图片文件尺寸 : 4576 x 5013px

JUDAICA.:Tractatus de Judaeorum et Christianorum communione et conversatione. [Basel: Martin Flach, not after 1474.]
Folio (282 x 210 mm). 16 leaves. 34 lines. Flach\'s type 1:117G. Initials in blue and red. Modern mottled calf. Some minor staining.

FIRST EDITION of the 1447 edict commanding that Jews convert to Christianity. Martin Flach began his career as a journeyman in Strassburg in 1472 before printing in his own name from 1487. RARE: according to American Book Prices Current only one other copy sold at auction in the past 45 years. BMC III,740; BSB-Ink T-411; Goff J-493; GW 7258; HC 9464.

犹大。 犹太人和基督徒在共同和对话中留下的痕迹。[巴塞尔：马丁·弗莱奇，1474年之后才开始。]

图片文件尺寸 : 4751 x 4352px

KOSAKU:Beauties of Spring and Winter
Taisho (1912-1926) or Showa (1926-1989) era
Of two-panel folding screen construction with two paintings in ink and colors on paper; on the right, the beauty of spring under a bough of green maple leaves holding a Japanese-style umbrella in a light rain while gazing at a field of irises, wearing a fresh green kimono with a cherry blossom-patterned lining; on the left, the beauty of winter under snow-coated sasa bamboo grass leaves glancing at nanten nandina sprouting up from under the snow, wearing a black kimono with a motif of prunus blossoms and narcissus flowers on the skirt; the right signed Kosaku hitsu and sealed Kosaku, the left signed Kosaku and unsealed
Right: 56 1/4 x 17 5/8in (142.9 x 44.7cm); Left: 55 7/8 x 18 1/4in (141.9 x 46.3cm)

科萨库语 春天和冬天的美丽大正或昭和时代

图片文件尺寸 : 5268 x 4130px

MERIAN, MATTHAEUS. 1593-1650.:Todten-Tanz / La danse des morts. Basel: Jean Rodolphe Imhof, 1756.
4to (204 x 158 mm). Text in French and German, French title page dated 1756, engraved German title page dated 1744, 43 engraved illustrations in text. Contemporary brokatpapier boards, rebacked in modern quarter morocco, depicting allegorical figures of spring and summer framed in foliate borders. Boards worn, corners bumped, top margin of German title page trimmed away to remove old ownership inscription (with visible offsetting on French title page), light spotting and minor stains.

Bilingual edition with French text by Jacques Anthony Chauvin, but with new plates created from the final state of Merian\'s original plates. The images reproduce parts of the Totentanz fresco (c.1440) that lined a cemetery wall in Basel. Merian\'s engravings, first published in 1621, made the fresco famous throughout Europe. The original fresco was demolished in 1805. Le Blanc III, p 31; Thieme-Becker XXIV, 412.

梅里安，马修。1593-1650. 托顿·坦兹/死亡之舞。巴塞尔：让·鲁道夫·伊姆霍夫，1756年。

图片文件尺寸 : 5417 x 4993px

A GOLD AND BLACK LACQUER DOCUMENT BOX:Edo period (1615-1868) or Meiji era (1868-1912) mid/late 19th century
Of standard form with rounded corners and slightly domed lid of inrobuta (flush-fitting) type, the black lacquer ground decorated in gold, aokin, and silver, hiramaki-e and takamaki-e with shell details, the exterior with one set of three and another set of four overlapping poem cards, decorated with young warabi (ferns); a courtier\'s gissha (ox-drawn carriage) by a wall overgrown with yugao (\"Evening Face\" flowers), alluding to the chapter with that title in Genji monogatari (The Tale of Genji); butterflies; rafts with sheaves of rice passing under a bridge; a pine tree; and suzumushi (bell crickets) on grasses; the reverse of the lid with a branch of flowering prunus growing from behind a rustic fence; the interior of the box lined with silk brocade
With wood tomobako storage box
15 3/4 x 12 x 5in (40 x 30.5 x 12.7cm)

金黑漆文件盒 江户时代或明治时代19世纪中后期

图片文件尺寸 : 4325 x 3927px

ORTELIUS, ABRAHAM. 1527-1598.:Breve Compendio dal Theatro Orteliano. Antwerp: Jan B. Vrients, 1502 [but 1602].
Oblong 8vo (110 x 142 mm). Engraved printer\'s device on title, engraved armorial dedication on verso of title, 122 engraved full-page maps plans. Rebacked contemporary brown morocco gilt, retaining original spine with three raised bands, all edges gilt. Wear and light soiling to covers, margins a bit trimmed, just touching first line of text on title page, light dampstaining, erased ink ownership inscription on title, paper repairs to title and last 2 leaves.

