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NARITA MORIKANE (DATES UNKNOWN):Two woodblock prints
Showa era (1926-1989), 1931
Each an oban tate-e, the first depicting a beauty combing her hair by a river, her kimono hanging on a branch beside her, the second depicting a beauty applying a red band to her upper arm, both form the series Adesugata Nijushi ko (24 Figures of Charming Women), each signed and sealed Morikane, and with publisher\'s seal Yamase (2)
16 x 11 1/8in (40.6 x 28.2cm)

纳瑞塔·莫里凯恩（日期不详） 两幅木版印刷品《昭和时代》，1931年

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SCHOOL OF HISHIKAWA MORONOBU (1618-1694):Figures Playing Sugoroku (Backgammon)
Edo period (1615-1868), second half of the 17th century
Fragment of a hand scroll mounted as a hanging scroll, painted in ink, colors, and gold on silk with beauties and dandies engaged in a board game before a curtain decorated with cherry blossoms
With a wood storage box bearing an old collection label sealed WSB (possibly William Sturgis Bigelow)
10 7/8 x 15 1/16in (27.7 x 38.3cm)

久川摩罗诺布学校（1618-1694） 17世纪下半叶江户时代的Sugoroku游戏人物

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A LARGE KEMAN (BUDDHIST PENDANT ORNAMENT):Edo period (1615-1868), 18th/19th century
Of rounded-rectangular form in gilt metal with mineral pigment on the surface with carved in openwork of lotus blossoms and leaves arising from swirling waters, a cord knotted in the center with a central blossom floret and two pendant loops, the surface engraved with details, the hanger and bracket with scrolling vines and a nanako ground, fitted with hanging garland strands of blossoms, colored beads, and bells of various shapes, inscribed next to the cords and on the reverse with the names of the parishioners who made the offering
With a wood tomobako storage box
42 1/2 x 15 1/8in (108 x 38.4cm), including garlands

一个大的可曼（佛教挂饰） 江户时期，18/19世纪

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AFTER KATSUKAWA SHUNSHO (1726-1792):Standing Beauty
Edo period (1615-1868), 18th/19th century
The painting of ink, colors, and gold on silk, depicting a standing beauty, her lips parted in a gentle smile exposing her ohaguro blackened teeth, her outer kimono decorated in flowers and folding fan faces, red and gold threads hanging from several parts of her kimono almost flamelike; signed Katsu Shunsho ga and an unidentified seal
With double wood tomobako storage box, the lid of the interior box inscribed in gold lacquer Shunsho hitsu tachi bijin no zu (Picture of standing beauty brushed by Shunsho)
38 3/4 x 12 5/8in (98.4 x 32cm)

源自KATSUKAWA SHUNSHO（1726-1792） 站立的美丽江户时期，18/19世纪

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KAJIKAWA LINEAGE:A black lacquer four-case inro
Edo period (1615-1868), 19th century
Of lenticular profile with integral cord-runners, decorated in gold and colored hiramaki-e, takamaki-e, and sumi-e togidashi maki-e against a black lacquer ground liberally sprinkled with hirame, depicting an oni (demon) fallen to the ground in shock as Shoki the Demon-Queller comes to life from a large hanging scroll painting, his two companions shown on the reverse fleeing in fear, the interior rich gold nashiji, signed Kajikawa saku (Made by Kajikawa) with a pot seal Ei; ojime stained bone
3in (7.6cm) high

KAJIKAWA谱系 19世纪江户时期的黑漆四箱

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DEIRYU KUTSU (KANSHU SOJUN, 1895-1954):Procession of Mendicant Monks Leaving and Returning
Taisho (1912-1926) or Showa (1926-1989) era, first half of the 20th century
The pair of hanging scrolls in ink on paper depicting black-robed monks leaving and returning to their temple while carrying staffs and wearing straw sedge hats in their quest for alms; the calligraphy, as translated by Audrey Yoshiko Seo and Stephen Addiss, stating \"One bowl, the offerings of a thousand houses\" on the scene of leaving, and \"Walking, walking this Buddhist path,\" on that of returning; signed Deiryu and sealed Sojun, Deiryu (leaving scroll), Rinzai Shoshu (returning scroll) and Chisoku(both scrolls)
With a single wood tomobako storage box (2)
52 3/4 x 6 5/8in (134.1 x 16.7cm) each

戴瑞的邀请（1895-1954） 20世纪上半叶大正或昭和时代的出家人离开和返回的过程

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Jií（Georg）Dokoupil，当代艺术I-

Jiří (Georg) Dokoupil * - Zeitgenössische Kunst I-

(born in Krnov 1954)
Mis Mus Sian, 2014, titled, several times signed Dokoupil on the overlap, soap-lye and pigments on canvas, 250 x 300 cm or 300 x 250 cm (the work can be hung vertical or horizontal), on stretcher

Provenance:
Studio of the artist
Kasmin Gallery, New York
Private collection, 德国y

