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MacDougall's Soviet and Post-Soviet Art
12 October 2015 London
12 October 2015
London
Soviet and Post-Soviet Art
12 October 2015
London
Soviet and Post-Soviet Art Auction
Monday, 12 October, 14:30
Viewing
Monday–Friday, 11 September–09 October, 11:00–18:00
Saturday–Sunday, 10–11 October, 11:00–18:00
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For G.
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© 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
Soviet and Post-Soviet Art Lots 1–145
* 1.
Sidorov, Valentin (B. 1928)
2.
Night Roses, signed, also further signed, titled in Cyrillic and dated
dedication, titled and dated 1965 on the reverse.
Oil on cardboard, laid on cardboard, 50 by 69.5 cm (cardboard size).
1984 on the reverse, also further signed and titled on the stretcher.
Oil on canvas, 100.5 by 80.5 cm.
Provenance: A gift from the artist to Dr Stanislav (Stasa) Zivkovic, an art
historian, in Belgrade, 3 September 1991 (inscription on the reverse).
Acquired from the above by the present owner in Belgrade, 29 February 2012.
Private collection, Serbia.
Provenance: Acquired directly from the artist by Cees Hogendoorn,
a prominent collector of Soviet art, in Moscow, early 1990s.
Acquired from the above by the present owner in Moscow,
December 1993.
Private collection, the Netherlands.
Authenticity certificate from Dr Stanislav Zivkovic.
The work is accompanied by a signed photograph of the artist with
the painting.
Exhibited: Possibly, Four Seasons. Paintings by Valentin M. Sidorov, SASA
Gallery, Belgrade, 1991.
£15,000–20,000
£15,000–20,000
( 10 )
Maksimov, Konstantin (1913–1994)
First Thaw, signed, also further signed, inscribed in Cyrillic with a signed
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12 October 2015
( 11 )
3.
Stozharov, Vladimir (1926–1973)
4.
Nissky, Georgy (1903–1987)
Malyi Theatre, Leningrad, signed, titled in Cyrillic and dated 1953
On a Sailing Boat. Evening, signed.
on the reverse.
Oil on canvas, 61.5 by 92 cm.
Oil on canvas, 60.5 by 81 cm.
Provenance: With the salon of the E. Vuchetich All-USSR Art and
Production Association (VKhPO), Moscow (label on the reverse).
Acquired at the above by a previous owner, 1980s.
Acquired from the above by a previous owner, 1990s.
Private collection, Europe.
Private collection, France.
Provenance: Acquired directly from the artist’s family by Cees Hogendoorn,
a prominent collector of Soviet art, in Moscow, early 1990s.
Acquired from the above by the present owner in Moscow, December 1993.
Private collection, the Netherlands.
Literature: Vladimir Fedorovich Stozharov, 1926–1973, Zhivopis, Risunok,
Moscow, Sovetskii khudozhnik, 1977, p. 64, listed.
£30,000–50,000
£15,000–20,000
( 12 )
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12 October 2015
( 13 )
Lots 5–9. Important Private Collection of Severe Style Art, UK
5.
Popkov, Viktor (1932–1974)
6.
Popkov, Viktor (1932–1974)
Ailing Artist, signed and dated 1972, also further signed, titled in Cyrillic
Church in Velegozha, signed, titled in Cyrillic and dated 1964 on the reverse.
and dated “Mai 72/Zakonchil Mart 73” on the reverse.
Oil on canvas, 81 by 101 cm.
Oil on cardboard, 70 by 100 cm.
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.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press,
2013, p. 224, illustrated.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press,
2013, p. 304, illustrated and listed with incorrect size.
£15,000–20,000
£25,000–30,000
( 14 )
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( 15 )
7.
Popkov, Viktor (1932–1974)
Field Station, signed and titled in Cyrillic on the reverse.
Pencil and gouache on paper, laid on canvas, 60.5 by 84 cm.
Executed in 1960.
Provenance: With the Art Fund of the USSR (label on the backing board).
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.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn
Press, 2013, p. 129, illustrated and listed with incorrect size.
£8,000–12,000
8.
Popkov, Viktor (1932–1974)
Churchyard in Oshevenskoe, signed, titled in Cyrillic and dated
1966 on the reverse.
Oil on cardboard, 69.5 by 99.5 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.
Literature: Viktor Popkov, A Russian Painter of Genius, London,
Unicorn Press, 2013, p. 216, illustrated.
£15,000–20,000
9.
Popkov, Viktor (1932–1974)
Sunny Day in Zhigalovo, signed, titled in Cyrillic and dated
1970 on the reverse.
Oil on cardboard, 69.5 by 99.5 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.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn
Press, 2013, p. 282, illustrated.
£15,000–20,000
( 16 )
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( 17 )
* 10.
* 11.
Plastov, Arkady (1893–1972)
Gritsai, Alexei (1914–1998)
Autumn Sun. Pine Trees, stamped with the artist’s initials, also further signed,
Pokrovsky Cathedral with a Bell Tower. Suzdal, signed.
stamped with the artist’s initials and titled in Cyrillic on the reverse.
Oil on canvas, 52 by 62 cm.
Oil on paper, laid on cardboard, 57.5 by 77 cm.
Executed c. 1984–1990.
Executed in the first half of the 1960s.
Provenance: Acquired directly from the artist by the present owner
in Moscow, 1990s.
Important private collection, USA.
Provenance: Collection of Nikolai Plastov, the artist’s grandson (stamp on the reverse).
Acquired directly from the above by the present owner in Moscow, c. 2000.
Important private collection, USA.
Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law.
Authenticity certificate from Nikolai Plastov.
£15,000–20,000
£12,000–18,000
( 18 )
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( 19 )
12.
* 13.
Gerasimov, Sergei (1885–1964)
Gritsai, Alexei (1914–1998)
The Last Snow, signed and dated 1954.
Mushrooms, signed.
Oil on canvasboard, 50 by 69.5 cm.
Oil on canvasboard, 50 by 69.5 cm.
Provenance: Private collection, France.
Executed in the mid-1960s.
Exhibited: Vsesoyuznaya khudozhestvennaya vystavka, Zhivopis, Skulptura, Grafika,
Plakat, Dekoratsionnaya zhivopis, The State Tretyakov Gallery, Moscow, 1954.
Provenance: Acquired directly from the artist by the present owner
in Moscow, 1990s.
Important private collection, USA.
Literature: Exhibiton catalogue, Vsesoyuznaya khudozhestvennaya vystavka,
Zhivopis, Skulptura, Grafika, Plakat, Dekoratsionnaya zhivopis, Moscow, The State
Tretyakov Gallery, 1954, p. 21, listed under works from 1954.
Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law.
£15,000–20,000
£10,000–15,000
( 20 )
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( 21 )
An Important Work
by Konstantin Maksimov
Lotuses
14.
Maksimov, Konstantin (1913–1994)
Lotuses, signed, titled in Cyrillic and dated 1956 on the reverse.
Oil on canvas, 100 by 150 cm.
Provenance: Private collection, Europe.
£100,000–150,000
Константин Максимов был одним из первых советских художников, поновому интерпретировавших строгие академические традиции сталинских времен, основываясь на стилистических принципах импрессионизма. Живописец представлен на торгах тремя работами (лоты 2, 14 и 70),
две из которых так или иначе связаны с чрезвычайно важным, переломным периодом его творческой биографии — работой в Китае в 1954–
1957 годах, во многом преобразившим как духовный мир, так и художественную манеру живописца.
В полотнах «Лотосы» и «Ночные розы» (лот 2), являющих собой уголки
природы с живыми цветами, ощущается влияние древней китайской философии даосизма, оказавшей воздействие на мировоззрение художника. В китайском классическом искусстве не было места натюрморту —
под кистью мастеров рождались только образы растений в природном
окружении, символизировавшие отражение великого мирового разума
даже в крошечной части мироздания. Максимов очень чутко воспринял
и воплотил в своем искусстве эту традицию, повлиявшую на все его
творчество и после китайского периода: работы «Лотосы» и «Ночные
розы», отдавшие ей дань, разделяет почти 30 лет.
Ощущение вселенной в малом особенно явно присутствует в полотне
«Лотосы», датированном 1956 годом. Работа была выполнена непосредственно во время командировки художника от Министерства культуры
СССР в Пекин, где он почти три года вел мастер-класс в Китайской академии искусств. Пребывание художника в Китае было настолько успешным, что он по праву до сих пор считается в этой стране основателем современной реалистической школы китайской живописи европейского
направления. Однако работа «Лотосы» свидетельствует о том, что обмен
творческим опытом имел двусторонний характер: художник много дал
культуре Китая и чрезвычайно много почерпнул из нее.
Картина «Лотосы» раскрывает талант Максимова как утонченного колориста, в то же время подчеркивая его мастерство в плане композиционного построения. Скромный уголок пруда с лотосами — одним из основных символов восточной философии — превращен кистью мастера
в гимн красоте мироздания. Изящные цветы выступают как главные
герои полотна и явно запечатлены художником поутру, когда они,
раскрываясь после ночного сна, символизируют собой возрождение жизненных сил, возвращение
молодости, бессмертие.
Konstantin Maksimov was amongst the first Soviet artists to reinterpret the
rigorous academic canons of the Stalinist era through the stylistic principles
of Impressionism. Three of his works are offered at auction (lots 2, 14 and
70). Two of them are associated with the years 1954–1957, which Maksimov spent in China and which were a defining period in the artist’s creative
and spiritual life.
The canvasses Lotuses and Night Roses (lot 2) — both of them scenes with
natural, living flowers — show the influence of the ancient Chinese philosophical system of Taoism on the artist’s world view. The genre of still life
had no place in Chinese classical art; but from the masters’ brushes were
born images of plants in their natural environment, where as only a tiny
part of the world fabric they still symbolised a reflection of the great
Universal Mind. This was a tradition to which Maksimov was highly sensitive and which continued to play a role in his art long after his sojourn in
China — as seen in Lotuses and Night Roses, which are separated by
a period of almost 30 years.
The sense of the universal present in the particular is especially evident in
Lotuses, which was painted in 1956, during the artist’s delegation by the
USSR Ministry of Culture to Beijing, where he led a master class at the
Chinese Academy of Arts for nearly three years. The artist’s stay in China
was so successful, that he is still viewed as the founder of the Chinese realist school of painting in the European tradition. However, Lotuses clearly
shows that the cultural exchange was mutual: if Maksimov gave much to
China, he also received much from it.
Lotuses reveals Maksimov’s talent as a refined colourist whilst at the same
time displaying his mastery of composition. A humble pond with lotus
flowers — one of the main symbols of Eastern philosophy — is transformed
by the master’s brush into a hymn to the beauty of creation. The main focus of the picture are the graceful flowers, shown by the artist at morning
time when they have reopened after the night, symbolising rebirth and renewal, the return of youth and immortality.
This outstanding painting, undoubtedly among the best of Maksimov’s works
from his Chinese period, is being offered on the art market for the first time.
Это выдающееся полотно,
несомненно относящееся
к числу важнейших работ
Максимова его китайского
периода, впервые предлагается на художественном
рынке.
K. Maksimov, Chinese Girl, 1956
( 24 )
K. Maksimov, Chinese
Lanterns, 1956
K. Maksimov, Portrait of the Artist Qi Baishi, 1958
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( 25 )
15.
Tkachev, Sergei and Tkachev, Aleksei (B. 1922 and B. 1925)
* 16.
Tkachev, Sergei (B. 1922)
* 17.
Tkachev, Sergei
and Tkachev, Aleksei (B. 1922 and B. 1925)
Young Family, signed, also further signed, titled in Cyrillic and dated 1961 on the reverse.
Windy Day, signed, also further signed,
Oil on canvas, laid on cardboard, 48.5 by 83 cm.
titled in Cyrillic and dated 1990 on the
reverse.
Oil on cardboard, 31 by 49.5 cm.
First Snow, signed and dated 1986, also further
Literature: Aleksej e Sergej Tkacev, Turin, Galleria Pirra, 1996, p. 65, No. T/35, illustrated; p. 166, listed.
Exhibition catalogue, La figura femminile, Deiva Marina, Torre Saracena, 2010, illustrated.
Provenance: Acquired directly from the
artist by the present owner in Moscow,
1990s.
Important private collection, USA.
Provenance: Acquired directly from the artists by
the present owner in Moscow, 1990s.
Important private collection, USA.
£15,000–20,000
Authenticity certificate from the artist.
Provenance: Galleria Pirra, Turin (label on the reverse).
Exhibited: La figura femminile, Torre Saracena, Deiva Marina, Italy,
17 July–20 September 2010.
signed, titled in Cyrillic and dated on the reverse.
Oil on cardboard, 66 by 91.5 cm.
Authenticity certificate from the artists.
£15,000–20,000
£6,000–9,000
* 18.
Tkachev, Sergei
and Tkachev, Aleksei (B. 1922 and B. 1925)
Rainbow, signed, also further signed, titled in Cyrillic
and dated 1989 on the reverse.
Oil on cardboard, 41 by 41 cm.
Provenance: Acquired directly from the artists by the
present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from the artists.
£5,000–7,000
( 26 )
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( 27 )
* 19.
* 20.
Gritsai, Alexei (1914–1998)
Road to Posega Village, stamped with the artist’s initials, also further signed,
Oil on cardboard, 44.5 by 68 cm.
stamped with the artist’s initials, titled in Cyrillic and dated “1948–52 gg.” on the
reverse.
Oil on canvas, 57 by 68 cm.
Executed c. 1983.
Provenance: Acquired directly from Alla Gritsai,
the artist's daughter-in-law, in Moscow, 2005.
Important private collection, USA.
Provenance: Collection of Nikolai Plastov, the artist’s grandson (stamp on the reverse).
Acquired directly from the above by the present owner in Moscow, c. 2000.
Important private collection, USA.
Authenticity certificate from Alla Gritsai.
Authenticity certificate from Nikolai Plastov.
£12,000–18,000
( 28 )
Plastov, Arkady (1893–1972)
Summer Stroll, signed.
£15,000–20,000
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( 29 )
21.
Nizovaya, Sofia (1918–1993)
Design for the Poster “Ty trud drugogo uvazhai, sam nasoril,
sam ubirai!”, signed and dated 1954.
Pencil, ink and gouache on paper, laid on card, 80.5 by 51.5 cm (card size).
Provenance: Acquired directly from the artist’s studio by Roy Miles, Soviet art
collector and art dealer, in Kharkov (label on the backing board).
Roy Miles Gallery, London (label on the backing board).
Acquired from the above by the present owner, c. 1990.
Private collection, UK.
* 22.
* 23.
Pakhomov, Alexei (1900–1973)
Traffic Controller, signed twice, once with a monogram,
Pimenov, Yuri (1903–1977)
Poster Design for the S. Gerasimov Film “Dochkimateri”, signed and dated 1974.
and dated 1946, also further signed and dated on the reverse.
