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图片文件尺寸 : 4096 x 1916px

James Thornhill爵士的装饰设计，包含了暗指艺术、武器和宗教的图案-Sir James Thornhill

Design for a decoration incorporating motifs allusive to the Arts, Arms, and Religion--Sir James Thornhill (英国, 1675-1734)

下载James Thornhill爵士的装饰设计，包含了暗指艺术、武器和宗教的图案大图

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“慕尼黑拉格啤酒酿造厂。萨福克啤酒有限，1875年，423至443 Eight St，Boston by Anonymous-Anonymous

Munich lager beer brewery. Suffolk Brewing Co., Incorporated 1875, 423 to 443 Eight St, Boston--Anonymous

下载“慕尼黑拉格啤酒酿造厂。萨福克啤酒有限，1875年，423至443 Eight St，Boston by Anonymous大图

图片文件尺寸 : 3552 x 3142px

“采用交织首字母的天花板彩绘装饰设计朱尔斯·埃德蒙德·查尔斯·拉查伊斯的DD-Jules-Edmond-Charles Lachaise

Design for painted decoration of a ceiling incorporating interwined initials; DD--Jules-Edmond-Charles Lachaise (法国, ?-1897)

下载“采用交织首字母的天花板彩绘装饰设计朱尔斯·埃德蒙德·查尔斯·拉查伊斯的DD大图

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“直到圣堂将二者合为一——第二幕，第六场，埃德温·奥斯汀修道院的《罗密欧与朱丽叶》-Edwin Austin Abbey

Till holy church incorporate two as one Act II, Scene VI, Romeo and Juliet--Edwin Austin Abbey (美国, 1852 - 1911)

下载“直到圣堂将二者合为一——第二幕，第六场，埃德温·奥斯汀·艾比的《罗密欧与朱丽叶》大图

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朱尔斯·埃德蒙德·查尔斯·拉查伊斯（Jules Edmond Charles Lachaise）的《格子天花板彩绘装饰设计》-Jules-Edmond-Charles Lachaise

Design for the painted decoration of a coffered ceiling incorporating the initial; H--Jules-Edmond-Charles Lachaise (法国, ?-1897)

下载朱尔斯·埃德蒙德·查尔斯·拉查伊斯（Jules Edmond Charles Lachaise）的《格子天花板彩绘装饰设计》大图

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Jules Edmond Charles Lachaise为克里希街（rue de Clichy）的一栋房子设计了一个带有首字母（G和H）的格子天花板的彩绘装饰-Jules-Edmond-Charles Lachaise

Design for the painted decoration of a coffered ceiling incorporating initials (G and H) for a house on the rue de Clichy--Jules-Edmond-Charles Lachaise (法国, ?-1897)

下载Jules Edmond Charles Lachaise为克里希街（rue de Clichy）的一栋房子设计了一个带有首字母（G和H）的格子天花板的彩绘装饰大图

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Arman:Untitled (Violon Cubiste), 2005
Sliced polished bronze violin and bow on an incorporated marble base, incised \'Arman\' lower right, numbered 16/20 P.A. (a proof aside from the edition of 100 and 10 hors commerce proofs), published by Diego Strazzer, Verona, produced by Buckle Foundry, Venice, Italy.
27 3/4 x 8 1/2 x 3in with base (70.4 x 21.5 x 7.6cm)

阿尔曼 无 题

下载阿尔曼 无 题大图

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John Baldessari:Heart (with Pearls) (Hurowitz 58), 1991
Photogravure and aquatint in colors on Somerset Satin paper, signed in pencil and numbered 45/75, co-published by Brooke Alexander Editions, Castelli Graphic and Independent Curators Incorporated, with the blindstamp of the printer Branstead Studio, New York, with full margins.
36 1/2 x 39 1/2in (92.7 x 100.3cm)
sheet 38 3/4 x 41 3/4in (98.4 x 106cm)

约翰·巴尔代萨里 心

下载约翰·巴尔代萨里 心大图

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KIRCHER, ATHANASIUS. 1602-1680. :Romani Collegii Societatus Jesu Musaeum Celeberrimum. Amsterdam: Janssonius van Waesberge, 1678.
Folio (375 x 260 mm). Engraved additional title, engraved portrait of Kircher, 17 engraved plates (9 folding), 4 engravings and numerous woodcuts to text, initials, tailpieces. Later half vellum and boards; few stray pen marks to rear cover, margins of text toned and spotted, final few leaves foxed.

