图片文件尺寸 : 4989 x 4204px

A GILT-BRONZE EGORO (LONG-HANDLED RITUAL CENSER):Kamakura period (1185-1333), 13th/14th century
The gilt-bronze censer with a long L-shaped handle decorated with scrolling vines on a nanako ground, weighted on the end with a bridge-post shaped counter balance, the circular ash cup cast with straight sides rising to an everted rim and set on a chrysanthemum-form base, the handle joint decorated with a nyoi head-shaped flourish decorated with scrolling vines and pierced with openwork, the hinged, domed cover pierced with clouds and stylized cranes and finished with a jewel-form finial
13 3/16in (33.5cm) long

镀金镀金的EGORO（长柄仪式香炉） 镰仓时期，13/14世纪

图片文件尺寸 : 4742 x 6030px

Sol LeWitt:One plate, from Lines In Color on Color From Corners Sides and Centers to Specific Points on a Grid (Krakow Witkin 1978.2.05), 1978
Screenprint in colors on Arches 88 paper, signed in pencil and numbered 11/15 AP (an artist\'s proof aside from the edition of 25), published by Multiples Inc., New York, printed by Jo Watanabe, New York, the full sheet.
sheet 30 x 30in (76.2 x 76.2cm)

索尔·莱维特 一个板，从颜色上的颜色线从角边和中心到网格上的特定点

图片文件尺寸 : 5346 x 5224px

Sol LeWitt:One plate, from Lines In Color on Color From Corners Sides and Centers to Specific Points on a Grid (Krakow Witkin 1978.2.08), 1978
Screenprint in colors on Arches 88 paper, signed in pencil and numbered 11/15 AP (an artist\'s proof aside from the edition of 25), published by Multiples Inc., New York, printed by Jo Watanabe, New York, the full sheet.
sheet 30 x 30in (76.2 x 76.2cm)

索尔·莱维特 一个板，从颜色上的颜色线从角边和中心到网格上的特定点

图片文件像素：5541 x 3948 px

乔治·康多，当代艺术I-

George Condo - Zeitgenössische Kunst I-

(born in Concord, New Hampshire, USA in 1957)
Cap d’ Antibes, 1990, signed, titled and dated on the reverse, oil on canvas, 65 x 46 cm, framed

Provenance:
Bischofberger Gallery, Zurich
Acquired from the above by the present owner

« I just wanted to say, \'There must be a way to work figuratively that doesn’t end up looking like some boring realism, some boring photorealism.\'

The point is not to see how well somebody paints a figure, but something beyond that. A way of saying that the figure itself becomes a map of a number of intellectual processes involved in the idea of making an art work.»

George Condo, 2004, www.brunobischofberger.com/condo-bio

图片文件尺寸 : 5281 x 4104px

AFTER KATSUKAWA SHUNSHO (1726-1792):Standing Beauty
Edo period (1615-1868), 18th/19th century
The painting of ink, colors, and gold on silk, depicting a standing beauty, her lips parted in a gentle smile exposing her ohaguro blackened teeth, her outer kimono decorated in flowers and folding fan faces, red and gold threads hanging from several parts of her kimono almost flamelike; signed Katsu Shunsho ga and an unidentified seal
With double wood tomobako storage box, the lid of the interior box inscribed in gold lacquer Shunsho hitsu tachi bijin no zu (Picture of standing beauty brushed by Shunsho)
38 3/4 x 12 5/8in (98.4 x 32cm)

源自KATSUKAWA SHUNSHO（1726-1792） 站立的美丽江户时期，18/19世纪

图片文件尺寸 : 4707 x 4793px

Beatrice L. Stevens:The Masque of Spring
signed \'B. Stevens\' (lower left), titled in the artist\'s hand on an exhibition label from the Architectural League of New York (affixed to the stretcher, see below)
oil on canvas
36 x 72 in. (91.5 x 183.0 cm)
framed with a triptych overlay 37 1/4 x 73 5/8 x 1 1/2 in.

碧翠丝·L·史蒂文斯 弹簧假面36 x 72英寸。框架带有37 1/4 x 73 5/8 x 1 1/2 in。

图片文件尺寸 : 4311 x 3904px

安娜·科克斯·布林顿 《洛杉矶爱德华·劳伦斯·多赫尼夫人文集中的维吉尔的拉斐尔前派埃涅德，作为纪念威廉·莫里斯百岁诞辰的随笔》，1934年。洛杉矶：沃德·里奇1934年。

图片文件像素：4600 x 3500 px

路易·科隆（Louis Chéron）将1900年以前的绘画和版画、水彩画、微缩画归为大师所有-

-

(1660–1725)
Liegender männlicher Akt mit Draperie, in brauner Feder von fremder Hand bezeichnet “Gainsborough”, schwarze und weiße Kreide auf grauem Bütten, 30 x 50 cm, Fehlstelle an der rechten oberen Ecke ergänzt, alt auf Unterlage montiert, Passep., gerahmt, (Sch)

图片文件尺寸 : 5072 x 4080px

IIZUKA HOSAI II (1872–1934) OR IIZUKA ROKANSAI (1890–1958):A bamboo flower basket
Showa era (1926-1989), late 1920s/early 1930s
Of madake (timber bamboo) with applications of dust and lacquer, worked in diagonal free-style and bundled plaiting and wrapping, signed on a cross bar on the base Hosai Sanjin (Hosai the Recluse); with an otoshi (water container) formed from a stem of bamboo and cut with vertical striations
11 1/2in (29.2cm) high

IIZUKA HOSAI II（1872–1934）或IIZUKA ROKANSAI（1890–1958） 竹篮昭和时代，20世纪20年代末/30年代初

图片文件像素：5224 x 4977 px

约瑟夫·弗洛奇，摩登-

Josef Floch * - Moderne-

(Wien 1894–1977 New York)
„Afternoon“ (Der Künstler in seinem Atelier), 1963, signiert Floch, auf der Rückseite Klebezettel mit dem Titel „Afternoon“ und handschriftl. Widmung des Künstlers an seine Tochter Jenny Efland, Öl auf Leinwand, 92 x 74 cm, gerahmt

Provenienz:
Jenny Floch-Efland, New York
Privatsammlung, Österreich

Registriert und abgebildet in:
Karl Pallauf, Josef Floch. Leben und Werk, Wien 2000, WV-Nr. 806, ganzseitige Abb.
Thomas Yoseloff (Hg.), Joseph Floch, 1968, Nr. 107, Abb.

Ausgestellt und abgebildet:
1964, Joseph Floch. Oils Drawings, Spring Festivals of Great Music and Art, 25. April – 9. Mai 1964, Scarborough School on Hudson, USA, Ausst.-Kat. Nr. 24 („Studio“), mit Abb.

„Ich bin siebzig Jahre alt. Ich kann es kaum glauben. Ich male besser als je zuvor.“
(Joseph Floch, 1964)