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THREE KESA (BUDDHIST PRIEST\'S ROBES):Edo period (1615-1868) and Meiji (1868-1912) or Taisho (1912-1926) eras, 19th/20th century
The first, of a large peacock surrounded by multicolored clouds and peonies, above two dragons amidst waves and rocks, the panels of the kesa created through a woven metal thread that is sewn onto the surface of the textile, six floral motif square patches, the backing of purple silk with a geometric floral design; the second, of gold brocade with woven design of lion dogs, various floral motifs, and square patches of cream-colored silk with leaves and flowers, the backing of plain red fabric; the third, of orange panels with woven designs of dragons, dragon-fish, shells, coral, and leafy peonies, all in multiple colors, framed by blue fabric with a woven brown geometric design interspersed with large peonies and floral crests, the backing of white silk (3)
45 1/2 x 80 7/8in (115.6 x 205.4cm), the largest

三棵松 江户时代和明治或大正时代，19/20世纪

图片文件尺寸 : 4818 x 5450px

UTAGAWA HIROSHIGE (1797-1858):Six woodblock prints
Edo period (1615-1868), circa 1840-1841
All chuban yoko-e, from the series Tokaido gojusan tsugi (53 Stations of the Tokaido Road), also known as the Kyoka Tokaido, each signed Hiroshige ga, published by Sanoya Kihei, including: Shono; Goyu; Fujieda; Shirasuka, Shiomizaka no zu (Shirasuka: View of Shiomizaka); Chiryu; and Seki (6)
6 5/8 x 9in (16.8 x 22.8cm) each approximately

芥川广志（1797-1858） 江户时期的六幅木版印刷品，约1840-1841年

图片文件像素：5457 x 4998 px

草间弥生，当代艺术I-

Yayoi Kusama - Zeitgenössische Kunst I-

(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box

This work is accompanied by a registration card issued by Yayoi Kusama Studio

We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database

Provenance:
European Private Collection

Iconic Pumpkin

Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.

Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.

Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.

\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.

Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.

图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

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

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

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

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

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

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

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

图片文件尺寸 : 4066 x 5352px

DELAGE, YVES. 1854-1920.:Embryogenie des eponges. [Paris: Archives de Zoologie, 1892.]
8vo (236 x 153 mm). Author\'s proof, signed, with some annotations, and original artwork for all illustrations clipped and laid down on card stock leaves, bound in at end. Modern quarter green morocco and cloth. Browning, scattered foxing throughout.

Delage, a professor of zoology at the Sorbonne, was a critic of Darwin\'s theory of natural selection. He was among the scientists of his time who argued for a form of Neo-Lamarckist theory of evolution, which ultimately was abandoned.

德莱奇，伊夫。1854-1920. 海绵胚胎发生。[巴黎：动物学档案馆，1892年。]

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ORTELIUS, ABRAHAM. 1527-1598.:Breve Compendio dal Theatro Orteliano. Antwerp: Jan B. Vrients, 1502 [but 1602].
Oblong 8vo (110 x 142 mm). Engraved printer\'s device on title, engraved armorial dedication on verso of title, 122 engraved full-page maps plans. Rebacked contemporary brown morocco gilt, retaining original spine with three raised bands, all edges gilt. Wear and light soiling to covers, margins a bit trimmed, just touching first line of text on title page, light dampstaining, erased ink ownership inscription on title, paper repairs to title and last 2 leaves.

Italian edition of the \"pocket\" version of Ortelius\'s Theatrum, with plates made in the studio of Philip Galle, translated from the Latin by Giovanni Paulet d\'Anversa. Published 4 years after Ortelius\'s death, it bears the obviously erroneous publication date of 1502 on the title. Vrients added three plates of Celestial and Terrestrial maps from previous editions, and in this form it was published in Latin, Italian, Dutch, French, and English. Koeman IIIA 332:22.

