图片文件尺寸 : 4759 x 5638px
Walter Richard Sickert A.R.A.:The Old Bedford (The Large Plate) (Bromberg 130)
Etching, drypoint and engraving, 1915-16, on thin laid, fourth state of twelve, a proof (publication line for Carfax Co., London, was added in the third state, but the plate was never published), with margins, 265 x 156mm (10 3/8 x 6 1/8in)(PL)
沃尔特·理查德·西克特A.R.A。 老贝德福德
图片文件尺寸 : 5193 x 4439px
After Marc Chagall:Saint-Jean-Cap-Ferrat (Sorlier 4)
Lithograph in colours, 1952, on wove paper, signed and inscribed épreuve de artiste, one of a small number of proofs (the edition was never published), with margins, the palest of light-staining, three repaired horizontal tears to the centre left margin, other minor surface defects, the colours bright and fresh
Image 680 x 591mm. (26 3/4 x 23 1/4in.); Sheet 809 x 571mm. (32 x 22 5/8in.)
马克·夏加尔之后 圣让卡弗尔拉
图片文件尺寸 : 4316 x 5446px
Pierre-Auguste Renoir:Le Fleuve Scamandre, second plate (Delteil 25), c.1900
Etching on cream wove paper, from the edition of 1000 to be published in the deluxe edition of Ambroise Vollard\'s Tableaux, pastels et dessins de Pierre-Auguste Renoir (never completed), with wide margins.
9 7/8 x 7 5/8in (24.5 x 18.3cm)
sheet 12 x 9 7/8in (30.4 x 25cm)
皮埃尔·奥古斯特·雷诺阿 斯卡曼德河，第二个板块
图片文件尺寸 : 3957 x 3865px
Pierre-Auguste Renoir:
Le Fleuve Scamandre, second plate (Delteil 25), c.1900
Etching on cream wove paper, with the artist\'s inkstamped signature, from the edition of 1000 to be published in the deluxe edition of Ambroise Vollard\'s Tableaux, pastels et dessins de Pierre-Auguste Renoir (never completed), with wide margins.
9 7/8 x 7 5/8in (24.5 x 18.3cm)
sheet 12 5/8 x 9 7/8in (32.1 x 25cm)
皮埃尔·奥古斯特·雷诺阿 斯卡曼德河，第二个板块
图片文件尺寸 : 4835 x 5707px
SWAMMERDAM, JAN. 1637-1680.:Ephemeri Vita or the Natural History and Anatomy of the Ephemeron. London: Henry Faithorne and John Kersey, 1681.
4to (214 x 164 mm). 8 engraved plates on 5 sheets (2 folding). 20th century calf antique, morocco gilt lettering piece, gilt dentelles. Small hole in title page, abrasion to first letter of title with slight loss of print, lower margins of H1 and H2 repaired and reinforced, light browning.
FIRST ENGLISH EDITION of Swammerdam\'s work, originally published in Dutch in 1675. Swammerdam made remarkable observations on insect anatomy, including his description in this work of metamorphosis, which had never been covered in greater detail before. His illustrations of the anatomy of the mayfly were also of unprecedented accuracy and detail. Nissen ZBI 4060; Wing S6233.
斯瓦默达姆，1637-1680年1月。 《蜉蝣的自然历史和解剖》。伦敦：亨利·费索恩和约翰·凯西，1681年。
图片文件尺寸 : 5274 x 4509px
PISTORIUS, JOHANN. 1546-1608.:Artis cabalisticae: hoc est, reconditae theologicae et philosophorum scriptorum. Basel: Sebastian Henricpetri, 1587.
Folio (325 x 200). Woodcut printer\'s device on title and colophon, woodcut initials. Contemporary paneled calf, rebacked, two brass clasps. Repairs and scuffing to covers, stains to title page, ownership inscription on front blank, repaired tear to first leaf of text, light dampstaining along outside edge in margins, scattered foxing and browning.
FIRST EDITION of what was to be a first volume on Pistorius\' compendium of Kabalistic literature. A second volume, covering Jewish rather than Christian literature on the subject, was planned but never completed. Born Lutheran, Pistorius studied medicine and theology, eventually converted to Calvinism, and then again to Catholicism. He entered the priesthood, and served as religious adviser and confessor to Emperor Rudolph II. Adams P-1315; Caillet 8702; Graesse V, 535.
