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35. 路易斯·威廉·韦恩 家甜蜜的家 高清作品[50%]

Home Sweet Home

图片文件尺寸 : 4794 x 4671px

Louis William Wain:Home Sweet Home
signed \'Louis Wain\' (lower left), inscribed in reverse \'Those with feelings wondrous kind/Can love with kitties ever bind\' (lower right)
pencil on paper
24 x 19cm (9 7/16 x 7 1/2in).

路易斯·威廉·韦恩 家甜蜜的家

37. 彼得·哈雷，当代艺术I 高清作品[32%]

DO-Peter Halley - 现代艺术 I
图片文件像素：5946 x 5480 px

彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric

38. 皮卡特，伯纳德。1673-1733年。 已知世界各国的仪式和宗教习俗。伦敦：克劳德·杜·博斯克，1731-39年。 高清作品[30%]

The Ceremonies and Religious Customs of the Various Nations of the Known World. London: Claude Du Bosc, 1731-39.

图片文件尺寸 : 5013 x 4663px

PICART, BERNARD. 1673-1733.:The Ceremonies and Religious Customs of the Various Nations of the Known World. London: Claude Du Bosc, 1731-39.
7 volumes in 6. Folio (447 x 275 mm). Half titles, titles in red and black with engraved vignettes, engraved dedication page in volume IV, 215 (of 220) engraved plates, many double-page or folding, engraved illustrations and headers in text. Modern quarter morocco and marbled boards. A few pages re-margined at outside edges, leaf 5O2 (pp 419-420) in volume 3 torn through but complete, dampstaining, especially to last volumes, browning and spotting throughout.

FIRST EDITION IN ENGLISH, A richly illustrated landmark work on religious tolerance. \"No other work before then had ever attempted, in word and image, such a grand sweep of human religions, Religious Ceremonies of the World marked a major turning point in European attitudes toward religious beliefs and hence the sacred\" (Hunt, Jacob Mijnhardt The Book that Changed Europe: Picart and Bernard\'s Religious Ceremonies of the World p 1). Picart\'s engravings \"are indeed so finely executed, both in the drawing and engraving, that there are few plates even at this day which excel them\" (Field 1212, French edition). Sabin 4934.

皮卡特，伯纳德。1673-1733年。 已知世界各国的仪式和宗教习俗。伦敦：克劳德·杜·博斯克，1731-39年。

39. 富克斯，莱昂哈德。1501-1566. 史蒂皮姆评论标志。巴塞尔：迈克尔·伊森格林，1542年。 高清作品[29%]

Historia Stirpium Commentarii insignes. Basel: Michael Isengrin, 1542.

图片文件尺寸 : 5172 x 4299px

FUCHS, LEONHARD. 1501-1566. :Historia Stirpium Commentarii insignes. Basel: Michael Isengrin, 1542.
Folio, (340 x 237 mm). Greek, roman and italic types. 509 full-page botanical woodcuts, 3 smaller cuts in the text, by Veit Rudolph Speckle after Heinrich Fullmauer and Albert Meyer, full-page full-length portrait of Fuchs on title verso, portraits of the 3 artists on fff5r, printer\'s device on title, repeated on final verso, historiated initials in several sizes. Modern calf, spine gilt. Title re-margined, first text leaf torn and repaired, O4-6 torn and repaired some mostly marginal staining, a few leaves with marginal tears and repairs.

FIRST EDITION. \"Perhaps the most celebrated and most beautiful herbal ever published... important in the history of botanical illustration particularly because of the size and beauty of the woodcuts\" (PMM). Leonhard Fuchs professor of medicine at Tübingen, gives accurate descriptions of nearly 500 plants, of which forty had never before been depicted, the majority being native German plants. Amongst the foreign plants are some from America including corn, pumpkin, chili pepper, and snap bean. The illustrations were realized by Heinrich Füllmaurer, Veit Rudolph, and Albert Meyer, who drew the original images from life, mostly using samples from Fuchs\' garden. Their portraits, with that of the author, appear in the book and represent \"one of the earliest examples of such a tribute paid to artists in a printed book\" (PMM). Adams F-1099; Nissen BBI 658; Pritzel 3138; PMM 69; VD16 F 3242.