FIRST EDITION of the first catalogue of the Museo Kircheriano at the Roman College, a detailed inventory of Kircher\'s cabinet of curiosities of Chinese and Egyptian antiquities, scientific instruments, optical devices and ancient musical instruments. Kircher \"was in an excellent situation, at the hub of the Jesuit order, to gather relics, specimens, manuscripts, and any other oddities or rarities his fellow Jesuits brought back to Rome from all parts of the world ... In 1678 , the Museo Kircheriano was at its peak, with a new exhibit hall and a printed catalogue\" (Merrill, p xxvii). A second catalogue was published in 1709 followed by a long period of decline in the maintenance of the collection. Much of Kircher\'s collection was eventually incorporated into the Museo Nazionale. Caillet 5784.

阿塔纳修斯·基尔彻。1602-1680. Romani Collegii Societatus Jesu Museum Celeberrrimum。阿姆斯特丹：Janssonius van Waesberge，1678年。

下载阿塔纳修斯·基尔彻。1602-1680. Romani Collegii Societatus Jesu Museum Celeberrrimum。阿姆斯特丹：Janssonius van Waesberge，1678年。大图

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NOMURA KYUHO:A Gold and Black Lacquer Writing Box and Document Box
Edo period (1615-1868), early 19th century
A suzuribako and ryoshibako, each in the form of two overlapping rectangular poem cards, the lids of inrobuta (flush-fitting) type, the interior of the suzuribako with a frame incorporating a raised central section set with a suzuri (inkstone) and suiteki (water dropper), decorated in gold, aokin, and colored hiramaki-e and takamaki-e with gold kirigane and shell details against a black lacquer ground sprinkled with hiramaki-e flakes, the exterior of the suzuribako with a boat tied up to a blossoming weeping cherry tree by a swirling river, the reverse of the lid with a stand of autumn plants against a silver moon, the interior of the box with fujibakama (hemp agrimony), the gilt-copper suiteki in butterfly-dovetail shape, the lid of the ryoshibako with a weeping cherry and bridge over a river, the reverse with similar decoration to that of the suzuribako, on each box the visible part of the lower poem card with butterflies and swallows, signed in gold hiramaki-e on the reverse of the suzuribako lid Kyuho with a gold seal Nomura
Both with wood tomobako storage box (2)
Document box 16 5/8 x 13 7/8 x 6in (42.2 x 35.2 x 15.2cm)
Writing box 10 3/4 x 9 1/4 x 2 1/8in (27.3 x 23.5 x 5.2cm)

野村Kyuho 19世纪早期江户时代的金黑漆书写盒和文件盒

下载野村Kyuho 19世纪早期江户时代的金黑漆书写盒和文件盒大图

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HEVELIUS, JOHANNES. 1611-1687. :Selenographia: sive Lunae descriptio; atque Accurata, Tam Macularum eius, addita est, lentes expoliendi nova ratio. Danzig: Andreas Hünefeld for the author, 1647.
Folio (336 x 217 mm). Half-title, engraved additional titles by Jeremias Falck after Adolf Boÿ with portraits of Alhazen and Galileo, title printed in red and black, engraved portrait of the author by Falck after Helmich von Iwenhusen the Younger, 112 engraved plates (including 2 additional plates, RRR and the solar eclipse plate) by Hevelius, some printed recto and verso, and including 3 double-page plates, plate 21 complete with volvelle and string, 26 illustrations in text. Modern morocco, edges stained blue. Some light marginal dampstaining.

FIRST EDITION OF THE FIRST EXHAUSTIVE LUNAR ATLAS, Hevelius\'s four-year observations of the surface and phases of the moon, recorded in his greatest work, accompanied by an account of his instruments and telescopes. \"No finer book on the moon has ever been published. In scores of illustrations, drawn and engraved by the author himself, Hevelius tracked the moon through every phase of an entire lunar cycle, and then incorporated the information gained into three large moon maps... the two other maps, though less often reproduced, are much more splendid examples of lunar cartography. One shows the full moon as it actually appears through the telescope—that is, with no shadows. The other is uniformly (and artificially) shadowed to show the craters as they appear at mid-morning on the moon\" (Ashworth, The Face of the Moon Linda Hall Library p 45). Brunet III:150; BYU/Hevelius 1; Cinti 120; Houzeau Lancaster 1252.

赫维柳斯，约翰内斯。1611-1687. 月色学：或月球描述Accurata，作为他的Macularum，被添加进来，慢慢地表达了新的比例。但泽：Andreas Hünefeld，作者，1647年。

下载赫维柳斯，约翰内斯。1611-1687. 月色学：或月球描述Accurata，作为他的Macularum，被添加进来，慢慢地表达了新的比例。但泽：Andreas Hünefeld，作者，1647年。大图

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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.

下载草间弥生，当代艺术I大图