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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。

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KEPLER, JOHANNES. 1571-1630. :Dissertatio cum Nuncio Sidereo nuper ad mortales misso a Galilaeo Galilaeo. Frankfurt: Zacharias Palthenius, 1611.
8vo (162 x 90 mm). Woodcut device on title page. Modern blue morocco, ruled in gilt. Even toning, minor staining and some ink underlining.

Third, pirated edition of the Dissertatio cum Nuncio Sidereo, following the 1610 Prague and Florence editions. The work is an open letter to Galileo, responding enthusiastically to Galileo\'s telescopic observations published in Sidereus Nuncius in March of 1610. Galileo sent a copy to Kepler in April 1610, and Kepler felt it was necessary to publish a response in order to disseminate the knowledge of Galileo\'s discovery and its importance to the widest possible audience. He was also more than a little relieved that Galileo\'s conclusions did not undermine his own theories. The publisher of this edition, Zacharias Palthenius of Frankfurt, had also published a pirated edition of Galileo\'s Sidereus Nuncius in 1610. Caspar 34; Zinner 4277 (both for first edition).

开普勒，约翰内斯。1571-1630. 沙漠和修女西德雷奥云从加利利送到死者那里。法兰克福：撒迦利亚斯·帕罗修斯，1611年。

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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，

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Giuseppe Capogrossi，当代艺术I-

Giuseppe Capogrossi * - Zeitgenössische Kunst I-

(Rome 1900–1972)
Superficie n. 149, 1956, signed and dated; signed, titled and dated again on the reverse, oil on canvas, 65 x 50 cm, framed

We are grateful to Archivio Capogrossi, Rome for the kind assistance with the cataloguing of this work

Provenance:
Galleria d’Arte Selecta, Rome (stamp on the reverse)
F. Russoli Collection, Milan
European Private Collection

Exhibited:
Rome, Galleria Selecta, 1956
Paris, Galerie Rive Gauche, 1956, exh. cat. no. 18
Berlin, Fünf italienischte Maler der Galleria La Bussola, Turin und Rom, 1957
Wuppertal, Städtisches Museum, Fünf italienische Maler, 1957, exh. cat. with ill. (label on the reverse)

Literature:
G. C. Argan, Capogrossi, Editalia, Rome 1967, p. 29, p. 164 no. 235 with ill.

The theme he discovers - this claw, this hand, this trident, this gallows - is already a style. He bends it to his moods, imprints his fantasies on it, calms it or exacerbates it, unleashes it, puts it to sleep, haunts it, indulges it. There is nothing he cannot make it do, nothing he cannot make it say.

One theme: the whole world.

Since Mondrian, I have never seen such an intimate and tenacious union of personal style. Allowing for due differences, of course, as the contrast between the two is remarkable. Capogrossi is infinitely richer than Mondrian, who is infinitely deeper. One established solid and simple foundation from which the other can profit, build upon, and afford a thousand fantasies.
Michel Seuphor in the catalogue of the exhibition Capogrossi, Galleria del Naviglio, Milan 1953

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HORTUS SANITATUS. :Ortus Sanitatis. De herbis plantis. De Animalibus reptilibus. Venice: Bernardinus Benalius Johannes de Tridino alias Tacuinus, 1511.
Folio (302 x 207 mm). Double column, 53 lines and headline; initial spaces with guides; four-piece decorative woodcut title border with scrolling foliage and dolphin motifs, more than 1000 column-width woodcut illustrations, and three full-page woodcuts, two within white-on-black borders. 367 (of 368) leaves, lacking the final blank. Title remargined, some light browning, gathering cc with some lines crossed out in ink.

First edition printed in Italy and fifth edition of the Latin text. The woodcut are reverse copies of Johann Prüss\'s c.1496 Strasbourg copies of the woodcuts of the first edition, printed in Mainz by Jacob Meydenbach in 1491. Two full-page woodcuts depict physicians, one based on the famous illustration in Ketham\'s Fascicolo di medicina, the other a repeated from a 1504 Venice edition of Guillelmus de Saliceto, Chirurgia. The pseudo-Galen tract De facile acquisibilibus is added for the first time. Tacuino\'s woodcut title border with dolphins, is \"one of the most influential pieces of ornamentation of the sixteenth century\" (Mortimer). Adams H-1016; Durling 2468; Essling 1723; Hunt 1:12; Mortimer Italian 238; Nissen BBI 2368; Sander 3470.

霍图斯·桑坦提乌斯。 奥尔图斯卫生。赫比斯和普兰蒂斯。动物与爬行动物。威尼斯：Bernardinus BenaliusJohannes de Tridino别名Tacuinus，1511年。

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托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly

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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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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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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。

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LOBEL, MATTHIAS DE. 1538-1616. :Plantarum seu Stirpium Historia [Bound with]: PENA, PIERRE and MATTHIAS DE LOBEL. Nova stirpium adversaria. Antwerp: Christopher Plantin, 1576.
Folio (315 x 225 mm). 2 parts in 1. Title within woodcut architectural border, woodcut illustrations by Antonii van Leest, Gerard Janssen van Kampen, et al. throughout, pasted-in illustrations on R3r and R4v, second work with 2 pasted-in illustrations on X6v and Ll2v, and 3 slips with woodcut illustrations tipped onto A6, C5 N4. Contemporary blind-tooled pigskin over beveled wooden boards, roll-tooled roundels of Luther, Erasmus and Melancthon on upper and rear boards, paper spine label, metal clasps; covers soiled, paper repairs to title, occasional toning and foxing.
Provenance: ink drawing of palm tree with ms notes by an early owner on rear paste-down; \"Kroeber\" (signature to front free endpaper); Naturforschende Gesellschaft (ink stamp on title).

FIRST EDITION OF LOBEL\'S STIRPIUM OBSERVATIONES AND THE SECOND, ENLARGED ISSUE OF NOVA STIRPIUM ADVERSARIA. The first work is a companion to the Nova Stirpium Adversaria, \"one of the milestones of modern botany\" (DNB), first published in London 1570-1 by Thomas Purfoot. Plantin purchased 800 copies of the London printing, re-issuing the original sheets with a new title page and expanded end matter and publishing it together with the first edition of De Lobel\'s Plantarum seu Stirpium Historia. \"The chief importance of this herbal lies in its system of classification which is better than that used by any contemporary botanist\" (Hunt I, p 28). Hunt 126-7; Nissen BBI 1218; Pritzel 5548.

洛贝尔，马蒂亚斯·德。1538-1616年。 Plantarum seu Stirpium Historia[绑定]：PENA、PIERRE和MATTHIAS DE LOBEL。对抗性新星。安特卫普：克里斯托弗·普兰廷，1576年。