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Henry Moore O.M., C.H.:Sheep, Back View, plate 10 from \'Sheep Album\' (Cramer 200)
Etching printed in black, 1972, on handmade wove with the artist\'s watermark, signed, inscribed \'PL. X\' and numbered 47/80 in pencil, printed by Lacourière et Frelaut, Paris, published by Gérald Cramer, Geneva, with full margins, 302 x 380mm (11 7/8 x 15in)(SH)

亨利·摩尔O.M.，C.H。 绵羊，后视图，“绵羊相册”中的第10版

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PATTERN BOOK.:[PAYNE, JOHN, engraver. 1607-1647.] Animalium quadrupedum, auium, florum, fructuum, muscarum et vermium omnis generis verae delineationes.... [London]: Roger Daniel, c.1630.
Oblong folio (290 x 183 mm). Engraved title page and 19 engraved plates. Modern brown morocco antique. Covers slightly warped, plates and engraved title trimmed to image borders and laid down on old laid paper, some with partial hand-coloring, a few chips and tears into image areas, light spotting and toning.

Though the plates are not signed by Payne, this appears to be a later edition of Payne\'s Flora, published by Roger Daniel under the dual Latin and English titles \"Animalium quadrupedum, auium, florum, fructuum, muscarum et vermium omnis generis verae delineationes in æes incisae. mdah; A booke of beast, birds, flowers, fruits, flies, and wormes, exactly drawne with their liuely colours truly described.\" This edition formed the basis for Roger Walton\'s pattern book A View of the Creation (1666), which copies the plates from this edition very closely. Payne studied engraving under the Dutch masters William and Simon van de Passe, and his flowers are copied from Crispijn van de Passe\'s Altera Pars (1603-1605). The animals are derived from Joris Hoefnagel\'s Archetypa studaque (1592).

图案书。 四足动物、海葵、花、水果、芥末和各种属的蠕虫都是真正的描绘。[伦敦]：罗杰·丹尼尔，约1630年。

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卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana