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Terry Winters:Album portfolio (9 works), 1988
The complete set of 9 etchings on Hahnemüle paper, lacking the title, justification pages and the original portfolio box, each signed in pencil with initials and numbered 41/50 (there were also 10 artist\'s proofs), each with the inkstamp (verso) of the publisher Editions Ilene Kurtz, New York, each with the blindstamp of the printer, Aldo Crommelynck, Paris, each with full margins and all framed. (9 works)
each image 20 1/2 x 16in (52.1 x 40.6cm)
each sheet 28 1/2 x 21in (72.4 x 53.3cm)

特里·温特斯 专辑组合

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赫斯特 世界各地，摘自：旋转中，世界对事物的行动，第一卷

图片文件像素：4600 x 3500 px

乔瓦尼·贝内德托·卡斯蒂利奥内-

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(Genua 1616-1670 Mantua)
Die Flucht nach Ägypten, um 1647, Radierung, in der Platte bezeichnet "Gio. Beneded. s Castiglionvs Genovese. in Pin." sowie "Si stampano in Roma per Gio Dom. co Rossi alla Pace all Insegna / di Parigi", auf Bütten mit Wz "Lilie auf drei Bergen (?)
im Doppelkreis", 29,7 x 20,6 cm, mit schmalem Rändchen um die Plattenkante, Bartsch 12, ohne Passep., ohne Rahmen, (Sch)

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AN INLAID SLIP-DECORATED CELADON CUP AND STAND:Goryeo dynasty (918-1392), 13th century
The cup modelled as a chrysanthemum with ten curved petals on a flared stem foot, each of the lobes inlaid in white and iron slip with a chrysanthemum spray below an incised band of scrolling foliage just below the rim, the stand with ten petals extending from the raised central cup support, each of the petals also inlaid in white and iron slip with chrysanthemum sprays, all covered with a celadon glaze pooling bright green
With an unassociated wood storage box
5in (12.7cm) high, overall; 5 3/4in (14.6cm) diameter, stand; 2 7/8in (7.3cm) high, cup

一个镶有滑动装饰的青瓷杯子和支架 高丽王朝，13世纪

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KAWASE HASUI (1883-1957):Three oban tate-e prints
Showa era (1926-1989), 1931-1948
The first, entitled Meguro Fudodo (The Fudo Hall of Meguro), dated 1931; the second, entitled Okayama no Kanetsukido (The Bell Tower of Okayama), dated 1947; the third, entitled Haru no Yu (Ueno Toshogu) (Spring Evening (Ueno Tosho-gu Shrine)), dated 1948, with Evening in Spring at Uyeno Park, Tokyo Hasui Kawase written in pencil; all published by Watanabe Shozaburo, with Watanabe 6mm round seal, and signed Hasui (3)
The first, 15 5/8 x 10 9/16in (39.7 x 26.8cm); the second, 15 5/16 x 10 3/8in (38.9 x 26.4cm); the third, 14 15/16 x 10 3/8in (38 x 26.4cm)

卡瓦斯·哈苏（1883-1957） 昭和时代，1931-1948年

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HANS HOFMANN:Let There Be Light (And the Sun Beautiful as She Was and Pregnant – Scattered Her Colours All over the Earth)
1955-1961

signed; signed with the artist\'s initials, titled, dated 1955-1961 and variously inscribed on the reverse
​oil on canvas,​ in an artist\'s frame

51 1/2 by 89 1/2 in.
130.8 by 227.3 cm.

汉斯·霍夫曼 让光明存在1955-1961

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Robert Mangold: 3 prints from A Book of Silk Screen Prints: Multiple Panel Paintings 1973-1976 (3 works), 1992
3 screenprints in colors on wove paper, each initialed in pencil and dated, from an edition of 300, co-published by Edition Domberger, Stuttgart, printed by Domberger KG, Stuttgart and Parasol Press, Ltd., New York, each with full margins, all in one frame. (3 works)
each sheet 11 3/4 x 24in (29.8 x 60.9cm)

罗伯特·曼戈尔德 3幅版画来自《丝网版画之书：多幅油画》1973-1976

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Mg Tun Hla:A set of five full length portrait studies of Burmese figures in traditional dress
each signed \'MTHla\' (lower right)
watercolour
each 19 x 14.6cm (7 1/2 x 5 3/4in). (5)
all mounted but unframed

Tun Hla 一套五幅缅甸传统服饰人物的全身肖像研究，每幅19 x 14.6cm。

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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.

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A FINE MINIATURE UCHIDASHI (REPOUSSE) ARMOR:Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century
The component parts of russet-iron, including a kabuto adorned with a gilt-metal oni maedate, hanbo, do, o-sode, kote, haidate, and tsubo suneate, all assembled and laced in the manner of a full-sized armor, the do and o-sode decorated with a coiling rain dragon hammered up in uchidashi technique; with a stand and wood storage box
14 1/4in (36.3cm) high, mounted as in illustration

一种精致的微型内置（再生）盔甲 明治或大正时代，20世纪初