Unprecedented Hyperspectral Technology Innovative spectral solutions With Mark Allen Lanoue

Unprecedented Hyperspectral Technology Innovative spectral solutions With Mark Allen Lanoue © 2008 Themis Vision Systems Uncovering a Velázquez The...
Author: Bryan Boyd
5 downloads 2 Views 6MB Size
Unprecedented Hyperspectral Technology

Innovative spectral solutions With Mark Allen Lanoue © 2008 Themis Vision Systems

Uncovering a Velázquez The Discovery of In Support of A Possible “Velasquez” By Mark Allen Lanoue Mr. Lanoue is the CEO and Co-founder of Themis Vision Systems Mark discovered evidence supporting what is believed to be a priceless previously unknown Diego Velazquez painting owned by the Bevin Family On the following slides we will share with you how Mr. Lanoue uncovered the evidence supporting the work of a possible masterpiece using hyperspectral imaging technology invented by he and his partners, and the history of Diego Velazquez and his extraordinary work. © 2008 Themis Vision Systems

2

Mark Allen Lanoue – Art Expert On July 18th 2007, Mark Allen Lanoue, an expert in the field of hyperspectral imaging, using highly spatial and spectral analysis, di discovered d a highly hi hl unusuall signature i configuration of Velázquez’s first name Diego (Highlighted in purple). The letter “o” was open ended and the letter “e” appeared to be absent from the signature - which is the exact manner in which Velázquez wrote the letters “e-g-o”. A prominent professional at the Museum in Madrid stated that my work was interesting and does look like an authentic signature. However, the paint work still needs to be proven and there is more imaging work to be done to pprove this case without doubt to be viable for sale as a true Velasquez.

Mark A. Lanoue Chief Executive Officer During his 9 year employment with the Institute for Technology Development as a part of the NASA Commercial Space Program, Mr. Lanoue was a pertinent part of the development and commercialization of turnkey hyperspectral products, software, and applications that are now being used Worldwide for a plethora of research and applications. His 12 years of experience with technology, product development, and global business experience makes him an integral part of a company that possesses world class, award winning technology and products, Themis Vision Systems, LLC. Mr. L M Lanoue has h been b a vital i l part off two early l stage start‐up companies i selling lli over 3 million dollars in product with minimal staffing. These businesses accounted for several funded projects and an SBIR, and establishment of a global network of OEM’s and distributors. Mr. Lanoue’s work and dedication has made way y for what is now Themis Vision,, LLC. Mark Lanoue has been an ITD employee for the past eight years. His innovation and creativity have resulted in the current design of ITD’s hyperspectral sensor products. He has several patents and one patent pending. Mr. Lanoue has been responsible for our existing sales, building and delivering each sensor, and stimulating the three international distribution agreements His creativity, creativity marketing abilities and insight into agreements, will be a great asset to the start‐up company.

Inducted into the NASA Space Technology Hall of Fame, in 2005

© 2008 Themis Vision Systems

3

Diego Velázquez Born in Seville, Andalusia, Spain early on June 6, 1599, and baptized on June 6, Velázquez was the son of Juan Rodríguez de Silva (born João Rodrigues da Silva), a lawyer whose parents, Diogo da Silva and wife Maria Rodrigues, were Portuguese Jews, and Jerónima Velázquez, a member of the hildalgo class, an order of minor aristocracy (it was a Spanish custom, in order to maintain a legacy of maternal inheritance, for the eldest male to adopt the name of his mother). Recent archival investigations carried out by Mendez, Ingram and others not only reject his aristocratic origins, but have brought to light that he belonged to the Jewish converso lineage, He was educated by his parents to fear God and, and intended for a learned profession, profession received good training in languages and philosophy. But he showed an early gift for art; consequently, he began to study under Francisco de Herra, a vigorous painter who disregarded the Italian influence of the early Seville school. Velázquez remained with him for one year. It was probably from Herrera that he learned to use brushes with long bristles. Diego Rodríguez de Silva y Velázquez (June 6, 1599 - August 6, 1660)

After leaving Herrera's studio when he was 12 years old, Velázquez began to serve as an apprentice under Francisco Pacheco, an artist and teacher in Seville. Though considered a generally dull, undistinguished painter, Pacheco sometimes expressed a simple, direct realism in contradiction to the style of Raphael that he was taught. Velázquez remained in Pacheco's school for five years, studying proportion and perspective and witnessing the trends in the literary and artistic circles of Seville.