富克斯，莱昂哈德。1501-1566. 史蒂皮姆评论标志。巴塞尔：迈克尔·伊森格林，1542年。

40. Maria Lassnig，当代艺术I 高清作品[27%]

DO-Maria Lassnig - 现代艺术 I
图片文件像素：5485 x 5808 px

Maria Lassnig，当代艺术I-

Maria Lassnig * - Zeitgenössische Kunst I-

(Kappel, Carinthia, 1919–2014 Vienna)
“Untitled”, 1980, gouache, colour instruction for the print version of the painting “Die Last des Fleisches”, 1973, of the catalogue “Austria. Biennale di Venezia 1980. Maria Lassnig”, on paper (envelope from the gallery Peithner-Lichtenfels - addressed to Maria Lassnig), to the upper edge in the artist’s handwriting “Text ausbessern”, image size 17 x 21.5 cm, envelope 20.5 x 21.5 cm, framed

Provenance:
excerpt from an email from 20 May 2022

Registered:
Maria Lassnig Stiftung (14.10.2022)

This work is included in the Maria Lassnig catalogue raisonné (certificate available).

Auszug aus einem E-Mail, 20. Mai 2022:
“Mein Vater ... bekam die kleinformatige Arbeit von Maria Lassnig während der Herstellung des Kataloges “Austria. Biennale di Venezia 1980. Maria Lassnig” ... in der Druckerei Brüder Rosenbaum 1980 geschenkt.
Leider befand Maria Lassnig das Ektachrom ... ihres Gemäldes “Die Last des Fleisches” ... in der Farbwiedergabe nicht zufriedenstellend.
... mein Vater bat sie entsprechend um eine Orientierungshilfe ...
Maria Lassnig fertigte zuhause die vorliegende Gouache ... an.
Nach dem zweiten Probedruck und diversen Farbkorrekturen bekam mein Vater ... die Zustimmung Maria Lassnigs für den Druck sowie die Gouache von “Die Last des Fleisches” als Dankeschön zum Geschenk.
Die Arbeit blieb seither in Familienbesitz.”

Excerpt from an email from 20 May 2022:
“My father [...] received the small-format work by Maria Lassnig during the production of the catalogue Austria. Biennale di Venezia 1980.
Maria Lassnig [...] in the Rosenbaum Brothers printing house in 1980.

Unfortunately, Maria Lassnig found the ectachrome [...] of her painting „Die Last des Fleisches“ [...] was not satisfactory in its colour reproduction [...]. Accordingly, my father asked her for a guide [...] Maria Lassnig made the present gouache at home [...]. After the second test print and various colour corrections, my father [...] received Maria Lassnig’s approval for the print as well as the gouache of„Die Last des Fleisches“ as a thank-you gift. The work has remained in the family ever since.”

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35. 路易斯·威廉·韦恩 家甜蜜的家 高清作品[50%]

Home Sweet Home

图片文件尺寸 : 4794 x 4671px

Louis William Wain:Home Sweet Home
signed \'Louis Wain\' (lower left), inscribed in reverse \'Those with feelings wondrous kind/Can love with kitties ever bind\' (lower right)
pencil on paper
24 x 19cm (9 7/16 x 7 1/2in).

路易斯·威廉·韦恩 家甜蜜的家

37. 彼得·哈雷，当代艺术I 高清作品[32%]

DO-Peter Halley - 现代艺术 I
图片文件像素：5946 x 5480 px

彼得·哈雷，当代艺术I-

Peter Halley - Zeitgenössische Kunst I-

(born in New York 1953)
Six Prisons, 2006, signed and dated on the reverse, acrylic, fluorescent acrylic, pearlescent, metallic acrylic, and Roll-a-Tex on 6 adjoined canvases, 190.5 x 190.5 cm

We are grateful to Peter Halley Studio, New York for the kind assistance with the cataloguing of this work.

