图片文件尺寸 : 5410 x 4113px

AN AMERICAN STERLING SILVER FLATWARE SERVICE :by Towle Silversmiths, Newburyport, MA, late 19th/20th century
In the Old Colonial pattern, comprising twenty-four oval spoons, twenty-four dinner knives, twenty-four luncheon forks, twenty-four cream soup spoons, twenty-four salad forks, twenty-four teaspoons, twelve butter knives, eleven demitasse spoons, twelve butter spreaders, two tablespoons, one trout serving fork, two gravy ladles, one cream ladle, one master butter knife, and one sugar spoon, together with three Rogers silver-plated flatware pieces of a different pattern; total weighable silver approximately 190oz troy (190).

美国纯银餐具服务 作者：Towle Silversmiths，马萨诸塞州纽伯里波特，19世纪末/20世纪

图片文件尺寸 : 4170 x 4755px

Ralph Albert Blakelock:Lake, Indians and Canoe
signed \'R.A. Blakelock\' in red within an arrowhead (lower left), identified on a label from M. Knoedler Co., New York, affixed to the reverse
oil on canvas
8 3/4 x 11 ½ in. (22.2 x 29.2 cm)
framed 15 3/4 x 18 5/8 x 2 in.

拉尔夫·阿尔伯特·布拉克洛克 湖、印第安人和独木舟8 3/4 x 11½英寸。框架15 3/4 x 18 5/8 x 2英寸。

图片文件尺寸 : 4426 x 4223px

YOSHIDA HIROSHI (1876-1950):Three oban tate-e prints and one oban yoko-e print
Showa era (1926-1989), 1930-1986
The first, entitled Yomeimon (Yomei Gate), dated 1937, signed Yoshida Hiroshi, with jizuri seal; the second, entitled Bunnosuke chaya (\"A Little Temple Gate\" Bunnosuke Tea House), dated 1933, signed Yoshida Hiroshi, with jizuri seal; the third, entitled Kin to shiro (\"Gate in Gold and White\" Gold and White), original dated 1937 but this impression an atozuri impression from the original printing blocks made in 1986, signed Hiroshi Yoshida; the fourth, entitled Seto Naikai, Kura (\"Kura in Tomonoura\" Seto Inland Sea, Storehouses), dated 1930, signed Hiroshi Yoshida, with jizuri seal (4)
11 1/16 x 16 1/16in (28.1 x 40.8cm), the largest

吉田广史（1876-1950） 昭和时代，1930-1986

图片文件尺寸 : 4301 x 5996px

Utagawa Kuniyoshi (1797-1861):The Monster Skeleton
Edo period (1615-1868), circa 1844
An oban tate-e print triptych entitled Soma no furudairi ni Masakado himegimi Takiyasha yojutsu o motte mikata o atsumuru, Oya no Taro Mitsukuni yokai o tamesan to koko ni kitari tsui ni kore o horobosu (In the Ruined Palace of [Taira] Masakado at Soma His Daughter Princess Takiyasha Uses Sorcery to Summon Allies, Oya no Taro Mitsukuni Comes to Put the Monster to the Test and Finally Destroys It), with red cartouches identifying (right to left) Takiyasha\'s faithful servant Araimaru, Oya no Taro Mitsukuni, and Princess Takiyasha; each sheet signed Ichiyusai Kuniyoshi ga (the right-hand sheet with paulownia-leaf seal); publisher\'s marks Hachi; censor\'s seals Watari (3)
14 3/4 x 10 1/8in (37.4 x 25.7cm) each approximately

Utagawa Kuniyoshi（1797-1861） 怪物骷髅时期，约1844年

图片文件像素：4600 x 3500 px

维克托·布劳纳-

-

(Piatra Neamt, Rumänien 1903–1966 Paris)
La leçon de Twist, 1962, signiert und datiert; auf der Rückseite betitelt, Öl auf Leinwand, 116 x 89 cm, gerahmt

