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MacDougall's Russian Art and Photography
8 June 2016 London
8 June 2016
London
Russian Art, Russian Works of Art,
Fabergé and Icons
Classical Russian Photography
8 June 2016
London
Russian Art, Russian Works of Art,
Fabergé and Icons
Classical Russian Photography
Wednesday, 8 June 2016
Auctions
Wednesday, 8 June 2016
Russian Art, Russian Works of Art, Fabergé and Icons, 10:30
Classical Russian Photography, 15:00
Viewing
27 May, 31 May–7 June 2016, 11:00–18:00
MacDougall Arts Ltd
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For G.
MacDougall Arts Ltd
William MacDougall
Dr Catherine MacDougall
Director
Director and Russian Art Expert
Dr Vladimir Petrov
Alexander Kuznetsov
Zelda Cheatle
Russian Art Expert
Russian Art Expert
Photography Expert
Tatiana Sapegina
Nina Sorensen
Catherine Marshall
Associate Director
Associate Director
Senior Russian Art Specialist
Daria Sitnina
Icons and Works
of Art Cataloguer
Helen McIldowie-Jenkins
Russian Art Cataloguer
Olga Glebova
Robert Bowman
Lev Wolfson
Russian Works on Paper Expert
Bronze Expert
Icon Expert
Jacob Gildor
Nikita Lobanov-Rostovsky
Svetlana Djelalian
École de Paris Expert
Russian Theatre Design Expert
Head of Administration
Anastasia Johnston
Icon Cataloguer
Maria Garmaeva
Charles Ross
Senior Shipping Manager
Auctioneer
© 2016 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, London and Buki-Vedi, Moscow
RUSSIAN ART LOTS 1–253
*§ 1.
*§ 2.
Issupoff, Alessio (1889–1957)
Altman, Alexander (1885–1950)
Still Life with Berries, signed.
Still Life with Flowers, signed.
Oil on canvas, 54.5 by 65.5 cm.
Oil on canvas, 73 by 73 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£8,000–12,000
£4,000–6,000
( 10 )
Russian Art and Photography Auctions
MacDougall’s
London
8 June 2016
( 11 )
§ 3.
§ 4.
Terechkovitch, Constantin (1902–1978)
Portrait of Natalie, signed.
Natalie by GuÉridon, signed, inscribed "Nathalie"
Oil on cardboard, 34.5 by 27.5 cm.
and dated "decembre 1945/ janvier 1946".
Provenance: Private collection, UK.
by France Terechkovitch, the artist’s daughter.
Authenticity of the work has been confirmed by France
Terechkovitch, the artist's daughter.
£4,000–6,000
£5,000–7,000
( 12 )
MacDougall’s
London
8 June 2016
( 13 )
*§ 5.
Grishenko, Alexei (1883–1977)
* 6.
Anisfeld, Boris (1878–1973)
Prayer Time. Constantinople, signed
Still Life with Nasturtiums, signed.
and dated 1920.
Oil on canvas, 94 by 80.5 cm.
Provenance: Acquired directly from the
artist by the father of the present owner
c. 1950s–early 1960s.
Thence by descent.
Private collection, Norway.
£15,000–20,000
Provenance: Acquired directly from the artist by the parents of a previous owner.
Thence by descent.
Collection of the Fainberg Family Trust, USA.
Russian Art, Christie’s New York, 23 April 2010, lot 25.
Acquired at the above sale by the present owner.
Private collection, USA. Literature: E. Lingenauber and O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné,
Düsseldorf, Edition Libertars, 2011, p. 167, No. P 499, illustrated and listed.
£30,000–40,000
( 14 )
MacDougall’s
London
8 June 2016
( 15 )
* 7.
Vinogradov, Sergei (1869–1938)
Church of St Nicholas. Inner Entrance to the Monastery, signed, also further signed, titled in Cyrillic and numbered
“N 39” on the label on the stretcher, further inscribed “razmer bolshoi” on the stretcher.
Oil on canvas, 73.5 by 60 cm.
Executed in 1928–1929.
Provenance: Acquired by the previous owner in the 1930s.
Private collection, Switzerland.
Thence by descent.
Private collection, South Africa.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Possibly, Sergei Vinogradov, Riga, 14 April–5 May 1935, No. 39 (label on the stretcher).
Literature: V. Sinaisky, Pskovo-Pecherskii monastyr. Obshchii kulturno-istoricheskii ocherk, Riga, Riti, 1929, illustrated on the cover.
N. Lapidus, Sergei Vinogradov, St Petersburg, Zolotoi Vek, 2001, p. 170, illustrated.
£60,000–90,000
Представленные на торги картины Сергея Виноградова «Никольская
церковь. Внутренний вход в монастырь» и «Печерский монастырь. Звонница» принадлежат к его знаменитой серии полотен 1928–1929 годов,
посвященной красивейшему старинному Свято-Успенскому Псково-Печерскому монастырю.
Тема тихой монастырской жизни, протекающей на фоне древней и величественной церковной архитектуры, волновала художника на протяжении многих лет. Уже в самом начале своего творческого пути Виноградов
создал несколько полотен с изображениями паломников у православных
святынь: «Выход из церкви», «У часовни» (обе 1893), «Нищие около церковной ограды» (1899), «В келье» (1916). Художник не оставил свои любимые церковные сюжеты и после революции. Даже отправляясь с выставкой в Америку представлять молодое советское искусство, он взял
с собой несколько монастырских видов, один из которых — «Марфо-Мариинская обитель» (1922) — чуть ли не в первый же день выставки купил
композитор Сергей Рахманинов, поселившийся в начале 1920-х годов
с семьей в доме на берегу Гудзона.
Уехав из Америки в 1924 году, Виноградов обосновался в Риге, где он
в скором времени открыл живописную мастерскую. Желающих учиться
нашлось множество. Среди них оказался и профессор Василий Синайский, известный правовед, тоже перебравшийся в Ригу из Москвы. Знакомство двух талантливых людей вскоре переросло в дружбу, и летом
1928 года Виноградов и Синайский отправились на пленэр в соседнюю
Эстонию писать Печерский монастырь.
Эта древнейшая православная обитель по иронии судьбы тогда тоже оказалась в «эмиграции». По договору 1922 года мужской Свято-Успенский
монастырь отошел к буржуазной Эстонии, тем самым избежав закрытия
и разорения. Раскинувшийся на дне глубокого оврага монастырь,
Present lot as illustrated on the
cover of V. Sinaisky 1929 publication
( 16 )
S. Vinogradov in PskovoPechersky Monastery, 1929
большинство главок которого находится ниже, чем основания стен, представлял живописнейшую картину. Дело в том, что возник монастырь из пещерного скита (печора — это и есть пещера), где молились с XIV века беглые монахи из Киево-Печерской лавры. Территория эта оспаривалась
Псковом и Ливонией и постоянно переходила из рук в руки, поэтому находиться здесь было едва ли не опаснее, чем на разоряемом татарами Юге.
Однако скит постепенно расширялся, происходили чудеса, обретались
нетленные мощи. В 1473 году монастырь был учрежден официально,
а с XVI века, при игумене Корнилии, Псково-Печерский монастырь
превратился в мощную крепость, заменившую «морально устаревший»
Изборск. Монахи вели миссионерскую деятельность, крестили местные
народы. Уже при Иване Грозном монастырь, зародившийся на чужой
земле, окончательно сделал эту землю русской.
За два лета в 1928 и 1929 году Виноградов и Синайский подготовили
книгу-альбом о Печерском монастыре, на обложке которой была воспроизведена представленная на торги картина «Никольская церковь.
Внутренний вход в монастырь»; в качестве иллюстраций в нее вошли репродукции других живописных работ художника. Книга, увидевшая свет
в Риге в 1929 году и ставшая библиографической редкостью, была очень
популярна и принесла ее авторам огромную известность. По следам
книги в 1935 году в Риге была устроена персональная выставка Виноградова в зале на улице Калпака, где «гармонично смотрелись картины с ансамблем Псково-Печерского монастыря». Ведь как писали современные
газеты: «Виноградов — поразительный художник: к чему бы он ни прикоснулся, все начинает вдруг трепыхать и светиться. По всем этим холстам разлита ласковая и восхитительная радость, в этом мире хочется
жить». Крепкие монастырские стены, возведенные в древние времена
для обороны, стоявшая при входе древняя Никольская церковь, утопающий в зелени главный храм монастырского ансамбля, Успенский собор
с синими «лазуритовыми» куполами. На нескольких холстах можно
узнать и старинную белокаменную звонницу с колоколами, построенную
в 1523 году и по сей день считающуюся крупнейшей на Псковщине.
Ее массивная кладка, которую без труда можно узнать в знаменитой картине Рериха «Монастырь под Псковом», не раз вдохновляла художников,
увлеченных духом русской старины. Виноградов писал о своей работе
в Печерах: «Удивительное чувство я всегда испытывал при входе в монастырь — вся современность, всяческие «сегодня» совершенно отходят
и так делается упоительно и славно на душе».
Не удивительно, что Виноградов и Синайский задумали Печерский цикл,
вдохновившись мыслями любимого писателя Фёдора Достоевского о том,
что культура есть воплощение в земной среде Божественного начала. Говоря иначе, чтобы культура сохранялась, ей необходимо иметь «святую
землю», духовную почву, куда снова может прийти Христос. Таким местом
и была для художника Печерская обитель.
MacDougall’s
London
8 June 2016
( 17 )
* 8.
Vinogradov, Sergei (1869–1938)
Pechersky Monastery. The Belfry, signed and dated 1929, also further signed
twice, inscribed, partly in Cyrillic, “Pétcheri (Pechiory)./(1472) Monastére./gegründet.”
and titled on the label on the frame on the reverse.
Provenance: Acquired by the previous owner in the 1930s.
Thence by descent.
Private collection, South Africa.
Exhibited: Possibly, Sergei Vinogradov, Riga, 14 April–5 May 1935.
£50,000–70,000
The paintings by Sergei Vinogradov offered here at auction — Church of
St Nicholas. Inner Entrance to the Monastery and Pechersky Monastery.
The Belfry — belong to his renowned series of works from 1928 to 1929,
dedicated to the age-old and exceedingly beautiful Pskovo-Pechersky
Monastery of the Holy Dormition.
The artist had long been interested in the subject of the quiet monastic life
running its course against a background of old, majestic church architecture. Even at the very outset of his creative journey Vinogradov had painted
several canvasses depicting pilgrims in Orthodox holy places: Coming out
of Church, By the Chapel (both 1893), Paupers near a Church Wall (1899),
In the Monastery Cell (1916). Nor did Vinogradov abandon his beloved
churchly subjects after the revolution. Even when the artist set out to the
United States with an exhibition showcasing young Soviet art, he took
several pictures of monasteries with him. One such work — The MarfoMariinsky Convent (1922) — was bought right after the opening of the exhibition by the composer Sergei Rakhmaninov, who in the early 1920s had
settled with his family in a house on the Hudson River.
When Vinogradov left the United States in 1924, he did not return to Soviet
Russia, but based himself in Riga, where he soon opened a studio. His
workshop received many eager visitors, and among the students was
a well-known professor of jurisprudence, Vassily Sinaisky, who had also
come over from Moscow to Riga. The acquaintanceship between these two
talented individuals soon grew into friendship, and in the summer of 1928
Vinogradov and Sinaisky set off for neighbouring Estonia to paint the
Pechersky Monastery en plein air.
By a quirk of fate this ancient Orthodox religious convent had also ended
up as a Russian émigré. Under the treaty of 1922, the male monastery of
the Holy Dormition was passed over to bourgeois Estonia, thereby avoiding
closure and ruination. The monastery, spread out at the bottom of a deep
ravine, with most of its cupolas at a lower height than the foundations of
its walls, made a very picturesque view. In fact, the monastery had grown
out of a cave hermitage (pechora is actually “cave”), where in the 14th century fugitive monks from the Kiev Pechersk Lavra had prayed. The site was
on land then subject to a dispute between Pskov and Livonia and was constantly changing hands, so that it was scarcely less dangerous than the
territory in the South being ravaged by Tatars.
The hermitage gradually expanded, miracles were reported and incorruptible relics obtained. In 1473, the monastery was officially established, and
in the 16th century, under Abbot Cornelius, the Pskovo-Pechersky
Monastery grew into a mighty fortress, replacing the “morally obsolete”
Izborsk. The monks acted as missionaries, christening the local people. By
the time of Ivan the Terrible, the monastery, born on foreign soil, had made
that very soil Russian.
Over the two summers of 1928 and 1929 Vinogradov and Sinaisky prepared an album dedicated to the Pechersky Monastery, reproducing on the
cover the painting Church of St Nicholas. Inner Entrance to the Monastery,
offered here at auction; other paintings by the artist were also used as
illustrations. The book was published in Riga in 1929 to significant acclaim,
becoming a bibliographical rarity and bringing its authors great renown. In
the footsteps of the publication, Vinogradov had a one-man exhibition in
Riga in 1935, held in a hall on Kalpaka Street, where “pictures of the architectural ensemble at the Pskovo-Pechersky Monastery formed a harmonious view”. As newspapers wrote at the time, “Vinogradov is an astonishing artist: whatever he tackles suddenly starts to shimmer and shine. All
these canvasses are suffused with joy, affection and delight; this is a world
one wants to live in”. There were paintings of the strong monastery walls
erected long ago “for the sake of defence”, the old church of St Nicholas
standing at the entrance, the monastery ensemble’s chief place of worship
wallowing in green foliage — the Cathedral of the Dormition with its blue
lazurite cupolas. In some canvasses one can also recognise the ancient
bell tower of white stone, which was built in 1523 and is believed to this
day to be the largest in the Pskov region. Its impressive masonry, which is
easily recognised in Nicholas Roerich’s well-known painting Monastery near
Pskov, has often inspired artists captivated by the spirit of old Russia.
Vinogradov wrote of working at the Pechersky Monastery: “When entering
the monastery I always experienced an astonishing feeling — all modernity,
every aspect of “today” fades away completely, and the heart is filled with
a glorious delight”.
It comes as no surprise that Vinogradov and Sinaisky conceived the
Pechersky cycle of works, inspired by their favourite author, Fyodor
Dostoevsky, who wrote that culture is the worldly embodiment of a divine
principle. In other words, for culture to be preserved, it must have its “holy
ground”, a spiritual soil where Christ can descend again. For Vinogradov,
the Pechersky Monastery was just such a place.
S. Vinogradov, Pskovo-Pechersky
Monastery. Belfry (first version), 1928
( 18 )
S. Vinogradov, Pskovo-Pechersky
Monastery. Belfry (second version), 1928
MacDougall’s
London
8 June 2016
( 19 )
* 9.
Kandinsky, Wassily (1866–1944)
Rural Landscape, signed, further numbered “N 45” on the reverse.
Oil on canvas, laid on cardboard, 23 by 32 cm.
Executed c. 1903.
Provenance: With Sturm-Galerie, Berlin, 1913 (label on the reverse).
Collection of Harry Jansson, Stockholm (inscription on the reverse).
Sotheby’s New York, 10 May 1989, lot 366.
Acquired at the above sale by the previous owner.
Private collection, USA.
Exhibited: Der Blaue Reiter, Sturm-Galerie, Berlin, 1913 (label on the reverse).
Wassily Kandinsky, Gummeson Art Gallery, Stockholm, February 1916.
Wassily Kandinsky, Moderna Museet, Stockholm, 10 April–23 May 1965.
Wassily Kandinsky. Sounds of Colours, Helly Nahmad Gallery, New York, 11 May–28 June 2004.
Literature: Exhibition catalogue, Wassily Kandinsky, Stockholm, Moderna Museet, 1965, No. 3, listed with
incorrect date.
H. Roethel, J. Benjamin, Kandinsky. Catalogue Raisonné of the Oil Paintings. 1900–1915, vol. 1, Ithaca,
Cornwell University Press, 1982, p. 129, No. 108, illustrated.
Exhibition catalogue, Wassily Kandinsky. Sounds of Colours, New York, Helly Nahmad Gallery, 2004, p. 29,
illustrated; listed in the catalogue list.
£280,000–350,000
«Деревенский пейзаж» — редкая ранняя работа Василия Кандинского,
знаменитого автора концепции абстрактного искусства, написанная осенью 1903 года во время его кратковременного визита на родину.
Приехав из Мюнхена, Кандинский, как всегда, посетил подмосковную
деревню Васильевское, где он когда-то счастливо жил после свадьбы и
где он всегда мог остановиться у родственников. Здесь, в Васильевском
и в соседней Ахтырке, Кандинский создает целый ряд виртуозных этюдов небольшого размера, написанных на «одном дыхании» на маленьком этюднике, умещавшемся на коленях и предопределившем их формат. Он охотно тренировал свой глаз на природе, улавливая тончайшие
нюансы тона и осваивая скоропись.
Сам художник называл такой тип картины, передающей впечатления от
натуры, импрессиями, но его импрессионизм имел мало отношения к художественному течению, которое в 1870-е годы в Париже утверждал
Клод Моне и его друзья. В творчестве Кандинского и художников его поколения импрессионизм превратился в некую манеру свободной живописи отдельными мазками на пленэре, сохранив от прежнего импрессионизма лишь повышенный интерес к эффектам освещения. К 1903 году за плечами Кандинского уже были не только уроки Антона Ашбе и
Франца фон Штука, но и собственное художественное объединение со
школой «Фаланга», а также теоретические публикации по вопросам искусства. Он чувствовал себя уверенным, сложившимся мастером и был
прекрасно знаком с новейшей европейской живописью.
The present lot as illustrated in the 2004 exhibition catalogue
( 20 )
Выбирая максимально простые сюжеты — деревенские постройки, поля
с косыми вечерними тенями, бегущие по небу облака и группы деревьев
— Кандинский стремился вводить в пейзаж значимые мотивы, какими являлись для него, например, изображения дорог. Во всяком случае, в начале 1900-х годов художник предпочитает в своих этюдах изображать
тропы и дорожки в поле и горах, близ строений и среди деревьев («Мюнхен. Планегг», 1901). Особо примечателен в этом отношении представленный этюд с дорогой через поле и одинокой лошадкой. Позднее этот мотив
выльется в изображение дороги и одинокого всадника, устремляющего
свой путь к укрепленному городу на холме, и в развитие одной из важнейших тем в творчестве художника: всадники, несущие весть.
Усиливая экспрессию образа, стимулированного личным переживанием,
Кандинский компенсировал отсутствие живописного вида сложной фактурой письма. Динамичные рельефные мазки, создающие эффект маэстрии, и работа отдельными крупными пятнами (художник всегда специально прорабатывал поверхности, используя кисти разных размеров,
применяя мастихин, нередко процарапывая краску тыльной стороной
кисти вплоть до видимой основы и т. п.) даже в небольшом пейзаже позволяют Кандинскому добиваться особой выразительности.
Подобный импрессионизм легко соединялся с традицией реалистического пейзажа, знакомого Кандинскому по работам Исаака Левитана,
которые он копировал еще до отъезда из России, а также и со школой
немецкого импрессионизма, представленного в Германии именами
W. Kandinsky, Munich. Planegg, 1901
MacDougall’s
London
8 June 2016
( 21 )
Макса Либермана, Макса Слефогта и Ловиса Коринта с их эмоциональной, широкой манерой письма и интересом к натурным этюдам.
Чтобы писать такие этюды, Кандинский не просто «выезжал на мотив»,
как то было принято, а выбирал виды, которые он хорошо знал и изображал по нескольку раз. Неслучайно несколько из них связаны
Rural Landscape is a rare early work by Wassily Kandinsky, the celebrated
founder of the concept of abstract art. It was painted in the autumn of
1903, during a brief visit the artist made to his native Russia.
Arriving from Munich, Kandinsky would usually visit the village of
Vasilyevskoye near Moscow, where he had once lived happily following his
wedding and where he could always stay with relatives. It was there, in
Vasilyevskoye and the neighbouring village of Akhtyrka, that Kandinsky produced a series of small, brilliant études, painted in one sitting using a
small easel resting on his knees, which predetermined their format. He
would eagerly train his eye in the outdoors, capturing the minutest subtleties of tone and exercising his hand in the rapid sketch technique.
The artist himself called this kind of picture — one that conveyed experiences from life — “impressions”, but his impressionism had little to do
with what Claude Monet and his friends had been affirming in Paris in the
1870s. In the work of Kandinsky and the artists of his generation, impressionism became an unconstrained way of painting en plein air using separate brushstrokes, having preserved from its predecessor only a heightened interest in the effects of lighting. By 1903, Kandinsky had not only
absorbed the lessons of Anton A be and Franz von Stuck, but had established an artistic association and the Phalanx School of Painting, and published theoretical treatises on art. He considered himself a confident and
accomplished artist who was thoroughly familiar with the latest European
painting.
Choosing the simplest possible subjects — rural buildings, fields with
slanting evening shadows, clouds scudding across the sky and clumps
of trees — Kandinsky strove to bring to the landscape what he thought of as
“meaningful motifs”, such as the portrayal of roads. At any rate, in the early
1900s, the artist often preferred to depict in his études a path or tracks in
a field or in the mountains, near buildings or among trees (Munich-Planegg,
1901). The étude presented here, with a track across a field and a lone
The present lot as listed in the 1965 exhibition catalogue
MacDougall’s
London
8 June 2016
с Подмосковьем — Ахтыркой и Васильевским, где летом отдыхали сестра
его жены Анны Мария со своим мужем Владимиром Абрикосовым.
В этом сказался своеобразный автобиографизм творчества
Кандинского, позволяющий рассматривать представленный на торги
пейзаж не только как свидетельство одного из этапов развития крупнейшего художника ХХ века, но и как факт его личной творческой судьбы.
horse, is particularly noteworthy in this respect. Later, the motif was to give
rise to the depiction of a road and a solitary horseman wending his way towards a walled town on a hill, and to the development of one of the most
important themes in Kandinsky’s work — horsemen carrying a message.
As he intensified the expressionism of an image prompted by personal experience, Kandinsky made up for any lack of a conventionally “picturesque”
view by devising a complex painting texture. Using dynamic, prominent
brush strokes with masterly effect, and working with separate large patches
of colour (the artist would always prepare the surface in a very specific way,
employing brushes of various sizes and a palette knife, quite often scratching the paint with a brush handle until the base was visible, and so on),
enabled Kandinsky to achieve remarkable expressiveness, even in a small
landscape.
“Impressionism” of this kind could easily be associated with realistic landscape art, a tradition that was familiar to Kandinsky from the works by
Isaac Levitan, which he had been copying before leaving Russia, and also
with the school of German Impressionism, represented in Germany by Max
Liebermann, Max Slevogt and Lovis Corinth, with their interest in doing
studies en plein air and in an emotional, broad-brush style of painting.
It is noteworthy that, in order to paint such études, Kandinsky did not just
“go out to paint”, as was the accepted practice, but chose views that he
knew well and had painted several times. As one might expect, several of
them are connected with the area around Moscow — Akhtyrka and
Vasilyevskoye — where Maria, the sister of his wife Anna, and her husband,
Vladimir Abrikosov, would spend their summer holidays.
This reflects the distinctively autobiographical nature of Kandinsky’s work,
enabling the landscape that is offered for sale to be seen not only as testimony to one of the stages in the development of a major 20th-century
artist, but also as a product of his personal creative destiny.
W. Kandinsky, Munich. English Garden, 1901
( 23 )
* 10.
Korovin, Konstantin (1861–1939)
A Street in the South of France, signed.
Provenance: Russian Paintings and Works of Art, Christie’s New
York, 18 April 2007, lot 110.
£80,000–120,000
K. Korovin, Paris in the Daytime
( 24 )
K. Korovin, Suburbs of Paris
K. Korovin, Coachman in Crimea, 1910s, The State
Tretyakov Gallery
MacDougall’s
London
8 June 2016
( 25 )
11.
Lebedev, Vladimir (1891–1967)
Still Life with Flowers in Two Vases, signed.
Provenance: Collection of the ballet dancer and choreographer
Nadezhda Nadezhdina, the artist’s wife.
The present lot is accompanied by a photograph of Nadezhda
Nadezhdina, in which the work on offer can be seen on the wall
next to her.
£60,000–90,000
The artist’s wife Nadezhda Nadezhdina
by the present lot
( 26 )
V. Lebedev, Still Life with Flowers
V. Lebedev, Wildflowers, 1946
MacDougall’s
London
8 June 2016
( 27 )
An Important Work
by Lado Gudiashvili
The Legend
of the Founding of Tbilisi
* 12.
Gudiashvili, Lado (1896–1980)
The Legend of the Founding of Tbilisi, signed.
Oil on canvas, 176.5 by 264 cm (canvas size).
Executed c. late 1940s.
Provenance: Acquired by the father of the present owner in Tbilisi c. 1950s.
Thence by decent.
Private collection, Europe.
Exhibited: Vystavka proizvedenii zasluzhennogo deyatelya iskusstv Gruzinskoi SSR khudozhnika Lado Gudiashvili, Tbilisi, 1957.
Literature: Exhibition catalogue, Katalog vystavki proizvedenii zasluzhennogo deyatelya iskusstv Gruzinskoi SSR khudozhnika
Lado Gudiashvili, Tbilisi, Sakhelgami, 1957, illustrated.
£200,000–250,000
«Легeнда об основании Тбилиси» — одна из самых известных композиций Ладо Гудиашвили послевоенного периода его творчества.
Вернувшись в 1925 году в родную Грузию из Франции, Гудиашвили некоторое время пытался влиться в общее русло развития советского искусства, всецело посвятив свой декоративистский дар отображению строящейся вокруг «новой жизни». Однако уже со второй половины 1930-х
годов фантазии и романтика взяли верх над реальными социальными
темами.
Вдохновленный успехами археологов, открывших большие захоронения
в Армази, районе, расположенном возле древней столицы Грузии
Мцхета, художник погрузился в мир легендарного прошлого своей страны, написав в 1940 году первую большую историческую картину.
Чуть позже, в 1945 году, был создан и первый вариант «Легенды об основании Тбилиси», в основу которого легло древнее сказание. Когда-то
на месте Тбилиси простирались непроходимые леса, куда отправился
однажды на охоту царь Вахтанг I Горгасали. Погнавшись за добычей,
грузинский царь ранил оленя, однако зверю удалось скрыться в ущелье.
Когда же царь со свитой спустился вслед за ним в ущелье, то охотники
увидели чудо — олень нырнул в целебный источник, рана его затянулась, и он целым и невредимым ушел от своих преследователей.
Вернувшись с охоты, Вахтанг I велел заложить в этом чудесном месте город, который назвали Тбилиси (или «город теплых ключей»: в переводе
с грузинского «тбили» значит «теплый») в честь этих вод.
( 30 )
персонажей, ирреальной страной сказочного прошлого, населенной
бесстрашными героями и пляшущими красавицами. Художник не раз
обращался к теме основания Тбилиси, варьируя историческую сцену
в ущелье вплоть до 1960-х годов.
К числу таких, воспевающих «золотой век» Грузии, наполненных светом
и цветом «легенд», принадлежит и наше полотно, выполненное в 1940-е
годы. Его композиция, в которой скачущие всадники, склоняющиеся к
центру скалистые вершины, исцеленный чудесным источником зверь, гончие псы, горы и причудливый ландшафт сплетаются друг с другом, составляет совершенно замкнутый узор. Тема охоты позволяет художнику изобразить его любимых животных — оленей, собак и лошадей. Гудиашвили
признавался, что порой именно возможность написать животных, их порывистое и одновременно грациозное движение побуждала его браться
за кисть: «Для меня лань — сама красота и грация… олицетворение всего
чистого и прекрасного. Я считаю ее символом любви, добра, чистоты.
Ведь лань так гибка и эластична. Ее движения изумительно грациозны…
Раз уж я заговорил об этом, то скажу и о том, что вообще я очень люблю
рисовать животных… лань и олень — мои любимые персонажи».
Художник, некогда испытавший влияние Нико Пиросмани и искушение европейского модернизма, прошедший школу советского соцреализма
и увлечение условностью театральной графики, организует свою композицию по принципу театральной мизансцены. Ее определяющим качеством
становится прежде всего декоративность, орнаментальное решение, текучесть линий, при которой перспективная и анатомическая правильность
могут нарушаться ради экспрессии, ради выразительных акцентов.
И хотя ни о какой исторической конкретике в работе художника речь не
шла, тема, дававшая простор фантазии, получила широкое признание.
Этого было достаточно. Отныне собственный путь в искусстве и высшие
живописные достижения связаны для Гудиашвили с миром национальной
истории и грузинских легенд, мифологических сюжетов и фольклорных
Неслучайно один из самых проницательных советских искусствоведов —
Яков Тугендхольд отмечал, что в живописи Гудиашвили всегда сказываются «суровость грузинской фрески, пряность персидской миниатюры, мерцание мозаик (и некоторый налет Гогена)».
The present lot as illustrated in the 1957 exhibition catalogue
Lado Gudiashvili
MacDougall’s
London
8 June 2016
( 31 )
The Legend of the Founding of Tbilisi is one of the best-known compositions that Lado Gudiashvili produced during the postwar period of his work. After returning from France to
his native Georgia in 1925, Gudiashvili sought for some time to join the mainstream development of Soviet art, wholeheartedly devoting his decorativist talent to depicting the
“new life” that was being built around him. However, from the second half of the 1930s
onwards, fantasy and romanticism would gain prominence over real-world social themes.
Inspired by a new archaeological discovery of an extensive burial sites at Armazi, near
Georgia’s ancient capital, Mtskheta, Gudiashvili immersed himself in the world of his
country’s legendary past, painting in 1940 his first large-scale historical picture.
The first version of The Legend of the Founding of Tbilisi was produced soon after, in
1945. The legend tells of how the site of the ancient Georgian capital had once been
covered by impenetrable forests, where King Vakhtang I Gorgasali set off to hunt. As he
pursued his quarry, the Georgian king wounded a deer, but the animal managed to hide
in a ravine. Vakhtang and his attendants would give chase, before a miracle befell the
hunting party: the deer plunged into a healing spring, its wound closed up and it escaped from its pursuers unscathed. Returning from the hunt, the king ordered that a city
be built on that miraculous spot and that it be named “Tbilisi” in honour of the sacred
waters (tbili means “warm”, so Tbilisi is a “city of warm springs”).
Although Gudiashvili’s work did not concern itself with specific historical events, its
theme, which offered broad scope for fantasy, won widespread acclaim. That proved to
be sufficient as from then onwards, Gudiashvili’s own path in art and his highest artistic
achievements were rooted in the realm of national history and Georgian legend, mythological themes and folklore characters, and an unreal country of a fairytale past, inhabited by fearless heroes and beautiful dancing damsels. The artist would turn to the
theme of the founding of Tbilisi again and again, producing variations of the historical
scene in the ravine right up to the 1960s.
Our canvas, painted in the 1940s, is among those Legends, replete with the light and
colour, that celebrate the Golden Age of Georgia. Its composition, in which the galloping
horsemen, the rocky peaks leaning towards the centre, the creature healed by the
miraculous spring, the hunting dogs, the mountains and the quaint landscape intertwine with one another, constitutes a totally self-contained design. The hunting theme
allows the artist to depict his favourite animals — deer, dogs and horses. Gudiashvili
admitted that sometimes it was the opportunity to paint animals and their impulsive yet
graceful movement that prompted him to take up his brush: “For me, a fallow deer
is absolute beauty and grace… the embodiment of all that is pure and splendid. I regard
it as a symbol of love, good and purity. A fallow deer is, after all, so supple and elastic.
Its movements are amazingly graceful… Since I’ve started talking about this, I’ll also say
that I’m generally very fond of drawing animals… The fallow deer and other deer are my
favourite characters.”
As an artist who had previously felt the influence of compatriot Niko Pirosmani and the
allure of European modernism, who had passed through the school of socialist realism
and experienced a fascination for the conventionality of stage design, Gudiashvili
arranged his composition according to the principle of mise-en-scène in theatre. Its
defining quality is, above all else, decorativeness, ornamentality and a fluidity of lines
in which correctness of perspective and anatomical accuracy
may be sacrificed for the sake
of expression and strokes of
eloquence.
L. Gudiashvili, The Deer Hunt, 1949
( 32 )
Yakov Tugendkhold, one of the
most discerning of Soviet art historians, had good reason to comment that Gudiashvili’s painting
always features “the severity of
a Georgian fresco, the piquancy
of a Persian miniature,
the glistening of mosaics (and
a small dash of Gauguin)”.
* 13.
Pimenov, Yuri (1903–1977)
Dressing Room at the Bolshoi Theatre, signed with initials and dated 1972.
Provenance: With the salon of the Art Fund of the USSR (label on the stretcher).
Gekkoso Gallery, Tokyo (label on the backing cardboard).
Russian Art, Sotheby’s New York, 12 April 2011, lot 32.
£130,000–180,000
Имя Юрия Пименова, несомненно, стоит в одном ряду с лучшими советскими живописцами — такими как Александр Дейнека, Георгий Нисский
и Александр Самохвалов, творчество которых невозможно отделить от
становления и развития новой отечественной живописи.
В середине 1920-х годов молодой Пименов, как и его друг и соратник
по московскому Обществу станковистов Александр Дейнека, испытал
влияние немецкого искусства тех лет, прежде всего экспрессионизма
и «новой вещественности». Классическими работами Пименова того
времени стали такие шедевры, как «Инвалиды войны» (1926,
Государственный Русский музей), «Даешь тяжелую индустрию» (1927,
Государственная Третьяковская галерея), «Китайский танцор» (1928,
собрание Петра Авена). Ранний остовский стиль Пименова явился
прекрасным началом его творческой карьеры, но в силу социальных
обстоятельств так и остался уникальным экспериментом времени.
Во второй половине 1930-х годов стилистическая манера художника
претерпевает существенные изменения, внешне становится похожей на
обновленный «советский» импрессионизм. Сюжеты становятся более
камерными и лиричными, сужаясь до поэтики будней простых советских
людей самых разных профессий. Это и рабочие новостроек, и фабричные передовики, и школьные учителя, и театральные актеры. Как «художника настроения», Пименова волнуют порою не конкретные персонажи, а действо, в которое они вовлечены, сама атмосфера происходящего, привкус настоящего сиюминутного момента, времени, в котором
находится сам автор. Вот почему в его живописи чувствуется изображаемое время суток, наступление весны, яркость любого ощущения бытия.
«Для Пименова, художника-жанриста, особую ценность приобретают
обычные каждодневные ситуации, события, явления, в которых раскрывается большая правда жизни. Художник переносит на холст и блеск
Yu. Pimenov, Ballet Dressmakers.
London,1970
( 34 )
Yu. Pimenov, Mirror, 1970
черных глянцевитых зонтов в дождливую погоду, и благоухающую
пристанционную сирень, мимо которой проносятся военные эшелоны,
грузовики, груженные мясом, кирпичом или цветами, и девушек, в чьих
волосах вместо украшений заколота ветка сирени и душистая ночная
фиалка. Во всем этом Пименов достигает большой человечности,
остроты и жизненности передачи настроения», — писал искусствовед
Анатолий Рощин.
