图片文件尺寸 : 4004 x 3004px
“英国皇家帆船在强风中航行，与一艘悬挂皇家标准的船只相伴”，作者Willem van de Velde the Younger-Willem van de Velde the Younger
英国 Royal Yachts at Sea in a Strong Breeze, in Company with a Ship Flying the Royal Standard--Willem van de Velde the Younger (荷兰, 1633-1707)
图片文件尺寸 : 4509 x 6066px
“乌得勒支Dom Noorder耳堂窗户设计26，理查德·尼古拉斯·罗兰·霍斯特（Richard Nicolaüs Roland Holst）-Richard Nicolaüs Roland Holst
Ontwerp voor raam in het Noordertransept in de Dom te Utrecht 26--Richard Nicolaüs Roland Holst (荷兰, 1868 - 1938)
图片文件尺寸 : 4372 x 5183px
Charles Muench:Mt. Carmel or Clouds Over Mt. Carmel, Utah
signed \'C. Muench\' (lower left) and signed again and dated \'1982\' (on the reverse)
oil on canvas
10 x 12 in.
framed 15 x 17 in.
查尔斯·穆恩 犹他州卡梅尔山或卡梅尔山上空的云10 x 12英寸。框架15 x 17英寸。
图片文件尺寸 : 4647 x 5106px
Pablo Picasso:Rembrandt et Femme au Voile (Rembrandt and a veiled woman), from Suite Vollard (Bloch 214), 1934
Etching on Montval laid paper with the Vollard watermark, signed in pencil, from the total edition of 310, published/printed in 1939 by Vollard/Lacourière, Paris, with full margins.
11 x 7 3/4in (27.8 x 19.8cm)
sheet 17 1/2 x 13 3/8in (44.5 x 34cm)
巴勃罗·毕加索 伦勃朗和帆船上的女人，来自套房沃拉德
图片文件尺寸 : 4293 x 4449px
Vernon Fisher:Globe and figure with parachute
signed and dated \'V. FISHER \'87\' (lower right)
oil and chalk on black airbrush painted cream paper
sight 35 x 40 in.
framed 43 x 48 in.
弗农·费希尔 带降落伞瞄准镜的地球仪和人像35 x 40英寸。框架43 x 48英寸。
图片文件尺寸 : 5163 x 5082px
Salvador Dalí:Der Alte Mann und das Meer by Hemingway (Field 74-4, Michler/Löpsinger 736-741), 1974
The complete set of 6 drypoints on Arches paper, loose (as issued), each signed in pencil and numbered 29/350 (there were also 35 artist\'s proofs), each with the blindstamp of the publisher, Manus Press, Stuttgart, printed by Leblanc, Paris, with full margins, without text, contained in original linen portfolio folder.
plate 15 1/2 x 12 1/2in (39.4 x 31.8cm)
sheet 21 7/8 x 15in (55.6 x 38.1cm)
萨尔瓦多·达利 海明威的《老人与海》
图片文件尺寸 : 5115 x 3860px
John Baldessari:Blue Masterstroke over Red Diagram and Two Cowboys (Coplan Hurowitz 50), 1989
Lithograph and screenprint in colors on Arches 88 paper, signed in pencil and numbered 23/60 (there were also 6 artist\'s proofs), published by Printed Matter, Inc., New York, with the blindstamp of the printer, Cirrus Editions, Los Angeles, with full margins, framed.
32 1/8 x 32 7/8in (81.6 x 83.5cm)
sheet 38 7/8 x 39 3/4in (98.7 x 101cm)
约翰·巴尔代萨里 蓝色划在红色图和两个牛仔上
图片文件尺寸 : 4958 x 4822px
Samuel Palmer:
The Early Ploughman, or The Morning Spread Upon the Mountains (Lister 9)
Etching, circa 1861, on laid paper, the eighth state (of nine), 17.5 x 25.5cm (7 x 9 7/8in)(PL); together with The Morning of Life (L.10), 1860-61, on chine appliqu, the final seventh state, with etched lettering \'Samuel Palmer\'. The Morning of Life. 13\' below the image, published in 1872 as plate 10 in Etchings for the Art Union of London, 14.5 x 21.5cm (5 3/4 x 8 1/2in)(PL)(2)
塞缪尔·帕默 《清晨的农夫》或《晨曦漫山遍野》
图片文件像素：5844 x 5142 px
马格努斯·普莱森，当代艺术I-
Magnus Plessen * - Zeitgenössische Kunst I-
(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher
Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above
Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
材质 : Woodcut in colors
图片文件尺寸 : 4859 x 3695 px
Ernst Wilhelm Nay-Fünf Badende in Lofoten, 1938.
恩斯特·威廉·奈-1938年，洛福滕的五个沐浴者。
图片文件尺寸 : 4004 x 3004px
“英国皇家帆船在强风中航行，与一艘悬挂皇家标准的船只相伴”，作者Willem van de Velde the Younger-Willem van de Velde the Younger
英国 Royal Yachts at Sea in a Strong Breeze, in Company with a Ship Flying the Royal Standard--Willem van de Velde the Younger (荷兰, 1633-1707)
图片文件尺寸 : 4509 x 6066px
“乌得勒支Dom Noorder耳堂窗户设计26，理查德·尼古拉斯·罗兰·霍斯特（Richard Nicolaüs Roland Holst）-Richard Nicolaüs Roland Holst
Ontwerp voor raam in het Noordertransept in de Dom te Utrecht 26--Richard Nicolaüs Roland Holst (荷兰, 1868 - 1938)
图片文件尺寸 : 4372 x 5183px
Charles Muench:Mt. Carmel or Clouds Over Mt. Carmel, Utah
signed \'C. Muench\' (lower left) and signed again and dated \'1982\' (on the reverse)
oil on canvas
10 x 12 in.
framed 15 x 17 in.
