图片文件尺寸 : 4803 x 4156px

YAMAKAWA SHUHO (1898-1944):A standing beauty
Showa era (1926-1989)
The hanging scroll in ink, colors, and gold on silk, the beauty dressed in a horizontally striped and pattered kimono with her back to the viewer, showing off her elaborately tied obi sash, stands below a branch of flowering cherry blossoms, and holds another branch in her hands, while dandelions bloom around her feet, signed Shuho and sealed Shuho
With wood tomobako storage box and cardboard box sleeve
45 1/2 x 12 1/4in (115.6 x 31.1cm)

山川树浩（1898-1944） 站立的美丽昭和时代

图片文件尺寸 : 4046 x 5074px

“杰拉德·范·洪索斯特向阿马利娅·范·索尔斯展示了亨德里克·雅各布斯·肖尔滕的波希米亚学生路易丝的画作-Hendrik Jacobus Scholten

杰拉德·范·洪索斯特向阿玛莉亚·范·索姆斯展示了他的波西米亚学生路易丝的画作--Hendrik Jacobus Scholten (荷兰, 1824–1907)

图片文件尺寸 : 5441 x 4214px

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。

图片文件尺寸 : 4921 x 5584px

[RAMUSIO, GIOVANNI BATTISTA. 1485-1557.]:[Brasil]. [Venice: c.1565 or later].
Woodcut map of Brazil, 310 x 410 mm. The seas decorated with galleons and monsters, the land showing habitations and native peoples at work and hunting.

A fine early map of Brazil taken from Ramusio\'s Raccolta di Navigationi et Viaggi, first published in 1550 in this form, from an edition issued after 1565 when the first woodblock was destroyed by fire and the new woodblock added the term \"Terra non\" to \"Descoperta\" at upper margin.

[拉穆西奥，乔瓦尼·巴蒂斯塔，1485-1557。] [巴西]。[威尼斯：约1565年或更晚]。

图片文件尺寸 : 5443 x 4888px

TSUKIOKA YOSHITOSHI (1839-1892):A complete set of the series Tsuki hyakushi (One Hundred Aspects of the Moon)
Meiji era (1868-1912), 1885-1895
A set of 100 oban tate-e prints from the above-mentioned series, showing no signs of having been bound as an album, depicting scenes from Japanese and Chinese history, legends, and literature, together with a memorial portrait of Yoshitoshi by his student Toshikage, and the double-page table of contents, some with blind printing and mica, published by Akiyama Bunzaemon between 1885 and 1892; each with the artist\'s signature and various seals (103)
14 5/8 x 9 7/8in (37.1 x 25.1cm) each

筑冈义雄（1839-1892） 明治时代，1885-1895年

图片文件尺寸 : 5283 x 4482px

AFTER FERNAND LÉGER:Composition murale, also titled Composition abstraite
with the signature \'F. Léger.\' in the weave (lower right) and the Atelier Tabard Frères Soeurs monogram in the weave (lower left); numbered \'2/6\' and with the Atelier Tabard Frères Soeurs label showing the reference number \'879\' (on the reverse)
hand-woven Aubusson wool tapestry
195.7 x 394.1cm (77 1/16 x 155 3/16in).
Conceived in 1953, this tapestry executed by the Atelier Tabard Frères Soeurs in 1962 in a numbered edition of 6, of which only 4 were realised.

在FERNAND LÉGER之后 合成壁画，也称为合成抽象

图片文件尺寸 : 4035 x 4557px

KANO SCHOOL:Azure-Winged Magpies on a Blossoming Plum Tree
Edo period (1615-1868), 19th century
A full-size six-panel folding screen painting in ink, colors, gold, and gold leaf on paper showing a pair of azure-winged magpies (onaga), one in flight and the other perched upon the gnarled and lichen-covered trunk of a flowering plum tree with early spring flowers and plants at the roots, the tree backgrounded by brushwood expressed through raised gold relief paint, the rest of the composition occupied by gold-leaf clouds and rippling water in blue mineral pigment; unsigned
60 1/2 x 142 1/4in (153.7 x 361.3cm)

卡诺学派 19世纪江户时代，盛开的梅树上的蓝翼喜鹊

图片文件尺寸 : 4887 x 4274px

STURM, JOHANN CHRISTOPH. 1635-1703.:Collegium experimentale sive curiosum. Nuremburg: Wolfgang M. Endter, 1676.
2 parts in 1 volume. 4to (198 x 145 mm). Half-title, 4 folding engraved plates, numerous engraved illustrations in the text (some full-page). Contemporary calf, spine gilt with 5 raised bands, modern cloth chemise and quarter morocco slipcase. Old re-casing of original binding, with repairs to joints; browning throughout, a few stains.