Важную сторону в творческой биографии этого выдающегося художника
занимал театр. За долгие годы (почти 50 лет) работы театральным сценографом Пименов оформил множество классических и театральных постановок. Стремясь создать единый образ спектакля, он планировал
сценическое пространство, создавал декорации, сочинял эскизы костюмов, рисовал афиши, оформлял театральные программы, иллюстрировал книги о театре. Принимая активное участие в творческом процессе,
Пименов регулярно посещал репетиции, следил за тем, чтобы декорации соответствовали эскизам и самому авторскому замыслу постановки.
Подмеченные закулисные и бытовые сценки из театральной жизни свидетельствовали о живом присутствии художника, о правдивом донесении до зрителя всей атмосферы театральной суеты.
Представляемая нами работа Юрия Пименова «Костюмерная Большого
театра» (1972) раскрывает его не только как великолепного жанриста,
но и как художника, наделенного большим композиторским талантом,
невероятно легко и артистично владеющего живописным пространством
и чувством колорита. С акварельной легкостью написанный интерьер,
фигуры и все детали композиции позволяют судить о Пименове как
о мастере первой величины, наследие которого не подвержено влиянию
определенного режима, социума, художественных веяний и моды.
Именно это делает любого настоящего художника особенным
и неповторимым.
Yu. Pimenov, Late for the Performance,1970
MacDougall’s
London
8 June 2016
( 35 )
Yuri Pimenov undoubtedly ranks among the best Soviet painters, alongside
Aleksandr Deineka, Georgy Nissky and Alexander Samokhvalov, whose
works are an integral part of the formation and development of a new era
in the history of art in the USSR.
In the mid-1920s, the young Pimenov, together with Aleksandr Deineka, his
friend and associate at the Society of Easel Painters (OST), was influenced
by contemporary movements in German art, primarily Expressionism and
New Objectivity. Pimenov’s finest works from that period, such as War
Invalids (1926, The State Russian Museum), Long Live Heavy Industry!
(1927, The State Tretyakov Gallery) and Chinese Dancer (1928, Collection of
Pyotr Aven), are true masterpieces of historical significance. Pimenov’s time
at the OST served as a solid foundation to his creative career, but by virtue
of social circumstances remained a unique experiment of its time.
In the second half of the 1930s, the artist’s stylistic manner underwent
substantial changes, eventually crystallising into an updated version of
Soviet “impressionism”. The topics he tackles, now more intimate and lyrical, are narrowed down to encompass the poetics of mundane life of ordinary Soviet people. These are builders of residential houses, top performing factory workers, schoolteachers and theatre actors. As an artist attuned
to sentiment, Pimenov is primarily interested not in specific character types
but rather in their activity, the atmosphere that surrounds it, and the
flavour of temporality itself — either of a fleeting moment or a longer historical period. This is why his paintings convey the feel for the time of day, the
arrival of spring, or the intensity of existential experiences.
Yu. Pimenov, Young Audience, 1970s
( 36 )
“For Pimenov the genre artist, special value is attached to ordinary everyday situations, events or phenomena, in which some great truth about life
is revealed. The artist transfers to the canvas the glint of glossy black umbrellas in rainy weather; the fragrant lilac bush by the railway station,
which trains packed with soldiers, lorries laden with meat, bricks or flowers
pass by; and the girls who, in lieu of adornments, have lilac stems and
fragrant night violets stuck in their hair. All this Pimenov achieves with
great humanity, acuteness and liveliness in conveying the mood,” wrote
the art critic Anatoly Roshchin.
Theatre occupied a pivotal place in Pimenov’s oeuvre. For nearly 50 years
he worked as a theatre designer, designing sets for a great number of productions. He approached each production as a unified, wholesome work of
art, striving to preserve conceptual coherence in the layout of the stage and
the design of costumes, posters and theatre programmes. Pimenov played
an active role in all stages of production, regularly attending the rehearsals
to ensure the final designs reflected the original concept. His sketches of
events taking place backstage testify to his keen involvement and are regarded as truthful representations of the hustle and bustle of thespian life.
Dressing Room at the Bolshoi Theatre (1972), presented here for auction,
reveals Pimenov’s outstanding talent — not merely as a genre painter but
also as an artist with a unique feel for colour and composition, tackling the
space with incredible ease and flamboyance. The interior, the figures and
all the smaller details, painted with a lightness normally associated with
watercolour, reinforce Pimenov’s stature of a major artist, whose legacy is
above political and societal constraints, and immune to shifts of artistic
paradigms and trends. It is precisely this feature that makes a true artist
special and inimitable.
Yu. Pimenov, Interval, 1970, The Perm State Art Gallery
* 14.
Kuznetsov, Pavel (1878–1968)
Old Moscow, inscribed with the artist’s initials by E. Bebutova, the artist’s wife.
Oil on cardboard, 51 by 74.5 cm.
Executed in the mid-1920s.
Provenance: Estate of the artist.
Acquired from the above by Arno Babajanian, Soviet composer and pianist, in 1968.
Thence by descent.
Acquired from Ara Babajanian, the son of the above, by the present owner.
The work is accompanied by a letter from Ara Babajanian, confirming the provenance of the work.
Authenticity certificate from the expert T. Zelyukina.
Authenticity certificate from the expert I. Geraschenko.
Literature: L. Budkova, D. Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, 1975, p. 354, pl. 84, illustrated; No. 449, listed.
M. Kiselev, Peizazh sovetskikh khudozhnikov 1917–1974, Moscow, Sovetskii khudozhnik, 1975, illustrated on the cover; pp. 52, 53, illustrated and listed.
D. Sarabianov (ed.), Pavel Kuznetsov. Izbrannye proizvedeniya, Moscow, Sovetskii khudozhnik, 1988, No. 90, illustrated and listed.
£120,000–180,000
В «Старой Москве», написанной Павлом Кузнецовым вскоре после возвращения из Парижа, ощутимо упоение художника французской живописью. Яркая, белеющая от зноя и света зелень, белые, синие и желтые
домики с розовыми крышами, светлая голубизна неба, пронзенного
вдалеке силуэтом церкви и колокольни, и живая, подвижная цветовая
структура уходящей вверх дороги пробуждают воспоминания о видах
Экс-ан-Прованса и Эстака Поля Сезанна, о разговорах Кузнецова с
Андре Дереном и всем том круге парижских впечатлений и встреч, которые вдохновили художника на создание в середине 1920-х годов нескольких городских пейзажеи «нового типа».
There is a palpable sense in Old Moscow, which Pavel Kuznetsov painted
soon after his return from Paris, of the artist’s infatuation with French painting: the greenery blanching in the heat and bright sunlight, the little white,
blue and yellow houses with their pink roofs, the luminous pale blue of the
sky, pierced in the distance by the silhouette of a church and bell tower and
the lively shifting structural colour of the road receding into the distance — all
these features awaken recollections of Paul Cézanne’s views of Aix-enProvence and L’Estaque, of Kuznetsov’s conversations with André Derain and
of that whole round of Parisian impressions and meetings which inspired the
artist to create several urban landscapes “of the new type” in the mid-1920s.
В них мастер будто вновь возвращается к той свежей, пленэрной живописи, с которои он начинал когда-то свой путь, к «Саратовскому дворику»
или к работам, выполненным в мастерской Валентина Серова и
Константина Коровина. Однако этот возврат к пленэру сопряжен с новым
этапом в разработке собственной живописной системы, когда прежние
принципы декоративности и фактурной изысканности обогащаются глубоко продуманными расчетами в ритмическом построении композиции.
In these landscapes, Kuznetsov returns, as it were anew, to the fresh en
plein air painting, with which he had started — to his Courtyard in Saratov
or the works he created in the studio of Valentin Serov and Konstantin
Korovin. This return to en plein air, however, is linked to a new stage in the
development of his own painting system, when his earlier principles of decorativeness and elegance of texture are enriched by deeply-weighed considerations of the rhythmic structure in a composition.
Благодаря мерному ритму восходящих к небу городских строений и опушающих их кустов, нанесенных то сухой, то, наоборот, мягкой, насыщенной краской кистью, благодаря вертикали церкви и беглым мазкам
словно зависающей над дорогой листвы, возникает особенно эффектное сочетание живописности и графичности.
The measured rhythm of the town buildings rising towards the sky and the
bushes cushioning them, painted sometimes with a dry brush or by contrast with a soft brush saturated with paint, the vertical lines of the church
and the fluent brushstrokes of the foliage that seems suspended over the
road, lend the work a combination of painterly and graphic qualities that
are particularly effective.
Картина происходит из авторитетной коллекции Арно Бабаджаняна, куда она попала непосредственно из мастерской художника, и имеет подпись, подтверждающую авторство Кузнецова, сделанную в 1968 году его
вдовой Еленой Бебутовой.
The present lot as illustrated on the
cover of the M. Kiselev publication
( 38 )
The painting comes from the distinguished collection of Arno Babajanian,
where it arrived straight from the artist’s studio. It bears an inscription, executed in 1968 by Kuznetsov’s widow Elena Bebutova, confirming the authenticity of the work.
The present lot as listed in the catalogue raisonné of the artist
The present lot as illustrated and listed in the D. Sarabianov 1988 publication
MacDougall’s
London
8 June 2016
( 39 )
15.
Konchalovsky, Petr (1876–1956)
On the River Protva. Fisherman, signed, also further signed, numbered “1628” and dated 1953 on the reverse.
Provenance: A gift from the artist to his friend Avrelian Rubbakh (1896–1976), a composer and Professor at the
Moscow Conservatoire, 1953.
Thence by descent.
Acquired from the above by a previous owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert A. Gusarova.
Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 157, listed as “zhi 1340”.
£30,000–50,000
( 40 )
Замечательному московскому художнику Петру Кончаловскому, как
никому другому, свойственны в живописи философские обобщения. Ему
одинаково виртуозно удавались и портрет, и натюрморт, и родной ему
среднерусский пейзаж.
Philosophical universalisation was intrinsic to the work of the outstanding
Moscow artist Petr Konchalovsky — more so than to any other. He was
equally skilled at painting portraits, still lifes and landscapes of his native
Central Russia.
В трактовке ландшафта Кончаловского следует считать скорее эпическим, нежели лирическим пейзажистом. Для творчества художника характерны черты торжественного, патетического обобщения, стремительного и безраздельного слияния природы с беспокойной человеческой
сущностью. Однако в предложенной им трактовке нет бездушного всепоглощающего пантеизма, предполагающего, как, например, у классических романтиков, полное и безраздельное властвование природной мощи над человеком. У Кончаловского налицо оптимистическое противостояние стихии и разума, предполагающее скорее некий драматический
исход, чем неприглядный в своем малодушии компромисс. Этот гордый
героический подтекст был характерен для общей массы лучших послевоенных отечественных произведений, каким, несомненно, является
и представленная на торги картина «На реке Протве. Рыбак», написанная художником в 1953 году. Работа была подарена автором своему
другу, московскому композитору и профессору Московской консерватории А. Г. Руббаху.
As a landscapist, Konchalovsky should be considered epic rather than lyric.
His landscapes are characterised by a celebratory, emotional universalisation and the heady and whole-hearted fusion of nature with the restless
essence of man. However, in Konchalovsky’s interpretation there is no soulless, overwhelming pantheism suggesting — as, for example, with the classic Romantic artists — a complete and total domination of man by nature.
Instead, here we have an optimistic confrontation between elemental force
and human reason, anticipating some kind of dramatic denouement rather
than a charmless and pusillanimous compromise. This proud and heroic
subtext was characteristic of much of the best Russian work of the post-war
period — a category that certainly includes Konchalovsky’s On the River
Protva. Fisherman, which the artist painted in 1953 for his friend, a composer and Professor at the Moscow Conservatoire, Avrelian Rubbakh.
The present lot as listed in Khudozhestvennoe nasledie
Verso of the present lot
MacDougall’s
London
8 June 2016
( 41 )
* 17.
Yakovlev,
Alexander (1887–1938)
En Route to Bangi, inscribed
in Cyrillic “Liolke ot Sashi/po doroge
v Bangi/Ekvator. Afrika” and dated
1928.
Gouache and tempera on canvas,
51.5 by 79 cm.
Provenance: A gift from the artist
to his niece Liudmila Yakovleva,
c. 1928 (inscription on the work).
£15,000–20,000
* 18.
Yakovlev, Alexander (1887–1938)
L’Escalier, Capri, Nuit, stamped with the artist’s Chinese stamp, further numbered “D-157” on the reverse.
Gouache on paper, 67.5 by 101.5 cm.
Provenance: With Buscaglia-Castellani Art Gallery, Niagara University, New York (label on the frame
on the reverse).
Exhibited: Memorial Exhibition of the Work of Alexandre Iacovleff (1887–1938), The Grand Central Art
Galleries, New York, 11–29 April 1939.
Paintings and drawings by the late Alexandre Iacovleff just received from his Paris estate, Gallery R.C. Vose,
Boston, 5–24 January 1948 (label on the frame on the reverse).
Literature: Memorial Exhibition of the Work of Alexandre Iacovleff, New York, The Grand Central Art
Galleries, 1939, p. 26, No. 165, listed.
Exhibition catalogue, Paintings and drawings by the late Alexandre Iacovleff just received from his Paris
estate, Boston, Gallery R.C. Vose, 1948.
£8,000–12,000
§ 16.
Serebriakova, Zinaida (1884–1967)
Portrait of a Young Woman, signed, inscribed “Paris” and dated 1942.
Pastel on paper, laid on cardboard, 64 by 49 cm (cardboard size).
Provenance: Private collection, France.
Authenticity of the work has been confirmed by the expert E. Lanceray
of the Serebriakova Trust.
£30,000–40,000
( 42 )
MacDougall’s
London
8 June 2016
( 43 )
19.
Yakovlev, Alexander (1887–1938)
Palmyra, signed and dated 1933.
Provenance: The Russian Sale, Sotheby’s London, 19 May 2005, lot 119.
Authenticity of the work has been confirmed by the expert Yu. Rybakova.
Exhibited: Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Galerie J. Charpentier, Paris, 16 May–4 June 1933.
Literature: Exhibition catalogue, Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Paris, 1933, p. 5, Nos. 4, 8 or 9, listed.
£110,000–150,000
16 мая 1933 года одним из ярких событий художественной жизни Парижа стала персональная выставка знаменитого русского художника-путешественника Александра Яковлева. Открытая в престижной галерее
Жана Шарпантье выставка представляла собой художественный результат трансазиатской экспедиции (1931–1932), организованной французской автомобильной фирмой «Ситроен». Александр Яковлев привез из
экспедиции обширныи этнографический, художественный и фотографический материал, создал сотни рисунков, набросков, этюдов, по
которым уже в Париже он написал целый ряд живописных полотен.
Судя по каталогу выставки, художник представил на ней 377 произведений живописи и графики. Потрясенный их обилием и качественностью,
Александр Бенуа, не скрывая восхищения от «баснословной суммы» наблюдений и открытий Яковлева, написал: «С трудом верится, что все выставленное сделано одной рукой в очень короткий срок, а очень многое –
на месте, в самых неудобных условиях, требующих закаленного здоровья
и совершенно исключительной приспособляемости». Действительно, приспособляемость в Азии имела важное значение, ведь местное население
не всегда принимало европейцев приветливо. Не без труда решался и вопрос с моделями, поскольку портретирование запрещалось Кораном.
Осложняли жизнь путешественникам и природно-климатические катаклизмы: пыльные бури, например, препятствовали обзору главной достопримечательности Сирии – знаменитои Пальмиры. Неслучайно три из шести картин, созданных по этюдам, исполненным в этих местах, назывались
«Пальмира под песчаной бурей», «Некрополь Пальмиры после песчаной
бури» и «Караван, настигнутый песчаной бурей». Три других полотна носили более краткое название – «Пальмира». Одним из них и является
представленное в данном каталоге произведение.
поражавшего современников величественными храмами, гробницами,
колоннадами. Яковлев был наслышан об историко-архитектурных достопримечательностях классической Пальмиры еще будучи учеником Императорской Академии художеств. Увидев же ее воочию, он тотчас зафиксировал свое впечатление от «бесконечных рядов колонн, прерванных
кое-где арками или развалинами храмов».
Композицию картины Яковлев строил так, чтобы охватить возможно
большее пространство, чтобы показать масштаб каменного разрушенного города, его главные античные постройки и их соотношение между
собой. Слева, на линии горизонта, он изобразил знаменитый храм Бэла,
его колоннаду и остатки других построек, а справа вдали – едва видимую, но легко узнаваемую Большую колоннаду Пальмиры. Всю центральную горизонталь композиции автор буквально заполнил изображением
бесконечных руин, покрытых песком, а в нижнем углу картины, справа
на первом плане, даже поместил валяющуюся среди обломков скульптурную голову античного бога.
И все же в этом, казалось бы, безлюдном и заброшенном мире течет
своя жизнь. Введение арабских женщин в композицию «романтического
античного пейзажа» наводит на размышления о «напластовании» разных
культур в пределах одного пространства. Монохромность колористической гаммы картины, вполне отвечающей реальности, оживляет лишь
бело-голубой небесный простор, позволяющий прозвучать еще выразительнее остаткам классических колонн. При всей документальности картина носит, несомненно, философский характер, навевая мысли о бренности бытия, смене и крахе цивилизаций, о разрушенной гармонии
и пробивающейся сквозь все это жизни.
На вытянутом по горизонтали холсте художник изобразил панораму руин
античной Пальмиры – некогда красивейшего города римской провинции,
The present lot as listed in the 1933 exhibition catalogue
( 44 )
Palmyra, Great Colonnade, 1931
Елена Яковлева, доктор искусствоведения
Palmyra, Temple of Baal
MacDougall’s
London
8 June 2016
( 45 )
( 46 )
The solo exhibition of the celebrated Russian artist and traveller
Alexander Yakovlev, which opened on 16 May 1933 at the prestigious
Jean Charpentier gallery, was one of the outstanding events of artistic life
in Paris. The exhibition represented the artistic output of the Trans-Asian
expedition (1931–1932) organised by the French automobile company
Citroёn. Alexander Yakovlev brought back hundreds of drawings, sketches
and studies which, once back in Paris, he used for a whole series
of paintings.
Vehicles in the desert, 1931
According to the exhibition catalogue, the artist presented 377 paintings
and drawings. Amazed by their “abundance” and “high quality”, Alexander
Benois wrote that “It is difficult to believe that every exhibit was the work
of a single hand and executed in a very short space of time, a great many
of them on the spot, in the most uncomfortable conditions, requiring
a rude health and an utterly exceptional adaptability.” Adaptability was
indeed crucially important in Asia, for the local populations were by no
means always hospitable towards Europeans. The issue of posing for
pictures was also difficult, since the Koran forbids portraiture. The
travellers’ lives were further complicated by natural climatic disasters: dust
storms, for example, impeded the view of Syria’s most important site,
the celebrated Palmyra. It is no coincidence that three of the six pictures
painted from the studies done in situ were entitled Palmyra in a SandStorm, The Necropolis of Palmyra after a Sand-Storm and Caravan Caught
in a Sand-Storm. The other three canvasses had a shorter title – Palmyra.
The present lot is one of these works.
In this horizontally elongated picture the artist depicts a panoramic view
of the ruins of ancient Palmyra, once the most beautiful town in the Roman
provinces, which astonished people of the time with its magnificent
temples, tombs and colonnades. Yakovlev had heard about the historical
monuments of classical Palmyra while still a student at the Imperial
Academy of Arts. When he saw it with his own eyes, he immediately
recorded his impression of “unending rows of columns punctuated
in places by arches or ruined temples” Yakovlev chose this particular
composition to encompass the greatest possible expanse, to show the
massive scale of the ruined stone-built town, its major ancient structures
and the way they related to each other. Along the line of the horizon on the
left, he depicts the famous Temple of Baal, its colonnade and the remains
of other buildings; and on the right, in the distance, a barely-visible yet
easily recognisable Great Colonnade of Palmyra.
The artist filled the centre of the composition with the endless ruins
covered in sand, the remains of shattered columns and decorated
MacDougall’s
London
8 June 2016
capitals; and in the bottom right-hand corner of the picture, in the
foreground, he even placed the head of the statue of a god, pictured lying
among the detritus.
Yet, in this seemingly desolate world, there are signs of life. If you look
closely, you can see an entrance to either an underground dwelling
or a well. Right of centre, in the distance, sheep are moving along and,
on the left, a man hearding a donkey. In the foreground, to the left,
the painting is animated by the figures of two women in long, dark
garments with enormous pitchers on their heads. The introduction of Arab
women into the composition of this romantic antique landscape leads us
to reflect on the juxtaposition of cultures within the confines of a single
space. Alongside its value as a documentary record, the picture
undoubtedly also has a philosophical aspect, evoking ideas about the
fragility of existence, the shifts and downfalls of civilisations, the
destruction of harmony and life, persevering in all these trials and
tribulations.
Dr Elena Yakovleva, Art Historian
( 47 )
An Important Work
by Genrikh Semiradsky
Leading Light of Christianity.
Nero’s Torches
20.
Semiradsky, Genrikh (1843–1902)
Leading Light of Christianity. Nero’s Torches, signed.
Executed c. 1876.
Provenance: Private collection, Europe.
Acquired from the above by the present owner in 2007.
Authenticity has also been confirmed by the experts L. Gladkova and T. Karpova.
Authenticity certificate from the expert L. Gladkova.
Literature: T. Karpova, Genrikh Semiradsky, St Petersburg, Zolotoi vek, 2008, p. 74, mentioned in the text.
£400,000–500,000
Представленный на торги монументальный эскиз самой известной картины Генриха Семирадского «Светочи христианства. Факелы Нерона» —
единственная из крупных подготовительных работ художника
к законченному полотну, до сих пор остающаяся в частных руках.
За четыре года (1873–1876) напряженной работы над семиметровой
композицией «Светочей» Семирадский создал множество графических
набросков, подготовительных этюдов и серию эскизов, большинство
из которых, как и сама картина, находятся сейчас в собрании Национального музея Кракова, Польша.
Идея этого грандиозного полотна из римской истории пришла художнику во время путешествия по Европе, о чем он сообщил в сентябре
1873 года в письме конференц-секретарю Императорской Академии художеств Петру Исееву: «Сюжет картины взят из первого гонения христиан при Нероне; в великолепном саду «Золотого дворца» Нерона произведены изготовления для пышного ночного праздника; на полянке перед дворцовой террасой собралось общество, нетерпеливо ожидающее
начала великолепного зрелища, — живые факелы, христиане, привязанные к высоким шестам, обвязанные соломой и облепленные смолой,
расставлены в равных промежутках; факелы еще не зажжены, но император уже прибыл, несомый на золотых носилках и окруженный свитой
наемных льстецов, женщин и музыкантов, сигнал уже подан, и рабы
готовятся зажечь факелы, свет которых осветит самую безобразную оргию; но эти же самые светочи разогнали тьму языческого мира и, сгорая
в страшных мучениях, распространили свет нового учения Христа.
Поэтому картину мою я и думаю озаглавить «Христианские светочи» или
«Светочи христианства».
Начинать работу над подобной композицией можно было только «на самом месте действия, среди неисчерпаемого материала, какой предоставляют здешние музеи, развалины и даже народный тип», в связи с чем
художник, прервав поездку, незамедлительно отправился в Рим.
G. Semiradsky, Leading Light of Christianity. Nero’s Torches
( 50 )
Помимо захватывающего дух исторического сюжета и изобилующего декоративной роскошью антуража, Семирадский сделал ставку на археологически точную и достоверную картину античности, призванную подкрепить его славу художника-эрудита. Описания «Золотого дворца» Нерона,
ко времени создания полотна давно разрушенного, Семирадский почерпнул из сочинения Светония «О жизни двенадцати Цезарей». А чтобы
придать максимальное правдоподобие и подлинный колорит изображаемой сцене, художник внимательно изучил археологические материалы,
о чем свидетельствует, например, тщательно прописанная на эскизе балюстрада дворца Нерона, скопированная Семирадским с сохранившихся
обломков его галереи.
Автор монографии о Семирадском и специалист по творчеству художника Татьяна Карпова особо подчеркивает значимость именно данного,
представленного на торги, варианта композиции. Она отмечает, что «более вытянутый, чем в самой картине, формат позволяет Семирадскому
избежать композиционного недостатка самого оригинала — перегруженности левой части и слишком большой приближенности «живых факелов» Нерона к зрителям. В эскизе вереница шестов-факелов — на фоне
закатного неба — производит более сильное драматическое впечатление» (Т. Карпова, «Генрих Семирадский», 2008, с.74). Работу отличает
живописная свобода и композиционное мастерство.
Действительно, впоследствии художник отказался в картине от эффекта
предзакатного освещения, словно обволакивающего всю сцену нежной
розовой дымкой, но в целом сохранил найденные в эскизе цветовые решения, пленэрные эффекты и акценты (в частности, группу патрициев
в темных одеждах у стены, сияющие золотом носилки императора
в центре и фигуру человека с красным платком на первом плане, готового подать знак к началу экзекуции).
Все это позволяет считать представляемый эскиз не только наиболее
близким к окончательному варианту знаменитой картины, но и отдельной
G. Semiradsky, Study for the Nero's Torches, 1876
MacDougall’s
London
8 June 2016
( 51 )
страницей в творческой биографии Семирадского. Тем более что, по воспоминаниям современников, художник всегда гордился своими эскизами не меньше, чем оконченными работами, «его эскизы всегда награждались первыми премиями» и сам он признавался товарищу по
Академии, историческому и религиозному живописцу Карлу Венигу, что
эскизы — это его стихия и что при компоновке их он чувствует себя «как
рыба в воде».
Колоссальный, всеевропейский фурор картины «Светочи христианства.
Факелы Нерона» принес Семирадскому прижизненную славу, звание
профессора, золотую медаль Парижской академии, орден Почетного
легиона и, разумеется, заказы на повторение этой композиции. Однако,
несмотря на обилие произведений, связанных в наследии Семирадского
с созданием «Светочей», представленный на торги эскиз остается в этом
ряду одним из самых гармоничных, вдохновенных и самодостаточных
образов художника.
On offer for auction, this monumental study of Genrikh Semiradsky’s most
famous painting, Leading Light of Christianity. Nero’s Torches, is the only
one of the artist’s large-scale preparatory works for this canvas that still remains in private hands.
In addition to a breathtaking historical subject and a setting that teems with
ornate sumptuousness, Semiradsky sought to produce an archaeologically
accurate and authentic picture of antiquity, one that was destined to buttress
his fame as an erudite artist. Semiradsky derived his descriptions of Nero’s
Domus Aurea, which had long since been destroyed by the time he put paint
to canvas, from Suetonius’s work The Twelve Caesars. In order to give the
greatest possible verisimilitude and genuine colouring to the scene, the artist
considered the archaeological material very closely — the evidence of which
can be seen, for instance, in the study’s carefully drawn balustrade of Nero’s
palace, which Semiradsky copied from the surviving fragments of its gallery.
His four years of intensive work on the seven-metre Leading Light of
Christianity. Nero’s Torches (from 1873 to 1876) saw Semiradsky produce
many graphic sketches, preparatory studies and a series of preliminary
drawings, the majority of which, like the painting itself, now reside in the
collection of the National Museum in Kraków (Poland).
The idea to paint this majestic canvas from Roman history first occurred to
Semiradsky during a tour of Europe, with the artist sharing his thoughts in
a letter dated September 1873 to the conference secretary of the Imperial
Academy of Arts, Petr Iseev: “The subject of the painting is taken from the
first persecution of the Christians under the Emperor Nero. In the splendid
garden of Nero’s Domus Aurea, preparations are being made for a lavish
nighttime feast. In a clearing in front of the palatial terrace, a crowd has
gathered, impatiently awaiting the start of the grand spectacle: human
torches, formed from Christians on top of high posts, bound with straw and
coated with tar, positioned at equal intervals. The torches have yet to be set
alight, but the emperor has already arrived, brought in on a golden litter and
surrounded by an entourage of hired flatterers, women and musicians. The
signal has been given and slaves are preparing to set the torches aflame,
the light from which will illuminate the most despicable of orgies. Yet these
very same torches have dispelled the darkness of the pagan world and,
while burning in terrible agony, diffused the light of the new teaching of
Christ. That is why I am thinking of naming my painting Christian Lights or
Leading Lights of Christianity.”
Tatyana Karpova, the author of a monograph about Semiradsky and a specialist on the artist’s oeuvre, stresses the significance of this particular version of the composition, which is on offer for auction. She notes that “the
format, more elongated than in the actual painting, enables Semiradsky to
avoid the compositional shortcoming of the original — the overloading of
the left-hand side and the excessive nearness of Nero’s “human torches” to
the viewers. In the study, the line of torch poles — against the backdrop of a
sunset sky — produces a stronger dramatic impression” (T. Karpova, Genrikh
Semiradsky, St Petersburg, Zolotoi vek, 2008, p. 74). The study itself is notable for its pictorial freedom and compositional mastery.
Work on such a composition could only be started “on the very site of the action, amid the inexhaustible material that is provided by the museums here,
the ruins and even the local people”, and so the artist cut short his travels
and headed straight for Rome.
All this leads us to regard this study not only as the closest we have to the
final version of the famous picture, but a separate page in the biography of
Semiradsky. This is particularly the case, as according to the recollections of
his contemporaries the artist was always as proud of his studies as he was of the finished works (“his studies always won
first prizes”). Semiradsky himself admitted to a friend from his
Academy days, the historical and religious painter Karl Venig,
that “studies are his domain” and that, when composing
them, he feels “right at home”.
G. Semiradsky, Christian Dirce in the Circus of Nero
( 52 )
Indeed, in the final composition, Semiradsky would reject the effect of presunset lighting, which seems to envelop the whole scene in a delicate pink
haze. However, on the whole the artist did retain the colour treatment he
had achieved in the study, as well as the plein air accents (specifically, the
group of patricians in dark clothing by the wall, the emperor’s scintillating
golden litter in the centre, and the figure of a man holding a piece of red material in the foreground, ready to give the signal for the execution to begin).
The immense, Europe-wide furore that accompanied Leading
Light of Christianity. Nero’s Torches brought Semiradsky fame
in his lifetime, the title of professor, a gold medal at the Paris
World’s Fair, the French order of the Légion d’honneur and, indeed, requests for a repetition of this composition. However,
despite the abundance of works in Semiradsky’s legacy that
are associated with the Leading Light, this study offered here
for auction remains one of the most harmonious, inspired and
self-contained of the artist’s images.
§ 21.
* 22.
Stelletsky, Dmitri (1875–1947)
Crossing the River, signed.
Winter Landscape, signed and inscribed “Russie”.
Pencil, watercolour and gouache on paper,
laid on cardboard, 60 by 39 cm.
Oil on cardboard, 65 by 53 cm.
£30,000–40,000
Provenance: Russian Art. Paintings, Sotheby’s
London, 9 June 2010, lot 194.
£40,000–60,000
( 54 )
MacDougall’s
London
8 June 2016
( 55 )
* 24.
Klever, Yuli (The Younger) (1882–1942)
Rosen, Karl (1864–1934)
Winter Landscape, signed.
Oil on canvas, laid on cardboard, 81 by 120.5 cm.
Provenance: Private collection, Hamburg, since 1940s.
Thence by descent.
Private collection, Germany.
Exhibited: 8-ya vystavka kartin S.–Peterburgskogo Obshchestva Khudozhnikov, St Petersburg, 1900.
Literature: Exhibition catalogue, Katalog 8-oi vystavki kartin S.–Peterburgskogo Obshchestva
Khudozhnikov, St Petersburg, 1900, illustrated as Sumerki; p. 8, No. 173, listed as Oseniyu.
£4,000–6,000
23.
25.
Autumn Twilight, signed and dated 1899.
£7,000–9,000
Klever, Yuli (1850–1924)
Road in the Forest, signed and dated 1918.
Provenance: Private collection, Latvia.
£25,000–30,000
( 56 )
MacDougall’s
London
8 June 2016
( 57 )
*§ 26.
Chrysanthemums, signed.
£7,000–9,000
§ 27.
Autumn Landscape, signed.
Provenance: Acquired by the previous owner in
Versailles in March 1975.
A gift from the above to the present owner in 2013.
£5,000–7,000
§ 28.
Picnic in the Forest, signed.
Oil on canvasboard, 40 by 54 cm.
Provenance: Private collection, Italy.
Russian Art, Christie’s London, 29 November 2010, lot 113.
Acquired at the above sale by a previous owner.
Thence by descent.
£10,000–15,000
( 58 )
MacDougall’s
London
8 June 2016
( 59 )
An Important Work
by Ivan Aivazovsky
The Survivor
29.
Aivazovsky, Ivan (1817–1900)
The Survivor, signed and dated 1892, also further signed,
inscribed “New York” and dated on the reverse.
Provenance: Collection of Ekaterina Tretiakoff, Brussels.
Thence by descent.
Russian Art, Christie’s London, 9 June 2009, lot 18.
£450,000–600,000
Непревзойденный мастер изображения морских крушений и бурь —
Иван Айвазовский всю жизнь искал новые сюжеты и мотивы для полотен, запечатлевших величественную и грозную стихию. Среди них особое место занимает тема спасающихся от кораблекрушения, появившаяся в творчестве величайшего русского мариниста в 1840-е годы и с тех
пор вошедшая в золотой фонд его образов. Написанная в 1892 году
картина «Спасшийся» — прекрасный образец обращения зрелого художника к данному сюжету.
Главным героем картины, как всегда у Айвазовского, остается море —
бурное и клокочущее, едва отступившее волной от еще мокрых скал берега и постепенно меняющее свой прозрачный цвет в чарующем лунном свете, льющемся из ниоткуда. О недавней трагедии свидетельствует
лишь обломок корабля, прибившийся к огромному валуну на первом
плане, да одинокая фигура спасшегося, из последних сил карабкающегося на неприступный берег. Человек является не только сюжетным, но
и цветовым центром картины. По нему скользит свет луны, подчеркивая
теплый, живой цвет его кожи, тонко гармонирующий с фактурой огромного камня и легкой зеленоватой окраской волн, отхлынувших от берега, и даже с холодным свинцово-синим небом. Благодаря этим «говорящим» деталям, стремительно несущимся над волнами чайкам и эффектам освещения Айвазовскому удается создать образ, полный драматизма и романтической взволнованности. При этом картина не только чрезвычайно эмоционально насыщена, но и написана с истинно высоким
артистизмом.
( 62 )
в своих картинах разнообразие некогда виденных им эмоциональных
состояний природы. Айвазовский признавался: «...вдохновленный
видом живописной местности при эффектном освещении либо какимнибудь моментом бури, я сохраняю воспоминания о них многие
годы…».
В основе творческого мироощущения Айвазовского лежит идея безграничности природы, ее могучей силы. Более того, в последний период
жизни Айвазовского в его творчестве возрастает роль иносказания.
Сила и мощь природы противопоставляются слабости и уязвимости
человеческой жизни. Особое значение приобретает свет как идея.
Изображая облака, воду, воздушное пространство, он теперь фактически изображает свет. Свет для Айвазовского становится символом жизни, надежды и веры, символом вечного. Это не что иное, как по-своему
переосмысленная идея созидающего света; неслучайно именно
в 1890–е годы художник обращается к теме «Рождение света».
