图片文件尺寸 : 4000 x 2738px

Juliusz Kossak的《克拉科夫婚礼游行在克拉科夫主要市场广场皇帝面前骑马》-Juliusz Kossak

克拉科夫婚礼游行在克拉科夫主要市场广场上的皇帝面前骑马--Juliusz Kossak (波兰, 1824-1899)

图片文件尺寸 : 4640 x 4271px

Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件尺寸 : 4614 x 4383px

Helen Bradley: Uncle Tom\'s Funeral Procession
signed \'HELEN BRADLEY\' and with fly insignia (lower right); further signed, inscribed and dated \'\"Theyre off\" called John Sam\'els wife Florrie, who was/standing on a chair peeping through the Blind, but Martha/Higgingbottom who was also peeping was away counting/the neighbours who were following the Hearse. \"We cant/feed all that lot\" said aunt Mary, who was away/stealing the ham. Mother wasnt thinking about the food/but great uncle Toms sideboard. \"I wonder who he\'s left it/too\" she said, but aunt Annie (who was only an aunt by/marriage) said, \"Jane, youve enough furniture, I could do/ with that sideboard\". Just then Sarah\'s voice came from/upstairs, \"Everybody\'s making for the front gardens and/I can hear a bull bellowing\", So mother, aunt Mary,/and aunt Frances rushed upstairs to see what was happening/sure enough, Joe Wroe the Butcher was so busy watching/great uncle Toms funeral that he forgot to fasten his bulls in,/so out they came and away they ran. Two were soon caught but/one ran down into Lees, and the thought of it deterred several people/ who were coming to the house for the funeral tea which made it/easier for mother and the aunts. Alas we didnt get the sideboard/and the year was 1909./Helen Layfield Bradley 1973.\' (on a label attached to the backboard)
oil on canvas laid on board
60.3 x 151.5 cm. (23 3/4 x 59 5/8 in.)

海伦·布拉德利 汤姆叔叔的葬礼流程60.3 x 151.5 cm。

图片文件像素：5115 x 4368 px

Gunter Damisch，当代艺术I-

Gunter Damisch * - Zeitgenössische Kunst I-

(Steyr 1958–2016 Vienna)
“Rotfeldweltwege/Doppelflämmerer”, signed and dated
G. Damisch 2000/2001 on the reverse as well as label with the title, oil on canvas, 160 x 140 cm, on metal stretcher

Provenance:
Galerie Ohse, Bremen
Private Collection, 德国y

Yes, in the sense that a painting actually always develops out of a proliferation and growth and evolutionary process and in the sense that every result cries out for a new one, so to speak, or generates something new. This always plays itself out in various ways. In principle, it has something to do with the phenomena that can be experienced in painting. This global issue results from the fact that I have found painting to be something that creates identity and meaning. You get to know yourself and express yourself and enter into a process where you are not only passively at the mercy of others, but can also achieve a lot on a creative level.
Gunter Damisch, in conversation with Friedhelm Mennekes

Ja, in diesem Sinne, daß sich ein Bild eigentlich immer aus einem Wuchern und Wachsen und evolutionären Prozeß heraus entwickelt und sozusagen jedes Ergebnis nach einem neuen schreit oder etwas Neues generiert. Das spielt sich immer in Variationen durch und hat grundsätzlich etwas mit Phänomenen zu tun, die in der Malerei erfahrbar sind. Dieses Weltthema resultiert daher, daß ich Malerei als etwas Identitäts- und Sinnstiftendes empfunden habe. Man lernt sich da kennen und ausdrücken und begibt sich in einen Prozeß, wo man nicht nur passiv ausgeliefert ist, sondern auch gestalterisch eine Menge bewirken kann.
Gunter Damisch aus einem Gespräch mit Friedhelm Mennekes

图片文件尺寸 : 6048 x 4032px

“威斯敏斯特桥和1769年丹麦国王克里斯蒂安七世的泰晤士河游行”-Elias Martin

威斯敏斯特桥和1769年丹麦国王克里斯蒂安七世的泰晤士河游行--Elias Martin (瑞典, 1739-1818)

图片文件尺寸 : 2804 x 4000px

曼努埃尔·加西亚和罗德里格斯在塞维利亚马特奥斯·加戈街的复活节游行-Manuel García y Rodríguez

塞维利亚Mateos Gago街复活节游行--Manuel García y Rodríguez (西班牙, 1863-1925)

图片文件尺寸 : 4501 x 3882px

Roy Lichtenstein:The Four Sections (Corlett lll.37), 1991
Offset lithograph from four-color process on 65# Mohawk Cover paper, signed in pencil, also signed by the composer Steve Reich, from an edition of 250, published by Elektra Entertainment, a division of Warner Communications, Inc., New York, printed by Westbury Press, Englewood, New Jersey, with full margins, framed.
16 1/8 x 16 (41 x 40.7cm)
sheet 24 1/6 x 18 (61.1 x 45.7cm)

罗伊·利希滕斯坦 四个部分

图片文件尺寸 : 2672 x 3815px

Józef Simmler的“天花板上的普赛克人物素描”《丘比特和普赛克的婚礼游行》-Józef Simmler

在天花板上绘制Psyche角色的草图丘比特和普赛克的婚礼游行--Józef Simmler (波兰, 1823-1868)

图片文件尺寸 : 4079 x 4120px

Cornelis Thim, called Colonel Thim:Dutch shipping scenes
the former signed and dated \'Kornelis Thim fecit 1779. h:k\' (on the verso) and the latter signed and dated \'Korne** Thim fecit 1778. h:k\' (on the verso)
a pair, pencil and grey wash on paper
16.1 x 26.8cm (6 5/16 x 10 9/16in).
unframed
together with a French School, 18th Century drawing of a procession, 16.1 x 26.8cm (3)

Cornelis Thim，叫Thim上校 荷兰航运场景未加框

图片文件像素：5541 x 3948 px

乔治·康多，当代艺术I-

George Condo - Zeitgenössische Kunst I-

(born in Concord, New Hampshire, USA in 1957)
Cap d’ Antibes, 1990, signed, titled and dated on the reverse, oil on canvas, 65 x 46 cm, framed

Provenance:
Bischofberger Gallery, Zurich
Acquired from the above by the present owner

« I just wanted to say, \'There must be a way to work figuratively that doesn’t end up looking like some boring realism, some boring photorealism.\'

The point is not to see how well somebody paints a figure, but something beyond that. A way of saying that the figure itself becomes a map of a number of intellectual processes involved in the idea of making an art work.»

George Condo, 2004, www.brunobischofberger.com/condo-bio