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Dawit Abebe: X Privacy 3 (2011), X Privacy 4 (2014), X Privacy 5 (2014) (3)
mixed media on paper
140 x 100cm (55 1/8 x 39 3/8in). each.

达维特·阿贝贝 X隐私3，X隐私4，X隐私5 140 X 100cm。每个。

图片文件尺寸 : 2011 x 2665px

克里斯蒂安·威廉·恩斯特·迪特里希（Christian Wilhelm Ernst Dietrich）的《圣殿里的医生中的年轻基督》-Christian Wilhelm Ernst Dietrich

Young Christ among the doctors in the temple--Christian Wilhelm Ernst Dietrich (德国, 1712-1774)

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 : 3963 x 4636px

Julian Opie:Elena and Cressie get ready for the party 1, 2011
Screenprint in colors on Perspex with background inkjet print in colors on paper, signed in black ink and numbered 12/30 on a label affixed to the verso, published by Alan Cristea Gallery, London, the full sheet, in artist\'s frame.
sheet 30 1/3 x 24 1/8in (77.3 x 61cm)

朱利安·奥皮。 Elena和Cressie准备参加派对1

图片文件尺寸 : 4287 x 5029px

Julian Opie:Elena and Cressie Get Ready for the Party 6 (Alan Cristea Gallery 169), 2011
Screenprint in colors on Perspex with background inkjet print in colors on paper, signed in black ink and numbered 30/30 on a label affixed to the reverse (there were also 7 artist\'s proofs), published by Alan Cristea Gallery, London, the full sheet, contained in artist\'s frame.
30 1/3 x 24 1/8in (77.3 x 61cm)

朱利安·奥皮。 Elena和Cressie为派对6做好准备

图片文件尺寸 : 4336 x 3873px

Vera Lutter: Chephren and Cheops Pyramids, Giza: January 28, 2010, 2011
Photogravure on Rives BFK paper, signed in pencil, dated and numbered 11/12, published by Carolina Nitsch, New York, with the blindstamp of the printer Jon Goodman, Williamsburg, Massachusetts, with full margins, framed.
18 3/4 x 34 3/4in (47.6 x 88.2cm)
sheet 23 1/2 x 40 1/4in (59.6 x 102.2cm)

维拉·卢特 吉萨切夫伦和奇奥普斯金字塔：2010年1月28日

图片文件像素：4600 x 3500 px

伊夫·克莱恩，当代艺术I-

-

(Nizza 1928–1962 Paris)
Victoire de Samothrace, signiert mit Initialen und datiert Y. K.62, bezeichnet und nummeriert Lalique France 15/83, Lalique Kristall, in „verlorener Form“ gegossen,
49,5 x 22 x 24,5 cm

Dieses 1962 entworfene und 2011 ausgeführte Werk ist die Nummer 15 aus einer Edition von 83 + 10 E. A. + 7 H. C. Es wird in seiner Originalverpackung präsentiert und von einem Zertifikat begleitet, das von Rotraut Klein-Moquay, dem Archiv Yves Klein und Silvio Denz, CEO von Lalique SA, unterzeichnet ist

图片文件尺寸 : 4695 x 3948px

David Hockney:Rain on the Studio Window
iPad drawing in colours, 2009, printed on Epson Hot Press Natural paper, signed, dated and numbered 74/75 in pencil, the full sheet, loose (as issued), together with the volume David Hockney My Yorkshire: Conversations with Marco Livingstone, the colophon page signed and numbered 74/75 in pencil, from the deluxe edition published in 2011 by Enitharmon Editions (there was also a regular edition of 5000), in very good condition, within the original green fabric folio case

Sheet 559 x 432mm. (22 x 17in.); Folio 588 x 458 x 30mm. (23 1/8 x 18 x 11 3/4in.)

大卫·霍克尼 工作室窗户上的雨

图片文件像素：4431 x 4184 px

Enrico Castellani，当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017 Viterbo)
Superficie bianca, 1999, titled, signed and dated on the reverse, acrylic on shaped canvas, 80 x 80 cm

This work is registered in the Archivio Fondazione Enrico Castellani and is accompanied by a photo certificate of authenticity.