© 2008 Themis Vision Systems

Birthplace of Velazquez in Seville From Wikipedia, the free encyclopedia

4

Diego Velázquez – the History Velázquez (or Velásquez), Diego (1599-1660). Spain's greatest painter was

also one of the supreme artists of all time. A master of technique, highly individual in style, Diego Velasquez may have had a greater influence on European art than any other painter. In his teens he studied art with Francisco Pacheco, whose daughter he married. The young Velasquez once declared, "I would rather be the first painter of common things than second in higher art. art " He learned much from studying nature. After his marriage at the age of 19, Velasquez went to Madrid. When he was 24 he painted a portrait of Philip IV, who became his patron. The artist made two visits to Italy. On his first, in 1629, he copied masterpieces in Venice and Rome. He returned to Italy 20 years later and bought g manyy paintings--by p g y Titian, Tintoretto, and Paolo Veronese--and statuary for the king's. Except for these journeys Velasquez lived in Madrid as court painter. His paintings include landscapes, mythological and religious subjects, and scenes from common life, called genre pictures. Most of them, however, are portraits of court notables that rank with the portraits painted by Titian and Anthony Van Dyck. Duties of Velasquez' royal offices also occupied his time. He was eventually made d marshal h l off the th royall household, h h ld andd as suchh he h was responsible ibl for f the th royal quarters and for planning ceremonies. In 1660 Velasquez had charge of his last and greatest ceremony--the wedding of the Infanta Maria Theresa to Louis XIV of France. This was a most elaborate affair. Worn out from these labors, Velasquez contracted a fever from which he died on August 6. Velasquez was called the "noblest and most commanding g man among g the artists of his country." y He was a master realist,, and no painter has surpassed him in the ability to seize essential features and fix them on canvas with a few broad, sure strokes. "His men and women seem to breathe," it has been said; "his horses are full of action and his dogs of life." Because of Velasquez' great skill in merging color, collection. light, space, rhythm of line, and mass in such a way that all have equal value, he was known as "the painter's painter." Ever since he taught Bartolomé Murillo, l has h directly di l or indirectly i di l led l d painters i to make k original i i l contributions ib i Velasquez to the development of art. Others who have been noticeably influenced by him are Francisco de Goya, Camille Corot, Gustave Courbet, Edouard Manet, and James McNeill Whistler. © 2008 Themis Vision Systems

His famous paintings include The Surrender of Breda, an equestrian portrait of Philip IV, The Spinners, The Maids of Honor, Pope Innocent X, Christ at Emmaus, and a portrait of the Infanta Maria Theresa. As court painter to Philip IV Velazquez IV, V l spentt a large l partt off his hi life lif recording di in i his hi cool, l detached d t h d way, the objective appearance of this rigidly conventional royal household, with little interpretation but with the keenest eye for selecting what was important for pictoral expression and with a control of paint to secure exactly the desired effect. Through acquaintance, while in Italy, with the work of Caravaggio and through contact with the Spaniard Jusepe de Ribera (1588-1656), he learned somethingg of the ppotentialities of a veryy limited palette, black and neutrals, as is evident in many of his portraits, which are subtle harmonies of grays and blacks. In painting these royal portraits, whatever interpretation he made or whatever emotional reaction he experienced he kept to himself. Royalty, courtliness of the most rigid character was his task to portray, not individual personality. However, the portrait of Innocent X leads on to suspect that there might have b been more iinterpretation i had h d the h painter i been b free f to express it. i Through his practice of using pigment as it is used in Maids of Honor, and Innocent X, in short or long, thin or thick, apparently hasty and spontaneous but actually most skillfully calculated strokes, Velasquez was a forerunner of the modern practice or direct painting.

5

Concealed Letters Le Peintre des Peintres, Diego Velazquez’s signature, has lain hidden on the Bevan Family painting under layers of paint, for over 300 years.

Maria Teresa of Spain ("with two watches") Kunsthistorisches Museum, Vienna Maria Teresa,, the 14 yyear old Infanta of Spain, p , is presented here in the most effective way, wearing an exquisite hoop skirt dress, as was customary for young brides in the Spain court.

© 2008 Themis Vision Systems

“The “i” was not distinctly uncovered during this imaging session. However, the dot over the “i” was clearly present in the spectral data.”

