图片文件尺寸 : 4418 x 4746px
FUJINUMA NOBORU (B. 1945; LIVING NATIONAL TREASURE, 2012):A bamboo flower basket
Heisei era (1989-2019), circa 2004
Of nemagaridake bamboo (Sasa kurilensis) with staining, executed in bundled openwork free-style plaiting and wrapping, signed on the base Noboru rokujusai (Noboru, aged 60)
11 3/4in (29.8cm) high
藤沼信（1945年出生《活着的国宝》，2012年） 在竹子花篮上，平成大约在2004年
图片文件尺寸 : 5145 x 4819px
NAKAGAWA MAMORU (B. 1947; LIVING NATIONAL TREASURE, 2004):Hayashi (Trees)
Heisei era (1989-2019), 2019
A cast shibuichi (copper-silver alloy) vase with inlaid decoration in copper, silver, gold, and shakudo (copper-gold alloy), with artist\'s mark Mamoru on bottom
With wood tomobako storage box and tomogire wrapping cloth
8 3/4 x 14 x 3in (22.2 x 35.6 x 7.6cm)
中川真茂（1947年出生活国宝，2004年） Hayashi Heisei是，2019
图片文件尺寸 : 5233 x 3834px
OSUMI YUKIE (B. 1945; LIVING NATIONAL TREASURE, 2015):Bakufu (Waterfall)
Heisei era (1989-2019), 2011
A hammered silver vase with nunome-zogan (textile imprint inlay) decoration in lead and gold, depicting a waterfall crashing onto rocks and the reflection of the sun, signed Yuki on bottom
With wood tomobako storage box and tomogire wrapping cloth
10 x 9 7/8in (25.4 x 25.1 cm)
尾美由纪（1945年出生《活着的国宝》，2015年） 巴库府平成时代，2011年
图片文件尺寸 : 2672 x 3364px
1848年在阿姆斯特丹皇家艺术学院举行的在世大师艺术作品展上展出伦勃朗雕像的石膏模特-living masters, at the Royal Academy of Art in Amsterdam in 1848. by Jan Baptist Tetar van Elven
The exhibition of the plaster model of the statue of Rembrandt at the exhibition of works of art--Jan Baptist Tetar van Elven (荷兰, 1805-1889)
图片文件尺寸 : 5403 x 5655px
SCILLA, AGUSTINO. 1629-1700.:De Corporibus Marinis Lapidescentibus. Rome: Johann Zempel, 1759.
4to (265 x 200 mm). Title with engraved vignette, engraved frontispiece facing first page of text, 31 engraved plates, engraved initials and head-pieces. Later vellum. Light soiling and wear to binding, scattered spotting, light offsetting from plates.
Provenance: George Sarton (Belgian-American science historian, 1884-1956, bookplate to paste-down).
Third Latin edition. The detailed plates show a variety of fossils including mussels, corals, snails, and shark. The Sicilian painter Agostino Scilla shows the close correspondence between fossils and parts of living animals. See Nissen, ZBI 3780.
阿古斯蒂诺·西拉。1629–1700. 来自Corporibus Marinis Lapidescentibus。罗马：约翰·泽佩尔，1759年。
图片文件尺寸 : 5445 x 4408px
DANTI, EGNATIO. 1536-1586.:PROCLUS. c.412-485. La sfera di Proclo Liceo. Florence: Giunti, 1573.
2 parts in 1 volume. 4to (215 x 158 mm). Woodcut Medici arms on first title page, woodcut illustration of an astrolabe on verso of second title page, woodcut diagrams in text, woodcut initials. Later vellum, paper lettering piece on spine. Covers slighlty soiled, scattered browning, spotting and marginal staining.
FIRST EDITION of Danti\'s translation of the influential astronomical text by Proclus, the Neo-Platonic philosopher who lived and wrote in a time that was on the threshold between the ancient world and the Middle Ages. Danti taught at the University of Pisa, and was Cosmographer to the Medici court. His treatise on the use of the astrolabe, bound here after the work of Proclus, was the first book on the subject published in Italy. Adams P-2137; Brunet IV, 896; Camerini 22; Houzeau Lancaster I, 913.
