图片文件尺寸 : 5163 x 5291px

KIRCHER, ATHANASIUS. 1602-1680. :Romani Collegii Societatus Jesu Musaeum Celeberrimum. Amsterdam: Janssonius van Waesberge, 1678.
Folio (375 x 260 mm). Engraved additional title, engraved portrait of Kircher, 17 engraved plates (9 folding), 4 engravings and numerous woodcuts to text, initials, tailpieces. Later half vellum and boards; few stray pen marks to rear cover, margins of text toned and spotted, final few leaves foxed.

FIRST EDITION of the first catalogue of the Museo Kircheriano at the Roman College, a detailed inventory of Kircher\'s cabinet of curiosities of Chinese and Egyptian antiquities, scientific instruments, optical devices and ancient musical instruments. Kircher \"was in an excellent situation, at the hub of the Jesuit order, to gather relics, specimens, manuscripts, and any other oddities or rarities his fellow Jesuits brought back to Rome from all parts of the world ... In 1678 , the Museo Kircheriano was at its peak, with a new exhibit hall and a printed catalogue\" (Merrill, p xxvii). A second catalogue was published in 1709 followed by a long period of decline in the maintenance of the collection. Much of Kircher\'s collection was eventually incorporated into the Museo Nazionale. Caillet 5784.

阿塔纳修斯·基尔彻。1602-1680. Romani Collegii Societatus Jesu Museum Celeberrrimum。阿姆斯特丹：Janssonius van Waesberge，1678年。

图片文件尺寸 : 4604 x 5542px

BLAEU, JOAN. 1596-1673.:Nuevo atlas de las partes orientales de Europa. Amsterdam: Joan Blaeu, 1659.
Folio (552 x 356 mm). Volume II only. Engraved title page with imprint slip pasted on, 29 double-page hand-colored engraved maps, woodcuts in text. Publisher\'s Dutch vellum gilt, yapp edges, green silk ties (mostly lacking), all edges gilt. Covers warped, slightly bumped and soiled, dampstaining to lower margins throughout and occasionally at upper corners, with some intrusion into printed areas, scattered browning and spotting.

Second volume (only) of the 5-volume Spanish language \"Grand Atlas,\" published from 1659 to 1672. A wide-margined copy with contemporary hand-coloring and the original vellum binding. Most of the production run was destroyed by a fire at the Blaeu printing house in 1672. Koeman II:641.2.

蓝色，约翰。1596-1673. 欧洲东部的新地图集。阿姆斯特丹：琼·布劳，1659年。

图片文件尺寸 : 4089 x 4817px

ADAMS, GEORGE. c. 1709-1773. :Micrographia Illustrata, or the Knowledge of the Microscope Explain\'d: Together with an Account of a New Invented Universal, Single or Double, Microscope.... London: Printed for and Sold by the Author, and by Samuel Birt, 1747.
4to (223 x 180 mm). 65 folding engraved plates. Modern half calf and marbled paper; spine faded, margins toned, small hole to plate 18 with some loss to image, top margin of plate 34 soiled.

SECOND EDITION, a reissue of the first of 1746, with 65 plates and the 20-page catalogue of Adams\' instruments at the end. Probably intended as a manual to accompany the sale of Adams\' own microscopes from his shop at \"Tycho Brahe\'s Head in Fleet Street,\" the work contains six plates illustrating Adams\' instruments followed by 59 plates depicting all manner of objects to be viewed beneath the lens, from spermatozoa to lice and snow. ESTC T53415; Poggendorff I, p 10.

乔治亚当斯。c、 1709-1773年。 Micrographia Illustrata，或解释的显微镜知识：连同一个新发明的通用、单或双显微镜的描述……伦敦：作者和塞缪尔·伯特（Samuel Birt）于1747年印刷并出售。

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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 : 4851 x 4163px

KIRCHER, ATHANASIUS. 1602-1680. :China Monumentis, qua Sacris qua Profanis. Amsterdam: Johannes Janssonius van Waesberge Elizeus Weyerstraet, 1667.
Folio (385 x 265 mm). Engraved portrait, 2 engraved maps (1 folding); 23 engraved plates and tables (2 folding), 59 engravings to text, LACKING engraved frontispiece. Modern quarter red morocco; title and following two leaves repaired at margins on verso, plate at p. 137 lacking all areas beyond folds, 120 mm vertical tear to T3, gutter of final leaf repaired.