Pencil and watercolour, heightened with white, on paper,
64 by 44 cm.
Pencil and gouache on paper, 127.5 by 104 cm.
Provenance: Important private collection, Europe.
Provenance: Important private collection, Europe.
Authenticity certificate from Tatiana Pimenova, the artist’s daughter.
Authenticity certificate from the expert L. Lapteva.
£4,000–6,000
£70,000–90,000
£3,000–5,000
( 30 )
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( 31 )
* 24.
* 25.
Kustodiev, Boris (1878–1927)
Sailor with His Sweetheart and Sketch for the Aforementioned Composition,
from the series “Russian Types”, double-sided work, one side signed and dated 1925.
Kustodiev, Boris (1878–1927)
Lovers, signed with initials.
Pencil and watercolour on paper, 13 by 21.5 cm.
Each side pencil and ink on paper, 26 by 20.5 cm (image size).
Provenance: Important private collection, Europe.
The present lot comprises the preparatory studies for the 1926 linocut Sailor with His
Sweetheart, currently in the collection of the State Russian Museum.
Authenticity of the work has been confirmed by the expert
E. Zhukova.
Authenticity certificate from the expert E. Zhukova.
Provenance: Collection of Vsevolod Voinov, an artist, art historian and Kustodiev’s close
friend (stamp on the work).
Important private collection, Europe.
£35,000–40,000
Authenticity certificate from the expert E. Zhukova.
£30,000–40,000
( 32 )
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( 33 )
An Important Work
by Aleksandr Deineka
Behind the Curtain
* 26.
Deineka, Aleksandr (1899–1969)
Behind the Curtain, signed and dated 1933.
Oil on canvas, 75 by 54.5 cm.
Provenance: A gift from the artist to his friend Fedor Bogorodsky (1895–1959),
a Soviet artist (inscription on the work).
Collection of the Bogorodsky family.
Important private collection, Europe.
Authenticity of the work has been confirmed by the expert T. Zelyukina.
£2,000,000–3,000,000
Александр Дейнека, признанный мастер отечественной школы живописи
советского периода, представлен уникальным живописным полотном
«За занавеской». Картина написана в 1933 году, в самый расцвет творчества знаменитого художника.
Широкой публике Александр Дейнека известен как неустанный пропагандист своей социалистической родины, прославивший ее прежде всего великолепными, запоминающимися образами на военнопатриотическую, трудовую и спортивную тематику. Такие шедевры мастера, как «Оборона Петрограда» (1927), «Мать» (1932), «Будущие летчики» (1937), «Оборона Севастополя» (1942) и «На юге» (1966), стали неотъемлемой классикой для нескольких поколений российских граждан.
Трудно привести в пример более яркого и запоминающегося живописца
советской эпохи. Его полными оптимизма образами пропитана вся наша
«прошлая» жизнь, в чем-то, быть может, выдуманная, часто радостно
возвышенная или трагичная, но, безусловно, уникальная и яркая.
Искусство Александра Дейнеки – это больше чем свидетельство ее существования, это драгоценный, подтверждающий ее сущность артефакт.
Представленная на настоящих торгах работа по своей тематике и настроению чрезвычайно редка не только для Дейнеки, но и для основной
массы художников его времени. Конечно же, работы с эротической составляющей в той или иной степени производились во все, даже самые
тяжелые для свободного искусства времена (возьмем, к примеру, графику Сергея Эйзенштейна или Ивана Ефимова). Однако преобладающее
большинство подобных произведений получило широкую огласку только
после распада тоталитарного строя.
A. Deineka, Mother, 1932, The State Tretyakov Gallery
( 36 )
Некоторые более «спокойные» ню Александра Самохвалова
и Владимира Лебедева в свое время так и не были экспонированы.
Что же касается Александра Дейнеки, то тут вообще случай особый.
Его работы занимали главенствующие места на ведущих вернисажах
страны, и если предположить, что «За занавеской» и могла каким-то образом быть включена в экспозицию выставки, то вызвала бы неминуемый скандал. Времена чуждой строю «декадентской» эротики
Константина Сомова и Бориса Кустодиева давно канули в лету, а тотализированная мораль не терпела отклонений.
Эта уникальная работа была подарена художником предположительно
в 1933–1935 годах своему собрату по кисти Федору Богородскому,
а затем долгие годы хранилась в семье живописца (надпись на холсте
«Дейнека Ф. Богородскому» служит лучшим тому подтверждением).
В те годы Александра Дейнеку и Федора Богородского связывала тесная
дружба и совместные творческие командировки. Известно, например,
что вместе они посетили Крым.
Живописно-художественные достоинства этого, в общем, камерного
произведения не вызывают никаких сомнений. Сочный, пульсирующий
мазок, изысканный серебристо-умбристый колорит, безошибочно определяющий раннее рассветное утро, экспрессия модели, безмолвно, но
точно повествующая о происходящем, – всем этим наполнена живая,
искренняя и, быть может, даже в чем-то лихая работа Дейнеки.
Курьезность немногочисленных, но метко схваченных деталей пронзительно напоминает нам о том, что кроме «Стихов о советском паспорте», станков, комбайнов и шахтерских забоев в нас всегда оставался
простой, человеческий гедонизм, существовавший и существующий
независимо от выдуманной фальшивой морали.
A. Deineka, In the South, 1966
A. Deineka, Future Pilots, 1937, The State Tretyakov Gallery
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Russian Art Auction
Aleksandr Deineka, the recognised master of official Soviet art, is represented by a unique canvas, Behind the Curtain. The painting dates from 1933,
when the artist was at the height of his creative career.
Deineka is best known as a tireless proselytiser of his socialist homeland,
which he glorified in awe-inspiring images of war, patriotism, labour, and
sport. Deineka’s masterpieces, such as The Defence of Petrograd (1927),
Mother (1932), Future Pilots (1937), The Defence of Sevastopol (1942) and
In the South (1966) have become essential classics for generations of
Russians. It would be hard to point to an artist who was more recognisable
or definitive of the Soviet era. His images, full of optimism, have become
fused with the Soviet past, as remembered by those who lived through it –
a past that may be partly fictitious, which varies from the sublime to the
tragic, but which is undoubtedly unique and vibrant. The art of Aleksandr
Deineka is much more than evidence that such a way of life once existed: it
is a precious artefact and one which affirms the essence of that life.
The theme and mood of the work, which is offered at auction, is extremely
rare, not only for Deineka, but for most artists of the time. Of course, works
with an erotic component continued to be produced, even in the darkest
days of artistic restriction (for example, the works of Sergei Eisenstein or
Ivan Yefimov). However, most of such works were only brought to the public
gaze after the collapse of the totalitarian system.
Other “subdued” nudes by Alexander Samokhvalov and Vladimir Lebedev
were never exhibited at the time. Deineka, however, is a special case. His
paintings used to headline the most prestigious Soviet art exhibitions, and
the inclusion of Behind the Curtain in an exhibition would have inevitably
caused scandal. The decadent eroticism of Konstantin Somov and Boris
Kustodiev was no longer tolerated, and totalitarian morality allowed no deviations.
Deineka donated this unique work, presumably in 1933–1935, to his fellow artist Fedor Bogorodsky, in whose family it remained for many years (as
confirmed by the inscription on the canvas, “Deineka to F. Bogorodsky”).
The two artists were firm friends at the time and travelled together on
painting expeditions. It is known, for example, that they visited the Crimea
together.
The painterly and artistic merits of this chamber work are in no doubt. The
rich, pulsating brush strokes, the exquisite silver-ombré colouration expressive of the early morning, the model’s expression – that speaks wordlessly
but unmistakably of the circumstances – all of these elements give
Deineka’s painting a lively, sincere, even frisky aura.
The quirky character of the details of the work – few in number yet skilfully
captured – reminds us that simple human hedonism lived on, underlying
Verses on My Soviet Passport, factory machinery, combine harvesters and
coal mines – with no regard for an artificial and false morality.
( 38 )
27.
Gladkiy, Mikhail (B. 1923)
Iordansky, Boris (1903–1983)
29.
Kotov, Petr (1889–1953)
Seated Nude, signed, also further signed, titled
Young Athlete, signed and dated 1954, also
Laundry Day, signed on the reverse.
in Cyrillic and dated 1951 on the reverse.
Pencil and watercolour on paper, 59.5 by 42 cm.
further signed, titled in Cyrillic and dated on the
reverse, also further signed and titled on the
stretcher.
Oil on canvas, 90.5 by 50 cm.
Oil on canvas, 84 by 119 cm.
Provenance: Private collection, USA.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
£5,000–7,000
£15,000–20,000
Provenance: Acquired directly from the artist by the
present owner in Lviv, c. 2006.
Private collection, the Netherlands.
£2,000–3,000
( 40 )
* 28.
www.MacDougallauction.com
Russian Art Auction
Executed c. 1935.
Provenance: Private collection, UK.
MacDougall’s
London
12 October 2015
( 41 )
Lots 30‒38. Important Private Collection of Nikolai Terpsikhorov Works, USA
П
оявление на рынке столь обширной подборки произведений
Николая Терпсихорова, объединившей его важные работы
1930–1950-х годов, предоставляет коллекционерам уникальную
возможность пополнить свои собрания выдающимися произведениями одного из классиков русского искусства середины XX века.
Николай Терпсихоров (1890–1960), один из основоположников социалистического реализма, безусловно, принадлежит к плеяде самых ярких
советских мастеров 1920–1950-х годов. Художник был убежденным
последователем живописной эстетики и идеологии объединения АХРР
(Ассоциация художников революционной России), действовавшего
в 1922–1932 годах и ставшего предтечей Союза художников СССР. Участник Гражданской войны Терпсихоров приобрел известность в 1920-х
годах благодаря своим тематическим картинам, пронизанным революционной героикой и романтикой и напоенным искренним оптимизмом
участника созидания новой социалистической действительности.
В предлагаемую на торги коллекцию вошли жанровые полотна, пейзажи
и портреты Терпсихорова 1930–1950-х годов — периода его высших
достижений как живописца. Представленные на торги среднеазиатские
работы знаменуют новую веху в развитии Терпсихорова как колориста,
произошедшую благодаря его поездкам в Узбекистан и Туркмению.
Терпсихоров посещал Среднюю Азию несколько раз: в 1929 году, когда
он побывал в Узбекистане, и в 1935 году в Туркмении. Творческий
подъем, пережитый Терпсихоровым в те годы, явственно ощущается
в работах туркменского цикла, вошедших в экспозицию. Помимо изначального стремления художника выполнить социальный заказ на демонстрацию нового советского образа жизни в азиатских республиках
T
he appearance on the market of such a representative collection of
works by Nikolai Terpsikhorov, including the most important paintings of his oeuvre, offers a unique opportunity for collectors to acquire outstanding pieces by of one of the foremost painters of the
first half‒mid-20th century Russian art.
Nikolai Terpsikhorov (1890–1960) was among the founders of Socialist Realism and one of the leading Soviet masters of the 1920s–1950s. He was a
staunch believer in the artistic aesthetics and ideology of the Association
of Artists of Revolutionary Russia (AKhRR), which existed from 1922 until
1932 and prepared the way for the Union of Artists of the USSR. After
serving in the Red Army during the Civil War, Terpsikhorov won renown in
the 1920s with his genre paintings, full of revolutionary ardour, romance
and the sincere optimism of someone who was actively engaged in construction of the new Socialist reality.
The collection offered for auction includes genre paintings, landscapes and
portraits by Terpsikhorov from the 1930s–1950s — the period of his
highest achievements as a painter. The works from Terpsikhorov’s Central
Asian oeuvre represent a new phase in his blossoming as a colourist, triggered by his experiences in Uzbekistan and Turkmenistan.
Terpsikhorov visited Central Asia twice: in 1929 he travelled to Uzbekistan,
and in 1935, to Turkmenistan. The creative surge which Terpsikhorov experienced there, is palpable in the works of his Turkmen cycle, where alongside his dutiful commitment to showing a new way of life in the Central
значительная часть картин представляет живые, яркие впечатления
Терпсихорова о людях и жизни в Туркмении.
Особое место в туркменском цикле Терпсихорова занимают трогательные портреты детей, как, например, полотно «Туркменская девочка с арбузом», пленяющее своей непосредственностью. «Звонкий» по цвету
образ юной мечтательницы грациозен и поэтичен. Девочка не позирует
художнику — она будто и не замечает его. Живописец уловил и передал
мгновение, когда, погруженная в себя, она предстает миру в своем
естественном очаровании.
В 1930–1950-е годы Терпсихоров периодически возвращается к тематической картине — жанру, принесшему ему успех в 1920-е годы. MacDougall’s
с гордостью представляет полотно «Письмо с фронта», датированное
1947 годом и являющееся, безусловно, одним из самых выдающихся
произведений живописца.
Значительный пласт в предлагаемой коллекции составляет среднерусский пейзаж — работы, написанные Терпсихоровым близ Оки и Камы,
в основном в 1940-е и 1950-е годы. Особенно полюбились художнику
городок Таруса и его окрестности на Оке, куда он впервые приехал
в 1936 году. В 1950-е годы Терпсихоров каждый год с ранней весны до
поздней осени жил и работал в деревне Ладыжино близ Тарусы. Все приглянувшиеся ему места в Тарусе и вокруг нее увековечены в его пейзажах, таких как «Рыбачья деревня», «На берегу Оки», «Дорога в поле»
и «Осеннее утро». Художник с необыкновенной живописной силой запечатлел берега Оки с широкими заречными далями, зеленый шум лесов,
деревенские уголки и необъятные просторы полей, полные тишины
и покоя.
Asian Soviet republics he exhibits a clear predilection for rendering his personal vivid, bright impressions of the local people and their livelihood.
A special place in Terpsikhorov’s Turkmen cycle is occupied by moving pictures of children, such as Turkmen Girl with Watermelon with its charming
immediacy. The sonorous colouring of the young dreamer has grandeur and
poetry. Far from posing for the artist, the girl seems unaware of his
presence. The painter has captured and conveyed a moment when, absorbed in herself, the girl stands revealed in all her natural grace.
Terpsikhorov returned periodically in the 1930s–1950s to the theme-picture genre that had brought him success in the 1920s. MacDougall’s is
proud to present Letter from the Front, painted in 1947, which is undoubtedly one of the painter’s finest works.
