图片文件像素：6240 x 4268 px

Gunter Damisch，当代艺术I-

Gunter Damisch * - Zeitgenössische Kunst I-

(Steyr/Upper Austria 1958–2016 Vienna)
“Gelbfeldweltversammlung”, signed, dated (illegible) G. Damisch 94 (?) on the reverse as well as titled “Gelbfeldweltversammlung”, oil on canvas, 110 x 110 cm, on stretcher

Exhibited and full-page colour ill. in catalogue:
Gunter Damisch. Malerei, Galerie Hilger, 1995, plate 4

Provenance:
Private Collection, Vienna

Für mich ist die Kunst eine Kraft zum Leben und eine Lebensform, sich selbst zu finden.
Gunter Damisch – im Gespräch mit Friedhelm Mennekes
aus dem angeführten Katalog

For me, art is a life force and a way of life through which to find oneself.
Gunter Damisch, in conversation with Friedhelm Mennekes from the aforementioned catalogue

图片文件尺寸 : 4765 x 5855px

EINSTEIN\'S DOCTORATE CERTIFICATE FROM HIS \"MIRACULOUS YEAR\" OF 1905.:EINSTEIN, ALBERT. 1879-1955. Doctorate diploma awarded by the Faculty of Philosophy at the University of Zurich at its meeting on 27 July 1905, regarding the dissertation of Albert Einstein, titled: \"Eine neue Bestimmung der Molekuldimensionen\" (\"A New Determination of Molecular Dimensions\"), issued in Zurich 15 January 1906. Printed document with signatures and two seals on vellum, 698 x 523 mm. Framed.

EINSTEIN\'S DOCTORATE CERTFICATE — THE CROWNING ACHIEVEMENT OF HIS \"ANNUS MIRABILIS\" obtained for his most frequently cited paper \"A New Determination of Molecular Dimensions\" (Einstein 1905b). During 1905, Einstein wrote 5 landmark papers including his thesis, all published in the Annalen der Physik, and all considered milestones in the foundation of modern physics. They revolutionized our understanding of space, time, mass, and energy and culminated in the world most famous mathematical equation E=mc2. The papers were:

- \"On a Heuristic Viewpoint Concerning the Production and Transformation of Light.\" \"Über einen die Erzeugung und Verwandlung des Lichtes betreffenden heuristischen Gesichtspunkt.\" Annalen der Physik 17, 1905 pp. 132-148.

- \"A New Determination of Molecular Dimensions.\" \"Eine neue Bestimmung der Moleküldimensionen.\" Bern: Buchdruckreei Wyss, 1906. Also slightly revised in Annalen der Physik. 19, 1906, pp 289–305.

- \"On the Movement of Small Particles Suspended in a Stationary Liquid Required by the Molecular-Kinetic Theory of Heat.\" \"Über die von der molekularkinetischen Theorie der Wärme geforderte Bewegung von in ruhenden Flüssigkeiten suspendierten Teilchen.\" Annalen der Physik.17, 1905, pp 549–560

- \"On the Electrodynamics of Moving Bodies.\" \"Zur Elektrodynamik bewegter Körper.\" Annalen der Physik. 17, pp 901-921.

- \"Does the Inertia of a Body Depend Upon Its Energy Content?\" \"Über die von der molekularkinetischen Theorie der Wärme geforderte Bewegung von in ruhenden Flüssigkeiten suspendierten Teilchen.\" Annalen der Physik. 17, 1905, S. 549–560.

With a thesis on intermolecular forces Einstein attempted to earn a doctorate from the University of Zurich as early as 1901. He withdrew his paper shortly after he submitted it to Alfred Kleiner, Professor of Physics at the University of Zurich. His second attempted completed April 30, 1905 was more fruitful. On July 20, 1905, Einstein formally submitted another thesis to Dr. Kleiner, who enlisted the help of Heinrich Burkhardt, Professor of Mathematics at the University of Zurich, to check the calculations in Einstein\'s dissertation. Shortly after, on July 27 the philosophical faculty awarded Einstein with the doctorate, and issued the formal acknowledgement on January 15, 1906:

