图片文件尺寸 : 4098 x 4359px
Andy Warhol:Marilyn Invitation (Castelli Graphics), 1981
Offset lithograph in colors on light card stock paper, signed in black marker, printed text on verso as issued, published by Castelli Graphics, New York, for Andy Warhol: A Print Retrospective 1963-1981, printed by Colour Editions, Inc., New York, the full sheet, framed.
sheet 12 x 12in (30.4 x 30.4cm)
安迪·沃霍尔 玛丽莲请柬
图片文件尺寸 : 5322 x 4769px
Andy Warhol:Ladies Gentlemen (Feldman Schellmann II.136), 1975
screenprint in colors on Arches paper, signed in pencil, dated and numbered 37/125 and annotated \'AWE\' (Andy Warhol Editions) on the reverse, (there were also 25 artist\'s proofs), published by Luciano Anselmino, Milan, Italy, printed by Alexander Heinrici, New York, the full sheet, framed
sheet 43 1/2 x 28 3/4 in. (110.5 x 73 cm.)
安迪·沃霍尔 女士们、先生们
图片文件尺寸 : 4040 x 5687px
Andy Warhol:
Marilyn Invitation (Castelli Graphics) (not in Feldman and Schellmann), 1981
Offset lithograph on wove paper, signed in marker, printed text on verso as issued, published by Castelli Graphics, New York, for the exhibit, Andy Warhol: A Print Retrospective 1963-1981, printed by Colour Editions, Inc., New York, the full sheet.
sheet 12 1/8 x 12in (30.8 x 30.5cm)
安迪·沃霍尔 玛丽莲请柬
图片文件尺寸 : 4123 x 4164px
Andy Warhol:Grapes (Feldman Schellmann II.190-195), 1979
The complete set of six screenprints in colors on Strathmore Bristol paper, each signed in felt-tip pen and numbered 45/50 (there were also 10 artist\'s proofs), with the inkstamp of the publisher (verso), Andy Warhol Enterprises, Inc., New York, with the blindstamp of the printer, Rupert Jasen Smith, the full sheets, colors fresh, together with the original cardboard box portfolio.
sheet each 40 x 30in (101.6 x 76.2cm)
安迪·沃霍尔 葡萄
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 : 4524 x 4089px
Andy Warhol:Double Elvis, Denver Art Museum Exhibition Poster, 1977
Offset lithographic poster in color on shiny wove paper, signed in ink, from the edition of unknown size, published by the Denver Art Museum for their 1977 exhibition Andy Warhol Portraits, the full sheet.
sheet 40 x 26in (101.5 x 66cm)
安迪·沃霍尔 丹佛艺术博物馆双猫王展览海报
图片文件尺寸 : 4519 x 5368px
Andy Warhol:Untitled, from Rain Machine (Daisy Waterfall), 1969-71
Lenticular color photograph on wove paper, from the unknown edition size, commissioned for the exhibition Art and Technology, at the Los Angeles County Museum of Art, Los Angeles, lacking \'Andy Warhol Art Authentication Board\' inkstamp and pencil notation verso, the full sheet, framed.
17 1/2 x 17 1/2in (44.5 x 44.5cm)
安迪·沃霍尔 无标题，来自Rain Machine
图片文件尺寸 : 5356 x 4039px
ANDY WARHOL:Neuschwanstein (372), Feldman and Schellmann
Offset lithographic poster with screenprint in colours, 1987, on wove, with the artist\'s stamped-signature, further pencil annotation of the Andy Warhol Foundation for Visual Arts verso, from the edition of 1200, printed by Rupert Jasen Smith, New York, co-published by Editions Schellmann, New York and Munich, and Verlag Sabine Knust, Munich, with the printer\'s blindstamp, with full margins, 910 x 620mm (35 7/8 x 24 3/8in)(SH)(unframed)
安迪·沃霍尔。 新天鹅堡
图片文件像素：4938 x 5880 px
安迪·沃霍尔，当代艺术II-
Andy Warhol - Zeitgenössische Kunst II-
(Pittsburgh 1928–1987 New York)
“Mao”, 1972, screenprint in colors on wove paper, signed in ball-point pen and stamped PP on the reverse, printer’s proof aside from the numbered edition of 250 copies, sheet size 92.4 x 91.5 cm, printed by Styria Studio/New York with their stamp and the artist’s copyright on the reverse, published by Castelli Graphics and Multiples, Inc./New York, Feldman/Schellmann II. 96, framed
图片文件尺寸 : 5002 x 4745px
Andy Warhol:Ladies and Gentlemen (Feldman Schellman II.129), 1975
Screenprint in colors on Arches Paper, signed in pencil, dated and numbered 13/250 and annotated \'AWE\' (Andy Warhol Editions) on verso in cursive, (there were also 25 artist\'s proofs), published by Luciano Anselmino, Milan, Italy, printed by Alexander Heinrici, New York, the full sheet, framed.
