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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

图片文件尺寸 : 3949 x 5699px

GESNER, CONRAD. 1516-1565.:Medici Tigurini Historiae Animalium Liber IIII. qui est de Piscium Aquatilium animantium natura. Zurich: Christopher Froschover, 1558.
Folio (392 x 245 mm). Woodcut printer\'s device on title page, numerous woodcut illustrations in text. 20th-century quarter morocco and marbled boards. Light wear to covers, creasing to margin edges through first 100 leaves, library stamps on title and numerous internal pages, browning and spotting throughout.

FIRST EDITION. Gesner was a true renaissance man, who succumbed to the plague at the age of 49. His works were \"a great step forward and remained the most authoritative zoological book[s] between Aristotle and the publication of Ray\'s classification of fauna in 1693\" (PMM). Adams C598; Nissen ZBI 1553; Westwood Satchell, p 105.

康拉德州盖斯纳。1516-1565. Tigurini医学史Animalium Liber IIII。其来自鱼类和水生动物。苏黎世：克里斯托弗·弗罗肖弗，1558年。

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KIRCHER, ATHANASIUS. 1602-1680.:Naturliche und medicinalische Durchgrundung der laidigen ansteckenden Sucht, und so genanten Pestilentz. Augsburg: Jacob Koppmayer, 1680.
8vo (165 x 105 mm). [8], 302, [18] pp. Later half vellum and marbled boards, black morocco spine label; very faint dampstain to portion of text block and occasional light foxing, an attractive copy in custom cloth slipcase and chemise.
Provenance: \"Coll. Soc. Jes. Augsburg 1702\" inscription at head of title.

FIRST GERMAN EDITION of Kircher\'s groundbreaking work of epidemiology, an account of an outbreak of the bubonic plague in Rome, first published as Scrutinium Physico-Medicum (Rome, 1658). \"Kircher was probably the first to employ the microscope in investigating the cause of disease ... he was the first to state explicitly the theory of contagion by animalculae as the cause of infectious disease\" (Garrison-Morton). \"Kircher was perhaps the first to suggest that physicians themselves may spread the plague through unclean hands and instruments\" (Merrill). Garrison-Morton 5118; Krivatsy 6408; Merrill 15; Waller 5294.

阿塔纳修斯·基尔彻。1602-1680. 自然的和药物的渗透性，即所谓的鼠疫。奥格斯堡：雅各布·科普迈尔，1680年。

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ALCHEMY: ILLUSTRATED MANUSCRIPT.:An illustrated alchemical manuscript on paper, in German, \"Ver Rechten Alchemy,\" Germany, 15th century, 150 x 105 mm. 48 leaves, foliated 1-47, xliii in a contemporary hand, complete. Collation: [i + 1-412 + i], horizontal catchwords. 18-20 long lines, written in German cursive script, single vertical bounding lines faintly ruled in lead, written area: 100 x 75 mm. Chapter titles and single-line initials in red. 22 pages with illustrations of chemical apparatus in brown and red ink inserted into the text by the scribe. Occasional contemporary annotations in the margins and on f. 48r-v. (Occasional slight discoloration to blank margins of leaves.) Bound in a vellum wrapper: dimensions 157 x 114 mm.
Contents: ff. 1r-35v, Der rechter Alchamey. Recipe i tail reingold ii tail vera silber und iii tail kupfer purgiert ... so ist es gut; ff. 36r-48r, Das ist das puch das ysac seinem sun von Babilon sandt ... und wirt nymmer mer lebendig.

This small manuscript contains two treatises on alchemy, the first of which is liberally illustrated with depictions of chemical apparatus drawn by the scribe of the codex. The texts consist primarily of recipes for creating silver and gold from baser metals, a topic of considerable interest in the late Middle Ages and early modern period.

炼金术：插图手稿。 一份纸上有插图的炼金术手稿，德文，“Ver Rechten Alchemy”

图片文件像素：4600 x 3500 px

福图纳托·德佩罗-现代-

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(Fondo/Trient 1892–1960 Rovereto)
Mongolfiera sopra New Milford, 1948, Öl auf Leinwand, 80 x 105 cm, gerahmt

Im Herbst 1947 unternahm Depero einen weiteren Versuch, sich in Amerika zu etablieren. Er hoffte, mit „Buxus“ den Durchbruch zu schaffen, verbrachte jedoch den Winter 1947-1948, einen der kältesten in New York seit Menschengedenken, einsam und fast verhungert in einem Hinterzimmer eines Büros.
Für den Futurismus und sein eigenes Werk fand er nur Feindseligkeit und verschlossene Türen vor:
Glücklicherweise kam im Frühjahr 1948 auch seine Frau aus Italien nach und sie fanden Gastfreundschaft in einer schönen Villa in New Milford, Connecticut, etwa 150 Meilen von New York entfernt. Dort, inmitten der ländlichen Ruhe, fand er ein Gefühl der Gelassenheit und konnte hart arbeiten. „Die Natur“, schrieb er an einen Freund, „ist hier einfach ozeanisch. Wir sind von Hügeln mit üppiger Vegetation umgeben ... Wir sind eingetaucht in eine Palette von Grüntönen und Pflanzen aller Art ... Alles, was ich höre, ist das Rascheln der Blätter von sechs riesigen, typisch amerikanischen Pappeln. Nur wenige Autos fahren vorbei, denn wir befinden uns hier richtig auf dem Land mit riesigen Rinderherden ... Wenn ich daran denke, dass ich gestern sogar Rosetta und mich selbst nackt im Gras gemalt habe, während am Himmel über New Milford ein Heißluftballon vorbeiflog ...“