\"Unter der Oberhoheit der Behoerden und des Volkes des Kantons / und im Namen der / Universitaet Zuerich / hat die Mathematisch-Naturwissenschaftliche Sektion / der / Phiolosophischen Fakultaet / in Ihrer Sitzung vom 27 Juli 1905 / dem Herren / Albert Einstein / von Zuerich / auf Grund seiner Dissertation betitelt: / \"Eine Neue Bestimmung der Molekuldimensionen\" / und der Vorschriftsmaessigen Pruefungsausweis / die Rechte und Wuerden / eines Doctor der Philosophie / verliehen / und stellt zum Zeugnis dessen diese mit dem Universitaetsstempel versehene Urkunde aus / Gegegeben in Zurich / 15 Januar 1906 / Fuer den Akademischen Senat / der Rector Dr. Otto Haab / Fuer die II Sektion der Philosophischen Fakultaet / der Dekan: Prof. Dr. Rudolf Martin. With the paper seal of the \"Academia Turicensis MDCCC XXXIII\", under the signature of the dean the paper seal \"Philosophorum Turicensium Ordo\" in center.

In his dissertation Einstein \"combined the techniques of classical hydrodynamics with those of the theory of diffusion to create a new method for the determination of molecular sizes and of Avogadro\'s number, a method he applied to solute sugar molecules ... Compared to the other topics of his research at the time, his hydrodynamical method for determining molecular dimensions was a dissertation topic uniquely suited to the empirically oriented Zurich academic environment. In contrast to the Brownian-motion work, for which the experimental techniques needed to extract information from observations were not yet available, Einstein\'s hydrodynamical method for determining the dimensions of solute molecules enabled him to derive new empirical results from data in standard tables\" (Miraculous Year).

Years later Einstein remarked \"perhaps half-jokingly, that when he submitted his thesis, Professor Kleiner rejected it for being too short, so he added one more sentence and it was promptly accepted. There is no documentary evidence for this. Either way, his thesis actually became one of his most cited and practically useful papers, with applications in such diverse fields as cement mixing, dairy production, and aerosol products. And even though it did not help him get an academic job, it did make it possible for him to become known, finally, as Dr. Einstein\" (Isaacson).

Einstein\'s doctorate from the University of Zurich represents the cornerstone of his academic career that would take him from Zurich to Berlin and finally to Princeton, along the way transforming our perception of the cosmos, and the way we understand it.

Reference: Cawkell and Garfield. Assessing Einstein\'s impact on today\'s science by citation analysis. NY: 1980. P 32.
Isaacson. Einstein, His Life and Universe. New York: 2007. Pp 101-103.
Stachel, editor. The Collected Papers of Albert Einstein. Princeton: 1990. Vol 2, pp 170-182.
Stachel, editor. Einstein\'s Miraculous Year. Five Papers that Changed the Face of Physics. Princeton: 2005. Pp 31 and 37.

爱因斯坦1905年“奇迹年”的博士学位证书。 苏黎世大学哲学系在1905年7月27日的会议上颁发的博士学位证书，涉及阿尔伯特·爱因斯坦的论文，题为“Eine neue Bestimmung der Molekuldimensionen”，

图片文件尺寸 : 4241 x 4472px

Alasdair Gray:The Hippopotamus, a series of pictures (7)

No.1 \'The broad backed hippopotamus...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.2 \'The Hippo\'s feeble steps may err...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.3 \'The \'potamus can never reach...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.4 \'At mating time the hippo\'s voice...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.5 \'The hippopotamus\'s day...\'
lithograph with hand written dedication in ink, \"To the Gordon MacPherson 1 Sept 1976, the year of the Great Heat and start of the New Depression./As a momento of the original, commissioned and owned by him, which is on it\'s way from Alasdair Gray: not yet! Gray adds in October 23, 2003\"
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.6 \'I saw the \'potamus take wing...\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

No.7 \'He shall be washed as white as snow\'
ink and acrylic on card and paper
62.5 x 36.5 cm. (24 5/8 x 14 3/8 in.)

