图片文件尺寸 : 4865 x 4502px
Sam Francis:An Other Set - Y (two panels from the triptych), from the Pasadena Box (Lembark 66; SF-75; 76)
Two lithographs in colours, 1964, on wove paper, each signed in pencil, SF-75 inscribed \'trial proof\' and SF-76 inscribed \'unique essais\' in pencil, two proofs, one a unique variant, aside from the edition of 100, published by Pasadena Art Museum, California
Sheet 433 x 585mm. (17 x 23in.) (and smaller) (2)
山姆·弗朗西斯 另一组Y，来自帕萨迪纳盒子2
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.
图片文件尺寸 : 3260 x 2429px
Jan Baptist Lambrechts的《一个优雅的在不同的水果和蔬菜之间的风景中，一个手推车从左边进入》-Jan Baptist Lambrechts
An Elegant Company In A Landscape Amongst Different Fruits And Vegetables, A Man With A Wheelbarrow Entering From The Left--Jan Baptist Lambrechts (Flemish, 1680-1731)
图片文件尺寸 : 4246 x 4175px
Frank Tenney Johnson:An Idle Dreamer
signed and dated \'F. Tenney Johnson - N.A. / 1938\' and signed and dated again and titled (on the stretcher bar)
oil on canvas
24 1/4 x 30 in.
framed 29 x 35 in.
弗兰克·坦尼·约翰逊 一台闲置的Dreamer 24 1/4 x 30英寸。框架29 x 35英寸。
图片文件尺寸 : 4931 x 5728px
Samuel Palmer:
The Rising Moon, or An English Pastoral (Lister 7)
Etching, 1857, on chine appliqu, the seventh state (of nine), with etched lettering \'Samuel Palmer. 10\' below the image, published 1857 in Etchings for the Art Union of London, 14.8 x 22.2cm (7 1/8 x 8 3/4in) (PL); together with The Lonely Tower (L.12), 1879, on laid paper, a posthumous impression printed by Edgar Holloway in 1972, titled and inscribed \'Edgar Holloway imp.\' in pencil, 17.8 x 25cm (7 3/8 x 9 7/8in)(PL)(2)
塞缪尔·帕默 上升的月亮，或英语田园诗
图片文件尺寸 : 4556 x 4661px
KEISAI EISEN (1790-1848):Two woodblock prints
Edo period (1615-1868), circa 1820-1830
Each an oban tate-e print, the first depicting a beauty before a wrapped parcel, from the series Imayo bijin kurabe (Contest of Beauties in the Modern Style), published by Wakasaya Yoichi; the second depicting a standing beauty, from an unknown series, each signed Eisen ga (2)
13 3/4 x 9 1/4in (35 x 23.5cm) each approximately
艾森修正案（1790-1848） 两幅木版版画多时期，约1820-1830年
图片文件尺寸 : 3755 x 2428px
让·安托万·瓦托（Jean Antoine Watteau）的《多梅尼科·坎帕尼奥拉（Domenico Campagnola）之后的风景：一位老妇人拿着纺锤》-Jean-Antoine Watteau
Landscape with an Old Woman Holding a Spindle, after Domenico Campagnola--Jean-Antoine Watteau (法国, 1684 - 1721)
图片文件尺寸 : 3576 x 5156px
“啄木鸟和树，垂直边缘。兔子和树叶，边缘。水母，海葵和海藻，花瓶。昆虫，背景游戏。莫里斯·皮拉德·弗奈尔-Maurice Pillard Verneuil
Piverts et arbre, bordure verticale. Lapins et feuilles, bordure. Méduses, anémones de mer et algues, vase. Insectes, jeu de fond.--Maurice Pillard Verneuil (法国, 1869-1942)
图片文件尺寸 : 2792 x 3916px
古斯塔夫·阿道夫·迪兹（Gustav Adolphe Diez）的《海伯与木星》（Hebe With Jupiter in The Guise of a Eagle）-Gustav-Adolphe Diez
Hebe With Jupiter in The Guise of An Eagle--Gustav-Adolphe Diez (比利时, 1801 - 1844)
图片文件尺寸 : 2441 x 3012px
“让-雅克·卢梭的石棺，在万神殿展出（1794年10月20日至1794年10月11日），皮埃尔·安托万·德马奇-Pierre-Antoine Demachy
Le sarcophage de JeanJacques Rousseau, exposé au Panthéon (20 vendémiaire an III 11 octobre 1794)--Pierre-Antoine Demachy (法国, 1723 - 1807)
图片文件尺寸 : 4865 x 4502px
Sam Francis:An Other Set - Y (two panels from the triptych), from the Pasadena Box (Lembark 66; SF-75; 76)
Two lithographs in colours, 1964, on wove paper, each signed in pencil, SF-75 inscribed \'trial proof\' and SF-76 inscribed \'unique essais\' in pencil, two proofs, one a unique variant, aside from the edition of 100, published by Pasadena Art Museum, California
Sheet 433 x 585mm. (17 x 23in.) (and smaller) (2)
山姆·弗朗西斯 另一组Y，来自帕萨迪纳盒子2
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.
