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SEOKCHEON:Four paintings mounted as a folding screen
Joseon dynasty (1392-1897), 19th century
The four paintings each ink on silk with silk surrounds mounted on a wooden lattice and with a wood frame, depicting (right to left): a flowering lotus plant; banana leaves; an egret roosting on one leg; chrysanthemums; each sealed Seokcheon and each inscribed with a Chinese poem, that on the heron painting by the famous Chinese philosopher Zhu Xi (1130-1200): Ji die yun bing hao, yi sheng qiu meng duo (It pleases me when the clouds lie on one another, forming a screen / During my life I have had many autumn dreams)
42 x 11 1/4in (106.7 x 28.5cm), each image

汉城 四幅作为折叠屏风的画作，19世纪，朝鲜王朝

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A ZANE GREY FISHING REEL.:Pflueger ... Oceanic Free Spool Surf Casting Reel, 135 x 115 (dia) mm, stamped \"400,\" patented 1920s, housed in fitted leather case blindstamped \"Mills\" and stenciled \"Z.G.\" in red ink to lid.
Provenance: estate of Zane Grey; purchased by the owner from Houle Rare Gallery, 1990s.

Author and adventurer Zane Grey was also an avid fisherman, and today his best-remembered writings record his experiences fishing around the globe in both fresh- and saltwater bodies. Like any avid fisherman, Grey had a large collection of rods and reels which were sold off over the years by his heirs. Though he is often associated with the Hardy brand, he also used Pflueger, another popular purveyor of the early 20th century.

扎恩灰色的钓鱼线轴。 Pflueger…Oceanic Free线轴表面铸造卷筒，

图片文件尺寸 : 3981 x 5780px

DOSTOEVSKY CARTE-DE-VISITE INSCRIBED TO ALEXANDER HERZEN.:DOSTOEVSKY, FYODOR. 1821-1881. Photograph signed and inscribed [in Russian] to Alexander Herzen, albumen print carte-de-visite full length portrait by M.B. Tulinov, Petersburg, 1861, 105 x 65 mm, inscribed by Dostoevsky in Russian to the verso, \"Alexander Ivanovich Herzen in memory of our meeting in London. Fyodor Dostoyevsky 8 July/20 July 1862,\" minor stain to verso.
Provenance: Alexander Ivanovich Herzen; to daughter Olga Aleksandrovna [Herzen] Monod; by descent.
Publication: For a discussion of the photograph, see Volgin, Igor. \"Introduction\" to The Dostoevsky Archive (1997), p 21.

Pull quote: \"Herzen awaits his readers in the future. Far above the heads of the present crowd, he transmits his thoughts to those who will be able to comprehend them.\" – Leo Tolstoy, 1905.

VERY RARE CARTE DE VISITE PHOTOGRAPH OF FYODOR DOSTOEVSKY PRESENTED TO ALEXANDER HERZEN IN REMEMBRANCE OF THEIR 1862 MEETING IN LONDON: A TREMENDOUSLY IMPORTANT ASSOCIATION BETWEEN TWO OF THE LEADING INTELLECTUALS OF THE 19TH-CENTURY.

Alexander Herzen was one of the most important and influential Russian writers and thinkers of the 19th-century. called the \"father of Russian socialism,\" he had a profound influence on late-19th century Russian writers, including Fyodor Dostoevsky. Born illegitimately to a wealthy Russian landowner, Herzen became a dissident and critic of the Russian feudal system. Of Herzen, Tolstoy said he had never met a man \"with so rare a combination of scintillating brilliance and depth.\" His writings, including From the Other Shore (1848) and those appearing in his influential publications of the 1850s-60s The Bell and the Polestar, would help mold a generation of Russian writing and thought.

