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LAVOISIER, ANTOINE-LAURENT. 1743-1794.:Traite elementaire de chimie, presente dans un ordre nouveau et d\'apres le decouvertes modernes. Paris: Chardon for Cuchet, 1789.
2 volumes. 8vo (210 x 135 mm). Half-titles, 13 folding engraved plates by and after Marie Anne Pierrette Paulze Lavoisier, 2 folding tables. Original boards, manuscript paper title labels, top edge trimmed, others uncut; volume two leaves unopened; custom folding box. Rubbed, corners a little rounded, scattered light spotting.

A FINE FRESH COPY IN ORIGINAL BOARDS OF THE FIRST EDITION, SECOND ISSUE of the book that \"accomplished a chemical revolution\" (PMM 238); the first issue (or trial issue) is known in only two copies. Lavoisier\'s landmark work \"put an end to the phlogiston theory and the surviving remnants of alchemy\" (PMM), and laid the groundwork for the modern scientific study of chemistry. Dibner 43; Duveen, p 340; Norman 1295; PMM 238.

拉瓦锡，安托内拉伦特。1743-1794. 在现代发现的基础上，以新的顺序呈现的化学元素。巴黎：库切特的蓟，1789年。

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KEPLER, JOHANNES. 1571-1630. :Dissertatio cum Nuncio Sidereo nuper ad mortales misso a Galilaeo Galilaeo. Frankfurt: Zacharias Palthenius, 1611.
8vo (162 x 90 mm). Woodcut device on title page. Modern blue morocco, ruled in gilt. Even toning, minor staining and some ink underlining.

Third, pirated edition of the Dissertatio cum Nuncio Sidereo, following the 1610 Prague and Florence editions. The work is an open letter to Galileo, responding enthusiastically to Galileo\'s telescopic observations published in Sidereus Nuncius in March of 1610. Galileo sent a copy to Kepler in April 1610, and Kepler felt it was necessary to publish a response in order to disseminate the knowledge of Galileo\'s discovery and its importance to the widest possible audience. He was also more than a little relieved that Galileo\'s conclusions did not undermine his own theories. The publisher of this edition, Zacharias Palthenius of Frankfurt, had also published a pirated edition of Galileo\'s Sidereus Nuncius in 1610. Caspar 34; Zinner 4277 (both for first edition).

开普勒，约翰内斯。1571-1630. 沙漠和修女西德雷奥云从加利利送到死者那里。法兰克福：撒迦利亚斯·帕罗修斯，1611年。

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Yoshitomo Nara (B. 1959):Eleven Works: N\'s YARD Posters
(i) Sorry, Couldn\'t Draw the Left Eye!; (ii) The Little Star Dweller; (iii) In the Milky Lake / Thinking One; (iv) Thinking My Home; (v) Dream Time; (vi) Should I Go?; (vii) Blankey; (viii) News; (ix) Let\'s Talk About Glory; (x) Young Mother; (xi) Midnight Truth

(i) printed with the artist\'s copyright, titled and dated 2003 on lower left
(ii) printed with the artist\'s copyright, titled and dated 2006 on lower right
(iii) printed with the artist\'s copyright, title and dated 2011 on lower left
(iv) printed with the artist\'s copyright, titled and dated 2020 on lower right
(v) printed with the artist\'s copyright, titled and dated 2011 on lower left
(vi) printed with the artist\'s copyright, titled and dated 2011 on lower right
(vii) printed with the artist\'s copyright, titled and dated 2012 on lower left
(viii) printed with the artist\'s copyright, titled and dated 2011 on lower left
(ix) printed with the artist\'s copyright, titled and dated 2012 on lower left
(x) printed with the artist\'s copyright, titled and dated 2011 on lower left
(xi) printed with the artist\'s copyright, titled and dated 2017 on lower left
screenprint

sheet (i-ii): 72.9 x 51.5 cm (28 3/4 x 20 1/4 in)
sheet (iii-xi): 50 x 35 cm (19 5/8 x 13 3/4 in)

奈良美智（1959年） 无 题

图片文件尺寸 : 5062 x 5372px

ELLIOT, DANIEL GIRAUD. 1835-1915. :A Monograph of the Felidae or Family of the Cats. [London]: Published for the Subscribers by the author, [1878]–1883.
Folio (598 x 480 mm). 43 hand-colored plates. Contemporary green half morocco and marbled boards, protected by a contemporary cloth sleeve, some light wear to spine ends, corners and extremities, front hinge cracked, cords firm, the sleeve with splitting and dust soiling, a few text leaves and 3 plates with short marginal tears and minor dampstaining, a few leaves becoming loose at end.
Provenance: Edward James Norris (1851-1927), President of the Educational Publishing Company, presented to him by the country of France, 29 September 1889, as an honorary \"Medaille d\'Or\" accompanied by a diploma granted to \"A Popular éducator, Massachusetts\" (available as photocopy).