FIRST EDITION. Sturm, professor of mathematics and physics at the University of Altdorf, presents his experiments relating to hydrostatics, pneumatics, optics and magnetism, his descriptions of recent inventions such as an airship (using four spheres made of very thin copper foil tethered to the craft, the illustration showing a man steering with use of an oar), diving bell, microscope, air pump, and barometer. A second part was published in 1685 and they often appear together. Krivatsy 11539.

斯图姆，约翰克里斯多夫。1635–1703. 大学实验性好奇心。纽伦堡：沃尔夫冈·恩德特，1676年。

图片文件尺寸 : 4627 x 4320px

A GOLD AND BLACK LACQUER DOCUMENT BOX:Edo period (1615-1868) or Meiji era (1868-1912) mid/late 19th century
Of standard form with rounded corners and slightly domed lid of inrobuta (flush-fitting) type, the black lacquer ground covered on the exterior in gold hirame flakes and on the interior in gold nashiji flakes, decorated in gold, aokin, silver, black, and colored hiramaki-e and takamaki-e, with gold Gyobu nashiji, kirigane and other embellishments, the exterior showing part of a set of Hyakunin isshu (100 Poems, Each by a Different Poet) cards, including portraits of Ki no Tomonori, Mibu no Tadami, Fujiwara no Yoshitaka, Ise, and Sanjo Udaijin with their poems, the interior with an empty courtier\'s gissha (ox-drawn carriage), its handles resting on a stand, next to a stream and between two rustic fences with stands of autumn foliage, the rims silver
With lacquered wood tomobako storage box
17 x 13 1/2 x 5 1/4in (43.2 x 34.3 x 13.3cm)

金黑漆文件盒 江户时代或明治时代19世纪中后期

图片文件尺寸 : 5462 x 4991px

Various Artists:Peter Norton Christmas Art Projects, 1989-2017
A group of 27 multiples in various media, from the editions of 2500-5000, published by the Peter Norton Family Christmas Project, Santa Monica, California. (27)

Artists, titles and dates include:
Untitled (Stereoscopic Slide Viewer), Mitchell Syrop, 1989; Untitled (Four Napkins), May Sun, 1990; Untitled (Stars Don\'t Stand Still in the Sky for Anybody pin), Lawrence Weiner, 1991; Untitled (NO IT CAN ASSESS AN ACTION wall template, Fred Fehlau, 1992 (2); Untitled (Miniature Book), Luciano Perna, 1993; III (Three Wishbones in a Wood Box), Lorna Simpson, 1994; Aimai-no-bi (Ambiguous Beauty), Yasumasa Morimura, 1995; Oblique Strategies, Brian Eno/Pae White, 1996; Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, Kara Walker, 1997; Untitled (Double-sided Blanket), Jim Hodges, 1998; Untitled (Peep Show), Anna Gaskell, 2001; Untitled (Dollhouse), Yinka Shonibare, 2002; Teacup, Robert Lazzarini, 2003; Untitled (Glass Bowl), Do Ho Suh, 2004; Untitled (Music Box), Christian Marclay, 2005; Untitled (Spiral, Pop-up Photo Album), Peter Coffin, 2006; Salt and Pepper Shaker, Nina Katchadourian, 2007; Cheshire Smile, Sanford Biggers, 2008; Untitled (Sequined Antler), Marc Swanson, 2009; Ikebana Kit, Escher GuneWardena Architecture, 2012; Trophy Modern, Ry Rocklen, 2013; Once Again, But Different This Time: The Canasta Edition, Kevin Sommers, 2014; Lazerian et al. Gerald the Dog, 2015; This is the End, 2017; Untitled (Holiday Card Portrait), Catherine Opie, n.d.; Currency, Brenna Youngblood, 2006 (signed in pencil, titled, dated and numbered 156/200 verso)
various sizes

各种艺术家 彼得·诺顿圣诞艺术项目