图片文件尺寸 : 4234 x 4885px

KAWASE HASUI (1883-1957):One oban yoko-e print and one oban tate-e print
Showa era (1926-1989), 1947
The first, entitled Yamanakako no banshu (Autumn Evening at Lake Yamanaka); the second, entitled Kintaibashi no shunsho (Spring Evening at Kintai Bridge); both dated 1947, published by Watanabe Shozaburo, with Watanabe 6mm round seal, and signed Hasui (2)
The first, 10 1/2 x 15 1/4in (26.6 x 38.8cm); the second, 15 7/16 x 10 5/8in (39.2 x 26.9cm)

卡瓦斯·哈苏（1883-1957） 昭和时代，1947年

图片文件尺寸 : 4840 x 5992px

UNKNOWN ARTIST:Chinese Landscape
Edo period (1615-1868), 18th/19th century
A six-panel folding screen in ink on paper of a Japanese painter\'s interpretation of a mountainous Chinese landscape, the mountainsides carved out by waterfalls and dotted with structures and the occasional traveler on the winding paths; misty mountains in the distance occupying the background, and boats floating on the lake in the center of the composition; gold flake sprinkled on the surface may be a later addition; sealed Shubun and Gakuo
59 1/2 x 138 1/2in (151.1 x 351.8cm)

无名艺术家 中国山水江户时期，18/19世纪

图片文件尺寸 : 5350 x 4620px

Helen Bradley:\"And what\" said Bruce Sharman, \"is your Aunt saying to Miss Carter\"
inscribed with fly monogram (lower left); further signed, inscribed and dated \'\"and what\" said Bruce Sharman, \"is your Aunt saying to/Miss Carter (who wore Pink) ... \'Ha\', I said, \"how I/remember poor Miss Carter turning pale at the/thought of Grandpa rowing us all back across/Windermere to the station at Lake Side\"/\"Dont worry\", said Aunt Frances, \"you\'ll be quite alright\"/and Mother gave her a comforting pat, \"but what/a pity\", said Aunt Mary Aunt Charlotte\", the/mist hasnt cleared\". Grandpa Grandma had/taken us for a days outing from Blackpool/and while at Town Head, he bought a pony/called Zober for us and the year was 1907./Helen Layfield Bradley. July 26th. 1970.\' (on a label attached verso)
oil on canvas laid on board
45.7 x 61 cm. (18 x 24 in.)

海伦·布拉德利 布鲁斯·沙曼说：“你阿姨对卡特小姐说的是什么？”45.7 x 61厘米。

图片文件尺寸 : 4506 x 5385px

IWASAKI KOGYOKU (1827-1890s):A lacquer tebako (accessory box)
Meiji era (1868-1912), circa 1890
Of rectangular shape and fitted with two lower drawers and a shallow cover with rounded edges decorated overall with the Omi hakkei (The Eight Views of Omi [Lake Biwa]) in hiramaki-e, low-relief takamaki-e, and togidashi maki-e with details of okibirame, silver lacquer, keuchi, and e-nashiji framed by mura-nashiji, the underside of the lid, interior compartment, and interiors of both drawers decorated with open and closed folding fans with landscapes and flowers in hiramaki-e and togidashi maki-e on a nashiji ground, the drawer pulls silver engraved with hollyhock crests, signed in gold lacquer on one fan on the underside of the lid Kogyoku
With a wood tomobako storage box affixed with a paper label stating that this tebako was handed down through the Tokugawa family of Kii Province
8 3/4 x 7 3/8 x 6in (24.7 x 18.7 x 15.2cm)

IWASAKI KOGYOKU（1827-1890年） 大约1890年，明治时代的一种漆

图片文件像素：5850 x 5365 px

Valerio Adami，当代艺术I-

Valerio Adami * - Zeitgenössische Kunst I-

(born in Bologna in 1935)
The Guggenheim, 1968, dated, signed and titled on the reverse, oil on canvas, 97 x 130 cm, framed

This work is registered in the Archivio Valerio Adami

This work is accompanied by a certificate signed by the artist

Provenance:
Sale Farsetti, Prato, 26 November 1994
European Private Collection

As Valerio Adami wrote in 1968, “The hand is a kind of seismograph giving body to the traces left by the circuit of imagination”: the drawing hand is an instrument that records what the eye looks at and the mind sees. It is the starting point of the artist’s method: the hand-seismograph that in the “journey of drawing” goes through the kaleidoscope of his inspiration, and that in the essentiality of the line reworks, summarizes, juxtaposes, disassembles and reassembles it. […]

The lines of the drawing, eternally moving as the mind distilling them, - since for Adami “nulla dies sine linea” (no day without a line) – are the “off the beaten track” trails that the artist constantly crosses and connects. He does so by bringing distant worlds together, from the Ganges to the Matterhorn and from Paris to Finland by making the Greek mythological narrative coexist with New York street life, by recalling the light spells of Lake Maggiore or the clouds at sunrise.
(G. Ranzi, Valerio Adami and the lightly swaying desire, in “Valerio Adami. Immagine e pensiero”, Dep Art, Milan 2002)

图片文件尺寸 : 5267 x 4559px

Yoshitomo Nara (B. 1959):Eleven Works: N\'s YARD Posters
(i) Sorry, Couldn\'t Draw the Left Eye!; (ii) The Little Star Dweller; (iii) In the Milky Lake / Thinking One; (iv) Thinking My Home; (v) Dream Time; (vi) Should I Go?; (vii) Blankey; (viii) News; (ix) Let\'s Talk About Glory; (x) Young Mother; (xi) Midnight Truth

(i) printed with the artist\'s copyright, titled and dated 2003 on lower left
(ii) printed with the artist\'s copyright, titled and dated 2006 on lower right
(iii) printed with the artist\'s copyright, title and dated 2011 on lower left
(iv) printed with the artist\'s copyright, titled and dated 2020 on lower right
(v) printed with the artist\'s copyright, titled and dated 2011 on lower left
(vi) printed with the artist\'s copyright, titled and dated 2011 on lower right
(vii) printed with the artist\'s copyright, titled and dated 2012 on lower left
(viii) printed with the artist\'s copyright, titled and dated 2011 on lower left
(ix) printed with the artist\'s copyright, titled and dated 2012 on lower left
(x) printed with the artist\'s copyright, titled and dated 2011 on lower left
(xi) printed with the artist\'s copyright, titled and dated 2017 on lower left
screenprint

sheet (i-ii): 72.9 x 51.5 cm (28 3/4 x 20 1/4 in)
sheet (iii-xi): 50 x 35 cm (19 5/8 x 13 3/4 in)

奈良美智（1959年） 无 题