The countryside of Central Russia, captured by Terpsikhorov in paintings of
landscapes along the Oka and Kama rivers, mostly from the 1940s and
1950s, is an important theme in this collection. The artist was especially
fond of the town of Tarusa and its environs on the Oka river. Visiting for the
first time in 1936, he virtually settled there in the 1950s, staying from the
early spring to late autumn in the village of Ladyzhino, near Tarusa. His
favourite local places are immortalised in landscapes such as Fishing
Village, By the Oka River, Road in the Field and Autumn Morning. These
canvasses of the Oka with their broad vistas stretching beyond the river, the
green murmur of the forests, the secret corners of the countryside and the
vast, tranquil expanse of fields, all have an unmistakable artistic power.
* 30.
Terpsikhorov, Nikolai (1890–1960)
Country Yard in Winter, signed and dated 1939, also further signed, titled in Cyrillic
and dated on the reverse.
Oil on canvas, 57 by 91 cm.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the
present owner in Moscow, 1990s.
Important private collection, USA.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art,
Springville, USA, 13 September–16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008, p. 65, pl. XLII, illustrated; p. 99, listed.
£7,000–9,000
MacDougall’s
London
12 October 2015
( 43 )
* 31.
Terpsikhorov, Nikolai (1890–1960)
Letter from the Front, signed and dated 1947, also further signed, titled in Cyrillic and dated on the reverse.
Oil on canvas, 130 by 171 cm.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, USA,
13 September–16 October 2008.
Literature: Nikolai Borisovich Terpsikhorov, Moscow, Sovetskii khudozhnik, 1954, illustrated.
V. Swanson, Soviet Impressionism, Woodbridge, Antique Collectors’ Club, 2001, p. 95, pl. 53, illustrated.
V. Swanson, Soviet Impressionist Painting, Woodbridge, Antique Collectors’ Club, 2008, p. 94, pl. 58, illustrated.
Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art,
2008, p. 38, pl. XVII, illustrated; p. 99, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 97, illustrated.
£60,000–90,000
Гамма переживаний двух персонажей в основе сюжета картины «Письмо с фронта» варьируется от радостного оптимизма
девушки справа, читающей солдатское письмо, до тревоги
и надежды в лице ее слушательницы, зрелой женщины слева
— видимо, матери солдата. Струящиеся из окна потоки солнечного света обволакивают фигуры, внося дополнительную жизнеутверждающую ноту в композицию. Легкой кистью художник
передает детали интерьера, свидетельствующие о тяготах военной поры для мирных жителей в тылу: это и громоздящиеся на
подоконнике дрова, и керосиновая лампа на заднем плане,
и скудный хлебный паек на столе. Однако янтарные и красноватые тона, преобладающие в колорите, придают полотну
исключительно позитивный характер.
( 46 )
There is a successful contrast between the emotions of the two
characters in the painting Letter from the Front: the joyful optimism of the girl on the right, reading a soldier’s letter, and the
anxiety mixed with hope seen in the face of her listener, the mature woman on the left, most probably the soldier’s mother.
Sunlight pours in from the window, enveloping the figures, and
bringing an extra life-affirming note to the composition. The dexterous brush of the artist uses interior details to emphasise the
wartime hardships of civilian life: the firewood heaped on the
windowsill, the paraffin lamp in the background and the meagre
ration of bread on the table. But the strongly positive message
of the picture is underwritten by its dominant warm amber and
reddish hues.
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Russian Art Auction
* 32.
Terpsikhorov, Nikolai (1890–1960)
* 33.
* 34.
Terpsikhorov, Nikolai (1890–1960)
Terpsikhorov, Nikolai (1890–1960)
Turkmen Girl with Watermelon, signed, also further signed,
Female Portrait, signed, also further signed, titled in Cyrillic
Road in the Field, signed, titled in Cyrillic and dated 1951 on the reverse.
titled in Cyrillic and dated 1935 on the reverse.
Oil on canvas, 96.5 by 64.5 cm.
and dated “30e gody” on the reverse.
Oil on canvas, 89.5 by 52.5 cm.
Oil on canvas, 99 by 130.5 cm.
Provenance: Acquired directly from Natalia Terpsikhorova,
the artist’s daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville Museum of Art, Springville, USA, 13 September–
16 October 2008.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville Museum of Art, Springville, USA, 13 September–
16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville, Springville Museum of Art, 2008,
illustrated on the front cover; p. 56, pl. XXXII, illustrated; p. 98, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 68, illustrated.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville, Springville Museum of Art, 2008, p. 48,
pl. XXIV, illustrated; p. 98, listed.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter,
by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum
of Art, Springville, USA, 13 September–16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008, p. 86, pl. LXVI, illustrated; p. 101, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 104, illustrated.
£9,000–12,000
£7,000–9,000
£15,000–20,000
( 48 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
12 October 2015
( 49 )
* 35.
Terpsikhorov, Nikolai (1890–1960)
Grandmother Spinning Yarn, signed,
also further signed, titled in Cyrillic and
dated 1934 on the reverse.
Oil on canvas, 65.5 by 95.5 cm.
Provenance: Acquired directly from Natalia
Terpsikhorova, the artist’s daughter, by the
present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville Museum of Art,
Springville, USA, 13 September–16 October
2008.
Literature: Exhibition catalogue, Nikolai
Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008,
p. 14, pl. V, illustrated; p. 98, listed.
£5,000–7,000
* 36.
Terpsikhorov, Nikolai (1890–1960)
Autumn Morning, signed, also further signed and titled in Cyrillic on the reverse, also further signed,
titled and numbered “N 91” on the stretcher.
Oil on canvas, 89 by 130 cm.
Executed in the 1940s.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
* 37.
Terpsikhorov, Nikolai (1890–1960)
* 38.
Terpsikhorov, Nikolai (1890–1960)
Authenticity certificate from Natalia Terpsikhorova.
By the Oka River, signed, also further signed, titled in Cyrillic and
Fishing Village, signed, titled in Cyrillic and dated 1951 on the reverse.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, USA,
13 September–16 October 2008.
dated 1954 on the reverse.
Oil on canvas, 87.5 by 138.5 cm.
Oil on canvas, 36 by 86 cm.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum
of Art, 2008, p. 78, pl. LVI, illustrated; p. 100, listed.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
£10,000–15,000
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville
Museum of Art, Springville, USA, 13 September–16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville, Springville Museum of Art, 2008, p. 95,
pl. LXXVII, illustrated; p. 101, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 124, illustrated.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville
Museum of Art, Springville, USA, 13 September–16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville, Springville Museum of Art, 2008, p. 82,
pl. LXII, illustrated; p. 100, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 114, illustrated.
£7,000–9,000
£8,000–12,000
( 50 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
12 October 2015
( 51 )
* 39.
* 41.
Kugach, Yuriy (1917–2013)
Kugach, Yuriy (1917–2013)
Spring Twilight, signed, also further signed, titled
Evening Approaching. Barns, signed, also further
in Cyrillic and dated 1962 on the reverse.
Oil on cardboard, 69 by 49 cm.
signed, titled in Cyrillic and dated 1957 on the reverse.
Oil on cardboard, 14 by 27.5 cm.
Provenance: Acquired directly from Mikhail Kugach,
the artist's son, by the present owner, early 1990s.
Important private collection, USA.
Provenance: Acquired directly from Mikhail Kugach,
the artist's son, by the present owner, late 1990s.
Important private collection, USA.
Authenticity certificate from the artist.
Authenticity certificate from the artist.
£12,000–18,000
£1,500–2,500
* 42.
Kugach, Yuriy (1917–2013)
Setting Sun, signed, also further signed, titled in Cyrillic
and dated 1977 on the reverse.
Oil on paper, laid on cardboard, 16 by 22.5 cm (cardboard size).
41
Provenance: Acquired directly from Mikhail Kugach,
the artist's son, by the present owner, late 1990s.
Important private collection, USA.
Authenticity certificate from the artist.
£1,500–2,500
* 43.
Kugach, Yuriy (1917–2013)
Summer Evening, signed, also further signed, titled
in Cyrillic and dated 1957 on the reverse.
Oil on paper, laid on cardboard, 15.5 by 22 cm (cardboard size).
* 40.
Provenance: Acquired directly from Mikhail Kugach,
the artist’s son, by the present owner, late 1990s.
Important private collection, USA.
Kugach, Yuriy (1917–2013)
Evening. Fog, signed, also further signed, titled in Cyrillic
and dated 1968 on the reverse.
Oil on card, laid on cardboard, 36.5 by 68.5 cm (cardboard size).
Provenance: Acquired directly from Mikhail Kugach, the
artist’s son, by the present owner in Moscow, early 1990s.
Important private collection, USA.
Authenticity certificate from the artist.
Authenticity certificate from the artist.
£1,500–2,500
* 44.
Kugach, Yuriy (1917–2013)
Evening Sun, signed, also further signed, titled in Cyrillic
and dated 1958 on the reverse.
Oil on card, laid on cardboard, 19 by 16.5 cm (cardboard size).
£10,000–15,000
Provenance: Acquired directly from Mikhail Kugach,
the artist's son, by the present owner, late 1990s.
Important private collection, USA.
42
Authenticity certificate from the artist.
£1,500–2,500
44
( 52 )
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Russian Art Auction
MacDougall’s
43
London
12 October 2015
( 53 )
* 45.
( 54 )
* 46.
Nechitailo, Vasily (1915–1980)
Nechitailo, Vasily (1915–1980)
Sunflowers, signed, also further signed, titled in Cyrillic and dated 1979 on the reverse.
Poplar Alley, signed, further titled in Cyrillic and dated 1975 on the reverse.
Oil on cardboard, 104.5 by 82 cm.
Oil on card, laid on cardboard, 101 by 79.5 cm (cardboard size).
Provenance: Acquired directly from Maria Savchenkova, the artist’s widow, by the present
owner in Moscow, 1998.
Important private collection, USA.
Provenance: Acquired directly from Maria Savchenkova, the artist’s widow by the
present owner in Moscow, 1998.
Important private collection, USA.
Authenticity of the work has been confirmed by V. Swanson, art historian and author
of the book Soviet Impressionist Painting, Woodbridge, Antique Collectors’ Club, 2008.
Authenticity of the work has been confirmed by V. Swanson, art historian and author
of the book Soviet Impressionist Painting, Woodbridge, Antique Collectors’ Club, 2008.
£15,000–20,000
£15,000–20,000
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Russian Art Auction
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12 October 2015
( 55 )
* 47.
Labas, Alexander (1900–1983)
Girl on the Balcony, signed and dated 1963, also further
signed, titled in Cyrillic and dated on the reverse.
Oil on canvas, 100 by 140 cm.
Provenance: Important private collection, Europe.
Exhibited: Aleksandr Arkadievich Labas, Vystavka proizvedenii,
Zhivopis, Grafika, 75 let so dnya rozhdeniya, the USSR Union
of Artists, Moscow, May 1976.
Literature: Exhibition catalogue, Aleksandr Arkadievich Labas,
Vystavka proizvedenii, Zhivopis, Grafika, 75 let so dnya rozhdeniya,
Moscow, Sovetskii khudozhnik, 1976, illustrated and listed under
works from 1963.
The present lot is a portrait of the model Vera, sitting on the
balcony of the artist’s studio in Verkhnyaya Maslovka street
by the Dynamo Stadium in Moscow.
£80,000–120,000
A. Labas, Vera, 1961
( 56 )
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12 October 2015
The present lot as listed in the 1976 exhibition catalogue
( 57 )
* 48.
Savitskiy, Georgiy (1887–1949)
* 49.
* 50.
Samokhvalov, Alexander (1894–1971)
Gerasimov, Sergei (1885–1964)
Girl on a Bench, signed and dated 1939.
View of a Port, signed with initials, also further signed and
Early Spring by the Lake, signed.
Oil on canvas, 50 by 67 cm.
dated 193(?) on the reverse, also further with a signed and
dated 1937 dedication in Cyrillic on the backing board.
Oil on canvas, laid on cardboard, 10 by 13.5 cm.
Oil on canvas, 59 by 80 cm.
Provenance: Important private collection, Europe.
£12,000–18,000
Provenance: Important private collection, Europe.
£15,000–20,000
Provenance: Private collection, Germany.
£5,000–7,000
* 51.
Nalbandian, Dmitri (1906–1993)
Still Life with Jasmine, signed twice
and dated 1973, further titled in Cyrillic
and numbered “509” on the reverse.
Oil on canvasboard, 60 by 69.5 cm.
Provenance: Acquired directly from the
artist’s studio by Gekkoso Gallery, Tokyo,
early 1970s (labels on the backing board
and on the reverse of the frame).
Acquired from the above by the previous
owner in Tokyo, before 1989.
Private collection, Japan.
Exhibited: Contemporary Soviet
Paintings. Anthem to the Rich Nature,
Gekkoso Gallery, Tokyo, 21 January–
2 February 1974.
Literature: Exhibition catalogue,
Contemporary Soviet Paintings. Anthem to
the Rich Nature, Tokyo, Gekkoso Gallery,
1974, p. 38, No. 40, illustrated.
£10,000–15,000
( 58 )
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12 October 2015
( 59 )
* 53.
Gritsai, Alexei (1914–1998)
At the Academic Dacha. July, signed.
Oil on paper, laid on cardboard,
30.5 by 45.5 cm.
Executed c. 1997.
Provenance: Acquired directly from the
artist by the present owner in Moscow,
1990s.
Important private collection, USA.
Authenticity certificate from Alla Gritsai,
the artist’s daughter-in-law.
£7,000–9,000
* 52.
* 54.
Gritsai, Alexei (1914–1998)
Kugach, Yuriy (1917–2013)
Evening in the Village, signed.
An Old Barn with a Bird Cherry Tree,
Oil on cardboard, 48 by 70 cm.
signed, titled in Cyrillic and dated 1965 on
the reverse.
Oil on cardboard, 52.5 by 55 cm.
Executed in the 1950s.
Provenance: Acquired directly from Alla Gritsai, the artist's
daughter-in-law, in Moscow, 2005.
Important private collection, USA.
Authenticity certificate from Alla Gritsai.
Provenance: Acquired directly from Mikhail
Kugach, the artist’s son, by the present owner
in Moscow, early 1990s.
Important private collection, USA.
£12,000–18,000
Authenticity certificate from the artist.
£9,000–12,000
( 60 )
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12 October 2015
( 61 )
* 55.
Tkachev, Alexei (B. 1925)
56.
Serov, Vladimir (1910–1968)
* 57.
Kolesnik, Boris (1927–1992)
Cabbages, signed, also further signed twice, variously inscribed in Cyrillic,
Bouquet of Lilacs, signed.
Still Life with Bellflowers, signed and dated 1969, also further
titled, dated 1963 and with a signed and dated 2003 dedication on the reverse.
Oil on cardboard, 48 by 69.5 cm.
Oil on canvas, 100.5 by 64.5 cm.
signed, inscribed in Cyrillic “Kharkov”, titled and dated on the reverse.
Oil on canvas, 112 by 70 cm.
Provenance: Private collection, France.
