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This map was a collaboration between author Ted Widmer and Connie Brown to create map end papers for Widmer's Book "Lincoln on the Verge: Thirteen Days to Washington," published in 2020., Image copyright Constance Brown., For more information on Connie Brown and Redstone Studios, see https://www.redstonestudios.com/studio

Covers to Map projection IX : Stereographic, Africa, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Ninth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection X : Stereographic, S. America, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Tenth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection II : Interrupted sinusoidal, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Second in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection VII : Stereographic, Antarctica, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Seventh in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection VI : Stereographic (North America surrounds), by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Sixth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection V : Stereographic, (Eurasia surrounds), by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Fifth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection IV : Gnomonic butterfly, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Fourth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection III : Interrupted polyconic, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., Third in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

Covers to Map projection I : Azimuthal equidistant, by artist Tauba Auerbach. Includes title, statement of responsibility and imprint. Offset printed letters in fluorescent green on white paper. Information appears on one exterior panel of the map, which is presented in an accordion fold., First in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: stereographic, from the perspective of Africa, which stretches around the peripheries. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Ninth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: stereographic, from the perspective of Antarctica, which stretches around the peripheries. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Seventh in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: stereographic. Shows all the world's oceans inside the shoreline of a single continent, North America, which stretches around the peripheries. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Sixth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: stereographic, from the perspective of South America, which stretches around the peripheries. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Tenth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: stereographic. Shows all the world's oceans inside the shoreline of a single continental mass, Eurasia, which stretches around the peripheries. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Fifth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: gnomonic butterfly. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Fourth in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: interrupted sinusoidal. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Second in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: interrupted polyconic. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., Third in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

World map by artist Tauba Auerbach, featuring an alternative projection: azimuthal equidistant. Shows an unusual rotation of the earth within its familiar frames. Made using custom software created for Auerbach by programmer Jason Davies. The tool allows one to rotate the earth in any direction and flatten it using a wide array of projections, producing unfamiliar but mathematically accurate models of the earth. In this application, the gaze is focused on the oceans and the Southern Hemisphere. The software was originally created to generate source material for a series of paintings and GIFs, as part of the exhibition Panthalassa at Standard (Oslo) in October 2020. Title, date, artist's initials and publisher included within the exterior border of the image, each on one of four sides. Offset print in black and fluorescent green on white paper. Map is 68 x 98 cm, on sheet 69 x 99 cm, folded to 13 x 35., First in a series of ten unusual maps made using custom software created for artist Tauba Auerbach by programmer Jason Davies. For full series, see PLNs 14307.000 through 14316.000. All images and works copyright Diagonal Press. Posters available via the Diagonal Press website (see link in Pub Reference). Earnings from these posters will contribute to the Indigenous Language Institute, Critical Resistance and Indigenous Environmental Network., https://diagonalpress.com/collections

"Based on sensory-mapping concepts developed by UK artist Kate McLean - Diane Borsato, JP King and Amish Morrell led a group of artists and tea-sommeliers from the Toronto Tea Guild in a walk along Sterling Road, Toronto. Together we recorded smells in a commissary kitchen, a brewery, a chocolate factory, a publisher, a government employment office, former aluminum manufacturing sites, a railpath and more - to make a portrait of a gentrifying industrial neighbourhood at a transitional moment in its development. Concept and artistic direction by Diane Borsato. Field materials and Olfactory Map of Sterling Road designed by Paper Pusher/JP King.  Images by Hiba Abdallah and Diane Borsato.  Thank you to the Mia Nielson for curating the project, chef Jonas Grupiljonas for the generous hospitality at the Commissary, and to Victoria Taylor of ====\\DeRAIL for contextual references. Project supported in part by the Toronto Arts Council and the Ontario Arts Council." (Borsato, 2017) Also see: https://www.dianeborsato.net/#/olfactorymapping/, Artist's statement and images, see https://rumsey3.s3.amazonaws.com/Olfactory_Map_of_Sterling_Road_D.Borsato.pdf

Hand drawn colorful pictorial map of Mount Washington, Northeast Los Angeles. Created and signed by the artist Tom Lamb, printed on photographic matte paper. Founded in 1909. Shows streets and hills, hiking trails, points of interest and historical and contemporary notations associated with buildings and areas. Date estimated. Relief shown by gradient tints., For copies of this map see http://www.tomlambmaps.com/

