41 Sentences With "first prints" | Random Sentence Generator

Look for rarity, condition, dates, artist credit, low number of printing and first prints, which are always better investments than reprints or second printings.

Frankenthaler's first prints were made by jigsawing a single block of wood into various shapes, inking the separate parts, and then running the carefully registered pieces separately through the press.

But now, one lucky patron of the arts finally owns one of the first prints of the physicist having a grand ol' time—at an auction on July 27th, the image sold for $125,000.

They note over the last five years, the first revision to August payroll data has averaged 17,000, and between the first prints and latest figures for the August reports, the revision has averaged 54,000.

They are among the first prints with songs from Tyrolean tradition.

Around this time he made his first prints, a series commemorating Pope Clement VIII's visit to Bologna in 1598.

As part of the pre- ordering campaign, the Japanese and Asian first prints were bundled with a limited item, a monography called Kamutai Magazine (February 2009 issue).

All of Series 1 first prints also came with the blue Nick Fury Exclusive Figure Offer sticker that is located at the top right hand corner of the plastic shell.

Its date is assumed between 1627 and 1732. It was part of an exhibition in 2010, celebrating the 425th anniversary of the composer's birth by showing manuscripts, librettos, first prints, documents and instruments.

Humphreys, R., The Rough Guide to Prague (London: Rough Guides, 2002), p. 58. Within the library, a reading room is also open. The Strahov Library contains over 200,000 volumes, including over 3,000 manuscripts and 1,500 first prints stored in a special depository.

After the first prints were made in 1967, they were sold by Warhol for as little as $250. However, with his rise in fame, in 1998 Orange Marilyn sold for $17.3 million and more recently, the White Marilyn sold for $41 million.

The figure of the circus artist, usually depicted alone, is often seen as a metaphor for the artist himself. The first prints illustrating the circus do not seem to have an immediate connection to the succeeding works. However, these compositions are viewed as metaphors of life.

Susan Homes first sold her printed clothing through the Trina J Boutique in Auckland. Her first prints were onto 'Indian style' voile shirts. In 1971, Holmes began to make and sell fabric through Brown's Mill, a craft co-op in Auckland. This market operated on Saturday mornings before this considered acceptable in New Zealand.

156 He resided in Rome from 1546 to 1547. When he returned to Antwerp in 1547, he married Volcxken Diericx. Together with his wife he founded in 1548 the publishing house Aux quatre vents or In de Vier Winden (the "House of the Four Winds"). The publishing house issued its first prints in 1548.

The contrast of this veiled undercurrent and the Apollonian restraint of the presentation make these new paintings both powerful and poignant.” Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions. Mangold designed the monumental colored glass panels contained in the Buffalo Federal Courthouse pavilion lobby.

The studio for digital collections where visitors see and read and partially even explore by listening all the digitalised documents as well as manuscripts and first prints of compositions, letters and picturesManfred Bogen, Friederike Grigat, Michael Ladenburger: Das Digitale Beethoven-Haus. In: Der GMD-Spiegel H. 1/2 (1999), p. 36-38.Beethoven-Haus Bonn. Museum und digitales Beethoven-Haus.

From 1894 to 1922, Oskar Bie was the editor. In 1904 he succeeded in renaming it Die neue Rundschau. The magazine became one of the most important forums for modern literature and essay writing in the German Empire and the Weimar Republic. Due to the link to the S. Fischer-Verlag, the publisher's major writers were able to publish their works in first prints.

These painters were part of a new movement, in a time of social unrest, which shocked America and the art world. In 1963, he turned increasingly to figure painting: wooden and rigid, with each detail sharply emphasized. In 1964, he made his first prints at Crown Point Press, and has continued to make prints throughout his career. In 1967, his work was shown at the Biennale Internationale.

