图片文件尺寸 : 4371 x 4678px

MICROSCOPY.:8 titles:
1. GIROD-CHANTRANS, JUSTIN. 1750-1841. Recherches chimiques et microscopiques sur les conserves, bisses, tremelles, etc. Paris: Chez Bernard, An X (1802). 4to (265 x 202 mm). 36 hand-colored engraved plates. Later half green straight-grain morocco and marbled boards. Rubbed, old cloth tape label on spine, scattered spotting.
2. QUEKETT, JOHN THOMAS. 1815-1861. A Practical Treatise on the Use of the Microscope. London: Hippolyte Balliere, 1848. 8vo (215 x 133 mm). 9 engraved plates, numerous wood-engraved illustrations in text. Late-19th century half calf and marbled boards, spine decorated in blind with 5 raised bands, marbled edges. Large chip to top edge of spine, soiling to covers, plates closely trimmed at outside edges, toning.
3. COLE, ARTHUR C. 1821-1900. Studies in Microscopical Science. London: Balliere, Tindall Cox, 1883. 2 volumes. 8vo. 89 lithographic plates. Publisher\'s red cloth, stamped in gilt. Spines sunned, corners bumped, slight chipping to spine ends, mis-matched bookplates on front paste-downs, shaken, light browning.
4. ---. The Methods of Microscopical Research. London: Balliere, Tindall Cox, 1884. 8vo. 2 lithographic plates. Contemporary half black sheep and marbled boards. Rubbed, toning.
5. PETRI, RICHARD JULIUS. 1852-1921. Das Mikroskop. Von seinen Anfangen bis zur jetzigen Vervollkommnung fur alle Freunde dieses Instruments. Berlin: Richard Schoetz, 1896. Small 4to. 2 portrait plates, numerous illustrations in text. Contemporary half morocco and marbled boards. Heavily chipped, top joint cracked, toning.
6. CLAY, REGINALD S. 1868-1954, and THOMAS H. COURT. The History of the Microscope. London: Charles Griffin and Company, 1932. 4to. 164 illustrations in text. Publisher\'s red cloth. Sunned, slightly loose, spine ends bumped, a few pages with tape repairs, some ink notations.
7. BRÄUTIGAM, FRITZ. and ALFRED GRABNER. Editors. Beiträge zur Floreszenz-Mikroskopie. Vienna: Georg Fromme Co., 1949. 20 color illustrations on 10 pp. Publisher\'s quarter cloth and printed boards. Some staining and soiling to boards, insect damage to spine, light toning.
8. ROOSEBOOM, MARIA. Microscopium. Leiden: Rijksmuseum voor de Geschiedenis der Natuurwetenschappen, 1956. 4to. Publisher\'s grey cloth. Fabric tape label on spine, light soiling and wear., minor toning.

显微镜检查。 8个标题：

图片文件尺寸 : 5436 x 5499px

Edward William Cooke, RA: A collection of sixteen sketches, to include:
The Customs House, Portsmouth, 1831
St Katherines Docks, London, 1833
Sandwich
Amsterdam and Volendam, Netherlands
Rouen and Nice, France
Naples, Italy
two signed \'EW Cooke\' (lower left), some dated and almost all inscribed with their location (lower edge)
pencil
17 x 22.3cm (6 11/16 x 8 3/4in) and smaller. (16)
unframed and all bar one mounted on album paper

爱德华·威廉·库克，RA 16幅素描集，其中包括：《海关大楼》，朴茨茅斯，1831年，伦敦凯瑟琳码头，1833年，荷兰鲁昂和尼斯，荷兰阿姆斯特丹和沃伦达姆，法国那不勒斯，意大利17 x 22.3cm及以下。

图片文件尺寸 : 4442 x 5161px

Mg Tun Hla:A set of five full length portrait studies of Burmese figures in traditional dress
each signed \'MTHla\' (lower right)
watercolour
each 19 x 14.6cm (7 1/2 x 5 3/4in). (5)
all mounted but unframed

