plate: 8 1/2 x 6 1/4 (21.6 x 15.8 cm); sheet: 14 3/4 x 10 1/8 (37 x 25.7 cm)

Louise Bourgeois. Untitled, plate 6 of 9, from the portfolio, The View from the Bottom of the Well. 1995

路易丝·布尔乔亚。无标题，第6页，共9页，来自投资组合《井底视图》。1995-

图片文件尺寸 : 4414 x 4928px

UTAGAWA KUNISADA (1786-1864):Edo period (1615-1868), 1857
An oban tate-e print triptych entitled Shonin (Shopkeepers) from the series Imayo mitate shinokosho (An Up-To-Date Parody of the Four Classes), depicting beauties as purveyors and customers of a print shop, signed on each sheet Toyokuni, published by Uoya Eikichi (3)
14 5/8 x 10 1/8in (37.1 x 25.7cm) each approximately

芥川久奈达（1786-1864） 江户时期，1857年

图片文件尺寸 : 5313 x 3831px

UTAGAWA KUNIYOSHI (1797-1861):Edo period (1615-1868), circa 1844
An oban tate-e print triptych entitled Abeno no Muneto, Hachiman Taro Yoshiie, Mikawa Zenshi no Musume Nareginu (Daughter of the former official of Mikawa in ordinary clothes), depicting Hachiman Taro Yoshiie cutting the corner off a go board which has been placed in his way, signed Ichiyusai Kuniyoshi ga, published by Fujiokaya Hikotaro (3)
14 7/8 x 10 1/8in (37.7 x 25.7cm) each approximately

UTAGAWA KUNIYOSHI（1797-1861） 江户时期，约1844年

图片文件尺寸 : 5360 x 5174px

Joan Miró:Untitled, from Joan Miró Lithographs IV (Mourlot 1262), 1981
Lithograph in colors on wove paper, signed in pencil and numbered 18/150, from the deluxe edition, there was also an English edition of 4000, published/printed by Maeght/Mourlot, Paris, with full margins.
12 x 9 7/8in (30.5 x 25.7cm)
sheet 13 1/4 x 10in (33.7 x 25.4cm)

胡安·米罗 无标题，来自Joan MiróLithographs IV

图片文件尺寸 : 3930 x 4715px

KATSUSHIKA HOKUSAI (1760-1849):Twelve oban yoko-e shunga prints
Edo period (1615-1868), circa 1812
Each from the series Ehon tsuhi no hinagata (Picture-Book Models of Couples) in six designs, each unsigned (12)
9 5/8 x 14 1/16in (24.3 x 35.7cm) the smallest
10 1/8 x 15in (25.7 x 38cm) the largest

住宅（1760-1849） 江户时代，约1812年，12幅奥班横叶顺加版画

plate: 6 9/16 x 6 (16.6 x 15.3 cm); sheet: 10 1/8 x 9 1/16 (25.7 x 23 cm)

Louise Bourgeois. Untitled (Branch with Three Leaves and Two Offshoots), in Les Arbres (5), from the editioned series of portfolios, Les Arbres (1-6). 2004

路易丝·布尔乔亚。《无题》（《三片叶子和两个偏移的树枝》），摘自《Les Arbres》（5），出自《Les Abres》（16）系列作品集。2004-

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

图片文件尺寸 : 4959 x 5094px

KIKUGAWA EIZAN (1787-1867):Three woodblock prints
Edo period (1615-1868), circa 1811-1814
Oban tate-e prints including:
Hira bosetsu (Twilight Snow at Mount Hira), from the series Furyu bijin Omi hakkei (Fashionable Beauties for the Eight Views of Omi), signed Eizan hitsu, published by Sanoya Kihei; Toi no Tamagawa (The Cloth-fulling Jewel River), from the series Furyu Mutamagawa (Fashionable Six Jewel Rivers), signed Kikugawa Eizan hitsu, published by Yamaguchi Tobei; a beauty combing a child\'s topknot from the series Bijin ko-dakara awase (Comparison of Beauties and Precious Children), signed Kikugawa Eizan hitsu, published by Moriya Jihei (3)
15 1/8 x 10 1/8in (38.4 x 25.7cm) the first two, approximately; 13 3/4 x 9 1/8in (34.9 x 23.2cm), the third

Kikugawa Eizan（1787-1867） 三幅木版版画多时期，约1811-1814年

图片文件尺寸 : 4890 x 4508px

Salvador Dalí:Two plates from Purgatory, Canto 24, from The Divine Comedy, wood engraving and corresponding etching on silk (2 works) (Field pp. 189-193), 1951
Wood engraving in colors on Rives paper and an etching printed in red ink on silk, the engraving signed and dated in ballpoint pen, \'Salvador Dali 1963\', from the French edition published in 1959-1963 by Jean Estrade, Les Heures Claires, Paris in a total edition of 4765, the etching on silk with the artist\'s printed signature, from the deluxe edition of 33, published by Joseph Foret, the engraving with full margins. (2 works)
9 7/8 x 7in (25 x 18.4cm); silk image 10 1/8 x 7 7/8in (25.7 x 19.9cm)
sheet 13 x 10 3/8in (33 x 26.3cm) silk 12 x 10in (30.4 x 25.4cm)

萨尔瓦多·达利 《炼狱》第24章《神曲》中的两个盘子，木刻和相应的丝绸蚀刻

图片文件尺寸 : 5383 x 4331px

Vasily Sitnikov:Un groupe de quatre dessins/ A group of four drawings:
diversement signé et inscrit


1.Double sided drawing
signed in Cyrillic, dated \"1939\" and inscribed \"first exercise\" (middle left); a portrait on the verso
pencil and watercolour on paper
39 x 51 cm

2. Portrait of Anna Maria Kollor
signed in Cyrillic (middle); dated \"1968\" and inscribed \"Portrait Anna Maria Kollor. Brazil. \" (upper left)
coloured pencil on paper
20 x 39.5 cm

3. Portrait of a political criminal
signed in Cyrillic (middle); dated \"1942-IX\" and inscribed \"prison psychiatric hospital \'special care ward\' exercise, portrait of a political criminal.
pencil on paper
33 x 25.7 cm
unframed

4. Portrait of Tamara
Signed in in Cyrillic (lower left), dated \"1940-1941\" and titled (lower right); double sided with various sketches
pencil on paper
41.5 x 30 cm
unframed
(4)

(5)

瓦西里·西特尼科夫 一组四张图纸/一组四张图纸：