图片文件尺寸 : 3260 x 2429px
Jan Baptist Lambrechts的《一个优雅的在不同的水果和蔬菜之间的风景中，一个手推车从左边进入》-Jan Baptist Lambrechts
An Elegant Company In A Landscape Amongst Different Fruits And Vegetables, A Man With A Wheelbarrow Entering From The Left--Jan Baptist Lambrechts (Flemish, 1680-1731)
图片文件尺寸 : 4246 x 4175px
Frank Tenney Johnson:An Idle Dreamer
signed and dated \'F. Tenney Johnson - N.A. / 1938\' and signed and dated again and titled (on the stretcher bar)
oil on canvas
24 1/4 x 30 in.
framed 29 x 35 in.
弗兰克·坦尼·约翰逊 一台闲置的Dreamer 24 1/4 x 30英寸。框架29 x 35英寸。
图片文件尺寸 : 4931 x 5728px
Samuel Palmer:
The Rising Moon, or An English Pastoral (Lister 7)
Etching, 1857, on chine appliqu, the seventh state (of nine), with etched lettering \'Samuel Palmer. 10\' below the image, published 1857 in Etchings for the Art Union of London, 14.8 x 22.2cm (7 1/8 x 8 3/4in) (PL); together with The Lonely Tower (L.12), 1879, on laid paper, a posthumous impression printed by Edgar Holloway in 1972, titled and inscribed \'Edgar Holloway imp.\' in pencil, 17.8 x 25cm (7 3/8 x 9 7/8in)(PL)(2)
塞缪尔·帕默 上升的月亮，或英语田园诗
图片文件尺寸 : 4556 x 4661px
KEISAI EISEN (1790-1848):Two woodblock prints
Edo period (1615-1868), circa 1820-1830
Each an oban tate-e print, the first depicting a beauty before a wrapped parcel, from the series Imayo bijin kurabe (Contest of Beauties in the Modern Style), published by Wakasaya Yoichi; the second depicting a standing beauty, from an unknown series, each signed Eisen ga (2)
13 3/4 x 9 1/4in (35 x 23.5cm) each approximately
艾森修正案（1790-1848） 两幅木版版画多时期，约1820-1830年
图片文件尺寸 : 3755 x 2428px
让·安托万·瓦托（Jean Antoine Watteau）的《多梅尼科·坎帕尼奥拉（Domenico Campagnola）之后的风景：一位老妇人拿着纺锤》-Jean-Antoine Watteau
Landscape with an Old Woman Holding a Spindle, after Domenico Campagnola--Jean-Antoine Watteau (法国, 1684 - 1721)
图片文件尺寸 : 3576 x 5156px
“啄木鸟和树，垂直边缘。兔子和树叶，边缘。水母，海葵和海藻，花瓶。昆虫，背景游戏。莫里斯·皮拉德·弗奈尔-Maurice Pillard Verneuil
Piverts et arbre, bordure verticale. Lapins et feuilles, bordure. Méduses, anémones de mer et algues, vase. Insectes, jeu de fond.--Maurice Pillard Verneuil (法国, 1869-1942)
图片文件尺寸 : 2792 x 3916px
古斯塔夫·阿道夫·迪兹（Gustav Adolphe Diez）的《海伯与木星》（Hebe With Jupiter in The Guise of a Eagle）-Gustav-Adolphe Diez
Hebe With Jupiter in The Guise of An Eagle--Gustav-Adolphe Diez (比利时, 1801 - 1844)
图片文件尺寸 : 2441 x 3012px
“让-雅克·卢梭的石棺，在万神殿展出（1794年10月20日至1794年10月11日），皮埃尔·安托万·德马奇-Pierre-Antoine Demachy
Le sarcophage de JeanJacques Rousseau, exposé au Panthéon (20 vendémiaire an III 11 octobre 1794)--Pierre-Antoine Demachy (法国, 1723 - 1807)