图片文件尺寸 : 5345 x 4585px
约翰内斯·林格尔巴赫（Johannes Lingelbach）在利沃诺（Livorno）拍摄的一个有商人和囚犯的索瑟恩港口、一艘船和费迪南德·美第奇（Ferdinand I de‘Medici）雕像-Johannes Lingelbach
View on a Sourthern harbor with merchants and prisoners, a ship and the statue of Ferdinand I de’ Medici in Livorno--Johannes Lingelbach (德国, 1622-1674)
图片文件尺寸 : 2382 x 3962px
《利沃诺》作者：Hercules Brabazon Brabazon-Hercules Brabazon Brabazon
Livorno--Hercules Brabazon Brabazon (英国, 1821-1906)
图片文件尺寸 : 4460 x 3031px
雅各布·菲利普·哈克特的《利沃诺港》-Jakob Philipp Hackert
The Port Of Livorno--Jakob Philipp Hackert (德国, 1737–1807)
图片文件尺寸 : 6260 x 4410px
《利沃诺战役（莱霍恩）》作者：长老威廉·范·德·维尔德-Willem van de Velde the Elder
The Battle of Livorno (Leghorn)--Willem van de Velde the Elder (荷兰, 1610-1693)
图片文件尺寸 : 3146 x 4218px
Vittorio Matteo Corcos的《Pastiglie Paneraj Ed Estrato Di Tarrame，利沃诺》-Vittorio Matteo Corcos
Pastiglie Paneraj Ed Estratto Di Catrame, Livorno--Vittorio Matteo Corcos (意大利, 1859 – 1933)
下载Vittorio Matteo Corcos的《Pastiglie Paneraj Ed Estrato Di Tarrame，利沃诺》大图
图片文件尺寸 : 6342 x 3942px
《利沃诺之战》作者：Reinier Nooms-Reinier Nooms
利沃诺战役--Reinier Nooms (荷兰, c. 1623-1667)
图片文件像素：4600 x 3500 px
乔瓦尼·巴托莱纳-
-
(Livorno 1866-1942)
Stillleben, signiert G. Bartolena, Öl auf Holz, 33 x 45 cm, gerahmt, (GG)
图片文件像素：4778 x 4563 px
马里奥·尼格罗，当代艺术II-
Mario Nigro * - Zeitgenössische Kunst II-
(Pistoia 1917–1992 Livorno)
Untitled, 1967, signed and dated on the reverse, tempera on wooden panel, 16 x 20 cm, framed
图片文件像素：4600 x 3500 px
Gianfranco Baruchello，当代艺术II-
-
(Livorno 1924 geb.)
Kouzama, 2003, signiert und datiert; am Keilrahmen signiert und datiert, Mischtechnik auf Leinwand, 95 x 95 cm, gerahmt
图片文件像素：4600 x 3500 px
Amedeo Modigliani-现代-
-
(Livorno 1884–1920 Paris)
Nudo seduto, 1913-1914, bezeichnet von Leopold Zborowski „A mon ami (Hesse)/fait par Modigliani/Paris 1923 Zborowski“, rückseitig nummeriert 31043 und bezeichnet „dessins“, Bleistift und Aquarell auf Papier, 44,4 x 30,2 cm , gerahmt
图片文件像素：4600 x 3500 px
尤金尼奥·塞科尼，19世纪油画和水彩画-
-
(Livorno 1842-1903 Firenze)
Blick auf den Fluss Arno, signiert ECecconi (ligiert), Öl auf Holz, 24 x 58 cm, gerahmt, (GG)
图片文件像素：4600 x 3500 px
维托里奥·马泰奥·科科斯-
-
(Livorno 1859–1933 Florenz)
Florenz, Porta a Prato, signiert V. Corcos, rückseitig bezeichnet “Vittorio Corcos Porta a Prato Firenze Alzo(?) 1887”, Öl auf Holz, 10 x 13 cm, gerahmt
图片文件像素：4600 x 3500 px
Serafino de Tivoli-
-
(Livorno 1826-1892 Florenz)
Die Holzbrücke, rückseitig Etiketten Studio Mario Borgiotti, Museo Civico di Belle Arti Lugano, Bayrische Staatsgemäldesammlungen Haus der Kunst München, Öl auf Holz, 30 x 43 cm, gerahmt, (GG)
![Photograph signed and inscribed [in Russian] to Alexander Herzen,](http://www.minghuafuzhi.com/2022/12/02135639719.jpg)
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，