图片文件尺寸 : 2699 x 4361px
乔治·利贝（George Liebe）的《德意志报》（Der Soldat in Der deutschen Vergangenheit）中与“索尔达特”相关的素描和绘图。温诺德·赖斯（Winold Reiss）的《骑士头像研究》-George Liebe. Study of head of knight, full face by Winold Reiss
Sketches and drawings related to Der Soldat in der deutschen Vergangenheit,--Winold Reiss (美国, 1886-1953)
图片文件尺寸 : 4185 x 5525px
A LACQUERED WOOD FIGURE OF AMIDA BUDDHA (AMITABHA):Edo period (1615-1868), 19th century
The figure shown dressed in flowing robes open at the chest, the byakugo (urna) and the nikkeishu (jewel of wisdom) inlaid in color stones, the hands held in the raigo-in (vitarka mudra) gesture used by Amida when descending from heaven to receive the souls of the deceased, the right hand raised and the left hand lowered, both with palm facing outward, standing on a multi-tiered lotus pedestal painted in green pigment with gilt highlights
31 1/4in (79.4cm) high (figure only); 41 1/4in (104.7cm) high overall
阿米达佛（阿弥陀佛）的漆木像 江户时代，19世纪
图片文件尺寸 : 4532 x 3836px
KOAMI LINEAGE:A black lacquer four-case inro
Edo period (1615-1868), 19th century
Of rounded rectangular profile with applied cord-runners, decorated in gold and colored takamaki-e against a rich roiro black lacquer ground and decorated with Okame peering out from a circular window, one hand held to her face, looking at two oni fleeing from beans thrown at them in the mamemaki (bean scattering) ritual on the day before the beginning of spring, the interior gold nashiji, signed Koami with a kao (cursive monogram); ojime glass, with wood storage box
3 3/8in (8.5cm) high
社区谱系 19世纪江户时期的黑漆四箱
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 : 5403 x 5655px
SCILLA, AGUSTINO. 1629-1700.:De Corporibus Marinis Lapidescentibus. Rome: Johann Zempel, 1759.
4to (265 x 200 mm). Title with engraved vignette, engraved frontispiece facing first page of text, 31 engraved plates, engraved initials and head-pieces. Later vellum. Light soiling and wear to binding, scattered spotting, light offsetting from plates.
Provenance: George Sarton (Belgian-American science historian, 1884-1956, bookplate to paste-down).
Third Latin edition. The detailed plates show a variety of fossils including mussels, corals, snails, and shark. The Sicilian painter Agostino Scilla shows the close correspondence between fossils and parts of living animals. See Nissen, ZBI 3780.
阿古斯蒂诺·西拉。1629–1700. 来自Corporibus Marinis Lapidescentibus。罗马：约翰·泽佩尔，1759年。
图片文件尺寸 : 4041 x 5306px
A TAHOTO SHARI YOKI (MANY-JEWELED STUPA RELIQUARY):Edo period (1615-1868), 18th/19th century
Constructed of lacquered wood and bronze in the form of a single-story pagoda set on a rectangular stepped base and railing decorated in square inlays of mother-of-pearl alternating with gold-lacquer cloud patterns, the cylindrical housing fitted with four sets of double doors, two guardian figures painted on the interior of the front facing doors, the exterior lacquered in nashiji, the sloping tiled roof surmounted with a multi-tiered stupa topped with a sacred jewels supported by a lotus dais, from which chains lead down to the roof\'s corners, each corner with a pendant bell
19 3/4in (50.2cm) high
塔霍托沙里约基（许多宝石的佛塔圣物） 江户时期，18/19世纪
图片文件尺寸 : 5389 x 4324px
Pablo Picasso:La Biche (The Doe), from Eaux-fortes originales pour des textes de Buffon (Histoire naturelle) 1936, published 1942 (Bloch 336, Baer 583/II/A, Cramer Bk. 37), 1936
Etching, sugar lift aquatint and drypoint on Vergé de Montval laid paper with the Maillol watermark, with title engraved, annotated \'2eme Etat\', Baer\'s second state (of two),a rare trial proof before the plate was steel-faced, published in 1942 by Martin Fabiani, Paris, printed by Roger Lacourière, Paris, with margins, framed.