阿拉斯代尔灰色 河马，一系列图片

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：

图片文件像素：5115 x 4368 px

Gunter Damisch，当代艺术I-

Gunter Damisch * - Zeitgenössische Kunst I-

(Steyr 1958–2016 Vienna)
“Rotfeldweltwege/Doppelflämmerer”, signed and dated
G. Damisch 2000/2001 on the reverse as well as label with the title, oil on canvas, 160 x 140 cm, on metal stretcher

Provenance:
Galerie Ohse, Bremen
Private Collection, 德国y

Yes, in the sense that a painting actually always develops out of a proliferation and growth and evolutionary process and in the sense that every result cries out for a new one, so to speak, or generates something new. This always plays itself out in various ways. In principle, it has something to do with the phenomena that can be experienced in painting. This global issue results from the fact that I have found painting to be something that creates identity and meaning. You get to know yourself and express yourself and enter into a process where you are not only passively at the mercy of others, but can also achieve a lot on a creative level.
Gunter Damisch, in conversation with Friedhelm Mennekes

Ja, in diesem Sinne, daß sich ein Bild eigentlich immer aus einem Wuchern und Wachsen und evolutionären Prozeß heraus entwickelt und sozusagen jedes Ergebnis nach einem neuen schreit oder etwas Neues generiert. Das spielt sich immer in Variationen durch und hat grundsätzlich etwas mit Phänomenen zu tun, die in der Malerei erfahrbar sind. Dieses Weltthema resultiert daher, daß ich Malerei als etwas Identitäts- und Sinnstiftendes empfunden habe. Man lernt sich da kennen und ausdrücken und begibt sich in einen Prozeß, wo man nicht nur passiv ausgeliefert ist, sondern auch gestalterisch eine Menge bewirken kann.
Gunter Damisch aus einem Gespräch mit Friedhelm Mennekes

图片文件尺寸 : 4250 x 5676px

LE BRUN, CORNELIUS. 1652-1727/28.:Voyages De Corneille Le Brun ... Moscovie, en Perse ... Vol. I II. Amsterdam: Freres Wetstein, 1718.
2 volumes. Folio (330 x 210 mm). Engraved frontispiece in volume 1, title-pages printed in red and black, engraved portrait frontispiece in volume 2, 2 (of 3) double-page engraved maps, 115 engraved plates, many double-page, some folding, the majority with multiple images, and numerous engraved illustrations in text. Modern quarter morocco and red cloth. Paper repair to portrait, a few small tears, some penciled marginalia, scattered spotting and browning.

FIRST EDITION IN FRENCH of Le Brun\'s travels to Russia, Persia, India and Java, copiously illustrated with flora, fauna, native studies, costumes, antiquities and views. Also included are two particularly wide folding panoramas, one of Moscow and a second of Isfahan. Following an initial voyage to the Levant, \"In 1701, Le Bruyn started on the second of his journeys taking a ship to the country of the Samoyeds, and then proceeding to Moscow. Traveling by way of Asia Minor, he arrived in Persia where he remained for the years 1704-05. Leaving Persia he proceeded [by ship] to India [stopping at Cochin], Ceylon and the East Indies [i.e. Batavia]. He returned by much the same route, residing in Persia between 1706 and 1707 and describing the ruins of Persepolis and Pasargades\" (Howgego). Brunet III, 911; Cohen-de Ricci 610; Howgego B177; Lipperheide 546; Wilson p 33.

棕色的，科尼利厄斯。1652-1727/28年。 棕色科内尔之旅…莫斯科，波斯…第一卷和第二卷。阿姆斯特丹：韦茨坦兄弟，1718年。

图片文件尺寸 : 4967 x 4295px

WILKINS, JOHN. 1614-1672.:The Discovery of a New World or, a Discourse Tending to Prove, That tis Probable There May Be Another Habitable World in the Moone. London: John Norton, for John Maynard, 1640.
2 parts in 1 volume. 8vo. (160 x 102 mm). Additional engraved title by W. Marshall, engraved illustration on p 222 of part 2, numerous woodcut diagrams in text. 18th century calf, spine with 4 raised bands and morocco gilt lettering piece, marbled endpapers. Covers detached, front endpapers and first leaf (additional engraved title) separated from text block, top margins somewhat tightly trimmed, scattered browning and spotting.
Provenance: Boies Penrose II (American travel writer and historian, 1902-1976, 2 bookplates).

Third edition. 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 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 S119973; Macclesfield 2125; Nicholson 93.

