7 11 7/8 x 66 1/2 (243.5 x 168.9 cm)

Joan Miró. Woman with Three Hairs Surrounded by Birds in the Night. Palma, September 2, 1972

胡安·米罗。一个有三根头发的女人在夜晚被鸟包围。帕尔马，1972年9月2日-

图片文件像素：6262 x 3993 px

保罗·詹金斯，当代艺术I-

Paul Jenkins - Zeitgenössische Kunst I-

(Kansas City 1923–2012 New York)
Phenomena Y to X, 1960, signed; signed, titled and dated on the reverse, acrylic on canvas, 100 x 100 cm, framed

Provenance:
Galerie Karl Flinker, Paris (labels on the reverse)
Sale Sotheby’s, Paris, 8 December 2011, lot 168
Arteinvestimenti, Milan (certificate available)
Sale Meeting Art Vercelli, 6 October 2018, lot no. 38
B. Collection, Brescia

图片文件尺寸 : 4084 x 5019px

LARRY RIVERS: Hand-Turning Friendship of America and France, 1962

signed and dated \'Larry Rivers \'62\' (upper right); signed and dated again \'Larry Rivers \'62\' (on the reverse)
oil and collage on canvas in metal artist\'s frame with base, double-sided

canvas: 11 7/8 x 10 in. (30.1 x 25.4 cm.)
metal frame, height: 66 1/2 in. (168.9 cm.)

拉里河 1962年美国和法国的手翻友谊

图片文件尺寸 : 4551 x 4914px

MARC QUINN:Grasshopper Infestation Near Ranohira Madagascar, 2009

signed, titled and dated \'Grasshopper Infestation near Ranohira Madagascar Marc Quinn 2009\' (on the reverse)
oil on canvas
66 1/4 x 97 1/2in (168.3 x 247.7cm)

马克奎恩 马达加斯加Ranohira附近的蚱蜢感染，2009年66 1/4 x 97 1/2英寸

图片文件尺寸 : 5082 x 4036px

A Shipbuilder\'s Model of the Four-Masted Barque \'Mowhan\', :built by W Pickersgill Sons Ltd of Sunderland for P Iredale Porter of Liverpool, model mader W.Spain Sons of Sunderland, the grey and white painted wooden hull with four masts, standing and running rigging and deck details including skylights, ventilators, life boats on davits, belaying rails and pins, companionways, binnacle compass and capstan, in glazed mahogany case with overhead electric lighting,
the model 57in (145cm) long
42in x 66in x 22in (107cm x 168cm x 56cm) cased

四桅杆酒吧“Mowhan”的造船商模型， 无 题

图片文件尺寸 : 4414 x 5997px

Robert Motherwell: Roth-Händle (Engberg Banach 168), 1975
Aquatint and collage on Auvergne à la Main Richard de Bas handmade paper; cigarette label is offset lithograph in colors on thin wove paper, signed in pencil and numbered 14/53 (there were also an unrecorded number of artist\'s proofs), published by Brooke Alexander, Inc., New York, printed by Catherine Mosley, Greenwich, Connecticut, and Harbor Press, New York, with full margins, framed.
16 1/4 x 11in (41.2 x 27.9cm)
sheet 19 1/2 x 15 5/8in (49.5 x 39.6cm)

