材质 : Acrylic on canvas with polyethylene strings

图片文件尺寸 : 4859 x 3695 px

Gerhard Hoehme-Feuervogel, 1983.

格哈德·霍姆-火鸟，1983年。

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Léon Bakst的《火鸟服装设计》-Léon Bakst

Costume Design For Firebird--Léon Bakst (俄罗斯, 1866-1924)

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弗拉基米尔·普列沙科夫的“芭蕾舞剧布景设计”《火鸟》-Vladimir Pleshakov

Set Design for the Ballet The Firebird--Vladimir Pleshakov (俄罗斯, 1891–1942)

图片文件尺寸 : 5488 x 5331px

Romare Bearden: Firebirds, 1979
Lithograph in colors on wove paper, signed in pencil and numbered 152/300, published by Transworld Art, Inc., New York, with full margins, framed.
21 3/4 x 15in (55.2 x 38.1cm)
sheet 24 1/2 x 19in (62.2 x 48.2cm)

罗马尔·比尔登 火鸟

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Henri Gaudier-Brzeska:Firebird (The Russian Ballet)
signed \'Gaudier/Brzeska\' (on the base)
bronze with a brown patina
63 cm. (24 3/4 in.) high
Clay conceived in 1912, this cast from the later bronze edition of 10

Henri Gaudier Brzeska先生 火鸟63厘米。高的

图片文件尺寸 : 3860 x 2741px

约翰·费内利的《亨利·本廷克勋爵的栗子猎人火鸟与政策，一只猎狐，在一个松散的盒子里》-John Ferneley

Lord Henry Bentincks Chestnut Hunter Firebird And Policy, A Foxhound, In A Loose Box--John Ferneley (英国, 1782 - 1860)

图片文件尺寸 : 5489 x 4959px

RUSSIAN ART JOURNAL.:Zhar-Ptitsa/Jar-Ptitza [The Firebird]. Paris and Berlin: Russkoe Iskusstvo, August 1921-January 1926. 14 issues in 13 volumes (No. 4/5 double issue). 4to (315 x 240 mm). Illustrated in color and black and white, with many plates tipped in. Original color lithographed wrappers. Some issues missing spines with pages detached; internal tears and some loss.

A COMPLETE SET OF THE RARE RUSSIAN EMIGRE LITERARY ART MAGAZINE IN ORIGINAL ISSUES, reportedly no more than 300 copies were printed. Supplemental summaries of the numbers were provided in the back in a variety of languages including English. Zhar-ptitsa was the most influential art journal of the flourishing community of exiles who were feverishly trying to keep the culture of Old Russia alive. Due to paper shortages and extensive censorship by the Bolsheviks back in the USSR, the Russian book business was booming in Germany and France. This lavish periodical was the natural successor to S. Diaghilev\'s Mir iskusstva since many of those involved had been members of the World of Art Group and designers for the Ballets Russes. The rich selection subjects and contributors under A. E. Kogan\'s art department embraced L. Bakst, A. Benois, I. Bilibin, M. Chagall, S. Chekhonin, N. Goncharova, B. Grigoriev, B. Kustodiev, M. Larionov, V. Shukaev, K. Somov, S. Sudeikin and many other important artists. Poet Sasha Cherny was literary editor; and such important writers as L. Andreev, K. Balmont, I. Bunin, V. Khodasevich, B. Pilnyak, A. Remizov, N. Teffi, A.N. Tolstoi, B. Zaitsev, and the young Vladimir Nabokov (as \"V. Sirin\") appeared in its pages. Fekula called Zhar-ptitsa \"perhaps the most famous of post-revolutionary art journals, whose contributors threw new light on the development of Russian art at the beginning of the twentieth century.\" According to Vengerov, \"Even separate issues of the magazine, let alone complete sets of its issues, are a great bibliographic rarity.\" Fekula 5742; Vengerov Staraya russkaya kniga 105.

俄罗斯艺术杂志。 Zhar Ptitsa/Jar Ptitsa[火鸟]。巴黎和柏林：Russkoe Iskustvo，1921年8月至1926年1月。