Russian Art - MacDougall`s

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Russian Art - MacDougall`s
Russian Art
3 June 2015
London
3 June 2015
London
Russian Art, Russian Works of Art,
Fabergé And Icons
Wednesday, 3 June 2015
Auction
Wednesday 3 June 2015, 10:30
Viewing
22 May, 26 May–2 June, 10:00–18:00
MacDougall Arts Ltd
30A Charles II St
London, SW1Y 4AE, England
London Tel:
Moscow Tel:
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Fax:
[email protected]
+44-20-7389-8170
www.MacDougallauction.com
For G.
MacDougall Arts Ltd.
William MacDougall
Dr Catherine MacDougall
Director
Director and Russian Art Expert
Dr Vladimir Petrov
Alexander Kuznetsov
Irina Minervino
Russian Art Expert
Russian Art Expert
Associate Director
Dr Olga Vaigatcheva
Associate Director, Head of
Works of Art, Faberge' and Icons
Tatiana Sapegina
Associate Director
Catherine Marshall
Helen McIldowie-Jenkins
Sofia Gurevich
Russian Art Cataloguer
Icon Cataloguer
Assistant Russian Art Cataloguer
Jacob Gildor
Olga Glebova
Lev Wolfson
Ecole de Paris Expert
Russian Works on Paper Expert
Icon Expert
Nikita Lobanov-Rostovsky
Robert Bowman
Charles Ross
Russian Theatre Design Expert
Bronze Expert
Auctioneer
Nina Sorensen
Client Liaison Manager
Daria Sitnina
Junior Icons and Works
of Art Cataloguer
Anastasia Johnston
Junior Russian Art Cataloguer
Svetlana Djelalian
Maria Garmaeva
Elizaveta Strygina
Accounts Manager
Shipping Manager
Shipping Officer
Anna Nuzhnaya
© 2015 MacDougall Arts Ltd ISSN 1745–3429, MacDougall Arts Ltd, 30A Charles II St, London
Registered Company № 5175060 in England and Wales
Catalogue design by chaykadesign studio, photography by Todd-White, printed by «ATG Printers» and «Buki-Vedi», Moscow
Junior Russian Art Cataloguer
Russian Art
Lots 1–173
1.
Braz, Osip (1872–1936)
2.
Braz, Osip (1872–1936)
Still Life with Pipes.
Woman Drinking Tea.
Oil on canvas, 54 by 73 cm
Oil on canvas, 49 by 63 cm.
Provenance: Private collection, UK.
Provenance: The Russian Sale, Sotheby’s London, 18 November 1999, lot 171.
Private collection, UK.
£15,000‒20,000
Exhibited: Baltic Exhibition, Malmö, Sweden, 15 May‒4 October 1914, No. 3142.
Exhibition of Russian Art, The Swedish Central Art Association, Stockholm, 21
February–9 March 1919, No. 9.
Literature: Exhibition catalogue, Baltiska Utställningen. Konstavdelningen [Baltic
Exhibition, Art Section], Malmö, 1914, p. 226, No. 3142, listed as Tedags [Teatime].
£40,000–60,000
( 10 )
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Russian Art Auction
MacDougall’s
London
3 June 2015
( 11 )
4.
* 3.
Konchalovsky, Petr (1876–1956)
View of the Church of St John the Baptist from
Rozhdestvenskaya Street, Nizhny Novgorod,
Still Life, Tea Roses, signed and dated 1929.
Oil on canvas, laid on board, 89 by 69.5 cm (oval).
signed and dated 1919.
Oil on cardboard, 51 by 73 cm.
Provenance: Acquired by a previous owner in the 1950s.
Private collection, Japan.
Provenance: Private collection, Europe.
Literature: Konchalovsky. Khudozhestvennoe nasledie,
Moscow, Iskusstvo, 1964, p. 120, listed as “zhi 622”.
Authenticity of the work has been confirmed by the
expert V. Petrov.
£80,000–120,000
£15,000‒20,000
The present lot as listed in Khudozhestvennoe nasledie
( 12 )
Petrovichev, Piotr (1874–1947)
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Russian Art Auction
MacDougall’s
London
3 June 2015
View of the Church of St John the Baptist from Rozhdestvenskaya
Street, Nizhny Novgorod, 1890s
( 13 )
§ 5.
Lapchine, Georges (1885–1950)
Easter Feast, signed and dated 1926.
Oil on canvas, 80 by 100 cm.
Provenance: Private collection, Europe.
Acquired from the above by the present owner.
Private collection, UK.
£60,000–90,000
Середина 1920-х годов — чрезвычайно плодотворное время в творчестве
Георгия Лапшина. Окончательно перебравшись в Париж в начале 1920-х
годов, он довольно скоро получил признание, путешествовал по всей
Европе, создавая множество импрессионистических пейзажей и ярких,
жизнерадостных натюрмортов. «Пасхальный стол» — один из них. Написанный в день самого светлого православного праздника, он лишен надсадной ностальгии по родине и со свойственным Лапшину жизнелюбием
воспроизводит уютную картину художнического бытия.
В свободной импрессионистической манере художника чувствуется живо
воспринятое влияние французских мастеров начала ХХ века. С их творчеством Лапшин познакомился еще в 1906 году, приехав в Париж стажироваться у Ф. Кормона и Ж. Лермитта после окончания Строгановского училища. Через три года он вернулся в Россию уже сложившимся мастером,
участвуя во многих знаменитых московских выставках. С 1925 года, уже
постоянно живя во Франции, Лапшин становится экспонентом Национального общества изящных искусств и Салона Независимых.
( 14 )
The mid 1920s represented an extremely fruitful period for the creative oeuvre of
Georges Lapchine. Having finally returned to Paris in the early 1920s, he rapidly
achieved fame, travelling around the whole of Europe creating an enormous number of Impressionist paintings and bright, cheerful still lifes. One such example
was Easter Feast. It was executed on the most important holiday of the Russian
Orthodox church, and is devoid of any burden of nostalgia for his homeland. With
his characteristic zest for life he produces a cosy image of an artist’s milieu. The
festively laid table is adorned with a splendid bouquet of bright peonies, and the
traditional Easter cake is juxtaposed with a golden lemon and slices of pineapple.
In his free Impressionist style we can perceive the potent influence of French
masters of the early 20th century. Lapchine encountered their work back in
1906, when he came to Paris to train after his graduation from the Stroganov
College. Three years later, already a master, Lapchine returned to Moscow and
took part in many renowned Moscow art exhibitions. From 1925, already living
permanently in France, Lapchine became an exhibitor of the Société Nationale
des Beaux-Arts and of the Salon des Independants.
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Russian Art Auction
6.
Korovin, Konstantin (1861–1939)
Street in the South of France, signed and dated 1923.
Oil on canvas, 60.5 by 80 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
£80,000–120,000
Картина «Улица на Юге Франции», написанная Константином Коровиным
в 1923 году, является одним из первых дошедших до наших дней произведений периода эмиграции мастера. Она принадлежит к циклу блестящих
по живописному мастерству работ, создававшихся художником в разные
годы во время поездок к морю. По воспоминаниям современников, он
мог встать на любом углу во время прогулки или остановить шофера словами «Стоп! Я буду писать!» и тут же на месте набросать композицию, которая казалась окружающим ничем не примечательной, но под рукой
Коровина неожиданно обретала цельность изображаемого мотива.
Painted by Konstantin Korovin in 1923, Street in the South of France is one
of the earliest works from the period which followed his voluntary exile
from the Soviet Union. It is part of the cycle of brilliant, masterly pictures
that the artist created over a number of years on his trips to the sea. His
contemporaries recall that he could interrupt a stroll at any corner or bring
his driver to a halt with the words “Stop! I want to paint!” and then on the
spot he would sketch a scene, which to those around him would appear
unremarkable, but in Korovin’s hands would unexpectedly acquire integrity
as a subject worth portraying.
В южных — крымских и французских — пейзажах Коровина становится
особенно заметно, что для художника важнее живопись, чем предмет,
а фрагментарная, порой как будто случайная, композиция — лишь повод
для создания настоящей поэмы света и цвета. «Улица на юге Франции» —
одно из таких стремительных произведений, сохранивших для нас маэстрию коровинской кисти и главный завет его творчества: «больше отрадного, светлого».
In Korovin’s French and Crimean landscapes it becomes especially apparent that the painting is more important to the artist than the subject, and
the fragmentary, sometimes incidental composition is only a pretext for
creating a veritable poem of light and colour. Street in the South of France
is one of these impetuous works which preserve for us Korovin’s mastery
of the painter’s art and the maxim that guided his creative effort: “more
gladness, more brightness”.
Уникальность полотна заключается еще и в том, что к жанровой живописи
в это время художник обращается редко. Коровин с присущим ему еще
в ранних работах интересом к будничным мотивам изображает овеянную
полуденной негой тихую улочку с пышной зеленью домашних садов и идущих по ней девушек, одетых по моде 1920-х годов. Пронизанная солнечным ярким светом живопись по своему колориту с излюбленным
вкраплением розового цвета и ползущими по дороге лиловыми тенями
типична для палитры художника. Мастерское владение кистью и особое
цветовое видение Коровина метко выразил один из его современников,
написавших в воспоминаниях: «Ему улыбались все краски мира».
Genre paintings such as this were a rarity in Korovin’s oeuvre at the time.
The features of the street scene — with its lush gardens and women passers-by all bathed in a midday torpor — call the mind towards the everyday
details, which are characteristic of the artist’s earlier productions. The sunlight, dappled with pink and the purple shadows on the road are typical
of the artist’s palette. Korovin’s mastery of the brush and outstanding sense of colour, both of which are displayed to full effect in this painting, was
aptly described by a contemporary, who said that “All the colours of the
world smiled at him.”
K. Korovin, Street in Nice, 1927
( 18 )
K. Korovin, View in the South of France
K. Korovin, Street in the South of France
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Russian Art Auction
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3 June 2015
( 19 )
* 7.
Kuznetsov, Pavel (1878–1968)
Old Moscow, inscribed with the artist’s initials by E. Bebutova, the artist’s wife.
Oil on cardboard, 51 by 74.5 cm.
Executed in mid-1920s.
Provenance: Estate of the artist.
Acquired from the above by the renowned Soviet composer and pianist Arno Babajanian in 1968.
Thence by descent.
Acquired from Ara Babajanian by the present owner.
Private collection, Europe.
The work is accompanied by a letter from Ara Babajanian, the son of Arno Babajanian, confirming the provenance of the work.
Authenticity certificate from the expert T. Zelyukina.
Authenticity certificate from the expert I. Geraschenko.
Literature: L. Budkova, D. Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, 1975, pl. 84, illustrated; p. 354, No. 449, listed.
M. Kiselev, Peizazh sovetskikh khudozhnikov 1917–1974, Moscow, Sovetskii khudozhnik, 1975, illustrated on the cover; pp. 52‒53,
illustrated and listed.
D. Sarabianov (ed.), Pavel Kuznetsov. Izbrannye proizvedeniya, Moscow, Sovetskii khudozhnik, 1988, No. 90, illustrated and listed.
£160,000‒200,000
В «Старой Москве», написанной Павлом Кузнецовым вскоре после возвращения из Парижа, ощутимо упоение художника французской живописью. Яркая, белеющая от зноя и света зелень, белые, синие и желтые
домики с розовыми крышами, светлая голубизна неба, пронзенного
вдалеке силуэтом церкви и колокольни, и живая, подвижная цветовая
структура уходящей вверх дороги пробуждают воспоминания о видах
Экс-ан-Прованса и Эстака Поля Сезанна, о разговорах Кузнецова
с Андре Дереном и всем том круге парижских впечатлений и встреч,
которые вдохновили художника на создание в середине 1920-х годов
нескольких городских пейзажей «нового типа».
В них мастер будто вновь возвращается к той свежей, пленэрной
живописи, с которой он начинал когда-то свой путь, к «Саратовскому
дворику» или к работам, выполненным в мастерской Валентина Серова
и Константина Коровина. Однако этот возврат к пленэру сопряжен
с новым этапом в разработке собственной живописной системы, когда
прежние принципы декоративности и фактурной изысканности обогащаются глубоко продуманными расчетами в ритмическом построении
композиции.
The present lot as illustrated on the
cover of the M. Kiselev publication
( 20 )
В этом в высшей степени декоративном пейзаже Кузнецов стягивает все
пространственные планы в единое живописное поле, подчеркивая его
цельность точно найденным цветовым соотношением. Сквозь зелень,
небо, стены и крыши домов просвечивает белый грунт, и все становится
легким, пронизанным световым потоком. Мир без теней оказывается
наполнен сиянием цвета, впитавшего в себя солнце.
Благодаря мерному ритму восходящих к небу городских строений
и опушающих их кустов, нанесенных то сухой, то, наоборот, мягкой,
насыщенной краской кистью, благодаря вертикали церкви и беглым
мазкам словно зависающей над дорогой листвы, возникает особенно
эффектное сочетание живописности и графичности.
Картина происходит из авторитетной коллекции Арно Бабаджаняна,
куда она попала непосредственно из мастерской художника и имеет
подпись, подтверждающую авторство Кузнецова, сделанную в 1968 году
его вдовой Еленой Бебутовой.
The present lot as listed in the catalogue raisonné of the artist
The present lot as illustrated and listed in the D. Sarabianov monograph
on the artist
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Russian Art Auction
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3 June 2015
( 21 )
There is a palpable sense in Old Moscow, which Pavel Kuznetsov painted
soon after his return from Paris, of the artist’s infatuation with French painting: the greenery blanching in the heat and bright sunlight, the little white,
blue and yellow houses with their pink roofs, the luminous pale blue of the
sky, pierced in the distance by the silhouette of a church and bell tower and
the lively shifting structural colour of the road receding into the distance —
all these features awaken recollections of Paul Cézanne’s views of Aix-enProvence and L’Estaque, of Kuznetsov’s conversations with André Derain
and of that whole round of Parisian impressions and meetings which inspired the artist to create several urban landscapes “of the new type”
in the mid-1920s.
In these landscapes, Kuznetsov returns, as it were anew, to the fresh en
plein air painting, with which he had started — to his Courtyard in Saratov or
the works he created in the studio of Valentin Serov and Konstantin Korovin.
This return to en plein air, however, is linked to a new stage in the development of his own painting system, when his earlier principles of decorativeness and elegance of texture are enriched by deeply-weighed considerations
of the rhythmic structure in a composition.
In this highly decorative landscape, Kuznetsov draws all the spatial planes
together into a single pictorial field, emphasising its integrity by precisely
handled correlations of colour. The bright white ground shows through the
verdure, the sky, the walls and roofs of the houses, everything in fact becomes ethereal, infused with streaming light. The world without shade that
emerges is full of radiant colour, which it has absorbed from the sunlight.
The measured rhythm of the town buildings rising towards the sky and the
bushes cushioning them, painted sometimes with a dry brush or by contrast
with a soft brush saturated with paint, the vertical lines of the church and
the fluent brushstrokes of the foliage that seems suspended over the road,
lend the work a combination of painterly and graphic qualities that are particularly effective.
The painting comes from the distinguished collection of Arno Babajanian,
where it arrived straight from the artist’s studio. It bears an inscription,
executed in 1968 by Kuznetsov’s widow Elena Bebutova, confirming the
authenticity of the work.
P. Kuznetsov
( 22 )
A. Babajanian at the piano, 1970s
An Important Work
by Konstantin Korovin
Spring in the Village
8.
Korovin, Konstantin (1861–1939)
Spring in the Village, signed and dated 1920.
Oil on canvas, 66 by 88 cm.
Provenance: Russian Paintings, Sotheby’s London, 10 June 2008, lot 237.
Acquired at the above sale by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Possibly, Konstantin Korovin, Khudozhestvennyi salon K. Mikhailovoi, Moscow, December 1921‒January 1922.
Literature: Possibly, exhibition catalogue, Konstantin Korovin, Moscow, 1921, No. 53, listed as Vesna.
Possibly, A. Kiselev (ed.), Konstantin Korovin. K 150-letiyu so dnya rozhdeniya, St Petersburg, Zolotoi vek, 2011, p. 92,
No. 53, included in the list of works from the 1921‒1922 exhibition under 1920.
£250,000–300,000
( 26 )
Создание картины «Весна в деревне» относится к периоду жизни Константина Коровина в усадьбе Ушаковых в Островно Вышневолоцкого
уезда Тверской губернии. Живописная природа тех мест, душевный уют
семейства философа, религиозного мыслителя Бориса Вышеславцева
и его жены Натальи, ставшей героиней целой серии полотен мастера,
ознаменовали собой отдельную главу творчества Коровина.
Konstantin Korovin painted Spring in the Village during his stay at the
Ushakovs’ estate, in Ostrovno village of Vyshnevolotsky district of the Tver
Governorate. The picturesque landscape and the warm welcome Korovin was
given by the philosopher and religious thinker Boris Vysheslavtsev and his
wife Natalia (who was to become the subject of a whole series of the master’s
canvasses) marked a new and very special chapter in Korovin’s artistic life.
Запечатленная на холсте деревянная терраса не раз воспроизводилась
художником в его работах и служила фоном многочисленных пейзажей
и портретов. Залитая солнцем, едва освободившаяся от снега земля, лучезарная голубизна неба и общее мажорное состояние являются своего
рода отражением самой восторженной натуры Коровина, присущей ему
жизнерадостности и любви к окружающей природе и людям. Темпераментная кисть живописца, увлеченность, с которой он фиксирует виды
родной природы, созвучны строкам из воспоминаний художника: «Как
прекрасна Россия, какая музыка в образе твоем <…>, где будто счастье».
The wooden terrace depicted in this canvas often featured in the artist’s
work and served as the background for numerous landscapes and portraits.
The earth, barely free of snow and drenched in sunshine, the radiant blue of
the sky and the general upbeat mood evident in the painting are all a reflection of Korovin’s exuberant nature; the joie de vivre that was so much a part
of him, and his love for people and for his natural surroundings. The artist’s
ebullient brush and the passion with which he records views of his native
landscape resonate with the lines from his memoirs: “How lovely Russia is,
what music there is in her image … where there seems to be happiness”.
Можно предположить, что именно эта работа (кат. № 53, «Весна») экспонировалась на персональной выставке художника, проходившей в декабре 1921 — январе 1922 года в художественном салоне Клавдии
Михайловой на ул. Большая Дмитровка, д. 11.
It is safe to assume that this work was exhibited at the artist’s one-man
show (cat. No. 53, Spring) in the art salon of Klavdia Mikhailova, at
11 Bolshaya Dmitrovka, Moscow, which ran from December 1921 until
January 1922.
K. Korovin, Early Spring. Okhotino,
1917
K. Korovin, Portrait of B. and N. Vysheslavtsev, 1920
K. Korovin, Autumn, 1917, Art Museum of Uzbekistan, Tashkent
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( 27 )
An Important Work
by Martiros Saryan
Oasis. By the Pomegranate Tree,
from the series “Fairy Tales”
* 9.
Saryan, Martiros (1880–1972)
Oasis. By the Pomegranate Tree, from the series “Fairy Tales”, signed and dated 1905, also further signed twice, titled
in Cyrillic and dated twice on the reverse, also further signed twice, titled, numbered “648” and dated on the backing card.
Pencil and tempera on cardboard, 27 by 32.5 cm.
Provenance: Collection of the artist.
A gift from the artist to Dr Misak Arutiunyan, personal physician to the Saryan family, c. 1965.
Thence by descent.
Acquired from the grandson of the above by the present owner.
Private collection, Europe.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Blue Rose, Torgovyi dom M.S. Kuznetsova, Moscow, 1907.
Golden Fleece, Moscow, 1909.
The First Spring Exhibition, Society of the Workers of Fine Arts of Armenia, Yerevan, 1924.
Literature: Exhibition catalogue, Blue Rose, Moscow, 1907, p. 8, No. 71, listed.
Golden Fleece, Moscow, No. 5, 1907, p. 16, illustrated as U dereva s granatami.
Possibly, exhibition catalogue, Golden Fleece, Moscow, 1909.
Exhibition catalogue, The First Spring Exhibition, Yerevan, Society of the Workers of Fine Arts of Armenia, 1924, p. 7, No. 238, listed.
A. Kamensky, S. Khachatryan, L. Mirzoyan, Martiros Saryan. Paintings, Watercolours, Drawings, Book Illustrations, Theatrical Design,
Leningrad, Aurora Art Publishers, 1988, p. 280, No. 32, listed incorrectly under works from 1907 as Oasis. Lovers; p. 281, illustrated.
A. Agasyan, Martiros Saryan. Rannee tvorchestvo, Yerevan, Akademiya nauk Armenii, 1992, pp. 55 and 62, mentioned in the text; p. 189,
listed under works from 1905 as Oazis. Vliublionnye.
Exhibition catalogue, Martiros Saryan. Skazki i sny, 1903–1908, Moscow, Galart, 1995, illustrated; listed as Oazis. Vliublionnye under
works, location of which is unknown, and incorrectly dated 1907.
I. Gofman, Blue Rose, Moscow, Pinakoteka, 2000, p. 335, illustrated.
Sh. Khachatryan (ed.), Martiros Sarian 1880–1972, Canada, AAA, 2001, p. 62, illustrated and incorrectly dated 1907.
Sh. Khachatryan (ed.), Sarian 1880–1972, Samara, Agni, 2003, p. 142, illustrated as Oasis. Lovers and incorrectly dated 1906.
Sh. Khachatryan, Martiros Saryan. Izbrannoe, Yerevan, Printinfo, 2009, p. 98, illustrated as Oazis. Vliublionnye and incorrectly dated 1906.
Related literature: M. Saryan, Iz moei zhizni, Moscow, Izobrazitelnoe iskusstvo, 1990, p. 72, the series is mentioned in the text.
£300,000–500,000
В живописном наследии Мартироса Сарьяна картин раннего периода
сохранилось не так много. Тем значительнее представляется произведение «Оазис. У дерева с гранатами», исполненное художником
в 1905 году. Произведение Сарьяна, пронизанное нотами символизма,
отвечало эстетико-художественным программам объединения «Голубая
роза» и журнала «Золотое руно», на выставках которых оно экспонировалось и в каталогах которых упоминается. Представленная среди других работ мастера картина «Оазис. У дерева с гранатами» снискало
признание и успех у современных критиков, один из которых на страницах газеты «Русское слово» восторженно отмечал: «Сарьян блещет
и горит, как огнями, яркими экзотическими красками».
The present lot as illustrated and listed in the A. Kamensky monograph
( 30 )
Написанная в 1905 году картина является отражением внутренних
влечений, интересов молодого мастера, основанных, безусловно, на натурных впечатлениях от ежегодных поездок, в ту пору совершаемых на
Северный Кавказ и в Закавказье со своим другом — художником Геворком Миансаряном. Поэзия кочевых просторов с таинственными абрисами горных цепей и безбрежностью пустынных равнин, диковинные
животные, населяющие эти экзотические земли, словно пробуждали
в Сарьяне дремавшие воспоминания о детстве, проведенном в родной
деревне отца. Юношеское, восторженно-романтическое воображение
художника погружало его в волшебные миры грез и таинственной
любви, нашедших воплощение в его творчестве целой серией работ:
The present lot as illustrated in the Golden Fleece magazine
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
3 June 2015
( 31 )
«Сказка» (1904, Дом-музей М. Сарьяна, Ереван), «В ущелье Ахуряна (Цветущие горы). Сказка» (1905, Национальная картинная галерея Армении, Ереван), «Озеро фей» (1905, Государственная Третьяковская галерея), «Любовь.
Сказка» (1906, Дом-музей М. Сарьяна, Ереван).
Миражом, волшебным видением проступают на полотне «Оазис. У дерева
с гранатами» едва уловимые очертания побережья оазиса, где в сизой
дымке воздуха растворяются изумрудными павлиньими перьями листья
экзотического дерева. Овеянная духом небытия, античной богиней Корой
предстает на полотне девушка с газелью, их изящные силуэты являются подлинным олицетворением застывшей в вечности первородной красоты и гармоничного слияния человека и мироздания.
Свидетельством несомненной творческой удачи в создании произведения
«Оазис. У дерева с гранатами» и привязанности мастера к этой работе
обнаруживается тот факт, что картина не покидала стен дома художника.
Подтверждением этому являются сохранившиеся кадры документального
фильма о мастере («Мартирос Сарьян», «Арменфильм», 1964–1965). Лишь
в 1965 году живописец расстается с любимым полотном: он преподносит его
в качестве щедрого подарка врачу Мисаку Аратюняну, успешно прооперировавшему его жену. С того времени картина находилась в собственности
семьи Аратюнянов и впоследствии была приобретена у наследников.
The present lot as listed in the 1907 Blue Rose exhibition catalogue
( 32 )
M. Saryan, Love. Fairy Tale, 1906,
House-Museum of M. Saryan, Yerevan
Of the artistic legacy left by Martiros Saryan, few paintings from his early period
have survived, which lends even greater importance to Oasis. By the Pomegranate Tree, painted by the artist in 1905. Saryan’s work, infused with tones of Symbolism, was a response to the aesthetic agenda of the Blue Rose group of artists
and Golden Fleece magazine, being shown at their exhibitions and mentioned
in their catalogues. Shown alongside other Saryan’s works, Oasis. By the Pomegranate Tree won recognition and acclaim from critics of the time — one of whom
remarked delightedly in the newspaper Russkoye Slovo: “Saryan shines, in lights
burning brightly with exotic colours.”
This painting reflects the young artist’s inclinations and interests, which were undoubtedly based on his impressions of nature, gained from his annual trips to
the North Caucasus and Transcaucasia with his friend and fellow artist, Gevork
Miansaryan. It was as though the poetry of these nomadic expanses — with the
mysterious contours of the mountain chains, the vastness of the flat deserts and
the exotic animals that inhabited these extraordinary lands — reawakened in
Saryan the dormant recollections of the childhood on his father’s farmstead.
The artist’s youthful imagination, excitable and romantic as it was, plunged him
into an enchanted world of reverie and mystical love, resulting in a whole series
of works: Fairytale (1904, House-Museum of M. Saryan, Yerevan), In the Gorge of
Akhuryan (Blossoming Mountains). Fairytale (1905, National Gallery of Armenia,
Yerevan), Lake of Fairies (1905, The State Tretyakov Gallery), Love. Fairytale
(1906, House-Museum of M. Saryan, Yerevan).
In Oasis. By the Pomegranate Tree, the barely detectable features of the shoreline
of the oasis emerge as if a mirage; an enchanting vision, in which the fronds of an
exotic tree, like emerald peacock feathers, dissolve into blue-grey haze. Like the
ancient goddess Kore, steeped in the spirit of oblivion, a girl appears with a gazelle;
their elegant dual silhouette is a genuine personification of primal Beauty, frozen
in eternity and a harmonious fusion between mankind and the rest of Creation.
Saryan undoubtedly viewed Oasis. By the Pomegranate Tree as his great success
and had strong affection for it; the testimony for this being the fact that the painting did not leave the walls of his house (as confirmed by the documentary, Martiros Saryan, Armenfilm, 1964–1965). Only in 1965, did the painter finally part
with his favourite canvas, when he generously presented it as a gift to Misak Arutiunyan, a surgeon who had operated successfully on his wife. From that time on,
the painting remained in the ownership of the Arutiunyan family and was
subsequently acquired from their descendants.
M. Saryan, Fairy Tale, 1904, House-Museum of M. Saryan, Yerevan
( 34 )
M. Saryan, In the Gorge of Akhuryan
(Blossoming Mountains). Fairy Tale, 1905,
National Gallery of Armenia, Yerevan
10.
Aivazovsky, Ivan (1817–1900)
Camel-Cart at Sunset in a Coastal Landscape, signed and dated 1848.
Oil on canvas, 59.5 by 83 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
£150,000–300,000
«Верблюжья повозка на закате на фоне морского пейзажа» написана
Иваном Айвазовским под впечатлением от первого лета, проведенного
на своей вилле в Крыму. В 1848 году художник осуществил давнюю мечту — уехал из Петербурга на постоянное жительство в Крым, выстроив
виллу на окраине Феодосии, на пустынном в ту пору берегу у самого моря. Здесь он и провел с молодой женой лето, прогуливаясь с альбомом
и карандашом по окрестностям и делая зарисовки моря и бытовых сцен
из жизни крымских татар. Эти альбомы набросков служили потом
Айвазовскому материалом для создания картин, которые он всегда
писал в мастерской.
Верблюжьи повозки — характерный элемент крымского быта XIX века —
вызывали у путешествующих по полуострову европейцев неизменный
интерес и любопытство. Поэтому не только Айвазовский, но и Карло
Боссоли, Луиджи Премацци и другие живописцы, попадавшие в середине XIX века в Крым, любили изображать этих экзотических, груженных
самым разным скарбом животных в своих работах.
Картина «Верблюжья повозка на закате на фоне морского пейзажа»,
несомненно, самое романтическое произведение в этом ряду. И дело
не только в том, что художник в эти годы находится под влиянием традиций пейзажа Карла Брюллова и Семена Щедрина, но и в ощутимом тяготении композиции к «итальянскому жанру» и самом мировосприятии
Айвазовского. Он стремится к созданию гармоничного образа южного
вечера, делая акцент не столько на национальном и этнографическом
колорите, сколько на общем великолепии мироздания. Картина полна
воздуха и буквально пронизана светом заходящего солнца, скрадывающего лишние детали и сообщающего особое очарование пустынному берегу. Тонкие градации розовых и желтых оттенков, постепенно переходящих в синеву темнеющего неба, позволяют в полной мере оценить блестящее живописное мастерство и виртуозную технику художника.
I. Aivazovsky, Ox Train by the Sea Shore, 1860
( 38 )
Ivan Aivazovsky painted Camel-Cart at Sunset in a Coastal Landscape during the first summer spent in Crimea, in 1848. In spring that year, the artist
realised a long-cherished dream to leave St Petersburg and settle permanently in Crimea, where he had built a villa on the outskirts of Feodosia,
right by the sea — on what was then a deserted coastline. It was here that
he spent the summer of 1848 with his young wife, walking around the local
area with a sketchpad and pencil, making drawings of the sea and scenes
from the everyday life of the Crimean Tatars. These sketches were to serve
as material for the pictures Aivazovsky painted later in his studio.
Camel-carts were a feature of 19th century life in Crimea, which always aroused interest and curiosity amongst Europeans travelling around the peninsula. It was not only Aivazovsky but also Carlo Bossoli, Luigi Premazzi
and other painters who visited Crimea in the mid 19th century, who loved
to de-pict these exotic animals, loaded with all sorts of impedimenta.
Camel-Cart at Sunset in a Coastal Landscape is undoubtedly the most romantic work of this kind. The point here is not only the influence exerted
over the artist in these years by the landscape tradition of Karl Bryullov and
Semen Shchedrin, but also the composition’s palpable leaning towards the
“Italian genre” and Aivazovsky’s unique perception of the world. He strives
to create a harmonious image of a southern evening, laying emphasis not
so much on native and ethnographic colour, as on the overall magnificence
of Creation. The picture is full of air and space, and literally shot-through
with the light of the setting sun, in which superfluous detail is lost, lending
a special charm to the deserted shoreline. The fine gradations of rose and
yellow tints gradually darkening to a deep blue sky demonstrate
Aivazovsky’s virtuoso technique and his full brilliance as a Master of the art
of painting.
I. Aivazovsky, Peasants Returning from the Fields at Sunset
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
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3 June 2015
( 39 )
An Important Work
by Ivan Shishkin
Autumn on Krestovsky Island
11.
Shishkin, Ivan (1832–1898)
Autumn on Krestovsky Island, signed with initials, inscribed “Krestovskii” and dated “1892 Sentiabr’”.
Oil on canvas, 110 by 84.5 cm.
Authenticity certificate from the expert V. Petrov.
Authenticity of the work has been confirmed by the expert N. Ignatova.
Exhibited: Possibly, Personalnaya vystavka etiudov I. I. Shishkina, St Petersburg, 1892.
£600,000–900,000
Картина «Осень на Крестовском острове» написана Иваном Шишкиным
во время одной из его ежегодных творческих поездок по окрестностям
Петербурга. В ту пору слава живописца уже достигла общероссийских
масштабов, а сила его мастерства закрепила за ним лидирующее место
среди отечественных пейзажистов. За год до создания полотна, в 1891
году, художник устроил персональную выставку под названием «Этюды,
рисунки, цинкографии и литографии за период 1849–1891», представив петербургской публике свыше 500 превосходных образцов живописи и графики.
