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Henri de Toulouse-Lautrec:Ambassadeurs: Aristide Bruant (Delteil 343; Adriani 3; Wittrock P4)
Lithograph in colours, 1892, on two joined sheets of wove paper (as issued), Wittrock\'s only state, printed by Ancourt, Paris, with the République Française inkstamp, with margins, laid onto linen, with vertical and horizontal folds, skillfully repaired splits and losses and touched-in restorations in places, surface dirt, mainly to the margins, the colours slightly attenuated but still good, framed; together with the original Les Chansonniers de Montmartre songbook, a special edition on Aristide Bruant

Sheet 1364 x 939mm. (57 x 37 7/8 in.)

罗特列克 大使：阿里斯蒂德·布鲁昂

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ORTELIUS, ABRAHAM. 1527-1598.:Breve Compendio dal Theatro Orteliano. Antwerp: Jan B. Vrients, 1502 [but 1602].
Oblong 8vo (110 x 142 mm). Engraved printer\'s device on title, engraved armorial dedication on verso of title, 122 engraved full-page maps plans. Rebacked contemporary brown morocco gilt, retaining original spine with three raised bands, all edges gilt. Wear and light soiling to covers, margins a bit trimmed, just touching first line of text on title page, light dampstaining, erased ink ownership inscription on title, paper repairs to title and last 2 leaves.

Italian edition of the \"pocket\" version of Ortelius\'s Theatrum, with plates made in the studio of Philip Galle, translated from the Latin by Giovanni Paulet d\'Anversa. Published 4 years after Ortelius\'s death, it bears the obviously erroneous publication date of 1502 on the title. Vrients added three plates of Celestial and Terrestrial maps from previous editions, and in this form it was published in Latin, Italian, Dutch, French, and English. Koeman IIIA 332:22.

亚伯拉罕，奥尔特利乌斯。1527-1598. 奥特利亚剧院的简短简编。安特卫普：Jan B.Vrients，1502年[但1602]。

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RAMESEY, WILLIAM. 1627-1676?. :Helminthologia [in Greek]. Or, some Physical Considerations of the Matter, Origination, and Several Species of Wormes. London: Printed by John Streater for George Sawbridge, 1668.
12mo (173 x 115 mm). Engraved frontispiece portrait and folding plate. [4], 9, [1], 364 [ i.e. 374], [4] pp., with publisher\'s ads and errata leaves at end. Modern crushed brown morocco, red morocco spine label; some creasing and soiling to frontispiece and title, occasional spotting and wear, C2 small paper repair on fore-margin, A1 ink marginal note, C3 loss to margin just touching text, in custom cloth slipcase and chemise.

FIRST EDITION of this curious work by the physician and astrologer William Ramesey in which he argues that many maladies have their cause in small vermin visible in the blood under microscope. ESTC R24073; Wing R205.

威廉·拉梅西。1627-1676?. Helmintologia[希腊语]。或者，对物质、起源和几种蠕虫的一些物理考虑。伦敦：约翰·斯特雷特为乔治·索布里奇印刷，1668年。