16 3/8 x 12 3/8in (41.5 by 31.5cm)
sheet 17 1/4 x 13 1/8in (44 x 32.2cm)
巴勃罗·毕加索 La Biche，摘自《1936年布冯文本的原始要塞》，1942年出版
图片文件尺寸 : 4333 x 4081px
Vasily Sitnikov:Un groupe de cinq dessins/ A group of five drawings:
diversement signé et inscrit
1.Horse
signed in Cyrillic, dated \"1939\" and inscribed \"exercise\" (lower left) signed in Cyrillic (upper right); various inscriptions and sketches (verso)
pencil on paper
29 x 39 cm
unframed
2. Self-portrait
signed in Cyrillic (lower left); dated \"1948 -11-28\" and inscribed \"self-portrait \" (lower left); with various sketches (verso)
pencil on paper
20 x 24 cm
unframed
3. Studies of faces
signed in Cyrillic and dated \"1939\" (middle); variously inscribed, with a study of a nude (verso)
pencil on paper
39 x 27.5 cm
unframed
4. Nephew Sashka
signed in in Cyrillic, dated \"1951-03-3\" and titled (lower right).
pencil on paper
42 x 30 cm
5. Double-sided drawing
signed in Cyrillic, dated \"1939\" and inscribed \"study exercise\" (lower left); variously inscribed in Cyrillic; with unidentified watercolour (verso)
pencil on paper
57 x 42 cm
(5)
瓦西里·西特尼科夫 一组五张图纸/一组五张图纸：
图片文件尺寸 : 5417 x 4993px
A GOLD AND BLACK LACQUER DOCUMENT BOX:Edo period (1615-1868) or Meiji era (1868-1912) mid/late 19th century
Of standard form with rounded corners and slightly domed lid of inrobuta (flush-fitting) type, the black lacquer ground decorated in gold, aokin, and silver, hiramaki-e and takamaki-e with shell details, the exterior with one set of three and another set of four overlapping poem cards, decorated with young warabi (ferns); a courtier\'s gissha (ox-drawn carriage) by a wall overgrown with yugao (\"Evening Face\" flowers), alluding to the chapter with that title in Genji monogatari (The Tale of Genji); butterflies; rafts with sheaves of rice passing under a bridge; a pine tree; and suzumushi (bell crickets) on grasses; the reverse of the lid with a branch of flowering prunus growing from behind a rustic fence; the interior of the box lined with silk brocade
With wood tomobako storage box
15 3/4 x 12 x 5in (40 x 30.5 x 12.7cm)
金黑漆文件盒 江户时代或明治时代19世纪中后期
图片文件像素：5056 x 4377 px
安东·费斯塔尔-现代-
Anton Faistauer - Moderne-
(St. Martin/Lofer 1887–1930 Wien)
„Blaues Bildnis in blauem Fauteuil“, signiert, datiert A. Faistauer 1919, rückseitig auf dem Keilrahmen Beschriftung: Blaues Bildnis in blauem Fauteuil A Faistauer Wien Biberstr. 2, Öl auf Leinwand, 89 x 67 cm, gerahmt
Abgebildet und verzeichnet in:
Franz Fuhrmann, Anton Faistauer, Residenz Verlag 1972, WV-Nr. 187, auf S. 142 verzeichnet - dort mit Titelangabe: „Junge Frau en face in Lehnstuhl“.
Ausgestellt:
CIV. Ausstellung der Vereinigung Bildender Künstler, Wiener Sezession, 23. Februar - 1. April 1929, Nr. 47 - dort mit dem Titel „Dame im blauen Fauteuil“
Sonderausstellung, Anton Faistauer, Carl Moll, Herta Strzygawski, Wien, Mährischer Kunstverein, Brünn, 5. Mai - 26. Mai 1929, Nr. 58 - dort mit dem Titel „Blaues Bildnis in blauem Fauteuil“
Provenienz:
Galerie Hasenöhrl, Getreidegasse, Salzburg, um 1974
Privatsammlung, Salzburg
Anton Faistauer ist einer der bedeutendsten Vertreter des österreichischen Expressionismus, wobei er weniger die Übertreibung der Farbe, vielmehr ihre Vertiefung in der Form und im Raum anstrebte. Er verstand seine Malerei als Zwischenstadium, wo die zufälligen Erscheinungen mit dem objektiven Reich der Ideen zusammentreffen.
Besonders in seinen Frauenbildnissen zeigt sich das feine Gleichgewicht zwischen autonomen, kraftvollen Farbauftrag und subtilen wie eindeutigen Formbegrenzungen. Klare, „gesetzmäßige“ Strukturen versus eindringlicher tonaler Farbenmalerei führt zu jener besonderen Melancholie des Unbestimmten, die Faistauers Frauenporträts ihre eigene Poesie entrückter Sinnlichkeit verleiht.