Зрительная память, помноженная на живое творческое воображение,
позволяла художнику без натуралистической точности воспроизводить
В представленной на торги картине, как и в ряде других работ того же
времени, свет словно ниспускается на природу из невидимого источника («Среди волн», «Корабль «Мария»). Неслучайно Мартирос
Сарьян, познакомившийся с Айвазовским в Новом Нахичеване, подметил основной принцип художника: «Какую бы ужасную бурю ни увидели мы на его картине, в верхней части полотна сквозь скопление грозных туч всегда будет пробиваться луч света, пусть тоненький и слабый,
но возвещающий спасение… Именно в нем, этом Свете, и заключен
смысл всех изображенных художником бурь». Этому принципу художник не изменял всю жизнь, и «Спасшийся» — прекрасное тому
подтверждение.
I. Aivazovsky, Rough Sea off a Rocky Coast, 1893
I. Aivazovsky, Empress Maria during the Storm, 1892
MacDougall’s
London
8 June 2016
( 63 )
Ivan Aivazovsky, the unrivalled master in the depiction of shipwrecks and
stormy seas, spent his entire life in search of fresh subjects and motifs that
would capture both the majesty and the menace of the elements on his
canvasses. Prominent among them is the subject of shipwreck survivors,
which first appeared in his work in the 1840s — a theme that would become present in the many leading works of the greatest Russian seascape
painter. Painted in 1892, The Survivor is a fine example of the mature
artist’s interpretation of the subject.
As characteristic of Aivazovsky, the main protagonist here is the sea — violent and seething, with its waves receding from the wet coastal rocks, its
transparent colour constantly changing in the enchanting moonlight that
seems to stream from nowhere. What only remains from this recent tragedy
is a fragment of the ship drifting towards the massive rock in the foreground, and the solitary figure of a man, summoning with his last reserves
of strength to scramble onto the shore. The man is not only the narrative
focus of the picture; he is also the centre of its colour scheme. The moonlight glosses over him, accentuating the warmth and vibrancy of his skin,
subtly blending in with the texture of the huge stone, the light-greenish
hue of the waves streaming back from the shore, and even with the cold,
leaden, dark blue sky. Using these “expressive” details, lighting effects,
as well as seagulls sweeping over the waves, Aivazovsky manages to create
an image replete with drama and romantic pathos. The picture is not only
emotionally charged but also displays true artistry.
( 64 )
and recreate in his pictures the varying moods of nature that he had seen
in the past. Aivazovsky acknowledged that “Inspired by the sight of picturesque surroundings, in the presence of spectacular light or some moment
in a storm, I retain the memories of them for many years…”
The pivotal idea in Aivazovsky’s artistic disposition is that of the boundlessness of nature and its immense power. Aivazovsky’s late work becomes increasingly allegorical, and the might and power of nature are contrasted with the weakness and vulnerability of human life. Light takes on
a special conceptual significance. Whenever he paints clouds, water or the
sky, in effect he is painting light. For Aivazovsky, light is a symbol of life,
hope and faith — a symbol of the eternal. It is purely and simply the idea
of light as the creator, reinterpreted in his own particular way, and this
was the reason why in the 1890s the artist turns to the topic of the “Birth
of Light”.
It was, after all, Aivazovsky’s visual memory, enhanced by his vivid,
creative imagination that enabled him to eschew realistic precision
In the painting offered for sale, as in many other works from the same period, light seems to beam down from some invisible source (Among the
Waves, The Maria). Accordingly, after meeting with Aivazovsky in Novy
Nakhichevan, Martiros Saryan identified the artist’s main principle:
“No matter how terrible the storm that we have seen in one of his pictures, at the top of the canvas there will always be a ray of light breaking
through the mass of forbidding clouds; it may be tenuous and faint, yet
it is the herald of salvation… It is this, the Light, that forms the meaning
of all the storms that the artist has painted.” The artist remained true
to this principle throughout his life, and The Survivor is the finest declaration of that.
I. Aivazovsky, The Wave, 1889, The State Russian Museum
I. Aivazovsky, Among the Waves
30.
Kostandi, Kharlampi (1868–1939)
31.
Mordvinov, Alexander (1799–1858)
Moonlit Landscape. Oreanda, Crimea, signed,
Moonlit Night on an Italian Lagoon, signed.
further titled in Cyrillic on the canvas edge.
Provenance: 19th Century European Paintings, Sotheby’s
Amsterdam, 23 April 1991, lot 100.
Private collection, The Netherlands.
Authenticity of the work has been confirmed by
the expert V. Petrov.
£20,000–30,000
£30,000–40,000
( 66 )
MacDougall’s
London
8 June 2016
( 67 )
32.
Polenov, Vasily (1844–1927)
Barge on the River Oka, signed and dated 1897, further numbered “N 476” on the reverse.
Provenance: The Yasher-Sheftell collection, from the 1940s.
Thence by descent.
Russian Art Evening, Sotheby’s London, 8 June 2009, lot 2.
Exhibited: XXVI vystavka Tovarishchestva peredvizhnykh khudozhestvennykh vystavok, St Petersburg, Moscow, Penza,
Kharkov, Ekaterinoslav, Elizavetgrad, Poltava, Kiev, Smolensk, Kaluga, 22 February 1898–21 February 1899.
Literature: Exhibition catalogue, Illiustrirovannyi katalog XXVI vystavki Tovarishchestva peredvizhnykh khudozhestvennykh vystavok. 1898 g., Moscow, Khudozhestvennaya fototipia K.A. Fisher, 1898, listed.
G. Romanov, Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok. 1871–1923 gg. Entsiklopedia, St Petersburg,
Sankt-Peterburg Orkestr, 2003, p. 203, No. 3-136, listed.
£200,000–300,000
Творчество Василия Поленова конца 1890-х годов неразрывно связано
с его жизнью на берегу Оки в имении Борок. Именно здесь написано
большинство его прославленных речных пейзажей («Долина Оки»,
«Золотая осень»), включая и представленный на торги превосходный
натурный холст «Баржа на реке Ока».
Поленов приобрел усадьбу на высоком берегу реки под Тарусой и провел там лето 1897 года, наслаждаясь работой на пленэре. Особенно
привлекали художника расписные соляные баржи — унжаки, караваны
которых ежегодно поднимались конной тягой вверх по Оке, доставляя
соль из Нижнего Новгорода в Тарусу и Калугу. Распространившиеся еще
в XVIII веке в верхнем и среднем Поволжье, они долгие годы сохраняли
традиционный облик с резным орнаментом и яркой нарядной трехцветной росписью. Поленов, увлеченный возрождением народных ремесел
и кустарных промыслов, не мог устоять перед архаической красотой
унжаков.
В основу композиции «Баржи на Оке» художник положил характерный
облик унжака, пришвартованного в тихой отмели реки. Живая, мерцающая цветными отблесками рябь воды, легкое, высветленное небо и едва
The present lot as listed in the G. Romanov encyclopedia
( 68 )
прописанная береговая растительность свидетельствуют о быстрой натурной работе, стремлении передать особую цветовоздушную среду
и схватить момент начинающего клониться к закату освещения. В то же
время умение Поленова даже при беглом взгляде закомпоновать главное и второстепенное, круглящийся борт баржи и очертания излучины,
а также вытянутый горизонтальный формат картины и взятый снизу ракурс, словно «режущий» мачту и снасти, придают камерному полотну
черты эпического пейзажа.
Даже в таком лирическом пейзаже достоверность деталей чрезвычайно
важна для художника. По краям орнамента можно прочесть буквы «И»
и «Ц» — инициалы купца Ивана Козьмича Ципулина, владельца пристани и судоходной компании в Калуге, которому принадлежала львиная
доля грузового и пассажирского транспорта на окском водном пути.
На обороте холста имеется номер «476», который согласно авторскому
списку работ соотносится с картиной «Баржа» и позволяет говорить
о представленной работе не только как о бесспорном произведении
Поленова, но и как об одном из ярких образцов окской живописи
художника, окрашенных в романтические тона национал-историзма.
V. Polenov, The Oka River near Tarusa, 1880s, F. Kovalenko Regional Art Museum, Krasnodar
MacDougall’s
London
8 June 2016
( 69 )
Vassily Polenov’s artistic pursuits of the late 1890s are inseparably linked to
his life at the Borok estate on the banks of the Oka. It was here that he
painted most of his famous river landscapes (Valley of the Oka and Golden
Autumn, for example), including the splendid canvas painted from nature
and offered here at auction — Barge on the River Oka.
Polenov had acquired his country estate near Tarusa, high on the river bank,
and spent the summer of 1897 there, relishing his work en plein air. The
artist was especially drawn to the festively decorated unzhak salt barges,
which were drawn by horses every year up the Oka to deliver salt from
Nizhny Novgorod to Tarusa and Kaluga. The barges had become ubiquitous
throughout the upper and central Volga regions as early as the 18th century
and had preserved their traditional look for many years, with their ornamental carving and woodwork brightly painted in three colours. Polenov, who delighted in the revival of popular crafts and indigenous industries, could not
resist the old-fashioned beauty of the unzhak barges.
At the heart of the composition Barge on the River Oka the artist places the
distinctive image of an unzhak barge quietly at her moorings, at a shoal in the
river. The lively ripples of the water, sparkling highlights of colour, the lightness of the shining sky and the barely defined vegetation on the shoreline
are all witness to the rapidity with which Polenov worked from nature, striving
to convey the special atmosphere and radiance of the scene — and to capture
the moment when the sun begins to sink and the light fades. At the same
time, even a swift glance reveals Polenov’s skill in configuring the main and
secondary features, the round side of the barge and the curve of the river. In
addition, the extended horizontal format of the picture and the low eye level
of vision, which seems to “carve out” the mast and rigging, endow this seemingly intimate work with the qualities of an epic landscape.
Even in such a lyrical landscape, it is extremely important to the artist that the
details should be authentic. The letters “I” and “Ts” can be read on the edges
of the ornamentation, being the initials of the merchant Ivan Tsipulin, to
whom the jetty and shipping company in Kaluga belonged and who owned
the lion’s share of passenger and freight transport on the Oka waterway.
On the back of the canvas is the number 476, which according to a list of the
artist’s work relates to a picture called Barge and allows this painting to be
spoken of not only as indisputably by Polenov, but also as a brilliant example of the artist’s Oka work, painted with a romanticised air of national
historicism.
V. Polenov, Valley of the Oka River, 1902, Regional Art Museum, Ulyanovsk
( 70 )
V. Polenov, Golden Autumn, 1893, The V. Polenov State Memorial Museum-Reserve, Tula
MacDougall’s
London
8 June 2016
( 71 )
* 33.
Kustodiev, Boris (1878–1927)
Shrovetide Fair Booths.
Authenticity of the work has been confirmed by the experts
A. Kiseleva and I. Geraschenko.
Authenticity has also been confirmed by the experts L. Gladkova
and M. Valyaeva.
£120,000–150,000
Представленная в настоящем каталоге великолепная картина Бориса
Кустодиева «Ярмарочные балаганы», написанная в стилистике целой
серии его выдающихся произведений, таких как «Масленица»,
«Балаганы», «Троицын день», принадлежит к самому замечательному
творческому периоду художника, принесшему ему известность не только
в России, но и далеко за ее пределами.
Наше произведение, без сомнения, является подготовительным эскизом
к знаменитому портрету Фёдора Шаляпина, написанному художником
в 1921 году. Кустодиев неоднократно варьировал сценки своих жанровых картин, используя понравившиеся мотивы в портретах и крупноформатных произведениях. Праздничное действо, развивающееся на
фоне стоящего во весь рост легендарного оперного певца, расположено
в левой части портрета и во многих деталях сопоставимо с эскизом,
который можно смело датировать 1920–1921 годами.
Произведения Кустодиева снискали у поклонников русского «рубежного» искусства особую славу и глубочайшее почитание. Искрящиеся светом и богатым радужным колоритом, его холсты воспроизводят в нашем
сознании восхитительный мир русских праздничных гуляний с их шумным весельем, ярмарочной суетой, балаганами, бодрящим морозным
воздухом и запахами громоздящейся на уличных лотках горячей снеди.
Приподнятая атмосфера всеобщего народного веселья была воссоздана
художником по воспоминаниям его безоблачного детства и юности.
Когда смотришь на данную работу, кажется, что не было ни бурных революционных потрясений, ни трудных волнующих социальных перемен
лишь залитые солнцем, до боли знакомые уголки русской провинции,
восторженно ликующая шумная толпа и всеобщее ощущение радости.
B. Kustodiev, Shrovetide (Shrovetide Sleigh Ride), 1919, Research
Museum of the Russian Academy of Fine Arts
( 72 )
Shrovetide Fair Booths, an excellent work by Boris Kustodiev, was painted
in the style typical of a whole series of the artist’s renowned works:
Shrovetide, Fair Booths and Pentecost, to name a few. It belongs to the
best period in Kustodiev’s artistic career, one that brought him fame and
critical acclaim both in Russia and overseas.
The work offered at auction is a preparatory sketch for the famous portrait
of Feodor Chaliapin of 1921. Kustodiev frequently modified details of his
genre paintings, repeating his favourite motifs in other works. The details
of the festivities taking place on the left hand-side of the Chaliapin portrait,
behind the large-scale figure of the legendary opera singer, are very similar
to those in the present work, which can be dated 1920–1921.
Kustodiev’s works were famous and revered by the lovers of Russian fin de
siècle art. Effervescent, with bright, iridescent colours, they evoke the fascinating milieu of Russian folk f tes, with their rowdy fun, carnivalesque
hustle and bustle, fair booths, invigorating cold air and alluring smells of
hot street food, piled up high on the trays. Kustodiev recreates the boisterous ambience of the folk spectacle from the memories of the serene years
of his youth. Looking at this work, it is easy to forget about the turbulent
revolutionary events and dramatic societal changes taking place at the time
it was painted. Rather, one is carried away thinking of the intricately familiar corners of Russia’s provincial towns, enthusiastic festive crowds and an
all-consuming joyous feeling.
B. Kustodiev, Portrait of Feodor Chaliapin,
1922, The State Russian Museum
B. Kustodiev, Fair Booths, 1917, The State Russian Museum
MacDougall’s
London
8 June 2016
( 73 )
34.
Ukrainian Landscape at Night, signed and dated 1870.
Provenance: A gift from the Soviet government to Akhmed Mukhtar, the Ambassador of Turkey to the USSR, 1920s.
Thence by descent.
Russian Day Sale. Paintings, Sotheby’s London, 12 June 2007, lot 37.
Literature: G. Caffiero, I. Samarine, Water and Sky. The Paintings of Ivan Aivazovsky, London, Alexandria Press,
2012, p. 159, pl. 83, illustrated; p. 294, No. CS-1870-009, illustrated and listed.
£275,000–300,000
К тематике украинского пейзажа — ночью, на рассвете или закате —
Иван Айвазовский обращался на протяжении всей своей жизни. Еще находясь на обучении в Императорской Академии художеств у Максима
Воробьёва, Айвазовский интересовался живописными приемами изображения сложных эффектов освещения ночной природы. Это видно уже
на картине «У маяка», написанной им в 1837 году и обеспечившей ему
досрочное окончание Академии и награду в виде командировки —
сначала на два года в Крым, а затем на шесть лет за границу.
«Украинский пейзаж ночью» написан художником в зрелые годы, когда
его творческое видение окончательно сформировалось под воздействием европейского, в частности итальянского, французского и голландского искусства, а его работы получили всеобщее признание на выставках
в Риме, Париже, Лондоне и Амстердаме.
The present lot as illustrated and listed in the G. Caffiero and I. Samarine monograph on the artist
( 74 )
Представленная на торги картина не только восхищает мастерством передачи света и тени в изображении фигур людей и животных, в передаче
бликов лунного света на поверхности реки и в каплях струящейся с весел
воды — она также проникнута глубокой любовью художника к природе
родного края. Полные лиризма сценки из повседневной жизни, наделенные спокойным дыханием теплой украинской ночи в сравнении с эмоционально насыщенными морскими пейзажами, показывают непревзойденное мастерство Айвазовского в воплощении самых разнообразных
впечатлений и образов. Украинские пейзажи художника наравне с морскими находятся в самых значимых европейских коллекциях и музеях.
Представленный на торги лот, помимо своих несомненно художественных достоинств, обладает также завидным провенансом: в 1920-х годах
он в качестве ценного подарка был преподнесен советским правительством послу Турции в России Ахмеду Мухтару.
I. Aivazovsky, Farmhouse and Windmill by Moonlight, 1863
MacDougall’s
London
8 June 2016
( 75 )
Ukrainian landscapes, at night, at dawn or sunset, were painted by
Aivazovsky throughout his life. Even during his student days at the Imperial
Academy of Arts under Maxim Vorobiev, the young artist had become interested in finding artistic ways of conveying the complex effects of light in
a nocturnal landscape. This is already apparent in his 1837 painting By the
Lighthouse, which enabled him to graduate two years earlier from the
Academy, and take a two-year research trip to Crimea, followed by a sixyear trip abroad.
The present work Ukrainian Landscape at Night was painted during
Aivazovsky’s mature period, when his artistic vision was fully formed, primarily under the influence of European art — in particular Italian, French
and Dutch painting — and when the master had received international
recognition at exhibitions in Rome, Paris, London and Amsterdam.
The painting offered here for auction not only captivates the viewer with
the artist’s masterful rendition of light and shade on the animal and human
figures, in the flecks of moonlight on the river surface and drops of water
trickling from the oars; but it also reflects his deep love of the nature of his
native land. In comparison to his turbulent seascapes, these lyrical scenes
of everyday life, conveying the tranquility of warm Ukrainian nights, show
Aivazovsky’s unrivalled talent in representing the most diverse impressions
and images. It comes as no surprise that the master’s Ukrainian landscapes, alongside his seascapes, hold pride of place in the most distinguished European collections and museums.
Ukrainian Landscape at Night, in addition to its artistic merits, also boasts
an impressive provenance: in the 1920s, it was gifted by the Soviet government to Akhmed Mukhtar, the Ambassador of Turkey to Russia.
I. Aivazovsky, By the Lighthouse, 1837, I. Aivazovsky National Art Gallery, Feodosia
( 76 )
§ 35.
A Man with Two Horses and a Sledge, signed.
Provenance: Acquired by a grandfather of the
present owner in Trieste, Italy, c. 1934.
Thence by descent.
Private collection, Italy.
£12,000–18,000
36.
37.
Tikhmenev, Evgeny (1869–1934)
Peasant Woman, signed.
Hunting Scene, signed, further numbered “N 27”
on the label on the reverse.
Oil on canvas, laid on cardboard, 31.5 by 28.5 cm.
Provenance: With Galleria Bardi, Milan (label on the reverse).
£40,000–60,000
£3,000–5,000
( 78 )
Maliavin, Philippe (1869–1940)
MacDougall’s
London
8 June 2016
( 79 )
* 38.
Gluckmann, Grigory (1898–1973)
Female Portrait, signed.
Oil on board, 42 by 39 cm.
Provenance: With Dalzell Hatfield Galleries, The Ambassador
Hotel, Los Angeles (label on the reverse).
Acquired from the above by the present owner in the 1950s.
Private collection, New York.
£8,000–12,000
39.
* 40.
Rockline, Vera (1896–1934)
Zemlyanitsyna, Elena (1889–1941)
Seated Nude, signed.
Autumn Bouquet, signed and dated 1916, further inscribed in Cyrilllic “Iz Kartin/Mir
Iskusstva” on the reverse.
Pencil and tempera on paper, laid on cardboard, 69 by 101 cm (cardboard size).
Provenance: With Galerie Drouart, Paris.
Acquired from the above by a previous owner, c. 1984.
Acquired from the above by a previous owner in the 1990s.
Private collection, Toulouse.
Thence by descent.
Private collection, France.
Authenticity certificate from the expert O. Glebova.
Exhibited: Possibly, Vystavka kartin “Mir iskusstva”, Petrograd, 1916; Moscow,
26 December 1916 — 2 February 1917.
Exhibited: Rétrospective Vera Rockline, Galerie Drouart,
Paris, 1984.
Literature: Possibly, exhibition catalogue, Katalog vystavki kartin “Mir iskusstva”,
Petrograd, 1916, p. 6, No. 48, listed as Osennii buket.
Possibly, exhibition catalogue, Katalog vystavki kartin “Mir iskusstva”, Moscow, 1916,
p. 5, Nos. 45, 46 or 47, listed as Buket.
Possibly, G. Romanov, Mir iskusstva. 1898–1927, Moscow, Global Vyu, 2010, p. 37, Nos.
45, 46 or 47, listed as Buket in a copy of the 1916–1917 Moscow exhibition catalogue.
£8,000–12,000
£15,000–20,000
( 80 )
MacDougall’s
London
8 June 2016
( 81 )
42.
Les Grands Boulevards, Paris, signed and
inscribed “Paris”, further stamped with the artist’s
studio stamp and titled on the reverse.
£15,000–20,000
* 41.
§ 43.
La Tour Saint Jacques, signed and inscribed “Paris”.
On the Terrace, signed.
Oil on paper, laid on cardboard, 40 by 32 cm (cardboard size).
Oil on paper, laid on canvas, 65.5 by 50 cm.
£20,000–25,000
Provenance: Alex Mandel Gallery, Los Angeles.
Acquired from the above by the father of the previous owner in 1971.
Thence by descent.
Russian Art, Christie’s London, 2 December 2009, lot 442.
£10,000–15,000
( 82 )
MacDougall’s
London
8 June 2016
( 83 )
44.
Gorbatov, Konstantin (1876–1945)
45.
Goncharova, Natalia (1881–1962)
Fishing Village on Capri, signed, also further signed and titled on the reverse.
Carnations in a Vase, signed.
Oil on canvas, laid on cardboard, 44.5 by 40 cm.
Provenance: With Galerie Del Vecchio, Leipzig.
Provenance: Private collection, USA.
£32,000–40,000
£70,000–90,000
K. Gorbatov, Fishing Harbour. Capri, 1928
( 84 )
MacDougall’s
London
8 June 2016
( 85 )
* 46.
The Survivors, signed twice and dated twice 1876.
Provenance: Russian Art. Paintings, Sotheby’s London, 9 June 2010, lot 128.
The present lot has been examined by Gianni Caffiero and Ivan Samarine and has been
entered under number CS-1876-010 in their catalogue raisonné of the artist’s work.
£150,000–200,000
Тема морских бурь и крушений прославила имя Ивана Айвазовского —
непревзойденного мариниста, умевшего, как никто другой, передать на
полотне красоту и мощь водной стихии.
The Russian painter Ivan Aivazovsky became famous for his paintings
of stormy seas and shipwrecks, which are particularly distinguished
by the masterfully conveyed beauty and might of the sea.
Будучи уже признанным мастером в 1870-х годах, академиком Римской,
Парижской, Амстердамской и Петербургской академий художеств,
Айвазовский придерживается принципов классицистической композиции с ее относительно сдержанными и правдивыми цветовыми решениями. С одинаковой силой и убедительностью Айвазовский умел передать яростный шторм и тихую гладь моря, блеск сверкающих на воде
солнечных лучей и рябь дождя, прозрачность морской глубины и белоснежную пену волн.
Having achieved widespread recognition by the 1870s, and holding
a professorship in the academies of art in Rome, Paris, Amsterdam
and St Petersburg, Aivazovsky adhered to the principles of classical
composition, with its relatively restrained, realistic palette. He was equally
skilful in depicting the raging storm or the calm, placid sea; the shimmer of
sun rays reflected on its surface or the ripple created by the rain; the clarity
of the deep blue sea or the pristine white foam atop the waves.
Выработанная Айвазовским уникальная манера передачи состояния
моря, прозрачных волн, разбивающихся о прибрежные скалы, а также
развитая зрительная память позволяли ему воспроизводить в картинах
увиденные в морских путешествиях эмоциональные состояния природы.
Повторяя запомнившийся ландшафтный мотив в самых общих чертах,
но оснащая его воображаемыми жанровыми сценами, эффектами освещения и передачи стихии, художник зачастую пренебрегал правдоподобием.
Представленная на торги картина «Спасающиеся от кораблекрушения»
была написана в 1876 году, в период, когда Айвазовский продолжал
увлекаться экспериментами с воспроизведением живых, пронизанных
светом морских волн. Наряду с привычным для подобных пейзажей
художника мотивом кораблекрушения и бушующей стихии цветовой акцент переносится на группу выживших людей, спасающихся от шторма.
Лишенное красочных эффектов и строящееся в основном на переходах
сдержанной сине-серой тональности полотно фокусирует внимание
зрителей на сцене спасения в лодке за счет «разбавления» гаммы
светлыми желтыми и белыми тонами.
I. Aivazovsky, Storm at Cape Aiya, 1875, The State Russian Museum
( 86 )
Aivazovsky’s unique manner of painting the sea and the translucent waves
crashing into cliffs, as well as his impressive visual memory, enabled him
to depict on his canvasses the various states of nature that he had encountered on his naval voyages. He would often forsake the accuracy of his
compositions, recreating the landscapes from memory in a generalised
form, adding imaginary genre scenes and striving to convey the effects
of light and the states of nature.
Aivazovsky completed the present lot, The Survivors, in 1876, when he was
experimenting with the subject of dynamic waves, permeated with sunlight.
Although the composition of this painting with its turbulent sea and a capsized ship is typical for Aivazovsky, its colouristic centre is peculiar: the
focus is on the group of survivors desperately clinging on for their lives.
Devoid of dramatic colour effects and rendered in a range of subdued bluegrey tones, the painting directs the viewer’s gaze towards these survivors
by picking them out in contrasting yellows and whites.
I. Aivazovsky, The Sea, 1864, The State Tretyakov Gallery
I. Aivazovsky, The Rainbow, 1873, The State Tretyakov Gallery
MacDougall’s
London
8 June 2016
( 87 )
47.
Spring in the Village, signed and dated 1920.
Provenance: Russian Paintings, Sotheby’s London, 10 June 2008, lot 237.
Exhibited: Possibly, Konstantin Korovin, Khudozhestvennyi salon K. Mikhailovoi, Moscow,
December 1921–January 1922.
Literature: Possibly, exhibition catalogue, Konstantin Korovin, Moscow, 1921, No. 53, listed as Vesna.
Possibly, A. Kiselev (ed.), Konstantin Korovin. K 150-letiyu so dnya rozhdeniya, St Petersburg, Zolotoi
vek, 2011, p. 92, No. 53, included in the list of works from the 1921–1922 exhibition under 1920.
£200,000–250,000
Создание картины «Весна в деревне» относится к периоду жизни
Константина Коровина в усадьбе Ушаковых в Островно Вышневолоцкого
уезда Тверскои губернии. Живописная природа тех мест, душевный уют
семейства философа и религиозного мыслителя Бориса Вышеславцева
и его жены Натальи, ставшеи героиней целой серии полотен мастера,
ознаменовали собой отдельную главу творчества Коровина.
Запечатленная на холсте деревянная терраса не раз воспроизводилась
художником в его работах и служила фоном многочисленных пейзажеи
и портретов. Залитая солнцем, едва освободившаяся от снега земля,
лучезарная голубизна неба и общее мажорное состояние являются
своего рода отражением самой восторженной натуры Коровина, присущей ему жизнерадостности и любви к окружающей природе и людям.
Темпераментная кисть живописца, увлеченность, с которой он фиксирует виды родной природы, созвучны строкам из воспоминаний художника: «Как прекрасна Россия, какая музыка в образе твоем <...>, где будто
счастье».
Можно предположить, что именно эта работа (кат. No 53, «Весна») экспонировалась на персональной выставке художника, проходившей
в декабре 1921–январе 1922 года в художественном салоне Клавдии
Михайловой на ул. Большая Дмитровка, д. 11.
K. Korovin, Early Spring.
Okhotino, 1917
( 88 )
K. Korovin, Autumn, 1917,
Art Museum of Uzbekistan, Tashkent
K. Korovin, Portrait of B. and N. Vysheslavtsev, 1920
MacDougall’s
London
8 June 2016
( 89 )
Konstantin Korovin painted Spring in the Village during his stay at the
Ushakovs’ estate, in Ostrovno village of Vyshnevolotsky district of the
Tver Governorate. The picturesque landscape and the warm welcome
Korovin was given by the philosopher and religious thinker Boris
Vysheslavtsev and his wife Natalia (who was to become the subject of
a whole series of the master’s canvasses) marked a new and very special chapter in Korovin’s artistic life.
The wooden terrace depicted in this canvas often featured in the
artist’s work and served as the background for numerous landscapes
and portraits. The earth, barely free of snow and drenched in sunshine, the radiant blue of the sky and the general upbeat mood evident in the painting are all a reflection of Korovin’s exuberant nature;
the joie de vivre that was so much a part of him, and his love for people and for his natural surroundings. The artist’s ebullient brush and
the passion with which he records views of his native landscape resonate with the lines from his memoirs: “How lovely Russia is, what
music there is in her image ... where there seems to be happiness”.
It is safe to assume that this work was exhibited at the artist’s oneman show (cat. No. 53, Spring) in the art salon of Klavdia Mikhailova,
at 11 Bolshaya Dmitrovka, Moscow, which ran from December 1921
until January 1922.
( 90 )
MacDougall’s
London
8 June 2016
( 91 )
*§ 48.
( 92 )
*§ 49.
Street in Constantinople, signed and dated 1920.
Sailing Boats, signed and dated 1920.
Provenance: Acquired directly from the artist by the
father of the present owner c. 1950s–early 1960s.
Thence by descent.
father of the present owner c. 1950s–early 1960s.
Thence by descent.
£10,000–15,000
£10,000–15,000
MacDougall’s
London
8 June 2016
( 93 )
50.
Drevin, Alexander (1889–1938)
51.
Larionov, Mikhail (1881–1964)
Portrait of a Woman.
Portrait of Natalia Goncharova, signed.
Executed in the 1930s.
Executed c. 1903–1905.
artist’s family by George Costakis.
Thence by descent.
Important private collection, Europe.
Provenance: Collection of the artist and art historian Lev Zhegin (1892–1969), Moscow.
Acquired from the above by George Costakis in 1961.
A gift from George Costakis to his granddaughter in 1975 (inscription on the backing board).
£20,000–30,000
Authenticity of the work has been confirmed by Lev Zhegin (inscription on the reverse).
Literature: A. Zander Rudenstine, Russian Avant-Garde Art. The George Costakis Collection,
New York, Harry N. Abrams Inc., 1981, p. 238, No. 446, illustrated and listed as Female Portrait.
£35,000–40,000
( 94 )
MacDougall’s
London
8 June 2016
( 95 )
§ 52.
( 96 )
Annenkov, Georges (1889–1974)
§ 53.
Orlova, Hanna (1888–1968)
Collage in Grey, signed.
Portrait of Alexander Yakovlev.
Oil and collage with metal wire on cardboard, 129.5 by 88.5 cm.
Painted plaster, height 70.5 cm.
Russian Works of Art, Fabergé and Icons, Sotheby’s Olympia,
20 November 2003, lot 279.
ABA Gallery, New York.
Acquired from the above by a previous owner.
Literature: F. Marcilhac, Chana Orloff, Paris,
Les Éditions de l'Amateur, 1991, p. 212, No. 44, listed.
£30,000–50,000
£40,000–70,000
Exhibited: Possibly, Exposition Internationale d’Arte
Moderne, Russie, Palais Electorale, Geneva,
26 December 1920–25 January 1921.
MacDougall’s
London
8 June 2016
( 97 )
*§ 54.
Kalmakov, Nikolai (1873–1955)
L’ange rebelle, signed with a cipher and dated 1924.
Oil on board, 53.5 by 35.5 cm.
Provenance: With Galerie Motte, Paris, c. 1964.
Collection of the film director and actor Kenneth Anger, USA.
Acquired from the above by a previous owner in 1998.
Acquired at the above sale by a previous owner.
Russian Art, Sotheby’s London, 22 April 2010, lot 344.
Exhibited: Nicolas Kalmakoff, Galerie Motte, Paris, 7 February–5 March 1964.
Literature: Exhibition catalogue, Nicolas Kalmakoff, Paris, Galerie Motte, 1964, p. 12, No. 46, listed.
J. Bowlt, Yu. Balybina, Nikolai Kalmakov i labirint dekadentstva. 1873–1955, Moscow, Iskusstvo – XXI vek, 2008, p. 269, illustrated.
£60,000–90,000
«Мятежный ангел» Николая Калмакова — одна из немногих сохранившихся работ «инфернального» цикла художника начала 1920-х годов. Данная
тема, появившаяся в его творчестве в 1910-е годы, когда петербургское
общество увлекалось антропософскими идеями «люциферианского начала» Рудольфа Штайнера, стала самой притягательной, загадочной и запретной в его искусстве. На каждом из этапов своего пути художник обращался к изображениям Князя тьмы и его воинства, неизменно осмысливая свои видения как мистическое откровение.
Его художественные приоритеты оставались неизменными, как бы решительно ни менялся мир и художественные пристрастия вокруг. В 1924 году
состоялась большая отчетная выставка работ художника в Брюсселе. Выставка прошла в галерее Le Roy, на которой было представлено 133 произведения, в том числе изображения Люцифера и поверженных ангелов.
К сожалению, мы не можем с уверенностью сказать, участвовала ли
картина «Мятежный ангел» в этой выставке, но сам факт ее исполнения
в 1924 году, вскоре после торжествующего дьявола «Сатана», свидетельствует о неослабевающем интересе художника к этой теме.
However much the world and artistic predilections changed around him,
Kalmakov’s own priorities remained unaltered. In 1924 a large exhibition
of the artist’s work took place in Brussels. Some 133 works were exhibited
at the Le Roy gallery, including depictions of Lucifer and fallen angels. While
one cannot say with certainty that the painting L’ange rebelle offered here
was part of that exhibition, the very fact that it was executed in 1924, shortly
after he completed the triumphant devil in Satan, undoubtedly attests to his
unflagging interest in the occult.
Композиция несет несомненный отпечаток мильтоновской трактовки восставших сил тьмы, в огне поднимающихся к небу, чтобы сразиться с Богом
и вновь оказаться поверженными. Вся фигура черного мятежного ангела
устремлена в исступлении ввысь. Его мощный атлетичный торс выступает
из плоскостного живописного окружения, создавая неожиданный эффект,
а огромные чешуйчатые крылья отливают золотом, словно инкрустация на
поверхности холста.
Here, the composition is unmistakably influenced by the characters of Satan
and his rebel angels from John Milton’s epic poem Paradise Lost; they rise
into the sky in flame, to clash with God and once again be cast down from
Heaven. The entire body of this black fallen angel is directed upwards in a
frenzy-like manner. His powerful athletic torso extends out of the one-dimensional composition to create an unexpected effect, while enormous scaly
wings shimmer with gold like an encrustation on the surface of the canvas.
Темное ночное небо, на фоне которого изображена фигура, кажется рельефно-шероховатым и вибрирующим благодаря сочетаниям разных оттенков синего и зеленого цветов, вплоть до темных, почти черных, оттенков.
Здесь все утрировано и неправдоподобно: непропорциональные, словно
растущие из рук крылья, зубовный оскал и огненный ореол. Причудливая
фантазия Калмакова играет крайностями, не признавая законов художественной меры и упорядоченности.
