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“米尔顿·格拉泽·米尔顿·格拉泽展览，比利时皇家美术馆现代艺术，皇家广场，11000布鲁塞尔，1976年10月15日至11月21日，米尔顿·格拉泽-Milton Glaser

Milton Glaser Milton Glaser展览，比利时皇家美术馆，皇家广场，11000布鲁塞尔，1976年10月15日至11月21日--Milton Glaser (美国, 1929 – 2020)

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George Strahan:A folio containing twelve views of Kashmir from 1884 to 1907
two signed \'GSTRAHAN\' and one dated \'1898\' (lower left); many indistinctly inscribed with location and date in pencil (verso); the ten unsigned works bear a note on the reverse by the artist\'s wife, Beatrice Strahan, authenticating the works
watercolour
each 35.5 x 25.4cm (14 x 10in). (12)
Together with a handwritten extract by V. Hilderbrand from The Royal Engineer Journal on the 3rd of September 1911.
all unframed

乔治·斯特拉汉 包含1884年至1907年克什米尔十二个视图的对开本，每幅35.5 x 25.4厘米。

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WILLUGHBY, FRANCIS. 1635-1672; and JOHN RAY. 1627-1705.:The Ornithology of Francis Willughby. London: John Martyn, 1678.
Folio (364 x 223 mm). Title page printed in red and black, 80 engraved plates, 2 inserted letterpress tables. Rebacked contemporary calf. Scuffs to covers, several of the plates with repaired tears, one (plate XXX) with significant losses to margins and backed with japan paper, browning.
Provenance: Symonds family of Pengethly Manor (bookplate).

FIRST ENGLISH EDITION. Translated, edited and slightly expanded by Ray from Willughby\'s Latin original. Willughby had left his encyclopedic works on animals incomplete upon his death, and Ray took it upon himself to complete and publish them. Before the final work, Historia Piscium, was completed, Ray himself had died, leaving William Derham to complete the project on behalf of the Royal Society. Isaac Newton described this work as the \"foundation of scientific Ornithology.\" Anker 532; ESTC R9288; Keynes 39; Nissen IVB 991.

威勒比，弗朗西斯。1635-1672年我不知道，约翰·雷。1627-1705。 弗朗西斯·威洛比的鸟类学。伦敦：约翰·马丁，1678年。

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LAS CASAS, BARTOLOME DE. :Narratio Regionum Indicarum Per Hispanos Quosdam Devastatarum Verissima.... Frankfurt: Theodor de Bry and Johann Saur, 1598.
4to (202 x 160 mm). Title printed within wide pictorial engraved border, 17 engraved half-page illustrations in text by the brothers de Bry after Josse van Winghe. [8], 141, [1] pp., lacking the final blank. Modern half brown morocco; front joint rubbed, some light staining and foxing, title border and one other engraving trimmed close at fore-edge.
Provenance: Royal Institution of Great Britain (library and discard stamps on front paste-down, gilt stamp on spine).

FIRST LATIN EDITION of Las Casas\'s classic work, which includes the celebrated series of plates depicting the atrocities committed by the Spanish settlers on the Indians. Alden 598.20; Church 320; Palau 46960; Sabin 11283.

房子，巴托洛姆·德。 《根据西班牙法定人数进行的印度地区叙事》Devastatarum Verissima……法兰克福：Theodor de Bry和Johann Saur，1598年。

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KNOX, ROBERT. 1641-1720.:An Historical Relation of the Island of Ceylon in the East-Indies. London: Richard Chiswell, 1681.
Small folio (315 x 200 mm). Folding engraved map and 15 engraved plates, advertising leaf at back. Modern quarter calf and boards. Browning and spotting, some rust holes, brown stain on pp 126-127, a few ink notations and underlines.

FIRST EDITION OF THE FIRST ACCOUNT OF CEYLON IN ENGLISH, which provided source material and inspiration for Defoe\'s Robinson Crusoe. Whilst trading along the Coromandel coast Robert Knox (1641-1720) was forced to land at Kottiar Bay, Ceylon, whereupon he was held captive for the next nineteen years, eventually escaping in 1679. The Historical Relation of the Island of Ceylon was written on the voyage back to England, where it was published with encouragement of the East India Company and Robert Hooke of the Royal Society. \"The book influenced the work of contemporaries such as Daniel Defoe, who drew from Knox\'s experiences much of the context for, and the aspirations of, his hero in Robinson Crusoe\" (ODNB). Wing K7442.