M. Scudiero, D. Magnetti, Depero Futurista, Turin 2004

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ASTRONOMY: MUENSTER AND OTHERS. :4 titles:
1. MUENSTER, SEBASTIAN. Horologiographia. Basel: Henric Petri, n.d. 4to (200 x 149 mm). Woodcut diagram on title page and numerous woodcut diagrams in text, folding manuscript astronomical diagram tipped in, with ink notations, and 2 inserted leaves with manuscript diagrams. Modern quarter calf and marbled boards. Some browning and staining, a few marginal tears with some repairs, edges of manuscript diagrams trimmed with some loss, worming through last gatherings starting at ff.
2. WING, VINCENT. 1619-1668; and WILLIAM LEYBOURN. 1626-1716. Urania Practica. London: R. Leybourn, 1649. 8vo (165 x 105 mm). Engraved frontispiece (bound after title page), folding letterpress table, woodcut illustrations in text. Modern quarter calf and mottled boards. Lacking leaf M4 and final leaf Ff4 (table of contents), large tear to S3 with loss of text and part of illustration, paper repairs to Ff2-3, ink ownership inscription of front flyleaf, browning and spotting.
3. RAMESEY, WILLIAM. 1627-1675. Astrologia Restaurata; or Astrologie Restored. London: Robert White, 1654. 4 parts in 1 volume. Folio (275 x 178 mm). Rebacked contemporary calf. Repairs to covers, title, following text leaf and G4 re-margined, lacking gathering A⁴, large old repair to margin of Gg4, dampstaining to outside margins, scattered browning and spotting, a few ink annotations.
4. SMYTH, WILLIAM HENRY. 1788-1865. The Cycle of Celestial Objects. London: John Bowyer Nichols and Sons, 1840. Folio (293 x 236 mm). 5 engraved plates and 1 color lithographed plate, wood-engraved illustrations in text. Late 19th/early 20th century morocco by Zaehnsdorf, ruled in gilt, spine gilt with 5 raised bands, green and black morocco lettering pieces. Heavily rubbed, some chipping to covers, joints tender, scattered foxing.

天文学：明斯特等人。 4个标题：

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RUSSIAN ART JOURNAL.:Zhar-Ptitsa/Jar-Ptitza [The Firebird]. Paris and Berlin: Russkoe Iskusstvo, August 1921-January 1926. 14 issues in 13 volumes (No. 4/5 double issue). 4to (315 x 240 mm). Illustrated in color and black and white, with many plates tipped in. Original color lithographed wrappers. Some issues missing spines with pages detached; internal tears and some loss.

A COMPLETE SET OF THE RARE RUSSIAN EMIGRE LITERARY ART MAGAZINE IN ORIGINAL ISSUES, reportedly no more than 300 copies were printed. Supplemental summaries of the numbers were provided in the back in a variety of languages including English. Zhar-ptitsa was the most influential art journal of the flourishing community of exiles who were feverishly trying to keep the culture of Old Russia alive. Due to paper shortages and extensive censorship by the Bolsheviks back in the USSR, the Russian book business was booming in Germany and France. This lavish periodical was the natural successor to S. Diaghilev\'s Mir iskusstva since many of those involved had been members of the World of Art Group and designers for the Ballets Russes. The rich selection subjects and contributors under A. E. Kogan\'s art department embraced L. Bakst, A. Benois, I. Bilibin, M. Chagall, S. Chekhonin, N. Goncharova, B. Grigoriev, B. Kustodiev, M. Larionov, V. Shukaev, K. Somov, S. Sudeikin and many other important artists. Poet Sasha Cherny was literary editor; and such important writers as L. Andreev, K. Balmont, I. Bunin, V. Khodasevich, B. Pilnyak, A. Remizov, N. Teffi, A.N. Tolstoi, B. Zaitsev, and the young Vladimir Nabokov (as \"V. Sirin\") appeared in its pages. Fekula called Zhar-ptitsa \"perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century.\" According to Vengerov, \"Even separate issues of the magazine, let alone complete sets of its issues, are a great bibliographic rarity.\" Fekula 5742; Vengerov Staraya russkaya kniga 105.

俄罗斯艺术杂志。 Zhar Ptitsa/Jar Ptitsa[火鸟]。巴黎和柏林：Russkoe Iskustvo，1921年8月至1926年1月。

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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，