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OCCULT. :8 titles:
1. AGRIPPA, HENRY CORNELIUS. Henry Cornelius Agrippa\'s fourth book of occult philosophy, and geomancy.... [London]: 1783. 4to. Woodcut illustrations in text. 20th century vellum, ruled in gilt, red morocco lettering piece on spine. Light soiling to covers, foxing, paper repair to lower margin of A2, ink stains to upper corner of last 11 leaves.
2. TRITHEMIUS, JOANNES. Steganographia: hoc est: ars per occultam scripturam animi sui voluntatem absentibus aperiendi certa.... Darmstadt: 1621. 2 parts in 1 volume. 4to. Modern half calf and marbled boards. Lacking the second of three parts, lightly rubbed, library stamp on fist title, top margin trimmed, just touching some headers; browning, dampstaining to some lower margins, worming to last several leaves at lower margin.
3. BACON, FRANCIS, and others. Cabala: sive Scrinia Sacra. Mysteries of State Government. London: 1654. 2 volumes. 4to. Title pages in red and black. Modern half morocco and marbled boards. Light dampstaining and toning.
4. PAGAN, FRANÇOIS. L\'astrologie naturelled du Comte de Pagan. Paris: 1659. 8vo. Engraved armorial vignette on title page. Modern quarter calf and marbled boards. Small paper repair to title with very slight loss of text, marginal dampstaining throughout, last page (Ii8) lacking both outside corners, with repairs.
5. GLANVILLE, JOHN. Saducismus Triumphatus: or Full and Plain Evidence Concerning Witches and Apparitions. London: 1681. 2 parts in 1 volume. 8vo. 2 engraved frontispieces. Early 20th century quarter calf and marbled boards. Spine rubbed and chipped at top, browning and spotting throughout.
6. ENGLEBER, JOHANN. Chiromantia, Metoscopia Physiognomia curioso-practica. Franfurt: 1792. 8vo. Engraved frontispiece and half-title, engraved diagrams in text. Modern quarter morocco and marbled boards. Margins trimmed very closely, light chipping to some corners, browning.
7. NOSTRADAMUS, MICHEL DE. Les propheties de maitre Michel Nostradamus. Lyon: 1697. 16mo. Engraved portrait frontispiece. Modern quarter calf and marbled boards. Light dampstaining, ink marginalia.

神秘的。 8个标题：

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赫尔曼·尼奇，当代艺术I-

Hermann Nitsch * - Zeitgenössische Kunst I-

(Vienna 1938–2022 Mistelbach, Lower Austria)
Splatter painting with chemise and impasto, signed, dated hermann nitsch 1995 on the reverse, oil on burlap, stretched over wooden frame along the right and left edge, fixed to wooden frame along the upper and lower front, 200 x 300 cm

Compare:
Hermann Nitsch. Das Gesamtkunstwerk des Orgien Mysterien Theaters, Verlag der Buchhandlung Walther König, 2015, pp. 606–607

Exhibited and illustrated in the catalogue:
Ekilibrio Foundation Collection, Galleria Sirio Arte, Padua, 10 October – 7 November 2020, pp. 168-169

Photo of this work signed hermann nitsch on the reverse available.

Provenance:
Aurelio Stefanini, Studio d’arte, Firenze (label on the reverse)
Private Collection, Italy

„… der in den exzess ekstatisch abgestiegene akteur befleckt und beschüttet… die bildfläche. oft noch spontaner, als es nur auf der bildfläche gelingt, trägt sich die intensität auf dem hemd zu. es wird automatisch befleckt, besudelt, beschmutzt, betappt, beschmiert, beschüttet, bespritzt… es ist, als ob der unsere abgründe eröffnende maler beim malvorgang in die nähe des blutschwitzens, des austrinkens des leidenskelches, der geisselung, der kreuzigung, der zerreissung des dionysos, der blendung des ödipus gerät. sein priesterkleid, sein opferhemd ist geprägt vom feuchten stempel der entäusserung… des hemd wird als höchster schmuck und trophäe auf ein bild gehängt, um dessen farbgefüge zu bereichern. es gibt bilder, die brauchen kein hemd, andere verlangen danach…“
Hermann Nitsch – aus der oben angeführten Literatur

“... the actor, ecstatically descended into the excess, stains and pours things onto … the surface of the image. often it’s even more spontaneous than just hitting the surface of the image, striking his shirt in its intensity, too. it’s automatically stained, sullied, dirtied, touched, smeared; it automatically has things poured onto it, sprayed onto it... it’s as if the painter, opening up our deepest depths, is almost sweating blood when he paints, almost drinking from the chalice of grief, flagellation, crucifixion, the dismemberment of dionysus, the blinding of oedipus. his priestly robes, his victim’s shirt is marked by the moistened stamp of renunciation. the shirt is hung on an image, enriching the texture of its colours, as if it were the most precious piece of jewellery, a trophy. there are some images that don’t need a shirt, but others demand it…”
Hermann Nitsch – from the literature cited above