图片文件尺寸 : 4268 x 4746px
Gary Ernest Smith:Bales in Winter
signed \'GARY / ERNEST / SMITH\' (lower left) and signed again, titled and with the artist\'s copyright statement (on the stretcher bar)
oil on linen
16 x 20 in.
framed 23 x 26 1/2 in.
加里·欧内斯特·史密斯 冬季捆16 x 20英寸。框架23 x 26 1/2英寸。
图片文件尺寸 : 5200 x 5873px
Austin Deuel:Dr. Miller Repairing a Fence in Winter
signed with the artist\'s steer head device \'Austin Deuel\' (lower right)
oil on canvas
18 x 24 in.
framed 26 12 x 32 in.
奥斯汀·杜埃尔 米勒博士在冬季修复围栏18 x 24英寸。框架26 12 x 32英寸。
图片文件尺寸 : 4040 x 5041px
TWO FOLIOS FROM A SAT SAI SERIES:DATIA, CIRCA 1770
Opaque watercolor and gold on paper; numbered 20 and 39, with two line inscriptions in nagri in the upper margin and one with a two line inscription verso.
Image: 7 x 7 1/2 in. (17.9 x 19.1 cm)
Folio: 8 3/4 x 9 1/4 in. (22.4 x 23.4 cm) the larger
Image: 7 x 7 1/2 in. (18 x 19 cm)
Folio: 8 3/4 x 9 1/4 in. (22.3 x 23.4 cm) the smaller
satsai系列的两对开本 日期，约1770年
图片文件尺寸 : 5268 x 5053px
Paul Jenkins:Portrait of New York, New York, 1981
A unique screenprint in colors with extensive hand-coloring in acrylic paint, signed in ink, titled and dated, from a series, with full margins.
43 x 33 1/2in (109.2 x 85cm)
sheet 45 3/4 x 34in (116.2 x 86.3cm)
曾健士 纽约肖像，纽约
图片文件尺寸 : 5163 x 4002px
Paul Jenkins:Portrait, New York, New York, 1981
A unique screenprint in colors with extensive hand-coloring in acrylic paint, signed in purple pencil, titled and dated, from a series, with full margins.
44 1/2 x 30 3/4in (113 x 78.1cm)
sheet 45 7/8 x 33in (116.5 x 83.8cm)
曾健士 肖像，纽约，纽约
图片文件尺寸 : 6760 x 3576px
“1356年巴塞尔地震”-Ernst Stückelberg
The Earthquake In Basel In 1356--Ernst Stückelberg (瑞士, 1831 – 1903)
图片文件尺寸 : 5199 x 4817px
Sam Francis:Untitled (Lembark I105; SFE 071)
Unique aquatint in colours, 1989, on Rives BFK wove paper, signed and numbered 12/18 in pencil (each print in the edition is a unique colour variant), published by the Litho Shop Inc., Santa Monica, California
Image 505 x 452mm. (19 7/8 x 17 3/4in.); Sheet 760 x 705mm. (29 7/8 x 27 3/4in.)
山姆·弗朗西斯 无 题
![Photograph signed and inscribed [in Russian] to Alexander Herzen,](http://www.minghuafuzhi.com/2022/12/02135639719.jpg)
图片文件尺寸 : 3981 x 5780px
DOSTOEVSKY CARTE-DE-VISITE INSCRIBED TO ALEXANDER HERZEN.:DOSTOEVSKY, FYODOR. 1821-1881. Photograph signed and inscribed [in Russian] to Alexander Herzen, albumen print carte-de-visite full length portrait by M.B. Tulinov, Petersburg, 1861, 105 x 65 mm, inscribed by Dostoevsky in Russian to the verso, \"Alexander Ivanovich Herzen in memory of our meeting in London. Fyodor Dostoyevsky 8 July/20 July 1862,\" minor stain to verso.
Provenance: Alexander Ivanovich Herzen; to daughter Olga Aleksandrovna [Herzen] Monod; by descent.
Publication: For a discussion of the photograph, see Volgin, Igor. \"Introduction\" to The Dostoevsky Archive (1997), p 21.
Pull quote: \"Herzen awaits his readers in the future. Far above the heads of the present crowd, he transmits his thoughts to those who will be able to comprehend them.\" – Leo Tolstoy, 1905.
VERY RARE CARTE DE VISITE PHOTOGRAPH OF FYODOR DOSTOEVSKY PRESENTED TO ALEXANDER HERZEN IN REMEMBRANCE OF THEIR 1862 MEETING IN LONDON: A TREMENDOUSLY IMPORTANT ASSOCIATION BETWEEN TWO OF THE LEADING INTELLECTUALS OF THE 19TH-CENTURY.
Alexander Herzen was one of the most important and influential Russian writers and thinkers of the 19th-century. called the \"father of Russian socialism,\" he had a profound influence on late-19th century Russian writers, including Fyodor Dostoevsky. Born illegitimately to a wealthy Russian landowner, Herzen became a dissident and critic of the Russian feudal system. Of Herzen, Tolstoy said he had never met a man \"with so rare a combination of scintillating brilliance and depth.\" His writings, including From the Other Shore (1848) and those appearing in his influential publications of the 1850s-60s The Bell and the Polestar, would help mold a generation of Russian writing and thought.
Herzen and Dostoevsky met for the first time in Russia in 1846, following Dostoevsky\'s comment in a letter to his brother that Herzen and Goncharov stand as \"the most remarkable\" of his rivals; Herzen\'s recollection of the meeting was less than effusive, however: \"I can\'t say he made a particularly present impression.\" Their second meeting occurred when Dostoevsky visited Herzen in London in July of 1862, of which this photograph is a memento. During the 1850s and early 1860s, visits to the emigree Herzen by Russian writers and intellectuals were something of a right of passage, and Dostoevsky\'s visit followed right on the heels of Turgenev. This series of meetings profoundly affected Dostoevsky and his work, and is clearly acknowledged in his Winter Notes which he wrote later that year, exhibiting a clear debt to Herzen\'s own writings. Dostoevsky, along with Solzhenitsyn, acknowledged the formative influence of Herzen on his work, and Herzen would also appear in composite in a number of Dostoevsky\'s characters throughout his career. Herzen, however, noted, rather condescendingly, \"Dostoevsky was here yesterday—he is a naïve, not entirely lucid, but a very dear person. He believes enthusiastically in the Russian people.\"
The two towering figures would meet again on a steamship from Naples to Livorno the following year, where Dostoevsky was travelling with his mistress Polina Suslova. According to Suslova\'s diaries (as published in The Dostoevsky Archives), Dostoevsky took pains to hide their relationship from Herzen, introducing her vaguely as a family member, and even encouraged her to arrange a visit with Herzen\'s son in Paris that Winter. After they parted, Dostoevsky became angry with her over a photograph of her he had seen at Herzen\'s, which she had given at an earlier date. In 1865, Dostoevsky wrote to Herzen imploring him for a loan, and became peevish when Herzen did not immediately respond. By the late 1860s Dostoevsky would disparage Herzen, somewhat unfairly, as a \"Westernizer,\" leading to his more severe criticism of Herzen in his Writer\'s Diary.
Herzen was one of the most complex and brilliant figures of the 19th-century, and was largely responsible for assimilating western ideas into Russian thought, while still maintaining his advocacy for the freedom of the Russian serf.
In reality, the two writers/thinkers shared a great deal in their outlook: both asserted the importance of the individual, and the folly of the search for a unified teleological system, cutting against the grain of their mid-19th century contemporaries. While Herzen was embraced by Lenin, identified as the \"father of Russian socialism,\" Herzen\'s socialism was a different breed, \"Centralization may do a great deal for order and for various public undertakings, but it is incompatible with freedom. It easily brings a nation to the position of a well-tended flock or a pack of hounds cleverly kept in order by a huntsman.\" Lenin regarded Herzen\'s focus on freedom as a shortcoming of his bourgeois roots. During the 20th-century Russian-British philosopher Isaiah Berlin came across Herzen\'s writings and recognized the prescience of Herzen\'s thought. It was Berlin, who reestablished Herzen\'s influence, agreeing with and amplifying his idea that the pursuit of \"a perfect society\" invariably leads to blood.