FIRST EDITION of Kircher\'s popular and richly illustrated work on Chinese culture and language, drawn largely from the accounts of fellow Jesuits Adam Schall, Martino Marinti, Johann Grueber, and Matteo Ricci. This work contains the first Chinese vocabulary and Sanskrit grammar printed in the West and remained the primary source for the study of those languages until the nineteenth century. The Chinese vocabulary is drawn from a translation of the 8th-century Nestorian stele; the Sanskrit grammar on the work of Jesuit Heinrich Roth. Caillet 5773; Brunet III, 666; Honeyman V, 1824; Löwendahl 133 (\"one of the most influential books in shaping the European conception of China in its day\"); Lust 37; Merrill 20.

阿塔纳修斯·基尔彻。1602-1680. 中国纪念碑，作为圣礼，作为普罗法尼。阿姆斯特丹：约翰内斯·扬索纽斯·范·瓦斯贝热和埃利埃斯·韦耶尔斯特雷特，1667年。

图片文件像素：5713 x 4685 px

托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly

图片文件尺寸 : 4192 x 4644px

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。

图片文件尺寸 : 4065 x 5080px

SCHEINER, CHRISTOPH. 1573-1650. :Rosa Ursina Sive Sol ex Admirando Facularum Macularum suarum Phoenomeno Varius. Bracciano: Andreas Phaeus at the Ducal Press, 1626-1630.
Folio (375 x 260 mm). Engraved title vignette, engraved portrait of Paolo Giordano Orsini, Duke of Bracciano, additional engraved title, numerous engraved illustrations throughout (many full-page), woodcut head- and tailpieces and initials. [38], 784 (with numerous errors in pagination), [38] pp., with the blanks F4, R6 4I6. Full 18th-century (?) vellum, manuscript spine title, all edges gilt. Repairs to large portion of outer lower corner of first 5 leaves (letterpress half-title, title, portrait leaf, contents and engraved title) with loss to text and images, occasional heavy browning and waterstaining, especially to prefatory and end matter, sporadic foxing, loss to top blank corner of 4G6.

FIRST EDITION of Scheiner\'s major work on sunspots. Scheiner first observed sunspots in 1611, publishing his finding pseudonymously the following year in Tres Epistolae de Maculis Solaribus. The tract initiated a dispute with Galileo over the nature of sunspots. The present work, Scheiner\'s magnum opus and the standard work on sunspots for over well over a century, opens with an extended attack on Galileo, although Scheiner had by this point accepted Galileo\'s theory that sunspots exist on the surface of the sun and are not, as he had previously argued, caused by shadows cast by satellites of the sun. The many fine engravings depict Scheiner\'s observations, a map of the moon, and the helioscope and other instruments. \"For his masterpiece, Scheiner produced the first monograph on a heavenly body, the Sun. Even today it is still an impressive volume, with scores of engravings of sunspots and the various instruments needed for solar observations\" (Jesuit Science in the Age of Galileo). Cinti 79; Honeyman 2781.

克里斯多夫·谢纳。1573-1650. 来自Admirando FacularsMaculas Varius的Rosa Ursina Sive Sun。布拉恰诺：安德烈亚斯·菲乌斯（Andreas Phaeus）在公爵出版社，1626-1630年。

图片文件尺寸 : 4726 x 4820px

ILLUMINATED CARTA EXECUTORIA.:Rare patent of nobility issued by Archduke Charles of Austria (later Charles VI, Holy Roman Emperor), fashioning himself Charles III of Spain during the War of the Spanish Succession (1701–1714), conveying the title of Marquess of Callus (in Catalonia) upon Don Jaime Vicente Alamany Descallar, manuscript on vellum, text in Latin, 1711, 290 x 200 mm, 8 leaves bound as a single quire of 4 bifolia.
Collation: i8, the first leaf treated as a blank flyleaf. 22-26 long lines written in brown ink in italic script with one-line roman capitals; headings in larger capitals on ff. 2r-2v; written area: 215 x 125 mm. All text pages decorated with full borders containing delicate brown ink drawings. F. 2r with a cartouche depicting the king on a rearing horse firing a pistol, surmounted by a crown, below him a globe held by two putti and inscribed \"America\", below that the words NOS CAROLUS in a cartouche, all flanked by personifications of the church and the state and other motifs. On f. 2v the continuation of the text continues under a round seal stamped in in black ink, containing a coat of arms, and inscribed: CAROLUS III DEI GRATIA HISPANIARUM ET INDIARUM REX. Borders of ff. 2v-6v filled with vedute, vignettes, putti, cartouches, and various flourishes similar to those found in engraved writing-master books of the period. F. 7r with the last lines of the text and several notarial attestations. F. 7v blank. F. 8r with a large colored coat of arms surrounded by colored arabesque flourishes. F. 8v blank. Binding of later red velvet over pasteboards (worn) with remains of two monkeys-fist closures of woven silk, red silk doublures and single red silk flyleaves front and back, remains of a braided silk cord intended to attach the seal and a circular depression inside the back cover intended to hold the seal (seal missing).

