图片文件尺寸 : 5365 x 5131px

John Duncan RSA RSW:The Legend of Orpheus, design for mural
Triptych on three sheets of paper;

(a) Orpheus tames Cerberus, and leads Eurydice from the lower world,
signed with monogram (lower left)
watercolour
80 x 30 cm. (31 1/2 x 11 13/16 in.)

(b) Orpheus plays before Pluto and Persephone, and looks back to Eurydice
signed with monogram and dated \'95 (lower right)
watercolour
80 x 51.5 cm. (31 1/2 x 20 1/4 in.)

(c) Eurydice is returned to the lower world, and Orpheus\' head and lyre float down the Hebrus
signed with monogram (lower left)
watercolour
79 x 28.5 cm. (31 1/8 x 11 1/4 in.)
(3)

约翰·邓肯RSA RSW 奥菲斯传说，壁画设计

图片文件尺寸 : 3899 x 4126px

English School:Portrait of a lady, three-quarter length, in a black dress, a white ruff and holding a fan
oil on canvas
95.7 x 74.3cm (37 11/16 x 29 1/4in).
unframed

英语学校 一位女士的肖像，四分之三长，身穿黑色连衣裙，戴着白色荷叶边，手里拿着一把未镶框的扇子

图片文件尺寸 : 5164 x 5369px

Richard Diebenkorn:Clubs and Spades (8 works), 1981
A group comprising eight etchings and aquatints on wove paper, five in colors, each initialed in pencil, each dated and numbered 24/35 except for Combination which is numbered 24/40 (there were also 11 artist\'s proofs), each with the blindstamp of the publisher Crown Point Press, Oakland, California, each with full margins, each framed. (8 works)

Titles Include:
Black Club, Blue Club, Card Game, Combination, Oakland Image, Spreading Spade, Tri-color, Tri-color II
assorted images from 13 1/2 x 9 1/2in (34.3 x 24.1cm) to 19 x 18in (48.2 x 45.7cm)
assorted sheets from 30 x 22 1/2in (76.2 x 57.2cm) to 37 1/2 x 30 3/4in (95.2 x 78.1cm)

理查德·迪本科恩 梅花和黑桃

图片文件尺寸 : 4464 x 4846px

Maqbool Fida Husain:Untitled (Horses with Two Figures); Untitled (Brown and Black Horse); Untitled (Horses); Untitled (Horses);Untitled (Red and White Horses); Untitled (Yellow and Green Horses) 66 x 101.5 cm (26 x 39 15/16 in); 78.5 x 56 cm (30 7/8 x 22 1/16 in); 89 x 63.5 cm (35 1/16 x 25 in); 72 x 101 cm (28 3/8 x 39 3/4 in); 86 x 61 cm (33 7/8 x 24 in); 72 x 101 cm (28 3/8 x 39 3/4 in)
signed upper right, numbered 35/125; signed lower right in pencil, numbered 28/100; signed upper left in pencil, numbered 35/125; signed upper left in pencil, numbered 95/125; signed lower right, numbered 25/100; signed upper right, numbered 45/100
serigraph on paper

马克布尔·费达·侯赛因 无 题无 题无标题无 题

图片文件尺寸 : 3936 x 3156px

科内利斯·范·波伦布尔（Cornelis Van Poelenburch）的《葡萄藤下的酒神、维纳斯和谷神星》（Bacchus，Venus and Ceres）与普蒂、仙女和萨提尔（satyrs）一起在田园风光中-Cornelis Van Poelenburch

Bacchus, Venus and Ceres under a grapevine in a pastoral landscape with putti, nymphs and satyrs--Cornelis Van Poelenburch (荷兰, 1594/95-1667)

图片文件尺寸 : 4116 x 4037px

Gustave Baumann: Winter Corral, (Chamberlain 160), 1940
Woodcut in colors, on wove paper, signed in pencil, titled, dated \'61\' and numbered \'II 95/125\', from the third (final) edition printed in 1961, with the artist\'s Hand-in-Heart inkstamp, with margins, in a replica Baumann frame.
12 7/8 x 12 7/8in
sheet 17 1/8 x 14 3/8in
framed 21 x 22in