Hand drawn colorful pictorial map of Echo Park, in Central Los Angeles. Created and signed by the artist Tom Lamb, printed on photographic matte paper. Shows streets and hills, points of interest and historical and contemporary notations associated with buildings and areas, including the old silent movie industry area of Echo Park and the more recent loss of the popular Pioneer Market. Dodger Stadium and Echo Park Lake. Date estimated. Relief shown by gradient tints., For copies of this map see http://www.tomlambmaps.com/

Hand drawn colorful pictorial bird's eye view map of Elysian Valley, often referred to as Frogtown, South of Los Angeles River. Humorously created and signed by the artist Tom Lamb, printed on photographic matte paper. Showing streets, city blocks, parks, and recreational facilities. Date estimated., For copies of this map see http://www.tomlambmaps.com/

Hand drawn colorful pictorial bird's eye view map of Venice, Los Angeles, California. Humorously created in 2017, printed on photographic matte paper and signed by the artist Tom Lamb. Depicts the famous boardwalk, the pier, a slice of the Pacific, and the Marina. Shows buildings, landmarks, streets, with historical and contemporary characters, and notations associated with buildings and areas of the city., For copies of this map see http://www.tomlambmaps.com/

Hand drawn colorful pictorial bird's eye view map of downtown Los Angeles, California. Humorously created and signed by the artist Tom Lamb, printed on photographic matte paper. Depicts business district skyscrapers at the center, with landmarks such as Bunker Hill, Little Tokyo, and Olvera Street. Showing downtown Los Angeles has undergone significant change during recent years, with buildings, roads, streets, landmarks with notations associated with buildings and areas. Includes the soon-to-be-completed 73-floor Wilshire Grand, the Metropolis Towers, and Fig Central Towers. Date estimated., For copies of this map see http://www.tomlambmaps.com/

Hand drawn colorful pictorial bird's eye view map of Highland Park north of downtown Los Angeles, California. Humorously created in 2017, printed on photographic matte paper and signed by the artist Tom Lamb. Depicts many of the landmarks of this historic neighborhood just north of downtown Los Angeles and California's first freeway, the 110. Shows buildings, railways, streets, landmarks with historical and contemporary characters, and notations associated with buildings and areas of the city as well as the Occidental College, the northeastern section of Mt. Washington, and at the top, the edge of neighboring Eagle Rock., For copies of this map see http://www.tomlambmaps.com/

Pictorial poster map of more than 600 metallic icons of Manhattan at night. Created and signed by Rafael Esquer, founder of Soho’s Alfalfa Studio in 2018. Printed and stamped on velvety black paper using gold and silver foils and four metallic inks that represent the lights and noise of the Island after dark. Borders with drawings of the city landmarks. Showing bridges, landmarks, tourist attractions and place names., For copies of this maps see https://alfalfastudio.com/

