Sentences with phrase «lower right framed»
Limited - edition of 300 and numbered lower left Hand - signed «Max» in colored pencil lower right Framed dimensions: ~ 30 high x 40 wide inches
https://www.1stdibs.com/ Not exact matches
«Put» Option: If a hourly candle touches your lower line on the hourly time - span and the Stochastic isn't oversold you scroll right down to the M15 time - frame and then wait for a candle to shut below the line.
«They got land rights and instruments of conservation framed under this idea that they will maintain a low impact on the environment,» he says.
If you love the bib - shaped statement necklaces, which is trending right now, opt for one designed to hit lower on your frame which has a medium to small airy design.
With no waistband it's easy to wear it lower on the hips and on my 5» 8 ″ frame this skirt came to rest right at my knees.
Producers Khadija Alami — «Insoumise (Rebellious Girl),» «Itar El - Layl (Narrow Frame of Midnight)» Joshua Astrachan — «Paterson,» «Short Term 12» Fred Berger — «The Autopsy of Jane Doe,» «La La Land» Jason Michael Berman — «Burning Sands,» «The Birth of a Nation» Moritz Borman — «Snowden,» «W.» Karin Chien — «Circumstance,» «The Exploding Girl» Michael Costigan — «Ghost in the Shell,» «A Bigger Splash» Pablo Cruz — «Cesar Chavez,» «Miss Bala» Mel Eslyn — «Lamb,» «The One I Love» Howard Gertler — «How to Survive a Plague,» «Shortbus» Aaron L. Gilbert — «Beatriz at Dinner,» «The Birth of a Nation» Mindy Goldberg — «Low Down,» «Junebug» Carla Hacken * — «The Book of Henry,» «Hell or High Water» Jordan Horowitz — «La La Land,» «The Kids Are All Right» Lars Knudsen — «American Honey,» «Beginners» Juan de Dios Larraín — «Jackie,» «No» Sophia Lin — «Z for Zachariah,» «Take Shelter» Michel Merkt — «Elle,» «Toni Erdmann» Bertha Navarro — «Pan's Labyrinth,» «The Devil's Backbone» Alex Orlovsky — «The Place beyond the Pines,» «Blue Valentine» Adele Romanski — «Moonlight,» «Morris from America» Robert Salerno — «Nocturnal Animals,» «We Need to Talk about Kevin» Jeffrey Sharp — «The Yellow Birds,» «You Can Count on Me» Nansun Shi — «Flying Swords of Dragon Gate,» «A Simple Life» Gabrielle Tana — «Philomena,» «The Invisible Woman» Jenno Topping — «Hidden Figures,» «Miss Peregrine's Home for Peculiar Children» Frida Torresblanco — «Rudo y Cursi,» «Pan's Labyrinth» Jay Van Hoy — «Complete Unknown,» «Ain't Them Bodies Saints» Julie Yorn — «Hell or High Water,» «The Other Woman» Public Relations Clive Baillie Michael Brown Matt Cowal Tomy Drissi Sonya Y. Ede - Williams Lynne Frank Jonathan Garson Peter Giannascoli Marvin Gray Simon Hewlett Melissa Holloway Angela Johnson Wellington Love Michelle Marks Bill Neil Douglas Neil Angela Paura Heather Johnson Phillips Tom Piechura Pamela Rodi Ivette Rodriguez Jeff Sanderson Jerry Schmitz Lauren Schwartz Carol Sewell Michael Singer Afrat Spalding Kristin Stark Maggie Todd Norman Wang Bumble Ward Joe Whitmore Lea Yardum Kevin Allen Yoder
Khadija Alami — «Insoumise (Rebellious Girl),» «Itar El - Layl (Narrow Frame of Midnight)» Joshua Astrachan — «Paterson,» «Short Term 12» Fred Berger — «The Autopsy of Jane Doe,» «La La Land» Jason Michael Berman — «Burning Sands,» «The Birth of a Nation» Moritz Borman — «Snowden,» «W.» Karin Chien — «Circumstance,» «The Exploding Girl» Michael Costigan — «Ghost in the Shell,» «A Bigger Splash» Pablo Cruz — «Cesar Chavez,» «Miss Bala» Mel Eslyn — «Lamb,» «The One I Love» Howard Gertler — «How to Survive a Plague,» «Shortbus» Aaron L. Gilbert — «Beatriz at Dinner,» «The Birth of a Nation» Mindy Goldberg — «Low Down,» «Junebug» Carla Hacken * — «The Book of Henry,» «Hell or High Water» Jordan Horowitz — «La La Land,» «The Kids Are All Right» Lars Knudsen — «American Honey,» «Beginners» Juan de Dios Larraín — «Jackie,» «No» Sophia Lin — «Z for Zachariah,» «Take Shelter» Michel Merkt — «Elle,» «Toni Erdmann» Bertha Navarro — «Pan's Labyrinth,» «The Devil's Backbone» Alex Orlovsky — «The Place beyond the Pines,» «Blue Valentine» Adele Romanski — «Moonlight,» «Morris from America» Robert Salerno — «Nocturnal Animals,» «We Need to Talk about Kevin» Jeffrey Sharp — «The Yellow Birds,» «You Can Count on Me» Nansun Shi — «Flying Swords of Dragon Gate,» «A Simple Life» Gabrielle Tana — «Philomena,» «The Invisible Woman» Jenno Topping — «Hidden Figures,» «Miss Peregrine's Home for Peculiar Children» Frida Torresblanco — «Rudo y Cursi,» «Pan's Labyrinth» Jay Van Hoy — «Complete Unknown,» «Ain't Them Bodies Saints» Julie Yorn — «Hell or High Water,» «The Other Woman»
With a live axle, when high torque is applied through the differential, the traction on the right rear tire is lower as the axle naturally wants to turn with the torsion of the drive shaft (but is held stationary by being mounted to the vehicle frame).
Speaking of styling, the Sportage has its own unique flourishes and a pleasingly tensed - up greenhouse, but it still falls right in line with the current crossover trends, most notably in the augmented lower bumper area, with lights and a faux skid plate drawing your eye down to frame the Sportage in a more substantial light.
Seems like a simple and low - effort marketing plan for a long time frame, right?
I obviously can not speak for everyone in the trading world, but the traders who contact me on a regular basis about struggling in the market and blowing out their accounts, are typically the ones who trade the lower time frames... that has to say something right?
ah lol final note you seem to get confuse you do know the witcher 3 is both CPU and GPU intensive right so if my rig right now is 970 superclocked + i7 4790k @ 4.7 and it cant keep a steady 50 frames good on maxed settings at 1440p what makes you think the underpowered ps4 pro could do with that trash AMD CPU they have and underpowered GPU as i have said keep your expectations on low or you will be disappointed.
You're absolutely right that such an increase would make a big difference for lower end systems, but Microsoft themselves have been saying Game Mode is only likely to deliver a 1 - 2 % frame rate boost.
- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects
On - top of the horrible frame rates which admittedly could be my GPU's even with two Geforce 650TiB im getting under 25 fps with everything set to low and resolution at 1600x1080 thats right I cant even run at 1900 + yet my gpu's are only at 50 - 60 % usage.
Signed and dated lower right front This poignant signed and dated mixed media oil and sand work on paper by Japanese American Abstract Expressionist Taro Yamamoto is in its original vintage metal frame and ready to hang.
52,5 x 51,7 cm (with frame) Dedicated and signed lower right Listed in the archive under N ° HH3339 and will be included in the Hans Hartung's Ctalogue Raisonné the Hartung Bergman Fou...
by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!
Derived from a series of collages based on Sixteen Mirrors, Camera Obscura # 2 combines brightly colored, beveled frames and squares of gold paint.The squares at the lower left and upper right are inverted images of each other, as are the squares at the upper left and lower right.
ISABEL BISHOP (1902 - 1988) Girl Reading, c. 1935 Oil on masonite 10 ⅛ x 8 1/2 inches Signed at lower right: Isabel Bishop Charles Prendergast style frame by Lowy, New York PROVENA...
TRACEY EMIN What makes you low, 2009 monoprint on paper 8.27 x 11.65 inches (paper) 21 x 29.6 cm 17.99 x 21.18 x 1.5 inches (framed) 45.7 x 53.8 x 3.8 cm signed and dated on bottom right, titled on bottom left LM12776
Signed Lower Right Original Period Frame George W. Sotter (1879 - 1953) George W. Sotter is remembered for painting the scenic towns, farms, mills and valleys that make Bucks Cou...
