图片文件尺寸 : 2529 x 4096px

“法航-北非，莫里斯·吉劳德·里维埃乘坐飞机-plane by Maurice Guiraud-Rivière

Air France – North Africa--Maurice Guiraud-Rivière (法国, 1881-1947)

图片文件尺寸 : 4062 x 5805px

Gideon Bok:Time Fades Away
unsigned; identified, titled, and dated to 2006 on a label from Plane Space, New York (affixed to the stretcher bar)
oil on canvas
55 x 57 in (139.7 x 144.8 cm)
unframed

吉迪恩·伯克 时间渐渐消逝

图片文件尺寸 : 4073 x 4148px

Andy Warhol:Andy Warhol\'s Index (Book), 1967
Hardcover bound book with holographic Brillo cover label, signed in blue ink and inscribed \'To Dina Alex\' with heart, pop-ups in colors, plastic record and collage elements on wove papers, with the postcard of 8 detachable stamps, published by Random House, New York.
Includes: 1) castle pop-up; (2) red accordion pop-up; (3) bi-plane pop-up; (4) Chelsea Girls disk; (5)Lou Reed 45rpm flexi-disc; (6) folded poster with dual nose overlays; (7) Hunt\'s Tomato Paste pop-up.
11 1/4 x 8 5/8 x 3/4in (28.5 x 21.8 x 1.8cm)

安迪·沃霍尔 安迪·沃霍尔指数

图片文件尺寸 : 4074 x 4522px

Andy Warhol:Andy Warhol\'s Index Book, 1967
Softcover bound book comprising 39 offset lithographs with original sticker on cover, pop-ups in colors, plastic record and collage elements on wove papers, with the postcard of 8 detachable stamps, published by Random House, New York.

Includes: 1) castle pop-up; (2) red accordion pop-up; (3) bi-plane pop-up; (4) Chelsea Girls disk; (5) hairy-chested dodecahedron sculpture; (6)Lou Reed 45rpm flexi-disc; (7) folded poster with dual nose overlays; (8) Hunt\'s Tomato Paste pop-up; (9) balloon present but stuck to facing pages as is common.
overall 11 x 8 1/2 x 5/8in (28 x 21.6 x 1.6cm)

安迪·沃霍尔 安迪·沃霍尔的索引书

图片文件尺寸 : 5267 x 5418px

ROJAS SARMIENTO, JUAN DE. Fl.1540-1550.:Commentariorum in Astrolabium quod Planisphaerium Vocant, Libri Sex nunc Primum in Lucem Editi. Paris: Michael Vascosan, 1550.
8vo (230 x 165 mm). Woodcut illustrations and diagrams, including 15 full-page illustrations of the astrolabe, woodcut initials. [xxiv], 282, [12] pp, lacking 2M6 (blank), italic type. Modern full paneled cat\'s paw calf, spine gilt; title extended and repaired, slight foxing, a few pages with extensive early ink marginalia, E1 lower corner repair.

FIRST EDITION of this important treatise on the astrolabe, presenting Rojas\' model for a universal astrolabe with orthographic projection. \"The chief novelty in [the astrolabe] consisted in a special treatment of the face of the instrument as an orthographic projection of the sphere on the plane of the meridian\" (Gunther, Astrolabes of the World). Houzeau Lancaster 3275; Mortimer, Harvard French 462.

罗哈斯·萨米恩托，胡安·德。FL.1540-1550。 《Astrolabium，Planisphaerium Vocant》中的评论员，《Lucem Editi》中的《图书馆性爱第一》。巴黎：迈克尔·瓦斯科桑，1550年。

图片文件像素：6336 x 4556 px

赫尔穆特·费德勒，当代艺术I-

Helmut Federle * - Zeitgenössische Kunst I-

(born in Solothurn in 1944; lives and works in Vienna and Camaiore)
Null Bild Serie, 2. Phase, Tafel A, 1993, on the reverse titled, signed, dated Federle 93, acrylic on aluminum, 70 x 100 cm

Provenance:
Galerie nächst St. Stephan, Vienna
Private collection, Austria
Private collection, France

Exhibited/Literature:
Galerie nächst St. Stephan, Vienna, 1993
Kunstmuseum Bonn, 12 October 1995 – 21 January 1996, Düsseldorf 1995, p. 82/83, exhib. cat. with color illustration on p. 83

The 瑞士 artist Helmut Federle currently lives and works in Vienna. At the end of the 1950s, he began to create geometric-abstract works based on a minimalist, reduced surface design. A decade later, his work is definitively characterised by a strictly geometric formal language. His works show geometric forms and their position and balance in the pictorial plane. The artist himself does not see his work as belonging to any category, but above all as a spiritual search for meaning.

In the aluminium work of the ‘Null Bild’ Series, 2nd Phase, Panel A from 1993, the artist harks back to his paintings of the late 1970s, not least through its dimensions. Federle anchors \"upright or transverse rectangular anthracite-coloured fields to the opposite corners of the picture, with a dark grey surface acting as a foil.\" (Kunstmuseum Bonn, Bonn, 12 October 1995 - 21 January 1996, Düsseldorf 1995, p. 82). Panel A shows a reclining, resting light grey surface in the lower right corner of the picture against a charcoal grey, darker background.

\"In the Null-Bild works, the preoccupation with the Black Series is resonant, with the difference that processual events are once again concentrated on the individual image.\" (Ibid.)

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