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18 x 12 (45.7 x 30.5 cm)

Jacob Lawrence. Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred. 1940-41

雅各布·劳伦斯。尽管黑人习惯了私刑，但他发现这是他离开发生私刑的地方的好时机。194041-

图片文件尺寸 : 2809 x 3619px

理查德·范·奥利（Richard van Orley）的《西尔维奥走近被箭伤的多琳达》（《菲多牧师》，第四幕，第八场）-Richard van Orley

Silvio Approaches Dorinda whom He Has Wounded with an Arrow (Il Pastor Fido, act IV, scene 8)--Richard van Orley (Flemish, 1663-1732)

图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

图片文件尺寸 : 1875 x 2952px

“一只鸵鸟只认为他”掩盖了“。”-Anonymous

一只鸵鸟只认为自己“是”掩盖--Anonymous

图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.

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.

图片文件像素：6224 x 5523 px

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

图片文件尺寸 : 4250 x 5676px

LE BRUN, CORNELIUS. 1652-1727/28.:Voyages De Corneille Le Brun ... Moscovie, en Perse ... Vol. I II. Amsterdam: Freres Wetstein, 1718.
2 volumes. Folio (330 x 210 mm). Engraved frontispiece in volume 1, title-pages printed in red and black, engraved portrait frontispiece in volume 2, 2 (of 3) double-page engraved maps, 115 engraved plates, many double-page, some folding, the majority with multiple images, and numerous engraved illustrations in text. Modern quarter morocco and red cloth. Paper repair to portrait, a few small tears, some penciled marginalia, scattered spotting and browning.

FIRST EDITION IN FRENCH of Le Brun\'s travels to Russia, Persia, India and Java, copiously illustrated with flora, fauna, native studies, costumes, antiquities and views. Also included are two particularly wide folding panoramas, one of Moscow and a second of Isfahan. Following an initial voyage to the Levant, \"In 1701, Le Bruyn started on the second of his journeys taking a ship to the country of the Samoyeds, and then proceeding to Moscow. Traveling by way of Asia Minor, he arrived in Persia where he remained for the years 1704-05. Leaving Persia he proceeded [by ship] to India [stopping at Cochin], Ceylon and the East Indies [i.e. Batavia]. He returned by much the same route, residing in Persia between 1706 and 1707 and describing the ruins of Persepolis and Pasargades\" (Howgego). Brunet III, 911; Cohen-de Ricci 610; Howgego B177; Lipperheide 546; Wilson p 33.

棕色的，科尼利厄斯。1652-1727/28年。 棕色科内尔之旅…莫斯科，波斯…第一卷和第二卷。阿姆斯特丹：韦茨坦兄弟，1718年。

图片文件尺寸 : 5004 x 3920px

POGANY, WILLY. 1882-1955.:14 costume designs for The Thunderbird, one-act Aztec ballet choreographed by Michel Fokine with libretto by his wife Vera Fokina, performed in the revue Get Together, opened at the New York Hippodrome, September 3, 1921, watercolor, gouache and silver paint over pencil, 13 measure 480 x 348 mm (19 x 13 5/8 inches); and one for Vera Fokina measuring 535 x 370 mm (20 1/2 x 14 1/2 inches), all but one signed \"Willy Pogany\" and four with Fokine\'s autograph pencil notation \"O. K./ M. Fokine,\" with additional manuscript notes in Russian and English, many in his hand, on versos, various date labels affixed to the versos, fabric samples to the verso of one, some chipping to corners, minor soiling. Housed in custom cloth box, morocco title label Willy Pogany 1882-1955 on spine.

FINE COLLECTION OF POGANY COSTUME DESIGNS FOR FOKINE\'S THE THUNDERBIRD. Hungarian-born artist Willy Pogány was one of the most versatile artists of the early 20th Century. He first gained fame as an exceptional children\'s and other gift book illustrator after he moved to London in 1908. Ten years later he came to the United States where he became a prolific contributor to books and magazines and a busy set and costume designer for Broadway, the Metropolitan Opera and the movies. His murals graced theaters and apartment buildings. In Hollywood, he was art director for many motion pictures including Dames, Dante\'s Inferno, Kid Millions and Wonder Bar. Walter Lantz\'s Technicolor animated short Scrambled Eggs (1939) featured Pogány\'s Peterkin, a mischievous satyr.