Tun Hla 一套五幅缅甸传统服饰人物的全身肖像研究，每幅19 x 14.6cm。

图片文件尺寸 : 4974 x 5130px

NATURAL HISTORY REPORTS FROM THE H.M.S. CHALLENGER.:THOMSON, C. WYVILLE, and others. Report on the Results of the Voyage of the H.M.S. Challenger During the Years 1873-1876. London: 1881-1883. 6 volumes, including:
* Volume III, Part 10, Pycnogonida. 19th century quarter calf and marbled boards, original front wrapper bound in. Some ink markings, toning.
* Volume V, Part XIV, Ophiuroidea. Disbound, in crude modern wrappers. Original front wrapper included, heavily chipped.
* [Volume VI, Part XV], Actinaria. Lacking title page, volume and part number penciled on first page of text. Contemporary marbled boards, rebacked in later library cloth
* Volume VII, Part XX, BOUND WITH: Volume XXIII, Part LXX, Hydroida. 20th century blue cloth
* Volume VIII, Part XXIII, Copepodia. 20th century blue cloth
* Vol XXXII, Part LXXX, Antipatharia. Modern wrappers. Lacking title page.
WITH:
1. FORBES, EDWARD. A Monograph of the British Naked-Eye Medusae. London: 1848. Folio. 13 color lithographic plates. Modern quarter morocco and cloth. Scattered foxing, especially to text pages.
2. Another, as above. BOUND WITH: HUXLEY, THOMS HENRY. The Oceanic Hydrozoa. London: 1859. AND BOUND WITH: BURMEISTER, HERMANN. The Organization of Trilobites. London: 1846. 3 works in 1 volume. Folio. 31 lithographic illustrations in all. Contemporary half morocco and cloth. Covers detached, spine perished, scattered browning and foxing.
3. ALLMAN, GEORGE JAMES. A Monograph of the Fresh-Water Polyzoa. London: 1856. Folio. Rebacked in textured cloth, retaining contemporary plain boards with paper label. Rubbed, some creasing to pages, light browning and spotting.
4. BROOKS, W.K. The Development of the Squid. Boston: 1880. Folio. 3 lithographic plates. Crude modern stiff wrappers. Browning.
5. FOL, HERMANN. Études sur les appendiculaires du détroit de missine. Geneva: 1872. Publisher\'s printed wrappers, crudely rebacked. Upper wrapper laid down, heavily chipped and soiled, light chipping to edges, a few stains and fingermarks.
6. British Antarctic (\"Terra Nova\") Expedition, 1910. 2 volumes: Vol. II, No. I. London: 1915; and Vol. III, No. I. London: 1930. Folio. Publisher\'s printed wrappers. A few small chips to spines, toning.
7. Great Barrier Reef Expedition, 1928-29.
Volume I, Nos 2, 4, 6, and 8; Volume III, Nos 8 and 9.
Folio. Publisher\'s printed wrappers. A few tears to spines edges, some staining to wrappers, toning.
8. DICQUEMARE, JACQUES-FRANÇOIS. \"An Essay Towards Elucidating the History of the Sea-Anemonies....\" [FROM:] Philosophical Transactions, Volume 6. [London: 1773]. Disbound, with crude modern paper wrappers.

H.M.S.挑战者的自然历史报告 1873-1876年“挑战者”号航行结果报告。伦敦：1881-1883年。

图片文件尺寸 : 5072 x 4330px

Maung Su Yatanabon:Two portraits of Burmese dancers, Rangoon
both signed \'Yatanabon/MgSu\' (lower right), and variously inscribed in pencil with the details of the sitters and location (lower left)
watercolour
each 32 x 25.4cm (12 5/8 x 10in).
Together with two watercolour portraits by Tin Il depicting a Padaung woman and man. (4)
all mounted but unframed

Maung Su Yatanbon先生 两幅缅甸舞者的肖像，仰光，每幅32 x 25.4厘米。

图片文件像素：6259 x 4573 px

杰森·马丁，当代艺术I-

Jason Martin * - Zeitgenössische Kunst I-

(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm

Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner

Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011

Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)

The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.

