#facsimile

[zegalba]

H.R. Giger: N.Y. City - Facsimile Edition (2021)

[basicallyanotherwitchesthing]

The Apocrypha (A Facsimile Of The Nonesuch Press Edition Of 1924), slipcase, University Books Inc., 1962 (engravings by Stephen Gooden)

[harvardfineartslib]

New acquisition alert!

Here are a couple of new facsimile scrolls from a set of six-foot tall paintings depicting twelve beautiful women. These facsimiles recently arrived for the Rübel Collection at the Fine Arts Library.

The Yongzheng Emperor (1678–1735) was the fifth emperor of the Qing dynasty. When he was still a prince, he commissioned a set of paintings to decorate a screen in his study within his private quarters at the Summer Palace. The set comprised of twelve portraits of court women engaged in various leisure activities, whether sampling tea, watching butterflies or cats, reading, looking outside, admiring flowers, and so on. These idealized women are depicted in the high fashion of the period with accessories and ornaments, often situated within lavishly decorated interiors.

In the first painting, you see behind the woman a Ru ware style brush washer and a jade table screen. To her left is a red-glazed monks-cap ewer and a bronze zun wine beaker. All of these precious objects represent the opulence of the imperial household. (Source: ChinaCulture.Org)

This facsimile set will be a great resource for researching the design, costumes and accessories of the Qing dynasty’s court style, especially for women.

Twelve Beauties A set of a facsimile scrolls Original artworks are housed in the Chinese Palace Museum in Beijing.

[bmobepip]

vintage topps beatles diary trading cards, 1964

[evilhorse]

Superman (Volume 1) Facsimile Edition #233 (Super Powers variant)

[emmafrostcovercollection]

Uncanny X-Men #129 (2023) - Facsimile Edition by Nathan Szerdy

[longlistshort]

For Facsimile, currently on view at Yancey Richardson, Sharon Core has reproduced Flowers, the famous 1980 book of photographs by photographer Irving Penn. Instead of using photographs, however, she has recreated the images by painting them using Epson printer inks and photo paper. These paintings were then photographed to create replicas of the book. The work investigates issues of memory, reproduction, and the authorship of images, while also creating works that are beautiful objects in themselves.

From the gallery-

Through the meticulous recreation of historical still-life paintings, along with more recent artworks rendered through the medium of photography, her work explores the tension between reality and its photographic representation. In Facsimile, Core expands these themes by subverting her usual process. Rather than reproducing painted still-lifes through photography, she has instead turned to Irving Penn’s iconic Flowers series—a masterful collection of photographic still-lifes—and reinterpreted them through painting. This ambitious project both deepens and reframes Core’s exploration of the still-life genre by posing questions not only about photography in the digital age, but about material specificity and the status of the reproduction as well.

At the center of Facsimile is a hand-made reproduction of Penn’s 1980 book Flowers, which originated from a commission for Vogue magazine for its annual Christmas edition in 1967. Each year from 1967 to 1973, Penn focused on a different flower—beginning with tulips and moving on to poppies, peonies, roses and other blooms—capturing their ephemeral beauty in various states of perfection and decay. In 1980, these images were compiled into the popular and widely available book Flowers, published by Harmony Books, now out of print. Core’s Facsimile: “Irving Penn, Flowers” resurrects and reimagines the book as a tactile, meticulously handcrafted object that visitors are invited to handle. Alongside this edition, Core presents a selection of her 73 hand-painted recreations of Penn’s photographs, displayed throughout the gallery to offer a closer look at her reinterpretations of the original works. Rather than a departure, we might see this as a return for Core, who originally trained as a painter. The interplay between painting and photography has always been central to her practice and Facsimile brings this dialogue into sharper focus.

Core’s process for Facsimile is as intricate as it is conceptually layered. Each of Penn’s photographs is recreated as a painting using Epson UltraChrome inks on Canson Photo Rag paper, materials typically associated with digital photographic printing. Through this method, Core subverts the intended use of contemporary materials, transforming them into tools for painting. She then photographed her painted pages, designed a layout replicating that of the original book and bound the final prints into an edition of seven. In Core’s words, “the book is a multiple sculpture or a three-dimensional print that must be handled and touched to experience. My name is nowhere in the ‘book,’ therefore it is not an artist book, per se, but in fact a converted replica or facsimile.” By humanizing and rarifying a mass-produced object, Core’s “three-dimensional print” calls for a different kind of attention from the viewer. It cannot be experienced via a screen and must instead be encountered physically. In this generous gesture, the now out-of-print book is given a new lease on life, taking on a different meaning through a complex process of conversion: transforming photographs into paintings, which are then re-photographed, printed and bound into a book.