Произведения наглядно показывали художественную «лабораторию»
Шишкина, выявляя принцип его работы, в основе которого всегда лежало тщательное изучение природы. Его кисть или грифель его карандаша
словно «прощупывают» и мастерски воспроизводят любые творения
природы — отстающую от дерева сухую кору, мягкие мхи или пушистые
соцветия сныть-травы, — при этом давая возможность зрителю почувствовать смолистый запах леса, его утреннюю прохладу или свежесть
вечернего воздуха. Необыкновенный знаток и любитель леса — Шишкин
в совершенстве знал «анатомию» деревьев и растений разных пород,
а Павел Третьяков даже называл его «лесным царем». Современники же
говорили, что «Шишкин — верстовой столб в развитии русского пейзажа, это человек-школа. Но живая школа».
( 42 )
которому нет в технике препятствий к выражению чего бы он ни захотел
из тонко подмеченного им в природе». Далее в обзоре V Выставки
Товарищества передвижных художественных выставок в 1877 году было
также отмечено, что «вне ее теперь для Шишкина нет мотивов и она
остается для него единственным образцом для постоянного изучения
при неиссякаемом потоке творчества». На протяжении жизни излюбленным сюжетом для Шишкина являлся величественный мир леса с его заросшими чащами, мшистой почвой и густой растительностью, с могучей листвой развесистых дубов и колючими
лапами веток елей и сосен. В последний же период творчества мастера,
приходящийся на конец 1880–1890-е годы, полотнам Шишкина станет
свойственна все большая лиричность, тяга, по выражению самого художника, к «теплой, живой беседе души с природой и богом».
Живописцу становится интереснее писать старые парки, тихие пруды
с застывшей водой, заброшенные мельницы на лесных речках — словом, те мотивы, от которых исходит ощущение покоя, тишины, элегической задумчивости.
Сам художник, будучи еще совсем юным, в своем дневнике написал:
«Природа есть единственная книга, из которой мы можем научиться искусству». Спустя несколько десятилетий он уже займет прочное и индивидуальное место в русской пейзажной живописи. Художественные критики признают в нем «великого мастера», равного которому нет «между
русскими живописцами растительной природы». В нем увидят «добросовестного и дельного», «сильного и реального знатока своего дела,
Освещенная утренними лучами аллея парка на картине «Осень на
Крестовском острове» будто случайно увидена художником на прогулке.
Ускользающее тепло лета и подступающая прохлада осенних дней, раскисшая от недавнего дождя земля и опавшие желтые листья пробуждают
в зрителе настроение некоторой грусти, меланхолии. Сквозь арки свисающих дубовых ветвей виднеется тихая заводь с заброшенной беседкой — безмолвной хранительницей тайных разговоров и уединенных
размышлений. Шишкину, как ни в одном другом произведении, мастерски удалось передать ту задушевность русской природы, ее созвучие
внутренним переживаниям человека: умиротворение и тревогу, легкую
печаль и светлые воспоминания о былом.
I. Shishkin, Krestovsky Island Shrouded in Mist, 1880s–1890s,
The State Russian Museum
I. Shishkin, Autumn, 1892,
The State Russian Museum
www.MacDougallauction.com
Russian Art Auction
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( 43 )
Ivan Shishkin created Autumn on Krestovsky Island during one of his annual painting trips
through the environs of St Petersburg. It was a time when the painter had already achieved
fame all across Russia, and the sheer mastery of his work secured him a leading place
among the great landscapists. In 1891, a year before he painted this canvas, the artist had
organised a one-man exhibition entitled Studies, Drawings, Etchings and Lithographs from
the Period 1849–1891, setting before the St Petersburg public more than 500 superb works.
The works on show were vivid evidence of Shishkin’s “artistic laboratory”, revealing the
principle on which his work was always based: a meticulous study of nature. It is as
though his brush or the point of his pencil could feel the pulse of nature, masterfully reproducing her creations, whatever they might be — dry bark peeling off a tree, soft moss
or ebullient clusters of ground-elder blossom, — evoking at the same time the particular
tarry scent of the forest, the coolness of its morning or the freshness of its air in the
evening. Shishkin was a true lover and connoisseur of the woodland and knew the anatomy of the various species of trees and plants to perfection. Pavel Tretyakov went so far as
to call him Tsar of the Woods. Contemporaries said that Shishkin was “a milestone in the
development of Russian landscape, a man and also a school — but a living school”.
The artist himself, when still very young, had written in his diary: “Nature is the only
book, which can teach us about art”. A few decades later he would occupy a secure and
very special place in Russian landscape painting. Art critics would recognise him as a
great master, unequalled “among Russian painters of vegetation in nature”. He would be
seen as “conscientious and sensible” and a “powerful and genuine master of his craft,
for whom there are no technical obstacles to expressing whatever subtleties he observes
in nature. For Shishkin, there is now no subject matter beyond the realm of nature, and
nature remains his only paradigm for consistent study in the inexhaustible stream of his
creative effort”, as was observed in a review for the V Itinerant Exhibition in 1877.
Throughout his life, Shishkin’s favourite theme was the majestic world of the forest with
its overgrown thickets, mossy soil and thick vegetation, the mighty foliage of the widereaching oaks and the needle-fingered boughs of the firs and pines. In Shishkin’s late
creative period, however — towards the end of the 1880s and the 1890s — his canvasses take on an ever more lyrical quality, the sense of being drawn, in the artist’s own
words, towards a “warm, lively dialogue of the soul with nature and God”. It becomes
more interesting for him to paint old parks, tranquil ponds of frozen water or neglected
mills on streams in the forest, in short — subjects that exude a feeling of peace, quietness and elegiac pensiveness.
In Autumn on Krestovsky Island it is as though the artist has come across the avenue in
the morning sunlight by accident while walking in the park. There is a certain sadness
and melancholy about the mood evoked by the warmth of summer slipping away and
the coolness of autumn days about to come, the earth sodden by recent rain and the
yellow fallen leaves. The branches of the oaks form an arch through which can be seen
a quiet pool and beside it an abandoned bower, keeping silent witness to secret conversations and musings in solitude. Here, as much as in any other of his works,
Shishkin succeeds in conveying the intimacy of nature in Russia, her resonance with
deeply felt human emotions: a sense of peace as well as trepidation, a slight sadness
together with warm recollections of the past.
I. Shishkin, Pond in an Old Park, 1897, The State Tretyakov Gallery
( 44 )
12.
Savrasov, Aleksei (1830–1897)
Road by the Volga River.
Oil on canvas, 55 by 43 cm.
Provenance: Private collection, Europe.
Authenticity certificate from the expert V. Petrov.
£150,000–200,000
Картины, написанные на волжских берегах, с 1870-х годов занимают
в творчестве Алексея Саврасова особое место. Великая русская река
вдохновляет художника на создание полотен с неохватными далями,
увиденными сверху полноводными разливами и панорамами приволья.
Но в то же время Саврасов остается неизменно верен себе, и его чуткая,
окрашенная в христианские тона любовь к природе находит блестящее
выражение в неброских пейзажных сюжетах, наполненных бережным
и трогательным вниманием к подробностям сельского быта.
Именно к таким светлым лирическим пейзажам, где природа воспринимается художником неотрывно от жизни населяющих ее людей — рыбаков, крестьян, бурлаков — с их повседневными заботами и делами,
принадлежит представленный на торги холст «Дорога близ Волги».
При всей кажущейся простоте композиция картины строго продумана
и позволяет Саврасову охватить одним взглядом дали среднерусской
Построенное как вариация полюбившихся художнику мотивов, это полотно представляет традиционный для пейзажей Саврасова набор деталей: водная гладь с отражающимся в нем прихотливым отсветом
облачного неба, освещенное солнцем крупное дерево, тропинка с путниками и «тающая» панорама села на дальнем плане. Его живопись тонкослойна, почти прозрачна. Художник сумел найти органичное соединение
интимности обжитого уголка природы и картинности вида. Благодаря
скромности и неброскости сюжетного мотива и ровной спокойной живописи «Дорога близ Волги» кажется воплощением знаменитых слов
Исаака Левитана о композициях Саврасова: «Какая простота! Но за этой
простотой вы чувствуете мягкую, хорошую душу художника, которому все
это дорого и близко его сердцу».
A. Savrasov, Rainbow, 1875, The State Russian Museum
A. Savrasov, The Volga, 1874, The Regional Art Museum, Kaluga
Излюбленный художником небольшой салонный формат работы (почти
такой же, как у знаменитой «Радуги» из Государственного Русского музея)
и поэтичность мотива хранят живой отпечаток тех целенаправленных поисков художественного образа, что на протяжении долгих лет были средоточием творчества одного из самых проникновенных русских пейзажистов.
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речной панорамы, безграничную ширь покрытого бегущими облаками
неба и тихую, непритязательную красоту высокого берега с широкой дорогой, по которой неспешно движется пара крестьян. Образный строй
картины отличается спокойствием и ясностью. На переднем плане безраздельно главенствуют вертикаль кустистого дерева, прячущего в листве
крышу небольшого деревенского дома, и диагональ утоптанной глинистой
дороги. Вдали виднеются лодочная мачта с волнуемым ветром флагом
и еще одна поднимающаяся от берега фигура. Во всем ощущается присутствие человеческой жизни и ее тепло, согревающее образ природы.
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( 47 )
Beginning in the 1870s, the pictures painted on the banks of the Volga occupy
a special place in the oeuvre of Alexei Savrasov. The great Russian river inspired him to paint boundless distances, views over flooded shores and
panoramic views of surrounding areas. But at the same time, Savrasov remained true to himself, and his thoughtful love of nature, coloured by his
Christian faith, finds powerful expression in these unostentatious landscapes,
enriched with careful and touching attention to the details of Russian rural life.
Road by the Volga River is one of these lyrical landscape works, where nature is perceived by the artist as inseparable from the life of the people who
inhabit it — the fishermen, peasants and barge haulers — each with their
everyday concerns and pursuits.
The picture is of the modest-sized salon format so beloved by the artist, and
almost matching that of the famous Rainbow in the collection of the State
Russian Museum. This format, together with the poetic theme of the picture,
is clearly reminiscent of the master’s quest for a particular artistic representation. This was always the defining feature of works by Savrasov, one of the
most sensitive painters of Russian landscapes.
The apparent simplicity of composition belies the careful thinking behind
the picture. Savrasov encompasses at a glance the distances of the Central
Russian riverscape, the endless expanse of the sky with its moving clouds,
the quiet, unassuming beauty of the high river bank and the broad track
where two peasants are making their unhurried way. The composition of the
picture has a calmness and clarity. The foreground is dominated by a tall
tree with its branches in full leaf, by the roof of a small village house which
emerges through its foliage and by the diagonal path of a well-trodden,
muddy track. In the distance, we see the mast of a boat with a flag blowing
in the wind and a third figure, making his way up from the riverbank. Human
presence permeates the whole composition and lends warmth to this representation of nature.
The picture is a rendition of many themes beloved by the artist and a collection of details that typify Savrasov’s landscapes: the water’s surface reflecting a playful light from the cloudy sky, the large tree illuminated by the sun,
the figures walking along the track and the panorama of a village, melting
away into the distance. Savrasov’s painting is thin-layered, almost transparent. The artist was a master at combining the intimacy of human habitation
in nature with the grandeur of landscape. With its modest, low-key subject
matter and calm painting, Road by the Volga River embodies Isaac Levitan’s
famous comment on Savrasov’s art: “What simplicity! But behind the simplicity you feel the gentle, good soul of the artist, for whom all this is dear
and close to his heart.”
A. Savrasov, The River Volga by Gorodets Village, 1870, The State
Tretyakov Gallery
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13.
Kalmykov, Grigory (1873–1942)
Floating of Ice on the Neva River, St Petersburg, signed.
Oil on canvas, 83.5 by 122 cm.
Executed in the 1890s.
Authenticity of the work has been confirmed by the expert V. Petrov.
Literature: Reproduced on a postcard published by Richard,
St Petersburg, 1903.
£40,000–60,000
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( 51 )
14.
Bogoliubov, Alexei (1824–1896)
15.
Tikhov, Vitaly (1876–1939)
Amsterdam by Night, signed.
Venus before the Mirror, signed and dated 1920.
Oil on paper, laid on panel, 20 by 32 cm.
Oil on canvas, 58 by 67.5 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity of the work has been confirmed by the expert V. Petrov.
£50,000–70,000
£20,000–30,000
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( 53 )
An Important Work
by Isaak Brodsky
Portrait of the Artist’s Mother and Sister
* 16.
Brodsky, Isaak (1884–1939)
Portrait of the Artist’s Mother and Sister, signed and dated 1905.
Oil on canvas, 72 by 66 cm.
Provenance: Collection of a sitter Polina Brodsky, the artist’s sister, Leningrad.
Collection of an art historian Iosif Brodsky, the artist’s nephew, Leningrad.
Private collection, Europe.
Exhibitions: Yubileinaya vystavka proizvedenii zasluzhennogo deyatelya iskusstv I.I. Brodskogo. 30 let khudozhestvennoi deyatelnosti
1904‒1934, Moscow, Leningrad, Odessa, Kiev, September‒December 1934.
Vystavka proizvedenii zasluzhennogo deyatelya iskusstv RSFSR Isaaka Izrailevicha Brodskogo, Academy of Arts of the USSR, Moscow, 1955.
Isaak Izrailevich Brodsky 1884–1939, Research Museum of the Academy of Arts of the USSR, Leningrad, 1974.
Isaak Izrailevich Brodsky 1884–1939, Research Museum of the Academy of Arts of the USSR, Leningrad, 1984.
Dvoe. Zhivopis XX veka iz chastnykh sobranii, Kournikova Gallery, Moscow, 16 November 2008–18 January 2009.
Literature: Iskusstvo, No. 5, 1934, Moscow‒Leningrad, Ogiz-Izogiz, p. 7, illustrated.
Yubileinaya vystavka proizvedenii zasluzhennogo deyatelya iskusstv I.I. Brodskogo. 30 let khudozhestvennoi deyatelnosti 1904‒1934,
Moscow, Vsekokhudozhnik, 1934, p. 9, No. 8, listed under the works from 1905.
Isaak Izrailevich Brodsky, Moscow‒Leningrad, Sovetskii khudozhnik, 1950, illustrated.
Exhibition catalogue, Vystavka proizvedenii zasluzhennogo deyatelya iskusstv RSFSR Isaaka Izrailevicha Brodskogo, Moscow, Academy
of Arts of the USSR, 1955, p. 19, listed under the works from 1905.
Isaak Izrailevich Brodsky. Stat’i, pisma, dokumenty, Moscow, Sovetskii khudozhnik, 1956, p. 18, illustrated.
I. Brodsky, Isaak Izrailevich Brodsky, Moscow, Izobrazitelnoe iskusstvo, 1973, p. 33, illustrated.
Exhibition catalogue, Isaak Izrailevich Brodsky 1884–1939, Leningrad, Academy of Arts of the USSR, 1974, p. 17, illustrated; p. 25, listed.
Exhibition catalogue, Isaak Izrailevich Brodsky 1884–1939, Leningrad, Iskusstvo, 1984, p. 31, listed.
Exhibition catalogue, Dvoe. Zhivopis XX veka iz chastnykh sobranii, St Petersburg, Petronius, 2008, pp. 18, 19, illustrated; p. 106, listed.
£500,000–700,000
«Портрет матери и сестры художника» — замечательная ранняя вещь
Исаака Бродского. Полотно написано в 1905 году, в то время, когда изображения родных и близких занимали первостепенное место в творчестве
молодого живописца. Каждое лето талантливый ученик мастерской Ильи
Репина отправлялся из Петербурга на академические каникулы на
родину в небольшое село Софиевку Таврической губернии, затерянное
посреди бескрайних степей южной России. Дома его ждала большая
дружная семья: отец, мелкий торговец, державший местную лавочку,
мать, братья и сестры.
«Натурой» для портретов Бродского начала 1900-х годов прежде всего был
он сам, также ему позировали софиевские ребята, домочадцы, сестры
и братья его соучеников, в частности Людмила Бурлюк (1906). Особенно
часто художник изображал свою младшую сестру Полину Израилевну
Бродскую (1893–1973), черты которой легко узнаваемы в нескольких
«Портретах сестры» (1902–1904), «Цыганке» (1902) и представленном на
торги «Портрете матери и сестры художника» (1905). Изображение матери
Бродского Голды Элконовны (1862–1947), напротив, встречается довольно
редко и несет отпечаток особой тщательности исполнения.
Все лето Бродский упорно и неустанно работал, ходил на этюды, писал
портреты и пейзажи и ежегодно возвращался в Академию с десятками холстов, составляющих небольшую выставку. Этими полотнами, созданными
во время учебы у Репина, художник впоследствии очень дорожил, считая,
что они говорят о его творческом потенциале и независимости от учителя.
В работе над образом матери художник настойчиво ищет четкого, крепкого контура, много внимания уделяет деталям и рефлексам, следя за
тем, чтобы они не доминировали над главным. Добиваясь академической крепости формы, он не утрачивает присущего ему тревожного
нервического психологизма.
The present lot as listed in the 1934 exhibition catalogue
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The present lot as illustrated in the 1934 Iskusstvo magazine
The present lot as illustrated in the 1974 exhibition catalogue
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Смуглая большеглазая девочка, напротив, изображена в трехчетвертном
повороте, и вся ее поза говорит о динамике, непоседливости подростка,
словно поддавшегося спонтанному порыву обнять сосредоточенно позирующую художнику мать. Уже в этом внутреннем противопоставлении
статики и движения чувствуется оригинальность образного мышления
Бродского, определенная творческая направленность художника. Этот
исполненный чувства и даже некоторой экзальтации «домашний» парный портрет отличается интересным композиционным решением и индивидуализированным подходом к каждой из дорогих сердцу художника
моделей. Бродский стремится запечатлеть родных ему людей в живом
движении, выявить характер каждого персонажа. В чем-то главном эти
работы близки манере Валентина Серова и Ильи Репина.
Portrait of the Artist’s Mother and Sister is a remarkable early work by Isaac
Brodsky. It was painted in 1905, at a time when depictions of kith and kin
had a huge place in the creative life of the young artist. Every summer, this
talented pupil from Ilya Repin’s studio would set out on field trips from the
Imperial Academy of Arts in St Petersburg to Sofievka, the small village of his
birth, lost amid the limitless steppe of the Taurida Governorate in Southern
Russia. Awaiting him at home was a large and close-knit family: his father,
a trader and local shopkeeper, his mother, brothers and sisters.
Working on the image of his mother, the artist is determined to find a firm,
distinct outline and devotes a great deal of attention to details and overtones, yet ensures they do not predominate. While achieving an academically rigorous form, he nevertheless retains a restlessness and a slight
psychological tension, so typical of his art. The swarthy little girl with large
eyes is depicted in three-quarter profile, her entire pose conveying the energy and restlessness of an adolescent — looking as if she is about to spontaneously hug her mother — who, conversely is fully focused on maintaining
her pose. This intrinsic contrast between the static and the dynamic highlights the originality of Brodsky’s figurative thinking, a particular artistic orientation of his. This “domestic” double portrait, imbued with feeling and
even a degree of exultation, is distinguished by the originality of its composition and its individualised approach to each of the artist’s cherished models. Brodsky strives to portray the members of his family with movement and
expression of each person’s character. In some profound way, his painterly
manner resembles that of the celebrated Valentin Serov and Ilya Repin.
All summer Brodsky would work persistently and tirelessly, producing studies en plein air and painting portraits and landscapes. Every year, he would
return to the Academy with dozens of canvasses, which formed a small exhibition. Later in life, the artist would treasure the canvasses created during
his study under Repin, regarding them as an expression of his creative potential and independence from his teacher.
The models for Brodsky’s portraits at the beginning of the 1900s were the
artist himself, as well as the children of Sofievka, members of his family and
the sisters and brothers of his fellow pupils — including Lyudmila Burliuk.
Often the artist would portray his younger sister Polina Brodskaya, whose
features are easy to recognise in several works entitled Portrait of the Artist’s
Sister (1902–1904), Gypsy Girl (1902) and Portrait of the Artist’s Mother and
Sister, presented here for auction. Depictions of Brodsky’s mother, Golda
Elkonovna, however, are rather rare and distinguished by the special care
with which they are executed.
The present lot as illustrated in the 1950 monograph on the artist
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Не случайно сам Репин говорил о своем ученике: «И его характер, и произведения, в которые он вкладывает столько любви и красоты, всегда
журчат чистым источником ключевой воды. Этот родник чистого искусства зеркально отражает в себе все, на чем душа симпатичного
художника остановила свой глубокий взор…»
It is no coincidence that Brodsky’s mentor Repin said of him: “Both his
character and his work, in which he invests so much love and beauty, always
bubble like a clear stream of spring water. This source of pure art is a mirror
that reflects everything dwelt on by the profound gaze of this delightful
artistic soul”.
The present lot as listed in the 1955 exhibition catalogue
The present lot as illustrated in the 1956 publication on the artist
( 59 )
Lots 17, 18. Important Works from a Private Collection, Austria
§ 17.
Larionov, Mikhail (1881–1964)
Sketchbook with Drawings, 67 works, 41 signed, one inscribed in Cyrillic and one double-sided.
Each pencil on paper, one measuring 21 by 13.5 cm and the others 27.5 by 20.5 cm.
Executed in the 1920s.
Provenance: A gift from the artist to Irina Grzhebina, a ballet dancer and director of the company Russian Ballet of Irina Grzhebina, Paris, 1940s.
A gift from the above to A. Kovalsky, a Soviet diplomat, Paris, 1986.
A gift from the above to the present owner, Moscow, 2007.
Private collection, Austria.
Authenticity of the work has been confirmed by the expert G. Pospelov.
Literature: L. Pospelov, “Moi vstrechi s Tomilinoi”, in Russkoe iskusstvo, No. 1, 2012, pp. 17‒19, mentioned in the text.
£150,000–200,000
Публикуемый альбом натурных набросков Михаила Ларионова будет наверняка интересен ценителям его творчества. Он относится к началу французского периода его жизни, к 1920-м годам. Точнее датировать затруднительно, ибо и к наполняющим его жанровым оценкам, как и к зарисовкам
с обнаженной натуры, художник обращался на протяжении десятилетия.
И не меньшая же свежесть — в зарисовках с модели! Женская фигурка
в бытовой обстановке, в нижней рубашке или совсем обнаженная,
моющаяся в тазу, как это бывало и на рисунках Дега.
Листам Ларионова такая бестрепетность совершенно чужда. В его рисунках — подход не только художника, но и влюбленного. Ларионову
в этот период за сорок, Шуре Томилиной — немного за двадцать, и он не
отводит глаз от ее движений и поз, покоренный естественностью юного
существа. Вот она обмирает «после любви», раскинувшись на подушках,
вот моется рядом с кроватью, протягивая руку за полотенцем (в старых
домах в Латинском квартале не было ванн до последних десятилетий).
Ларионов был энтузиастом жизни во всех ее проявлениях, будь то движения моющейся женщины или собачонки, чешущей лапой за ухом (эти
собачки проходят через все его творчество, в том числе и по страницам
интересующего нас альбома). Художник смотрит на женское тело так,
как можно наблюдать повадки животного.
Дело в том, что Ларионов делал свои зарисовки не с профессиональной
натурщицы. Их героиня — Александра Томилина, связь с которой началась у художника как раз в начале 1920-х. Русская эмигрантка (дочь московского банкира Клавдия Томилина) — она жила на той же лестничной
клетке, где квартировал Ларионов (в доме № 16 по улице Жака Калло),
и очень скоро сделалась близким для него человеком. Ее фигурка en face
на одном из листков могла бы служить заставкой к публикуемому альбому. Ларионов изображал ее без конца, и эти изображения становились
Однако рядом — движения пленительной грации, в иных же листах —
и человеческое тепло, и забота (вспомним, что после разрыва
с Гончаровой Ларионов на долгие годы соединится с Томилиной, сделавшейся его «добрым ангелом» до конца его жизни). На одном из листов — фигурка в позе легкой усталости, в прозрачном платье, одетом
на голое тело, и мягкий карандаш рисовальщика буквально ласкает его
очертания, спадающую линию талии и бедра, контуры опертой о столик
руки. В рисунках второй половины 1920-х этого чувства уже не будет.
И все же можно предположить, что альбом принадлежит к самым первым парижским годам. Об этом говорит та свежесть впечатлений от жизни Парижа, какую нетрудно заметить на страницах альбома: фигуры
прохожих, люди в театральных креслах, за столиками кафе, усталая женщина отдыхает на фоне Эйфелевой башни. Спустя какое-то время такие
детали казались бы примелькавшимися.
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многим известны: Ларионов «пишет желтенькой краской желтенькую женщину с желтенькими волосами и низким тазом», — читаем в воспоминаниях Нины Берберовой, характерных бестрепетной тонкостью отзывов.
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Подобные зарисовки становились начальным этапом для работы над более
продвинутыми вещами. Таковы были знаменитые вещи, подобные «Стоящей обнаженной с поднятыми руками» из собрания Государственной Третьяковской галереи в Москве (разумеется, изображение все той же Томилиной). От одного из листов пошла череда «лежащих nu» 1920-х годов, а от
другого («Женщина у парикмахера») — целый ряд превосходных рисунков
на ту же тему, что и картина «Проститутка у парикмахера» (Государственная
Третьяковская галерея), датируемая обычно концом 1920-х годов, хотя,
судя по нашему альбому, ее следует отнести к их началу.
Но многие идеи так и оставались в альбоме. Ларионов сочиняет сюжеты
для своих новых картин. Хрупкая Шурочка предстает то усталой
официанткой в кафе с поникшими руками рядом со строем еще не
открытых бутылок, то девушкой из публичного дома, то рядом с какой-то
строгой монахиней. Стараясь вписаться в традицию французского
искусства (помня о Ренуаре или Мане!), Ларионов мечтает
о театральных сюжетах, где Шурочка превратится в нарядную даму
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в модной шляпке и с веером в сопровождении кавалера с моноклем
в глазу, в котором нетрудно узнать Сергея Дягилева.
Публикуемый сегодня альбом был, конечно, далеко не единственным.
Альбомы сменяли один другой, составляя в работах художника своеобразный «подспудный слой». Ларионов ни на минуту не расставался
с альбомами, но одновременно не придавал им значения, всего лишь
черпая из них материал для картин и рисунков.
Сегодня они приобретают особую важность. Известность и оценка
вещей Ларионова с годами непрерывно растут. И искусствоведов,
и зрителей начинают интересовать не только центральные вещи, но
и весь состав его творчества. В его набросках с натуры весь трепет
текущей жизни, а вместе с тем среди этих листов таятся, как мы это
только что видели, подлинные шедевры его рисунка.
Глеб Поспелов, кандидат искусствоведения
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Sketchbook with Drawings by Mikhail Larionov will be of interest to all
those who esteem his work. It dates from the early part of the artist’s
French period, the 1920s. It is hard to be more precise, since the genre
pieces and nudes which fill the book were characteristic of the artist’s work
throughout that decade.
The album most probably dates from Larionov’s first years in Paris, as suggested by its vivid impressions of ordinary life in the French capital: people
on the streets, in theatre seats, at café tables, an elderly woman with the
Eiffel tower in the background. Details which would have become too familiar after many years spent in the city.
This freshness is equally apparent in the album’s drawings of the model.
Larionov’s representations of a female figure at home in a petticoat, or
naked, washing herself in a bowl, are reminiscent of Degas. Larionov did
not use a professional model. The subject of these drawings is Alexandra
(affectionately “Shura”) Tomilina, with whom the artist began a liaison at
the start of the 1920s. She was a Russian emigrée, the daughter of the
Moscow banker Klavdy Tomilin, and she had an apartment where Larionov
lived at №16 Rue Jacques Callot. Tomilina’s figure en face on one of the album sheets might serve as frontispiece for the whole book. The artist never
tired of drawing her, and these images were familiar to a wide circle of his
contemporaries. Larionov “draws in yellowish paint a yellowish woman with
yellowish hair and low hips,” Nina Berberova wrote in her memoirs, straight
to the point, as was her custom.
But Larionov’s approach in these works is far from Berberova’s matter-of-factness. He looks at his model from the viewpoint of an artist who is also a man
in love. Larionov at the time was over forty whilst Tomilina was a little over
twenty and he is evidently entranced by her movements and postures, and
bewitched by the naturalness of her young being. In one picture, she lies
tranquil, post coitus, her body draped over cushions, in another she washes
herself by the bed, reaching for a towel (bathrooms did not become widespread in the old houses of the Latin Quarter until much later). Larionov was
full of enthusiasm for life in all its manifestations, from the movements of
a woman washing herself to those of a lap dog, scratching itself behind the
ear (these dogs recur throughout his work and the present album is no exception). The artist captures the plasticity of the female body with the same
interest and accuracy as he might capture the movements of an animal.
But Larionov also conveys the captivating grace of his young subject, and
many of the pages are suffused with emotional warmth. After his break-up
( 64 )
with Natalia Goncharova, Larionov spent many years with Tomilina, who
remained his “guardian angel” until the end of his life. One of the pages
shows a female figure in a tired pose, wearing nothing but a transparent
dress, and the soft pencil of the draftsman literally caresses her outline;
the descending line of her waist and hips and the contours of her arm,
leaning against the table. Such feeling is no longer visible in Larionov’s
drawings from the second half of the 1920s.
These sketches were the starting point for more sophisticated works, many
of them now famous, such as the Standing Nude with Arms Raised from
the collection of the State Tretyakov Gallery in Moscow (the model is indisputably Tomilina). One of the album pages is the source of the 1920s series of recumbent nudes. Another sketch (Woman at the Hairdresser) gave
rise to a number of excellent drawings that share the theme of Larionov’s
painting Prostitute at the Hairdresser (the State Tretyakov Gallery), which is
usually dated to the end of the 1920s, but judging from the present album,
is more likely to have been created at the beginning of that decade.
Many other ideas never went beyond the covers of the album, where
Larionov experiments with possible themes for new paintings. Slender
Shura is represented as a café waitress, her arms drooping in exhaustion
beside rows of as yet unopened bottles, as a girl in a brothel, or side-byside with the severe figure of a nun. Seeking a place in the French art tradition (particularly that of Renoir and Manet), Larionov tried theatrical subjects, where Shura is transformed into an elegant lady in a fashionable hat
and with a fan, accompanied by a gentleman with a monocle who is immediately identifiable as Sergei Diaghilev.
Of course, the album now presented was not alone of its kind. Larionov’s
albums succeeded one another as a substratum beneath his principal
artistic output. Although Larionov was never parted from his albums, he
attached little importance to them, treating them as raw material for his
paintings and drawings.
Today, these albums acquire an importance far beyond what they meant to
have Larionov’s lifetime. The artist’s fame and esteem in which he is held,
have increased steadily over the years. Critics and the art audience of today
are interested in the entirety of Larionov’s output — and not merely in his central works. His life sketches are brimful of the excitement of lived experience.
As we have demonstrated, they are also masterworks of Larionov’s graphic art.
Dr Gleb Pospelov, art historian
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Russian Art Auction
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3 June 2015
( 65 )
§ 18.
Larionov, Mikhail (1881–1964)
Still Life with Cornflowers, signed with initials.
Oil on canvas, 67 by 52 cm.
Executed in the 1930s–1940s.
Provenance: A gift from the artist to Irina Grzhebina, a ballet dancer and
director of the company Russian Ballet of Irina Grzhebina, Paris, 1940s.
A gift from the above to A. Kovalsky, a Soviet diplomat, Paris, 1986.
A gift from the above to the present owner, Moscow, 2007.
Private collection, Austria.
Authenticity certificate from the expert G. Pospelov.
£200,000–300,000
«Натюрморт с васильками» — бесспорное произведение Михаила
Ларионова. Он относится к позднему периоду его творчества,
к 1930–1940-м годам. В эти годы художник нередко писал
непритязательные полевые цветы, стоящие в не менее скромной посуде,
вплоть до старого чайника. Один букет с живыми, но совсем не
декоративными цветами есть в Государственной Третьяковской галерее
(«Весенний букет»). Там белые цветы поставлены в синий чайник,
в интересующей нас картине — синие — в белый, при этом синие цветы
на фоне белого чайника выглядят узором на белой посуде.
