胡汝森《 陌生的皺紋》保留《 文星雜誌》的封面人物專欄。原先編輯希望以介紹科學家為主，不過胡先生的個性讓他的視野更廣點，保留50-60年代初的一些"關心的人物"的資料，譬如說，艾森豪卸任8年的美國總統任期，"從馬歇爾看美國將才的培育"一文，是中文寫的訃聞。
陌生的皺紋 胡汝森著台北市：文星,民53 ,240面；19公分文星叢刊；29 ...
胡汝森 (1919-1980)先生參加 聯經版的 Peter Drucker《管理學：使命、責任、實務》的翻譯，與作者通信請教，最後寫篇《管理的實踐成效》，刊登於《經濟日報》(1975-11.18起12天)，收持入姚為民的《杜魯克管理學新詮》台北：聯經，1976，頁275-305。
Chagall (1887-1985) did not begin making etchings until 1921. After his return from Russia, he first tried his hand at etching in the prints he executed for his autobiography, My Life (Berlin, 1922-23). Moving to Paris, Chagall was approached by Ambroise Vollard, who wished to commission him to produce a set of etchings for a deluxe "livre de peintre" like the ones Vollard had already commissioned from Bonnard and Rouault. Chagall rejected Vollard’s choice of texts and instead suggested Gogol’s Dead Souls. The result is one of the masterpieces of modern art. Jean Adehmar’s brief summary in his Twentieth Century Graphics gives us some keys for entry into the work: "the numerous figures in profile show astonishing types; the Expressionist influence is very noticeable and the Russian atmosphere is admirably rendered." The characterizations of the people whom Chagall presents us are so striking that we instantly recognize them not simply as portaits of individuals but as representatives of the human comedy that so much of Chagall’s art illustrates for us. Nor is this effect diminished upon further viewing; rather it is strenghtened the more familiarity we gain with the images. As Franz Meyer has observed in Marc Chagall: His Graphic Work, the etchings paint a much larger mental canvas than mere individual types, showing Chagall’s "native Russia with its wind-swept vastness and, for all its bitter misery born of unreason and inertia . . . its inexhaustible, wholesome, joyous vitality as well." While there is satire and mockery in these plates, there is also acceptance and even love of the whole of human experience. As Meyer notes, "This entire world of stupidity, malice, and selfishness is rendered transparent through humor. . . . The basic incongruence of reality and appearance is so pointedly brought into relief that magnificently comical figures result. But this comedy is not a hostile satire or a pitiless record of these characters, with their weaknesses and their baseness. It is a liberating force which discloses the deep stream of exuberant life behind all the figures in the novel. Everywhere, running through all the comical elements, and borne along by a sort of inner joyfulness, there appears the fantastic, rich, inexhaustible reality of Russian life."
La soirée chez le gouveneur / Evening fête at the Governor's house (Sorlier 5, Hannover 43). Original etching with drypoint, 1923-27. 335 unsigned impressions + 33 HC. No pencil-signed impressions exist. Inclulded in the 1970 BN show. Image size: 223x287mm. Price: $5000.
Selifan (Sorlier 7, Hannover 45). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Chagall's etchings for Gogol's Dead Souls are among his earliest etchings. They are also some of his finest. Illustrated in Meyer'sChagall's Graphic Works, Wesfalen 1985, Nice 1987, and the 1987 Moscow Chagall exhibition. Selifan is a rather rascally figure who believes in self-indulgence and would rather party than work. Image size: 221x286mm. Price: $5000.
On the way to Sobakevich's (Sorlier 8, Hannover 46, ). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Illustrated in Meyer's Chagall's Graphic Works, BN 1970, the 1987 Moscow Chagall Exhibition and Nice 1987. Image size: 219x287mm. Price: $6000.
Repas chez Manilov / Dinner at Manilov's house (Sorlier 9, Hannover 49). Original etching with drypoint, 1923-27. 335 unsigned impressions + 33 HC. No pencil-signed impressions exist. Inclulded in the 1970 BN show. Image size: 223x287mm. Price: $5000.
Tchitchikov's farewell to Manilov (Sorlier 12, Hannover 51). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No hand-signed impressions exist. Illustrated in Meyer,Chagall: His Graphic Works, Wesfalen 1985, and in the 1987 Moscow Chagall Exhibition. Image size: 218x284mm. Price: $5500.
Madame Korobotchka (Sorlier 18, Hannover 54). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Illustrated in the Bibliotheque National show of Chagall's graphics; illustrated in Meyer, Chagall's Graphics, and Passeron,Maitres de la Gravure: Chagall. Image size: 285x212mm. Price: $5000.
The house painters (Sorlier 22, Hannover 62). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. Signed in the plate right-center bottom. No pencil-signed impressions exist. Illustrated in Passeron, the Philadelphia Museum/Royal Academy catalogue, BN 1970, and the 1987 Moscow Chagall exhibition. Image size: 277x218mm. Price: $6000.
Nozdriov (Sorlier 23, Hannover 61). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No pencil-signed impressions exist. Included but not illustrated in the B.N. 1970 exhibition of Chagall's graphics, illustrated Nice 1987, and Moscow 1987. Image size:280x215mm. Price: $5500.
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