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KOMAI OTOJIRO (ACTIVE LATE 19TH CENTURY):A fine inlaid-iron dish
Meiji era (1868-1912), circa 1875-1880
The circular lobed dish set on a ring foot and chiseled and inlaid in gold and silver with a central reserve of Bukan Zenshi raising his arm as if to strike his tiger companion, the surrounding area decorated with ten smaller roundels of landscapes and various geometric patterns, the rim with a band of fruiting grape leaves, signed in silver on the underside in a rectangular reserve Nihon Kyoto no ju Komai sei
8 1/2in (21.6cm) diameter

小井户次郎（活跃于19世纪晚期） 在镶嵌铁碟的末期，明治大约在1875-1880年

图片文件尺寸 : 5294 x 4672px

KIRCHER, ATHANASIUS. 1602-1680.:Prodromus Coptus Sive Aegyptiacus. Rome: Congregatio de propaganda fide, 1636.
4to (220 x 165 mm). Woodcut illustrations in text. [24], 338, [2] pp. 18th-century quarter calf and paper-covered boards, citron leather spine label; occasional browning and foxing.
Provenance: manuscript inscription at foot of title page \"Assist. Galliae dono Auctoris\"; copious late 18th-century manuscript notes in French on front and rear endpapers concerning the study of Coptic and hieroglyphics.

FIRST EDITION, A PRESENTATION COPY (\"dono auctoris\") OF THE FIRST COPTIC GRAMMAR PRINTED IN THE WEST. This is the first issue, with the dedicatee Francesco Barberini\'s coat-of-arms on the title. The title-page inscription suggests this copy was presented by Kircher. Merrill 3; Caillet 5790.

阿塔纳修斯·基尔彻。1602-1680. Prodromus Coptus Sive Aegyptociacus。罗马：宣传大会，1636年。

图片文件像素：4589 x 4321 px

马克西米利安·莱尼茨-摩登-

Maximilian Reinitz - Moderne-

(Wien 1872–1935)
Zwei Damen in einem Zimmer, ca. 1930, rückseitig nicht in der Handschrift des Künstlers signiert, Öl auf Leinwand, 80 x 55,5 cm, gerahmt

Provenienz:
Privatsammlung, Österreich

Über das Leben und Werk des Wiener Malers Maximilian Reinitz, Mitglied und Ehrenmitglied des Hagenbundes, ist wenig bekannt, seine Werke nur sehr selten am Markt zu finden. Seine künstlerische Handschrift ist jedoch von unverwechselbarem Ausdruck, suchte er doch in bemerkenswerter Konsequenz, Elemente des Kubismus mit der Leuchtkraft expressionistischer Farbgebung zu verbinden. Ab den 1920er Jahren wandelte sich sein Stil Richtung Neue Sachlichkeit, seine Formen werden klarer und reduzierter und vermitteln dank einer luziden Farbgebung eine eigene Magie der Stille und des Geheimnisvollen
Eine verschlüsselte Botschaft liegt auch diesem Bild inne: die linke stehende Frau vor dunklem Vorhang lebt ihre Arme kreisförmig um den schwangeren Bauch, die gleiche Frau sitzt rechts in gelbem Kleid vor einem Fenster, von dem der Blick in eine weite Landschaft geht. Traum, Sehnsucht, Erwartung, Hoffnung liegen diesem Bild inne.

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ILLUMINATED CARTA EXECUTORIA.:Rare patent of nobility issued by Archduke Charles of Austria (later Charles VI, Holy Roman Emperor), fashioning himself Charles III of Spain during the War of the Spanish Succession (1701–1714), conveying the title of Marquess of Callus (in Catalonia) upon Don Jaime Vicente Alamany Descallar, manuscript on vellum, text in Latin, 1711, 290 x 200 mm, 8 leaves bound as a single quire of 4 bifolia.
Collation: i8, the first leaf treated as a blank flyleaf. 22-26 long lines written in brown ink in italic script with one-line roman capitals; headings in larger capitals on ff. 2r-2v; written area: 215 x 125 mm. All text pages decorated with full borders containing delicate brown ink drawings. F. 2r with a cartouche depicting the king on a rearing horse firing a pistol, surmounted by a crown, below him a globe held by two putti and inscribed \"America\", below that the words NOS CAROLUS in a cartouche, all flanked by personifications of the church and the state and other motifs. On f. 2v the continuation of the text continues under a round seal stamped in in black ink, containing a coat of arms, and inscribed: CAROLUS III DEI GRATIA HISPANIARUM ET INDIARUM REX. Borders of ff. 2v-6v filled with vedute, vignettes, putti, cartouches, and various flourishes similar to those found in engraved writing-master books of the period. F. 7r with the last lines of the text and several notarial attestations. F. 7v blank. F. 8r with a large colored coat of arms surrounded by colored arabesque flourishes. F. 8v blank. Binding of later red velvet over pasteboards (worn) with remains of two monkeys-fist closures of woven silk, red silk doublures and single red silk flyleaves front and back, remains of a braided silk cord intended to attach the seal and a circular depression inside the back cover intended to hold the seal (seal missing).