Особенность таких постановок — умение художника любоваться естественной жизнью, минутной свежестью этих цветов и вместе с этим — осознание ускользания, эфемерности жизни: один из маков, затесавшийся в
букет васильков, еще алеет между синими цветами, в то время как другой
уже опал на поверхность стола. И тут и там цветы находятся на фоне аскетической серой стены. В картине Государственной Третьяковской галереи
в верхнем левом углу еще есть весеннее небо в окошке, в «Натюрморте
с васильками» отсутствует и оно, а взамен — угол темной серой поверхности, по-видимому, край висящей на стене картины. На смену многоцветью
холстов 1900–1910-х годов у позднего Ларионова пришли до передела
сдержанные красочные гаммы. Во многих натюрмортах («Натюрморт
M. Larionov, 1930
( 66 )
M. Larionov, Spring Bouquet, 1930s,
The State Tretyakov Gallery
с лимоном» из собрания Государственного Русского музея) и обнаженных
моделях («Натурщица» из частного собрания в Москве) — пригашенные,
мглистые краски, в пределах которых «нежданным подарком» кажутся
вкрапления голубого или алого (как в нашей картине). Вместе с тем эти
«пепельные» палитры разрабатываются Ларионовым с необычайной тонкостью. Весь фон вокруг белого чайника и васильков — изысканные сочетания серых и синих тонов. Наше восприятие — между ощущениями живого мерцания и сумрачного угасания этих оттенков (так же как и сами
цветы живут недолгую пору между минутой, когда их сорвали, и моментом
неизбежного увядания).
Картина имеет отчетливый провенанс. В свое время она (вместе с некоторыми другими работами) была подарена Ларионовым балерине
Ирине Гржебиной, а от нее в 1986 году перешла к ее современным владельцам. Состояние ее сохранности удовлетворительное. Добавлю, что
появление в поле зрения исследователей самых поздних (как и самых
ранних) картин Ларионова делают наши представления о его творчестве
более полными, давая возможность прочертить его развитие от начала
до завершения.
Глеб Поспелов, кандидат искусствоведения
M. Larionov, Vase de Fleurs
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Russian Art Auction
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( 67 )
Still Life with Cornflowers is indisputably the work of Mikhail Larionov. It belongs to his late period, of the 1930s–40s. In these years, the artist often
painted unassuming wild flowers arranged in simple pots, even old
teapots. The State Tretyakov Gallery has one such painting of a bunch of
fresh, if not exactly decorative, white flowers standing in a blue teapot
(Spring Bouquet). In the picture offered here for auction, blue flowers stand
in a white teapot, and against which, the blue flowers resemble a pattern
on the white china.
A special feature of these creations is the artist’s ability to delight in the
life of nature, the fleeting freshness of the flowers and the simultaneous
awareness of how ephemeral life is: one of the poppies, an intruder in the
bunch of cornflowers, still glows red among the blooms of blue, whilst another has already fallen on to the table top. In this work, as well as in the
work mentioned above, the flowers are seen against the austere background of a grey wall. The picture in the State Tretyakov Gallery includes
a spring sky seen through a window in its upper left-hand corner, this is
absent in Still Life with Cornflowers but in its place there is an angular dark
grey shape, apparently the edge of a picture hanging on the wall.
Larionov’s canvasses from the first two decades of the 20th century have
a great diversity of hue, but the palette that predominates his late work
reached a point of refinement where the ranges of colour are restrained. In
many still lifes (such as Still Life with Lemon in the collection of the State Russian Museum) and in his nudes (Life Model in a private collection in Moscow)
the colours are subdued and misty, and when light blue or red inclusions appear (as in our picture), they seem to come as “an unexpected gift”. The
“ashen” colours in his palette are developed by Larionov with remarkable delicacy. Moreover, the entire background of the white teapot and cornflowers
consist of exquisite combinations of grey and blue tones. Our perception falls
somewhere between sensations of these lively glimmer to their gloomy extinction (in the same way as the flowers themselves live a short while from the
moment they are picked to the time when they inevitably wither away).
The picture has a strong provenance. In its time it was (together with other
works) presented as a gift from Larionov to the ballerina Irina Grzhebina,
and from her, passed to the present owners in 1986. The painting is in
a satisfactory state of preservation. Now that Larionov’s late work is available for research (along with his early work), we would add that we have
a fuller picture of his creativity, offering the opportunity for its development
to be traced from beginning to completion.
Dr Gleb Pospelov, art historian
M. Larionov, A Bunch of Wild
Flowers, c. 1900
M. Larionov, Lilacs, Two Bouquets, 1904
( 69 )
An Important Work
by Konstantin Somov
Masquerade
* 19.
Somov, Konstantin (1869–1939)
Masquerade, signed and dated 1925.
Pencil, watercolour and gouache on laid paper, 37 by 29 cm.
Provenance: Important private collection, Europe.
Russian Art Evening, Sotheby’s London, 26 November 2007, lot 16.
Acquired at the above sale by the present owner.
Private collection, Europe.
£500,000–700,000
«Маскарад», исполненный в духе излюбленных Константином Сомовым
галантных сцен с изображением актеров комедии дель арте, представляет картину шумного карнавального действа, где в вихре танцующих
фокстрот пар мелькают узнаваемые современниками лица театральных
див и героев светской хроники. Утопающий в веселых звуках музыки
бальный зал кадром из киноленты разворачивает перед зрителем игру
людей и «масок», истинной жизни и фальши клоунады.
Произведение, созданное Константином Сомовым в 1925 году, относится к так называемому американскому периоду его жизни. В сентябре
1924 года в связи с устройством «Выставки русского искусства» он отправляется в США, где живет вплоть до мая 1925 года. Бурная атмосфера Нью-Йорка с его пестрой рекламой, ревущими моторами автомобилей и невероятным ритмом жизни захлестнула воображение художника.
В письмах к сестре Сомов делится своими впечатлениями о многочисленных вернисажах и театральных постановках, открывающихся в обилии в кинотеатрах, и звездах Бродвея. С этого времени начинается сотрудничество художника с издательским домом Vanity Fair, для которого
он исполняет многочисленные эскизы обложек. Работа над созданием
иллюстраций светской жизни, широко освещавшейся на страницах модных журналов, увлекала мастера, и вскоре он стал художником ряда
подобных европейских изданий.
В 1925 году, за два месяца до отъезда из Нью-Йорка в Париж, художник
писал сестре в Ленинград: «В понедельник я весь день работал с 12 до
12 ночи — задумал я сделать несколько обложек впрок, снесу их показать в редакцию журнала Vanity Fair» («К. А. Сомов. Письма. Дневники.
Суждения современников». М., 1979, с. 269).
Пролистывая страницы знаменитого светского журнала «Vanity Fair» за
1925 год (Cборник Vanity Fair. Portraits of an age/«Ярмарка тщеславия.
Vanity Fair. Portraits of an Age, 1914–
1936. Thames and Hudson, 1983
( 72 )
Fred and Adele Astaire
Портреты эпохи/1914–1936». London, Thames and Hudson, 1983), можно идентифицировать моделей для фигур «Маскарада». Так, на переднем плане изображены две знаменитые пары «звезд» Бродвея 1920-х
годов: супружеская пара знаменитых актеров Фред Лант и Линн Фонтэйн
(слева) и непревзойденные танцоры брат и сестра Фред и Адель Астер,
(справа). На заднем плане композиции просматривается строгий и задумчивый профиль актера Джона Берримора в образе Гамлета из одноименной пьесы, постановка которой в 1925 году имела оглушительный
успех. Перед ним, развернутая в полуоборот в образе восточной красавицы, изображена Рут Сен-Дени, знаменитая танцовщица и основоположница танца модерн. Справа от Джона Берримора — едва различимое лицо актрисы Грейс Джордж со свойственной ей экстравагантной
прической.
«Маскарад» не попал на обложку «Vanity fair», но другой вариант данной работы, где герои предстают в исторических костюмах, была
опубликована в 1926 году на обложке немецкого журнала «Die Dame»
(Частная коллекция).
Работа исполнена на бумаге «верже» с особым типом полосок, которую
Сомов использовал для своих нью-йоркских работ. Типична и подпись:
в это время художник подписывал свои работы с одной буквой «f».
В фондах Государственной Третьяковской галереи хранится аналогичная
времени создания «Маскарада» работа «Пейзаж. Ночное» 1925 года,
которая демонстрирует аналогичные атрибуты, подтверждая предположение о том, что эти произведения относятся к одному периоду создания.
Акварельные работы Сомова, благодаря своим несомненным художественным достоинствам, выходят за рамки жанра журнальной графики
и, являясь самостоятельными станковыми произведениями, занимают
особое место в творчестве Сомова.
Alfred Lunt and Lynn Fontanne
K. Somov, Carnival, 1926
K. Somov, Harlequin and a Lady, 1921,
The State Russian Museum
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( 73 )
Konstantin Somov’s Masquerade is painted in the spirit of fêtes galantes, so beloved by
the artist, with their portrayal of commedia dell’arte actors. The picture offered here for
auction depicts a noisy carnival event — where faces familiar to the artist’s contemporaries of theatrical divas and personalities from the society columns — are glimpsed
amongst the whirling couples dancing the foxtrot. The ballroom, drowning in musical
merriment, rolls out before the viewer like a frame from a film in its interplay of people
and “masks”, of real life and superficial clowning.
This work, created by Konstantin Somov in 1925, belongs to the so-called American period of his life. He had set out for the USA in September 1924, in connection with the famous Exhibition of Russian Art, but stayed on until May 1925. The artist was captivated by
the exuberant atmosphere of New York, with its colourful advertisements, the roar of automobile engines and the incredible pace of life. In letters to his sister, Somov shares his
impressions of numerous vernissages, of theatrical productions that were opening all the
time and of the stars on Broadway. This was also the time when the artist started working
with the publishers of Vanity Fair, for which he designed a large number of covers. He enjoyed creating high society illustrations which frequently graced the pages of the fashion
magazines and soon he started to work for several similar publications in Europe.
In 1925, two months before he left New York for Paris, Somov wrote to his sister in
Leningrad: “On Monday, I worked all day long, from 12 midday to 12 midnight. I decided
to finish a few covers in advance and to show them to the editors of the Vanity Fair magazine (K. A. Somov. Pisma. Dnevniki. Suzhdenia sovremennikov, Moscow, 1979, p. 269).
Browsing through the pages of the famous society magazine Vanity Fair of 1925 (Vanity
Fair. Portraits of an Age, 1914–1936, London, Thames and Hudson, 1983), it is easy to
identify the models for the protagonists of Somov’s Masquerade. Thus, in the foreground of the picture, on the right, we can distinguish the renowned husband-and-wife
team of Broadway royalty of the 1920s, Alfred Lunt and Lynn Fontanne; whereas on the
left, there are the siblings Fred and Adele Aster, the inimitable star dancers. In the background to the centre, there is the actor John Barrymore in profile, his pensive, stern expression complemented by his stage costume of Hamlet, the role he performed to great
acclaim in the hugely successful 1925 production. Just in front of him, barely recognisable and dressed as the Oriental beauty is the famous Ruth St. Denis, widely acknowledged as the founder of modern dance. To the right of John Barrymore, is the stage actress Grace Johns, her hair assembled in her signature extravagant high coiffure.
Masquerade did not make it to the Vanity Fair cover but a revised version of this work,
depicting the models in historical costume, was published in 1926 on the cover of the
German magazine Die Dame. This version is now in a private collection.
The work offered here is executed on laid paper with a particular type of lines used by
Somov for his New York works. The artist’s signature (containing one letter “f”) is also
typical of that period. In the archives of the State Tretyakov Gallery, there is a work Landscape. Overnight Cattle Grazing, dated 1925, which has similar features and allows to
attribute the offered work to the same period.
The indisputable artistic merits elevate Somov’s watercolours well beyond the genre of
magazine graphics: rather, they were treated as independent art works which have their
prominent place in the artist’s ouevre.
K. Somov, Columbine's Tongue, 1915
( 74 )
K. Somov, Italian Comedy, 1914
( 76 )
20.
Anisfeld, Boris (1879–1973)
The Golden Tribute, signed, further inscribed “Bowron Guisti” on the stretcher.
Oil on canvas, 195.5 by 265 cm.
Executed c. 1908.
Provenance: Russian Art, Sotheby’s New York, 16 April 2007, lot 375.
Acquired at the above sale by the present owner.
Private collection, UK.
Exhibited: Otchetnaya vystavka Vysshego khudozhestvennogo uchilishcha, Imperial Academy of Arts,
St Petersburg, 1908.
The Boris Anisfeld Exhibition, itinerant: Brooklyn Museum, Boston Art Club, Albright Art Gallery Buffalo, Cleveland
Museum of Art, Detroit Institute of Art, Milwaukee Art Institute, Minneapolis Institute of Art, St Louis City Art
Museum, San Francisco Palace of Honor, The Art Institute of Chicago, 1918–1920, No. 6.
Boris Anisfeld. Watercolours, Oils and Sculptures, MacDougall’s, London, 22 September–31 October 2008.
Literature: Exhibition catalogue, Otchetnaya vystavka Vysshego khudozhestvennogo uchilishcha, St Petersburg,
Imperial Academy of Arts, 1908, No. 13.
Exhibition catalogue, C. Brinton, The Boris Anisfeld Exhibition, New York, 1918, No. 6, illustrated.
Boris Anisfeld. Catalogue raisonné, Düsseldorf, Edition Libertars, 2011, P 070, p. 108, illustrated; pp. 107, 108, listed.
£350,000–500,000
«Золотое подношение» — одна из редких ранних символистских работ
Бориса Анисфельда. Созданная в самый «мирискуснический» период
его творчества, она примыкает к циклу картин на классические и библейские сюжеты, выставляющихся Анисфельдом на выставках объединения с 1906 года. Увлечение пластикой, ритмичными жестами, изящными позами, причудливыми линиями и красками дорого стоило молодому
художнику. Обвиняемый руководством Императорской Академии художеств в декадентском эстетизме и приверженности «новой живописи»,
Анисфельд никак не мог получить звание художника. Однако, несмотря
на отказ Академии в 1907 году присвоить искомое звание, Анисфельд
все же выставил на академической выставке несколько символистских
полотен, среди которых было и «Золотое подношение».
В основе сюжета картины лежит один из самых популярных в истории искусства мифов о прекрасной Данае. Аргосскому царю Акрисию оракул
предсказал смерть от руки внука. Чтобы избежать этого, царь заточил
The present lot as illustrated in the 1918 exhibition catalogue
( 78 )
свою дочь красавицу Данаю в высокую башню, недоступную для ищущих
любви красавицы. Однако на его беду Данаю полюбил Зевс, который
проник к возлюбленной в виде золотого дождя. Сюжет оказался необычайно плодотворным. К нему обращались великие художники — Тициан,
Рембрандт и Корреджо.
У Анисфельда символом золотого дождя становятся букеты сияющих
роз. «Золотое подношение» — это аллегория божественной любви.
Даная прекрасна, как олимпийская богиня; ее лицо наполовину погружено в прозрачную полутень. Тускло-красные, сиреневые, песочные тона в изображении пейзажа и занавеса, многообразные оттенки серо-коричневого в одежде прислужниц рождают ту неповторимую гармонию,
которая стала фирменной чертой лучших работ Анисфельда. Как все
мирискусники, художник тяготел к символизму, но интересовался не
столько линией, сколько цветом, создавая в работе мощные цветовые
аккорды.
Titian, Danaë, 1554, Kunsthistorisches Museum, Vienna
The present lot as illustrated in the catalogue raisonné of the artist
www.MacDougallauction.com
Russian Art Auction
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( 79 )
* 21.
Grigoriev, Boris (1886–1939)
Farm with Lambs, signed, further titled in Cyrillic and numbered “N 18” on the reverse.
Oil on canvas, 52.5 by 72.5 cm.
Executed in the 1920s.
Provenance: Impressionist, Modern and Contemporary Art, Christie’s New York, 8 October 1992, lot 23.
The Russian Sale, Sotheby’s London, 31 May 2006, lot 153.
Private collection, Europe.
Authenticity of the work has been confirmed by the expert Yu. Rybakova.
£350,000–500,000
«Ферма с барашками» написана Борисом Григорьевым в 1920-е годы
во время одной из его поездок по Бретани и Нормандии. Успешный
и обеспеченный заказами художник практически с первых лет эмиграции мог позволить себе путешествовать по Европе и Америке. Тем не
менее на протяжении первой половины 1920-х годов Григорьев каждое
лето устремлялся в глухие и живописные места на севере Франции.
Сохранявшие в те годы традиционный сельскохозяйственный уклад
Бретань и Нормандия притягивали художников разных стран своим характерным национальным колоритом, костюмами, суровой природой
и простым, не менявшимся на протяжении столетий бытом рыбаков
и крестьян.
Такую мирную сцену провинциальной жизни видим мы и на «Ферме
с барашками», где центральный план картины за зеленым лугом с пасущейся отарой занимает сельская береговая панорама — лепящиеся
друг к другу домики, узкая улочка и небольшой навес хлева, где крестьянка доит корову. В то же время в обнаженности геометризированных
форм, в сдержанности охристо-зеленой цветовой гаммы картины,
в подчеркнутой графической прорисованности контуров форм сквозит
ясная неоклассическая структура и влияние современной французской
живописи, отчетливо проявлявшиеся в экспрессивной манере
Григорьева в 1920-е годы.
Гремевшая в Париже слава Григорьева как художника русской души,
сумевшего запечатлеть лик подлинной крестьянской «Расеи», побуждала
его искать подобное «почвенное» своеобразие и в современной ему
западной культуре. Поэтому для произведений нормандского и бретонского циклов характерны многочисленные изображения сельскохозяйственных сцен, крестьян и крестьянок в белых чепцах, деревенских
праздников и рыбацких будней.
B. Grigoriev, Church of San-Michel, c. 1925
( 82 )
B. Grigoriev, Landscape with Hens, 1920s
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Boris Grigoriev painted Farm with Lambs on one of his trips through
Normandy and Brittany in the 1920s. Successful and well-off for commissions, the artist had been able to allow himself the freedom to travel
around Europe and America from practically his first years as an émigré.
Nevertheless, throughout the first half of the 1920s, he would head off
every year to picturesque places deep in Northern France. Normandy and
Brittany still had their traditional, agricultural way of life and the distinctive
local colour, costumes, severe landscape, and the simple day-to-day life of
the peasants and fishermen, unchanged for centuries, attracted artists from
many different countries.
Grigoriev was renowned in Paris as the artist who had managed to capture
the Russian Soul, the genuine face of the peasantry. This encouraged him
to search in the culture of the West for similar distinctive and local “folk”
peculiarities. This is why in Grigoriev’s Normandy and Breton cycles, there
are so many farming scenes and depictions of peasants, country women
in white bonnets, rustic holidays and the daily life of fishermen.
This is the kind of peaceful scene of provincial life that we see in Farm with
Lambs too. The centre ground of the composition, beyond the green pasture grazed by a flock of sheep, is taken up by a panorama of a coastal village: little houses huddled together, a narrow street and a lean-to cowshed
where a milkmaid is milking a cow. At the same time, a certain “nakedness” of the geometrical form, restraint in the ochreous greens of the
palette and the emphasised outlines of the shapes — all distinct features
of Grigoriev’s expressive manner of the 1920s — reveal a clear Neoclassical
structure, as well as an influence from contemporary French painting.
B. Grigoriev, Normandy Landscape, 1922
( 84 )
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An Important Work
by Nikolai Fechin
Peasant Woman Sitting on a Trunk
* 22.
Fechin, Nikolai (1881–1955)
Peasant Woman Sitting on a Trunk.
Oil on canvas, 78.5 by 100 cm.
Executed in the 1910s.
Provenance: Private collection, Europe.
Literature: G. Tuluzakova, Nikolai Ivanovich Fechin, St Petersburg, Zolotoi Vek, 2007, p. 30, illustrated.
G. Tuluzakova, Nikolai Fechin, The Art and the Life, San Cristobal, Fechin Art Reproductions, 2012, p. 222,
illustrated.
£800,000–1,200,000
Знаменитый русско-американский живописец Николай Фешин представлен на аукционе великолепным полотном «Баба на сундуке», принадлежащим к русскому периоду его творчества. Художник незадолго до этого, в 1909 году, оканчивает Императорскую Академию художеств (мастерская Ильи Репина) и возвращается в родную Казань, где он преподает в местном художественном училище.
Русский отрезок биографии мастера в плане творческих находок и открытий является, пожалуй, самым интересным. На рубеже 1900‒1910-х
годов Фешин вырабатывает свою уникальную живописно-пластическую
манеру, в основе которой лежал позаимствованный им оригинальный
принцип работы старых итальянских миниатюристов, готовивших грунт
на основе высококонцентрированного казеинового клея. Приготовляя
подобную основу, Фешин добивался потрясающего эффекта «матового»
свечения поверхности своих холстов, когда находившийся в составе
грунта казеин впитывал масляные связующие, оставляя на поверхности
холста лишь красочные пигменты. Краски в своем землисто-серебристом колорите излучали приглушенное свечение, завораживали удивительно гармонизирующей цветовой гаммой.
«Баба на сундуке» может восприниматься не только как блистательный
пример ранней фешинской живописи, но и как отражение глубинных
тенденций русского искусства 1910-х годов. Ведь поиск национального
образа или, пользуясь словами Глеба Поспелова, «некоего исконного
облика… даже «лика» России» становится в это время одной из ключевых тенденций русской культуры. В попытках прикоснуться к истокам,
познать архаические условия существования человека, базовые принципы бытия рождаются авангардистские направления начала ХХ века
с их интересом к искусству архаики, фольклора, примитива. Желание
почувствовать под покровом сковывающей «естественного человека»
цивилизации «нутряную», подлинную, стихийную энергию, докопаться
The present lot as illustrated in the G. Tuluzakova 2007 monograph on the artist
( 88 )
до национальной первоосновы приводит к повышенному интересу
художников к жизни деревни и городских низов. «Бабы» Филиппа
Малявина, «крестьянки» Кузьмы Петрова-Водкина, Зинаиды
Серебряковой и Абрама Архипова, «Расея» Бориса Григорьева, исторический быт Андрея Рябушкина, «купчихи» Бориса Кустодиева — все это
лишь разные грани общего движения к национальной «природе», от
идеалистических до гротесково-экспрессивных.
Фешин, чутко уловивший веяние времени, не случайно уже в последние
академические годы выбирает для конкурсной программы сюжеты из
традиционной народной жизни. Сперва он делает ставку на изображение стихийного буйства архаического обряда «Черемисской свадьбы»
и в 1908 году получает на Академической выставке первую премию.
В следующем 1909 году, работая над картиной «Капустница» для выпускного конкурса, он опять обращается к теме деревенского праздника
и изображает процесс общинной засолки капусты на зиму, позволяющий представить всю красочность сельскохозяйственного ритуала.
Жизнь петербургской богемы и академическая выучка дали Фешину ту
необходимую дистанцию, которая позволила ему взглянуть на знакомые
с детства деревенские образы отстраненно, сквозь оптику «нового искусства», и в начале 1910-х годов его картины, изображающие народный быт, начинают пользоваться успехом не только в России, но и за
рубежом.
В этом ряду «Баба на сундуке» отнюдь не случайный образ, а результат
планомерной работы художника над жанром крестьянского портрета. На
работе изображена сидящая в интерьере пожилая женщина, внимательно и несколько настороженно смотрящая на зрителя. Ее характерно
повязанный платок, детали интерьера и узнаваемый в глубине комнаты
деревянный, с металлической крест-накрест обивкой сундук несколько
The present lot as illustrated in the G. Tuluzakova 2012 monograph on the artist
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( 89 )
напоминают об этнических особенностях быта волжской глубинки, о жителях чувашских и татарских деревень. Элемент позирования и случайности состояния сплетаются воедино.
Фешина всегда интересовали простые, но характерные персонажи, особенности национальных типов и обстановка — ведь не случайно излюбленными мотивами художника были местные праздники и гулянья,
которые он с таким проникновением и так блистательно запечатлел
в «Обливании» и уже упоминавшейся «Черемисской свадьбе». Модель
привлекает художника своей органичной природой и красотой подлинности. Фешин точно схватывает индивидуальное, характерное и преобразует его в типическое. Изображение конкретной крестьянской женщины
воспринимается как знак эпохи, ее зримый образ.
В портрете практически нет деталей, все внимание концентрируется
лишь на главных моментах — лице и банте блузы. Но при этом форма
полноценна, сочно лепится цветом. Объемы фешинских композиций достигались за счет мастерского использования тона, и при абсолютно свободной (широкой) манере письма на картине великолепно
прочитывалась фактура драпировок и мебели, а также мельчайшие детали: веки и зрачки глаз, структура юной или стареющей кожи лиц персонажей, характерные изгибы пальцев и блеск ноготков.
Окружающая обстановка лишена конкретики, но работает на общую динамику композиции, организуя целостную цветовую и фактурную структуру картины. Свободные, разнообразные по форме и направлениям
пастозные мазки, нанесенные большой плоской кистью, кое-где тронутые
мастихином, формируют особое декоративное пространство. Смягченная,
сдержанная цветовая гамма с акцентом красного становится важным
средством выражения эмоционального строя портрета. Живописная фактура и ритм цветовых и тональных пятен играют огромную роль в построении образа, но при этом экспрессионистические тенденции не переходят
в гротесковость и утрированность, что нередко встречается в портретных
работах художника этого периода, и позволяют ему создать яркий и эффектный, но в то же время гармоничный образ русской женщины. Фешин
стремится сохранить свежесть и непосредственность впечатления, придавая композиции этюдную незавершенность. Не случайно принцип non
finito становится в эти годы своего рода творческим почерком художника.
В музеях и частных коллекциях России портретов Фешина данного
периода сохранилось не так уж много, поэтому появление на рынке столь
известного произведения не должно оставить коллекционеров
равнодушными.
N. Fechin, Cheremiss Wedding, 1908
( 91 )
The famous Russian-American painter Nikolai Fechin is represented by
a splendid canvas from his Russian period — Peasant Woman Sitting on
a Trunk. The work was painted in the middle of the decade that began in
1910. Only a short time earlier, in 1909, the artist had graduated from the
Imperial Academy of Arts (under the tutelage of Ilya Repin) and returned to
his native Kazan, where he taught at the local Academy of Art.
In the story of the master’s life as an artist, the Russian chapter — in terms of
its creative inventiveness and the breakthroughs — is perhaps the most interesting. As the second decade of the 1900s began, Fechin was developing his
unique manner of painting, at the basis of which lay the original principle —
borrowed from Italian miniaturists — of a ground prepared with casein glue.
When Fechin prepared a similar base, he achieved the startling effect of a matt
glow to the surface of his canvases, where the casein ground absorbed the oils
of the binding medium, leaving only the coloured pigments on the surface of
the canvas. The combination of ochreous and silvery colours emitted a muted
glow, spellbinding in its astonishingly harmonious chromatic spectrum.
Peasant Woman Sitting on a Trunk should be seen not only as a magnificent
example of Nikolai Fechin’s painting from his early “Kazan” period, but also
as a reflection of the deep-rooted trends arising in Russian art in the decade
beginning 1910. It is at this time that the quest for a national image or, in Gleb
Pospelov’s words, “a certain indigenous aspect ... even “face” of Russia” becomes one of the key tendencies of Russian culture. The directions taken by
the avant garde at the beginning of the 20th century, with its interest in archaic art, folklore and primitivism, were born out of attempts to reconnect with
origins of humanity, to come to know the ancient conditions of mankind’s
being and the basic principles of human existence. The desire to feel the genuine, elemental and spontaneous energy lying deep beneath the veneer
of civilisation that represses the “natural human being”, and to dig down
to the basic foundations of nation-building, lead to a heightened interest
amongst artists in the life of the peasantry and lower urban strata. The “peasant women” of Philip Maliavin, Kuzma Petrov-Vodkin, Zinaida Serebriakova
and Abram Arkhipov, the “Raseya” of Boris Grogoriev, the genre historical
paintings by Andrei Ryabushkin, the “merchants’ wives” of Boris Kustodiev —
all of these are merely different facets of the same general movement towards
a national “basic”, ranging from the idealistic to the grotesquely expressive.
It is therefore no surprise that in his final years at the Imperial Academy
of Arts, Fechin — whose attuned senses perceived the zeitgeist of the time —
would choose common folk and traditional ways of life as subjects for his academic projects. One of his earliest experiments, Cheremiss Wedding, with
its unbridled tumult of ancient ritual, would in 1908 win him the first prize at
the Academy exhibition. The following year in 1909, working on his painting
Cabbage Fest for the graduation competition, he would again address the
theme of country festivities in portraying the communal process of pickling
cabbage for the winter and masterfully render the vibrancy and colourful
splendour of this farming ritual.
Fechin’s life in the Bohemian society of St Petersburg and his academic
training ensured that he would approach the rustic images he had known
N. Fechin, A Dousing, 1914, The State Museum of Fine Arts
of the Republic of Tatarstan, Kazan
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from childhood with a detachment and through the lens of the “new art”.
Early in the decade that began in 1910, Fechin’s pictures of the life of common folk became increasingly popular not only in Russia, but also abroad.
Among these, Peasant Woman Sitting on a Trunk is by no means a random
painting, but rather the result of the artist’s painstaking work in the genre
of peasant portraiture. The work offered here is an interior scene depicting
a seated elderly woman, looking attentively but slightly warily at the viewer.
The particular way her headscarf is tied, the details of the interior and the
wooden trunk seen farther inside the room with its metal latticework, are
reminiscent of the ethnic peculiarities of everyday life among Chuvash and
Tatar villagers in the hinterland of the Volga. The impression is that the
model is simultaneously posing and being spontaneous.
Fechin was always interested in simple yet distinctive characters, in the
unique features of national ethnicities and their domestic interiors. It is no
accident that the artist’s favourite themes were local festivals and merrymaking, which he recorded with such insight in his brilliant paintings Cheremiss Wedding and A Dousing. The model attracts the artist with her
naturalness and authentic beauty. Fechin masterfully captures the individual
and transforms it into the typical. His portrayal of a particular peasant
woman can be seen as a symbol of the era, an embodiment in one person.
There are practically no details in the portrait and all attention is concentrated purely on two main points — her face and the bow on her blouse.
Nonetheless, the form has volume and is sculpted in lush colour. The sense
of volume in Fechin’s compositions is achieved through his masterly use of
tone. Despite the absolute freedom and expansiveness of his style, the texture of the drapery and furniture has been wonderfully rendered in this picture, along with attention to the tiniest details; the eyelids and pupils of the
eyes, the age of character’s skin, the characteristic fold of the fingers and
even the shine of the fingernails.
The setting is deprived of specifics, yet contributes to the overall dynamics
of the composition by organising the colour and texture of the picture’s structure. The strokes of impasto, diverse in form and direction, are freely applied
using a large, flat brush and touched in occasionally with a palette knife to
form particularly decorative spaces. The softened, subtle palette, with its emphasis on red, becomes an important means of expressing the emotional
tone of the portrait. The painterly textures and rhythmic patches of tone and
colour all play a crucial role in creating the image; however, the Expressionist
tendencies do not stray into the grotesque or become overplayed — as was
frequently the case in other artist’s portraits of the period. Rather, they allow
him to create a vibrant, eye-catching and yet harmonious image of a Russian
woman. Fechin strives to preserve this impression of immediacy by giving the
composition a slightly incomplete look. It is in these years that the non finito
principle becomes a deliberate feature of the artist’s work.
Only a few portraits by Fechin from this period remain in Russian museums
and private collections; therefore, the appearance of such a famous work on
the market should not go unnoticed by connoisseurs of art.
N. Fechin, Cabbage Fest, 1909, Research Museum of the Russian Academy
of Arts, St Petersburg
( 93 )
§ 23.
Chagall, Marc (1887–1985)
Le songe, stamped with the artist’s signature.
Oil on canvasboard, laid on board, 30 by 27 cm.
Executed c. 1965.
Provenance: Impressionist and Modern Art, Christie’s London, 22 June 2005, lot 218.
Private collection, Lithuania.
Authenticity certificate from the Comité Marc Chagall.
Exhibited: Marc Chagall, Takashimaya Art Gallery, Osaka, Kyoto, Yokohama, Tokyo, 8 March–25 June 2012.
Marc Chagall, Prefectural Museum, Okayama; Prefectural Museum, Gifu, 13 July–28 October 2012.
Hello Paris! The Path of Litvak Artists, M. Žilinskas Art Gallery, Kaunas, Lithuania, 30 January–13 April 2014.
Colours and Forms of France, Vilna Gaon Jewish State Museum, Vilnius, Lithuania, 5 August–28 September 2014.
Literature: Exhibition catalogue, Marc Chagall, Tokyo, Takashimaya Art Gallery, 2012, p. 38, No. 21, illustrated.
Exhibition catalogue, Marc Chagall, Prefectural Museum, 2012, p. 60, No. 34, illustrated.
Exhibition catalogue, V. Gradinskaite, Hello Paris! The Path of Litvak Artists, Vilnius, Lewben Art Foundation,
2014, p. 33, illustrated.
£150,000–200,000
Картина «Сон», написанная Марком Шагалом в 1965 году, без сомнения, продолжает главную тему художника. Причудливое сочетание фантастических, подобных сновидениям образов и одновременно внимание
к живым деталям обыденного стало творческим кредо Шагала еще
в 1910-е годы. И потом, в течение долгой жизни, на протяжении которой
его живописная манера лишь незначительно менялась, а творческий порыв ни на минуту не ослабевал, художник создал целую галерею сновидений, охватывающих весь пласт европейской иудео-христианской культуры от «Сна Иакова» до «Сна в летнюю ночь».
Сон и явь у Шагала всегда перемешаны, и, по сути, любая, даже самая
простая, бытовая сцена приобретает на его полотнах сновидческий характер. Зритель как бы сталкивается с головоломным ребусом, разгадка
которого вряд ли может быть точной и однозначной.
Так, во «Сне» собраны в единый образ фрагменты, эпизоды, персонажи
сельской жизни и народного бестиария, которые все вместе составляют
некий круг деревенского или местечкового бытия, каким оно видится
читателю гоголевских «Вечеров на хуторе близ Диканьки» или обитателю
глубинки южно-русской черты оседлости. Все детали соединены друг
с другом произвольно. Выдвинутая на первый план фигура спящего на
травке крестьянина перетекает в красный профиль играющей на скрипке коровы. Над ними парят в ночном небе равноправные в своем
M. Chagall, Le Songe de David, 1956–1967
( 94 )
величии зеленый демон, раскинувший руки персонаж в красной шапке
и яркий серп месяца. Земной и небесный уровни скреплены единым
просвечивающим сквозь них сельским пейзажем — домиками с забором и цветущим деревом. Все это вписано в систему линий, которые как
бы круглят землю, расширяют пространство, создают атмосферу мифологической вселенной, где каждый конкретный персонаж сливается
в некое общее символическое единство, позволяющее свободно сосуществовать явлениям разного порядка.
При этом композиция Шагала, созданная в постфрейдистском художественном контексте, далека от современных ей построений художниковсюрреалистов, пытавшихся реконструировать иррациональное подсознательное начало. Можно сказать, что образы Шагала, как и сюрреалистические образы, возникают из грез, но это не просто обрывок сновидения или воспоминаний частного лица: за ними всегда стоят коллективные грезы целого народа, радостное и благодарное восприятие бытия
хасидизма, многовековая традиция искусства примитива. Ведь искусство, по словам самого Шагала, «… не может быть реальным без толики
ирреального. Я всегда ощущал, что красота — наоборотна. Я не знаю,
как это вам объяснить… Вспомните, как выглядит наша планета. Мы парим в пространстве и не падаем. Что же это, не сон? Я не знаю… Вот почему персонажи мои взмыли в небо задолго до космонавтов…»
M. Chagall, Le Songe, 1978
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( 95 )
Marc Chagall painted Le songe (The Dream) in 1965 and it is without doubt a continuation of the artist’s dominant pictorial topic. The whimsical combination of fantastic,
dreamlike images with the simultaneous attention to the details of everyday life had
become Chagall’s calling card as early as 1910. From then, and over the course of a
long life, during which his manner of painting only changed to an insignificant extent
and his creative impulse never flagged for a minute, the artist created an impressive
oeuvre of dream visions that encompass a whole stratum of European JudaeoChristian culture, from Jacob’s Dream to A Midsummer Night’s Dream.
Chagall always mixed dreams and reality together, and essentially any mundane scene
he commits to canvas — no matter how simple — acquires a dreamlike character.
The viewer encounters, as it were, a complex puzzle, and one which is unlikely to have
an accurate and unambiguous solution.
Thus, in Le songe fragments, episodes, characters from rustic life and the bestiary of
folklore are assembled into a single image, and together they make up a certain element of village or small-town existence — of the kind seen in Nikolai Gogol’s Evenings
on a Farm near Dikanka — or by someone living deep in the pale of Southern Russian
settlements. The details are all combined with each other in an arbitrary fashion. The
figure of a peasant asleep on the grass in the foreground merges into the red profile
of a cow playing the fiddle. Soaring above them in the night sky and their equal in
grandeur are a green demon, a character in a red cap with arms held aloft, and the
bright sickle of the moon. The earthly and heavenly planes are held together through
the rural landscape discernible in the picture: little houses, a fence and a tree in blossom. All this is painted in a linear system which appears to encircle the earth, expand
the space and create an atmosphere of a mythological universe, in which the individual character merges into a sort of overall symbolic entity and where the freedom for
phenomena of differing orders is allowed to coexist.
At the same time, Chagall’s painting, whilst created in a post-Freudian artistic context,
is far from the attempts of contemporary Surrealist artists to remodel irrational principles drawn from the subconscious. It may be said that, similarly to Surrealist images,
Chagall’s imagery arises from dreams. However, these are not simply scraps cut from
the private reveries or reminiscences of an individual — always standing behind them
are the collective daydreams of an entire people, a joyous and noble Hasidic perception of being, with its centuries-old artistic tradition. As Chagall himself puts it, “Art
cannot be real without a pinch of the unreal in it. I have always felt that beauty is in
the inverse. I don’t know how to explain this to you... Recall what our planet looks
like. We float in space and do not fall. What is this if not a dream? I don’t know...
This is why my characters soared heavenward long before the cosmonauts...”
M. Chagall, Le Songe, 1984
( 97 )
§ 24.
* 25.
Annenkov, Georges (1889–1974)
Kuperwasser, Tatyana (1903–1972)
Illusion optique aux carres, signed.
Still Life with a Violin.
Oil and collage with wood and twigs on canvas, 100.5 by 81.5 cm.
Oil on canvas, 92.5 by 73.5 cm.
Provenance: Private collection, France.
Executed in the 1920s.
The work will be included in the forthcoming Annenkov catalogue
raisonné being prepared by André and Vladimir Hofmann.
Provenance: Private collection, Leningrad.
Private colection, Europe.
£35,000–50,000
Authenticity of the work has been confirmed by the experts G. Goldovsky, A. Liubimova, O. Musakova.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£30,000–50,000
( 98 )
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*§ 26.
Artemoff, Georgiy (1892–1965)
St Hubert, signed.
Oil and carving on panel, 126 by 115.5 cm.
§ 27.
Executed in the 1950s–1960s.
Oil on board, 54.5 by 45 cm.
Exhibited: Georgy Artemov. Russkii master ar-deko vo Frantsii, Eritazh,
Moscow, 20 February–19 April 2014.
Executed c. 1940.
Provenance: Private collection, France.
Literature: Exhibition catalogue, Georgy Artemov. Russkii master ardeko vo Frantsii, Moscow, Liniya Grafik, 2014, p. 71, No. 35, illustrated.
Authenticity certificate from the expert C. Bernès.
£25,000–30,000
£25,000–40,000
G. Artemoff, Equus
( 100 )
Vassilieff, Marie (1884–1957)
Mother and Child, signed.
Provenance: Private collection, Europe.
G. Artemoff, La chasse de Saint-Hubert, 1945
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28. Berman, Eugene (1899–1972)
Sacra Conversazione, signed with a monogram and
dated 1968–1970, also further signed with a monogram,
inscribed “Roma”, titled and dated on the reverse.
Oil on canvas, 100 by 80.5 cm.
Provenance: Casa d’Arte La Gradiva, Rome.
Impressionist and Modern Art, Sotheby's Olympia,
15 March 2007, lot 267.
Private collection, UK.
Exhibited: Eugene Berman, Casa d’Arte La Gradiva,
Rome, 10‒30 November 1977.
Literature: Exhibition catalogue, Eugene Berman, Rome,
Casa d’Arte La Gradiva, 1977, listed.
£6,000‒9,000
§ 29.
Terechkovitch, Constantine (1902–1978)
Spring Day in the Park, signed.
Oil on cardboard, 38 by 46 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the
artist’s family.
£5,000‒7,000
§ 30.
Terechkovitch, Constantine (1902–1978)
La Chapeau Fleuri, signed, further titled and numbered “N 20”
on the stretcher.
Oil on canvas, 65 by 54 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the artist’s family.
£7,000‒9,000
( 102 )
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( 103 )
An Important Work
by Ivan Aivazovsky
Loading the Ship
on a Calm Misty Morning
31.
Aivazovsky, Ivan (1817–1900)
Loading the Ship on a Calm Misty Morning, signed and dated 1870.
Oil on canvas, 71.5 by 89 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Literature: G. Caffiero, I. Samarine, Light, Water and Sky. The Paintings of Ivan Aivazovsky,
London, Alexandria Press, 2012, p. 158, pl. 82, illustrated; p. 294, No. CS-1870-008,
illustrated and listed.
£450,000–700,000
В представленной на торги работе «Погрузка корабля тихим туманным
утром» 1870 года во всей полноте проявляется дар Ивана Айвазовского
как тонкого и виртуозного колориста. В этой работе, как и во многих написанных им ранее, художник ставит перед собой задачу комплексного
построения световоздушной среды, которая наиболее ярко может передать атмосферу рассвета на теплом морском побережье. Дымка раннего
утра, пропитанная светом лучей восходящего солнца и окрашенная
в мириады оттенков розового, предвещает знойный день. Небо детально и подробно рассказывает зрителю о времени суток, состоянии атмосферы и настроении. Воздушный океан со своими течениями и туманами — сфера, где мастерство художника проявлялось с особенной тонкостью. Завораживающее цветовое звучание картины, переданное на
заднем плане плавными тональными переходами от розового к более
холодному голубому и насыщенными оттенками бирюзового, белого
и коричневого — на переднем, разбивает плоскость картины и создает
необычайную глубину и ощущение бескрайности моря.
Работа весьма близка по своему настроению к другому пейзажу
Айвазовского, который находится в Латвийском Национальном художественном музее, — «На берегу спокойным ранним утром», датированному 1868 годом, где вязкая дымка стирает линию горизонта, тем
самым расширяя пространство композиции, оставляя наполненное
The present lot as illustrated and listed in the G. Caffiero and I. Samarine monograph on the artist
( 106 )
светом небо сливаться с умиротворенной гладью моря. Как и в работе
из коллекции Латвийского музея — «Утреннем улове», направление
перспективы в композиции задается глубоко продуманным диагональным размещением запряженной волами повозки, плавно скользящей
по зеркальной глади моря лодки и словно сотканного из влажного
воздуха корабля.
Особую атмосферность и лиризм придает картине соединение пейзажа
с жанровой сценкой. Айвазовский часто обращался к этой любимой
зрителями уловке, чтобы разнообразить свои марины. Но и тут будничная суета подчинена общему ритму композиции. Так, спокойное
покачивание кораблей отражается в размеренных движениях грузчиков
и рыбаков, погруженных каждый в свое дело.
Органичное сосуществование элементов бытового жанра и пейзажа,
тонкое и эмоциональное цветовое решение, основанное на благородном серо-синем колорите, служат выражению романтического идеала
естественной жизни, который художник стремился запечатлеть на всех
своих полотнах. Написанный в зрелые годы, когда Айвазовскому уже
присвоили звание профессора Императорской Академии художеств
и он являлся членом ряда европейских академий, пейзаж может
считаться одним из эталонных произведений художника.
I. Aivazovsky, Off the Beach on a Calm Early Morning, 1868,
The Latvian National Museum of Art, Riga
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Ivan Aivazovsky was a true virtuoso in the use of colour, a gift he displays to
the full in his 1870 painting Loading the Ship on a Calm Misty Morning,
offered here for auction. In this work, as in many of his earlier paintings, the
artist strives to convey the complex interaction of light and air and to render
the atmosphere of daybreak on a warm seashore in the most vivid way possible. The early morning haze, infused with light radiating from the rising sun
and tinted with a myriad of rosy hues, heralds the heat of the day to come.
The artist shows particularly fine mastery in his painting of the air, with its
currents and mists like those of an ocean. The dazzling resonance of the
painting’s colours, with the smooth tonal transitions from rose to a cooler
light blue in the background and the rich tints of turquoise, white and brown
in the foreground, which break up the surface of the picture, all create an
extraordinary depth and a sensation of the limitlessness of the sea.
In terms of the mood, this work is extremely close to another landscape by
Aivazovsky, dated 1868 and entitled Off the Beach on a Calm Early Morning
(Latvian National Museum of Art), where the horizon, obscured in a dense
haze, broadens the effect of space in the composition, leaving the light-filled
sky to merge into the tranquil surface of the sea. Similarly, in the composition of Loading the Ship on a Calm Misty Morning, the direction of the perspective follows the painstakingly calculated diagonal placement of the
ox-drawn cart and the smooth gliding of the ship over the glossy sea, as if
seemingly woven from the moist air.
The combination of landscape with a genre scene imparts a special atmosphere and lyricism to the painting. Aivazovsky often used this device, so
beloved by the public, to lend variety to his marine paintings. Nevertheless,
the bustle of everyday life is subordinated to the overall rhythm of the composition. Thus, the gentle rocking of the ships reflects the measured movements of the lumpers and fishermen, each one absorbed in what he
is doing.
The manner in which elements of genre painting and landscape coexist so
naturally, and the highly emotive handling of colour, based on noble dark
blues and greys, express a romantic ideal of a natural way of life, which the
artist strove to convey in all his canvasses. This is a work of Aivazovsky’s mature years, when he had already been awarded the title of Professor of the
Imperial Academy of Arts and become a member of many European
academies. It is a landscape painting, which may be regarded as one
of the benchmarks of the artist’s oeuvre.
I. Aivazovsky, Loading the Ship on a Misty Morning, c. 1860
( 108 )
33.
Trankovsky, Alexey (19th–20th century)
Beauty with Lilacs, signed.
Oil on canvas, 64.5 by 46.5 cm.
Provenance: Private collection, Latvia.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£4,000–6,000
* 34.
Westchilov, Konstantin (1878–1945)
View of Dinan, Brittany, signed and inscribed “Dinan”.
Oil on canvas, 66.5 by 80 cm.
Provenance: Private collection, USA.
Authenticity of the work has been confirmed by the
expert V. Petrov.
£7,000–9,000
32.
Kotarbinsky, Vasily (1849–1921)
Dignitaries Boarding a Gondola on a Venetian
Backwater, signed.
Oil on canvas, 50.5 by 74 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
£30,000–40,000
( 110 )
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( 111 )
35.
§ 36.
Stepanov, Daniil (1882–1937)
Issupoff, Alessio (1889–1957)
Carpet Weavers. Samarkand, signed.
Shah-i-Zinda, Samarkand, signed.
Oil on board, 48 by 39 cm.
Oil on canvas, 61 by 80 cm.
£10,000–15,000
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Possibly, The Russian Art Exhibition, Grand Central
Palace, New York, 1924.
Literature: Possibly, exhibition catalogue, The Russian Art
Exhibition, New York, Grand Central Palace, 1924, No. 272, listed
as Mausoleums of Shah-i-Sinda.
£30,000–35,000
( 112 )
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( 113 )
* 38.
Vladimirov, Ivan (1870–1947)
* 39.
Myasoedov, Ivan (1881–1953)
Grandfather’s Nameday, signed and dated 1903.
The Road from Altenkirchen, signed and dated 1919.
Oil on canvas, 82 by 53 cm.
Oil on cardboard, 33.5 by 47 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£1,500–2,000
Exhibited: Louisiana Purchase Exposition, St Louis,
30 April–1 December 1904 (label on the reverse).
Literature: Exhibition catalogue, Official Catalogue
of Exhibitors. Universal Exposition, Saint Louis, 1904,
U.S.A., St Louis, Official Catalogue Company, 1904,
p. 285, No. 282, listed.
Niva, St Petersburg, No. 36, 1906, illustrated on the cover.
£15,000–20,000
37.
Choultse, Ivan (1874–1939)
The Harvest, signed and dated 1924.
Oil on canvas, 53.5 by 65.5 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
£35,000–50,000
( 114 )
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( 115 )
40.
Kolesnikov, Stepan (1879–1955)
41.
Kolesnikov, Stepan (1879–1955)
Winter Landscape, signed.
Fishermen, two works, each signed.
Pencil and gouache on card, 14 by 19 cm.
Each oil on cardboard, one measuring 29.5 by 24 cm and the other 34.5 by 25 cm.
Provenance: Private collection, UK.
Provenance: Acquired directly from the artist by the previous owner, before
World War II.
Private collection, USA.
Acquired from the above by the present owner.
Private collection, UK.
£3,000–5,000
Authenticity of the work has been confirmed by the expert V. Petrov.
£1,500‒2,000
* 42.
Maliavin, Philippe (1869–1940)
Portrait of a Man, possibly the poet Nikolai Gumilev, signed.
Oil on canvas, 107 by 72 cm.
Provenance: Private collection, Paris.
Galerie G. Basmadjian, Paris.
Private collection, USA.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Possibly, La Galerie Basmadjian expose ses oeuvres d’art principalement russes et arméniennes
du XVI au XX siècle, The State Tretyakov Gallery, Moscow, 5 July–7 August 1988; The State Hermitage Museum,
Leningrad, 25 August–25 September 1988.
Literature: Possibly, exhibition catalogue, La Galerie Basmadjian expose ses oeuvres d’Art principalement
russes et arméniennes du XVI au XX siècle, Paris, Galerie Basmadjian, 1988, No. 313, listed as Portrait of a Poet.
£70,000–90,000
( 116 )
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( 117 )
An Important Work
by Ivan Aivazovsky
Ukrainian Landscape at Night
43.
Aivazovsky, Ivan (1817–1900)
Ukrainian Landscape at Night, signed and dated 1870.
Oil on canvas, 75 by 92.5 cm.
Provenance: A gift from the Soviet government to Akhmed Mukhtar, the Ambassador of Turkey
to the USSR, 1920s.
Thence by descent.
Russian Day Sale. Paintings, Sotheby’s London, 12 June 2007, lot 37.
Acquired at the above sale by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Literature: G. Caffiero, I. Samarine, Water and Sky. The Paintings of Ivan Aivazovsky, London,
Alexandria Press, 2012, p. 159, pl. 83, illustrated; p. 294, No. CS-1870-009, illustrated and listed.
£300,000–500,000
К тематике украинского пейзажа — ночью, на рассвете или закате — Иван
Айвазовский обращался на протяжении всей своей жизни. Еще находясь
на обучении в Императорской Академии художеств у Максима Воробьева,
Айвазовский интересовался живописными приемами изображения сложных эффектов освещения ночной природы. Это видно уже на картине
«У маяка», написанной им в 1837 году и обеспечившей ему досрочное
окончание Академии и награду в виде командировки — сначала на два
года в Крым, а затем на шесть лет за границу.
«Украинский пейзаж ночью» написан художником в зрелые годы, когда
его творческое видение окончательно сформировалось под воздействием европейского, в частности итальянского, французского и голландского, искусства, а его работы получили всеобщее признание на
выставках в Риме, Париже, Лондоне и Амстердаме.
The present lot as illustrated and listed in the G. Caffiero and I. Samarine monograph on the artist
( 120 )
Представленная на торги картина не только восхищает мастерством передачи света и тени в изображении фигур людей и животных, в передаче
бликов лунного света на поверхности реки и в каплях струящейся с весел
воды; она также проникнута глубокой любовью художника к природе родного края. Полные лиризма сценки из повседневной жизни, наделенные
спокойным дыханием теплой украинской ночи в сравнении с эмоционально насыщенными морскими пейзажами, показывают непревзойденное мастерство Айвазовского в воплощении самых разнообразных
впечатлений и образов. Украинские пейзажи художника наравне с морскими находятся в самых значимых европейских коллекциях и музеях.
Представленный на торги лот помимо своих, несомненно, художественных достоинств также обладает завидным провенансом: в 1920-х годах
он в качестве ценного подарка был преподнесен советским правительством послу Турции в России Ахмеду Мухтару.
I. Aivazovsky, Farmhouse and Windmill by Moonlight, 1863
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( 121 )
Ukrainian landscapes, at night, at dawn or sunset, were painted by Aivazovsky throughout his life. Even during his student days at the Imperial
Academy of Arts under Maxim Vorobiev, the young artist had become interested in finding artistic ways of conveying the complex effects of light in
a nocturnal landscape. This is apparent in his 1837 painting By the Lighthouse, which enabled him to graduate two years earlier from the Academy,
take a two-year research trip to Crimea, followed by a six-year trip abroad.
The present work Ukrainian Landscape at Night was painted during Aivazovsky’s mature period, when his artistic vision was fully formed, primarily
under the influence of European art — in particular Italian, French and Dutch
painting — and when the master had received international recognition
at exhibitions in Rome, Paris and London.
The painting offered here for auction not only captivates the viewer with the
artist’s masterful rendition of light and shade on the animal and human figures, in the flecks of moonlight on the river surface and drops of water trickling from the oars; but it also reflects his deep love of the nature of his
native land. In comparison to his turbulent seascapes, these lyrical scenes
of everyday life, conveying the tranquility of warm Ukrainian nights, show
Aivazovsky’s unrivalled talent in representing the most diverse impressions
and images. It comes as no surprise that the master’s Ukrainian landscapes,
alongside his seascapes, hold pride of place in the most distinguished
European collections and museums.
Ukrainian Landscape at Night, in addition to its artistic merits, also boasts
an impressive provenance: in the 1920s, it was gifted by the Soviet government to Akhmed Mukhtar, the Ambassador of Turkey to Russia.
I. Aivazovsky, By the Lighthouse, 1837, I. Aivazovsky National Art Gallery, Feodosia
( 122 )
44.
Meschersky, Arseny (1834–1902)
46.
Vasilkovsky, Sergei (1854–1917)
Forest Clearing, signed.
Village Mill, signed.
Oil on canvas, laid on cardboard, 31 by 21.5 cm.
Oil on panel, 18 by 14 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Provenance: Private collection, UK.
£3,000–5,000
Authenticity of the work has been confirmed
by the expert V. Petrov.
£7,000–9,000
45.
Vasilkovsky, Sergei (1854–1917)
47.
Berkos, Mikhail (1861–1919)
Pasture, signed.
View of the New Jerusalem Monastery, signed.
Oil on panel, 10.5 by 17 cm.
Oil on panel, 13.5 by 22.5 cm.
Provenance: Private collection, UK.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£4,000–6,000
£3,000–5,000
( 124 )
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( 125 )
48. Stozharov, Vladimir (1926–1973)
49.
Stozharov, Vladimir (1926–1973)
Muftyuga, dated “6.5.66”.
House under the Evening Sun, Unzha, inscribed in Cyrillic
Oil on cardboard, laid on cardboard, 51 by 73 cm.
“Unzha” and dated “24 9 71”.
Oil on paper, laid on cardboard, 34 by 65.5 cm.
Provenance: Acquired directly from the artist’s studio by the Art Fund
of the USSR (label on the reverse).
Acquired at the salon of the Art Fund of the USSR by a previous owner,
Moscow (label on the reverse).
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
Provenance: Acquired directly from the artist’s studio by the Art Fund
of the USSR (label on the reverse).
Acquired at the salon of the Art Fund of the USSR by a previous owner,
Moscow (label on the reverse).
Private collection, USA.
Private collection, UK.
Literature: Vladimir Fedorovich Stozharov, 1926–1973, Zhivopis,
Risunok, Moscow, Sovetskii khudozhnik, 1977, p. 96, listed.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£6,000–9,000
Literature: Vladimir Fedorovich Stozharov, 1926–1973, Zhivopis,
Risunok, Moscow, Sovetskii khudozhnik, 1977, p. 108, listed.
* 50.
Treskin, Anatoli (1905–1986)
Bathing of a Horse.
Oil on canvas, 80.5 by 110 cm.
£6,000–9,000
Provenance: Private collection, Europe.
Authenticity of the work has been
confirmed by Galina KoshelenkoTreskina, the artist’s daughter.
Exhibited: Severity of Style,
MacDougall’s, London, 1‒14 May 2015.
£11,000–15,000
51.
Stozharov, Vladimir (1926–1973)
A Windy Day, Serdla, dated “31.5.69”.
Oil on paper, laid on cardboard,
50 by 63.5 cm.
Provenance: Acquired directly from the
artist’s studio by the Art Fund of the
USSR (label on the reverse).
Acquired at the salon of the Art Fund
of the USSR by a previous owner,
Moscow (label on the reverse).
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s,
London, 1‒14 May 2015.
Literature: Vladimir Fedorovich Stozharov,
1926–1973, Zhivopis, Risunok, Moscow,
Sovetskii khudozhnik, 1977, p. 103, listed.
£7,000–9,000
( 126 )
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3 June 2015
( 127 )
52.
Byalynitsky-Birulya, Vitold (1872–1957)
* 53.
Eberling, Alfred (1872–1951)
* 54.
Bashindzhagyan, Gevorg (1857–1925)
Spring, signed and dated 1946.
In the Mountains of Tuscany.
View of Mount Kazbek, signed and dated 1914.
Oil on canvas, 65.5 by 78.5 cm.
Oil on canvas, 44 by 54 cm.
Oil on canvas, 65.5 by 110.5 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Provenance: Collection of the Columbus Museum
of Art (initially Columbus Gallery of Fine Arts), USA
(label and inscriptions on the reverse of the frame).
Acquired from the above by the present owner.
Authenticity of the work has been confirmed by the expert V. Petrov.
£4,000–6,000
£12,000–18,000
Authenticity of the work has been confirmed
by the expert V. Petrov.
Exhibited: Louisiana Purchase Exposition, St Louis,
30 April–1 December 1904 (label on the reverse
of the frame).
Literature: Exhibition catalogue, Official Catalogue
of Exhibitors, Universal Exposition, Saint Louis,
U.S.A., 1904, St Louis, Official Catalogue Company,
1904, No. 148, listed.
£2,000–3,000
55.
Polenov, Vasily (1844–1927)
Oka Riverside, Oaks, signed with an initial and dated 1896.
Oil on canvas, laid on cardboard, 22 by 13 cm.
Provenance: Private collection, Germany.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Possibly, I vystavka etiudov, eskizov, risunkov, Academy
of Sciences, St Petersburg, 10 January‒1 February 1903.
Literature: Possibly, exhibition catalogue, I vystavka etiudov, eskizov,
risunkov, St Petersburg, 1903, listed.
Possibly, G. Romanov, Tovarishchestvo peredvizhnykh
khudozhestvennykh vystavok. 1871‒1923 gg., entsiklopediya,
St Petersburg, Sankt-Peterburg Orkestr, 2003, p. 259, No. 78-489, listed.
£7,000–9,000
( 128 )
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Russian Art Auction
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3 June 2015
( 129 )
56.
Polenov, Vasily (1844–1927)
Barge on the River Oka, signed and dated 1897, further numbered “N 476” on the reverse.
Oil on canvas, 40.5 by 65.5 cm.
Provenance: The Yasher-Sheftell collection, from the 1940s.
Thence by descent to the previous owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: XXVI vystavka Tovarishchestva peredvizhnykh khudozhestvennykh vystavok, St Petersburg,
Moscow, Penza, Kharkov, Ekaterinoslav, Elizavetgrad, Poltava, Kiev, Smolensk, Kaluga, 22 February
1898–21 February 1899, No. 3–136.
Literature: Exhibition catalogue, Illiustrirovannyi katalog XXVI vystavki Tovarishchestva peredvizhnykh
khudozhestvennykh vystavok. 1898 g., Moscow, Khudozhestvennaya fototipia K.A. Fisher, 1898.
G. Romanov, Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok. 1871‒1923 gg.,
entsiklopedia, St Petersburg, Sankt-Peterburg Orkestr, 2003, p. 203, No. 3–136, listed.
£200,000–300,000
Творчество Василия Поленова конца 1890-х годов неразрывно связано
с его жизнью на берегу Оки в имении Борок. Именно здесь написано
большинство его прославленных речных пейзажей («Долина Оки»,
«Золотая осень»), включая и представленный на торги превосходный
натурный холст «Баржа на реке Оке».
Поленов приобрел усадьбу на высоком берегу реки под Тарусой и провел там лето 1897 года, наслаждаясь работой на пленэре. Особенно
привлекали художника расписные соляные баржи — унжаки, —
караваны которых ежегодно поднимались конной тягой вверх по Оке,
доставляя соль из Нижнего Новгорода в Тарусу и Калугу. Распространившиеся еще в XVIII веке в Верхнем и Среднем Поволжье, они долгие годы
сохраняли традиционный облик с резным орнаментом и яркой нарядной трехцветной росписью. Поленов, увлеченный возрождением народных ремесел и кустарных промыслов, не мог устоять перед архаической
красотой унжаков.
В основу композиции «Баржи на Оке» художник положил характерный
облик унжака, пришвартованного в тихой отмели реки. Живая, мерцающая цветными отблесками рябь воды, легкое, высветленное небо и едва
The present lot as listed in the G. Romanov encyclopedia
( 130 )
прописанная береговая растительность свидетельствуют о быстрой натурной работе, стремлении передать особую цветовоздушную среду и схватить момент начинающего клониться к закату освещения. В то же время
умение Поленова даже при беглом взгляде закомпоновать главное и второстепенное, круглящийся борт баржи и очертания излучины, а также
вытянутый горизонтальный формат картины и взятый снизу ракурс,
словно «режущий» мачту и снасти, придают камерному полотну черты
эпического пейзажа.
Даже в таком лирическом пейзаже достоверность деталей чрезвычайно
важна для художника. По краям орнамента можно прочесть буквы «И»
и «Ц» — инициалы купца Ивана Козьмича Ципулина, владельца пристани
и судоходной компании в Калуге, которому принадлежала львиная доля
грузового и пассажирского транспорта на окском водном пути.
На обороте холста имеется номер «476», который согласно авторскому
списку работ соотносится с картиной «Баржа» и позволяет говорить
о представленной работе не только как о бесспорном произведении
Поленова, но и как об одном из ярких образцов окской живописи
художника, окрашенных в романтические тона национал-историзма.
V. Polenov, The Oka River near Tarusa, 1880s, F. Kovalenko Regional Art Museum, Krasnodar
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( 131 )
Vassily Polenov’s artistic pursuits of the late 1890s are inseparably linked
to his life at the Borok estate on the banks of the Oka. It was here that he
painted most of his famous river landscapes (Valley of the Oka and Golden
Autumn, for example), including the splendid canvas painted from nature
and offered here at auction — Barge on the River Oka.
Polenov had acquired his country seat near Tarusa, high on the river bank,
and spent the summer of 1897 there, relishing his work en plein air. The
artist was especially drawn to the decoratively painted unzhak salt barges,
which were drawn by horses every year in convoy up the Oka to deliver salt
from Nizhny Novgorod to Tarusa and Kaluga. The barges had become ubiquitous throughout the upper and central Volga region as early as the 18th century and had preserved their traditional look for many years, with their
ornamental carving and festive woodwork brightly painted in three colours.
Polenov, who delighted in the revival of popular crafts and indigenous
industries, could not resist the antique beauty of the unzhak barges.
At the heart of the composition Barge on the River Oka the artist places the
distinctive image of an unzhak barge quietly at her moorings, at a shoal in
the river. The lively ripples of the water, sparkling highlights of colour, the
lightness of the shining sky and the barely defined vegetation on the shoreline are all witness to the rapidity with which Polenov worked from nature,
striving to convey the special atmosphere and radiance of the scene — and
to capture the moment when the sun begins to sink and the light fades. At
the same time, even a swift glance reveals Polenov’s skill in configuring the
main and secondary features, the round side of the barge and the curve of
the river. In addition, the extended horizontal format of the picture and the
low eye level of vision, which seems to “carve out” the mast and rigging,
endow this seemingly intimate work with the qualities of an epic landscape.
