Каталог Живописи и Прикладного искусства

MacDougall's Russian Art
Russian Art
2 December 2015 London
2 December 2015
London
2 December 2015
London
Russian Art, Russian Works of Art,
Fabergé and Icons
Wednesday, 2 December
Auction
Wednesday, 2 December 2015, 10:30
Viewing
Monday‒Friday, 20 November‒1 December, 11:00‒18:00
Saturday‒Sunday, 28‒29 November, 11:00‒18:00
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
Russian Art Expert
Russian Art Expert
Dr Olga Vaigatcheva
Associate Director, Head of
Works of Art, Faberge' and Icons
Tatiana Sapegina
Associate Director
Catherine Marshall
Olga Glebova
Helen McIldowie-Jenkins
Senior Russian Art Cataloguer
Russian Works on Paper Expert
Icon Cataloguer
Jacob Gildor
Robert Bowman
Lev Wolfson
Ecole de Paris Expert
Bronze Expert
Icon Expert
Nina Sorensen
Associate Director
Daria Sitnina
Icons and Works
of Art Cataloguer
Anastasia Johnston
Russian Theatre Design Expert
Svetlana Djelalian
Maria Garmaeva
Charles Ross
Accounts Manager
Shipping Manager
Auctioneer
Nikita Lobanov-Rostovsky
© 2015 MacDougall Arts Ltd ISSN 1745–3429, MacDougall Arts Ltd, 30A Charles II St, London
Registered Company № 5175060 in England and Wales
Catalogue design by chaykadesign studio, photography by Todd-White, printed by ATG Printers, London and Buki-Vedi, Moscow
Russian Art Cataloguer
Russian Art Lots 1−162
1.
Kramskoy, Ivan (1837–1887)
Vase of Flowers and a Visiting Card, signed,
inscribed in Cyrillic “Mentona” and dated “84. Mai”.
Oil on panel, 24 by 19 cm.
Provenance: Icons, Russian Pictures and Works of Art,
Sotheby’s London, 15 December 1994, lot 149.
£40,000–60,000
MacDougall’s
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2 December 2015
( 11 )
2.
Kryzhitsky, Konstantin (1858–1911)
3.
Pechersky Ascension Monastery, Nizhny Novgorod, signed and dated 1905.
The Lake, signed and dated 1892.
Oil on canvas, 45 by 60 cm.
Oil on canvas, 51 by 81 cm.
Provenance: Private collection, UK.
The present lot is an earlier version of the 1896 painting The Lake, presently in the collection
of the Vladimir and Suzdal State Historical, Architectural and Art Museum-Reserve.
Authenticity of the work has been confirmed by the expert V. Petrov.
Provenance: Acquired by the father of the previous owners in Leningrad, in the 1970s.
Thence by descent.
Private collection, Vienna.
Exhibited: Possibly, Posmertnaya vystavka kartin Akademika zhivopisi K.Ya. Kryzhitskogo
v zalakh Imperatorskoi Akademii Khudozhestv, St Petersburg, 1911, No. 361.
£5,000–7,000
( 12 )
Kryzhitsky, Konstantin (1858–1911)
£35,000–50,000
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( 13 )
4.
Bilianitsky-Birulia, Vitold (1872–1957)
§ 5.
Lapchine, Georges (1885–1950)
Last Snow, signed.
Market Scene in Naples, signed, also further
Oil on canvas, 74 by 95.5 cm.
signed and inscribed “Naples/Italiens” on the reverse.
Oil on canvas, 54 by 65 cm.
Executed c. 1945.
Provenance: Collection of the renowned psychiatrists Viktor and Klara Lebedinsky, Moscow.
Acquired from the estate of the above by the present owner.
Private collection, UK.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity certificate from the expert T. Zelyukina.
£4,500–6,000
Provenance: Acquired by the previous owner in
France, before 1970.
Thence by descent.
Private collection, France.
Authenticity of the work has been confirmed by the
expert V. Petrov.
£4,000–6,000
6.
Lakhovsky, Arnold (1880–1937)
View of a Street in Pskov, signed.
Oil on canvas, laid on cardboard, 80.5 by 59.5 cm.
Provenance: Private collection, France.
Authenticity of the work has been confirmed by the expert V. Petrov.
£5,000–7,000
( 14 )
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7.
§ 8.
Yakovlev, Alexander (1887–1938)
Annenkov, Georges (1889–1974)
Peonies in a Vase, stamped with the artist’s Chinese stamp,
Nature morte À la thÉiÈre, signed, also
further with a sketch on the reverse.
Gouache on card, 64 by 46.5 cm.
further signed, titled and numbered “L.L.F. 1638.”
on the reverse.
Gouache on paper, 73.5 by 100.5 cm.
Executed in the late 1920s–first half of the 1930s.
Provenance: Sotheby’s Amsterdam, 7 November
1978, lot 366.
Provenance: Private collection, France.
Authenticity certificate from the expert C. Haardt de La Baume.
£15,000–20,000
£12,000–18,000
( 16 )
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Russian Art Auction
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( 17 )
* 9.
Osmerkin, Alexander (1892–1953)
Bouquet of Flowers on a Red Background, signed and dated
1937, also further signed and dated on the reverse.
Oil on canvas, 101 by 80.5 cm.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the expert Yu. Rybakova.
£150,000–200,000
«Рассеянный мягкий лирик, любитель поэзии, человек абсолютного живописного слуха, артист без всякого «делячества», беззаветно влюбленный в искусство, для которого оно было чем-то намного большим, чем
любые практические мысли или вопросы тщеславия. Он прошел через
нас Дон-Кихотом в искусстве», — эти слова, адресованные Александру
Осмеркину, неожиданно произнес опосредованно жесткий и бескомпромиссный живописец, коим был Александр Дейнека.
Александр Осмеркин от природы был наделен невероятным даром чувствовать осязаемость природных ландшафтов, моделей и изображаемых
в своих натюрмортах предметов живой и «стагнированной» природы.
В какой бы манере ни работал этот удивительный мастер, созданное им
было вне ограничений опознанной искусствоведами стилистики. Один
из бесспорных лидеров «Бубнового валета» — Осмеркин стойко переживал вынужденный отказ от своих авангардных экспериментов, избрав
A. Osmerkin, Lilacs, late 1930s–early 1940s
( 18 )
путь углубленных колористических поисков и лирического самопогружения. Его пейзажи и натюрморты с цветами являются бесспорным тому
доказательством: объекты природы становятся не просто механическим
изображением всевозможных ботанических элементов, но именно ее
«портретом», наделенным тонкой лирической субстанцией.
Представленный на настоящие торги роскошный «Букет цветов на красном фоне» может быть поставлен в ряд лучших произведений
Осмеркина конца 1930-х годов. Несколько нетрадиционная фронтальная трактовка композиции, завораживающая живописная пластика
и контрастирующие цветовые эффекты останавливают взгляд, буквально
заставляя зрителя почувствовать дивный цветочный запах. Это редкое
по своей красоте произведение выдающегося русского художника
достойно сравнения с передовыми образцами мировой станковой
классики.
A. Osmerkin, Still Life with Utochya Tower
in the Background, 1944
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2 December 2015
( 19 )
“An absent-minded, gentle lyricist, a lover of poetry, a man with a unique
feel for art, devoid of utilitarian concerns, wholeheartedly in love with art,
which for him transcended practical considerations or concerns of vanity.
He came across as a Don Quixote of art”. Such was the somewhat unexpected testimonial to Alexander Osmerkin by none other than Aleksandr
Deineka, known for his tough, unsentimental approach to art.
Alexander Osmerkin was gifted by nature with an astonishing feel for the
physicality of natural landscapes, of his models and objects of nature morte
arranged for his still lifes. Irrespective of what this remarkable artist
painted, the result invariably defied stylistic categorisation. One of the
undisputed leaders of the Jack of Diamonds group, Osmerkin put on a brave
face when he was forced to abandon his avant garde experiments and
moved on to the in-depth exploration of the colouristic dimension of art,
A. Osmerkin, Female Portrait in Profile
and Flowers, 1946
MacDougall’s
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2 December 2015
while maintaining a state of lyrical withdrawal. His landscapes and still lifes
show this very clearly: in them, the objects of nature are not mere pictorial
representations of botanical species but rather nature’s “portrait”,
endowed with a delicate lyrical substance.
The sumptuous work presented in this catalogue, Bouquet of Flowers on a
Red Background, is one of Osmerkin’s finest works from the late 1930s.
The somewhat unorthodox frontal interpretation of the composition, its
mesmerising plasticity and stunning, contrasting colouristic effects enchant
the viewer, conjuring up the delightful scent of fresh flowers. This exquisite
work by the outstanding Russian master certainly measures up to other
textbook examples of easel painting.
A. Osmerkin, Lilies and Nasturtiums, 1947
( 21 )
* 10.
Grigoriev, Boris (1886–1939)
Portrait of Selma Alexander, signed.
Oil on canvas, 91.5 by 71 cm.
Provenance: Collection of Selma Alexander, Los Angeles.
Bequest from the above to the present owner, c. 1982.
Private collection, Australia.
Authenticity of the work has been confirmed by the expert T. Galeeva.
Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17–29 April 1933.
Literature: A. Klevitsky, “Amerika” Borisa Grigorieva”, Novyi zhurnal, No. 231, 2003, mentioned in the text.
£150,000–200,000
Представленная на торги работа «Портрет Сельмы Александер» — выдающийся пример живописи Бориса Григорьева, имевшего в 1920–
1930-е годы в Европе и Америке славу не только мастера «русской темы», но и великолепного портретиста. Его всегда интересовала в человеке некая тайна, загадка, внутренняя жизнь, поэтому он обычно фокусировался на лице своей модели, выразительных деталях, психологических характеристиках. Героиня нашего портрета изображена в полный
рост, в вечернем платье, в драгоценных ювелирных украшениях.
Ее хрупкая фигура словно и сидит на застланном золотистым атласом
диване, и одновременно стоит в изящной позе (подобно ренуаровской
Жанне Самари). В алом платье, затканном белыми цветами, и крошечных бирюзовых туфельках элегантная дама воспринимается драгоценной игрушкой в золотом футляре.
Свободная эскизная манера, сложные фактурные поверхности и звучные яркие тона этого полотна выдают новое отношение к живописи
мастера, тяготевшего в 1920-е годы к неоклассицизму с его четкостью
форм и ясностью рисунка. Эти изменения заметили и нью-йоркские
критики, писавшие по поводу выставки.
Очевидно, новые черты в портрете Сельмы Александер связаны как
с общими изменениями живописной стилистики художника в 1930-е годы, так и с характером самой модели — светской дамы, в те годы бывшей замужем за известным в культурной жизни Нью-Йорка успешным
предпринимателем, меценатом и коллекционером Владимиром
Башкировым (1885–1969).
Именно под покровительством Сельмы 17–29 апреля 1933 года состоялась выставка картин и акварелей Бориса Григорьева в нью-йоркской
галерее Marie Sterner. Показ работ в этой галерее был значимым событием для художника, ведь ее владелица Мари Стернер много способствовала продвижению модернистских явлений в искусстве США, сотрудничала с такими художниками, как Джордж Беллоуз, Артур Боуэн Дэвис,
Эли Надельман, Марсель Дюшан, Джон Слоан и др. К тому же эта
выставка была первым показом новых работ Григорьева в Нью-Йорке
после восьмилетнего перерыва (в 1920-х годах он сотрудничал с New
Gallery). Среди представленных на ней 18 живописных полотен
и 30 акварелей был и портрет Сельмы Александер. Ему близок своим
репрезентативным характером показанный там же портрет другой
покровительницы художников — Анны Робен, написанной тоже
в полный рост в белом платье.
На период после этой знаменательной выставки приходится пик контактов Григорьева с Башкировым и его женой Сельмой, о чем свидетельствуют многочисленные письма художника 1933–1934 годов. Помимо
портрета Сельмы в эти же годы мастер запечатлел и самого Владимира
Николаевича. Но главное, произведениями Григорьева пополнилась
коллекция русской живописи Башкирова (часть ее хранится
в Метрополитен-музее в Нью-Йорке). Среди них были картины «Рыбак»
(1922), «Портрет президента Чешской Республики Т. Масарика» (1932),
«Натюрморт» (1932) и др. Художнику импонировало такое внимание
коллекционера, он признавался ему: «Горжусь тем, что у Вас столько
моих вещей».
По возвращении из США дружба художника с Башкировым и его женой
Сельмой окрепла. Поддержка Башкирова, как финансовая, так и
эмоциональная, была неоценимой для Григорьева в это время, о чем
художник писал своему другу со свойственной ему эмоциональностью:
«Когда думаю о Вас, сердце мое сжимается — как Вы далеко. А не видеть Вас стало для меня большой заботой, прямо скажу — тяжело.
Надеюсь, Вы получили мое письмо с парохода, я, едучи домой, думал
больше о Вас, нежели о своем доме. Моя благодарность Вам не имеет
границ, а также и к Вашей очаровательной жене, которая крепко живет
в моей памяти, целую ее ручки».
В 1933–1934 годах Григорьев настойчиво приглашал Башкирова
с Сельмой погостить в его доме в Кань-сюр-Мер, но их визит, похоже,
так и не состоялся. В середине 1930-х годов семейное положение
Башкирова изменилось, он встретил другую женщину, и Сельма ушла из
его жизни. А взаимоотношения с Борисом Григорьевым продолжались
до кончины художника в 1939 году.
Достоин внимания и превосходный провенанс картины. После выставки
1933 года портрет занял видное место в доме Сельмы в Лос-Анджелесе,
где его заметил нынешний владелец. Увидев, насколько сильное впечатление картина Григорьева произвела на гостя, Сельма воскликнула:
«Я оставлю ее тебе, когда придет мое время!» И она выполнила свое
обещание. В 1982 году портрет Сельмы Александер был по завещанию
отправлен в Австралию и передан в коллекцию одного из ее ближайших
друзей и будущих биографов, которому он принадлежит и поныне.
Тамара Галеева, искусствовед
Selma Alexander, Los Angeles, May 1979
( 22 )
B. Grigoriev, Female Portrait, 1933
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Russian Art Auction
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( 23 )
The Portrait of Selma Alexander, offered here for auction, is an outstanding
example of the work by Boris Grigoriev, who in the 1920–1930s had a reputation in Europe and the USA as a master of the “Russian theme” and as
a brilliant portrait painter. He was always attracted to human mysteries and
the inner life of his sitters, which is why he focused primarily on their faces,
expressive details and psychological characteristics. The sitter is depicted
full-length, wearing an evening gown and expensive jewellery. The delicate
figure appears to be simultaneously seated on a golden covered sofa but
also standing elegantly, reminiscent of Renoir’s Jeanne Samary. The stylish
Selma Alexander, clad in a scarlet dress with embroidered white flowers
and wearing tiny turquoise shoes, conjures up an image of a precious toy
in a glittering wrapping.
The free brushstrokes, complex textural surfaces and resonant bright
colours of the work signal a shift in the painterly approach of the artist,
who back in the 1920s, gravitated heavily towards Neoclassicism, with its
precision of form and clarity of line.
Presumably, the new traits evident in this portrait are connected both with
the general changes in the artist’s style but also with the status of his model — a society lady, then married to a well-known cultural figure in New
York, the highly successful businessman, philanthropist and collector,
Vladimir Bashkirov (1885–1969).
Upon Grigoriev’s return from the USA, his friendship with the Bashkirovs
grew even stronger. Bashkirov’s support, both financial and emotional, was
essential to the artist at that time. In one of his letters to Bashkirov, written
in his typically emotional manner, Grigoriev confides: “When I think of you,
my heart shrinks — you are so far away. Not seeing you has become a great
concern for me; honestly, it is hard. I hope you received my letter sent from
the ship — as I travelled home, I was thinking more of you than of my
home. My gratitude to you has no bounds, and this extends to your charming wife whom I remember fondly, please kiss her hands from me.”
In 1933–1934, Grigoriev frequently invited Bashkirov and his wife to visit
him in France at Cagnes-sur-Mer, but it seems the meeting never took
place. In the mid-1930s, Bashkirov’s family circumstances changed when
he left Selma for another woman. However, his correspondence with
Grigoriev continued until the latter’s death in 1939.
The work’s provenance is impeccable. After the 1933 exhibition, the
portrait was displayed in Selma’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him,
Selma exclaimed: “I’ll bequeath it to you when my time comes!” And she
kept her promise. In 1982, the Portrait of Selma Alexander made its way to
Australia and became part of her close friend and future biographer’s collection and where it has remained until now.
Moreover, Selma Alexander sponsored an exhibition of Grigoriev’s paintings and watercolours in New York from the 17–29 April 1933 in the Marie
Sterner Gallery. This show was an important milestone for the artist, as the
gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows,
Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and
others. Besides, it was Grigoriev’s first exhibition in the USA after an eightyear hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist
exhibited 18 paintings and 30 watercolours, amongst which, the present
lot. It is stylistically similar to another portrait included in the exhibition,
that of Anna Robene, who was also a patron of the artists and whom he
also depicted full-length and wearing a white dress.
Dr Tamara Galeeva, art historian
In the aftermath of the exhibition, Grigoriev’s interaction with Bashkirov
and Selma peaked, as evidenced by his numerous letters to the couple
written in 1933–1934. In addition to the portrait of Selma, Grigoriev also
painted her husband. More crucially, Bashkirov acquired a few of
Grigoriev’s works for his private collection of Russian art, part of which
is now in the Metropolitan Museum in New York. Among them were
Fishermen (1922), Portrait of the President of Czechoslovakia Tomáš
Masaryk (1932), Still Life (1932) and others.
B. Grigoriev, Portrait of V. Bashkirov,1930s
MacDougall’s
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2 December 2015
B. Grigoriev, Portrait of
A. Robene
( 25 )
Lots 11–13. Three Works by Isaak Levitan
from an Important Israeli Collection
* 11.
Levitan, Isaak (1860–1900)
High Water, signed.
Oil on canvas, 44.5 by 74 cm.
Provenance: Acquired in the 1920s by the father of the present owner.
Important private collection, Israel.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv Museum of Art, Tel Aviv, 24 July–28 September 1991.
Literature: Exhibition catalogue, Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv, Tel Aviv Museum of Art, 1991,
p. 13, illustrated.
£250,000–300,000
Представленные на торги три замечательные натурные композиции
Исаака Левитана происходят из одной семейной коллекции и имеют общую почтенную историю. В 1920-е годы они вместе со своими владельцами покинули Советскую Россию, пережили эмиграцию и годы скитаний, теснились в стенах скромного жилища в сельскохозяйственной
коммуне Израиля и, наконец, увидели свет, участвуя в выставке «Исаак
Левитан. 1860–1900. Эскизы и картины», проходившей в Тель-Авивском
музее изобразительных искусств в 1991 году.
За простыми названиями «Половодье», «Лесная поляна» и «Дерево у озера» кроется круг образов, особенно близких художнику в последнее десятилетие XIX века. В них с необычайной яркостью проявился редкий дар
Левитана находить для своих работ мотивы, одинаково поэтично звучащие и в сложных сюжетных картинах, и в небольших камерных пейзажах.
Способность мастера увидеть в мгновенном непреходящее, в небольшом пейзаже отобразить «всю русскую природу», сказать о ней так лаконично, но в то же время настолько много и поэтично, которые мы видим в представленных на торги работах, — это замечательное единство
мысли, чувства и живописного видения, составляющее драгоценную
сущность великого наследия Левитана.
Умение художника бесконечно разнообразно трактовать в своих полотнах одну и ту же увлекавшую его тему в полном объеме проявилось
в композиции наиболее значительной картины в коллекции —
«Половодье». Стоит только вспомнить многообразие вариантов темы
разлива, паводка, «большой воды», столь занимавшей Левитана с конца
1880-х годов. То она рисуется нам почти лишенной берегов широкой
гладью воды, в которой отражается хмурое, суровое небо и торчат редкие голые стволы («Разлив», ок. 1887), то беспросветным осенним половодьем, вызванным проливными дождями («Половодье», 1885), то едва
сбросившей оковы льда рекой, заливающей перелески и напоенной
ярким, по-весеннему звучным светом («Весна. Большая вода», 1897).
Любовью к этому краткому состоянию природы, желанием любоваться им
снова и снова пронизаны строки письма Левитана, написанного весной
The present lot as illustrated in the 1991 exhibition catalogue
( 28 )
1894 года из Ниццы своему другу Аполлинарию Васнецову: «Воображаю,
какая прелесть теперь у нас на Руси — реки разлились, оживает все».
Те же узнаваемые специфические левитановские интонации звучат
и в представленном в каталоге безупречном полотне «Половодье», где
художник достигает лишь ему присущей меры сочетания натурной естественности и непосредственности изображения «голого» среднерусского
пейзажа и поэтической проникновенности, одушевленности не только
мотива, но и самой живописной ткани картины.
Способность наполнить поэтическим смыслом изображения самых непритязательных уголков природы в полной мере проявилась и в этюде
«Лесная поляна». Цветовое решение этой композиции построено на
сочетании различных оттенков неброской зелени, пожухшей на солнце
травы, небесной голубизны и теплой, солнечной охры. В ее свободной,
широкой живописи чувствуется пленэрное начало, желание приобщиться к впечатлению живого контакта с вечно движущейся световоздушной
средой.
В картине «Лесная поляна» раскрывается кредо Левитана — не только
компоновать картину, но и «композиционно» видеть саму натуру. Не случайно именно в этюдах лесных опушек особенно ярко проявляется умение художника «чувствовать» дали.
Небольшой размер, типичный для большинства левитановских этюдов,
характерен для третьего представленного в нашей коллекции пейзажа
«Дерево у озера». Формат 20 х 25 см художник считал не просто удобным
для работы на пленэре, но и оптимальным. «Никогда не гонитесь за большими размерами этюдов. В большом этюде больше вранья, а в маленьком
совсем мало, и если вы по-настоящему, серьезно почувствуете, что вы видели, когда писали этюд, то и на картине отобразится правильное и полное
впечатление виденного», — любил говорить своим ученикам Левитан.
Поэтому даже в столь камерном произведении он не просто мастерски
передает нежность серо-зеленой листвы, шероховатость изогнутого, застывшего в напряженном равновесии ствола, покрытого бликами света,
но и позволяет зрителю проникнуться настроением обычного летнего
дня, пригревшего это затишье. Виртуозность тональной и тембровой
разработки зеленого цвета сказывается в легких переходах его оттенков, возникающих на солнце и в тени, травах и кустарниках первого
плана, водяной ряске, лесных кущах дальнего берега и даже в поблескивающей среди зарослей стоячей воде тихой речки.
Этот лаконизм предельного обобщения и синтеза, при котором простой
и обычный мотив наполняется широким и глубинным содержанием, становится лейтмотивом творчества Левитана последних лет жизни. Даже в самом беглом наброске зрелого художника, будь то рисунок или этюд маслом, нас поражает верность рисунка — стволов деревьев и листвы, травы,
цветов, воды — и в особенности верность цветовых отношений земли,
растительности и неба при самых разных условиях погоды и освещения.
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 29 )
High Water, Forest Meadow and Tree by the Lake, three outstanding plein
air pictures by Isaac Levitan, come from a single family collection and have
a distinguished shared history. They left Soviet Russia in the 1920s
together with their owners, with whom they endured years in immigration,
endlessly moving from place to place, before ending up in a cramped, modest abode in an Israeli kibbutz and later triumphantly re-emerging in 1991
at the exhibition Isaac Levitan. 1860–1900. Sketches & Paintings at the
Tel Aviv Museum of Art.
Behind the unpretentious titles of the paintings — High Water, Forest
Meadow and Tree by the Lake — lies a range of themes that were particularly close to the artist in the last decade of the 19th century. They vividly
showcase Levitan’s rare gift for finding an equal measure of poetry in both
complex, multi-subject pictures and small chamber works.
The artist’s ability to find the permanent in the transient, to represent the
vastness of Russia’s nature in a small landscape, to speak about it so
laconically, yet so profoundly and poetically — so evident in the works
presented here for auction — reflects a remarkable unity of thought, feeling
and artistic vision that form the precious substance of his impressive
legacy.
Levitan’s ability to treat one and the same preferred theme in a multitude
of ways is manifest in the composition of the most important of these three
paintings, High Water. One has only to recall the variety of related themes —
inundation, spring torrents and flood — that occupied Levitan from the end of
the 1880s. The image is sometimes of a broad, almost endless expanse of water with occasional bare tree trunks, mirroring a gloomy and threatening sky
(Inundation, с. 1887). Elsewhere, Levitan shows us a dark autumn flood
brought on by persistent rain (High Water, 1885) or a river early in the year
that has just broken its bonds of ice, covering nearby thickets with water that
is full of the bright, glimmering light of spring (Spring. High Water, 1897).
A letter that Levitan wrote from Nice in the spring of 1894 to his friend
Apollinary Vasnetsov reveals the artist’s love of this passing state of nature
in his native land, and the desire to experience it over and over: “I imagine
how lovely it is now in Russia: the rivers have burst their banks, everything
is coming to life.”
These traits, so characteristic of Levitan, are instantly recognisable in the
impeccable work High Water, where the artist achieves his unique merging
I. Levitan, Spring. High Water, 1897,
The State Tretyakov Gallery
( 30 )
of plein air naturalness and direct representation of the unassuming central
Russian landscape with a poetic intensity and humanity, of both the subject and the artistic fabric of the painting.
Levitan’s capacity to fill a painting of the most humble corner of nature with
poetic meaning is shown to good effect in the study of a forest edge
entitled Forest Meadow. The colours of the composition combine various
shades of muted green, grass bleached by the sun, the subtle blue of the
sky and a warm sun-soaked ochre. The unfettered breadth of the painting
is full of the plein air spirit, the desire to express an immediate contact
with the ever-transient medium of light and air. Forest Meadow reveals
Levitan’s artistic credo: not merely to arrange the elements of the picture,
but to see nature itself as part of the composition. Studies such as this
vividly demonstrate the artist’s ability to “feel” the space.
The small size of our third landscape, entitled Tree by the Lake, is typical
of most sketches by Levitan. The artist judged a 20 by 25 cm format to be
both convenient and best-suited for plein air work. As he liked to say to his
pupils: “Never be seduced by large size in sketches. A large sketch has
much that is false, while a small sketch has very little of it, and if you really
and truly feel what you saw when you painted the sketch, then the picture
will also give an accurate and full impression of what was seen.”
So, even in such a chamber work, the artist does more than to skillfully
convey the tenderness of the gray-green foliage, the roughness of the
curved trunk, frozen in a tense equilibrium and dappled with light. He also
makes the viewer feel the mood of a summer day that has brought warmth
to this corner of nature. The virtuosity of his tonal treatment of green colour
is apparent in the easy transition between shades, in and out of the sun,
in the grass and bushes of the foreground, the waterweed, the forest
groves of the far shore, and even in the still water of the little river that
gleams among the thickets.
This succinct movement toward generality and synthesis, where a simple
and ordinary motif is filled with broad and deep content, became the
leitmotif of Levitan’s work in the last years of his life. Even the most
cursory piece by the mature Levitan, drawing or oil sketch, strikes us by
the faithfulness with which tree trunks, foliage, grass, flowers and water
are portrayed, and particularly the truth of the colour relations between
land, vegetation and sky in the most diverse conditions of weather and
lighting.
I. Levitan, High Water, 1885, The National Art Museum of the Republic
of Belarus
I. Levitan, High Water, 1887, The State Tretyakov Gallery
www.MacDougallauction.com
Russian Art Auction
* 12.
Levitan, Isaak (1860–1900)
Forest Meadow, signed and dated 1890.
Oil on canvas, 36 by 49.5 cm.
Provenance: Acquired in the 1920s by the
father of the present owner.
Important private collection, Israel.
Authenticity of the work has been confirmed
by the expert V. Petrov.
Exhibited: Isaak Levitan. 1860–1900. Sketches
& Paintings, Tel Aviv Museum of Art, Tel Aviv,
24 July–28 September 1991.
Literature: Exhibition catalogue, Isaak Levitan.
1860–1900. Sketches & Paintings, Tel Aviv,
Tel Aviv Museum of Art, 1991, p. 11, illustrated.
£120,000–180,000
The present lot as illustrated in the 1991 exhibition catalogue
( 32 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 33 )
* 13.
Levitan, Isaak (1860–1900)
14.
Polenov, Vasily (1844–1927)
Tree by the Lake.
Southern Landscape, signed with a monogram.
Oil on canvas, laid on cardboard, 16 by 23 cm (canvas size).
Oil on canvas, 24 by 47.5 cm.
Provenance: Acquired in the 1920s by the father of the present owner.
Important private collection, Israel.
Provenance: Private collection, Slovenia.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity of the work has been confirmed by the expert V. Petrov.
£25,000–50,000
Exhibited: Isaak Levitan. 1860–1900. Sketches & Paintings,
Tel Aviv Museum of Art, Tel Aviv, 24 July–28 September 1991.
Literature: Exhibition catalogue. Isaak Levitan. 1860–1900.
Sketches & Paintings, Tel Aviv, Tel Aviv Museum of Art, 1991,
pp. 20–21, illustrated.
£35,000–50,000
The present lot as illustrated in the 1991 exhibition catalogue
( 34 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 35 )
An Important Work
by Konstantin Somov
Repose at Sunset
* 15.
Somov, Konstantin (1869–1939)
Repose at Sunset, signed and dated 1922.
Oil on canvas, 36.5 by 45 cm.
Provenance: Private collection, USA.
A gift from the above to the present owner, c. 1970s.
Private collection, New York.
£180,000–250,000
MacDougall’s с гордостью представляет изысканное камерное полотно
Константина Сомова «Созерцание заката». Картина датирована 1922 годом и напоминает зрителю об ушедшей в прошлое эпохе мирискуснических пасторалей и утонченных барышень, развивая все тот же близкий
многим художникам fin de siècle мотив пассеистической ностальгии по
потерянной гармонии прошлого. Расширение сферы поисков идеализированного «золотого века» в сторону национальных героев и мотивов
характерны в это время не только для Сомова, обращающегося в своих
русских и парижских произведениях 1920–1930-х годов к новым для
себя темам «крестьянской пасторали», но и для Бориса Кустодиева,
Филиппа Малявина и других живописцев эпохи.
Эта композиция перекликается со знаменитой картиной Сомова
«Спящая молодая женщина в парке» (1922), где получает развитие тот
же сюжет. Юная дама задремала на траве в усадебном парке и не слышит, что где-то вдалеке двое дуэлянтов дерутся на шпагах, а из кустов
цветущей сирени нянюшка выводит на прогулку своего воспитанника.
Данная композиция значительно проще и лапидарнее, однако в ней заметно, как меняются со временем у Сомова источники ностальгической
образности. На смену образам галантного XVIII столетия, изощренной
и дразнящей чувственности во вкусе Ватто и Буше, пудреным парикам
и кринолинам здесь приходит обращение к идеалам наивной красоты
русской усадебной жизни XIX века, к чистоте «тургеневских» девушек
и мечтательной любви, к прогулкам среди родных полей и перелесков,
а элементы композиции — садящееся солнце, цветущая сирень и, главное, фигура девушки в светлом платье — вызывают ассоциации с идиллическим восприятием образа далекой, утраченной России.
K. Somov, Young Woman Sleeping in the Park, 1922, The State
Tretyakov Gallery
( 38 )
MacDougall’s is proud to present an exquisite chamber work by Konstantin
Somov, Repose at Sunset. The painting dates from 1922, but carries the
viewer back to a bygone World of Art era of pastoral idylls and refined
ladies, developing the fin de siècle nostalgia that was close to the heart
of many artists. This tendency towards the inclusion of national heroes
and motifs in the search for an idealised “golden age” is characteristic not
only of Somov, whose Russian and Parisian works of the 1920s and 1930s
explore the new “peasant pastoral” themes, but also of Boris Kustodiev,
Philippe Maliavin and other painters of the time.
This composition resonates with Somov’s well-known picture, Young
Woman Sleeping in the Park (1922), which develops the same theme.
A young woman has fallen asleep on the grass in a manor park and
is completely oblivious of two duellists fighting with swords and a nanny
taking a child for a walk amid the blossoming lilac bushes. Repose
at Sunset is much simpler and more expressive, but it shows well how
the sources of Somov’s nostalgic imagery changed over time. The gallantry
of the 18th century, with its exquisite, tantalizing sensuality in the spirit
of Watteau and Boucher, and its powdered wigs and crinolines, give way
to the ideals of the naïve beauty associated with Russian country estate life
in the 19th century, the innocent girls and romantic love (such as we find
in Turgenev’s writing), walks through fields and woods. Furthermore, the
elements of the composition — the setting sun, the lilac in blossom and,
most importantly, the girl in a light-colouerd dress — evoke the idyllic
image of a distant, lost Russia.
K. Somov, On the Grass, 1919, Dnipropetrovsk State Art
Museum
K. Somov, Fireworks, 1922, The I. Brodsky Apartment
Museum, St Petersburg
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 39 )
* 16.
Shishkin, Ivan (1832–1898)
Forest Clearing, signed.
Oil on canvas, 36.5 by 58.5 cm.
Provenance: Collection of Abram Minkin, St Petersburg.
Acquired from the above by the present owner.
Private collection, USA.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£50,000–70,000
( 40 )
www.MacDougallauction.com
Russian Art Auction
17.
Sverchkov, Nikolai (1817–1898)
Equestrian Portrait of Seymourina Poirson, signed, inscribed “Paris” and dated 1863.
Oil on canvas, 74 by 92.5 cm.
The young lady in the painting presented here is the goddaughter and the foster child of Richard Seymour-Conway,
4th Marquess of Hertford, a founder of the Wallace collection. Lord Hertford commissioned the work to Nikolai
Sverchkov, who was then working in Paris. Seymourina Poirson (née Cuthbertson) is painted astride a thoroughbred
horse, acquired by Lord Hertford at the famous Tattersalls horse auction, where he notoriously outbid none other than
the French Emperor Napoleon III. As the legend has it, once Lord Hertford had learned the identity of his underbidder,
he attempted to present the horse to him. This portrait, therefore, was commissioned to commemorate this purchase,
as well as to showcase the beauty and elegance of his goddaughter Seymourina.
Provenance: Collection of Richard Seymour-Conway, 4th Marquess of Hertford.
Bequeathed by the above to the sitter, his goddaughter.
Thence by descent.
Private collection, France.
£60,000–90,000
N. Sverchkov, Equestrian Portrait of
a Marchioness, 1871, The State Research
Art Museum of Horse-Breeding, Moscow
MacDougall’s
London
2 December 2015
J.S. Sargent, Portrait of Madame
Paul Poirson (Seymourina Poirson), 1885, Detroit Institute of Arts
N. Sverchkov, Equestrian Portrait of A. Panaeva, 1870–1880,
The State Research Art Museum of Horse-Breeding, Moscow
( 43 )
An Important Work
by Vasily Kotarbinsky
Roman Orgy
( 44 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 45 )
18.
Kotarbinsky, Vasily (1849–1921)
Roman Orgy, signed, inscribed “Roma” and indistinctly dated 189?.
Oil on canvas, 166 by 221 cm.
Related literature: For another version of the present lot, see G. Romanov,
A. Muratov, Zhivopis russkogo salona (1850–1917 gg.). Entsiklopediya,
St Petersburg, Zolotoi Vek/Sankt-Peterburg Orkestr, 2004, p. 321, illustrated.
£550,000–900,000
Представленная на торги картина «Римская оргия» — авторский вариант
самой известной исторической композиции Вильгельма Котарбинского.
Согласно каталогу Государственного Русского музея 1899 года аналогичная картина поистине монументального размера (300 х 500 см) вошла
в первую коллекцию музея и была приобретена на выделенные Николаем II средства из собрания Императорской Академии художеств
в 1898 году. Еще один, более камерный вариант той же композиции
находится в собрании Донецкого областного художественного музея.
Подобные случаи разработки одного и того же сюжета в творчестве
Котарбинского не редкость, и, так же как у Айвазовского и
Семирадского, они связаны с желанием заказчиков из высших кругов
петербургского общества повторить для них полюбившуюся работу
из Императорского музея. Конечно, вновь обращаясь к известной теме
и воспроизводя готовые фрагменты, художник вносил в композицию некоторые вариации, индивидуализирующие новый холст и позволяющие
проработать отдельные детали. Так, в нашей версии композиции по
сравнению с картиной из Русского музея более удачно решена фигура
старика с золотыми монетами на заднем плане, добавлены несколько
персонажей в глубине, изменен облик и поза последнего пассажира
в лодке, угол наклона кимвалов в руках музыканта и ракурс поворота
головы девушки на первом плане.
Но главное остается неизменным: картина увлекает разнообразием
и игрой фактур — обнаженных тел, тканей, перьев, цветов, воды, многообразием поз и своеобразным ярусным композиционным решением,
мастерством в изображении предметов. Центром композиции является
красивая по пластике группа: стоящий у балюстрады римский патриций
в темном плаще (возможно, император Нерон) в окружении полуобнаженной римлянки и девушки с веером и чашей.
Photograph of the detail of the work in infrared light
( 46 )
Идеальные фигуры, закутанные в классические одеяния, классические
профили и скульптурные позы придают этой сцене театральность и большую художественную выразительность. Героем картины можно назвать
и теплый предзакатный свет, окрашивающий все в нежные розоватооранжевые тона и обволакивающий происходящее романтической дымкой и покровом некоторой таинственности. Этот световой эффект, переданный технически совершенно, тонко и со множеством нюансов, а также гармоническое сочетание тонов — от розово-коричневых до глубоко
синих — составляют одно из основных достоинств работы, производящей впечатление большого декоративного панно.
Не секрет, что источником вдохновения Котарбинского на протяжении
всей его жизни оставались события и персонажи Древней Греции
и Древнего Рима. Посвятив себя изучению и воссозданию истории и быта античности, художник нередко с археологической точностью показывал в своих полотнах обстановку, одежды и утварь того времени.
Впервые приехав в Италию в 1868 году, Котарбинский оказался навсегда очарован Вечным городом. Он долгие годы жил в Риме, но, даже
вернувшись потом в Россию и работая в Петербурге и Киеве, он попрежнему оставался преданным «пленником красоты» южного итальянского солнца, ее пышной природы и колоритных типажей, дающих
богатейший материал для творчества.
Котарбинский был одним из любимых художников Николая II. Им восхищались современники, сравнивали с Генрихом Семирадским и Павлом
Сведомским, называли русским Альма-Тадемой, превозносили его изумительное мастерство и тонкость письма, красоту композиции и рисунка, грациозность и поэтичность сюжетов. Его талант превратить любой
сюжет в зрелище красоты, даровать наслаждение и сладкое воспоминание о «золотых временах» человечества был чрезвычайно востребован
временем.
Photograph of the work in UV light
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Russian Art Auction
MacDougall’s
London
2 December 2015
( 47 )
Живописец оживлял не столько античную историю, сколько легенду
о ней. Разумеется, Котарбинский был не оригинален в выборе тем. Как
правило, он брал сюжеты, уже интерпретированные другими художниками, но решал их по-своему и зачастую не менее удачно. Признанным
мастером сцен из жизни Нерона в Мюнхене был Вильгельм фон
Кульбах, в Лондоне корифеем стиля «неогрек» оставался голландец
Лоуренс Альма-Тадема, обращавшийся к пиршествам времен Августов
в «Розах Гелиогабала» (1888). Вакхические празднества и оргии Нерона
и Тиберия привлекали и соотечественников художника. В 1896 году вышел в свет роман Генриха Сенкевича «Камо грядеши», еще раньше появились «Римская оргия блестящих времен цезаризма» (1871) и «Оргия
времен Тиберия на острове Капри» (1881) Семирадского, «Оргия»
(1883) и «Погребенные в цветах» (1886) Сведомского.
The painting offered here at auction, entitled Roman Orgy, is a version
by Vasily Kotarbinsky of the best-known historical composition that he
created. According to the 1899 catalogue of the State Russian Museum,
a variant of this picture of truly monumental proportions (300 by 500 cm)
was in the museum’s first collection, having been acquired from the
Imperial Academy of Arts in 1898 using funds provided by Nikolai II. There
is another, somewhat scaled-down, version in the collection of Donetsk Art
Museum.
last passenger in the boat, the angle of the cymbals held by the musician
and the angle of the girl’s head in the foreground.
There are other, similar examples in Kotarbinsky’s oeuvre addressing the
very same subject matter. These are not rare and, as with Aivazovsky and
Semiradsky, they are linked to a desire on the part of patrons in the highest circles of St Petersburg society to have their own versions of their
favourite works in the Imperial Museum.
Naturally, in addressing a well-known theme and reproducing elements
that already existed, the artist introduced certain variations to the
composition to give the new canvas individuality and allow particular details to be further developed. So, by comparison with the painting in the
Russian Museum, this version has a better portrayal of the old man with
the gold coins, and several characters have also been added in the background. There are additional changes to the appearance and pose of the
V. Kotarbinsky, Roman Orgy, The State Russian Museum
MacDougall’s
London
2 December 2015
Во всех этих полотнах мир античности предстает в виде многофигурных
эффектных зрелищ, прекрасных идиллических сцен и не менее
упоительных драм. Античная традиция воспринимается Котарбинским
и его современниками как исток, основание европейской цивилизации,
и обращение к ней позволяет художникам и их поклонникам ощущать
себя не поляками, русскими или римлянами, но европейцами
в широком смысле этого слова, людьми, причастными общей
мировой истории.
In the main, however, the painting remains unchanged: it has a captivating
variety and interplay of textures — naked bodies, fabrics, feathers, flowers,
water, a variety of poses, unique use of tiers in the composition, and masterly depiction of objects. The centre of the composition is a group of
sculptural beauty: a patrician Roman in a dark cloak standing by a
balustrade (possibly, the Emperor Nero) next to a half-naked Roman
woman and a girl with a fan and bowl.
The scene is given its theatricality and great artistic expressiveness by the
idealised figures draped in classical garb, their classical profiles and
sculptural poses. Another protagonist of the picture is the warm light of an
impending sunset which embellishes everything in gentle, peach-coloured
tones and envelops the composition in a romantic haze that lends it a certain sense of enigma.
This effect of light, conveyed with technical perfection, subtlety and a multitude of nuances, as well as the harmonious way in which tones are combined — from rosy fulvous to deep blue — constitutes one of the main
virtues of the work, which comes across as a large decorative panel.
G. Semiradsky, Orgy in the Reign of Tiberius on the Capri Island, 1881, The State Tretyakov Gallery
( 49 )
It is no secret that the events and the characters of Ancient Greece and
Ancient Rome remained a source of inspiration for Kotarbinsky throughout
his life. Devoting himself to the study and reproduction of the history and
way of life of antiquity, the artist would often portray on canvas the
environment, clothing and utensils of that time with archaeological
accuracy. Arriving in Italy for the first time in 1868, Kotarbinsky became irrevocably enchanted with the Eternal City. He lived in Rome for many years,
and even when he subsequently returned to Russia and worked in
St Petersburg and Kiev, he remained, as before, a “captive” to the beauty
of the southern Italian sun, and the luxuriance of the landscape and colours
that characterised it, providing such abundant material for creativity.
Kotarbinsky was one of Nicholas II’s favourite artists. He was admired
by his contemporaries, compared to Genrikh Semiradsky and Pavel
Svedomsky, called the Russian Alma-Tadema and eulogised for the astonishing mastery and fineness of his painting, the beauty of his composition
and draughtsmanship and the poetic grace of the subjects he painted.
His talent for turning any subject into a vision of beauty, for conveying
the delight and sweet remembrance of humanity’s “golden times” was
in extraordinary demand at the time.
The painter recreated not so much the history of antiquity but rather the
legends associated with it. It goes without saying that Kotarbinsky was not
V. Kotarbinsky, Favourite Concubine and Her Maid
( 50 )
original in his choice of subject matter. As a rule, he borrowed subjects that
had already been interpreted by other artists, but dealt with them in his
own way and often with no less success. In Munich, Wilhelm von Kaulbach
was acknowledged as the master when it came to scenes from the life of
Nero, whereas in London the Dutchman Lawrence Alma-Tadema remained
the luminary of the Neo-Greek style, with his painting of a banquet in the
time of Augustus entitled Roses of Heliogabalus (1888). The Bacchanalian
feasts and orgies of Nero and Tiberius were also an attraction for
Kotarbinsky’s fellow countrymen. Henryk Sienkiewicz’s novel Quo Vadis
came out in 1896, whereas Semiradsky’s Roman Orgy in the Illustrious
Time of the Caesars (1871) and Orgy in the Time of Tiberius on the Island of
Capri (1881), and Svedomsky’s Orgy (1883) and Buried in Flowers (1886)
appeared even earlier.
In all these canvases the world of antiquity is presented as eye-catching
spectacle involving many human figures, or as beautifully idyllic scenes
and dramas of no less ravishing a nature. The tradition of antiquity is perceived by Kotarbinsky and his contemporaries as the origin and basis of
European civilisation, and addressing this subject allows artists and their
followers to feel they are not Poles, Russians or Romans, but Europeans
in the broad sense of the word — people who are part of a common
human history.
P. Svedomsky, Buried in Flowers, 1886, Kiev National Museum of Russian Art
www.MacDougallauction.com
Russian Art Auction
* 19.
* 20.
Kolesnikov, Stepan (1879–1955)
Kolesnikov, Stepan (1879–1955)
Laundry Day, signed.
Still Life with Watermelons and Melons, signed.
Oil on canvas, 101.5 by 130.5 cm.
Oil on canvas, 75.5 by 100 cm.
Provenance: A gift from the artist to his doctor V. Arnovljevic, Belgrade.
Thence by descent.
Acquired from the above by the present owner.
Private collection, USA.
Authenticity of the work has been confirmed by the
expert V. Petrov.
£40,000–60,000
Authenticity of the work has been confirmed by the expert V. Petrov.
£20,000–30,000
( 52 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 53 )
* 23.
Vasilkovsky,
Sergei (1854–1917)
Winter Village at Sunset, signed
and indistinctly dated.
Oil on paper, laid on panel, 6.5 by 10 cm.
Provenance: Important private
collection, USA.
Authenticity of the work has been
confirmed by the expert V. Petrov.
£2,000–3,000
24.
Brovar, Yakov (1864–1941)
Oak Grove, signed and dated 1915.
Oil on cardboard, 69.5 by 99.5 cm.
Provenance: Private collection,
Germany.
Thence by descent.
£12,000–18,000
* 21.
Vasilkovsky, Sergei (1854–1917)
* 22.
Vasilkovsky, Sergei (1854–1917)
Winter Study, signed and numbered “402”, also further titled
Ukrainian Hut on a Hill, signed.
in Cyrillic, numbered “N 402” and bearing the artist’s studio stamp
on the reverse.
Oil on canvas, laid on cardboard, 14 by 24.5 cm.
Oil on cardboard, 14 by 24 cm.
Provenance: Important private collection, USA.
Authenticity of the work has been confirmed by the expert V. Petrov.
Provenance: Important private collection, USA.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£3,000–4,000
£2,000–3,000
( 54 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 55 )
* 26.
25.
Tikhmenev, Evgeny (1869–1934)
* 27.
Tikhmenev, Evgeny (1869–1934)
Bear Hunt, signed and dated “1913 10/5 goda”.
Dogs and Wolf, signed.
Oil on canvas, 56 by 71.5 cm.
Oil on canvas, 56 by 71 cm.
£12,000–18,000
£12,000–18,000
Makovsky, Konstantin (1839–1915)
Portrait of the Artist’s Daughter Olga in the Garden, signed.
Oil on canvas, 61 by 38 cm.
Provenance: Collection of the sitter, Olga Makovskaya.
Thence by descent to a previous owner.
£60,000–90,000
( 56 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 57 )
28.
Gine, Alexander (1830–1880)
29.
Goravsky, Apolinary (1833–1900)
Fishermen in the Harbour, signed.
Alpine Landscape, signed and dated 1859.
Oil on canvas, laid on board, 19 by 27 cm.
Oil on canvas, 85.5 by 115 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£30,000–40,000
£4,000–6,000
( 58 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 59 )
An Important Work
by Ivan Shishkin
Pine Forest
30.
Shishkin, Ivan (1832–1898)
Pine Forest, signed and dated 1866.
Oil on canvas, 91 by 70.5 cm.
Provenance: Private collection, UK.
Literature: I. Shuvalova, Ivan Ivanovich Shishkin, St Petersburg, Khudozhnik
Rossii, 1993, p. 41, illustrated; p. 38, mentioned in the text; p. 205, listed.
Authenticity certificate from the expert V. Petrov.
Authenticity certificate from the expert N. Ignatova.
£400,000–600,000
«Сосновый лес» — редкая ранняя опубликованная работа Ивана
Шишкина, которой открывается в его творчестве многолетняя и чрезвычайно значимая тема хвойного леса.
Она написана по итогам пленэрной работы в подмосковном селе
Братцево, где Шишкин со своим близким другом и сокурсником по
Московскому училищу живописи, ваяния и зодчества Львом Каменевым
провел все лето в старинной усадьбе, построенной, быть может, по проекту знаменитого Андрея Воронихина. Расположенная на северо-западе
от Москвы усадьба спускалась к речке Братовке, притоку Сходни,
соседствуя с общеизвестным большим селом Тушино.
В тот сезон Шишкин, только вернувшийся на родину после нескольких
лет пенсионерской поездки, работал запоем, «с жаром», как он сам
говорил. Каждый день художник писал по нескольку натурных этюдов.
На основе таких этюдов и была написана картина «Сосновый лес».
Как и всегда, у Шишкина на картине изображено конкретное место.
Полотно наполнено светом, воздухом и ощущением простора, которые
характерны для его работ этого времени и позднее уступают место более
замкнутым и сгущенным лесным пространствам. Шишкину удалось одновременно и придать композиции «облагороженное» звучание, и найти
ту меру выражения представления о диком среднерусском пейзаже,
которое не противоречило академическим идеалам: уходящая вниз,
The present lot as illustrated in the I. Shuvalova monograph on the artist
( 62 )
к берегу пруда тропинка, пологое всхолмье, поросшие травой валуны
и вырывающиеся на поверхность земли корни деревьев дают необходимый взгляду разбег, позволяя насладиться гармоничным соотношением
масс лесного массива и высокого, чуть подернутого облаками летнего
неба. Сосновая аллея, некогда составлявшая славу усадьбы и ведущая
к беседке-ротонде, сегодня практически не сохранилась, остались лишь
отдельные сосны и огромные пни от вырубленных деревьев. Только отчасти сохранились и сосны на склоне холма, вдохновившего художника.
Но по воспоминаниям современников известно, что сосновая аллея
в XIX веке обрамляла весь братцевский склон и прерывалась только
около господского дома, а виды на поросшие деревьями склоны
открывались и от поляны, и от берега усадебного пруда.
По своим изобразительным особенностям картина «Сосновый лес»
занимает особое место, обозначая переломный момент в творчестве
художника. Ведь это не только удивительно целостный, живой, наполненный светом и воздухом вид на лесную опушку, построенный в лучших
классических традициях, но и, безусловно, уже завершенная по замыслу и безупречная по исполнению картина, которая предвосхищает
появление всех последующих шедевров прославленного пейзажиста.
Именно благодаря работам, сделанным на основании пленэрных
эскизов в Братцеве, на Шишкина обратил внимание Павел Третьяков,
и к художнику пришел успех и общественное признание.
I. Shishkin, Pine Forest. Mast Timber in Vyatka Province, 1872,
The State Tretyakov Gallery
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 63 )
Pine Forest, offered here for auction, is a rare, early work by Ivan Shishkin.
It is all the more noteworthy in that it was one of Shishkin’s first paintings
of a pine forest, a subject that would dominate his oeuvre for many years.
Pine Forest was painted en plein air in the village of Bratsevo, north-west
of Moscow, where Shishkin and his close friend Lev Kamenev, a fellow
student from the Moscow School of Painting, Sculpture and Architecture,
spent the entire summer of 1866 in an old manor house allegedly designed
by the famous architect Andrey Voronikhin. The grounds of the estate
stretched out to the rivulet Bratovka, a tributary of the Skhodnya, and
adjoined the famous historic village of Tushino.
Shishkin, who had just returned home that year after spending several
years travelling abroad on a funded research trip, completely immersed
himself in painting, working “feverishly”, as he himself said. He would
produce several plein air studies every day, and these served as the basis
for Pine Forest.
In Pine Forest, Shishkin, as always, depicts a specific place. The canvas
is imbued with the light, air and sense of the vastness of space that are
so characteristic of his work at the time, and which would later give way
to more condensed and secluded forest scenes. He managed both to lend
a note of refinement to the picture, and to find a way to convey the wild,
untamed character of the central Russian landscape without clashing with
the ideals of Russian Academism. The path leading down to the pond, the
gentle slope of the hill, the boulders partly covered with grass and the tree
roots that break free from the ground give free rein to the viewer’s eye,
allowing him to enjoy the harmonious relation between the forest and the
vault of the summer sky with its scattering of clouds. Once the glory of the
old estate, a pine tree-lined alley that used to lead to the summer-house
rotunda is now barely discernible — only a few trees remain, interspersed
with the large stumps of others that have been felled. The pines that
covered the hillside and which inspired the artist are now also mostly
gone. However, contemporary 19th century memoirs tell us that the whole
slope at Bratsevo was clad in pine forest that continued right up to
the manor house, and that views of the wooded slopes opened out from
the clearing and from the shore of the estate pond.
The artistic qualities of Pine Forest lend it special importance as a turning
point in Shishkin’s work. It is a remarkably complete, vivid forest scene,
full of air and light, and executed in the best classical tradition. Carefully
thought out and flawlessly executed, the picture is a precursor to all
subsequent masterpieces by this illustrious Russian landscape painter.
Indeed, it was Shishkin’s paintings based on the Bratsevo sketches that
drew him to the attention of the influential philanthropist and collector
Pavel Tretyakov, the founder of the State Tretyakov Gallery, who was
instrumental in bringing the artist success and public recognition.
I. Shishkin, Pine Forest, Lviv National
Art Gallery
( 64 )
31.
Shilder, Andrei (1861–1919)
Summer Landscape with a River, signed and dated 1918.
Oil on canvas, 73 by 100.5 cm.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts P. Klimov
and S. Krivondenchenkov.
£40,000–60,000
( 66 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 67 )
* 32.
Kustodiev, Boris (1878–1927)
Shrovetide Fair Booths.
Oil on canvas, 72.5 by 25 cm.
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.
£280,000–350,000
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 далеко за ее пределами.
Наше произведение, без сомнения, является подготовительным эскизом
к знаменитому портрету Федора 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.
B. Kustodiev, Shrovetide (Shrovetide Sleigh Ride), 1919, Research
Museum of the Russian Academy of Fine Arts, St Petersburg
( 68 )
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. Глядя 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, Portrait of Feodor Chaliapin,
1922, The State Russian Museum
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 69 )
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.
B. Kustodiev, Shrovetide, 1919
MacDougall’s
London
2 December 2015
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 fêtes, 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, Fair Booths, 1917, The State Russian Museum
( 71 )
§ 33.
Kalmakov,
Nikolai (1873–1955)
La Femme de Satan, signed with
a cipher and dated 1919, further
inscribed and titled on the
reverse.
Pencil and gouache on paper, laid
on cardboard, 49.5 by 26.5 cm.
Provenance: Collection of
Georges Martin du Nord, Paris.
Private collection, UK.
Exhibited: Nicolas Kalmakoff.
L’Ange de l’Abime (1873–1955)
et les peintres du Mir Iskousstva,
Musée-galerie de la Seita, Paris,
26 March–17 May 1986, No. 24.
Literature: Exhibition catalogue,
Nicolas Kalmakoff. L’Ange de
l’Abime (1873–1955) et les
peintres du Mir Iskousstva, Paris,
Musée-galerie de la Seita, 1986,
p. 64, illustrated. £40,000–60,000
34.
Zichy, Mikhail (1827–1906)
Pencil and watercolour, heightened with white,
on card, 23.5 by 19 cm (card size).
Oil on panel, 18 by 11 cm.
Russian Art Auction
Provenance: Private collection, Europe.
£4,000–6,000
£5,000–7,000
The present lot as illustrated in
the 1986 exhibition catalogue
www.MacDougallauction.com
Zichy, Mikhail (1827–1906)
Male Portrait, signed.
Provenance: Private collection, Europe.
( 72 )
35.
By the Fountain, signed.
MacDougall’s
London
2 December 2015
( 73 )
An Important Work
by Fedor Matveev
View of the
Roman Campagna
36.
Matveev, Fedor (1758–1826)
View of the Roman Campagna, signed, inscribed “fecit. Roma” and dated 1796.
Oil on canvas, laid on metal plate, 142.5 by 183.5 cm.
Provenance: Sotheby's London, 28 November 1979, lot 9.
Acquired at the above sale by a previous owner.
Private collection, Pasadena, California.
Authenticity of the work has been confirmed by the expert S. Podstanitsky.
£600,000–900,000
«Следует отметить, что данная картина является ярким образцом матвеевского творчества. К тому же образцом довольно редким: на данный момент в музейных собраниях известно всего лишь три живописных полотна, датируемых 1790-ми годами. Заказчиками и покупателями подобных
пейзажей чаще всего выступали российские и европейские августейшие
особы (императоры Павел I и Александр I) и представители аристократии
(князь Н.Б. Юсупов, князь А.И. Вяземский и др.)».
Сергей Подстаницкий, историк искусства
«Вид Римской Кампаньи» — очень редкое для художественного рынка
произведение прославленного русского пейзажиста XVIII века Федора
Матвеева. Согласно авторской подписи «Fedor... Matveeff fecit Roma»
картина исполнена художником в Риме в 1796 году и принадлежит ко
времени расцвета его славы и дарования.
По окончании Императорской Академии художеств выпускник ландшафтного
класса Матвеев был награжден большой золотой медалью и правом пенсионерской поездки. Приехав в Рим в 1779 году, он навсегда связал свою жизнь
с Италией. Здесь он некоторое время посещал мастерскую немецкого пейзажиста Якоба Хаккерта, итальянские виды которого пользовались большим
успехом у Екатерины II и ее европейских корреспондентов. Уже в 1799 году
в донесении русского консула, присланном в Петербург вице-канцлеру графу
Кочубею, он упоминается как художник, «выгодно отличающийся своим
талантом в интернациональной среде живописцев, живущих в Риме».
Матвеев посвятил свой талант изображению итальянских пейзажей и воплотил в картинах идеальный образ, сочетавший умозрительные представления о совершенной натуре и подлинные впечатления о природе и архитектурных памятниках «полуденного края». На протяжении более чем 40
лет художник создавал галерею видов этой прекрасной страны, среди
которых важнейшее место заняли изображения Рима и его окрестностей.
F. Matveev, View of Tivoli near Rome, 1782, The State Russian Museum
( 76 )
Матвеев писал древний Форум и Колизей, панорамы римской Кампаньи
и водопады Тиволи. Современники сравнивали его полотна с творениями
лучших европейских живописцев и даже именовали «русским Пуссеном».
Художник неоднократно сопровождал знатных русских особ, совершавших «Гран-тур» для завершения своего образования, а также много путешествовал в поисках видов и привлекательной натуры. Он бывал в окрестностях Неаполя и на Сицилии, осматривал Пестум и Помпеи. В 1783 году
вместе с князем Андреем Вяземским он отправился на север Италии, проехал через Венецию, Болонью, Милан и Турин до Савойских гор, а затем
посетил кантоны Женева и Берн в Швейцарии.
Сделанные в путешествиях зарисовки по возвращении в Рим становились
основой для картин, которые художник создавал, не покидая своей мастерской. Поэтому, несмотря на несомненное сходство с натурным мотивом, зачастую непросто определить, какое именно место изображено на
полотнах художника.
Современники считали Матвеева мастером изображения водной стихии,
и действительно, изображения водопадов и водных потоков можно встретить на его лучших видах Римской Кампаньи, Сицилии и Швейцарии.
Шесть таких живописных полотен с изображениями водопадов и озер
художник даже преподнес в дар Александру I в благодарность за назначенный ему пенсион.
Сохранились свидетельства того, что Матвеев до старости ездил рисовать
с натуры в расположенный неподалеку от Рима городок Тиволи, известный своими природными каскадами, один из которых, по всей вероятности, изображен на представленной картине. В то же время композиционная близость работы к «Сицилийскому водопаду» (1814) из собрания Национального исторического музея Армении свидетельствует об известной
доле «сочиненности» и идеализации мотива, изображение которого подчинено непреложной классицистической схеме.
F. Matveev, Waterfall. Sicily, 1814, National Historical Museum
of Armenia, Yerevan
Картину отличают строгое
разделение пространственных планов; театральная, кулисная организация композиции; обязательная стаффажная мизансцена, без которой не существует классицистического пейзажа;
и не менее обязательный
«задник» с горной грядой,
замыкающей вид и дающей
опору глазу в бесконечном
иллюзорном пространстве.
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Russian Art Auction
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2 December 2015
( 77 )
Как правило, в этом дальнем виде и кроется схваченный художником в натурных зарисовках узнаваемый реальный мотив, виртуозно аранжированный и мастерски погруженный в общую световоздушную перспективу. Один
из почитателей таланта художника и коллекционер его произведений литератор Павел Свиньин особо подчеркивал это качество его пейзажей: «Матвеев более 30 лет находится в Риме и в сем Царстве Художников почитается одним из лучших пейзажистов. Произведения его отличаются синеватым
View of the Roman Campagna, presented here for auction, was painted by the
renowned 18th century Russian landscapist Fedor Matveev, whose work very
rarely appears on the art market. According to the artist’s signature — “Fedor...
Matveeff fecit Roma” — he executed it in Rome in 1796, at a time when his
fame and artistic talent were at their height. On graduating from the landscape class of the Imperial Academy of Arts,
Matveev was awarded a gold medal and the right to a funded trip to Europe.
He arrived in Rome in 1779, and began a life-long association with Italy.
During this time, he would visit the studio of the German landscape painter
Jacob Hackert, whose Italian scenes were a great success with Catherine II and
her correspondents in Europe.
As early as 1799 Matveev is mentioned in a report submitted by the Russian
consul in Rome to Count Kochubey, Vice-Chancellor at St Petersburg, as an artist “whose talent marked him out to his favour in the international milieu of
painters living in Rome”. Matveev devoted his talents to depictions of the Italian landscape, and his
paintings were the embodiment of an ideal image that combined notional
conceptions of perfection in nature with genuine impressions of the natural
landscape and architectural monuments of the “land of the midday sun”. Over
a period of more than 40 years the artist created a string of works depicting
views of this beautiful country, in which pride of place would be held by
portrayals of Rome and the outskirts of the city. Matveev painted the ancient
Forum and the Coliseum, and panoramic views of the Roman Campagna and
the cascades of Tivoli. Contemporaries compared his canvases to work created
by the best European painters and even called him “the Russian Poussin”. The artist often accompanied individual members of the Russian aristocracy
who were on the Grand Tour to complete their education, but also travelled
extensively himself in search of views and attractive landscapes. He was often
in the country around Naples, saw Paestum and Pompeii, and also visited Sicily.
In 1783 he set out with Prince Andrei Vyazemsky for the North of Italy, passing
through Venice, Bologna, Milan and Turin before reaching the mountains of
Savoy, then travelled to the Cantons of Geneva and Bern in Switzerland. ( 78 )
тоном, который вместо того, чтобы распространять холодность — покрывает
какою-то приятною завесою особливо отдаленные предметы».
Все эти приметы авторской манеры Матвеева отчетливо выражены
в представленной на аукционе работе «Вид Римской Кампаньи»,
что позволяет отнести ее к лучшим произведениям художника конца
XVIII столетия.
reason, despite their undoubted resemblance to subjects found in nature, it is
often no simple matter to determine the exact location depicted in the artist’s
canvases.
Matveev’s contemporaries regarded him as an undisputed master when it
came to painting water; indeed, waterfalls and flowing water are frequent
subjects in his best scenes of the Roman Campagna, Sicily and Switzerland.
The artist presented Alexander I with six such picturesque canvases depicting
waterfalls and lakes, in gratitude for the pension he had been awarded.
There is surviving evidence that, well into old age, Matveev would travel to
Tivoli, not far from Rome, to draw the natural waterfalls for which the little
town is famous. In all probability, it is one of these waterfalls that is depicted
in the painting at auction here. At the same time, the work’s closeness in
terms of composition to Sicilian Waterfall (1814, now in the collection of the
National Historical Museum of Armenia) bears witness to the well-known part
played by compositional convention and the idealisation of subject matter,
where its depiction is subordinated to a rigid classical formula. View of the Roman Campagna is distinguished by the way in which spatial
planes are kept strictly separate; the way the composition is organised with
wings like a stage set; the obligatory incidental figures included in the
scenery, which no classical landscape can do without; and the no less
obligatory “backdrop” of a mountain range that encompasses the view and
lends support to the eye as it surveys an endless expanse of illusion. As a
rule, there is also recognisable subject matter in the distance that the artist
had captured in his drawings of the natural landscape. This is arranged with
virtuosity and masterfully immersed in the atmosphere and light of the overall
view. A collector of Matveev’s work and one of those who most admired the
artist’s talent, the litterateur Pavel Svinyin, laid particular emphasis on this
quality in his landscapes: “Matveev has been in Rome more than 30 years,
and in the Realm of Artists that exists there is revered as one of the best
painters of landscape. His work is distinguished by a darkish tone of blue
which, rather than radiating coldness, spreads, over distant objects
especially, a sort of kindly veil”.
On his return to Rome, the sketches he had made on his travels became the
basis for pictures that the artist painted without leaving his studio. For this
All these features of Matveev’s creative style are clearly articulated in his View
of the Roman Campagna, which allows it to be placed among the artist’s best
work from the end of the 18th century.
F. Matveev, Mountain Landscape in Sicily, 1811, The State Tretyakov Gallery
F. Matveev, Italian Landscape, 1819, The State Tretyakov Gallery
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Russian Art Auction
* 37.
* 38.
Anisfeld, Boris (1878–1973)
Anisfeld, Boris (1878–1973)
Still Life with Buddha, signed and dated 1957.
Still Life with a Vase, signed and dated 1952.
Oil on canvas, 106.5 by 91.5 cm.
Tempera and oil on canvas, 101.5 by 76 cm.
Provenance: Raydon Gallery, New York (label on the reverse of the frame).
Private collection, New York.
Provenance: Private collection, Chicago.
Russian Art, Sotheby’s New York, 15 April 2008, lot 68.
Authenticity of the work has been confirmed by the artist’s grandson Charles Chatfield-Taylor.
Authenticity of the work has been confirmed by the expert D. Volyak.
Exhibited: Springfield Art Association, Springfield, c. 1980 (label on the reverse of the frame).
Literature: E. Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné,
Düsseldorf, Edition Libertars, 2011, p. 169, No. P 516, illustrated and listed.
£20,000–30,000
£30,000–40,000
( 80 )
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( 81 )
39.
§ 40.
Tarkhoff, Nikolai (1871–1930)
Issupoff, Alessio (1889–1957)
Portrait of the Artist’s Sons, signed.
Still Life with a Lady’s Hat, signed and dated 1947,
Oil on canvas, 84.5 by 74.5 cm.
further indistinctly inscribed “Vetrina per ...” and
numbered “37” on the stretcher.
Oil on canvas, 65.5 by 80.5 cm.
Executed c. 1908.
The present lot is a portrait of Jean and Boris Tarkhoff, painted
in the artist’s apartment-studio on rue Belloni, Paris.
£15,000–20,000
Authenticity of the work has been confirmed by The Nicolas
Tarkhoff Committee and the painting will be included in the
forthcoming catalogue raisonné of the artist. £30,000–40,000
( 82 )
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( 83 )
41.
Korovin, Konstantin (1861–1939)
Boulogne, signed, inscribed “Boulogne” and dated 1935.
Oil on canvas, 50.5 by 61 cm.
Provenance: Private collection, Italy, until the late 1990s.
Private collection, Croatia.
£90,000–120,000
«Булонь» принадлежит к циклу блестящих по живописному мастерству
картин, создававшихся Константином Коровиным в разные годы во время поездок к морю. По воспоминаниям современников, он мог встать
на любом углу во время прогулки или остановить шофера словами
«Стоп! Я буду писать!» и тут же, на месте, набросать композицию, которая казалась окружающим ничем не примечательной, но под рукой
Коровина неожиданно обретала цельность изображаемого мотива. Boulogne belongs to a cycle of vibrant, superbly executed paintings that
Konstantin Korovin painted over a number of years on his trips to the seaside. His contemporaries recalled that he would randomly interrupt a stroll,
or bring his driver to a halt, exclaiming: “Stop! I want to paint!” Then,
Korovin would make an impromptu sketch, transforming a seemingly unremarkable scene into a lovely landscape, with all the elements coherently
organised into an integral composition.
В летних — крымских и французских — пейзажах Коровина становится
особенно заметно, что для него важнее живопись, чем предмет,
а фрагментарная, порой как будто случайная, композиция — лишь
повод для создания настоящей поэмы света и цвета. «Булонь» — одно
из таких стремительных произведений, сохранивших для нас маэстрию
коровинской кисти и главный завет его творчества: «Больше отрадного,
светлого».
In Korovin’s French and Crimean landscapes it becomes especially
apparent that the process of painting was more important to the artist than
the subject, and the fragmentary, sometimes incidental composition is only
a pretext for creating a veritable poem of light and colour. Boulogne is one
of these spontaneous works, which showcase Korovin’s consummate skills
and the main principle that guided his artistic pursuits: “More pleasure,
more brightness”.
Атмосфера приморского лета передана так, что при первом взгляде на
полотно в памяти невольно возникают дыхание летнего зноя и особый
терпкий аромат раскаленной улицы, смешанный с запахом нагретой
листвы. Все пронизано ощущением счастья жизни, напоенного теплым
прибрежным солнцем. Оно исходит от солнечного света, по-летнему
яркого и розовеющего, и свежести самой легкой, подвижной живописи,
отрадность которой усилена выражением связи со световоздушной
средой.
The atmosphere of a summer day in a seaside town is conveyed so expertly
that the first glance at the canvas evokes the hot summer air and conjures
up that special, sharp scent of a sun-scorched street, mixed with the smell
of leaves on the trees lining it. The scene exudes serene happiness, bathed
in the seaside sun. This happiness is expressed by the bright light of the
sun, with its rosy hue, so typical of summertime; and also by the gentle, vivacious manner of painting.
Коровин всегда чуток к декоративности изображения, что проявляется
в использовании объединяющего упругого ритма отрывистых мазков,
словно простегивающих пространство улицы и неба, в то время как гармонизатором впечатления служит свет: сияющий свет солнца, отбрасывающий от предметов цветные отблески, синие и серо-сиреневые тени.
K. Korovin, Coachman in Crimea, 1910s, The State Tretyakov
Gallery
( 84 )
K. Korovin, Suburbs of Paris
Korovin was unfailingly sensitive to the decorative aspect of the scenes he
depicted. This comes through in the graceful rhythm unifying the short
brushstrokes that make up the space of the street and the sky. However, it
is the light that creates the picture’s sense of wholeness: the shining light
of the sun casting coloured reflections off the objects, as well as dark-blue
and lilac-grey shadows.
K. Korovin, Paris by Daytime
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Russian Art Auction
MacDougall’s
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( 85 )
43.
Korovin, Konstantin (1861–1939)
44.
Korovin, Konstantin (1861–1939)
Ushakovo-Ostrovno Village in Tver Province, signed, inscribed
Rue de l’Abreuvoir, Montmartre, signed and
“Russie” and dated 1912, also further inscribed in Cyrillic “Rossiya — Tverskoi
gubernii derevnya Ushakovo-Ostrovno. Petrogradskii trakt.” on the reverse.
Oil on cardboard, 33 by 41 cm.
inscribed “Paris”.
Oil on cardboard, 33 by 41 cm.
Provenance: Private collection, Italy, until the late 1990s.
Private collection, Croatia. Provenance: Private collection, Italy, until the late 1990s.
Private collection, Croatia. £12,000–18,000
£7,000–9,000
*§ 42.
Lapchine, Georges (1885–1950)
First Signs of Spring, signed.
Oil on canvas, 114 by 146.5 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts A. Kiseleva and I. Geraschenko.
Exhibited: 36e Exposition de la Société des “Artistes Indépendants”, Palais de Bois,
Paris, 21 March–3 May 1925 (label on the reverse).
Literature: Exhibition catalogue, Catalogue de la 36e Exposition, Paris, 1925,
p. 187, No. 1931, listed as Village russe (le réveil du printemps).
£80,000–120,000
The present lot as listed in the 1925 exhibition catalogue
( 86 )
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2 December 2015
( 87 )
§ 45.
Pogedaieff, Georges (1894–1977)
§ 46.
* 48.
Pogedaieff, Georges (1894–1977)
Grigoriev, Nikolai (1890–1943)
§ 49.
Altman, Alexander (1885–1950)
My House in MÉnerbes, signed, stamped
Still Life with Fruit, signed twice.
In the Park, signed and dated 1936.
Rose Garden, signed.
with the artist’s initials, inscribed “Chez moi —
Ménerbes” and dated “le 4.9.68” on the
artist’s studio label on the reverse.
Oil on cardboard, 46 by 27 cm.
Oil on paper, laid on cardboard, 28 by 46.5 cm.
Oil on canvas, 61.5 by 38 cm.
Oil on canvas, 100 by 81 cm.
Provenance: Private collection, France.
Authenticity of the work has been
confirmed by the expert V. Petrov.
£6,000–8,000
£1,000–1,500
£3,000–5,000
£1,000–2,000
47.
Burliuk, David (1882–1967)
* 50.
Burliuk, David (1882–1967)
Carriage Ride, signed.
Siesta, signed.
Oil on canvasboard, 30.5 by 40.5 cm.
Oil on canvas, 31 by 41 cm.
Provenance: Private collection,
New Jersey (damaged label on
the reverse).
Executed in the second half
of 1940s‒1950s.
Authenticity certificate from the
Burliuk Committee.
The work will be included in the
forthcoming David Burliuk catalogue
raisonné being prepared by the
Burliuk Committee in collaboration
with Mary Burliuk. £8,000–12,000
Provenance: Acquired directly from
the artist by Joseph Hirshhorn,
New York.
Collection of Joseph Hirshhorn,
New York (label on the stretcher).
A gift from the above to a previous
owner, 1966.
Authenticity of the work has been
confirmed by the expert T. Levina.
The work will be included in the
forthcoming David Burliuk catalogue
raisonné being prepared by the
Burliuk Committee in collaboration
with Mary Burliuk.
£8,000–12,000
( 88 )
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2 December 2015
( 89 )
* 52.
Burliuk, David (1882–1967)
Houses by the Lake, signed.
Oil on cardboard, 25 by 28 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
* 51.
* 53.
Burliuk, David (1882–1967)
Burliuk, David (1882–1967)
Still Life with Flowers, Fruit and Open Book, signed, also further signed, stamped with
Farmers with a Bull, signed, also further signed
the artist’s inventory stamp and numbered twice “N 273” and “673” on the reverse, also further
numbered “N 673” on the reverse of the frame.
Oil on canvas, 80 by 50 cm.
and numbered “N 36” on the reverse.
Oil on canvasboard, 60.5 by 50.5 cm.
Provenance: Private collection, USA.
Provenance: Collection of the artist (stamp on the reverse).
Private collection, USA.
The work will be included in the forthcoming David
Burliuk catalogue raisonné being prepared by the
Burliuk Committee in collaboration with Mary Burliuk.
The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared
by the Burliuk Committee in collaboration with Mary Burliuk.
£15,000–20,000
£25,000–30,000
( 90 )
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( 91 )
54.
Vinogradov, Sergei (1869–1938)
Pond by the Manor House, signed.
Oil on canvas, 80.5 by 98.5 cm.
Provenance: Private collection, Hungary.
Authenticity of the work has been confirmed by the expert V. Petrov.
£70,000−90,000
Сергей Виноградов, безусловно, находится в первом ряду плеяды таких
блестящих русских импрессионистов, как Константин Коровин, Игорь
Грабарь, Николай Тархов, Станислав Жуковский и Николай БогдановБельский. Обладая виртуозной техникой рисунка и великолепным
композиционным даром, Виноградов создавал произведения, способные легко конкурировать с работами своих знаменитых учителей —
Василия Поленова и Владимира Маковского. Именно благодаря своему
крепкому рисунку художник мастерски сохранял форму и при наличии
меньшей условности достигал блестящего импрессионистического
эффекта. Совместно с Коровиным, а также Абрамом Архиповым,
Константином Юоном и Аркадием Рыловым Виноградов стал одним из
основателей и активных деятелей художественного объединения «Союз
русских художников».
Это сообщество, последовательно развивая линию русского
импрессионизма, не просто внесло серьезный вклад в российскую
художественную жизнь, но и в значительной мере определило пути
дальнейшего развития современной реалистической живописи,
отголоски которой отчетливо наблюдаются в лучших образцах
советского послевоенного искусства.
Представленная на настоящих торгах картина «Приусадебный пруд»
написана, по всей видимости, в 1920–1923 годах и является ярким
примером «пограничного» творчества художника. В 1923 году
Виноградов навсегда покидает Россию и обосновывается в Латвии.
Латгальские пейзажи на первый взгляд являются более жесткими по
своей живописной пластике, мазок становится более отрывистым. Не
изменилась лишь палитра. Пропитанные солнечным светом радостные
полотна мастера все так же радовали взгляд и приводили в изумление
публику. Блестящая проработка тончайших оттенков зеленого и синего
и отраженных бликов на поверхности пруда, мастерское
противопоставление света и тени на стенах дома и поразительное
ощущение летнего теплого воздуха еще раз подтверждают статус данной
работы как архетипного произведения в творчестве Виноградова.
S. Vinogradov, Summer Landscape. Zofino. Latgale, 1936
( 92 )
Sergei Vinogradov is undoubtedly in the front ranks of such luminaries
of the Russian Impressionism, as the brilliant Konstantin Korovin, Igor
Grabar, Nikolai Tarkhov, Stanislav Zhukovsky and Nikolai Bogdanov-Belsky.
A virtuoso draughtsman endowed with a wonderful gift for composition,
Vinogradov created works that were easily able to compete with those
of his famous teachers, Vasily Polenov and Vladimir Makovsky. It was his
strength in draughtsmanship that enabled the artist to preserve form in
a masterly way and still achieve a brilliant impressionistic effect whilst
making less use of the conventional idiom. Together with Abram Arkhipov,
Konstantin Yuon, Arkady Rylov and Konstantin Korovin, Sergei Vinogradov
was one of the founders of the Union of Russian Artists and an active figure
in the association.
This community, by consistently developing the path of Russian
Impressionism, greatly contributed to Russia’s artistic life. It also
determined, to a significant extent, the development of contemporary
realist painting, of which we can detect distinct echoes in the best
examples of Soviet art from the post-war period.
