MISCELLANEOUS AUTHORS.
David Adjaye: Houses. Recycling, Reconfiguring, Rebuildin…

Description

MISCELLANEOUS AUTHORS. David Adjaye: Houses. Recycling, Reconfiguring, Rebuilding. 2005 Illustrated monographic catalog 25 x 21 cm Thames & Hudson Edition Pages 256 Defects

793

MISCELLANEOUS AUTHORS.

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Estim. 180 - 300 EUR

Collection of 4 books on alternative therapies: 1 (Moxa). MOREL (Jean-Baptiste): Mémoire et observations sur l'application du feu au traitement des maladies; guérison d'une maladie du foie opérée par le moxa; suivis de vues générales sur la médecine, et de quelques préceptes en forme d'aphorismes. Paris, Le Normant, 1813. One volume. 12.5 by 19.5 cm. 315-(2) pages. Contemporary black half morocco, smooth spine. Copy in very good condition. First edition. Quérard VI-p. 302. 2. BACHER (Georges-Frédéric): Recherches sur les maladies chroniques, particulièrement sur les hydropisies, et sur les moyens de les guérir. Paris, Veuve Thiboust et Didot Le Jeune, 1776. One volume. 12 by 19.5 cm. (4)-XL-XV-(1)-724-(2) pages. Contemporary full marbled calf, 5-rib spine, ornate caissons, triple gilt framing of boards, all edges gilt. A 5 cm split on the upper spine, two corners slightly worn. Minor interior spotting. Pp. 629 to 675: Catalogue of writings on dropsy in alphabetical order of academic collections and authors. First edition. Conlon 76: 669; Blake p. 26; Wellcome II-p. 81. "Bacher (Georges-Frédéric), physician, 1709-1798, settled in Thann, where he practiced from 1741 to 1770 [...]. He specialized [...] in the treatment of dropsy, which he claimed to cure with tonic pills composed of 2/7 black hellebore, 2/7 myrrh and 3/7 powdered blessed charcoal. Dr. Bacher advocated the use of his pills in a number of advertising publications, the first of which dates back to 1767. In 1772, Bacher published his specific formula." (D.B.F. IV-p. 1074). 3 (Balneotherapy). FLEURY (Dr. Louis-Joseph-Désiré): Traité pratique et raisonné d'hydrothérapie. Recherches cliniques sur l'application de cette médication au traitement des congestions chroniques du foie, de la rate, de l'utérus, des poumons et du coeur; des névralgies et des rhumatismes musculaires; de la chlorose et de l'anémie; de la fièvre intermittente; des déplacements de la matrice, de l'hystérie; des ankyloses, des tumeurs blanches, de la goutte; des maladies de la moelle, des affections chroniques du tube digestif, des pertes séminales, etc.. Paris, Labé, 1852. One volume. 13 by 21.3 cm. VIII-568 pp. + 4 plates h.t. (including 1 fold-out). Contemporary fawn half-basane, smooth spine decorated, red title page. Small crack on upper spine. Some foxing, one plate skilfully restored without missing. First edition. 4. Collection of various pieces printed to date, relating to the anti-psoric discovery of J. Mettemberg, [...]. Some make known his successes, confirmed by official experiments and by a host of supporting evidence; others highlight the obstacles he faced, and the manner in which he overcame them. Paris, L'Auteur, Ventôse an XIII = February 1805. One volume. 12 by 19.5 cm. Multiple pagination. Contemporary full speckled basane, ornate smooth spine, red title-piece, gilt Greek frieze framing the boards, gilt edges. Small hole at bottom of lower spine. Six pieces. Details on request. P. Labrude, Joseph Sigisbert Mandel (1749 - 1820) [...], one of Nancy's greatest pharmacists of the late 18th and early 19th centuries. "Mettemberg water, or "anti-psoric quintessence", is a secret medicine, hence the name "secret remedy", used to treat scabies. It was proposed in 1794 (year III) by the former military surgeon Joseph Mettemberg. This external remedy was widely used, and its author enjoyed a great deal of support [particularly in government ministries]. In 1801 or 1802, Mandel was "approached by a fellow doctor" who was "experiencing serious accidents as a result of the external use of this specific drug" [...]. [...] At the public meeting of the Société de Santé held on 2 Messidor An X (June 21 1802), in the presence of the Prefect of the Meurthe department, he presented the results of his analyses of the drug, concluding: "It was with the greatest surprise that I discovered that the base of this specific was one of the most deleterious, one of the most active poisons known, muriate of mercury suroxygenated, today called corrosive sublimated mercury". Mandel was not mistaken about the toxicity of this compound, now called mercuric chloride, which did not prevent the water from continuing its long career". (P. Labrude). This collection illustrates the controversy between the inventor and his detractors.