“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22

图片文件尺寸 : 5058 x 5487px

THREE KESA (BUDDHIST PRIEST\'S ROBES):Edo period (1615-1868) and Meiji (1868-1912) or Taisho (1912-1926) eras, 19th/20th century
The first, of a large peacock surrounded by multicolored clouds and peonies, above two dragons amidst waves and rocks, the panels of the kesa created through a woven metal thread that is sewn onto the surface of the textile, six floral motif square patches, the backing of purple silk with a geometric floral design; the second, of gold brocade with woven design of lion dogs, various floral motifs, and square patches of cream-colored silk with leaves and flowers, the backing of plain red fabric; the third, of orange panels with woven designs of dragons, dragon-fish, shells, coral, and leafy peonies, all in multiple colors, framed by blue fabric with a woven brown geometric design interspersed with large peonies and floral crests, the backing of white silk (3)
45 1/2 x 80 7/8in (115.6 x 205.4cm), the largest

三棵松 江户时代和明治或大正时代，19/20世纪

图片文件尺寸 : 2716 x 3716px

“看看我是否带了一件比你们所有人都高贵的礼物！”-Maud Hunt Squire

看看我是不是带了一件比你们所有人都更高贵的礼物--Maud Hunt Squire (美国, 1873-1954)

图片文件尺寸 : 3951 x 4663px

ALCHEMY.:Rosarium philosophorum, secunda pars alchimiae de lapide philosophico vero modo Frankfurt: Cyriaci Jacobi, 1550.
4to (180 x 132 mm). Engraved title vignette, engraved initial, 20 alchemical engravings. Recent vellum, spine titled in gilt, 12 of the engravings effaced with early ink and rubbing (possibly by a censor), engraving at Z3v stained, leaf O2r with large repaired tear, ink marginalia in several unidentified early hands, one trimmed.

RARE, ONE OF THE MOST FAMOUS BOOKS IN ALL OF ALCHEMY, printed as part two of De Alchemia Opuscula complura veterum philosophorum..., and containing the complete set of the 20 famous woodcuts. A collection of alchemical wisdom, this \"Philosophers\' Rose Garden\" appeared in many manuscript forms throughout the 16th-18th centuries, none of them however predating this printed edition. The influence of the work spans Michael Maier and Isaac Newton, carrying into the 20th-century from Carl Jung to Leonard Cohen. Ferguson I, p.19.

炼金术。 哲学家念珠的第二部分是来自哲学家之石的炼金术，但现在是法兰克福：塞勒斯·雅各比，1550年。

图片文件像素：5670 x 3940 px

克里斯托（Javacheff Christo，当代艺术I-

Christo * (Javacheff Christo) - Zeitgenössische Kunst I-

(Gabrovo, Bulgaria 1935–2020 New York)
Running Fence (Project for Sonoma County and Marin County, State of California) - Estero Road, 1975, signed, dated Christo 1975, fabric, pencil, charcoal, crayon, gouache and technical data collage on board, 55.5 x 70.5 cm, framed under plexiglass

This work 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
Joan Sonnabend, Obelisk Gallery Massachusetts, 1975
Villa Grisebach, Berlin, 29 November 2008
Private collection, 德国y

The installation Running Fence, which was installed in 1976 and lasted for 14 days, is considered one of the most impor¬tant early works by the famous artist duo Christo and Jeanne-Claude. Standing 5.5m tall and stretching over 39km across Sonoma County and Marin County in California. The white fabric billowed in the wind, reflecting light at a variety of angles and shades, cre¬ating dazzling, shimmering contours that cut across the landscape in soft yet sharp lines. The sheer beauty of the play of light and weather on the fence contrasted sharply with the theme of separation and boundary that fences generally convey. According to the artists, a fence embodies a larger theme of human freedom and limitation.

All costs of the project were covered with the sale of studies, preparatory drawings and collages, scale models and original lithographs. The artwork being auctioned off is an original drawing which was created in this process.