Но результатом этой игры на грани
художественности оказывается
странное и тревожное ощущение
некоей извращенности и порока.
Неправильность и диковинность
эпатируют и притягивают взгляд.
The dark night sky on the background of the figure appears as a rugged relief, and seems to vibrate due to a flickering combination of varying shades
of blue, green and almost black. Everything here is exaggerated and improbable: the disproportionate wings that seem to sprout from the figure’s
arms, his toothy grin, his fiery halo. Kalmakov’s whimsical fantasy is toying
with the extreme, ignoring the principles behind artistic processes and order. Yet the outcome of this game
played out on the edges of pictorialism is a peculiar and unnerving sense of some perversion
and vice; distortion and oddity
both jar and allure our gaze.
Неслучайно французский филологславист и коллекционер Рене Герра
назвал живопись Калмакова «демоническим символизмом и эзотерической магией». И представленный на торги «Мятежный ангел» —
лучшее тому подтверждение.
( 98 )
L’ange rebelle by Nikolai Kalmakov is one of the few surviving works from
the artist’s “Infernal” series, which dates from the beginning of the 1920s.
Its theme, which Kalmakov first introduced to his art in the 1910s, when
St Petersburg society were entranced by Austrian esotericist Rudolf Steiner
and his notions of anthroposophy and the “authority of Lucifer”, became
the painter’s most attractive, mysterious and “forbidden” motif. At every
stage in his artistic journey, Kalmakov turned to depictions of the Prince
of Darkness and his army, always interpreting such visions as a mystical
revelation.
The present lot as illustrated in the J. Bowlt and Yu. Balybina monograph on the artist
It is no coincidence that the
French Slavic scholar and collector René Guerra once described
Kalmakov’s painting as “demonic
symbolism and esoteric magic”.
Indeed, L’ange rebelle, presented
here at auction, is the finest confirmation of that.
MacDougall’s
London
8 June 2016
( 99 )
* 55.
Shukhaev, Vasily (1887–1973)
Cassis, signed and dated 1928.
Provenance: Russian Art. Paintings, Sotheby’s London, 10 June 2009, lot 388.
£80,000–120,000
Картина Василия Шухаева «Кассис» относится к серии полотен, выполненных художником летом в 1927 и 1928 году во время его пребывания
на юге Франции у Средиземноморского побережья.
Впервые Шухаев попал туда в начале 1920-х годов по приглашению
своих друзей — супругов Анри, владевших половиной острова Порт-Кро
и покровительствовавших приглашаемым на отдых художникам и писателям. Шухаев практически сразу стал завсегдатаем этой богемной компании и в 1925 году с упоением рассказывал в письме Дмитрию
Кардовскому о своих каникулах: «Мы жили в этом году там же, где почти
каждый год проводили лето у нашей приятельницы-француженки, имеющей заброшенный порт на почти необитаемом острове недалеко от
Тулона… Наша хозяйка — довольно богатая женщина, у нее есть яхты,
моторная лодка и несколько гребных и парусных лодок. При помощи
этого флота мы сносимся с берегом, и привозится оттуда все продовольствие. Кроме нас шести еще прислуга в количестве пяти человек (капитан, механик, матрос, кухарка и горничная). Это все обитатели форта, да
еще на острове человек 50 рыбаков — вот все население острова,
который к тому же очень красив, покрыт сосной морской и различными
пахучими кустарниками».
Во время одной из лодочных вылазок с острова на окрестные берега
художник и облюбовал для себя Кассис. Сейчас это популярный курорт
между Тулоном и Марселем, откуда берет начало знаменитая
Французская Ривьера, но в 1920-е годы Кассис был небольшой рыбацкой деревушкой с живописной бухтой и скалистыми каланками — небольшими, врезающимися в побережье фьордами из белого известняка. Знаменитый своим береговым мысом Кап-Канай — самым большим
не только на побережье, но и вообще во Франции, Кассис с начала
ХХ века стал местом паломничества художников и писателей.
Пленившись красотой этих мест, Кассис изображали Жорж Брак,
Поль Синьяк, Рауль Дюфи, Анри Дерен, Морис Вламинк и другие.
V. Shukhaev, A Tree (Cassis), 1928
( 100 )
V. Shukhaev, View of Cassis, 1928
Шухаев, практически никогда не писавший городских видов Парижа
и Петербурга, оказавшись на Французской Ривьере, один за одним создает пейзажи полюбившихся ему рыбацких поселков Коллиура
и Кассиса и их окрестностей. Его захватил размеренный ритм провинциальной жизни, обаяние деревенского зодчества XVI–XVII веков, колорит
маленьких домиков с башенками и балкончиками, прячущих потемневшие от времени крыши в неяркой зелени садов. Все эти картины лишены динамики, в них почти никогда не встретишь человека, но они тонко
передают особую созерцательную и гармоничную атмосферу сосуществования человеческой истории с величественным миром природы.
В Кассисе внимание Шухаева привлек поросший зеленью охристо-белый
Кап-Канай, раскинувшиеся у его подножия террасные виноградники
и серебристые оливы. Представленному пейзажу, как и другим видам
Касcиса кисти Шухаева, присуща панорамность и сознательная монументализация ландшафта. Он выдержан в коричневато-зеленой гамме, погружен в летний послеполуденный сон, но, несмотря на пустынность, дышит глубоким спокойствием. Прекрасный вид, открывающийся за огромным, выбивающимся из масштаба остальной «натуры» деревом, словно
укрывающим своей кроной городок, не раз служил моделью художнику.
Общие очертания скалистого склона и берега можно узнать в созданном
в пандан к нашей работе холсте аналогичного формата 1928 года, на котором панорама становится столь удаленной и обширной, что захватывает не только береговую часть, но и маяк, залив и соседний мыс.
Милая сердцу художника рыбацкая деревенька запечатлена им еще как
минимум в десятке работ. Во всяком случае, зимой 1929 года художник
представил свои работы с видами Кассиса на персональной выставке в галерее «Кодак» в Брюсселе. К сожалению, «глухой» (без указания размеров)
каталог выставки не позволяет с точностью определить, участвовала ли
в ней предлагаемая работа, но сам масштаб полотна и одновременно проработанность деталей композиции позволяют отнести его к одному из самых значительных произведений Шухаева-пейзажиста конца 1920-х годов.
V. Shukhaev, Le Garde-Freinet, 1931
MacDougall’s
London
8 June 2016
( 101 )
Vasily Shukhaev’s work Cassis belongs to a series of canvasses that he produced over the summers of 1927 and 1928 during his regular trips to the
Mediterranean coast in the south of France.
Shukhaev first visited the south of France in the early 1920s at the invitation
of his friends Marceline and Marcel Henry, who owned half of the island of
Port-Cros and supported the artists and writers whom they invited to spend
their holidays there. Shukhaev quickly became an habitué of this bohemian
group, and in 1925 wrote enthusiastically about his time in France in a letter
to Dmitry Kardovsky: “This year, we lived in the same place where we have
spent the summer nearly every year, staying with a French friend of ours, a
lady who owns a derelict port on an almost uninhabited island not far from
Toulon… Our hostess is a fairly wealthy woman: she has yachts, a motorboat
and several rowing boats and sailboats. We use this fleet to maintain ties with
the coast, and all the food is brought in from there. Apart from the six of us,
there are also five staff (a captain, a mechanic, a sailor, a cook and a maid).
They are the only people living in the fort, and there are a further 50 or so fishermen on the island. That is the whole population of the island, which is also
very beautiful and is covered with maritime pine and various fragrant shrubs.”
It was during one of the boating excursions from the island to the mainland
coastline that the artist took a fancy to Cassis. Nowadays, it is a popular resort
between Toulon and Marseille, where the famous French Riviera begins, but in
the 1920s Cassis was just a tiny fishing village with a fine bay and picturesque
rocky calanques — small, white limestone fjords that cut their way into the
coastline. Renowned for its coastal headland, Cap Canaille (the largest of its
kind not only on the Mediterranean coast but in France as a whole), Cassis has
been a place of pilgrimage for artists and writers since the beginning of the
20th century. Cassis has been painted by Georges Braque, Paul Signac, Raoul
Dufy, André Derain, Maurice de Vlaminck and others, who were all captivated
by the beauty of the locality.
Once in the French Riviera, Shukhaev, who had hardly ever painted city views
in Paris or St Petersburg, created landscapes, one after the other, of the fishing villages of Collioure and Cassis and their surroundings. He was enthralled
by the unhurried rhythm of provincial life, the charm of 16th– 17th century rural architecture, and the colours of the little houses with their turrets and tiny
balconies — houses that hid their time-darkened roofs in the tender greenery
of their gardens. All these pictures are lacking in movement; you hardly encounter a single person in them, but they delicately convey the special, meditative and harmonious atmosphere stemming from the coexistence of human
history with the majestic world of nature.
In Cassis, Shukhaev’s attention was drawn to Cap Canaille, ochre-and-white
and overgrown with vegetation, and to the terraced vineyards and silvery olive
trees nestling at its foot. The landscape presented here, like other views
of Cassis that Shukhaev painted, is panoramic and characterised by a
conceptual monumentalisation. The vista is depicted in a brownish-green
range of colours, wrapped in a summer afternoon’s slumber; yet, despite the
apparent desolation, it radiates a profound tranquillity. The splendid view
opening up beyond an enormous tree, which is disproportionately large compared with the rest of the natural world around it, seemingly sheltering the little town with its leafy crown, has served repeatedly as a model for the artist.
General outlines of the rocky slope and shore can be found in a 1928 canvas
of similar format, created as an accompaniment to our work, in which the
panorama becomes so distant and extensive that it takes in not only the
coastal part, but also the lighthouse, the bay and the neighbouring headland.
The tiny fishing village, so dear to the artist’s heart, has been the subject
of Shukhaev’s painterly touch in at least a dozen other works. In the winter
of 1929 he presented his Cassis landscapes at a personal exhibition in the
Kodak gallery in Brussels. Unfortunately, the uninformative exhibition catalogue (which omits the sizes) does not enable us to determine exactly
whether the work now offered was featured in it. Nevertheless, the actual
scale of the canvas and, at the same time, the fine execution of the details
of the composition allow us to rate it as one of the most significant works
by Shukhaev the landscape painter in the late 1920s.
( 103 )
* 56.
* 57.
Tchelitchew, Pavel (1898–1957)
Head of a Young Boy with Floating Eggs, signed.
Still Life with Apples and a Deer, signed, indistinctly inscribed and dated 1923, also further
titled twice, once in Cyrillic, and numbered “25” on the label on the reverse, also further titled
and numbered on the label on the stretcher.
Provenance: Collection of Ruth Ford (Mrs Zachary Scott) and Charles Henri Ford, New York.
With Richard Nathanson, London, c. 1980 (label on the frame on the reverse).
Provenance: Acquired directly from the artist by the parents of a previous owner.
Thence by descent.
Collection of the Fainberg Family Trust, USA.
Exhibited: Possibly, Pavel Tchelitchew, Everson Museum of Art, Syracuse, September–October 1983.
Literature: A. Kuznetsov, Pavel Tchelitchew. Metamorphoses, Stuttgart, Arnoldsche, 2012, p. 71,
No. 19, illustrated; p. 285, listed.
Literature: E. Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné, Düsseldorf, Edition
Libertars, 2011, p. 164, No. P 467, illustrated and listed Still Life with Apples and Chinese Figures.
£30,000–40,000
£25,000–30,000
B. Anisfeld, Oriental Statues with a Rose
( 104 )
MacDougall’s
London
8 June 2016
( 105 )
§ 58.
§ 60.
Milioti, Nikolai (1874–1962)
Lanskoy, AndrÉ (1902–1976)
Still Life with Flowers, signed.
Bouquet of Flowers on a Red Background,
signed, also further signed, inscribed “Paysage
à l’anglaise”, numbered “N 1” and dated 1926.
Provenance: Private collection, Belgium.
£1,500–2,000
Provenance: Acquired directly from the artist
by the previous owner.
Private collection, Paris.
Thence by descent.
by the expert André Schoeller.
£8,000–12,000
59.
Axelrod, Meyer (1902–1970)
61.
Still Life with Flowers, signed, titled in Cyrillic and
dated 1959 on the reverse.
Tempera and gouache on cardboard, 73.5 by 52 cm.
Yakovlev, Mikhail (1880–1942)
Flowers and a Toy, signed and dated “4.IX.1912”,
also further signed twice, once in Cyrillic, and dated
on the reverse.
£2,000–3,000
Provenance: Private collection, Moscow.
Acquired by the present owner at the Antique Salon
in Moscow in the early 1990s.
Private collection, Latvia.
Exhibited: Possibly, X vystavka kartin soyuza
russkikh khudozhnikov, Moscow School of Painting,
Sculpture and Architecture, Moscow, 1912–1913;
St Petersburg, 1913, No. 450 or 451.
Possibly, M.N. Yakovlev, Moscow Union of Soviet
Artists, Moscow, February 1941, No. 13.
Literature: Possibly, exhibition catalogue, Katalog
X vystavki kartin Soyuza russkikh khudozhnikov,
Moscow, 1912–1913, p. 29, No. 450 or 451, listed.
Possibly, exhibition catalogue, M.N. Yakovlev. Katalog
vystavki, Moscow–Leningrad, Iskusstvo, 1941, p. 23,
No. 13, listed under works from 1912.
£9,000–12,000
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MacDougall’s
London
8 June 2016
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§ 62.
Chagall, Marc (1887–1985)
Le songe, stamped with the artist’s signature.
Oil on canvasboard, laid on board, 30 by 27 cm.
Executed c. 1965.
Provenance: Impressionist and Modern Art, Christie’s London, 22 June 2005, lot 218.
Private collection, Lithuania.
Authenticity certificate from the Comité Marc Chagall.
Exhibited: Marc Chagall, Takashimaya Art Gallery, Osaka, Kyoto, Yokohama, Tokyo, 8 March–25 June 2012.
Marc Chagall, Prefectural Museum, Okayama; Prefectural Museum, Gifu, 13 July–28 October 2012.
Hello Paris! The Path of Litvak Artists, M. Žilinskas Art Gallery, Kaunas, Lithuania, 30 January–13 April 2014.
Colours and Forms of France, Vilna Gaon Jewish State Museum, Vilnius, Lithuania, 5 August–28 September 2014.
Literature: Exhibition catalogue, Marc Chagall, Tokyo, Takashimaya Art Gallery, 2012, p. 38, No. 21, illustrated.
Exhibition catalogue, Marc Chagall, Prefectural Museum, 2012, p. 60, No. 34, illustrated.
Exhibition catalogue, V. Gradinskaite, Hello Paris! The Path of Litvak Artists, Vilnius, Lewben Art Foundation, 2014, p. 33, illustrated.
£100,000–150,000
Картина «Сон», написанная Марком Шагалом в 1965 году, без сомнения
продолжает главную тему художника. Причудливое сочетание фантастических, подобных сновидениям образов и одновременно внимание
к живым деталям обыденного стало творческим кредо Шагала еще
в 1910-е годы. И потом, в течение долгой жизни, на протяжении которой
его живописная манера лишь незначительно менялась, а творческий
порыв ни на минуту не ослабевал, художник создал целую галерею сновидений, охватывающих весь пласт европейской иудео-христианской
культуры, от «Сна Иакова» до «Сна в летнюю ночь».
Так, во «Сне» собраны в единый образ фрагменты, эпизоды и персонажи сельской жизни и народного бестиария, которые все вместе составляют некий круг деревенского или местечкового бытия, каким оно видится читателю гоголевских «Вечеров на хуторе близ Диканьки» или
обитателю глубинки южнорусской черты оседлости. Все детали соединены друг с другом произвольно. Выдвинутая на первый план фигура спящего на травке крестьянина перетекает в красный профиль играющей
на скрипке коровы. Над ними парят в ночном небе равноправные
При этом композиция Шагала, созданная в постфрейдистском
художественном контексте, далека от современных ей построений
художников-сюрреалистов, пытавшихся реконструировать иррациональное подсознательное начало. Можно сказать, что образы Шагала,
как и сюрреалистические образы, возникают из грез, но это не просто
обрывок сновидения или воспоминаний частного лица: за ними всегда
стоят коллективные грезы целого народа, радостное и благодарное
восприятие бытия хасидизма, многовековая традиция искусства
примитива. Ведь искусство, по словам самого Шагала, «… не может
быть реальным без толики ирреального. Я всегда ощущал, что красота
— наоборотна. Я не знаю, как это вам объяснить… Вспомните, как
выглядит наша планета. Мы парим в пространстве и не падаем. Что же
это, не сон? Я не знаю… Вот почему персонажи мои взмыли в небо
задолго до космонавтов…»
M. Chagall, Le Songe de David, 1956–1967
M. Chagall, Le Songe, 1978
Сон и явь у Шагала всегда перемешаны, и по сути любая, даже самая
простая бытовая сцена приобретает на его полотнах сновидческий характер. Зритель как бы сталкивается с головоломным ребусом, разгадка
которого вряд ли может быть точной и однозначной.
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в своем величии зеленый демон, раскинувший руки персонаж в красной шапке и яркий серп месяца. Земной и небесный уровни скреплены
единым просвечивающим сквозь них сельским пейзажем — домиками
с забором и цветущим деревом. Все это вписано в систему линий, которые как бы круглят землю, расширяют пространство, создают атмосферу
мифологической вселенной, где каждый конкретный персонаж сливается в некое общее символическое единство, позволяющее свободно сосуществовать явлениям разного порядка.
MacDougall’s
London
8 June 2016
( 109 )
Marc Chagall painted Le songe in 1965 and it is without doubt a continuation of the
artist’s dominant pictorial topic. The whimsical combination of fantastic, dreamlike
images with the simultaneous attention to the details of everyday life had become
Chagall’s calling card as early as 1910. From then, and over the course of a long life,
during which his manner of painting only changed to an insignificant extent and his
creative impulse never flagged for a minute, the artist created an impressive oeuvre
of dream visions that encompass a whole stratum of European Judaeo-Christian culture, from Jacob’s Dream to A Midsummer Night’s Dream.
Chagall always mixed dreams and reality together, and essentially any mundane scene
he commits to canvas — no matter how simple — acquires a dreamlike character. The
viewer encounters, as it were, a complex puzzle, and one which is unlikely to have an
accurate and unambiguous solution.
Thus, in Le songe fragments, episodes, characters from rustic life and the bestiary
of folklore are assembled into a single image, and together they make up a certain
element of village or small-town existence — of the kind seen in Nikolai Gogol’s
Evenings on a Farm near Dikanka — or by someone living deep in the pale of Southern
Russian settlements. The details are all combined with each other in an arbitrary fashion. The figure of a peasant asleep on the grass in the foreground merges into the red
profile of a cow playing the fiddle. Soaring above them in the night sky and their equal
in grandeur are a green demon, a character in a red cap with arms held aloft, and the
bright sickle of the moon. The earthly and heavenly planes are held together through
the rural landscape discernible in the picture: little houses, a fence and a tree in blossom. All this is painted in a linear system which appears to encircle the earth, expand
the space and create an atmosphere of a mythological universe, in which the
individual character merges into a sort of overall symbolic entity and where the
freedom for phenomena of differing orders is allowed to coexist.
At the same time, Chagall’s painting, whilst created in a post-Freudian artistic context,
is far from the attempts of contemporary Surrealist artists to remodel irrational
principles drawn from the subconscious. It may be said that, similarly to Surrealist images, Chagall’s imagery arises from dreams. However, these are not simply scraps cut
from the private reveries or reminiscences of an individual — always standing behind
them are the collective daydreams of an entire people, a joyous and noble Hasidic
perception of being, with its centuries-old artistic tradition. As Chagall himself puts it,
“Art cannot be real without a pinch of the unreal in it. I have always felt that beauty is
in the inverse. I don’t know how to explain this to you... Recall what our planet looks
like. We float in space and do not fall. What is this if not a dream? I don’t know...
This is why my characters soared heavenward long before the cosmonauts...”
M. Chagall, Le Songe, 1984
( 111 )
* 63.
* 65.
Burliuk, David (1882–1967)
Two Fishermen, signed and dated 1948.
Podebrady, Czechoslovakia, signed, inscribed
Oil on paper, laid on cardboard, 29.5 by 39.5 cm.
“Czechoslovakia” and twice “Podebrady”, and dated 1957.
Oil on canvas, laid on board, 27 by 35 cm.
The work will be included in the forthcoming
David Burliuk catalogue raisonné being prepared
by the Burliuk Committee in collaboration with
Mary Burliuk.
Provenance: Vera Lazuk Gallery, Long Island, New York.
Private collection, Long Island.
Thence by descent to the previous owner.
The work will be included in the forthcoming David Burliuk
catalogue raisonné being prepared by the Burliuk Committee
in collaboration with Mary Burliuk.
£4,000–6,000
£3,000–5,000
64.
*§ 66.
Mane-Katz, Immanuil (1894–1962)
Tunisian Boy, stamped with the artist’s estate
Portrait of a Woman, signed.
stamp on the reverse.
Gouache on cardboard, 65 by 49.5 cm.
£5,000–7,000
Executed in Tunis in 1925.
Provenance: Russian Art, Christie’s London,
3 December 2009, lot 39.
Private collection USA.
£9,000–12,000
( 112 )
MacDougall’s
London
8 June 2016
( 113 )
68. Gorokhov, Ivan (1863–1934)
Peasant Girl by the Stove, signed and
dated 1907.
Provenance: Private collection, Europe. Authenticity of the work has been confirmed
£10,000–15,000
69.
Svetoslavsky, Sergei (1857–1931)
Peasant Hut in Ukrainian Village, signed
and dated 1905, also further inscribed in Cyrillic
“Khata v sele Borshchalovke — bliz Kieva” and
dated on the reverse.
£8,000–12,000
* 67.
Makovsky, Konstantin (1839–1915)
Portrait of a Young Girl, signed.
Provenance: Important Russian Pictures Including The Somov
Collection, Christie’s London, 28 November 2007, lot 355.
Authenticity has also been confirmed by the expert N. Ignatova.
£50,000–70,000
( 114 )
MacDougall’s
London
8 June 2016
( 115 )
71.
Roubaud, Frants (1856–1928)
Two Horsemen Fighting, signed and dated 1884.
Oil on panel, 35 by 26.5 cm.
£8,000–12,000
72.
Vladimirov, Ivan (1870–1947)
Winter Scene with Two Cossack Horsemen,
signed and dated 1916.
Oil on canvas, laid on cardboard, 32.5 by 48 cm.
Provenance: Collection of the Danish Consul General
in St Petersburg Michael Arentz Langberg and his wife
Lidia Autz.
£4,000–6,000
70.
Roubaud, Frants (1856–1928)
Cossacks at Rest, signed and dated 1917.
Provenance: With Galerie del Vecchio, Leipzig (label on the reverse).
Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov.
£35,000–50,000
( 116 )
MacDougall’s
London
8 June 2016
( 117 )
73.
Weltz, Ivan (1866–1926)
74.
Choultse, Ivan (1874–1939)
By the River, signed.
The Harvest, signed and dated 1924.
Provenance: Russian Art, Sotheby’s New York, 15 April 2008, lot 47.
Private collection, UK. Authenticity of the work has been
confirmed by the expert V. Petrov.
£25,000–40,000
£30,000–50,000
( 118 )
MacDougall’s
London
8 June 2016
( 119 )
76.
75.
Krachkovsky, Iosif (1854–1914)
77.
Zommer, Richard (1866–1939)
By the Italian Seacoast, signed.
In the Mountains of Alatau, signed.
Provenance: Private collection, Hungary.
Provenance: Private collection, Czech Republic.
£5,000–7,000
£7,000–9,000
Dubovskoy, Nikolai (1859–1918)
Rocky Coast, signed and dated 1913 on the reverse.
Provenance: A gift from the artist to his niece Sofia Olman (née Dubovskaya), Moscow, before 1917.
Thence by descent.
Acquired from the above by the present owner.
Authenticity certificate from the expert V. Petrov.
Exhibited: 41 peredvizhnaya vystavka kartin, The Imperial Society for the Encouragement of Arts, St Petersburg,
28 December 1912–20 January 1913; The Historical Museum, Moscow, 24 February–7 April 1913.
Literature: Exhibition catalogue, 41 peredvizhnaya vystavka kartin, Moscow, Tipografiya Tovarishchestva
I.D. Sytina, 1912, listed under works from N. Dubovskoy as Skalistyi bereg.
G. Romanov, Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok. 1871–1923 g.g. Entsiklopediya,
St Petersburg, Sankt-Peterburg Orkestr, 2003, p. 384, No. 9-75, listed.
The work is accompanied by a letter from Vladimir Olman, a grandson of Sofia Olman, confirming its provenance.
£40,000–60,000
( 120 )
MacDougall’s
London
8 June 2016
( 121 )
78.
Zarubin, Victor (1866–1928)
§ 80. Klestova, Irene (1908–1989)
§ 81.
Klestova, Irene (1908–1989)
Breton Women on their Way to Mass,
Fresh Roses, signed.
In Full Bloom, signed.
Provenance: With E. Stacy-Marks Gallery, Eastbourne, UK, c. 1968.
Acquired from the above by the previous owner in June 1968.
Acquired from the estate of the above by the present owner in 2014.
Provenance: With E. Stacy-Marks Gallery, Eastbourne, UK, c. 1968.
Acquired from the above by the previous owner in June 1968.
Acquired from the estate of the above by the present owner in 2014.
£2,000–3,000
£2,000–3,000
£4,000–6,000
82. Von Franken, Paul (1818–1884)
79.
( 122 )
Gluckmann, Grigory (1898–1973)
Settlement by a River.
The Bathers, signed.
Provenance: Private collection, Sweden.
Provenance: Russian Art. Paintings,
Sotheby’s London, 9 June 2010, lot 218.
Authenticity of the work has been
£7,000–9,000
£5,000–7,000
MacDougall’s
London
8 June 2016
( 123 )
83.
* 84. Vereschagin, Petr (1836–1886)
Westchilov, Konstantin (1878–1945)
Winter in the Forest, signed.
Locomotive, signed.
Provenance: Russian Art, Sotheby’s New York, 17 April 2007, lot 442.
£40,000–60,000
Authenticity of the work has been confirmed by expert V. Petrov.
£30,000–50,000
P. Vereschagin, Arkhipovka, 1876, Perm Museum of Fine Arts
( 124 )
MacDougall’s
London
8 June 2016
( 125 )
* 85.
Pokhitonov, Ivan (1850–1923)
* 86. Bogdanov-Belsky, Nikolai (1868–1945)
Hunter in the Forest.
Three Sisters, signed.
Executed c. 1875.
Provenance: Estate of the Latvian ethnographer and art historian Ziedonis Ligers
(1917–2001), Bayeux, France.
Collection A. et T., Collection Z. Liegers, Collection A.-M. Springer et á divers, Hotel de Ventes
de Bayeux, France, 14 July 2009, lot 181.
Provenance: Collection of Eugénie von Wulfert and Boris Wulfert-Pokhitonov, Belgium.
Thence by descent.
Important Russian Pictures Including the Somov Collection, Christie’s London,
28 November 2007, lot 296. Authenticity certificate from the expert Olivier Bertrand.
Authenticity of the work has been confirmed by the expert I. Geraschenko.
Literature: O. Bertrand, Ivan Pokhitonov. Catalogue raisonné of works, vol. I,
Luxembourg, Belart International Editions, 2015, p. 155, No. C 1, illustrated and listed.
The work will be included in the monograph on the artist being prepared by A. Kuznetsov.
£25,000–30,000
£50,000–70,000
I. Pokhitonov, Hunter in the Hide, 1909
( 126 )
I. Pokhitonov, Hunter, 1890
MacDougall’s
London
8 June 2016
( 127 )
* 87.
* 88. Zommer, Richard (1866–1939)
Orlovsky, Vladimir (1842–1914)
Mending Fishing Nets by the Crimean Coast, signed and dated 1870.
Market Place in Central Asia, signed and dated 1916.
£25,000–30,000
Literature: A. Kiselev (ed.), Vladimir Orlovskiy. K 170-letiyu so dnya rozhdeniya,
St Petersburg, Zolotoi vek, 2013, p. 176, No. 11, illustrated and listed as Bereg Kryma.
£50,000–70,000
( 128 )
MacDougall’s
London
8 June 2016
( 129 )
89.
Ryback, Issachar (1897–1935)
Old Manor House, signed.
Provenance: Acquired by the grandfather of
the present owner in 1923 in Paris.
Thence by descent.
£3,000–5,000
91.
Latri, Mikhail (1875–1942)
Braz, Osip (1873–1936)
Warships on the High Seas, signed and dated 1914.
Still Life with Fish.
Provenance: Private collection, Germany.
£7,000–9,000
90.
92.
£2,000–3,000
Cossack’s Farewell, signed.
Oil on canvasboard, 23 by 30.5 cm.
The work will be included in the forthcoming
David Burliuk catalogue raisonné being prepared
by the Burliuk Committee in collaboration with
Mary Burliuk.
£4,000–6,000
( 130 )
MacDougall’s
London
8 June 2016
( 131 )
93.
Kuznetsov, Pavel (1878–1968)
Three Roses, titled in Cyrillic and
numbered “151” on the reverse.
Provenance: Collection of the artist’s
family.
Collection of Solomon Shuster,
St Petersburg.
Literature: L. Budkova, D. Sarabianov,
Pavel Kuznetsov, Moscow, Sovetskii
khudozhnik, 1975, p. 382, No. 902,
listed.
£15,000–20,000
94.
Tarkhoff, Nikolai (1871–1930)
La Seine au Pont d’Austerlitz,
signed.
£18,000–25,000
§ 95.
Dobuzhinsky, Mstislav (1875–1957)
Kaunas Cathedral, signed and dated 1931.
Oil on canvas, laid on cardboard, 45.5 by 54.5 cm (cardboard size).
Provenance: Collection of the artist.
A gift from the artist to a previous owner, Boston, c. 1940.
Thence by descent.
Private collection, Lithuania.
Exhibited: M. Dobužinskis, Lithuanian-French Society, Kaunas, 1931.
Literature: J. Vienožinskis, “M. Dobužinskio meno darbų paroda”, Naujoji
Romuva, No. 20, 1931, p. 493, illustrated as Katedra.
Exhibition catalogue, M. Dobužinskis, Kaunas, Lithuanian-French Society,
1931, No. 8, listed under works from 1929–1931 as Katedra.
£40,000–60,000
( 132 )
MacDougall’s
London
8 June 2016
( 133 )
96.
( 134 )
97.
Rockline, Vera (1896–1934)
Portrait of a Young Man Seated, signed.
Woman in a Pink Dress and Black Fur, signed.
Oil, paste and sand on cardboard, 75 by 50.5 cm.
Executed c. 1927.
Exhibited: Rétrospective Vera Rockline. 1896–1934, Galerie Jean Battais, Paris, 22 May–12 June 1975 (stamp on the
stretcher).
Rétrospective Vera Rockline, Galerie Drouart, Paris, 22 November–14 December, 1984 (stamped twice on the stretcher).
£40,000–60,000
£30,000–40,000
Literature: Exhibition catalogue, Rétrospective Vera Rockline. 1896–1934, Paris, Galerie Jean Battais, 1975.
MacDougall’s
London
8 June 2016
( 135 )
* 98.
Courtyard in Ohio Street, Chicago, signed and dated 1932,
further inscribed “Etude” and numbered “192” on the reverse.
Literature: E. Lingenauber and O. Sugrobova-Roth, Boris Anisfeld.
Catalogue raisonné, Düsseldorf, Edition Libertars, 2011, p. 140,
No. P 282, illustrated and listed with incorrect details.
£8,000–12,000
* 99.
( 136 )
* 100. Anisfeld, Boris (1878–1973)
City View with Church, signed and dated 1924, further
Old Cemetery, Colorado, signed and dated 1934, further titled
inscribed “City” and numbered “238” on the reverse.
and numbered “101” on the reverse.
No. P 280, illustrated and listed.
No. P 246, illustrated and listed.
£6,000–9,000
£12,000–18,000
MacDougall’s
London
8 June 2016
( 137 )
* 101. Tchelitchew, Pavel (1898–1957)
Boy in a Leotard, signed and dated 1932.
Gouache on cardboard, 75 by 32 cm.
Provenance: Collection of Ruth Ford (Mrs Zachary Scott) and Charles Henri Ford, New York.
Exhibited: Pavel Tchelitchew, Gallery of Modern Art, New York, 20 March–19 April 1964, No. 103 (labels on the backing
cardboard and the frame on the reverse).
Literature: Exhibition catalogue, Pavel Tchelitchew, New York, Gallery of Modern Art, 1964, p. 59, No. 103, listed.
A. Kuznetsov, Pavel Tchelitchew. Metamorphoses, Stuttgart, Arnoldsche, 2012, p. 170, No. 137, illustrated; p. 294, listed.
£45,000–60,000
Все, что мы знаем сегодня о творчестве Павла Челищева, не раскрывает
до конца суть его творческих поисков. Это мнимое знание, которое лишь
рождает желание пристально и пристрастно рассматривать каждый виток
его живописных экспериментов. Было бы ошибочно воспринимать их как
экзерсисы виртуоза или упражнения искушенного разума. Эксперименты
Челищева — результат его бесконечных попыток переосмысления окружающей действительности, качественно иное явление, которое затрагивает вопросы человеческого бытия, философскую подоплеку нашего
физического и, быть может, иного существования.
As much as we know today about the oeuvre of Pavel Tchelitchew, none of it
reveals the true essence of his exploits. Such seeming knowledge fuels the
desire to peruse and probe every twist and turn of his experiments in painting. But it would be wrong to regard these as the exercises of a virtuoso or
the acrobatics of a sophisticated mind. Tchelitchew’s experiments — the
results of his incessant attempts to reinterpret the surrounding reality — are
an altogether different phenomenon, addressing questions of human existence, the philosophical rationale of our physical and, perhaps, our other
existence.
В настоящем каталоге мы представляем четыре произведения Павла Челищева, созданных в Париже. Здесь, во Франции, Челищев приобретет ценнейший опыт. Сформировав в своих живописных композициях оригинальную пространственно-временную точку зрения, он заложит фундамент своей
индивидуальности. Увлекшись сумрачными «монохромами», художник обогатит свое колористическое видение, осознанно обесцвечивая тонко нюансированные портреты, ню и натюрморты. Сложная тональная живопись, благотворно повлияв на цветоощущение художника, откроет в его палитре
особую гармонию и в то же время только ему присущую «пограничную»
провокационность, уберегая от излишних декоративных импровизаций.
Our current catalogue presents four works by Tchelitchew, all produced in
Paris. The Parisian period of his artistic life is of immense significance, for it
was in the French capital that he acquired all his most valuable experience.
Forming his own original spatial-temporal point of view in his painterly compositions, Tchelitchew laid the foundations for his individuality to come.
Passing through a period of interest in murky ‘monochromes’, the artist enriched his colourist vision, consciously ‘decolourising’ his subtly nuanced
portraits and still-lifes. This complex tonal painting had a particularly beneficial influence on his feel for colour, opening up a special harmony in his
palette and, at the same time, his trademark ‘borderline’ provocativeness,
guarding against superfluous decorative improvisations.
