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“全世界每一个国家和地区都让圣诞老人在圣诞快乐时统治”-Anonymous

All over the world every nation and clime let Santa Claus reign at glad Christmas time--Anonymous

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:Typus orbis terrarum. Antwerp: [before 1579]. Hand-colored double-page engraved map, 344 x 496 mm, Latin text on verso, two cartouches, with a ship and sea creatures. Framed. Some repaired separation along centerfold.

First plate with the crack in the lower left still visible. \"For the first time, in 1570, all the elements of the modern atlas were brought to publication in Abraham Ortelius\' Theatrum Orbis Terrarum. The substantial undertaking assembled fifty-three of the best available maps of the world by the most renowned and up-to-date geographers. Unlike earlier compositions ... each of Ortelius\' maps was engraved specifically for his atlas according to uniform format. Through its launching, pre-eminence in map publishing was transfered from Italy to the Netherlands leading to over a hundred years of Dutch supremacy in all facets of cartographical production\" (Shirley Mapping of the World 122). Wagner Northwest Coast 82.

无 题 世界的类型。安特卫普：[1579年之前]。

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PROCLUS. 412-485 A.D.:In Platonis Theologiam Libri Sex. Hamburg and Frankfurt: Apud Rulandios, 1618. 4to (320 x 206 mm). Contemporary calf, some wear to binding, front joint cracked, but firm.
Provenance: Archivum V.-Prov. Helveticae (stamped over another JHS stamp on title); \"Bibliothek SJ. Zürich Prov. Helv.\" (stamp).

PROCLUS\'S MASTERPIECE, called by Samuel Taylor Coleridge, \"The most beautiful and orderly development of [the Platonic] philosophy, which endeavours to explain all things by an analysis of consciousness, and builds up a world in the mind out of materials furnished by the mind itself\" (Coleridge, Letter to Lady Beaumont, January 21, 1810).

直肠。公元412-485年。 在柏拉图，《性的神学》一书中。汉堡和法兰克福：Apud Rulandios，1618年。

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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.

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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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KEPLER, JOHANNES. 1571-1630. :Tabulae Rudolphinae, quibus astronomicae scientiae, temporum longinquitate collapsae restauratio continentur. Ulm: Jonas Saur, 1627.
Folio (330 x 226 mm). Roman and italic types, double column, printed shoulder notes. Engraved allegorical frontispiece designed by Kepler, depicting Hipparchus, Ptolemy, Copernicus, Brahe, and Kepler gathered in the Temple of Urania, numerous woodcut diagrams in text, including a full-page of diagrams on k3v, woodcut initials, large woodcut device on part 2 section title. With the 4-leaves \"Sportula genethliacis missa\" (q4) printed in Sagan and dated 1629, inserted after the tabulae. Early 18th-century half-sheep and mottled boards, spine gilt in 7 compartments with red and green morocco lettering piece, red speckled edges, a few gatherings (including \"Sportula\", sig. q, issued in 1629) browned (as often). Provenance: Co. Riccati (Jacopo Francesco Riccati (1676-1754, Venetian mathematician; bookplate on title verso).

FIRST EDITION OF KEPLER\'S LAST LIFETIME PUBLICATION AND HIS CROWNING ACHIEVEMENT, THE \"FOUNDATION OF ALL PLANETARY CALCULATIONS FOR OVER A CENTURY\" (Sparrow). Third state, with second quire [):():(⁴] on different paper, albeit trimmed here to the same size as the adjacent leaves. \"The tables are extraordinarily important, for they document in a unique way Kepler\'s great contributions to astronomy\" (Gingerich). \"Besides the planetary, solar, and lunar tables and the associated tables of logarithms it includes Tycho Brahe\'s catalog of 1,000 fixed stars, a chronological synopsis, and a list of geographical positions ... Kepler was an astronomer\'s astronomer. It was the astronomers who recognized the immense superiority of the Tabulae Rudolphinae. For the professionals the improvement in planetary predictions was a forceful testimony to the efficacy of the Copernican system\" (Sparrow). Based on Tycho Brahe\'s observations, the tables were then supplemented by Kepler\'s own observations. The calculations were a major mathematical achievement, as of course, Brahe\'s data applied erroneously to \"perfect\" circular orbits. Kepler had discovered the true elliptical shape of the planetary orbits, and thus, had to recalculate everything according to his new laws. The printing history of the book, during the 30 years\' war, is quite complex. There were 1000 copies printed in Ulm in 1627, with three known states, affecting the title and the first two gatherings. Some copies are known with a posthumously published world map, and some have a posthumous appendix - neither is present in this copy. \"In excusing the long delay in publication... [Kepler] mentioned in the preface [p. 6] not only the difficulties of obtaining his salary and of the wartime conditions but also \'the novelty of my discoveries and the unexpected transfer of the whole of astronomy from fictitious circles to natural causes, which were most profound to investigate, difficult to explain, and difficult to calculate, since mine was the first attempt\'\" (DSB). Caspar 79; Gingerich Johannes Kepler and the Rudolphine tables; Houzeau and Lancaster 12754; Lalande p 190; Norman 1208; Sparrow 116.

开普勒，约翰内斯。1571-1630. 鲁道夫的桌子被称为天文学，包括餐厅倒塌的时间。乌尔姆：乔纳斯·索，1627年。