FIRST EDITION OF THE DEFINITIVE WORK ON THE FAMILY OF CATS, in which Elliot describes and illustrates all the species of cats then known. \"Among the Families which constitute the Class Mammalia no more attractive one can be found than that of Felidae, as its members possess in the highest degree a beauty, both of form and coloring, most gratifying to the eye, and are also endowed with physical strength and weapons of offence not surpassed by any known creature now living upon the earth. The Family comprises not only the largest and most ferocious of the beasts of prey, but in which Elliot describes and illustrates all the species of cats then known also the graceful little animal that delights to make its home within man\'s abode\" (Introduction). Wolf worked from specimens provided by Elliot, who visited all the great museums and zoological societies on both sides of the Atlantic. See Nissen ZBI 1279; see Wood p 332.

埃利奥特，丹尼尔·吉拉德。1835-1915. 猫科或猫科的专著。[伦敦]：作者为订户出版，[1878]–1883。

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WEATHERLEY (CAPTAIN CECIL POULETT):Manuscript notebook of Captain Cecil Poulett Weatherley (1860-1932), of the Vigilant, describing his circumnavigation of Lake Bangweolo, 1896-1899, comprising detailed notes of compass bearings, longitude and latitude and notes on the geographical features, interspersed with later additional commentary on the land and its people, and illustrated with some thirty-five fine pencil and watercolour maps and drawings, including two portraits (\"...from a sketch made in the Vigilant 23-9-98...\"), describing his route from the Isthmus of Fungé (\"...a stretch of extremely white sand...\"), via Kawendé Country (\"...beautifully wooded with tall Mipundu trees...\"), Kirui Island (\"...out and away, the best wooded of the islands...\"), N\'Kanga and Kasanga Marshes (\"...High papyrus with water ways for canoes...\"), Bemba Chifunawuli (\"...discovered by me in 1896...\"), Luapula (\"...a delightful little river...\"), Mumbotuta Falls (\"...the sight of the Luapula), Mwyangashé River (\"...most disappointing in every way...\"), Wengé Hills (\"...High walls of red sandstone...\"), and Mweru, ending by apologising for gaps in the account as he had mislaid the piece of paper on which he wrote his calculations, with extensive notes on the names of African families and the correct pronunciation of the same, c.315 pages, in ink, dust-staining and marks with some water staining, original ruled vellum boards, faded notes in ink and pencil on front board, worn, binding loose, small 4to (200 x 135mm.), [c.1899]

威瑟利（塞西尔·普莱特上尉） 警备队队长塞西尔·普列特·韦瑟利（Cecil Poulett Weatherley）的手稿笔记本，描述了他在1896-1899年环湖航行的情况

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MICROSCOPY.:7 titles:
1. HOOKE, ROBERT. 1635-1702. The Posthumous Works of Robert Hooke. London: Samuel Smith and Benjamin Walford, 1705. Folio (320 x 202 mm). Half-title, title page in red and black, 15 engraved plates. Modern quarter vellum and marbled boards, morocco lettering piece on spine. Half-title laid down, title page tipped to stub, worming with some loss of text in front matter, dampstaining and browning throughout, ink ownership inscription on title page.
2. NEEDHAM, M. Nouvelles observations microscopiques. Paris: Louis-Etienne Ganeau, 1750. 16mo (168 x 96 mm). 8 folding engraved plates. Recased in contemporary mottled calf, 5 raised bands on spine, red morocco lettering pieces. Repairs to spine ends, dampstaining.
3. BAKER, HENRY. 1698-1774. Het Microscoop gemakkelyk gemaakt. Amsterdam: Isaak Tirion, 1744. Title page in red and black type, 14 engraved plates, folding table. 19th century half red morocco and marbled boards. Joints tender, rubbed, scattered spotting.
4. ---. Employment for the Microscope, in Two Parts. London: R. Dodsley, 1753. 8vo (195 x 120 mm). 17 engraved plates. Rebacked contemporary calf. Worming to lower margins, tear to outside margin of last plate with loss to corner, bookplate on front paste-down, browning and spotting.
5. ---. The Microscope Made Easy. London: J. Dodsley, 1769. 8vo. (210 x 128 mm). 15 engraved plates, some folding, folding table. 19th century calf, 5 raised bands on spine, red morocco gilt lettering piece. Joints tender, some ink marginalia, scattered spotting. Provenance: William Brodie of Brodie (bookplate).
6. LEDERMÜLLER, MARTIN FROBENIUS. Mikroskopische Gemüths- und Augen-Ergötzung. Nuremburg: Adam Wolffgang Winterschmidt, 1763. 4to (240 x 193 mm). Engraved allegorical frontispiece, engraved dedication portrait of Frederick of Brandenburg, 100 engraved plates, most tinted or hand-colored. Contemporary calf, rebacked. Frontispiece supplied from another copy, with top and margins trimmed, light dampstaining along top edge, browning and spotting.
7. GORING, C.R. 1792-1840, and ANDREW PRITCHARD. 1804-1882. Micrographia. London: Whittaker Co., 1837. 8vo (222 x 135 mm). Folding engraved frontispiece, 2 engraved full-page plates, 6 pp printer\'s ads at back. Contemporary tan buckram over plain boards. Covers soiled, corners bumped, shelfwear, library tape labels on spine, hinges cracked, a little loose, browning and spotting.

