L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i

Sunday, January 22, 2023

Randomly XXV

Red Hollyhocks, by John La Farge, 1863.
Unknown, from an album belonging to Mary Adelaide of Cambridge, Duchess of Teck, circa 1860.
The Ghost of a Flea, by William Blake, circa 1819-20.
Jeune femme lisant une lettre près du groupe de putti « lutte pour un coeur » de Falconet,  circle of Marguerite Gérard, circa 1790.
The artist Giovanni Boldini, by Federico Andreotti, circa 1870.
Jeune footballeur, by Ángel Zarraga, 1927.
Après la faute, by Jean Béraud, circa 1885-90.
Meiji period photograph of a man in a sedan chair with two attendants on their way to Nikkō in Tochigi Prefecture.
Selection of shells arranged on shelves, by Alexandre Isidore Leroy de Barde, 1810.
Sketch of a man in profile, by Rudolph Friedrich Wasmann, circa 1830.
Allegory of Sacred and Profane Love, by Michele Desubleo, circa 1665-75.
Nude study, by Valdemar Andersen, circa first quarter of the twentieth century.
Alexina Nesbit Sandford née Lindsay and Catherine Hepburne Lindsay, by Andrew Geddes, circa 1838.
L'Admiration !, by comte Olympe Aguado, circa 1860.
Pot de violettes et panier de fraises, by Léon Marie Benoît, 1910.
Jeune femme endormie (inscribed upper left: "Á Jacques et Valentine, paternellement..."), by André Devambez, ND.
Tsuguharu Foujita, by madame d’Ora, 1926.
 Enfant emmaillotté dans un berceau en forme de conque, French School, follower of Jean Nocret, circa 1700.
Golden Fish, by Henri Matisse, 1912.
Carte de visite of a Black Union soldier.
Mrs. Charles Hatchett, by Thomas Gainsborough, circa 1786.
Miss Catherine Tatton, by Thomas Gainsborough, 1786.
Stream behind the Barn - On the Stream Bank, by Ladislav Mednyánszky, circa 1873-1875.
French Market, New Orleans, by Pierre Fatumbi Verger, 1934.
A Banquet in the Ruins of a Temple, by Hubert Robert, 1795.
Tekemessa and Eurysakes, by John Henry Fuseli, circa 1800-10.
Saturday Evening Post cover, Halloween, by Frederic Stanley, 1921.
Two sisters, by Cornelis de Vos, circa 1610-15.
Crescentia, Countess Széchenyi, by Ferdinand Georg Waldmüller, 1828.
Apollo and Marsyas, by Hans Thoma, 1888.
Combat of Love and Chastity, by Gherardo del Fora, circa 1480-1500.
From the series “Jardines interiores", by Yuris Nórido Ruiz Cabrera, contemporary.
Nature morte aux bouteilles et aux livres, anonymous, circa 1530.
Ensemble by Maggy Rouff worn by Ann-Emily Lacey, by Egidio Scaioni, 1934.
Resting Acrobats, by Glyn Philpot, 1924.
Bouquet de pensées, Léon Bonvin, 1863.
The Cotillion, by Howard Chandler Christy, circa 1901.
In Brooklyn Navy Yard, by William Merritt Chase, 1887.
  Gerberas at Monbulk, by Jesse Dayan, contemporary.
Bildnis eines Malers in einem Pariser Atelier, by Ottilie Roederstein, 1887. 
Le Parc à Versailles, by Henri Martin, circa 1910-20.
I fidanzi - promessi (the engaged couple - vows), by Giuseppe Tominz, 1832.
Pins au clair de lune, by Thorolf Holmboe, 1902.
National Academy, Amsterdam, by Maria Austria, 1962.
A young Lady at her Toilet, by Willem van Mieris, circa 1681.
Self-portrait, by Bruno Schulz, 1933.


  1. The Cotillion by Christy looks as if they are in the Palladian lounge aboard the RMS Aquitania.
    The gerberas by Dayan, the pensees by Bonvin, the violettes et fraises of Benoit and the hollyhocks of La Farge, one could smell the fleurs and eat the fraises, so beautifully rendered.
    Image 5 - a joyous manhood, men hold and protect what is most dear to them! As image 5 hides his manhood, images 14 & 52 are nonchalant about theirs. Image 21- real cowboys, so they think! Image 23 - Matisse and his goldfish, who hasn't had an aquarium of some kind. - Rj/IE

  2. Foto 2 - il Nera Vedova