手枪，约翰。1546-1608. 卡巴莱派的艺术：这是神学和经典哲学家的重建。巴塞尔：塞巴斯蒂安·亨里克佩特里，1587年。
![[Historia Augusta], Aelius Spartianus: De vita Hadriani.... Venice: [Joannes Rubens and] Bernardinus Rizus, Novariensis, 1498.](http://www.minghuafuzhi.com/2022/12/02143848315.jpg)
图片文件尺寸 : 4364 x 5041px
SPARTIANUS, AELIUS, et al.:[Historia Augusta], Aelius Spartianus: De vita Hadriani.... Venice: [Joannes Rubens and] Bernardinus Rizus, Novariensis, 1498.
Folio (307 x 208 mm). 104 leaves, Roman letter text, spaces for initial capitals. Early 20th century half calf and cloth, edges colored in blue. Rubbed, dampstaining throughout, margins slightly trimmed, some ink annotations.
Part 2 only, lacking Suetonius, Vitae XII Caesarum, not included here. This edition was printed through quire C by Joannes Rubens, the remainder of the quires being struck and issued by Bernardinus Rizus, including the colophon which lists him as printer, and is dated October 1489. The credited authors of Historia Augusta include Aelius Spartianus and six other authors, although their true identities or even their actual existence has never been verified — the names may have been nothing more than satirical pseudonyms. Goff S-341; GW M-44252; Hain 14562; Proctor 4951.
SPARTIANUS、AELIUS等人。 [奥古斯塔历史]，阿尔留斯·斯帕蒂努斯：德维塔·哈迪亚尼……威尼斯：[乔安妮·鲁本斯和]贝尔纳丁斯·里祖斯，诺瓦里安西斯，1498年。
图片文件像素：4956 x 4842 px
安杰洛·萨韦利-
Angelo Savelli * - Zeitgenössische Kunst I-
(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed
This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity
Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection
Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.
Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.
Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.
Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.
His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.
图片文件尺寸 : 4241 x 4472px
Alasdair Gray:The Hippopotamus, a series of pictures (7)
No.1 \'The broad backed hippopotamus...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.2 \'The Hippo\'s feeble steps may err...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.3 \'The \'potamus can never reach...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.4 \'At mating time the hippo\'s voice...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.5 \'The hippopotamus\'s day...\'
lithograph with hand written dedication in ink, \"To the Gordon MacPherson 1 Sept 1976, the year of the Great Heat and start of the New Depression./As a momento of the original, commissioned and owned by him, which is on it\'s way from Alasdair Gray: not yet! Gray adds in October 23, 2003\"
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.6 \'I saw the \'potamus take wing...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.7 \'He shall be washed as white as snow\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
阿拉斯代尔灰色 河马，一系列图片
图片文件尺寸 : 4573 x 5010px
EMERSON, RALPH WALDO. 1803-1882.:Autograph Manuscript from Emerson\'s notebook, discussing key figures of the French Enlightenment and the Academie, 241 x 182 mm, laid into a larger sheet, ink on light blue paper, numbered \"80\" in upper right corner, [Boston? c.1853], tape to verso at fold.
AN UNPUBLISHED AUTOGRAPH LEAF FROM EMERSON\'S NOTEBOOK CONCERNING FIGURES OF THE FRENCH ENLIGHTENMENT. Headed \"Academie,\" the manuscript gives a brief relation of major French thinkers to the Academie Francaise: Richelieu \"wd not have established it if he cd have seen revolution in it...\"; Saint-Pierre \"induced the Acad to substitute Hope of great men for frivolous subjects\"; Montesquieu \"said, the academie had no other functions than to chatter without end.\" Emerson had visited Paris during the revolution of 1848 and held a high opinion of the French. It is likely this manuscript was produced in 1853 in conjunction with an important series of lectures Emerson would give beginning in January 1854, including \"France, or Urbanity.\" The subject, tone and wit exhibited in the manuscript resemble that of the lecture but has never been published or identified in the lecture.