图片文件尺寸 : 2699 x 4361px
乔治·利贝（George Liebe）的《德意志报》（Der Soldat in Der deutschen Vergangenheit）中与“索尔达特”相关的素描和绘图。温诺德·赖斯（Winold Reiss）的《骑士头像研究》-George Liebe. Study of head of knight, full face by Winold Reiss
Sketches and drawings related to Der Soldat in der deutschen Vergangenheit,--Winold Reiss (美国, 1886-1953)
图片文件尺寸 : 4185 x 5525px
A LACQUERED WOOD FIGURE OF AMIDA BUDDHA (AMITABHA):Edo period (1615-1868), 19th century
The figure shown dressed in flowing robes open at the chest, the byakugo (urna) and the nikkeishu (jewel of wisdom) inlaid in color stones, the hands held in the raigo-in (vitarka mudra) gesture used by Amida when descending from heaven to receive the souls of the deceased, the right hand raised and the left hand lowered, both with palm facing outward, standing on a multi-tiered lotus pedestal painted in green pigment with gilt highlights
31 1/4in (79.4cm) high (figure only); 41 1/4in (104.7cm) high overall
阿米达佛（阿弥陀佛）的漆木像 江户时代，19世纪
图片文件尺寸 : 4532 x 3836px
KOAMI LINEAGE:A black lacquer four-case inro
Edo period (1615-1868), 19th century
Of rounded rectangular profile with applied cord-runners, decorated in gold and colored takamaki-e against a rich roiro black lacquer ground and decorated with Okame peering out from a circular window, one hand held to her face, looking at two oni fleeing from beans thrown at them in the mamemaki (bean scattering) ritual on the day before the beginning of spring, the interior gold nashiji, signed Koami with a kao (cursive monogram); ojime glass, with wood storage box
3 3/8in (8.5cm) high
社区谱系 19世纪江户时期的黑漆四箱
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 : 5403 x 5655px
SCILLA, AGUSTINO. 1629-1700.:De Corporibus Marinis Lapidescentibus. Rome: Johann Zempel, 1759.
4to (265 x 200 mm). Title with engraved vignette, engraved frontispiece facing first page of text, 31 engraved plates, engraved initials and head-pieces. Later vellum. Light soiling and wear to binding, scattered spotting, light offsetting from plates.
Provenance: George Sarton (Belgian-American science historian, 1884-1956, bookplate to paste-down).
Third Latin edition. The detailed plates show a variety of fossils including mussels, corals, snails, and shark. The Sicilian painter Agostino Scilla shows the close correspondence between fossils and parts of living animals. See Nissen, ZBI 3780.
阿古斯蒂诺·西拉。1629–1700. 来自Corporibus Marinis Lapidescentibus。罗马：约翰·泽佩尔，1759年。
图片文件尺寸 : 4041 x 5306px
A TAHOTO SHARI YOKI (MANY-JEWELED STUPA RELIQUARY):Edo period (1615-1868), 18th/19th century
Constructed of lacquered wood and bronze in the form of a single-story pagoda set on a rectangular stepped base and railing decorated in square inlays of mother-of-pearl alternating with gold-lacquer cloud patterns, the cylindrical housing fitted with four sets of double doors, two guardian figures painted on the interior of the front facing doors, the exterior lacquered in nashiji, the sloping tiled roof surmounted with a multi-tiered stupa topped with a sacred jewels supported by a lotus dais, from which chains lead down to the roof\'s corners, each corner with a pendant bell
19 3/4in (50.2cm) high
塔霍托沙里约基（许多宝石的佛塔圣物） 江户时期，18/19世纪
图片文件尺寸 : 5389 x 4324px
Pablo Picasso:La Biche (The Doe), from Eaux-fortes originales pour des textes de Buffon (Histoire naturelle) 1936, published 1942 (Bloch 336, Baer 583/II/A, Cramer Bk. 37), 1936
Etching, sugar lift aquatint and drypoint on Vergé de Montval laid paper with the Maillol watermark, with title engraved, annotated \'2eme Etat\', Baer\'s second state (of two),a rare trial proof before the plate was steel-faced, published in 1942 by Martin Fabiani, Paris, printed by Roger Lacourière, Paris, with margins, framed.