丹蒂，埃格纳西奥。1536–1586. Proclus高中的范围。佛罗伦萨：Giunti，1573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.
图片文件尺寸 : 5392 x 5561px
BUONANNI, FILIPPO. 1638-1725.:Observationes circa Viventia, quae in rebus non Viventibus reperiuntur. Cum Micrographia curiosa. Rome: Dominicus Antonius Hercules, 1691.
8vo (215 x 157 mm). 69 plates (4 folding). Modern quarter morocco and marbled boards. Margins slightly trimmed, repaired tear to upper outside corner of title page, repair to margin of of n2, a few marginal annotations in ink, scattered browning and spotting.
FIRST EDITION. Bounanni, a Jesuit scholar and pupil of Athanasius Kircher, published this work based on his observations through a three-lens microscope of his own construction. His conclusions supported spontaneous generation of living matter, in contrast to those of his contemporary, Francesco Redi. An identical 2nd edition was published in 1699. Garrison-Morton-Norman 264; Krivatsy 1935; Nissen ZBI 752; Norman 374; Wellcome II, 198.
再见，菲利普。1638–1725. 关于Viventia的观察，这在Viventibus的案例中没有发现。用奇怪的显微照片。罗马：多米尼克斯·安东尼乌斯·赫拉克勒斯，1691年。
图片文件尺寸 : 4321 x 4135px
SHAKESPEARE, WILLIAM. 1564-1616.:A collection of leaves from the first, second, third and fourth folios:
1. Single leaf, The Life of King Henry the Eighth, from the 1623 First Folio, leaf x1, 326 x 215 mm, small chip to upper headline with minor text loss, THE FIRST PUBLICATION OF HENRY VIII: \"Mens evill manners live in Brasse, their Vertues We write in Water.\"
2. Single leaf, The Life and Death of Richard II, from the 1632 Second Folio, leaf d3, 330 x 213 mm: \"Doubly divorced? Bad men, ye violate / A twofold marriage, \'twixt my crown and me / And then betwixt me and my married wife.\"
3. Single leaf, The Tragedy of Antony and Cleopatra, from the 1664 Third Folio, leaf Bbbb5, 310 x 210 mm, minor staining at margins: \"Its past the size of dreaming: Nature wants stuffe / To vye strange forms with fancy; yet, t\'imagine / An Antony with nature\'s piece, \'gainst Fancy, / Condemning shadowes quite.\"
4. Single leaf, Much Ado About Nothing, from the 1685 Fourth Folio, leaf I6, 340 x 214 mm: \"And yours as blunt as the Fencers foils, which hit but hurt not.\"
莎士比亚，威廉。1564-1616. 第一、第二、第三和第四对开本的叶子集：
图片文件尺寸 : 4078 x 4955px
IBN EZRA, ABRAHAM BEN ME\'IR. 1092-1167.:D\'ABANO, PIETRO, translator. c.1257-1316. Abrahe Avenaris Judei Astrologi peritissimi in re iudiciali opera.... Venice: Peter Liechtenstein, 1507.
Small 4to (200 x 155 mm). Woodcut initials, some hand-colored, blackletter text. 19th century armorial calf, rebacked. Leaf XCII lacking, replaced by a blank, bookplate to front paste-down, light dampstaining to outside lower corners, extensive early inked marginalia, light scattered browning and spotting.
Provenance: Robert Loyd-Lindsay, VC, KCB, 1st Baron Wantage (armorial binding); J.L.E. Dreyer (Danis Astronomer, 1852-1926, bookplate).
Rare early Latin edition of the collected astrological works of Abraham Ibn Ezra. Born in Tudela, in Moorish Spain, Ibn Ezra traveled extensively throughout the Middle East, and had a great outpouring of written works after about 1140, comprising poetry, commentary on the Torah, works on Hebrew grammar, philosophy, and science. His scientific works on astrology were written when he lived in Beziers, France, between 1147 and 1148.
