图片文件尺寸 : 4464 x 5437px

Roy Lichtenstein:Une Fenêtre ouverte sur Chicago (A Window Open on Chicago), from La nouvelle chute de l\'Amérique (The New Fall of America) (Corlett 271), 1992
Etching and aquatint in colors, on Velin d\'Arches paper, signed in pencil, dated and numbered in Roman numerals XXVI/ XLV (a hors commerce proof, aside from the edition of 42 on japon nacre, there was also an unbound book edition of 80), published by Les Éditions du Solstice, Paris, with full margins, framed.
14 15/16 x 11 1/8in (38 x 28.3cm)
sheet 19 x 14in (48.2 x 35.6cm)

罗伊·利希滕斯坦 从美国的新衰落看芝加哥

图片文件尺寸 : 5262 x 3927px

After Sonia Delaunay:Boîte-object, 1994
4 lithographs, two in colors, on Arches paper, each stamped-signed and numbered in pencil 528/600 (there were also 30 artist\'s proofs in Roman numerals), with the printed title and original drawing date on verso, published by Artcurial Diffusions for the Société Azygos/Anticip, printed by Art Estampe Machet-Cosson,Paris, with three pages of printed quotes by the artist, a biography of the artist, and the justification page, housed in the original blue linen covered clamshell portfolio box with metallic lettering.
Titles include: Music-Hall, Gaby, Madrid, 1919; Robe-toupie, Rio, 1922; Danse, rythme sans fin, 1923; and Composition à la robe-disque, 1925
each plate 11 1/4 x 8in (28.5 x 20.3cm)
each sheet 15 3/4 x 11 7/8in (40 x 30.1cm)

Sonia Delaunay之后 框-对象

图片文件像素：4956 x 4842 px

安杰洛·萨韦利-

Angelo Savelli * - Zeitgenössische Kunst I-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed

This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity

Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection

Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.

Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.

Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.

Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.

His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.

图片文件尺寸 : 5248 x 4610px

Andy Warhol:Flash - November 22, 1963: Plate and full set of folders with printed text (11 works) (Feldman Schellmann II.34), 1968
Screenprint in colors, on wove paper, unsigned and unnumbered, annotated on the reverse \'Andy Warhol\' in another hand, signed by the artist in ball point pen on the portfolio colophon and numbered XX, (there were 26 copies in Roman numerals, the total edition size was 200), the full sheet, together with a full set of 10 folders with teletype text, published by Racolin Press, Inc., Briarcliff Manor, New York, printed by Aetna Silkscreen Products, Inc., New York, each the full sheet. (11 works)
print 21 x 21in (53.3 x 53.3cm)
each folder 21 1/2 x 21 1/4in 54.5 x 54cm)

安迪·沃霍尔 Flash-1963年11月22日：带有印刷文本的平板和全套文件夹

图片文件尺寸 : 3979 x 5107px

SALVADOR DALÍ: Song of Songs of Solomon (M./L. 468-479; F. 71-17), 1971, the complete portfolio, comprising 12 etchings in colours with stencil and gold dust, each signed in pencil, numbered on the colophon 248/250, on Arches paper (there were also 6 copies on parchment and 44 copies on Japon, both in Roman Numerals, and 20 hors commerce designated A-T), with the blindstamp of the publisher Leon Amiel, New York, printed by Jacques David, Paris, with full margins, folded and loose (as issued), original blue cloth-covered boards and slipcase with cast lead medallion stamped by Hôtel des Monnaies, Avignon, title in green on the leather spine, each etching mounted for framing.
Titles include: King Solomon; The Kiss; The Shepherd; The King\'s Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts; The Beloved Feeds Among the Lilies; The Fruits of the Valley; Return, O Shulamite, each 29.8 x 24.8cm (11 3/4 x 9 3/4in). (sheets 65.4 x 50.2cm)
(12 works)

萨尔瓦多·达尔 无 题