The present lot is a study for Alexei Tkachev’s painting Shredding the Cabbages,
currently in the collection of the Tver Regional Picture Gallery.
£10,000–15,000
Provenance: Acquired directly from the artist by the present owner in Moscow,
1990s.
Important private collection, USA.
Authenticity certificate from the artist.
Provenance: With the Ukrainian department of the Art Fund of the
USSR, Kharkov (label on the reverse).
Acquired directly from the artist’s studio by Gekkoso Gallery, Tokyo,
early 1970s.
Acquired from the above by the previous owner in Tokyo, before 1989.
Private collection, Japan.
Exhibited: Contemporary Soviet Paintings. Rich Nature Stream,
Gekkoso Gallery, Yokohama, 19–24 November 1974.
£16,000–22,000
Literature: Exhibition catalogue, Contemporary Soviet Paintings. Rich
Nature Stream, Tokyo, Gekkoso Gallery, 1974, p. 43, No. 107, illustrated.
£4,000–6,000
( 62 )
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12 October 2015
( 63 )
60.
Chulovich, Viktor (1922–1994)
Maslovka, Spring Approaching, signed
and dated 1989, also further signed, titled
in Cyrillic and dated on the reverse.
Oil on canvas, 85 by 75 cm.
Provenance: Acquired directly from the artist
by Cees Hogendoorn, a prominent collector
of Soviet art, in Moscow, early 1990s.
Acquired from the above by the present owner
in Moscow, December 1993.
Private collection, the Netherlands.
£3,000–5,000
* 61.
Timkov, Nikolai (1912–1993)
Winter Village, signed and dated 1991, also
further inscribed in Cyrillic with a signed and
dated 1993 dedication on the reverse.
Oil on cardboard, 50 by 69.5 cm.
Provenance: Important private collection, USA.
£7,000–10,000
* 58.
Popov, Igor (1927–1999)
Rooks. View from Shemyakina Hill
in Galich, signed and dated 1965, also
further signed, inscribed in Cyrillic
“Galich”, titled and dated on the reverse.
Oil on cardboard, 55.5 by 74 cm.
Provenance: Acquired directly from the
artist’s daughter by the present owner in
Moscow, c. 1999.
Important private collection, USA.
Authenticity of the work has been confirmed by V. Swanson, art historian and
author of the book Soviet Impressionist
Painting, Woodbridge, Antique Collectors’ Club, 2008.
Exhibited: Soviet Art in Conflict. The
Artist as an Agent of Social Change,
Springville Museum of Art, Springville,
USA, 12 September 2007–1 February 2008.
£15,000–20,000
* 59.
Romas, Yakov (1902–1969)
At the River Lock, signed and dated
1965.
Oil on canvas, 80 by 100.5 cm.
Provenance: Acquired by the present
owner from the sanatorium
“Polushkino”, Moscow region, 2005.
Important private collection, USA.
£5,000–7,000
( 64 )
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Russian Art Auction
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12 October 2015
( 65 )
62.
( 66 )
Komendant, Yuri (B. 1926)
63.
Kopaev, Vladimir (B. 1925)
64.
Kopaev, Vladimir (B. 1925)
Nikita Khrushchev Visiting the Donetsk Miners, signed and
A Lyrical Song, signed, also further signed, titled
A Song, signed and dated 1969, also further signed, titled in Cyrillic and dated
dated 1961, also further signed, titled in Cyrillic and dated on the reverse.
Oil on canvas, 140.5 by 225.5 cm.
in Cyrillic and dated 1960 on the backing paper.
Pencil and gouache on paper, 58 by 76.5 cm.
on the reverse, also further signed, titled and dated 1971 on the backing paper.
Pencil and gouache on paper, 80 by 102 cm.
Provenance: Acquired directly from the artist by the present owner
in Donetsk, c. 2005.
Private collection, the Netherlands.
Provenance: Acquired directly from the family of the
artist by the present owner in Novosibirsk, c. 2007.
Private collection, the Netherlands.
Provenance: Acquired directly from the family of the artist by the present
owner in Novosibirsk, c. 2007.
Private collection, the Netherlands.
£25,000–30,000
£3,000–5,000
£4,000–6,000
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( 67 )
65.
* 67.
Magalyas, Vasyl (B. 1948)
Semenyuk, Yuri (1922–2006)
68. Shcherbakov, Boris (1916–1995)
At the Railway Crossing, signed and dated 1984, also
Evening by the River, titled in Cyrillic on the reverse.
The Volga River, signed and dated 1967.
further signed, inscribed in Cyrillic “Kiev”, titled and dated
on the reverse.
Oil on canvas, 162.5 by 246.5 cm.
Oil on cardboard, 49.5 by 69.5 cm.
Oil on canvas, 40.5 by 60.5 cm.
Provenance: Acquired directly from the artist by the Gallery “Zamoskvorechye”
(presently “Na Shabolovke”), Moscow.
Acquired from the above by the present owner in Moscow, 2001.
Important private collection, USA.
Provenance: With the All-USSR Art Lottery (label
on the reverse).
Private collection, France.
Provenance: Acquired by the present owner from an art
gallery in Kiev, c. 2007.
Private collection, the Netherlands.
£6,000–9,000
£4,000–6,000
Exhibited: Soviet Art in Conflict. The Artist as an Agent of Social Change, Springville
Museum of Art, Springville, USA, 12 September 2007–1 February 2008.
£5,000–7,000
66.
Pavliuk, Arkady (B. 1925)
Athletes of “Dynamo”, signed with initials and dated 1953,
also further signed and titled in Cyrillic on the reverse.
Oil on canvas, 122 by 100.5 cm.
Provenance: Acquired directly from the artist by the present
owner in Vinnitsa, c. 2006.
Private collection, the Netherlands.
£4,000–6,000
( 68 )
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12 October 2015
( 69 )
69.
Belyaev, Nikolay (1916–2000)
They Are Happy, signed and dated 1949, also further signed and titled in Cyrillic on the reverse.
Oil on canvas, 149 by 194 cm.
* 70.
Maksimov,
Konstantin (1913–1994)
71.
Vitman, Irina (1916–2012)
After the Shift, signed with initials.
Study for the Painting “Meeting
of the Presidium of the USSR
Academy of Sciences”.
Oil on canvas, 139 by 240 cm.
Executed c. 1949.
Provenance: Private collection, UK.
Oil on canvas, 21 by 35.5 cm.
Exhibited: Respublikanskaya vystavka proizvedenii khudozhnikov krayov, oblastei i avtonomnykh
respublik RSFSR, Exhibition Galleries of the Moscow Association of Artists and the Organising
Committee of the USSR Union of Artists, Moscow, 1949.
Severity of Style, MacDougall’s, London, 1–14 May 2015.
Provenance: Acquired directly from the
artist by the present owner in the early
1990s.
Important private collection, USA.
Provenance: Acquired directly from the artist’s
estate by the previous owner.
Private collection, UK.
Literature: Exhibition catalogue, Respublikanskaya vystavka proizvedenii khudozhnikov krayov,
oblastei i avtonomnykh respublik RSFSR. Zhivopis. Skulptura. Grafika. Laki, Moscow, Komitet po
delam iskusstv pri Sovete Ministrov RSFSR, 1949, p. 8, No. 49, listed.
Authenticity of the work has been
confirmed by V. Swanson, art historian
and author of the book Soviet
Impressionist Painting, Woodbridge,
Antique Collectors’ Club, 2008.
£20,000–30,000
Executed in 1961.
Exhibited: Vsesoyuznaya khudozhestvennaya
vystavka, Moscow, 1961 (label on the stretcher).
Literature: Exhibition catalogue, Vsesoyuznaya
khudozhestvennaya vystavka, Moscow, Sovetskii
khudozhnik, 1961, p. 6, listed.
£10,000–15,000
Executed c. 1950–1951.
The present lot is a study for the 1951
painting Meeting of the Presidium of the
USSR Academy of Sciences, currently in
the collection of the State Russian
Museum, executed by a team of artists
with Maksimov as its member. The artist,
along with the other associates, was
awarded in 1952 the Stalin Prize of the
third degree for this painting.
£2,000–3,000
72.
Tsvetkov, Viktor (B. 1920)
Lenin and Children at a New Year Party,
signed and titled in Cyrillic on the reverse.
Oil on canvas, 80 by 60.5 cm.
Provenance: Private collection, France.
£6,000–9,000
( 70 )
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( 71 )
* 75.
Fedorovsky, Fedor (1883–1955)
* 76.
Costume Design, variously inscribed in Cyrillic.
Pencil and gouache, heightened with gold, on paper, 69 by 52 cm.
Provenance: Important private collection, Europe.
in Cyrillic, titled and dated 1932 on the reverse.
Pencil and gouache, heightened with gold, on paper, 65 by 51.5 cm.
Authenticity of the work has been confirmed by the artist’s
grandson (inscribed twice on the reverse).
Provenance: Important private collection, Europe.
£4,000–6,000
£4,000–6,000
* 77.
Fedorovsky, Fedor (1883–1955)
Tsar Dodon, Costume Design for the N. RimskyKorsakov Opera “The Golden Cockerel”, signed, inscribed
Fedorovsky, Fedor (1883–1955)
Costume Designs for the I. Dzerzhinsky Opera “Quiet
Flows the Don”, variously inscribed in Cyrillic and numbered “N 2”.
Pencil, watercolour and gouache on paper, 61.5 by 93 cm.
* 73.
Pimenov, Yuri (1903–1977)
Tea Time.
74.
Lebedev, Vladimir (1891–1967)
Sketch of a Nude Model, signed with initials.
Pencil and charcoal, heightened with white, on paper, 56 by 24.5 cm.
Pencil and crayon on paper, 36 by 31.5 cm.
Executed in the 1950s.
Provenance: Private collection, Europe.
Provenance: Acquired directly from the artist’s family by a previous
owner.
Important private collection, Europe.
£2,500–3,000
The present lot is from the series of set and costume designs, created
by Fedorovsky, the chief artist of the Bolshoi Theatre, Moscow (1929–
1953), for the Ivan Dzerzhinsky opera Quiet Flows the Don, staged in
1936 at the Bolshoi. The artist was awarded a Grand Prix at the 1937
International Exhibition in Paris for this series, as well as for his set
and costume designs for the A. Borodin opera Prince Igor.
Provenance: Important private collection, Europe.
Authenticity of the work has been confirmed by the artist’s grandson
(inscription on the reverse).
£6,000–9,000
£20,000–30,000
( 72 )
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( 73 )
* 78.
Plastov, Arkady (1893–1972)
Botanical Lessons. Portrait of the Artist’s Son,
stamped with the artist’s initials, also further signed,
stamped with the artist’s initials, titled in Cyrillic and dated
“1943–44 gg” on the reverse.
Oil on canvas, 65 by 51 cm.
Provenance: Collection of Nikolai Plastov, the artist’s
grandson (stamp on the reverse).
Acquired directly from the above by the present owner
in Moscow, c. 2000.
Important private collection, USA.
Authenticity certificate from Nikolai Plastov.
Authenticity of the work has been confirmed by V. Swanson,
art historian and author of the book Soviet Impressionist
Painting, Woodbridge, Antique Collectors’ Club, 2008.
£15,000–20,000
80. Kolesnikov, Stepan (1879–1955)
Collective Farmer, signed.
Oil on board, 62.5 by 75 cm.
Executed in the 1950s.
Provenance: Collection of Konstantin Lomykin,
a Soviet artist (inscription on the reverse).
Acquired from the above by Cees Hogendoorn,
a prominent collector of Soviet art, in Moscow,
early 1990s.
Acquired from the above by the present owner
in Moscow, December 1993.
Private collection, the Netherlands.
£6,000–9,000
* 79.
Lekomtsev, Konstantin (1898–1973)
81.
Niyeminen, Folke (1931–2010)
Pioneer, signed, titled in Cyrillic and dated 1948 on the
Still Life with a Coffee Mill, signed with
reverse.
Oil on canvas, 68.5 by 50 cm.
initials, also further signed twice, inscribed in
Cyrillic “Zasl. khudozhnik RSFSR” and titled on
the reverse.
Oil on canvas, 99 by 80.5 cm.
Provenance: Acquired directly from the artist by the Gallery
“Zamoskvorechye” (presently “Na Shabolovke”), Moscow.
Acquired from the above by the present owner in Moscow,
2001.
Important private collection, USA.
Provenance: Private collection, Estonia, from
the mid-1970s.
£4,000–6,000
£3,000–5,000
( 74 )
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12 October 2015
( 75 )
* 82.
* 84. Semenyuk, Yuri (1922–2006)
Chainikov, Grigory (1960–2008)
* 85.
Semenyuk, Yuri (1922–2006)
Woman Wiping Her Feet, signed and dated 2007,
Village Pond, signed and dated 1981, also further signed,
Near the Village, signed and dated 1976, also further signed, inscribed
also further signed, inscribed in Cyrillic “Moskva”,
titled and dated on the reverse.
Oil on canvas, 72 by 133 cm.
inscribed in Cyrillic “g. Yaroslavl/d. Seredniki. Kostr. obl.”,
titled and dated on the reverse.
Oil on paper, laid on cardboard, 49.5 by 69.5 cm.
in Cyrillic “g. Yaroslavl”, titled and dated on the reverse.
Oil on cardboard, 44.5 by 59.5 cm.
Provenance: Acquired directly from the artist by
the present owner in Moscow.
Important private collection, USA.
Provenance: Acquired directly from the artist by the
Gallery “Zamoskvorechye” (presently “Na Shabolovke”), Moscow.
Acquired from the above by the present owner in Moscow, 2001.
Important private collection, USA.
Authenticity certificate from the artist.
Exhibited: Soviet Art in Conflict. The Artist as an Agent of
Social Change, Springville Museum of Art, Springville, USA,
12 September 2007–1 February 2008.
£10,000–15,000
Provenance: With the salon of the Art Fund of the USSR (label on the reverse).
Acquired directly from the artist by the Gallery “Zamoskvorechye” (presently
“Na Shabolovke”), Moscow.
Acquired from the above by the present owner in Moscow, 2001.
Important private collection, USA.
Exhibited: Soviet Art in Conflict. The Artist as an Agent of Social Change, Springville
Museum of Art, Springville, USA, 12 September 2007–1 February 2008.
£5,000–7,000
£5,000–7,000
* 83.
Chainikov, Grigory (1960–2008)
Heady Grass Smell, signed and dated 1999, also further signed, inscribed
in Cyrillic “Moskva”, titled and dated on the reverse.
Oil on canvas, 160 by 78 cm.
Provenance: Acquired directly from the artist by the present owner in Moscow.
Important private collection, USA.