爱默生，拉尔夫·沃尔多。1803-1882. Emerson笔记本上的亲笔签名手稿，讨论了法国启蒙运动和学术界的关键人物，
图片文件尺寸 : 4759 x 5638px
Walter Richard Sickert A.R.A.:The Old Bedford (The Large Plate) (Bromberg 130)
Etching, drypoint and engraving, 1915-16, on thin laid, fourth state of twelve, a proof (publication line for Carfax Co., London, was added in the third state, but the plate was never published), with margins, 265 x 156mm (10 3/8 x 6 1/8in)(PL)
沃尔特·理查德·西克特A.R.A。 老贝德福德
图片文件尺寸 : 5193 x 4439px
After Marc Chagall:Saint-Jean-Cap-Ferrat (Sorlier 4)
Lithograph in colours, 1952, on wove paper, signed and inscribed épreuve de artiste, one of a small number of proofs (the edition was never published), with margins, the palest of light-staining, three repaired horizontal tears to the centre left margin, other minor surface defects, the colours bright and fresh
Image 680 x 591mm. (26 3/4 x 23 1/4in.); Sheet 809 x 571mm. (32 x 22 5/8in.)
马克·夏加尔之后 圣让卡弗尔拉
图片文件尺寸 : 4316 x 5446px
Pierre-Auguste Renoir:Le Fleuve Scamandre, second plate (Delteil 25), c.1900
Etching on cream wove paper, from the edition of 1000 to be published in the deluxe edition of Ambroise Vollard\'s Tableaux, pastels et dessins de Pierre-Auguste Renoir (never completed), with wide margins.
9 7/8 x 7 5/8in (24.5 x 18.3cm)
sheet 12 x 9 7/8in (30.4 x 25cm)
皮埃尔·奥古斯特·雷诺阿 斯卡曼德河，第二个板块
图片文件尺寸 : 3957 x 3865px
Pierre-Auguste Renoir:
Le Fleuve Scamandre, second plate (Delteil 25), c.1900
Etching on cream wove paper, with the artist\'s inkstamped signature, from the edition of 1000 to be published in the deluxe edition of Ambroise Vollard\'s Tableaux, pastels et dessins de Pierre-Auguste Renoir (never completed), with wide margins.
9 7/8 x 7 5/8in (24.5 x 18.3cm)
sheet 12 5/8 x 9 7/8in (32.1 x 25cm)
皮埃尔·奥古斯特·雷诺阿 斯卡曼德河，第二个板块
图片文件尺寸 : 4835 x 5707px
SWAMMERDAM, JAN. 1637-1680.:Ephemeri Vita or the Natural History and Anatomy of the Ephemeron. London: Henry Faithorne and John Kersey, 1681.
4to (214 x 164 mm). 8 engraved plates on 5 sheets (2 folding). 20th century calf antique, morocco gilt lettering piece, gilt dentelles. Small hole in title page, abrasion to first letter of title with slight loss of print, lower margins of H1 and H2 repaired and reinforced, light browning.
FIRST ENGLISH EDITION of Swammerdam\'s work, originally published in Dutch in 1675. Swammerdam made remarkable observations on insect anatomy, including his description in this work of metamorphosis, which had never been covered in greater detail before. His illustrations of the anatomy of the mayfly were also of unprecedented accuracy and detail. Nissen ZBI 4060; Wing S6233.
斯瓦默达姆，1637-1680年1月。 《蜉蝣的自然历史和解剖》。伦敦：亨利·费索恩和约翰·凯西，1681年。
图片文件尺寸 : 5274 x 4509px
PISTORIUS, JOHANN. 1546-1608.:Artis cabalisticae: hoc est, reconditae theologicae et philosophorum scriptorum. Basel: Sebastian Henricpetri, 1587.
Folio (325 x 200). Woodcut printer\'s device on title and colophon, woodcut initials. Contemporary paneled calf, rebacked, two brass clasps. Repairs and scuffing to covers, stains to title page, ownership inscription on front blank, repaired tear to first leaf of text, light dampstaining along outside edge in margins, scattered foxing and browning.
