图片文件尺寸 : 4250 x 4414px

MEDICINE AND PHYSIOLOGY. :13 titles:
1. LINACRE, THOMAS. De emendata structura latini sermonis libri VI. Cologne: 1555. 8vo. 20th century vellum, inked titles on spine. Margins trimmed, with some loss of printed marginalia; ink markings on title page, bookplate on front paste-down, scattered spotting.
2. BROWNE, THOMAS. Pseudodoxia Epidemica: or Enquiries into very many received Tenents and commonly presumed Truths. London: 1650. Folio. Modern half green morocco and cloth. Margins slightly trimmed, ink ownership inscription on title page, toning.
3. ROSS, ALEXANDER. Arcana Microcosmi: or, The Hid Secrets of Mans Body Disclosed. London: 1652. 8vo. Title page in red and black. Early 20th century library cloth. Rubbed, margins trimmed into some headers, extensive ink underlining and some annotations, scattered spotting and foxing.
4. DIGBY, KENELM. Religio Medici. London: 1672. 4to. Rebacked contemporary calf, red morocco lettering piece on spine. Armorial bookplate on front paste-down (\"Nath. Cholmley, Esq.\"), ink ownership inscription on title, browning and spotting. Seventh edition.
5. TULP, NICHOLAS. Observationes medicae. Editio nova. Amsterdam: 1672. 8vo. Engraved title page, engraved portrait, and numerous engraved illustrations. Ink notations on front flyleaf, library stamp on title page, some heavy browning and scattered spotting.
6. [VARIOUS CONTRIBUTORS]. Miscellania curiousa, sive ephemeridum medico-physicarum Germanum. Bratislava and Brzeg: 1680. 4to. Engraved frontispiece and 33 engraved plates. Modern quarter morocco and wooden boards. Margins trimmed, heavy browning, some dampstaining, one plate replaced in facsimile.
7. BIDLOO, GOVARD. Brief aan Antony van Leeuwenhoek. Delft: 1698. 4to. 1 full-page engraved plate, engraved illustrations in text. Modern half calf and marbled boards. Lower margins trimmed (into plate line on full-page plate), light toning and spotting.
8. ALWOERDEN, HENRIK VAN. Historie van Michael Servetus den Spanjaart. Rotterdam: 1729. 4to. Engraved portrait frontispiece, title page in red and black. Contemporary vellum, re-cased with renewed endpapers. Covers soiled, corners bumped, dampstaining through most of text block, bottom margin of title page repaired with reinforcement on verso.
9. EBSTEIN, ERICH. Ärzte-Briefe aus vier Jahrhunderten. Berlin: 1920. 8vo. Photographic illustrations. Publisher\'s printed boards. Stains and soiling to covers, corners bumped, toning throughout.
10. KEYNES, GEOFFREY. The Personality of William Harvey. Cambridge: 1949. 8vo. Photographic reproductions of portraits. Publisher\'s beige cloth. Slightly rubbed, lined-out ink ownership inscription on free front endpaper.
11. LEEUWENHOEK, ANTONI VAN. On the Circulation of the Blood ... Facsimile. Nieuwkoop, Netherlands: 1962. 4to. Publisher\'s white boards, glassine dust jacket. Toning.
12. Another, as above. Chip to edge of spine.
13. ---. Letter from G. Bidloo to Antony van Leeuwenhoek About the Animals ... Facsimile. Nieuwkoop, Netherlands: 1972.

医学和生理学。 13个标题：

图片文件尺寸 : 4940 x 5350px

FINÉ, ORONCE (FINAEUS ORONTIUS). 1494-1555.:De re praxi geometrica, Libri tres, figuris demonstrationibus illustrati. Paris: Gourbin, 1556.
4to (230 x 154 mm). Woodcut printer\'s device on title, numerous woodcut diagrams in text, woodcut initials and headpieces. Modern brown mottled morocco ruled in gilt, marbled endpapers. Light wear to binding, scattered spotting and browning, dampstaining to lower quarter of several leaves near back.

Third edition of this work on applied geometry by French mathematician Finé, published originally as part of his work Protomathesis (1532). In this edition, some of the woodcut diagrams have been simplified or reduced from the earlier editions.
Adams F 466; Brunet II, 1261; Mortimer French 230.

好的，奥朗斯（奥朗提斯）。1494-1555. 几何图形、图书馆、图形和演示插图。巴黎：古尔宾，1556年。

图片文件尺寸 : 4222 x 3865px

CHINESE PAINTINGS: GODS, CELESTIALS IMMORTALS.:An album containing 58 original paintings, ink and color on paper, 353 x 293, 19th century. Contemporary vellum binding. Paintings generally clean, but mostly disbound, covers rubbed, spine split.

