LASSCO Archive
2932 items found
Page 68 of 245
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Cast aluminium floor vents
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Cast aluminium floor vents
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Cast aluminium floor vent
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Cast aluminium floor vents
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Joan Miró, Lithographie originale
Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet. -
Joan Miró, Lithographie originale
Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet. -
Joan Miró, Lithographie originale
Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet. -
Joan Miró, Lithographie originale
Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet. -
Joan Miró, Lithographie originale
Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet. -
Nineteenth century French Empire fireplace
Nineteenth century French Empire fireplace
the plain frieze with carved foliate paterae supported by disengaged Tuscan columns and pilasters, in Carrara marble, hearth not included (available separately). -
Linden Botanicals
Linden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts. -
Linden Botanicals
Linden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.