图片文件尺寸 : 4888 x 5777px

SIX SURIMONO SHIKISHIBAN PRINTS:Edo period (1615-1868), 19th century
The first, a courtesan in a kimono decorated with a large dragon, and two poems, from the series Fuzoku onna Suikoden, hyaku-hachi ban no uchi (Fashionable Women as the 108 of the Water Margin), signed Ichiyusai Kuniyoshi ga (Utagawa Kuniyoshi, 1797–1861) and sealed; the second, the archer Miuranosuke confronting the court lady Tamamo no mae, with poems, signed Gakutei (Yashima Gakutei, 1786?–1868), with partially obscured publisher\'s seal; the third, depicting a beauty in a roundel and a peacock on a fan face, with a poem, from the series Honchoren juban tsuzuki (10 for the Honcho Circle), signed Gakutei (Yashima Gakutei, 1786?–1868) and sealed Sadaoka; the fourth, of the goddess Benzaiten playing a biwalute beneath prunus blossoms, with four poems, signed Eisen ga (Keisai Eisen, 1790-1848); the fifth, of two beauties, one preparing to put an inked brush to paper and the other holding a painting of Mount Fuji, with four poems, signed Keisai (Keisai Eisen, 1790-1848); the sixth, of two beauties playing with Japanese battledore and shuttlecock next to a blossoming prunus tree, with two poems, signed Eisho hitsu (Shunsai Eisho/Harukawa Eicho, 1784-1848) and sealed (6)
8 5/16 x 7 1/2in (21.1 x 19cm), the largest

六张＜I＞SURIMONO SHIKISHIBAN</I＞照片 江户时代，19世纪

图片文件尺寸 : 5267 x 5418px

ROJAS SARMIENTO, JUAN DE. Fl.1540-1550.:Commentariorum in Astrolabium quod Planisphaerium Vocant, Libri Sex nunc Primum in Lucem Editi. Paris: Michael Vascosan, 1550.
8vo (230 x 165 mm). Woodcut illustrations and diagrams, including 15 full-page illustrations of the astrolabe, woodcut initials. [xxiv], 282, [12] pp, lacking 2M6 (blank), italic type. Modern full paneled cat\'s paw calf, spine gilt; title extended and repaired, slight foxing, a few pages with extensive early ink marginalia, E1 lower corner repair.

FIRST EDITION of this important treatise on the astrolabe, presenting Rojas\' model for a universal astrolabe with orthographic projection. \"The chief novelty in [the astrolabe] consisted in a special treatment of the face of the instrument as an orthographic projection of the sphere on the plane of the meridian\" (Gunther, Astrolabes of the World). Houzeau Lancaster 3275; Mortimer, Harvard French 462.

罗哈斯·萨米恩托，胡安·德。FL.1540-1550。 《Astrolabium，Planisphaerium Vocant》中的评论员，《Lucem Editi》中的《图书馆性爱第一》。巴黎：迈克尔·瓦斯科桑，1550年。

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.

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”，