Even in such a lyrical landscape, it is extremely important to the artist that the
details should be authentic. The letters “I” and “Ts” can be read on the edges
of the ornamentation, being the initials of the merchant Ivan Tsipulin, to
whom the jetty and shipping company in Kaluga belonged and who owned
the lion’s share of passenger and freight transport on the Oka waterway.
On the back of the canvas is the number 476, which according to a list of the
artist’s work relates to a picture called Barge and allows this painting to be
spoken of not only as indisputably by Polenov, but also as a brilliant example
of the artist’s Oka work, painted with romanticised air of national-historicism.
V. Polenov, Valley of the Oka River, 1902, Regional Art Museum, Ulyanovsk
( 132 )
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( 133 )
57.
Shishkin, Ivan (1832–1898)
Forest Clearing, signed and dated 1898.
Oil on canvas, 35.5 by 55.5 cm.
Provenance: Russian Pictures, Christie’s London, 30 November 2005, lot 9.
Russian Paintings, Sotheby’s London, 25 November 2008, lot 425.
Acquired at the above sale by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
£250,000–300,000
«Поляна» принадлежит к камерным пейзажам Ивана Шишкина периода
расцвета его творчества. По всей вероятности, композиция создана
зимой 1898 года. В это время Шишкин писал свой любимый сосновый
бор, делал зарисовки отдельных деревьев, работал над этюдами лесных
уголков. В этот год, как и вообще в 1890-е, большинство работ художника
посвящены хвойному лесу.
Сосны — символ всего творчества Шишкина. Однако в «Поляне» сложно
выделить главного «героя». Это и стволы сосен-исполинов, тянущиеся
вверх за пределы картинного пространства, и троица маленьких елочек
подлеска, и растекающиеся по земле неясным силуэтом тени от верхушек, и сама земля, распластавшаяся под деревьями, присыпанная хвоей
и поросшая лесными травами. Но в этом холсте художник далек от того,
чтобы живописать ботанические подробности и приметы каждого листа.
Достоверные, тщательно прописанные частности, мастером которых всегда по праву называли Шишкина, не заслоняют в «Поляне» главного общего настроения прекрасного летнего дня и пронизывающего картину
ощущения тепла и света.
I. Shishkin, Forest Clearing, 1896
( 134 )
Не любящий зыбких, переходных состояний природы Шишкин блестяще
фиксирует эффекты зенита лета, достигая впечатляющего тонального
единства именно за счет яркого, полуденного света, определяющего всю
колористическую шкалу. Серьезное внимание уделяет художник и фактурному решению, умело сочетая подмалевок с применением лессировки и корпусных красок, варьируя мазки, которые наносятся
различными кистями.
Монументально-романтический образ северной природы рождается
в тонких градациях близлежащих оттенков цвета, в свободе и многообразии живописных приемов при сохранении по-шишкински строгого, точного рисунка. Подобные колористические удачи давались Шишкину
прежде всего и в наибольшей степени в этюдах, в процессе прямого общения с природой. Не случайно друзья-передвижники находили этюды
Шишкина подчас более свежими, колоритными и интересными, чем его
картины. Ведь кто, как не он — «истый сын дебрей русского Севера,
влюбленный… в эти сосны и ели, тянущиеся до небес» (как писал Адриан
Прахов), — умел поймать и передать их характер и слегка суровую
нордическую красоту.
I. Shishkin, Forest Clearing, 1894
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Forest Clearing is one of the landscapes Ivan Shishkin painted at the peak
of his artistic career. In all probability, the composition was created in the
winter of 1898. At this time the master painted his beloved pine forest,
made drawings of the individual trees and worked on studies of corners
of the woodland. That year, as throughout the 1890s generally, most of
the artist’s work was devoted to conifer woods.
Pines are a recurrent symbol in all of Shishkin oeuvre. In Forest Clearing,
however, it is difficult to single out a “main subject”. There are trunks of
giant pines reaching beyond the confines of the painting, a trio of little firs
beneath in the under wood, there are shadows from the treetops falling
across the ground in vague silhouettes — and the ground itself — spreading
out beneath the trees, strewn with pine needles and overgrown with woodland vegetation. But in this canvas, the artist was not interested in delineating the botanical details of each individual leaf. In Forest Clearing, the
particular and authentic elements, so painstakingly recorded (and Shishkin
was always rightly called a master in this respect) do not detract from the
key component of the work: the overall atmosphere of a fine summer’s day
and the sensation of warmth and light which so pervades the painting.
Shishkin was not fond of desultory or transient states of nature, but was
brilliant at recording the effects of high summer. He managed to achieve an
impressive tonal cohesion, with a palette dominated by the tones used to
render the bright light of a summer’s midday. The artist also paid serious
attention to finding the right textures; skillfully combining under-painting
with glazing and body colour, and applying a variety of brushstrokes with
different brushes.
A monumental and romantic image of nature in the North of Russia is
generated in the fine gradations of adjacent shades of colour, in the freedom
and variety of painterly techniques Shishkin employed, whilst meticulously
preserving the accuracy of representation — his trademark device. He
achieved mastery in the use of colour first and foremost in his studies —
in the process of directly communing with nature. It therefore comes as no
surprise that his Itinerant friends often found Shishkin’s studies fresher,
more vibrant in colour and more interesting than his finished paintings.
For who, other than Shishkin, the — “true son of the thickets of the Russian
North, in love... with these pines and firs that reach up to the heavens”
(A. Prakhov), could capture and convey their character and somewhat
severe Nordic beauty?
I. Shishkin, Pine Forest, 1889
( 137 )
* 58.
Dubovskoy, Nikolai (1859–1918)
59.
Orlovsky, Vladimir (1842–1914)
River Running Through a Wintry Forest, signed.
Italian Harbour Scene, signed and dated 1874.
Oil on canvas, 71.5 by 53 cm.
Oil on canvas, laid on cardboard, 37.5 by 60.5 cm.
Provenance: Private collection, Europe.
Provenance: Private collection, Finland.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the expert T. Goryacheva.
Authenticity of the work has been confirmed by the expert V. Petrov.
£30,000–50,000
£35,000–40,000
( 138 )
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( 139 )
* 60.
Dubovskoy, Nikolai (1859–1918)
Winter Scene in a Village, signed and numbered “N-25”
on the reverse.
Oil on canvas, 56.5 by 98 cm.
The present lot is a version of the painting Winter (1884), currently
in the collection of the State Tretyakov Gallery.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts
S. Krivondenchenkov and P. Klimov.
£80,000–120,000
N. Dubovskoy, Winter, 1884. The State Tretyakov Gallery
( 140 )
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( 141 )
63.
Vasilkovsky, Sergei (1854–1917)
Ukrainian Hut on a Sunny Day, signed,
inscribed in Cyrillic “Etiud Tverskoi gub.” on the reverse.
Oil on canvas, laid on cardboard, 11 by 18.5 cm.
further stamped with the artist’s studio stamp
on the reverse.
Oil on canvas, laid on board, 16.5 by 32.5 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
Levitan, Isaak (1860–1900)
Woodland.
Oil on paper, laid on canvas, 9 by 12.5 cm.
Vasilkovsky, Sergei (1854–1917)
Summer Landscape, signed and dated 1885, further
Provenance: Private collection, UK.
61.
64.
£5,000–7,000
Provenance: Private collection, UK.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£6,000–9,000
Provenance: Private collection, Belgium, since c. 1985.
Authenticity of the work has been confirmed by Avel Levitan,
the artist’s brother (inscription on the reverse).
Authenticity has also been confirmed by the expert V. Petrov.
£15,000–20,000
62.
Sychkov, Fedot (1870–1958)
Village Beauty, signed and dated 1925.
Oil on canvas, 42 by 32.5 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£3,000–5,000
( 142 )
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( 143 )
66.
Rockline, Vera (1896–1934)
Parisian Street Scene, signed.
Oil on canvas, 50.5 by 61.5 cm.
Provenance: Private collection, Croatia.
£7,000–9,000
65.
Rockline, Vera (1896–1934)
67.
Grand Duchess Olga Alexandrovna (1882–1960)
Portrait of a Woman in a Pink Dress, signed.
Flowers on the Veranda, signed.
Oil on canvas, 100 by 81 cm.
Oil on cardboard, 61 by 49.5 cm.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert
V. Petrov.
Exhibited: Rétrospective Vera Rockline, Galerie Drouart, Paris,
22 November–14 December, 1984 (label and stamp on the reverse).
£3,000–5,000
£30,000–40,000
( 144 )
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( 145 )
68. Bogdanov-Belsky, Nikolai (1868–1945)
Portrait of Maria Emelianova, signed with a monogram.
Oil on canvas, 101 by 69.5 cm.
Executed c. 1921–1925.
Provenance: Private collection, Latvia.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity certificate from the expert N. Lapidus.
The work will be included in the monograph on Bogdanov-Belsky being prepared by A. Kuznetsov.
69.
Bogdanov-Belsky, Nikolai (1868–1945)
£40,000–60,000
Bathing Nude, signed.
Oil on canvas, 72 by 54 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity certificate from the expert N. Lapidus.
Nikolai Bogdanov-Belsky emigrated to Latvia from post-revolutionary Russia in 1921 and settled in Riga.
His first personal exhibition in the Latvian capital, which opened on 8 December 1921, proved to be very
popular and attracted the attention of wealthy patrons of the arts. Businessman Vasily Emelianov, the owner of the largest cinema in Riga, was one of the initial clients to approach Bogdanov-Belsky with a commission to paint a portrait of his wife, Maria Emelianova. The present lot was the first from the series of four
portraits of one of the most beautiful women in Riga, executed by Bogdanov-Belsky in the 1920s–1930s.
( 146 )
www.MacDougallauction.com
The work will be included in the monograph on Bogdanov-Belsky
being prepared by A. Kuznetsov.
£40,000–60,000
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3 June 2015
( 147 )
72.
Bogdanov-Belsky, Nikolai (1868–1945)
Crimean Landscape, signed.
Oil on canvas, 38 by 47 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
The work will be included in the monograph on
Bogdanov-Belsky being prepared by A. Kuznetsov.
£8,000–12,000
73.
Bogdanov-Belsky, Nikolai (1868–1945)
Spring Waters, signed.
Oil on canvas, 71 by 88.5 cm.
Executed c. 1933.
Provenance: Private collection, Latvia.
Authenticity of the work has been confirmed
by the expert V. Petrov.
The work will be included in the monograph
on Bogdanov-Belsky being prepared by
A. Kuznetsov.
£35,000–50,000
70.
Zhukovsky, Stanislav (1875–1944)
71.
Zhukovsky, Stanislav (1875–1944)
Autumn Landscape, signed and dated 1933.
Forest River, signed and dated 1930, also further signed and inscribed “C. 1000 zl”.
Oil on canvas, 60 by 74.5 cm.
Oil on canvas, 53.5 by 64 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
Authenticity of the work has been confirmed by the expert V. Petrov.
£20,000–30,000
Exhibited: Exhibition of the Society of Friends of Fine Arts, Krakow, Poland, No. 42
(label on the reverse).
£15,000–20,000
( 148 )
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( 149 )
* 74.
Krasovsky, Nikolay (1840–1896)
§ 75.
* 76.
Klestova, Irene (1908–1989)
Givanian, Mkrtich (1848–1906)
* 77.
Zankovsky, Ilya (1832–1919)
Eruption of a Volcano, signed and dated 1868.
Still Life with Roses, signed, further numbered “N. 9”
Constantinople, signed.
Mountainous Landscape, signed.
Oil on canvas, 80.5 by 119.5 cm.
on the reverse.
Oil on cardboard, 45.5 by 55 cm.
Oil on canvas, 52.5 by 69 cm.
Oil on cardboard, 36 by 45 cm.
Provenance: Russian Art and Paintings, Sotheby’s
London, 27 November 2007, lot 123.
Acquired at the above sale by the present owner.
Private collection, Switzerland.
Provenance: Collection of Ambassador Charles Richard Crane, USA.
Acquired from the above by the present owner.
Private collection, UK.
Provenance: Russian Pictures, Works of Art and Icons,
Sotheby’s Olympia, London, 14 June 2007, lot 36.
Acquired at the above sale by the present owner.
Private collection, Switzerland.
£15,000–20,000
Provenance: Frost and Reed Gallery, London (label on
the reverse).
Private collection, France.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£4,000–6,000
Authenticity of the work has been confirmed by the expert V. Petrov.
£4,000–6,000
£10,000–15,000
( 150 )
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( 151 )
* 79.
Kharitonov, Nikolai (1880–1944)
Peasant Hut in Ukrainian Village, signed and
Oil on canvas, 79 by 121 cm.
dated 1905, also further inscribed in Cyrillic “Khata v sele
Borshchalovke bliz Kieva” and dated on the reverse.
Oil on canvas, 36 by 54 cm.
Provenance: Private collection, USA.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£18,000–25,000
78.
80. Svetoslavsky, Sergei (1857–1931)
Two Gypsy Women, signed and dated 1921.
Authenticity of the work has been confirmed by the expert
V. Petrov.
£15,000–20,000
Klever, Yuli (1850–1924)
Winter Sunset, signed and dated 1876.
Oil on canvas, 43.5 by 66.5 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£18,000–25,000
( 152 )
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81.
Gluckmann, Grigory (1898–1973)
Gorbatov, Konstantin (1876–1945)
Fishing Village on Capri, signed, also
Oil on canvas, 89.5 by 107 cm.
further signed and titled on the reverse.
Oil on canvas, 91 by 80.5 cm.
Provenance: Acquired directly from the artist by
the father of the previous owner in the 1940s.
Thence by descent.
Private collection, France.
Acquired from the above by the present owner.
£70,000–90,000
( 154 )
§ 82.
Reclining Nude, with a composition on the reverse.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£80,000–120,000
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( 155 )
83.
Tarkhoff, Nikolai (1871–1930)
84. Anisfeld, Boris (1879 1973)
Chambre a maman le matin, signed,
Rhapsody, signed and dated 1942, further titled and numbered “186” on the reverse.
also further signed, inscribed “Orsay”
and titled on the reverse.
Oil on canvas, 100 by 140 cm.
Oil on canvas, 193.5 by 140 cm.
Provenance: Russian Day Sale ‒ Paintings,
Sotheby's London, 12 June 2007, lot 191.
Private collection, UK.
£30,000–40,000
Provenance: Estate of the artist.
Collection of Boris Stavrovsky, New York.
Russian Pictures Including Important Works from Collection of Fedor Chaliapin, Sotheby’s
London, 21 May 2003, lot 168.
Russian Sale — Paintings, Sotheby’s London, 12 June 2007, lot 186.
Acquired at the above sale by the present owner.
Private collection, UK.
Exhibited: Possibly, Boris Anisfeld. Retrospective Exhibition, The Art Institute of Chicago,
8 May–8 June 1958.
Boris Anisfeld, Moskovskii tsentr iskusstv na Neglinnoi, Moscow, September–October
2001. Literature: Possibly, exhibition catalogue, Boris Anisfeld. Retrospective
Exhibition, Chicago, The Art Institute
of Chicago, 1958, No. 8, listed as
Rhapsody No. 1.
Exhibition catalogue, Boris Anisfeld,
Moscow, Moskovskii tsentr iskusstv
na Neglinnoi, p. 82, illustrated.
E. Lingenauber, O. Sugrobova-Roth,
Boris Anisfeld. Catalogue raisonné,
Düsseldorf, Edition Libertars, 2011,
p. 101, P 023, illustrated and listed.
£80,000–120,000
The present lot as illustrated and listed in the catalogue raisonné of the artist
( 156 )
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85.
Grigoriev, Boris (1886–1939)
Russian Peasant Woman, from the series “Visages de Russie”, signed, inscribed “Paris” and dated 1923, also further signed,
inscribed “а chère Madame Atwater de son ami Boris Grigorieff New York” and numbered “18” on the reverse.
Pencil, watercolour and gouache on cardboard, 37.5 by 62 cm.
Provenance: A gift from the artist to Adeline Atwater, a renowned writer, art dealer and women's rights activist, New York, c. 1924
(inscription on the reverse).
Private collection, USA, from c. 1975.
Russian Paintings and Works of Art, Christie’s New York, 18 April 2007, lot 70.
Acquired at the above sale by the present owner.
Private collection, UK.
Exhibited: Paintings and Drawings by Boris Grigoriev, New Gallery, New York, 18 November–15 December 1923, No. 19 (label on the reverse).
Exhibition of Paintings by Boris Grigoriev, Worcester Art Museum, Worcester, 4 January–3 February 1924, No. 35.
Literature: Exhibition catalogue, C. Brinton, Paintings and Drawings by Boris Grigoriev, New York, New Gallery, 1923, No. 19.
Exhibition catalogue, C. Brinton, Exhibition of Paintings by Boris Grigoriev, Worcester, Worcester Art Museum, 1924, No. 35, listed as
Russkaya krestianka. Liki Rossii.
£200,000–300,000
Картина «Русская крестьянка» входит в чрезвычайно значимый для творчества Бориса Григорьева цикл «Лики России» (Visage de la Russie), созданный в Париже в 1922–1924 годах. Он является логическим продолжением знаменитой серии картин и рисунков «Расея» (1917–1921), начатой
в России и завершенной уже в эмиграции. В частности, в основу данной
картины положен один из лучших карандашных рисунков этого цикла
(художник был известен как блестящий рисовальщик и «маг линии»), воспроизведенный во всех изданиях «Расеи» (1918, Петроград; 1921, Берлин; 1922, Берлин). Как и все рисунки «Расеи» 1917–1918 годов, изображение молодой крестьянки в платке было выполнено с натуры и обладает
острой портретной индивидуальностью. Характерные узкие глаза, сердито
нахмуренные брови, резкие складки лица, усыпанного веснушками, плотно сжатые губы — все выдает сильный характер героини и ее внутреннюю
психологическую сложность. Рисунок был использован Григорьевым для
центральной полуфигуры крестьянки в картине 1918 года «Крестьянская
земля» (Государственный Русский музей). Спустя три года образ молодой
крестьянки в платке вводится в круг персонажей программной картины
«Лики России» (1921, Дворец конгрессов, Санкт-Петербург).
«Русская крестьянка» выполнена Григорьевым в 1923 году в Париже. Это
было время интенсивной работы над циклом «Лики России», включавшем помимо крестьянских образов сюиту портретов актеров Московского художественного театра, запечатленных мастером во время
парижских гастролей труппы. Художник в то время много работает гуашью и акварелью — это его излюбленные материалы. В «Русской крестьянке» он использует цвет картона, просвечивающего сквозь красочный
The present lot as listed in the 1924 exhibition catalogue
( 158 )
слой или просто не тронутого кистью, как дополнительный цвет в общей
палитре. В целом же колористическая гамма картины — яркая и солнечная, с преобладанием столь любимых художником оранжевого, малинового и голубого цветов. Работа очень типична для данного периода
творчества Григорьева также легкой «кубистичностью», придающей
остроту неоклассическим формам его живописи. Конкретный образ приобретает в картине вневременные черты и символическую окрашенность
благодаря сферическому видению пространства. Круглящиеся формы
и линии создают ощущение замкнутости полусферы земли, на фоне
которой голова крестьянки выглядит мощно и монументально.
Так, портрет молодой крестьянки постепенно транспонировался из серии
«Расея» с ее конкретной исторической достоверностью и гротескной образностью в обобщенно-универсальное пространство цикла «Лики России»:
от «Расеи» — лукавого простонародного слова — художник приходит
к окрашенным многовековой духовной традицией иконописания «ликам».
Осенью того же 1923 года работа была показана на второй персональной
выставке Григорьева в Нью-Йорке. Затем выставка почти в полном составе была перевезена в Вустер, штат Массачусетс, где она была представлена в местном музее. Каталоги обеих выставок сопровождались
предисловием известного критика Кристиана Бринтона, в котором он отмечал: «Какой бы ни был сюжет живописи Григорьева, ее характерной
чертой является прочный, неприкрытый национализм. И хотя многие из
его соотечественников в своей ориентации скорее европейцы, нежели
славяне, Григорьев остался непоколебимо русским».
B. Grigoriev, Village. From the “Raseya” series, 1918,
The State Russian Museum
B. Grigoriev, Visages de Russie. From the “Visages de Russie”
series, 1921, The National Congress Palace, St Petersburg
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Это утверждение в полной мере относится и к работе «Русская крестьянка»,
подаренной после выставок директору Нью-Гэллери Аделин Атвотер, многие
годы помогавшей Григорьеву в продвижении его произведений на американском художественном рынке. 1923 год был успешным для Григорьева — семь
картин и десять рисунков были проданы через Нью-Гэллери (это были самые
высокие показатели для художников, представлявшихся этой галереей).
Тамара Галеева, кандидат искусствоведения
Russian Peasant Woman belongs to the cycle Visages de Russie, an incredibly
significant part of Boris Grigoriev’s oeuvre, which he painted in Paris between
1922 and 1924. It is a logical continuation of the well-known series of pictures
and drawings entitled Raseya (1917–1921), — an old misspelling of Russia —
begun in Russia and completed after he had emigrated. This picture in particular is based on one of the best pencil drawings in the cycle (the artist was
known as a brilliant draughtsman and “magician of line”), which was reproduced in every edition of the accompanying book (Petrograd, 1918; Berlin,
1921; Berlin, 1922). Like all Raseya drawings of 1917–1918, the young peasant woman in a headscarf was drawn from life, and the portraiture is acutely
individual. Grigoriev used the drawing for the central half-length figure of the
peasant woman in his 1918 painting Peasant Earth (The State Russian Museum). Three years later, he introduced the image of the young peasant woman
in a headscarf into the group of characters in the eponymous painting from
the Visages de Russie cycle (1921, Palace of Congresses, St Petersburg).
When Grigoriev painted Russian Peasant Woman in Paris in 1923, he was
working intensely on the cycle, which, apart from images of peasants, also included a suite of portraits of actors at the Moscow Arts Theatre, painted when
the company was on tour in Paris. In Russian Peasant Woman he allows the
cardboard colour of the support to show through the paint layer, or simply
leaves it untouched, thus adding another colour to his palette. In general,
however, the palette is bright and sunny, with orange, crimson and pale blue
prevailing — all colours that the artist loved. The work is also very typical of
this period in Grigoriev’s artistic career by virtue of its slightly Cubist character, which lends sharpness to the Neoclassical forms of his painting. The specific image represented in the painting acquires a certain timelessness and
symbolic quality through the spherical perspective. The rounded shapes
and lines create a sense of completeness of the earth’s hemisphere, against
which background the woman’s head appears powerful and monumental.
In the autumn of 1923, the work was shown at Boris Grigoriev’s second solo
exhibition in New York. Afterwards, almost the whole exhibition was shifted to
Worcester, where it was shown at the local museum. After the exhibitions, the
artist gave the painting to Adeline Atwater, director of New Gallery, who had
helped him for many years with the promotion of his work on the American art
market. 1923 was a successful year for Grigoriev — he sold seven paintings
and ten drawings through New Gallery (the best figures for any of their represented artists).
Dr Tamara Galeeva, art historian
B. Grigoriev, Peasant Land. From the “Raseya” series, 1918, The State Russian Museum
( 160 )
86. Kakabadze, David (1889–1952)
87.
Saryan, Martiros (1880–1972)
Landscape of Imereti with a Red Road, signed and dated 1918.
Mountain Aragats, signed and dated 1923.
Oil on canvas, laid on cardboard, 31 by 41.5 cm (cardboard size).
Tempera and oil on cardboard, 20 by 33.5 cm.
The larger canvas The View of Imereti from the same year is currently in the collection of the Kakabadze family.
Provenance: Collection of A. Arutiunyan, art collector and friend of the artist.
Thence by descent.
Acquired from the son of the above by the present owner.
Private collection, Europe.
Provenance: A gift from the artist to his colleague and friend from the Marjanishvili Theatre, Tbilisi, c. 1930s–1940s.
Acquired from the above by the family of the present owner in 1987.
Thence by descent.
Private collection, Europe.
Authenticity of the work has been confirmed by O. Arutiunyan, the son
of A. Arutiunyan.
Authenticity has also been confirmed by the expert V. Petrov.
Authenticity certificate from the expert Yu. Rybakova.
Authenticity of the work has been confirmed by Eter Andronikashvili-Kakabadze, the artist’s widow (inscription
on the backing board).
Authenticity has also been confirmed by Amir Kakabadze, the artist’s son (inscription on the reverse).
Authenticity certificate from Eter Andronikashvili and Mariam Kakabadze.
£50,000–70,000
£40,000–60,000
( 162 )
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* 90.
Burliuk, David (1882–1967)
Podebrady, Czechoslovakia, signed, inscribed
“Podebrady/Czechoslovakia” and dated 1957.
Oil on canvas, laid on board, 27 by 35 cm.
Provenance: Vera Lazuk Gallery, Long Island,
New York.
Private collection, Long Island.
Thence by descent to the previous owner.
The work will be included in the forthcoming
David Burliuk catalogue raisonné being prepared
by the Burliuk Committee in collaboration with
Mary Burliuk.
£4,000–6,000
* 88. Burliuk, David (1882–1967)
Two Fishermen, signed and dated 1948.
Oil on board, 29.5 by 39.5 cm.
The work will be included in the forthcoming
David Burliuk catalogue raisonné being
prepared by the Burliuk Committee
in collaboration with Mary Burliuk.
£6,000–9,000
* 89.
Tyshler, Alexander (1898–1980)
* 91.
Burliuk, David (1882–1967)
Little House with Windows, signed
Mother and Child, signed and dated 1946.
and dated 1971, also further signed,
titled in Cyrillic and dated on the reverse.
Oil on canvas, 49.5 by 46.5 cm.
Oil on canvas, 61 by 38.5 cm.
Provenance: Acquired by the previous
owner in Moscow, in 1989‒1995.
Private collection, Canada.
The work will be included in the forthcoming David
Burliuk catalogue raisonné being prepared by the
Burliuk Committee in collaboration with Mary Burliuk.
£10,000–15,000
£5,000‒7,000
( 164 )
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( 165 )
92.
Shukhaev, Vasily (1887–1973)
Apricots and Flowers, signed with initials
and dated 1970.
Tempera on canvas, 59.5 by 44.5 cm.
Provenance: Private collection, UK.
Authenticity certificate from the expert T. Zelyukina.
Literature: I. Miamlin, Vasily Ivanovich Shukhaev,
Leningrad, Khudozhnik RSFSR, 1972, p. 159,
listed under works from 1970.
£15,000–20,000
* 94.
Anisfeld, Boris (1878–1973)
Set Design for N. Rimsky-Korsakov’s Opera “Snegurochka”.
Pencil and oil on panel, 58 by 78.5 cm.
Executed in 1921.
Provenance: Estate of the artist.
Authenticity of the work has been confirmed by the expert D. Volyak.
Literature: E. Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné,
Düsseldorf, Edition Libertars, 2011, p. 235, T 462, illustrated and listed.
£25,000–30,000
§ 93.
The present lot is a set design for the 1922 production of Nikolai RimskyKorsakov’s Snegurochka at the Metropolitan Opera in New York. When the
Metropolitan staged the production in Philadelphia a year later, the Public
Ledger published the following review: “The opera was sung in French, but
the Russian atmosphere was realised in the outlandish picturesqueness
of the scenery painted and the costumes by the imaginative Boris Anisfeld.”
Chapiro, Jacob (1897–1972)
Circle of Life, signed and dated 1954.
Oil on canvas, 73 by 60 cm.
£3,000–5,000
( 166 )
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( 167 )
* 95.
Lentulov, Aristarkh (1882–1943)
Bath House.
Oil on canvas, 58 by 36 cm.
Executed c. 1908.
Provenance: Acquired directly from the artist’s family by the renowned journalist Paolo Valentino, a correspondent
for Corriere della Sera, in Moscow, 1995.
Acquired from the above by the present owner.
Private collection, Europe.
Authenticity of the work has been confirmed by Marianna Lentulova, the artist’s daughter (inscription on the reverse).
Authenticity has also been confirmed by Fedor Lentulov, the artist’s great-grandson (inscriptions on the reverse
and on the photograph of the work).
Authenticity has also been confirmed by the expert Yu. Rybakova.
The work is accompanied by a letter from Marianna Lentulova, confirming authenticity.
The work is also accompanied by a letter from Paolo Valentino, confirming the provenance.
£80,000–120,000
Аристарх Лентулов — один из самых значимых русских авангардистов
ХХ века — уже в 1900-е годы зарекомендовал себя как неутомимый экспериментатор. В то время он переживает увлечение творчеством «Мира
искусства», декоративизмом «Голубой розы» и Мориса Дени, пишет
яркие солнечные пейзажи и блистательную серию «купаний на Суре»,
к которой, по всей вероятности, принадлежит и холст «Купальня».
Эти работы, создававшиеся в дачном поселке Ахуны под Пензой, выдают
в молодом художнике глаз, знакомый с творчеством французских импрессионистов и постимпрессионистов, техничную руку и уже сложившееся
аналитическое мышление с тонким чувством цвета и формы.
Разреженная пуантель «Купальни», выдержанная в приглушенных, посимволистски неярких тонах, строится на контрасте светло-зеленой краски «поль-веронез» с активной, имеющей желтоватый оттенок «крап-розы». Это сочетание цветов, найденное в живом и свежем летнем произведении, можно назвать воплощением живописных пристрастий Лентулова,
которые хотя и изменялись впоследствии, но в той или иной мере присутствовали в работах почти всех периодов его творческой жизни.
Часть работ из серии «купания на Суре», написанных в летние месяцы
1907 года, была представлена Лентуловым на московской выставке
«Венок-Стефанос», где произведения Лентулова получили чрезвычайно
благожелательный отзыв критики, и следующим летом художник продолжил свои живописные штудии на берегах живописной реки. Сегодня
большинство из сохранившихся произведений Лентулова 1907–1909 годов принадлежат музейным коллекциям Москвы, Петербурга и Пензы,
поэтому появление на аукционе MacDougall’s «Купальни», ведущей свое
происхождение напрямую из семьи художника, — редкое и заслуживающее внимания событие.
A. Lentulov, Bathers, c. 1909–1910
( 168 )
Aristarkh Lentulov, who ranks as one of the most important Russian avantgarde artists of the 20th century, had already established his credentials as
a tireless experimenter in the 1900s when he became interested in the art
of the World of Art group, the decorativism of the Blue Rose movement and
of Maurice Denis, creating paintings of bright sunlit landscapes and the resplendent series of “bathing on the Sura”, to which the present work, Bath
House, in all probability belongs.
These works, painted at the dacha settlement of Akhuna on the Sura river
near Penza, betray an eye that was familiar with the work of the French
Impressionists and Post-Impressionists, a trained hand and fully formed
analytical powers, together with a subtle sense of colour and shape. The
sparse pointelle of Bath House is executed in dim, muted, Symbolist tones
that set a light green “Veronese” colouration against mottled pink with
a yellow tinge. This combination of colours in a vivacious and fresh summer
sketch is the epitome of Lentulov’s scenic preferences, which, although
they were to develop further, remained as a constant feature in works from
nearly all periods of his creative life.
Several works from the so-called “bathing on the Sura” series, painted in
the summer of 1907, were presented by Lentulov at the Wreath-Stephanos
exhibition in Moscow, where they drew highly positive reviews, and the
artist continued his studies on the banks of the picturesque river in the following year. Most of the surviving works by Lentulov from this period are
now a part of museum collections in Moscow, St Petersburg and Penza,
so the appearance of Bath House, issued directly from the artist’s family,
at a MacDougall’s auction is a rare and noteworthy event.
A. Lentulov, Bathers on the River Sura, 1909, The K. Savitsky
Regional Art Gallery, Penza.
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( 169 )
* 97.
96.
Nissky, Georgy (1903–1987)
Summer Day, signed with initials and dated “VIII 38”.
Oil on canvas, 99 by 74.5 cm.
Bike Ride, signed with initials.
( 170 )
Pakhomov, Alexei (1900–1973)
Oil on canvas, 40.5 by 50 cm.
