SONNTAG IN TEGERNSEE (SUNDAY IN TEGERNSEE)-AUGUST-MACKE-
（特格尔西周日（特格尔西周日）-AUGUST-MACKE）

材质 :Lithograph 尺寸 :43.1 × 61 cm Print

丁格尔·坦格尔II，1907年-埃米尔·诺德()

英文名称:Tingel-Tangel II, 1907-Emil Nolde

图片文件尺寸: 3788×5000 px

安格尔的小提琴，蒙帕纳斯的琪琪-曼雷

-The Violon d\'Ingres depicts the nude back of Kiki de Montparnasse, the 法国艺术家 model, actress and nightclub singer who permeated and helped shape Parisian culture of the 1920s. She is posed in accordance with the Valpinçon Bather by Jean Auguste Dominque Ingres hanging famously in the Louvre. The curves of her figure mimic those of a violin, and as such, Man Ray superimposes sound holes characteristic of the musical instrument onto the small of her back. Indeed, the colloquial 法国艺术家 saying \"violon d\'Ingres\" refers to a hidden talent eclipsed by one\'s primary skill--derived from the little known fact that Ingres was an accomplished violinist in addition to his success as an artist. A further reading of the image alludes to the inherent sexual nuances--presenting this actress in the guise of the 19th century Orientalist femme fatale and thereby opening her up to the predatory male gaze or to being \"played\" like an instrument.
The source of this multi-dimensional title reveals Man Ray\'s wit and knowledge of painting and the history of art, as well as demonstrating his status as a forerunner of conceptual art. Arturo Schwarz writes that \"A photograph thus became an exciting Surrealist image by the coupling of two distant realities\' that transformed the woman\'s torso into the body of a violin. In addition--and this was probably what mattered to Man Ray--he was hinting at the fact that photography was for him merely his violon d\'Ingres; his real interests lay elsewhere\" (A. Schwarz, The Rigour of Imagination, New York, 1977, p. 281).
As a leading figure in the DADA and Surrealist movements, Man Ray paved the way for conceptual art practice as it developed in the course of the 20th century. His advancements in photography, namely through photocollage and in his self-proclaimed rayographs (cameraless photography), represent only a small piece of his contribution to the art world.

AN AUSTRIAN NEOCLASSICAL CARVED GILTWOOD ARMCHAIR, VIENNA, LATE 18TH CENTURY-AN-AUSTRIAN-NEOCLASSICAL-CARVED-GILTWOOD-ARMCHAIR-VIENNA-LATE-18TH-CENTURY
（奥地利新古典主义雕刻吉尔特伍德扶手椅，维也纳，18世纪晚期-安-奥地利-新古典主义-雕刻-吉尔特伍德-扶手椅-维也纳-18世纪末）

图片文件尺寸: 3446 x 2548px

一头母狮和一幅安格尔的漫画-尤金·德拉克罗瓦

~ A Lioness and a Caricature of Ingres (1850s) --Eugène Delacroix (法国艺术家, 1798-1863)

材质 :Marble 尺寸 :27.3 × 13.6 × 12.7 cm Design\\\\u002FDecorative Art

一对新古典主义花瓶（19世纪末的意大利）-无偿的

英文名称:Pair of Neoclassical Vases (Italy-late 19th century ) | Available for Sale-Unattributed

材质 :Carrera marble 尺寸 :129.5 × 55.9 × 48.3 cm Sculpture

一对新古典主义雕刻大理石基座（约1825年）-巴尔托利尼(Italian, 1777–1850)

英文名称:Pair of Neo-classical carved marble pedestals (ca. 1825)-Lorenzo Bartolini

A PAIR OF RUSSIAN NEOCLASSICAL STYLE BRASS-MOUNTED MAHOGANY SIDE CABINETS-A-PAIR-OF-RUSSIAN-NEOCLASSICAL-STYLE-BRASS-MOUNTED-MAHOGANY-SIDE-CABINETS
（一对俄罗斯新古典主义风格的黄铜安装红木侧柜-一对俄罗斯新古典风格的黄铜安装红木侧柜）

图片文件像素：4600 x 3500 px

新古典主义的桌子，4。第19季度。圣诞节拍卖会-

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黑檀桃花心木框架，带有部分着色的不同珍贵木材、现场形状的花卉、镀金配件、两个架子、带有嵌入花卉彩绘珐琅壳嵌件的板材，高度约75厘米，宽度约41厘米，深度约33厘米，使用痕迹（电话74）电话300

图片文件像素：4600 x 3500 px

新古典主义盒子，20。在19世纪，复活节拍卖-

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两件套针叶木和枫木主体，红木贴面，黑色染成的田野上有各种珍贵木材，形式为风格化的卷须、嵌合体和阿拉伯花纹，抛光，桌状底座，带一个连续抽屉，双门附件，门内有隔间，花环抽屉，高度约71/136厘米，宽度约为73/68厘米，深度约为41/30厘米，2键，已修复，几乎没有干燥损坏