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《一只站立的山羊和一只躺在小树旁的山羊》-Pieter Gerardus van Os

一只站立的山羊和一只躺在小树旁的山羊--Pieter Gerardus van Os (荷兰, 1776-1836)

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坐着的麦当娜，右转，抱着躺在尼古拉斯·德·普拉特蒙塔涅膝上的基督-Nicolas de Plattemontagne

坐着的麦当娜，右转，抱着躺在膝盖上的基督--Nicolas de Plattemontagne (法国, 1631 - 1706)

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Karel Appel: Bedized Pudding Canadian Suite, 1979
The complete suite of 6 mixed media prints with embossing in color on Arches paper, 5 signed, 4 dated and all numbered 113/130, with the blindstamp of the publisher Editions Canada, London, Ontario, each with full margins, housed in the original screenprinted fabric-covered portfolio.
Titles Include: Lying in Red; The Falling Face; Purple Owl; Face; Sound; The Soft Oriental (6 works)
each 30 5/8 x 20 7/8in (77.8 x 53cm)
each sheet 35 x 26in (88.9 x 66cm)

卡雷尔.阿佩尔 床上用品布丁加拿大套房

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克里斯托弗·威廉·埃克尔斯伯格的《科尔维特号加拉西娅号》（The Corvette“Galathea”）为了向圣让号旅（Brig“St Jean”）提供帮助而撒谎-Christoffer Wilhelm Eckersberg

科尔维特号加拉西亚’撒谎以向Brig’发送帮助圣让’--Christoffer Wilhelm Eckersberg (丹麦, 1783 – 1853)

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Karel Appel:Bedized Pudding, Canadian Suite (6 works), 1979
The complete suite of 6 mixed media prints with embossing in color on Arches paper, each signed in pencil, each dated and each numbered AP VII/ XXV (aside from an edition of 130), with the blindstamp of the publisher Editions Canada, London, Ontario, each with full margins, housed in the original screenprinted fabric-covered portfolio.
Titles Include: Lying in Red; The Falling Face; Purple Owl; Face; Sound; The Soft Oriental (6 works)
each 30 5/8 x 20 7/8in (77.8 x 53cm)
each sheet 35 x 26in (88.9 x 66cm)

卡雷尔.阿佩尔 床上用品布丁，加拿大套房

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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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马格努斯·普莱森，当代艺术I-

Magnus Plessen * - Zeitgenössische Kunst I-

(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher

Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above

Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)

The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

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JUDAICA.:PORCHETUS. d.1315. Victoria Porcheti aduersus impios Hebręos. Paris: Guillaume Des Palins for Gilles de Gourmont and Francois Regnault, 1520.
4to (266 x 187 mm). 18th-century red morocco, gilt. Custom cloth chemise, red moroccco-backed slipcase.

One of the rarest and most notorious works of anti-semitism, Porchetus here seeks to combat the scandalous content of the Toledot Yeshu (Chronicles of Jesus), a scurrilous \"alternative biography\" of Jesus. In Toledot Yeshu, Jesus\'s power is attributed to his knowledge of \"the Ineffable Name\" of God, and Porchetus explores the secret doctrine of the Tetragrammaton at considerable length in his book – thus paradoxically becoming one of the first printed works to publicly disseminate knowledge of the Kabbalah. Martin Luther read Porchetus\'s text and used it as the primary source for his 1543 treatise \"On the Ineffable Name and on the Chronicles of Jesus [Toledot Yeshu],\" which he appended to his brutally anti-semitic text \"On the Jews and their Lies.\"

犹大。 维多利亚·波切蒂·阿杜尔苏斯·impios希伯来语。巴黎：吉尔斯·德·古尔蒙特和弗朗索瓦·雷纳德的纪尧姆·德·帕林斯，1520年。

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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.

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LOBEL, MATTHIAS DE. 1538-1616. :Plantarum seu Stirpium Historia [Bound with]: PENA, PIERRE and MATTHIAS DE LOBEL. Nova stirpium adversaria. Antwerp: Christopher Plantin, 1576.
Folio (315 x 225 mm). 2 parts in 1. Title within woodcut architectural border, woodcut illustrations by Antonii van Leest, Gerard Janssen van Kampen, et al. throughout, pasted-in illustrations on R3r and R4v, second work with 2 pasted-in illustrations on X6v and Ll2v, and 3 slips with woodcut illustrations tipped onto A6, C5 N4. Contemporary blind-tooled pigskin over beveled wooden boards, roll-tooled roundels of Luther, Erasmus and Melancthon on upper and rear boards, paper spine label, metal clasps; covers soiled, paper repairs to title, occasional toning and foxing.
Provenance: ink drawing of palm tree with ms notes by an early owner on rear paste-down; \"Kroeber\" (signature to front free endpaper); Naturforschende Gesellschaft (ink stamp on title).

FIRST EDITION OF LOBEL\'S STIRPIUM OBSERVATIONES AND THE SECOND, ENLARGED ISSUE OF NOVA STIRPIUM ADVERSARIA. The first work is a companion to the Nova Stirpium Adversaria, \"one of the milestones of modern botany\" (DNB), first published in London 1570-1 by Thomas Purfoot. Plantin purchased 800 copies of the London printing, re-issuing the original sheets with a new title page and expanded end matter and publishing it together with the first edition of De Lobel\'s Plantarum seu Stirpium Historia. \"The chief importance of this herbal lies in its system of classification which is better than that used by any contemporary botanist\" (Hunt I, p 28). Hunt 126-7; Nissen BBI 1218; Pritzel 5548.

洛贝尔，马蒂亚斯·德。1538-1616年。 Plantarum seu Stirpium Historia[绑定]：PENA、PIERRE和MATTHIAS DE LOBEL。对抗性新星。安特卫普：克里斯托弗·普兰廷，1576年。