材质 :

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Thomas Mann-3 sign. Werke: Achtung Europa, Joseph the Provider, Entstehung Faustus, 1938-1949.

托马斯·曼-3部署名作品：《Achtung Europa》、《提供者约瑟夫》、《Erkung Faustus》，1938-1949年。

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Hope Smith:Congdon Street, Providence - Winter
signed \'Hope Smith\' (lower right) and inscribed with title (on the frame backing)
oil on canvas
24 x 30 in. (61.0 x 76.2 cm)
framed 27 x 33 in.

霍普·史密斯 普罗维登斯康顿街-冬季24 x 30英寸。框架27 x 33英寸。

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Antonio Cirino:Boats Rendezvous (Boats Haven)
signed \'A. CIRINO. \'75\' (lower left) and signed again and inscribed \'No. 1 BROADVIEW ROAD EAST PROVIDENCE / RHODE ISLAND / 02914\' (on the stretcher)
oil on canvas
20 x 24 1/8 in. (50.8 x 61.3 cm.)
Painted in 1975.

安东尼奥·西里诺 船交会20 x 24 1/8英寸。

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WOODWARD, WILLIAM R. 1876-1953.:Cherished Portraits of Thoroughbred Horses. [New York]: The Derrydale Press, privately Printed for Ernest R. Gee, 1929.
4to. 68 black and white plates. Red morocco by Sangorski Sutcliffe Joints starting, rubbed, bookplate on front paste-down.

LIMITED EDITION, INSCRIBED BY THE AUTHOR, with just 300 unnumbered copies produced. The inscription reads \"To my friend, Wm. Arkham Hoffman, with best regards, William Woodward.\" Woodward, who was President of Hanover Bank, spent time in the Foreign Service as the assistant the Ambassador to the Court of St. James during the Reign of Edward VII. He and the King had become friends, sharing their love of horse racing. He recruited the services of Walter Vosburgh (1854-1938), a handicapper for the American Jockey Club and accomplished racing historian, to provide the text and editorial input for this work. Frazier V-4-A; Podeschi 373; Siegel 22.

威廉·伍德沃德，1876-1953年。 珍贵的纯种马肖像。[纽约]：德里代尔出版社，为欧内斯特·R·吉私人印刷，1929年。

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KNOX, ROBERT. 1641-1720.:An Historical Relation of the Island of Ceylon in the East-Indies. London: Richard Chiswell, 1681.
Small folio (315 x 200 mm). Folding engraved map and 15 engraved plates, advertising leaf at back. Modern quarter calf and boards. Browning and spotting, some rust holes, brown stain on pp 126-127, a few ink notations and underlines.

FIRST EDITION OF THE FIRST ACCOUNT OF CEYLON IN ENGLISH, which provided source material and inspiration for Defoe\'s Robinson Crusoe. Whilst trading along the Coromandel coast Robert Knox (1641-1720) was forced to land at Kottiar Bay, Ceylon, whereupon he was held captive for the next nineteen years, eventually escaping in 1679. The Historical Relation of the Island of Ceylon was written on the voyage back to England, where it was published with encouragement of the East India Company and Robert Hooke of the Royal Society. \"The book influenced the work of contemporaries such as Daniel Defoe, who drew from Knox\'s experiences much of the context for, and the aspirations of, his hero in Robinson Crusoe\" (ODNB). Wing K7442.

诺克斯，罗伯特。1641-1720. 东印度群岛锡兰岛的历史关系。伦敦：理查德·奇斯韦尔，1681年。

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ELLIOT, DANIEL GIRAUD. 1835-1915. :A Monograph of the Felidae or Family of the Cats. [London]: Published for the Subscribers by the author, [1878]–1883.
Folio (598 x 480 mm). 43 hand-colored plates. Contemporary green half morocco and marbled boards, protected by a contemporary cloth sleeve, some light wear to spine ends, corners and extremities, front hinge cracked, cords firm, the sleeve with splitting and dust soiling, a few text leaves and 3 plates with short marginal tears and minor dampstaining, a few leaves becoming loose at end.
Provenance: Edward James Norris (1851-1927), President of the Educational Publishing Company, presented to him by the country of France, 29 September 1889, as an honorary \"Medaille d\'Or\" accompanied by a diploma granted to \"A Popular éducator, Massachusetts\" (available as photocopy).

FIRST EDITION OF THE DEFINITIVE WORK ON THE FAMILY OF CATS, in which Elliot describes and illustrates all the species of cats then known. \"Among the Families which constitute the Class Mammalia no more attractive one can be found than that of Felidae, as its members possess in the highest degree a beauty, both of form and coloring, most gratifying to the eye, and are also endowed with physical strength and weapons of offence not surpassed by any known creature now living upon the earth. The Family comprises not only the largest and most ferocious of the beasts of prey, but in which Elliot describes and illustrates all the species of cats then known also the graceful little animal that delights to make its home within man\'s abode\" (Introduction). Wolf worked from specimens provided by Elliot, who visited all the great museums and zoological societies on both sides of the Atlantic. See Nissen ZBI 1279; see Wood p 332.