16 3/8 x 12 3/8in (41.5 by 31.5cm)
sheet 17 1/4 x 13 1/8in (44 x 32.2cm)
巴勃罗·毕加索 La Biche，摘自《1936年布冯文本的原始要塞》，1942年出版
图片文件尺寸 : 4333 x 4081px
Vasily Sitnikov:Un groupe de cinq dessins/ A group of five drawings:
diversement signé et inscrit
1.Horse
signed in Cyrillic, dated \"1939\" and inscribed \"exercise\" (lower left) signed in Cyrillic (upper right); various inscriptions and sketches (verso)
pencil on paper
29 x 39 cm
unframed
2. Self-portrait
signed in Cyrillic (lower left); dated \"1948 -11-28\" and inscribed \"self-portrait \" (lower left); with various sketches (verso)
pencil on paper
20 x 24 cm
unframed
3. Studies of faces
signed in Cyrillic and dated \"1939\" (middle); variously inscribed, with a study of a nude (verso)
pencil on paper
39 x 27.5 cm
unframed
4. Nephew Sashka
signed in in Cyrillic, dated \"1951-03-3\" and titled (lower right).
pencil on paper
42 x 30 cm
5. Double-sided drawing
signed in Cyrillic, dated \"1939\" and inscribed \"study exercise\" (lower left); variously inscribed in Cyrillic; with unidentified watercolour (verso)
pencil on paper
57 x 42 cm
(5)
瓦西里·西特尼科夫 一组五张图纸/一组五张图纸：
图片文件尺寸 : 5417 x 4993px
A GOLD AND BLACK LACQUER DOCUMENT BOX:Edo period (1615-1868) or Meiji era (1868-1912) mid/late 19th century
Of standard form with rounded corners and slightly domed lid of inrobuta (flush-fitting) type, the black lacquer ground decorated in gold, aokin, and silver, hiramaki-e and takamaki-e with shell details, the exterior with one set of three and another set of four overlapping poem cards, decorated with young warabi (ferns); a courtier\'s gissha (ox-drawn carriage) by a wall overgrown with yugao (\"Evening Face\" flowers), alluding to the chapter with that title in Genji monogatari (The Tale of Genji); butterflies; rafts with sheaves of rice passing under a bridge; a pine tree; and suzumushi (bell crickets) on grasses; the reverse of the lid with a branch of flowering prunus growing from behind a rustic fence; the interior of the box lined with silk brocade
With wood tomobako storage box
15 3/4 x 12 x 5in (40 x 30.5 x 12.7cm)
金黑漆文件盒 江户时代或明治时代19世纪中后期
图片文件像素：5056 x 4377 px
安东·费斯塔尔-现代-
Anton Faistauer - Moderne-
(St. Martin/Lofer 1887–1930 Wien)
„Blaues Bildnis in blauem Fauteuil“, signiert, datiert A. Faistauer 1919, rückseitig auf dem Keilrahmen Beschriftung: Blaues Bildnis in blauem Fauteuil A Faistauer Wien Biberstr. 2, Öl auf Leinwand, 89 x 67 cm, gerahmt
Abgebildet und verzeichnet in:
Franz Fuhrmann, Anton Faistauer, Residenz Verlag 1972, WV-Nr. 187, auf S. 142 verzeichnet - dort mit Titelangabe: „Junge Frau en face in Lehnstuhl“.
Ausgestellt:
CIV. Ausstellung der Vereinigung Bildender Künstler, Wiener Sezession, 23. Februar - 1. April 1929, Nr. 47 - dort mit dem Titel „Dame im blauen Fauteuil“
Sonderausstellung, Anton Faistauer, Carl Moll, Herta Strzygawski, Wien, Mährischer Kunstverein, Brünn, 5. Mai - 26. Mai 1929, Nr. 58 - dort mit dem Titel „Blaues Bildnis in blauem Fauteuil“
Provenienz:
Galerie Hasenöhrl, Getreidegasse, Salzburg, um 1974
Privatsammlung, Salzburg
Anton Faistauer ist einer der bedeutendsten Vertreter des österreichischen Expressionismus, wobei er weniger die Übertreibung der Farbe, vielmehr ihre Vertiefung in der Form und im Raum anstrebte. Er verstand seine Malerei als Zwischenstadium, wo die zufälligen Erscheinungen mit dem objektiven Reich der Ideen zusammentreffen.
Besonders in seinen Frauenbildnissen zeigt sich das feine Gleichgewicht zwischen autonomen, kraftvollen Farbauftrag und subtilen wie eindeutigen Formbegrenzungen. Klare, „gesetzmäßige“ Strukturen versus eindringlicher tonaler Farbenmalerei führt zu jener besonderen Melancholie des Unbestimmten, die Faistauers Frauenporträts ihre eigene Poesie entrückter Sinnlichkeit verleiht.