Visually, Facsimile diverges from Penn’s original photographs through Core’s expressive, painterly approach. Unlike her earlier series, in which she precisely reproduced certain still-life paintings in three-dimensions and photographed the results, effectively posing questions about the boundaries between illusion and reality, here Core seeks to emphasize the handcrafted nature of all photographs. As she notes, “Ever more so, the photograph is manipulated and collaged and is printed not through time and light, as in analog process, but with a fluid medium on paper. It becomes a machine assisted drawing or painting.” In Facsimile, Core makes explicit the artistry behind the work: the hand-lettered text is visibly imperfect and the images, while faithful to Penn’s compositions, are imbued with the texture and fluidity of the artist’s brushwork. Even the colors in the paintings result from a rigorous process of mixing and diluting the digital hues of cyan, yellow, magenta and black.

This exhibition closes 4/12/25.

[jadeseadragon]

Charles K. Wilkinson, “Funeral Ritual in a Garden” (1921), tempera on paper, 28 × 48 inches. Image courtesy of Metropolitan Museum of Art/Rogers Fund, 1930.

"This facsimile painting copies a section of wall painting in the tomb of Minnakht (TT 87) in western Thebes. ...

"The facsimile was painted at the tomb in 1921 by Charles K. Wilkinson, a member of the Graphic Section of the Museum's Egyptian Expedition." [The Met]

[cecilcastles]

Facsimile | 2015

[gregdotorg]

In 2018 Maurizio Cattelan made Untitled, a 1:6-scale replica—in fresco on panel—of the Sistine Chapel. He included it in a show he curated for Gucci during Shanghai Fashion Week, around the idea that "The copy is the original."

A hand-painted reproduction in watercolor by Qi Han of an from Gucci's facebook [above] is included in Cattelan: The 11th Commandment (2024), the fourth in a series of publications Three Star Books has created with the artist since 2007. Each features facsimiles of hand-lettered and hand-painted watercolor pages. A deluxe edition also includes an original watercolor which, alas, for The 11th Commandment, is not this one.

[sonimage1965]

[bmobepip]

june 1985: lesley gore fan club fan artwork; letter from lesley ft. facsimile signature; promotional photographs of batman appearance as catwoman's sidekick, "pussycat"

[kkbarnes]

facsimile of nothing

being free from us doesn’t feel like freedom,

it feels like there was nothing there at all.

i don’t think of it much, unless a reminder surfaces,

a song, a place, a fleeting scent in the air.

i tell myself it didn’t matter, a tale of nothingness,

play it off like there was no real depth.

but deep down, i remember feeling heard,

a whisper of connection that lingers in the shadows.

now, i scold myself, disgusted by the past,

berating my heart for even letting you in.

yet secretly, i cherish the words you once told me,

tucked away in a corner i refuse to acknowledge.

i’m not attached anymore, the ties have dissolved,

the feelings that once ran deep are now faint echoes.

in the end, it feels like emptiness,

like a story that never really existed.

-kaitlyn

[slnecnicepupavky]

My portfolio

[thornestar]

Most trans men are real men but I am a facsimile thereof

[hellogiuseppemerolafan]

Ricorso prescrizione cartella. Modello precompilato professionale. (La soluzione al fermo per cartelle decennali)

OTTIENI LA PRESCRIZIONE  CON IL NOSTRO MODELLO …. IN POCHE ORE, E CON GARANZIA Prescrizione delle cartelle Equitalia notificate da oltre 10 anni, o oltre 5 anni come previsto dalla Cassazione. Si propone utilissimo modello di ricorso PRONTO PER OTTENERE LA prescrizione di ruoli esattoriali. Estratto da caso reale contiene le migliori sentenze della Cassazione che hanno dato ragione al…