Herzen and Dostoevsky met for the first time in Russia in 1846, following Dostoevsky\'s comment in a letter to his brother that Herzen and Goncharov stand as \"the most remarkable\" of his rivals; Herzen\'s recollection of the meeting was less than effusive, however: \"I can\'t say he made a particularly present impression.\" Their second meeting occurred when Dostoevsky visited Herzen in London in July of 1862, of which this photograph is a memento. During the 1850s and early 1860s, visits to the emigree Herzen by Russian writers and intellectuals were something of a right of passage, and Dostoevsky\'s visit followed right on the heels of Turgenev. This series of meetings profoundly affected Dostoevsky and his work, and is clearly acknowledged in his Winter Notes which he wrote later that year, exhibiting a clear debt to Herzen\'s own writings. Dostoevsky, along with Solzhenitsyn, acknowledged the formative influence of Herzen on his work, and Herzen would also appear in composite in a number of Dostoevsky\'s characters throughout his career. Herzen, however, noted, rather condescendingly, \"Dostoevsky was here yesterday—he is a naïve, not entirely lucid, but a very dear person. He believes enthusiastically in the Russian people.\"

The two towering figures would meet again on a steamship from Naples to Livorno the following year, where Dostoevsky was travelling with his mistress Polina Suslova. According to Suslova\'s diaries (as published in The Dostoevsky Archives), Dostoevsky took pains to hide their relationship from Herzen, introducing her vaguely as a family member, and even encouraged her to arrange a visit with Herzen\'s son in Paris that Winter. After they parted, Dostoevsky became angry with her over a photograph of her he had seen at Herzen\'s, which she had given at an earlier date. In 1865, Dostoevsky wrote to Herzen imploring him for a loan, and became peevish when Herzen did not immediately respond. By the late 1860s Dostoevsky would disparage Herzen, somewhat unfairly, as a \"Westernizer,\" leading to his more severe criticism of Herzen in his Writer\'s Diary.

Herzen was one of the most complex and brilliant figures of the 19th-century, and was largely responsible for assimilating western ideas into Russian thought, while still maintaining his advocacy for the freedom of the Russian serf.

In reality, the two writers/thinkers shared a great deal in their outlook: both asserted the importance of the individual, and the folly of the search for a unified teleological system, cutting against the grain of their mid-19th century contemporaries. While Herzen was embraced by Lenin, identified as the \"father of Russian socialism,\" Herzen\'s socialism was a different breed, \"Centralization may do a great deal for order and for various public undertakings, but it is incompatible with freedom. It easily brings a nation to the position of a well-tended flock or a pack of hounds cleverly kept in order by a huntsman.\" Lenin regarded Herzen\'s focus on freedom as a shortcoming of his bourgeois roots. During the 20th-century Russian-British philosopher Isaiah Berlin came across Herzen\'s writings and recognized the prescience of Herzen\'s thought. It was Berlin, who reestablished Herzen\'s influence, agreeing with and amplifying his idea that the pursuit of \"a perfect society\" invariably leads to blood.

The present photograph was taken by Mikhail Borisovich Tulinov (1823–1889) in Petersburg in 1861. Any period photograph of Dostoevsky is rare, and moreso inscribed. We trace two inscribed photographs at auction in the last 40 years. However, we find no record of an inscribed photograph of similar substance and importance in the historical record. An incredible, and incredibly rare, Dostoevsky item tying together two of the greatest thinkers and writers of the 19th-century.

REFERENCES:
Kelly, Aileen. The Discovery of Chance: The Life and Thought of Alexander Herzen. 2016.
Kelly, Aileen. \"Irony and Utopia in Herzen and Dostoevsky: From the Other Shore and Diary of a Writer.\" The Russian Review, 50:4 (1991), pp 397-416.
Lantz, Kenneth. The Dostoevsky Encycolpedia. 2004.
Serakin, Peter. The Dostoevsky Archive: Firsthand Accounts of the Novelist from Contemporaries\' Memoirs and Rare Periodicals. 1997.


\"If only people wanted to save themselves instead of saving the world, how much they would do for the salvation of the world and the liberation of humanity!\" – Alexander Herzen, From the Other Shore, 1848.