Watermark obtained with back light (Heawood n. 2845 dated 1802-05) - photographed by Vladimiro Valerio., "The volume is without binding in loose sheets, but with original bands on the back, a sign of an ancient binding. The content: frontispiece, an engraved index of the tables, 23 numbered tables (I-XXIII) and two original white guard sheets. The folded maps volume measures 68x54 cm, every single sheet 68x98cm. White thick paper in excellent condition, almost perfect. Table III, relating to the Gulf of Naples, is present here in the first edition engraved by Aniello Cataneo in 1785. This table was replaced in 1794 with a new copper engraved this time by Giuseppe Guerra. It is therefore a first edition of the Atlas printed before 1794. Some cards have the SM monogram, initial monogram by “Stefano Merola” from Traetto (a town near Gaeta), to whom the production of paper sheets was entrusted in the imperial format for printing of the geographical maps and for the use of Stamperia Reale, the Royal printing house of Naples (Valerio 1993, p . 158). Other sheets present a cruciferous lamb inserted in a large floral frame (Heawood 2845) and the name "Vittorj" in countermark. It is one of the most important cartographic realizations of the XVIII century, both for the size (23 paper of imperial format), and for being the first nautical Atlas designed on scientific bases in Italy. The interest of the admiral John Acton, who arrived in Naples in 1778 to rearrange the fleet, was decisive for the solicitous execution of the maritime Atlas of the Kingdom of Naples, using staff and ships of the borbonica regia fleet. It is claimed in the cartouche with a title placed in the first table, dated 1785. In just 11 years Neapolitan chartmakers and topographers managed to build an exact and detailed chart of the continental part of the Kingdom of Naples in scale about 1: 90,000. The Maritime Atlas affirmed itself in the European cartographic horizon as one of the first large-scale national hydrographic works - remember that only in 1795 was established the hydrographic office of the Admiralty. To complete this important work, the Court decided to entrust some artists, under the guidance and artistic control of the Hackert brothers, the task of creating a worthy title page. After a first assignment to Domenico Mondo (a court panter), who did not satisfy the expectations of the court, was involved the German painter Cristoforo Kniep, who created two drawings one of which was chosen by the Hackerts and was engraved by Giuseppe Guerra in 1792. It is the most impressive and important frontispiece made in the entire Neapolitan publishing." (Vladimiro Valerio, 2024, this copy from his private collection) (see our 15326.000 for the second edition) (Many of these maps are early versions of the coastal and topographic maps in the 1808 Atlante geografico del regno di Napoli by Rizzi Zannoni, see our 6854.00), V. Valerio, Sulla struttura geometrica di alcune carte di Giovanni Antonio Rizzi Zannoni (1736-1814), «La Scena Territoriale», 9-10 (1981); G. Alisio, V. Valerio (eds.), Cartografia Napoletana dal 1781 al 1889, Napoli, Prismi 1983.: 124, 125; V. Valerio, Società Uomini e Istituzioni Cartografiche nel Mezzogiorno d’Italia, Firenze, Istituto Geografico Militare 1993, pp. 141-145; V. Valerio, Atlante Marittimo del Regno di Napoli 1785-1792, Napoli, Voyage Pittoresque 2006; V. Valerio (ed.) L’Italia del Cavaliere Rizzi Zannoni. Carte a stampa dei territori italiani, catalog of the exhibition, Civitella del Lago September, 19-21 2014, Associazione Roberto Almagià. Associazione Italiana Collezionisti di Cartografia antica, 2014, pp. 56-59.

Watermark (same as 15994.028) “in relief” due to the thickness of the paper (heavy white paper) obtained with oblique light - photographed by Vladimiro Valerio., "The volume is without binding in loose sheets, but with original bands on the back, a sign of an ancient binding. The content: frontispiece, an engraved index of the tables, 23 numbered tables (I-XXIII) and two original white guard sheets. The folded maps volume measures 68x54 cm, every single sheet 68x98cm. White thick paper in excellent condition, almost perfect. Table III, relating to the Gulf of Naples, is present here in the first edition engraved by Aniello Cataneo in 1785. This table was replaced in 1794 with a new copper engraved this time by Giuseppe Guerra. It is therefore a first edition of the Atlas printed before 1794. Some cards have the SM monogram, initial monogram by “Stefano Merola” from Traetto (a town near Gaeta), to whom the production of paper sheets was entrusted in the imperial format for printing of the geographical maps and for the use of Stamperia Reale, the Royal printing house of Naples (Valerio 1993, p . 158). Other sheets present a cruciferous lamb inserted in a large floral frame (Heawood 2845) and the name "Vittorj" in countermark. It is one of the most important cartographic realizations of the XVIII century, both for the size (23 paper of imperial format), and for being the first nautical Atlas designed on scientific bases in Italy. The interest of the admiral John Acton, who arrived in Naples in 1778 to rearrange the fleet, was decisive for the solicitous execution of the maritime Atlas of the Kingdom of Naples, using staff and ships of the borbonica regia fleet. It is claimed in the cartouche with a title placed in the first table, dated 1785. In just 11 years Neapolitan chartmakers and topographers managed to build an exact and detailed chart of the continental part of the Kingdom of Naples in scale about 1: 90,000. The Maritime Atlas affirmed itself in the European cartographic horizon as one of the first large-scale national hydrographic works - remember that only in 1795 was established the hydrographic office of the Admiralty. To complete this important work, the Court decided to entrust some artists, under the guidance and artistic control of the Hackert brothers, the task of creating a worthy title page. After a first assignment to Domenico Mondo (a court panter), who did not satisfy the expectations of the court, was involved the German painter Cristoforo Kniep, who created two drawings one of which was chosen by the Hackerts and was engraved by Giuseppe Guerra in 1792. It is the most impressive and important frontispiece made in the entire Neapolitan publishing." (Vladimiro Valerio, 2024, this copy from his private collection) (see our 15326.000 for the second edition) (Many of these maps are early versions of the coastal and topographic maps in the 1808 Atlante geografico del regno di Napoli by Rizzi Zannoni, see our 6854.00), V. Valerio, Sulla struttura geometrica di alcune carte di Giovanni Antonio Rizzi Zannoni (1736-1814), «La Scena Territoriale», 9-10 (1981); G. Alisio, V. Valerio (eds.), Cartografia Napoletana dal 1781 al 1889, Napoli, Prismi 1983.: 124, 125; V. Valerio, Società Uomini e Istituzioni Cartografiche nel Mezzogiorno d’Italia, Firenze, Istituto Geografico Militare 1993, pp. 141-145; V. Valerio, Atlante Marittimo del Regno di Napoli 1785-1792, Napoli, Voyage Pittoresque 2006; V. Valerio (ed.) L’Italia del Cavaliere Rizzi Zannoni. Carte a stampa dei territori italiani, catalog of the exhibition, Civitella del Lago September, 19-21 2014, Associazione Roberto Almagià. Associazione Italiana Collezionisti di Cartografia antica, 2014, pp. 56-59.