Victor Brauner ist ein figurativer Maler mit symbolischen Zügen, der den Surrealisten, insbesondere Dali und Magritte, sehr nahe stand.
Die Verwandtschaft mit dem Surrealismus zeigt sich in seiner Fähigkeit, das Unbewusste zu erforschen, insbesondere durch den Blickwinkel des Traums, aber in einer primitiven Darstellung, einer quasi-infantilen Art von Zeichnung, die mit dem Wunsch konzipiert wurde, die ursprünglichen Stadien der menschlichen Rasse darzustellen.
Was Brauner von den Surrealisten unterscheidet, sind die charakteristischen Merkmale seiner Kunst, nämlich die Flächigkeit der Zeichnung, die schematische Naivität, die Frontalität: eine Rückkehr zu den zweidimensionalen, abgeflachten Figuren und zur primitiven Kunst, in der Paul Klee im 20. Jahrhundert den Maßstab setzte.
Der Vergleich zwischen Victor Brauners Stil und Klees Maske der Angst liegt auf der Hand, sowohl was die Anlehnung an ethnologische Masken betrifft als auch die beiden Beinpaare, die typologisch die Anwesenheit zweier Figuren suggerieren, die in einem einzigen Körper vereint sind, wie in „La leçon de Twist“.
Brauner stand auch der Art brut („rohe Kunst“) von Jean Dubuffet nahe, die sich wirklich in primitive Zustände zurückzog und sich von der zeitgenössischen Kultur des 20. Jahrhunderts entflieht.
Gemeinsam sind ihnen scharfe Konturen und homogene Hintergründe, elementare Formen, die Mythen verbergen oder erzählen: eine expressive Strenge, die zu einer klaren Lesart der Bilder führt.
In „La leçon de Twist“, einem Gemälde aus den 1960er Jahren, das zwischen den Strömungen des Surrealismus, der Metaphysik und des magischen Realismus angesiedelt ist, bietet uns Brauner eine „art autre“: weder ein Übermaß an musealem Neoklassizismus noch ein wilder Brutalismus, „sondern eine lange Reise zurück zu den stilisierten Eleganzen anderer Epochen, Hieroglyphen, apotropäischen Symbolen, Initiationsriten“ (Renato Barilli), und vermittelt uns so das Gefühl, die Primitiven einer neuen Epoche zu sein.

„Das Thema des Gemäldes ist totemistisch; das Gemälde ist daher magisch und stellt eine direkte, bezaubernde Beziehung zu den großen primitiven Träumereien her“.
(Comunicazione senza pregiudizio, Victor Brauner Januar 1961)
„Die triumphierende Vorstellungskraft wird die Grundlage für eine befreiende Ethik sein. Verbote und Beschränkungen aller Art werden abgeschafft, und es wird sich eine Wirklichkeit eröffnen, in der alles möglich ist“.

Manoscritto dimenticato dietro consapevolezza, Victor Brauner Januar 1964

„Wenn ich vor dem Bild von Victor Brauner stehe, wird meine Freude heilig“.

(André Breton, „Entre chien et loup“, Cahiers d'art, 1945-46)."

图片文件尺寸 : 4593 x 5964px

ATTRIBUTED TO SUZUKI MASAYOSHI (1844-?):A large bronze incense burner
Meiji era (1868-1912), late 19th century
Cast and assembled in sections, the circular base supported by four cabriole legs decorated with flowering vines in low relief, the ovoid ash basin set on a stepped pedestal above four long dragonfish legs, the basin decorated in relief with shaped panels of a landscape with a woman kneeling beneath a pine tree, a basket of cut saplings on her back, and a man pausing by a cherry tree for a smoke, the pedestal decorated with geometric patterns and dragon roundels, the sides applied with two large winged-dragon handles, the cover finished with an elaborate finial formed as a samurai carrying a torch astride a rocky outcropping above a coiling dragon
51 1/2in (130.8cm) high

归因于铃木正佑（1844-？） 一个大型青铜香炉明治时代，19世纪晚期

图片文件尺寸 : 5373 x 4089px

PROCLUS. 412-485 A.D.:In Platonis Theologiam Libri Sex. Hamburg and Frankfurt: Apud Rulandios, 1618. 4to (320 x 206 mm). Contemporary calf, some wear to binding, front joint cracked, but firm.
Provenance: Archivum V.-Prov. Helveticae (stamped over another JHS stamp on title); \"Bibliothek SJ. Zürich Prov. Helv.\" (stamp).

PROCLUS\'S MASTERPIECE, called by Samuel Taylor Coleridge, \"The most beautiful and orderly development of [the Platonic] philosophy, which endeavours to explain all things by an analysis of consciousness, and builds up a world in the mind out of materials furnished by the mind itself\" (Coleridge, Letter to Lady Beaumont, January 21, 1810).

直肠。公元412-485年。 在柏拉图，《性的神学》一书中。汉堡和法兰克福：Apud Rulandios，1618年。

图片文件尺寸 : 4982 x 5868px

SAGE, DEAN. 1841-1902.:The Ristigouche and Its Salmon Fishing. With a Chapter on Angling Literature. Goshen, CT: The Angler\'s and Shooter\'s Press, 1973.
Folio. 79 facsimiles of etchings reproduced from the original 1888 edition, with an additional hand-colored frontispiece of the author\'s favorite flies. Publisher\'s maroon polished calf gilt, marbled endpapers, top edge gilt. Minimal wear.

LIMITED EDITION, number 107 of 250. Facsimile of the rare 1888 edition, of which only 105 were printed.

圣人，院长。1841-1902. Ristigouche及其三文鱼捕捞。有一章关于英国文学。戈申，CT：钓鱼者和射击者出版社，1973年。

图片文件尺寸 : 4465 x 5952px

KIYOKAWA (ACTIVE 19TH CENTURY):A set of ten lacquer bowls and covers with plant motifs
Edo period (1603-1868), 19th century
The ten suimonowan of lacquered wood, with a plain brown-black exterior and an individual plant depicted in hiramaki-e on the interior of the bowl and cover, including iris, plum blossom, bush clover, nandina, lily, narcissus, cherry blossom, bellflower, golden lace, and Adonis ramosa, each bowl signed in lacquer in the interior of the foot Kiyokawa-saku (10)
With a wood tomobako storage box and two fabric sleeves
4 1/2in (11.4cm) diameter, each

菊川（活跃于19世纪） 19世纪江户时代的一套十个带有植物图案的漆碗和漆盖

图片文件尺寸 : 5043 x 4532px

MUNDINUS (DI LUZZI, MONDINO). 1275–1326.:MELLERSTADT, MARTINUS, editor. c.1455-1513. Anathomia Mundini emendata per doctorem melerstat. [Leipzig: Martin Landsberg, 1493.]
4to (200 x 140 mm). 40 leaves, 34 lines, title with full-page woodcut of an anatomical scene. Modern calf antique. Inner margin of title neatly reinforced, tiny repair to blank outer margin of last leaf, illegible old library stamp to lower margin of title page, scattered light browning, mostly marginal.

FIRST ILLUSTRATED EDITION OF THE FIRST DEDICATED ANATOMY BOOK. \"The first modern book devoted solely to anatomy ... Mundinus re-introduced human dissection, which had been neglected for 1500 years before him; he was the most noted dissector of his period, and he set forth the medieval anatomical vocabulary, deriving it mainly from Arabic\" (Garrison). Mondino de\' Luzzi, professor at Bologna, is considered to be the founder of anatomy in the Middle Ages. His treatise remained popular until the beginning of the 16th-century and appeared in multiple editions.

\"The subject of anatomy was not taught either by lectures or by dissection in the universities at the middle of the fifteenth century. An occasional \'anatomy\' was held, but the neglect of the subject is well illustrated by the absence of anatomical books. There is only one in the list, that of Mundinus . . . Mundinus was a professor at Bologna from 1306 to 1326, and was the first to teach anatomy from the subject, usually the corpse of a condemned criminal; but there is the record of a procedure in 1319 against four medical students for body-snatching. His Anatomia, written in 1316, was for two hundred years the popular text book\" (Osler).

In the introduction of the book, Mundinus says, \"proposui meis scholaribus in medicina quoddam opus componere, \'I have proposed to compose a work in medicine for my scholars.\" The work \"met a need universally felt just at that time and commended itself for its brevity, conciseness, and completeness, as well as for the fact that it taught for each separate organ the necessary anatomic technique, as. for example, in the first chapter: \'Situato itaque corpore vel homine mortuo per decollationem vel suspensionem supino\', etc., \'accordingly, laying out the body of a man dead by decapitation or hanging, etc....\" (Choulant). VERY RARE: According to American Book Prices Current no copy sold in the past 42 years. Choulant-Frank History and Bibliography of Anatomic Illustration (Chicago 1920, pp 88-93); Garrison-Morton-Norman 361 (for the 1478 edition); Goff M-874; GW M-25671 (recording only 2 copies/fragments); Hain 11633; see Osler Incunabula Medica 156; Wellcome I, 4484.

蒙迪尼斯（DI LUZZI，MONDINO）。1275–1326. 阿纳托米娅·蒙迪尼由梅勒斯塔特医生修正。[莱比锡：马丁·兰茨贝格，1493年。]