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11. [阿塔纳修斯·基尔彻，1602-1680。] Kircherian受电弓，这是Celeberrimo的新几何工具，一个名叫P.Athanasio Kirchero的人。维尔茨堡：乔布斯特·赫兹，1660年。 高清作品[52%]

Pantometrum Kircherianum, hoc est Instrumentum Geometricum Novum, à Celeberrimo viro P. Athanasio Kirchero. Würzbourg: Jobst Hertz, 1660.

图片文件尺寸 : 3933 x 5857px

[KIRCHER, ATHANASIUS. 1602-1680.]:SCHOTT, GASPAR. 1608-1666. Pantometrum Kircherianum, hoc est Instrumentum Geometricum Novum, à Celeberrimo viro P. Athanasio Kirchero. Würzbourg: Jobst Hertz, 1660.
4to (213 x 175 mm). Additional engraved title, engraved portrait, 32 engraved plates (1 folding), plate 27 bound out-of-order, woodcut initials, head- and tailpieces. Contemporary vellum, ms spine title; recased with endsheets renewed. Browned throughout.

FIRST EDITION of Schott\'s description of Kircher\'s pantometrum, a surveyor\'s device used to measure distance and height. Kircher had used it to measure Vesuvius, as described in his Magnes (1641). Sommervogel, IV, 1058.

[阿塔纳修斯·基尔彻，1602-1680。] Kircherian受电弓，这是Celeberrimo的新几何工具，一个名叫P.Athanasio Kirchero的人。维尔茨堡：乔布斯特·赫兹，1660年。

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14. Enrico Castellani，当代艺术I 高清作品[35%]

DO-Enrico Castellani - 现代艺术 I
图片文件像素：4431 x 4184 px

Enrico Castellani，当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017 Viterbo)
Superficie bianca, 1999, titled, signed and dated on the reverse, acrylic on shaped canvas, 80 x 80 cm

This work is registered in the Archivio Fondazione Enrico Castellani and is accompanied by a photo certificate of authenticity.

This work will be included in the forthcoming catalogue raisonné being prepared by the Archivio Fondazione Enrico Castellani

Provenance:
European Private Collection (acquired directly from the artist)

Castellani models the surface by acting on the nature of an “extraflexible” canvas. His project is based on one principle: refusing the planarity of the painting and aknowledging the properities of the medium: pliable, elastic, flexible. The materiality of the picture is Castellani’s works first subject.

This is what leads him to multiple experimentations from the most rectillinear geometry to the invention of random patterns scattered at will. The art of Castellani combines measure and rhythm, invention and technique.
Bernard Blisténe, Paris 2011

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15. 阿里吉耶罗·波提 高清作品[24%]

DO-Alighiero Boetti - 现代艺术 I
图片文件像素：5357 x 5537 px

阿里吉耶罗·波提-

Alighiero Boetti * - Zeitgenössische Kunst I-

(Turin 1940–1994 Rome)
Naturale Artificiale, 1982, 2 parts, ballpen on paper laid on canvas / biro su carta intelata, each 100 x 70 cm, on stretcher (2)

The work is registered in the Archivio Alighiero Boetti and is accompanied by a photo certificate of authenticity, Rome, 30 May 2007

Photo-certificate, issued by La Bertesca/c.o. Masnata, Genoa, signed by the artist, Rome, October 1983

Provenance:
The artist Francesco Masnata, Genoa (formerly Galleria La Bertesca)
Private Collection, Southem 德国y – acquired directly from the above in the late 1990s

Literature:
Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Vol 3, Milan 2015, Vol. 3, no. 1391 (with color illustration)

The work NATURALE ARTIFICIALE comes from Alighiero Boetti\'s biro drawings series. The artist created unique artistic narratives through play, poetry, measure, numbers, order and disorder, which he combined with material diversity, conceptual complexity, and extraordinary visual beauty. Boetti began his biro series in the 1970s, when he created entire sheets collaboratively using different coloured biro ink. Each work in the series contains panels of images created by different students, similar to Boetti\'s well-known tapestries. With a consistently playful approach to \"simple\" ideas, Boetti posed fundamental questions about contemporary art production. The liminal space between artist and author is a major concern in Boetti\'s catalogue of works.

The biro work offered here is a diptych of two sheets hand-coloured with red biros. Looking at the diptych as a whole, the irregular structure, gradations and patterns become apparent. Latin letters are arranged in alphabetical order on the left edge of the picture. Distributed over the two halves of the picture are small white commas in a seemingly arbitrary arrangement. A closer look at the signs reveals that they each correspond to one of the letters of the alphabet. When read in sequence from left to right, they themselves spell out the work’s title NATURALE ARTIFICIALE. Boetti\'s biro works are generally abstract images that name themselves.

\"My works arise from changing forms of collaboration. I am interested in primary things like the alphabet, maps, newspapers - not least because of the sudden surge of order and disorder. Everything has its own precise order, even if that order is realised in a disorderly way.\"
Alighiero Boetti

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