32 x 22 3/4in (81.2 x 57.7cm)
sheet 43 1/2 x 28 3/4in (110.4 x 73cm)
安迪·沃霍尔 女士们、先生们
图片文件尺寸 : 4098 x 4359px
Andy Warhol:Marilyn Invitation (Castelli Graphics), 1981
Offset lithograph in colors on light card stock paper, signed in black marker, printed text on verso as issued, published by Castelli Graphics, New York, for Andy Warhol: A Print Retrospective 1963-1981, printed by Colour Editions, Inc., New York, the full sheet, framed.
sheet 12 x 12in (30.4 x 30.4cm)
安迪·沃霍尔 玛丽莲请柬
图片文件尺寸 : 5322 x 4769px
Andy Warhol:Ladies Gentlemen (Feldman Schellmann II.136), 1975
screenprint in colors on Arches paper, signed in pencil, dated and numbered 37/125 and annotated \'AWE\' (Andy Warhol Editions) on the reverse, (there were also 25 artist\'s proofs), published by Luciano Anselmino, Milan, Italy, printed by Alexander Heinrici, New York, the full sheet, framed
sheet 43 1/2 x 28 3/4 in. (110.5 x 73 cm.)
安迪·沃霍尔 女士们、先生们
图片文件尺寸 : 4040 x 5687px
Andy Warhol:
Marilyn Invitation (Castelli Graphics) (not in Feldman and Schellmann), 1981
Offset lithograph on wove paper, signed in marker, printed text on verso as issued, published by Castelli Graphics, New York, for the exhibit, Andy Warhol: A Print Retrospective 1963-1981, printed by Colour Editions, Inc., New York, the full sheet.
sheet 12 1/8 x 12in (30.8 x 30.5cm)
安迪·沃霍尔 玛丽莲请柬
图片文件尺寸 : 4123 x 4164px
Andy Warhol:Grapes (Feldman Schellmann II.190-195), 1979
The complete set of six screenprints in colors on Strathmore Bristol paper, each signed in felt-tip pen and numbered 45/50 (there were also 10 artist\'s proofs), with the inkstamp of the publisher (verso), Andy Warhol Enterprises, Inc., New York, with the blindstamp of the printer, Rupert Jasen Smith, the full sheets, colors fresh, together with the original cardboard box portfolio.
sheet each 40 x 30in (101.6 x 76.2cm)
安迪·沃霍尔 葡萄
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 : 4524 x 4089px
Andy Warhol:Double Elvis, Denver Art Museum Exhibition Poster, 1977
Offset lithographic poster in color on shiny wove paper, signed in ink, from the edition of unknown size, published by the Denver Art Museum for their 1977 exhibition Andy Warhol Portraits, the full sheet.
sheet 40 x 26in (101.5 x 66cm)
安迪·沃霍尔 丹佛艺术博物馆双猫王展览海报
图片文件尺寸 : 4519 x 5368px
Andy Warhol:Untitled, from Rain Machine (Daisy Waterfall), 1969-71
Lenticular color photograph on wove paper, from the unknown edition size, commissioned for the exhibition Art and Technology, at the Los Angeles County Museum of Art, Los Angeles, lacking \'Andy Warhol Art Authentication Board\' inkstamp and pencil notation verso, the full sheet, framed.
17 1/2 x 17 1/2in (44.5 x 44.5cm)
安迪·沃霍尔 无标题，来自Rain Machine
图片文件尺寸 : 5356 x 4039px
ANDY WARHOL:Neuschwanstein (372), Feldman and Schellmann
Offset lithographic poster with screenprint in colours, 1987, on wove, with the artist\'s stamped-signature, further pencil annotation of the Andy Warhol Foundation for Visual Arts verso, from the edition of 1200, printed by Rupert Jasen Smith, New York, co-published by Editions Schellmann, New York and Munich, and Verlag Sabine Knust, Munich, with the printer\'s blindstamp, with full margins, 910 x 620mm (35 7/8 x 24 3/8in)(SH)(unframed)
安迪·沃霍尔。 新天鹅堡
图片文件像素：4938 x 5880 px
安迪·沃霍尔，当代艺术II-
Andy Warhol - Zeitgenössische Kunst II-
(Pittsburgh 1928–1987 New York)
“Mao”, 1972, screenprint in colors on wove paper, signed in ball-point pen and stamped PP on the reverse, printer’s proof aside from the numbered edition of 250 copies, sheet size 92.4 x 91.5 cm, printed by Styria Studio/New York with their stamp and the artist’s copyright on the reverse, published by Castelli Graphics and Multiples, Inc./New York, Feldman/Schellmann II. 96, framed
图片文件尺寸 : 5002 x 4745px
Andy Warhol:Ladies and Gentlemen (Feldman Schellman II.129), 1975
Screenprint in colors on Arches Paper, signed in pencil, dated and numbered 13/250 and annotated \'AWE\' (Andy Warhol Editions) on verso in cursive, (there were also 25 artist\'s proofs), published by Luciano Anselmino, Milan, Italy, printed by Alexander Heinrici, New York, the full sheet, framed.
32 x 22 3/4in (81.2 x 57.7cm)
sheet 43 1/2 x 28 3/4in (110.4 x 73cm)
安迪·沃霍尔 女士们、先生们