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DARWIN, CHARLES. 1809-1882.:4 titles:
1. The Expression of the Emotions in Man and Animals. London: John Murray, 1872. 8vo. 7 heliotype plates, publisher\'s advertisements at end, wood-engraved illustrations. Publisher\'s green cloth. Corners bumped, wear to cloth at edges, rear hinge cracked, bookplate on front paste-down. FIRST EDITION, SECOND ISSUE.
2. On the Origin of Species by Means of Natural Selection. New York: D. Appleton Company, 1860. 8vo. Folding lithographed diagram. Publisher\'s blind-stamped brown cloth, gilt title on spine, brown coated endpapers. Text block broken, lower joint cracked through, spine loose, cloth heavily chipped, old adhesive repair to upper joint, hinges cracking with old repair to front hinge. FIRST AMERICAN EDITION, FIRST PRINTING.
3. The Origin of Species by Means of Natural Selection. New York: Hurst and Company, n.d. Publisher\'s red cloth. Sunned, spine ends bumped, front hinge cracked, toning. Marked \"Reprinted from the Sixth London edition, with all additions and corrections.\"
4. The Descent of Man, and Selection in Relation to Sex. New York: D. Appleton Co., 1871. 2 volumes. 8vo. Publisher\'s russet cloth stamped in black, spines titled in gilt. First American edition. Spine ends chipped, large chip from upper panel of volume II, soiling and staining to covers, corners bumped, free front endpaper slightly loose in volume I, toning throughout.
5. The Descent of Man, and Selection in Relation to Sex. London: John Murray, 1885. 20th century half morocco and marbled boards, gilt titles on spine, marbled endpapers, top edge gilt. Shelfwear, light toning. Second edition, 19th thousand.

达尔文，查尔斯。1809-1882. 4个标题：

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Bruce Onobrakpeya:Five metal foil relief (repoussé) panels (i-v):
(i) Okonkwo Adi
signed, titled, numbered \'30/30\' and incised with the artist\'s monogram
metal foil relief (repoussé) panel, mounted on board
foil: 31.5 x 20.5cm (12 3/8 x 8 1/16in)
board: 33 x 22.5cm (13 x 8 7/8in).

(ii) Puppets, 1980
signed, titled, numbered \'12/30\' and incised with the artist\'s monogram
metal foil relief (repoussé) panel, mounted on board
foil: 30.8 x 20cm (12 1/8 x 7 7/8in)
board: 32.1 x 21.6cm (12 5/8 x 8 1/2in).

(iii) Poets and Fetters, 1980
signed, titled, numbered \'29/30\' and incised with the artist\'s monogram
metal foil relief (repoussé) panel, mounted on board
foil: 31 x 19.7cm (12 3/16 x 7 3/4in)
board: 32.5 x 21.3cm (12 13/16 x 8 3/8in).

(iv) Orakive III, 1983
signed, dated, numbered \'23/30\' and incised with the artist\'s monogram; further titled, dated, numbered and inscribed \'LAGOS 1983\' (verso)
metal foil relief (repoussé) panel, mounted on board
foil: 24 x 9.2cm (9 7/16 x 3 5/8in)
board: 25.3 x 10.8cm (9 15/16 x 4 1/4in).

(v) Orakive IV, 1983
signed, dated, numbered and incised with the artist\'s monogram; further titled, dated, numbered and inscribed \'LAGOS 1983\' (verso)
metal foil relief (repoussé) panel, mounted on board
foil: 24 x 9.2cm (9 7/16 x 3 5/8in)
board: 25.7 x 10.8cm (10 1/8 x 4 1/4in).
(all unframed)
(5)

布鲁斯·奥诺布拉克佩亚 五个金属箔浮雕面板：

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KIYOKATA KABURAKI (1878-1972) AND WATANABE KATEI (1864-1926):Four volumes of Uzumaki (Whirlpool) with kuchi-e frontispiece illustrations
Taisho era (1912-1926), 1913-14
Each volume of the novel written by Katei containing a woodblock printed tri-fold print featuring a design with a character or characters from the story, each print signed Kiyokata and sealed Kiyokata; the 1st volume being of the 15th printing, published December 11, 1913; the 2nd volume being of the 8th printing, published December 12, 1913; the 3rd volume being of the 1st printing, published December 31, 1913; the 4th volume being of the 1st printing, published February 25, 1914; all published by Ryubunkan of Tokyo, each with a slipcase with the exception of the 1st volume (4)
8 3/4 x 6 1/4in (22.3 x 15.9cm), each volume independent of slip case
13 x 8 1/2in (33 x 21.6cm), the largest of the illustrations

菊田春树（1878-1972）和渡边加太（1864-1926） 大正时代，1913-14年，四卷带kuchi-e正面插图的Uzumaki

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Keith Haring:The Bayer Suite
The complete set of six offset lithographs in colours, 1982, on thin wove paper, from the unsigned edition of 70, published by Bayer AG on the occasion of the release of the medication Sali-Adalat, the full sheets, all with the palest of time staining, in very good condition, within their original black frames with the Keith Haring sticker on the backboard