Provenance:
Galerie Forsblom, Stockholm (label on the reverse)
Private Collection, Vienna

Exhibited:
Galerie Forsblom, Helsinki, 10 November
2006 - 10 January 2007
Peter Halley – Prisons, Friedrich Schiller University,
Jena, 德国y, 10 May 2014 – 27 July 2014

Literature:
Martin S. Fischer, Barbara Happe, Steffen Siegel, et al.,
Peter Halley – Prisons, exhibition catalogue (Jena: Friedrich Schiller University, 2014), 91, ill.

“The deployment of the geometric dominates the landscape. Space is divided into discrete, isolated cells, explicitly determined as to extent and function. Cells are reached through complex networks of corridors and roadways that must be traveled at prescribed speeds and at prescribed times. The constant increase in the complexity and scale of these geometries continuously transforms the landscape…

Along with the geometrization of the landscape, there occurs the geo-metrization of thought. Specific reality is displaced by the primacy of the model. And the model is in turn imposed on the landscape, further displacing reality in a process of ever more complete circularity.”
Peter Halley, The Employment of the Geometric

38. 皮卡特，伯纳德。1673-1733年。 已知世界各国的仪式和宗教习俗。伦敦：克劳德·杜·博斯克，1731-39年。 高清作品[30%]

The Ceremonies and Religious Customs of the Various Nations of the Known World. London: Claude Du Bosc, 1731-39.

图片文件尺寸 : 5013 x 4663px

PICART, BERNARD. 1673-1733.:The Ceremonies and Religious Customs of the Various Nations of the Known World. London: Claude Du Bosc, 1731-39.
7 volumes in 6. Folio (447 x 275 mm). Half titles, titles in red and black with engraved vignettes, engraved dedication page in volume IV, 215 (of 220) engraved plates, many double-page or folding, engraved illustrations and headers in text. Modern quarter morocco and marbled boards. A few pages re-margined at outside edges, leaf 5O2 (pp 419-420) in volume 3 torn through but complete, dampstaining, especially to last volumes, browning and spotting throughout.

FIRST EDITION IN ENGLISH, A richly illustrated landmark work on religious tolerance. \"No other work before then had ever attempted, in word and image, such a grand sweep of human religions, Religious Ceremonies of the World marked a major turning point in European attitudes toward religious beliefs and hence the sacred\" (Hunt, Jacob Mijnhardt The Book that Changed Europe: Picart and Bernard\'s Religious Ceremonies of the World p 1). Picart\'s engravings \"are indeed so finely executed, both in the drawing and engraving, that there are few plates even at this day which excel them\" (Field 1212, French edition). Sabin 4934.

皮卡特，伯纳德。1673-1733年。 已知世界各国的仪式和宗教习俗。伦敦：克劳德·杜·博斯克，1731-39年。

39. 富克斯，莱昂哈德。1501-1566. 史蒂皮姆评论标志。巴塞尔：迈克尔·伊森格林，1542年。 高清作品[29%]

Historia Stirpium Commentarii insignes. Basel: Michael Isengrin, 1542.

图片文件尺寸 : 5172 x 4299px

FUCHS, LEONHARD. 1501-1566. :Historia Stirpium Commentarii insignes. Basel: Michael Isengrin, 1542.
Folio, (340 x 237 mm). Greek, roman and italic types. 509 full-page botanical woodcuts, 3 smaller cuts in the text, by Veit Rudolph Speckle after Heinrich Fullmauer and Albert Meyer, full-page full-length portrait of Fuchs on title verso, portraits of the 3 artists on fff5r, printer\'s device on title, repeated on final verso, historiated initials in several sizes. Modern calf, spine gilt. Title re-margined, first text leaf torn and repaired, O4-6 torn and repaired some mostly marginal staining, a few leaves with marginal tears and repairs.