Provenance: Private collection, Europe.
Provenance: Private collection, Europe.
Acquired from the above by the present owner, 1999.
Private collection, France.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts A. Liubimova
and O. Musakova.
£25,000–40,000
£40,000–60,000
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( 171 )
* 98.
Ender, Maria (1897–1942)
99.
Zhilinsky, Dmitry (B. 1927)
100. Nissky, Georgy (1903–1987)
101. Krymov, Nikolai (1884–1958)
Through the Yellow and Brown Leaves, signed, titled
Still Life with Peaches, signed, titled in Cyrillic
Boats by the Shore, numbered “N 198” on the reverse.
Roofs in Winter, signed and dated 1933.
in Cyrillic and dated 1939 on the reverse.
Oil on canvas, 27.5 by 35.5 cm.
and dated 1981 on the reverse.
Oil on cardboard, 31.5 by 43 cm.
Oil on canvas, 25 by 39.5 cm.
Oil on canvas, laid on cardboard, 27 by 34 cm.
Executed in the 1960s.
Provenance: Private collection, Europe.
Provenance: Raydon Gallery, New York (label on the stretcher).
Private collection, USA.
Provenance: Acquired at the salon of the Art Fund
of the USSR by a previous owner (label on the reverse).
With Galerie Claude Bernard, Paris (label on the reverse).
Authenticity of the work has been confirmed by the expert T. Ermolaeva.
Authenticity of the work has been confirmed by the expert V. Petrov.
£4,000–6,000
£6,000–8,000
£5,000–8,000
£2,000–3,000
( 172 )
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3 June 2015
( 173 )
Lots 102‒113. Important private collection of Russian severe style art
К
огда речь заходит о советском искусстве 1960–1970-х годов, его достижения характеризуются
как «наследие Оттепели» — суровая романтика реабилитации революционных идеалов в их истинном, непарадном ключе, обращение к настоящим человеческим ценностям, будням и праздникам, очищенной от пафоса «солнечной идиллии» повседневной жизни. Уникальность представленной
на торги коллекции в том, что входящие в нее художники и картины резко отличаются от шаблонов
живописи этого периода. Здесь нет и следа романтики строительства социализма и покорения
природы. Напротив, в рамках «сурового стиля» представленная на торги коллекция выделяет самостоятельный феномен зарождения эстетизма — культа «хорошей живописи» и виртуозной техники.
Лирическая линия складывается из привезенных с севера пейзажей Виктора Попкова и Николая
Андронова, ярких девичьих образов Попкова, характернейшего автопортрета «творческой интеллигенции», утопии научного преобразования мира в «Парящем во сне», а также «примкнувших» к этим
работам более поздних работ — поражающего шиком «грабаревской» техники «Вечернего света»
Алексея Грицая и решенного в технике парижской школы «Фейерверка» Павла Никонова.
Главные герои «сурового стиля» — люди вне социальной иерархии и неприукрашенная природа —
остаются теми же, но меняется сам взгляд на них. Мифология весны, пробуждения природы как «оттепели» сменяется бесконечными осенними дождями и сумрачными пейзажами. Демонстративное
дистанцирование художников от политики приводит к неизбежному бегству в частную жизнь
и апологии индивидуализма. К началу 1970-х годов суровая правда жизни больше не носит
героического характера, но превращается в бьющую наотмашь искренность. Искренность, трактуемую
не как душевную открытость, теплоту, доверчивость, готовность идти навстречу другому и переживание,
а, скорее, напротив, — как открытое выражение депрессивного внутреннего опыта, сложных психологических переживаний и настроения.
Размышление над человеческим существованием вообще, над сменой поколений, интерес к старости
— примечательные особенности искусства этого времени. Лирическая линия в творчестве Попкова,
Никонова и других художников «сурового стиля», несмотря на экзистенциальный поворот, до конца
сохраняет искренний и удивительно оптимистичный посыл молодого советского искусства 1960-х
годов. Именно этот градус искренности, этот пульсирующий нерв и присущая «суровому стилю»
инъекция гуманизма, равно как и желание служить реформистски очищенным коммунистическим
идеалам, этике морального долга и советскому социуму, а не власти снимают с этого искусства налет
сервильности и позволяют, несмотря на его официальную ангажированность и окончательно оформившуюся к концу 1970-х годов эволюцию в сторону монументального Grand art советской эпохи,
поднять его на щит всерьез, не стыдясь, и представить на суд публики как один из наиболее ярких
и значительных периодов отечественного искусства ХХ века.
E
very time that Soviet art of the 1960–70s is mentioned, its achievements are characterised as “the
legacy of the Thaw”: an austere romanticism that rehabilitated revolutionary ideals — not in their
parading and boastful manifestation but rather in their “true” colours, turning towards the real
human values of daily routines, festivities and mundane life in general — cleansed of the sentimental
gloss of the “sunny idyll”. The collection offered here at auction is unique in that the artists and pictures
it encompasses are strikingly different from the dominant artistic canon of the time. There is not even
a trace of the romance of building Socialism and conquering nature. On the contrary, this collection of
the works in the “severe style” heralds the formation of a new, independent phenomenon of nascent
aestheticism — the cult of “proper painting” and of virtuoso technique.
A lyrical line develops from Viktor Popkov and Nikolai Andronov's landscapes painted in the North of
Russia to Popkov's striking female images, his self-portrait embodying all of the “creative intelligentsia”,
the utopia of a world transformed by science in Floating in a Dream; and also to later works, such as Alexei
Gritsai's Evening Light, with its splendidly striking “Grabaresque” technique and Pavel Nikonov's Fireworks,
rendered in the technique typical of the Paris School.
The main subjects addressed by the artist of the “severe style” — a human being outside of the social
hierarchy and unembellished nature — remain the same, but the view of them changes. The mythology of
spring and awakening of nature, similar to a “thaw”, is replaced instead by endless autumn rains and
gloomy landscapes. When artists defiantly distance themselves from politics, it inevitably leads to a retreat
into private life and an apologia for individualism. By the beginning of the 1970s, the severe truth of life no
longer bears any heroic stamp, but is turned into a backhanded, candid swipe. This candour is seen not as
openheartedness, warmth, trust, readiness to compromise or empathy — but rather the opposite —
a candid expression of depressive, private experiences, complex psychological states of mind and anxieties.
The art of this period is notable for its propensity to ponder over issues relating to the human condition
in general, intergenerational dynamics and to ageing. The lyrical strand in Popkov and Nikonov’s works
and that of other artists of the “severe style” in the 1960s, maintain to the end — despite their
existentialist bent — the candid and surprisingly optimistic message of early Soviet art. There is present
a degree of sincerity, a pulsating intensity and an injection of the humanism intrinsic to the “severe
style”. There is equally present a desire to serve Communist ideals, cleansed and reformed, and an ethic
of moral duty towards Soviet community rather than subservience to authority. It is precisely these things
that remove the tarnish of servility from this art, despite its affiliation with officialdom and the trend
taking shape by the late 1970s, whereby it evolved into the monumental Grand Art of the Soviet epoch.
All these things ensure that art of the “severe style” is to be taken seriously, cleansed of any reservations
and presented before the public as one of the most outstanding and significant periods in the art history
of the 20th century.
102. Popkov, Viktor (1932–1974)
103. Popkov, Viktor (1932–1974)
Two Women, signed and dated 1967 on the reverse, further inscribed
Self-Portrait.
in Cyrillic “Moi den’” on the stretcher.
Oil on canvas, 60.5 by 70 cm.
Oil on cardboard, laid on canvas, 74 by 63.5 cm.
Executed in 1963.
The present lot is a study for the painting My Day, 1968, currently
in the collection of the State Tretyakov Gallery.
Provenance: Acquired directly from the artist’s
family by the present owner.
Private collection, UK.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
( 176 )
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
Exhibited: Severity of Style, MacDougall’s,
London, 1–14 May 2015.
£15,000–20,000
£30,000–50,000
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( 177 )
104. Popkov, Viktor (1932–1974)
105. Popkov, Viktor (1932–1974)
Artist in Moravian Forest, signed, titled in Cyrillic and dated 1967
Red Monastery Walls.
on the reverse.
Ink and gouache on paper, 29 by 40 cm.
Oil on paper, laid on cardboard, 48.5 by 65 cm.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by Aleksei Popkov,
the artist’s son (inscription on the reverse).
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£7,000–9,000
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£6,000–9,000
106. Popkov, Viktor (1932–1974)
The Artist’s Wife in Front of the Mirror, signed, inscribed in
Cyrillic “Eskiz k kartine “Pered zerkalom” and dated 1973 on the reverse.
Oil on cardboard, 49.5 by 79.5 cm.
The present lot is a study for the painting In Front of the Mirror. The Artist’s
Wife, 1973, currently in the collection of the V. Vasnetsov and A. Vasnetsov
Art Museum, Vyatka.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£25,000–30,000
( 178 )
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107. Andronov, Nikolai (1929–1998)
108. Popkov, Viktor (1932–1974)
High Water, signed twice with a monogram, also further signed twice, once with
Floating in a Dream, inscribed in Cyrillic “Yalta” and dated “18.III.72”,
a monogram, titled in Cyrillic and dated 1985–1986 on the reverse.
Oil on canvas, 100 by 150 cm.
further signed on the reverse.
Oil on canvas, 80 by 100.5 cm.
Provenance: With the salon of the Art Fund of the USSR, Moscow (label on the reverse).
Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£25,000–30,000
£12,000–18,000
( 180 )
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( 181 )
109. Andronov, Nikolai (1929–1998)
110. Nikonov, Pavel (B. 1930)
Autumn, signed with a monogram and dated 1995, also further
Fireworks, signed, titled in Cyrillic and dated 1989, 2007 and
signed twice, once with a monogram, titled in Cyrillic and dated
on the reverse.
Oil on canvas, 200.5 by 100 cm.
2011 on the reverse.
Oil on canvas, 162.5 by 181 cm.
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Provenance: Acquired directly from the artist by the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£20,000–30,000
£20,000–30,000
( 182 )
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113. Tkachev, Sergei and Tkachev,
Aleksei (B. 1922 and B. 1925)
Geese, signed, also further signed,
titled in Cyrillic and dated 1986
on the reverse.
Oil on canvas, 81.5 by 82 cm.
Provenance: Acquired directly from
the artists by the previous owner.
Private collection, USA.
Private collection, UK.
Exhibited: Severity of Style,
MacDougall’s, London, 1‒14 May
2015.
Literature: V. Swanson, Soviet
Impressionist Painting, Woodbridge,
Antique Collectors' Club, 2008,
p. 251, pl. 184, illustrated.
Related literature: For similar work,
see Brat‘ya Tkachevy. Khudozhniki
o sebe, Moscow, Galart, 1999,
p. 140, No. 88, illustrated.
£8,000–12,000
111. Gritsai, Aleksei (1914–1998)
112. Gritsai, Aleksei (1914–1998)
Evening Light, signed, also further signed, titled
Early Spring, signed, titled in Cyrillic and dated 1985–1998
in Cyrillic and dated 1997 on the reverse.
Oil on canvas, 50 by 111.5 cm.
on the reverse.
Oil on canvas, 70 by 90 cm.
Exhibited: Severity of Style, MacDougall’s, London,
1‒14 May 2015.
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
£7,000–9,000
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£7,000–9,000
114. Tseitlin, Grigory (1911–1999)
Reclining Nude, signed and dated
1989, also further signed, titled
in Cyrillic and dated on the reverse.
Oil on canvas, 60.5 by 80 cm.
£3,000–5,000
( 184 )
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115. Grigoriev, Boris (1886–1939)
Village Landscape, from the series
“Russian Province”, signed and dated 1918.
Pencil on paper, 20 by 27.5 cm.
Authenticity of the work has been confirmed
by the expert T. Galeeva.
Exhibited: Possibly, Pervaya gosudarstvennaya
svobodnaya vystavka proizvedenii iskusstva,
Winter Palace, Petrograd, 13 April–29 June 1919.
Literature: Possibly, exhibition catalogue,
Pervaya gosudarstvennaya svobodnaya vystavka
proizvedenii iskusstva, Petrograd, Tsentralnaya
tipografiya, 1919, Nos. 424–431, listed as part
of the cycle Russian Province.
Possibly, T. Galeeva, Grigoriev, St Petersburg,
Zolotoi vek, 2007, p. 205, included in the list
of works for the 1919 exhibition.
£6,000–9,000
§ 117. Serebriakova, Zinaida (1884–1967)
116. Somov, Konstantin (1869–1939)
Portrait of M.G. Lukianov in Profile,
Market Square in Pont-l’AbbÉ, Brittany, signed twice,
signed and dated 1928.
Pastel on paper, 34.5 by 27.5 cm (oval).
inscribed “Pont-l’Abbé” and dated twice 1934.
Tempera on paper, 48 by 63.5 cm.
Provenance: Important private collection,
Germany.
Provenance: Private collection, UK.
Authenticity of the work has been confirmed by the expert
E. Lanceray of the Serebriakova Trust.
£6,000–9,000
£25,000–40,000
( 186 )
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( 187 )
§ 118. BouchÈne, Dimitri (1893–1993)
View of Piazza del Popolo in Rome, signed, inscribed “Rome”
and dated 1931, also further signed on the backing board.
Pastel on paper, 60.5 by 48.5 cm.
Provenance: Private collection, France.
£1,500–2,000
§ 119. BouchÈne, Dimitri (1893–1993)
§ 120. Benois, Nadia (1896–1975)
§ 121. Bender, Sergei (B. 1955)
A Courtyard in Florence, signed, inscribed “Florence”
Street in Lechlade, signed and dated 1947.
Catherine Garden, St Petersburg, signed, also
and dated 1930.
Pastel and charcoal on paper, 53 by 67 cm.
Oil on canvas, 33.5 by 58.5 cm.
further signed on the backing board.
Pencil, watercolour and gouache on paper, 50 by 100 cm.
Provenance: Private collection, UK.
Provenance: Private collection, France.
£4,000–6,000
£1,500–2,000
£1,500–2,000
( 188 )
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( 189 )
§ 122. Benois, Alexander (1870–1960)
§ 124. Benois, Alexander (1870–1960)
Set Design for Abel Gance’s Film “NapolÉon”,
Set Design for Carlo Goldoni’s Play
“Servant of Two Masters”, signed and dated
signed and dated 1925.
Pencil, watercolour and gouache on paper, laid
on cardboard, 49 by 64.5 cm.
1920.
Pencil, ink, watercolour and gouache on paper,
35 by 53.5 cm.
Provenance: Important private collection, Germany.
Provenance: Important private collection, Germany.
£2,500–3,500
Literature: M. Etkind, Aleksandr Nikolaevich Benua
1870–1960, Leningrad‒Moscow, Iskusstvo, 1965,
No. 75, illustrated in black and white.
£3,000–5,000
§ 125. Benois, Alexander (1870–1960)
123. Benois, Albert (1852–1936)
Hôtel des Sables Blancs, TrÉboul, signed,
The Main Staircase at the Peterhof Grand
Palace, signed and inscribed “Peterhof Grand
further titled on the reverse.
Pencil and watercolour on paper, 25.5 by 21 cm.
Palais”, also further signed and inscribed
on the reverse.
Pencil, ink, watercolour and gouache, heightened
with silver, on paper, 27 by 19 cm.
Provenance: Collection of Boris Blacher, director
of the Academy of Music, 1953–1970, Berlin.
Thence by descent.
Private collection, Germany.
Provenance: Russian Art, Sotheby’s London,
12 June 2007, lot 101.
Acquired at the above sale by the present owner.
Important private collection, Germany.
£1,500–2,000
£2,500–3,500
( 190 )
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126. Karazin, Nikolai (1842–1908)
The History of Trade, signed and dated 1898.
Pencil, ink and gouache on paper, laid on cardboard, 16.5 by 67.5 cm (cardboard size).
Provenance: Private collection, Israel.
128. Maliavin, Philippe (1869–1940)
Authenticity of the work has been confirmed by the expert V. Petrov.
Peasant Woman in a Red Dress.
The present lot is a study for a frieze for the new building of the Odessa stock
exchange, constructed in 1894‒1899.
Pencil, crayon and charcoal on paper,
87.5 by 62 cm.
£6,000–9,000
Provenance: Private collection, UK.
£10,000–15,000
127. Kollmann, Karl (1786–1846)
The main hall of the new Odessa stock exchange building
Street Vendor, signed and dated 1844.
Pencil and watercolour, heightened with white, on
paper, laid on paper, 20.5 by 24.5 cm (sheet size).
Authenticity of the work has been confirmed
by the expert V. Petrov.
£2,000–3,000
* 129. Chaliapin, Boris (1904–1979)
Costume Designs for the Film “Michel Strogoff”,
six works, each signed, three inscribed and titled in Cyrillic,
one also further signed and inscribed on the reverse.
Each pencil and watercolour, three heightened with white,
two on paper and the others on cardboard, two measuring
29.5 by 25 cm and the others 38 by 25.5 cm.
The costume designs, included in the present lot, were
commissioned to the artist by the director Joseph Ermolieff for
his 1936 film Michel Strogoff, based on the novel by Jules Verne.
Provenance: Collection of the film director Joseph Ermolieff.
Thence by descent.
Private collection, USA.
£3,000–5,000
( 192 )
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( 193 )
* 130. Fonvisin, Artur (1882–1973)
132. Apsit, Alexander (1880–1944)
Elegant Lady with a White Horse, signed.
Watercolour on paper, 34.5 by 31 cm (image size).
Nude with a Parrot, signed and dated 1938.
Pencil, watercolour and gouache on paper, 57.5 by 45 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£2,000–3,000
£7,000–9,000
§ 133. Annenkov, Georges (1889–1974)
131. Sokolov, Mikhail (1885–1947)
In a Theatre Box and Lady with a Fan, two works, one
Set Design for the Play “Le Pain des Jules”, signed.
numbered “28” and the other signed with initials.
One charcoal and pastel, and the other sanguine on paper,
measuring 34.5 by 36.5 cm and 21.5 by 18 cm respectively.
Pencil and gouache on paper, 38 by 56.5 cm.
Provenance: Collection of Nikolai Blokhin, a renowned Soviet
surgeon, Moscow (Lady with a Fan, inscription on the reverse).
Private collection, Europe.
£2,000–3,000
The present lot is a set design for Agne Bastiani’s comedy
Le Pain des Jules, staged in 1967 at the Théâtre des Arts
Rochechouart, Paris.
Provenance: A gift from the artist to Maria Gromtseff,
a theatre costumes’ designer, Paris.
Thence by descent.
Private collection, France.
The work will be included in the forthcoming Annenkov
catalogue raisonné being prepared by André and
Vladimir Hofmann.
£4,000–6,000
( 194 )
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136. Terpsikhorov, Nikolai (1890–1960)
At the Soda Water Stall, signed with initials.
Pencil, watercolour and tempera on paper,
49 by 72 cm.
Provenance: Private collection, the Netherlands.
£1,500–2,000
137. Lavrenko, Boris (1920–2001)
138. Grigoriev, Nikolay (1880–1943)
Dulyovo Porcelain, signed and dated 1985, also further
Spring in the Park of the Central House of Red Army,
signed, titled in Cyrillic, numbered “105” and dated 1965
on the reverse.
Oil on canvas, 65.5 by 80.5 cm.
signed and dated 1936, also further signed, inscribed with the artist’s
address, titled twice in Cyrillic and dated 1937 on the reverse.
Oil on canvas, 71.5 by 58 cm.
Provenance: Private collection, UK.
Provenance: Private collection, UK.
£1,500–2,000
£4,000–6,000
* 134. Yakovlev, Alexander (1887–1938)
Le Pressoire No 3, signed, stamped with the artist’s
Chinese stamp and dated 1937.
Gouache on paper, 52 by 67.5 cm.
Provenance: Estate of the artist.
Acquired from the above via R.C. Vose Galleries, Boston,
by a previous owner in 1948.
Thence by descent.
Private collection, USA.
Exhibited: Memorial Exhibition of the Work of Alexandre
Iacovleff (1887–1938), The Grand Central Art Galleries,
New York, 11–29 April 1939, No. 93.
Paintings and Drawings by the Late Alexandre Iacovleff,
R.C. Vose Galleries, Boston, 5–24 January 1948, No. 44
(label on the reverse of the frame).
Literature: Exhibition catalogue, Memorial Exhibition of the
Work of Alexandre Iacovleff, New York, The Grand Central Art
Galleries, 1939, p. 24, No. 93, listed.
Exhibition catalogue, Paintings and Drawings by the Late
Alexandre Iacovleff, Boston, R.C. Vose Galleries, No. 44,
listed as The Winepress No 3.
£6,000‒9,000
135. Yakovlev, Alexander (1887–1938)
Female Portrait, signed, inscribed with
a dedication in Cyrillic and dated 1929.
Sanguine on paper, 46 by 38.5 cm.
Provenance: Important private collection, Germany.
£4,000–6,000
( 196 )
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* 139. Tchelitchew, Pavel (1898–1957)
Portrait of My Father, signed and dated 1939.
Oil on canvas, 48.5 by 61.5 cm.
Provenance: Acquired directly from the artist by Lincoln Kirstein, an American writer and philanthropist,
especially renowned as a co-founder and the director of the New York City Ballet, 1946–1989.
A gift from the above to the previous owner.
Private collection, USA.
Impressionist and Modern Art Sale, Sotheby’s New York, 6 May 2010, lot 381.
Acquired at the above sale by the present owner.
Private collection, USA.
Exhibited: Tchelitchew. Paintings, Drawings, Museum of Modern Art, New York, September 1942–January 1943.
Dramatic Choice. The Theater Collects, Albright Art Gallery, Buffalo, 4 November–1 December 1950, No. 63.
Pavel Tchelitchew, Gallery of Modern Art, New York, 1964, No. 23 (label on the frame).
Literature: Exhibition catalogue, J. Soby, Tchelitchew. Paintings, Drawings, New York, Museum of Modern Art,
1942, p. 73, pl. 50, illustrated; p. 92, No. 58, listed.
Exhibition catalogue, Dramatic Choice. The Theater Collects, Buffalo, Albright Art Gallery, 1950, p. 29, No. 63,
listed as New England Landscape: Portrait of My Father.
Exhibition catalogue, Pavel Tchelitchew, New York, Gallery of Modern Art, 1964, p. 28, No. 23, illustrated.
L. Kirstein, Tchelitchev, Santa Fe, Twelvetrees Press, 1994, pl. 54, illustrated; p. 173, listed.
A. Kuznetsov, Pavel Tchelitchew. Metamorphoses, Stuttgart, Arnoldsche, 2012, p. 46, illustrated and mentioned
in the text; p. 210, No. 179, illustrated; p. 297, listed.
£400,000–500,000
С именем Павла Челищева в искусстве ХХ века связано не одно пластическое открытие. Однако, являясь наследником все же русской художественной традиции, Челищеву почти все свои художественные замыслы
пришлось воплощать в эмиграции. Константинополь, София, Берлин,
Париж, Лондон, Нью-Йорк, Рим — далеко не полный перечень мировых
центров, где художнику было суждено совершенствовать свой редкий
талант и создавать неповторимые произведения.
Челищева поддерживали и восхищались его гениальными работами Гертруда Стайн, Эдит Ситуэлл, Елена Рубинштейн, Джеймс Джойс, Эдвард Джеймс,
Монро Уэллер, Рут Форд и многие другие влиятельные фигуры культурного
истеблишмента первой половины ХХ столетия. Художник представлен
в крупнейших музеях мира, а его знаменитая «Игра в прятки» (1940–1942)
прославила коллекцию Музея современного искусства в Нью-Йорке.
( 198 )
Коннектикут) в доме своей подруги Эллис де Ламар, который он использовал в качестве студии-мастерской. Здесь он создает сотни рисунков
и акварелей холмистых пастбищ и лесов, увлеченный разнообразием
форм листьев бука, клена, черной американской березы, зеленеющими
лугами и заснеженными равнинами. Все это с удивительной долей
авторской фантазии переносилось на бумагу и холсты.
В запечатленных холмистых пейзажах угадывались головы и фигуры людей, морды диких животных, оживающие деревья. Таков и «Портрет моего
отца», состоящий из удивительных, волшебных превращений, где элементы пейзажа преобразуются в огромную рычащую голову тигра. Зимний вестонский ландшафт, вероятно, напоминал художнику о родной Дубровке
и непростых отношениях с отцом, оставшимся в далекой России.
Представленная на аукцион работа датирована 1939 годом, предшествовавшим году начала работы над знаменитым нью-йоркским полотном, в котором воплощены все принципы челищевского метаморфического видения. Конец 1930-х годов — время расцвета зооморфных
и антропоморфных пейзажей Челищева, которые сам художник называл
метаморфическими. В то время Челищев жил в Вестоне (штат
Представляемая картина происходит из собрания близкого друга Павла
Челищева, основателя Нью-Йорк Сити балета Линкольна Кирштайна.
Импресарио высоко ценил творчество художника, обладал крупной коллекцией его произведений, основная часть которой завещана нью-йоркскому Музею американского искусства Уитни, а в последние годы
жизни написал замечательную и по сей день самую влиятельную
монографию о творчестве этого великого мастера.
The present lot as illustrated and listed in the 1942 exhibition catalogue
P. Tchelitchew, Portrait of My Father, 1939
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( 199 )
In the history of the 20th century art, the name of Pavel Tchelitchew is linked
to more than a few painterly revelations. Although an heir to the Russian
artistic tradition, Tchelitchew had to bring all his artistic concepts to fruition
whilst an émigré. Sofia, Berlin, Paris, London, New York, Rome — this is far
from complete list of the world’s largest cities where the artist was destined
to cultivate his rare talent and create his matchless works.
Tchelitchew could count on the support of many influential figures from the
cultural establishment of the first half of the 20th century; amongst the avid
admirers of his genius were Gertrude Stein, Edith Sitwell, Helena Rubinstein,
James Joyce, Edward James, Monroe Wheeler and Ruth Ford. The artist is
also represented in the world’s foremost museums, and his renowned Hide
and Seek (1940–1942) brought lustre to the collection of the Museum
of Modern Art in New York.
Portrait of My Father, offered here for auction, is dated 1939 — a year prior
to the creation of the famous New York canvas — and in which all the principles of Tchelitchew’s metamorphic vision are incorporated. The late 1930s
was the heyday for Tchelitchew’s zoomorphic and anthropomorphic landscapes, which the artist himself called “metamorphic”. At the time, the
artist was living in Weston, Connecticut, at the house of his friend, Alice
de Lamar, which he used as a studio-workshop. Here, he would create hundreds of drawings and watercolours of the hilly pastures and woodlands,
captivated by the variety of shapes in the leaves of the beeches, maples and
black American birches, by the meadows, as they turned green and by the
snow-covered plains. All this was conveyed, with an amazing degree of fantasy, to paper and canvas.
In the hilly landscapes he depicted were intimations of people’s heads and
figures, the faces of wild animals and of trees coming to life. Portrait of My
Father is in this same vein, consisting of surprising, magical transformations,
in which elements of the landscape are transformed into a giant, snarling
tiger’s head. Possibly, this winter landscape at Weston may have reminded
the artist of his native village of Dubrovka and the complicated relationship
with his father, in faraway Russia.
Portrait of My Father comes from the collection of a close friend of Tchelitchew,
Lincoln Kirstein, the founder of the New York City Ballet. The impresario greatly
appreciated the artist’s creativity and possessed a major collection of his
work, most of which he bequeathed to the Whitney Museum of American Art,
New York. In the last years of his life, he wrote a remarkable — and to this day
the most influential monograph — on the creative oeuvre of this great master.
The present lot as illustrated and listed in the L. Kirstein monograph on the artist
( 200 )
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( 201 )
* 140. Tchelitchew, Pavel (1898–1957)
Blindfolded Girl, signed and dated 1939.
Ink and watercolour on paper, 47.5 by 32.5 cm.
Provenance: With Zeitlen & ver Brugge Booksellers, Los Angeles (label on the backing board).
With Neuberger Museum of Art, Purchase, USA (label on the backing board).
With Richard Feigen Gallery, New York, 1974 (label on the backing board).
Acquired from the above by a previous owner.
Collection of Julien and Jean Levy.
Hommage à Julien Levy, Tajan, Paris, 5 October 2004, lot 43.
Private collection, Europe.
Acquired from the above by the present owner.
Private collection, USA.
Related literature: For similar works, see A. Kuznetsov, Pavel Tchelitchew. Metamorphoses,
Stuttgart, Arnoldsche, 2012, pp. 220–235, Nos. 193–204.
The present lot is a study for one of Tchelitchew’s best-known paintings, Hide and Seek (CacheCache), 1940–1942, currently in the collection of the Museum of Modern Art, New York.
£25,000–30,000
Великолепная работа одного из самых интересных художников ХХ века — Павла Челищева относится к периоду создания его знаменитого
полотна «Игра в прятки» (Hide and Seek, 1939–1942, Нью-Йоркский музей современного искусства). Основной мотив этого грандиозного произведения — прячущиеся дети.
Несомненно, Челищев задумал удивительную картину «Игра в прятки»,
прежде всего заново переживая впечатления своего далекого счастливого детства, прошедшего в усадьбе отца, среди пейзажей родной
Дубровки, окруженной необъятными полями, лесными чащами, множеством озер, протекавшей вблизи имения красивейшей рекой под названием Жиздра. Среди крестьянских и господских детей распространены
были подвижные игры на свежем воздухе — жмурки, салки (догонялки),
городки, лапта и особенно прятки. Для юного Челищева эта незатейливая детская игра обрела особенный смысл. Наделенный фантастическим воображением художник переносил простую механику пряток на
возникающие в его сознании ассоциативные образы. Он видел «спрятанное» в изгибах сумеречных ландшафтов, в колдовской работе туманов и миражей, в сказочных, нерукодельных рисунках замерзших окон.
Уже в далекой Америке, в эмиграции, в 1938 году от своей хорошей
знакомой Элис де Ламар он получает предложение воспользоваться ее
домом в Вестоне (Коннектикут) в качестве студии-мастерской. Здесь
Челищев сделал десятки рисунков и акварелей холмистых пастбищ
и лесов, очарованный разнообразием форм листьев бука, клена,
черной американской березы, диких полевых цветов. В них он видел
шляпы, плащи и рубашки детейлистьев, вооруженных длинными
травяными копьями, которыми
они отчаянно сражаются в волнующихся на ветру лугах, прячутся и догоняют друг друга.
Представленная в настоящем каталоге акварель является предварительным эскизом знаменитой
гуаши «Девочка с завязанными
глазами» (Blindfolded Girl, 1939),
в свое время находившейся в собрании друга художника — известной американской актрисы
Рут Форд.
( 202 )
P. Tchelitchew, Blindfolded Girl
This magnificent work by Pavel Tchelitchew, one of the most interesting
artists of the 20th century, dates from the period when he created his
famous canvas Hide and Seek (1939–1942, MoMA, New York). The main
subject of that large work is children hiding.
Undoubtedly, Tchelitchew conceived his astonishing Hide and Seek primarily
by re-living impressions of his happy childhood spent at his father’s estate
amidst the landscapes of his native Dubrovka, surrounded by vast fields,
woodland thickets, lakes and the beautiful river Zhizdra. The children of
peasants and landowners would often play games together, outdoors in the
fresh air: blind man’s buff, tag (catch me if you can), gorodki, lapta and particularly, hide-and-seek. For the young Tchelitchew, this unpretentious children’s game had a special meaning. The artist had been blessed with a fantastic imagination and he translated the simple mechanics of hide-and-seek
into associative images that grew in his consciousness. He saw the “hidden” in the folds of twilit landscapes, in the magic of mists and mirages
and in the fairytale tracery on frosted windows, not made by human hands.
In 1938, as an émigré in far-off America he was offered the use of a studioworkshop by his good friend Alice de Lamar at her house in Weston
(Connecticut). Here Tchelitchew produced dozens of drawings and watercolours of the hilly pastures and woods and was charmed by the diversity
of shapes in the leaves of the beeches, maples, American black birches
and wild flowers. In them he saw the caps, capes and shirts of leaf-children, armed with long spears of grass with which they fought, hid
or chased each other in the wind-blown meadows.
The watercolour
offered here is
a preparatory sketch
for the famous
gouache Blindfolded
Girl, 1939, which was
once in the collection
of the artist’s friend
and well-known
American actress
Ruth Ford.