埃利奥特，丹尼尔·吉拉德。1835-1915. 猫科或猫科的专著。[伦敦]：作者为订户出版，[1878]–1883。

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MÜNSTER, SEBASTIAN. 1489-1552.:Cosmographey, oder beschreibung aller lander ... jetzunder biss auff das M.D.LXIIII. jar vyl gemehret. Basel: Henrichum Petri, 1564.
Folio (312 x 207 mm). 14 double page maps, 41 double-page plans and views (3 extended and folded) in collation; folding table at Ddd3; register bound before the 14 maps. Contemporary panelled pigskin, recently rebacked in morocco, lacking straps, and one clasp from rear board, rubbed. Title page re-margined, and re-inserted on stub, numerous marginal repairs to leaves throughout, only sometimes affecting text, staining; plate, \"Die statt kom in aller Weldt\" (K1-2), stained from censor\'s ink applied to engraving on verso; plate \"Die Statt Heidelberg\" trimmed at outer margin, re-cornered with loss; \"Die Statt Frankfurt\" trimmed at left margin (Ooo4); plate \"Die Statt Wyen...\" trimmed at outer edge (Ppp 2), with loss.

A complete copy of an early edition in German of the book that \"sealed the fate of \'America\' as the name of the New World\" (Burden 12). Münster\'s map of the Americas is the first to show America in its correct continental form, and the first to name the Pacific Ocean. While it first appeared in Münster\'s Geographia in 1540, it was its appearance in the 1544 Cosmographia that crystalized the name \"America\" in the popular lexicon. The hugely popular and influential work was created collaboratively, with Münster reaching out to international scholars to provide information on their localities. Sabin 51390.

塞巴斯蒂安先生。1489-1552. Cosmographey，或所有着陆者的描述，现在咬了M.D.LXIII。jar vyl宝石。巴塞尔：亨利·彻姆·佩特里，1564年。

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米谢·弗龙-

Jean-Michel Folon * - Zeitgenössische Kunst I-

(Brussels 1934–2005 Monaco)
La pêche miraculeuse (Buste aux poissons) / The Miraculous Catch (Bust with Fish), 2005, bronze, signed and numbered HC 2/2 (from an edition of 2 + 2 EA + 2 HC) with the foundry mark: Romain Fils, h 81 cm w 43 cm.

This work will be included in the artist’s forthcoming catalogue raisonné currently being prepared by the Fondation Folon.

This work is registered at the Fondation Folon with the number F400 and is accompanied by a certificate of authenticity.

Provenance:
European Private Collection

The 比利时 artist Jean-Michel Folon (1934-2005) has left a universal mark on the collective imagination of the last third of the 20th century through his posters, illustrations, television animations, and his numerous exhibitions. A humanist, he left behind a figurative and poetic body of work rooted in traditional techniques, which was atypical for an environment dominated by conceptual art. Folon turned to sculpture in the early 1990s, having initially focused on paper-based techniques (inks, silk-screen printing, watercolour), thus providing him with a new challenge.
His sculptures are inspired by ethnographic art and characterised by their frontality and corporality, from the Cyclades to the Etruscans, from African masks to Amerindian totems. They are largely centred on the human being and embody themes that were once treated graphically and thus project the artist\'s universe into atypical and natural environments: landscapes, gardens, parks, interiors.

La pêche miraculeuse (Buste aux poissons) [The Miraculous Catch (Bust with Fish)] from 2005 presents the artist’s favoured Everyman, the character with the hat, onto whom everyone can project themselves. He is holding an armful of fish. This bust sculpture is a variation on a theme that Folon had explored with a few years earlier in his Fontaine aux poissons [Fountain with Fish], which has been shown to the public on numerous occasions at major exhibitions, notably in Florence in 2005. The quality of the patina of this remarkable Catch is typical of Folon\'s quasi-pictorial quest for sculpture. It drew this comment from the sculptor.

“You make impressionist sculptures, these are the patinas of a painter and each of your sculptures will be unique because you will never be able to do the same thing twice.”
César

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RUSSIAN ART JOURNAL.:Zhar-Ptitsa/Jar-Ptitza [The Firebird]. Paris and Berlin: Russkoe Iskusstvo, August 1921-January 1926. 14 issues in 13 volumes (No. 4/5 double issue). 4to (315 x 240 mm). Illustrated in color and black and white, with many plates tipped in. Original color lithographed wrappers. Some issues missing spines with pages detached; internal tears and some loss.

A COMPLETE SET OF THE RARE RUSSIAN EMIGRE LITERARY ART MAGAZINE IN ORIGINAL ISSUES, reportedly no more than 300 copies were printed. Supplemental summaries of the numbers were provided in the back in a variety of languages including English. Zhar-ptitsa was the most influential art journal of the flourishing community of exiles who were feverishly trying to keep the culture of Old Russia alive. Due to paper shortages and extensive censorship by the Bolsheviks back in the USSR, the Russian book business was booming in Germany and France. This lavish periodical was the natural successor to S. Diaghilev\'s Mir iskusstva since many of those involved had been members of the World of Art Group and designers for the Ballets Russes. The rich selection subjects and contributors under A. E. Kogan\'s art department embraced L. Bakst, A. Benois, I. Bilibin, M. Chagall, S. Chekhonin, N. Goncharova, B. Grigoriev, B. Kustodiev, M. Larionov, V. Shukaev, K. Somov, S. Sudeikin and many other important artists. Poet Sasha Cherny was literary editor; and such important writers as L. Andreev, K. Balmont, I. Bunin, V. Khodasevich, B. Pilnyak, A. Remizov, N. Teffi, A.N. Tolstoi, B. Zaitsev, and the young Vladimir Nabokov (as \"V. Sirin\") appeared in its pages. Fekula called Zhar-ptitsa \"perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century.\" According to Vengerov, \"Even separate issues of the magazine, let alone complete sets of its issues, are a great bibliographic rarity.\" Fekula 5742; Vengerov Staraya russkaya kniga 105.

俄罗斯艺术杂志。 Zhar Ptitsa/Jar Ptitsa[火鸟]。巴黎和柏林：Russkoe Iskustvo，1921年8月至1926年1月。