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The essays during this quantity interact without delay with topical matters round artwork and gender, globalization, cultural distinction, and curating, in addition to explorations of key artists and hobbies and a few much less well-documented paintings by way of modern artists.

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72. Below : After PIETER BRUEGHEL THE ELDER The Alchemist. Engraving, second state of four. 337 mm. by 457 mm. London /^i, 600 From (84,000). 21. in. 72. the collection of D. E. Evans, Esq. 1 ft^PEKTA •MSeiiTA OVATVOI^ NIMKAtll NVLLA SCD TALIS (^VALi;

7,000 ($42,500). 71. MENSZ. \N RIJN hat. Pen and brown ink. Perhaps 71 mm. by 72 mm. London circa 1635. ;(^5,ooo (812,500). 72. Old Master Drawings Apart from the Ellesmere sale, which is discussed in detail on pages 31-45, the Old Master Drawing department held a number ofimportant sales. From the Dutch School the following group of drawings sold during the season are worthy of special mention. The Study of a beggar in a wide-brimmed hat by Rembrandt, a brilliant study drawn from the life in Amsterdam in about 1633-34, realised 7,000 ($42,500) in November; while a small sketch of an Actor sold the following ;^i March two realised ^^5, 000 ($12,500).

Petersburg, in December 191 3, with nonsense-libretto by Kruchenykh, music by Matiushin and costumes and decor by Malevich, was described by Malevich as representing the birth of Suprematism. The opera's anarchic ideals - revealed by Kruchenykh as being an attempt 'to transform the world into chaos, to break into pieces the established values and from these pieces create anew' - naturally appealed to the later Constructivists and Lissitzky's designs demonstrate his highly individual approach to typography and layout, an approach then considered wholly iconoclastic.

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