精确搜索找到138名画绘画作品集

图片文件尺寸 : 5403 x 4971px

Frank Stella:Jonah Historically Regarded, from Moby Dick Engravings (Axsom 204), 1991
Etching, aquatint, relief, screenprint, drypoint and engraving in colors with carborundum on TGL handmade paper, signed in pencil, dated and numbered 4/30 (there were also 14 artist\'s proofs), with the blindstamp of the publisher, Tyler Graphics, Ltd., Mount Kisco, New York, the full sheet, framed.
sheet 73 1/2 x 54 5/8in (186.7 x 138.8cm)

弗兰克·斯特拉 《历史上的乔纳》，摘自《白鲸》

图片文件尺寸 : 4545 x 3809px

Henry Moore:Plate XXV; Plate XXVI; from Elephant Skull (2 works) (Cramer 138; Cramer 139), 1970
Two etchings on wove paper, each signed in pencil, each titled and numbered 81/100, each with full margins. (2 works)
9 1/8 x 10 7/8in (23.2 x 27.6cm); 9 1/4 x 12 1/8in (23.5 x 30.8cm)
sheet 14 5/8 x 19 3/8in (37.1 x 49.2cm); 14 1/2 x 19 1/4in (36.8 x 48.9cm)

亨利·摩尔 图版XXV图版XXVI来自大象头骨

图片文件尺寸 : 5070 x 3883px

English School, late 19th Century:Full length portrait of a young girl with a bowl of petals
signed with monogram and dated \'AR(?) 1895.\' (lower left)
oil on canvas
138.1 x 77.1cm (54 3/8 x 30 3/8in).

英语学校，19世纪晚期 一个拿着一碗花瓣的年轻女孩的全幅肖像

图片文件尺寸 : 4184 x 4646px

Rembrandt Harmensz van Rijn:The Star of the Kings: A Night Piece (Bartsch 113; New Hollstein 263)
Etching with touches of drypoint, circa 1652, on laid, New Hollstein\'s third state (of four), with narrow margins; together with The Tribute Money (B.68; NH.138), etching with touches of drypoint, circa 1634, on wove, New Hollstein\'s final fourth state, with thread margins; and The Agony in the Garden (B.75; NH.269), etching and drypoint, 1657, on wove, New Hollstein\'s third, final state, trimmed to the platemark, 94 x 143mm (3 5/8 x 5 5/8in)(PL)(unframed)(3)

伦勃朗 国王之星：一个夜晚

图片文件尺寸 : 4198 x 5748px

Henri de Toulouse-Lautrec:Lender et Auguez, dans La Chanson de Fortunio (Wittrock 108, Delteil 108, Adhémar 138), 1895
Lithograph in olive-green on wove paper, with faint red monogram stamp (Lugt 1338), numbered \'No 20/20\', from the only edition of 25, with the blindstamp of the publisher, Kleinmann, Paris, with full margins, framed.
14 1/2 x 9in (36.8 x 22.8cm)
sheet 20 1/8 x 15 1/2in (51.3 x 39.4cm)

罗特列克 伦德和奥格兹，在福图尼奥的歌中

图片文件尺寸 : 5008 x 4806px

Pablo Picasso:Homme dévoilant une femme (Man Uncovering a Woman), from La suite Vollard (Bloch 138 ), 1933
Etching on Montval laid paper with the Picasso watermark, signed in pencil, from the edition of 260 (there was also an edition of 50 on wide margins), published/printed by Vollard/Lacourière, Paris, with full margins, framed.
14 1/4 x 11 5/8in (36.1 x 29.5cm)
sheet 17 1/2 x 13 3/8in (44.9 x 34.5cm)

巴勃罗·毕加索 男人揭开女人的面纱，来自沃拉德套房

图片文件尺寸 : 5049 x 5372px

Marcos Grigorian:Summer of 1989
straw on media media compound on board, four panels
signed \"M Grigorian\", titled \"Summer of 1989\", dated \"1989\", and inscribed \"Santa Fe N. Mexico\" on the verso of each panel, executed in 1989
203.2 x 352.12cm (80 x 138 5/8in).each panel is 203.2 x 81.28 cm

马可斯·格里戈里安 1989年夏季，每块面板为203.2 x 81.28 cm

图片文件尺寸 : 4840 x 5992px

UNKNOWN ARTIST:Chinese Landscape
Edo period (1615-1868), 18th/19th century
A six-panel folding screen in ink on paper of a Japanese painter\'s interpretation of a mountainous Chinese landscape, the mountainsides carved out by waterfalls and dotted with structures and the occasional traveler on the winding paths; misty mountains in the distance occupying the background, and boats floating on the lake in the center of the composition; gold flake sprinkled on the surface may be a later addition; sealed Shubun and Gakuo
59 1/2 x 138 1/2in (151.1 x 351.8cm)

无名艺术家 中国山水江户时期，18/19世纪

图片文件尺寸 : 5018 x 4115px

After Andy Warhol:Mick Jagger (10 promotional cards) (See F./S. II.138-147), 1975
The complete set of 10 offset lithograph promotional cards in colors on heavy wove paper, with printed signatures of the artist and Mick Jagger on each card, from the edition of an unknown size, with printed number of each silkcreen from 1-10, verso, co-published by Multiples, Inc., New York, and Castelli Graphics, New York, produced to advertise the forthcoming portfolio of ten silkscreen prints by Warhol of Mick Jagger by Seabird Editions, each the full sheets, loose as issued and accompanied by original printed paper folio. (10 works)
each sheet 6 1/8 x 4in (15.5 x 10.1cm)

安迪·沃霍尔之后 米克·贾格尔

图片文件尺寸 : 4374 x 4222px

PHILOSOPHY.:ESTIENNE, HENRI, editor. c.1531-1598. Poesis Philosophica. [Geneva]: Henri Estienne, 1573.
Text in Greek and Latin. BOUND WITH: HESYCHIUS OF MILETUS. De his qui eruditionis fama claruere, liber. Antwerp: Christopher Plantin, 1572.
8vo (166 x 105 mm). Text in 2 parts, with separate title pages, the first part in Greek, the second in Latin (translated by Hadrianus Junius). Woodcut printer\'s devices on title pages, pages ruled in brown, including final blank. Late 18th century speckled calf gilt, all edges gilt. Upper cover detached, lacking front blank, light spotting and toning.