Frankenthaler recognized that, as an artist, she needed to continually challenge herself in order to grow. For this reason, in 1961, she began to experiment with printmaking at the Universal Limited Art Editions (ULAE), a lithographic workshop in West Islip, Long Island. Frankenthaler collaborated with Tatyana Grosman in 1961 to create her first prints. In 1976, Frankenthaler began to work within the medium of woodcuts.

Infinity by Marian Korn, 1980, Honolulu Museum of Art Her first prints were representational, often with Japanese themes.Richie, Donald, "Marian Korn: An Appreciation" in Statler, Oliver, The Prints of Marian Korn, Weatherhill, New York and Tokyo, 1988, pp. 18-19. By 1974, some were completely abstract, and by 1982, the majority were abstract. Her catalogue raisonnéStatler, Oliver, The Prints of Marian Korn, Weatherhill, New York and Tokyo, 1988, p. 195.

After a year, Hokusai's name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints, a series of pictures of Kabuki actors published in 1779. During the decade he worked in Shunshō's studio, Hokusai was married to his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time.

Taschen, 2000. The landscapes of the journey made a profound impression on the artist, and he created numerous sketches during the course of the trip, as well as his return to Edo via the same route. After his arrival at home, he immediately began work on the first prints from The Fifty-Three Stations of the Tōkaidō. Eventually, he would produce 55 prints in the whole series: one for each station, plus one apiece for the starting and ending points.

The English title is a literal translation of the French that fails to capture its meaning, as the French title refers to the idiom "faire les quatre cents coups", meaning "to raise hell". On the first prints in the United States, subtitler and dubber Noelle Gillmor gave the film the title Wild Oats, but the distributor did not like that and reverted it to The 400 Blows. Before seeing it, some people thought the film covered the topic of corporal punishment.

Without a press she enlisted several men to stand on the plates to transfer the image to paper, although this proved to be an unsatisfactory method. Jaques acquired her first printing press in 1894. William Jaques was very supportive of his wife's artistic career. He purchased her equipment and materials, and also hired domestic help to allow Jaques to focus entirely on her art. She made her first prints in 1894 and would continue to produce 461 unique plates during her career which ended in 1939.

But it is not merely a matter of cherry-picking seminal works for an exhibition: it is also about first prints, smaller versions of the photographs, and an overview of the series as a whole. Preliminary drafts and additional prints are just as important for the archive as the so-called first choice among the artist's works. The aim of the archive is to document the artistic process in its entirety. And that of course includes the negatives and contact copies, or the original digital data illustrating the full breadth of the creative process involved.

Man of Sorrows, chiaroscuro drawing, c. 1514 As a pupil of Dürer, Springinklee was involved in creating a number of works commissioned by Emperor Maximilian I, including the monumental 192-panel woodcut the Triumphal Arch. The first prints with his monogram, HSK, date to 1513: Das Wunder der Heilige Wilgeffortis (The Miracle of Saint Wilgefortis), and a sheet from Maximilian's Weißkunig entitled Kaiser Maximilian ehret das Andenken der Vorväter (Emperor Maxamilian honouring the memory of his ancestors). From 1516, Springinklee mainly produced illustrations for the bibles published by Anton Koberger, mostly of Old Testament scenes.

Keulemans' first prints appeared in two books by Francois Pollen, Contributions a l'histoire naturelle des Lemuriens (1867) and Een blik in Madagascar (1867). Some appeared after his death until 1915 (Mathews, Birds of Australia); he had rendered the images on stone well before publication of these works. A calculation of his total output gives about 4,000-5,000 published illustrations. The vast majority of these were vignettes published within octavo-size books and publications, and a great number of his works also appeared in quarto (Dresser/Europe) and in folio (Seebohm/Turdidae and DuCane Godman/Petrels).

The official names of the works are presented under Untitled 1967. After the first prints were made in 1962, they were sold by Warhol for as little as $250. However, with his rise in fame, in 1998 Orange Marilyn sold for $17.3 million and more recently, the White Marilyn sold for $41 million. Whilst the original silk-screened prints made by hand are worth millions, due to the iconic nature of this work, it is now possible to buy a modernised, computer-printed "Marilyn" for a much lesser price.

