lemon, Chicago
Private collection, 德国y

Literature:
This work is the prototype for the multiple, published by Schulz Museum, Santa Rosa, California see: Matthias Koddenberg, Jörg Schellmann: Christo and Jeanne-Claude: Prints and Objects. Catalogue Raisonné, p. 213, no 188

Charles M. Schulz (1922-2000) was the cartoonist of the globally successful comic series \"Peanuts\". The 美国 author and illustrator portrayed 美国 suburban life from the perspective of a group of children in the daily comic strips, which ran for decades. Peanuts was special in that it combined pointed wit with philosophical reflection.

Most of the comic strips focus on the main characters Charlie Brown and his dog Snoopy. Snoopy, the white dog with the black floppy ears, is now considered an integral part of our popular culture.
Snoopy lives in a kennel in Charlie Brown\'s garden. There, the beagle spends most of his time lying lazily on the roof of his hut, the so-called Snoopy Dog House, pondering his philosophical thoughts while waiting for his next meal.

In 1975, Charles M. Schulz met the packaging artists Jeanne-Claude and Christo at a discussion group in Colorado. The cartoonist then paid tribute to the artist couple by creating a Peanuts comic strip in 1978 in which Christo wraps Snoopy‘s House in fabric. In the comic strip, Snoopy wonders what Christo will cover next and finds his house wrapped at the end of the sequence. Christo returned the cartoonist\'s compliment by turning the comic image into reality decades later, designing a life-size, three-dimensional doghouse for the Charles M. Schulz Museum and wrapping it in tarpaulin, polyethylene and rope.
The work offered here is an original collage with real fabric wrapping, created by Christo in 1994 as a prototype for the later multiple. The multiple is number 188 in the catalogue raisonné.
This original work came from the estate of printer Jack Lemon, who founded his life\'s work, the Landfall Press, in Chicago in 1970. Lemon and his team printed lithographs by Christo, Philip Pearlstein and Sol LeWitt, among others.

图片文件像素：4698 x 4418 px

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.

图片文件尺寸 : 4704 x 4099px

Giovanni Francesco Barbieri, called il Guercino:A small child seated on a stone step with his head inclined and resting his elbow on a ledge
red chalk on laid paper, watermark a bird atop three mounds
23.4 x 19.6cm (9 3/16 x 7 11/16in).

Giovanni Francesco Barbieri，被称为il Guercino 一个小孩坐在石阶上，头歪着，手肘靠在窗台上

图片文件尺寸 : 4631 x 4401px

Hendrick Frans Van Lint, called Studio: An Italianate landscape with figures on the banks of a river, a palace beyond
signed \'HF *an *int f\' (lower left)
oil on canvas laid down on panel
23.1 x 28.8cm (9 1/8 x 11 5/16in).

亨德里克·弗朗斯·范·林特，工作室 一幅意大利式的风景画，河岸上有人物，远处有宫殿

图片文件尺寸 : 5489 x 4959px

RUSSIAN ART JOURNAL.:Zhar-Ptitsa/Jar-Ptitza [The Firebird]. Paris and Berlin: Russkoe Iskusstvo, August 1921-January 1926. 14 issues in 13 volumes (No. 4/5 double issue). 4to (315 x 240 mm). Illustrated in color and black and white, with many plates tipped in. Original color lithographed wrappers. Some issues missing spines with pages detached; internal tears and some loss.

A COMPLETE SET OF THE RARE RUSSIAN EMIGRE LITERARY ART MAGAZINE IN ORIGINAL ISSUES, reportedly no more than 300 copies were printed. Supplemental summaries of the numbers were provided in the back in a variety of languages including English. Zhar-ptitsa was the most influential art journal of the flourishing community of exiles who were feverishly trying to keep the culture of Old Russia alive. Due to paper shortages and extensive censorship by the Bolsheviks back in the USSR, the Russian book business was booming in Germany and France. This lavish periodical was the natural successor to S. Diaghilev\'s Mir iskusstva since many of those involved had been members of the World of Art Group and designers for the Ballets Russes. The rich selection subjects and contributors under A. E. Kogan\'s art department embraced L. Bakst, A. Benois, I. Bilibin, M. Chagall, S. Chekhonin, N. Goncharova, B. Grigoriev, B. Kustodiev, M. Larionov, V. Shukaev, K. Somov, S. Sudeikin and many other important artists. Poet Sasha Cherny was literary editor; and such important writers as L. Andreev, K. Balmont, I. Bunin, V. Khodasevich, B. Pilnyak, A. Remizov, N. Teffi, A.N. Tolstoi, B. Zaitsev, and the young Vladimir Nabokov (as \"V. Sirin\") appeared in its pages. Fekula called Zhar-ptitsa \"perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century.\" According to Vengerov, \"Even separate issues of the magazine, let alone complete sets of its issues, are a great bibliographic rarity.\" Fekula 5742; Vengerov Staraya russkaya kniga 105.