The present photograph was taken by Mikhail Borisovich Tulinov (1823–1889) in Petersburg in 1861. Any period photograph of Dostoevsky is rare, and moreso inscribed. We trace two inscribed photographs at auction in the last 40 years. However, we find no record of an inscribed photograph of similar substance and importance in the historical record. An incredible, and incredibly rare, Dostoevsky item tying together two of the greatest thinkers and writers of the 19th-century.
REFERENCES:
Kelly, Aileen. The Discovery of Chance: The Life and Thought of Alexander Herzen. 2016.
Kelly, Aileen. \"Irony and Utopia in Herzen and Dostoevsky: From the Other Shore and Diary of a Writer.\" The Russian Review, 50:4 (1991), pp 397-416.
Lantz, Kenneth. The Dostoevsky Encycolpedia. 2004.
Serakin, Peter. The Dostoevsky Archive: Firsthand Accounts of the Novelist from Contemporaries\' Memoirs and Rare Periodicals. 1997.
\"If only people wanted to save themselves instead of saving the world, how much they would do for the salvation of the world and the liberation of humanity!\" – Alexander Herzen, From the Other Shore, 1848.
多斯托耶夫斯基的名片上写着亚历山大·赫尔岑。 照片署名并题写（俄语）给亚历山大·赫尔岑，
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 : 4561 x 5078px
Edgar Payne:Rider and pack horse in the Sierras
signed \'EDGAR PAYNE\' (lower right)
oil on canvas
20 x 24 in.
framed 28 1/2 x 32 1/2 in.
埃德加·佩恩 Sierras 20 x 24英寸的骑手和驮马。框架28 1/2 x 32 1/2英寸。
图片文件尺寸 : 4268 x 4746px
Gary Ernest Smith:Bales in Winter
signed \'GARY / ERNEST / SMITH\' (lower left) and signed again, titled and with the artist\'s copyright statement (on the stretcher bar)
oil on linen
16 x 20 in.
framed 23 x 26 1/2 in.
加里·欧内斯特·史密斯 冬季捆16 x 20英寸。框架23 x 26 1/2英寸。
图片文件尺寸 : 5200 x 5873px
Austin Deuel:Dr. Miller Repairing a Fence in Winter
signed with the artist\'s steer head device \'Austin Deuel\' (lower right)
oil on canvas
18 x 24 in.
framed 26 12 x 32 in.
奥斯汀·杜埃尔 米勒博士在冬季修复围栏18 x 24英寸。框架26 12 x 32英寸。
图片文件尺寸 : 4040 x 5041px
TWO FOLIOS FROM A SAT SAI SERIES:DATIA, CIRCA 1770
Opaque watercolor and gold on paper; numbered 20 and 39, with two line inscriptions in nagri in the upper margin and one with a two line inscription verso.
Image: 7 x 7 1/2 in. (17.9 x 19.1 cm)
Folio: 8 3/4 x 9 1/4 in. (22.4 x 23.4 cm) the larger
Image: 7 x 7 1/2 in. (18 x 19 cm)
Folio: 8 3/4 x 9 1/4 in. (22.3 x 23.4 cm) the smaller
satsai系列的两对开本 日期，约1770年
图片文件尺寸 : 5268 x 5053px
Paul Jenkins:Portrait of New York, New York, 1981
A unique screenprint in colors with extensive hand-coloring in acrylic paint, signed in ink, titled and dated, from a series, with full margins.