Set inside a gilded floater frame, this abstract oil on canvas painting is signed lower right.
Francis Picabia (1879 - 1953) Lampe signed «Francis Picabia» (lower right) and inscribed «LAMPE» (upper right) watercolour, brush and India Ink and pencil on paper in a Pierre Legrain frame 24 3/4 x 18 5/8 in.
The Herbin attribution measures 21 1/2 inches by 17 1/2 inches framed and is signed lower right and on the reverse, with a date of 1954.
What Red Lines Can Do (One Plate), 1970; Screenprint in colors (framed); Signed, dated and numbered SS 19/75; 38 1/2» x 26 1/8» (sheet); Literature: Harrison 24; Provenance: Private Collection, Ohio Signed, dated and numbered in pencil lower right recto «frankenthaler»70 SS 19/75».
Medium: Unique Screenprint on Paper Year: 2010 Sheet Size: 40 x 38» Frame Size: 44.5 x 42.75» Inscriptions: Hand Signed Lower Right Inquire About This Piece
Framed color woodcut, «Cameo,» 1980, by Helen Frankenthaler (American, 1928 - 2011), pencil signed lower right, pencil numbered edition of 51, published by Tyler Graphics, paper: 42.1 «h x 31.9 «w, overall: 45.25 «h x 35.25 «w. Catalogue Reference: Harrison, 75
Helen Frankenthaler Reflections IX (from Reflections Series) 1995 6 - color lithograph on Rives BFK paper # 22 of 30 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated lower right; edition lower left Sheet: 20» x 14.75»; Frame: 27.625» x 22.625» Together with copy of invoice from Tyler Graphics, Ltd. dated March 31, 1995 and print documentation
- Vibrant coloration with brilliant blues and red accents - Double edged painted wooden frame - Hanger on back - Signed and dated Tom Kelly /»89 lower right Very goo...
Helen Frankenthaler (American, 1928 - 2011), «The Red Sea,» 1978 - 1982, color lithograph from four stones and four aluminum plates on pink wove handmade paper, pencil signed and dated lower right, edition 13/58, printed by Roger Campbell, Lee Funderburg, and Kenneth Tyler, published by Tyler Graphics, Ltd., image: 15.5 «h x 20.75 «w, sheet: 24 «h x 28 «w, overall (with frame): 29 «h x 37 «w
Wear to frame, frame separating in lower right corner.
Helen Frankenthaler (American, 1928 - 2011), «Geisha,» 2003, Ukiyo - e woodcut in 23 colors on Torinko paper, pencil signed and dated lower right, edition 39/50, published by Pace Editions, Inc. (New York, NY), gallery label (Lillian Kornbluth Arts, Santa Barbara, California) affixed verso, image / sheet: 38 «h x 26 «w, overall (framed): 42 «h x 30 «w. Provenance: Estate of Lillian Kornbluth (Paterson, New Jersey / Santa Barbara, California)
What Red Lines Can Do (One Plate), 1970; Screenprint in colors (framed); Signed, dated and numbered AP 55/22/24; 38 1/2» x 26 1/8» (sheet); Literature: Harrison 24; Provenance: Private Collection, New Jersey Signed, dated and numbered in pencil lower right recto.
(127 x 243.8 cm) Medium: Digital chromogenic print Credit Line: Purchased with funds from the Art Trust Fund Endowment Object Number: 2013.13 Culture: Irish Marks: Label at verso lower right in window adhered to support: JACK SHAINMAN GALLERY / 513 WEST 20TH STREET NEW YORK NY 10011 / TEL: 212-645-1701 / FAX: 212-645-8316 / RICHARD MOSSE / LOVE IS THE DRUG, 2012 / DIGITAL C - PRINT / 50 X 96 INCHES / 52 X 98 X 3 FRAMED / EDITION 3 OF 5 WITH 1 ARTIST PROOF / RIM12.015.
Medium: Oil painting on linen Image size: 5.75 x 4 inches Frame size: 14 x 12 x 2 inches Signed at lower right: AVS A noted contemporary figurative painter, Stevovich grew up in Washington, D.C., and as a young child spent time roaming the halls of the National Gallery of Art, where he was particularly drawn to the Renaissance paintings that would come to inform his work.