俄罗斯艺术杂志。 Zhar Ptitsa/Jar Ptitsa[火鸟]。巴黎和柏林：Russkoe Iskustvo，1921年8月至1926年1月。

图片文件像素：5491 x 4804 px

安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928–1987 New York)
Jack Nicklaus, 1977, acrylic, silkscreen, ink on canvas, on the reverse with the stamps of The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, New York, numbered with archive number PO 41.049, numbered again on the stretcher, 25.4 x 25.4 cm, on stretcher

Provenance:
Estate of the artist
Private collection, Florence
Galerie Hafenrichter, Nurnberg
Private collection, 德国y - acquired from the above

Literature:
Catalogue Raisonné, Andy Warhol, Paintings, 1976–1978, no. 3846

This small-format work by Andy Warhol from 1977 is a portrait of one of the best golfers of the 20th century - US golfer Jack Nicklaus, also known as The Golden Bear.

From the early 1960s until the late 1980s, Nicklaus was regarded as one of the best golfers in the world. With 18 major victories under his belt, he is still the most successful player in his sport.

This portrait was created as part of Warhol’s so-called Athletes series, commissioned by his friend and art collector Richard Weisman. It includes a total of ten portraits of famous athletes of the time, such as Muhammad Ali, Chris Evert and Pelé.
It is an interesting departure from Warhol’s usual society portraits and occupies a rather idiosyncratic position in his extensive oeuvre.

Warhol had little interest in sports and its heros, and did not choose the protagonists of the series himself, leaving this task to Weisman. The latter knew many athletes personally, which made it easy to persuade them to pose for Warhol. Warhol eventually met each of the top athletes in person, and took photographs of them with his Polaroid Big Shot camera. The silkscreen portraits were subsequently created on the basis of these images. Each portrait is executed in various colors, and captures both the glamour and personality of the individual athlete.

Of the around 60 Polaroids Warhol made of Jack Nicklaus with his Big Shot camera, he selected four and processed them further into canvases.
On the basis on the photographs of Nicklaus with his golf club, Warhol ultimately created 15 original portraits of the athlete.

图片文件尺寸 : 4427 x 5042px

CASTELL, WILLIAM. D. 1645. :A Short Discoverie Of the Coasts and Continent of America. London: [no printer], 1644.
8vo (163 x 94 mm). Title and dedication supplied in early expert manuscript facsimile (see below), and signature B (4 leaves) lacking, some pagination along top edges shaved, four leaves at beginning repaired along upper margin twice affecting first line of text, a few other small repairs. 19th century calf gilt by Pratt, hinges split, light rubbing to spine ends and corners.
Provenance: Henry Stevens (bound by W. Pratt for H. Stevens, 1860, binder\'s stamp on front free endpaper, his sale \"Bibliotheca Americana\" Puttick and Simpson, 7 March, 1861, lot 514); Anson Phelps Stokes (1838-1913) bibliographer (bookplate, his sale Parke-Bernet, New York, 15 November 1948, lot 58).

FIRST EDITION, THE MOST ACCURATE ENGLISH DESCRIPTION OF NEW YORK BEFORE 1650, from the collection of noted bibliographers and Americana collectors Henry Stevens and Anson Phelps Stokes. The full title reads: A Short Discoverie Of the Coasts and Continent of America, From the Equinoctiall Northward, and of the adjacent Isles. Whereunto is prefixed the Authors Petition to this present Parliament, for the propagation of the Gospell in America; attested by many eminent English and Scottish Divines. And a late Ordinance of Parliament for that purpose, and for the better government of the English Plantations there. Together with Sir Benjamin Rudyers Speech in Parliament, 21. Jan. concerning America. Stevens states that this work \"should find a place in every collection of the so-called \'Eliot Tracts,\' for herein is contained the embryo idea or suggestion that Parliament should recognize the benefits to be derived by the colonies from cultivating the friendship of the Indians. EXCEEDINGLY RARE, only one other copy sold at auction (according to American Book Prices Current) in the past 45 years. Church 461; OCLC : 1238118938; Sabin 11398; Stevens, Bibliotheca Americana Vol 1, p 123; Wing C-1231.

