71. 一套十四把漆奶油椅，包括三把路易十五时期的椅子，其他的是20世纪的 - 一套十四把上漆奶油椅子，包括三把路易十五时期的椅子，其他的20世纪的椅子 高清作品[27%]

A set of fourteen lacquered cream chairs, including three Louis XV period chairs, the others 20th century-A-set-of-fourteen-lacquered-cream-chairs-including-three-Louis-XV-period-chairs-the-others-20th-century

A set of fourteen lacquered cream chairs, including three Louis XV period chairs, the others 20th century-A-set-of-fourteen-lacquered-cream-chairs-including-three-Louis-XV-period-chairs-the-others-20th-century
（一套十四把漆奶油椅，包括三把路易十五时期的椅子，其他的是20世纪的-一套十四把上漆奶油椅子，包括三把路易十五时期的椅子，其他的20世纪的椅子）

78. 一套六个中国出口的蓝色和白色大盘，清朝，乾隆时期，18世纪末 - 一套六个中国出口蓝白大盘清朝乾隆时期18世纪末 高清作品[26%]

A SET OF SIX CHINESE EXPORT BLUE AND WHITE LARGE PLATES, QING DYNASTY, QIANLONG PERIOD, LATE 18TH CENTURY-A-SET-OF-SIX-CHINESE-EXPORT-BLUE-AND-WHITE-LARGE-PLATES-QING-DYNASTY-QIANLONG-PERIOD-LATE-18TH-CENTURY

A SET OF SIX CHINESE EXPORT BLUE AND WHITE LARGE PLATES, QING DYNASTY, QIANLONG PERIOD, LATE 18TH CENTURY-A-SET-OF-SIX-CHINESE-EXPORT-BLUE-AND-WHITE-LARGE-PLATES-QING-DYNASTY-QIANLONG-PERIOD-LATE-18TH-CENTURY
（一套六个中国出口的蓝色和白色大盘，清朝，乾隆时期，18世纪末-一套六个中国出口蓝白大盘清朝乾隆时期18世纪末）

79. 艺术家协会画家高尔曼、丹豪泽和阿尔科尼埃站在穆勒博士的画前` Künstlergesellschaft; Die Maler Gauermann, Danhauser und Alconiere vor dem Bild Dr. Müllers (1830) by Alexander Clarot 高清作品[26%]

~ Künstlergesellschaft; Die Maler Gauermann, Danhauser und Alconiere vor dem Bild Dr. Müllers (1830) -

图片文件尺寸: 4914 x 3488px

艺术家协会画家高尔曼、丹豪泽和阿尔科尼埃站在穆勒博士的画前-亚历山大·克拉罗

~ Künstlergesellschaft; Die Maler Gauermann, Danhauser und Alconiere vor dem Bild Dr. Müllers (1830) --Alexander Clarot (奥地利艺术家, 1796–1842)

80. 佩内洛普·惠特尼（Penelope Whitney）回忆道：“我从小在加利福尼亚州中部骑马和比赛的马匹世界是如此可怕的性别歧视；女孩和女人通常只被视为性对象，而不是天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特（Charley Parkhurst，又名独眼查理）的故事。在淘金热期间，帕克赫斯特是一名著名的驿站马车司机，他去世后，人们发现帕克赫斯特在生物学上是女性。（2018年） by Jamil Hellu 高清作品[26%]

“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale

材质 :Digital pigment print 尺寸 :147.3 × 101.6 cm Photography

佩内洛普·惠特尼（Penelope Whitney）回忆道：“我从小在加利福尼亚州中部骑马和比赛的马匹世界是如此可怕的性别歧视；女孩和女人通常只被视为性对象，而不是天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特（Charley Parkhurst，又名独眼查理）的故事。在淘金热期间，帕克赫斯特是一名著名的驿站马车司机，他去世后，人们发现帕克赫斯特在生物学上是女性。（2018年）-Jamil灯

英文名称:“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale-Jamil Hellu

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