图片文件尺寸 : 4967 x 4410px

Marcel Duchamp:Rotoreliefs (Optical Discs) (Schwarz 441)
The complete set of twelve offset lithographs in colours printed on both sides of six cardboard disks, 1935, all contained in the original black vinyl circular holder, from the first edition of 500 (Schwarz records that 300 sets were lost during World War II), in overall good condition, accompanied by a letter written by Marcel Duchamp to Ronald Hunt at the time of gifting him this set in 1962, within the original mail cardboard box

Each disk diameter 200mm. (7 7/8in.)

马塞尔·杜尚 Rotorelliefs

图片文件尺寸 : 4558 x 4791px

HUYGENS, CHRISTIAAN. 1629-1695.:The Celestial World Discover\'d: or, Conjectures Concerning the Inhabitants, Plants and Productions of the Worlds in the Planets. London: Timothy Childe, 1698.
Small 8vo (170 x 118 mm). 5 folding engraved plates. Contemporary paneled calf, rebacked to style, blue cloth chemise and slipcase.

FIRST ENGLISH EDITION, published in the same year as the original Latin edition. Wing H3859.

克里斯蒂安·惠更斯。1629–1695. 发现的天界：或者，关于行星上世界的居民、植物和产品的猜想。伦敦：蒂莫西·柴尔德，1698年。

图片文件尺寸 : 4971 x 5568px

VESALIUS, ANDREAS. 1514-1564.:Icones Anatomicae. Munich: The Bremer Press for the New York Academy of Medicine and the University of Munich Library, 1934-1935.
Large folio (550 x 385 mm). Original publisher\'s half pigskin and boards, by Frieda Thiersch, upper cover and spine gilt-lettered. Soiling and stains to covers, handling wear, ink gift inscription on front flyleaf dated 1966, some fingermarks.

LIMITED EDITION, number 434 of 615 copies. This copy includes the \"Characterum Indices,\" letterpress transcriptions of Vesalius\'s explanatory notes keyed to the woodcuts, printed from 227 of the original woodblocks used for Vesalius\'s De humani corporis fabrica and his Epitome, which were tragically destroyed during World War II. The impressions in this modern fine press edition are darker and clearer than the original 1543 and 1555 editions of the Fabrica. Cushing Vesalius VI.A.-16; Heirs of Hippocrates 289; Norman 2145; Waller 9907.

安德烈亚斯·维萨留斯。1514-1564. 图标解剖。慕尼黑：纽约医学院布雷默出版社和慕尼黑大学图书馆，1934-1935年。

图片文件尺寸 : 4578 x 4565px

BROWN, PAUL DESMOND. 1893-1958.:Aintree Grand Nationals Past Present. New York: The Derrydale Press, 1930.
4to. Half-title, title printed in red and black, verso with limitation page, numerous illustrations and plates. Original full scarlet morocco, covers ruled in gilt with gilt horse head devices at each corner, spine in six panels, raised bands, top edge gilt. Some scuffs and soiling to covers, light chipping at outside edge of upper cover, upper joint starting, a few fingermarks.

LIMITED EDITION, LARGE PAPER COPY, number 10 of 50 copies, with an ORIGINAL PEN-AND-INK DRAWING, highlighted in gouache, of the race in the blizzard of 1901, signed by Brown, and bound in before the title. A classic work on the history of the Grand National, one of the great horse races of the sporting calendar, run every April since 1839 at Aintree, near Liverpool. The Grand National is considered to be one of the hardest steeplechase races in the world, with over 30 huge jumps, run over 4 miles and 514 yards. At least 40 horses start, and fewer than 10 generally finish — in 1928 only two horses finished. The drawing in this copy is the original of the illustration opposite p 37.

布朗，保罗·德斯蒙德。1893-1958. 安特里大国民的过去和现在。纽约：德里代尔出版社，1930年。

图片文件尺寸 : 4976 x 5190px

维克·穆尼斯 世界的起源，继库尔贝之后

图片文件尺寸 : 5333 x 4295px

THE MOON.:2 titles:
1. WILKINS, JOHN. 1614-1672. A Discovery of a New World ... \'tis Probable there may be another Habitable World in the Moon London: J. Rawlins for John Gellibrand, 1684. 2 parts in 1 volume. 8vo (172 x 112 mm). Woodcut illustrations in text. Modern calf. Front blank heavily browned and chipped, corners chipped on first several leaves, browning and spotting throughout.

Fifth edition, \"Corrected and Amended.\" Wilkins\' bold assertions in his various editions of this book include the possibility that the moon might be inhabited, that humans might be able to find a way to travel there, and that the Earth might indeed be a planet. An Anglican clergyman and Bishop of Chester, Wilkins was a visionary polymath who served as both Warden of Wadham College, Oxford, and Master of Trinity College, Cambridge. He remained well-respected in science and the clergy, despite his sometimes controversial writings. In addition to writing on mathematics, religious philosophy, and astronomy, he proposed a universal language, and a universal system of measurement that predated the metric system. ESTC R22749; Wing 2186.