Estim. 900 - 1 350 EUR

Willy Müller-Lückendorf, Alte Mühle in Lückendorf View of the old mill on the Prescherberg in Lückendorf near Oybin in Saxony, in the light of the waning day, on a spring evening with the moon rising, the foothills of the Brandberg on the right, the high forest in the background on the left, with this intimate landscape portrait, Müller-Lückendorf shows his attachment to his Saxon homeland - his studio house is 100 metres away from the old mill house depicted, predominantly glazed painting in restrained colours in the style of the romantic landscape painting of Caspar David Friedrich, oil on canvas, incised signature "W. Müller-Lückendorf" and dated "1933", according to the author of the catalogue raisonné and son of the artist, Knut Müller, the painting was created in 1935, on the reverse signed, dated and titled "Vorfrühlingsabend mit altem Mühlhaus in Lückendorf" in pencil by the artist, on old label probably old auction or gallery label with numbering and information on the work, also in the upper left corner annotated by another hand as a gift from 1945, minor pressure marks on the left and right edge of the picture due to the stretcher, somewhat in need of cleaning, we would like to thank Mr Knut Müller for kind written information, framed, folded dimensions approx. 33 x 46,5 cm. Artist information: actually Willy Müller, called himself "Müller-Lückendorf" after his place of residence, German pattern draughtsman, landscape painter and painter. Pattern draughtsman, landscape painter and draughtsman (1905 Olbersdorf to 1969 Lückendorf), resident in Lückendorf from 1911, artistically supported by the Russian stage painter Pjotr Andrejew, Paul Otto Croeber and the Zittau art teacher Adolf Schorisch, 1919-22 apprenticeship as a weaver and pattern draughtsman at the Higher Weaving School in Zittau, then worked as a weaver in the mechanical weaving mill, 1924-32 pattern draughtsman for the Vereinigte Deutsche Textilwerke Wagner und Moras in Ebersbach, with the support of the textile industrialist Otto Moras 1925-27 studied at the Dresden School of Arts and Crafts under Alexander Baranowsky, influenced by Caspar David Friedrich, Franz Lenk and Otto Dix, from 1932 freelance landscape painter, 1940-48 military service and captivity, exhibited in Neusalza-Spremberg, Zittau, Dresden, Leipzig, Berlin, Karlsruhe, Darmstadt, Frankfurt a. M. and 1937-43 participation in the Great German Art Exhibition at the Haus der Kunst in Munich, active in Lückendorf near Oybin, source: Vollmer, homepage of the artist, Saur and Internet.

Estim. 400 - 800 EUR

A Wè-Guéré Mask Wè-Guéré, Côte d'Ivoire Ohne Sockel / without base Wood, aluminum, raffia, leather, various fetish materials. H 37 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). These masks were once used to prepare men for war. Later, they also appeared on various occasions: for example, they could appear at ceremonial festivities such as memorial services in honor of an important person, at court hearings or simply to entertain the village. Further reading: Verger-Fèvre, Marie-Noël: Côte d'Ivoire: Masques du pays Wé, in: Tribal. Le magazine de l'art tribal. No. 9/2005. Bruxelles: Primedia s.p.r.l. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 400 / 800 Weight in grams: 780 Condition: The condition (possible wear, signs of use, tears, possible other impairments and the signs of age etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 22 000 - 24 000 EUR

Attributed to CORNELIS DE VOS (Hulst, ca. 1584-Antwerp, May 9, 1651). "Holy Family." Oil on canvas. It preserves the original canvas. It presents restorations and Punctures. Measurements: 178 x 240 cm. In the center of the image the Virgin and the Child embrace each other tenderly, oblivious to the viewer's gaze. Their strategic position and the way in which the author enthroned them in a higher position indicate the relevance of the protagonists. Far from the traditional aesthetics of the representation of the Holy Family, the scene is completed with the presence of St. Joseph who is in the background in profile as usual in the representations of the Holy Family. It is interesting to note the presence of a choir of small angels that surround the main protagonists and give the scene a certain dynamism and decorative sense that harmonizes with the powdered and vaporous technique used by the artist to compose the image. The scene takes place in an interior of great opulence inspired by classical architecture, which is open to the outside on the left side, leaving a glimpse of a landscape that brings spatiality to the work. Due to its technical characteristics, this work is aesthetically similar to the work of Cornelis de Vos. We have to compare this unpublished work with another one published in Christie's London Old Masters catalog on April 27, 2007, "David playing the harp". Both works present identical composition, establishing in the center a dais on which David, the Virgin and Child are placed, around them dances the same group of cherubs. Preserves the original canvas. Presents restorations and Punctures.

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