Literature:
Kasmin Gallery, Jiří (Georg) Dokoupil, New paintings,
exhibition catalogue, New York 2015
Jiří Georg Dokoupil, Soap Bubble Paintings, Berlin 2015

Exhibited:
Kasmin Gallery, New York, Jiří (Georg) Dokoupil, New paintings,
8 January - 7 February 2015

Jiří (Georg) Dokoupil has been putting his art on canvases since the 1970s - and for much of that time without a brush. He constantly reinvents the production of artworks, expresses his creativity with the most diverse materials, such as breast milk or fruit juices, and thinks \"outside the box\". His oeuvre now comprises about 140 series, which are not at all alike. He is a quick-change artist in the contemporary art world. Like a pop culture star, he completely reinvents his art with each series.

The early flight from his homeland and the associated deprivation of a national, social and personal identity meant the artist never developed a fixed style of his own. (Compare Wilfried Dickhoff, Soap Bubble Thinking, p.5, in: Jiří (Georg) Dokoupil..

Soap Bubble Paintings, Berlin 2015)
The Soap Bubble Paintings series is one of his longest-running series. The work offered here, \"Mis Mus Sian\", is part of it.

Standing on a ladder with a metal hoop, Jiří (Georg) Dokoupil. lowers his soap bubbles onto the canvas. He uses soap suds mixed with shimmering pigments, the exact composition of which he keeps strictly secret. The individual layers of soap bubbles, their shimmering pigments and superimpositions create a sphere of their own. The result is a depth undreamed of in a two-dimensional work, which can only be properly experienced through viewing the work in person. The soap bubbles glitter dynamically on the deep blue background of the painting and evoke movement through their different shapes and orientations. Due to the enormous format of over 250 x 300 cm, the experience of the work is like visiting a giant aquarium. At first, one is overwhelmed by the work’s abundance and appearance and, as time goes by, one dives deeper and deeper into its cosmos. The artist leaves it up to the owner to hang the work in portrait or landscape format. For this reason, he has signed the reverse on two sides.
„It’s all about making something that is not doable“
Jiří (Gerog) Dokupil

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MUNDINUS (DI LUZZI, MONDINO). 1275–1326.:MELLERSTADT, MARTINUS, editor. c.1455-1513. Anathomia Mundini emendata per doctorem melerstat. [Leipzig: Martin Landsberg, 1493.]
4to (200 x 140 mm). 40 leaves, 34 lines, title with full-page woodcut of an anatomical scene. Modern calf antique. Inner margin of title neatly reinforced, tiny repair to blank outer margin of last leaf, illegible old library stamp to lower margin of title page, scattered light browning, mostly marginal.

FIRST ILLUSTRATED EDITION OF THE FIRST DEDICATED ANATOMY BOOK. \"The first modern book devoted solely to anatomy ... Mundinus re-introduced human dissection, which had been neglected for 1500 years before him; he was the most noted dissector of his period, and he set forth the medieval anatomical vocabulary, deriving it mainly from Arabic\" (Garrison). Mondino de\' Luzzi, professor at Bologna, is considered to be the founder of anatomy in the Middle Ages. His treatise remained popular until the beginning of the 16th-century and appeared in multiple editions.

\"The subject of anatomy was not taught either by lectures or by dissection in the universities at the middle of the fifteenth century. An occasional \'anatomy\' was held, but the neglect of the subject is well illustrated by the absence of anatomical books. There is only one in the list, that of Mundinus . . . Mundinus was a professor at Bologna from 1306 to 1326, and was the first to teach anatomy from the subject, usually the corpse of a condemned criminal; but there is the record of a procedure in 1319 against four medical students for body-snatching. His Anatomia, written in 1316, was for two hundred years the popular text book\" (Osler).

In the introduction of the book, Mundinus says, \"proposui meis scholaribus in medicina quoddam opus componere, \'I have proposed to compose a work in medicine for my scholars.\" The work \"met a need universally felt just at that time and commended itself for its brevity, conciseness, and completeness, as well as for the fact that it taught for each separate organ the necessary anatomic technique, as. for example, in the first chapter: \'Situato itaque corpore vel homine mortuo per decollationem vel suspensionem supino\', etc., \'accordingly, laying out the body of a man dead by decapitation or hanging, etc....\" (Choulant). VERY RARE: According to American Book Prices Current no copy sold in the past 42 years. Choulant-Frank History and Bibliography of Anatomic Illustration (Chicago 1920, pp 88-93); Garrison-Morton-Norman 361 (for the 1478 edition); Goff M-874; GW M-25671 (recording only 2 copies/fragments); Hain 11633; see Osler Incunabula Medica 156; Wellcome I, 4484.

蒙迪尼斯（DI LUZZI，MONDINO）。1275–1326. 阿纳托米娅·蒙迪尼由梅勒斯塔特医生修正。[莱比锡：马丁·兰茨贝格，1493年。]

静物画作品集 3000幅

静物画作品集 3000幅