图片文件尺寸 : 4138 x 5409px

VIOLET, THOMAS. 1609-1662.:A Petition against the Jewes presented to the King Majestie and the Parliament. London: Printed in the year 1661.
8vo (208 x 157 mm). Modern morocco-backed cloth boards. Last two leaves re-cornered, with the final leaf laid-down.

FIRST AND ONLY EDITION of Thomas Violet\'s petition to Charles II, just 5 years after Cromwell\'s readmission of the Jews to England. Violet, a goldsmith and spy, presented many petitions to Parliament during this time, mostly in defense of his transportation of gold and silver. \"He was probably a restless, meddling man, who failed to please his friends, while he certainly displeased his enemies\" (DNB).

托马斯，紫罗兰。1609-1662. 向国王陛下和议会提交了反对犹太人的请愿书。伦敦：1661年印刷。

图片文件尺寸 : 5445 x 4408px

DANTI, EGNATIO. 1536-1586.:PROCLUS. c.412-485. La sfera di Proclo Liceo. Florence: Giunti, 1573.
2 parts in 1 volume. 4to (215 x 158 mm). Woodcut Medici arms on first title page, woodcut illustration of an astrolabe on verso of second title page, woodcut diagrams in text, woodcut initials. Later vellum, paper lettering piece on spine. Covers slighlty soiled, scattered browning, spotting and marginal staining.

FIRST EDITION of Danti\'s translation of the influential astronomical text by Proclus, the Neo-Platonic philosopher who lived and wrote in a time that was on the threshold between the ancient world and the Middle Ages. Danti taught at the University of Pisa, and was Cosmographer to the Medici court. His treatise on the use of the astrolabe, bound here after the work of Proclus, was the first book on the subject published in Italy. Adams P-2137; Brunet IV, 896; Camerini 22; Houzeau Lancaster I, 913.

丹蒂，埃格纳西奥。1536–1586. Proclus高中的范围。佛罗伦萨：Giunti，1573年。

图片文件尺寸 : 5324 x 5740px

PRIESTLEY, JOSEPH. 1733-1804.:The History and Present State of Discoveries Relating to Vision, Light, and Colours. London: for J. Johnson, 1772.
2 volumes in 1. 4to (260 x 210 mm). Folding biographical chart and 24 folding plates (plates I and XV bound at end of first volume). Modern quarter green morocco and marbled boards. Tape repair on verso of biographical chart, large tear with tape repair into lower third of Zz2, scattered browning and offsetting.

FIRST EDITION. One of the earliest works on optics and the most comprehensive of its time. \"Priestley\'s History of Optics had but one English edition ... it remained the only English work on the subject for a hundred and fifty years and the only one in any language for fifty\" (DSB). Crook S479; Osler 1190; Waller 15652.

约瑟夫，普里斯特利。1733-1804. 与视觉、光和颜色有关的发现的历史和现状。伦敦：约翰·约翰逊，1772年。

图片文件尺寸 : 5163 x 4801px

PANORAMAS:

全景图 CLEMENTS“ZR-3首次进入机库，海军航空站，新泽西州莱克赫斯特，1924年10月15日”，[1925]，明胶银印以及另一幅240 x 1210mm的全景图。，标题为“5039航空运输中队——阿拉斯加埃尔门多夫空军基地——1955年6月11日……”世界顶级空运”

图片文件尺寸 : 4300 x 3900px

VEGETIUS RENATUS, FLAVIUS. FL. LATE 14TH CENTURY.:De re Militari libri quatuor.... Paris: Chrestien Wechel, 1535.
Folio (310 x 208 mm). Printer\'s mark on title and colophon, 122 full-page woodcut illustrations, including standing portrait of Vegetius on verso of title (and repeated twice), and 1 woodcut diagram in the text. Contemporary vellum, inked titles on spine. Soiling to covers, dampstaining to top margins, some old ink marginalia, scattered spotting and browning.

Revised Wechel edition with illustrations by the French humanist Guillaume Budé (1467-1540). This famous collection of works on Roman military systems and methods is one of two known works by Vegetius, a 4th century Roman bureaucrat. The text also includes the \"Strategematum\" of Sextus Julius Frontinus (30-104 A.D.), Roman magistrate and governor of Britain from 74-78; \"De Instruendis,\" a work on tactics by Aelianus (Greek, 2nd century A.D.); and the \"De Vocabulis rei Militaris\" of Julius Modestus, a Roman grammarian in the time of Augustus. Adams V332; Mortimer French, 487.

蔬菜雷纳图斯（VEGETIUS RENATUS）、黄曲霉（flavious）。14世纪晚期。 巴黎：克雷斯蒂安·韦切尔，1535年。

图片文件尺寸 : 5238 x 5835px

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。

图片文件像素：5844 x 5142 px

马格努斯·普莱森，当代艺术I-

Magnus Plessen * - Zeitgenössische Kunst I-

(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher

Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above

Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)

The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)

From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.

“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.

图片文件像素：5946 x 5480 px

彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric

图片文件像素：5930 x 4411 px

卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Untitled, 1954, signed and dated; signed and dated again on the reverse, tempera (casein) on paper laid down on canvas, 68 x 32 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 Nuova Brerarte, Milan, 11 December 1990, lot 71
European Private Collection (acquired from the above)

Note:
The paper was laid down on canvas directly by the artist as evident also from the signature and the date on the reverse.

Yes, 1954 was a critical year, but my first works featuring the sign, which I made on paper, were born in 1953. The meaning behind this choice, my surrender to the sign, which was basic at first and structural later, no doubt emerged from the idea artists have always had about contemporary art, about culture in their time.
Although I wasn’t studying mathematics or anthropology, Structuralism was a topical discovery all the same, something that exhisted in the Western world.
I bestowed an image on the Structuralist vision of the world; a visual image that bore all the components: events, the aggregation of signs were repeated in my paintings with phenomenic variations: but always faithful to themselves and repeatable.
Carla Accardi interviewed by Vanni Bramanti, in V. Bramanti, Conversazione con Carla Accardi, Rome 1982

图片文件尺寸 : 4809 x 4593px

AMICO, BERNARDINO. FL.1593-1619.:Trattato delle piante immagini de sacri edifizi di Terra Santa disegnate in Jerusaleme. Flroence: Pietro Ceconcelli, 1620.
Folio (287 x 213 mm). Engraved title page with Medici arms, 34 double-page engraved plates (depicting 46 views and plans) by Jacques Callot, woodcut headers, footers and initials, woodcut printer\'s device on colophon. Modern quarter morocco and marbled boards. Re-margined at gutter and mounted to binder\'s stubs throughout, red ink library stamps on title and elsewhere, light browning and fingermarks, paper repairs to last leaf with slight loss, gift inscription on colophon dated 1957.
Provenance: Colonna family, Rome (library stamps).

First published in 1609, this second edition is the first to include plates engraved by Jacques Callot, who was commissioned for the work by Cosimo II de Medici. The author, a Franciscan, resided in the Holy Land from 1593 to 1597, during which time he surveyed the ancient sacred buildings, mostly in Jerusalem. Atabey 20; Berlin Kat. 2782; Blackmer 31; Fowler 19.

朋友，贝纳迪诺。第1593–1619页。 在耶路撒冷绘制的植物和圣地神圣建筑的图像。弗洛伦斯：皮埃特罗·塞康塞利，1620年。