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8. 房子，巴托洛姆·德。 《根据西班牙法定人数进行的印度地区叙事》Devastatarum Verissima……法兰克福：Theodor de Bry和Johann Saur，1598年。 高清作品[42%]

Narratio Regionum Indicarum Per Hispanos Quosdam Devastatarum Verissima.... Frankfurt: Theodor de Bry and Johann Saur, 1598.

图片文件尺寸 : 5074 x 4552px

LAS CASAS, BARTOLOME DE. :Narratio Regionum Indicarum Per Hispanos Quosdam Devastatarum Verissima.... Frankfurt: Theodor de Bry and Johann Saur, 1598.
4to (202 x 160 mm). Title printed within wide pictorial engraved border, 17 engraved half-page illustrations in text by the brothers de Bry after Josse van Winghe. [8], 141, [1] pp., lacking the final blank. Modern half brown morocco; front joint rubbed, some light staining and foxing, title border and one other engraving trimmed close at fore-edge.
Provenance: Royal Institution of Great Britain (library and discard stamps on front paste-down, gilt stamp on spine).

FIRST LATIN EDITION of Las Casas\'s classic work, which includes the celebrated series of plates depicting the atrocities committed by the Spanish settlers on the Indians. Alden 598.20; Church 320; Palau 46960; Sabin 11283.

房子，巴托洛姆·德。 《根据西班牙法定人数进行的印度地区叙事》Devastatarum Verissima……法兰克福：Theodor de Bry和Johann Saur，1598年。

下载房子，巴托洛姆·德。 《根据西班牙法定人数进行的印度地区叙事》Devastatarum Verissima……法兰克福：Theodor de Bry和Johann Saur，1598年。大图

9. 盖里克，奥托·冯。1602-1686. 尝试新的马格德堡，真空空间。阿姆斯特丹：约翰内斯·扬松·瓦斯贝格，1672年。 高清作品[39%]

Experimenta nova Magdeburgica, de vacuo spatio. Amsterdam: Johannes Jansson Waesberge, 1672.

图片文件尺寸 : 5036 x 4342px

GUERICKE, OTTO VON. 1602-1686. :Experimenta nova (ut vocantur) Magdeburgica, de vacuo spatio. Amsterdam: Johannes Jansson Waesberge, 1672.
Folio (313 x 192 mm). Engraved portrait frontispiece, engraved additional title and 7 full-page engraved plates (one repeated), 2 double-page engraved plates and 24 engraved diagrams and figures in text. Contemporary calf, rebacked. Some light browning and staining.
Provenance: Institution of Naval Architects, Scott Library Collection (bookplate).

FIRST EDITION of Guericke\'s record of the famous 1657 Magdeburg experiments with air and vacuum, in which he demonstrated that two copper hemispheres could not be pulled apart by teams of horses once a vacuum was created. \"A book of prime importance in electrical discovery, air-pressure and the vacuum pump\' states Dibner, though Guericke was a Copernican and \'his experimental work represented only one facet of his attempt to reach a complete physical world view.\' As the sub-title makes clear, his book also dealt with the problems of empty space and the movement of heavenly bodies, making \'infinite space ... a conceptual possibility\" (DSB V, p 576). Dibner Heralds 55; Grolier/Horblit 44; Sparrow Milestones of Science 90; NLM/Krivatsy 5074; Norman 952; Wellcome III, p 175; Wheeler Gift 170.

盖里克，奥托·冯。1602-1686. 尝试新的马格德堡，真空空间。阿姆斯特丹：约翰内斯·扬松·瓦斯贝格，1672年。

下载盖里克，奥托·冯。1602-1686. 尝试新的马格德堡，真空空间。阿姆斯特丹：约翰内斯·扬松·瓦斯贝格，1672年。大图

10. 草间弥生，当代艺术I 高清作品[25%]

DO-Yayoi Kusama - 现代艺术 I
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.

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