43 x 33 1/2in (109.2 x 85cm)
sheet 45 3/4 x 34in (116.2 x 86.3cm)
曾健士 纽约肖像，纽约
图片文件尺寸 : 5163 x 4002px
Paul Jenkins:Portrait, New York, New York, 1981
A unique screenprint in colors with extensive hand-coloring in acrylic paint, signed in purple pencil, titled and dated, from a series, with full margins.
44 1/2 x 30 3/4in (113 x 78.1cm)
sheet 45 7/8 x 33in (116.5 x 83.8cm)
曾健士 肖像，纽约，纽约
图片文件尺寸 : 6760 x 3576px
“1356年巴塞尔地震”-Ernst Stückelberg
The Earthquake In Basel In 1356--Ernst Stückelberg (瑞士, 1831 – 1903)
图片文件尺寸 : 5199 x 4817px
Sam Francis:Untitled (Lembark I105; SFE 071)
Unique aquatint in colours, 1989, on Rives BFK wove paper, signed and numbered 12/18 in pencil (each print in the edition is a unique colour variant), published by the Litho Shop Inc., Santa Monica, California
Image 505 x 452mm. (19 7/8 x 17 3/4in.); Sheet 760 x 705mm. (29 7/8 x 27 3/4in.)
山姆·弗朗西斯 无 题
图片文件尺寸 : 3981 x 5780px
DOSTOEVSKY CARTE-DE-VISITE INSCRIBED TO ALEXANDER HERZEN.:DOSTOEVSKY, FYODOR. 1821-1881. Photograph signed and inscribed [in Russian] to Alexander Herzen, albumen print carte-de-visite full length portrait by M.B. Tulinov, Petersburg, 1861, 105 x 65 mm, inscribed by Dostoevsky in Russian to the verso, \"Alexander Ivanovich Herzen in memory of our meeting in London. Fyodor Dostoyevsky 8 July/20 July 1862,\" minor stain to verso.
Provenance: Alexander Ivanovich Herzen; to daughter Olga Aleksandrovna [Herzen] Monod; by descent.
Publication: For a discussion of the photograph, see Volgin, Igor. \"Introduction\" to The Dostoevsky Archive (1997), p 21.
Pull quote: \"Herzen awaits his readers in the future. Far above the heads of the present crowd, he transmits his thoughts to those who will be able to comprehend them.\" – Leo Tolstoy, 1905.
VERY RARE CARTE DE VISITE PHOTOGRAPH OF FYODOR DOSTOEVSKY PRESENTED TO ALEXANDER HERZEN IN REMEMBRANCE OF THEIR 1862 MEETING IN LONDON: A TREMENDOUSLY IMPORTANT ASSOCIATION BETWEEN TWO OF THE LEADING INTELLECTUALS OF THE 19TH-CENTURY.
Alexander Herzen was one of the most important and influential Russian writers and thinkers of the 19th-century. called the \"father of Russian socialism,\" he had a profound influence on late-19th century Russian writers, including Fyodor Dostoevsky. Born illegitimately to a wealthy Russian landowner, Herzen became a dissident and critic of the Russian feudal system. Of Herzen, Tolstoy said he had never met a man \"with so rare a combination of scintillating brilliance and depth.\" His writings, including From the Other Shore (1848) and those appearing in his influential publications of the 1850s-60s The Bell and the Polestar, would help mold a generation of Russian writing and thought.
