材质 : Oil on board. Lot comprising 9 paintings

图片文件尺寸 : 4859 x 3695 px

Peter Dreher-Tag um Tag guter Tag (Schlüssel), 1997-2005.

彼得·德雷尔-日复一日的好日子（关键），1997-2005年。

图片文件尺寸 : 4806 x 5958px

ERNIE BARNES:Pool Player

signed
acrylic on canvas

30 by 20 in.
76.2 by 50.8 cm.

The copyright to this painting is reserved by the Ernie Barnes Family Trust.

We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloging this lot.

厄尼·巴恩斯 游泳池玩家

图片文件尺寸 : 5027 x 4033px

Nobuo Sekine:Phase Conception-Letter \"T\" (G6-117) 1988


signed, titled and dated on the back label
mixed media on paper

41.8 x 33.6 cm (16 7/16 x 13 1/4 in)

Provenance
Sale: Hong Kong, Est-Ouest Auctions, 27 May 2018, Lot 136
Acquired from the above by the present owner

Nobuo Sekine 相位概念字母“T”

图片文件尺寸 : 4833 x 4188px

ERNIE BARNES:City Ball 1986
1986

signed
acrylic on canvas

48 by 23 7/8 in.
121.9 by 60.6 cm.

This work was executed in 1986.

The copyright to this painting is reserved by the Ernie Barnes Family Trust.

We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloging this lot.

厄尼·巴恩斯 城市舞会19861986

图片文件像素：5891 x 5856 px

保罗·谢吉-

Paolo Scheggi * - Zeitgenössische Kunst I-

(Florence 1940–1971 Rome)
Intersuperficie curva dal giallo + rosso, 1967, signed and titled on the reverse, acrylic on three superimposed canvases, 100 x 180 x 7 cm

This work is registered in the Archivio Associazione Paolo Scheggi, Milan and is accompanied by a photo certificate of authenticity

Provenance:
G. Marucelli Collection, Milan
European Private Collection
Sale Sotheby’s Milan, 26 November 2007, lot 218
European Private Collection (acquired from the above)

图片文件尺寸 : 4216 x 4110px

安德烈·布雷顿233； 一批25件作品和各种文件，由D提供或由D提供Andr布列顿。1934-1989年

图片文件尺寸 : 4427 x 5042px

CASTELL, WILLIAM. D. 1645. :A Short Discoverie Of the Coasts and Continent of America. London: [no printer], 1644.
8vo (163 x 94 mm). Title and dedication supplied in early expert manuscript facsimile (see below), and signature B (4 leaves) lacking, some pagination along top edges shaved, four leaves at beginning repaired along upper margin twice affecting first line of text, a few other small repairs. 19th century calf gilt by Pratt, hinges split, light rubbing to spine ends and corners.
Provenance: Henry Stevens (bound by W. Pratt for H. Stevens, 1860, binder\'s stamp on front free endpaper, his sale \"Bibliotheca Americana\" Puttick and Simpson, 7 March, 1861, lot 514); Anson Phelps Stokes (1838-1913) bibliographer (bookplate, his sale Parke-Bernet, New York, 15 November 1948, lot 58).

FIRST EDITION, THE MOST ACCURATE ENGLISH DESCRIPTION OF NEW YORK BEFORE 1650, from the collection of noted bibliographers and Americana collectors Henry Stevens and Anson Phelps Stokes. The full title reads: A Short Discoverie Of the Coasts and Continent of America, From the Equinoctiall Northward, and of the adjacent Isles. Whereunto is prefixed the Authors Petition to this present Parliament, for the propagation of the Gospell in America; attested by many eminent English and Scottish Divines. And a late Ordinance of Parliament for that purpose, and for the better government of the English Plantations there. Together with Sir Benjamin Rudyers Speech in Parliament, 21. Jan. concerning America. Stevens states that this work \"should find a place in every collection of the so-called \'Eliot Tracts,\' for herein is contained the embryo idea or suggestion that Parliament should recognize the benefits to be derived by the colonies from cultivating the friendship of the Indians. EXCEEDINGLY RARE, only one other copy sold at auction (according to American Book Prices Current) in the past 45 years. Church 461; OCLC : 1238118938; Sabin 11398; Stevens, Bibliotheca Americana Vol 1, p 123; Wing C-1231.

威廉·卡斯特尔。D、 1645年。 美国海岸和大陆的短暂发现。伦敦：（没有打印机），1644年。

图片文件像素：5271 x 4242 px

皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Ex Tempore VI, 1963, signed, dated and titled on the reverse, oil on canvas, 41.2 x 33.5 cm, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
H. Gross Collection, Zurich
Sale, Aste Boetto, Genoa, 25 October 2016, lot 110
European Private Collection

Literature:
M. Volpi Orlandini, Dorazio, Alfieri Edizioni, Venice 1977, no. 676
W. Guadagnini, Fontana e Milano - Continuità di una storia, Galleria Tega, Milan 2019, p. 95 with ill.

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

图片文件尺寸 : 4543 x 4486px

ANDY WARHOL:9 animated digital artworks
1985

Amiga 1000 digital images on computer disk

campbells (moving; 320 by 200 non square pixels)
banana2 (moving; 320 by 200 non square pixels)
andy7 (moving; 320 by 200 non square pixels)
cycle2 (moving; 320 by 200 non square pixels)
flowers (moving; 320 by 200 non square pixels)
andys (moving; 320 by 200 non square pixels)
money (moving; 320 by 200 non square pixels)
cycle1 (moving; 320 by 200 non square pixels)
bigflower (static; 320 by 200 non square pixels)

The purchaser of this disk will receive an Amiga 1000 computer to accompany the lot.

安迪·沃霍尔。 9部动画数字艺术作品1985

图片文件像素：5224 x 4132 px

卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Bluviola, 1972, signed; signed and dated on the reverse, casein on canvas, 60 x 68 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, Finarte, 28 March 1995, lot 105
Galleria Russo, Rome (stamp on the reverse)
European Private Collection

Literature:
G. Celant, Carla Accardi, Charta, Milan 1999, p. 339, no. 1972 22 with ill.

More than colors I have always loved the way they match, as well as the light they give off. Even my white-black phase was a period of light, this contrast, just like in my mother’s saltworks in Trapani, a truly blinding sort of light.

When I used red with green, and sometimes even pink with light blue, the two colors had to have the same strength and couldn’t be complementary.
This way they struggle against one other and create light.
Carla Accardi in A.M Boetti, Lo specchio ardente, in Data, Milan no. 18, 1975