В Париже Челищев писал то же, что и многие представители «парижской
школы»: цветы, фрукты, обнаженную натуру, моряков, цирковых акробатов, танцовщиц кабаре. Однако особый дар гармонического синтеза живописной пластики и присущее ему мастерское использование оттенков одного и того же цвета заметно выделяли художника из десятков талантливых
живописцев. «Его неизменное и сознательное изображение органических
феноменов, возможно, стало более упорядоченным из-за связи с кубизмом и его последователями, но «розовый» и «голубой» квазигуманистический Пикассо гораздо в большей степени, чем пластический анализ, повлиял на него в последующее десятилетие», — необыкновенно точно подметил друг художника и исследователь его творчества Линкольн Кирштайн.
In Paris, Tchelitchew painted what everyone else was painting — flowers,
fruit, life models, sailors, circus acrobats, cabaret dancers. But his special
talent for a harmonious synthesis of the painterly plastics and his masterly
use of different hues of the one colour instantly distinguished him from
the ranks of the dozens of other accomplished artists: “His constant and
faithful rendition of natural organic phenomena may have been made
more orderly by association with Cubism and its heirs. But it was the ‘rose’
and ‘blue’ quasi-humanist Picasso’s, rather than any plastic analysis, which
would impact him most for the next decade.” — aptly noted Lincoln Kirstein,
the artist’s friend and researcher of his oeuvre.
Искусствовед Александр Кузнецов
Alexander Kuznetsov, art historian
The present lot as illustrated and listed in the A. Kuznetsov monograph on the artist
( 138 )
P. Tchelitchew, Bathers, 1933
MacDougall’s
London
8 June 2016
( 139 )
105
102. Makovsky, Vladimir (1846–1920)
103. Grigoriev, Ivan (18th–19th Century)
104. Sprevich, Nikolai (1799–After 1869)
The Collapse of a Bank, signed
Portrait of a Young Officer, signed
Portrait of a Young Woman, signed,
and dated 1881.
Pencil, sanguine, watercolour and
charcoal on paper, laid on cardboard,
25 by 18 cm (image size).
with initials.
Watercolour and tempera on ivory, laid
on card, 6 by 4.5 cm (oval).
further inscribed “Frau v. Collin:/Gattin
des Dichters” on the backing cardboard.
Watercolour and tempera on ivory, laid
on card, 8 by 7 cm.
£10,000–15,000
The present lot is a study for the 1881
painting The Collapse of a Bank,
presently in the collection of the State
Tretyakov Gallery.
£4,000–6,000
106
* 105. Muratov, Nikolai (1908–1992)
Illustrations and Cover Designs for
the S. Mikhalkov Book “Puti-dorogi”,
twenty-two works, twenty signed, some on
the reverse or on the mounting cardboard,
five variously inscribed in Cyrillic, some
numbered and five dated 1939, 1947,
1948 or 1953.
Fourteen pencil and crayon, and eight ink
or pencil, some with gouache or watercolour,
on paper, the largest measuring 34.5 by
26 cm and the smallest 25.5 by 20 cm.
£5,000–7,000
artist’s family by the present owner.
Related literature: For the published
illustrations, see S. Mikhalkov, Puti-dorogi,
Leningrad, Detgiz, 1955.
Illustrations and Cover Designs for
the J. Verne Book “The Earth Turned
Upside Down”, eleven works, each signed, some
Illustrations for the A. Tolstoy
Book “Zolotoy klyuchik, ili
Priklyucheniya Buratino”, twenty-
also further signed and inscribed in Cyrillic on the
reverse, and nine dated 1942, 1948 or 1949.
Nine ink and gouache, some with pencil
or watercolour, and two ink and watercolour
on paper, the largest measuring 31 by 44 cm
and the smallest 21.5 by 14 cm.
one work, twenty signed and eighteen
dated 1949, some on the reverse.
Each ink, some with pencil or crayon,
and nineteen heightened with white,
on paper, the largest measuring 21.5 by
29 cm and the smallest 10.5 by 22 cm.
Provenance: Acquired directly from the artist’s
family by the present owner.
Provenance: Acquired directly from
the artist’s family by the present owner.
Related literature: For the published illustrations,
see J. Verne, Vverkh dnom, Moscow-Leningrad,
Detgiz, 1952.
Related literature: For the published
illustrations, see A. Tolstoy, Zolotoy
klyuchik, ili Priklyucheniya Buratino,
Leningrad, Lenizdat, 1950.
£1,200–1,800
£2,500–4,000
£2,000–3,000
107
103
( 140 )
MacDougall’s
London
8 June 2016
( 141 )
111
110
110. Lebedev, Vladimir (1891–1967)
A Collection of Illustrations for Children’s Books, ten works, one
double-sided, seven variously numbered on the front and reverse.
Nine pencil and ink, three with watercolour, and one pencil on paper, the largest
measuring 29 by 22.5 cm and the smallest 11 by 14 cm.
£6,000–9,000
§ 111. ErtÉ (Roman de Tirtoff) (1892–1990)
Le blousons noirs, signed, further stamped with the artist’s studio stamp and numbered
“N 15.987” on the reverse.
Pencil and gouache on paper, 37 by 28 cm.
Provenance: Acquired directly from the artist by his friend Hélène Martini, the owner after 1960
of a number of theatres and cabarets in the Pigalle area, Paris, c. 1950s–1960s.
£1,000–1,500
108. Goncharova, Natalia (1881–1962)
109. Larionov, Mikhail (1881–1964)
Two Spanish Ladies, signed twice, inscribed in Cyrillic with a signed
Muse, signed with initials, also further signed with a monogram
dedication to George Costakis and dated “Parizh 10 maya 1956”.
Pencil on paper, 50.5 by 33 cm (sheet size).
on the reverse, also further signed, inscribed in Cyrillic “Parizh”
and with a dedication, and dated “5 maya 1961” on the backing
cardboard.
Oil on paper, 40.5 by 26.5 cm.
Executed c. 1916.
The present lot is a study for the painting Two Spanish Women with
a Dog (1922–1928), now in the collection of the State Tretyakov Gallery.
Provenance: A gift from the artist to George Costakis in 1956.
Thence by descent.
Provenance: A gift from the artist to the stepmother of the present
owner in Paris in May 1961 (inscription on the backing cardboard).
Important private collection, France.
£10,000–15,000
112
Costume Design “L’Araignee”, signed, further stamped with the artist’s studio stamp and
inscribed “Arkansas” on the reverse.
Pencil, ink and gouache, heightened with gold and bronze, on paper, laid on cardboard, 24 by 14.5 cm.
Executed c. 1915.
£1,000–1,500
Costume Design for the Burlesque Performance “Raspoutine”, Theatre Folie’s Pigalle,
Paris, signed, further stamped with the artist’s studio stamp and numbered “N 16.026” on the reverse.
Exhibited: Die Russische Avantgarde. Sammlung Costakis, Haus der Kunst,
Munich, 10 May–4 August 1996.
Pencil and gouache, heightened with gold, on paper, 37.5 by 27.5 cm.
Literature: A. Zander Rudenstine, Russian Avant-Garde Art. The George
Costakis Collection, New York, Harry N. Abrams Inc., 1981, p. 109, No. 59,
illustrated in black and white.
Exhibition catalogue, Die Russische Avantgarde. Sammlung Costakis,
Munich, Haus der Kunst, 1996, pp. 106, 107, No. 53, illustrated and listed.
Executed c. 1959.
Provenance: Acquired directly from the artist by his friend Hélène Martini, the owner after 1960
of a number of theatres and cabarets in the Pigalle area, Paris, c. 1959.
£18,000–25,000
£1,000–1,500
113
( 142 )
MacDougall’s
London
8 June 2016
( 143 )
116. Gildebrandt, Olga (1897–1980)
Lady in a Ball Gown, signed and dated 1935.
Pencil and watercolour on paper, 33.5 by 23.5 cm.
Thence by descent.
£3,000–5,000
117. Gildebrandt, Olga (1897–1980)
A Road.
Watercolour on paper, 40.5 by 31.5 cm.
* 114. Chaliapin, Boris (1904–1979)
Thence by descent.
§ 115. Pogedaieff, Georges (1894–1977)
£2,500–3,000
Costume Designs for the Film “Michel Strogoff”, six
A Collection of Book Illustrations, seven
works, each signed, three inscribed and titled in Cyrillic, one also
further signed and inscribed on the reverse.
Each pencil and watercolour, three heightened with white, two on
paper and the others on cardboard, two measuring 29.5 by 25 cm
and the others 38 by 25.5 cm.
works, each signed, six with initials, one further signed
on the backing cardboard, and four variously numbered.
Each pencil and charcoal on paper, six measuring
approximately 28 by 21.5 cm and one 22.5 by 16.5 cm.
£3,000–5,000
118. Falk, Robert (1886–1958)
Provenance: Collection of the film director Joseph Ermolieff.
Thence by descent.
Portrait of the Artist’s Wife Raisa Idelson,
signed with initials.
Pastel and charcoal on paper, 63 by 41 cm.
The costume designs, included in the present lot, were
commissioned to the artist by the director Joseph Ermolieff for
his 1936 film Michel Strogoff, based on the novel by Jules Verne.
The present lot is a portrait of the artist and poet Raisa
Idelson, Robert Falk’s spouse from 1922 until 1931.
£4,000–6,000
£2,000–3,000
( 144 )
MacDougall’s
London
8 June 2016
( 145 )
Parisienne and Noirs et blancs, double-sided work,
each side titled.
Each side pencil on paper, one measuring 20 by 8.5 cm
and the other 8.5 by 20 cm.
£6,000–9,000
Forest and Autumn Tree, two-part work, one part signed
twice, once with initials and once with a monogram, inscribed
“Le Bois L’automne” and dated 1912; further each part with
sketches on the reverse.
Each part pencil and crayon on paper, measuring 30 by 41.5 cm
(sheet size).
Female Head, signed twice, once with initials and once with a
Female Figure in the Landscape, signed with
monogram, inscribed “Paris” and dated “Mois de Mai./23/1962”.
Pencil on paper, 42 by 33 cm.
initials and dated “le 24 Aout/1962” [sic].
Pencil on paper, 37 by 27 cm.
£6,000–9,000
£6,000–9,000
£6,000–9,000
123. Rodchenko, Alexander (1891–1956)
Strange Dancer, signed and dated 1913, also further
signed, titled in Cyrillic and dated on the label on the
backing cardboard.
Pencil, ink and tempera, heightened with silver and gold,
on paper, laid on paper, 44.5 by 35.5 cm (image size).
Provenance: Collection of the lawyer Nikolai Andreev, Kazan,
from 1913 until the 1960s.
Ballet and Theatre Material, Sotheby’s London, 13 March
1980, lot 43.
Russian Art. Paintings Part II, Sotheby’s London, 30 November
2010, lot 173.
Authenticity of the work has been confirmed by Varvara
Rodchenko, the artist’s daughter (inscription on the label
on the backing cardboard).
Authenticity has also been confirmed by Alexander Lavrentiev,
the artist’s grandson.
Exhibited: Possibly, 3-ya Periodicheskaya vystavka kartin,
School of Art, Kazan, November–December 1913.
Alexander Rodchenko, The Museum of Modern Art, Oxford,
February–March 1979.
Literature: Exhibition catalogue, D. Elliott (ed.), Alexander
Rodchenko, Oxford, The Museum of Modern Art, 1979, No. 2.
£20,000–25,000
( 146 )
MacDougall’s
London
8 June 2016
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124. Benois, Albert Nikolaevich (1852–1936)
127. Bakst, LÉon (1866–1924)
HÔtel des Sables Blancs, TrÉboul, signed, further titled
Portrait of a Young Girl, signed, inscribed
on the reverse.
Pencil and watercolour on paper, 25.5 by 21 cm.
with a dedication “à Marcel Marquet” and dated
1897.
Watercolour on paper, laid on cardboard,
39.5 by 35.5 cm (paper size).
Provenance: Collection of Boris Blacher (1903–1975), a German
composer and President of the West Berlin Academy of Arts.
Thence by descent.
Private collection, Germany.
Provenance: Acquired from the artist by the
French actor Marcel Marquet (inscription on
the work).
Thence by descent.
A gift from the actress Mary Marquet, the
daughter of the above, to a physician Annette
Maury, France, 18 February 1945 (inscription
on the backing board).
£1,000–1,500
£10,000–15,000
128. Benois, Albert Nikolaevich (1852–1936)
Corniche de l'EstÉrel, signed and inscribed
“Av Colonel” and with a dedication.
Watercolour, heightened with white, on paper,
22.5 by 27.5 cm.
Provenance: Acquired by the present owner
in France in 1980.
£1,000–1,500
* 125. Egorov, Andrei (1878–1954)
129. Grand Duchess Olga Alexandrovna (1882–1960)
Winter Road, signed, also further signed
Flowers on the Veranda, signed.
and titled on the reverse.
Gouache on paper, laid on cardboard, 31 by 47 cm.
£1,500–2,000
£1,500–2,000
* 126. Egorov, Andrei (1878–1954)
Winter Day, signed.
Gouache on paper, laid on cardboard, 21.5 by 34.5 cm.
Authenticity of the work has been confirmed by the
expert V. Petrov.
£1,000–2,000
128
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129
MacDougall’s
London
8 June 2016
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130. Arapoff, Alexis (1904–1948)
Tram to Versailles, signed.
Provenance: Collection of Reverend Vivian
T. Pomeroy (1883–1961), Milton,
Massachusetts, c. 1952 (label on the reverse).
Exhibited: Alexis Paul Arapoff. Memorial
Exhibition, Museum of Fine Arts, Boston,
12 March–13 April 1952 (label on the reverse).
Literature: Exhibition catalogue, Alexis Paul
Arapoff. Memorial Exhibition, Boston, Museum
of Fine Arts, 1952, No. 2099.2, listed.
£1,000–2,000
§ 131. Bender, Sergei (B. 1955)
133. Grigoriev, Boris (1886–1939)
Autumn in the City, signed.
Village Landscape, from the series “Russian Province”,
Pencil, watercolour and gouache on
paper, 50 by 99.5 cm.
Pencil on paper, 20 by 27.5 cm.
£1,500–2,000
Authenticity of the work has been confirmed by the expert T. Galeeva.
Exhibited: Possibly, Pervaya gosudarstvennaya svobodnaya vystavka
proizvedenii iskusstva, Winter Palace, Petrograd, 13 April–29 June 1919.
Literature: Possibly, exhibition catalogue, Pervaya gosudarstvennaya
svobodnaya vystavka proizvedenii iskusstva, Petrograd, Tsentralnaya
tipografiya, 1919, Nos. 424–431, listed as part of the series Russian
Province.
Possibly, T. Galeeva, Grigoriev, St Petersburg, Zolotoi vek, 2007, p. 205,
included in the list of works for the 1919 exhibition.
£4,000–6,000
§ 132. Bender, Sergei (B. 1955)
Winter in St Petersburg, signed.
Pencil, watercolour and gouache on
paper, 50 by 99.5 cm.
£1,500–2,000
134. Rutkovsky, Nikolai (1892–1968)
Design for the Poster “Za Rodinu, za Stalina”,
signed on the reverse.
Charcoal, chalk and sanguine on paper, 88.5 by 63.5 cm.
£3,000–5,000
( 150 )
MacDougall’s
London
8 June 2016
( 151 )
* 135. Popkov, Viktor (1932–1974)
Three Artists, signed and dated 1962, also further signed, titled in Cyrillic and dated on the reverse.
Provenance: Acquired directly from the artist’s family by the present owner.
Exhibited: Viktor Popkov (1932–1974). Genius of the Russian Soul, Somerset House, London, 22 May 2014–18 June 2014.
Literature: Viktor Popkov. A Russian Painter of Genius, London, Unicorn Press, 2013, pp. 148, 149, illustrated.
Exhibition catalogue, Viktor Popkov (1932–1974). Genius of the Russian Soul, London, Unicorn Press, 2014, No. 12, illustrated.
£80,000–120,000
Живопись Виктора Попкова можно без преувеличения назвать явлением,
характеризующим мощный прорыв в изобразительном искусстве СССР. Так
называемый суровый стиль, одним из создателей которого являлся данный
художник, возник в самом начале 1960-х годов во времена хрущевской
оттепели. Коллегами и единомышленниками Попкова стала целая плеяда
московских живописцев, среди которых прежде всего выделялись Гелий
Коржев, Николай Андронов, Таир Салахов, Пётр Оссовский и Павел Никонов. Показать правду повседневного труда советского человека без прикрас и выхолощенного тоталитарного академизма стало основной задачей
художников нового советского времени. Как нельзя более кстати пришелся стиль молодых живописцев – обобщенный, колористически сдержанный, брутальный по своей пластике, изобилующий темными локальными пятнами. «Строители Братской ГЭС» (1961),
быть может, самое важное произведение Виктора Попкова не только для
всего творчества художника, но и для развития сурового стиля в целом. К середине 1960-x годов произведения Попкова в целом меняют свое социально
подчеркнутое настроение, затрагивая более личные, идиллические темы.
После официального искусства сталинской эпохи, выражавшего государственную идеологию, именно в произведениях Попкова вновь зазвучал авторский голос. Повествование в его произведениях разворачивается как бы изнутри героев, от первого лица. Художник открыто выражал свое личностное
отношение к ближним, к простым людям, их быту и окружающему их миру. The present lot as illustrated in the 2013 publication on the artist
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Попков пишет много автопортретов и портретов своих коллег-художников,
пытаясь «препарировать» свой внутренний творческий мир и понять
назначение человека, наделенного даром чувствовать прекрасное. Летом
1962 года во время творческой поездки по Русскому Северу, в Архангельске, он задумал масштабное произведение – автопортрет со своими товарищами, художниками Карлом Фридманом (на холсте слева) и Александром Сорочкиным. В результате созданная картина стала одной из самых
мощных в наследии мастера. Классическая «трехточечная» композиция развита автором и динамически
модернизирована в замкнутом пространстве небольшой комнаты, расширенной за счет фронтально расположенного платяного шкафа со встроенным зеркалом. В нем отражается фигура самого Виктора Попкова, задумчиво стоящего у мольберта с холстом. Зеркальное отражение необычайно
усиливает эффект присутствия автора, спокойно наблюдающего за происходящим. Напряженный охристо-карминовый колорит обобщен тусклым
электрическим освещением гостиничного номера. Картина совершенна по
своей неторопливой, выверенной продуманности. Каждый кусок ее пространства не случаен, во всем чувствуется желание уединения и медитативной размеренности. Три душевно родственных человека, три близкие друг
другу личности в данный момент, находясь в одной комнате, далеки друг
от друга. Каждый глубоко погружен в себя, и кажется, что это сложившееся
безмолвие тянется целую вечность.
V. Popkov, Self-Portrait, 1963
MacDougall’s
London
8 June 2016
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Without any exaggeration, one can name the work of Viktor Popkov as the
driving force behind the immense breakthrough in Soviet figurative art.
The artist was one of the founders of the so-called Severe style that emerged
in the early 1960s during the Khrushchev thaw. Popkov’s colleagues and
kindred spirits were an entire generation of outstanding artists from
Moscow, amongst them notably Geli Korzhev, Nilolay Andronov, Tair
Salakhov, Petr Ossovsky and Pavel Nikonov. Their principal ambition was
to reveal the truth about mundane life and work of a Soviet man, bereft
of any embellishments and far removed from the sterile version propagated
by totalitarian academism.
There was a perfect match between these artists’ goal and their painterly
style: generalised, with restrained colours and brutal plasticity. A perfect example is Popkov’s iconic Builders of the Bratsk Hydro-Electric Power Station
(1961) – a painting that is not only the most important in the artist’s oeuvre
but crucial to the overall development of the Severe style. By the mid-1960s,
Popkov’s work as a whole was changing, with the artist shifting his emphasis from socially relevant topics to more personal, idyllic subject matter. In
contrast to the official art of Stalin’s era that reflected state ideology, Popkov’s work expressed the voice of the author as an individual. Popkov’s narrative unfolds from the inside of his protagonists, speaking in the first person. The artist openly expressed his feelings for his nearest and dearest
and other ordinary people, their daily life and the world around them.
Popkov paints many self-portraits and portraits of other artists, attempting
to “distil” his inner world and come to understand the mission of a creative
person. One day in the summer of 1962, while in Arkhangel on a trip around
the north of Russia, he conceived a monumental self-portrait which would
also feature his fellow artists Karl Friedman (on the left) and Aleksandr
Sorochkin. The finished painting became one of his most impressive works.
Popkov re-interprets the classic “three-point” composition and dynamically
modifies it within the enclosed space of a small room, visually expanded
through the inclusion of a wardrobe with a built-in mirror. Reflected in the
mirror is the artist himself, standing by his easel, lost in his thoughts. The reflection in the mirror considerably enhances the effect the author’s presence
has in the picture, as he calmly observes the goings-on. Meanwhile, the intensity of the ochre and carmine palette is pared down by the dim electric
light of the hotel room. The painting is flawless in its carefully measured precision and unhurried execution. No tiny detail is fortuitous; every aspect
bears out the artist’s urge for solitude and meditative calmness.
The three men – three kindred spirits, three personalities, distinct yet close
to one another – are next to each other in the physical confines of the room
but simultaneously detached. Each is fully immersed in his own thoughts,
and the silence that permeates the place seemingly lasts an eternity.
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136. Popkov, Viktor (1932–1974)
Artist’s Wife by the Mirror, signed, inscribed in Cyrillic
“Eskiz k kartine “Pered zerkalom” and dated 1973 on the reverse.
The present lot is a study for the 1973 painting In Front of the
Mirror. The Artist’s Wife, currently in the collection of the
V. and A. Vasnetsov Art Museum, Vyatka.
Provenance: Acquired directly from the artist’s family by the
present owner.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Viktor Popkov. A Russian Painter of Genius, London,
Unicorn Press, 2013, p. 360, illustrated.
£10,000–15,000
137. Popkov, Viktor (1932–1974)
Late for School, titled in Cyrillic and dated “nach. 50kh
(1953 g.)” on the reverse.
Pencil and watercolour, heightened with white, on paper, 42 by 43.5 cm.
Provenance: Acquired directly from the artist’s family by the present
owner.
Authenticity of the work has been confirmed by Alexei Popkov,
the artist’s son (inscription on the reverse).
( 156 )
138. Popkov, Viktor (1932–1974)
139. Andronov, Nikolai (1929–1998)
Autumn in Moravsky Forest, signed, titled in Cyrillic and dated 1967
Autumn, signed with a monogram and dated 1995, also further
on the reverse.
Gouache and pen on paper, 29.5 by 40 cm.
signed twice, once with a monogram, titled in Cyrillic and dated
on the reverse.
Provenance: Acquired directly from the artist’s family by the present owner.
Authenticity of the work has been confirmed by Aleksei Popkov, the
artist’s son (inscription on the reverse).
present owner.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May
2015.
Literature: Viktor Popkov. A Russian Painter of Genius, London,
Unicorn Press, 2013, pp. 78, 79, illustrated.
Literature: Viktor Popkov. A Russian Painter of Genius, London, Unicorn
Press, 2013, p. 258, illustrated.
£8,000–12,000
£1,000–1,500
£2,000–3,000
MacDougall’s
London
8 June 2016
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*§ 140. Tsereteli, Zurab (B. 1934)
Still Life with Flowers, signed on the stretcher.
Provenance: A gift from the artist to a previous owner, Tbilisi, c. early 1960s.
Acquired from the above by Samvel Oganesyan, a historian and art
collector.
Authenticity certificate from the experts N. Aleksandrova and T. Zelyukina.
Exhibited: Art Canton. International Art and Collection Fair, Guangzhou,
1−4 October 2013.
Shanghai Art Fair, Shanghai, 14−17 November 2013.
International Art Fair, Shenzhen, 2014.
Literature: Exhibition catalogue, Shanghai Art Fair, Shanghai, 2013, listed.
The work is accompanied by the photograph of Elena Tsereteli, the artist’s
daughter, standing by the painting.
£15,000–20,000
* 141. Tkachev, Aleksei (B. 1925)
September Snow, signed, also further signed, titled in
Cyrillic, numbered “2” and dated 1990–1993 on the reverse.
present owner in Moscow in the 1990s. Important private collection, USA. Authenticity certificate from the Tkachev brothers.
£40,000–60,000
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MacDougall’s
London
8 June 2016
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* 142. Gerasimov, Sergei (1885–1964)
143. Gritsai, Alexei (1914–1998)
Still Life with a Vase, signed with initials, also further
Golden Autumn. High Road near Moscow, signed,
indistinctly signed and titled in Cyrillic on the reverse.
also further signed, titled in Cyrillic and dated 1964–1992
on the reverse.
Provenance: With the Moscow Union of Artists (partly preserved
label on the reverse).
Provenance: Private collection, Spain.
£15,000–20,000
£15,000–20,000
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London
8 June 2016
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* 146. Terpsikhorov, Nikolai (1890–1960)
144. Plastov, Arkady (1893–1972)
By the Black Sea, stamped with the artist’s initials.
Winter Landscape.
Provenance: Collection of Nikolai Plastov, the artist’s
grandson (stamp on the reverse).
£6,000–9,000
by Nikolai Plastov.
£15,000–20,000
145. Byalynitsky-Birulya, Vitold (1872–1957)
147. Krylov, Porfiri (1902–1990)
Spring, signed and dated 1946.
Still Life with Lilacs and Books, signed
and dated 1956.
Authenticity of the work has been confirmed by the
expert V. Petrov.
Provenance: Acquired by the present owner in
the USSR in the 1980s.
£2,500–3,000
£4,000–6,000
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London
8 June 2016
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148. Baskakov, Nikolai (1918–1993)
May in Blossom, signed and dated 1991, also further signed,
titled in Cyrillic and dated on the reverse.
Provenance: Acquired directly from the artist in St Petersburg
in 1991.
£5,000–7,000
150. Tseitlin, Grigory (1911–2000)
151. Svetlakov, Sergei (B. 1961)
Reclining Nude, signed and dated 1989,
Still Life with Pumpkins, Red Chillies and Onions,
also further signed, titled in Cyrillic and dated
on the reverse.
signed, also further signed and dated 2013 on the reverse.
£1,500–2,000
Provenance: Private collection, Europe. £3,000–5,000
149. Tseitlin, Grigory (1911–2000)
Still Life with Flowers, signed and dated
1992, also further signed, titled in Cyrillic and
Provenance: Christie’s Interiors, Christie’s,
30 March 2010, lot 397.
£2,000–3,000
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MacDougall’s
London
8 June 2016
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Birch Logs, singed.
Boy with a Pair of Ice Skates, signed.
Early Spring, signed.
Landscape with a Horse, signed.
Executed c. 1938–1939.
Executed in 1950.
Executed in 1947.
Executed in 1940.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow in the late 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville Museum of Art, Springville, 13 September–16 October 2008. Authenticity certificate from Natalia Terpsikhorova.
Springville Museum of Art, Springville, 13 September–16 October 2008. Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville Museum of Art, Springville, 13 September–16 October 2008. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
of Mother Russia, Springville, Springville Museum of Art, 2008, p. 68,
pl. XLVI, illustrated; p. 99, listed as Early Spring (Possibly April).
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
pl. XLIII, illustrated; p. 99, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 82, illustrated.
pl. XIV, illustrated; p. 99, listed.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist
pl. XVIII, illustrated; p. 100, listed.
£6,000–9,000
£6,000–9,000
£6,000–9,000
£6,000–7,000
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London
8 June 2016
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Summer Landscape with a Road, signed and dated 1958.
End of Summer, signed, also further signed, titled in Cyrillic and
Tree Stumps, signed, also further signed, titled in Cyrillic and dated 1953 on the reverse.
pl. LXXIX, illustrated; p. 101, listed.
£10,000–15,000
pl. XX, illustrated; p. 101, listed.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter,
by the present owner in Moscow in the late 1990s.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum
of Art, Springville, 13 September–16 October 2008. 159. Glouschenko,
Nikolai (1901–1977)
By the Pond, signed.
Provenance: Acquired in the USSR
in the 1980s.
£8,000–12,000
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008, p. 93, pl. LXXIV, illustrated; p. 101, listed
as New Life Begins.
£6,000–9,000
£8,000–12,000
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London
8 June 2016
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* 160. Gritsai, Alexei (1914–1998)
( 170 )
* 161. Gritsai, Alexei (1914–1998)
* 162. Gritsai, Alexei (1914–1998)
* 163. Gritsai, Alexei (1914–1998)
After Spring Floods, signed and dated 1971, also
After the Rain, signed and dated 1978, also further
Stubble Field, signed.
It is Time to Plow, signed.
further signed, titled in Cyrillic and dated on the reverse.
signed, titled in Cyrillic and dated on the reverse.
Executed in the late 1970s.
Executed in 1962.
present owner in Moscow in the 1990s.
present owner in Moscow in the 1990s.
by the present owner in Moscow in the 1990s.
Provenance: Acquired directly from the artist by
the present owner in Moscow in the 1990s.
Authenticity certificate from Alla Gritsai, the artist’s
daughter-in-law.
daughter-in-law.
daughter-in-law.
daughter-in-law.
£12,000–18,000
£10,000–15,000
£10,000–15,000
£10,000–15,000
MacDougall’s
London
8 June 2016
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Autumn.
Provenance: Acquired directly from Natalia Terpsikhorova,
the artist’s daughter, by the present owner in Moscow
in the late 1990s.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother
Russia, Springville Museum of Art, Springville,
13 September–16 October 2008. Literature: Exhibition catalogue, Nikolai Terpsikhorov,
Master Artist of Mother Russia, Springville, Springville
Museum of Art, 2008, p. 73, pl. LI, illustrated; p. 100,
listed.
£5,000–7,000
* 165. Plastov, Arkady (1893–1972)
Rowan Trees, stamped with the artist’s initials
on the reverse.
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. * 166. Tkachev, Aleksei (B. 1925)
Authenticity certificate from Nikolai Plastov.
£7,000–10,000
* 167. Tkachev, Sergei (B. 1922)
Evening on the Caspian Sea, signed, also further
Winter, signed, also further signed, titled
signed, titled in Cyrillic, numbered “39” and dated
1960 on the reverse.
in Cyrillic and dated 1990 on the reverse.
Oil on cardboard, 35.5 by 50 cm.
by the present owner in Moscow in 2001. Important private collection, USA. Authenticity certificate from the Tkachev brothers.
by the present owner in Moscow in 2003. Important private collection, USA. Authenticity certificate from the artist.
£4,000–6,000
£8,000–12,000
( 172 )
MacDougall’s
London
8 June 2016
( 173 )
168. Tkachev, Sergei (B. 1922)
Summer Evening, signed, also further signed, titled in Cyrillic
Unexpected Snow, signed, also further signed, titled
Lilacs, signed, also further signed, titled in
and dated 1999 on the reverse.
Cyrillic and dated 2000 on the reverse.
Provenance: Acquired directly from the artist by Stefano Pirra
in Moscow, c. 1999–2000.
Galleria Pirra, Turin (label on the stretcher).
by Stefano Pirra in Moscow, c. 1995–2000.
Galleria Pirra, Turin (label on the backing board).
by Stefano Pirra in Moscow, c. 2000.
Galleria Pirra, Turin (label on the reverse).
Literature: Aleksej e Sergej Tkacev, Turin, Galleria Pirra, 2002,
p. 97, No. T/221, illustrated.
Literature: Aleksej e Sergej Tkacev, Turin, Galleria Pirra,
2002, p. 79, No. T/222, illustrated.
Literature: Aleksej e Sergej Tkacev, Turin, Galleria
Pirra, 2002, p. 83, No. T/224, illustrated.
£5,000–7,000
£4,000–6,000
£4,000–6,000
169. Tkachev, Sergei
and Tkachev, Aleksei (B. 1922 and B. 1925)
Spring, signed, also further signed, titled in Cyrillic and dated
2000 on the reverse.
Provenance: Acquired directly from the artists by Stefano Pirra
in Moscow, c. 1995–2000.
Literature: Aleksej e Sergej Tkacev, Turin, Galleria Pirra, 2002,
p. 67, No. T/215, illustrated.
£4,000–6,000
( 174 )
MacDougall’s
London
8 June 2016
( 175 )
172. Tkachev, Sergei and Tkachev, Aleksei (B. 1922 and B. 1925)
Hill Covered with Flowers, signed by A. Tkachev, also further signed
Chatting in the Sun, signed, also further signed,
At the Old School, signed, also further signed,
Clouds, signed.
by S. Tkachev, inscribed in Cyrillic “Etyud k kartine “Na drevnem Vshchizhe”
and dated 1984 on the reverse.
titled in Cyrillic and dated 1988 on the reverse.
Oil on card, laid on cardboard, 32.5 by 49 cm.
Galleria Pirra, Turin (label on the reverse).
£3,000–5,000
£6,000–9,000
The present lot is a study for the A. and S. Tkachev painting In the Ancient
Vshchizh, presently in the collection of the Tkachev Brothers Museum, Bryansk.
Provenance: Acquired directly from the artists by Stefano Pirra in Moscow,
c. 1995–2000.
Literature: Aleksej e Sergej Tkacev, Turin, Galleria Pirra, 2002, p. 87,
No. T/226, illustrated.
Executed c. 1999.
£2,500–3,000
£4,000–6,000
( 176 )
MacDougall’s
London
8 June 2016
( 177 )
178. Plastov, Arkady (1893–1972)
Rowan Tree in Autumn, stamped with
the artist’s initials.
Provenance: Collection of Nikolai Plastov,
the artist’s grandson (stamp on the reverse).
by Nikolai Plastov.
£10,000–15,000
177. Tkachev, Aleksei (B. 1925)
179. Nalbandian, Dmitri (1906–1993)
Braiding, signed, also further signed, titled
Woman Fetching Water, signed, also further
Golden Autumn, signed.
signed, titled in Cyrillic and dated 1983 on the reverse.
Oil on cardboard, 34.5 by 50 cm.
£4,000–6,000
in the USSR in the 1980s.
£6,000–9,000
£2,500–3,000
( 178 )
MacDougall’s
London
8 June 2016
( 179 )
* 182. Gerasimov, Sergei (1885–1964)
Still Life with a Bottle, signed with initials, inscribed
in Cyrillic “Sanatoriy Senezh” and dated 1956 on the reverse.
Provenance: Acquired directly from the painter by the artist
Yulia Razumovskaya, in Moscow.
Acquired from the above by Gennady Mishin, a historian and
art collector, Saratov.
£3,000–5,000
* 180. Nechitailo, Vasily (1915–1980)
* 181. Plastov, Arkady (1893–1972)
183. Sokolov, Petr (1882–1964)
Girl in a Veil, signed, also further signed, inscribed “etiud
Study of a Sunset, signed and titled in Cyrillic on the reverse.
Autumn Landscape.
k kartine”, titled in Cyrillic and dated 1974 on the reverse.
Oil on cardboard, laid on cardboard, 101 by 81 cm.
Oil on canvas, laid on panel, 51 by 36 cm.
present owner in Moscow, c. 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.
£12,000–18,000
Executed c. 1939.