Michel Fokine (1880-1942) was one of the most influential dancers and choreographers of the Modern Era. Sergei Diaghilev made him resident choreographer of the Ballets Russes in 1909. Among his greatest ballets for this company were The Firebird (1910); Petrushka (1912); and Le Spectre de la Rose (1911) in which Nijinsky danced the lead role. He and his wife, ballerina Vera Fokina, left Russia in 1918. After the triumphal 1918 New York debut of Rimsky-Korsakov\'s opera Le Coq d\'or at The Met as a ballet by Fokine with sets and costumes by Pogány (\"as mad as Trotzky [sic] and twice as exhilarating\"), the choreographer and his designer teamed again for a new ballet based on an Aztec legend. The Thunderbird was the highlight of Dillingham\'s oddly assorted Broadway revue Get Together. Fokina was responsible for the libretto; and she and her husband danced as Princess Nahua and Atzlan. The music was a selection from Russian composers Borodin, Glinka and Tchaikovsky, and Fokine also choreographed a ballet on ice for the show based on \"The Red Shoes.\" \"Fokine has done a gorgeous piece of choreography, and Mr. Pogany has given it setting and costumes that surpass anything he has heretofore done, not even his \'Coq d\'Or.\' The story of the princess released by love from the power of a wizard and her union with her warrior lover is beautifully told\" (New York Tribune, Sept. 5, 1921). The Thunderbird was like a Native American Firebird. Perhaps the loveliest of Pogány\'s designs was for Fokina\'s princess, a silver costume with white ostrich plumes.

帕甘，威利。1882-1955. 《雷鸟》（The Thunderbird）的14件服装设计，由米歇尔·福金（Michel Fokine）编舞，由其妻子维拉·福金娜（Vera Fokina）演唱剧本，是一幕阿兹特克芭蕾舞剧，于1921年9月3日在纽约竞技场开幕，

图片文件尺寸 : 4351 x 5993px

A ZANE GREY FISHING REEL.:Pflueger ... Oceanic Free Spool Surf Casting Reel, 135 x 115 (dia) mm, stamped \"400,\" patented 1920s, housed in fitted leather case blindstamped \"Mills\" and stenciled \"Z.G.\" in red ink to lid.
Provenance: estate of Zane Grey; purchased by the owner from Houle Rare Gallery, 1990s.

Author and adventurer Zane Grey was also an avid fisherman, and today his best-remembered writings record his experiences fishing around the globe in both fresh- and saltwater bodies. Like any avid fisherman, Grey had a large collection of rods and reels which were sold off over the years by his heirs. Though he is often associated with the Hardy brand, he also used Pflueger, another popular purveyor of the early 20th century.

扎恩灰色的钓鱼线轴。 Pflueger…Oceanic Free线轴表面铸造卷筒，

图片文件像素：6188 x 5087 px

Julius Paul Schmidt Felling在圣诞拍卖会上-

Julius Paul Schmidt-Felling - Weihnachtsauktion-

(Berlin 1835-1920)
Bronzefigur, Junger Kämpfer mit Schwert, signiert und beschriftet rückseitig an der Plinthe: Echte Bronze, MRF Schmidt-Felling, braun patinierte Bronze, Höhe ca. 18 cm, guter Zustand Ruf 200

图片文件尺寸 : 4928 x 5999px

KEISAI EISEN (1790-1848):Edo period (1615-1868), 19th century
An oban tate-e print depicting Minamoto Ushiwakamaru (Yoshitsune) as he receives a scroll detailing sword-fighting techniques from Sojobo (The Tengu King), signed Eisen
15 1/4 x 10 3/8in (38.7 x 26.3cm)

艾森修正案（1790-1848） 江户时代，19世纪

图片文件尺寸 : 3981 x 5780px

DOSTOEVSKY CARTE-DE-VISITE INSCRIBED TO ALEXANDER HERZEN.:DOSTOEVSKY, FYODOR. 1821-1881. Photograph signed and inscribed [in Russian] to Alexander Herzen, albumen print carte-de-visite full length portrait by M.B. Tulinov, Petersburg, 1861, 105 x 65 mm, inscribed by Dostoevsky in Russian to the verso, \"Alexander Ivanovich Herzen in memory of our meeting in London. Fyodor Dostoyevsky 8 July/20 July 1862,\" minor stain to verso.
Provenance: Alexander Ivanovich Herzen; to daughter Olga Aleksandrovna [Herzen] Monod; by descent.
Publication: For a discussion of the photograph, see Volgin, Igor. \"Introduction\" to The Dostoevsky Archive (1997), p 21.