Italian edition of the \"pocket\" version of Ortelius\'s Theatrum, with plates made in the studio of Philip Galle, translated from the Latin by Giovanni Paulet d\'Anversa. Published 4 years after Ortelius\'s death, it bears the obviously erroneous publication date of 1502 on the title. Vrients added three plates of Celestial and Terrestrial maps from previous editions, and in this form it was published in Latin, Italian, Dutch, French, and English. Koeman IIIA 332:22.

亚伯拉罕，奥尔特利乌斯。1527-1598. 奥特利亚剧院的简短简编。安特卫普：Jan B.Vrients，1502年[但1602]。

图片文件尺寸 : 4261 x 4579px

ALCHEMICAL MANUSCRIPT.:Seventeenth-century English manuscript transcription of Thomas Norton\'s The Ordinal of Alchemy, 182 x 150 mm, 104 numbered pp, ink on paper, written rectos and versos, initial blank lettered \"A.a.a.a.b.b.b.c.c.d.d.,\" and two additional blanks at rear, [England, 17th-century]. Bound in modern paper wrappers.
Provenance: From the collection of Robert Raymo.

One of the most famous works of English Alchemy, the Ordinal is a 15th-century poem of 3000+ lines composed by Thomas Norton (c.1433–1513) the chief disciple of England\'s grandmaster of Alchemy, George Ripley (from whom Norton here says he \"learned all the secrets of Alkimy\"). The Ordinal is a broad-based work of alchemy discussing the philosopher\'s stone and the transmutation of the elements into gold, together with the medicinal aspects of alchemy; it additionally conveys specific information about the relevance of color, music, and the positioning of the planets to the alchemical process. The Ordinal was first published in English in Ashmole\'s Theatrum Chemicum Britannicum (1652). There are minor differences between this text and that printed by Ashmole, suggesting either a pre-1652 date of transcription or an alternative manuscript tradition. Only some 32 manuscript exemplars of this text are known to be extant.

炼金术手稿。 十七世纪托马斯·诺顿的《炼金法则》的英文手稿，

图片文件像素：5670 x 3940 px

克里斯托（Javacheff Christo，当代艺术I-

Christo * (Javacheff Christo) - Zeitgenössische Kunst I-

(Gabrovo, Bulgaria 1935–2020 New York)
Running Fence (Project for Sonoma County and Marin County, State of California) - Estero Road, 1975, signed, dated Christo 1975, fabric, pencil, charcoal, crayon, gouache and technical data collage on board, 55.5 x 70.5 cm, framed under plexiglass

This work is registered in the Christo and Jeanne-Claude Archives, New York.

We are grateful to Jonathan Henery, Christo and Jeanne-Claude Archives, New York, for his scientific support in cataloguing the work.

Provenance:
Studio of the artist
Joan Sonnabend, Obelisk Gallery Massachusetts, 1975
Villa Grisebach, Berlin, 29 November 2008
Private collection, 德国y

The installation Running Fence, which was installed in 1976 and lasted for 14 days, is considered one of the most impor¬tant early works by the famous artist duo Christo and Jeanne-Claude. Standing 5.5m tall and stretching over 39km across Sonoma County and Marin County in California. The white fabric billowed in the wind, reflecting light at a variety of angles and shades, cre¬ating dazzling, shimmering contours that cut across the landscape in soft yet sharp lines. The sheer beauty of the play of light and weather on the fence contrasted sharply with the theme of separation and boundary that fences generally convey. According to the artists, a fence embodies a larger theme of human freedom and limitation.

All costs of the project were covered with the sale of studies, preparatory drawings and collages, scale models and original lithographs. The artwork being auctioned off is an original drawing which was created in this process.

