图片文件尺寸 : 5292 x 4887px
Sam Francis:
Untitled (SFE-091), 1993
Etching in colors, on Rives BFK paper, signed in pencil and numbered 23/25 (there were also 6 artist\'s proofs), with the blindstamp of the publisher/printer, The Litho Shop Inc., Santa Monica, with full margins.
15 1/8 x 9 7/16in (38.4 x 24cm)
sheet 24 1/4 x 17 1/2in (61.6 x 44.5cm)
山姆·弗朗西斯 无 题
图片文件尺寸 : 4655 x 4338px
Hernan Bas:
Nocturnal Feeder, 2013
Etching in colors, soapground and sugarlift aquatints with drypoint on Somerset paper, initialed in pencil, dated, a numbered proof (aside from the edition of 25), with the blindstamp of the publisher/printer, Fontaine Paulson Press, Berkeley, California, with full margins.
21 x 16in (53.3 x 40.6cm)
sheet 28 1/2 x 22 3/4in (72.3 x 57.7cm)
赫南·巴斯 夜间喂食器
图片文件尺寸 : 5364 x 4123px
Ernest Martin Hennings:
Riders
signed \'E.M. Hennings\' (lower left)
oil on board
14 x 14in
framed 22 x 22in
欧内斯特·马丁·亨宁斯 骑手14 x 14英寸框架22 x 22英寸
图片文件尺寸 : 5155 x 5149px
Kenneth Riley:
Profiles
signed \'Kenneth Riley / CA\' (lower left)
oil on Masonite
20 x 22in
framed 26 1/2 x 28in
肯尼斯·莱利 型材20 x 22英寸框架26 1/2 x 28英寸
图片文件尺寸 : 3926 x 5755px
Pablo Picasso:Buste de femme au fichu (Bust of woman with a scarf) (Bloch 324, Baer 672 C.a), 1939
Etching and aquatint on Rives BFK, the second state, according to Baer, one of only a few proofs pulled on Rives paper in 1960 (after the unsigned edition of 56 on Montval paper pulled in 1940 and before the stamp-signed edition of 50 on wove paper published in 1980), bearing pencil signature, with wide margins, deckle on three sides.
10 1/4 x 8 7/8in (25.8 x 22.2cm)
sheet 16 3/8 x 12 7/8in (41.5 x 32.4cm)
巴勃罗·毕加索 女人的半身像
图片文件尺寸 : 4351 x 5608px
Pierre Alechinsky:Comme à la maison (8 works), 1974
The complete portfolio of eight etchings with collotypes and lithographs in colors on wove paper, each signed in pencil, each numbered in Roman numerals X/XV HC (each an hors commerce, aside from the edition of 120), published by Yves Rivière Editeur, Paris, etchings printed by L\'Atelier Moret, Paris, collotypes and lithographs printed by L\'Imperimerie Arte, Paris, with title/justification page, each the full sheet, loose and folded as issued, contained in yellow acrylic box. (8 works)
each unfolded sheet 19 3/8 x 22 1/2in (49.2 x 57.2cm)
皮埃尔·阿列钦斯基 就像在家一样
图片文件尺寸 : 3965 x 4234px
After Marc Chagall:Tribe of Ruben, from The Twelve Maquettes of Stained Glass Windows for Jerusalem (C.S. 12), 1964
Lithograph in colors on Arches paper, signed in pencil and numbered 112/150 (aside from the Roman edition of 75), published/printed by Mourlot/Charles Sorlier, Paris.
24 3/8 in x 18 1/4 in (62 x 46.4cm)
sheet 29 1/4 x 20 5/8 in(74.2 x 52.1cm)
马克·夏加尔之后 《耶路撒冷十二块彩色玻璃窗》中的鲁本部落
图片文件尺寸 : 3943 x 5543px
Maynard Dixon:
Paea\'s Pearl from The Adventures of Paea\'s Pearl
signed and dated \'Maynard Dixon / 1911\' (lower left), titled and inscribed \'- His voice sank to the merest shred of breath - he pressed his lips close against her ear -\' (on the reverse), artist\'s printer notations including \'No detail in shadows to be accented / Better have too little than too much\' (on the reverse)
gouache and watercolor wash on paperboard
19 3/4 x 12 3/4in
framed 38 x 29 1/2in
Painted in 1911.
狄克森 《帕亚珍珠历险记》中的帕亚珍珠19 3/4 x 12 3/4英寸框架38 x 29 1/2英寸
图片文件像素：5357 x 5537 px
阿里吉耶罗·波提-
Alighiero Boetti * - Zeitgenössische Kunst I-
(Turin 1940–1994 Rome)
Naturale Artificiale, 1982, 2 parts, ballpen on paper laid on canvas / biro su carta intelata, each 100 x 70 cm, on stretcher (2)
The work is registered in the Archivio Alighiero Boetti and is accompanied by a photo certificate of authenticity, Rome, 30 May 2007
Photo-certificate, issued by La Bertesca/c.o. Masnata, Genoa, signed by the artist, Rome, October 1983
Provenance:
The artist Francesco Masnata, Genoa (formerly Galleria La Bertesca)
Private Collection, Southem 德国y – acquired directly from the above in the late 1990s
Literature:
Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Vol 3, Milan 2015, Vol. 3, no. 1391 (with color illustration)
The work NATURALE ARTIFICIALE comes from Alighiero Boetti\'s biro drawings series. The artist created unique artistic narratives through play, poetry, measure, numbers, order and disorder, which he combined with material diversity, conceptual complexity, and extraordinary visual beauty. Boetti began his biro series in the 1970s, when he created entire sheets collaboratively using different coloured biro ink. Each work in the series contains panels of images created by different students, similar to Boetti\'s well-known tapestries. With a consistently playful approach to \"simple\" ideas, Boetti posed fundamental questions about contemporary art production. The liminal space between artist and author is a major concern in Boetti\'s catalogue of works.
The biro work offered here is a diptych of two sheets hand-coloured with red biros. Looking at the diptych as a whole, the irregular structure, gradations and patterns become apparent. Latin letters are arranged in alphabetical order on the left edge of the picture. Distributed over the two halves of the picture are small white commas in a seemingly arbitrary arrangement. A closer look at the signs reveals that they each correspond to one of the letters of the alphabet. When read in sequence from left to right, they themselves spell out the work’s title NATURALE ARTIFICIALE. Boetti\'s biro works are generally abstract images that name themselves.
\"My works arise from changing forms of collaboration. I am interested in primary things like the alphabet, maps, newspapers - not least because of the sudden surge of order and disorder. Everything has its own precise order, even if that order is realised in a disorderly way.\"
Alighiero Boetti
图片文件尺寸 : 2477 x 3181px
约翰·安东·兰布克斯《阿雷佐圣多梅尼科教堂十字架上的基督》-Johann Anton Ramboux
Christ on the Cross in the Church of S. Domenico in Arezzo--Johann Anton Ramboux (德国, 1790-1866)
图片文件尺寸 : 5292 x 4887px
Sam Francis:
Untitled (SFE-091), 1993
Etching in colors, on Rives BFK paper, signed in pencil and numbered 23/25 (there were also 6 artist\'s proofs), with the blindstamp of the publisher/printer, The Litho Shop Inc., Santa Monica, with full margins.
15 1/8 x 9 7/16in (38.4 x 24cm)
sheet 24 1/4 x 17 1/2in (61.6 x 44.5cm)
山姆·弗朗西斯 无 题
图片文件尺寸 : 4655 x 4338px
Hernan Bas:
Nocturnal Feeder, 2013
Etching in colors, soapground and sugarlift aquatints with drypoint on Somerset paper, initialed in pencil, dated, a numbered proof (aside from the edition of 25), with the blindstamp of the publisher/printer, Fontaine Paulson Press, Berkeley, California, with full margins.
21 x 16in (53.3 x 40.6cm)
sheet 28 1/2 x 22 3/4in (72.3 x 57.7cm)
赫南·巴斯 夜间喂食器
图片文件尺寸 : 5364 x 4123px
Ernest Martin Hennings:
Riders
signed \'E.M. Hennings\' (lower left)
oil on board
14 x 14in
framed 22 x 22in
欧内斯特·马丁·亨宁斯 骑手14 x 14英寸框架22 x 22英寸
图片文件尺寸 : 5155 x 5149px
Kenneth Riley:
Profiles
signed \'Kenneth Riley / CA\' (lower left)
oil on Masonite
20 x 22in
framed 26 1/2 x 28in
肯尼斯·莱利 型材20 x 22英寸框架26 1/2 x 28英寸
图片文件尺寸 : 3926 x 5755px
Pablo Picasso:Buste de femme au fichu (Bust of woman with a scarf) (Bloch 324, Baer 672 C.a), 1939
Etching and aquatint on Rives BFK, the second state, according to Baer, one of only a few proofs pulled on Rives paper in 1960 (after the unsigned edition of 56 on Montval paper pulled in 1940 and before the stamp-signed edition of 50 on wove paper published in 1980), bearing pencil signature, with wide margins, deckle on three sides.
10 1/4 x 8 7/8in (25.8 x 22.2cm)
sheet 16 3/8 x 12 7/8in (41.5 x 32.4cm)
巴勃罗·毕加索 女人的半身像
图片文件尺寸 : 4351 x 5608px
Pierre Alechinsky:Comme à la maison (8 works), 1974
The complete portfolio of eight etchings with collotypes and lithographs in colors on wove paper, each signed in pencil, each numbered in Roman numerals X/XV HC (each an hors commerce, aside from the edition of 120), published by Yves Rivière Editeur, Paris, etchings printed by L\'Atelier Moret, Paris, collotypes and lithographs printed by L\'Imperimerie Arte, Paris, with title/justification page, each the full sheet, loose and folded as issued, contained in yellow acrylic box. (8 works)
each unfolded sheet 19 3/8 x 22 1/2in (49.2 x 57.2cm)
皮埃尔·阿列钦斯基 就像在家一样
图片文件尺寸 : 3965 x 4234px
After Marc Chagall:Tribe of Ruben, from The Twelve Maquettes of Stained Glass Windows for Jerusalem (C.S. 12), 1964
Lithograph in colors on Arches paper, signed in pencil and numbered 112/150 (aside from the Roman edition of 75), published/printed by Mourlot/Charles Sorlier, Paris.
24 3/8 in x 18 1/4 in (62 x 46.4cm)
sheet 29 1/4 x 20 5/8 in(74.2 x 52.1cm)
马克·夏加尔之后 《耶路撒冷十二块彩色玻璃窗》中的鲁本部落
图片文件尺寸 : 3943 x 5543px
Maynard Dixon:
Paea\'s Pearl from The Adventures of Paea\'s Pearl
signed and dated \'Maynard Dixon / 1911\' (lower left), titled and inscribed \'- His voice sank to the merest shred of breath - he pressed his lips close against her ear -\' (on the reverse), artist\'s printer notations including \'No detail in shadows to be accented / Better have too little than too much\' (on the reverse)
gouache and watercolor wash on paperboard
19 3/4 x 12 3/4in
framed 38 x 29 1/2in
Painted in 1911.
狄克森 《帕亚珍珠历险记》中的帕亚珍珠19 3/4 x 12 3/4英寸框架38 x 29 1/2英寸
图片文件像素：5357 x 5537 px
阿里吉耶罗·波提-
Alighiero Boetti * - Zeitgenössische Kunst I-
(Turin 1940–1994 Rome)
Naturale Artificiale, 1982, 2 parts, ballpen on paper laid on canvas / biro su carta intelata, each 100 x 70 cm, on stretcher (2)
The work is registered in the Archivio Alighiero Boetti and is accompanied by a photo certificate of authenticity, Rome, 30 May 2007
Photo-certificate, issued by La Bertesca/c.o. Masnata, Genoa, signed by the artist, Rome, October 1983
Provenance:
The artist Francesco Masnata, Genoa (formerly Galleria La Bertesca)
Private Collection, Southem 德国y – acquired directly from the above in the late 1990s
Literature:
Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Vol 3, Milan 2015, Vol. 3, no. 1391 (with color illustration)
The work NATURALE ARTIFICIALE comes from Alighiero Boetti\'s biro drawings series. The artist created unique artistic narratives through play, poetry, measure, numbers, order and disorder, which he combined with material diversity, conceptual complexity, and extraordinary visual beauty. Boetti began his biro series in the 1970s, when he created entire sheets collaboratively using different coloured biro ink. Each work in the series contains panels of images created by different students, similar to Boetti\'s well-known tapestries. With a consistently playful approach to \"simple\" ideas, Boetti posed fundamental questions about contemporary art production. The liminal space between artist and author is a major concern in Boetti\'s catalogue of works.
The biro work offered here is a diptych of two sheets hand-coloured with red biros. Looking at the diptych as a whole, the irregular structure, gradations and patterns become apparent. Latin letters are arranged in alphabetical order on the left edge of the picture. Distributed over the two halves of the picture are small white commas in a seemingly arbitrary arrangement. A closer look at the signs reveals that they each correspond to one of the letters of the alphabet. When read in sequence from left to right, they themselves spell out the work’s title NATURALE ARTIFICIALE. Boetti\'s biro works are generally abstract images that name themselves.
\"My works arise from changing forms of collaboration. I am interested in primary things like the alphabet, maps, newspapers - not least because of the sudden surge of order and disorder. Everything has its own precise order, even if that order is realised in a disorderly way.\"
Alighiero Boetti
图片文件尺寸 : 2477 x 3181px
约翰·安东·兰布克斯《阿雷佐圣多梅尼科教堂十字架上的基督》-Johann Anton Ramboux
Christ on the Cross in the Church of S. Domenico in Arezzo--Johann Anton Ramboux (德国, 1790-1866)