The first work contains fragments of the writings of the most important pre-Socratic philosophers, including Democrates, Heraclitus, Pythagoras, Empedocles, Parmenides, Xenophanes, and Cleanthes, including 18 editio princeps. Bound with it is the first edition of Hesychius\'s text from a manuscript in the library of the Hungarian humanist János Zsámboky. First work: Adams P-1682; Renouard Estienne 138:8. Second work: Adams H-512.

哲学。 诗歌哲学。亨利·埃斯蒂安，1573年。

图片文件尺寸 : 4828 x 5692px

PLAUTUS, TITUS MACCIUS. C.254-184 B.C.E. :Ex Plauti comoediis XX quarum carmina magna exparte in mensum suum restituta sunt .... Venice: Heirs of Aldus the Elder, 1522.
4to (210 x 138 mm). Woodcut printer\'s devices on title page and colophon. Contemporary vellum, spine with 5 raised bands, inked title on spine. Slightly rubbed and soiled, hinges cracking, dampstaining to some leaves, especially in quire \"l,\" extensive contemporary inked marginalia in more than one hand, scattered spotting.
Provenance: Thomas Ashby, Jr. (1874-1931, Archaeologist and director of the British School at Rome, bookplate).

The only Aldine edition of the comedies of Plautus, published from an earlier copy annotated by Erasmus and Aldus Manutius. Adams P-1487; Renouard p 94.

普拉图斯，蒂图斯·马奇乌斯。C、 公元前254-184年。 从普拉乌蒂，长老的第二十四位同志已经回到他们的餐桌上。威尼斯：阿尔杜斯长老的继承人，1522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 : 4242 x 3809px

NUREMBERG CHRONICLE.:SCHEDEL, HARTMANN. 1440-1514. Liber chronicarum [in German: Das Buch der Croniken und Geschichten]. Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 23 December 1493.
Imperial folio (472 x 325 mm). 297 leaves (of 298, without final blank). 59-64 lines and headline, table and parts of the text in two columns. Types: 24:111G (text), 9:165G (headlines), c. 1809 woodcut illustrations printed from 645 blocks by Michael Wolgemut, Wilhelm Pleydenwurff and their workshop, including Albrecht Dürer, comprising 29 double-page town views, 8 full-page woodcuts and double-page maps of the World [Shirley 19] and of Europe by Hieronymus Münzer after Nicolas Khrypffs. Contemporary Nuremberg pigskin over wooden boards, stained pink, ruled and stamped in blind, upper cover lettered in German: \"Cronica von anfang der welt\" [\"Chronical of the beginning of the world\"] brass clasps and catch-plates. Some minor marginal tears and occasional light staining, a few leaves (138-150) with repair to inner margins slightly affecting woodcuts or text, leaf 281 loose, spine ends neatly repaired.
Provenance: Georg Frauenlob Landt, gift inscription to Wolfgang Häberl, dated 18 August 1599 (first numbered leaf verso); Häberl, Wolfgang (*1553) from Berchtesgaden, Pastor of the parish church of St. Martin in Thalgau, and motto dated 1595 (inscription \"Sum ex libris Wolfgangi Häberl Berchtersgadiam / Ecclesiae parochialis S. Martini in Talgeio Pastoris. / Honesti cultor uirtute content. 1599\" on title page).

FIRST EDITION IN GERMAN of the Nuremberg Chronicle, printed in the same year as the Latin edition. The German and Latin editions were planned simultaneously, with the German edition of Georg Alt\'s translation appearing five months after the Latin edition. A TALL COPY of the most extensively illustrated book of the 15th century. The 29 large double-page city views, many illustrated for the first time, are accurate in depicting distinguished features of each city. In addition, it includes many details of 15th-century daily life: carpenters with their tools, astronomers and their instruments, a chess player, archers, bridges, derricks, dishes, furniture, windmills, ships, beds, houses, fortifications, weapons, tents, wharves, ferries, books, drawing materials, dogs, horses, and other animals, as well as costumes. Hartmann Schedel\'s Nuremberg Chronicle epitomizes \"the commercial sophistication, economic power and technical virtuosity that brought the art of print to this extraordinary climax\" (Pettegree). Reference: BMC II 437; BSB-Ink. S-197; Bod-Inc. S-110; Goff S-309; GW M40796; HC *14510; Pettegree, The Book in the Renaissance, New Haven, 2011 p. 42; Reske, The Production of Schedel\'s Nuremberg Chronicle Wiesbaden, 2000; Ellen Shaffer The Nuremberg Chronicle, Los Angeles, 1950; Wilson, The Making of the Nuremberg Chronicle Amsterdam, 1976.

纽伦堡编年史。 Liber chronicarum[德语：《克洛诺斯和故事书》]。纽伦堡：Anton Koberger代表Sebald Schreyer和Sebastian Kammermeister，1493年12月23日。