P. Tchelitchew, Hide and Seek, 1940–1942.
The Museum of Modern Art, New York
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( 203 )
*§ 141. Kalmakov, Nikolai (1873–1955)
Three Women Riding a Mythical Monster, signed with a cypher and dated 1911.
Pencil and watercolour, heightened with white and gold, on paper, laid on cardboard, 64 by 49.5 cm.
Provenance: The Russian Art, Sotheby’s London, 19 May 2005, lot 88.
Private collection, USA.
Exhibited: Nicolas Kalmakoff, Galerie Motte, Paris, 7 February–5 March 1964, No. 17.
Literature: Exhibition catalogue, Nicolas Kalmakoff, Paris, Galerie Motte, 1964, p. 11, No. 17,
listed as Trois femmes chevauchant un monstre.
J. Bowlt, Yu. Balybina, Nikolai Kalmakov i labirint dekadentstva. 1873–1955, Moscow,
Iskusstvo — XXI vek, 2008, p. 32, illustrated.
£150,000–200,000
Работа «Три женщины на мифическом чудовище» создана художником
русского Серебряного века Николаем Калмаковым в 1911 году и относится к самому плодотворному периоду его творчества. Работа подписная: на ней имеется монограмма художника, стилизованная под
фаллический символ. Смешанная техника чрезвычайно характерна для
лучших работ Калмакова и создает уникальную цветовую и фактурную
изысканность рисунка.
воплощения мужской силы. Всадницы — обнаженные восточные красавицы. Белая женщина сидит в позе лалитасана: одна нога согнута в позу
лотоса, другая вытянута и чуть спущена вниз. Так обычно изображают
Сарасвати — спутницу и сподвижницу Брахмы. Рядом с ней две
всадницы — темная и светлая женские ипостаси. У химеры и наездниц
отсутствуют глаза, что делает образы более символичными. Для Калмакова любовь — темная и слепая сила, властвующая над людьми.
Художник любил в своем творчестве использовать образы разнообразных триад: «Три черные женщины-сирены» (1912), «Атлас и Геспериды»
(1910-е). Стилистически работа «Три женщины на мифическом чудовище» наиболее близка именно к последнему, но тема ее совсем иная —
Восток и эрос. Ориентализм Калмакова не пестрота и роскошь красок,
а выверенный язык символов. В то же время рисунку свойственны
легкая незавершенность и очарование non finito.
Скала под скакуном изображена в духе пуантилизма россыпью мелких
цветных точек. Белые клубы воды или облаков стилизованы под традиционную китайскую орнаментику. Женская стихия воды рифмуется
с мужской стихией песка, в который превращается струящаяся с седла
ткань, что говорит о неразделимости мужского и женского начал.
В центре композиции словно выточенная из нефрита — любимого камня
Востока — вздыбленная химера: полубаран-полуконь. Художник
соединил принятые в искусстве Индии и Китая эротические образы —
The present lot as listed in the 1964 exhibition catalogue
( 204 )
Работа «Три женщины на мифическом чудовище» ценна попыткой
художника-европейца переосмыслить образы Востока и создать новый
язык символов. Она рассчитана на долгое рассматривание, разгадывание ее скрытых смыслов, что вообще характерно для работ Калмакова.
The present lot as illustrated in the J. Bowlt and Yu. Balybina monograph on the artist
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( 205 )
An artist of the Silver Age of Russian culture, Nikolai Kalmakov created his
composition Three Women Riding a Mythical Monster in 1911, during one
of the most fruitful periods of his creative life. The work is signed: it bears
the artist’s monogram, stylised to resemble a phallic symbol. The mixed
technique is very typical of Kalmakov’s best work and generates a remarkable colour and texture that render this piece unique and exquisite.
The artist loved to create works that used images of various triads; such as
Three Black Women-Sirens (1912) and Atlas and the Hesperides (1910s).
Stylistically, his Three Women Riding a Mythical Monster is closest to the
latter, but the subject — the Orient and erotic love — is entirely different.
Kalmakov’s Orientalism is not just a variety of luxurious colours, but rather
a precise language of symbols. At the same time, this piece is characterised
by a slight incompleteness and the charm of non finito.
In the centre of the composition is a rampant chimera — half ram and half
horse — like a sculpture in jade, the favourite stone of the Orient. The artist
has combined these traditional erotic, animal images from Indian and Chinese art to embody masculine strength. The women on the back of the monster are beautiful oriental nudes. A white woman sits in the Lalitasana
pose — one leg bent in the half-lotus position and the other extended and
slightly lowered. This is the usual manner of depicting Saraswati, the companion and acolyte of Brahma. The two riders beside her are dark and light
female hypostases. Neither the chimera nor the riders have eyes, which
increases the symbolic power of the images. For Kalmakov, love is a dark
and blind force that holds sway over people.
The rock beneath the mythic monster is painted in the Pointillist style with
a scattering of fine spots of colour, and the white puffs of stylised water or
cloud echo the Chinese ornamental tradition. The feminine element of water
is in rhythm with the masculine element of the sand, which the fabric
streaming from the saddle becomes; speaking of the inseparability of the
masculine and feminine principles.
This picture of Three Women Riding a Mythical Monster is of value as an
attempt by a European artist to reconsider images of the Orient and create
a new language of symbols. It is intended to be looked at for a long time
for the riddle of its latent ideas to be solved, a feature typical of Kalmakov’s
work.
N. Kalmakov, Atlas and the Hesperides, 1911
N. Kalmakov, Three Black Women-Sirens, 1912
( 207 )
* 142. Roerich, Nicholas (1874–1947)
Banner of Peace, signed twice with monograms “NR” and “MR”, inscribed “pax cultura” and dated 1931,
further numbered “No. 38” on the reverse
Pencil and tempera on paper, laid on board, 15 by 23 cm (sheet size)
Provenance: Roerich Museum, New York, USA, 1932–1935.
Collection of Nettie and Louis Horch, USA, from 1935.
Thence by descent.
Private collection, USA.
Exhibited: Roerich Museum, New York (permanent collection), 1932, No. 38.
Banner of Peace, 1935–2015. Exhibition of Works by N. and S. Roerich Dedicated to the 80th Anniversary
of the Signing of the Roerich Pact, MacDougall’s, London, 25 February–13 March 2015.
Literature: Nicholas Roerich’s personal list of paintings from 1931, listed as “No. 38. Znamya mira”.
Roerich Museum, inventory list (1931–1935), listed as “Banner of Peace. 1931. $500, sent to Paris
for making postcard and later transshipped to New-York.”
£100,000–150,000
Представленная в настоящем каталоге работа Николая Рериха «Знамя
Мира» является символом международного проекта, за который
в 1929 году он был номинирован на Нобелевскую премию.
Кульминацией его многолетних усилий явилось подписание в Белом доме 15 апреля 1935 года Франклином Делано Рузвельтом и представителями 20 стран Латинской Америки так называемого Пакта Рериха о мире. В соответствии с Пактом Знамя Мира должно присутствовать на всех
имеющих культурное значение зданиях и памятниках для обеспечения
их защиты во время военных действий. Подписание Пакта мира «...явилось кульминацией проекта, которому Рерих посвятил 36 лет и целью
которого было привлечение внимания международной общественности
к значимости усилий по сохранению и защите мирового культурного
наследия» (Жаклин Дектер. «Николай Рерих», 1989).
На данной работе Рерих изобразил знамя, внутри которого он поместил
символ Пакта Рериха о мире. Внизу работы также имеются слова «Пакт
культуры» (или «Мир через культуру»). Идея достижения мира через
культуру была чрезвычайно важна для Рериха и являлась движущей силой его учения, художественной и общественной деятельности. По словам самого художника: «Там, где Мир, там и Культура; там, где Культура,
там и Мир». Сам символ — три точки внутри окружности — встречается
примерно на десяти из известных работ Рериха. Представленная на торги работа является не только официальной эмблемой Знамени Мира,
но и самым известным в мире изображением его.
N. Roerich, Madonna Oriflamma,
1932. N. Roerich Museum, New York.
( 208 )
The present lot is a painting of the Banner of Peace, a symbol of the cause
that earned Nicholas Roerich the nomination for the Nobel Peace prize in
1929 and which culminated in the signing of the Roerich Peace Pact by
Franklin D. Roosevelt and representatives of twenty Latin American countries at the White House on 15 April, 1935. The Peace Pact called for the
Banner of Peace to be flown over important cultural buildings and monuments to protect them from the destruction of war. The signing of the Peace
Pact, “represented the culmination of Roerich’s thirty-six year effort to focus international attention on the importance of preserving and protecting
the world’s cultural legacy.” (Jacqueline Decter, Nicholas Roerich, 1989) The painting portrays the symbol of the Roerich Peace Pact within a banner
and with the words, “Pax Cultura” or “Peace through Culture” written underneath. To Roerich, Peace through Culture was an important belief and
guided his many artistic works, as well as his teachings and organizational
activities. As the artist stated, “Where there is Peace, there is Culture;
Where there is Culture there is Peace.” The symbol of the three dots within
a circle appears in about ten of Roerich’s known works. This painting is the
most official representation and the most widely-known painting of the
Banner of Peace worldwide. N. Roerich, Sketch for Pax Cultura, 1931. Collection of the Roerich
Museum, New York.
The signing of the Roerich Pact by the leaders of twenty countries of Latin
America and the USA. Washington, The White House, 15 April 1935.
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( 209 )
143. Novikov, Timur (1958–2002)
144. Novikov, Timur (1958–2002)
The USSR, signed and dated 1987.
Untitled.
Acrylic on fabric, mounted on board, 164 by 210 cm.
Collage with foil and coloured plastic film on fabric, mounted
on board, 171 by 134 cm.
Provenance: Acquired directly from the artist by the present
owner, February 1988, Stockholm.
Private collection, Sweden.
Provenance: Acquired directly from the artist by the present
owner, February 1988, Stockholm.
Private collection, Sweden.
Exhibited: The Russian Avant-garde of the New Century,
Galerie Art Atrium, Stockholm, February‒March, 1988.
Exhibited: The Russian Avant-garde of the New Century,
Galerie Art Atrium, Stockholm, February‒March, 1988.
£20,000–30,000
£15,000–20,000
( 210 )
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( 211 )
§ 145. Koshlyakov, Valery (B. 1962)
( 212 )
§ 146. Koshlyakov, Valery (B. 1962)
A Tower, signed, titled in Cyrillic and dated 2002, and with
Architectural Fantasies, signed with initials and dated 1994, also further
a pencil sketch on the reverse.
Collage with coloured tape on photopaper, 100 by 50 cm.
signed, titled in Cyrillic and dated on the reverse.
Pencil, charcoal, gouache and collage with paper on canvas, 105.5 by 125.5 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Germany.
Provenance: Walter Bischoff Galerie, Berlin.
Important private collection, Germany.
£5,000–7,000
£10,000–15,000
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( 213 )
Lots 149, 150, 152, 153. Property from an Important Private Collection, Brazil
147. Weisberg, Vladimir (1924–1985)
Reclining Nude, signed with a monogram and dated
1976, also further signed twice, inscribed in Cyrillic
“Moskva ” and dated “12/I 76” on the reverse.
Pencil and watercolour on paper, 26.5 by 46 cm.
Provenance: Acquired directly from the artist by the
father of the present owners in Moscow.
Important private collection of nonconformist art, France.
£5,000–7,000
§ 148. Koshlyakov, Valery (B. 1962)
* 149. Weisberg, Vladimir (1924–1985)
Architectural Design, signed and dated 2002.
Geometric Composition, signed and dated 1973.
Collage with coloured tape on plexiglass, 125 by 50.5 cm.
Oil on canvas, 55 by 58 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Germany.
Provenance: Acquired directly from the artist by Sizinio Pontes
Nogueira, the Ambassador of Brazil to the USSR, 1971‒1976, Moscow.
Thence by descent.
Acquired from the sons of the above by the present owner.
Important private collection, Brazil.
£6,000–9,000
£25,000–30,000
( 214 )
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3 June 2015
( 215 )
* 150. Sitnikov, Vasily (1915–1987)
151. Weisberg, Vladimir (1924–1985)
Nude, signed.
Portrait of Two Children, signed and dated 1961.
Oil on canvas, 100 by 60.5 cm.
Oil on canvas, 76 by 63 cm.
Provenance: Acquired directly from the artist by Sizinio
Pontes Nogueira, the Ambassador of Brazil to the USSR,
1971‒1976, Moscow.
Thence by descent.
Acquired from the sons of the above by the present owner.
Important private collection, Brazil.
Provenance: Acquired directly from the artist
by the father of the present owners in Moscow.
Important private collection of nonconformist
art, France.
£50,000–70,000
£20,000–30,000
( 216 )
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3 June 2015
( 217 )
*§ 152. Rabin, Oscar (B. 1928)
*§ 153. Rabin, Oscar (B. 1928)
Swan and Violin, signed with a monogram and dated 1971, also
Flowers with a Newspaper, signed with a monogram and dated 1971,
further titled in Cyrillic, numbered “N 467” and dated on the reverse.
Oil on canvas, 50 by 70.5 cm.
also further titled in Cyrillic, numbered “N 483” and dated on the reverse.
Oil on canvas, 80.5 by 100.5 cm.
Provenance: Acquired directly from the artist by Sizinio Pontes
Nogueira, the Ambassador of Brazil to the USSR, 1971‒1976, Moscow.
Thence by descent.
Acquired from the sons of the above by the present owner.
Important private collection, Brazil.
Provenance: Acquired directly from the artist by Sizinio Pontes Nogueira,
the Ambassador of Brazil to the USSR, 1971‒1976, Moscow.
Thence by descent.
Acquired from the sons of the above by the present owner.
Private collection, Brazil.
Authenticity of the work has been confirmed by the artist.
Authenticity of the work has been confirmed by the artist.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
£15,000–20,000
£20,000–30,000
( 218 )
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3 June 2015
( 219 )
Lots 154‒160. Property from an Important Private Collection, Italy
§ 154. Rabin, Oscar (B. 1928)
Grandmother’s Tales, signed and titled in Cyrillic on the reverse.
Oil on canvas, 87.5 by 64 cm.
The present lot is one of the early experimental works by the artist,
created for the 1957 World Festival of Youth and Students, Moscow.
The painting is based on one of the drawings by the seven year old
Rabin's daughter, Ekaterina.
Provenance: A gift from the artist to Giuseppe De Santis, a famous
Italian film director, 1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
Authenticity of the work has been confirmed by the artist.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
£7,000–9,000
§ 155. Rabin, Oscar (B. 1928)
Girl with Flowers.
Oil on paper, laid on cardboard, 62 by 82.5 cm.
The present lot is one of the early experimental works by the artist,
created for the 1957 World Festival of Youth and Students, Moscow.
The painting is based on one of the drawings by the seven year old
Rabin's daughter, Ekaterina.
Provenance: A gift from the artist to Giuseppe De Santis, a famous
Italian film director, 1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
Authenticity of the work has been confirmed by the artist.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch. £7,000–9,000
156. Kropivnitsky, Lev (1922–1994)
Girl and a Cow, signed and dated 1966.
Oil on canvas, 100 by 80 cm.
Provenance: A gift from the artist to Giuseppe De Santis,
a famous Italian film director, 1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
£10,000–15,000
( 220 )
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3 June 2015
( 221 )
157. Nemukhin, Vladimir (B. 1925)
159. Neizvestny, Ernst (B. 1925)
Crucifixion, signed.
Uomo a Cuore, Medusa, Uomo Cuore, Embrace
and Crucifixion, five works, each signed, one inscribed
Oil on canvas, 60 by 50 cm.
Provenance: A gift from the artist to Giuseppe De Santis,
a famous Italian film director, 1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
Authenticity of the work has been confirmed by the artist.
£7,000–9,000
with a dedication and another titled in Cyrillic, and three
dated 1964, 1965 and 1966.
Three pencil and watercolour, one ink and watercolour,
and another watercolour on paper, the largest measuring
99 by 68 cm and the smallest 43.5 by 31 cm.
Provenance: A gift from the artist to Giuseppe De Santis,
a famous Italian film director, 1970s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
£5,000–7,000
160. Zverev, Anatoly (1931–1986)
Still Life with Apples, signed and dated 1971.
Oil on cardboard, 36 by 52.5 cm.
Provenance: A gift from the artist to Giuseppe De Santis,
a famous Italian film director, 1970s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
£2,000–3,000
158. Nemukhin, Vladimir (B. 1925)
Resurrection.
Oil and tempera on paper, 58.5 by 41 cm.
Provenance: A gift from the artist to Giuseppe De Santis,
a famous Italian film director, 1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
Authenticity of the work has been confirmed by the artist.
£6,000–9,000
( 222 )
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3 June 2015
( 223 )
162. Plavinsky, Dmitry (1937–2012)
*§ 161. Tselkov, Oleg (B. 1934)
Person with Knife and Fork, signed, also further signed twice,
Butterfly, signed with a monogram and dated 1966.
titled twice, once in Cyrillic, and dated 1984 on the reverse.
Oil on canvas, 89 by 120 cm.
Oil on canvas, 99.5 by 75 cm.
Provenance: Acquired directly from the artist by James Ealum,
an American diplomat, Moscow.
Acquired from the above by the present owner.
Important private collection, UK.
Provenance: Acquired directly from the artist by the present owner.
Private collection USA.
Authenticity of the work has been confirmed by the artist.
( 224 )
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
Authenticity of the work has been confirmed by Maria Plavinskaya,
the artist's widow.
£25,000–30,000
£35,000–40,000
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3 June 2015
( 225 )
163. Kropivnitsky, Evgeny (1893–1979)
Portrait of a Girl, signed.
Pencil, ink and watercolour, heightened
with white, on paper, 28 by 39 cm.
Provenance: Private collection, USA.
£3,000–5,000
164. Kharitonov, Alexander (1932–1993)
Hoarfrost, signed, titled in Cyrillic and
dated 1976 on the reverse.
Oil on canvas, 29 by 37 cm.
Provenance: Acquired directly from the artist
by the father of the present owners in Moscow.
Important private collection of nonconformist
art, France.
£6,000–9,000
*§ 165. Chemiakin, Mikhail (B. 1943)
Still Life with a Bull Head.
Tempera and oil on cardboard, 51 by 83.5 cm.
Executed in 1965.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the artist.
£12,000–15,000
166. Nesterova, Natalia (B. 1944)
Jug with a Rabbit, signed with initials, also further signed,
titled in Cyrillic and dated 2007 on the reverse.
Oil on canvas, 70.5 by 50 cm.
Provenance: Acquired directly from the artist by the present owner.
Private collection, Europe.
Authenticity of the work has been confirmed by the expert
A. Borovsky.
£5,000–7,000
( 226 )
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167. Plavinsky, Dmitry (B. 1937)
168. Plavinsky, Dmitry (B. 1937)
§ 169. Rabin, Alexandre (1952–1994)
Keys to Heaven, signed with initials, inscribed with a quote
Bosphorus Tortoise, signed, numbered
by Jean Miró and dated 1962 on the reverse.
Gesso and tempera on canvas, laid on panel, 37.5 by 50.5 cm.
“8/40” and dated 1969.
Etching on paper, 68.5 by 92 cm.
Provenance: Private collection, UK.
Print No. 8 from the edition of 40.
Authenticity of the work has been confirmed by Maria
Plavinskaya, the artist's widow.
Provenance: Collection of Alexander Glezer,
a renowned collector, writer and publisher.
Private collection, UK.
£7,000–9,000
Rooftops, signed, also further signed and dated 1978 on
the reverse.
Oil on canvas, 50 by 70 cm.
Authenticity of the work has been confirmed
by Maria Plavinskaya, the artist's widow.
Provenance: Acquired directly from the artist by Lili
Brochetain, Paris.
Acquired from the above by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by the artist.
£2,000–3,000
£1,500‒2,000
170. Piatnitsky, Vladimir (1936–1978)
A Tale, signed twice, once with a monogram, variously inscribed,
numbered “N 033” and dated “23/XII-81” on the reverse.
Ink on paper, laid on cardboard, 37.5 by 30 cm.
Provenance: Collection of Alexander Glezer, a renowned collector,
writer and publisher.
Private collection, UK.
£1,500‒2,000
( 228 )
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3 June 2015
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172. Krasnopevtsev, Dmitry (1925–1995)
Objects in Compartments, signed with an
initial and dated 1965.
Oil on board, 34.5 by 33.5 cm.
Provenance: Acquired directly from the artist by
the father of the present owners in Moscow.
Important private collection of nonconformist art,
France.
£8,000–12,000
*§ 171. Rabin, Oscar (B. 1928)
173. Rukhin, Evgeny (1943–1976)
Landscape with Pink Sky, signed and dated 1997, also further titled
Purple Sky, signed, titled and dated 1967.
in Cyrillic, numbered “N 1207” and dated on the reverse.
Oil on canvas, 73 by 92 cm.
Watercolour on paper, 61 by 58 cm.
Provenance: Acquired directly from the artist
by the father of the present owners in Moscow.
Important private collection of nonconformist
art, France.
Provenance: Private collection USA.
Authenticity of the work has been confirmed by the artist.
Exhibited: Severity of Style, MacDougall’s, London, 1‒14 May 2015.
£1,000–2,000
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
£8,000–12,000
( 230 )
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Russian Works of Art, Fabergé and Icons
Lots 201–252
PROPERTIES FROM A PRIVATE COLLECTION, ENGLAND
204. A Porcelain Easter Egg
IMPERIAL PORCELAIN MANUFACTORY, LATE 19TH CENTURY
Height 11.5 cm
Related literature: For a similar work, see T. Kudriavtseva,
H. A. Whitbeck, Russian Imperial Porcelain Easter Eggs, London,
Merell, 2001, p. 214.
After a design by O. Chirikov, the ornament designed by
A. Kaminsky, the front finely painted with the Nativity, the reverse
with crucifix terminating in reserves containing the Mother of
Christ, John the Baptist, and the Archangels Michael and Gabriel.
£4,000–6,000
205. A Rare Porcelain Figurine of a Peasant Girl
from the Tula Gubernia with a Basket
201
AFTER A 1913 MODEL BY PAVEL KAMENSKY, IMPERIAL
PORCELAIN MANUFACTORY, EARLY 20TH CENTURY
Height 37 cm.
Related literature: For similar works, see E. Khmelnitskaya,
Farforovaya Rossiya P. P. Kamenskogo, Moscow, Lyubimaya
Kniga, 2013, pp. 84–86.
203
Realistically modelled, wearing a traditional red and white
chemise with a matching black patterned sarafan and
holding a basket with her left hand.
£8,000–12,000
The series “Peoples of Russia” by Pavel Kamensky was
personally commissioned by Nicholas II from the Imperial
Porcelain Factory in 1907 for the purpose of showing the
cultural diversity of Imperial Russia. Kamensky, a well-known
and established sculptor, collaborated with the Imperial
Manufactory on this project for the following decade. One
of the distinctive qualities of his work is the highly realistic
representation of figures, achieved through consultation
with leading ethnological specialists, studies and censuses.
202
201. A Porcelain Figurine of a Lute Player with a Child
POPOV MANUFACTORY, MOSCOW, MID 19TH CENTURY
Height 12 cm.
Realistically modelled, seated on a wooden stool, dressed in
stripped trousers and vest, holding a child with a lute on his knees,
a dog beside them, on rectangular shaped base imitating wooden
floor, with blue underglaze manufactory mark.
In 1908 Pavel Kamensky presented a model of a Peasant
Woman from the Tula Gubernia to the Imperial Porcelain
Manufactory. To a large extent, this choice was justified by the
importance of the socio-political and cultural role of the
region. As a neighbour to the developed Moscow Gubernia
and also in close proximity to St Petersburg, Tula was well
connected with the centre of the Imperial life.
£1,500—2,000
PROPERTY FROM A PRIVATE COLLECTION, ENGLAND
202. A Porcelain Figurine of a Traveller
OTHER PROPERTY
203. A Porcelain Figurine of a Tea Vendor
KORNILOV MANUFACTORY, ST PETERSBURG, SECOND HALF 19TH CENTURY
Height 11.5 cm.
GARDNER MANUFACTORY, MOSCOW, 1830–1850s
Height 18 cm.
Realistically modelled, standing beside a tree stump, wearing ultramarineblue tunic with purple cuffs, lime-green pantaloons and a pale blue
turban, holding a ceramic jug with his right hand and leaning on a stick,
on a circular shaped naturalistic base, with green manufactory mark.
Realistically modelled, wearing blue tunic with a white patterned
apron, black boots and a top hat, holding a bag and a mug with his
left hand and carrying a gold kettle in the right one, on a circular
shaped naturalistic base, with impressed manufactory marks,
further numbered "N2/9" in black.
£1,200–1,500
£3,000—5,000
( 234 )
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The figurine depicts a young married woman in festive dress.
The traditional Tula ensemble is recognisable by its palette
of red, white and black, the dense embroidery and its various
patterns. As depicted on the model, the costume includes
a household linen chemise with an embroidered collar and red
stripes. The sleeves are decorated with lace ornaments, much
favoured in Russia and the hem with golden gimp braid and
beads, so symbolic of the Russian folk taste for bright and
festive embellishment.
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209
206. A Porcelain TÊte-À-TÊte Tea Service
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER III
(1881–1901)
Provenance: Acquired from the Winter Palace Gallery
Comprising a tea-pot with a lid, a milk jug, a sugar bowl with a lid,
two cups and saucers, each decorated with gold rims against
a cobalt-blue ground, the cups with with the double-headed
Imperial eagles beneath Imperial crowns, with green Imperial
ciphers for Alexander III.
£5,000—£7,000
211
* 208. A Porcelain Tazza from the Gold Service
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS II
(1894–1917)
Height 18.5, diameter 24.5 cm.
Of circular form, with spreading foot, the white interior of the bowl
centred with a gilt ornament, the gold foot and the stem with
volumetric classical ornaments, the bowl’s exterior with a gold
ornament against a pale-green ground, within rims of gold garlands
on cobalt-blue background.
£3,000–5,000
210
OTHER PROPERTIES
* 207. Two Porcelain Custard Cups
from the Peterhof Palace Service
IMPERIAL PORCELAIN MANUFACTORY, PERIOD
OF NICHOLAS I (1825–1855)
7 by 10.5 cm.
Of tapering cylindrical form with scalloped rims and two
scroll handles, decorated throughout with blue oysterform panels painted with floral sprays within moulded
edges, with blue Imperial cipher for Nicholas I.
£2,000–3,000
209. A Porcelain Plate from the Order of St Andrew Service
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855)
Diameter 25.5 cm.
Circular, with gilt scalloped rim, the cavetto painted with the badge of the
Order of St Andrew against a white ground, the blue border decorated with
the badges of the Orders of St George, St Alexander Nevsky, St Vladimir,
the White Eagle, St Stanislaus and St Anne surrounded with stylised gilt
cartouches, with blue Imperial cipher for Nicholas I.
PROPERTY FROM A PRIVATE COLLECTION, ENGLAND
£5,000—7,000
211. A Porcelain Plate from the Order of St Andrew Service
210. A Set of Three Porcelain Topographical Plates
Circular, the cavettos with topographical landscape views, with
gold palmette decoration around the rim.
Circular, with gilt scalloped rim, the cavetto painted with the badge of the
Order of St Andrew against a white ground, the blue border decorated with
the badges of the Orders of St George, St Alexander Nevsky, St Vladimir,
the White Eagle, St Stanislaus and St Anne surrounded with stylised gilt
cartouches, with blue Imperial cipher for Nicholas I.
£1,500–2,000
£5,000—7,000
POPOV MANUFACTORY, MOSCOW, 19TH CENTURY
Diameter 20.5 cm.
( 236 )
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IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855)
Diameter 25.5 cm.
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OTHER PROPERTIES
* 212. An Art Nouveau Porcelain Vase
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS II (1894–1917)
20.5 by 14 cm.
Related literature: For similar works, see V. V. Znamenov (ed.),
Imperatorsky Farforovy Zavod, Global View, St Petersburg, Moscow, 2008,
pp. 658–667.
Of cylindrical form, the main body in white, with pale blue floral decoration around the top rim.
£8,000–12,000
215
216
215. A Soviet Porcelain Plate of a Winter Landscape
STATE PORCELAIN MANUFACTORY, DATED 1920 WITH BLUE
OVERGLAZE MANUFACTORY MARKS, SIGNED "DR-V" IN CYRILLIC,
WITH OBLITERATED NICHOLAS II MARK DATED 1909
Diameter 22 cm.
Of circular form, the cavetto painted with a blue winter landscape,
with black rim.
£1,500–2,000
217
214. A Rare Faience Figure of Chernomor
216. A Soviet Porcelain Propaganda Plate
SERGEI ORLOV, KONAKOVO, 1947–1948
Height 29.5 cm.
Modelled in a standing pose astride a base of stylised raging water,
dressed in medieval chainmail, boots and helmet, carrying a sword
in his right hand and shield in his left, apparently unmarked.
Sergey Orlov (1911–1971), a famous sculptor, painter, graphic artist
and designer is most well-known for his monument to Yuri Dolgorukiy
in Moscow (1954). However, he also worked on a series of small porcelain
figures from Russian fairy tales, of which the sculpture Chernomor is a rare
and exquisite example.
213. A Porcelain Cup “Slavianka”
AFTER A 1918 MODEL BY NATALIA DANKO, STATE PORCELAIN
MANUFACTORY, 1920s
Height 10.5 cm.
Related literature: For similar works, see T.N. Nosovich,
I. P. Popova, Gosudarstvennyi farforovyi zavod 1904–1944,
St Petersburg Orkestr, 2005, p. 341.
Modelled in the form of a female head, with red ochre headband and
braided hair, the handle of plaited form with gilt rim and red ochre
decoration on a white body, marked with number "19" under the base.
£4,000–6,000
( 238 )
AFTER A 1919 DESIGN BY SERGEI CHEKHONIN, STATE PORCELAIN
MANUFACTORY
Diameter 25 cm.
Of circular form, the cavetto painted with a hammer, sickle in gold
and an ear of wheat, within an orange geometric ribbon ornament
around the rim, with blue overglaze manufactory mark.
£4,000–6,000
£4,000–6,000
Stylistically there are a lot of similarities between the sculpture and the monument, which are apparent in the plasticity, attention to detail, similarity of the
faces and the conical form of the helmets. During Orlov’s work at the Konakovo factory (1947–1948) he created the porcelain composition The Tale of Tsar
Saltan of which Chernomor and the clock with the sculpture of “Tsarevich Guidon and the Swan Princess” are the only pieces to ever come to market.
We are grateful to Dr. Tatiana Astrakhantseva for assisting with research
and providing this catalogue note.
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217. A Soviet Porcelain Propaganda Plate "Large Star
with a Sheaf" and an Inscription Around
the Rim "He Who Is Not With Us Is Against Us"
AFTER A DESIGN BY N. ZANDER, STATE PORCELAIN MANUFACTORY
Diameter 24 cm.
Of circular form, the cavetto painted with a hammer, sickle and cog
symbol within a red star, surrounded by floral motifs, with blue
overglaze manufactory mark.
£1,500–2,000
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218
220
221
222
* 221. A Silver-Gilt and CloisonnÉ Enamel Bowl
MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1899–1908,
88 STANDARD
Height 4 cm, diameter 8 cm.
Of tapering circular form, raised on a circular foot, the silver-gilt
body decorated with alternating panels depicting birds on emeraldgreen ground and stylised floral motifs on pastel mint-green,
applied with a volumetric silver fringe, inset with four dark amber
gemstones.
219
£6,000–8,000
* 218. A Silver-Gilt and CloisonnÉ Enamel Bell Push
* 222. A Silver and CloisonnÉ Enamel Sugar Bowl Basket
PROBABLY FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD
Height 4 cm, diameter 6.5 cm.
MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1899–1908,
84 STANDARD
Height 11 cm, diameter 12.5 cm.
Of circular form, the wooden base raised on four bun feet, the body
decorated in marine-blue with stylised naturalistic and geometric
shaded yellow and olive ornaments, with an orange bell button.
Of circular form, the main body enamelled in pastel mint-green,
with pink, blue and green floral motifs, with a pastel blue crackle
ornament to the top edge, the handle enamelled in matching
ornament, interior in silver.
