1364. 索尼娅·德劳奈 无 题 高清作品[80%]

Untitled

图片文件尺寸 : 4046 x 4358px

Sonia Delaunay:Untitled, c.1970
Lithograph in colors on wove paper, signed in pencil and numbered 54/75, with full margins, framed.
15 3/8 x 21in (39.1 x 53.3cm)
sheet 19 7/8 x 25 3/4in (50.5 x 65.4cm)

索尼娅·德劳奈 无 题

1365. 亚科夫·阿加姆 黄色薄雾 高清作品[80%]

Yellow Haze

图片文件尺寸 : 5062 x 4651px

Yaacov Agam:Yellow Haze, 1995
Lenticular print in colors, signed in ink, titled on the reverse and numbered 94/99, the full sheet, contained in artist designed frame, stamped by the artist.
sheet 14 1/4 x 14 1/8in (36.2 x 35.9cm)

亚科夫·阿加姆 黄色薄雾

1366. 丹尼尔·布伦 切割：现场工作分五部分，2009年交通黄 高清作品[80%]

Cut-out: Situated Work in Five Parts, Traffic Yellow 2009

图片文件尺寸 : 4302 x 3889px

DANIEL BUREN:Cut-out: Situated Work in Five Parts, Traffic Yellow
2009

MDF, Alupanel, vinyl and white paint

78 3/4 by 78 3/4 by 10 1/4 in. (before cutting)
200 by 200 by 26 cm.

This work was executed in 2009.

A certificate will be issued by Daniel Buren in the name of the new owner.

丹尼尔·布伦 切割：现场工作分五部分，2009年交通黄

1368. 安迪·沃霍尔，当代艺术I 高清作品[80%]

DO-Andy Warhol - 现代艺术 I
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.

1369. 罗兰·瓦克林 公园里，1950年 高清作品[80%]

In the Park, 1950

图片文件尺寸 : 5278 x 4384px

Roland Wakelin:In the Park, 1950
signed and dated lower right: \'Roland Wakelin 50\'
inscribed with title and date verso: \'IN THE PARK / 1950\'
oil on board
42.0 x 54.0cm (16 9/16 x 21 1/4in).

罗兰·瓦克林 公园里，1950年

1370. 梅尔·拉莫斯 超人 高清作品[80%]

Superman

图片文件尺寸 : 4489 x 6024px

Mel Ramos:Superman, 2014
Woodcut in colors on Somerset paper, signed in pencil and numbered 20/30, with the blindstamp of the publisher Magnolia Editions, Oakland, with full margins.
37 x 26 3/4in (94 x 67.9cm)
sheet 44 1/8 x 30 1/4in (112.1 x 76.8cm)

梅尔·拉莫斯 超人

相关：
in三只 ins丙烯抽象画 silkscreen in colors in普尔 ins小人物画 inness george
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1364. 索尼娅·德劳奈 无 题 高清作品[80%]

Untitled

图片文件尺寸 : 4046 x 4358px

Sonia Delaunay:Untitled, c.1970
Lithograph in colors on wove paper, signed in pencil and numbered 54/75, with full margins, framed.
15 3/8 x 21in (39.1 x 53.3cm)
sheet 19 7/8 x 25 3/4in (50.5 x 65.4cm)

索尼娅·德劳奈 无 题

1365. 亚科夫·阿加姆 黄色薄雾 高清作品[80%]

Yellow Haze

图片文件尺寸 : 5062 x 4651px

Yaacov Agam:Yellow Haze, 1995
Lenticular print in colors, signed in ink, titled on the reverse and numbered 94/99, the full sheet, contained in artist designed frame, stamped by the artist.
sheet 14 1/4 x 14 1/8in (36.2 x 35.9cm)

亚科夫·阿加姆 黄色薄雾

1366. 丹尼尔·布伦 切割：现场工作分五部分，2009年交通黄 高清作品[80%]

Cut-out: Situated Work in Five Parts, Traffic Yellow 2009

图片文件尺寸 : 4302 x 3889px

DANIEL BUREN:Cut-out: Situated Work in Five Parts, Traffic Yellow
2009

MDF, Alupanel, vinyl and white paint

78 3/4 by 78 3/4 by 10 1/4 in. (before cutting)
200 by 200 by 26 cm.

This work was executed in 2009.

A certificate will be issued by Daniel Buren in the name of the new owner.

丹尼尔·布伦 切割：现场工作分五部分，2009年交通黄

1368. 安迪·沃霍尔，当代艺术I 高清作品[80%]

DO-Andy Warhol - 现代艺术 I
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.

1369. 罗兰·瓦克林 公园里，1950年 高清作品[80%]

In the Park, 1950

图片文件尺寸 : 5278 x 4384px

Roland Wakelin:In the Park, 1950
signed and dated lower right: \'Roland Wakelin 50\'
inscribed with title and date verso: \'IN THE PARK / 1950\'
oil on board
42.0 x 54.0cm (16 9/16 x 21 1/4in).

罗兰·瓦克林 公园里，1950年

1370. 梅尔·拉莫斯 超人 高清作品[80%]

Superman

图片文件尺寸 : 4489 x 6024px

Mel Ramos:Superman, 2014
Woodcut in colors on Somerset paper, signed in pencil and numbered 20/30, with the blindstamp of the publisher Magnolia Editions, Oakland, with full margins.
37 x 26 3/4in (94 x 67.9cm)
sheet 44 1/8 x 30 1/4in (112.1 x 76.8cm)

梅尔·拉莫斯 超人

相关：
in三只 ins丙烯抽象画 silkscreen in colors in普尔 ins小人物画 inness george
首页 主题 艺术运动 风景