诺克斯，罗伯特。1641-1720. 东印度群岛锡兰岛的历史关系。伦敦：理查德·奇斯韦尔，1681年。

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ELLIS, JOHN. C.1710-1776.:3 works:
1. The Natural History of Many Curious and Uncommon Zoophytes. London: Benjamin White and Son, Peter Elmsly, 1786. 4to (285 x 218 mm). 63 engraved plates. Final ad leaf. Contemporary calf, rebacked, red morocco title label, gilt. Minor foxing.
Provenance: John Tiranti Ltd, Brighton (bookseller\'s ticket). FIRST EDITION, an important early monograph on corals, including many discovered on Cook\'s voyages. It was Ellis who first classified corals as animals.
2. An Essay Towards a Natural History of the Corallines. London: For the author, 1755.
4to (263 x 198 mm). Folding engraved frontis, 40 engraved plates (15 folding). Contemporary calf boards, rebacked, morocco title label, gilt. Provenance: John Dalton (ink inscription to endpaper, and title).
INCLUDING ADDITONAL PLATE PRESENT IN SOME COPIES, the earliest depiction of Cuff\'s aquatic microscope.
3. On the nature of the Gorgonia: that it is a real marine animal, and not of a mixed nature, between animal and vegetable.... London: [For the Royal Society], 1776.
8vo (207 x 166 mm). 19 pp. 2 folding plates. Disbound. RARE FIRST SEPARATE EDITION, reprinted from Philosophical Transactions LXVI (1776), 1-17.

埃利斯，约翰。C、 1710-1776年。 3部作品：1.《许多奇特动物的自然史》。伦敦：本杰明·怀特父子，彼得·埃尔姆斯利，1786年。

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PAINTINGS AND PAINTERS INCLUDING WORKS BY HOGARTH.:6 titles in 13 volumes:
1. DU BREUIL, JEAN. La perspective pratique, necessaire a tous peintres. Paris: 1651. 3 volumes. Numerous engraved plates. Modern half morocco and marbled boards. Light foxing and browning. Second edition.
2. HARMS, ANTOINE FREDERIC. Tables historiques et chronologiques des plus fameux pientres anciens et modernes. Brunswick: 1742. Folio. Modern quarter morocco and cloth. Stains to title page, light browning and spotting.
3. RUSSELL, JOHN. Letters from a Young Painter Abroad to his Friends in England. London: 1750. 2 volumes. 8vo. 13 engraved plates. Rebacked contemporary mottled calf. Rubbed, corners chipped, text bock of Volume I separating, scattered spotting and browning.
4. HOGARTH, WILLIAM. [SAMUEL BUTLER]. Hudibras. London: 1775. 8vo. Engraved portrait of Butler and 14 plates after Hogarth. Contemporary calf, rebacked. Covers worn, light dampstaining to upper margins, browning and spotting.
5. FIGUIER, LOUIS. Vies des savants illustres de la renaissance. Paris: 1868. 8vo. 1 wood-engraved plate. Publisher\'s brown cloth gilt. Rubbed, tape residue on spine, heavy foxing.
6. LICHTENBERG, G.C. Erklerung der Hogarthischen Kupferstiche. Gottingen: 1808-1816. 3 volumes (of 14). 8vo. Contemporary paper wrappers, one with paper lettering piece on cover. Corners chipped, rubbed, light spotting and browning. Volumes 10 through 12 only.
7. [VARIOUS CONTRIBUTORS.] Conferences de l\'Academie royale de peinture et de sculpture [Paris: 17th century]. 12mo. Fragment. Engraved plates and illustrations by Picart and others. 18th century calf. Heavily rubbed, spine ends chipped, lacking title page and preliminaries, browning.
8. HIND, ARTHUR M. Giovanni Battista Piranesi. A Critical Study. London: 1922. 4to. Publisher\'s quarter cloth and boards, printed paper dust jacket. Dustjacket separated and heavily chipped, toning to interior.

绘画和画家，包括霍加斯的作品。 13卷6个标题：

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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.