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约翰·查尔斯·罗宾逊《十六世纪和十七世纪的凿钢钥匙》-John Charles Robinson

十六世纪和十七世纪的凿制钢钥匙--John Charles Robinson (英国, 1824-1913)

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EMERSON, RALPH WALDO. 1803-1882.:Autograph Manuscript from Emerson\'s notebook, discussing key figures of the French Enlightenment and the Academie, 241 x 182 mm, laid into a larger sheet, ink on light blue paper, numbered \"80\" in upper right corner, [Boston? c.1853], tape to verso at fold.

AN UNPUBLISHED AUTOGRAPH LEAF FROM EMERSON\'S NOTEBOOK CONCERNING FIGURES OF THE FRENCH ENLIGHTENMENT. Headed \"Academie,\" the manuscript gives a brief relation of major French thinkers to the Academie Francaise: Richelieu \"wd not have established it if he cd have seen revolution in it...\"; Saint-Pierre \"induced the Acad to substitute Hope of great men for frivolous subjects\"; Montesquieu \"said, the academie had no other functions than to chatter without end.\" Emerson had visited Paris during the revolution of 1848 and held a high opinion of the French. It is likely this manuscript was produced in 1853 in conjunction with an important series of lectures Emerson would give beginning in January 1854, including \"France, or Urbanity.\" The subject, tone and wit exhibited in the manuscript resemble that of the lecture but has never been published or identified in the lecture.

爱默生，拉尔夫·沃尔多。1803-1882. Emerson笔记本上的亲笔签名手稿，讨论了法国启蒙运动和学术界的关键人物，

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“我看到一个天使从天堂降临，手里拿着无底坑的钥匙和一条大链子”奥迪隆·雷登-Odilon Redon

我看到一个天使从天堂下来，手里拿着无底坑的钥匙和一条大铁链--Odilon Redon (法国, 1840-1916)

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KINKOZAN WORKSHOP (CIRCA 1900):A large Satsuma bowl
Meiji era (1868-1912), circa 1900
The earthenware bowl flaring out from a stepped side decorated in polychrome enamels and gilt on a crackled glaze with dense cluster of flower blossoms, the rim painted with a broad band of key frets and the foot ring with repeated dots, signed on the underside in gilt and with an impressed signature Kinkozan tsukuru
12 1/4in (31cm) diameter

KINKOZAN工作坊（约1900年） 大约1900年，明治时代有一个大型的相扑保龄球

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A PORTABLE LACQUERED WOOD CABINET:Edo period (1615-1868), 18th/19th century
The rectangular cabinet fitted with hinged doors and decorated in dense nashiji and the triple hollyhock aoi family crest, the two removable drawers which span the breadth of the cabinet and the interior of the doors decorated in a nashiji cloud pattern and the same crest as the exterior, the metal hardware protecting the top edge from the long saotoshi handles on each side and the eight corners of the cabinet; keys to the drawer locks now lost
13 x 16 3/4 x 14in (33 x 42.5 x 35.5cm)

便携式漆木橱柜 江户时期，18/19世纪

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VESALIUS, ANDREAS. 1514-1564.:Icones Anatomicae. Munich: The Bremer Press for the New York Academy of Medicine and the University of Munich Library, 1934-1935.
Large folio (550 x 385 mm). Original publisher\'s half pigskin and boards, by Frieda Thiersch, upper cover and spine gilt-lettered. Soiling and stains to covers, handling wear, ink gift inscription on front flyleaf dated 1966, some fingermarks.

LIMITED EDITION, number 434 of 615 copies. This copy includes the \"Characterum Indices,\" letterpress transcriptions of Vesalius\'s explanatory notes keyed to the woodcuts, printed from 227 of the original woodblocks used for Vesalius\'s De humani corporis fabrica and his Epitome, which were tragically destroyed during World War II. The impressions in this modern fine press edition are darker and clearer than the original 1543 and 1555 editions of the Fabrica. Cushing Vesalius VI.A.-16; Heirs of Hippocrates 289; Norman 2145; Waller 9907.

安德烈亚斯·维萨留斯。1514-1564. 图标解剖。慕尼黑：纽约医学院布雷默出版社和慕尼黑大学图书馆，1934-1935年。

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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.

佛兰芒艺术家作品集