约翰·威尔金斯。1614-1672. 一个新世界的发现，或者一个倾向于证明的话语，月球上可能有另一个可居住的世界。伦敦：约翰·诺顿，约翰·梅纳德，1640年。

图片文件像素：4698 x 4418 px

Heinz Mack，当代艺术I-

Heinz Mack * - Zeitgenössische Kunst I-

(born in Lollar, Hessen 1931)
Wing relief, 1989, signed, dated Mack 89, on the reverse again signed, dated, inscribed and with directional arrow, relief of aluminum grid, board and mirror, 81.5 x 101.5 cm, framed

Certificate:
Atelier Mack, Mönchengladbach, signed by the artist

Provenance:
Private Collection, Rhineland Palatinate
Private Collection, North Rhine-Westphalia - acquired from the above in 2006
Private Collection, Venice
Ketterer Kunst, Munich, 5 December 2006, lot 335

Literature:
Exhibition catalogue Galerie Ludorff, Düsseldorf 2020, p. 88

The Zero artist Heinz Mack discovered the effect of light on a piece of aluminium foil by accident. When he stepped on a piece of the foil lying on the floor, he created a carpet of light, a light reflector with the embossed pattern of his sisal carpet. This showed him how the light from the aluminium foil refracts and at the same time reflects the embossed pattern of the carpet. From then on, the effect of light in his works played a decisive role for Heinz Mack in the conception of his art. The character of the reliefs is that they capture the light and at the same time return it to the room.

The work offered here is from the series of so-called ‘wing reliefs’ (Flügelreliefs). Here Mack - unlike in his painting - does not experiment with colour, but with material and form, with the reflection and location of the viewer in the work. Mack uses a fine-meshed flexible expanded metal aluminium fabric for his wing reliefs, originally created for the aerospace industry. Its technical materiality allow the metal mesh to be given soft contours and to form varied patterns from the individual honeycombs. The artistic intention of making light, structure and movement visible is accentuated in a special way in the wing reliefs by the fine structure of the honeycomb fabric.

The structure of the relief allows the viewer to experience the refraction of light from different angles anew each time. The light refracts in the depths of the honeycombs and captivates the viewer.

图片文件像素：5357 x 5537 px

阿里吉耶罗·波提-

Alighiero Boetti * - Zeitgenössische Kunst I-

(Turin 1940–1994 Rome)
Naturale Artificiale, 1982, 2 parts, ballpen on paper laid on canvas / biro su carta intelata, each 100 x 70 cm, on stretcher (2)

The work is registered in the Archivio Alighiero Boetti and is accompanied by a photo certificate of authenticity, Rome, 30 May 2007

Photo-certificate, issued by La Bertesca/c.o. Masnata, Genoa, signed by the artist, Rome, October 1983

Provenance:
The artist Francesco Masnata, Genoa (formerly Galleria La Bertesca)
Private Collection, Southem 德国y – acquired directly from the above in the late 1990s

Literature:
Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Vol 3, Milan 2015, Vol. 3, no. 1391 (with color illustration)

The work NATURALE ARTIFICIALE comes from Alighiero Boetti\'s biro drawings series. The artist created unique artistic narratives through play, poetry, measure, numbers, order and disorder, which he combined with material diversity, conceptual complexity, and extraordinary visual beauty. Boetti began his biro series in the 1970s, when he created entire sheets collaboratively using different coloured biro ink. Each work in the series contains panels of images created by different students, similar to Boetti\'s well-known tapestries. With a consistently playful approach to \"simple\" ideas, Boetti posed fundamental questions about contemporary art production. The liminal space between artist and author is a major concern in Boetti\'s catalogue of works.

The biro work offered here is a diptych of two sheets hand-coloured with red biros. Looking at the diptych as a whole, the irregular structure, gradations and patterns become apparent. Latin letters are arranged in alphabetical order on the left edge of the picture. Distributed over the two halves of the picture are small white commas in a seemingly arbitrary arrangement. A closer look at the signs reveals that they each correspond to one of the letters of the alphabet. When read in sequence from left to right, they themselves spell out the work’s title NATURALE ARTIFICIALE. Boetti\'s biro works are generally abstract images that name themselves.

\"My works arise from changing forms of collaboration. I am interested in primary things like the alphabet, maps, newspapers - not least because of the sudden surge of order and disorder. Everything has its own precise order, even if that order is realised in a disorderly way.\"
Alighiero Boetti

图片文件像素：5704 x 5632 px

卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana