图片文件尺寸 : 4029 x 5825px

Léonard Tsuguharu Foujita:Chat Allongé, from Les Chats (Buisson 29.200)
Etching with aquatint, 1929, chine collé on imperial Japan paper, signed \'Foujita\' and signed again in Japanese \'Tsuguharu\', inscribed \'E.A.\' in pencil, an artist\'s proof aside from the edition of 100 (there were also ten impressions numbered in Roman numerals), published by Éditions Artistiques Apollo, Paris, with margins, irregularly trimmed at all four sides, the palest of time staining, otherwise in good condition, framed

Plate 315 x 385mm. (12 3/8 x 15 1/8in.); Sheet 382 x 470mm. (15 x 18 1/2in.)

伦纳德·祖古哈鲁·福吉塔 猫躺着，从猫那里

图片文件尺寸 : 4260 x 4467px

ATTRIBUTED TO KATSUSHIKA HOKUSAI (1760-1849) :A set of sketches
Edo period (1615-1868), 19th century
Brushed in ink on paper, comprising five sketches of beauties in a variety of poses, all laid down on a single two-page album leaf
11 1/4 x 15 1/8in (28.6 x 38.4cm)

归因于北井胜彦（1760-1849） 一套素描江户时期，19世纪

图片文件尺寸 : 3914 x 4803px

Karel Appel: Bedized Pudding Canadian Suite, 1979
The complete suite of 6 mixed media prints with embossing in color on Arches paper, 5 signed, 4 dated and all numbered 113/130, with the blindstamp of the publisher Editions Canada, London, Ontario, each with full margins, housed in the original screenprinted fabric-covered portfolio.
Titles Include: Lying in Red; The Falling Face; Purple Owl; Face; Sound; The Soft Oriental (6 works)
each 30 5/8 x 20 7/8in (77.8 x 53cm)
each sheet 35 x 26in (88.9 x 66cm)

卡雷尔.阿佩尔 床上用品布丁加拿大套房

图片文件尺寸 : 5068 x 3824px

Joan Miró:Le Lézard aux Plumes d\'Or (Mourlot 789-828, Cramer bk. 148), 1971
The complete set of 15 lithographs in colors on Rives paper with Miró watermark, signed in pencil on the numbering page, copy 97 from the total edition of 195, one of 20 deluxe copies with an additional suite of 13 lithographs in colors on Kochi Japan paper, each signed and numbered IV/X, published/printed by Broder/Mourlot, Paris, the full sheets, loose (as issued), the suite loose within paper wrappers and parchment-covered boards with cover lithograph signed in pencil, with hors-texte, title page, numbering page, text in French and justification, all contained in grey-beige cloth-covered portfolio box.
overall 15 1/4 x 20 3/4 x 2 1/4in (38.7 x 52.7 x 5.7cm)

胡安·米罗 金色羽毛蜥蜴

图片文件尺寸 : 5414 x 4660px

SALVADOR DALÍ:Le Bestiaire de La Fontaine Dalinisé Set (12 works) (Field 74-1 A-L), 1974
The complete set of 12 drypoints with pochoir in colors on japon nacré, each signed in pencil and numbered 61/250 (the total edition was 682 plus proofs), with full margins, the sheets loose (as issued), published by Robert Mouret, Editiones des Maîtres Contemporaines, Paris, with title page, all contained in the original brown velvet-covered portfolio with snaps, with embossed artist\'s name and title in gold. (12 works)
each plate 22 7/8 x 15 3/4in (58 x 40cm)
each sheet 30 x 22 1/4in (76.2 x 56.5cm)
overall 31 7/8 x 23 3/4 x 7/8in (81.2 x 60.4 x 2.5cm)

萨尔瓦多 大理化喷泉的兽场

图片文件像素：5842 x 5474 px

皮耶罗·多拉齐奥-

Piero Dorazio * - Zeitgenössische Kunst I-

(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed

This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity

Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection

Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)


Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)

The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio

Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.

He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.

[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.

Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]

Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]

In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.

(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)

图片文件尺寸 : 5354 x 5591px

Ilya Bolotowsky:Untitled portfolio (12 works), 1969
12 screenprints in colors on Beckett High White paper, each signed in pencil, 8 prints numbered III/XXV (the 8th print edition number PPV) and 4 state proofs (of the 8th print) each numbered 3/25 and with the edition numbers: PPI, PPII, PPIII and PPIV, respectively, comes with the title, artist statement and justification pages, published by Trois Anges, New York, printed by Chiron Press, New York, each with full margins, all contained in original linen-covered clamshell portfolio box. (12 works)
ach image variable 22 x 22in (55.8 x 55.8cm)
each sheet 24 x 24in (60.9 x60.9cm)

伊利亚·博洛托夫斯基 无标题投资组合

图片文件尺寸 : 5209 x 5910px

Ray Swanson:Hosteen Begay at the Canyon
signed \'Ray Swanson CA / ©\' (lower right) and signed again, numbered, dated, titled and inscribed \'3730 / 2003 / All rights reserved by artist\' (on the reverse)
oil on canvas
36 x 24 in.
framed 47 x 34 in.

雷·斯旺森 Hosteen Begay at the Canyon 36 x 24英寸。框架47 x 34英寸。

图片文件尺寸 : 5395 x 4941px

A SMALL SLIP-DECORATED BUNCHEONG BOTTLE:Goryeo dynasty (918-1392), 15th/16th century
The pear-shapes bottle set on a ring foot and with a flaring mouth, decorated with tightly packed rows of rings punctuated with three sets of parallel bands, all in white slip, the body covered in a celadon-tinged glaze
With a wood tomobako storage box
6 5/8in (16.8cm) high

一个装饰精美的小瓶子 高丽王朝，15/16世纪

图片文件尺寸 : 5189 x 5322px

Harold Barling Town, RCA,OSA,CGP,CPE,OC: Eleven figure studies including: Chester Conklin and Mack Swain, Charles Farrell and Dolores Del Rio, Rudolph Valentino A Sainted Devil 1924 and Marilyn Monroe
nine signed \'^HTown\' and dated between \'1970-76\' (various places recto)
mixed media
the largest 78.8 x 76.5cm (31 x 30 1/8in). (11)
all unframed

Harold Barling镇、RCA、OSA、CGP、CPE、OC 11个数字研究，包括：最大的78.8 x 76.5cm。所有无边框