Provenance: Important private collection, France.
Provenance: Collection of Nikolai Plastov, the artist’s grandson
(stamp on the reverse).
Acquired directly from the above by the present owner.
£800–1,200
Authenticity certificate from Nikolai Plastov, the artist’s grandson.
Authenticity of the work has also been confirmed by V. Swanson,
art historian and author of the book Soviet Impressionist
Painting, Woodbridge, Antique Collectors’ Club, 2008.
£10,000–15,000
( 180 )
MacDougall’s
London
8 June 2016
( 181 )
186. Korzhev, Geli (1925–2012)
Opyat dvoika, from the series “Tyurliki”, signed
twice, titled in Cyrillic and dated 1990 on the reverse.
present owner in Moscow in 1990.
£4,000–6,000
187. Nissky, Georgy (1903–1987)
Boats by the Shore, numbered “N 198” on the reverse.
Executed in the 1960s.
Authenticity of the work has been confirmed by the expert
T. Ermolaeva.
£3,000–5,000
184. Nikonov, Nikolai (1889–1975)
Fireworks, signed, titled in Cyrillic and
dated 1989, 2007, 2011 on the reverse.
by the present owner.
Exhibited: Severity of Style, MacDougall’s,
London, 1–14 May 2015.
£8,000–12,000
§ 185. Nazarenko, Tatiana (B. 1944)
Autumn, signed with initials and dated 1998,
also further signed, titled in Cyrillic and dated
on the reverse.
by the present owner in Moscow in 1998.
£1,500–2,000
( 182 )
MacDougall’s
London
8 June 2016
( 183 )
188. Dubossarsky, Vladimir
and Vinogradov, Alexander (B. 1964 and B. 1963)
Girl and Crocodile, signed and dated 2001.
Tempera and acrylic on paper, 70 by 70 cm.
Provenance: Acquired directly from the artists by the present
owner in Lucca, Italy, c. 2001.
Authenticity certificate from the artists.
£4,000–6,000
Two Girls with a Parrot, signed and dated 2000.
Among the Flowers, signed and dated 2001, also further
Acrylic and tempera on paper, 100 by 70 cm.
signed, titled and dated on the reverse.
Provenance: Acquired directly from the artists by the present
owner in Lucca, Italy, c. 2001.
£7,000–9,000
Literature: Vladimir Dubossarsky, Alexander Vinogradov. Works
1994‒2008, Moscow, 2009, p. 68, No. 120, illustrated as Teddy
Bear and Barbie (Summer), image reversed.
£15,000–20,000
( 184 )
MacDougall’s
London
8 June 2016
( 185 )
192. Purygin, Leonid (1951–1995)
Venus, signed, inscribed in Cyrillic and titled.
£12,000–18,000
* 191. Kharitonov, Alexander (1932–1993)
Summer. Flowers, signed with initials and dated 1959,
Girl with a Flower, signed and dated 1974.
also further titled in Cyrillic and dated “XI–59” on the reverse.
Pencil, crayon and watercolour on paper, 44 by 34 cm.
Provenance: Collection of Gennady Blinov, a collector
of Nonconformist art, Moscow.
£3,000–5,000
Authenticity of the work has been confirmed by Tatiana
Sokolova-Kharitonova, the artist's widow.
£15,000–20,000
( 186 )
MacDougall’s
London
8 June 2016
( 187 )
Death of the Artist, signed “Lenya Purygin iz Nary/Genialnyi”
and numbered “N 198912”.
Executed in 1989.
Provenance: Acquired directly from the artist by Eduard
Nakhamkin Fine Arts, San Francisco.
With East West Gallery, San Francisco.
Acquired from the above by the present owner in June 1991.
£12,000–18,000
196. Sveshnikov, Boris (1927–1998)
Tower. Self-Portrait No 1.
Composition, signed with a monogram and dated 1976.
Executed c. 1989.
Provenance: Acquired by Mario Prieto, former Ambassador of
Chile to the USSR, in Moscow in the second half of the 1970s.
A gift from the above to the father of the present owner in the
late 1970s.
Thence by descent.
Provenance: Acquired directly from the artist by Eduard Nakhamkin
Fine Arts, San Francisco.
Acquired from the above by the present owner in December 1990.
Authenticity certificate from Eduard Nakhamkin Fine Arts.
£10,000–15,000
Exhibited: Avantgarde Soviet and Russian Art, Nakhamkin Gallery,
Conrad Hotel, Hong Kong, September 1990.
Leonid Purygin, Nakhamkin Gallery, New York, November 1990.
£3,000–5,000
( 188 )
MacDougall’s
London
8 June 2016
( 189 )
§ 198. Tselkov, Oleg (B. 1934)
* 197. Sitnikov, Vasily (1915–1987)
Two Four-Headed Women, signed, also further signed, titled and dated 1986 on the reverse.
Nude, signed.
( 190 )
Provenance: Acquired directly from the artist by Sizinio Pontes Nogueira,
the Ambassador of Brazil to the USSR, 1971–1976, in Moscow.
Thence by descent.
Acquired from the sons of the above by the present owner.
Private collection, Brazil.
Provenance: Acquired directly from the artist by Eduard Nakhamkin Fine Arts, San Francisco.
Acquired from the above by the present owner in November 1989.
£15,000–20,000
£50,000–70,000
Authenticity certificate from Eduard Nakhamkin Fine Arts.
Authenticity of the work has been confirmed by the artist.
MacDougall’s
London
8 June 2016
( 191 )
* 200. Weisberg, Vladimir (1924–1985)
199. Krasnopevtsev, Dmitry (1925–1995)
Composition with a Fallen Flower, signed with an
Geometric Composition, signed and dated 1973.
initial and dated 1968.
Oil on slate panel, 48.5 by 36.5 cm.
Thence by descent.
Provenance: Acquired directly from the artist by the father
of the present owner in Moscow.
Important private collection of Nonconformist art, France.
£15,000–30,000
The work will be included in the forthcoming monograph on Weisberg
being prepared by A. Chudetskaya.
£20,000–30,000
( 192 )
MacDougall’s
London
8 June 2016
( 193 )
* 201. Weisberg, Vladimir (1924–1985)
* 202. Krasnopevtsev, Dmitry (1925–1995)
Ten Geometric Shapes, signed with a monogram and dated 1981.
Still Life with a Paper Dove, signed with an initial and dated 1974, also further signed, titled
in Cyrillic and dated on the reverse.
With the salon of the Art Fund of the USSR, Moscow (label on the reverse).
Collection of Galerie G. Basmadjian, Paris.
With the salon of the Art Fund of the USSR, Moscow (label on the reverse).
Collection of Galerie G. Basmadjian, Paris.
The work will be included in the forthcoming monograph on Weisberg
being prepared by A. Chudetskaya.
Literature: Krasnopevtsev Dmitry Mikhailovich. Zhivopis. Katalog, Moscow, Bonfi, 2007, p. 91, No. 278.
£35,000–40,000
( 194 )
£40,000–50,000
MacDougall’s
London
8 June 2016
( 195 )
§ 203. Pivovarov, Victor (B. 1937)
*§ 204. Rabin, Oscar (B. 1928)
The Album “Eros”, comprising 40 works in two hard, calico-bound folders, each signed,
Tomb of the Mother of God, signed with a monogram and dated 1969, also
numbered from 1 to 40 respectively and dated 1976, some on the mounts.
Twenty-three sheets pencil, ink and gouache on paper, laid on paper, fourteen of which with horstexte in Cyrillic on the mounts; and seventeen sheets pencil and ink on paper, each measuring
43 by 31 cm (sheet size).
further titled in Cyrillic, numbered “N 429” and dated on the reverse.
Oil and collage with rhinestones on canvas, 68 by 89 cm.
Provenance: Acquired directly from the artist by the present owner in Moscow in 1970.
Provenance: Modern and Contemporary Russian Art, Sotheby’s London, 15 February 2007, lot 39.
( 196 )
Authenticity of the works has been confirmed by the artist.
The work will be included in the forthcoming Oscar Rabin catalogue raisonné being
prepared by A&C Projects, Michèle and Marc Ivasilevitch.
£20,000–30,000
£8,000–12,000
MacDougall’s
London
8 June 2016
( 197 )
205. Nemukhin, Vladimir (1925–2016)
Elephant, signed and dated 1990.
Set Design.
Pencil and oil on cardboard, 62 by 51 cm.
by the father of the present owner in Moscow.
Important private collection of Nonconformist art,
France.
£4,000–6,000
by the artist.
£6,000–8,000
Composition with Fish, signed and dated 1978.
Pencil, gouache, oil and collage with wood on paper,
50 by 59.5 cm.
Important private collection of Nonconformist art,
France.
£2,500–3,000
Jack of Diamonds, signed, titled in Cyrillic and dated
Set Design, signed, inscribed in Cyrillic “(Moskva)/
1970.
Tempera and gouache on paper, 61 by 48.5 cm.
Eskiz k oformleniyu spektaklya” and dated “196.. god”
on the reverse.
Pencil, ink, gouache and tempera on paper, 59 by 85 cm.
Provenance: Acquired by Mario Prieto, former Ambassador
of Chile to the USSR, in Moscow in the 1970s.
A gift from the above to the father of the present owner
in the late 1970s.
Thence by descent.
This is the last work authenticity of which has been
confirmed for MacDougall's by the artist before his death.
present owner.
£6,000–8,000
£2,000–3,000
210. Arefiev, Alexander (1931–1978)
Conversation, signed with an initial, numbered
“86” and dated 1953.
Pencil and gouache on paper, 31 by 43 cm (sheet size).
£2,500–3,000
( 198 )
MacDougall’s
London
8 June 2016
( 199 )
*§ 211. Komar, Vitaly and Melamid, Alexander (B. 1943 and B. 1945)
Karl Marx and Cornucopia, diptych, each part signed twice, bears a commemorative inscription, titled
in Cyrillic and dated 1982 (Karl Marx) and 1982–83 (Cornucopia) on the reverse.
Each oil and tempera on cardboard, 300 by 150 cm (overall size).
Provenance: Acquired directly from the artists by the present owner.
Exhibited: Sots Art. Political Art in Russia and China, The State Tretyakov Gallery, Moscow, 3 March–1 April 2007.
Sots Art – Political Art in Russia from 1972 to Today, La Maison Rouge, Paris, 21 October 2007– 20 January 2008.
£100,000–150,000
Представленное на торги произведение Виталия Комара и Александра Меламида «Карл Маркс и рог изобилия» является одним из важнейших произведений, представляющих эпоху советского нонконформизма. Созданное в рамках нового движения соц-арт, начатого самими же художниками
как протест против реакционной политики СССР в сфере искусства и культуры, оно интересно не только с точки зрения использованных стилей и
ироничнои символики, но и как критическое переосмысление современной истории. Виталий Комар дал определение этому течению: «Если попарт произошел от перепроизводства вещей и их рекламы, то соц-арт произошел от перепроизводства идеологии и пропаганды, включая зрительную пропаганду... После распада Советского Союза феномен социального
реализма был поставлен в исторические кавычки и стал соц-артом».
Karl Marx and Cornucopia by Vitaly Komar and Alexander Melamid, offered
here for auction, is one of the most important Russian Nonconformist
works. Created specifically as a work of Sots Art, a recent artistic movement
launched by Komar and Melamid in protest against the reactionary official
policy towards art and culture in the USSR, the work is significant not only
because of its unique style and ironic symbolism, but also as an embodiment of the critical rethinking of the history of the country. Komar thus described the Sots Art movement: “If pop-art was born from the overproduction of things and their advertising, then Sots Art was born from the overproduction of ideology and its propaganda, including visual propaganda...
After the end of the Soviet Union, Socialist Realism was put into historical
quotation marks and became Sots Art.”
«Карл Маркс и рог изобилия» была написана авторами как новая версия
картины, уничтоженной на легендарной «Бульдозерной выставке» в 1974
году. Выставленный Комаром и Меламидом в отдаленном от центра Москвы районе Беляево оригинал, гораздо меньший по размеру, чем представленная на торги работа, вместе с произведениями таких известных художников, как Владимир Немухин, Оскар Рабин и Василий Ситников, был безжалостно сметен с самодельных стоек, в то время как сами художники
были избиты, обруганы или арестованы. Множество потрясающих по
своей оригинальности и смелости произведений было безвозвратно утеряно. Такой беспрецедентный насильственный акт против свободного искусства вызвал широкий резонанс по всей Европе и Америке. Буквально за
несколько часов в России свершилась культурная революция, в которой
нонконформисты, доселе непризнанные гении, стали героями.
Karl Marx and Cornucopia was created as a new version of the work destroyed at the infamous Bulldozer Exhibition of 1974. It was ruthlessly
swept off its makeshift stall in a park in Belyaevo, a Moscow suburb, together with works by Vladimir Nemukhin, Oscar Rabin and Vasily Sitnikov,
whilst the artists themselves were beaten, verbally abused or even arrested. As a result, great number of extraordinary original and daring works
had been destroyed. The assault, unparalleled in its brutality against the
freedom of expression through art, resonated throughout Europe and the
USA, leading to an overnight cultural revolution in Russia, whereby
Nonconformist artists, previously largely ignored, suddenly became real
heroes.
Посвященная десятилетнему юбилею данного события работа «Карл
Маркс и рог изобилия» по своему идейному замыслу не только повторяет
композицию «Бульдозерной» версии, но благодаря этому обретает новый смысл. Она становится памятником всему неофициальному искусству Советского Союза; нескончаемой борьбе между свободой творческого выражения и консервативностью и ограниченностью официальных
правил, регулирующих творческий процесс. Недаром Комар и Меламид
решили сделать ее гораздо больших размеров, чем было изначально задумано. С этой точки зрения работа приобретает совершенно независимый характер, а ее символика обретает универсальное значение, делая
данное произведение в полном смысле эпохальным.
V. Komar, A. Melamid, Stalin Contemplating the Bust of Marx, 2007–2009
( 200 )
Dedicated to the ten-year anniversary of the Bulldozer exhibition, Karl Marx
and Cornucopia not only repeats the composition of the earlier, destroyed
version, but also gains a new meaning through it. It becomes a monument
to Russia’s unofficial art as a whole and to the everlasting struggle between
the freedom of creative expression and conservatism and insularity of official regulations that strive to undermine it. It is for this reason that Komar
and Melamid ended up with a work of a much larger format than they had
planned originally. From this standpoint, the work acquires an independent
status, and its symbolism becomes universal, thus greatly enhancing the
significance of the painting.
V. Komar, A. Melamid, Double Portrait of Alexander Melamid, 1970s
Verso of the present lot
MacDougall’s
London
8 June 2016
( 201 )
*§ 212. Rabin, Oscar (B. 1928)
*§ 213. Rabin, Oscar (B. 1928)
Swan and Violin, signed with a monogram and dated 1971, also further
Flowers with a Newspaper, signed with a monogram and dated 1971,
titled in Cyrillic, numbered “N 467” and dated on the reverse.
also further titled in Cyrillic, numbered “N 483” and dated on the reverse.
Thence by descent.
Thence by descent.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
The work will be included in the forthcoming Oscar Rabin catalogue
raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
£12,000–18,000
£15,000–20,000
( 202 )
MacDougall’s
London
8 June 2016
( 203 )
214. Slepyshev, Anatoly (1932‒2016)
215. Zverev, Anatoly (1931–1986)
Bathers, signed and dated 1995.
Male Portrait, signed and dated 1958.
Travellers, signed with initials and dated 1980.
Oil on paper, 59 by 41 cm.
by George Costakis.
Thence by descent.
from a gallery in Moscow in 1990.
£2,000–3,000
£1,000–2,000
£3,000–5,000
216. Yakovlev, Vladimir (1934–1998)
218. Kropivnitsky, Lev (1922–1994)
Composition with a Face, signed and dated 1971.
Girl and Cow, signed and dated 1966.
George Costakis.
Thence by descent.
Provenance: A gift from the artist to
Giuseppe De Santis, an Italian film director,
1960s, Moscow.
Thence by descent.
Collection of the widow of the above, Italy.
Exhibited: Soviet Alternative Art 1956–1988 from the
Costakis Collections, State Museum of Contemporary
Art, Thessaloniki, 7 June–10 September 2006.
£5,000–7,000
Literature: M. Tsantsanoglou, Soviet Alternative Art
1956–1988 from the Costakis Collections, Athens,
2006, p. 189, No. 2, illustrated.
£3,000–5,000
( 204 )
MacDougall’s
London
8 June 2016
( 205 )
Composition with a Christmas Tree, signed
twice with initials and dated 1981.
family by the previous owner in the late 1980s.
£3,000–5,000
Winter Road, signed, further titled in Cyrillic and numbered “N 152.” on the reverse.
The Road to the Church, signed.
Provenance: Acquired directly from the artist by the present owner in Paris, c. 1990–1996.
by the present owner in Paris, c. 1990–1996.
Authenticity certificate from the artist.
Exhibited: Anatoli Slepychev à Marseill, Palais des Arts, Marseille, June 1996.
Authenticity certificate from the artist.
Literature: Exhibition catalogue, Anatoli Slepychev à Marseill, Marseille, MAC, 1996, p. 15,
illustrated as Le Traineau (Le Vide).
£2,000–3,000
£3,000–5,000
In the Forest, signed with initials and dated 1985.
family by the previous owner in the late 1980s.
£3,000–5,000
( 206 )
MacDougall’s
London
8 June 2016
( 207 )
226. Kropivnitskaya, Valentina (1924–2008)
Apartment Block, signed with initials and dated 1972,
also further signed, inscribed in Cyrillic “Moskva”, titled,
numbered “N 240” and dated on the reverse.
Pencil on paper, 43 by 61.5 cm.
the father of the present owner in Moscow.
£1,000–2,000
Two White Flowers.
Pink Flowers.
Clouds, signed with initials and dated 1975, also
Pastel, charcoal and gouache on paper, 42.5 by 30.5 cm.
Pastel, charcoal and gouache on paper, 40.5 by 28.5 cm.
father of the present owner in Moscow.
further signed, titled in Cyrillic, numbered “368” and
Pencil, hightened with silver, on paper, 43 by 61 cm.
£1,200–1,800 £1,200–1,800
£1,000–2,000
Abstract Composition.
Evening on the River, signed with initials and dated
Tempera on cardboard, 29 by 23.5 cm.
1976, also further signed, titled in Cyrillic, numbered
“424” and dated on the reverse.
Pencil on paper, 43 by 52 cm (sheet size).
£1,500–2,000
£1,000–2,000
( 208 )
MacDougall’s
London
8 June 2016
( 209 )
§ 229. Pivovarov, Victor (B. 1937)
A Collection of Compositions, ten works, each signed,
one dated 2004 and nine 2005.
Each pencil and crayon, one with gouache and another with
gouache and tempera, on paper, the largest measuring 16 by 23 cm
and the smallest 14.5 by 20 cm.
Provenance: Private collection, the Czech Republic.
Authenticity of the works has been confirmed by the artist.
£14,000–18,000
230. Weisberg, Vladimir (1924–1985)
Reclining Nude, signed.
Pencil and watercolour on paper, 35 by 54 cm.
Provenance: Galerie G. Basmadjian, Paris.
Acquired from the above by the present owner in the early 1990s.
The work will be included in the forthcoming monograph
on Weisberg being prepared by A. Chudetskaya.
£4,000–6,000
§ 231. Masterkova, Lydia (1927–2008)
Composition, from the series “Planets”, signed, inscribed
“Paris” and dated 1979, further with a composition on the reverse.
Ink and collage with paper on paper, 77.5 by 57 cm.
Provenance: Acquired directly from the artist by the father of the
present owner.
231
Authenticity of the work has been confirmed by the artist’s niece
Margarita Tupitsyn, historian of contemporary Russian art.
£1,000–2,000
229
232. Belenok, Pyotr (1938–1991)
Cataclysm, signed and dated 1975.
Oil and collage with paper on cardboard, 41.5 by 60.5 cm.
Provenance: Acquired directly from the artist by the father
of the present owner in Moscow.
£1,200–1,800
232
230
( 210 )
MacDougall’s
London
8 June 2016
( 211 )
235. Chemiakin, Mikhail (B. 1943)
Metaphysical Bust, from the series
“Metaphysical Busts”, signed and dated 1989,
also further signed, inscribed in Cyrillic “Iz tzikla:
“Metafizicheskie Biusty” and dated on the reverse.
Acrylic on canvas, 132.5 by 132.5 cm.
With Galerie Charpentier, Paris.
Acquired from the above by the present owner
in 1994.
by the artist.
Exhibited: Mihail Chemiakin, Galerie Charpentier,
The Trade Delegation of the Russian Federation,
Paris, 1994.
£7,000–9,000
233. Arefiev, Alexander (1931–1978)
*§ 234. Komar, Vitaly And Melamid, Alexander (B.1943 and B. 1945)
Venus.
Head of a Worker, Bergen Point Brass Foundry, four works, one signed,
another numbered “15/40”, and one plate signed and dated 1989, each also
further numbered “472 A”, “472 B”, “472 C” and “472 D” and dated on the reverse.
Two lithograph on paper, one with collage, another woodcut on brass foil, and
one brass stamping on leather, two measuring 61 by 61.5 cm, and the other two
61 by 51 cm.
Executed c. 1970.
Provenance: Acquired directly from the artist by Natalia Zhilina,
Arefiev’s friend and a Nonconformist artist, Leningrad.
Acquired from the above by the present owner in St Petersburg
in 2001.
Literature: Arefjev’s Circle, St Petersburg, P.R.P, 2002, p. 133,
No. 143, illustrated; p. 495, listed.
£4,000–6,000
Number 15 from an edition of 40.
Provenance: Ronald Feldman Gallery, New York.
£2,000–3,000
Casanova, signed twice, once with initials, inscribed in Cyrillic
“Posle Dzh. Tiepolo” and dated twice 1985.
Pastel and crayon on paper, 113 by 76 cm.
With Galerie Charpentier, Paris.
Exhibited: Mihail Chemiakin, Galerie Charpentier, The Trade
Delegation of the Russian Federation, Paris, 1994.
£4,000–6,000
( 212 )
MacDougall’s
London
8 June 2016
( 213 )
Lots 237–248.
An Important Collection
of Soviet Nonconformist Art
Property of an Italian Gentleman
П
редставленная на торги коллекция работ художников-нонконформистов собиралась на протяжении многих лет итальянским
безнесменом — любителем русской культуры и искусства. Все
картины он купил непосредственно у самих художников, с которыми
его связывала многолетняя дружба. Основу выставленной подборки
составляют десять живописных работ Бориса Свешникова — уникальные по совершенству холсты 1960–1970-х годов.
В силу специфики своего бизнеса владелец коллекции много времени
проводил в Советском Союзе. Впервые он попал в СССР в 1963 году,
когда, увлекшись русской культурой, он приехал в Москву учиться на
филологическом факультете МГУ. В конце 1960-х годов он вернулся в
Москву в качестве представителя крупной международной компании,
офис которой находился в гостинице «Украина». Именно тогда и состоялось его знакомство с советским неофициальным искусством.
Художники-нонконформисты импонировали итальянскому русофилу
такими своими качествами, как свобода мышления и страсть к экспериментаторству.
Коллекционер лично знал практически всех «светил» неофициального
русского искусства, имена которых давно уже стали легендой, —
Дмитрия Краснопевцева, Оскара Рабина, Владимира Немухина,
Василия Ситникова, Элия Белютина, Дмитрия Плавинского, Вячеслава
Калинина, Евгения Рухина и многих других. С Борисом Свешниковым
коллекционера в 1970 году познакомил Отари Кандауров. Первая
встреча с четой Свешниковых запомнилась ему на всю жизнь:
«Приняли меня очень приятный худощавый мужчина с нежной грустной
улыбкой и полненькая женщина с открытым лицом, чем-то напоминающая женских персонажей Островского. Когда я от них уехал, почувствовал, что у меня появились новые друзья... Я считаю для себя большой
привилегией предоставленную судьбой возможность дружить в течение
28 лет с этим прекрасным человеком».
Таким образом, представленные произведения не только превосходны
по мастерству, но и обладают безупречным провенансом, поскольку
все они были приобретены владельцем коллекции непосредственно у
художников.
O
n offer for auction is a collection of works by Nonconformist artists,
amassed over many years by an Italian businessman — a connoisseur of Russian art and culture. The assembled paintings were purchased directly from the artists themselves, with whom this collector enjoyed a long-standing friendship. The principal works from this selection
are ten paintings by Boris Sveshnikov — canvasses from the 1960s and
1970s, one-of-a-kind in their perfection.
Due to the nature of his business, the collector spent much time in the
Soviet Union. His first visited the country in 1963 when, owing to his fascination with Russian culture, he travelled to Moscow to study philology at
the Moscow State University. At the end of that decade, the gentleman returned to the city as a representative of a major international company,
whose office was located in the renowned Hotel Ukraina. It was then when
he became acquainted with Soviet Nonconformist art; the Italian
Russophile was impressed by the artists’ freedom of thought and passion
for experimentation.
The collector personally knew virtually all the “stars” of the unofficial
Russian art, whose names had long become legendary — Dmitry
Krasnopevtsev, Oscar Rabin, Vladimir Nemukhin, Vasily Sitnikov, Eliy
Belutin, Dmitry Plavinsky, Vyacheslav Kalinin, Evgeny Rukhin and many
others. In 1970, the artist Otari Kandaurov introduced the collector
to Boris Sveshnikov and his wife, a meeting he would remember for the
rest of the life: “I was welcomed by a very pleasant, lean man with
a gentle, sad smile, and a plump woman with an open face, someone
who reminded me of female protagonists in Ostrovsky’s plays. When I
took my leave, I felt that I had made new friends. I thank my lucky stars
for giving me a great privilege to be friends with this wonderful man for
twenty-eight years."
The artworks here presented are therefore not only outstanding in terms
of artistry but boast impeccable provenance, insofar as they were acquired
by the collector directly from the artists themselves.
By the Fence, signed with a monogram.
A Mysterious Dream, signed with a monogram.
Important private collection, Italy.
£20,000–30,000
£12,000–18,000
( 216 )
Flower Bed in the Snow, signed with
a dedication in Cyrillic and titled on the reverse.
a monogram and dated 1973, also further signed
and titled in Cyrillic on the reverse.
£12,000–18,000
£22,000–28,000
Voice of the Autumnal Bird, inscribed with
MacDougall’s
London
8 June 2016
( 217 )
A History of Illness, signed and dated 1960,
titled in Cyrillic on the reverse.
further titled in Cyrillic on the reverse.
the present owner in Moscow in 1977.
£18,000–25,000
£20,000–25,000
( 218 )
The Sunken City, signed with a monogram, further
A Long Walk, signed with a monogram, further
Prayer, signed with a monogram and dated 1974,
titled in Cyrillic on the reverse.
further titled in Cyrillic on the reverse.
£18,000–25,000
£15,000–20,000
MacDougall’s
London
8 June 2016
( 219 )
246. Plavinsky, Dmitry (1937–2012)
Black Spring, signed with a monogram, further titled in Cyrillic
Attic, signed with a monogram and dated 1973.
on the reverse.
Etching, tempera and oil on paper, laid on board, 25 by 32 cm.
Provenance: Acquired directly from the artist by the present
owner in Moscow in 1977.
£18,000–25,000
Provenance: Acquired directly from the artist by the present owner
in Moscow in 1975.
Authenticity of the work has been confirmed by Maria Plavinskaya,
the artist’s widow.
£5,000–7,000
247. Krasnopevtsev, Dmitry (1925–1995)
Still Life with a Die, signed with an initial and dated 1973, also
further signed and inscribed in Cyrillic with a dedication on the reverse.
Provenance: Acquired directly from the artist by the present owner
in Moscow in 1974.
£18,000–25,000
Lady with a Dog, titled in Cyrillic and numbered “40” on the reverse.
Ink on paper, 22.5 by 28 cm.
Provenance: Acquired directly from the artist by the present owner in
Moscow in 1973.
£800–1,2000
( 220 )
MacDougall’s
London
8 June 2016
( 221 )
252. Rossine, Solomon (B. 1937)
Childhood of St Peter, signed, also further
Carnival in St Petersburg and
Opium Smoker’s Metaphysical
Dream, two works, each signed, one
signed and titled in Cyrillic on the reverse.
twice, and inscribed twice “Paris”,
each titled in Cyrillic and one dated
1973 and 1976, and the other 1977.
Each ink and watercolour on paper,
one measuring 35.5 by 28 cm and
the other 32.5 by 25 cm.
£6,000–8,000
Provenance: Acquired directly from
the artist by the Bowles/Sorokko
Galleries, USA.
Acquired from the above by the
present owner in Beverly Hills
in November 1993.
Authenticity of the works has been
confirmed by the artist.
£800–1,200
250. Petrov, Shura (B. 1957)
The Bull Fighter, signed with initials and dated 1993.
Provenance: Acquired directly from the artist by the Mimi Ferzt
Gallery, New York.
Acquired from the above by the present owner in Hong Kong
in November 1993.
Authenticity certificate from the Mimi Ferzt Gallery, New York.
Exhibited: Russian Contemporary Art, Mimi Ferzt Gallery,
The China Club, Hong Kong, November 1993.
£1,500–2,000
251. Petrov, Shura (B. 1957)
Still Life with a Ball Number Three, signed “Kalinina M.I.” and titled
in Cyrillic on the reverse.
Executed c. 1990.
Provenance: Acquired directly from the artist by the Mimi Ferzt Gallery, New York.
Acquired from the above by the present owner in Hong Kong in November 1993.
Authenticity certificate from the Mimi Ferzt Gallery, New York.
Exhibited: Russian Contemporary Art, Mimi Ferzt Gallery, The China Club,
Hong Kong, November 1993.
£1,500–2,000
253. Rossine, Solomon (B. 1937)
The Cruiser Aurora, signed, also further
signed and titled in Cyrillic on the reverse.
£2,000–3,000
( 222 )
MacDougall’s
London
8 June 2016
( 223 )
RUSSIAN WORKS OF ART, FABERGÉ AND ICONS LOTS 301–381
306
307
302
306. A Biscuit Porcelain Figurine
of a Peasant Woman Spinning
DMITROVSKAYA MANUFACTORY,
MOSCOW, 1920s
Height 12 cm.
301
303
Realistically modelled, wearing a mintcoloured patterned skirt, a white blouse,
a brown headscarf and lapti, depicted
seated on a square shaped base imitating floor, with a blue manufactory stamp.
£1,200–1,800
304
305
of a Man Salting Bread
301. A Biscuit Porcelain Figurine of
a Girl with a Wreath of Flowers
302. A Biscuit Porcelain Figurine of
a Mother Breastfeeding Her Child
of a Peasant Man with an Ice-Axe
GARDNER MANUFACTORY, MOSCOW,
LATE 19TH CENTURY
Height 20.5 cm.
LATE 19TH CENTURY
Height 19.5 cm.
LATE 19TH CENTURY
Height 28.5 cm.
Realistically modelled, wearing a traditional
costume with white patterned chemise and
beige vest, with strings of multicoloured
beads, black boots and a wreath of flowers on
her head, her long hair braided with a blue ribbon, on a circular shaped beige base imitating
the ground, with a red manufactory stamp.
Realistically modelled, wearing a white dress
with a pink headscarf, standing leaning on
a tree stump and holding the baby, a basket
beside her, on a circular shaped naturalistic
base, with red manufactory stamp.
Realistically modelled, wearing a beige overcoat with a blue belt, matching trousers tucked
into white valenki and a grey hat with fur trimming, depicted standing beside a sledge with a
bucket on top, on an oval shaped base imitating snow, with a dark red manufactory stamp.
£2,000–3,000
LATE 19TH CENTURY
Height 13.5 cm.
Realistically modelled, wearing blue
trousers and a beige coat, his hat and
dark boots beside him, depicted barefoot and seated on a bench, on a green
naturalistically shaped base imitating
grass, with a red manufactory stamp
and incised marks, further incised ‘19’.
£1,800–2,200
GARDNER MANUFACTORY, MOSCOW, LATE 19TH CENTURY
Height 16.5 cm.
Realistically modelled, wearing a white chemise, a pink sarafan and a lilac headscarf, depicted barefoot and
seated on a wooden bench, feeding the baby on her knee, a ceramic cup with a gilt spoon beside her,
on a square shaped base imitating floor, with a red manufactory stamp, further incised with a number ’49’.
£2,500–3,500
310. A Biscuit Porcelain Composition
of the Court of the Rural
Constable (Sud Stanovogo)
LATE 19TH CENTURY
Height 14 cm, width 13 cm.
Related literature: For a similar
work, see Yu. A. Traysman,
Ode to Joy, Pinakotheke
Moscow, 2008, ill. no. 34.
Realistically modelled, wearing a patterned pink skirt, a black coat and a yellow
headscarf, holding the baby tucked into her clothing, a white bag on her arm,
standing barefoot beside a tree stump, on a circular shaped naturalistic base imitating grass, with red manufactory and incised marks, further numbered ‘62’ in red.
Realistically modelled, dressed in a
brown winter overcoat with mittens and
a pair of lapti, holding a covered basket
on top of his head, on an oval shaped
grey base, with an impressed manufactory mark.
£2,000–3,000
£2,000–3,000
£2,500–3,500
of a Fish Vendor
“Cruel Fate”
Height 12.5 cm.
Height 22.5 cm.
Realistically modelled, wearing grey trousers and a black coat, his hat
and dark boots beside him, depicted barefoot and seated on a bench,
on a green naturalistically shaped base imitating grass, with a red
manufactory stamp, further incised ‘158’.
£2,500–3,500
LATE 19TH CENTURY
Height 20 cm.
309
309. A Biscuit Porcelain Composition of a Seated Peasant Mother and Child
Realistically modelled, the group
depicted around a table, the judge
formally dressed in a white shirt and
a black bow-tie and seated on a wooden chair upholstered in matching green,
the official in a brown overcoat holding his
black cap behind him and leaning over the
table towards the accused, dressed in
a simple white shirt and a beige overcoat,
the table covered with a green cloth
along with documents, quill and inkstands, and a bag beside it, on a square
shaped base imitating floor, with
a red manufactory stamp.
£3,000–5,000
£2,000–3,000
of a Man Salting Bread
308
310
( 226 )
MacDougall’s
London
8 June 2016
( 227 )
* 311. A Porcelain Figurine of Paulo Veronese
POPOV MANUFACTORY, MOSCOW, 1840s
Height 18.5 cm.
Realistically modelled, wearing a raspberry and red
striped Venetian outfit with gilt ornament and a plumcoloured manteau, holding an artist’s palette in his
left hand, leaning on a marble column with gilt rim,
on a geometric shaped base imitating floor and
named in Latin ‘PAUL VERONESE’, with blue
underglaze manufactory mark.
* 314. An Articulated Faience Figurine
of a Buddha
S. POSKHOCHIN FACTORY, ST PETERSBURG, MID 19TH CENTURY
Height 20.5 cm.
Realistically modelled, wearing an oriental white robe with floral
patterns and mint-coloured edges, depicted seated in a
meditational pose, with articulated head, tongue and hands,
with an impressed manufactory mark.