2. NASMYTH, JAMES HALL. 1808-1890; and JAMES CARPENTER. 1840-1899. The Moon: Considered as a Planet, a World, and a Satellite.... London: John Murray, 1874. 4to (280 x 220 mm). Lithographic frontispiece, and 23 plates. Publisher\'s blue cloth, rebacked retaining original spine and covers. Shaken, corners and edges bumped, slight warping to pages, fingermarks and spotting.

FIRST EDITION. The authors sculpted detailed models of the lunar surface as observed through telescopes, and then photographed them to create images of the moon that could not otherwise be taken using existing techniques of telescopic photography at the time. Truthful Lens 125.

月亮。 2个标题：

图片文件尺寸 : 2382 x 1970px

古斯塔夫·库尔贝的《世界起源》-Gustave Courbet

世界的起源--Gustave Courbet (法国, 1819-1877)

图片文件尺寸 : 5489 x 4959px

RUSSIAN ART JOURNAL.:Zhar-Ptitsa/Jar-Ptitza [The Firebird]. Paris and Berlin: Russkoe Iskusstvo, August 1921-January 1926. 14 issues in 13 volumes (No. 4/5 double issue). 4to (315 x 240 mm). Illustrated in color and black and white, with many plates tipped in. Original color lithographed wrappers. Some issues missing spines with pages detached; internal tears and some loss.

A COMPLETE SET OF THE RARE RUSSIAN EMIGRE LITERARY ART MAGAZINE IN ORIGINAL ISSUES, reportedly no more than 300 copies were printed. Supplemental summaries of the numbers were provided in the back in a variety of languages including English. Zhar-ptitsa was the most influential art journal of the flourishing community of exiles who were feverishly trying to keep the culture of Old Russia alive. Due to paper shortages and extensive censorship by the Bolsheviks back in the USSR, the Russian book business was booming in Germany and France. This lavish periodical was the natural successor to S. Diaghilev\'s Mir iskusstva since many of those involved had been members of the World of Art Group and designers for the Ballets Russes. The rich selection subjects and contributors under A. E. Kogan\'s art department embraced L. Bakst, A. Benois, I. Bilibin, M. Chagall, S. Chekhonin, N. Goncharova, B. Grigoriev, B. Kustodiev, M. Larionov, V. Shukaev, K. Somov, S. Sudeikin and many other important artists. Poet Sasha Cherny was literary editor; and such important writers as L. Andreev, K. Balmont, I. Bunin, V. Khodasevich, B. Pilnyak, A. Remizov, N. Teffi, A.N. Tolstoi, B. Zaitsev, and the young Vladimir Nabokov (as \"V. Sirin\") appeared in its pages. Fekula called Zhar-ptitsa \"perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century.\" According to Vengerov, \"Even separate issues of the magazine, let alone complete sets of its issues, are a great bibliographic rarity.\" Fekula 5742; Vengerov Staraya russkaya kniga 105.

俄罗斯艺术杂志。 Zhar Ptitsa/Jar Ptitsa[火鸟]。巴黎和柏林：Russkoe Iskustvo，1921年8月至1926年1月。

图片文件尺寸 : 5231 x 5766px

BENOIS, ALEXANDRE. 1870-1960.:Costume design of Monsieur Jourdain, for the Balanchine ballet of Molière\'s Le Bourgeois Gentilhomme, produced by the Ballets Russes de Monte-Carlo, 1932, watercolor, ink and graphite, 308 x 193 mm (12 1/8 x 7 1/2 inches), signed by Benois in pencil in lower left corner.

Benois founded the Mir iskusstva [World of Art] group with Sergei Diaghilev and was one of the most important designers of the Ballets Russes, second only to Léon Bakst. His best known sets and costumes were done for the original production of the Stravinsky ballet Petrouchka (1911) based on his idea. Benois emigrated to France in 1927 and continued to work for the theater in Paris, Milan, London, New York and elsewhere. Both Benois and Balanchine were associated with the Ballets Russes de Monte-Carlo, the successor to the original Ballets Russes, that formed after Diaghilev\'s death in 1932. Balanchine revived his ballet in 1979 for the New York City Opera with the assistance of Jerome Robbins and Peter Martins and Rudolph Nureyev in his first Balanchine production. Sold with 3 additional costume designs, two from an unknown artist, and one in pencil attributed to Georgii Yakulov.

亚历山大，贝努瓦。1870-1960. Jourdain先生为莫里哀（Molière）的《布尔乔亚传奇》（Le Bourgeois Gentilhome）巴兰钦芭蕾舞团的服装设计，由蒙特卡洛芭蕾舞团（Russe de Monte Carlo）于1932年制作，

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.