显微镜检查。 7个标题：

图片文件像素：5491 x 4804 px

安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928–1987 New York)
Jack Nicklaus, 1977, acrylic, silkscreen, ink on canvas, on the reverse with the stamps of The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, New York, numbered with archive number PO 41.049, numbered again on the stretcher, 25.4 x 25.4 cm, on stretcher

Provenance:
Estate of the artist
Private collection, Florence
Galerie Hafenrichter, Nurnberg
Private collection, 德国y - acquired from the above

Literature:
Catalogue Raisonné, Andy Warhol, Paintings, 1976–1978, no. 3846

This small-format work by Andy Warhol from 1977 is a portrait of one of the best golfers of the 20th century - US golfer Jack Nicklaus, also known as The Golden Bear.

From the early 1960s until the late 1980s, Nicklaus was regarded as one of the best golfers in the world. With 18 major victories under his belt, he is still the most successful player in his sport.

This portrait was created as part of Warhol’s so-called Athletes series, commissioned by his friend and art collector Richard Weisman. It includes a total of ten portraits of famous athletes of the time, such as Muhammad Ali, Chris Evert and Pelé.
It is an interesting departure from Warhol’s usual society portraits and occupies a rather idiosyncratic position in his extensive oeuvre.

Warhol had little interest in sports and its heros, and did not choose the protagonists of the series himself, leaving this task to Weisman. The latter knew many athletes personally, which made it easy to persuade them to pose for Warhol. Warhol eventually met each of the top athletes in person, and took photographs of them with his Polaroid Big Shot camera. The silkscreen portraits were subsequently created on the basis of these images. Each portrait is executed in various colors, and captures both the glamour and personality of the individual athlete.

Of the around 60 Polaroids Warhol made of Jack Nicklaus with his Big Shot camera, he selected four and processed them further into canvases.
On the basis on the photographs of Nicklaus with his golf club, Warhol ultimately created 15 original portraits of the athlete.

