图片文件尺寸 : 5072 x 4330px
Maung Su Yatanabon:Two portraits of Burmese dancers, Rangoon
both signed \'Yatanabon/MgSu\' (lower right), and variously inscribed in pencil with the details of the sitters and location (lower left)
watercolour
each 32 x 25.4cm (12 5/8 x 10in).
Together with two watercolour portraits by Tin Il depicting a Padaung woman and man. (4)
all mounted but unframed
Maung Su Yatanbon先生 两幅缅甸舞者的肖像，仰光，每幅32 x 25.4厘米。
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)
图片文件像素：5146 x 5618 px
Hubert Scheibl，当代艺术I-
Hubert Scheibl * - Zeitgenössische Kunst I-
(born in Gmunden in 1952)
Untitled, signed, dated Hubert Scheibl 1988/89, oil on canvas, 250 x 350 cm, stretched over wooden frame
Provenance:
Private Collection, Vienna
Scheibls Landschaften so sie überhaupt welche sind, stammen nicht von heute, sie künden vom Urknall, sind ein Stück Entstehungsgeschichte. Sie erwecken eine Ahnung von einer Zeit, in der sich die vier Elemente noch erbitterte Kämpfe lieferten.
Wolfgang Drechsler
aus: Hacken im Eis, Kunsthalle Bern, 1986
Scheibl\'s landscapes, if they are landscapes at all, are not of today; they tell of the big bang, they are a piece of the story of creation. They evoke the sense of a time when the four elements were still fighting fierce battles.
Wolfgang Drechsler
From: Hacken im Eis, Kunsthalle Bern, 1986
图片文件尺寸 : 5028 x 4284px
A NANBAN-STYLE BUNDAI (WRITING TABLE):Edo period (1615-1868), 19th century
The rectangular writing surface set on a raised dais pierced on all sides supported by a flaring scalloped apron on four cabriole feet, the whole decorated in gold hiramaki-e, kinpun, and mother-of-pearl inlays on a dark brown lacquer ground, the upper surface with a fanciful design of pavilions and a pagoda by the shore with rocks and chickens among camellia, pine, and wisteria, framed by two borders, one a modification of the traditional shippo motif with a four-petaled flower in the center, and the other a floral checkerboard, the raised edge with the same shippo design but on a smaller scale than the top surface, the sides and legs decorated with butterflies and birds in wisteria and stands of two types of camellia and Chinese bellflowers
14 x 23 3/4 x 7 1/4in (35.5 x 60.3 x 18.4cm)
南板风格的写字台 江户时代，19世纪
图片文件尺寸 : 4665 x 4240px
Roger Hilton:Christmas Card and Envelope
signed and inscribed \'A happy Christmas/+ New year/to all good HUNTERS/of the Hollywood Arms/Roger Hilton/ Rose\' (on card verso)
gouache and charcoal on card, with accompanying charcoal and collage on envelope
card 14 x 18cm (5 1/2 x 7 1/16in); envelope 15.5 x 23cm (6 1/8 x 9 1/16in)
罗杰·希尔顿 圣诞卡和信封卡14 x 18cm信封15.5 x 23厘米
图片文件尺寸 : 4772 x 5937px
Yiannis Moralis:
Quatre scènes de mythologie avec Hercule
chacune signée en grec, deux sont datées \'56\'
acrylique sur papier
23 x 33cm (9 1/16 x 13in) chacun
67 x 87cm (26 3/8 x 34 1/4in) avec la carde
Peint en 1956
all signed in Greek, two of them dated
acrylic on paper
伊阿尼斯·莫拉里斯 四个SC带大力神的神话NES 23 x 33cm chacun67 x 87cm带卡片
图片文件像素：4600 x 3500 px
马克斯·克林格尔-
-
(Leipzig 1857-1920 Groß-Jena)
"Vom Tode. II. Teil (Opus XIII)", 1900-1910, 6 (von 12) Kupferstiche und Radierungen mit Aquatinta auf "Kaiserlich Japan", wohl Exemplare der zweiten Auflage für die Mitglieder der Verbindung für historische Kunst 1910, bis auf Blatt 6 alle in der Platte monogrammiert, teils datiert, bis auf Blatt 1 jeweils mit dem gestochenen bzw. geprägten Künstlernamen und der Druckeradresse, Blattformate von 56,5 x 39,2 cm bis 61,8 x 46,3 cm, gedruckt von Giesecke Devrient/Leipzig (3) und Otto Felsing/Berlin (2), Singer 230-235, in typographisch betitelte Passepartouts eingelegt, ein Blatt mit den oberen Ecken fest montiert, ohne Mappe und Titelblatt, (6), (RAC)
图片文件尺寸 : 5089 x 6009px
David Nash R.A.:
Red Box, Red Cones, Green Circle, Tower, Large Mound, Small Mound, pastel drawing, signed and inscribed and dated XMAS, \'98, together with 3 others all inscribed with hand written notes to the recipient of the cards, Robert Hopper
11 x 15cm (4 5/16 x 5 7/8in).