RARE PATENT OF NOBILITY OF \"CHARLES III\" DURING HIS EMBATTLED CLAIM TO THE SPANISH THRONE. On the death of his Hapsburg relative King Charles II of Spain (1661-1700) without a direct heir, Archduke Charles of Austria declared himself the King of Spain, thus occasioning the War of the Spanish Succession, which pitted him against a rival candidate, Philip, Duke of Anjou, grandson of Louis XIV, and a distant cousin of the Archduke. In 1711, when his brother, the Holy Roman Emperor Joseph I, died the Archduke returned to Vienna to assume the imperial crown, while Philip was eventually recognized as King Philip V of Spain. During his brief time as claimant to the Spanish throne, Charles never extended his sphere of influence beyond Catalonia and lived there only from 1705 to 1711.

行政卡有限。 奥地利大公查尔斯在西班牙王位继承战争中塑造了自己的西班牙查理三世，

图片文件尺寸 : 5080 x 4062px

BIBLE IN ENGLISH: THE GREAT \"SHE\" BIBLE.:The Holy Bible, Conteyning the Old Testament, and the New. London: Robert Barker, [1613] - 1611. Folio (390 x 257 mm). title and final leaf supplied in facsimile, lacking 2 quires A and F, and with 19 leaves supplied from a later edition, engraved map of Canaan by John Speed, loosely inserted, and with its margins restored with some loss. Title to New Testament title dated 1611, set within wide woodcut pictorial borders, wood-cut head and tail pieces, calendar and almanack printed in red and black, occasional light toning, a few upper margins cut slightly close to border line. Paneled calf, antique, red speckled edges.
Collation: A1 (General Title, a facsimile of the He Bible and dated 1611), A2-4 (a2 margin slightly restored, a few restored holes affecting letters), B1-4, C1-6, D1-4: Quire A1-6 lacking (Title to genealogies and first 11 pages), B-E6, (Lacking quire F1-6), G-Z6, Aa-Zz6, Aaa-Zzz6 (rrr1 outer and lower margins torn with loss), Aaaa-Zzzz6, Aaaaa-Ccccc6;
New Testament: A-Z6 (with 15 leaves P1-6, S3-4, V5, X2-6 and Z3 all silked and damaged, and supplied from a shorter later edition, possibly the 1617 folio edition), 6A 1-5 supplied from another folio edition, 6A6 a facsimile leaf.
Provenance: Exhibited by Mr. Young (of Leicester, UK) in the early 20th Century, with a printed and manuscript exhibition label, containing manuscript notes on the typographical errors in the \"SHE\" Bible, the label loosely inserted at the front.

THE KING JAMES\' GREAT \"SHE\' BIBLE, THE SECOND FOLIO EDITION, with the reading in Ruth 3:15 corrected to \"She went into the citie,\" and with other errors including Matthew 26:36 where Judas appears for Jesus, but in this copy that error has been a corrected in an 18th century manuscript hand.

The King James Great Bible is considered to be the most important English Bible to have been printed. The biblical scholar Francis Fry described the \"SHE\" Bible as the first edition second issue without reprints, printed within two years of the first issue to correct typographical errors that were found in the text. The King James Bible was drawn up to reconcile the versions of the bible used by the Clergy, on the one hand, and the laity on the other. The translators, who numbered around 50, were divided into committees based in Oxford. Cambridge and London, and they were instructed to take the Bishops Bible as their basis and then consult with Tyndale\'s, Coverdale\'s, Matthew\'s, Whitchurch\'s and the Geneva versions to come up with an authorized text. This copy, although with facsimile first and last leaves, and two quires lacking, is substantially complete. \"From about the middle of the seventeenth century until the appearance of the Revised Bible of 1881-5, the King James\' version reigned without rival\"(Herbert 319). cf. PMM 114; STC 2224.

英语圣经：伟大的“她”圣经。 《圣经》、《旧约》和《新约》。伦敦：罗伯特·巴克，[1613]-1611。