Pull quote: \"Herzen awaits his readers in the future. Far above the heads of the present crowd, he transmits his thoughts to those who will be able to comprehend them.\" – Leo Tolstoy, 1905.

VERY RARE CARTE DE VISITE PHOTOGRAPH OF FYODOR DOSTOEVSKY PRESENTED TO ALEXANDER HERZEN IN REMEMBRANCE OF THEIR 1862 MEETING IN LONDON: A TREMENDOUSLY IMPORTANT ASSOCIATION BETWEEN TWO OF THE LEADING INTELLECTUALS OF THE 19TH-CENTURY.

Alexander Herzen was one of the most important and influential Russian writers and thinkers of the 19th-century. called the \"father of Russian socialism,\" he had a profound influence on late-19th century Russian writers, including Fyodor Dostoevsky. Born illegitimately to a wealthy Russian landowner, Herzen became a dissident and critic of the Russian feudal system. Of Herzen, Tolstoy said he had never met a man \"with so rare a combination of scintillating brilliance and depth.\" His writings, including From the Other Shore (1848) and those appearing in his influential publications of the 1850s-60s The Bell and the Polestar, would help mold a generation of Russian writing and thought.

Herzen and Dostoevsky met for the first time in Russia in 1846, following Dostoevsky\'s comment in a letter to his brother that Herzen and Goncharov stand as \"the most remarkable\" of his rivals; Herzen\'s recollection of the meeting was less than effusive, however: \"I can\'t say he made a particularly present impression.\" Their second meeting occurred when Dostoevsky visited Herzen in London in July of 1862, of which this photograph is a memento. During the 1850s and early 1860s, visits to the emigree Herzen by Russian writers and intellectuals were something of a right of passage, and Dostoevsky\'s visit followed right on the heels of Turgenev. This series of meetings profoundly affected Dostoevsky and his work, and is clearly acknowledged in his Winter Notes which he wrote later that year, exhibiting a clear debt to Herzen\'s own writings. Dostoevsky, along with Solzhenitsyn, acknowledged the formative influence of Herzen on his work, and Herzen would also appear in composite in a number of Dostoevsky\'s characters throughout his career. Herzen, however, noted, rather condescendingly, \"Dostoevsky was here yesterday—he is a naïve, not entirely lucid, but a very dear person. He believes enthusiastically in the Russian people.\"

The two towering figures would meet again on a steamship from Naples to Livorno the following year, where Dostoevsky was travelling with his mistress Polina Suslova. According to Suslova\'s diaries (as published in The Dostoevsky Archives), Dostoevsky took pains to hide their relationship from Herzen, introducing her vaguely as a family member, and even encouraged her to arrange a visit with Herzen\'s son in Paris that Winter. After they parted, Dostoevsky became angry with her over a photograph of her he had seen at Herzen\'s, which she had given at an earlier date. In 1865, Dostoevsky wrote to Herzen imploring him for a loan, and became peevish when Herzen did not immediately respond. By the late 1860s Dostoevsky would disparage Herzen, somewhat unfairly, as a \"Westernizer,\" leading to his more severe criticism of Herzen in his Writer\'s Diary.

Herzen was one of the most complex and brilliant figures of the 19th-century, and was largely responsible for assimilating western ideas into Russian thought, while still maintaining his advocacy for the freedom of the Russian serf.

In reality, the two writers/thinkers shared a great deal in their outlook: both asserted the importance of the individual, and the folly of the search for a unified teleological system, cutting against the grain of their mid-19th century contemporaries. While Herzen was embraced by Lenin, identified as the \"father of Russian socialism,\" Herzen\'s socialism was a different breed, \"Centralization may do a great deal for order and for various public undertakings, but it is incompatible with freedom. It easily brings a nation to the position of a well-tended flock or a pack of hounds cleverly kept in order by a huntsman.\" Lenin regarded Herzen\'s focus on freedom as a shortcoming of his bourgeois roots. During the 20th-century Russian-British philosopher Isaiah Berlin came across Herzen\'s writings and recognized the prescience of Herzen\'s thought. It was Berlin, who reestablished Herzen\'s influence, agreeing with and amplifying his idea that the pursuit of \"a perfect society\" invariably leads to blood.

The present photograph was taken by Mikhail Borisovich Tulinov (1823–1889) in Petersburg in 1861. Any period photograph of Dostoevsky is rare, and moreso inscribed. We trace two inscribed photographs at auction in the last 40 years. However, we find no record of an inscribed photograph of similar substance and importance in the historical record. An incredible, and incredibly rare, Dostoevsky item tying together two of the greatest thinkers and writers of the 19th-century.