6
大卫·纳什R.A。 红盒子，红锥，绿圈，塔，大丘，小丘，
图片文件尺寸 : 5373 x 4089px
PROCLUS. 412-485 A.D.:In Platonis Theologiam Libri Sex. Hamburg and Frankfurt: Apud Rulandios, 1618. 4to (320 x 206 mm). Contemporary calf, some wear to binding, front joint cracked, but firm.
Provenance: Archivum V.-Prov. Helveticae (stamped over another JHS stamp on title); \"Bibliothek SJ. Zürich Prov. Helv.\" (stamp).
PROCLUS\'S MASTERPIECE, called by Samuel Taylor Coleridge, \"The most beautiful and orderly development of [the Platonic] philosophy, which endeavours to explain all things by an analysis of consciousness, and builds up a world in the mind out of materials furnished by the mind itself\" (Coleridge, Letter to Lady Beaumont, January 21, 1810).
直肠。公元412-485年。 在柏拉图，《性的神学》一书中。汉堡和法兰克福：Apud Rulandios，1618年。
图片文件像素：5925 x 4626 px
Jií（Georg）Dokoupil，当代艺术I-
Jiří (Georg) Dokoupil * - Zeitgenössische Kunst I-
(born in Krnov 1954)
Mis Mus Sian, 2014, titled, several times signed Dokoupil on the overlap, soap-lye and pigments on canvas, 250 x 300 cm or 300 x 250 cm (the work can be hung vertical or horizontal), on stretcher
Provenance:
Studio of the artist
Kasmin Gallery, New York
Private collection, 德国y
Literature:
Kasmin Gallery, Jiří (Georg) Dokoupil, New paintings,
exhibition catalogue, New York 2015
Jiří Georg Dokoupil, Soap Bubble Paintings, Berlin 2015
Exhibited:
Kasmin Gallery, New York, Jiří (Georg) Dokoupil, New paintings,
8 January - 7 February 2015
Jiří (Georg) Dokoupil has been putting his art on canvases since the 1970s - and for much of that time without a brush. He constantly reinvents the production of artworks, expresses his creativity with the most diverse materials, such as breast milk or fruit juices, and thinks \"outside the box\". His oeuvre now comprises about 140 series, which are not at all alike. He is a quick-change artist in the contemporary art world. Like a pop culture star, he completely reinvents his art with each series.
The early flight from his homeland and the associated deprivation of a national, social and personal identity meant the artist never developed a fixed style of his own. (Compare Wilfried Dickhoff, Soap Bubble Thinking, p.5, in: Jiří (Georg) Dokoupil..
Soap Bubble Paintings, Berlin 2015)
The Soap Bubble Paintings series is one of his longest-running series. The work offered here, \"Mis Mus Sian\", is part of it.
Standing on a ladder with a metal hoop, Jiří (Georg) Dokoupil. lowers his soap bubbles onto the canvas. He uses soap suds mixed with shimmering pigments, the exact composition of which he keeps strictly secret. The individual layers of soap bubbles, their shimmering pigments and superimpositions create a sphere of their own. The result is a depth undreamed of in a two-dimensional work, which can only be properly experienced through viewing the work in person. The soap bubbles glitter dynamically on the deep blue background of the painting and evoke movement through their different shapes and orientations. Due to the enormous format of over 250 x 300 cm, the experience of the work is like visiting a giant aquarium. At first, one is overwhelmed by the work’s abundance and appearance and, as time goes by, one dives deeper and deeper into its cosmos. The artist leaves it up to the owner to hang the work in portrait or landscape format. For this reason, he has signed the reverse on two sides.
