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Gideon Bok:Time Fades Away
unsigned; identified, titled, and dated to 2006 on a label from Plane Space, New York (affixed to the stretcher bar)
oil on canvas
55 x 57 in (139.7 x 144.8 cm)
unframed

吉迪恩·伯克 时间渐渐消逝

图片文件尺寸 : 5036 x 4342px

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。

图片文件尺寸 : 4030 x 4842px

Bertina Lopes: Sogno nello spazio (Dream in Space)
signed and dated \'Bertina \'93\' (lower right); inscribed with title verso
oil on canvas
59 1/16 x 59 1/16in (150 x 150cm)

贝尔蒂娜·洛佩斯 太空梦59 1/16 x 59 1/16英寸

.a (Giorgia to Stefanie): 5 1/2 × 8 1/2 (14 × 21.6 cm) .b (Stefanie to Giorgia): 5 7/8 × 8 1/4 (14.9 × 21 cm)

Giorgia Lupi, Stefanie Posavec. Dear Data: Week 24 (Doors Patterns / A Week of Doors-Spaces). 2015

乔治·卢皮，斯蒂芬妮·波萨维奇。亲爱的数据：第24周（门模式/一周的门空间）。2015-

图片文件尺寸 : 4442 x 4434px

Alan Davie C.B.E., H.R.S.W., R.A.:Upsurge No.3
dated \'20 8 52\' (upper left); signed, inscribed, and dated again \'Alan Davie/Aug 52/SPEED SPACE\' (verso)
oil on board
122.2 x 101.6 cm. (48 1/8 x 40 in.)

艾伦·戴维C.B.E.，H.R.S.W.，R.A。 上冲3号122.2 x 101.6 cm。

图片文件尺寸 : 4060 x 4329px

Joseph Henry Sharp:Spring Hunting Talk
signed \'J.H. SHRP (sic)\' (lower right) and titled and inscribed \'For over mantle or big wall space-\' on a paper label (on the stretcher bar)
oil on canvas
24 x 36 in.
framed 32 x 44 in.

约瑟夫·亨利·夏普 春季狩猎演讲24 x 36英寸。框架32 x 44英寸。

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：5704 x 5632 px

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, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana

图片文件尺寸 : 4207 x 4630px

SALVADOR DALÍ: Memories of Surrealism (Field 71-15-A-L), 1971
Complete portfolio comprising 12 etching, lithograph and drypoint in colors on Arches paper, loose as issued, each signed in pencil and numbered 23/175 (the total edition was 500), with title page, justification, text and introduction by Pierre Restany, published by Transworld Art, New York, printed by Ateliers Rigal, Paris and Ateliers Jobin, Lausanne, Switzerland, each with full margins, contained in original black paper covered portfolio stamped with gold title.
Titles Include: Angel of Dada Surrealism; Surrealist Flower Girl; Ultra Surrealist Corpuscular Galutska; Space Elephant; Surrealist King; The Eye of Surrealist Time; Surrealist Portrait of Dali surrounded by Butterflies; Dressed in the Nude in the Surrealist Fashion; Crazy, Crazy, Crazy Minerva; Caring for a Surrealist Watch; Surrealist Crutches; Surrealist Gastronomy (12 works)
each 20 3/4 x 16 5/8in (52.7 x 42.2cm)
each sheet 30 x 21 1/4in (76.2 x 53.9cm)

萨尔瓦多·达尔 超现实主义的记忆

图片文件像素：5946 x 5480 px

彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric