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MacDougall's Rare 19th and 20th Century Photography
The World through Pilgrims' Eyes
Rare 19th and 20th Century
Photography
21 May 2016 London
21 May 2016
London
21 May 2016
London
The World through Pilgrims' Eyes
Rare 19th and 20th Century Photography
Saturday, 21 May 2016
Auction
Saturday, 21 May 2016, 14:00
Viewing
Weekdays, 28 April–20 May 2016, 10:00–18:00
Saturday, 21 May 2016, 10:00–14:00
MacDougall Arts Ltd
30A Charles II St
London, SW1Y 4AE, England
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www.MacDougallauction.com
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 Cataloguer
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
Ecole 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 SW1Y 4AE
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
RARE 19TH AND 20TH CENTURY PHOTOGRAPHY
Lots 1–22. Twenty Two Rare Hand-Coloured Photographs
by Torvald Mitreiter
T
orvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for
the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum,
Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he
participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included
in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are
in the collection of the Russian Ethnographic Museum in St Petersburg.
1.
2.
MITREITER, TORVALD (19TH CENTURY)
Serbian Officer, variously inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered
Russian Girl, variously inscribed in Cyrillic, titled and numbered “No 269.” on the reverse.
“No 242” on the reverse.
Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17.5 cm.
Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17 cm.
Executed c. 1867.
Executed c. 1860s–1870s.
Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse).
Private collection, Europe.
Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse).
Exhibited: Possibly, Ethnographic Exhibition, Moscow, 1867.
£1,500–2,000
( 08 )
£1,500–2,000
19th and 20th Century Photography
MacDougall’s
London
21 May 2016
( 09 )
3.
4.
5.
6.
Bulgarian Boy from the Danube Region, variously
Bulgarian Girl from the Danube Region, titled twice,
Czech Boy, titled twice, once in Cyrillic, and numbered
Czech Girl, titled in Cyrillic and numbered “No 210.”
inscribed in Cyrillic on the reverse, further titled twice, once
in Cyrillic, and numbered “260” on the label on the reverse.
Albumen print, hand-coloured with watercolour and oil,
laid on cardboard, 23 by 17 cm.
once in Cyrillic, and numbered “No 262” on the reverse.
laid on cardboard, 23.5 by 17.5 cm.
“No 211.” on the reverse.
on the reverse.
Executed с. 1860s–1870s.
Provenance: With the B. Avanzo Art Shop, Moscow,
c. 1890s–1900s (stamp on the reverse).
£1,500–2,000
£1,500–2,000
£1,500–2,000
£1,500–2,000
( 10 )
MacDougall’s
London
21 May 2016
( 11 )
7.
8.
10.
Serbian Man, titled twice, once in Cyrillic, and numbered “259”
Serbian Woman, titled twice, once in Cyrillic, and numbered
Serbian Boy from Dalmatia, titled on the reverse, also
The Bride’s Sister, Slovenia, variously inscribed in Cyrillic,
on the reverse.
laid on cardboard, 23 by 17.5 cm.
Albumen print, hand-coloured with watercolour and oil, laid
on cardboard, 22.5 by 17 cm.
titled twice, once in Cyrillic, and numbered “225” on the reverse.
Executed с. 1860s–1870s.
Executed с. 1867.
further titled in Cyrillic and numbered “No 240.” on the label
on the reverse.
laid on cardboard, 22.5 by 17 cm.
Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s
(stamp on the reverse).
£1,500–2,000
£1,500–2,000
£1,500–2,000
£1,500–2,000
( 12 )
9.
MacDougall’s
London
21 May 2016
( 13 )
11.
12.
14.
Slovak Girl from the KrivÁn Region, titled twice, once
Slovak Boy from the KrivÁn Region, titled twice on the
Croatian Man, titled twice, once in Cyrillic, and numbered
Croatian Woman, titled in Cyrillic, and numbered “No 231.”
in Cyrillic, and numbered “No 221” on the reverse.
reverse, also further titled in Cyrillic and numbered “No 222.”
on the label on the reverse.
on the reverse.
£1,500–2,000
£1,500–2,000
Provenance: Private collection, Europe.
£1,500–2,000
£1,500–2,000
( 14 )
13.
MacDougall’s
London
21 May 2016
( 15 )
15.
17.
18.
Montenegrin Woman, titled twice, once in Cyrillic,
Serbian Pastor, titled twice, once in Cyrillic, and numbered
The Wedding Herald, Slovakia, titled twice, once in Cyrillic,
in Cyrillic, titled twice, once in Cyrillic, and numbered “No 217.”
on the reverse.
and numbered “No 235” on the reverse.
“244” on the reverse.
and numbered “No 226.” on the reverse.
£1,500–2,000
£1,500–2,000
£1,500–2,000
£1,500–2,000
( 16 )
16.
Hungarian Man from Slovakia, variously inscribed
MacDougall’s
London
21 May 2016
( 17 )
19.
20.
22.
Montenegrin Man from the Bay of Kotor Region, variously
Montenegrin Woman from the Bay of Kotor Region, titled
Slovenian Bride, titled twice, once in Cyrillic, and numbered
Serbian Man, titled twice, once in Cyrillic, and numbered
inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered
twice, once in Cyrillic, and numbered “No 239.” on the reverse.
“233” on the reverse.
Executed c. 1867.
Executed c. 1867.
Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s
£1,500–2,000
£1,500–2,000
£1,500–2,000
£1,500–2,000
( 18 )
21.
MacDougall’s
London
21 May 2016
( 19 )
Lots 23–28. Six Daguerreotypes by Joseph-Philibert Girault De Prangey
from An Important European Collection
J
oseph-Philibert Girault de Prangey (1804–1892), the French historian, draughtsman and one of the
pioneers of photography is renowned as the master of the earliest surviving photographs of Greece,
Palestine, Egypt, Syria and Turkey. Born into an aristocratic family, Girault de Prangey graduated from
the École des Beaux-Arts in his native Langres and in Paris, and dedicated himself to the study of architecture. He published several volumes on the subject, including a collection of engravings Monuments
Arabes et Moresques de Cordoue, Séville et Grenade, dessinés et mesurés en 1832 et 1833 in 1839 and
Essai sur l’architecture des Arabes et des Maures en Espagne, en Sicile et en Barbarie in 1841.
Girault de Prangey was amongst the earliest enthusiasts of the daguerreotype photographic process.
He was inspired by the exceptional clarity of detail achieved by Daguerre’s method and went on to produce over 900 daguerreotypes of architectural views, portraits and landscapes during his travels in
Europe and the Near East in 1841–1850. He later used some of these plates as models for lithographs
in his publications on Islamic art, including Monuments arabes d’Egypte, de Syrie e d’Asie Mineure
dessinés et measures de 1842–1845 in 1846 and Monuments et Paysages de l’Orient in 1851. Girault de Prangey never exhibited during his lifetime; his output was only discovered in the 1920s,
intact in the original wooden boxes, after his derelict estate was purchased by Count Charles de Simony.
( 20 )
The latter was responsible for compiling the inventory of Girault de Prangey’s daguerreotypes and played
a decisive role in promoting the photographer’s legacy through his work and public donations to the
Musée Gruérien, Bulle, Switzerland, and the Bibliothèque nationale de France in 1950.
The following six daguerreotypes offered for sale here were made by Girault de Prangey in Italy and Egypt
during his extensive voyage of the Mediterranean and the Near East in 1842–1844. Like many of the
early daguerreotypists, he was fascinated with the romantic subject of the ancient civilisations and Islamic architecture, which he always approached with an enquiring mind and a creative outlook. It was
Girault de Prangey’s artistic merit and technical mastery that distinguished his work.
The photographer was known to use five different formats of silvered copper plates, which he
achieved by cutting large plates of 19 by 24 cm to suit his artistic and practical needs. All daguerreotypes in this sale are standard half-plate format, measuring approximately 19 by 12 cm, a typical size
for Girault de Prangey, one that allowed him to depict either vertical or horizontal composition. Small
paper labels on the reverse of four daguerreotypes are numbered and titled by the photographer.
Each daguerreotype plate is protected between two sheets of glass, sealed with paper tape at
the edges.
( 21 )
23.
GIRAULT DE PRANGEY, JOSEPH-PHILIBERT (1804–1892)
Rome. The Temple of Vespasian and Titus and the Temple
of Saturn.
Daguerreotype, 18 by 12 cm.
Executed c. 1842.
Provenance: Private collection, France.
Acquired from the above by Serge Plantureux, France.
Acquired from the above by the present owner.
£20,000–30,000
It is hardly surprising that Girault de Prangey chose to start his extended tour of the Eastern Mediterranean in Italy. The primary destination of many privileged Grand Tourists before him, Italy attracted
early photographers with its magnificent classical heritage and picturesque setting. Girault de Prangey travelled across Italy in 1842
but focussed his attention predominantly on Rome, where he spent
most time during his three-month stay. Already an experienced
artist, Girault de Prangey explored diverse subjects for his daguerreotypes, preferring simple compositions and experimenting
with format to suit his needs. The daguerreotypes in lots 23 and 24
being offered here demonstrate his preoccupation with the grand
Roman architecture, and its classical monuments in particular,
which he found so greatly appealing.
( 22 )
MacDougall’s
London
21 May 2016
( 23 )
24.
Rome. The Vatican. La Pigna, titled and numbered “22.”
on the label on the reverse.
Daguerreotype, 12 by 18.5 cm.
Executed c. 1842.
£20,000–30,000
Verso of the present lot
( 24 )
MacDougall’s
London
21 May 2016
( 25 )
25.
Cairo. View of the Sultan Al-Ghuri Complex.
Executed c. 1842–1844.
£20,000–30,000
Girault de Prangey was not the first amongst his contemporaries
to practice photography during his travels in the Near East in
1842–1844. Nevertheless, his daguerreotypes from this period are
the only surviving ones and they are now recognised as the earliest
photographs of Egypt. Girault de Prangey was almost certainly familiar with major Egyptian sites and monuments from books that were
published in the wake of Napoléon’s foray into Egypt, such as
Déscription de l'Egypte (1809–1828). Girault de Prangey produced
over 200 daguerreotypes depicting the exotic splendours of
Alexandria, Fuwa and Rosetta. However, it was Cairo that he found
particularly captivating, spending several months there in 1842 and
1843. Four daguerreotypes presented here serve as examples of
Girault de Prangey’s innovative use of format and highlight his keen
interest in a visual study of Islamic architecture.
MacDougall’s
London
21 May 2016
( 27 )
26.
Cairo. G. MakkamÉ. The Minaret Base, inscribed “Kaire./G.
Makkamé. min./base” and numbered “116.” on the label
on the reverse.
£20,000–30,000
( 28 )
MacDougall’s
London
21 May 2016
( 29 )
27.
Cairo. Entrance to a Mosque. The Top Part, inscribed
“Kaire/porte, part. supir.” and numbered “110.” on the label
on the reverse.
£20,000–30,000
( 30 )
MacDougall’s
London
21 May 2016
( 31 )
28. GIRAULT DE PRANGEY, JOSEPH-PHILIBERT (1804–1892)
Cairo. The Minaret, inscribed “Kaire./Mos. G. Minaret.”
and numbered “108.” on the label on the reverse.
Daguerreotype, 18.5 by 12 cm.
£20,000–30,000
( 32 )
MacDougall’s
London
21 May 2016
( 33 )
Y
uri Dutkevich, a 19th century Ukrainian photographer, was active in Stanislav (now Ivano-Frankivsk,
Ukraine) and Lviv (both cities then part of the Habsburg Empire) in the late 1850s–early 1860s.
In 1871, Dutkevich founded one of the first photo ateliers in Kolomyia, Stanislav region. He participated in exhibitions and was awarded medals at the Ethnographic Exhibitions in Kolomyia in 1880 and
1881; at the Industrial Exhibition in1882; and in Krakow in 1887.
29.
DUTKEVICH, YURI (19TH CENTURY)
A Collection of Character Portraits and Life Scenes from the
Western Ukraine, seven works, each stamped with the photographer’s
studio stamp on the front and the reverse of the cardboard.
Each albumen print, laid on cardboard, five measuring 16 by 11 cm
and the others 11 by 16 cm (cardboard size).
Photographed and printed c. 1870s–1880s.
£1,800–2,200
( 34 )
MacDougall’s
London
21 May 2016
( 35 )
30.
DUTKEVICH, YURI (19TH CENTURY)
A Collection of Character Portraits from the Western
Ukraine, seven works, each stamped with the photographer’s
studio stamp on the front and the reverse of the cardboard.
Each albumen print, laid on cardboard, measuring 16 by 11 cm
(cardboard size).
£1,800–2,200
( 36 )
MacDougall’s
London
21 May 2016
( 37 )
S
olomon Telingater (1903–1969), a prominent figure of Russian Constructivism, was a Soviet
photographer, artist, book illustrator and designer of over 600 books. Telingater studied in
Baku and then in VKhUTEMAS, Moscow, under Vladimir Favorsky (1920–1921).
In 1920s–1930s he was at the forefront of the radical Constructivist developments in Russian
printing. As a member of the Oktiabr group, he worked closely with the Vesnin brothers, Sergei
Eisenstein, Dmitry Moor, Alexander Deineka, Varvara Stepanova, El Lissitzky and Kukryniksy, using
photography and photomontage in his book design. After his service during World War II, he continued working as a designer and illustrator for periodicals, such as Iskusstvo kino, and for the
popular and academic books, producing cover designs for publications by Alexander Tvardovsky
and Ilya Ehrenburg, among many others.
31.
TELINGATER, SOLOMON (1903–1969)
Views of Baku Harbour with Quays and Oil Rigs, an Oil Derrick, and the Neftchala
Settlement, six works, five titled in Cyrillic, each numbered and two dated “28/VI 25 g.”
and “8/XI 25g.” in the negative, further one inscribed “kommercheskie suda” on the reverse.
Each gelatin silver print, the largest measuring 17 by 24 cm and the smallest 15 by 21 cm.
Photographed and printed in the 1920s.
Provenance: Collection of the photographer.
Thence by descent.
Acquired directly from the above by the previous owner.
£3,500–5,000
( 38 )
MacDougall’s
London
21 May 2016
( 39 )
32.
D
mitry Debabov (1901–1949) was a Soviet photographer, a pioneer of the “expedition photography”.
In 1920s, while working as an actor in Sergei Eisenstein’s First Proletkult Theatre for Workers he was
spotted by Eisenstein who encouraged him to take up photography. Debabov studied at the State
Institute of Cinematography and worked since early 1930s for the periodicals Yunyi leninets, Rabochaya
Moskva, Vechernyaya Moskva and others, becoming the photo correspondent of Izvestia in 1933. During that
time he took a lot of photographs in the Russian Far North shooting in Taimyr, Chukotka, Kamchatka and
other regions. During World War II Debabov was engaged as war correspondent and also participated in the
expeditions to the Barents and Bering Seas. After the war, he mostly worked in the Arctic and Western Siberia.
Portrait of a Boy. Azerbaijan.
Gelatin silver print, 29 by 23 cm.
Photographed and printed c. 1920s.
Thence by descent.
£1,000–1,500
34.
DEBABOV, DMITRY (1901–1949)
Traffic Controller in Leningrad.
Photographed and printed in 1935 (label on the reverse).
£1,500–2,000
33.
35.
DEBABOV, DMITRY (1901–1949)
Writer Lev Kassil.
Woman in a Veil and Peasant from Quba Region
Arriving to Baku, two works.
Gelatin silver print, 22.5 by 15 cm.
Gelatin silver prints, one measuring 16.5 by 21.5 cm
and the other 11.5 by 17 cm.
Photographed and printed in 1935 (label on the reverse).
The photograph was published in the Izvestia newspaper in 1935.
Thence by descent.
£800–1,200
£800–1,200
( 40 )
MacDougall’s
London
21 May 2016
( 41 )
Lots 36–39. Four photographs by Alexander Grinberg
A
lexander Grinberg (1885–1979) studied at the Stroganov School for Technical Drawing, and in
1907 became a member of the Russian Photographic Society. In 1914 Grinberg set up a department of photography at the Alexander Khanzhonkov Film Factory. In the 1920s he taught at the
State Institute of Cinematography and worked as a cameraman at Goskino. Being an exceptionally skilled
technician, Grinberg nevertheless became a proponent of the idea of “clean photography”, devoid of
complex chemical treatment. Between 1910 and 1930, Grinberg’s works were shown in most of the major
photography exhibitions, including international ones. He specialised in erotic photography, which after
1929 became the subject of fierce attacks for its “decadency”. Grinberg’s refusal to change his course
led to a spell in the labour camps (1936–1939). He was rehabilitated in 1950 and continued to work as
a photographer.
36.
( 42 )
GRINBERG, ALEXANDER (1885–1979)
37.
38.
39.
Nude Lying on Her Back.
Nude Standing by the Curtain.
Lying Nude Draped in a Shawl.
Reclining Nude.
Gelatin silver print, 18 by 11.5 cm.
Gelatin silver print, 10.5 by 16.5 cm.
£1,000–2,000
£1,000–2,000
£1,000–2,000
£1,000–2,000
MacDougall’s
London
21 May 2016
( 43 )
A
lexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life
photography. He was also one of the first Soviet photographers who worked in advertising.
He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova.
It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945.
Around that time he got actively involved in the fashion and advertising industry of the USSR. Together
with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
40.
( 44 )
41.
KHLEBNIKOV, ALEXANDER (1897–1979)
Bread.
Milk.
Thence by descent.
Thence by descent.
£1,500–2,000
£1,500–2,000
MacDougall’s
London
21 May 2016
( 45 )
42.
43.
44.
45.
Glass Jug and Mug.
Glass Jug and Tumbler.
Classic Still Life, signed, titled in Cyrillic and dated 1966
Perfume Bottles.
40 by 30 cm.
on the reverse.
Gelatin silver print, laid on cardboard, 26.5 by 39 cm.
Thence by descent.
Thence by descent.
£800–1,200
£800–1,200
Photographed and printed in 1966.
Thence by descent.
Photographed and printed c. late 1940s.
Thence by descent.
£800–1,200
Exhibited: 8 vystavka. Moskovskii fotoklub “Novator”. 1961–1966,
Moscow, 1966 (label on the reverse).
£1,000–2,000
( 46 )
MacDougall’s
London
21 May 2016
( 47 )
L
eonid Shokin (1896–1962) was born and spent all his life in the small town of Kimry in Tver region,
where he, together with his brother, set up a branch of the Russian Photographic Society. Before
and after the October Revolution he participated in many exhibitions in Russia and in the West.
In the late 1920s, Shokin, already an acclaimed photo artist, decided to take up work as a photo
correspondent for rural newspapers, a move that allowed him to continue working and to keep his family
home and studio, and avoid a risk of being purged for the “decadency” of his previous style. Carrying
out official commissions, he photographed local party leaders and workers. After World War II, he continued working as a local photo journalist. In spite of that he managed to preserve throughout these
years his gift for subtle psychologism and his fondness for lyricism, be that in portraiture or landscapes.
46.
47.
SHOKIN, LEONID (1896–1962)
Winter Sunset and Winter Twilight, two works, one signed, inscribed in Cyrillic
titled in Cyrillic and dated 1924 on the mounting paper.
Each gelatin silver print, measuring 22.5 by 18.5 cm and
20.5 by 16.5 cm respectively.
“g. Kimry/ul Volodarsk 4 a” and titled on the reverse, also further signed twice,
variously inscribed, titled twice, once in Cyrillic, and numbered “N 2” on the mounting
card on the reverse; and the other signed and dated 1939 on the mounting paper.
Each gelatin silver print, measuring 18.5 by 23.5 cm and 21 by 27.5 cm respectively.
Crimea was photographed and printed in 1924 and The MoskvaVolga Canal c. 1938.
( 48 )
SHOKIN, LEONID (1896–1962)
Crimea and The Moskva-Volga Canal, two works, one signed,
Winter Sunset photographed and printed c. late 1930s and Winter Twilight in 1939.
Thence by descent.
Thence by descent.
£1,000–1,500
£1,500–2,000
MacDougall’s
London
21 May 2016
( 49 )
A
lexander Rodchenko (1891–1956), one of the founders of Russian Constructivism, was a Soviet
photographer, artist and sculptor. From 1924, photography and photomontage became his preferred means of artistic expression. His photographic experiments were noted for their innovation
and clear social and ideological content, imbued with effervescent revolutionary spirit. His photographs
and photomontages were widely used in advertising and book design. Rodchenko was also known for
his series of deeply psychological photo portraits of his family and friends, including famous artists,
poets and architects, and images of Constructivist buildings. He worked as photo correspondent for
a number of periodicals, including Vechernyaya Moskva and Ogoniok, and as artist and designer for
theatre and cinema. After 1932 Rodchenko moved away from abstract photography to more conventional
photographic practices. He worked as a correspondent for the publishing house Izogiz, designed the
periodical SSSR na stroike and created several commissioned photo albums, such as Krasnaya armiya,
Sovetskaya aviatsiya and others.
48. RODCHENKO, ALEXANDER (1891–1956)
The Album and the Collection of Photographs.
The album: 30 photographs, one per sheet, in a calico and embossed paper bound folio; signed,
inscribed in Cyrillic “Tatiane! Bez prichin i dat na pamiat!” and dated 1936 on the title page; each
photograph gelatin silver print, the largest measuring 18 by 13 cm and the smallest 17 by 10 cm.
The collection: 12 photographs on separate sheets, each signed and dated 1936 on the mounting
paper, and a cover sheet, signed, inscribed “Tatiane Vasilievne Maliutinoi/V den rozhdeniya/30
foto” and dated “20 dekabrya 1936 g.”; each photograph gelatin silver print, six measuring
approximately 17.5 by 12 cm and the others 12.5 by 17.5 cm.
Each photographed and printed in 1936.
Authenticity of the works has been confirmed by the artist’s family. £15,000–20,000
The album and the collection of photographs offered here were a gift from Alexander Rodchenko to the
art historian Tatiana Maliutina, his neighbour and sister-in-law of the Russian artist and architect Sergei
Maliutin. The album was given by the photographer to his model in 1936, to quote him, “for no reasons
and dates”; whereas the collection was part of a larger group, which originally possibly included 30 photographs, and was presented to Maliutina the same year as a birthday present on 29 December.
Cover sheet from the collection
( 50 )
Title page from the album
MacDougall’s
London
21 May 2016
( 51 )
V
adim Kovrigin (1901–1962) was a well-known Soviet photographer, a friend of Vladimir
Mayakovsky, Kazimir Malevich and Alexander Rodchenko. In the 1930s, he worked as a photographer for the magazine SSSR na stroike and for the state news agency TASS. In the late 1940s,
he captured on camera the major state events and political figures, including Joseph Stalin. He was tried
for treason in 1950; after rehabilitation in 1956, Kovrigin worked for TASS. 49.
50.
KOVRIGIN, VADIM (1901–1968)
A Collection of Photographs, from the series “Magnitogorsk Iron and
Steel Works. Open-Hearth Furnace”, three works, one signed and titled in Cyrillic
on the reverse.
Each gelatin silver print, the largest measuring 51 by 30.5 cm and the others 42 by 30 cm.
( 52 )
KOVRIGIN, VADIM (1901–1968)
V. Mukhina’s Monument “Worker and Kolkhoz Woman”, Project of the V. Lenin
Monument on Top of the Moscow Palace of Soviets and The Alexander Column
in Palace Square, Leningrad, three works.
Each gelatin silver print, the largest measuring 53 by 31.5 cm and the smallest 27.5 by 13 cm.
£1,200–1,800
£1,200–1,800
MacDougall’s
London
21 May 2016
( 53 )
A
prominent Soviet photographer, Mikhail Grachev (1916–2009) started his career working for the
daily Izvestia in 1936. He took pictures of the major Soviet construction sites, including the construction of the Great Fergana Canal. During World War II, he led the photo department of Izvestia
and worked as a photo correspondent for Vechernyaya Moskva. He was deployed to the Kalinin and Western Fronts, and worked in Leningrad during the siege. During the Battle of Moscow in 1941–1942, he
photographed the offensives for Volokolamsk and Tula. From 1949, he worked for the magazine Sovetsky
Soyuz.
52.
51.
GRACHEV, MIKHAIL (1916–2009)
53.
Moscow by Night, stamped with the photographer’s
Children’s Railway Built by Schoolchildren, stamped twice
stamp on the reverse.
with the photographer’s stamp and titled in Cyrillic on the reverse.
£700–900
£700–900
Ferris Wheel, Construction of Skyscrapers and Karl Marx Prospekt, Moscow,
three works, each stamped with the photographer’s stamp and one signed, titled in Cyrillic
and dated “50 e” on the reverse.
Each gelatin silver print, the largest measuring 28.5 by 37 cm and the smallest 34.5 by 26 cm.
Photographed and printed c. late 1940s–1950s.
£1,200–1,800
( 54 )
MacDougall’s
London
21 May 2016
( 55 )
A
T
distinguished Russian photographer, Max Alpert (1899–1980) was one of the pioneers of photo
reportage. He studied photography in Odessa and worked before World War II for Rabochaya gazeta
in Moscow. During the 1930s, he specialised in creating photographic series from construction
sites for the periodical SSSR na stroike (Magnitogorsk Iron and Steel Works, Turkestan-Siberia Railway,
Great Fergana Canal). Alpert also worked for the daily Pravda, shooting predominantly photographic
portraits of politicians, military leaders, writers and other luminaries. He is mostly known however for his
frontline work during World War II as a photo correspondent for the state news agency TASS and the Soviet
Information Bureau, when he produced a number of iconic war photographs, such as Combat (1942).
He documented military events in Prague and Berlin and the Victory Parade in Moscow in June 1945.
54.
ALPERT, MAX (1899–1980)
55.
he iconic Russian photographer Boris Ignatovich (1899–1979) started out as a journalist, but from
1922 developed an interest in photography. In 1926 became one of the directors of the Association
of Photo-Correspondents at the Publishing House (Dom pechati); and in 1928 together with Alexander Rodchenko he set up Oktiabr, a group of progressive artists, architects and filmmakers. He also
worked for Ogoniok, Sovetskoye foto and SSSR na stroike. In the 1930s, Ignatovich filmed several documentaries, continuing at the same time to work as a journalist. He also headed the illustration department of the newspaper Vechernyaya Moskva and collaborated with the agency Soyuzfoto and several
other periodicals specialising in construction. During World War II, he worked as a war correspondent
on German-occupied territories, producing a well-known series of photographs documenting the Soviet
resistance movement. After the war, Ignatovich became one of the directors of the legendary Moscow
photo club Novator.
56.
ALPERT, MAX (1899–1980)
IGNATOVICH, BORIS (1899–1979)
Kyrgyz Girl Leading in a Horse Racing Competition.
The Dnieper Hydroelectric Station.
Military Exercise.
Photographed and printed c. 1936.
Photographed in 1937, printed c. 1960s.
£1,000–2,000
£1,000–2,000
Provenance: With the Grekov Studio of Military Artists, from 1948 (stamp on the reverse).
£2,000–3,000
( 56 )
MacDougall’s
London
21 May 2016
( 57 )
D
mitry Baltermants (1912–1990), a prominent Soviet photojournalist and war correspondent,
earned his fame during World War II, in particular thanks to his coverage of the Battles of Stalingrad and Moscow, and military offensives in the Crimea. One of his most famous photographs is
Grief, from the series “That’s How it Was”, capturing the massacre by the Nazis of the Kerch inhabitants
in 1941. After the war, Baltermants worked as photo editor at the magazine Ogoniok. Many of his war
images were initially censored because of their disturbing content and were only first published in the
1960s during the Thaw. Baltermants had personal exhibitions in London and New York, and was one of
the very few photographers of the Soviet era who won widespread acclaim in the West during his lifetime.
57.
BALTERMANTS, DMITRY (1912–1990)
She Found Her Husband..., from the series “That’s How it Was”, stamped with the
photographer’s stamp and the photographer’s estate stamp, titled in Cyrillic, inscribed “seriya
“Tak eto bylo” and dated “(Kerch 1942 g.)” on the reverse.
Photographed in January 1942, printed c. 1970.
The photograph depicts the massacre of Kerch residents by the Nazis in 1941. One of the
women, V. Tereshchenko, is captured searching among the bodies for her husband. The
photograph was published in the Ogoniok magazine in March 1942.
Provenance: Estate of the photographer.
£800‒1,200
58.
All Quiet on the Oder River, signed, stamped with the photographer’s estate stamp,
titled in Cyrillic and dated “1945 g. mai” on the reverse.
The photograph was published in the Ogoniok magazine (stamp on the reverse).
£1,000–1,500
( 58 )
MacDougall’s
London
21 May 2016
( 59 )
E
vgeny Khaldei (1917–1997) was a legendary Soviet photographer and war correspondent, the
author of the most iconic war image Raising the Flag over the Reiсhstag. Khaldei made his first photograph at the age of 13 on the camera he constructed himself, while working at a factory. He studied photography and gained experience by working for numerous Soviet periodicals and for the
Fotokhronika TASS agency. Khaldei was mobilised as a TASS photo correspondent from the very beginning of World War II and recorded it through to the Victory Day. He took the most emotionally charged
images, which quickly obtained symbolic status. His world-famous photograph of the Raising the Flag
over the Reichstag was printed in millions of copies. Many people saw the war through his images. He
photographed the Potsdam Conference, signing of the German Instrument of Surrender and negotiations
of the Marshall Plan in Paris. Some of the photographs he made were used as documentary evidence
material during the Nuremberg trials.
59.
KHALDEI, EVGENY (1917–1997)
Red Flag on the Brandenburg Gate in Berlin,
signed on the reverse.
Photographed in May 1945, printed c. 1960s.
£600–900
60.
Soldiers Carrying a Wounded Comrade, signed
on the reverse.
Photographed c. 1941–1945, printed c. 1960s.
£600–900
61.
Liberation of Austria, signed on the reverse.
Photographed in April 1945, printed c. 1960s.
£600–900
( 60 )
MacDougall’s
London
21 May 2016
( 61 )
Y
akov Riumkin (1913–1986) is a Soviet photographer best known for his images of the Battle of
Stalingrad. With the beginning of World War II he became a war correspondent for the daily Pravda;
he participated in and recorded the liberation of Ukraine, Hungary, Romania. He also photographed
military operations in Berlin. After the war he worked for the newspapers Pravda, Sovetskaya Rossiya
and the magazine Ogoniok.
64.
RIUMKIN, YAKOV (1913–1986)
Red Flag in the Centre of Stalingrad. Victory Day,
signed three times, inscribed in Cyrillic “/na ploshchadi
Bortsov/”, titled and dated twice “fevral 2/II/1943 god”
and “2go fevralya 1943 g.” on the card on the reverse.
Gelatin silver print, laid on card, 27.5 by 40 cm (card size).
Photographed in February 1943, printed c. 1950s.
£500‒700
M
62.
ark Markov-Grinberg (1907–2006) was very active in the 1930s when he took some of the most
famous images of the time, such as Portrait of the Stakhanovite coal miner Nikita Izotov and photograph Youth, made at one of the Moscow recreation centres. During World War II MarkovGrinberg served as a soldier and only in 1943 became a war correspondent for Krasnoarmeiskaya
illiustrirovannaya gazeta. In the 1950s he worked for the VDNKh Publishing House and several periodicals. He participated in many international exhibitions, including those in Australia, Germany, France
and England.
Soviet Soldiers Inspecting the Downed Nazi Plane near
Hindenburgplatz in Breslau, signed, stamped with the
photographer’s estate stamp and titled in Cyrillic on the reverse.
The photograph was published in the Ogoniok magazine
65.
MARKOV-GRINBERG, MARK (1907–2006)
The Battle of Kursk and Soldiers Carrying Out an Attack, two works, each
signed, one titled in Cyrillic and dated 1943 on the reverse.
Each gelatin silver print, one measuring 27.5 by 40.5 cm and the other 40.5 by 26.5 cm.
£800–1,200
£600‒900
63.
The War Came to Germany..., signed, stamped with
the photographer’s estate stamp, titled in Cyrillic and dated
1945 on the reverse.
£1,000–1,500
( 62 )
MacDougall’s
London
21 May 2016
( 63 )
G
eorgy Zelma (Zelmanovich) (1906–1984) began his photographic career working for the agency
Russfoto in 1921; he was its correspondent in Uzbekistan, Iraq, Afghanistan and Central Asia
in 1924‒1927. After he relocated to Moscow in the late 1920s, Zelma, alongside his peer Alexander Rodchenko, began to experiment with avant-garde photographic technologies. In the decade that
followed, Zelma's work was published on the pages of Izvestia, Krasnaya zvezda, SSSR na stroike and
other periodicals. At that time he specialised in documenting major construction projects, collaborating
most notably with the celebrated documentary filmmaker Roman Karmen. During World War II, Zelma
was a correspondent for Izvestia, shooting on the frontlines in Moldova and Ukraine. His most important
work during the war is the Battle of Stalingrad series.
66.
ZELMA, GEORGY (1906–1984)
Mass Grave. Stalingrad, signed, stamped with the
photographer’s estate stamp and titled in Cyrillic on the reverse.
Photographed c. 1942–1943, printed c. 1960s.
£500‒700
67.
Defenders of Stalingrad, signed and stamped with
the artist’s estate stamp on the reverse.
Photographed in 1942–1943, printed c. 1940s–1950s.
£500–700
68. ZELMA, GEORGY (1906–1984)
Residents of Stalingrad Walking through the Liberated City,
signed and stamped with the photographer’s estate stamp on the reverse.
£500‒700
( 64 )
MacDougall’s
London
21 May 2016
( 65 )
69.
70.
71.
72.
Stalingrad Liberated, panorama, consisting of two joined
Trenches of Stalingrad, panorama, consisting of two joined
Soldiers Taking an Oath. Stalingrad, panorama, consisting
Meeting in Stalingrad, panorama, consisting of two joined
photographs, signed and stamped with the photographer’s estate
Each gelatin silver print, 15.5 by 42.5 (overall size).
photographs, signed and stamped with the photographer’s estate
Each gelatin silver print, 14.5 by 41.5 (overall size).
of two joined photographs, signed, titled in Cyrillic and dated “3
yanv./1943” on the reverse.
Each gelatin silver print, 20 by 27 cm (overall size).
Photographed in 1942–1943, printed c. 1960s.
photographs, signed, stamped with the photographer’s estate
stamp, inscribed in Cyrillic “str. 134-135”, titled and dated “4 yanv.
1943.” on the reverse.
Each gelatin silver print, 15 by 45.5 cm (overall size).
£500–700
£500–700
£500–700
£500–700
( 66 )
MacDougall’s
London
21 May 2016
( 67 )
73.
( 68 )
74.
75.
Witness of the Siege of Leningrad Archpriest Nikolai
Lomakin at the Nuremberg Trial, signed, further bearing a label
Von Ribbentrop Reading the Lawyer’s Note at the Nuremberg
Trial, signed, further bearing a label with a caption in Cyrillic on the
with a caption in Cyrillic on the mounting cardboard.
Gelatin silver print, laid on cardboard, 30 by 38 cm (cardboard size).
mounting cardboard.
Gelatin silver print, laid on cardboard, 41 by 30 cm (cardboard size).
Photographed and printed c. 1945–1946.
£1,000–1,500
£1,000–1,500
76.
Field Marshal Keitel at the Nuremberg Trial, signed.
Guards by the Palace of Justice in Nuremberg, signed.
£1,000–1,500
£1,000–1,500
MacDougall’s
London
21 May 2016
( 69 )
R
obert Diament (1907–1987) began his career as a freelance correspondent for various periodicals
in Kiev in the 1920s. Among his teachers were Boris Ignatovich, Dmitry Debabov, Georgi Zelma,
Georgi Petrusov and Max Alpert. During World War II he served as a photo correspondent in the
Northern Fleet and became a head of the photo bureau of its Politupravlenie. He participated in and
photographed some of the major navy operations including the Petsamo-Kirkenes Offensive. After demobilisation he continued working as a correspondent for the various Soviet periodicals including
Ogoniok and Sovetskoe Foto.
77.
78.
DIAMENT, ROBERT (1907–1987)
Yuri Gagarin with His Family, signed, stamped with the photographer’s estate stamp, inscribed
Yuri Gagarin Meeting Workers at the Foundry “Stankolit”,
in Cyrillic “1961 god./posle poliota”, titled, numbered “87” and dated 1961 on the reverse.
Cibachrome print, 48 by 41 cm.
stamped with the photographer’s stamp on the reverse.
Photographed and printed c. 1961.
£1,000–2,000
£1,000–2,000
( 70 )
MacDougall’s
London
21 May 2016
( 71 )
G
unars Binde (b. 1933) is a Latvian photographer who is perhaps best known for his erotic photos.
He taught at Riga School of Applied Arts (1964–1975), worked as a photographer for the Research
Council of the Latvian Society for the Preservation of Historical Sites (1975–1977), then for the
Daugava Museum (1977–1994) and for the Latvian Ministry of Defence. Binde’s favourite genres are
portraiture, landscape and particularly nudes. He has had over 30 personal exhibitions all over the world
and is an Eminent Photographer of the International Federation of Photographic Art. His works are held
in the museums in France, Denmark, Austria and others.
§ 79.
§ 80. BINDE, GUNARS (B. 1933)
BINDE, GUNARS (B. 1933)
Seated Nude by the Chair, stamped with the photographer’s
Praying Nude and Nude, from the series “Heliography”,
stamp, titled in Cyrillic and numbered “43” on the reverse.
two works, one signed, titled in Cyrillic and dated 1963, and the
other stamped with the photographer’s stamp on the reverse.
Each gelatin silver print, measuring 25.5 by 17.5 cm and
24.5 by 18 cm respectively.
Provenance: With the Museum of Viljandi, Estonia, c. 1980
(stamp and inscription on the reverse).
£1,000–1,500
( 72 )
£800–1,200
MacDougall’s
London
21 May 2016
( 73 )
G
N
eorgy Petrusov (1903–1971) was a prominent figure of the Soviet photography scene in the 1920s–
1930s. He worked as a photo correspondent since 1924 for such periodicals as Trud and Pravda
and with Soyuzfoto agency. From 1930 to 1941 he was an in-house photographer for the periodical
SSSR na stroike. During World War II Petrusov took photographs for Sovinformbiuro and Izvestia.
ikolai Beletsky (active c. 1960s–1970s) was a member of the photo club Novator, founded by
Alexander Khlebnikov in 1961. The 1960s was the time, when photo cameras and printers became
more widely available in the USSR and interest in photography was at its peak. Novator brought
up a number of talented amateur and professional photographers, among whom was Beletsky. Such
well-known Soviet photography figures as Boris Ignatovich, Alexander Grinberg and Sergei IvanovAlliluev gave lectures there. The club’s exhibitions were traveling around the country with continuous
popularity. Its members’ works were published in all the prominent periodicals — Komsomolskaya
Pravda, Izvestia, Moskovsky Komsomolets.
Photographs of the Bolshoi Ballet were taken by the artist in the 1940s–1950s, as a part of his work on
the album dedicated to 175th anniversary of the Bolshoi Theatre. In thousands of shots, Petrusov
managed to record the whole repertoire of the Bolshoi, with some of the historic performances such as
Red Poppy, Mirandolina and Bronze Horseman documented mainly by him.
81.
PETRUSOV, GEORGY (1903–1971)
A Collection of Photographs of the Bolshoi Theatre Ballet Dancers,
five works, two signed and each titled in Cyrillic on the reverse.
Each gelatin silver print, three measuring approximately 8.5 by 12 cm,
one 11 by 7.5 cm and the other 7.5 by 11.5 cm.
The photographs in the present lot captured Olga Lepeshinskaya and Alexander
Rudenko in Tchaikovsky's The Nutcracker, Marina Semionova and Mikhail
Gabovich in Tchaikovsky's The Nutcracker, a scene from Minkus’s Don Quixote
and two scenes with Liudmila Cherkasova in Tchaikovsky's The Sleeping Beauty.
£1,200–1,800
82. BELETSKY, NIKOLAI (20 TH CENTURY)
A Collection of Photographs, five works, four stamped with
the photographer’s stamp and one titled in Cyrillic on the reverse.
Each gelatin silver print, the largest measuring 57 by 38 cm
and the smallest 30 by 39.5 cm.
£1,000–1,500
( 74 )
MacDougall’s
London
21 May 2016
( 75 )
MacDougall's Terms & Conditions of Sale
May 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 and buyer’s premium to cover Import VAT.
EU VAT registered buyers should note that neither this 5% nor the VAT on the buyer’s premium can be refunded or claimed against VAT.
(b) the buyer must remove the lot in question, at their expense, within 30 calendar days following sale.
6. Buyers from outside the EU who intend to ship their purchases outside the EU within three months should tell MacDougall’s at time of payment. For them,
the VAT charge included in the premium (and the 5% charge on asterisked lots) will be treated as a deposit, refundable on presentation of documentary proof
of export outside the EU within three months.
17. MacDougall’s are not obliged to release a lot to a buyer until title to that lot has passed, but any earlier release will not affect the passing of title.
Droit de suite (Artist's resale right)
19. If a buyer fails to pay for or remove a lot in accordance with clauses 13 to 17 above, MacDougall’s shall be entitled at their absolute discretion to exercise
one or more of the following rights, unless agreed otherwise with the buyer.
7.1. Some works will be subject to Droit de Suite (Artist’s Resale Right), and will be indicated with a “§” mark in the catalogue or otherwise notified. This is
a royalty payable to a qualifying artist (citizens of EU and EEA countries) each time a work is re-sold during the artist’s lifetime and to their descendants for
70 years after the artist’s death.
18. To the extent an export licence is required in order to remove a lot from the United Kingdom, the buyer alone is responsible for obtaining and paying
for such a licence.
(a) To rescind the contract in respect of that lot.
(b) To store the lot or cause it to be stored at their own premises or warehouses elsewhere at the sole expense and risk of the buyer, and to release the lot only
after payment in full of the purchase price, accrued storage and haulage charges and all other costs incurred by MacDougall’s in connection with the lot.
7.2. Buyers will be charged an amount equal to this resale royalty where it applies. These resale royalties are not subject to VAT and do not apply when the
hammer price is less than 1,000 euros. Invoices are normally issued in Pounds Sterling, with the resale royalty calculated on the basis of the European Central
Bank reference rate on the date of the sale.
(c) To charge interest and storage charges. Interest is charged at 10% per annum, and storage charges at 50 pounds per lot per week. However these
charges will be waived if payment is received by the 21 day contractual deadline and the purchases are collected within four months.
7.3. Droit de Suite Scale
Charge
Portion of the hammer price (in euros)
4%
Up to 50,000
3%
50,001–200,000
1%
200,001–350,000
1/2%
350,001–500,000
1/4%
Over 500,000
(d) With seven day’s notice to the buyer to resell the lot or cause it to be resold by public or private sale. Any deficiency in the purchase price attending
such resale (after giving credit for any payment and after deducting full costs incurred in connection with the lot) to be made good by the defaulting
buyer, any surplus (after retention by MacDougall’s of the premium) to be paid to the vendor.
(e) Commence legal proceedings on behalf of the vendor to recover the purchase price and other expenses for that lot.
(f) Release the name and address of the buyer to the vendor to enable the vendor to commence the legal proceedings against the buyer.
(g) MacDougall’s shall in all circumstances be entitled to exercise a lien against any property belonging to the buyer or where the buyer has acted as an
agent any property belonging to the buyer’s principal which is in the possession of or in the control of MacDougall’s in respect of any debt howsoever
arising owed by the buyer (or the buyer’s principal) to MacDougall’s notwithstanding that the value of the property exceeds the amount owed to
MacDougall’s.
To a maximum of 12,500 euros
Guaranteed Property
8. A minimum price has been guaranteed to the seller for lots marked with the symbol “°”. This guarantee may be provided by MacDougall’s, by a third
party or jointly by MacDougall’s and a third party. Third parties providing all or part of a guarantee benefit financially if a guaranteed lot is sold successfully
and may incur a loss if the sale is not successful.
( 76 )
(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
21 May 2016
( 77 )
Telephone and Commission Bidding Form:
May 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: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
( 78 )
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
21 May 2016
Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
( 79 )
Index
ALPERT, MAX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 55
BALTERMANTS, DMITRY
..................................................
KHALDEI, EVGENY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59–61, 73–76
57, 58, 62, 63
KHLEBNIKOV, ALEXANDER
BELETSKY, NIKOLAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
BINDE, GUNARS
...................................................................
DEBABOV, DMITRY
..................................................................
GIRAULT DE PRANGEY, JOSEPH-PHILIBERT
......................................
40–45
79, 80
MITREITER, TORVALD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1–22
34, 35
MARKOV-GRINBERG, MARK
.................................................................
DIAMENT, ROBERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
DUTKEVICH, YURI
........................................................
KOVRIGIN, VADIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 50
...........................................................
65
PETRUSOV, GEORGY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
29, 30
RIUMKIN, YAKOV
23–28
RODCHENKO, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
.......................................................................
GRACHEV, MIKHAIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51–53
SHOKIN, LEONID
GRINBERG, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36–39
TELINGATER, SOLOMON
IGNATOVICH, BORIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
ZELMA, GEORGY
...................................................................
...........................................................
...............................................................
64
46, 47
31–33
66–72, 77
Where to Find Us
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MacDougall Arts Ltd
30A Charles II St.
London, SW1Y 4AE, England
London
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Front cover:
Lot 23. GIRAULT DE PRANGEY, JOSEPH-PHILIBERT (1804–1892). Rome.
The Temple of Vespasian and Titus and the Temple of Saturn
Inside Front cover: Lot 34. DEBABOV, DMITRY (1901–1949). Traffic Controller in Leningrad
Inside Back cover:
Lot 55. ALPERT, MAX (1899–1980). The Dnieper Hydroelectric Station
Back cover:
Lot 41. KHLEBNIKOV, ALEXANDER (1897–1979). Milk

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