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Enrico Castellani，当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017Viterbo)
Superficie bianca, 1986, acrylic on canvas, 180 x 208 cm

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

Provenance:
Lorenzelli Arte, Milan (stamp on the reverse)
L. Lanfranchi Collection, Milan
European Private Collection

Exhibited:
Milan, Enrico Castellani, Lorenzelli Arte, March 1986, exh. cat. p.24 with ill.
Parma, Castellani, Galleria Niccoli, 3 December 1988–30 January 1989 exh. cat. p. 33 with ill.

Literature:
E. Pontiggia, Enrico Castellani, exh. cat. Valente Arte Contemporanea, Finale Ligure (Savona), 1988 with ill.
R. Wirz, F. Sardella, Enrico Castellani. Catalogo Ragionato, Opere 1955–2005, Skira, Milan 2012, vol. I, p. 212 with col. ill., vol. II, p. 482, no. 604 with ill.

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Grandma Moses:May, Making Soap, Washing Sheep, 1870
signed \'MOSES.\' (lower right) and identified, dated, and numbered \'...1945/March 28th...1033\' on the artist\'s label (affixed to the reverse), numbered \'G- 2264/#30\' (on the reverse), further identified on labels from The Galerie St. Etienne and exhibition labels (affixed to the frame backing cardboard, see below)
oil on Masonite
7 1/4 x 24 in. (43.8 x 60.8 cm)
framed 23 1/4 x 29 1/4 x 2 in. (under plexiglass)

摩西奶奶 May，制作肥皂，洗羊，1870 7 1/4 x 24英寸。框架23 1/4 x 29 1/4 x 2英寸。

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卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Bluviola, 1972, signed; signed and dated on the reverse, casein on canvas, 60 x 68 cm, framed

This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome

Provenance:
Sale, Finarte, 28 March 1995, lot 105
Galleria Russo, Rome (stamp on the reverse)
European Private Collection

Literature:
G. Celant, Carla Accardi, Charta, Milan 1999, p. 339, no. 1972 22 with ill.

More than colors I have always loved the way they match, as well as the light they give off. Even my white-black phase was a period of light, this contrast, just like in my mother’s saltworks in Trapani, a truly blinding sort of light.

When I used red with green, and sometimes even pink with light blue, the two colors had to have the same strength and couldn’t be complementary.
This way they struggle against one other and create light.
Carla Accardi in A.M Boetti, Lo specchio ardente, in Data, Milan no. 18, 1975

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威力德·贝西蒂 FedExLarge Kraft Box2004 FedEx 155143 REV10/04，国际优先，洛杉矶，北京，2011年9月9日至16日，国际优先权，北京，迈阿密，2011年11月23日至28日，国际优先级，洛杉矶，巴黎，2012年3月29日至4月2日

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KEPLER, JOHANNES. 1571-1630. :Dissertatio cum Nuncio Sidereo nuper ad mortales misso a Galilaeo Galilaeo. Frankfurt: Zacharias Palthenius, 1611.
8vo (162 x 90 mm). Woodcut device on title page. Modern blue morocco, ruled in gilt. Even toning, minor staining and some ink underlining.

Third, pirated edition of the Dissertatio cum Nuncio Sidereo, following the 1610 Prague and Florence editions. The work is an open letter to Galileo, responding enthusiastically to Galileo\'s telescopic observations published in Sidereus Nuncius in March of 1610. Galileo sent a copy to Kepler in April 1610, and Kepler felt it was necessary to publish a response in order to disseminate the knowledge of Galileo\'s discovery and its importance to the widest possible audience. He was also more than a little relieved that Galileo\'s conclusions did not undermine his own theories. The publisher of this edition, Zacharias Palthenius of Frankfurt, had also published a pirated edition of Galileo\'s Sidereus Nuncius in 1610. Caspar 34; Zinner 4277 (both for first edition).

开普勒，约翰内斯。1571-1630. 沙漠和修女西德雷奥云从加利利送到死者那里。法兰克福：撒迦利亚斯·帕罗修斯，1611年。

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安杰洛·萨韦利-

Angelo Savelli * - Zeitgenössische Kunst I-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed

This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity

Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection

Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.

Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.

Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.

Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.

His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.

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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。

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皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection

Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)


Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.

He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.

[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.

Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]

Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]

In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.

(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)