This work will be included in the forthcoming catalogue raisonné being prepared by the Archivio Fondazione Enrico Castellani

Provenance:
European Private Collection (acquired directly from the artist)

Castellani models the surface by acting on the nature of an “extraflexible” canvas. His project is based on one principle: refusing the planarity of the painting and aknowledging the properities of the medium: pliable, elastic, flexible. The materiality of the picture is Castellani’s works first subject.

This is what leads him to multiple experimentations from the most rectillinear geometry to the invention of random patterns scattered at will. The art of Castellani combines measure and rhythm, invention and technique.
Bernard Blisténe, Paris 2011

图片文件尺寸 : 4242 x 3809px

NUREMBERG CHRONICLE.:SCHEDEL, HARTMANN. 1440-1514. Liber chronicarum [in German: Das Buch der Croniken und Geschichten]. Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 23 December 1493.
Imperial folio (472 x 325 mm). 297 leaves (of 298, without final blank). 59-64 lines and headline, table and parts of the text in two columns. Types: 24:111G (text), 9:165G (headlines), c. 1809 woodcut illustrations printed from 645 blocks by Michael Wolgemut, Wilhelm Pleydenwurff and their workshop, including Albrecht Dürer, comprising 29 double-page town views, 8 full-page woodcuts and double-page maps of the World [Shirley 19] and of Europe by Hieronymus Münzer after Nicolas Khrypffs. Contemporary Nuremberg pigskin over wooden boards, stained pink, ruled and stamped in blind, upper cover lettered in German: \"Cronica von anfang der welt\" [\"Chronical of the beginning of the world\"] brass clasps and catch-plates. Some minor marginal tears and occasional light staining, a few leaves (138-150) with repair to inner margins slightly affecting woodcuts or text, leaf 281 loose, spine ends neatly repaired.
Provenance: Georg Frauenlob Landt, gift inscription to Wolfgang Häberl, dated 18 August 1599 (first numbered leaf verso); Häberl, Wolfgang (*1553) from Berchtesgaden, Pastor of the parish church of St. Martin in Thalgau, and motto dated 1595 (inscription \"Sum ex libris Wolfgangi Häberl Berchtersgadiam / Ecclesiae parochialis S. Martini in Talgeio Pastoris. / Honesti cultor uirtute content. 1599\" on title page).

FIRST EDITION IN GERMAN of the Nuremberg Chronicle, printed in the same year as the Latin edition. The German and Latin editions were planned simultaneously, with the German edition of Georg Alt\'s translation appearing five months after the Latin edition. A TALL COPY of the most extensively illustrated book of the 15th century. The 29 large double-page city views, many illustrated for the first time, are accurate in depicting distinguished features of each city. In addition, it includes many details of 15th-century daily life: carpenters with their tools, astronomers and their instruments, a chess player, archers, bridges, derricks, dishes, furniture, windmills, ships, beds, houses, fortifications, weapons, tents, wharves, ferries, books, drawing materials, dogs, horses, and other animals, as well as costumes. Hartmann Schedel\'s Nuremberg Chronicle epitomizes \"the commercial sophistication, economic power and technical virtuosity that brought the art of print to this extraordinary climax\" (Pettegree). Reference: BMC II 437; BSB-Ink. S-197; Bod-Inc. S-110; Goff S-309; GW M40796; HC *14510; Pettegree, The Book in the Renaissance, New Haven, 2011 p. 42; Reske, The Production of Schedel\'s Nuremberg Chronicle Wiesbaden, 2000; Ellen Shaffer The Nuremberg Chronicle, Los Angeles, 1950; Wilson, The Making of the Nuremberg Chronicle Amsterdam, 1976.

纽伦堡编年史。 Liber chronicarum[德语：《克洛诺斯和故事书》]。纽伦堡：Anton Koberger代表Sebald Schreyer和Sebastian Kammermeister，1493年12月23日。