£7,000–9,000
£12,000–18,000
* 219. A Silver-Gilt and CloisonnÉ Enamel Salt
MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1899–1908,
88 STANDARD
Height 2.8 cm, diameter 5.2 cm.
Of circular form, the main body enamelled in blue, with stylised
polychrome floral and geometrical motifs, with gilt interior.
£3,000–5,000
* 220. A FabergÉ Silver-Gilt
and CloisonnÉ Enamel Miniature Vase
* 223. A Set of Six Silver-Gilt and CloisonnÉ Enamel Salts
MARK OF K. FABERGÉ BENEATH THE IMPERIAL WARRANT, MAKER’S
MARK OF FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD,
WITH SCRATCHED INVENTORY NUMBER 27619
Height 4.5 cm, diameter 4 cm.
MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1899–1908,
88 STANDARD
Diameter of the salt 3.5 cm, length of the spoon 4.5 cm.
Of tapering form, the body enamelled in shaded green with
sky-blue and brown naturalistic ornaments, with gilt interior.
The salts decorated in polychrome enamels with stylised flowers
on pastel blue ground, each raised on three circular feet, the spoons
decorated with matching enamelled ornaments, with an arrow-like
finish to the handles, in the original fitted wood case.
£6,000–8,000
£8,000–12,000
223
( 240 )
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226
225
* 224. A Large Jewelled Silver-Gilt
and CloisonnÉ Enamel Kovsh
* 225. A Silver-Gilt and CloisonnÉ Enamel Kovsh
MAKER’S MARK ‘AE’ IN CYRILLIC, MOSCOW, 1908–1917, 88 STANDARD
Length 25.5 cm.
MAKER’S MARK OF "AE" IN LATIN, MOSCOW, 1908–1917, 84 STANDARD
Length 25 cm.
Of typical form, with bulbous sides, on a circular raised prow,
in polychrome shaded enamels.
Of typical form, the raised lobbed body decorated with stylised foliage
in shaded polychrome and translucent red enamels, with a commemorative inscription on the base.
£28,000–35,000
£6,000–8,000
* 226. A Silver-Gilt and CloisonnÉ Enamel Kovsh
MAKER’S MARK OF PAVEL OVCHINNIKOV BENEATH THE IMPERIAL
WARRANT, MOSCOW, 1884, 84 STANDARD
8 by 18 cm.
Of traditional form with raised prow and handle, the body raised on
a circular spreading foot, enamelled in violet-blue with polychrome
foliate scrolls, with a flat handle.
£8,000–12,000
( 242 )
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Russian Art Auction
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3 June 2015
( 243 )
* 227. An Impressive FabergÉ Gem-Set Silver-Gilt and CloisonnÉ Enamel Punch Set
MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, 1895–1908
Height of the bratina 19.7 cm, diameter of the tray 49.5 cm.
“Zzhenka” is the adopted Russian name for the popular European drink
‘punch’, which came to the Empire from Europe and quickly became
a favourite. Most notably, it was one of the souvenirs brought to Russia
from Paris by the brave and victorious hussars, who quickly turned it into
a fashionable and cheerful festive essential.
Provenance: Property of a lady, Christie’s, New York, 27 October 1992, lot 35.
Private Collection, USA.
Anonymous sale, Christie’s, New York, 24 April 2009, lot 192.
Comprising eight charkis and a bratina, each of tapering cylindrical form, enamelled with a band of polychrome shaded scrolling foliage inset with hardstone cabochons, against a gilt-stippled ground, the raised
circular foot with a matching ornament; a tray with shaped moulded rim, with alternating panels of multicoloured shaded scrolling foliage set with hardstone cabochons, the centre with a well for the bowl, the
ladle with prolonged handle and kovsh-shaped bowl, similarly decorated, in the original fitted wood case.
The hussars, traditionally seen as buoyant and wealthy, could afford not
only the expensive ingredients such as tea, but also the various exquisitely
and richly decorated accessories; punch bowls, glasses and even whole
sets, making them desirable gifts.
£160,000—180,000
( 244 )
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Russian Art Auction
MacDougall’s
London
3 June 2015
Whereas during wartime punch had been a warming and invigorating
necessity for the hussars, drinking it and playing cards in peacetime
became a way to escape the longing for the adventurous past.
According to the memoirs of contemporaries, famous poets, such as
Alexander Pushkin and Mikhail Lermontov, both the epitome of the 19th century pensive and daring Russian characters, were great fans of the fashionable new drink. By the1840s, it had almost become a traditional drink. By the
end of the century drinking punch, especially in military circles, acquired the
role of an almost symbolic ceremonial and formal ritual which gave rise to
the production of many finely decorated vessels and punch sets.
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PROPERTY FROM A PRIVATE COLLECTION, ENGLAND
230. A FabergÉ Silver Part Cutlery Set
MARK OF K. FABERGÉ IN CYRILLIC BENEATH THE IMPERIAL WARRANT,
MOSCOW, 1893, 88 STANDARD
Lengths of the spoons: 18 cm, 14.5 cm, 11 cm, of the forks 19 cm.
Comprising six forks, six spoons, six coffee spoons, five tea spoons
and one ladle, all similarly decorated with the Von Bartholomaei
coat of arms, a noble family from Livorie (“Noblesse du Saint
Empire Romain — 14 Mars 1789”), with European silver hallmarks.
£4,000–6,000
* 228. A Silver-Gilt Cut Crystal and CloisonnÉ Enamel Vodka Set
MARK OF VASILY GRACHEV, MARKER’S MARK "AP" IN CYRILLIC,
ST PETERSBURG, LATE 19TH CENTURY, 84 AND 88 STANDARDS
Diameter of the shot glass 3.7 cm, of the tray 23.5 cm, height of
the beaker 26 cm.
Comprising six shot glasses, a beaker with a lid and a tray, the tray enamelled with a band of scrolling foliage and a similar central decoration in
opaque blue, marine turquoise and translucent red against a silver-gilt
background, the shot glasses decorated with a matching motif and with
gilt interiors, the beaker with a complementary enamelled design to the
bottleneck and top of the diamond cut crystal lid, the main body with a foliage glass ornament, marked on the shot glasses, beaker and the tray.
* 229. Two of Silver and ChamplevÉ Enamel Cigarette Cases
MAKER’S MARK "KA" IN CYRILLIC, ST PETERSBURG, 1874–1898,
84 STANDARD
Length 10 cm, depth 6.5 cm.
MAKER’S MARK "PJS" IN LATIN, ST PETERSBURG, 84 STANDARD
Length 10.5 cm, depth 6.5 cm.
* 231. A Silver Trompe L’Oeil Cigar Box
Of rectangular forms, enamelled with cobalt, sky-blue, yellow and
translucent red ornaments, with vesta compartments and gilt interiors.
MAKER’S MARK "VU" IN CYRILLIC, MOSCOW, 1912–1917, 84 STANDARD
4.5 by 17 cm.
£2,000–3,000
Of rectangular form, the hinged cover and sides engraved with
tobacco slogans and ornament, gilt interior with a commemorative
inscription.
£2,000–3,000
£18,000–25,000
* 232. A Silver Trompe L’Oeil Cigar Box
MAKER’S MARK "MK" IN CYRILLIC, ST PETERSBURG, 1870–1891,
84 STANDARD
7.5 by 17 cm.
Of rectangular form, the hinged cover and sides engraved with
tobacco slogans and ornament, with gilt interior.
£2,000–3,000
( 246 )
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Russian Art Auction
MacDougall’s
London
3 June 2015
( 247 )
* 233. A Silver Kovsh
PROBABLY MOSCOW, 17TH CENTURY
Length 22.5 cm.
Circular lobed body, with stylised foliage, the shaped handle applied with a double-headed Imperial eagle, apparently unmarked.
£7,000–10,000
* 234. A Gilded Silver Box for the Imperial Seal
MAKER’S MARK OF "N. ZH." IN CYRILLIC, ST PETERSBURG,
19TH CENTURY, 84 STANDARD
Height 2.5 cm, diameter 10.5 cm.
* 237. A Silver-Gilt and Cut Crystal Glass Beaker
with a View of the Stock Exchange Building
IMPERIAL GLASS MANUFACTORY, FIRST HALF 19TH CENTURY
Height 8.5 cm, diameter 7.5 cm.
Of circular form, the lid applied with the Imperial eagle
surrounded by a ribbon-tied laurel wreath.
Diamond-cut glass base, depicting a silver view of the stock exchange building against a gilt background.
£2,000–3,000
£1,000–1,500
* 238. A Pair of Glass and Silver Cups
with Portraits of Alexander I
IMPERIAL GLASS MANUFACTORY, FIRST HALF 19TH CENTURY
Height 8.5 cm, diameter 7.5 cm.
Faceted sides, in cobalt-blue glass with gilt rims and silver ornaments, depicting the profiles of Alexander I.
£2,000–3,000
* 235. A Jewelled Silver Cigarette Case
EGOR CHERYATOV FOR LORIE, ST PETERSBURG, 1899–1907
Length 10.5 cm, depth 7.8 cm.
Of rectangular form, with applied floral ornament and jewels, gilt
interior with a commemorative inscription.
£1,000—1,500
* 236. A FabergÉ Silver Bowl
* 239. A Figural Silver and Cut Glass Dish
MARK OF FABERGÉ, MAKER’S MARK OF JULIUS RAPPAPORT,
ST PETERSBURG, LATE 19TH CENTURY, 84 STANDARD
Diameter 7.5 cm.
MAKER’S MARK OF PAVEL OVCHINNIKOV, MOSCOW, SECOND HALF
19TH CENTURY, 84 STANDARD
28 by 24.5 cm.
The body applied with a classical ribbon-tied laurel garland,
the inside set with a silver Ruble bearing a portrait of Catherine II
against a strawberry-red guilloché enamel ground.
Depicting a putti with small wings sitting on a tree stump among
laurel leaves and holding a floral dish stand.
£6,000–8,000
£6,000–8,000
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Russian Art Auction
MacDougall’s
London
3 June 2015
( 249 )
240
241
243
* 240. A FabergÉ Two-Colour Gold
and GuillochÉ Enamel Lorgnette
244
* 243. A Wood Silver-Mounted
and GuillochÉ Enamel Photograph Frame
MAKER’S MARK OF HENRIK WIGSTRÖM, ST PETERSBURG,
1908–1917, 56 STANDARD
Length 14 cm.
IVAN BRITZIN, ST PETERSBURG, EARLY 20TH CENTURY, APPARENTLY
UNMARKED
17.5 by 17 cm.
Of tapering form, terminating in a ring, the main body in gold, part
of the handle enamelled in pastel blue over wavy engine-turning,
within chased laurel rings, one functioning as the release mechanism.
Of square form, the rounded surface enamelled in translucent
sky-blue over wavy engine-turned ground within chased pellet
and mullet borders, wooden strut.
£4,000–6,000
£4,000–6,000
* 241. A Gold Mounted Silver-Gilt
and GuillochÉ Enamel Cigarette Case
* 244. A FabergÉ Wood Silver-Mounted Photograph Frame
MARK OF SUMIN, MAKER’S MARK OF ANDREI ADLER,
ST PETERSBURG, 1908–1917, 56 and 88 STANDARDS
9 by 5.5 cm.
MARK OF FABERGÉ, MAKER’S MARK OF KARL GUSTAV HJALMAR
ARMFELT, ST PETERSBURG, 1899–1903, THE 88 STANDARD MARK
OVERSTRUCK WITH 91 STANDARD
21.5 by 17 cm.
Of upright rectangular form, enamelled in pastel blue over wavy
engine turning, the two-colour gold borders chased with laurel
motifs, the thumb-piece inset with a pink sapphire.
Of upright rectangular form, the oval aperture chased with palmettetip border applied with laurel leaf bow-tied garland, with two
rosettes.
£10,000–15,000
£10,000–15,000
PROPERTY FROM A PRIVATE COLLECTION, ENGLAND
* 242. A FabergÉ Silver and GuillochÉ Enamel Stamp Box
MARK OF K. FABERGÉ IN CYRILLIC BENEATH THE IMPERIAL WARRANT,
MOSCOW, 1899–1908, 84 STANDARD, WITH SCRATCHED INVENTORY
NUMBER 19871
Height 1.8 cm, depth 2.8 cm, length 8.5 cm.
242
Of rectangular form, enamelled in turquoise over wavy engineturning, the hinged cover applied with Neo-Classical ornament,
the sides of the cover chased with fret motif, the gilt interior with
three compartments.
* 245. A FabergÉ Jewelled Gold-Mounted GuillochÉ
Enamel Pencil
MAKER’S MARK OF ANNA RINGE, ST PETERSBURG, 1908–1917,
88 STANDARD
Length: 15 cm.
The body in strawberry-red guilloché enamel over wavy engineturning with ribbed rotating gold head, inset with diamonds.
£4,000—£6,000
245
£8,000–12,000
( 250 )
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Russian Art Auction
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London
3 June 2015
( 251 )
OTHER PROPERTIES
* 246. A Bronze Portrait Sculpture of
A seated figure of Mrs. Mary Joaquina
de Brabant, NEÉ Clark
PAUL TROUBETSKOY (1866–1938), INSCRIBED WITH
A SIGNATURE IN LATIN, VALSUANI FOUNDRY MARK
Dark green patina, height 36.5 cm.
£18,000–25,000
* 247. A Bronze Equestrian Sculpture
of General Skobelev
* 248. Bronze Figural Table Lamps “Steeple Chase” and “Jockeys at Start”
AFTER A MODEL BY EVGENY LANCERAY (1882), C. 1895
Bronze with dark brown patina, mounted on black basalt bases, height of the first 30.5 cm,
of the second 34.5 cm.
AFTER A MODEL BY EVGENY LANCERAY (1882),
INSCRIBED WITH A SIGNATURE IN CYRILLIC,
SHTANGE FOUNDRY MARK, 1890s
Bronze with mid brown patina, height 31.5 cm.
Related literature: The New York Times, 14 November 1895, Tiffany’s Horse Show.
Representations in Russian Bronze Are Well Worth Inspection.
Depicting General Skobelev, a hero of the RussoTurkish War (1877–1878), a rare example of a
historical portrait work by the sculptor, Turkish
flag and other trophies lie beneath the feet of
the horse, symbolic of the defeated army.
Provenance: Private estate, Long Island, New York, USA.
Two sculptures mounted as decorative lamps belong to the series depicting one of the
sculptor’s favourite subjects, equestrian sports. An excellent rider himself, Lanceray was
fascinated by the idea of movement and masterfully expressed it. These sculptures can be
considered as the epitome of Russian bronze sculpture of the 19th century.
£15,000–20,000
£8,000–12,000
( 252 )
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Russian Art Auction
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3 June 2015
( 253 )
* 249. St. Nicholas The Wonderworker
in a Basma and Enamel Oklad
( 254 )
* 250. Christ Pantocrator in a Basma
and Enamel Oklad
251. The Mother of God of Kazan with Silver-Gilt
and Enamel Oklad and a Wooden Kiot
F. MISHUKOV, MOSCOW,
EARLY 20TH CENTURY
31 by 26.5 cm.
F. MISHUKOV, MOSCOW,
EARLY 20TH CENTURY
31 by 26.5 cm.
OKLAD STAMPED WITH MAKER’S MARK OF ‘I.G.’ IN CYRILLIC, ST PETERSBURG, LATE 19TH CENTURY, OIL ON PANEL
26.5 by 21.5 cm.
£12,000–18,000
£12,000–18,000
£3,000–3,500
www.MacDougallauction.com
Russian Art Auction
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London
3 June 2015
252. Christ Pantocrator with a Silver-Gilt Oklad
OKLAD STAMPED WITH MAKER’S MARK OF "M.FIT" IN CYRILLIC, ST PETERSBURG, 1859, 84 STANDARD, OIL ON PANEL
26.8 by 22 cm.
£800–1,200
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MacDougall's Terms & Conditions of Sale
June 2015
1. These Terms and Conditions govern the contractual relations of the vendors, the prospective buyers, and MacDougall Arts Ltd. All bids shall be treated as
offers made upon these Terms and Conditions of Sale.
2. In these Terms and Conditions of Sale, MacDougall Arts Ltd. — who act as auctioneer and usually as agents for the vendor — are called “MacDougall’s”
or “us”; and the representative of MacDougall Arts Ltd. conducting the auction is called “The Auctioneer”.
10. If instructed, MacDougall’s will execute bids for prospective buyers. This service is free. Lots will always be purchased as cheaply as is allowed by such
other bids and reserves as are on the Auctioneer’s books. In the event of identical bids, the earliest will take precedence. There must always be a maximum
limit indicated, i.e. the amount to which the buyer would bid if attending the auction in person. «Buy» or unlimited bids will not be accepted. Commission
bids placed by telephone are accepted at the client’s risk.
Identification and payment
Hammer price
3. The hammer price means the highest bid accepted by the Auctioneer. The highest bidder acceptable to the Auctioneer shall be the buyer. The purchase
price payable by the buyer shall be the aggregate of the hammer price plus buyer’s premium (together with any VAT chargeable on the hammer price and
buyer’s premium). The buyer’s premium is at a rate of 25% on the first £50,000, 20% on the amount between £50,000 and £1,000,000, and at a rate of 12%
on the amount above £1,000,000, of the hammer price. By the making of any bid the buyer acknowledges that on the sale of any lot MacDougall’s may
receive from the vendor a vendor’s commission in addition to the said buyer’s premium. All prices are quoted in UK Pounds Sterling.
11. The buyer shall forthwith supply his name and address and his bank and other suitable references. The buyer may also be required to pay forthwith the
whole or any part of the purchase price, and if he fails to do so the lot or lots may at the Auctioneer’s absolute discretion be put up for sale again and resold.
Bidders act as principal unless they have prior written consent from MacDougall’s to bid as agent for another party. Bidders are personally liable for their bid
and are jointly and severally liable with their principal if bidding as agent.
12. (a) All lots must be paid for within twenty-one days of the sale.
(b) No lot can be taken away until the full purchase price has been paid with cleared funds.
VAT
(c) Buyers are reminded that they may require an export licence for some items in order to remove the lot from the United Kingdom, that they alone are
responsible for obtaining any such licence, and that the sale is valid whether or not such licence is obtained.
4. Lots are normally sold under the UK Auctioneers Margin Scheme. Input tax deduction has not been and will not be claimed in respect of such lots. The charge
for the buyer’s premium will include VAT on the charges described above, which will not be shown separately and may not be reclaimed as input tax.
(d) In completing the bidder registration and providing your credit card details you authorise MacDougall’s, if they so wish, to charge the credit card given
in part or full payment, including all fees, for items successfully purchased in the sale; and confirm that you are authorised to provide these credit card
details.
5. Items marked with an asterisk (*) have been imported from outside the EU. 5% will be added to the hammer price and buyer’s premium to cover Import VAT.
EU VAT registered buyers should note that neither this 5% nor the VAT on the buyer’s premium can be refunded or claimed against VAT.
6. Buyers from outside the EU who intend to ship their purchases outside the EU within three months should tell MacDougall’s at time of payment. For them,
the VAT charge included in the premium (and the 5% charge on asterisked lots) will be treated as a deposit, refundable on presentation of documentary proof
of export outside the EU within three months.
13. If a buyer fails either to pay for, or take away, a lot after a successful bid, MacDougall’s shall be entitled at their absolute discretion to exercise one or more
of the following rights.
(a) To cancel the sale of that lot.
(b) To store the lot or cause it to be stored at their own premises or warehouses elsewhere at the sole expense and risk of the buyer, and to release the lot
only after payment in full of the purchase price, accrued storage and haulage charges and all other costs incurred by MacDougall’s in connection with
the lot.
Droit de suite (Artist's resale right)
7.1. Some works will be subject to Droit de Suite (Artist’s Resale Right), and will be indicated with a “§” mark in the catalogue or otherwise notified. This is
a royalty payable to a qualifying artist (citizens of EU and EEA countries) each time a work is re-sold during the artist’s lifetime and to their descendents
for 70 years after the artist’s death.
(c) To charge interest and storage charges. Interest is charged at 10% per annum, and storage charges at 50 pounds per lot per week. However these
charges will be waived if payment is received by the 21 day contractual deadline and the purchases are collected within four months.
7.2 Buyers will be charged an amount equal to this resale royalty where it applies. These resale royalties are not subject to VAT and do not apply when the
hammer price is less than 1,000 euros. Invoices are normally issued in Pounds Sterling, with the resale royalty calculated on the basis of the European Central
Bank reference rate on the date of the sale.
(d) With seven day’s notice to the buyer to resell the lot or cause it to be resold by public or private sale. Any deficiency in the purchase price attending
such resale (after giving credit for any payment and after deducting full costs incurred in connection with the lot) to be made good by the defaulting
buyer, any surplus (after retention by MacDougall’s of the premium) to be paid to the vendor.
7.3 Droit de Suite Scale
(e) Commence legal proceedings on behalf of the vendor to recover the purchase price and other expenses for that lot.
Charge
Portion of the hammer price (in euros)
4%
Up to 50,000
3%
50,001–200,000
1%
200,001–350,000
1/2%
350,001–500,000
1/4%
(f) Release the name and address of the buyer to the vendor to enable the vendor to commence the legal proceedings against the buyer.
(g) MacDougall’s shall in all circumstances be entitled to exercise a lien against any property belonging to the buyer or where the buyer has acted as an
agent any property belonging to the buyer’s principal which is in the possession of or in the control of MacDougall’s in respect of any debt howsoever
arising owed by the buyer (or the buyer’s principal) to MacDougall’s notwithstanding that the value of the property exceeds the amount owed to
MacDougall’s.
Over 500,000
(h) MacDougall’s may set off any sums owed by a buyer or its principal against any money owed by MacDougall’s to the buyer or its principal not
withstanding that MacDougall’s may have in their possession or under their control property belonging to the buyer or its principal.
To a maximum of 12,500 euros
Guaranteed Property
(i) MacDougall’s are entitled at their absolute discretion to apportion any monies received by or on behalf of the buyer against any sums owed by the
buyer or its principal by or on behalf of the buyer against any sums owed by the buyer or its principal to MacDougall’s.
8. A minimum price has been guaranteed to the seller for lots marked with the symbol “°”. This guarantee may be provided by MacDougall’s, by a third
party or jointly by MacDougall’s and a third party. Third parties providing all or part of a guarantee benefit financially if a guaranteed lot is sold successfully
and may incur a loss if the sale is not successful.
(j)
Where purchases are not collected within one month from the date of the sale, whether or not payment has been made, we shall be permitted to remove
the property to a third party warehouse at the buyer's expense, and only release the items after payment in full has been made of removal, storage,
handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.
14. Legal title shall not pass to the buyer until the lot has been paid for in full, but each lot will immediately on the fall of the hammer be and remain in every
respect at the risk of the buyer.
Bidding
9. Bidding is regulated at the sole discretion of the Auctioneer, who reserves the right to accept or reject any bid. In the case of lots upon which the vendor
has placed a reserve, the Auctioneer shall have the right to bid on behalf of the vendor, but no higher than the reserve. MacDougall Arts Ltd., its Directors,
its staff, or its consultants may own or have a beneficial interest in a lot being sold. All lots are offered subject to a Reserve Price agreed in writing with the
vendor; it shall be no higher than the low estimate of the hammer price. MacDougall’s have absolute discretion to refuse admission to the auction.
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3 June 2015
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Telephone and Commission Bidding Form:
June 2015
Buyers are reminded that a premium at a rate of 25% on the first 50,000, 20% on the amount between £50,000 and £1,000,000 and of 12% on the amount
above £1,000,000 is payable on the hammer price, plus applicable VAT. Some lots are also subject to import charges and/or Artist’s Resale Right charges, as
described in the Terms and Conditions. All telephone and commission bidding requests should be completed by twenty-four hours before the sale. MacDougall
Arts Ltd. does not accept any liability if for any reason you do not receive a phone call during the sale. In submitting this form you agree to comply with the Terms
and Conditions of the Sale.
Catalogue descriptions
Cleared funds must be received for all purchases within 21 days of the sale. Interest is charged at 10% per annum, and storage charges at £50 per week. However
these charges will be waived if payment is received by the 21 day contractual deadline.
15. MacDougall’s reserve the right to withdraw, consolidate, divide or alter any lot or combine any two or more lots.
16. All statements in the catalogues, advertisements or brochures of forthcoming sales are statements of opinion only. Illustrations in the catalogues, advertisements or brochures of forthcoming sales may not necessarily reveal imperfections in any lot. The exact physical description of any lot and the extent of any
defect, restoration or repair to any lot should be ascertained by intending buyers through inspection. Each buyer by making a bid for a lot acknowledges that he
has satisfied himself fully before bidding by inspection or otherwise as to all the sale conditions the physical condition of and description of the lot including
but not restricted to whether the lot is damaged or has been repaired or restored.
I Would Like
A) Leave A Commission Bid
B) Telephone Bid
English
Russian
Preferred Language:
17. MacDougall’s reserve the full and absolute right to illustrate and photograph any lot placed in its hands for sale, and to use these photographs and illustrations
at any time at its absolute discretion (whether or not in connection with the auction).
Lot Number
(please select one)
French
(please select one)
Maximum Commission Bid
(GBP Hammer Price)
Brief Description
Guarantee
18. Notwithstanding any other terms of these conditions, if within one year after the sale the buyer of any lot gives notice in writing to the Auctioneer that in his
view the lot is a counterfeit (i.e. an imitation created to deceive as to authorship, origin, date, or age); and within fourteen days after such notification the buyer
returns the lot to the Auctioneer in the same condition as at the time of sale and free of third party claims; and by producing evidence, with the burden of proof
to be upon the buyer, satisfies MacDougall Arts Ltd. that the lot is a counterfeit, not reflected by the description in the catalogue; then the sale of the lot will be
rescinded and the purchase price of the same refunded. No lot shall be considered a counterfeit by reason only of any damage and/or restoration and/or
modification work of any kind including repainting or over-painting. This limited right of refund lies with the original buyer only and is not transferable to third
parties.
Data protection
19. By agreeing to these Terms and Conditions, vendors, bidders, and buyers agree to the storage and processing of their personal information by the Auctioneer.
The data may be stored in countries which do not offer equivalent protection of personal information to that offered in the EU. The Auction may be subject to
video and audio recording by the Auctioneer. The Data Controller is MacDougall Arts Ltd.
English law and language
20(a). All sales and related matters included within these Conditions of Sale shall be governed by and construed in accordance with the laws of England (regardless of where the lot may have been received by the Auctioneer) and the buyer submits to the exclusive jurisdiction of the English courts.
20(b). Any dispute arising out of or in connection with this contract, including any question regarding its existence, validity or termination, shall be referred to
and finally resolved by arbitration under the LCIA Rules, which Rules are deemed to be incorporated by reference into this clause. The number of arbitrators
shall be one. The seat, or legal place, of arbitration shall be London. The language to be used in the arbitral proceedings shall be English. The governing law of
the contract shall be the substantive law of England and Wales.
Registration Details
First Name:
Surname:
Business Name:
21. Where a translation of this agreement has been provided, it is agreed that the English language version shall be the governing one.
Address:
Payment methods:
Email:
For payments by wire transfer, please direct payment in UK pounds sterling
(with all charges to be paid by sender, and include a reference to the lot number) to:
MacDougall Arts Client Trust Account No. 73662942,
Sort Code 40-07-13, Swift code MIDLGB22,
IBAN GB90MIDL40071373662942
HSBC Bank plc, 8 Victoria St., Westminster, London SW1H 0NJ.
Telephone:
Fax:
Telephone (other):
Citizenship:
Passport/ID No.:
ID Type:
Credit Card No.:
Expiry Date:
Security Code:
Other payment methods:
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Credit card payments are charged 2% extra. UK debit card payments are free of charge.
Personal cheque payments will have to clear before delivery of purchases.
Bankers drafts and cash within certain limits may be accepted by arrangement.
I have read the Terms and Conditions of Sale and agree to comply with them.
MacDougall Arts Ltd.
MacDougall Arts Ltd.
30A Charles II St., London SW1Y 4AE, England
30A Charles II St., London SW1Y 4AE, England
[email protected]
Tel +44-20-7389-8160 Fax +44-20-7389-8170
www.MacDougallauction.com
[email protected]
Tel +44-20-7389-8160 Fax +44-20-7389-8170
www.MacDougallauction.com
Signature: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Russian Art Auction
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London
3 June 2015
Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Index of Artists
Aivazovsky, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10, 31, 43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107,
Andronov, Nikolai
109
Anisfeld, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 84, 94
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24,
Annenkov, Georges
133
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Apsit, Alexander
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Artemoff, Georgiy
Bashindzhagyan, Gevorg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17,
Larionov, Mikhail
18
Lavrenko, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Lentulov, Aristarkh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Levitan, Isaak
Maliavin, Philippe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42, 128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Meschersky, Arseny
Bender, Sergei
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Myasoedov, Ivan
Benois, Albert
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Neizvestny, Ernst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122,
Benois, Alexander
124, 125
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Benois, Nadia
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157,
Nemukhin, Vladimir
Nesterova, Natalia
158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Berkos, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Nikonov, Pavel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Berman, Eugene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Nissky, Georgy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96,
100
Novikov, Timur
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143,
144
Bogdanov-Belsky, Nikolai
Bouchène, Dimitri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68,
69, 72, 73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Bogoliubov, Alexei
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118,
119
Braz, Osip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Brodsky, Isaak
Burliuk, David
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88,
90, 91
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Orlovsky, Vladimir
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Pakhomov, Alexei
.................................................................4
Petrovichev, Piotr
Piatnitsky, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162,
Plavinsky, Dmitry
167, 168
Byalynitsky-Birulya, Vitold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Polenov, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 56
Chagall, Marc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Popkov, Viktor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102, 103, 104, 105, 106, 108
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Chaliapin, Boris
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Chapiro, Jacob
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Rabin, Alexandre
Rabin, Oscar
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152,
153, 154, 155, 171
Chemiakin, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Rockline, Vera
Choultse, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Roerich, Nicholas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58,
Dubovskoy, Nikolai
Ender, Maria
60
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Eberling, Alfred
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Fechin, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Fonvisin, Artur
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Givanian, Mkrtich
Gluckmann, Grigory
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Gorbatov, Konstantin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Grand Duchess Olga Alexandrovna
85, 115
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Grigoriev, Nikolay
Gritsai, Alexei
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21,
Grigoriev, Boris
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111,
112
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65,
Serebriakova, Zinaida
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Sitnikov, Vasily
Kharitonov, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Klestova, Irene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Klever, Yuli
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Kolesnikov, Stepan
Kollmann, Karl
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40,
41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Konchalovsky, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,
Korovin, Konstantin
Koshlyakov, Valery
Kotarbinsky, Vasily
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145,
8
146, 148
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Krasnopevtsev, Dmitry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Krasovsky, Nikolay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Kropivnitsky, Evgeny
Kropivnitsky, Lev
Krymov, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Kuperwasser, Tatyana
Kuznetsov, Pavel
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
...................................................................7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Sokolov, Mikhail
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19,
Somov, Konstantin
116
Stepanov, Daniil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48,
Stozharov, Vladimir
49, 51
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Svetoslavsky, Sergei
Tarkhoff, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
57
Shukhaev, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Sychkov, Fedot
Karazin, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11,
Shishkin, Ivan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Kharitonov, Alexander
87
Savrasov, Aleksei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Kalmykov, Grigory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9,
Saryan, Martiros
Kakabadze, David
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Rukhin, Evgeny
Issupoff, Alessio
Kalmakov, Nikolai
( 260 )
.................................................................5
Lapchine, Georges
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Tchelitchew, Pavel
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139,
140
Terechkovitch, Constantine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 30
Terpsikhorov, Nikolai
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Tikhov, Vitaly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Tkachev, Sergei And Tkachev, Aleksei
Trankovsky, Alexey
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Treskin, Anatoli
Tseitlin, Grigory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Tselkov, Oleg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Tyshler, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Vasilkovsky, Sergei
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45,
46, 63, 64
Vassilieff, Marie
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Vladimirov, Ivan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Weisberg, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147, 149, 151
Westchilov, Konstantin
Yakovlev, Alexander
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134,
135
Zankovsky, Ilya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Zhilinsky, Dmitry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Zhukovsky, Stanislav
Zverev, Anatoly
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70,
71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
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