"My very first publication in the field of history of cartography, published in 1981, was on the geometric structure of the maritime atlas. As you will see, the key sheet drawn by me is dated January 1981" (Vladimro Valerio, 2024), "The volume is without binding in loose sheets, but with original bands on the back, a sign of an ancient binding. The content: frontispiece, an engraved index of the tables, 23 numbered tables (I-XXIII) and two original white guard sheets. The folded maps volume measures 68x54 cm, every single sheet 68x98cm. White thick paper in excellent condition, almost perfect. Table III, relating to the Gulf of Naples, is present here in the first edition engraved by Aniello Cataneo in 1785. This table was replaced in 1794 with a new copper engraved this time by Giuseppe Guerra. It is therefore a first edition of the Atlas printed before 1794. Some cards have the SM monogram, initial monogram by “Stefano Merola” from Traetto (a town near Gaeta), to whom the production of paper sheets was entrusted in the imperial format for printing of the geographical maps and for the use of Stamperia Reale, the Royal printing house of Naples (Valerio 1993, p . 158). Other sheets present a cruciferous lamb inserted in a large floral frame (Heawood 2845) and the name "Vittorj" in countermark. It is one of the most important cartographic realizations of the XVIII century, both for the size (23 paper of imperial format), and for being the first nautical Atlas designed on scientific bases in Italy. The interest of the admiral John Acton, who arrived in Naples in 1778 to rearrange the fleet, was decisive for the solicitous execution of the maritime Atlas of the Kingdom of Naples, using staff and ships of the borbonica regia fleet. It is claimed in the cartouche with a title placed in the first table, dated 1785. In just 11 years Neapolitan chartmakers and topographers managed to build an exact and detailed chart of the continental part of the Kingdom of Naples in scale about 1: 90,000. The Maritime Atlas affirmed itself in the European cartographic horizon as one of the first large-scale national hydrographic works - remember that only in 1795 was established the hydrographic office of the Admiralty. To complete this important work, the Court decided to entrust some artists, under the guidance and artistic control of the Hackert brothers, the task of creating a worthy title page. After a first assignment to Domenico Mondo (a court panter), who did not satisfy the expectations of the court, was involved the German painter Cristoforo Kniep, who created two drawings one of which was chosen by the Hackerts and was engraved by Giuseppe Guerra in 1792. It is the most impressive and important frontispiece made in the entire Neapolitan publishing." (Vladimiro Valerio, 2024, this copy from his private collection) (see our 15326.000 for the second edition) (Many of these maps are early versions of the coastal and topographic maps in the 1808 Atlante geografico del regno di Napoli by Rizzi Zannoni, see our 6854.00), V. Valerio, Sulla struttura geometrica di alcune carte di Giovanni Antonio Rizzi Zannoni (1736-1814), «La Scena Territoriale», 9-10 (1981); G. Alisio, V. Valerio (eds.), Cartografia Napoletana dal 1781 al 1889, Napoli, Prismi 1983.: 124, 125; V. Valerio, Società Uomini e Istituzioni Cartografiche nel Mezzogiorno d’Italia, Firenze, Istituto Geografico Militare 1993, pp. 141-145; V. Valerio, Atlante Marittimo del Regno di Napoli 1785-1792, Napoli, Voyage Pittoresque 2006; V. Valerio (ed.) L’Italia del Cavaliere Rizzi Zannoni. Carte a stampa dei territori italiani, catalog of the exhibition, Civitella del Lago September, 19-21 2014, Associazione Roberto Almagià. Associazione Italiana Collezionisti di Cartografia antica, 2014, pp. 56-59.