罗伯特·马瑟韦尔 Roth-H#228ndle

图片文件尺寸 : 5267 x 4043px

MICROSCOPY.:7 titles:
1. HOOKE, ROBERT. 1635-1702. The Posthumous Works of Robert Hooke. London: Samuel Smith and Benjamin Walford, 1705. Folio (320 x 202 mm). Half-title, title page in red and black, 15 engraved plates. Modern quarter vellum and marbled boards, morocco lettering piece on spine. Half-title laid down, title page tipped to stub, worming with some loss of text in front matter, dampstaining and browning throughout, ink ownership inscription on title page.
2. NEEDHAM, M. Nouvelles observations microscopiques. Paris: Louis-Etienne Ganeau, 1750. 16mo (168 x 96 mm). 8 folding engraved plates. Recased in contemporary mottled calf, 5 raised bands on spine, red morocco lettering pieces. Repairs to spine ends, dampstaining.
3. BAKER, HENRY. 1698-1774. Het Microscoop gemakkelyk gemaakt. Amsterdam: Isaak Tirion, 1744. Title page in red and black type, 14 engraved plates, folding table. 19th century half red morocco and marbled boards. Joints tender, rubbed, scattered spotting.
4. ---. Employment for the Microscope, in Two Parts. London: R. Dodsley, 1753. 8vo (195 x 120 mm). 17 engraved plates. Rebacked contemporary calf. Worming to lower margins, tear to outside margin of last plate with loss to corner, bookplate on front paste-down, browning and spotting.
5. ---. The Microscope Made Easy. London: J. Dodsley, 1769. 8vo. (210 x 128 mm). 15 engraved plates, some folding, folding table. 19th century calf, 5 raised bands on spine, red morocco gilt lettering piece. Joints tender, some ink marginalia, scattered spotting. Provenance: William Brodie of Brodie (bookplate).
6. LEDERMÜLLER, MARTIN FROBENIUS. Mikroskopische Gemüths- und Augen-Ergötzung. Nuremburg: Adam Wolffgang Winterschmidt, 1763. 4to (240 x 193 mm). Engraved allegorical frontispiece, engraved dedication portrait of Frederick of Brandenburg, 100 engraved plates, most tinted or hand-colored. Contemporary calf, rebacked. Frontispiece supplied from another copy, with top and margins trimmed, light dampstaining along top edge, browning and spotting.
7. GORING, C.R. 1792-1840, and ANDREW PRITCHARD. 1804-1882. Micrographia. London: Whittaker Co., 1837. 8vo (222 x 135 mm). Folding engraved frontispiece, 2 engraved full-page plates, 6 pp printer\'s ads at back. Contemporary tan buckram over plain boards. Covers soiled, corners bumped, shelfwear, library tape labels on spine, hinges cracked, a little loose, browning and spotting.

显微镜检查。 7个标题：

图片文件像素：6034 x 4375 px

赫尔曼·尼奇，当代艺术I-

Hermann Nitsch * - Zeitgenössische Kunst I-

(Vienna 1938–2022 Mistelbach, Lower Austria)
Splatter painting with chemise and impasto, signed, dated hermann nitsch 1995 on the reverse, oil on burlap, stretched over wooden frame along the right and left edge, fixed to wooden frame along the upper and lower front, 200 x 300 cm

Compare:
Hermann Nitsch. Das Gesamtkunstwerk des Orgien Mysterien Theaters, Verlag der Buchhandlung Walther König, 2015, pp. 606–607

Exhibited and illustrated in the catalogue:
Ekilibrio Foundation Collection, Galleria Sirio Arte, Padua, 10 October – 7 November 2020, pp. 168-169

Photo of this work signed hermann nitsch on the reverse available.

Provenance:
Aurelio Stefanini, Studio d’arte, Firenze (label on the reverse)
Private Collection, Italy

„… der in den exzess ekstatisch abgestiegene akteur befleckt und beschüttet… die bildfläche. oft noch spontaner, als es nur auf der bildfläche gelingt, trägt sich die intensität auf dem hemd zu. es wird automatisch befleckt, besudelt, beschmutzt, betappt, beschmiert, beschüttet, bespritzt… es ist, als ob der unsere abgründe eröffnende maler beim malvorgang in die nähe des blutschwitzens, des austrinkens des leidenskelches, der geisselung, der kreuzigung, der zerreissung des dionysos, der blendung des ödipus gerät. sein priesterkleid, sein opferhemd ist geprägt vom feuchten stempel der entäusserung… des hemd wird als höchster schmuck und trophäe auf ein bild gehängt, um dessen farbgefüge zu bereichern. es gibt bilder, die brauchen kein hemd, andere verlangen danach…“
Hermann Nitsch – aus der oben angeführten Literatur

“... the actor, ecstatically descended into the excess, stains and pours things onto … the surface of the image. often it’s even more spontaneous than just hitting the surface of the image, striking his shirt in its intensity, too. it’s automatically stained, sullied, dirtied, touched, smeared; it automatically has things poured onto it, sprayed onto it... it’s as if the painter, opening up our deepest depths, is almost sweating blood when he paints, almost drinking from the chalice of grief, flagellation, crucifixion, the dismemberment of dionysus, the blinding of oedipus. his priestly robes, his victim’s shirt is marked by the moistened stamp of renunciation. the shirt is hung on an image, enriching the texture of its colours, as if it were the most precious piece of jewellery, a trophy. there are some images that don’t need a shirt, but others demand it…”
Hermann Nitsch – from the literature cited above