REFERENCES:
Kelly, Aileen. The Discovery of Chance: The Life and Thought of Alexander Herzen. 2016.
Kelly, Aileen. \"Irony and Utopia in Herzen and Dostoevsky: From the Other Shore and Diary of a Writer.\" The Russian Review, 50:4 (1991), pp 397-416.
Lantz, Kenneth. The Dostoevsky Encycolpedia. 2004.
Serakin, Peter. The Dostoevsky Archive: Firsthand Accounts of the Novelist from Contemporaries\' Memoirs and Rare Periodicals. 1997.


\"If only people wanted to save themselves instead of saving the world, how much they would do for the salvation of the world and the liberation of humanity!\" – Alexander Herzen, From the Other Shore, 1848.

多斯托耶夫斯基的名片上写着亚历山大·赫尔岑。 照片署名并题写（俄语）给亚历山大·赫尔岑，

图片文件像素：5663 x 4147 px

米谢·弗龙-

Jean-Michel Folon * - Zeitgenössische Kunst I-

(Brussels 1934–2005 Monaco)
La pêche miraculeuse (Buste aux poissons) / The Miraculous Catch (Bust with Fish), 2005, bronze, signed and numbered HC 2/2 (from an edition of 2 + 2 EA + 2 HC) with the foundry mark: Romain Fils, h 81 cm w 43 cm.

This work will be included in the artist’s forthcoming catalogue raisonné currently being prepared by the Fondation Folon.

This work is registered at the Fondation Folon with the number F400 and is accompanied by a certificate of authenticity.

Provenance:
European Private Collection

The 比利时 artist Jean-Michel Folon (1934-2005) has left a universal mark on the collective imagination of the last third of the 20th century through his posters, illustrations, television animations, and his numerous exhibitions. A humanist, he left behind a figurative and poetic body of work rooted in traditional techniques, which was atypical for an environment dominated by conceptual art. Folon turned to sculpture in the early 1990s, having initially focused on paper-based techniques (inks, silk-screen printing, watercolour), thus providing him with a new challenge.
His sculptures are inspired by ethnographic art and characterised by their frontality and corporality, from the Cyclades to the Etruscans, from African masks to Amerindian totems. They are largely centred on the human being and embody themes that were once treated graphically and thus project the artist\'s universe into atypical and natural environments: landscapes, gardens, parks, interiors.

La pêche miraculeuse (Buste aux poissons) [The Miraculous Catch (Bust with Fish)] from 2005 presents the artist’s favoured Everyman, the character with the hat, onto whom everyone can project themselves. He is holding an armful of fish. This bust sculpture is a variation on a theme that Folon had explored with a few years earlier in his Fontaine aux poissons [Fountain with Fish], which has been shown to the public on numerous occasions at major exhibitions, notably in Florence in 2005. The quality of the patina of this remarkable Catch is typical of Folon\'s quasi-pictorial quest for sculpture. It drew this comment from the sculptor.

“You make impressionist sculptures, these are the patinas of a painter and each of your sculptures will be unique because you will never be able to do the same thing twice.”
César

图片文件尺寸 : 5174 x 4122px

KIRCHER, ATHANASIUS. 1602-1680.:Naturliche und medicinalische Durchgrundung der laidigen ansteckenden Sucht, und so genanten Pestilentz. Augsburg: Jacob Koppmayer, 1680.
8vo (165 x 105 mm). [8], 302, [18] pp. Later half vellum and marbled boards, black morocco spine label; very faint dampstain to portion of text block and occasional light foxing, an attractive copy in custom cloth slipcase and chemise.
Provenance: \"Coll. Soc. Jes. Augsburg 1702\" inscription at head of title.

FIRST GERMAN EDITION of Kircher\'s groundbreaking work of epidemiology, an account of an outbreak of the bubonic plague in Rome, first published as Scrutinium Physico-Medicum (Rome, 1658). \"Kircher was probably the first to employ the microscope in investigating the cause of disease ... he was the first to state explicitly the theory of contagion by animalculae as the cause of infectious disease\" (Garrison-Morton). \"Kircher was perhaps the first to suggest that physicians themselves may spread the plague through unclean hands and instruments\" (Merrill). Garrison-Morton 5118; Krivatsy 6408; Merrill 15; Waller 5294.

阿塔纳修斯·基尔彻。1602-1680. 自然的和药物的渗透性，即所谓的鼠疫。奥格斯堡：雅各布·科普迈尔，1680年。