Covers to Le mappe blu dell'avventura. Paper slipcase containing 6 folded maps. Front cover of case includes title, which translates to: the blue maps of adventure. Case decorated with a celestial map, as well as an illustration of the character "Corto Maltese" - an adventurous sailor - eyeing a map of the Middle East. Interior of case credits Andrea Pistacchi, as well as collaborators Giuliano Lenotti and Paolo Utimpergher., Le mappe blu dell'avventura, a set of maps featuring the character Corto Maltese, an adventurous sailor created by Italian comic book author Hugo Pratt in 1967. These maps were originally issued as editorial supplements to various issues of Corto Maltese magazine in 1986, and also issued as a set. As a set, the maps are each folded and housed within a paper slipcase with an illustration of Corto Maltese on the front cover. Together, the maps provide almost global coverage, showing Africa, North America, China, India, Oceania and South America. Maps show indigenous territories, cities, routes, topography, deserts, bodies of water, drainage, coastlines and islands. Maps features illustrations of people, animals and plants. Maps include numerous inset maps of various types, as well as images of stamps and other ephemera. With vignette portraits of historical and literary figures. Descriptive text throughout maps, including notes on colonial explorations. Maps in this copy placed in alphabetical order. Interior of case credits Andrea Pistacchi, as well as collaborators Giuliano Lenotti and Paolo Utimpergher.

