Elucidating advanced guestbook 2 3 2

m m m Hg ESra % wssss Wh m iwm88Bg :-/V: :/V ; - ''■■■■' : a a ffl ffiffigggg MMMJuyuu Muyi rag 88999c Ms 8S HHMmbb : Jfe| JB9HBSB BBS : mm g KHfig S ■■■■■■ ■ mm Mmmmm .! ' : ' V ,■:' Srkk 3S8B3 Volume II THE GUGGENHEIM MUSEUM COLLECTION: PAINTINGS 1880-1945 Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO THE GUGGENHEIM MUSEUM COLLECTION PAINTINGS 1880-1945 Volume II by Angelica Zander Rudenstine The Solomon R. Published with the partial assistance of a grant from The Ford Foundation, and sup- ported by a grant from the National En- dowment for the Arts in Washington, D. CATALOGUE: NUMBERS 145-252 ' Dmitri Nikolaevich Kardovsky Born 1866, Pereslav P- Zalesskij (Vladimir Province, NW of Moscow) Died 1943. There is slight wear at the edges, and some ground cracks (closed through the lining process) are visible in places, but the condi- tion is otherwise excellent. 1974.) Biographical information about the sitter and her husband is fragmentary. Boris Chroustchoff adds that his father was "a very great friend of Kan- dinsky and other members of the Blaue Reiter school (especially Javlensky). Alexander remained in Western Europe with his son and they moved to England. According to Boris Chroustchoff, son of the sitter, his father and mother, who had been living in Munich, were separated in 1901, and his father, Alexander, took the portrait with him to England, where it hung in their house in Harrow-on-the-Hill until 1908, when it apparently "disappeared" (correspondence with the Museum, i960). 38.508 Watercolor and oil transfer drawing on plaster-grounded gauze mounted on gouache-painted paper. The inpainted areas are as follows: the entire top edge up to V2 in.

ass s BK h» Kffi Illli Bjffl WB ■rainni THE GUGGENHEIM MUSEUM COLLECTION HOOod PAINTINGS 1880-1945 ■ gifflp wagg H £3fe fi Sffl m$m, m 8198038899 B888M88 m m zm ,:■. She returned to Russia with her daughter, who died soon afterwards, and Marya herself apparently perished during the Revolution. In 1955 the canvas was lined with wax resin, the surface cleaned, and some losses filled and retouched with PBM.

Department of Immunochemistry, Institute of Carcinogenesis, N. Blokhin Cancer Research Center, Moscow, 115478, Russia Key words: tumor progression, differentiation, microenvironment, hepatocyte nuclear factors (HNF), hepatocarcinogenesis, epithelial-mesenchymal transition (EMT) The central concept of the review is that derangement of microenvironment which takes place in tumor progression leads to the partial or full dedifferentiation of epithelial tumors.

elucidating advanced guestbook 2 3 2-5

It has deeply convicted me to always seek to be in tune with the Holy Spirit as I minister to others." - Jerry Bridges, author of numerous books"We live in a day when it is rare for people to speak about their souls.

But in times of revival such as that in which Ichabod Spencer lived, there was so much of the Holy Spirit's work in evidence in men's lives that ministers needed to address the most searching questions to their hearers. Spencer, whose Sketches, which are here reprinted after a lapse of many years, are a veritable treasury of pastoral wisdom.

Moreover, it is likely that these transcriptional regulators mediate the interaction of epithelial cells with the microenvironment. Dedifferentiation in carcinomas as consequence of tumor progression 1. Different ways of progression in hemoblastoses and carcinomas B.

Future investigations Differentiation state of malignant tumors is an important characteristic, which helps to establish their histological origin and to understand the degree of deviation from normal biology, as well as the stage in tumor progression and peculiarities in clinical behaviour.

Kpiiill ■ ; '- ; ^'.v':' ;: ' -.■ ■ IIP «mn hmos OOBBR 88 888M BMMI KSW HH mmesm WSBHffi $$18 .■■..:■..■■■'■.'.■-■.■ wsss ara RRj h SBks&Sb 88 n. Both Kandinsky and Javlensky often used to stay with us in the Ukraine, and were constant visitors when we lived in Munich. Marya Anastasievna and Alexander were separated in 1901. CONDITION: In 1953 acute cleavage between the paint and priming layers was treated by infusion of wax; some losses were filled with gesso and inpainted.

Guggenheim Museum, New York Published by The Solomon R. 145 393 KARDOVSKY 145 Portrait of Marya Anastasievna Chroustchova. 50.1289 Oil on canvas, 59^ x 37% (150.4 x 94.9) Signed with monogram and dated l.r.: DK I 1900; inscribed on stretcher, not in the ar- tist's hand (photographed before replace- ment of stretcher, but barely visible): Herr F. According to their son, the late Boris Chroustchoff, who was in correspondence with J. Sweeney in 1959-60, his parents owned a large estate in southern Russia as well as a house in Munich and one in St. Cor- roborating evidence for the existence of the latter is provided by Jawlensky, who in his memoirs speaks of going to St. Weiler, Jawlensky, Kopfe, Gesichte, Meditationen, Hanau, 1970, p. Whether it was ac- tually stolen, or whether it was sold remains to be established. Approximate di- mensions of unevenly cut gauze support: 13% x 11V2 (35 x 29.2); approximate height of gauze plus painted borders: 15% (40); dimensions of paper mount: 17% x 12% (44.9x32.7) Not signed; inscribed by the artist across lower edge of gauze support: Tanze Du Ungeheuer! There are a considerable number of losses both of pigment and of plaster. in width; the lower half of the right edge up to V2 in. near the top right corner where heavy impasto apparently flaked off; 2 small areas above the signature, and 2 very small areas in the sky. 9 ("Plochy podle barev, 1910, 150 x 180 [Plans par couleurs]); Paris, Salon des Independants, Apr. 1630 {"Plans par couleurs, 1909"); Sao Paulo, Brazil, IV Bienal, Sept.-Dec. 45 (France); Paris, Musee National d'Art Moderne, Kupka, May 27-July 13, 1958, no. In fact Javlensky painted a very fine portrait of her in a red dress which has now disappeared" (letters of December 27, 1959, and January 10, 1960). 48.1172 X380 Oil on canvas, 35^ x 70% (89.5 x 180.1) Signed l.r.: OK; on reverse: OKOXOK. PROVENANCE: Purchased from the artist by Oskar Reichel, Vienna, before March 1916; 1 purchased from Reichel by Otto Kallir (-Nirenstein), Paris and New York, 1934; purchased from Kallir by Karl Nierendorf, New York, ca. ; acquired with the Estate of Karl Nierendorf, 1948. Our house was always full of painters, who found a very good subject in my mother. Guggenheim Foundation New York, 1976 International Standard Book Numbers Complete Set— ISBN 0-89207-002-1 Volume I ISBN 0-89207-003-x Volume II ISBN 0-89207-004-8 Library of Congress Card Catalogue Number 75-37356 ®The Solomon R. Kardofsy — Elizabethplatz 'A- PROVENANCE: Alexander de Chroustchoff, Munich, and Harrovv-on-the-Hill, England, 1901-08; 1 purchased from Otto Stangl, Munich, 1950. from the bottom, and some tiny losses in the face were inpainted with PBM; the work was surfaced with PBM and placed on a new stretcher. Prex at the outbreak of the First World War precisely because his friend "de Chrustchoff" had an estate there, and he adds that "Frau Chrustchoff half tins, in St. Boris Chroustchoff has since died, and further information has not hitherto been discovered. It has hitherto not been possible to establish where or when Stangl acquired the picture. OC 1922, A 1 54, Tanze Du Ungeheuer zu me'mem sanften Lied! Zu meinem sanften Lied; across lower edge of paper mount: 1922/54 Tanze Du Ungeheuer zu meinem sanften Lied! Annen-Museum, Liibeck, Germany, 1927-37 (information supplied by Max Hasse, St. These are scattered over the entire surface and readily- visible to the naked eye. , blue ink on paper, 13V2 x io 1 /* in., 34.3 x 26 cm., Galerie Rosengart, Lucerne. The "A" in this case was added by Lily Klee to indicate that the medium was watercolor (Aquarell). Some additional cleavage was arrested in 1972 by further infusion of wax resin. 5; New York, SRGM 216, 221 (no cats.); 232, 241, p. 2 CONDITION: In 1957 the work was lined with wax resin and cleaned; some minor losses along the edges, a 1 x 4 in. 394 kardovsky Portrait of Marya Anastasievna Chroustchoi a tion at Harrow and subsequently served as a volunteer for the British Air Force in World War I. Annen-Museum, correspondence with the author, August 1974; he is not sure whether the work was purchased directly from the artist or from an intermediary); banned by the German government as de- generate art, 1937; purchased from Rudolf Bauer by Solomon R. Although there is no apparent incipient cleavage at present, the surface is clearly vulnerable to flaking and the condition in general is fragile. I974-) Klee's oil transfer technique, first used in 1919, has been analyzed and docu- mented by Glaesemer [Paul Klee, Handzeichnungen I, Bern, 1973, pp. The artist first brushed Japan paper with black oil color or printer's ink to create a kind of carbon paper; when it was almost dry, he placed it face down fig. Cracks in the paint layer are visible in a limited number of scattered locations, and there has been some flaking. An uniden- tified pale brown powdery substance, pos- sibly a mold, is visible to varying degrees in portions of the knight's body and is parti- cularly prominent on the left knee, the left foot, the lower portion of the jacket, and around the right armpit. He later settled in Oxford (information contained in part in the de Chroustchoff letters, in part supplied by Isaiah Berlin in correspondence with the author, 1974). The "A" notation in the OC stands for "ohne Natur" and indicates that the work was done from imagination or fantasy rather than from nature. Tests to define the nature of this condition have so far proved inconclusive. 1972.) 42.6 kokoschka Knight Errant The composition centers upon a figure in gray armor stretched out as if floating above a barren landscape bordering on the sea.

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