£5,000–7,000
£2,000–3,000
The rarely encountered porcelain figurines of Paolo
Veronese, Leonardo da Vinci and Benvenuto Cellini,
which are of great value to collectors, were created at
the Popov factory in the mid 19th century.
All porcelain factories at that time worked in fiercely
competitive conditions and were therefore forced to
follow the dictates of fashion. In the context of growing general interest in the legacy of past times and
particularly in the art of the Renaissance, the Popov
manufactory decided to create a series of of figurines
based on illustrious people of that time. Two models
from this series are offered here at auction: Paolo
Veronese and Leonardo da Vinci. It is not known for
certain which artistic sources were used by the master
craftsmen at the Popov factory when they developed
these models, but they would have been among the
most popular and recognisable portraits.
* 312. A Porcelain Figurine
of Leonardo da Vinci
POPOV MANUFACTORY, MOSCOW, 1840s
Height 20.5 cm.
Realistically modelled, wearing a black Renaissance
outfit decorated with gold, a matching hat and white
gloves, leaning on a marble column with a gilt rim,
on a circular shaped pink base with a chain
ornament, with an impressed manufactory mark.
£3,000–5,000
A sense of the refinement and harmony of Chinese culture was an
integral part of the Rococo style in Europe. Richly coloured Chinese
lanterns, painted screens, silks, lacquer miniatures and porcelain
with stylised images of pagodas and dragons also came into fashion in Russia, and the artisans at privately owned porcelain manufactories duly mastered the art of “chinoiserie”. The range of
produced items included amusing Chinese dolls such as the
present lot – simple and gaily dressed figures with nodding
heads and even the ability to stick out their tongue.
The original model for this work is the Pagoda figurine
made at the Meissen factory in the early 1730s by Johann
K ndler. The German artist was supposedly attempting to reproduce in porcelain an image of the blissfully smiling Buddha on the path to spiritual enlightenment. Pagoda was taken by K ndler as a general name, that was then used to describe all early Meissen Chinese figurines. Typically, the head
and hands on this work are fixed with metal rods, bringing the
statuette to life.
These figures remained in high demand
in the 19th century and were often
treated as good-luck charms.
Their popularity is evident
from frequent representation
in paintings and drawings.
Such is Meditation, a
painting by the German
artist Conrad Kissel,
where the artist carefully
reproduces all the subtle
nuances of a porcelain
Chinese doll.
* 313. An Articulated Faience Figurine of a Jester
S. POSKHOCHIN MANUFACTORY, ST PETERSBURG, MID 19TH CENTURY
Height 19 cm.
Realistically modelled, wearing festive dress of yellow pantaloons, a green jacket and
a gold vest with a collar, the detachable articulated head with metal fixing, posed
standing with his hands on his hips on an oval shaped cream base decorated with threedimensional multicoloured flower buds and leaves, with an impressed manufactory mark.
315
316
£4,000–6,000
In the 18th century jesters were a favourite source of merriment for monarchs in their life
at court. A true legend among these was Augustus II the Strong’s court jester Joseph
Fr hlich (1694–1757) who served the King’s court for more than 30 years and was often
called “court magician”. There are quite a few depictions of this jester that have been
preserved to the present day. Fr hlich was one of the few people to allow himself to parody courtiers and think up witty and highly caustic jokes at their expense, ridiculing their
flaws and weaknesses. Augustus II the Strong was fascinated by his jester and commissioned the Meissen porcelain manufactory to make a figure of him. Unfortunately, only
the later versions of the figure survived, which were then used as models for reproduction by Russian private manufactories.
( 228 )
315. A Porcelain Composition
of a Child Teasing a Sleeping Friend
GARDNER MANUFACTORY, MOSCOW, 1ST HALF 19TH CENTURY
Height 14 cm.
316. A Rare Porcelain Figurine of a Turk
GARDNER MANUFACTORY, MOSCOW, 1800–1810
Height 12.5 cm.
Realistically modelled, the boy dressed in pink patterned shorts and a white chemise
with a blue vest, playfully passing a bird to his friend dressed in short yellow
patterned pantaloons, a white chemise and a terracotta jacket, resting on a grass
stump with a hat and a jug beside him, with an impressed manufactory marks.
Realistically modelled, a wearing national dress with white
patterned pantaloons, a red jacket with yellow lined sleeves,
a raspberry coloured turban, holding a yatagan, depicted seated
on a green and purple carpet in a characteristic pose with crossed
legs and leaning on a column, with a blue manufactory mark.
£4,000–6,000
£3,500–5,500
MacDougall’s
London
8 June 2016
( 229 )
317. A Porcelain Dessert Plate
from the Kremlin Service
318. A Porcelain Dessert Plate
from the Kremlin Service
319. An Imperial Porcelain Soup Plate
from the Etruscan Service
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I
(1825–1855), 1830s
Diameter 22 cm.
(1825–1855), 1830s
Diameter 21.5 cm.
(1825–1855), CIRCA 1844
Diameter 23 cm.
(1825–1855), CIRCA 1844
Diameter 23 cm.
Related literature: For similar works, see V.V. Znamenov (ed.),
Imperatorskiy farforovyi zavod. 1744–1904, St Petersburg, Global
View, 2008, p. 422.
Related literature: For similar works, see V.V. Znamenov (ed.),
View, 2008, p. 422.
Related literature: For similar works, see V. V. Znamenov (ed.),
View, 2008, pp. 392–399.
Related literature: For similar works, see V. V. Znamenov (ed.),
View, 2008, pp. 392–399.
Circular, the centre painted with a black Imperial eagle against the
green background, framed within a gilt band with an inscription in
Cyrillic “Nikolay imperator i samoderzhec vserossiyskiy”, further
framed within a gilt garland of stylised rhombuses centred with red
rosettes against a white background with fir-tree branches, within
blue and gold rims, the border decorated with green and blue
flowers and foliage against a gilt ground, with blue Imperial cipher
for Nicholas I, further numbered ‘9’ in gold.
Circular, the centre painted with a black Imperial eagle against the
green background, framed within a gilt band with an inscription in
Cyrillic “Nikolay imperator i samoderzhec vserossiyskiy”, further
framed within a gilt garland of stylised rhombuses centred with red
rosettes against a white background with fir-tree branches, within gilt
and blue rims, the border decorated with green and blue flowers and
foliage against a gilt ground, with blue Imperial cipher for Nicholas I,
further impressed number ‘3’ and numbered ‘90’ in gold.
The cavetto painted with classicizing figure with antique ornaments
in black against a terracotta ground, the border with continuous
anthemion chain, with blue Imperial cipher for Nicholas I.
The cavetto painted with classicizing figure with antique ornaments
in black against a terracotta ground, the border with continuous
anthemion chain, with blue Imperial cipher for Nicholas I.
£3,000–5,000
£3,000–5,000
£3,000–5,000
£3,000–5,000
The plates belong to one of the most well known and richly decorated services made by the Imperial Porcelain
Manufactory in St Petersburg. Commissioned by Tsar Nicholas I in 1837, the service was to be used for state banquets and reflect the Imperial glory of the Emperor’s court. It was probably a conscious choice rather than a purely
decorative decision to use the evocative traditional Russian motifs to commemorate the reign of Nicholas I.
The plates are amongst some of the most famous objects made by the Imperial Porcelain Factory during
the historicism movement and as such, are rare and exceptional collectors’ pieces. Dating from the
1840s, they display the outstanding craftsmanship that had been achieved in Russia by the 1830s and
are an exquisite example of the Etruscan style – one of the first Russian “neo” styles. The decoration
exemplifies the fascination of this époque with antiquity, but instead of directly quoting ancient sources, the artists re-interpreted the antique fashion in a new way.
Fedor Solntsev, a graduate of the Academy of Arts and author of the main design concept was not only a prominent artist but also a keen researcher of old Russian art, an author of the unique edition “Antiquities of the Russian State”. Naturally, his inspiration was largely drawn from the Byzantine artefacts that belonged to the Kremlin
treasuries.
The design of the Kremlin service dessert plates complements the general artistic decision but also carries different decorative elements, such as the Russian double-headed eagles surrounded by inscriptions in Old Russian
glorifying 'Nicholas, Emperor and Autocrat of all the Russians'.
( 230 )
320. An Imperial Porcelain Soup Plate
from the Etruscan Service
V.V. Znamenov (ed.), Imperatorskiy farforovyi zavod.
1744–1904, St Petersburg, Global View, 2008, p. 422
MacDougall’s
London
8 June 2016
( 231 )
321
322
326. A Porcelain Cup and Saucer
with a Portrait of Alexander I
325. A Porcelain Cup with Lid and Saucer
GARDNER MANUFACTORY, MOSCOW, EARLY 19TH CENTURY
Height of the cup 9 cm, diameter of the saucer 13.5 cm.
321. A Porcelain Plate
GARDNER MANUFACTORY, MOSCOW, 1820s
Diameter 21 cm.
Of circular shape, the cavetto finely painted with the Catherine’s Palace and the lake
of the Imperial park, a couple walking in the distance and a group of people greeting
a small boat, within a gilt rim, the thick gilt border with a continuous ciselé leaf garland,
the gilt beads’ ornament to the edge, with impressed manufactory marks.
The cup decorated with brightly coloured birds against white
ground with floral decorations within oval cartouches surmounted
with rose buds, the gold body with scaly ornament throughout, with
scrolled white and gold handle, the lid surmounted with matching
pale pink rose bud, the saucer similarly decorated, with blue
underglaze manufactory marks.
£2,000–3,000
GARDNER MANUFACTORY, MOSCOW, 1ST HALF OF THE 19TH
CENTURY
Height of cup 6 cm, diameter of saucer 12.5 cm.
The cup finely painted with a portrait signed in black “Emp.
Alexandre I” in Latin, surmounted with a gilt frame with military
trophies, the main body in slate blue with gilt rims and a pearly
white contour, with a scrolled gilt handle, the saucer similarly
decorated with the white cavetto centered with Imperial eagles
in gold, with blue underglaze manufactory marks.
£5,000–7,000
£2,000–3,000
322. A Porcelain Plate from
the Order of St Andrew Service IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855) Diameter 25.5 cm.
Circular, with gilt scalloped rim, the cavetto painted with the badge of the Order of
St Andrew against a white ground, the blue border decorated with the badges of the Orders
of St George, St Alexander Nevsky, St Vladimir, the White Eagle, St Stanislaus and St Anne
surrounded with stylised gilt cartouches, with blue Imperial cipher for Nicholas I.
£3,500–5,500
323. A Large Porcelain Vase with Flowers
IMPERIAL PORCELAIN MANUFACTORY, PERIOD
OF NICHOLAS I (1825–1855)
Height 63.5 cm.
The body with contoured gilt ornament, polychrome
flower buds and leaves, the gold and white neck
with blue rim, rocaille handles and base with
stylised shell motifs, on four scrolled feet, with
blue Imperial cypher for Nicholas I on the inside.
£2,500–3,500
327. A Porcelain Cup and Saucer
IMPERIAL PORCELAIN MANUFACTORY,
PERIOD OF NICHOLAS I (1825–1855)
Height of the cup 6.5 cm, diameter of the
saucer 14.5 cm.
324. A Porcelain Vase
IMPERIAL PORCELAIN MANUFACTORY,
PERIOD OF ALEXANDER I (1801–1825)
Height 29.5 cm.
323
Of pear-shaped form, the body gently
rising to a waisted neck and flared mouth,
on a broad foot, the exterior in distinctive
cobalt blue, the interior left in white, with
blue Imperial cipher for Alexander I.
The cup and the saucer similarly decorated
with brightly coloured birds within oval
cartouches and further embellished with
gilt and polychrome floral garlands, with
blue Imperial cipher for Nicholas I, the cup
further incised with number ‘45’.
324
£1,500–2,000
( 232 )
MacDougall’s
London
PROBABLY GARDNER MANUFACTORY,
MOSCOW, 19TH CENTURY
Height of the cup 14 cm, diameter of
the saucer 16 cm .
The cup in gold with a gilt inside, finely
painted with an Old Master's portrait, with
a scrolled handle, the saucer in gold with
a gold circle within the white centre.
£1,000–1,500
329. A Porcelain Cup
and Saucer with a Genre Scene
GARDNER MANUFACTORY, MOSCOW, 1920s
Height of the cup 12 cm, diameter of the
saucer 14.5 cm.
The cup painted with a scene of a resting
girl, the body in matt gold and pink foliate
ornaments with pearly borders and a
scrolled handle, the interior left in gold,
the saucer with a matching ornament,
apparently unmarked.
£1,500–2,000
£2,000–3,000
328. A Porcelain Portrait Cup
with a Saucer
8 June 2016
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331. A Soviet Porcelain Dish
332. A Soviet Porcelain Salad-Dish
AFTER A PAINTED DESIGN BY RUDOLPH VILDE, STATE
PORCELAIN MANUFACTORY, PETROGRAD, 1923–1924
Length 28.5 cm.
PROBABLY AFTER A PAINTED DESIGN BY RUDOLPH VILDE, STATE
PORCELAIN MANUFACTORY, PETROGRAD, 1921
Height 11 cm, length 32 cm.
Of oval shape, the border decorated with polychrome stylised
flowers and leaves in characteristic colours, the white cavetto
with commemorative inscription in blue, red, black and gold
in Cyrillic “1oe Maya 1923”, with black jubilee manufactory
mark and green Imperial cipher for Nicholas II, dated 1911,
signed in Cyrillic “Po ris. R. Vilde”, further numbered ‘273/4’.
Of oval elongated shape, the border decorated with stylised
floral ornament against white background with black and gold
leaves centering '1921' commemorative ornament and with a
matching decor on the outside, on white stand with blue rims,
dated, with an obliterated Alexander III mark and blue manufactory
marks.
£8,000–12,000
£8,000–12,000
Rudolph Vilde is perhaps most famous for his elaborate soviet propaganda pieces, easily recognisable by their beautiful proportions of clear, white
porcelain backgrounds and distinctive, colourful ornament. Born in 1868, Vilde, a graduate of the Baron’s Shtiglitz’s Central School of Technical
Drawing, was involved in the pre-revolutionary years with numerous artistic projects, including interior and landscape designs and regularly participated in Imperial Porcelain Manufactory’s contests. In 1906 he became the head of the graphic studio of the Manufactory and of the drawing classes.
Lots 331 and 332 are remarkable examples of the artist’s prominent years as a leader of the art studio at the State Porcelain Manufactory (from 1923).
330. A Soviet Porcelain Plate “S Vysokih Vershin”
AFTER A DESIGN BY SERGEY CHEKHONIN, STATE PORCELAIN MANUFACTORY, PETROGRAD, 1919
Diameter: 24 cm.
Related literature: For a similar work, see V.V. Znamenov (ed.), Leningradskyi farforovyi
zavod 1904–1944, St Petersburg, Global View, 2005, p.234.
Circular, the cavetto with a hammer and sickle in red and gold within a thick dark blue border
with gilt rims, carrying a Ferdinand Lassalle slogan in Cyrillic, painted spirally over the plate
in gold, black and red, with an obliterated Alexander III mark and blue manufactory marks.
£8,000–12,000
( 234 )
MacDougall’s
London
8 June 2016
( 235 )
335
333
335. A Soviet Porcelain
Suprematist Plate
333. A Soviet Porcelain Saucer
with Flowers and Fruits
AFTER A DESIGN BY NIKOLAY SUETIN, PERIOD
OF ALEXANDER III (1881–1894), IMPERIAL
PORCELAIN MANUFACTORY, 1890 AND STATE
PORCELAIN MANUFACTORY, PETROGRAD,
1923
Diameter 24.5 cm.
AFTER A DESIGN BY SERGEY CHEKHONIN,
STATE PORCELAIN MANUFACTORY,
PETROGRAD, 1922
Diameter 18.5 cm.
334
Related literature: For a similar work,
see V.V. Znamenov (ed.), Leningradskyi
farforovyi zavod 1904–1944, St
Petersburg, Global View, 2005, p.217.
334. A Soviet Porcelain Plate
Circular, the main body in white, the
cavetto painted with stylised polychrome
flowers and plants, with red border within
gilt rim, with a blue underglaze manufactory mark and a red export stamp.
Circular, the cavetto painted with a scene in silhouette
of a man seated painting and overlooked by a woman gardener standing behind him, within a pale orange border
with black foliate rims, inscribed in black in Cyrillic “G.Narbut” and dated, further signed in Cyrillic “M-576-f/i”.
Circular, the cavetto painted with Suprematist
style geometric ornament in pale orange, red
and black against a white background, within a
wide black border, with green Imperial cipher
for Alexander III and a later black manufactory
mark, signed in Cyrillic “Po ris. Suetina” and
dated, further marked with a Suprematist
framed square and numbered ‘N3/205’.
£1,000–1,500
£1,500–2,000
£2,000–2,500
GEORGIY NARBUT, 1923
Diameter 16 cm.
336. A Porcelain Tea Service
VERBILKI MANUFACTORY, MOSCOW, 1946–1957
Height of the teapot 12 cm, of the sugar bowl, of the milk jug, of
the cups 6.5 cm, diameter of the saucers 13 cm.
Fourteen pieces comprising a lidded teapot, a lidded sugar bowl,
a milk jug, six cups and saucers, all decorated with polychrome
chinoiserie style birds and flowers on black background, with white
angled handles, all with gilt rims and white interiors, with blue
manufactory stamps.
337. A Biscuit Porcelain Spill Vase
with a Bucket and a Pair of Boots
338
339
338. A Porcelain Figurine “Hairdo”
GALINA STOLBOVA, PAINTING BY ELIZAVETA
LUPANOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1962
Height 18.5 cm.
Realistically modelled, depicted seated on a
white stool, wearing a characteristic 1960s
black and white striped mini dress with
white stiletto shoes and checking her hair,
with a blue overglaze manufactory mark.
£1,000–1,500
340
339. A Porcelain Figurine
of a Girl with a Kitten
TAISIYA KUCHKINA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD,
1938–1939
Height 17.5 cm.
Realistically modelled, wearing a yellow
swimsuit, standing contraposto and
holding a kitten, on a circular shaped blue
base, apparently unmarked.
£5,000–7,000
of a Boy Playing with a Car
DMITROVSKIY MANUFACTORY, MOSCOW,
1930–1931
Height 12 cm.
Realistically modelled, wearing pale blue
shorts, a white shirt with blue motifs and
a white hat with a matching decoration,
pouring sand into a toy car, on
a naturalistically shaped base imitating
grass, with dark red manufactory stamp,
further incised with a number ‘1815’.
£800–1,200
Height 6.5 cm.
Shaped as a wooden bucket with a pair of black boots beside it and
a kitten looking inside the boots, on an oval shaped base imitating
floor, with a red manufactory stamp.
341
of a Bathing Girl
342. A Miniature Porcelain Figurine
of a Girl with a Calf
£1,200–1,800
EFIM GENDELMAN, LOMONOSOV STATE
LATE 1950s
Height 16.5 cm.
£1,500–2,000
Related literature: For a similar work, see
Yu.A. Traysman, Ode to Joy, Pinakotheke
Realistically modelled, wearing a stripes
white and blue bathing suit and a yellow
swimming hat, standing beside a column
with a yellow towel with blue striped
thrown over it, on a circular shape white
base with a gilt rim, with a blue underglaze
manufactory mark.
TAISIYA KUCHKINA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD, 1937
Height 7 cm.
Realistically modelled, wearing a cobalt blue
dress with a mathcing hat, depicted seated
on her knees and giving water to the calf,
on a circular shaped white base, with a faded
black manufactory mark.
£1,500–2,000
£1,500–2,000
336
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337
342
MacDougall’s
London
8 June 2016
( 237 )
348. A Porcelain Figurine of an Uzbek Girl Cotton Picker
SOFIA VELIKHOVA, PAINTING BY LARISA GRIGORIEVA, LOMONOSOV
STATE PORCELAIN MANUFACTORY, LENINGRAD, 1955
Height 22 cm.
Related literature: For similar works, see Yu.A. Traysman,
Ode to Joy, Pinakotheke Moscow, 2008, ill. no. 122.
V. V. Znamenov (ed.), Leningradskyi farforovyi zavod imeni
M. V. Lomonosova 1944–2004, St Petersburg, Global View,
2006, p. 239.
Realistically modelled, wearing colourful national dress with
a blue and yellow tunic over striped red trousers, multicoloured
shoes and ornate red ornate, depicted beside a green bush
with gilt decoration and a red bag full of gilt cottons, on circular
shaped white base with a gilt rim, with blue overglaze and incised manufactory marks, further numbered ‘1c’ in blue and
‘110’ in black.
£1,200–1,800
“Nesting Box”
AFTER A MODEL BY MARIA KHOLODNAYA,
KONAKOVO FAIENCE MANUFACTORY, TVER, 1955
Height 36 cm.
Yu. A. Traysman, Ode to Joy, Pinakotheke Moscow,
2008, ill. 206.
343
344
of Nakhimovtsys (Naval Cadets)
SOFYA VELIKHOVA, PAINTING BY BY ELIZAVETA LUPANOVA,
LOMONOSOV STATE PORCELAIN MANUFACTORY, 1950–1960s
Height 19 cm.
Related literature: For similar works, see Yu.A. Traysman, Ode to
Joy, Pinakotheke Moscow, 2008, ill. no. 212.;
V. V. Znamenov (ed.), Leningradskyi farforovyi zavod imeni
M. V. Lomonosova 1944–2004,
St Petersburg, Global View,
2006, p. 245.
Realistically modelled, two boys
dressed in white uniforms with
striped blue collars and sleeves
and matching frocks beneath,
the left one holding an open
book, the other with his hand
on the friend’s shoulder and
peering over, also holding a
book, on a square shaped
white base, with a blue overglaze manufactory mark.
345
346
of a Nakhimov Sailor Boy
of a Nakhimov Sailor Boy
LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD,
1950s
Height 16.5 cm.
VASILIY STAMOV, LOMONOSOV STATE
1939
Height 19 cm.
Related literature: For a similar
work, see V.V. Znamenov (ed.),
Leningradskyi farforovyi zavod
imeni M.V. Lomonosova 1944–
2004, St Petersburg, Global
View, 2006, p. 245.
Related literature: For a similar work,
see V.V. Znamenov (ed.), Leningradskyi
farforovyi zavod imeni M.V. Lomonosova
1944–2004, St Petersburg, Global View,
2006, p. 245.
Realistically modelled, wearing
a characteristic sailors’ white
uniform and holding red
komsomol flags, on a square
shaped white base, with a blue
manufactory mark.
Realistically modelled, wearing a white and
blue sailor’s uniform with a characteristic
striped shirt and a Nakhimov hat with a red
star, holding a red flag with one hand, the other in his pocket, standing beside a white post,
on square shaped white base, with a blue manufactory mark, further numbered ‘75’ in blue.
£700–900
£3,000–5,000
Two boys realistically modelled ,holding nesting
boxes and looking upwards, a dog beside them, one
boy dressed in dark grey sheepskin coat, matching trousers and blue hat earflaps, the other
dressed in turquoise trousers, green scarf,
mustard coloured coat and a matching hat
with ear-flaps, on a circular shaped naturalistic ground imitating snow, with green
manufactory mark, further stamped ‘2
sort’ and numbered ‘12’ in black.
348
£1,800–2,200
of a Swineherdess with a Piglet
Yu. A. Traysman, Ode to Joy, Pinakotheke
Realistically modelled, wearing a blue dress
with a white apron and a checked headscarf,
sitting on her knees and wiping the piglet in
her hands, on naturalistic base imitating grass,
with blue underglaze manufactory mark.
£1,000–1,500
“School Waltz”
347. A Porcelain Figurine of a Boy with Ice Skates
IYA VENKOVA, PAINTING BY ELIZAVETA LUPANOVA, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD, 1960
Height 21 cm.
Related literature: For a similar work, see V. V. Znamenov (ed.),
Leningradskyi farforovyi zavod imeni M.V. Lomonosova 1944–2004,
St Petersburg, Global View, 2006, p. 233.
Realistically modelled, wearing grey trousers and a cream jumper with a matching overcoat, hat with grey fur trimmings, a checked blue scarf and brown
shoes, with his hands in his pockets and holding ice skates underarm, standing beside a small snowy tree stump, on a square shaped white base imitating
snow, with blue overglaze and incised manufactory marks, further stamped
‘1c’.
347
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ASTA BRZHEZYTSKAYA, DULEVO PORCELAIN
MANUFACTORY, MOSCOW, CIRCA 1950
Height 19 cm.
£1,200–1,800
Yu. A. Traysman, Ode to Joy, Pinakotheke
351. A Porcelain Composition of Indira
Gandhi with Komsomol Children
DULEVO PORCELAIN MANUFACTORY, MOSCOW, 1957
Height 38 cm.
Realistically modelled, dressed in characteristic school uniforms, standing in a mazurka dance position, the girl in a pale blue
dress with a white apron and hair ribbons,
the boy in a black school suit and holding
his hat under his arm, on an octagonal
shaped white base with a gilt contour, with
a blue overglaze manufactory mark.
Realistically modelled, dressed in a white
dress with gilt ornament and a red neck scarf,
her hair done up with matching flowers, the
boy holding Indira’s scarf, the girl presenting
her with flowers, on a circular shaped base,
with a green manufactory mark.
£1,000–1,500
£1,000–1,500
£1,500–2,000
351
350
349
AFTER A MODEL BY MARGARITA SAMOLETOVA,
PAINTING BY ELIZAVETA LUPANOVA,
LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1951
Height 18 cm.
MacDougall’s
London
8 June 2016
( 239 )
352. A Porcelain Figurine of a Woman Carrying a Cabbage
356. A Large Soviet Porcelain Figurine
of Galina Ulanova as “Odette”
from “Swan Lake”
AFTER A MODEL BY NATALIA DANKO, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1939
Height 13 cm.
AFTER A MODEL BY GALINA CHECHULINA, DULEVO
PORCELAIN MANUFACTORY, MOSCOW, 1970s
Height 19.5 cm, length 45 cm.
Related literature: For a similar work, see Yu.A. Traysman, Ode to Joy,
Pinakotheke Moscow, 2008, ill. no. 111.
2008, ill. no. 253.
Realistically modelled, wearing a dark vest over a white blouse, a red
skirt with a patterned apron and a pink headscarf, holding a cabbage
and leaning on a tree stump, on a circular shaped naturalistic base, apparently unmarked, with an illegible signature and further signed ‘1939’.
Realistically modelled as Galina Ulanova performing the role
of the dying swan, all in white, with a green manufactory stamp.
£1,200–1,800
£700–900
353. A Rare Porcelain Figurine of an Asian Carrier
356
ELIZAVETA TRIPOLSKAYA, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, LATE 1920–EARLY 1930s
Height 23 cm.
357. A Soviet Porcelain Figurine of Galina Ulanova
as “Odette” from “Swan Lake”
Realistically modelled, wearing grey trousers, a tunic and a blue hat, depicted bowed under the weight of large white bag borne on his back, decorated with flake-like and rhombus patterns, holding the bag’s ropes with
his hands, on a naturalistic white base, with impressed manufactory
marks and a red export stamp.
AFTER A MODEL BY ELENA YANSON-MANIZER, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1950s
Height 18 cm.
Related literature: For a similar work, see Yu. A. Traysman,
Ode to Joy, Pinakotheke Moscow, 2008, ill. no. 252.
£5,500–7,500
352
Realistically modelled as Galina Ulanova performing
the role of the dying swan, all in white, with an
incised manufactory mark.
The sculpture portrays one of the most celebrated
dancers of the 20th century. The piece was created by the leading sculptor of Soviet ballet,
Elena Yanson-Manizer and reproduced in
porcelain at the Lomonosov State
Manufactory. Yanson-Manizer first saw
the young prima ballerina in 1936
when she danced in “The Fountain of
Bakhchisarai” and asked Ulanova to
model for her, subsequently creating a whole series of porcelain
sculptures.
353
of a Yakut Mother with a Child.
VERBILKI, MOSCOW, 1960s
Height 20.5, length 22 cm.
Realistically modelled, wearing a national folk beige fur coat
with red patterns with a white fur collar, holding the baby
similarly dressed on a deer, on a rectangular shaped white
base, apparently unmarked.
£1,800–2,200
£700–900
of Ivan Papanin with His Dog
355. A Biscuit Porcelain Spill Vase with a Cat
357
DMITROVSKAYA MANUFACTORY, MOSCOW, 1926–1927
Height 9 cm.
NATALIA DANKO, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1938–1940
Height 9 cm.
Shaped as a wicker basket with a folded white and blue
striped towel beside it, the grey cat with a blue collar sitting
nearby, playing with a ball, on an oval shaped base imitating floor, with a blue manufactory stamp, further incised
with number ‘201’.
Realistically modelled, wearing winter trousers, a patterned fur coat
and a brown hat, depicted seated on the snow and holding his
black and white dog, on a naturalistic shaped base, with a
red anniversary manufactory stamp, a green manufactory
mark and an incised signature in Cyrillic “N.Danko”.
£1,200–1,800
£3,000–5,000
359
359. A Porcelain Figurine of the Actor Feodor Chaliapin
AFTER A 1922 MODEL BY IAKOV TROUPIANSKIY AND A PAINTED DESIGN BY VARVARA
RUKAVISHNIKOVA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, LATE 1930s
Height 29 cm.
Related literature: for similar works, see N. Lobanov-Rostovsky, Revolutionary Ceramics: Soviet
Porcelain 1917–1927, London, 1990, cat. no. 110, p. 103.
V.V. Znamenov (ed.), Leningradskyi farforovyi zavod 1904–1944, St Petersburg, Global View,
2005, pp. 377–381.
Realistically modelled, depicted in the role of Boris Godunov, wearing a white tunic with
ornate gilt trim, a black overcoat richly decorated with gold and a raspberry coloured lining,
with a matching head-dress, on a circular shaped white stand, with a red manufactory stamps.
354
355
£1,500–2,000
358
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MacDougall’s
London
8 June 2016
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362
366
363
361
364
360
of Nozdrev with One of His
Dogs from Gogol’s “Dead Souls”
of Plushkin
from Gogol’s “Dead Souls”
364. A Soviet Porcelain Figurine
of Khlestakov from Gogol’s
“Governor Inspector”
367
368
365
of Chichikov
of Bobchinskiy and Dobchinskiy
from Gogol’s “Inspector General”
AFTER A MODEL BY BORIS VOROBYEV
AND A PAINTED DESIGN BY IVAN RIZNICH,
MANUFACTORY, LENINGRAD, CIRCA 1953
Height 15.5 cm.
Height 14.5 cm.
Height 15 cm.
Height 14.5 cm.
Height 12.5 cm.
Moscow, 2008, pp. 360–367.
Moscow, 2008, pp. 360–367.
Moscow, 2008, pp. 360–367.
Moscow, 2008, pp. 360–367.
Moscow, 2008, pp. 360–367.
Realistically modelled, depicted standing
and frivolously smiling, wearing light beige
checked trousers with braces, a white shirt
and a raspberry coloured overcoat, a dog
lying at his feet, on a circular shaped base,
with a blue manufactory mark, further signed
‘77-x’ in black and numbered ’14’ in red.
Realistically modelled, gloomily standing in
a crooked pose, wearing a brown coat with
keys hanging from the belt and valenki, on
a circular shaped white base, with a blue
manufactory mark, further signed ‘v/sort’
in red.
Realistically modelled, wearing white and
brown checked trousers, a plum coloured
vest and a bottle-green overcoat, standing
arrogantly looking into the distance and
leaning on a white classical column, on
manufactory mark, further stamped ‘1 sort’.
Realistically modelled, wearing beige lampas
trousers, a maroon brown overcoat, a purple
vest over a white chemise with a black bow
tie, leaning cunningly over a chair draped with
a violet and purple striped cover, on a circular
white base, with blue manufactory and incised marks, further numbered ‘22’ in black.
Realistically modelled, in a characteristic
conspiratorial pose, leaning on each other,
dressed in pale beige and mint coloured
trousers with matching tail-coats, on
overglaze manufactory mark, further
numbered ‘53’ in black.
£300–500
£300–500
£300–500
£300–500
£300–500
Gogol’s series depict the époque’s take on one of the most cherished Russian author. Created between 1945–1954, these porcelain figurines of favourite characters not only evoke the familiar literary prototypes but also highlight the pathos of the Stalinist era. Gestures and lively mimicry, along with the colourful palette,
enhance the theatricality and distinctiveness achieved by the longstanding tradition of craftsmanship and the imaginations of the leading artists of the time.
361. A Porcelain Figurine of The Governor
from Gogol’s “Inspector General”
363. A Porcelain Figurine of Sobakevich
of the Manilovs
AFTER A MODEL BY BORIS VOROBYEV AND
A PAINTED DESIGN BY IVAN RIZNICH OR VARVARA
RUKAVISHNIKOVA, LOMONOSOV STATE PORCELAIN
Height 16 cm.
AFTER A MODEL BY BORIS VOROBYEV AND A PAINTED DESIGN
BY IVAN RIZNICH, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1950–1960s
Height 15 cm.
AFTER A MODEL BY BORIS VOROBYEV AND A PAINTED DESIGN
BY IVAN RIZNICH, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, CIRCA 1953
Height 14 cm.
Related literature: For a similar work, see Yu.A. Traysman, Ode
to Joy, Pinakotheke Moscow, 2008, pp. 360–367.
Related literature: For a similar work, see Yu.A. Traysman, Ode
to Joy, Pinakotheke Moscow, 2008, pp. 360–367.
Realistically modelled, dressed in a characteristic bottle-green
uniform with gilt orders, white pantaloons tucked into high black
boots and a sabre hanging from the left hip, on a circular shaped
white stand, with a grey manufactory mark, further numbered ‘10’.
Realistically modelled, wearing a brown suit, a dark brown overcoat,
white a vest and a matching brown neck scarf, depicted standing
authoratively with his hands crossed behind his back, on a circular
shaped white base, with a blue manufactory mark, further
numbered ‘62’ in faded gold.
Realistically modelled, holding each other arm in
arm, the wife dressed in a pale yellow dress with
white overskirt and a pink shawl, the husband
dressed in grey trousers and a green overcoat over
a white shirt with a matching pale yellow bow tie,
both looking into the distance, on a square
shaped white base, with blue overglaze manufactory marks, further numbered ‘22’ in black.
£300–500
£300–500
£300–500
Moscow, 2008, pp. 360–367.
368. A Porcelain Figurine of Madame
Korobochka from Gogol’s “Dead Souls”
LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, CIRCA 1953
Height 11.5 cm.
2008, pp. 360–367.
Realistically modelled, depicted seated daintily in
an arm-chair with a foot stool, wearing a brown longsleeved dress, a white neckpiece with a pink ribbon
and a matching headscarf, on an oval shaped white
base, with an incised manufactory mark, further indistinctively signed in gold.
£300–500
369. Two Biscuit Porcelain Figurines
of a Town Governor and
Sobakevich
LATE 19TH CENTURY
Height of Town Governor 9.5 cm,
of Sobakevich 20.5 cm.
Realistically modelled, the Governor in a
black uniform with a badge, epaulets and
a hat, depicted standing with his hands in
the pockets, on an octagonal shaped base;
Sobakevich dressed in brown trousers and
a black tail-coat, in a characteristic pose
with spread hands, his forehead furrowed,
on a circular shaped base imitating wooden
floor, both with red manufactory stamps
and incised marks.