Text to Blindenbuch. Braille embossing in German, including diacritical characters. All white page, with the only graphic distinction being the paper's embossed topography. Title translates to: Gedicht und Grafik von Günter Huniat [= Poem and graphics by Günter Huniat]. Translated braille text (double dashes represent poetic line breaks): Weniger werden die lyrischen -- Wanderungen -- Es ist Herbst -- Zeit für die Ausflüge mit den -- Schattenflügeln -- Gras wächst uns ins Gesicht -- Und aufwärts bäumt sich der Fisch -- Den Vogel entgegen -- Wenn gelb und violett -- Zum Herbstsignal sich bündeln -- Fliegt November Klang -- In den Lüften [= Less are the lyrical -- Wanderings -- It is autumn -- Time for the excursions with the -- Shadow wings -- Grass grows in our faces -- And upward rears the fish -- Towards the bird -- When yellow and violet -- Bundle up to the autumn signal -- Flies November sound -- In the air ]. Sixth of six braille texts in volume., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Text to Blindenbuch. Braille embossing in German, including diacritical characters. All white page, with the only graphic distinction being the paper's embossed topography. Title translates to: Grafik Fotis Zaprasis ; Text Salvatore Quasimodo [= Graphics Fotis Zaprasis ; Text Salvatore Quasimodo]. Translated braille text: Es lacht die Elster schwarz auf den Orangenbäuen. Es ist vielleicht ein wahres Zeichen des Lebens- um mich Herum tanzen Knaben mit leichter bewegung des Hauptes in einem spiel von Kadenzen und stimmen entlang der kirchwiese, erbarmen des Abends, schatten leuchten wieder über dem tiefgrünen gras, so schon im feuer des mondesan Erinnerung gonnt euch kurzen schlafbe man, wacht auf da, es rauscht der Brunnen von der ersten Flut. Dies ist die stundedoch nicht mehr die meinebe verdorrte Belder. Und du, Südwind, kräftig vom Duft der Orangenblüten, treibt den mond, wo knaben nackt schlafen, zwingt das füllen auf die Felder mit den feuchten spuren der Stuten und öffne das Meer, heb die Wolke von den bäumenal schon schreitet der Reiher zum Wasser und wittert den Schlamm zwischen den Dornen, es lacht die Elster schwarz auf den Orangenbäumen. [= It laughs, the magpie, black on the orange trees. It is perhaps a true sign of life - around me boys dance with a slight movement of their heads in a game of cadences and voices along the church meadow, mercy of the evening, shadows shine again over the deep green grass, already remembered in the fire of the moon you sleep briefly, wake up there, the fountain rushes from the first flood. This is the hour but no longer my withered fields. And you, southerly wind, strong with the scent of orange blossoms, drive the moon, where boys sleep naked, force them to fill fields with the damp tracks of the mares and open the sea, lift the cloud from the trees, the heron strides to the water and smells the mud between the thorns, it laughs, the magpie, black on the orange trees.] Fifth of six braille texts in volume., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of plants, swirls and arrows. Image is 28 x 22 cm, on sheet 32 x 25 cm. Graphics credited to Ralf Klement on prior text page. Third of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Faint, abstracted imagery, including shapes reminiscent of a landscape. Image is 25 x 21 cm, on sheet 32 x 25 cm. Text credited to Günter Huniat on prior text page. Eighth of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of plants. Image is 25 x 17 cm, on sheet 32 x 25 cm. Graphics credited to Olaf Wegewitz on prior text page. Sixth of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Faint, abstracted imagery, including shapes reminiscent of a landscape. Image is 25 x 21 cm, on sheet 32 x 25 cm. Text credited to Günter Huniat on prior text page. Ninth of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of plants. Image is 25 x 15 cm, on sheet 32 x 25 cm. With a smaller image at bottom margin. Handwritten inscription, in pencil, beneath image, including signature by artist, Salvatore Quasimodo, and "42/50". Graphics credited to Fotis Zaprasis and Salvatore Quasimodo on prior text page. Seventh of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of figures, animals and plants. Image is 25 x 19 cm, on sheet 32 x 25 cm. Graphics credited to Frieder Heinze on prior text page. Second of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of figures, eyes, arrows and swirls. Image is 21 x 16 cm, on sheet 32 x 25 cm. Graphics credited to Frieder Heinze on prior text page. First of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Text to Blindenbuch. Braille embossing in German, including diacritical characters. All white page, with the only graphic distinction being the paper's embossed topography. Title translates to: Text und Grafik von Olaf Wegewitz [= Graphics and text by Olaf Wegewitz]. Translated braille text: Eine wunderbare versammlung erhobener Häupter und arme. Gegen den Himmel geschwungen, als ob durchs gras wind fuhr und senkte die Halme, die sich erleichtert erhoben. [= A wonderful gathering of raised heads and arms. Swung against the sky, as if wind drove through the grass and lowered the stalks, which rose relieved.] Fourth of six braille texts in volume., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, inside a loose grid, including patterns, such as crosshatches, and shapes reminiscent of plants. Image is 25 x 18 cm, on sheet 32 x 25 cm. Graphics credited to Olaf Wegewitz on prior text page. Fifth of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Housing to Blindenbuch. Original paper box with handwritten title, date and inscription. Corners reinforced with linen., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Text to Blindenbuch. Braille embossing in German, including diacritical characters. All white page, with the only graphic distinction being the paper's embossed topography. Title translates to: Grafik und Text von Ralf Rüdiger Josef Klement [= Graphics and text by Ralf Rüdiger Josef Klement]. Translated braille text: Ich lebe in einem dorf im eichsfeld. Dort hole ich mir die welt hinein. Stille und Chaos, Liebe und Haß. - Heißes und Kaltes, schwarz, den Nord- und den Süd-Pol, die Vergangenheit und die Zukunft und ein stück Äquator um Dreiecke zu schmieden. [= I live in a village in the Eichsfeld. That's where I bring the world in. Silence and chaos, love and hate, hot and cold, black, the north and south poles, the past and the future and a piece of the equator to forge triangles.] Third of six braille texts in volume., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Text to Blindenbuch. Braille embossing in German, including diacritical characters. All white page, with the only graphic distinction being the paper's embossed topography. Title translates to: Text von Rudolf Steiner ; Grafik von Frieder Heinze [= Text by Rudolf Steiner ; Graphics by Frieder Heinze]. Translated braille text: Der Ostmensch hat keinen Sinn für das “beweisen“. Er erlebt schauend den inhalt seiner Wahrheiten und weiß sie dadurch. Und was man weiß, das “beweist” man nicht. Der Westmensch fordert überall “beweise“. Er ringt sich zu dem inhalt seiner Wahrheiten aus dem Äußeren Abglanz denkend hin und deutet sie dadurch. Was man aber deutet, das muß man “beweisen”. Erlost der Westmensch aus seinen beweisen das leben der Wahrheit, dann wird der Ostmensch ihn verstehen. Fendet der Ostmensch am ende der Beweissorge des Westmenschen seine unbewiesenen Wahrheitsträume in einem Wahren erwachen, dann werd der Westmensch ihn en der Arbeit für den Menschenfortschritt als einen Mitarbeiter begrüßen müssen, der leisten kann, was er selbst nicht vermag. [= The easterner has no sense of “proving”. He experiences the content of his truths by looking at them and knows them through that. And what one knows, one does not "prove". The Westerner demands everywhere "proofs". He wrestles his way to the content of his truths from the external reflection and interprets them thereby. But what one interpreted, one must "prove". If the Westerner learns the life of truth from his proofs, then the Easterner will understand him. If at the end of the concern for proof the eastern man finds his unproven dreams of truth in a true awakening, then the western man will have to greet him as a collaborator in the work for human progress, who can do what he himself cannot do.] Second of six braille texts in volume., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/