图片文件尺寸 : 4291 x 4774px

ARCHAEOLOGY AND ANTIQUITIES. :5 titles:
1. PATIN, CHARLES. Familiae Romane In Antiquis Numismatibus. Paris: 1663. Oblong 8vo. Engraved allegorical half-title, engraved dedication page, and 249 engraved plates. Contemporary calf. Crude older rebacking in pigskin, covers heavily chipped and stained, dedication page trimmed to plate line at lower margin, scattered staining and browning.
2. PERUCCI, FRANCESCO. Pompe funebri di tutte le nazioni del mondo. Verona: 1638. Folio. Engraved title page and 30 engraved illustrations in text. Modern quarter calf antique. Light soiling, especially to title page.
3. BIANCHINI, FRANCESCO. Camera ed inscrizioni sepulcrali. Rome: 1727. Folio. 7 engraved plates (2 folding). Contemporary vellum. Soiling to covers, foxing througout.
4. RAMBACH, JOHANN JACOB. Nachrichten zur Geschichte der herculanischen Entdeckungen. Halle: 1773. 8vo. Later marbled paper wrappers, hand-inked cloth lettering piece on spine. Wrappers warped, with tears, lettering piece loose, some rolling of corners, soiling and ink markings to title page, scattered spotting.
5. CHAMPOLLION, JEAN FRANÇOIS. Panthéon égyptien, collection des personnages mythologiques de l\'ancienne Egypte Paris: 1823. 4to. Original blue-green upper wrapper bound in as title page, 84 plates (83 hand-colored). Modern quarter morocco and cloth. Lacking 6 plates, lower margin of wrapper trimmed, foxing and offsetting.
6. SPIEGEL, FR. Die altpersischen Keilinschriften. Leipzig: 1881. 8vo. Gift inscription from the author on front paste-down. Contemporary quarter calf and marbled boards. Upper joint cracking, toning.
7. ERMAN, ADOLF. Aegyptische Chrestomathie. Berlin: 1904. 8vo. Hieroglyphic transcriptions. Publisher\'s cloth. Rubbed, ink notations on front flyleaf, some dampstaining.
8. WEBER, OTTO. Altorientalische Siegelbilder. Leipzig: 1920. 2 parts in 1 volume. 8vo. Numerous black and white photographic illustrations. Publisher\'s quarter cloth and printed boards. Some staining and spotting to covers, text portion in wrappers, loosely inserted into case.

考古和文物。 5个标题：

图片文件像素：5713 x 4685 px

托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly

图片文件像素：5822 x 4298 px

Hans Hartung，当代艺术I-

Hans Hartung * - Zeitgenössische Kunst I-

(Leipzig 1904–1989 Antibes)
T 1964 - E 40, 1964, signed, dated Hartung 64, titled and inscribed and with directional arrow on the stretcher, acrylic on canvas, 81 x 130 cm, framed

This work is registered at the Foundation Hans Hartung and Anna-Eva Bergman, Antibes, and will be included in the forthcoming Catalogue Raisonné being prepared by the Foundation Hartung Bergman, Antibes (confirmation via email 3. October 2022).

Provenance:
Galerie Kallenbach, Munich
Private collection, North Rhine-Westphalia
Ketterer Kunst, Munich, 18 June 2021, lot 302 - acquired there by the present owner

Hans Hartung\'s entire oeuvre is characterised by abstract, non-objective painting. This interplay of light and shadow, structure, texture and airiness would become the formative elements of his later works. The non-figurative painting T 1964 - E 40 offered here also belongs to his catalogue of work. The canvas is primed in yellow, the upper part of the painting is dipped in a rich black. Above this is a layer of dark blue paint splashes with white accents, which the artist has worked on with a steel brush and scraper. A particular focus of the work is the complementary contrast of blue and yellow as well as the contrast between surface and stroke. The pictorial space is composed of light, shadow and their contrast.

The multitude of brushstrokes and scratches, the result of the painter\'s activity on the canvas, represent Hartung\'s style of the 1960s. The compositional scheme of the work offered here is reminiscent of the depiction of fireworks. The rockets explode in the night sky and colour it a sulphurous yellow.

“The first and most important thing is to remain free, free in each line you undertake, in your ideas and in your political action, in your moral conduct. The artist especially must remain free from all outer restraints.”
Hans Hartung