Sheet 299 × 237mm. (11 4/5 x 9 3/8in.) (6)

基思·哈林 拜耳套房6

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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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SALVADOR DALÍ: Faust, Johann Wolfgang von Goethe, Portfolio (Field 69-1), 1969
Complete portfolio comprising 21 engravings, 11 loose as issued, and 10 vignettes within the text, all on Arches paper, signed in pencil on the justification page, with the Dal&~; signature blind stamp on each loose sheet, printed number 153 (from the total edition of 293, aside from the deluxe edition of 150), published by Argillet/Graphik Europa Unstalt, Paris, printed by Etienne-Denis Braillard, Geneva, housed in burgundy covered slipcase with stamped gold lettering. (21 works)
each image 12 1/2 x 9 1/4in (31.5 x 23.3cm)
each sheet 15 x 11 3/8in (38 x 28.2cm)

萨尔瓦多·达尔 浮士德，约翰·沃尔夫冈·冯·歌德，投资组合

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Ken Price:Heat Wave Portfolio, 1995
The complete portfolio, comprising 15 screenprints in colors on Arches paper, 4 prints signed in pencil, dated and numbered 79/170, each with the blindstamps of the artist and the publisher, Black Sparrow Graphic Arts, Santa Rosa, printed by T.J. Owens, Healdsburg, with full margins, loose (as issued), accompanied by a bound book of Charles Bukowski\'s poetry and CD, signed again in black ink and numbered in red ink 79 on the colophon, contained in the original cloth-covered book with screenprinted cover and Plexiglas slip case, all contained in the original cardboard box.
each sheet 14 x 11in (35.6 x 27.9cm)
portfolio 15 x 12 5/8 x 1 1/4in (38.1 x 32.1 x 3.2cm)
box 17 1/4 x 14 1/2 x 4 1/4in (43.8 x 36.8 x 10.8cm)

肯·普莱斯 热浪投资组合

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ATTRIBUTED TO KATSUSHIKA HOKUSAI (1760-1849) :A set of sketches
Edo period (1615-1868), 19th century
Brushed in ink on paper, comprising five sketches of beauties in a variety of poses, all laid down on a single two-page album leaf
11 1/4 x 15 1/8in (28.6 x 38.4cm)

归因于北井胜彦（1760-1849） 一套素描江户时期，19世纪

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赫斯特 世界各地，摘自：旋转中，世界对事物的行动，第一卷

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安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928-1987 New York)
Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985, signed in pencil and numbered 9/40, screenprint in colours on Lenox Museum Board with the blindstamp of the printer Rupert Jasen Smith, New York, published by George C.P. Mulder, Amsterdam, 100 x 80 cm, In plexiglass case

This is no. 9 from an edition of 40 + 10 artist’s proofs

Provenance:
Martin Lawrence Limited Editions, Inc., New York (label on the reverse)
European private collection

Literature:
F. Feldman J. Schellmann, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, II. 334-349, p. 138 with ill.

For the realisation of Queen Elizabeth II of the United Kingdom, a photograph taken on the occasion of the Silver Jubilee, the 25th anniversary of her reign, was used as a reference. The sitter\'s pose remains unaltered, retaining the structure and grandeur that are typical of classical portraiture. Warhol adds the commercial medium, emphasising it. His are classical depictions that praise the importance and solemnity of the subject depicted.

The same image of the queen appears in each of her four prints but they vary in colour. This one in particular has a primarily red background, and features graphic shapes printed from separate screens. Warhol began working in this style in the mid-1970s, fragmenting the image with various overlayed shapes and patches of colour.

The association of commercial medium and traditional portraiture is key, allowing Warhol to create a product that would subsequently be hailed as a work of art. Seriality, consumerism, the concept of fame and social hierarchy emanate from the superimposition of colour fields that enhance the subject\'s femininity. The pronounced make-up and bright colours denote the Pop character of mass culture, emphasising appearance and conveying a certain frivolity - unlike traditional portraits, where character and gravitas prevailed over aesthetics. Despite beginning with an impersonal approach and a mechanical reproduction of the subject, these interventions in the image gave the work a deliberately ‘artistic’ look. In many of his female portraits, such as here, the multicoloured surfaces and suggestion of make-up enhance the glamour and femininity of the subjects. With characteristic ambivalence, Warhol explained his additions to these later prints as immaterial:

‘I really would still rather do just a silkscreen of the face without all the rest, but people expect just a little bit more. That’s why I put in all the drawing.’ (Barry Blinderman, ‘Modern Myths: An Interview with Andy Warhol’, Arts, October 1981, p.145.)

This work is published in an edition of forty with ten artist’s proofs, five printer’s proofs and three hors commerce. The work is also published as a Royal Edition with diamond dust on the drawing lines, published in an edition of thirty with five artist’s proofs, two printer’s proofs and two hors commerce.