威廉·卡斯特尔。D、 1645年。 美国海岸和大陆的短暂发现。伦敦：（没有打印机），1644年。

图片文件尺寸 : 4635 x 5656px

BRUNSCHWIG, HIERONYMUS. 1450-1512. :Liber pestilentialis de venenis epidemic. Das buch der vergift der pestilentz. [Strassburg]: Johann Grüninger, 19 August 1500.
Folio (290 x 208 mm). 38 leaves (of 40: lacking numbered leaves III and IV), gothic letter, 2 columns, 42 lines and head-line, 21 (of 23) woodcuts, 8 of which are very large. Modern calf. Some light worming to title and first few leaves with worming affecting woodcut, some dampstaining to lower margin. Modern calf.

FIRST EDITION. The most important work on the plague published in the 15th century. Brunschwig was a German surgeon and botanist. Among his other influential book was the Liber de arte distillandi de simplicibus also called Kleines Destillierbuch. Very rare, according to American Book Prices Current, only this copy sold at auction (1982) in the past 45 years. BMC I:115 (IB 1501); BSB-Ink B-933; GW 5596; Klebs 228.1; Goff B-1228; HC 4020.

BRUNSCHWIG，卫矛。1450-1512. 委内瑞拉鼠疫流行。毒害瘟疫的书。[斯特拉斯堡]：约翰·格里宁格，1500年8月19日。

图片文件尺寸 : 4639 x 4857px

DIGGES, LEONARD. C.1515-1559.:A geometrical practical treatize named Pantometria, divided into three bookes.... London: Abell Jeffes, 1591.
Small folio (268 x 178 mm). Engraved vignette on title page, 2 large woodcut coats-of-arms, numerous woodcut initials, illustrations, head- and tail-pieces in text, errata leaf at end. Modern quarter calf antique and marbled boards, edges gilt, large bookplate and blue morocco blind-stamped coats-of-arms cut from earlier binding and laid down to front endpapers. Marginal paper repairs to some edges and corners, lacking initial blank, dampstaining from leaf D1 to end, old ink ownership inscriptions to title, ink marginalia, minor soiling and staining.
Provenance: Sir William Stirling-Maxwell [1818-1878] (bookplate).

Second edition, but considered superior to the first, as it was greatly expanded by the author\'s son, Thomas Digges (c.1546-1595). This work on practical applied geometry contains the first description of the theodolite, one of Leonard Digges\'s inventions, and the earliest description of what we would come to call the telescope. In this addition, Leonard Digges has added sections on navigation, ballistics, and pyrotechnics. Cockle 16; ESTC S107357; Tomash Williams D54.

迪吉斯，莱昂纳德。C、 1515-1559页。 一本名为《Pantoletria》的几何实用论文，分为三本……伦敦：阿贝尔·杰夫斯，1591年。

图片文件尺寸 : 5350 x 4620px

Helen Bradley:\"And what\" said Bruce Sharman, \"is your Aunt saying to Miss Carter\"
inscribed with fly monogram (lower left); further signed, inscribed and dated \'\"and what\" said Bruce Sharman, \"is your Aunt saying to/Miss Carter (who wore Pink) ... \'Ha\', I said, \"how I/remember poor Miss Carter turning pale at the/thought of Grandpa rowing us all back across/Windermere to the station at Lake Side\"/\"Dont worry\", said Aunt Frances, \"you\'ll be quite alright\"/and Mother gave her a comforting pat, \"but what/a pity\", said Aunt Mary Aunt Charlotte\", the/mist hasnt cleared\". Grandpa Grandma had/taken us for a days outing from Blackpool/and while at Town Head, he bought a pony/called Zober for us and the year was 1907./Helen Layfield Bradley. July 26th. 1970.\' (on a label attached verso)
oil on canvas laid on board
45.7 x 61 cm. (18 x 24 in.)

海伦·布拉德利 布鲁斯·沙曼说：“你阿姨对卡特小姐说的是什么？”45.7 x 61厘米。