多斯托耶夫斯基的名片上写着亚历山大·赫尔岑。 照片署名并题写（俄语）给亚历山大·赫尔岑，

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GERARD, JOHN. 1545-1612. :The Herball or Generall Historie of Plantes. London: John Norton, 1597.
Folio (340 x 240 mm). Engraved title, portrait, woodcut illustrations throughout (2 with early hand-coloring). Contemporary paneled reverse calf, rebacked, later free endpapers. Lacking colophon 5i4, title trimmed and soiled, small hole on 3V3 with loss to 2 woodcuts, some foxing, staining and occasional small tear throughout, index leaves heavily worn and soiled, with one leaf strengthened at fore-margin.
Provenance: Thomas Leman (contemporary ownership signature on paste-down and title); another inscription dated 1656.

FIRST EDITION of this great herbal by \"the best known of English herbalists\" (Arber). The woodcuts include nearly 200 native plants which had not previously been described, as well as the first illustration of the potato. STC 11750; Henrey 154; Hunt 174; Nissen BBI 698.

杰勒德，约翰。1545-1612. 植物的草本或一般历史。伦敦：约翰·诺顿，1597年。

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SWAMMERDAM, JAN. 1637-1680.:Ephemeri Vita or the Natural History and Anatomy of the Ephemeron. London: Henry Faithorne and John Kersey, 1681.
4to (214 x 164 mm). 8 engraved plates on 5 sheets (2 folding). 20th century calf antique, morocco gilt lettering piece, gilt dentelles. Small hole in title page, abrasion to first letter of title with slight loss of print, lower margins of H1 and H2 repaired and reinforced, light browning.

FIRST ENGLISH EDITION of Swammerdam\'s work, originally published in Dutch in 1675. Swammerdam made remarkable observations on insect anatomy, including his description in this work of metamorphosis, which had never been covered in greater detail before. His illustrations of the anatomy of the mayfly were also of unprecedented accuracy and detail. Nissen ZBI 4060; Wing S6233.

斯瓦默达姆，1637-1680年1月。 《蜉蝣的自然历史和解剖》。伦敦：亨利·费索恩和约翰·凯西，1681年。

图片文件像素：5224 x 4132 px

卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Bluviola, 1972, signed; signed and dated on the reverse, casein on canvas, 60 x 68 cm, framed

This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome

Provenance:
Sale, Finarte, 28 March 1995, lot 105
Galleria Russo, Rome (stamp on the reverse)
European Private Collection

Literature:
G. Celant, Carla Accardi, Charta, Milan 1999, p. 339, no. 1972 22 with ill.

More than colors I have always loved the way they match, as well as the light they give off. Even my white-black phase was a period of light, this contrast, just like in my mother’s saltworks in Trapani, a truly blinding sort of light.

When I used red with green, and sometimes even pink with light blue, the two colors had to have the same strength and couldn’t be complementary.
This way they struggle against one other and create light.
Carla Accardi in A.M Boetti, Lo specchio ardente, in Data, Milan no. 18, 1975

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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。

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KEPLER, JOHANNES. 1571-1630. :Tabulae Rudolphinae, quibus astronomicae scientiae, temporum longinquitate collapsae restauratio continentur. Ulm: Jonas Saur, 1627.
Folio (330 x 226 mm). Roman and italic types, double column, printed shoulder notes. Engraved allegorical frontispiece designed by Kepler, depicting Hipparchus, Ptolemy, Copernicus, Brahe, and Kepler gathered in the Temple of Urania, numerous woodcut diagrams in text, including a full-page of diagrams on k3v, woodcut initials, large woodcut device on part 2 section title. With the 4-leaves \"Sportula genethliacis missa\" (q4) printed in Sagan and dated 1629, inserted after the tabulae. Early 18th-century half-sheep and mottled boards, spine gilt in 7 compartments with red and green morocco lettering piece, red speckled edges, a few gatherings (including \"Sportula\", sig. q, issued in 1629) browned (as often). Provenance: Co. Riccati (Jacopo Francesco Riccati (1676-1754, Venetian mathematician; bookplate on title verso).