RARE PATENT OF NOBILITY OF \"CHARLES III\" DURING HIS EMBATTLED CLAIM TO THE SPANISH THRONE. On the death of his Hapsburg relative King Charles II of Spain (1661-1700) without a direct heir, Archduke Charles of Austria declared himself the King of Spain, thus occasioning the War of the Spanish Succession, which pitted him against a rival candidate, Philip, Duke of Anjou, grandson of Louis XIV, and a distant cousin of the Archduke. In 1711, when his brother, the Holy Roman Emperor Joseph I, died the Archduke returned to Vienna to assume the imperial crown, while Philip was eventually recognized as King Philip V of Spain. During his brief time as claimant to the Spanish throne, Charles never extended his sphere of influence beyond Catalonia and lived there only from 1705 to 1711.

行政卡有限。 奥地利大公查尔斯在西班牙王位继承战争中塑造了自己的西班牙查理三世，

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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。

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MIRAEUS, AUBERTUS. (AUBERT LE MIRE). 1573-1640.:Illustrium Galliae Belgicae sciptorum icones et elogia. Antwerp: Philip Galle, 1608.
Small folio (292 x 190 mm). Engraved title page, engraved coat of arms, 2 engraved text leaves, and 57 engraved portrait plates. 20th century re-binding in old antiphonal vellum. Paper repair to outer margin of title, plate 17 (Joannis de Ney) replaced with a portrait from another work, small tear to lower margin of plate 34, light marginal dampstaining, some spotting and fingermarks.

FIRST EDITION of this album of portraits of noted scientists, writers, and theologians of the Netherlands, taken from portrait paintings in the collection of ecclesiastical historian Aubertus Miraeus. Included are images of Agricola, Erasmus, Abraham Ortelius, Andreas Vesalius, Thomas à Kempis, and others. Funck 362; Hollstein VIII 82, 735-786.

米拉乌斯，奥伯图斯。（奥伯特看着他）。1573-1640年。 比利时加利亚的辉煌是象征和语言。安特卫普：菲利普·加勒，1608年。

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SCHOTT, GASPAR. 1608-1666. :Physica Curiosa, sive Mirabilia Naturae et Artis. Würzburg Nuremberg: J.A. Endter J. Hertz, 1667.
4to (225 x 190 mm). 2 parts in 1. Half-title, letterpress title in red and black with engraved coat of arms on verso, additional engraved title by Sandrart, 61 engraved plates (6 folding). [54], 1389, [23] pp. Modern half red-brown morocco and marbled boards; heavy foxing and toning throughout, a few closed tears and paper flaws.

SECOND EDITION of this encyclopedia of the natural world by the Jesuit Gaspar Schott, a student of Athanasius Kircher. Includes case studies of satyrs, centaurs, marine monsters, cyclops, two-headed animals and a man with a head on his belly, among other curiosities, as well as a discussion of demonology.

肖特，加斯帕。1608-1666. 好奇的物理学，或自然和艺术的奇迹。维尔茨堡和纽伦堡：J.A.Endter和J.Hertz，1667年。

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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。

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杰森·马丁，当代艺术I-

Jason Martin * - Zeitgenössische Kunst I-

(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm

Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner

Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011

Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)

The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.

“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22

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HOOKE, ROBERT. 1635-1703.:Micrographia: or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses. London: James Allestry for the Royal Society, 1667.
Folio (288 x 190 mm). Title with engraved arms of the Royal Society, 38 engraved plates (14 folding). Contemporary calf, rebacked. Some plates trimmed closely, a few short tears along folds, some light browning and staining, mostly marginal.
Provenance: Dan. King (ink note: \"book cost Dan. King second hand October 1st, 1716 pound 1:06:6\"); Edward Howard, 9th Duke of Norfolk (1686–1777), Earl Marshall of England (armorial bookplate); \"Belonging to the library bequeathed by the Will of Edward Duke of Norfolk to remain in his Family. Henry Howard Tho\'s Eyre Esq\'rs Executors\" (bookplate); The Royal Meteorological Society, 1793 (deaccession label).

FIRST EDITION, SECOND ISSUE OF HOOKE\'S MOST CELEBRATED WORK, with the title dated 1667 instead of 1665. \"THE MOST INFLUENTIAL WORK IN THE HISTORY OF MICROSCOPY, CONTAINING THE DISCOVERIES MADE WITH HOOKE\'S NEWLY PERFECTED COMPOUND MICROSCOPE. Micrographia was not only the first book devoted entirely to microscopical observations, but also the first to pair its descriptions with profuse and detailed illustrations, and this graphic portrayal of a hitherto unseen world had an impact rivaling that of Galilieo\'s Sidereus nuncius ... his famous and dramatic portraits of the flea and louse, a frightening eighteen inches long, are hardly less startling today than they must have been to Hooke\'s contemporaries\" (Norman). Dibner Heralds of Science 187; Garrison-Morton-Norman 262; Heirs of Hippocrates 599; Horblit Science 50; Norman 1092; PMM 147.

胡克，罗伯特。1635-1703. 显微摄影：放大镜对微小物体的一些生理描述。伦敦：英国皇家学会詹姆斯·阿利斯特，1667年。