„It’s all about making something that is not doable“
Jiří (Gerog) Dokupil
图片文件尺寸 : 5072 x 4330px
Maung Su Yatanabon:Two portraits of Burmese dancers, Rangoon
both signed \'Yatanabon/MgSu\' (lower right), and variously inscribed in pencil with the details of the sitters and location (lower left)
watercolour
each 32 x 25.4cm (12 5/8 x 10in).
Together with two watercolour portraits by Tin Il depicting a Padaung woman and man. (4)
all mounted but unframed
Maung Su Yatanbon先生 两幅缅甸舞者的肖像，仰光，每幅32 x 25.4厘米。
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)
图片文件像素：5146 x 5618 px
Hubert Scheibl，当代艺术I-
Hubert Scheibl * - Zeitgenössische Kunst I-
(born in Gmunden in 1952)
Untitled, signed, dated Hubert Scheibl 1988/89, oil on canvas, 250 x 350 cm, stretched over wooden frame
Provenance:
Private Collection, Vienna
Scheibls Landschaften so sie überhaupt welche sind, stammen nicht von heute, sie künden vom Urknall, sind ein Stück Entstehungsgeschichte. Sie erwecken eine Ahnung von einer Zeit, in der sich die vier Elemente noch erbitterte Kämpfe lieferten.
Wolfgang Drechsler
aus: Hacken im Eis, Kunsthalle Bern, 1986
Scheibl\'s landscapes, if they are landscapes at all, are not of today; they tell of the big bang, they are a piece of the story of creation. They evoke the sense of a time when the four elements were still fighting fierce battles.
Wolfgang Drechsler
From: Hacken im Eis, Kunsthalle Bern, 1986
图片文件尺寸 : 5028 x 4284px
A NANBAN-STYLE BUNDAI (WRITING TABLE):Edo period (1615-1868), 19th century
The rectangular writing surface set on a raised dais pierced on all sides supported by a flaring scalloped apron on four cabriole feet, the whole decorated in gold hiramaki-e, kinpun, and mother-of-pearl inlays on a dark brown lacquer ground, the upper surface with a fanciful design of pavilions and a pagoda by the shore with rocks and chickens among camellia, pine, and wisteria, framed by two borders, one a modification of the traditional shippo motif with a four-petaled flower in the center, and the other a floral checkerboard, the raised edge with the same shippo design but on a smaller scale than the top surface, the sides and legs decorated with butterflies and birds in wisteria and stands of two types of camellia and Chinese bellflowers
14 x 23 3/4 x 7 1/4in (35.5 x 60.3 x 18.4cm)
南板风格的写字台 江户时代，19世纪
图片文件尺寸 : 4665 x 4240px
Roger Hilton:Christmas Card and Envelope
signed and inscribed \'A happy Christmas/+ New year/to all good HUNTERS/of the Hollywood Arms/Roger Hilton/ Rose\' (on card verso)
gouache and charcoal on card, with accompanying charcoal and collage on envelope
card 14 x 18cm (5 1/2 x 7 1/16in); envelope 15.5 x 23cm (6 1/8 x 9 1/16in)
罗杰·希尔顿 圣诞卡和信封卡14 x 18cm信封15.5 x 23厘米
图片文件尺寸 : 4772 x 5937px
Yiannis Moralis:
Quatre scènes de mythologie avec Hercule
chacune signée en grec, deux sont datées \'56\'
acrylique sur papier
23 x 33cm (9 1/16 x 13in) chacun
67 x 87cm (26 3/8 x 34 1/4in) avec la carde
Peint en 1956
all signed in Greek, two of them dated
acrylic on paper
伊阿尼斯·莫拉里斯 四个SC带大力神的神话NES 23 x 33cm chacun67 x 87cm带卡片
图片文件像素：4600 x 3500 px
马克斯·克林格尔-
-
(Leipzig 1857-1920 Groß-Jena)
"Vom Tode. II. Teil (Opus XIII)", 1900-1910, 6 (von 12) Kupferstiche und Radierungen mit Aquatinta auf "Kaiserlich Japan", wohl Exemplare der zweiten Auflage für die Mitglieder der Verbindung für historische Kunst 1910, bis auf Blatt 6 alle in der Platte monogrammiert, teils datiert, bis auf Blatt 1 jeweils mit dem gestochenen bzw. geprägten Künstlernamen und der Druckeradresse, Blattformate von 56,5 x 39,2 cm bis 61,8 x 46,3 cm, gedruckt von Giesecke Devrient/Leipzig (3) und Otto Felsing/Berlin (2), Singer 230-235, in typographisch betitelte Passepartouts eingelegt, ein Blatt mit den oberen Ecken fest montiert, ohne Mappe und Titelblatt, (6), (RAC)
图片文件尺寸 : 5089 x 6009px
David Nash R.A.:
Red Box, Red Cones, Green Circle, Tower, Large Mound, Small Mound, pastel drawing, signed and inscribed and dated XMAS, \'98, together with 3 others all inscribed with hand written notes to the recipient of the cards, Robert Hopper
11 x 15cm (4 5/16 x 5 7/8in).