6

Diego Velázquez Hyperspectral SWIR VNIR SWIR,VNIR Based upon further personal examination of the Bevan family’s painting using VNIR & SWIR hyperspectral analysis, it is my opinion that the name “Diego” recently revealed on the B Bevan Family’s F il ’ painting i ti bby SWIR andd VNIR hyperspectral h t l analysis l i was written itt by b the th same hand that wrote the same highly unusually configured letter “D” housed at the Biblioteca Nacional.

The letters “e-g-o” revealed by hyperspectral imaging techniques, on th Bevan the B Family F il Painting, P i ti appear speckled throughout this presentation, because the letters “e-g-o” are still invisible to the human eye.

The letters “e-g-o” that have been revealed on the Bevan Painting are written in the same manner as the letters “e-g-o” that are illustrated on the hardcover of Carl Justi’s book entitled “Velazquez And His Times”.

The letter “o” is open ended and the letter “e” appears to be absent from the signature. However, upon close scrutiny the letter “e” is revealed to be a separate part of the letter “g” and in actuality forms part of the letter “g” on the Bevan painting, in the same manner as the letters ”e-g” merged together in the signature referenced by Carl Justi. This hand writing is the exact manner in which Diego Velazquez wrote the letters “e-g-o”. This highly unusual hand writing of the letters “e”, “g”, & “o” in the name Diego is unique only to the signature of Diego Velazquez (see below right).

Bevan Painting

The original hyperspectral work was focused mainly on the primary name “Velazquez”, where the focus remained for the earlier part of my work. However, after uncovering the name “Diego” from the Bevan Family Painting, it became apparent that this discovery was extremely important to the authenticity of the Bevan Family Painting as being painted by Diego Velazquez. g By: y Signed

Velazquez “e-g-o” & dot from “i” per the renowned Carl Justi

Date: Mark Allen Lanoue : President & Chief Technology Officer, ET, LLC., Stennis Space Center, MS

© 2008 Themis Vision Systems

Thi workk retraces This t Velazquez's V l ' career through th h his hi masterworks and journeys, while simultaneously setting the royal and artistic background of 17th Velazquez “ D” housed at century Spain. From his beginnings at Pacheco's the Biblioteca Nacional workshop to his last years as court painter, this ambitious artist painted the most influential characters of his times and remodelled the majestic castles of Spain. Unforgettable, for his career as well as for his breathtaking technique, technique "Velazquez" offers Aug 30, 2007 us an impressive portrait gallery. More than a monography, the writings of the professor Carl Justi set the work of Velazquez in a historical fresco depicting the golden age of Spanish painting..Thanks to magnificent illustrations, "Velazquez and his Times" is set to become a standard reference. 7 RedDot Books

Comparing Signatures

The Dwarf Sebastian de Morra Museo del Prado, Madrid One of the greatest triumphs of art—and it was the triumph of Velázquez—is the finding of beauty in the ill-formed, the misshapen, the ugly. In the 17th century court of Spain, dwarfs and buffoons were pitied, taken care of, and served as jesters to lighten the burdens of the monarchs. V lá Velázquez, however, h looked l k d at the dwarfs for a different purpose; he saw the opposites of reality.

© 2008 Themis Vision Systems

WHAT WILL MAKE US TRULY PROUD OF OURSELVES? Dorothy Koppelman

8

Velazquez’s Signature Variations

Diego Velázquez, Los Borrachos (The Feast of Bacchus) Museo del Prado, Madrid The painting was damaged in the fire that destroyed the royal palace in Madrid in 1734, and the left half of the god's face has been much restored It was thought in the nineteenth century that this was a realistic scene showing a country festival, and the picture was given the title The Topers As only Caravaggio before him, Velazquez has portrayed Bacchus (or rather Dionysos) as the God of the mask, the theatre and disguise Diego Velasquez The mythological treatment is intimately realistic and innately Spanish, giving a picture of the interior of a smithy of Andalusia, with Apollo inserted to make the story tell. The conception is commonplace, yet the impression it produces is from the vividness of the representation and thee power powe oof eexpression. p ess o .

© 2008 Themis Vision Systems

9

Comparisons with Known Letters

The Supper at Emmaus is a postresurrection appearance of Jesus described in the Gospel of Luke Chapter 24 verses 13-35. Jesus appeared to Cleopas and one other disciple as they walked to Emmanus. At fi firstt "th "their i eyes were hholden" ld " so that they could not recognize him this is the Meeting at Emmaus. Later while having supper at Emmaus "their eyes were opened" and they recognized him. Both subjects often featured in art, including in cycles of the Life of Christ.

