图片文件尺寸 : 5262 x 3927px

After Sonia Delaunay:Boîte-object, 1994
4 lithographs, two in colors, on Arches paper, each stamped-signed and numbered in pencil 528/600 (there were also 30 artist\'s proofs in Roman numerals), with the printed title and original drawing date on verso, published by Artcurial Diffusions for the Société Azygos/Anticip, printed by Art Estampe Machet-Cosson,Paris, with three pages of printed quotes by the artist, a biography of the artist, and the justification page, housed in the original blue linen covered clamshell portfolio box with metallic lettering.
Titles include: Music-Hall, Gaby, Madrid, 1919; Robe-toupie, Rio, 1922; Danse, rythme sans fin, 1923; and Composition à la robe-disque, 1925
each plate 11 1/4 x 8in (28.5 x 20.3cm)
each sheet 15 3/4 x 11 7/8in (40 x 30.1cm)

Sonia Delaunay之后 框-对象

图片文件尺寸 : 5132 x 5047px

Bruce of Los Angeles, and others:An archive of photographs from Bruce Bellas (\"Bruce of Los Angeles\"), Milo, and others, including:
1. 78 negatives (39 double film strips) of bodybuilders, each negative 2 ¼ x 2 ¼ in., strip together 4 ½ x 2 ¼ inc., in sleeves with contact proofs, numbered on sleeve 62-1025-1058 (some duplication of numbers on sleeves, but not images), one sleeve noted in ink \"Mr Gulf Coast 1962\"
2. 17 4 x 5 in. photographs, 7 nudes (2 stamped \"Bruce\"), and 10 bodybuilders, pencil notations to the versos of many
3. 6 5 x 7 in. photographs of nudes, 4 with photographer\'s stamp \"Bruce\" to the verso, one notated in pencil \"Rusty Steele/ Saxon/ 1965\"
4. 17 8 x 10 in. photographs of nudes, 2 with photographer\'s stamp to verso (\"Bruce\" and \"Bruce of Los Angeles\"), and 5 with photographer\'s stamp (\"Milo of Los Angeles\")

洛杉矶的布鲁斯和其他人 布鲁斯·贝拉斯、米洛和其他人的照片档案，包括：

图片文件尺寸 : 2789 x 3640px

恩斯特·塞德尔的《莎乐美（身穿东方青年服装的侧面女性）》-Ernst Seidl

Salome (Woman in Profile in Oriental Jugendstil Costume)--Ernst Seidl (德国, 19th/20th Century)

图片文件尺寸 : 4140 x 2586px

爱德华·米切尔·班尼斯特的《狂风，布伦顿之光》-Edward Mitchell Bannister

Squall, Brenton Light (boat in storm_lighthouse in background)--Edward Mitchell Bannister (美国, 1828 – 1901)

图片文件尺寸 : 3508 x 2654px

《维也纳Theobaldgasse警察监狱法院》弗兰茨·赖因霍尔德著-Franz Reinhold

Der Hof des PolizeiGefangenenhauses in der Theobaldgasse in Wien--Franz Reinhold (奥地利, 1816-1893)

图片文件尺寸 : 4096 x 3086px

亨利·斯温伯恩（Henry Swinburne）的《前景、港口和村庄废墟景观》-Henry Swinburne

Landscape with Ruins in the Foreground, Harbor and Village, in Background--Henry Swinburne (英国, 1743-1803)

图片文件尺寸 : 3945 x 5111px

After Marc Chagall:Carmen (Sorlier 39)
Lithograph in colours, 1966, on Arches wove paper, signed and inscribed \'H.C\' in pencil, an hors commerce impression aside from the edition of 200, the full sheet with a deckle edge below, in good condition, the colours strong and vibrant, framed

Sheet 1017 x 665mm. (40 x 26 1/4in.)

马克·夏加尔之后 卡门

图片文件尺寸 : 4724 x 5951px

Mary Heilmann:Ocean, 1998
Spit bite aquatint in colors on wove paper, signed in pencil, dated and numbered 15/15, with the blindstamp of the publisher/printer, Crown Point Press, San Francisco, California, with full margins.
14 x 11in (35.5 x 27.9cm)
sheet 21 x 17in (53.3 x 43.1cm)

玛丽·海尔曼 大海

图片文件尺寸 : 5152 x 4103px

Babe Shapiro: Red v.2, 1972
Screepring in colors on wove paper, signed in pencil and numbered 19/99, with full margins.
25 1/8 x 25 1/8in (63.7 x 63.7cm)
sheet 35 1/8 x 35 1/8in (89.1 x 89.1cm)

贝比·夏皮罗 红色v.2

图片文件像素：5857 x 5772 px

Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)