Exhibited: Grigoriy Chainikov, The Thomas Kearns McCarthey Gallery, Park City,
28 November 2003–7 January 2004.
Literature: Exhibition catalogue, Grigoriy Chainikov, Park City, The Thomas
Kearns McCarthey Gallery, 2003, p. 45, illustrated.
£12,000–18,000
( 76 )
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( 77 )
* 86. Lebedev, Vladimir (1891–1967)
Poster for the J. Romain Operetta “Truadek”, The
State Moscow Jewish Theatre, Moscow, Evreiskii
Gosudarstvennyi Teatr.
Colour lithograph, 107.5 by 72 cm (sheet size); Glavlit No.
76752; laid on Japanese paper, restored tears and fraying at
margins.
* 87.
Stenberg, Vladimir and Stenberg,
Georgy (1899–1982 and 1900–1933)
* 89.
Poster for the Film “Provintsial”, Moscow, Sovkino.
Stenberg, Vladimir and Stenberg,
Georgy (1899–1982 and 1900–1933)
Poster for the Negro-Operetta Performance
“Shokoladnye rebyata”, Moscow, Tsentralnoe Upravlenie
Colour lithograph, 112.5 by 83 cm (sheet size); printed signature “2STENBERG2”, Glavlit No. 44948; laid on linen paper.
* 90.
Stenberg, Vladimir and Stenberg,
Georgy (1899–1982 and 1900–1933)
Poster for the Magazine “Novyi mir”, Moscow, Izvestiya TsIK
Gostsirkami.
Colour lithograph, 117 by 82 cm (sheet size); printed signature
“2STENBERG2”, Glavlit 58165; laid on linen paper.
SSSR i VTsIK.
Colour lithograph, 74.5 by 55 cm (sheet size); printed signature
“2STENBERG2”, Glavlit No. 72504; laid on Japanese paper, minor
restored tears and creasing at margins.
Executed c. 1926.
Executed c. 1926.
Executed c. 1926.
£5,000–7,000
£10,000–15,000
£5,000–7,000
£2,500–3,000
* 88. Unknown Artist (20TH CENTURY)
Poster for the Film “Bella-Donna”, Tbilisi,
Goskinprom SSR Gruziya.
Colour lithograph, 82 by 115 cm (sheet size); No. 80246;
laid on linen paper.
Executed c. 1926.
The 1923 film Bella-Donna, starring Pola Negri and Adophe
Menjou, was directed by George Fitzmaurice.
* 91.
Stenberg, Vladimir and Stenberg,
Georgy (1899–1982 and 1900–1933)
Poster for the V. Fleming Film “Mokraya kuritsa”,
Moscow, Sovkino.
Colour lithograph, 84.5 by 111.5 cm (sheet size); printed
signature “2STENBERG2”, Glavlit No. 45586; laid on linen paper.
Executed in the 1920s.
£4,000–6,000
£1,500–2,000
( 78 )
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* 95.
Unknown Artist (20TH CENTURY)
Poster for the B. Keaton Film “Oderzhimyi”, Moscow,
Sovkino.
Colour lithograph, 109.5 by 74 cm (sheet size); printed initials
“A.N./N.M.”, Glavlit No. 43709; laid on Japanese paper, restored
tears and fraying at margins.
Executed c. 1924.
£3,000–5,000
* 96.
Deineka, Aleksandr (1899–1969)
Poster “Kolkhoznik, bud fizkulturnikom!”, Moscow–Leningrad,
Izogiz, 1930.
Colour lithograph, 74 by 104 cm; printed initial and date “D.1930 g.”,
Glavlit No. A-83899; minor tears and fraying at margins, folding creases,
restored in places.
£15,000–20,000
92.
Lebedev, Vladimir (1891–1967)
Poster Design “Okno Tass No. 1005”.
Gouache and tempera on paper, 163 by 97.5 cm.
Provenance: Private collection, Europe. £ 7,000–9,000
* 93.
Unknown Artist (20TH CENTURY)
Poster for the Tobacco Factory “Urtak”, Samarkand.
Colour lithograph, 119 by 84.5 cm (sheet size); Uzlit No. 2249; laid
on linen paper, minor restored tears at margins.
Executed c. 1929.
£6,000–9,000
* 94.
Unknown Artist (20TH CENTURY)
Poster for the Film “Dytyna bazaru”, Kharkov, VUFKU.
Colour lithograph, 106.5 by 74.5 cm (sheet size); Ukrainskii Gublit
No. 3613/b; laid on linen paper.
Executed c. 1926–1928.
£1,500–2,000
( 80 )
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( 81 )
* 100. Akimov, Nikolai (1901–1968)
Poster for the F. Raskolnikov Play
“Robespierre”, The State Drama Theatre,
Moscow, Upravlenie Gosteatrami, 1931.
Colour lithograph, 105.5 by 70.5 cm (sheet size);
printed initial and date “a/31”, Leningradskii
Oblastlit No. 2921; laid on Japanese paper, restored
tears and fraying at margins.
£5,000–7,000
* 101. Rodchenko, Alexander (1891–1956)
Poster for Dobrolet, Moscow, Vozdushnyi Flot.
Colour lithograph, 77 by 59 cm (sheet size); laid on
linen paper.
Executed c. 1925.
£6,000–8,000
* 102. Stenberg, Vladimir and Stenberg,
Georgy (1899–1982 and 1900–1933)
Poster for the Ya. Protazanov Film
“Protsess o trekh millionakh”, Moscow,
Sovkino.
Colour lithograph, 83.5 by 119.5 cm (sheet size);
printed signature “2STENBERG2”, Glavlit No. 66998;
laid on linen paper.
* 97.
Stenberg, Vladimir
and Stenberg, Georgy (1899–1982 and 1900–1933)
* 98.
Poster for the D. Griffith Film “Dve sirotki”, Moscow,
Mosrozigraf.
Colour lithograph, 88.5 by 70.5 cm; printed signature “2STENBERG2”,
Glavlit N.K.P. No. 193; laid on linen, restored tears and fraying at margins.
Unknown Artist (20TH CENTURY)
Executed c. 1926.
Poster for the S. Eisenstein Film
“Battleship Potemkin”, Moscow.
£8,000–12,000
Colour lithograph, 118.5 by 83.5 cm (sheet size);
Mosgublit No. 4007; laid on linen paper.
£5,000–7,000
Executed c. 1925.
£3,000–5,000
* 99.
Unknown Artist (20TH CENTURY)
Poster for the “Singing and Dancing”
Performance, Belostok Jewish Theatre of
Miniatures.
Colour lithograph, 80 by 60 cm (sheet size);
No. L 5023; laid on Japanese paper, restored tears
and fraying at margins.
Executed c. 1940.
£2,000–3,000
( 82 )
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Russian Art Auction
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12 October 2015
( 83 )
Lots 103‒118. Important Collection of Nonconformist Art, France
M
acDougall’s с гордостью предлагает на торги коллекцию советского нонконформизма.
Она является частью значимого собрания современного русского искусства, составленного французским дипломатом с русскими корнями. Он работал в торговом представительстве Франции в Москве в 1959–1962 годах и в 1970-е годы. В его коллекцию вошли
наиболее значительные работы 1960–1970-х годов крупнейших мастеров русского искусства второй половины ХХ столетия: Оскара Рабина, Владимира Немухина, Лидии Мастерковой, Дмитрия
Краснопевцева, Бориса Свешникова, Олега Целкова, Эрика Булатова, Владимира Вейсберга
и Александра Харитонова.
Сын русского дворянина, эмигрировавшего во Францию, коллекционер, в совершенстве владевший
русским языком, стал одной из самых известных фигур русской общины в Париже. У него была репутация влиятельного специалиста по русскому искусству XX века, включая творчество представителей
эмиграции в Европе. Страстный библиофил, он также собрал обширную коллекцию книг.
Во время своего пребывания в Москве он подружился со многими известными художниками-нонконформистами и коллекционерами, включая Георгия Костаки. Формированию контактов между
собирателем и наиболее яркими представителями авангарда второй волны способствовала глубокая эмоциональная и духовная связь с ними жены коллекционера, тоже художника, о чем подробно повествуют изданные ею воспоминания.
Вовлеченный в многогранную и интенсивную культурную жизнь Москвы 1960–1970-х годов, коллекционер часто помогал художникам, не признанным официальным режимом. Он предоставлял
им материалы — холст, краски — и часто получал от благодарных мастеров произведения в дар. При
этом художники зачастую предлагали ему ряд картин на выбор, что позволяло ему дополнять коллекцию наиболее значимыми работами. При покупке картин коллекционер столь же тщательно отбирал их в свое собрание, постепенно обретавшее уникальный характер.
Все выставленные на аукцион произведения обладают безупречным провенансом и впервые предлагаются на рынке.
T
he Soviet nonconformist art works, which are offered at auction, come from an important collection of contemporary Russian art brought together by a French diplomat of Russian extraction. He
worked at the French trade mission in Moscow from 1959–1962 and again in the 1970s. His collection included some of the most significant works of the 1960s and 1970s by masters of the
Russian art of the second half of the 20th century: Oscar Rabin, Vladimir Nemukhin, Lydia Masterkova,
Dmitry Krasnopevtsev, Boris Sveshnikov, Oleg Tselkov, Erik Bulatov, Vladimir Weisberg and Alexander
Kharitonov.
As the son of member of the Russian gentry who had emigrated to France, the collector spoke Russian
fluently and was a prominent member of the Russian community in Paris. He was a respected authority
on Russian 20th century art, including émigré art in Europe. He was also a passionate bibliophile, and
gathered a vast collection of books.
§ 103. Rabin, Oscar (B. 1928)
During his time in Moscow, he made friends with many outstanding non-conformist artists and collectors, including George Costakis. Contacts between the collector and the foremost avant-garde proponents of the time were further reinforced by a deep emotional and spiritual attachment between the
Moscow artists and the collector’s wife, who was herself an artist, as related in her published memoirs.
Bread at the Cemetery, signed with a monogram and dated 1964, also further
titled in Cyrillic, numbered “N 213” and dated on the reverse.
Oil on canvas, 80.5 by 99.5 cm.
Provenance: Acquired directly from the artist by the father of the present owner.
Important private collection, France.
Being deeply involved in the multifaceted and intense cultural life of 1960s and 1970s Moscow the collector helped artists, who were not recognised by the régime, providing them with canvasses and paints. He
often received works as gifts from the grateful recipients, who would sometimes invite him to take his pick
of their output, enabling him to build a collection of important works. When making purchases the French
diplomat similarly took care to select works that would contribute to the unique nature of his collection.
Authenticity of the work has been confirmed by the artist.
Literature: Oskar Rabin, St Petersburg, Palace Editions, 2007, p. 65, illustrated.
The work will be included in the forthcoming Oscar Rabin catalogue raisonné being
prepared by A&C Projects, Michèle and Marc Ivasilevitch.
All of the works presented here for the auction have impeccable provenance and are offered on the market for the first time.
£30,000–50,000
MacDougall’s
London
12 October 2015
( 85 )
104. Kharitonov, Alexander (1932–1993)
A Tree and a Church, signed, titled in Cyrillic
and dated 1976.
Pencil on paper, 32.5 by 44 cm (sheet size).
Provenance: Acquired directly from the artist
by the father of the present owner.
Important private collection, France.
£800–1,200
105. Kharitonov, Alexander (1932–1993)
Landscape with Saints and Birds, signed,
titled in Cyrillic and dated 1973.
Pencil on paper, 32.5 by 44 cm (sheet size).
Provenance: Acquired directly from the artist
by the father of the present owner.
Important private collection, France.
£800–1,200
107. Krasnopevtsev, Dmitry (1925–1995)
Two Tied Jugs, signed with an initial and dated 1971.
Oil on cardboard, 48 by 47 cm.
Provenance: Acquired directly from the artist by the father of the present owner.
Important private collection, France.
106. Kharitonov, Alexander (1932–1993)
Abomination of Desolation, signed, titled
Exhibited: Dmitry Krasnopevtsev Solo Exhibition, Sviatoslav Richter’s flat, Moscow, 1975.
£20,000–30,000
in Cyrillic and dated 1969.
Pencil on paper, 31.5 by 42 cm (sheet size).
Provenance: Acquired directly from the artist
by the father of the present owner.
Important private collection, France.
£800–1,200
( 86 )
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Russian Art Auction
Картина Дмитрия Краснопевцева «Два связанных кунгана» экспонировалась на известной персональной выставке художника 1975 года
в квартире Святослава Рихтера. Поскольку на обе выставки у Рихтера
(первая состоялась в 1962 году) Краснопевцев отбирал только лучшие
свои произведения, представленная на торги картина, несомненно,
исключительно высоко ценилась самим художником.
MacDougall’s
London
12 October 2015
Two Tied Jugs by Dmitry Krasnopevtsev was exhibited in the famous solo
exhibition by the artist in 1975, in the apartment of Sviatoslav Richter.
Krasnopevtsev showed only his best works at the two exhibitions in
Richter’s flat (the first one was held in 1962), which confirms the high
opinion the artist himself had of this work.
( 87 )
108. Sveshnikov, Boris (1927–1998)
( 88 )
109. Sveshnikov, Boris (1927–1998)
Cooling Earth, signed with a monogram and
Cold Summer, signed with a monogram and
dated 1973, further titled in Cyrillic on the reverse.
Oil on canvas, 70 by 90 cm.
dated 1978, further titled in Cyrillic on the reverse.
Oil on canvas, 85 by 75.5 cm.
Provenance: Acquired directly from the artist
by the father of the present owner.
Important private collection, France.
Provenance: Acquired directly from the artist
by the father of the present owner.
Important private collection, France.
£20,000–30,000
£15,000–25,000
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12 October 2015
( 89 )
§ 110. Masterkova, Lydia (1927–2008)
111. Weisberg, Vladimir (1924–1985)
Abstract Composition, signed and dated 1962, also further signed and
Reclining Nude, signed with a monogram and dated 1976, also
dated on the reverse.
Oil on canvas, 70 by 79 cm.
further signed, inscribed in Cyrillic, numbered “No 165” and dated
“26/IV 74” and 1979 on the stretcher.
Oil on canvas, 42.5 by 72.5 cm.
Provenance: Acquired directly from the artist by the father of the present owner.
Important private collection, France.
Provenance: Acquired directly from the artist by the father of the
present owner.
Important private collection, France.
Authenticity of the work has been confirmed by Margarita Tupitsyn, the artist’s
niece and a historian of contemporary Russian art.
£40,000–60,000
£25,000–30,000
В элегантном полотне «Абстрактная композиция» Лидии Мастерковой явственно ощущается преклонение художницы в начале 1960-х годов перед
фресками Дионисия, наследие которого она пыталась перевести в то время на язык абстрактного экспрессионизма. Работы Мастерковой того периода — редкое явление на художественном рынке.
