图片文件尺寸 : 3918 x 4910px

Damien Hirst:For the Love of God, 2011
Screenprint in colors with glazes and diamond dust on wove paper, signed in black ink and numbered 121/1000 (there were also 20 artist\'s proofs), with the inkstamp in red of the artist on the reverse, published by Other Criteria, London, the full sheet, framed.
sheet 23 x 17 1/8in (58.4 x 43.5cm)

赫斯特 为了上帝的爱

图片文件像素：4981 x 4661 px

安迪·沃霍尔，当代艺术II-

Andy Warhol - Zeitgenössische Kunst II-

(Pittsburgh 1928–1987 New York)
“Uncle Sam”, 1981, screenprint in colors and diamond dust on thin cardboard, signed Andy Warhol, no. 106 from an edition of 200 numbered copies, sheet size 96.5 x 96.5 cm, from the portfolio ‘Myths’, published by Ronald Feldman Fine Arts, Inc./New York with their and the artist’s copyright stamp on the reverse, Feldman/Schellmann II.259, framed

图片文件尺寸 : 5396 x 6031px

Andy Warhol:Mammy, from Myths (Feldman Schellmann II.262), 1981
Screenprint in colors with diamond dust on Lenox Museum Board, signed in pencil and numbered 131/200 (there were also 30 artist\'s proofs), with the inkstamp verso of the publisher Ronald Feldman Fine Arts, Inc., New York, with the blindstamp of the printer Rupert Jasen Smith, New York, the full sheet.
sheet 38 x 38in (96.5 x 96.5cm)

安迪·沃霍尔 奶妈，来自神话

图片文件尺寸 : 4474 x 5526px

Andy Warhol:Edward Kennedy (Feldman Schellmann II.240), 1980
Screenprint in colors with diamond dust on Lenox Museum Board, signed and numbered 60/300 in pencil (there were also 25 artist\'s proofs), published by the Kennedy for President Committee, Washington, D.C., printed by Rupert Jasen Smith, New York, the full sheet, framed.
sheet 40 x 32in (101.6 x 81.3cm)

安迪·沃霍尔 爱德华·肯尼迪

图片文件尺寸 : 3945 x 4159px

Andy Warhol:Mildred Scheel (Feldman Schellmann II.238), 1980
Screenprint in colors with diamond dust on Arches 88 paper, signed in pencil and numbered 134/1000, with the artist\'s copyright inkstamp on verso, published by Deutsche Krebshilfe e.V., Cologne, Germany, with the blindstamp of the printer, Rupert Jasen Smith, New York, the full sheet, framed.
sheet 30 1/2 x 21 1/2in (77.4 x 54.6cm)

安迪·沃霍尔 米尔德雷德·谢尔

图片文件尺寸 : 4199 x 5723px

Andy Warhol:Mammy, from Myths (Feldman Schellmann II.262), 1981
Screenprint in colors with diamond dust on Lenox Museum Board, signed in pencil and numbered 165/200 (there were also 30 artist\'s proofs), published by Ronald Feldman Fine Arts, Inc., New York, with the artist\'s and publisher\'s copyright inkstamp (on reverse), with the blindstamp of the printer, Rupert Jasen Smith, New York, the full sheet, framed.
sheet 38 x 38in (96.5 x 96.5cm)

安迪·沃霍尔 奶妈，来自神话

图片文件像素：4508 x 4270 px

安迪·沃霍尔，当代艺术II-

Andy Warhol - Zeitgenössische Kunst II-

(Pittsburgh 1928–1987 New York)
“Cologne Cathedral”, 1985, screenprint in colors with diamond dust on cardboard, signed Andy Warhol, no. 52 from an edition of 60 numbered copies, sheet size 100.2 x 80 cm, printed by Rupert Jasen Smith/New York with his blind stamp and published by Hermann Wünsche/Bonn, on the reverse with the artist’s copyright stamp and the editor’s stamp, Feldman/Schellmann II. 363, framed

图片文件尺寸 : 5260 x 4529px

Ilya Bolotowsky:Untitled (Diamond); Untitled (Square), 1979
Screenprints in colors on Rives BFK paper, each signed in pencil and annotated \'11/35 A/P\' and \'HC 16/25\' respectively (both aside from the editions of 224), with full margins, each framed. (2)
25 x 14 1/2in (63.5 x 36.8cm); 16 x 16in (40.6 x 40.6cm)
sheet 29 1/2 x 22in (75 x 55.9cm); 22 1/4 x 29 7/8in (56.5 x 75.9cm)

伊利亚·博洛托夫斯基 无 题2

图片文件尺寸 : 4435 x 5072px

Banded Agate, Rock Crystal Quartz and Enamel Clock by Manfred Wild :Circa 1989
Idar-Oberstein, Germany
Agate carvings originating in Idar-Oberstein are always fine and the present one is no exception. Each of the two bears is carved from the same rough agate as displayed by their book-matched patterns of banding. The eyes are set with small diamonds, rimmed in 18K yellow gold. The spherical clock is formed of two halves of natural rock crystal quartz of high transparency with a wide border of translucent green enamel on a guilloché ground with 18K borders. Viewable from both sides, the dial and the mechanism can be seen through the front and back. The dial is inscribed Neuchatel and Swiss Made. Raised on an oval base of Russian black obsidian trimmed in brushed 18K yellow gold, signed EB for Emil Becker and M. Wild for Manfred Wild. Measuring 14 1/2 x 5 1/2 x 4in (36.9 x 14 x 10.2cm)

Manfred Wild的带状玛瑙、水晶石英和珐琅钟 无 题

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.