古斯塔夫·鲍曼 温特科拉尔，1940年12 7/8 x 12 7/8英寸薄板17 1/8 x 14 3/8英寸框架21 x 22英寸

图片文件尺寸 : 4145 x 4085px

ADAMS, GEORGE. 1750-1795.:Essays on the Microscope; Containing a Practical Description of the Most Improved Microscopes.... London: Printed for the author, by Robert Hindmarsh, 1787.
4to (285 x 230 mm). Mezzotint frontispiece. Contemporary half calf and marbled boards; front joint starting.
WITH: Plates for the Essays on the Microscope. London: Robert Hindmarsh, 1787.
4to (275 x 220 mm). 32 engraved double-page plates. Modern buckram cloth. Pl 3 detached from mount, foxed throughout, heavy in places.

FIRST EDITION of this work on microscopy by George Adams, Jr. (1750-95), who succeeded his father, George Adams, Sr. (1709-73), as mathematical instrument maker to George III. Nissen ZBI 24.

乔治亚当斯。1750-1795. 显微镜论文包含最先进显微镜的实用描述……伦敦：罗伯特·辛德马什为作者印刷，1787年。

图片文件尺寸 : 5426 x 6025px

ALCYONIUS, PETRUS (PIETRO ALCIONIO). C.1487-1527.:Medices legatus de exilio. Venice: Aldi, 1522.
4to (210 x 134 mm). Woodcut printer\'s device on title and colophon. 20th century red morocco, ruled in gilt, with gilt printer\'s devices reproduced on both covers, marbled endpapers. Some wear to joints, old ink notations, scattered browning and spotting.
Provenance: Giorgio di Veroli (1890-1952, bookplate).

Alcyonius, a Venetian classicist scholar under the patronage of Pope Clement VII, was appointed Professor of Classical Greek at the University of Florence in 1522. That same year, he published this work, written in the form of a dialogue whose thesis is that exile is not an evil. It was written in elegant Latin, reminiscent of Cicero, which lead to a personal enemy accusing him of secretly plagiarizing passages from Cicero\'s lost work De Gloria, and then destroying the only existing copy of the original to hide his plagiarism. Though the accusation was groundless, it did irreparable harm to his reputation. Adams A633; Brunet I, 153; Renouard 95/6.

佩特鲁斯，阿尔乔尼乌斯。C、 1487–1527年。 流亡的手段。威尼斯：阿尔迪，1522年。

图片文件尺寸 : 4255 x 5369px

MOFFETT, THOMAS. 1553-1604.:Insectorum sive Minimorum animalium theatrum. London: Thomas Cotes for William Hope, 1634.
Folio (297 x 194 mm). Large woodcut vignette on title, numerous woodcut illustrations (including 4 unnumbered full-pages at end). Contemporary calf, rebacked. Covers scuffed, light soiling around edges of title, scattered browning and spotting.
Provenance: Arthur Hugh Smith-Barry [Anglo-Irish Baron, 1843-1925] (Marbury Hall bookplates); Oliver Howard [English bookseller and Managing Director of Bernard Quaritch, 1905-1961] (bookplate).

FIRST EDITION of \"the first book about insects published in Britain\" (Salmon, Aurelian Legacy, p 95). Compiled in the late 16th century by Moffett, who is often mistakenly said to have used a microscope in his observations, but in fact made the highly accurate woodcuts with the naked eye. Sir Theodore Turquet de Mayerne published the work posthumously from the manuscript, which is preserved today in the British Library. The illustration of the American Swallowtail on p 98 is the first printed representation of an American butterfly. There are three variant imprints, this example with p 48 incorrectly numbered 52, but these variants do not indicate a chronology — simply that the edition was shared among booksellers. Garrison-Morton-Norman 288; Lisney 3; Nissen ZBI 2852; STC 17993a.

托马斯，莫费特。1553-1604. 昆虫或最小玩家。伦敦：托马斯·科茨为威廉·霍普创作，1634年。

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.