( 90 )
The elegant Abstract Composition by Lydia Masterkova is evidence of the
artist’s admiration in the early 1960s for the frescoes by the Russian
medieval icon painter, Dionysius, whose legacy she attempted to translate
into the language of abstract expressionism. Masterkova’s works of that
period rarely become available on the art market.
www.MacDougallauction.com
Russian Art Auction
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12 October 2015
( 91 )
§ 114. Bulatov, Erik (B. 1933)
SÉvina Sineva, signed and dated
1979, also further inscribed in Cyrillic
“Variant kartiny” and titled on the
reverse.
Pencil and crayon on paper,
23.5 by 25.5 cm.
Provenance: Acquired directly from the
artist by the father of the present owner.
Important private collection, France.
Authenticity of the work has been
confirmed by the artist.
£7,000–9,000
Композиция «Севина синева» Эрика Булатова является вариантом знаменитой
картины 1979 года с тем же названием,
ныне находящейся в Музее Зиммерли
(при Университете Ратгерс в штате НьюДжерси, США), посвященной другу художника Всеволоду (Севе) Некрасову — известному поэту и одному из основателей
московского концептуализма.
Sévina Sineva by Erik Bulatov is a variant
of the well-known painting of 1979 with
the same title, currently in the collection
of the Zimmerli Museum (The Rutgers University, New Jersey, USA). It is dedicated
to the artist’s friend Vsevolod (Seva)
Nekrasov, the poet and one of the founders of Moscow Conceptualism.
§ 112. Tselkov, Oleg (B. 1934)
Sketches for the Series “Acrobats”,
variously inscribed in Cyrillic, also further
signed and inscribed in Cyrillic with
a dedication on the reverse.
Pencil and oil on cardboard, 34.5 by 50.5 cm.
Authenticity of the work has been confirmed
by the artist.
Provenance: Acquired directly from the
artist by the father of the present owner.
Important private collection, France.
£6,000–9,000
113. Belenok, Pyotr (1938–1991)
Composition with a Flying Man and
a Reclining Woman, signed and dated
1978.
Oil and tempera with elements of collage on
paper, laid on cardboard, 122.5 by 130 cm.
Provenance: Acquired directly from the
artist by the father of the present owner.
Important private collection, France.
115. Kabakov, Ilya (B. 1933)
Gde Mariya Nikolaevna?..., signed and dated 1973.
Pencil, ink, crayon and watercolour on paper, 41 by 27.5 cm.
Provenance: Acquired directly from the artist by the father
of the present owner.
Important private collection, France.
£4,000–6,000
£5,000–7,000
( 92 )
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Russian Art Auction
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London
12 October 2015
( 93 )
116. Nemukhin, Vladimir (B. 1925)
Solitaire No. 3, signed and dated 1985, also further
signed, inscribed in Cyrillic “Etiud/Moskva”, titled and
dated on the reverse.
Oil and collage with paper and playing cards on canvas,
80.5 by 72.5 cm.
Provenance: Acquired directly from the artist by the father
of the present owner.
Important private collection, France.
Authenticity of the work has been confirmed by the artist.
£8,000–12,000
117. Nemukhin, Vladimir (B. 1925)
Early Morning, signed and dated 1978, also further
signed, inscribed in Cyrillic “Moskva”, titled and dated
on the reverse.
Oil and collage with paper and playing cards on canvas,
49 by 59.5 cm.
Provenance: Acquired directly from the artist by the father
of the present owner.
Important private collection, France.
Authenticity of the work has been confirmed by the artist.
£8,000–12,000
118. Kalinin, Viatcheslav (B. 1939)
Sergius of Radonezh, Zagorsk, signed, also further signed,
titled in Cyrillic and dated 1978 on the reverse.
Oil on canvas, 120.5 by 115 cm.
Provenance: Acquired directly from the artist by the father of the
present owner.
Important private collection, France.
Authenticity of the work has been confirmed by the artist.
£12,000–18,000
( 94 )
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12 October 2015
( 95 )
119. Sitnikov, Vasily (1915–1987)
Winter Scene, signed, inscribed in Cyrillic with the
artist’s address and date of birth, and dated “1975–III–”
on the reverse.
Oil on canvas, 34 by 50 cm.
Provenance: Private collection, the Netherlands.
£15,000–20,000
§ 120. Koshlyakov, Valery (B. 1962)
121. Kropivnitsky, Lev (1922–1994)
122. Belutin, Eliy (1925–2012)
Engelkopf, signed twice on the reverse.
Summer Equinox, signed, titled in Cyrillic and dated 1969
In the Street, signed and dated twice 1961 on the canvas edge, also
Tempera, gouache and collage with paper
on corrugated cardboard, 139.5 by 117.5 cm.
on the reverse.
Oil on canvas, 60 by 43.5 cm.
further titled in Russian and English and dated on the reverse of the frame.
Oil on canvas, 135 by 99 cm.
Executed in 2004.
Provenance: A gift from the artist to Giuseppe De Santis,
an Italian film director, in Moscow, 1960s.
Thence by descent.
Collection of the widow of the above, Italy.
Provenance: Acquired directly from the artist by Alexei Chervinsky, the
artist’s friend, in Germany, early 1970s.
Acquired from the above by the grandfather of the present owner
in Warsaw, 1974.
Thence by descent.
Private collection, UK.
Provenance: Walter Bischoff Galerie, Berlin, Germany.
Acquired from the above by the present owner.
Important private collection, Germany.
£4,500–6,000
£8,000–12,000
£3,000–5,000
( 96 )
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Russian Art Auction
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12 October 2015
( 97 )
Lots 123–143. Important Collection of Contemporary Art, Belgium
П
редставленные работы из бельгийской коллекции современного искусства включают произведения значимых художников постсоветской эпохи: 1990-х – начала 2000-х годов. Собрание возникло в результате поездок коллекционера в 1992–1995 годах в Россию, куда
его влекло желание увидеть перемены в стране после падения Берлинской
стены и распада СССР. Теперь он вспоминает, что в те годы в Москве казалось, будто самый воздух столицы напоен ощущением свободы и предчувствием грядущих больших преобразований в России к лучшему. И ему захотелось увидеть, как наиболее современные, с его точки зрения, русские художники отразили произошедший в стране перелом. Так постепенно возникло собрание произведений художников — современников перемен.
Несомненно, важными в коллекции являются имена Эрика Булатова, Аркадия Петрова, Натальи Нестеровой, известных с 1960–1970-х годов. Поколение художников, определивших дух 1990-х и дальнейшее развитие
русского современного искусства, включает имена Авдея Тер-Оганьяна,
Валерия Кошлякова, Владислава Мамышева-Монро. Работы представленных художников находятся в известных музейных коллекциях.
Стоявший у истоков соц-арта Эрик Булатов представлен тонкой минималистичной работой, выполненной в простой, практически небрежной
манере в противовес его масштабным полотнам-лозунгам. Названная
«Автопортрет», работа, несомненно, соотносится с образом самого художника и интересна своей игрой образа и техники.
Аркадий Петров и Леонид Пурыгин, часто причисляемые к примитивистам, известны своими «китчевыми» картинами и сознательным обращением к образам наивного творчества; их работы выполнены с особой
тщательностью и населены мифическими героями.
Творчество Натальи Нестеровой, приобретшей известность еще в 1970-е
годы, имело несколько периодов: от работ на тему социалистической
сюжетной картины до тем старинных городов и парков. Чувственные и
экспрессивные, они наполнены образами из повседневной жизни и очаровывают своей непосредственностью и выразительностью.
Большой интерес представляет серия работ Владислава Мамышева-Монро «Секретные материалы» – портреты членов Политбюро, раскрашенные
вручную художником. Критически пересмотрев идею истории, претерпевшей столь кардинальные изменения во время перестройки, творчество
Мамышева-Монро отразило время перемен. Выставленные на торги портреты представителей высшей советской номенклатуры, превращенные
рукой художника в дам с макияжем и прическами, наполнены иронией,
гротеском и юмором, как и все творчество Мамышева-Монро.
Авдей Тер-Оганьян – яркий представитель Московского акционизма, известный своими скандальными перформансами. Представленные живописные работы на тему выдающихся художников и их работ – Эдуарда
Мане и Ричарда Хамильтона – отражают его размышления об историческом развитии искусства и взгляд на его значимость с позиции анонимного художника.
Валерий Кошляков – один из самых известных современных российских
художников, появившихся в 1980–1990-е годы. В 2003 году он представлял Россию на Венецианской биеннале. Его работы, представляющие величественные пейзажи современности, поражают своей смелостью выражения и изобретательностью, и во многом были в противовес радикальному искусству его современников.
T
he works from a from a Belgian collection of contemporary art,
which are offered at auction, include pieces by important artists of
the post-Soviet period (1990s and early 2000s). The collection came
about as the result of trips made to Russia in 1992–1995 by an art
collector who was keen to witness the changes that were happening in the
country after the fall of the Berlin wall and the collapse of the USSR. He
recalls now that freedom and the expectation of changes for the better felt
in the very air of the Russian capital at the time. He wanted to see how the
most progressive (in his view) Russian artists had reflected this great rift
in their country’s history in their work. Thus arose this collection of works
by artist-contemporaries of Russia’s transformation.
Cult Russian artists who had already come to prominence in the 1960s–
1970s, and whose work is represented in the collection, include Erik
Bulatov, Arkady Petrov and Natalia Nesterova. Others in the collection who
defined the spirit of the 1990s and spurred the development of Russian
contemporary art include Avdei Ter-Oganian, Valery Koshlyakov and
Vladislav Mamyshev-Monroe. Works by these artists are held in several important museum collections.
Erik Bulatov, one of the originators of Sots Art, is represented by a delicate
minimalist piece executed in a simple, almost careless style that contrasts
with his large-scale slogan paintings. Titled Self-Portrait, this work certainly
relates to the artist’s own persona and offers a fascinating interplay of
image and technique.
Arkady Petrov and Leonid Purygin are often classified as primitivists and
are known for their “kitsch” paintings and conscious borrowings from the
images of primitive art. Their instantly recognisable works are executed
with remarkable care and peopled with mythical heroes.
The oeuvre of Natalia Nesterova, well-known since the 1970s, can be divided into several periods, starting from socialist genre works and moving
later to ancient cities and city parks as preferred themes. Her passionate
and expressive paintings, filled with images of everyday life, charm the
viewer with their spontaneity and sensuality.
The collection also contains an important series of works by Vladislav
Mamyshev-Monroe entitled The Secret Files, consisting of photo portraits of
members of the CPSU Politburo that have been hand-coloured by the artist.
Mamyshev-Monroe’s oeuvre critically reviewed the very idea of history in a
country that had changed so radically during Perestroika. These portraits of
the Soviet political elite, metamorphosed by the artist into portraits of ladies with make-up and hairdos, are full of irony, grotesquerie and humour,
which are characteristic features of this artist’s work.
Avdey Ter-Oganian, who achieved fame by his notorious art performances,
represents Moscow actionism. His paintings in the present collection are
on the theme of famous artists (Eduard Manet and Richard Hamilton) and
their work. They are reflections on the historical development of art and on
its significance from the viewpoint of an anonymous painter.
Portraits of the CPSU Politburo Members, from the installation
“The Secret Files”, installation with nine works, each signed and dated 2001,
also further signed, titled in Cyrillic, numbered “a/p 2/3” and dated on the reverse.
Each photograph and acrylic on paper, laid on foam board, 104 by 80 cm (overall size).
Each hand-coloured photograph is an artist’s proof No. 2 from the edition of three.
Valery Koshlyakov is one of the best-known contemporary Russian artists to
have emerged in the 1980s and 1990s. He represented Russia at the
Venice Biennale in 2003. His paintings of majestic modern landscapes are
striking in their inventiveness and boldness of expression. They are in
strong contrast with the radical art of his contemporaries.
www.MacDougallauction.com
( 98 )
123. Mamyshev-Monroe, Vladislav (1969–2013)
Russian Art Auction
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£6,000–9,000
MacDougall’s
London
12 October 2015
( 99 )
§ 124. Koshlyakov, Valery (B. 1962)
§ 125. Koshlyakov, Valery (B. 1962)
Study at Noon, signed, also further signed, titled in
Place de l’Opéra, signed, titled in Cyrillic
Cyrillic and inscribed with a year “1893” on the reverse.
Oil on canvas, 60.5 by 81 cm.
and dated 1993 on the reverse.
Oil on canvas, 60.5 by 81 cm.
Provenance: Acquired directly from the artist by the
present owner.
Important private collection, Belgium.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
Authenticity certificate from the artist.
£3,000–5,000
£3,000–5,000
§ 126. Koshlyakov, Valery (B. 1962)
Hotel “Moskva”, signed and dated 1992, also further signed,
titled in Cyrillic and dated on the reverse.
Oil and acrylic on canvas, 198 by 286 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£45,000–60,000
( 100 )
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12 October 2015
( 101 )
129. Nesterova, Natalia (B. 1944)
130. Nesterova, Natalia (B. 1944)
Le chapeau À fleurs, signed, also further signed,
L’homme liberant des oiseaux, signed,
titled and dated 1995 on the reverse.
Oil on canvas, 100 by 81 cm.
titled and dated 1992 on the reverse.
Oil on canvas, 100.5 by 80.5 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
Provenance: Acquired directly from
the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
Authenticity certificate from the artist.
£5,000–7,000
£6,000–9,000
127. Nesterova, Natalia (B. 1944)
Picnic in Luxembourg Gardens, signed, also further
signed, titled in Cyrillic and dated 1993 on the reverse.
Oil on canvas, 158 by 179 cm.
Provenance: Acquired directly from the artist by
the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£14,000–20,000
128. Nesterova, Natalia (B. 1944)
131. Nesterova, Natalia (B. 1944)
L’Afrique, signed, also further signed, titled and
dated 2006 on the reverse.
Oil on canvas, 97 by 130 cm.
Provenance: Acquired directly from the artist by
the present owner.
Important private collection, Belgium.
( 102 )
La découper du poisson, signed with
a monogram, also further signed, titled and
dated 2003 on the reverse.
Oil on canvas, 97 by 130 cm.
Authenticity certificate from the artist.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
£7,000–9,000
£6,000–9,000
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( 103 )
§ 132. Slepyshev, Anatoly (B. 1932)
§ 133. Slepyshev, Anatoly (B. 1932)
134. Tabenkin, Lev (B. 1952)
By the River, signed and dated 1995.
Bathers, signed and dated 1995, also further signed,
Mother and Child, signed with an initial, also
Oil on canvas, 194.5 by 295 cm.
inscribed in Cyrillic “Parizh” and with a dedication, and
dated on the reverse.
Oil on canvas, 80 by 100.5 cm.
further signed, titled and dated 1993 on the
reverse.