Apparently Dyer's missing shoe went unnoticed by him until he arrived home and he returned to the Hunt household after midnight, awakening everyone, to retrieve his missing shoe which was finally located under a table. Another incident relating to Dyer concerns a preface which he wrote for his Poems published in 1802. On rereading one of the first prints of his book, Dyer claimed that there was a significant error in reasoning contained on the first page of the preface. He rushed to the printer and had a number of prints redone at considerable expense.

Writers of Die Weißen Blätter have included Henri Barbusse, Gottfried Benn, Eduard Bernstein, Franz Blei, Max Brod, Martin Buber, Theodor Däubler, Albert Ehrenstein, Carl Einstein, Friedrich Wilhelm Foerster, Leonhard Frank, George Grosz, Wilhelm Hausenstein, Hermann Hesse, Kurt Hiller, Annette Kolb, Paul Kornfeld, Else Lasker-Schüler, Rudolf Leonhard, Mechtilde Lichnowsky, Heinrich Mann, Gustav Meyrink, Robert Musil, Max Scheler, Ernst Stadler, Carl Sternheim, André Suarès, Theodor Tagger, Robert Walser, Ernst Weiß, Felix Weltsch, and Franz Werfel. The magazine published as first prints Meyrink's novel Der Golem in 1913/14 and in October 1915 Kafka's story "Die Verwandlung" (The Metamorphosis).

Although the work was considered complicated for an animal actor, the dog performed exceptionally well. According to legend, after seeing the first prints, the head of MGM, Louis B. Mayer, stated that "Pal had entered the water, but Lassie had come out," and a new star was born. MGM owned the rights to Lassie's name, but when the series of films ended, Weatherwax obtained those rights in lieu of his final year's salary and a little additional money. Therefore, he benefited from those rights during the program's 17-year run on CBS and additional broadcasts in syndication.

In 1901 left Weimar for Hagen, where the collector Karl Ernst Osthaus had offered him a studio in the modern art museum he was setting up there. Meetings with Edvard Munch and Emil Nolde and the experience of seeing the works of Vincent van Gogh inspired him to move towards the expressionist style, in which he would work for the rest of his career. In 1908, at the age of 60, he made his first prints after seeing an exhibition of works by the expressionist group Die Brücke. He went on to make 185 in total, almost all woodcuts or linocuts.

When he first got started, Ellis passed on an opportunity to do work for the J. C. Penney catalog because he was too busy, but ultimately found success in a similar publication. Ellis published his first prints through Market Arts' Dan Rose in Houston, but his art career took off when he noticed that his wife's Avon boutique magazine, targeted at African- Americans, lacked any art. He sent Avon a proposal which they accepted, and through the magazine he sold 42,610 signed prints of Thee Baptism. Since he was still working as an engineer at the time, he autographed the tens-of- thousands of prints during his lunch-break.

Detail of woodcut by Lucas Cranach the Elder, 1512 Detail of The Penance of St. John Chrysostom, engraving, 1496 Nebuchadnezzar was adapted from an earlier print in Blake's The Marriage of Heaven and Hell.Lincoln 2003, 220 The plates for the Large Colour Prints and the first prints were made in 1795, but further impressions seem to have been printed in about 1805.Wilson, 67 In the late summer of 1805, Blake sold to Thomas Butts Jr. eight impressions of the Large Colour Prints, including the Tate Nebuchadnezzar, for £1.1s each.Bentley 2002, 191 John Clark Strange bought Butts's prints on 29 June 1853 and later acquired the rest of the collection that was sold to Henry George Bohn.

