图片文件尺寸 : 4134 x 5463px

Follower of Francesco Giambattista da Ponte, called Francesco Bassano:Summer; Autumn; and Winter
three of a set, oil on panel
45.6 x 57.6cm (17 15/16 x 22 11/16in)., 46.2 x 57.6cm (18 3/16 x 22 11/16in) and 45.6 x 57.6cm (17 15/16 x 22 11/16in). (3)

弗朗西斯科·詹巴蒂斯塔·达·庞特的追随者，名叫弗朗西斯科·巴萨诺 夏天秋天冬季分别为45.6 x 57.6厘米、46.2 x 57.6毫米和45.6 x 5.76厘米。

图片文件尺寸 : 5350 x 4620px

Helen Bradley:\"And what\" said Bruce Sharman, \"is your Aunt saying to Miss Carter\"
inscribed with fly monogram (lower left); further signed, inscribed and dated \'\"and what\" said Bruce Sharman, \"is your Aunt saying to/Miss Carter (who wore Pink) ... \'Ha\', I said, \"how I/remember poor Miss Carter turning pale at the/thought of Grandpa rowing us all back across/Windermere to the station at Lake Side\"/\"Dont worry\", said Aunt Frances, \"you\'ll be quite alright\"/and Mother gave her a comforting pat, \"but what/a pity\", said Aunt Mary Aunt Charlotte\", the/mist hasnt cleared\". Grandpa Grandma had/taken us for a days outing from Blackpool/and while at Town Head, he bought a pony/called Zober for us and the year was 1907./Helen Layfield Bradley. July 26th. 1970.\' (on a label attached verso)
oil on canvas laid on board
45.7 x 61 cm. (18 x 24 in.)

海伦·布拉德利 布鲁斯·沙曼说：“你阿姨对卡特小姐说的是什么？”45.7 x 61厘米。

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 : 4635 x 5656px

BRUNSCHWIG, HIERONYMUS. 1450-1512. :Liber pestilentialis de venenis epidemic. Das buch der vergift der pestilentz. [Strassburg]: Johann Grüninger, 19 August 1500.
Folio (290 x 208 mm). 38 leaves (of 40: lacking numbered leaves III and IV), gothic letter, 2 columns, 42 lines and head-line, 21 (of 23) woodcuts, 8 of which are very large. Modern calf. Some light worming to title and first few leaves with worming affecting woodcut, some dampstaining to lower margin. Modern calf.

FIRST EDITION. The most important work on the plague published in the 15th century. Brunschwig was a German surgeon and botanist. Among his other influential book was the Liber de arte distillandi de simplicibus also called Kleines Destillierbuch. Very rare, according to American Book Prices Current, only this copy sold at auction (1982) in the past 45 years. BMC I:115 (IB 1501); BSB-Ink B-933; GW 5596; Klebs 228.1; Goff B-1228; HC 4020.

BRUNSCHWIG，卫矛。1450-1512. 委内瑞拉鼠疫流行。毒害瘟疫的书。[斯特拉斯堡]：约翰·格里宁格，1500年8月19日。

图片文件尺寸 : 5296 x 4201px

DAGUERRE, LOUIS JACQUES MANDÉ. 1787-1851.:Historique et description des procédés du daguerréotype et du diorama. Nouvelle edition, corrigée, et augmentée du portrait de l\'auteur. Paris: Alphonse Giroux et Cie, 1839.
8vo (211 x 130 mm). Half-title, engraved portrait, 6 engraved plates. 19th-century morocco-backed patterned paper boards.

FIRST COMPLETE EDITION (SECOND EDITION) OF ONE OF THE MOST IMPORTANT WORKS IN THE HISTORY OF PHOTOGRAPHY, also called first edition, eighth issue, the first with the portrait of Daguerre. Printing and the Mind of Man 318b. Hoblit/Grolier No. 21a (4th issue). Norman 569.