本·以斯拉，亚伯拉罕是我的。1092-1167. 阿布拉赫·阿韦纳里斯·朱迪在司法歌剧中的占星术……威尼斯：彼得·列支敦斯登，1507年。
图片文件尺寸 : 4418 x 4746px
FUJINUMA NOBORU (B. 1945; LIVING NATIONAL TREASURE, 2012):A bamboo flower basket
Heisei era (1989-2019), circa 2004
Of nemagaridake bamboo (Sasa kurilensis) with staining, executed in bundled openwork free-style plaiting and wrapping, signed on the base Noboru rokujusai (Noboru, aged 60)
11 3/4in (29.8cm) high
藤沼信（1945年出生《活着的国宝》，2012年） 在竹子花篮上，平成大约在2004年
图片文件尺寸 : 5145 x 4819px
NAKAGAWA MAMORU (B. 1947; LIVING NATIONAL TREASURE, 2004):Hayashi (Trees)
Heisei era (1989-2019), 2019
A cast shibuichi (copper-silver alloy) vase with inlaid decoration in copper, silver, gold, and shakudo (copper-gold alloy), with artist\'s mark Mamoru on bottom
With wood tomobako storage box and tomogire wrapping cloth
8 3/4 x 14 x 3in (22.2 x 35.6 x 7.6cm)
中川真茂（1947年出生活国宝，2004年） Hayashi Heisei是，2019
图片文件尺寸 : 5233 x 3834px
OSUMI YUKIE (B. 1945; LIVING NATIONAL TREASURE, 2015):Bakufu (Waterfall)
Heisei era (1989-2019), 2011
A hammered silver vase with nunome-zogan (textile imprint inlay) decoration in lead and gold, depicting a waterfall crashing onto rocks and the reflection of the sun, signed Yuki on bottom
With wood tomobako storage box and tomogire wrapping cloth
10 x 9 7/8in (25.4 x 25.1 cm)
尾美由纪（1945年出生《活着的国宝》，2015年） 巴库府平成时代，2011年
图片文件尺寸 : 2672 x 3364px
1848年在阿姆斯特丹皇家艺术学院举行的在世大师艺术作品展上展出伦勃朗雕像的石膏模特-living masters, at the Royal Academy of Art in Amsterdam in 1848. by Jan Baptist Tetar van Elven
The exhibition of the plaster model of the statue of Rembrandt at the exhibition of works of art--Jan Baptist Tetar van Elven (荷兰, 1805-1889)
图片文件尺寸 : 5403 x 5655px
SCILLA, AGUSTINO. 1629-1700.:De Corporibus Marinis Lapidescentibus. Rome: Johann Zempel, 1759.
4to (265 x 200 mm). Title with engraved vignette, engraved frontispiece facing first page of text, 31 engraved plates, engraved initials and head-pieces. Later vellum. Light soiling and wear to binding, scattered spotting, light offsetting from plates.
Provenance: George Sarton (Belgian-American science historian, 1884-1956, bookplate to paste-down).
Third Latin edition. The detailed plates show a variety of fossils including mussels, corals, snails, and shark. The Sicilian painter Agostino Scilla shows the close correspondence between fossils and parts of living animals. See Nissen, ZBI 3780.
阿古斯蒂诺·西拉。1629–1700. 来自Corporibus Marinis Lapidescentibus。罗马：约翰·泽佩尔，1759年。
图片文件尺寸 : 5445 x 4408px
DANTI, EGNATIO. 1536-1586.:PROCLUS. c.412-485. La sfera di Proclo Liceo. Florence: Giunti, 1573.
2 parts in 1 volume. 4to (215 x 158 mm). Woodcut Medici arms on first title page, woodcut illustration of an astrolabe on verso of second title page, woodcut diagrams in text, woodcut initials. Later vellum, paper lettering piece on spine. Covers slighlty soiled, scattered browning, spotting and marginal staining.
FIRST EDITION of Danti\'s translation of the influential astronomical text by Proclus, the Neo-Platonic philosopher who lived and wrote in a time that was on the threshold between the ancient world and the Middle Ages. Danti taught at the University of Pisa, and was Cosmographer to the Medici court. His treatise on the use of the astrolabe, bound here after the work of Proclus, was the first book on the subject published in Italy. Adams P-2137; Brunet IV, 896; Camerini 22; Houzeau Lancaster I, 913.