FIRST EDITION of what was to be a first volume on Pistorius\' compendium of Kabalistic literature. A second volume, covering Jewish rather than Christian literature on the subject, was planned but never completed. Born Lutheran, Pistorius studied medicine and theology, eventually converted to Calvinism, and then again to Catholicism. He entered the priesthood, and served as religious adviser and confessor to Emperor Rudolph II. Adams P-1315; Caillet 8702; Graesse V, 535.
手枪，约翰。1546-1608. 卡巴莱派的艺术：这是神学和经典哲学家的重建。巴塞尔：塞巴斯蒂安·亨里克佩特里，1587年。
图片文件尺寸 : 4364 x 5041px
SPARTIANUS, AELIUS, et al.:[Historia Augusta], Aelius Spartianus: De vita Hadriani.... Venice: [Joannes Rubens and] Bernardinus Rizus, Novariensis, 1498.
Folio (307 x 208 mm). 104 leaves, Roman letter text, spaces for initial capitals. Early 20th century half calf and cloth, edges colored in blue. Rubbed, dampstaining throughout, margins slightly trimmed, some ink annotations.
Part 2 only, lacking Suetonius, Vitae XII Caesarum, not included here. This edition was printed through quire C by Joannes Rubens, the remainder of the quires being struck and issued by Bernardinus Rizus, including the colophon which lists him as printer, and is dated October 1489. The credited authors of Historia Augusta include Aelius Spartianus and six other authors, although their true identities or even their actual existence has never been verified — the names may have been nothing more than satirical pseudonyms. Goff S-341; GW M-44252; Hain 14562; Proctor 4951.
SPARTIANUS、AELIUS等人。 [奥古斯塔历史]，阿尔留斯·斯帕蒂努斯：德维塔·哈迪亚尼……威尼斯：[乔安妮·鲁本斯和]贝尔纳丁斯·里祖斯，诺瓦里安西斯，1498年。
图片文件像素：4956 x 4842 px
安杰洛·萨韦利-
Angelo Savelli * - Zeitgenössische Kunst I-
(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed
This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity
Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection
Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.
Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.
Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.
Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.
His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.
图片文件尺寸 : 4241 x 4472px
Alasdair Gray:The Hippopotamus, a series of pictures (7)
No.1 \'The broad backed hippopotamus...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.2 \'The Hippo\'s feeble steps may err...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.3 \'The \'potamus can never reach...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.4 \'At mating time the hippo\'s voice...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.5 \'The hippopotamus\'s day...\'
lithograph with hand written dedication in ink, \"To the Gordon MacPherson 1 Sept 1976, the year of the Great Heat and start of the New Depression./As a momento of the original, commissioned and owned by him, which is on it\'s way from Alasdair Gray: not yet! Gray adds in October 23, 2003\"
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.6 \'I saw the \'potamus take wing...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
No.7 \'He shall be washed as white as snow\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)
阿拉斯代尔灰色 河马，一系列图片
图片文件尺寸 : 4573 x 5010px
EMERSON, RALPH WALDO. 1803-1882.:Autograph Manuscript from Emerson\'s notebook, discussing key figures of the French Enlightenment and the Academie, 241 x 182 mm, laid into a larger sheet, ink on light blue paper, numbered \"80\" in upper right corner, [Boston? c.1853], tape to verso at fold.
AN UNPUBLISHED AUTOGRAPH LEAF FROM EMERSON\'S NOTEBOOK CONCERNING FIGURES OF THE FRENCH ENLIGHTENMENT. Headed \"Academie,\" the manuscript gives a brief relation of major French thinkers to the Academie Francaise: Richelieu \"wd not have established it if he cd have seen revolution in it...\"; Saint-Pierre \"induced the Acad to substitute Hope of great men for frivolous subjects\"; Montesquieu \"said, the academie had no other functions than to chatter without end.\" Emerson had visited Paris during the revolution of 1848 and held a high opinion of the French. It is likely this manuscript was produced in 1853 in conjunction with an important series of lectures Emerson would give beginning in January 1854, including \"France, or Urbanity.\" The subject, tone and wit exhibited in the manuscript resemble that of the lecture but has never been published or identified in the lecture.
爱默生，拉尔夫·沃尔多。1803-1882. Emerson笔记本上的亲笔签名手稿，讨论了法国启蒙运动和学术界的关键人物，