图片文件尺寸 : 5085 x 5850px

PETER ALEXANDER: Dirona from the Catalina Series, 1984

signed, titled and dated \'Catalina Series 15 \"Dirona\" 1984 PETER ALEXANDER\' (on the reverse)
fabric paint, glitter, fabric and paint on velvet

47 x 52 1/4 in.
119.4 x 132.7 cm.

彼得·亚历山大 《卡塔琳娜系列》中的迪罗纳，1984年

图片文件尺寸 : 2473 x 3335px

《亚历山大大帝加冕罗克珊娜》彼得·保罗·鲁本斯-Alexander the Great by Circle of Peter Paul Rubens

The Coronation of Roxana--Circle of Peter Paul Rubens (Flemish, 1577-1640)

图片文件尺寸 : 4576 x 3760px

克里斯蒂安·朱利叶斯·洛德维克·波特曼《奥兰治公主在赞丹的沙皇彼得之家接待亚历山大二世（1818-1881），大公和俄罗斯王位继承人》-Christiaan Julius Lodewijk Portman

The Princess of Orange Receiving Alexander II (18181881), Grand Duke and Heir to the Throne of Russia, in the Czar Peters House in Zaandam--Christiaan Julius Lodewijk Portman (荷兰, 1799-1868)

图片文件尺寸 : 4517 x 6005px

PETER ALEXANDER:Untitled (grey wedge), 1968-69

cast polyester resin

11 1/2 x 11 3/4 x 3 in.
29.2 x 29.8 x 7.6 cm.

彼得·亚历山大 无标题，1968-69

图片文件尺寸 : 5206 x 5292px

Andy Warhol:Flowers (Hand-colored) (Feldman Schellmann IIA.110), 1974
Screenprint with hand coloring in Dr. Martin\'s aniline watercolor dyes on J. Green paper, initialed in pencil recto, signed on the reverse, dated and numbered 219/250 (there were also 50 artists proofs), published by Peter M. Brant, Castelli Graphics, and Multiples, Inc., New York, printed by Alexander Heinrici, New York, the full sheet, framed.
sheet 40 3/4 x 27in (103.5 x 68.6cm)

安迪·沃霍尔 鲜花

图片文件尺寸 : 5388 x 5564px

Andy Warhol:Flowers (Hand-Colored) (Feldman Schellmann II.119), 1974
Screenprint hand-colored with Dr. Martin\'s aniline watercolor dyes on J. Green paper, signed in pencil, dated and numbered PP/2 on verso, and intialed on recto (a printer\'s proof aside from the edition of 250), published by Peter M. Grant, Castelli Graphics and Multiples, Inc., New York, printed by Alexander Heinrici, New York, the full sheet.
sheet 40 1/2 x 27 1/4in (102.8 x 69.2cm)

安迪·沃霍尔 鲜花

图片文件尺寸 : 3931 x 5897px

Andy Warhol:Flowers (Hand-Colored) (Feldman Schellmann II.111), 1974
Screenprint hand-colored with Dr. Martin\'s aniline watercolor dyes on J. Green paper, signed in pencil, dated and numbered 186/250 on verso (there were also 50 artist\'s proofs), and initialed and inscribed \'To Fay (Gold) love Andy and Victor\' on recto, with artist\'s and publisher\'s copyright inkstamp on verso, published by Peter M. Grant, Castelli Graphics and Multiples, Inc., New York, printed by Alexander Heinrici, New York, the full sheet.
sheet 40 1/2 x 27 1/8in (102.8 x 68.8cm)

安迪·沃霍尔 鲜花

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，