达盖尔，路易斯·雅克·曼德勒。1787-1851. Daguerreotype和Diorama工艺的历史和描述。新版本，更正，增加了作者的肖像。巴黎：阿尔方斯·吉鲁克斯等人，1839年。

图片文件尺寸 : 4639 x 4857px

DIGGES, LEONARD. C.1515-1559.:A geometrical practical treatize named Pantometria, divided into three bookes.... London: Abell Jeffes, 1591.
Small folio (268 x 178 mm). Engraved vignette on title page, 2 large woodcut coats-of-arms, numerous woodcut initials, illustrations, head- and tail-pieces in text, errata leaf at end. Modern quarter calf antique and marbled boards, edges gilt, large bookplate and blue morocco blind-stamped coats-of-arms cut from earlier binding and laid down to front endpapers. Marginal paper repairs to some edges and corners, lacking initial blank, dampstaining from leaf D1 to end, old ink ownership inscriptions to title, ink marginalia, minor soiling and staining.
Provenance: Sir William Stirling-Maxwell [1818-1878] (bookplate).

Second edition, but considered superior to the first, as it was greatly expanded by the author\'s son, Thomas Digges (c.1546-1595). This work on practical applied geometry contains the first description of the theodolite, one of Leonard Digges\'s inventions, and the earliest description of what we would come to call the telescope. In this addition, Leonard Digges has added sections on navigation, ballistics, and pyrotechnics. Cockle 16; ESTC S107357; Tomash Williams D54.

迪吉斯，莱昂纳德。C、 1515-1559页。 一本名为《Pantoletria》的几何实用论文，分为三本……伦敦：阿贝尔·杰夫斯，1591年。

图片文件尺寸 : 4640 x 4271px

Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件尺寸 : 4614 x 4383px

Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to the backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件尺寸 : 4427 x 5042px

CASTELL, WILLIAM. D. 1645. :A Short Discoverie Of the Coasts and Continent of America. London: [no printer], 1644.
8vo (163 x 94 mm). Title and dedication supplied in early expert manuscript facsimile (see below), and signature B (4 leaves) lacking, some pagination along top edges shaved, four leaves at beginning repaired along upper margin twice affecting first line of text, a few other small repairs. 19th century calf gilt by Pratt, hinges split, light rubbing to spine ends and corners.
Provenance: Henry Stevens (bound by W. Pratt for H. Stevens, 1860, binder\'s stamp on front free endpaper, his sale \"Bibliotheca Americana\" Puttick and Simpson, 7 March, 1861, lot 514); Anson Phelps Stokes (1838-1913) bibliographer (bookplate, his sale Parke-Bernet, New York, 15 November 1948, lot 58).

FIRST EDITION, THE MOST ACCURATE ENGLISH DESCRIPTION OF NEW YORK BEFORE 1650, from the collection of noted bibliographers and Americana collectors Henry Stevens and Anson Phelps Stokes. The full title reads: A Short Discoverie Of the Coasts and Continent of America, From the Equinoctiall Northward, and of the adjacent Isles. Whereunto is prefixed the Authors Petition to this present Parliament, for the propagation of the Gospell in America; attested by many eminent English and Scottish Divines. And a late Ordinance of Parliament for that purpose, and for the better government of the English Plantations there. Together with Sir Benjamin Rudyers Speech in Parliament, 21. Jan. concerning America. Stevens states that this work \"should find a place in every collection of the so-called \'Eliot Tracts,\' for herein is contained the embryo idea or suggestion that Parliament should recognize the benefits to be derived by the colonies from cultivating the friendship of the Indians. EXCEEDINGLY RARE, only one other copy sold at auction (according to American Book Prices Current) in the past 45 years. Church 461; OCLC : 1238118938; Sabin 11398; Stevens, Bibliotheca Americana Vol 1, p 123; Wing C-1231.

威廉·卡斯特尔。D、 1645年。 美国海岸和大陆的短暂发现。伦敦：（没有打印机），1644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.