© 2008 Themis Vision Systems

10

Monogram Research & Features

'An Old Woman cooking Eggs', 1618 "Old Woman Cooking Eggs shows a variety of substances, selected in part to demonstrate the artist's ability to paint them convincingly: copper, brass, pottery both glazed and unglazed, straw, pewter, linen, the skin of onion and melon, the human eye, wood, eggshell, string, and glass. The ceramic casserole is tipped up so we can admire the artistry of painted egg whites in varying stages of opacity. There are fewer substances in Waterseller, but in compensation there is the stunning virtuosity exhibited in the discoloration of the immense jug, due to misfiring in the kiln, and the way the clay looks when water trickles down its sides. "Both paintings are redeemed from mere boasting in the medium of paint by an extraordinary sense of mystery, as if the works had deep intelligence to communicate in the notation of humble utensils. Thus the objects in Old Woman Cooking Eggs have an almost otherworldly luminescence - the light source sou ce comes co es from o in front o of o thee picture pcue plane, highlighting the objects without illuminating the room, which is in the darkest of shadows behind the two figures.

© 2008 Themis Vision Systems

11 From Arthur Danto “Embodied Meanings”

Uncovering Closely Matched Spectra Through Data Rotation & Texture Analysis of the Bevan Family P i ti (Using Painting (U i Short Sh t Wave W Infrared I f d & VNIR Hyperspectral Imaging)

The Surrender of Breda or The Lances

Ambrosio Spinola, the Genoese general in charge g g of Spanish p troops in Flanders receives the keys to the city of Breda from the Dutch governor, Justin of Nassau, ending a long siege. This occurred on 5 June 1625. At the time, it was considered a key momentt in i the th long l war wagedd by the Spanish to prevent Dutch independence.

© 2008 Themis Vision Systems

12

Uncovering Hidden Letters

The Water-Seller of Seville (c1620) A street water-seller nicknamed the Corsican of Seville who, according to accounts from the end of the 17th century, wore a smock with holes in it to show his scabs and sores to potential customers. The vendor's face is downcast,, expecting p g nothing, g, not looking at the boy to whom he gives water in a clean, fine glass with a black fig to freshen the taste. In the shadows another customer drinks. The water-seller seems unaware of either; as if in deference to his sorrow, the boy looks down. He respects the poverty and age of the street-seller, as does Velazquez, who gives the man an immense dignity. The water-seller's bodyy is as monumental as the round container on which he places his left hand. His robe is torn like a saint's, his face lined with experience, the scarred, creased antithesis of the boy's white, smooth features. This is the face of a man who has spent a lot of time in the sun, standing on dusty street corners. This painting crackles with Seville's scorching heat. The water-seller's robe has a flaky, y, crisp p texture. His face, around his mouth, is marked by deep canyons like dried-up river beds. His beard is desert grass, his hair shaved short, in contrast to the boy's lively locks. He touches the water jar, on the surface of which three drops of water glisten, shining globules of life.

© 2008 Themis Vision Systems

13 Jonathan Jones, The Guardian, Saturday December 2 2000

Velazquez Number 15 Uncovered

Philip IV c. 1624-27 Philip IV, King of Spain, eldest son of Phillip III and his wife Margaret, sister of the emperor Ferdinand II, was born at Valladolid on the 8th of April 1605. His reign, after a few passing years of barren successes, was a long story of political and military decay and disaster. The king has been held responsible for the fall of Spain, which was, however, due in the main to internal causes beyond the control of the most despotic ruler, however capable he had been. Philip certainly possessed more energy, both mental and physical, than his father. There is still in existence a translation of Guicciardini which he wrote with his own hand in order to qualify himself for government by acquiring a knowledge of political history. He was a fine horseman and keen hunter. His artistic taste was shown by his patronage of Diego Velazquez.