6
大卫·纳什R.A。 红盒子，红锥，绿圈，塔，大丘，小丘，
图片文件尺寸 : 5373 x 4089px
PROCLUS. 412-485 A.D.:In Platonis Theologiam Libri Sex. Hamburg and Frankfurt: Apud Rulandios, 1618. 4to (320 x 206 mm). Contemporary calf, some wear to binding, front joint cracked, but firm.
Provenance: Archivum V.-Prov. Helveticae (stamped over another JHS stamp on title); \"Bibliothek SJ. Zürich Prov. Helv.\" (stamp).
PROCLUS\'S MASTERPIECE, called by Samuel Taylor Coleridge, \"The most beautiful and orderly development of [the Platonic] philosophy, which endeavours to explain all things by an analysis of consciousness, and builds up a world in the mind out of materials furnished by the mind itself\" (Coleridge, Letter to Lady Beaumont, January 21, 1810).
直肠。公元412-485年。 在柏拉图，《性的神学》一书中。汉堡和法兰克福：Apud Rulandios，1618年。
图片文件像素：5925 x 4626 px
Jií（Georg）Dokoupil，当代艺术I-
Jiří (Georg) Dokoupil * - Zeitgenössische Kunst I-
(born in Krnov 1954)
Mis Mus Sian, 2014, titled, several times signed Dokoupil on the overlap, soap-lye and pigments on canvas, 250 x 300 cm or 300 x 250 cm (the work can be hung vertical or horizontal), on stretcher
Provenance:
Studio of the artist
Kasmin Gallery, New York
Private collection, 德国y
Literature:
Kasmin Gallery, Jiří (Georg) Dokoupil, New paintings,
exhibition catalogue, New York 2015
Jiří Georg Dokoupil, Soap Bubble Paintings, Berlin 2015
Exhibited:
Kasmin Gallery, New York, Jiří (Georg) Dokoupil, New paintings,
8 January - 7 February 2015
Jiří (Georg) Dokoupil has been putting his art on canvases since the 1970s - and for much of that time without a brush. He constantly reinvents the production of artworks, expresses his creativity with the most diverse materials, such as breast milk or fruit juices, and thinks \"outside the box\". His oeuvre now comprises about 140 series, which are not at all alike. He is a quick-change artist in the contemporary art world. Like a pop culture star, he completely reinvents his art with each series.
The early flight from his homeland and the associated deprivation of a national, social and personal identity meant the artist never developed a fixed style of his own. (Compare Wilfried Dickhoff, Soap Bubble Thinking, p.5, in: Jiří (Georg) Dokoupil..
Soap Bubble Paintings, Berlin 2015)
The Soap Bubble Paintings series is one of his longest-running series. The work offered here, \"Mis Mus Sian\", is part of it.
Standing on a ladder with a metal hoop, Jiří (Georg) Dokoupil. lowers his soap bubbles onto the canvas. He uses soap suds mixed with shimmering pigments, the exact composition of which he keeps strictly secret. The individual layers of soap bubbles, their shimmering pigments and superimpositions create a sphere of their own. The result is a depth undreamed of in a two-dimensional work, which can only be properly experienced through viewing the work in person. The soap bubbles glitter dynamically on the deep blue background of the painting and evoke movement through their different shapes and orientations. Due to the enormous format of over 250 x 300 cm, the experience of the work is like visiting a giant aquarium. At first, one is overwhelmed by the work’s abundance and appearance and, as time goes by, one dives deeper and deeper into its cosmos. The artist leaves it up to the owner to hang the work in portrait or landscape format. For this reason, he has signed the reverse on two sides.
„It’s all about making something that is not doable“
Jiří (Gerog) Dokupil