Acrylic on paper, laid on foam board, 73 by 72.5 cm
(paper size).
Provenance: Acquired directly from the
artist by the present owner.
Important private collection, Belgium.
£7,000–9,000
Provenance: Acquired directly from the artist by the
present owner.
Important private collection, Belgium.
Provenance: Acquired directly from the artist by the
present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£2,000–3,000
£2,500–3,000
135. Tabenkin, Lev (B. 1952)
( 104 )
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136. Tabenkin, Lev (B. 1952)
Dance, signed, titled and dated 1993 on the reverse.
Parliament, signed, titled in Cyrillic and dated
Acrylic on paper, laid on foam board, 72.5 by 89.5 cm
(paper size).
1991 on the reverse.
Oil on canvas, 150 by 150 cm.
Provenance: Acquired directly from the artist by the
present owner.
Important private collection, Belgium.
Provenance: Acquired directly from the artist by the
present owner.
Important private collection, Belgium.
£3,000–5,000
£5,000–7,000
MacDougall’s
London
12 October 2015
( 105 )
§ 137. Petrov, Arkady (B. 1940)
Adam and Eve, signed and dated “14
aprelya 1980 goda”, also further signed,
titled in Cyrillic and dated on the reverse.
Oil on canvas, 93.5 by 106 cm.
Provenance: Acquired directly from
the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£4,000–6,000
§ 138. Nazarenko, Tatiana (B. 1944)
140. Purygin, Leonid (1951–1995)
Untitled, installation, signed, inscribed in Cyrillic
Resurrection of Pipa, installation, signed twice and
with initials, also further signed, titled
in Cyrillic, numbered “REF 268” and
dated 1993 on the reverse.
Oil on canvas, 89 by 99 cm.
with a dedication and dated 1994 on the reverse.
Oil and metal on wood, 36 by 31 by 10.5 cm.
dated “Napisal kartinu… v maye 1994 g.”, also further
signed and numbered “N 19944” on the reverse.
Oil on canvas, cardboard and carved wood, 107 by 48.5 cm.
Provenance: Acquired directly from
the artist by the present owner.
Important private collection, Belgium.
www.MacDougallauction.com
Provenance: Acquired directly from the artist by
the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£3,000–5,000
£2,500–3,000
( 106 )
139. Purygin, Leonid (1951–1995)
Riding from a Snow Slide, signed
Provenance: Acquired directly from the artist by the present
owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£10,000–15,000
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12 October 2015
( 107 )
§ 141. Ter-Oganian, Avdei (B. 1961)
*§ 144. Petrov, Arkady (B. 1940)
Paradise, signed twice, titled in Cyrillic
Richard Hamilton. Just What Is It That Makes Today's Homes So
Different, So Appealing?, 1956, signed, titled in Cyrillic and dated on the reverse.
and dated twice 1977 on the reverse.
Oil on canvas, 79.5 by 100 cm.
Oil and acrylic on canvas, 120 by 90 cm (canvas size).
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Provenance: Acquired directly from the
artist by the present owner in Moscow,
c. 1989–1990.
Private collection, Iceland.
Authenticity certificate from the artist.
£2,500–3,000
£8,000–12,000
§ 142. Ter-Oganian, Avdei (B. 1961)
Édouard Manet, Boating, 1874, titled in Cyrillic, also further signed,
titled and dated 1995 on the reverse.
Acrylic on canvas, 130 by 120 cm (canvas size).
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
£3,000–5,000
*§ 145. Petrov, Arkady (B. 1940)
Adidas, signed, also further signed,
§ 143. Bulatov, Erik (B. 1933)
inscribed in Cyrillic “Moskva”, titled and
dated 1986 on the reverse.
Oil on canvas, 116.5 by 116.5 cm.
Self-Portrait, signed and dated “28 5 95”.
Pencil on card, 14.5 by 10.5 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
( 108 )
The present lot is executed on the reverse of the reproduction of Erik Bulatov’s renowned
1989 work Sunset or Sunrise, currently in the collection of the Ludwig Forum, Aachen.
Provenance: Acquired directly from the
artist by the present owner in Moscow,
c. 1989–1990.
Private collection, Iceland.
£800–1,200
£8,000–12,000
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12 October 2015
( 109 )
Lots 201–232. Important Collection of Soviet Porcelain
П
редлагаемое нами собрание советской фарфоровой пластики охватывает почти сорокалетний период. Это изделия ленинградских фарфоровых заводов: ГФЗ, ЛФЗ, ЛЗФИ. В то время над созданием
выпускаемых предприятиями скульптурных композиций работали выдающиеся мастера своей эпохи,
отличавшиеся высоким профессионализмом, знанием темы и оригинальным видением материала.
Прежде всего следует отметить Наталью Данько, Константина Рыжова, Алексея Пахомова, Таисию Кучкину,
Бориса Яковлева, Галину Столбову, Бориса Воробьева, Ефима Гендельмана, Галину Якимову, Ирину
Никонову и Софию Велихову. В их творениях запечатлена удивительно яркая эпоха, череда разнообразных образов советских людей. Здесь военная, спортивная и детская тематика, отдых и бытовой жанр,
цирк и театр.
В 1930-е годы в фарфоровом производстве продолжала свое триумфальное шествие неповторимая
Наталья Данько, ставшая непререкаемым авторитетом, своеобразной «иконой» жанра. Коллекцию, представленную на нашем аукционе, украшает известный специалистам единственный экземпляр «Конной разведки», работы Данько, выполненный в кобальте. Этот экспериментальный вариант не пошел в тираж
и стал подлинным раритетом. Скульптурная группа «Готов к труду и обороне» также относится к довольно
редким произведениям Данько, характерно определяющим направление ее творчества первой половины
1930-х годов: преобладающая военизированная тематика, подчеркнутая монументальность, аскетичность
пластических форм, нарочито скупая раскраска.
Интересны образы Константина Рыжова – скульптора, творчество которого в какой-то степени также
определило лицо ЛФЗ: «На страже», «Пограничник», «Купание ребенка». Скульптурная композиция
«Красноармеец с собакой» работы Алексея Жирадкова до настоящего момента встречалась лишь нерасписанной. Роспись А. Иванова не только представила работу в ином свете, но и способствовала более
точной ее датировке (1937).
Послевоенный жизненный уклад несколько изменил тематику фарфоровой пластики конца 1940-х – начала 1960-х годов. Уникальна композиция Бориса Воробьева «Каштанка», исполненная на опытном заводе
ЛЗФИ. Второй, известный экземпляр находится в собрании Елагинского дворца в Санкт-Петербурге.
Отныне в фарфоровой пластике конца 1940-х — начала 1950-х годов преобладают более умиротворенные
жанровые мотивы. Необычайную популярность приобретают сюжеты мирного советского быта, материнства, школьно-студенческой тематики. Ведущими скульпторами ЛФЗ этого периода становятся ученики великого русского скульптора Александра Матвеева: Галина Столбова, Ефим Гендельман, Ирина Никонова,
София Велихова. Все эти замечательные мастера представлены прекрасными образцами, обеспечившими
славу и процветание самого известного в стране завода. Отныне их творчество становится эксклюзивной
маркой предприятия ЛФЗ. Эпоха «фирменных» изделий завода заканчивается задолго до «перестройки».
В конце 1960-х годов с конвейера ЛФЗ выходят последние жанровые фигурки, стилистически
отражающие уходящую эпоху.
T
he collection of Soviet porcelain offered at auction spans a period of nearly 40 years and consists of
works from the best-known manufactures in the Soviet Union: the Leningrad Porcelain Factory and the
Leningrad Factory of Porcelain Wares. The artists and designers who created the sculptural compositions
for this porcelain had a consummate grasp of their subject matter and materials. Their creations are idealised and endearing representations of Soviet people at work and rest and in feats of heroism, with themes
ranging from military to sport, children’s games, daily life and holidays, circus and theatre.
The works to be auctioned include the only known cobalt version of Mounted Body Guards, a justly famed
work by Natalia Danko, who was one of the greats of Soviet porcelain from the 1930s. This trial version was
never mass-produced and is therefore a rarity. The group Ready for Labour and Defence is another rare work
by Danko. Its military theme, monumental style, austerity of plastic form and deliberately spare colouration
is definitive of her work in the first half of the 1930s.
202
201
201. An Extremely Rare Porcelain
Figurine of a Red Army Soldier
with a Dog
ALEKSEY ZHIRADKOV, PAINTING BY
A. IVANOV, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1937
Height 14 cm, length 27 cm.
Realistically modelled, the two soldiers
in military clothing and caps beside a
young boy in a Russian hat and winter
clothes directing them to a distant point,
one soldier standing and the other seated
with a rifle, with dark green and incised
marks, further numbered ‘86’ in black.
£12,000–15,000
£8,000–12,000
203. A Porcelain Figurine
of a Border Guard
KONSTANTIN RYZHOV, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1937–1938
Height 23 cm.
The more relaxed post-war climate is reflected in the new themes of the porcelain produced from the late 1940s
to the early 1960s. Peaceful scenes of Soviet life come to the fore and the figurines include mothers, schoolchildren, students, and even domestic pets, as in Boris Vorobyev’s Kashtanka. The cast of this canine sculpture,
made at the newly founded Leningrad Factory of Porcelain Wares, is one of only two that are known (the other is
held in the collection of Elagin Palace in St. Petersburg). All of the best Lomonosov State Porcelain Manufactory
sculptors of this period – the artists who ensured its enduring reputation in the post-war period – are represented in the present collection. The last of the Leningrad Porcelain Factory’s genre figures were produced in the
1960s and marked the end of an era.
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KONSTANTIN RYZHOV, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1937–1938
Height 21.5 cm.
Realistically modelled, wearing a grey
military greatcoat and blue saucer cap
with red star, lying behind a tree stump
and holding a German Shepherd dog, on
naturalistic base imitating grass, signed
and dated, apparently unmarked.
Konstantin Ryzhov, also a prominent artist at the Leningrad Porcelain Factory, is represented by the pieces On
Guard, Border Guard and Mother Bathing Her Child. The paintwork on the cast of Alexey Zhiradkov’s Red Army
Soldier with a Dog is unique and enables it to be dated to 1937.
( 110 )
202. A Porcelain Composition
“On Guard”
Realistically modelled standing by a Soviet
border post, wearing a military greatcoat
and hat, holding a rifle and gazing into the
distance, apparently unmarked.
£1,500–2,000
203
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( 111 )
205. An Exceptional Porcelain Composition
“Mounted Body Guards” in Cobalt
NATALIA DANKO, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1938
Height 24 cm.
Realistically modelled, both guards wearing military
uniforms and caps, pointing into the distance, with
a unique cobalt design, signed and dated.
£20,000–30,000
205
204. A Rare Porcelain Composition “Ready for Labour and Defence”
206. A Porcelain Figurine of a Red Army Soldier
NATALIA DANKO, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, EARLY 1930s
Height 28 cm.
BORIS YAKOVLEV, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1939
Height 18 cm.
Realistically modelled as three Bolsheviks, the soldier dressed in Red Army uniform,
the man in work clothes and the woman in a pale blue patterned dress and a head scarf,
each one carrying a rifle, on circular shaped thick white base, with incised initials ‘I.K.’
in Cyrillic and overglaze hammer and sickle manufactory mark.
Realistically modelled, dressed in red army military uniform,
depicted astride a rearing white horse, on a white square shaped
base, with blue overglaze manufactory mark.
£24,000–28,000
( 112 )
£3,000–5,000
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206
( 113 )
210
210. A Porcelain Composition
“Game”
SOFIA VELIKHOVA, PAINTING BY ELIZAVETA
LUPANOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, CIRCA 1955
Height 10 cm.
Realistically modelled, painted in gentle
pastel colours, the girl seated in a pink
dress beside a toy table playing with a teddy
bear and doll, on a white circular base with
gilt rim, with blue and incised manufactory
marks, further numbered ‘10’ in black.
£700–900
211
211. A Porcelain Figurine
of a Boy with a Cat
EFIM GENDELMAN, PAINTING BY KAPITOLINA
KOSENKOVA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1956
Height 12 cm.
Realistically modelled, the boy seated on
the grass wearing a white T-shirt and pink
cap, hiding a ball from the cat beside him,
with incised manufactory mark and further
signed ‘DV8’ in black.
£700–900
212. A Rare Porcelain Composition
“A Date (A Bench)”
GALINA YAKIMOVA, PAINTING BY ELIZAVETA
LUPANOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, CIRCA 1954
Height 20.5 cm.
Realistically modelled, the couple depicted
seated on a white bench, the sailor in a white
and blue uniform reading from a book, the
girl in a white dress with violet trimming to
the sleeves and matching shoes, holding a
bouquet of peonies, with incised and large
blue underglaze manufactory marks.
£1,500–2,000
207. A Rare Porcelain Figurine
of a Mother Bathing Her Child
208. A Porcelain Figurine
of a Girl Feeding Rabbits
209. A Porcelain Figurine
of a Girl with a Cat and Dog
KONSTANTIN RYZHOV, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1939–40
Height 17 cm.
TAISIYA KUCHKINA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1939
Height 9 cm.
TAISIYA KUCHKINA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1938
Height 17.5 cm.
Realistically modelled, the mother in
a patterned pastel yellow dress seated on
a small stool and holding her child in the
wash basin, with green manufactory mark.
Realistically modelled, depicted seated,
wearing a pastel coloured dress, holding
a basket containing two white rabbits and
feeding them carrots, with green
manufactory mark.
Realistically modelled, wearing a patterned
grey dress, hair braided with an orange
ribbon, holding a kitten in her arms away
from the dog at her feet, with black
manufactory mark.
£800–1,200
£800–1,200
£3,500–4,000
212
( 114 )
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( 115 )
213. A Rare Porcelain Composition
“Sailor and His Girlfriend on a Date”
GALINA YAKIMOVA, PAINTING BY ELIZAVETA LUPANOVA, LOMONOSOV
STATE PORCELAIN MANUFACTORY, LENINGRAD, CIRCA 1930s
Height 14.5 cm.
Realistically modelled, the couple depicted seated on a white bench
holding hands, the sailor in white and blue uniform, the girl in a white
patterned dress with violet shoes and matching shawl, holding a
bouquet of peonies, apparently unmarked.
£6,500–8,500
214. A Porcelain Composition “First Time in First Class”
GALINA STOLBOVA, PAINTING BY ELIZAVETA LUPANOVA, LOMONOSOV
STATE PORCELAIN MANUFACTORY, LENINGRAD, CIRCA 1954
Height 17 cm.
Realistically modelled, the mother in a light patterned dress,
standing on her knees beside her daughter and finishing her braid,
the daughter standing with a black satchel in her hand and wearing
a brown Soviet school dress with a white apron, on a circular shaped
white base with faded signature and large blue underglaze
manufactory mark, incised initials and further numbered ’41’ in
black.