© 2008 Themis Vision Systems

14 NNDB

A Focus On the Bevan Family Painting Which Shows the Unique Features Pertaining to Diego Velazquez

The Forge of Vulcan 1630 Velasquez's treatment of the Forge of Vulcan is one of the most beautifully rugged and yet refined examples of Spanish art. It is in the Prado at Madrid. Madrid A dramatic moment has been chosen for illustration. The sun-god Apollo has just descended to the Cyclops' forge to impart to Vulcan the news that he has discovered the intrigue between his wife, Venus, and Mars. It was a little inconsiderate in him to break the news to Vulcan in the midst of his fellow workers, but it makes a better picture. Phoebus, with light irradiating in an exquisite way from his head, stands at the left, in the attitude of one who relates a narrative; one hand is raised, and his remarks punctuated with his forefinger. Vulcan, listening, enraged, shows his fury in his twisted shoulders and his fiery eyes. The Cyclops are standing by, also listening ; they have paused a moment in their work, and this halt is well portrayed The focus of interest is directed to portrayed. Apollo, and the picture is well balanced, in form and in chiaroscuro.

© 2008 Themis Vision Systems

15 Julia de Wolf Addison

Spectral Analysis

Joseph's Bloody Coat Brought to Jacob 1630 Already in the two big pictures that he painted in 1630, during his first stay in Rome, Velazquez had that capacity. Both in ''Joseph's Bloody Coat Brought to Jacob'' and d iin ''The '' h Forge off Vulcan'' l '' we ffeell a totall confidence in his handling of gods, men and dogs. We stare in wonder at the appurtenances of every day, from a hammer that someone has dropped in amazement to a perfectly plain white jug. We peek at the lavender-colored landscape in ''Joseph's Bloody Coat'' as if we had never seen anything hi lik like it i before. b f The Th world is remade, redefined and reanimated by this painter. And what a storyteller, too! That storytelling faculty was used on occasion to biblical or mythological ends. But fundamentally, in his art Velazquez was a man of this world. Painting that great soldier of the church, Mother Jeronima de l Fuente, la F t he h produced d d what h t Julian J li Gallego G ll in his catalogue entry neatly calls ''a memento mori in Franciscan serge, rather than a revered and beloved mother superior.''

© 2008 Themis Vision Systems

16 NY Times “The Infinite Variety of Velazquez at Met” By JOHN RUSSELL Published: September 29, 1989

SUPPLEMENT “The following pages are filled with interesting findings which hi h were obtained b i d during d i my image analysis of the Bevan Family Painting. There are others. others However, these immediately stand out without further processing and cannot be seen by the naked eye.” --Mark M k All Allen Lanoue L

© 2008 Themis Vision Systems

17

Supplement A

The Count-Duke of Olivares on Horseback 1634 Phillip III of Spain reign (1598-1621) The 1630s and 1640s (before he again left for Italy) were the most productive period of Velázquez's career. His series of royal and court portraits continued and he expanded his range in a series of glorious equestrian portraits (Prado). In these he showed an unprecedented ability to attain complete atmospheric unity between foreground and background in the landscape. Their rhetorical poses are in the Baroque tradition, but they are without bombast or allegorical embellishments and as portraits are characteristically direct.

© 2008 Themis Vision Systems

Prince Baltasar Carlos on Horseback. 1634/35

All the images shown on the following pages are derived from this image of a painting within the Bevan Painting 18

Horsemanship, Surrender

The Surrender of Breda Before 1635

© 2008 Themis Vision Systems

19

Portraying God

The Dwarf Francisco Lezcano, called El Niño de Vallecas The same ability to look beyond external trappings to the human mystery beneath is seen in his incomparable series of portraits of the pitiful court fools, dwarf, and idiot whom Philip, like other monarchs, kept for his amusement. Velazquez presents them without any suggestion of caricature but, with pathos and human understanding, as if they too are worthy of his respect.

© 2008 Themis Vision Systems

20

Hidden Writing WRITING

Innocent X c. 1650

PCA BAND 38 & 53 Velazquez did the magnificent portrait of the Innocent X, one of Velazquez's many masterpieces, which the Metropolitan Museum of Art (owner of the portrait of Juan de Pareja since 1971) was unable to secure for its nonetheless spectacular exhibition of this transcendent genius. In the papal portrait, once again, without paint ever concealing itself as paint, are the white touches that shimmer as lace, as the shirred white garment the Pope wears under the cape of heavy crimson silk the painter has summoned out of sweeps and swags of pigment. And beyond even that is the fierce and crafty face of the throned Pontiff, Innocent by name but hardly by nature, peering out from the corners of his eyes at a difficult and treacherous world he is shifty enough to master.