Embossed image within Blindenbuch. Braille embossing in German. All white page, with the only graphic distinction being the paper's embossed topography. Abstracted imagery, including shapes reminiscent of plants, swirls and arrows. Image is 22 x 21 cm, on sheet 32 x 25 cm. Graphics credited to Ralf Klement on prior text page. Fourth of nine embossed images., Blindenbuch by Olaf Wegewitz (born October 2, 1949), a German artist who investigates the relationship between human culture and nature. Artist book for the blind. One of 45 copies, published in 1988 in the German Democratic Republic (GDR), a state that existed from 1949 to 1990 - the period when the eastern portion of Germany was part of the Eastern Bloc during the Cold War. Housed within original paper box with handwritten title, date and inscription. Ceramic covers, painted black and with incisions by Olaf Wegewitz and Frieder Heinze. Front board attached by sewing. Spine and back board covered in linen. Quarto with sewn binding. Collation: 4° : [1] leaf, [6] leaves of braille, with [9] leaves of plates (first leaf blank). Plates printed with embossed, colorless images. Contributors: Ralf Klement, Frieder Heinze, Fotis Zaprasis and Günther Huniat. Wegewitz completed an apprenticeship as a tractor mechanic in 1966. He practiced the profession until 1971. Then he worked as a “paperwall” - a gluer, in Leipzig until 1975. He taught himself the ideas of the Bauhaus. In 1974/75, he studied with Hans Schulze at the Academy of Visual Arts Leipzig and then worked as a freelance graphic artist and painter, beginning in 1975. In 1984, Wegewitz was one of the initiators of the First Leipzig Autumn Salon, a semi-legal exhibition in the Messehaus, which was organized secretly and intended as a protest against official art exhibitions and failed reforms in the East German art system. The organizers were responding, in part, to the censorship of their prior works in previous, sanctioned GDR exhibitions. This private exhibition lasted from November 15, 1984 to December 7, 1984 and attracted many visitors. Cultural functionaries did not ban the exhibition, but only because they feared protests if the exhibition had been forced to close. From 1980 onwards, Wegewitz worked with painter Frieder Heinze. Wegewitz continued to explore the human perception of nature, including the topics of fruit growing and beekeeping. In addition, Wegewitz has crossed Germany on foot twice in recent years, along the 11th degree of longitude between Fehmarn and the Zugspitze in 2009 and along the 51st degree of latitude between Geilenkirchen and Görlitz in 2012. Both walks resulted in artistic works. In 1999, Wegewitz was awarded the Art Prize of the State of Saxony-Anhalt, and in 2021 he was awarded the Antiquaria Prize for his book art work., http://www.artnet.com/artists/olaf-wegewitz/