图片文件尺寸 : 4279 x 4681px

MÜNSTER, SEBASTIAN. 1489-1552.:Cosmographey, oder beschreibung aller lander ... jetzunder biss auff das M.D.LXIIII. jar vyl gemehret. Basel: Henrichum Petri, 1564.
Folio (312 x 207 mm). 14 double page maps, 41 double-page plans and views (3 extended and folded) in collation; folding table at Ddd3; register bound before the 14 maps. Contemporary panelled pigskin, recently rebacked in morocco, lacking straps, and one clasp from rear board, rubbed. Title page re-margined, and re-inserted on stub, numerous marginal repairs to leaves throughout, only sometimes affecting text, staining; plate, \"Die statt kom in aller Weldt\" (K1-2), stained from censor\'s ink applied to engraving on verso; plate \"Die Statt Heidelberg\" trimmed at outer margin, re-cornered with loss; \"Die Statt Frankfurt\" trimmed at left margin (Ooo4); plate \"Die Statt Wyen...\" trimmed at outer edge (Ppp 2), with loss.

A complete copy of an early edition in German of the book that \"sealed the fate of \'America\' as the name of the New World\" (Burden 12). Münster\'s map of the Americas is the first to show America in its correct continental form, and the first to name the Pacific Ocean. While it first appeared in Münster\'s Geographia in 1540, it was its appearance in the 1544 Cosmographia that crystalized the name \"America\" in the popular lexicon. The hugely popular and influential work was created collaboratively, with Münster reaching out to international scholars to provide information on their localities. Sabin 51390.

塞巴斯蒂安先生。1489-1552. Cosmographey，或所有着陆者的描述，现在咬了M.D.LXIII。jar vyl宝石。巴塞尔：亨利·彻姆·佩特里，1564年。

图片文件像素：4698 x 4418 px

Heinz Mack，当代艺术I-

Heinz Mack * - Zeitgenössische Kunst I-

(born in Lollar, Hessen 1931)
Wing relief, 1989, signed, dated Mack 89, on the reverse again signed, dated, inscribed and with directional arrow, relief of aluminum grid, board and mirror, 81.5 x 101.5 cm, framed

Certificate:
Atelier Mack, Mönchengladbach, signed by the artist

Provenance:
Private Collection, Rhineland Palatinate
Private Collection, North Rhine-Westphalia - acquired from the above in 2006
Private Collection, Venice
Ketterer Kunst, Munich, 5 December 2006, lot 335

Literature:
Exhibition catalogue Galerie Ludorff, Düsseldorf 2020, p. 88

The Zero artist Heinz Mack discovered the effect of light on a piece of aluminium foil by accident. When he stepped on a piece of the foil lying on the floor, he created a carpet of light, a light reflector with the embossed pattern of his sisal carpet. This showed him how the light from the aluminium foil refracts and at the same time reflects the embossed pattern of the carpet. From then on, the effect of light in his works played a decisive role for Heinz Mack in the conception of his art. The character of the reliefs is that they capture the light and at the same time return it to the room.

The work offered here is from the series of so-called ‘wing reliefs’ (Flügelreliefs). Here Mack - unlike in his painting - does not experiment with colour, but with material and form, with the reflection and location of the viewer in the work. Mack uses a fine-meshed flexible expanded metal aluminium fabric for his wing reliefs, originally created for the aerospace industry. Its technical materiality allow the metal mesh to be given soft contours and to form varied patterns from the individual honeycombs. The artistic intention of making light, structure and movement visible is accentuated in a special way in the wing reliefs by the fine structure of the honeycomb fabric.

The structure of the relief allows the viewer to experience the refraction of light from different angles anew each time. The light refracts in the depths of the honeycombs and captivates the viewer.

图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

图片文件尺寸 : 5004 x 3920px

POGANY, WILLY. 1882-1955.:14 costume designs for The Thunderbird, one-act Aztec ballet choreographed by Michel Fokine with libretto by his wife Vera Fokina, performed in the revue Get Together, opened at the New York Hippodrome, September 3, 1921, watercolor, gouache and silver paint over pencil, 13 measure 480 x 348 mm (19 x 13 5/8 inches); and one for Vera Fokina measuring 535 x 370 mm (20 1/2 x 14 1/2 inches), all but one signed \"Willy Pogany\" and four with Fokine\'s autograph pencil notation \"O. K./ M. Fokine,\" with additional manuscript notes in Russian and English, many in his hand, on versos, various date labels affixed to the versos, fabric samples to the verso of one, some chipping to corners, minor soiling. Housed in custom cloth box, morocco title label Willy Pogany 1882-1955 on spine.

FINE COLLECTION OF POGANY COSTUME DESIGNS FOR FOKINE\'S THE THUNDERBIRD. Hungarian-born artist Willy Pogány was one of the most versatile artists of the early 20th Century. He first gained fame as an exceptional children\'s and other gift book illustrator after he moved to London in 1908. Ten years later he came to the United States where he became a prolific contributor to books and magazines and a busy set and costume designer for Broadway, the Metropolitan Opera and the movies. His murals graced theaters and apartment buildings. In Hollywood, he was art director for many motion pictures including Dames, Dante\'s Inferno, Kid Millions and Wonder Bar. Walter Lantz\'s Technicolor animated short Scrambled Eggs (1939) featured Pogány\'s Peterkin, a mischievous satyr.

Michel Fokine (1880-1942) was one of the most influential dancers and choreographers of the Modern Era. Sergei Diaghilev made him resident choreographer of the Ballets Russes in 1909. Among his greatest ballets for this company were The Firebird (1910); Petrushka (1912); and Le Spectre de la Rose (1911) in which Nijinsky danced the lead role. He and his wife, ballerina Vera Fokina, left Russia in 1918. After the triumphal 1918 New York debut of Rimsky-Korsakov\'s opera Le Coq d\'or at The Met as a ballet by Fokine with sets and costumes by Pogány (\"as mad as Trotzky [sic] and twice as exhilarating\"), the choreographer and his designer teamed again for a new ballet based on an Aztec legend. The Thunderbird was the highlight of Dillingham\'s oddly assorted Broadway revue Get Together. Fokina was responsible for the libretto; and she and her husband danced as Princess Nahua and Atzlan. The music was a selection from Russian composers Borodin, Glinka and Tchaikovsky, and Fokine also choreographed a ballet on ice for the show based on \"The Red Shoes.\" \"Fokine has done a gorgeous piece of choreography, and Mr. Pogany has given it setting and costumes that surpass anything he has heretofore done, not even his \'Coq d\'Or.\' The story of the princess released by love from the power of a wizard and her union with her warrior lover is beautifully told\" (New York Tribune, Sept. 5, 1921). The Thunderbird was like a Native American Firebird. Perhaps the loveliest of Pogány\'s designs was for Fokina\'s princess, a silver costume with white ostrich plumes.

帕甘，威利。1882-1955. 《雷鸟》（The Thunderbird）的14件服装设计，由米歇尔·福金（Michel Fokine）编舞，由其妻子维拉·福金娜（Vera Fokina）演唱剧本，是一幕阿兹特克芭蕾舞剧，于1921年9月3日在纽约竞技场开幕，