亚伯拉罕，奥尔特利乌斯。1527-1598. 奥特利亚剧院的简短简编。安特卫普：Jan B.Vrients，1502年[但1602]。

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MICROSCOPY.:8 titles:
1. GIROD-CHANTRANS, JUSTIN. 1750-1841. Recherches chimiques et microscopiques sur les conserves, bisses, tremelles, etc. Paris: Chez Bernard, An X (1802). 4to (265 x 202 mm). 36 hand-colored engraved plates. Later half green straight-grain morocco and marbled boards. Rubbed, old cloth tape label on spine, scattered spotting.
2. QUEKETT, JOHN THOMAS. 1815-1861. A Practical Treatise on the Use of the Microscope. London: Hippolyte Balliere, 1848. 8vo (215 x 133 mm). 9 engraved plates, numerous wood-engraved illustrations in text. Late-19th century half calf and marbled boards, spine decorated in blind with 5 raised bands, marbled edges. Large chip to top edge of spine, soiling to covers, plates closely trimmed at outside edges, toning.
3. COLE, ARTHUR C. 1821-1900. Studies in Microscopical Science. London: Balliere, Tindall Cox, 1883. 2 volumes. 8vo. 89 lithographic plates. Publisher\'s red cloth, stamped in gilt. Spines sunned, corners bumped, slight chipping to spine ends, mis-matched bookplates on front paste-downs, shaken, light browning.
4. ---. The Methods of Microscopical Research. London: Balliere, Tindall Cox, 1884. 8vo. 2 lithographic plates. Contemporary half black sheep and marbled boards. Rubbed, toning.
5. PETRI, RICHARD JULIUS. 1852-1921. Das Mikroskop. Von seinen Anfangen bis zur jetzigen Vervollkommnung fur alle Freunde dieses Instruments. Berlin: Richard Schoetz, 1896. Small 4to. 2 portrait plates, numerous illustrations in text. Contemporary half morocco and marbled boards. Heavily chipped, top joint cracked, toning.
6. CLAY, REGINALD S. 1868-1954, and THOMAS H. COURT. The History of the Microscope. London: Charles Griffin and Company, 1932. 4to. 164 illustrations in text. Publisher\'s red cloth. Sunned, slightly loose, spine ends bumped, a few pages with tape repairs, some ink notations.
7. BRÄUTIGAM, FRITZ. and ALFRED GRABNER. Editors. Beiträge zur Floreszenz-Mikroskopie. Vienna: Georg Fromme Co., 1949. 20 color illustrations on 10 pp. Publisher\'s quarter cloth and printed boards. Some staining and soiling to boards, insect damage to spine, light toning.
8. ROOSEBOOM, MARIA. Microscopium. Leiden: Rijksmuseum voor de Geschiedenis der Natuurwetenschappen, 1956. 4to. Publisher\'s grey cloth. Fabric tape label on spine, light soiling and wear., minor toning.

显微镜检查。 8个标题：

图片文件尺寸 : 5342 x 4761px

OVID. 43 B.C.E.-17 A.D.E.:Ovidii metamorphoseon libri XV. Venice: Aldi, 1516.
8vo (152 x 90 mm). 2 title pages with woodcut printer\'s devices (one after the index), woodcut printer\'s device on colophon. Modern quarter calf and marbled boards. Browning and some minor staining.
WITH: Les quinze livres de la métamorphose d\'Ovide interprétés en rime francaise selon la phrase latine par Francois Habert d\'Issoudun. Paris: Hierosme de Marnes, 1580. 12mo (108 x 81 mm). Woodcut printer\'s device on title page and colophon, woodcut illustratons in text. Late 18th century calf, rebacked retaining original spine, decorted in gilt with 5 raised bands, morocco gilt lettering piece, marbled endpapers, all edges gilt. Wear and chipping to covers and spine, free front endpaper loose, margins trimmed with slight losses to printed marginalia, staining and some ink underlining.

提供。公元前43年-公元前17年。 查看第十五本书的变形。威尼斯：阿尔迪，1516年。

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LANCRE, PIERRE DE. 1553–1631.:Tableau de l\'inconstance des mauvais anges et démons. Paris: N. Buon, 1613.
8vo (225 x 165 mm). Large folding engraved plate. 19th century red morocco gilt by L. Geutant, brown morocco gilt doublures, silk endleaves, all edges gilt. Light rubbing and a few stains to covers, small tears and fraying edges to silk endleaf at front, bookplate to verso of front endleaf, edges of title page repaired with no loss of text, first page of text re-margined at fore-edge, folding plate laid down and re-margined, attempted censoring of nude figures in plate, some browning and spotting.
Provenance: Stanislas de Guaita (French poet, 1861-1897, signed notation on front flyleaf).

Second, revised edition, with the rare \"Sabbat des Sorciers\" folding plate, often lacking. Lancre, a judge from Bordeaux, was ordered by King Henri IV to put an end to witchcraft in the Basque country. Lancre, who harbored an animus for the Basque that is made evident in this work, sentenced several dozen people to be burned at the stake. Cf. Caillet II:408 (first edition); Dorbon Bibliotheca esoterica, 256:2467; USTC 6016932.

兰克雷，皮埃尔·德。1553-1631年。 邪恶天使和恶魔变幻莫测的画面。巴黎：N.Buon，1613年。

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KEISAI EISEN (1790-1848):Three woodblock prints
Edo period (1615-1868), circa 1820-1830
Comprising oban tate-e prints, all signed Keisai Eisen ga, including Hara no eki (Hara Station, no. 14) from an untitled series of the 53 Stations of the Tokaido Road, published by Tsutaya Kichizo; Rokugatsu, Tenno Matsuri (June, Tenno Festival), from the series Ukiyo Bijin Junikagetsu (12 Months of Beautiful Women of the Floating World), published by Sano Kichibei; Takanawa Harbor, from the series Edo Meisho adakurabe (Contest of the Famous Views of Edo), published by Maruya Jinpachi (3)
14 3/4 x 10in (37.4 x 25.4cm) each approximately

艾森修正案（1790-1848） 三幅木版版画创作时期，约1820-1830年