丹蒂，埃格纳西奥。1536–1586. Proclus高中的范围。佛罗伦萨：Giunti，1573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.
图片文件尺寸 : 5392 x 5561px
BUONANNI, FILIPPO. 1638-1725.:Observationes circa Viventia, quae in rebus non Viventibus reperiuntur. Cum Micrographia curiosa. Rome: Dominicus Antonius Hercules, 1691.
8vo (215 x 157 mm). 69 plates (4 folding). Modern quarter morocco and marbled boards. Margins slightly trimmed, repaired tear to upper outside corner of title page, repair to margin of of n2, a few marginal annotations in ink, scattered browning and spotting.
FIRST EDITION. Bounanni, a Jesuit scholar and pupil of Athanasius Kircher, published this work based on his observations through a three-lens microscope of his own construction. His conclusions supported spontaneous generation of living matter, in contrast to those of his contemporary, Francesco Redi. An identical 2nd edition was published in 1699. Garrison-Morton-Norman 264; Krivatsy 1935; Nissen ZBI 752; Norman 374; Wellcome II, 198.
再见，菲利普。1638–1725. 关于Viventia的观察，这在Viventibus的案例中没有发现。用奇怪的显微照片。罗马：多米尼克斯·安东尼乌斯·赫拉克勒斯，1691年。
图片文件尺寸 : 4321 x 4135px
SHAKESPEARE, WILLIAM. 1564-1616.:A collection of leaves from the first, second, third and fourth folios:
1. Single leaf, The Life of King Henry the Eighth, from the 1623 First Folio, leaf x1, 326 x 215 mm, small chip to upper headline with minor text loss, THE FIRST PUBLICATION OF HENRY VIII: \"Mens evill manners live in Brasse, their Vertues We write in Water.\"
2. Single leaf, The Life and Death of Richard II, from the 1632 Second Folio, leaf d3, 330 x 213 mm: \"Doubly divorced? Bad men, ye violate / A twofold marriage, \'twixt my crown and me / And then betwixt me and my married wife.\"
3. Single leaf, The Tragedy of Antony and Cleopatra, from the 1664 Third Folio, leaf Bbbb5, 310 x 210 mm, minor staining at margins: \"Its past the size of dreaming: Nature wants stuffe / To vye strange forms with fancy; yet, t\'imagine / An Antony with nature\'s piece, \'gainst Fancy, / Condemning shadowes quite.\"
4. Single leaf, Much Ado About Nothing, from the 1685 Fourth Folio, leaf I6, 340 x 214 mm: \"And yours as blunt as the Fencers foils, which hit but hurt not.\"
莎士比亚，威廉。1564-1616. 第一、第二、第三和第四对开本的叶子集：
图片文件尺寸 : 4078 x 4955px
IBN EZRA, ABRAHAM BEN ME\'IR. 1092-1167.:D\'ABANO, PIETRO, translator. c.1257-1316. Abrahe Avenaris Judei Astrologi peritissimi in re iudiciali opera.... Venice: Peter Liechtenstein, 1507.
Small 4to (200 x 155 mm). Woodcut initials, some hand-colored, blackletter text. 19th century armorial calf, rebacked. Leaf XCII lacking, replaced by a blank, bookplate to front paste-down, light dampstaining to outside lower corners, extensive early inked marginalia, light scattered browning and spotting.
Provenance: Robert Loyd-Lindsay, VC, KCB, 1st Baron Wantage (armorial binding); J.L.E. Dreyer (Danis Astronomer, 1852-1926, bookplate).
Rare early Latin edition of the collected astrological works of Abraham Ibn Ezra. Born in Tudela, in Moorish Spain, Ibn Ezra traveled extensively throughout the Middle East, and had a great outpouring of written works after about 1140, comprising poetry, commentary on the Torah, works on Hebrew grammar, philosophy, and science. His scientific works on astrology were written when he lived in Beziers, France, between 1147 and 1148.
本·以斯拉，亚伯拉罕是我的。1092-1167. 阿布拉赫·阿韦纳里斯·朱迪在司法歌剧中的占星术……威尼斯：彼得·列支敦斯登，1507年。