FIRST EDITION OF KEPLER\'S LAST LIFETIME PUBLICATION AND HIS CROWNING ACHIEVEMENT, THE \"FOUNDATION OF ALL PLANETARY CALCULATIONS FOR OVER A CENTURY\" (Sparrow). Third state, with second quire [):():(⁴] on different paper, albeit trimmed here to the same size as the adjacent leaves. \"The tables are extraordinarily important, for they document in a unique way Kepler\'s great contributions to astronomy\" (Gingerich). \"Besides the planetary, solar, and lunar tables and the associated tables of logarithms it includes Tycho Brahe\'s catalog of 1,000 fixed stars, a chronological synopsis, and a list of geographical positions ... Kepler was an astronomer\'s astronomer. It was the astronomers who recognized the immense superiority of the Tabulae Rudolphinae. For the professionals the improvement in planetary predictions was a forceful testimony to the efficacy of the Copernican system\" (Sparrow). Based on Tycho Brahe\'s observations, the tables were then supplemented by Kepler\'s own observations. The calculations were a major mathematical achievement, as of course, Brahe\'s data applied erroneously to \"perfect\" circular orbits. Kepler had discovered the true elliptical shape of the planetary orbits, and thus, had to recalculate everything according to his new laws. The printing history of the book, during the 30 years\' war, is quite complex. There were 1000 copies printed in Ulm in 1627, with three known states, affecting the title and the first two gatherings. Some copies are known with a posthumously published world map, and some have a posthumous appendix - neither is present in this copy. \"In excusing the long delay in publication... [Kepler] mentioned in the preface [p. 6] not only the difficulties of obtaining his salary and of the wartime conditions but also \'the novelty of my discoveries and the unexpected transfer of the whole of astronomy from fictitious circles to natural causes, which were most profound to investigate, difficult to explain, and difficult to calculate, since mine was the first attempt\'\" (DSB). Caspar 79; Gingerich Johannes Kepler and the Rudolphine tables; Houzeau and Lancaster 12754; Lalande p 190; Norman 1208; Sparrow 116.

开普勒，约翰内斯。1571-1630. 鲁道夫的桌子被称为天文学，包括餐厅倒塌的时间。乌尔姆：乔纳斯·索，1627年。

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PRIESTLEY, JOSEPH. 1733-1804.:The History and Present State of Discoveries Relating to Vision, Light, and Colours. London: for J. Johnson, 1772.
2 volumes in 1. 4to (260 x 210 mm). Folding biographical chart and 24 folding plates (plates I and XV bound at end of first volume). Modern quarter green morocco and marbled boards. Tape repair on verso of biographical chart, large tear with tape repair into lower third of Zz2, scattered browning and offsetting.

FIRST EDITION. One of the earliest works on optics and the most comprehensive of its time. \"Priestley\'s History of Optics had but one English edition ... it remained the only English work on the subject for a hundred and fifty years and the only one in any language for fifty\" (DSB). Crook S479; Osler 1190; Waller 15652.

约瑟夫，普里斯特利。1733-1804. 与视觉、光和颜色有关的发现的历史和现状。伦敦：约翰·约翰逊，1772年。

图片文件尺寸 : 3933 x 5857px

[KIRCHER, ATHANASIUS. 1602-1680.]:SCHOTT, GASPAR. 1608-1666. Pantometrum Kircherianum, hoc est Instrumentum Geometricum Novum, à Celeberrimo viro P. Athanasio Kirchero. Würzbourg: Jobst Hertz, 1660.
4to (213 x 175 mm). Additional engraved title, engraved portrait, 32 engraved plates (1 folding), plate 27 bound out-of-order, woodcut initials, head- and tailpieces. Contemporary vellum, ms spine title; recased with endsheets renewed. Browned throughout.

FIRST EDITION of Schott\'s description of Kircher\'s pantometrum, a surveyor\'s device used to measure distance and height. Kircher had used it to measure Vesuvius, as described in his Magnes (1641). Sommervogel, IV, 1058.

[阿塔纳修斯·基尔彻，1602-1680。] Kircherian受电弓，这是Celeberrimo的新几何工具，一个名叫P.Athanasio Kirchero的人。维尔茨堡：乔布斯特·赫兹，1660年。