An interesting collection of paintings, each depicting a Daoist deity such as the Empress of Heaven (Tianhou), a figure from Chinese mythology such as the Dragon King of the East Sea (Donghai Longwang), a popular Buddhist deity such as the Big-bellied Buddha (Dadufo), or an important historical figure such as the physician Hua Tuo, and each leaf numbered on the upper right and inscribed on the upper left with the name of the figure; together with sixty-three slips of paper each with hand-writing in ink identifying the figures in Spanish.

中国画：神、天、仙。 一本包含58幅原画、纸上的墨水和色彩的画册，

图片文件尺寸 : 5043 x 4532px

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。]

图片文件尺寸 : 4124 x 4043px

Frederick Franks: \'La serenata\', and other scenes of Roman life
many signed with initials, inscribed and dated 1817,
most pen and brown ink or graphite, a few with watercolour
20.5 x 32cm (8 1/16 x 12 5/8in).
38 leaves of an album lacking boards, with a few sketches of Tyrolean figures dated 1817 (album)

弗雷德里克·弗兰克斯 《小夜曲》（La serenata），以及罗马生活的其他场景，一张专辑的38页缺少木板，其中有几张1817年蒂罗尔人的素描

图片文件尺寸 : 4409 x 4581px

Giovanni Battista Piranesi:The Man on the Rack, from \'Carceri d\'Invenzione\'
Etching with engraving, 1761, on heavy laid paper, with watermark Fleur-de-Lys in a circle surmounted by a Crown (Robison 20), a very good impression of Robison\'s fifth state (of six), the fourth issue, from the Second Edition (mid to late 1770s), or an early printing from the Third Edition (1778-1799), with the central vertical fold, with margins, 642 x 495mm (25 1/4 x 19 1/2in)(SH); together with \'The Drawbridge\' (Robison 33), etching with engraving, 1749-60, on heavy wove paper, a posthumous impression of Robison\'s sixth and final state, Fifth (Firmin Didot, 1835-1839) to Sixth Edition (1839-c.1940), with the number 355 added to the upper left of the print, with margins, 620 x 482mm (24 3/8 x 19in)(SH)(unframed)(2)

乔凡尼·巴蒂斯塔·皮拉内西 《架子上的男人》，出自《因弗齐奥内的尸体》

图片文件尺寸 : 4048 x 4145px

MORE, THOMAS. 1478-1535.:Lucubrationes, ab innumeris mendis repurgatae. Utopiae libri II. Progymnasmata. Epigrammata.... Basel: Episcopius, 1563.
8vo (150 x 105 mm). Woodcut printer\'s device on title page and final leaf, full-page woodcut on p 53. Contemporary vellum, inked titles on spine. Several areas of text erased, with paper applied over text or blacked out in ink; light dampstaining, scattered foxing and browning.
WITH: Utopia. London: Richard Chiswell, 1685. 8vo (170 x 105). Modern quarter calf and boards. Lacking blank A1, light browning and spotting.

FIRST COLLECTED EDITION of Thomas More\'s works in Latin, including Utopia. Adams M1752.

更多，托马斯。1478-1535. 从山的数量上重复进行研究。乌托邦书II。项目名称Epigrams…巴塞尔：Epicopius，1563年。

图片文件尺寸 : 4351 x 3973px

HEDWIG, JOHANN. 1730-1799. :Microscopisch-Analytische Beschreibungen und Abbildungen neuer und zweifelhafter Laub-Moose. Leipzig: Johann Gotfried Mueller, 1787.
2 volumes (of 4, see below). Folio (354 x 231 mm). 80 engraved hand-colored plates, 3 original wrappers bound in. Modern half morocco.

FIRST EDITION. \"Distinguished above all for exact and patiently repeated observations, Hedwig\'s work depended on the skillful use of dissection and the compound microscope ... He recorded his observations in accurate drawings ... the figures in his Descriptio are among the most accurate and beautiful illustrations of mosses of his own or any other period.\" DSB, VI, 219-20.\" Published in fascicles and bound in four volumes. The first 2 volumes were published in 1787-89 the others not until 1797. Nissen BBI 826.

赫德维格，约翰。1730-1799. 新的和可疑的落叶苔藓的显微分析描述和插图。莱比锡：约翰·戈特弗里德·穆勒，1787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.