Herzen and Dostoevsky met for the first time in Russia in 1846, following Dostoevsky\'s comment in a letter to his brother that Herzen and Goncharov stand as \"the most remarkable\" of his rivals; Herzen\'s recollection of the meeting was less than effusive, however: \"I can\'t say he made a particularly present impression.\" Their second meeting occurred when Dostoevsky visited Herzen in London in July of 1862, of which this photograph is a memento. During the 1850s and early 1860s, visits to the emigree Herzen by Russian writers and intellectuals were something of a right of passage, and Dostoevsky\'s visit followed right on the heels of Turgenev. This series of meetings profoundly affected Dostoevsky and his work, and is clearly acknowledged in his Winter Notes which he wrote later that year, exhibiting a clear debt to Herzen\'s own writings. Dostoevsky, along with Solzhenitsyn, acknowledged the formative influence of Herzen on his work, and Herzen would also appear in composite in a number of Dostoevsky\'s characters throughout his career. Herzen, however, noted, rather condescendingly, \"Dostoevsky was here yesterday—he is a naïve, not entirely lucid, but a very dear person. He believes enthusiastically in the Russian people.\"
The two towering figures would meet again on a steamship from Naples to Livorno the following year, where Dostoevsky was travelling with his mistress Polina Suslova. According to Suslova\'s diaries (as published in The Dostoevsky Archives), Dostoevsky took pains to hide their relationship from Herzen, introducing her vaguely as a family member, and even encouraged her to arrange a visit with Herzen\'s son in Paris that Winter. After they parted, Dostoevsky became angry with her over a photograph of her he had seen at Herzen\'s, which she had given at an earlier date. In 1865, Dostoevsky wrote to Herzen imploring him for a loan, and became peevish when Herzen did not immediately respond. By the late 1860s Dostoevsky would disparage Herzen, somewhat unfairly, as a \"Westernizer,\" leading to his more severe criticism of Herzen in his Writer\'s Diary.
Herzen was one of the most complex and brilliant figures of the 19th-century, and was largely responsible for assimilating western ideas into Russian thought, while still maintaining his advocacy for the freedom of the Russian serf.
In reality, the two writers/thinkers shared a great deal in their outlook: both asserted the importance of the individual, and the folly of the search for a unified teleological system, cutting against the grain of their mid-19th century contemporaries. While Herzen was embraced by Lenin, identified as the \"father of Russian socialism,\" Herzen\'s socialism was a different breed, \"Centralization may do a great deal for order and for various public undertakings, but it is incompatible with freedom. It easily brings a nation to the position of a well-tended flock or a pack of hounds cleverly kept in order by a huntsman.\" Lenin regarded Herzen\'s focus on freedom as a shortcoming of his bourgeois roots. During the 20th-century Russian-British philosopher Isaiah Berlin came across Herzen\'s writings and recognized the prescience of Herzen\'s thought. It was Berlin, who reestablished Herzen\'s influence, agreeing with and amplifying his idea that the pursuit of \"a perfect society\" invariably leads to blood.
The present photograph was taken by Mikhail Borisovich Tulinov (1823–1889) in Petersburg in 1861. Any period photograph of Dostoevsky is rare, and moreso inscribed. We trace two inscribed photographs at auction in the last 40 years. However, we find no record of an inscribed photograph of similar substance and importance in the historical record. An incredible, and incredibly rare, Dostoevsky item tying together two of the greatest thinkers and writers of the 19th-century.
REFERENCES:
Kelly, Aileen. The Discovery of Chance: The Life and Thought of Alexander Herzen. 2016.
Kelly, Aileen. \"Irony and Utopia in Herzen and Dostoevsky: From the Other Shore and Diary of a Writer.\" The Russian Review, 50:4 (1991), pp 397-416.
Lantz, Kenneth. The Dostoevsky Encycolpedia. 2004.
Serakin, Peter. The Dostoevsky Archive: Firsthand Accounts of the Novelist from Contemporaries\' Memoirs and Rare Periodicals. 1997.
\"If only people wanted to save themselves instead of saving the world, how much they would do for the salvation of the world and the liberation of humanity!\" – Alexander Herzen, From the Other Shore, 1848.
多斯托耶夫斯基的名片上写着亚历山大·赫尔岑。 照片署名并题写（俄语）给亚历山大·赫尔岑，
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 : 4561 x 5078px
Edgar Payne:Rider and pack horse in the Sierras
signed \'EDGAR PAYNE\' (lower right)
oil on canvas
20 x 24 in.
framed 28 1/2 x 32 1/2 in.
埃德加·佩恩 Sierras 20 x 24英寸的骑手和驮马。框架28 1/2 x 32 1/2英寸。