图片文件尺寸 : 2619 x 3697px

托马斯·麦肯齐（Thomas Mackenzie）的《哲学家》蛋糕就在那一刻失去了味道-Thomas Mackenzie

在那一刻，哲学家他的蛋糕失去了所有的味道--Thomas Mackenzie (英国, 1887 – 1944)

图片文件尺寸 : 2572 x 3685px

托马斯·麦肯齐（Thomas Mackenzie）说：“哲学家们整天都能听到对方在思考-Thomas Mackenzie

哲学家们整天都能听到对方在思考--Thomas Mackenzie (英国, 1887 – 1944)

图片文件尺寸 : 4211 x 4326px

Hank Willis Thomas:Keep The Faith Baby, 2019
Letterpress in colors on coventry rag paper, signed in pencil and numbered PP 1 (a printer\'s proof, aside from the edition of 50), from a benefit edition in support of the Portland Art Museum on the occasion of the artist\'s exhibition, Hank Willis Thomas: All Things Being Equal..., (October, 2019-January, 2020), the full sheet.
sheet 20 x 20in (50.8 x 50.8cm)

汉克·威利斯-托马斯 保持信念宝贝

图片文件尺寸 : 4261 x 4579px

ALCHEMICAL MANUSCRIPT.:Seventeenth-century English manuscript transcription of Thomas Norton\'s The Ordinal of Alchemy, 182 x 150 mm, 104 numbered pp, ink on paper, written rectos and versos, initial blank lettered \"A.a.a.a.b.b.b.c.c.d.d.,\" and two additional blanks at rear, [England, 17th-century]. Bound in modern paper wrappers.
Provenance: From the collection of Robert Raymo.

One of the most famous works of English Alchemy, the Ordinal is a 15th-century poem of 3000+ lines composed by Thomas Norton (c.1433–1513) the chief disciple of England\'s grandmaster of Alchemy, George Ripley (from whom Norton here says he \"learned all the secrets of Alkimy\"). The Ordinal is a broad-based work of alchemy discussing the philosopher\'s stone and the transmutation of the elements into gold, together with the medicinal aspects of alchemy; it additionally conveys specific information about the relevance of color, music, and the positioning of the planets to the alchemical process. The Ordinal was first published in English in Ashmole\'s Theatrum Chemicum Britannicum (1652). There are minor differences between this text and that printed by Ashmole, suggesting either a pre-1652 date of transcription or an alternative manuscript tradition. Only some 32 manuscript exemplars of this text are known to be extant.

炼金术手稿。 十七世纪托马斯·诺顿的《炼金法则》的英文手稿，

图片文件像素：6259 x 4573 px

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

图片文件尺寸 : 4371 x 4678px

MICROSCOPY.:8 titles:
1. GIROD-CHANTRANS, JUSTIN. 1750-1841. Recherches chimiques et microscopiques sur les conserves, bisses, tremelles, etc. Paris: Chez Bernard, An X (1802). 4to (265 x 202 mm). 36 hand-colored engraved plates. Later half green straight-grain morocco and marbled boards. Rubbed, old cloth tape label on spine, scattered spotting.
2. QUEKETT, JOHN THOMAS. 1815-1861. A Practical Treatise on the Use of the Microscope. London: Hippolyte Balliere, 1848. 8vo (215 x 133 mm). 9 engraved plates, numerous wood-engraved illustrations in text. Late-19th century half calf and marbled boards, spine decorated in blind with 5 raised bands, marbled edges. Large chip to top edge of spine, soiling to covers, plates closely trimmed at outside edges, toning.
3. COLE, ARTHUR C. 1821-1900. Studies in Microscopical Science. London: Balliere, Tindall Cox, 1883. 2 volumes. 8vo. 89 lithographic plates. Publisher\'s red cloth, stamped in gilt. Spines sunned, corners bumped, slight chipping to spine ends, mis-matched bookplates on front paste-downs, shaken, light browning.
4. ---. The Methods of Microscopical Research. London: Balliere, Tindall Cox, 1884. 8vo. 2 lithographic plates. Contemporary half black sheep and marbled boards. Rubbed, toning.
5. PETRI, RICHARD JULIUS. 1852-1921. Das Mikroskop. Von seinen Anfangen bis zur jetzigen Vervollkommnung fur alle Freunde dieses Instruments. Berlin: Richard Schoetz, 1896. Small 4to. 2 portrait plates, numerous illustrations in text. Contemporary half morocco and marbled boards. Heavily chipped, top joint cracked, toning.
6. CLAY, REGINALD S. 1868-1954, and THOMAS H. COURT. The History of the Microscope. London: Charles Griffin and Company, 1932. 4to. 164 illustrations in text. Publisher\'s red cloth. Sunned, slightly loose, spine ends bumped, a few pages with tape repairs, some ink notations.
7. BRÄUTIGAM, FRITZ. and ALFRED GRABNER. Editors. Beiträge zur Floreszenz-Mikroskopie. Vienna: Georg Fromme Co., 1949. 20 color illustrations on 10 pp. Publisher\'s quarter cloth and printed boards. Some staining and soiling to boards, insect damage to spine, light toning.
8. ROOSEBOOM, MARIA. Microscopium. Leiden: Rijksmuseum voor de Geschiedenis der Natuurwetenschappen, 1956. 4to. Publisher\'s grey cloth. Fabric tape label on spine, light soiling and wear., minor toning.

显微镜检查。 8个标题：

图片文件尺寸 : 5123 x 5985px

AMERICANA. :6 titles:
1. DE BRY, THEODOR, and ULRICH SCHMIDEL. Das VII Theil America. Warhafftige und lieblich Beschreibung estlicher fürnemmen indianische Landschafften und Insulen.... Frankfurt: 1597. Folio. Engraved title page, one engraved illustration in text, 31 leaves. 20th century decorative paper wrappers.
2. A Curious Collection of Voyages, Selected from the Writers of All Nations.... London: 1761. Volume V (only). 8vo. Engraved illustrations. Modern quarter morocco and marbled boards. Edges trimmed, with some losses, paper repair to front flyleaf, browning and spotting.
3. [ANONYMOUS]. The North-American and the West-Indian Gazetteer. London: 1778. Small 4to. 2 folding maps. Rebacked contemporary calf. Corners chipped, tape residue on spine, browning and spotting.
4. ROBERTSON. Histoire de l\'Amerique. 1779. Volume III (only). 8vo. Folding map. Contemporary sheep, gilt decorations on spine. Rubbed, some chipping to corners, library stamp to title, toning.
5. GOSSE, PHILIP HENRY. Letters from Alabama (U.S.), Chiefly Relating to Natural History. London: 1859. 8vo. Wood engraved illustrations in text. Early 20th century red morocco gilt, marbled endpapers, marbled edges. Rubbed, spine darkened, corners bumped, scattered spotting and toning.
6. HARIOT, THOMAS. Voyages en Virginie et en Floride. Paris: 1927. 4to. Portrait of Theodor De Bry, reproductions of woodcut engravings in text. Publisher\'s wrappers printed in red and black. Covers soiled, bumped and chipped, library blind stamp on title page, toning.

美洲。 6个标题：