查尔斯·穆恩 犹他州卡梅尔山或卡梅尔山上空的云10 x 12英寸。框架15 x 17英寸。
图片文件尺寸 : 4647 x 5106px
Pablo Picasso:Rembrandt et Femme au Voile (Rembrandt and a veiled woman), from Suite Vollard (Bloch 214), 1934
Etching on Montval laid paper with the Vollard watermark, signed in pencil, from the total edition of 310, published/printed in 1939 by Vollard/Lacourière, Paris, with full margins.
11 x 7 3/4in (27.8 x 19.8cm)
sheet 17 1/2 x 13 3/8in (44.5 x 34cm)
巴勃罗·毕加索 伦勃朗和帆船上的女人，来自套房沃拉德
图片文件尺寸 : 4293 x 4449px
Vernon Fisher:Globe and figure with parachute
signed and dated \'V. FISHER \'87\' (lower right)
oil and chalk on black airbrush painted cream paper
sight 35 x 40 in.
framed 43 x 48 in.
弗农·费希尔 带降落伞瞄准镜的地球仪和人像35 x 40英寸。框架43 x 48英寸。
图片文件尺寸 : 5163 x 5082px
Salvador Dalí:Der Alte Mann und das Meer by Hemingway (Field 74-4, Michler/Löpsinger 736-741), 1974
The complete set of 6 drypoints on Arches paper, loose (as issued), each signed in pencil and numbered 29/350 (there were also 35 artist\'s proofs), each with the blindstamp of the publisher, Manus Press, Stuttgart, printed by Leblanc, Paris, with full margins, without text, contained in original linen portfolio folder.
plate 15 1/2 x 12 1/2in (39.4 x 31.8cm)
sheet 21 7/8 x 15in (55.6 x 38.1cm)
萨尔瓦多·达利 海明威的《老人与海》
图片文件尺寸 : 5115 x 3860px
John Baldessari:Blue Masterstroke over Red Diagram and Two Cowboys (Coplan Hurowitz 50), 1989
Lithograph and screenprint in colors on Arches 88 paper, signed in pencil and numbered 23/60 (there were also 6 artist\'s proofs), published by Printed Matter, Inc., New York, with the blindstamp of the printer, Cirrus Editions, Los Angeles, with full margins, framed.
32 1/8 x 32 7/8in (81.6 x 83.5cm)
sheet 38 7/8 x 39 3/4in (98.7 x 101cm)
约翰·巴尔代萨里 蓝色划在红色图和两个牛仔上
图片文件尺寸 : 4958 x 4822px
Samuel Palmer:
The Early Ploughman, or The Morning Spread Upon the Mountains (Lister 9)
Etching, circa 1861, on laid paper, the eighth state (of nine), 17.5 x 25.5cm (7 x 9 7/8in)(PL); together with The Morning of Life (L.10), 1860-61, on chine appliqu, the final seventh state, with etched lettering \'Samuel Palmer\'. The Morning of Life. 13\' below the image, published in 1872 as plate 10 in Etchings for the Art Union of London, 14.5 x 21.5cm (5 3/4 x 8 1/2in)(PL)(2)
塞缪尔·帕默 《清晨的农夫》或《晨曦漫山遍野》
图片文件像素：5844 x 5142 px
马格努斯·普莱森，当代艺术I-
Magnus Plessen * - Zeitgenössische Kunst I-
(born in Hamburg 1967)
Untitled, 2009, signed, dated, titled on the overlap Plessen 2009, oil on canvas, 117 x 89 cm, on stretcher
Provenance:
Mai 36 Galerie, Zurich (gallery label)
Private collection, 德国y - acquired from the above
Literature:
Uta Grosenick and Daniel Marzona (Eds.): Magnus Plessen. Die Augen in der Hand. Malerei 1999-2009. 100 Bilder, Cologne 2009, cat.-no. 93, with full page color illustration on p. 47
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
“I don’t want to link painting back to the reality that we know. I would like to link it to an unknown place. So, what could that place look like? It’s light, it’s colour, it’s different forces that hold the objects which are readily recognisable in my paintings together. Hold them in place, in position, give them a place. I normally tend to bring the same objects or body parts to the canvas, e.g. hands, feet or fruit. I think it’s important to bring these familiar things that I deploy onto the empty canvas. I think you need something familiar in an unfamiliar place. It just makes it so much easier to move and find your way through that space.”
(Magnus Plessen on the exhibition: Riding the Image, White Cube, Mason’s Yard, 14.9.-10.11.2012)
From a background as a photographer and filmmaker, Magnus Plessen has turned himself into one of the most well-known painters of our time. His unique composition technique and reduced visual language as well as the broad stroke of his palette knife lets his artworks play along the boundary of the abstract and the figurative. The characteristics of Plessen’s paintings lie in their systematic development of an image, constructed by adding and removing sections of paint to reveal passages of compact form and negative space. The artist uses the idea of rotation as a means of reordering structure and dimensionality within the painting.
“It’s literally moving away from you. The relationship of the viewer to the painting and the attempt to achieve some kind of loosening is something that physically takes place in my mind but is also an action in the process of making.” (ibid.)
The artwork being auctioned here resembles this situation. Uncoordinated objects and colour fields seem to float through the canvas. As a viewer you recognize some familiar objects such as the hand or the cable and are able use them as fixed points to create your own first-hand impression of the artwork.
材质 : Woodcut in colors
图片文件尺寸 : 4859 x 3695 px
Ernst Wilhelm Nay-Fünf Badende in Lofoten, 1938.
恩斯特·威廉·奈-1938年，洛福滕的五个沐浴者。