© 2008 Themis Vision Systems

MERGED VNIR

21 From Arthur Danto, “Embodied Meanings”

Ghostly Faces

PCA Band d2

Interesting images uncovered using Hyperspectral Imaging & Analysis

Juan de Pareja, 1650

Velazquez made an informal painting of his own assistant Juan de Pareja, j , a Sevillian of Moorish descent. This picture was exhibited in Rome on March 19, 1650. In his life of Velázquez (1724), Palomino writes that the painting "was generally applauded by all the painters from different countries, who said that the other pictures in the show were art but this one alone was 'truth.'" The direct approach pp in this painting p g contrasts with the more formal structure of Velázquez's state portraits.

© 2008 Themis Vision Systems

1220 nanometers There was also the use of hidden images and symbols throughout the painting.

22 WORKS OF ART European Paintings

The Culmination

Las Meninas (Maids of Honor), 1656-57

"Las Meninas" is a Portuguese word used to name the Maids of Honour of the Royal children in the 17th century.Las Meninas or The Royal Family is one of the great problem pictures in the history of art. An almost infinite number of interpretations have now been proposed for the scene it shows. At first sight, however, Las Meninas seems to present no problems at all, and indeed appears perfectly straightforward in its sober geometry and good-humoured clarity.It is set in a room in the Alcázar, equipped by Velázquez as a studio, and shows the heiress to the throne, the Infanta Margarita, with her court. Palomino names all those ppresent. The queen's maid of honour, Dona Maria Agustina Sarmiento, one of the meninas, is kneeling at the Infanta's feet, handing her a jug of water. The other maid of honour, Dona Isabel de Velasco stands behind the princess, and beside her we see the grotesquely misshapen female dwarf Mari-Bárbola and the male dwarf Nicolasico Pertusato; the latter, as Palomino points out, is placing his foot on the mastiff lying in front of the group to demonstrate the lethargic animal's good temper. Further back, almost swallowed up in the shadows, are a man described only as guardadamas - a guard or escort to the ladies - and the lady in waiting Doña Marcela de Ulloa.Velázquez is standing with brush and palette in front of a tall canvas; we can see only the back of it. There are some large pictures hanging on the back wall of the room. Two of them were painted by Velázquez's son-in-law, Mazo, from models by Rubens, and show scenes from Ovid's M t Metamorphoses, h one off th them another th version i off the th punishment of Arachne.

The princess's parents, the king and queen, appear in a dark frame below these pictures, probably the glass of a mirror. To the right of the mirror, on a flight of steps leading up to a doorway and a brightly lit adjoining room, stands Jose Nieto, the queen's palace marshal. There are several basic questions that have been asked again and again about this picture. What is Velázquez painting on the front of the canvas that is hidden from us? Where did he stand in order to paint the scene and himself in it? What is the source of the image in the mirror - that is, just where in the room must the royal couple have been standing for their reflection to appear? And finally, is there any significance in the fact that the red cross of the Order of Santiago is prominently applied to the artist's clothing? It was long thought that Velázquez was creating a picture without any metaphysical or speculative reference, and was merelyy recordingg a fleetingg moment in permanent p form,, as if in a snapshot. p Accordingg to this theoryy the subject j was no more than an ordinary y scene of ppalace life.A different hypothesis is put forward by art historians, who believe that intellect and keen perspicacity, as well as the artist's eye and hand, were involved in the painting of Las Meninas. The largest number of interpretations have been put forward for the mirror on the back wall, sometimes also thought to be a painted canvas. Much learned industry has also been applied to the question of location: in which room in the palace is this scene taking place? Despite the riddles hidden in the painting of Las Meninas we must not overlook its artistic mastery, particularly as expressed in the figure of the Infanta Margarita surrounded by people of lesser birth. For it was on the princess that the dynastic hopes of the Spanish Habsburgs rested after the death of Prince Baltasar Carlos.

© 2008 Themis Vision Systems

23 WEB GALLERY of ART, Emil Krin Daniel Marx

Corporate Headquarters

Themis Vision Systems Bldg 1103,  Suite 143‐A S Stennis i Space Center, MS 39529 S C MS 39529 Website: www.themisvision.com Email: info@themisvision com Email:      [email protected] Phone:    (804) 822‐0984 Fax: Fax:         (610) 870 (610) 870‐3888 3888

© 2008 Themis Vision Systems

24

Suggest Documents