The topics for the designs were famous places seen from the vantage point of a local. There is one print for each of the 68 provinces that existed at the time of the series. The print designs document a world that was about to change: A few months after the first prints were published the Black Ships that contributed to the opening of Japan arrived and just over a decade after the completion of the series, in 1872, the Meiji Restoration would rewrite the provincial boundaries that had existed since 824AD. In addition to the prints of the provinces, there is a single print of Asakusa Fair in Edo, the capital of Japan at the time.

There would have been other drawings for all the subjects, which have been lost; it was from these that the first prints were made. The seven cartoons were probably completed in 1516 and were then sent to Brussels, where the Vatican tapestries were woven by the workshop of Pieter van Aelst. This set was partly destroyed in the Sack of Rome in 1528, but the Vatican Museums have acquired tapestries and recreated sections to complete a full set, now usually displayed in a gallery, but sometimes moved to the Sistine Chapel for special occasions. They were displayed in the chapel for a week in February 2020, to mark the 500th anniversary of Raphael's death.

Reproductive engraving by Jacob Matham, in this case of a sculpture, "Moses", by Michelangelo, 1593 Prints copying prints were already common, and many fifteenth century prints must have been copies of paintings, but not intended to be seen as such, but as images in their own right. Mantegna's workshop produced a number of engravings copying his Triumph of Caesar (now Hampton Court Palace), or drawings for it, which were perhaps the first prints intended to be understood as depicting paintings—called reproductive prints. With an increasing pace of innovation in art, and of a critical interest among a non-professional public, reliable depictions of paintings filled an obvious need. In time this demand was almost to smother the old master print.Pon.

The first prints of the Edo-no-Hana Meisho-e series were released by the publisher Katoya Seibei in the twelfth month of 1862, while the last sheets of the set were produced in the first month of 1865. In the two years and two months in which the works were designed and manufactured, seventy prints in total had been created, followed by an index and title page. The index and title pieces are not universally accepted as part of the Edo-no-Hana Meisho-e series. Hesitation to acknowledge the extra pages is based on the reality that both were made after the picture set had ceased production, at a time when it was popular for the collected single sheet works to be assembled in string-bound albums.

Although he took a few life-drawing classes at the Otis Art Institute between 1923 and 1925, Landacre largely taught himself the art of printmaking. He experimented with the technically demanding art of carving linoleum blocks and, eventually, woodblocks for both wood engravings and woodcuts. His fascination with printmaking and his ambition to make a place for himself in the world of fine art coalesced in the late 1920s when he met Jake Zeitlin. Zeitlin's antiquarian bookshop in Los Angeles—a cultural hub that survived into the 1980s—included a small gallery space for the showing of artworks, primarily prints and drawings, and it is there in 1929 that Landacre's first prints were exhibited. In early 1930 Zeitlin gave Landacre his first significant solo exhibition in southern California.

Chiaroscuro woodcut of the Virgin and Child by Bartolommeo Coriolano, created between 1630 and 1655 (digitally restored) Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours; they do not necessarily feature strong contrasts of light and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early experiments in book-printing, the true chiaroscuro woodcut conceived for two blocks was probably first invented by Lucas Cranach the Elder in Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints first produced for monochrome printing, swiftly followed by Hans Burgkmair the Elder.Landau and Parshall, 179-192; Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Royal Academy, London, March–June 2014, exhibition guide.

Chiaroscuro woodcut depicting Playing cupids by anonymous 16th-century Italian artist Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours; they do not necessarily feature strong contrasts of light and dark. They were first produced to achieve similar effects to chiaroscuro drawings. After some early experiments in book-printing, the true chiaroscuro woodcut conceived for two blocks was probably first invented by Lucas Cranach the Elder in Germany in 1508 or 1509, though he backdated some of his first prints and added tone blocks to some prints first produced for monochrome printing, swiftly followed by Hans Burgkmair.so Landau and Parshall, 179-192; but Bartrum, 179 and Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Royal Academy, London, March–June 2014, exhibition guide, both credit Cranach with the innovation in 1507.