£3,000–5,000
369
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MacDougall’s
London
8 June 2016
( 243 )
372. An Important FabergÉ Set of Trompe l’Oeil Brooches
MAKER’S MARK OF ERIK KOLLIN, ST PETERSBURG, 1890, 56 STANDARD,
SCRATCHED INVENTORY NUMBER 48919
Length of the fork 4 cm, of the spoon 3,5 cm, of the knife 3,7 cm.
Comprising three gold brooches shaped as a knife, fork and spoon, inset
with natural seed pearls, with brooch fitting, in a fitted Faberge case.
370
£6,000–8,000
* 370. A Wooden Presentation Bread Plate
Diameter 52 cm.
Circular, carved with Neo-Byzantine motifs, the centre with carved
Imperial eagles within a frame carrying an inscription in Cyrillic
“Vozlublennomu gosudaru 7 dekabrya 1914”, the border with a
carved signature in Cyrillic “Tambovskoe kupecheskoe obshestvo”.
£2,500–3,500
* 373. A Pink Quartz Model of a Bulldog
371. A Silver and Cut-Glass Kovsh
MAKER’S MARK OF IVAN KHLEBNIKOV, MOSCOW, 1899–1907, 84 STANDARD
Length 50 cm.
PROBABLY FABERGÉ, LATE 19TH OR EARLY 20TH CENTURY
Height 7 cm.
Of traditional elongated shape, the body in colourless cut-glass with octagon
and diamond pattern, the silver rim chased with a swirl scroll ornament, the
front with a finely chased Bogatyr leaning over his shield, the scrolled handle
with applied floral decoration centring a red gemstone.
Realistically carved in a seated position, cropped ears,
eyes set with diamonds.
£6,000–8,000
£6,000–8,000
( 244 )
MacDougall’s
London
8 June 2016
( 245 )
375. A Collectable Icon of St Nicholas
and the Miracle of Myra
FEODOR BOGNEVSKY, ST PETERSBURG, 18TH CENTURY,
OIL ON COPPER, FRAME STAMPED WITH MARK OF ‘N.M’
IN CYRILLIC
24 by 17.5 cm
Signed Feodor Bognevsky. Handwritten inscription
in Cyrillic on reverse, the icon was a Baptismal gift
to Nikolay Sablukov from his godparents Catherine
the Great and Count Orloff.
£8,000–12,000
374. An Imperial Image of Christ ‘Ecce Homo’ with
Silver Gilt Oklad and Presentation Kiot by Grachev
376. An Enamel Icon of the Appearance
of Apostles Peter and Paul
to the Tzarevich Peter Ordynskiy
LATE 19TH — EARLY 20TH CENTURY, OIL ON PANEL, OKLAD STAMPED GRACHEV
WITH MARK OF I.E IN CYRILLIC, 1891, ST PETERSBURG, 84 STANDARD
36 by 29.5 cm (panel).
ROSTOV, LATE 19TH CENTURY
19 by 14.5 cm (excluding suspension loop).
Silver plaque on reverse commemorating the deceased Emperor
Alexander Nikolaevich.
£1,000–1,500
£6,000–8,000
( 246 )
MacDougall’s
London
8 June 2016
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377. A Travelling CloisonnÉ
Enamel Triptych
of the Mother of God
of the Sign with
the Archangels Michael
and Gabriel
379. The Miracle of St Demetrios
and the King of Kalyan KARGOPOL, 1740s
52 by 44 cm.
3,000–5,000 GBP
OLD BELIEVERS' WORKSHOP,
LATE 19TH CENTURY
14 by 20 cm (open)
£1,500–2,000
380. Kolesnikov, Stepan (1879–1955)
ST NICHOLAS THE WONDERWORKER
Tempera and oil on cardboard, laid on cardboard,
50 by 37 cm.
Provenance: Private collection, Serbia, since 1990s.
£2,000–3,000
381. A Vita Icon of St Nicholas
the Wonderworker
OLD BELIEVERS' WORKSHOP, 19TH CENTURY
53 by 46.5 cm.
£1,000–1,500
379
378. An Art Nouveau Icon
of the Pokrov
with a Brass Basma AFTER 1911
28 by 37 cm.
£12,000–14,000
The icon is a striking example of the Russian Art Nouveau style and reproduces an original which marked the highest artistic achievements of this style.
The iconographer took as his original a fresco in the apse of the Church of the
Protection of the Mother of God at the Martha and Mary Convent, created
by Mikhail Nesterov in 1911. Nesterov, one of the most influential religious
artists of the early 20th century, turned frequently to the image of the Protection of the Mother of God (Pokrov), which resonated strongly with Russian
consciousness at the time of the First World War. Two of his paintings, dating
from 1914 and 1910 are dedicated to this theme and are remarkable for including images of the Martha and Mary Convent, which was founded in 1907
by Grand Duchess Elizaveta Feodorovna (who was canonized in 1992).
Faithful to the original, the icon painter achieves expressiveness through a
laconic and generalised silhouette, linear rhythm and a combination of pink,
blue and light blue which convey the real and spiritual worlds. The architectural motifs — towers, walls and buildings — are copied from the reverse perspective images of 16th and 17th century icons.
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The Art Nouveau style is apparent in the metal frame with its embossed floral ornaments, setting off the cool colours of the icon with warm golden-yellow tones and enriching the flatness of the paint with relief ornament and
the inscription: «Hail our joy, protect us from all evil with your glorious robe”
(Incantation for the Protection of the Holy Mother of God). The theme of the
Virgin Mary’s intercession for humanity and her receptiveness to prayer are
underscored by this choice of text and the intense gaze of the subject, who
looks directly at the viewer. This contrasts with Nesterov’s works, where the
subject avoids eye contact.
The Pokrov is an impressive fusion of various features of the Russian Art
Nouveau style in its appeal to national tradition and personal experience,
its antique stylisation and the important role of ornamentation in the image.
According to tradition, the icon was presented to the mother of the owner
by the family of Baron Pyotr Wrangel.
380
MacDougall’s
381
London
8 June 2016
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CLASSICAL RUSSIAN
PHOTOGRAPHY LOTS 401–463
401. Nechaev, Alexander (Active 19th Century)
Portrait of Ekaterina Kopteva, signed and numbered “23-y.”
Portrait of a Lady, signed with initials.
on the mounting card, further titled in Cyrillic on the card on
the reverse.
Albumen print, hand-coloured with watercolour, laid on card,
27.5 by 22.5 cm (card size).
Albumen print, hand-coloured with watercolour,
laid on card, 24.5 by 19.5 cm.
Photographed and printed c. 1850s–1860s.
£500–900
£500–900
( 252 )
Portrait of Liubov Egorova with Her Son, signed
Portrait of Elizaveta Fortini with Her Daughter,
and numbered “35-y.” on the mounting card, further titled
in Cyrillic on the card on the reverse.
Albumen print, hand-coloured with watercolour, laid on card,
27.5 by 23 cm (card size).
signed and numbered “66-y.” on the mounting card,
further titled in Cyrillic on the card on the reverse.
Albumen print, hand-coloured with watercolour,
laid on card, 27.5 by 23 cm (card size).
£800–1,200
£800–1,200
MacDougall’s
London
8 June 2016
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Lot 405. An Important Collection Thirty-seven Portraits
of the Participants of the Imperial Ball 1903
405. Imperial Ball 1903
Portraits of the Participants of the 1903 Costume Ball in the Winter Palace, various photographers,
thirty-seven works, one stamped with the photographer’s stamp.
Each albumen print, laid on cardboard, the largest measuring 25 by 44 cm and the smallest 14 by 9.5 cm.
Photographed and printed in 1903.
£15,000–20,000
Костюмированный бал 1903 года в Зимнем дворце считается самым известным праздником в Санкт-Петербурге времени царствования Николая II. Бал
был устроен в честь очередной годовщины дома Романовых и проходил в два
этапа: 11 февраля 1903 года состоялся вечер, а 13 февраля — уже сам костюмированный бал. Знаменитый маскарад состоялся в присутствии большинства
представителей родовой знати Российской империи, облаченных в роскошные костюмы допетровского времени, специально созданные художниками
А. Головиным, И. Всеволожским и С. Соломко и лучшими портными-костюмерами Н. Ламановой, И. Каффи, А. Иващенко и Е. Ивановой.
Роскошь в костюмах удачно сочеталась с изяществом. По словам
современников, бал был не просто «великолепным зрелищем, но
цельным произведением искусства».
Так, например, Николай II был одет в «выходное платье царя Алексея
Михайловича», детали которого — кафтан и опашень золотой парчи,
царская шапка и жезл — сейчас хранятся в Оружейной палате, а императрица Александра Фёдоровна — в костюм царицы Марии Ильиничны.
На всех придворных дамах были сарафаны и кокошники, а на кавалерах — костюмы стрельцов или сокольничих XVII века. Среди 390 гостей
присутствовали назначенные императрицей 65 «танцующих офицеров»,
также в одежде времен царя Алексея Михайловича.
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«Впечатление получилось сказочное, — писал очевидец события, — от
массы старинных национальных костюмов, богато украшенных редкими
мехами, великолепными бриллиантами, жемчугами и самоцветными
камнями, по большей части в старинных оправах. В этот день фамильные драгоценности появились в таком изобилии, которое превосходило
всякие ожидания».
По желанию императрицы после окончания бала лучшими фотографами
Петербурга были сделаны фотографии всех участников костюмированного действа. Фотомастерские «Боассонн и Эгглер», «Рейссерт и Фличе»,
«Левицкий и сын», «К. Е. фон Ганн и Ко» и частные фотографы
Д. Асикритов, А. Ясвоин, Л. Городецкий, Д. Здобнов, И. Войно-Оранский,
А. Ренц и Ф. Шрадер создали одиночные и групповые портреты участников. Эти фотографии послужили основой для издания альбома с фототипиями, содержащего около 200 изображений. Альбомы распространялись (за довольно высокую плату) с благотворительной целью, в первую
очередь среди участников бала.
На торги представлено 37 фотографий из этой коллекции. Высочайшее
качество исполнения фотографий позволяет увидеть мельчайшие детали
костюмов. Представленное на торги собрание несомненно является
ценным историческим источником и коллекционным раритетом.
The 1903 Costume Ball is regarded as the most memorable festive event
Saint Petersburg ever witnessed during the reign of Tsar Nicholas II.
Dedicated to the 290th anniversary of the Romanov dynasty, the celebration took place over two days: a soirée was held on 11 February 1903, and
the Costume Ball itself on 13 February. The great masquerade had the
Winter Palace as its venue and was attended by most of the nobility of the
Russian Empire, robed in resplendent attire in the style of the pre-Petrine
era, specially designed by artists A. Golovin, I. Vsevolozhsky and
S. Solomko and tailored by the leading costumiers N. Lamanova, I. Kaffi,
A. Ivashchenko and Y. Ivanova. The garments gloriously married sumptuousness with elegance; at the time, the ball had been described as not just
“a magnificent spectacle, but a perfect work of art”.
Nicholas II, for example, was dressed in “the ceremonial costume of Tsar
Alexei”, comprising a kaftan and cloth-of-gold robe, tsar’s cap and staff —
now kept in the Kremlin Armoury — while Empress Alexandra Fyodorovna
was attired in a costume befitting Tsarina Maria Ilyinichna Miloslavskaya.
All the ladies-in-waiting wore sarafans and kokoshnik headdresses, while
their male escorts were garbed in the uniforms of 17th-century streltsy
soldiers or falconers. Among the 390 guests were 65 “dancing officers”,
appointed by the empress, who were also dressed as in the time
of Tsar Alexei.
MacDougall’s
London
8 June 2016
“A fairytale impression has been made,” a witness to the event recorded,
“by the mass of national costumes from bygone days, richly decorated
with rare furs, splendid diamonds and pearls, precious and semi-precious
stones, mostly in old settings. On that day, the crown jewels appeared
in a profusion that exceeded all expectations.”
At the empress’s wish, once the ball had ended, the best photographers
in Saint Petersburg were commissioned to take pictures of all those attending the spectacle. The studios Boissonnas & Eggler, Reissert & Fliche,
Levitsky & Son and C.E. de Hahn & Co., as well as private photographers
D. Asikritov, A. Yasvoin, L. Gorodetsky, D. Zdobnov, I. Voino-Oransky,
A. Rentz and F. Schrader, produced individual and group portraits of those
present. These photographs formed the basis for the publication of a collotype album featuring some two hundred images. The albums were distributed (at a rather high price) in aid of charity, primarily among those who
had attended the ball.
On offer here for auction are 37 photographs from this set. Splendidly
executed, these pictures enable the minutest details of the costumes to
be appreciated and constitute an invaluable primary source, besides being
collectors’ items in their own right.
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408. Shokin, Leonid (1896–1962)
Pokrovsky Cathedral in the Town
of Kimry by Night.
Gelatin silver print, 14.5 by 20.5 cm.
Photographed and printed c. 1930s.
Provenance: Collection of the photographer.
Thence by descent.
Acquired directly from the above by the
previous owner.
£700–1,200
409. Nappelbaum, Moisei (1869–1958)
Lenin at a Parade of Vsevobuch Troops
on the Red Square on 25 May 1919,
signed and titled in Cyrillic in the negative.
Gelatin silver print, 11 by 15.5 cm.
Photographed on 25 May 1919 and printed
c. 1919.
£800–1,200
407, b
406. Shokin, Leonid (1896–1962)
407. Svishchov-Paola, Nikolai (1874–1964)
St Basil’s Cathedral, Red Square, Moscow, signed
Bathers and Nude, two works, each signed on the reverse.
on the reverse.
Each gelatin silver print, measuring 8.5 by 14 cm and
8.5 by 8.5 cm respectively.
Photographed c. late 1910s–early 1920s, printed c. 1930s.
Thence by descent.
Acquired directly from the above by the previous owner.
£600–900
£800–1,200
407, a
( 258 )
MacDougall’s
London
8 June 2016
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410. Otsup, Pyotr (1883–1963)
Collection of Documentary Photographs,
fifty-one works, each signed and titled in Cyrillic,
three inscribed and forty-four variously dated
on the reverse.
Each gelatin silver print, measuring approximately
forty-two 18 by 24.5 cm and nine 24.5 by 18 cm.
Photographed between 1917 and 1928, and
one printed c. 1930s, the others c. 1940s; seven
are reprints made by the photographer.
£5,000–7,000
( 260 )
MacDougall’s
London
8 June 2016
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411. Grinberg, Alexander (1885–1979)
Reclining and Seated Nudes, six works.
Each gelatin silver print, the largest measuring
9.5 by 13.5 cm and the smallest 4.5 by 11.5 cm.
£2,500–3,000
( 262 )
MacDougall’s
London
8 June 2016
( 263 )
413
414
Seated Nudes, three works.
Nude Standing in Front of the Light.
Awakening Nude.
9.5 by 9.5 cm and the smallest 10.5 by 6 cm.
Gelatin silver print on handmade cotton
paper, 8 by 13 cm.
£1,500–2,000
£800–1,200
£800–1,200
Standing Nude in Profile.
Gelatin silver print, 17.5 by 7 cm.
£800–1,200
415
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MacDougall’s
London
8 June 2016
( 265 )
416. Shterenberg, Abram (1894–1979)
Portrait of Vladimir Mayakovsky.
Gelatin silver print, 22 by 20 cm.
Photographed in 1923 and printed c. 1940s–1950s.
Provenance: With the archive of Iskusstvo
publishing house (stamp on the reverse).
Borodulin collection, Europe.
£900–1,200
417. Semenka, Anatoly (20th century)
Group Portrait of T. Naito, B. Pasternak,
S. Eisenstein, O. Tretyakova, L. Brik,
V. Mayakovsky, A. Voznesensky and
the Interpreter for T. Naito.
Photographed in 1924 and printed c. 1950s.
Provenance: With the archive of newspaper Pravda
Literature: For the published photograph, see
L. Grinberg, “Krupneyshiy arkhiv ostalsya bez
kontseptsii”, in The Art Newspaper Russia, No. 10,
December 2013–January 2014, illustrated (detail).
M. Smorodinskaya, Mayakovsky i Brik. Istoriya velikoy
lyubvi v pismakh, Moscow, Algoritm, 2014, illustrated.
£600–1,000
( 266 )
MacDougall’s
London
Étude.
Movement.
Photographed c. 1920s and printed c. 1950s.
publishing house.
Borodulin collection, Europe (stamp on the reverse).
£800–1,200
£800–1,200
8 June 2016
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Goblet, from the series “Glass and Light”, stamped
twice with the photographer’s stamp on the reverse.
Photographed in 1928 and printed c. late 1920s–1930s.
Provenance: Possibly, with the magazine Sovetskoe foto.
£1,900–2,800
Stereotypes, from the series “Essay on a Newspaper”,
Jug, stamped with the photographer’s stamp on the reverse.
stamped with the photographer’s stamp on the reverse.
£1,900–2,800
£2,000–3,000
( 268 )
MacDougall’s
London
8 June 2016
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423. Khlebnikov, Alexander (1897–1979)
Advertisement Design for “Troika” Cigarettes,
signed with initials and dated 1931.
Thence by descent.
£1,000–1,500
Composition with Dental Instruments, signed in the negative.
Gelatin silver print, 29.5 by 37 cm (sheet size).
Thence by descent.
£700–900
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Advertisement Design for “Malakhitovaya
shkatulka” Perfume Set, “Novaya zarya” Factory.
Advertisement Design for “8 Marta” Perfume
and Powder Set, “Novaya zarya” Factory.
Photographed and printed in the 1950s.
Photographed and printed in the 1950s.
Thence by descent.
Thence by descent.
£700–900
£600–900
MacDougall’s
London
8 June 2016
( 271 )
Living Room.
Thence by descent.
£600–900
Jewellery Boxes.
Thence by descent.
£700–900
( 272 )
Advertisement Design for “Vesenniy aromat”
Perfume Set , “Novaya zarya” Factory.
Advertisement Design for “Krasnaya Moskva”
Perfume and Powder Set, “Novaya zarya” Factory.
Thence by descent.
Thence by descent.
£600–900
£600–900
MacDougall’s
London
8 June 2016
( 273 )
431. Musinov, Vladimir (20th century)
( 274 )
432. Musinov, Vladimir (20th century)
Views of Moscow, nine works, each signed, titled
Views of Moscow, eight works, each signed, titled
in Cyrillic and dated 1935 on the mounting paper.
seven 29.5 by 19.5 cm and two 19.5 by 29.5 cm.
in Cyrillic and dated 1935 on the mounting paper.
three 29.5 by 19.5 cm and five 19.5 by 29.5 cm.
£1,200–1,800
£1,000–1,500
MacDougall’s
London
8 June 2016
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433. Debabov, Dmitry (1901–1949)
Cameraman Roman Karmen Filming on the Icebreaker
“Joseph Stalin”, signed, titled in Cyrillic and dated 1939
on the reverse.
435. Riumkin, Yakov (1913–1986)
The Black Sea Divers, stamped with
the photographer’s stamp on the reverse.
Photographed in 1937 and printed c. late 1930s.
Photographed in 1939 and printed c. 1940.
Provenance: With the archive of Iskusstvo publishing
house (stamp on the reverse).
£800–1,200
Thence by descent.
Collection of Maria Riumkina, widow of the above.
£800–1,200
434. Alpert, Max (1899–1980)
Hunting with Golden Eagle, Kazakhstan, stamped
with the photographer’s stamp on the reverse.
Thence by descent.
Collection of Glafira Alpert, widow of the above.
by Glafira Alpert (inscription on the reverse).
£700–900
436. Zelma, Georgy (1906–1984)
A Ram, stamped with the artist’s estate stamp on
the reverse.
Photographed c. 1920s and printed c. 1940s–1950s.
Provenance: Estate of the photographer.
£200–300
( 276 )
MacDougall’s
London
8 June 2016
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438. Zelma, Georgy (1906–1984)
The First Pioneer Brigade in Tashkent, The Largest Carpet
in Turkmenistan and Spring in the Karakum Desert,
three works, each signed, stamped with the artist’s estate stamp,
inscribed in Cyrillic, titled and one dated 1926 on the reverse.
Each gelatin silver print, the largest measuring 29.5 by 39.5 cm
and the smallest 29 by 37.5 cm.
The First Pioneer Brigade in Tashkent photographed in 1926 and
printed c. 1960s; The Largest Carpet in Turkmenistan photographed
and printed c. 1950s–1960s; Spring in the Karakum Desert
photographed c. 1960s and printed c. 1970s.
£800–1,200
437. Zelma, Georgy (1906–1984)
Prayer Time in Samarkand, By the Mosque Door, Passing Through an Asian
Town and A Greeting, Fergana Valley, four works, three signed, each stamped with the
439. Zelma, Georgy and Tarasevich, Viktor
(1906–1984 and 1919–1998)
photographer’s estate stamp, two titled in Cyrillic and dated 1926 and 1927 on the reverse.
Each gelatin silver print, the largest measuring 22 by 29 cm and the smallest 20 by 28.5 cm.
Housewarming, signed, stamped with Zelma’s estate stamp,
Prayer Time in Samarkand photographed in 1926 and printed c. 1970s; A Greeting, Fergana
Valley photographed in 1927 and printed c. late 1960s–early 1970s; Passing Through
an Asian Town photographed c. 1920s and printed c. 1960s; and By the Mosque Door
photographed c. 1960s and printed c. 1970s.
inscribed in Cyrillic “Tashkent” and titled on the reverse.
Provenance: Estate of Georgy Zelma.
£1,000–1,500
£300–500
439
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MacDougall’s
London
8 June 2016
( 279 )
442. Alpert, Max (1899–1980)
440. MELNIK, TIMOFEI (1911–1985)
Military Aircraft Flying in Formation, Parade on Red Square and Soldiers by a Car,
three works.
Each gelatin silver print, the largest measuring 47 by 59.5 cm and the smallest 12.5 by 18 cm.
Photographed in 1941–1945, Military Aircraft printed c. 1940s and the others c. 1960s.
£1,000–1,500
443. Ignatovich, Boris (1899–1979)
Battalion Commander, stamped with the photographer’s stamp on the reverse.
The Army Groom.
With the Directorate of International Photography Exhibitions (of the Union of Soviet Societies
for Friendship and Cultural Connections with Foreign Countries), Moscow (stamp on the reverse).
Collection of Glafira Alpert, the photographer’s widow.
Borodulin collection, Europe (stamp on
the reverse).
£800–1,200
£800–1,200
441. MELNIK, TIMOFEI (1911–1985)
444. Baltermants, Dmitry (1912–1990)
Procession of the Cross in the Town of Kamianets-Podilskyi, Celebrating the Victory over the Nazis and
Gifts for New Year 1942 from Residents of Chelyabinsk to Northwestern Front Troops, two works, one signed,
each titled in Cyrillic, one numbered “N 9” and each dated, 1944 and “29 dekabrya 1941 goda” respectively on the reverse.
Each gelatin silver print, measuring 48 by 60 cm and 47 by 59.5 cm respectively.
( 280 )
Attack, stamped with the photographer’s stamp on the reverse.
stamp on the reverse.
Photographed in 1944 and 1941, and printed c. 1960s.
Provenance: With the magazine Ogoniok (stamp on the reverse).
£500–700
£800–1,200
Crossing the Oder River, stamped with the photographer’s
MacDougall’s
London
8 June 2016
Provenance: With the magazine Ogoniok.
£900–1,200
( 281 )
446. Zelma, Georgy (1906–1984)
Victory Banner, Stalingrad, signed, titled in Cyrillic
and dated 1943.
447. Khaldei, Evgeny (1917–1997)
448. Khaldei, Evgeny (1917–1997)
Winston Churchill, Harry S. Truman and Joseph
Stalin at the Potsdam Conference, signed and
The Red Flag over the Reichstag, Berlin, signed
Queue at Lenin’s Tomb, signed, stamped with the
and dated “may 1945” on the reverse.
photographer’s estate stamp and titled in Cyrillic on
the reverse.
Photographed in May 1945 and printed c. 1950s.
£300–500
£600–900
£400–600
£800–1,200
( 282 )
MacDougall’s
London
8 June 2016
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450. Khalip, Yakov (1908–1980)
451. Ignatovich, Boris (1899–1979)
452. Grachev, Mikhail (1916–2009)
View of the Bolshoi Theatre, stamped three times
Monument to Ferdinand Lassalle, Leningrad.
Construction of the Moscow Metro and Skiers,
with the photographer’s stamp on the reverse.
two works, each stamped with the photographer’s stamp
on the reverse.
Each gelatin silver print, measuring 37 by 28.5 cm and
38 by 27 cm respectively.
Photographed in May–June 1936 and printed c. 1960s.
Thence by descent.
Collection of Agnia Khalip, widow of the above.
Provenance: With the archive of Iskusstvo publishing
house (stamp on the reverse).
Photographed and printed c. 1940s and c. 1930s respectively.
Thence by descent.
£800–1,200
£700–1,000
£1,000–1,500
453. Shokin, Leonid (1896–1962)
River by Twilight, Evening on the Volga River and On the Medveditsa
River, three works, one signed and dated 1930 on the reverse, and two signed,
titled in Cyrillic and dated 1950 and 1961 on the mounts.
Each gelatin silver print, one laid on paper, the largest measuring 18 by 24 cm
and the smallest 15 by 8 cm.
One photographed in 1930 and printed c. late 1930s–early 1940s, the others
photographed and printed in 1950 and 1961 respectively.
Thence by descent.
£900–1,200
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MacDougall’s
London
8 June 2016
( 285 )
457. Baltermants,
Dmitry (1912–1990)
Bulat Okudzhava, Andrei
Voznesensky, Robert
Rozhdestvensky and Yevgeny
Yevtushenko at the Dacha
in Peredelkino, signed, stamped
with the photographer’s stamp,
titled in Cyrillic and dated 1987
on the reverse.
Provenance: With the magazine
Ogoniok (stamp on the reverse).
Borodulin collection, Europe
£600–900
454. Plotnikov, Valery (B. 1943)
Vladimir Vysotsky with a Beard, Audition for the
A. Saltykov Film “Emelyan Pugachev”, signed, stamped with
the photographer’s stamp, inscribed in Cyrillic with a dedication
and dated “76.05.21” and “01.05.21” on the reverse.
Photographed on 21 May 1976 and printed in May 2001.
Vladimir Vysotsky as Hamlet, Taganka Theatre, Moscow,
signed, stamped with the photographer’s stamp and dated
“72.02.04” and 2007 on the reverse.
Vladimir Vysotsky and Andrei Voznesensky in an
Artist’s Studio, signed, stamped with the photographer’s
Vladimir Vysotsky and Marina Vlady, signed, stamped
stamp and dated “76.11.26” and 2008 on the reverse.
with the photographer’s stamp and dated “75.11.14”
and 2007 on the reverse.
Photographed on 4 February 1972 and printed in 2007.
Photographed on 26 November 1976 and printed in 2008.
Photographed on 14 November 1975 and printed in 2007.
£300–500
£300–500
£300–500
£300–500
Vladimir Vysotsky and a Listener, signed, stamped
with the photographer’s stamp, inscribed in Cyrillic “SanktPeterburg” and dated “75.07.07” and 2007 on the reverse.
Photographed on 7 July 1975 and printed in 2007.
£300–500
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MacDougall’s
London
8 June 2016
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Vladimir Vysotsky with a Guitar, signed, stamped
with the photographer’s stamp, inscribed in Cyrillic
“Sankt-Peterburg” and dated “75.07.07” on the reverse.
Photographed on 7 July 1975 and printed c. 2000s.
462. Borodulin, Alexander (B. 1952)
Map of Moscow with a Collection
of Photographs, map signed, also further
signed, stamped with the photographer’s
stamp and dated 1971 on the reverse.
Collage with 16 gelatin silver prints laid
on the offset printed map, 76.5 by 69 cm
(map size).
Photographs taken and printed
c. late 1960s–1971.
£300–500
Provenance: Borodulin collection, Europe
Exhibited: Alexander Borodulin, Manege,
Moscow, 2009 (stamp on the reverse).
£2,000–3,000
461. Borodulin, Alexander (B. 1952)
Lunchtime at the Tuileries Garden, Claude
Montana, signed, stamped with the photographer’s
stamp, inscribed “Paris”, titled and dated 1983 on
the reverse.
463. Borodulin, Lev (B. 1923)
Graceful Gymnast, Inspiration and Grace,
three works, each signed, one twice, and
stamped with the photographer’s stamp, one
39.5 by 28.5 cm and the smallest
29.5 by 19.5 cm.
Provenance: Borodulin collection, Europe (stamp
on the reverse).
£400–600
Provenance: Borodulin collection, Europe
£1,500–2,000
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MacDougall’s
London
8 June 2016
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MacDougall's Terms & Conditions of Sale
June 2016
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 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.
( 290 )
(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.
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
8 June 2016
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Telephone and Commission Bidding Form:
June 2016
Buyers are reminded that a premium at a rate of 25% on the first 50,000; 20% on the amount between £50,001 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
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.
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. The buyer must remove the lot in question, at their expense, within 30
calendar days following sale. Credit Card processing fee charged at 2 %.
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:
26. Where a translation of this agreement has been provided, it is agreed that the English language version shall be the governing one.
Surname:
Business Name:
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:
Telephone (other):
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.
Fax:
Citizenship:
Passport/ID No.:
ID Type:
Credit Card No.:
Expiry Date:
Security Code:
I have read the Terms and Conditions of Sale and agree to comply with them. I warrant that I am not subject to EU or UK sanctions.
Signature: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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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
[email protected]
Tel +44-20-7389-8160 Fax +44-20-7389-8170
MacDougall’s
London
8 June 2016
Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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The forthcoming novel
Index of Artists
Aivazovsky, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 34, 46
Alpert, Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434, 442
Altman, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2, 26, 27
Andronov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Anisfeld, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 57, 98–100
Annenkov, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Arapoff, Alexis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Arefiev, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210, 233
Axelrod, Meyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Bakst, L Éon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Baltermants, Dmitry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444, 445, 449, 457
Baskakov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Belenok, Pyotr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Bender, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131, 132
Benois, Albert Nikolaevich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124, 128
Bogdanov-Belsky, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Borodulin, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461, 462
Borodulin, Lev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Braz, Osip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Burliuk, David . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63, 65, 90
Byalynitsky-Birulya, Vitold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Chagall, Marc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Chaliapin, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Chemiakin, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235, 236, 249
Choultse, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Debabov, Dmitry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Dobuzhinsky, Mstislav . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Drevin, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Dubossarsky, Vladimir And Vinogradov, Alexander . . . . . . . . . . . . . . . . 188–190
Dubovskoy, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Egorov, Andrei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125, 126
ErtÉ (Roman De Tirtoff) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111–113
Falk, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Gerasimov, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142, 182
Gildebrandt, Olga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116, 117
Glouschenko, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Gluckmann, Grigory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 79
Goncharova, Natalia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45, 108, 119–122
Gorbatov, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Gorokhov, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Grachev, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Grand Duchess Olga Alexandrovna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Grigoriev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Grigoriev, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Grinberg, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411–415, 418, 419
Grishenko, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 48, 49
Gritsai, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143, 160–163
Gudiashvili, Lado . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Ignatovich, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443, 451
Issupoff, Alessio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 28, 35
Kalmakov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Kandinsky, Wassily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Khaldei, Evgeny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447, 448
Khalip, Yakov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Kharitonov, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Khlebnikov, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423–430
Klestova, Irene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80, 81
Klever, Yuli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Klever, Yuli (The Younger) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Kolesnikov, Stepan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Komar, Vitaly And Melamid, Alexande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211, 234
Konchalovsky, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Korovin, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10, 22, 41, 42, 47
Korzhev, Geli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Kostandi, Kharlampi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Krachkovsky, Iosif . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Krasnopevtsev, Dmitry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199, 202, 247
Kropivnitskaya, Valentina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226–228
Kropivnitsky, Lev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Krylov, Porfiri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Kustodiev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Kuznetsov, Pavel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14, 93
Lanskoy, Andr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Larionov, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51, 109
Latri, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Lebedev, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 110
Makovsky, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Makovsky, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Maliavin, Philippe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Mane-Katz, Immanuil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
( 294 )
Masterkova, Lydia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Melnik, Timofei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440, 441
Milioti, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Mordvinov, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Muratov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105–107
Musinov, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431, 432
Nalbandian, Dmitri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Nappelbaum, Moisei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Nazarenko, Tatiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Nechaev, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401–404
Nechitailo, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Nemukhin, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205–207
Nikonov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Nissky, Georgy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Orlova, Hanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Orlovsky, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Otsup, Pyotr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Petrov, Shura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250, 251
Pimenov, Yuri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Pivovarov, Victor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203, 229
Plastov, Arkady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144, 165, 178, 181
Plavinsky, Dmitry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Plotnikov, Valery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454–456, 458–460
Pogedaieff, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Pokhitonov, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Polenov, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Popkov, Viktor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135–138
Purygin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192–195
Rabin, Oscar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204, 212, 213
Riumkin, Yakov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Rockline, Vera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 97
Rodchenko, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123, 420–422
Rosen, Karl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Rossine, Solomon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252, 253
Roubaud, Frants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70, 71
Rutkovsky, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Ryback, Issachar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Semenka, Anatoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Semiradsky, Genrikh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Serebriakova, Zinaida . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Shokin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406, 408, 453
Shterenberg, Abram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Shukhaev, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Sitnikov, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Slepyshev, Anatoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214, 217, 219, 220
Sokolov, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Sprevich, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Stelletsky, Dmitri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Sveshnikov, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196, 237–245, 248
Svetlakov, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Svetoslavsky, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Svishchov-Paola, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Tarkhoff, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Tchelitchew, Pavel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56, 64, 96, 101
Terechkovitch, Constantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3, 4, 43
Terpsikhorov, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146, 152-158, 164
Tikhmenev, Evgeny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Tkachev, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141, 166, 177
Tkachev, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167, 168, 170, 171, 173–176
Tkachev, Sergei And Tkachev, Aleksei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169, 172
Tseitlin, Grigory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149, 150
Tselkov, Oleg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198, 208, 209
Tsereteli, Zurab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Vereschagin, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Vinogradov, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8
Vladimirov, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Von Franken, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Weisberg, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200, 201, 230
Weltz, Ivan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Westchilov, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Yakovlev, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17–19
Yakovlev, Mikhail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Yakovlev, Vladimir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216, 223–225
Zarubin, Victor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Zelma, Georgy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436–438, 446
Zelma, Georgy And Tarasevich, Viktor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Zemlyanitsyna, Elena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Zommer, Richard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 88
Zverev, Anatoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215, 221, 222
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Lot 7.
Vinogradov, Sergei (1869–1938). Church of St Nicholas. Inner Entrance to the Monastery
Semiradsky, Genrikh (1843–1902). Leading Light of Christianity. Nero’s Torches
Lot 405. Imperial Ball 1903. Portraits of the Participants of the 1903 Costume Ball in the Winter Palace
Lot 62. Chagall, Marc (1887–1985). Le songe
Inside Front cover: Lot 20.
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