215
216
£800–1,200
215. A Porcelain Figurine of a Dancer
216. A Porcelain Figurine of a Dancer
BORIS KUSTODIEV, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1923
Height 21 cm.
IRINA NIKONOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1967
Height 21 cm.
Realistically modelled, wearing a white skirt with
a floral pattern, a yellow trimmed jacket and
white head scarf, depicted in a traditional
dancing pose, signed and dated.
Realistically modelled, wearing a white costume,
a characteristic dark blue coat with white fur
trimming and a white head scarf, on white
circular shaped naturalistic base imitating
snow, apparently unmarked.
£2,500–3,500
£1,000–1,500
217. An Extremely Rare Porcelain
Figurine of a Basketball Player
IRINA NIKONOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, EARLY 1960s
Height 21 cm.
Realistically modelled, depicted in a dynamic
serving position, holding a ball and wearing
green and white striped sports clothing, on
a rectangular shaped naturalistic base,
apparently unmarked.
£4,500–5,500
217
( 116 )
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( 117 )
219. A Porcleain Figurine of the Lion Tamer,
Irina Bugrimova with Her Lion, Caesar
BORIS VOROBYEV, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1950s
Height 15 cm.
221. A Porcelain Figurine of a “Man in a Case”
from Chekhov’s Eponymous Story
Realistically modelled, wearing an ornate costume with red
and gilt decoration, depicted seated on her favourite lion
and caressing his mane, on circular shaped white base with
gilt rim, apparently unmarked.
BORIS VOROBYEV AND KAPITOLINA KOSENKOVA,
LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1960s
Height 17 cm.
£1,000–1,500
Realistically modelled, wearing a characteristic purple
overcoat with a checked scarf and matching umbrella,
grey hat and glasses, pointing with his finger, on circular
shaped white base, with incised manufactory mark.
£900–1,200
222. A Rare Porcelain Figurine of Tatiana Larina
from Pushkin’s Novel “Eugene Onegin”
LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1930s
Height 23.5 cm.
Realistically modelled, leaning against a tree stump,
wearing a lilac-coloured dress, looking pensively to one
side and holding a batch of letters, on a square shaped
naturalistic base, with a green manufactory mark, further
numbered ‘5’ in black.
£1,200–1,800
221
219
218
222
218. An Extremely Rare Porcelain Composition
“Kashtanka”
BORIS VOROBYEV, LENINGRAD FACTORY OF PORCELAIN
WARES, CIRCA 1949
Height 24 cm.
Realistically modelled, the clown in a bright festive circus
costume, depicted standing beside a goose and a pig,
caressing Kashtanka and holding a cat in his arms,
apparently unmarked.
223
£11,000–14,000
224
223. A Porcelain Figurine
of a Knight from the Chess Series
220. A Porcelain Figurine “Awakening of the East”
NATALIA DANKO, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1923
Height 12 cm.
Realistically modelled, the girl wearing traditional clothing
and scarf, depicted seated in lotus position and reading
a Soviet newspaper marked with a hammer and sickle in gold,
on a patterned polychrome circular shaped base, with blue
manufactory mark, further titled, signed and dated in black.
224. A Porcelain Figurine
of a Rook from the Chess Series
225
225. A Porcelain Figurine
of a Pawn from the Chess Series
NATALIA DANKO, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1930s
Height 8 cm.
NATALIA DANKO, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1930s
Height 6.5 cm.
NATALIA DANKO, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1930s
Height 6 cm.
Shaped as a horse’s head, painted in white
with black and gold ornaments, with blue
manufactory stamp.
Shaped as a white swan supporting a tower
and shield, with black and gold ornaments,
apparently unmarked.
£1,200–1,800
£1,200–1,800
Shaped as a Red Army peasant woman
wearing a pale orange chemise and holding
a sickle and a sheaf of rye, apparently
unmarked.
£700–900
£4,500–6,500
220
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12 October 2015
( 119 )
226
229
228
227
230
231
229. A Porcelain Figurine of a Ballet Dancer
(the Actress Tatiana Piletskaya)
ALEXANDER PAKHOMOV, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD, LATE 1930s
Height 21 cm.
Realistically modelled as a young ballet dancer,
depicted seated wearing a lilac dress and an orange
hair ribbon, tying her ballet shoes, on rectangular
shaped base imitating an ornate tiled floor, with
large green anniversary manufactory stamp.
£1,800–2,200
230. A Porcelain Figurine
of a Girl with Flowers
EFIM GENDELMAN, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1950s
Height 20.5 cm.
Realistically modelled, wearing a light pink
dress, depicted seated, day-dreaming and
leaning on her knees, holding a bouquet of
flowers, on a shaped naturalistic base
imitating grass with flowers, with blue
overglaze manufactory marks.
£700–900
226. A Porcelain Figurine
of a Chukchi Child with a Ball
227. A Porcelain Composition
“Friendship”
228. A Porcelain Figurine of
a Blackamoor Boy with a Pigeon
OLGA MANUYLOVA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1930s
Height 22 cm.
GALINA STOLBOVA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1958
Height 17.5 cm.
GALINA STOLBOVA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
CIRCA 1957
Height 23.5 cm.
Realistically modelled, wearing a typical
pink-hooded winter coat with fur trimmings,
cream trousers and shoes, holding a blue
ball, on a hexagon shaped white base with
blue dots, with green manufactory mark,
further numbered ‘42’ in blue.
Realistically modelled, two girls in
conversation, the blonde in a patterned
white dress, seated and hugging her friend,
the brunette seated on the floor, wearing
a bright green and white oriental gown with
gilt ornament, on circular shaped white
base with gilt rims, with incised
manufactory mark.
Realistically modelled, wearing a striped
sarong and holding a gilt pigeon, on
circular shaped white base, with incised
manufactory mark.
£700–900
£2,000–3,000
£1,500–2,000
231. A Rare Porcelain Figurine
of a Girl Playing a Violin from
the “Thank You Comrade Stalin
for Our Happy Childhood” Series
VLADIMIR BOGATYRYEV AND GALINA STOLBOVA,
POSSIBLY PAINTING BY ELIZAVETA LUPANOVA,
LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, CIRCA 1949
Height 30.5 cm.
Realistically modelled, wearing a white school dress
with a red Young Pioneer scarf, standing beside a
classical column with sheets of notes, diligently
playing a violin, on white circular shaped base, with
green manufactory mark.
232. A Rare Porcelain Figurine
of a Seamstress
GALINA STOLBOVA, PAINTING BY ELIZAVETA
LUPANOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, CIRCA 1965
Height 23.5 cm.
Realistically modelled, the figure glazed in
white, wearing slippers and holding a piece
of fabric, seated on a white stool, on white
rectangular shaped base, apparently
unmarked.
£1,500–2,000
£2,000–3,000
232
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Russian Art Auction
MacDougall’s
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12 October 2015
( 121 )
MacDougall's Terms & Conditions of Sale
October 2015
1. All contractual rights and obligations made between vendors, bidders and MacDougall Arts Ltd in respect of an auction conducted by MacDougall Arts Ltd (an
“auction”) are subject to these Terms and Conditions of Sale.
2. In these Terms and Conditions of Sale, MacDougall Arts Ltd. – who act as agents for the vendor unless specified otherwise in the catalogue for the auction in
question – are called “MacDougall’s”, or “us”; and the representative of MacDougall Arts Ltd. conducting the auction is called “The Auctioneer”.
11. 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.
12. Notwithstanding clause 14, the buyer and the vendor shall enter into the contract for the buyer to buy and the vendor to sell the lot in question upon
the fall of the Auctioneer's hammer.
Hammer price
3. All bids for a lot at an auction shall be considered an offer for that lot, which the Auctioneer can accept or reject in accordance with clauses 9 and 12 of
these Terms and Conditions. The hammer price means the highest bid accepted by the Auctioneer for the lot. The purchase price payable by the buyer shall
be the aggregate of the hammer price plus the 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 £50,001 and £1,000,000, and at a rate of 12% on the amount above £1,000,000,
of the hammer price. All prices are quoted in UK Pounds Sterling.
13. Lots purchased online will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT at the rate imposed.
Identification and payment
14. The buyer shall forthwith supply his name and address and his bank and other suitable references considered necessary by MacDougall's, acting
reasonably. 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.
VAT
15. Legal title to a lot shall not pass to the buyer until MacDougall’s receive the full purchase price for the lot in cleared funds.
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.
16. Unless MacDougall’s agree with the buyer otherwise:
(a) the lot must be paid for in full within twenty-one days of sale; and
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.
(b) the buyer must remove the lot in question, at their expense, within 30 calendar days following sale.
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.
17. MacDougall’s are not obliged to release a lot to a buyer until title to that lot has passed, but any earlier release will not affect the passing of title.
Droit de suite (Artist's resale right)
19. If a buyer fails to pay for or remove a lot in accordance with clauses 13 to 17 above, MacDougall’s shall be entitled at their absolute discretion to exercise
one or more of the following rights, unless agreed otherwise with the buyer.
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 descendants for 70
years after the artist’s death.
18. To the extent an export licence is required in order to remove a lot from the United Kingdom, the buyer alone is responsible for obtaining and paying
for such a licence.
(a) To rescind the contract in respect 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.
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.
(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.
7.3. Droit de Suite Scale
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%
Over 500,000
(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.
(e) Commence legal proceedings on behalf of the vendor to recover the purchase price and other expenses for that lot.
(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.
To a maximum of 12,500 euros
Guaranteed Property
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.
( 122 )
(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.
Bidding
(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.
9. Bidding at an auction is regulated at the sole discretion of the Auctioneer, who reserves the right to reject any bid.
(j)
10. 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.
(k) To debit the bank account of the buyer, on the basis of the debit or credit card details provided by the buyer to MacDougall’s prior to the auction in
question, in part or full payment of the outstanding purchase price and any other outstanding fees.
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Russian Art Auction
MacDougall’s
Where lots are not removed in accordance with clause 17 above, whether or not payment has been made, MacDougall’s shall be permitted to remove
the lot 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.
London
12 October 2015
( 123 )
Telephone and Commission Bidding Form:
October 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.
20. MacDougall’s reserve the right to withdraw, consolidate, divide or alter any lot or combine any two or more lots.
21. 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:
22. 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
23. 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
24. 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
25(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.
25(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:
26. 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:
Credit card payments are charged 2% extra. UK debit card payments are free of charge. Personal UK cheque payments will have to clear before delivery of purchases. Banker’s 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.
Signature: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
( 124 )
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
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Russian Art Auction
MacDougall’s
London
12 October 2015
Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Index of Artists
Russian Art
Akimov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Belenok, Pyotr
113
...................................................................
Belutin, Eliy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Belyaev, Nikolay
..................................................................
69
Bulatov, Erik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114, 143
Chainikov, Grigory
Chulovich, Viktor
..........................................................
82, 83
................................................................
Deineka, Aleksandr
Fedorovsky, Fedor
.........................................................
.......................................................
60
26, 96
75, 76, 77
Nissky, Georgy
Pavliuk, Arkady
Petrov, Arkady
12
Popov, Igor
..................................................................
28
Purygin, Leonid
28
Kabakov, Ilya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Kalinin, Viatcheslav
............................................................
Kharitonov, Alexander
Kolesnik, Boris
.............................................
118
104, 105, 106
Komendant, Yuri
Romas, Yakov
Samokhvalov, Alexander
Shcherbakov, Boris
29
Krasnopevtsev, Dmitry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
101
59
49
.......................................................
...........................................................
67, 86, 85
56
...................................................................
Sidorov, Valentin
Sitnikov, Vasily
..................................................................
..................................................................
Slepyshev, Anatoly
........................................................
Stenberg Brothers, Vladimir & George
...............
1
119
132, 133
87, 89, 90, 91, 97, 102
Stozharov, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
39, 40, 41, 42, 43, 44, 54
Sveshnikov, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108, 109
24, 25
Kustodiev, Boris
.............................................................
Labas, Alexander
.................................................................
47
Lebedev, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74, 86, 92
Tabenkin, Lev
..........................................................
Ter-Oganian, Avdei
134, 135, 136
........................................................
141, 142
Terpsikhorov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . 30, 31, 32, 33, 34, 35, 36, 37, 38
..........................................................
79
Timkov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
..................................................................
65
Tkachev, Alexei
Lekomtsev, Konstantin
Maksimov, Konstantin
...................................................
Mamyshev-Monroe, Vladislav
2, 14, 70
................................................
123
Masterkova, Lydia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Unknown Artist
.............................................................
............................................................
Nemukhin, Vladimir
........................................................
45, 46
116, 117
.................................
15, 17, 18
Tselkov, Oleg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
138
Nazarenko, Tatiana
55
Tkachev, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Tkachev, Sergei And Tkachev, Aleksei
Tsvetkov, Viktor
...............................................................
Nechitailo, Vasily
....................................................................
51
Nalbandian, Dmitri
Wednesday, 2 December, 2015, 10:30
68
.............................................................
121
................................................................
...........................................
103
Savitskiy, Georgiy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
62
63, 64
.........................................................
......................................................................
..................................................................
Kropivnitsky, Lev
Magalyas, Vasyl
Rodchenko, Alexander
Semenyuk, Yuri
.............................................................
58
139, 140
............................................................
.....................................................................
Serov, Vladimir
........................................................................
Kugach, Yuriy
Rabin, Oscar
57
Koshlyakov, Valery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120, 124, 125, 126
10, 20, 78
5, 6, 7, 8, 9
........................................................................
80
Kopaev, Vladimir
Kotov, Petr
..........................................................
..........................................................
..............................................................
...................................................................
Kolesnikov, Stepan
137, 144, 145
Pimenov, Yuri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23, 73
................................................................
.................................................................
22
66
Plastov, Arkady
Gerasimov, Sergei
Iordansky, Boris
.................................................................
...................................................................
........................................................
Popkov, Viktor
11, 13, 19, 52, 53
4
Nizovaya, Sofia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Pakhomov, Alexei
50
....................................................
127, 128, 129, 130, 131
Niyeminen, Folke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
................................................................
Gladkiy, Mikhail
........................................
.....................................................................
Gerasimov, Sergei
Gritsai, Alexei
( 126 )
Nesterova, Natalia
..................................................................
............................................
72
88, 93, 94, 95, 98, 99
Vitman, Irina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Weisberg, Vladimir
..............................................................
111
2 December 2015
London
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Where to Find Us
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Terpsikhorov, Nikolai (1890–1960). Letter from the Front
Maksimov, Konstantin (1913‒1994). Lotuses
A Rare Porcelain Composition “Ready for Labour and Defence”
Nesterova, Natalia (B. 1944). L’homme liberant des oiseaux
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+44-20-7389-8160
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London tel:
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