FIRST EDITION. \"Perhaps the most celebrated and most beautiful herbal ever published... important in the history of botanical illustration particularly because of the size and beauty of the woodcuts\" (PMM). Leonhard Fuchs professor of medicine at Tübingen, gives accurate descriptions of nearly 500 plants, of which forty had never before been depicted, the majority being native German plants. Amongst the foreign plants are some from America including corn, pumpkin, chili pepper, and snap bean. The illustrations were realized by Heinrich Füllmaurer, Veit Rudolph, and Albert Meyer, who drew the original images from life, mostly using samples from Fuchs\' garden. Their portraits, with that of the author, appear in the book and represent \"one of the earliest examples of such a tribute paid to artists in a printed book\" (PMM). Adams F-1099; Nissen BBI 658; Pritzel 3138; PMM 69; VD16 F 3242.

富克斯，莱昂哈德。1501-1566. 史蒂皮姆评论标志。巴塞尔：迈克尔·伊森格林，1542年。

40. Maria Lassnig，当代艺术I 高清作品[27%]

DO-Maria Lassnig - 现代艺术 I
图片文件像素：5485 x 5808 px

Maria Lassnig，当代艺术I-

Maria Lassnig * - Zeitgenössische Kunst I-

(Kappel, Carinthia, 1919–2014 Vienna)
“Untitled”, 1980, gouache, colour instruction for the print version of the painting “Die Last des Fleisches”, 1973, of the catalogue “Austria. Biennale di Venezia 1980. Maria Lassnig”, on paper (envelope from the gallery Peithner-Lichtenfels - addressed to Maria Lassnig), to the upper edge in the artist’s handwriting “Text ausbessern”, image size 17 x 21.5 cm, envelope 20.5 x 21.5 cm, framed

Provenance:
excerpt from an email from 20 May 2022

Registered:
Maria Lassnig Stiftung (14.10.2022)

This work is included in the Maria Lassnig catalogue raisonné (certificate available).

Auszug aus einem E-Mail, 20. Mai 2022:
“Mein Vater ... bekam die kleinformatige Arbeit von Maria Lassnig während der Herstellung des Kataloges “Austria. Biennale di Venezia 1980. Maria Lassnig” ... in der Druckerei Brüder Rosenbaum 1980 geschenkt.
Leider befand Maria Lassnig das Ektachrom ... ihres Gemäldes “Die Last des Fleisches” ... in der Farbwiedergabe nicht zufriedenstellend.
... mein Vater bat sie entsprechend um eine Orientierungshilfe ...
Maria Lassnig fertigte zuhause die vorliegende Gouache ... an.
Nach dem zweiten Probedruck und diversen Farbkorrekturen bekam mein Vater ... die Zustimmung Maria Lassnigs für den Druck sowie die Gouache von “Die Last des Fleisches” als Dankeschön zum Geschenk.
Die Arbeit blieb seither in Familienbesitz.”

Excerpt from an email from 20 May 2022:
“My father [...] received the small-format work by Maria Lassnig during the production of the catalogue Austria. Biennale di Venezia 1980.
Maria Lassnig [...] in the Rosenbaum Brothers printing house in 1980.

Unfortunately, Maria Lassnig found the ectachrome [...] of her painting „Die Last des Fleisches“ [...] was not satisfactory in its colour reproduction [...]. Accordingly, my father asked her for a guide [...] Maria Lassnig made the present gouache at home [...]. After the second test print and various colour corrections, my father [...] received Maria Lassnig’s approval for the print as well as the gouache of„Die Last des Fleisches“ as a thank-you gift. The work has remained in the family ever since.”

相关：
scream4ever世界名画盲盒 4ever名画系列
首页 主题 艺术运动 风景