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SEA CREATURES. :13 titles:
1. LISTER, MARTIN. Historiae animalium angliae. London: 1678. 4to. 9 folding engraved plates. Modern quarter morocco and marbled boards. Foxing.
2. BUONANNI, FILIPPO. Recreatione dell\'Occhio e della Mente nell\' Osservation\' delle Chiocciole. Roma: 1681. 4to. Engraved frontispiece, 3 engraved plates (only). Contemporary vellum, inked titles on spine. Lacking most plates, title page repaired at lower margin, browning and spotting.
3. FOLKES, MARTIN. An Attempt Towards a Natural History of the Polype. London: 1743. 8vo. Engraved frontispiece, numerous woodcut illustrations in text. Modern quarter morocco and cloth. Light toning and spotting.
4. TREMBLEY, A. Memoires pour servir a l\'histoire d\'un genre des polypes. Leiden: 1744. 12 (of 13) plates. Modern quarter morocco and boards. Ink notations on title page, foxing and spotting.
5. BOHADSCH, JOHANN BAPTIST. De quibusdam animalibu. Dresden: 1761. 4to. 12 engraved plates. Modern quarter morocco and cloth. Browning and spotting.
6. EICHHORN, JOHANN CONRAD. Naturgeschichte der kleinsten Wasserthiere. Berlin: 1781. 4to. 8 engraved plates. Modern quarter morocco and cloth. Ink marginalia, foxing.
7. HERBST, JOHANN FRIEDRICH WILHELM. Versuch einer Naturgeschichte der Krabben und Krebse. Zurich: 1782. Volume I (only). 4to. 13 plates. Modern quarter morocco and cloth. Foxing.
8. EHRENBERG, C.G. Zur Erkenntniss der Organisation in der Richtung des kleinsten Raumes. Berlin: 1832-1834. 2 parts in 1 volume. Folio. 16 plates. 20th century orange cloth. Foxing, some heavy browning.
9. ---. \"Beobachtung einer bisher unbekannten auffalenden Structur des Seelenorgans bei Menschen und Thieren.\" OFFPRINT FROM: Physich-Mathematische Abhandlung. [Berlin]: 1834. 6 plates. Modern quarter morocco and boards. Foxing to plates, scattered browning.
10. ---. Sammelband of 5 works, including Die fossilen Infusorien, Kreidefelsen und des Kreidemergels, Lebende Thierarten der Kreidebildung, Curländischen Meteorpapiers von 1686, and Mikrospischen Lebens in Süd- und Nord-Amerika. Berlin: 1837-1843. Folio. 19th century half calf and textured cloth. Heavily rubbed, joints starting at spine ends, scattered staining and browning.
11. AGASSIZ, ALEXANDER. \"Embryology of the Starfish.\" EXTRACTED FROM: Contributions to the Natural History of the United States, Volume V. [Boston: 1865]. Folio. 8 engraved plates. 19th century half blue morocco and boards. Rubbed, spine sunned, dampstaining to top quarter of all plates, toning.
12. HAEKEL, ERNST. Arabische Koralen. Berlin: 1876. Folio. Color lithographic plates, lithographic illustrations in text. Heavily rubbed, tape labels to spine, soiling to covers, library stamps, toning and some staining.
13. SAVILLE-KENT, W. The Great Barrier Reef of Australia, its Products and Potentialities. London: [1893]. Folio. Numerous illustrations and maps. Publisher\'s blue cloth stamped in gilt. Rubbed, slightly soiled, spine a little loose, toning.

海洋生物。 13个标题：

图片文件像素：5347 x 5320 px

安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928-1987 New York)
Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985, signed in pencil and numbered 9/40, screenprint in colours on Lenox Museum Board with the blindstamp of the printer Rupert Jasen Smith, New York, published by George C.P. Mulder, Amsterdam, 100 x 80 cm, In plexiglass case

This is no. 9 from an edition of 40 + 10 artist’s proofs

Provenance:
Martin Lawrence Limited Editions, Inc., New York (label on the reverse)
European private collection

Literature:
F. Feldman J. Schellmann, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, II. 334-349, p. 138 with ill.

For the realisation of Queen Elizabeth II of the United Kingdom, a photograph taken on the occasion of the Silver Jubilee, the 25th anniversary of her reign, was used as a reference. The sitter\'s pose remains unaltered, retaining the structure and grandeur that are typical of classical portraiture. Warhol adds the commercial medium, emphasising it. His are classical depictions that praise the importance and solemnity of the subject depicted.

The same image of the queen appears in each of her four prints but they vary in colour. This one in particular has a primarily red background, and features graphic shapes printed from separate screens. Warhol began working in this style in the mid-1970s, fragmenting the image with various overlayed shapes and patches of colour.

The association of commercial medium and traditional portraiture is key, allowing Warhol to create a product that would subsequently be hailed as a work of art. Seriality, consumerism, the concept of fame and social hierarchy emanate from the superimposition of colour fields that enhance the subject\'s femininity. The pronounced make-up and bright colours denote the Pop character of mass culture, emphasising appearance and conveying a certain frivolity - unlike traditional portraits, where character and gravitas prevailed over aesthetics. Despite beginning with an impersonal approach and a mechanical reproduction of the subject, these interventions in the image gave the work a deliberately ‘artistic’ look. In many of his female portraits, such as here, the multicoloured surfaces and suggestion of make-up enhance the glamour and femininity of the subjects. With characteristic ambivalence, Warhol explained his additions to these later prints as immaterial:

‘I really would still rather do just a silkscreen of the face without all the rest, but people expect just a little bit more. That’s why I put in all the drawing.’ (Barry Blinderman, ‘Modern Myths: An Interview with Andy Warhol’, Arts, October 1981, p.145.)

This work is published in an edition of forty with ten artist’s proofs, five printer’s proofs and three hors commerce. The work is also published as a Royal Edition with diamond dust on the drawing lines, published in an edition of thirty with five artist’s proofs, two printer’s proofs and two hors commerce.