signed, dated, stamped and numbered out of 10 on mount verso
50.8 cm x 60.96 cm (20 in. x 24 in.)
A nude in a dance pose. The female dancer is posed with an arched back and her arms extended, one knee is brought up as if in an exaggerated step motion. Her head is tilted back with her face covered and hair hanging down. A light source to her right casts a shadow of her body onto a white background.
A woodblock print on paper; the block was quite worn, resulting in broken or smudged lines.
Tentatively identified as Shakya Senge, the great Tibetan Buddhist sage Padmasambhava as a young monk. If so, the young female at his knee may be identified as Yeshe Tsogyal, his consort. Other figures from the Nyingma pantheon are depicted as well.
Alongside a block of calligraphic text a red rectable sets off an illustrative space. In the bottom right corner of the illustration a woman dances, and on the left a larger figure pulls an arrow taught in a bow.
Towards the end of the Kalpasutra text there is a story of the courtesan Kosha who was noted for her precise dancing. Here she flirts with the king’s charioteer by dancing while he impresses her with his archery. Later Kosha would renounce the world to become a Jaina nun.
Text: OUT COUNTRY NEEDS SHIPS to carry our boys "Over There" and keep them well supplied with Food, Clothing and the Munitions of War. The product made in this plant is used for building shops. The shops can be completed only as fast as the material and equipment for each ship arrives at the shipyard. If every man does a better day's work every day, the ships can be built faster. BE TRUE TO THE BOYS WHO ARE GIVING THEIR LIVES FOR YOU - United States Shipping Board Emergency Fleet Corporation - Issued by Publications Section, Philadelphia
Thanx for the info on the ultra wide. Out of my league. a few years ago I had a heica 35mm hers come apart in my hands. I got no satisfaction from Leica (to make a long story short) screw them, I said politley (Euphenisms are the prefeed form for postcards.) I went to a local camera shop & purchased a very used Yashica twin lens for $75.00. I became a maniac for cameras under $100.00 saying I'll show those elitsit at Leica that vision makers images not cameras!
16.51 x 24.13 cm (6 1/2 x 9 1/2 in.)
A woman seated on a bench and a child standing in front of her and has a white hat in the foreground. There are two other children in the background.
An abstracted sketch drawing of a group of soldiers crossing a stream. The figures are rough outlines done in black with blue ink accents. Some soldiers are on horseback and brandishing swords, possibly as a sign to enemies on the other bank. Other soliders help one another cross the water on foot.
In the main street of Goyu village at nightfall, female touts aggressively solicit travelers by dragging them into the tea-house on the right, where one is already resting. The large circle on the wall bears the sign of the publisher of the series, Take-no-Uchi, which was omitted in later issues. On the sign-boards inside are given the names of the engraver, Firobei; the printer, Heibei; and the artist, Ichiryusai.
Drawing featuring a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees.
In 1897 Paula Becker first visited the artists’ colony in Worpswede, twenty miles north of Bremen, with which she would be associated for the remaining ten years of her life. Influenced by the German Romantics, the "Worpsweders," co-founded by her future husband Otto Modersohn, dedicated themselves to an anti-academic, anti-industrial philosophy that looked to the surrounding rural landscape and its inhabitants for inspiration.
During her short life, Modersohn-Becker produced a remarkable body of work: over five hundred paintings and almost twice as many drawings, many of which focus upon a single human form as the subject. In this work, a small child seated with its hands in its lap stares out at the viewer amid a forest of birch trees. This composition, characteristic of the artist’s style during this period, is free from anecdotal detail. The austere setting and clean line convey a simplicity that works to illuminate the fixed gaze of the child. It is at once a look that suggests vulnerability as well as a deeper inner resolve. True to Modersohn-Becker’s representations of the rural people in the north, this work, with its paring down to essentials, evokes a compassionate humanity.
Full-length portrait of a woman standing in front of a striped wall background. She wears a short sleeve, knee length dress with white buttons down the front. A white spiral decoration begins at the left shoulder and goes down the top left of the dress.