Medium: Oil painting on linen Image size: 4.25 x 3.75 inches Frame size: 13.25 x 12.25 x 2 inches Signed at lower right: AVS A noted contemporary figurative painter, Stevovich grew...
Medium: Oil painting on linen Image size: 6.25 x 5.5 inches Frame size: 15.25 x 14.25 x 2 inches Signed at lower right: AVS A noted contemporary figurative painter, Stevovich grew u...
Medium: Oil painting on linen Image size: 10 x 7.25 inches Frame size: 19 x 16 x 2 inches Signed at lower right: AVS A noted contemporary figurative painter, Stevovich grew up in Wa...
signed, titled and dated «Gilbert and George «THE MAN» 1978» lower right; each further consecutively signed and numbered» «THE MAN» 1 - 9» on the reverse gelatin silver prints with hand colouring, in artists» frames, in 9 parts each 50 x 40 cm (19 5/8 x 15 3/4 in.)
Gilbert & George (B. 1943 & B. 1942) Holy Piss signed, titled and dated «HOLY PISS 1996 Gilbert & George» (lower right) hand - dyed gelatin silver prints in artist frames, in six parts each: 28 x 33 1/4 in.
Jack Tworkov (1900 - 1982) Blue Still Life, 1948 Oil on canvas in artist's frame, 25 1/2 x 31 3/8 inches Signed lower right: «Tworkov» Signed, titled, and dated verso: «Tworkov - «Blue Still Life» - 1948» Inscribed on stretcher verso:» # 4»
Agustin Fernandez (Cuban 1928 - 2006) Untitled 1992 Oil on Canvas Signed & Dated Lower Right 52.8» x 43» inches framed 52» x 42» inches unframed Agustin Fernandez is recog...
Agustin Fernandez [Cuban, 1928 - 2006] «Untitled» 1960 Oil on Canvas Signed & Dated Lower Right 23» x 27» inches framed 21.3» x 25.5» inches unframed Agustin Fernandez was born...
HELEN FRANKENTHALER (1928 - 2011), LITHOGRAPH, # 5/75, 1970, 38» X 26», «WHAT RED LINES CAN DO»: Signed, dated and numbered lower right, label on reverse for The Arwin Galleries, Detroit (see additional photo), framed.
George Daniell (1911 - 2002) Spring Flowers in a Vase Pastel on paper, Image: 10 x 8 inches Framed: 17 x 14... more George Daniell (1911 - 2002) Spring Flowers in a Vase Pastel on paper, Image: 10 x 8 inches Framed: 17 x 14 1/4 inches Signed lower right less
Helen Frankenthaler Card 1971 Color offset lithograph Published by Telamon Editions Limited, New York Signed lower right Sheet: 12.75» x 17»; Frame: 16» x 20.25»
Helen Frankenthaler Causeway (Doctors of the World Collection) 2001 Color etching and aquatint on paper # 18 of 100 Published by John Szoke Editions, New York Signed and dated with edition in pencil lower right sheet; printer blind stamp lower left Image: 21.5» x 31.5»; Sheet: 28» x 37.5»; Frame: 32.125» x 42.5»
FRANKENTHALER, Helen, (American, 1928 --RRB-: Abstract Composition with Bluish Background, Oil / Watercolor / Paper, float mounted, 11» x 16», signed lower right, encased in custom silver gilt frame, 22» x 27».
Artist: Helen Frankenthaler (1928 - 2011); Title: «Thanksgiving Day»; Medium: Painting on tile; Year or Era Produced: Dated 1973 on reverse; Signature: Lower right and on reverse; Sight Area Approximate Measurement: 13.5» x 17.5» x 0.75»; Approximate Weight: 12 lbs; Frame: Unframed; Note: Original artwork, Original 1976 Andre Emmerich Gallery Inc. receipt with a value of $ 2,800.00 accompanies this lot, Receipt reads «Number 4 in an edition of 71», Exhibited, Ceramic Tiles by Helen Frankenthaler, The Solomon R. Guggenheim Museum, New York, May 2 — June 1, 1975, Reverse reads «Number 4 / Edition of 70»