Pond by the Manor House, presently at auction, was in all likelihood
painted in the years 1920–1923 and is a striking example of the artist’s
frontier creative work. In 1923 Vinogradov was to leave Russia forever and
base himself in Latvia. His Latgalian landscapes are typically painted with
more abrupt brushstrokes and appear slightly harsher, than the artist’s
Russian works. It is only the palette that has not changed. The master’s
joyous canvasses bathed in sunlight continued to delight and amaze the
eyes of the public in the way they had before his emigration. A brilliant
study of the most subtle shades of green and blue and reflected glare on
the surface of a pond, a masterly juxtaposition of light and shadow on the
walls of the house and a striking sense of warm summer air once again
showcase Vinogradov’s mastery as a Russian Impressionist painter.
S. Vinogradov, Autumn Landscape in Rodopol. Latgale, 1930
S. Vinogradov, Bridge in the Forest, Latgale, 1935
www.MacDougallauction.com
Russian Art Auction
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( 93 )
* 55.
Grabar, Igor (1871–1960)
Still Life With Apples and a Black Shawl, signed and indistinctly dated 190?.
Oil on canvas, 63 by 63.5 cm.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the expert I. Geraschenko.
Authenticity has also been confirmed by the expert S. Podstanitsky.
Authenticity has also been confirmed by the expert T. Ermakova.
£180,000–250,000
Представленный на торги «Натюрморт с яблоками и черной шалью»
Игоря Грабаря является блестящим образцом жанра, получившего
активное развитие в творчестве художника в начале 1900-х годов.
Интерес к натюрмортному жанру появился у Грабаря еще во время
преподавания в Мюнхене в школе Антона Ашбе, где художник ввел
для своих учеников задание писать натюрморт для развития чувства
формы и цвета.
В «Натюрморте с яблоками и черной шалью» отразились все основные
стилистические особенности, свойственные творчеству Грабаря начала
1900-х годов. Художник уделяет особое внимание аранжировке натюрморта, умело совмещая используемые материалы и цвета. В картине
также ярко проявилось мастерство Грабаря в построении фактуры. Это
ощущается в осязаемости и объемности спелых фруктов на переднем
плане; тонкости в изображении бликов и отражений на фарфоре и серебре; прозрачности хрусталя, видимого на заднем плане; уютной тяжести черной шали, разложенной на деревянном столе и эффектно
контрастирующей с лежащими на ней фруктами и посудой.
Характерным элементом данной работы, заметным в большинстве
натюрмортов этого периода, является использование Грабарем
I. Grabar, Still Life with a Samovar, 1915
( 94 )
традиционного голландского бело-синего фаянса. Таким образом художник проводит параллель с виденными им незадолго до этого за границей и глубоко поразившими его воображение образцами европейской
живописи, а именно голландскими натюрмортами XVII века. Однако совершенно ясно, что представленная работа демонстрирует иную, современную трактовку жанра, вобравшую в себя лучшее от достижений русского натюрморта и в то же время основывающуюся в определенной
степени на импрессионистических тенденциях, которые к тому времени
уже начали находить отражение в творчестве художника. В данном случае импрессионистическая манера заметна в использовании художником мелкого пастозного мазка, а также в ярко выраженном диагональном построении композиции.
«Натюрморт с яблоками и черной шалью» можно, без сомнения, отнести
к одной из наиболее выразительных и значимых натюрмортных композиций, созданных Игорем Грабарем в начале 1900-х годов. Натюрморты
этого периода украшают собрания Государственного Русского музея,
Государственной Третьяковской галереи, а также крупные частные коллекции. Одновременно с этим представленная работа является тонким
отражением быта дворянской усадьбы, в которой прослеживается присущая тому времени ностальгия по уходящему веку и желание запечатлеть
со всей глубиной чувства его неповторимую, ускользающую атмосферу.
I. Grabar, Apples, 1916, The A. Kasteev State Museum of
Arts of the Republic of Kazakhstan, Almaty
www.MacDougallauction.com
Russian Art Auction
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2 December 2015
( 95 )
Igor Grabar’s Still Life with Apples and a Black Shawl is a brilliant example
of a genre that preoccupied him during the first few years after 1900.
Grabar first developed an interest in still life when he was teaching at
Anton Ažbe’s school in Munich. There, he made the drawing of still life an
integral part of his coursework, believing it would help his students enhance their sense of form and colour.
Still Life with Apples and a Black Shawl reflects all the main stylistic features of Grabar’s oeuvre of the early 1900s. The artist is particularly meticulous about the arrangement of the components of his still life, skilfully
combining materials and colours. This work is a striking example of his
masterful handling of the various textures, which comes through in the palpable plumpness of the ripe fruit in the foreground; the delicacy with which
he portrays the highlights and reflections on the china and silver; the transparency of the crystal visible in the background; the homely feel of the
heavy black shawl slung over the wooden table, contrasting to great effect
with the crockery and fruit arranged upon it.
artist’s way of drawing parallels with the images he had seen in European
painting on a recent trip abroad — in this case, with the 17th century Dutch
still lifes. It is quite clear, however, that this picture represents a different,
modern interpretation of the genre. This interpretation, on the one hand,
embraced the most progressive developments in Russian still life painting;
but, on the other, was based to a certain extent on the principles of
Impressionism, which Grabar had begun to incorporate in his art at that
time. Here, an Impressionist influence is recognisable in the artist’s use of
fine impasto brushstrokes and in the strikingly pronounced diagonal structure of the composition.
Still Life with Apples and a Black Shawl is indisputably among the most expressive and important still life compositions created by Igor Grabar in the
early 1900s. Still lifes from this period grace the collections of the State
Russian Museum and the State Tretyakov Gallery and can also be found in
major private collections. This work is a delicate, perceptive reflection of
the way of life of a manor house of the Russian gentry, exuding nostalgia
for the passing era, so typical of that time, and striving to capture the finest
nuances of its unique atmosphere, about to vanish forever.
This work also exhibits a feature very typical of Grabar’s still lifes of that period, namely the use of traditional Dutch blue and white china. This is the
I. Grabar, Peaches on the Piano, 1910s
( 96 )
www.MacDougallauction.com
Russian Art Auction
§ 56.
Bogdanov-Belsky, Nikolai (1868–1945)
The Teacher’s Name Day, signed.
Oil on canvas, 108.5 by 136.5 cm.
Provenance: Russian Sale, Christie’s, 18 December 1996, lot 121.
Collection of Gordon P. Getty, American investor, philanthropist and composer.
Russian Art I, Sotheby’s New York, 15 April 2008, lot 105.
Acquired at the above sale by the present owner.
Related literature: For other versions of the present lot, see exhibition catalogue, The 39th Exhibition
of the Society for Itinerant Art Exhibitions, Moscow, 1911, p. 4.
Iskry. Illustrated Arts and Humour Magazine, No. 1, 1913, p. 4.
N. Lapidus, Bogdanov-Belsky, Moscow, Belyi gorod, 2005, p. 31.
The work will be included in the forthcoming monograph on Bogdanov-Belsky being prepared by A. Kuznetsov.
£100,000–150,000
Предлагаемый на торги холст «Именины учительницы» представляет собой вариант знаменитой картины Николая Богданова-Бельского с тем же
названием, ныне известной только по воспроизведениям и считающейся
утраченной.
Идея композиции «Именин» впервые возникла у художника в 1908 году
в Вышневолочковском уезде Тверской губернии. Здесь, в березовых рощах, на берегах глубоких первозданных озер, Богданов-Бельский проводил лето и работал вместе со своими товарищами-художниками Константином Коровиным, Станиславом Жуковским, Витольдом Бялыницким-Бируля и другими. Двадцать лет спустя он с ностальгией вспоминал те дни
молодости: «Наше сожительство напоминало братство… все довольствовались самой простой, но сытной пищей. Ранним утром, в шесть утра я
уходил с этюдником в лес и работал. А вечером — душевный разговор,
сердечный, откровенный, ни тени ханжества. Царили радость и благожелательность. Кипела и работа».
В один из таких летних дней 1908 года художник посетил селение Островно в имении помещика Ушакова, где он написал эскиз картины «В гостях
у учительницы», ныне хранящийся в Государственном художественном
музее Латвии. А два года спустя на основе этой работы Богданов-Бельский создал большое полотно «Именины учительницы». С успехом экспонировавшееся на международных выставках 1911 года в Риме и Мюнхене — оно вскоре было приобретено любителем и коллекционером живописи из Лондона, покинуло пределы России, и его след затерялся. Однако
в последующие годы художник неоднократно возвращался по просьбе
заказчиков к столь полюбившемуся сюжету. Один из наиболее известных
вариантов знаменитой картины MacDougall’s с гордостью представляют
на аукцион.
Написанная по итогам поездки во Францию картина «Именины учительницы» стала этапным произведением в творчестве художника. Непосредственное знакомство с искусством импрессионистов — Огюста Ренуара,
Камиля Писсарро, Эдуарда Мане и других современников — существенно повлияло на живописные приемы Богданова-Бельского. Сохраняя
приоритет темы счастливого сельского детства, художник наполняет свои
картины движением света, солнца и воздуха. Его все больше увлекают
новые задачи световых и красочных построений. На смену «музейному»
коричневому тону ранних работ приходят чистые, не смешанные и оттого
живые, яркие, вибрирующие краски.
Обаятельная жанровая сцена в саду окутана солнечными лучами. Проcачиваясь сквозь листву, свет бликами ложится на стол, на загорелые лица детей, искрится в стеклах чайных стаканов и на стоящем возле учительницы
самоваре. Живописец любовно выписал фигуры сельских школьников
и молодой женщины, увлеченной общением со своими воспитанниками.
Nikolai Bogdanov-Belsky’s The Teacher’s Name Day is a version of his celebrated eponymous work, thought to be lost and now known only from reproductions.
The idea for the composition came to the artist in 1908, in Tver province.
Here, Bogdanov-Belsky spent the summer in birch groves on the shores of
deep, primeval lakes, working with his fellow-artists Konstantin Korovin,
Stanislav Zhukovsky, Vitold Bilianitsky-Birulia and others. Twenty years
later he fondly recalled those days of his youth: “We were like brothers…
we were all happy with the plainest food, as long as it was filling. I would
leave early in the morning, at six o’clock, with my sketching equipment and
go into the forest to work. In the evenings our conversation was sincere,
heartfelt, open, with no trace of guile. Joy and goodwill reigned. And the
work went well too.”
It was on one of those summer days in 1908 that the artist visited the
settlement of Ostrovno, on the estate of the wealthy landowner Ushakov,
where he did a study for the picture Visiting the Teacher, which is now in
the State Art Museum of Latvia. Two years later, based on this sketch,
Bogdanov-Belsky created the large canvas The Teacher’s Name Day. After
showing successfully at international exhibitions in 1911 in both Paris and
Munich, it was acquired by a London-based art-lover and collector and left
Russian shores. The trail then goes cold. However, the artist painted in the
years that followed several variations of the much-loved scene at the request of his many patrons. The work offered here for auction is one of the
best-known versions.
Painted following a trip to France, The Teacher’s Name Day became a landmark work in Bogdanov-Belsky’s oeuvre. His firsthand knowledge of the
work of the Impressionists — Renoir, Pissarro, Manet and other contemporaries — had a substantial influence on his technique. Keeping the subject
matter of happy, rural childhood as his principal theme, the artist fills his
pictures with the movement of light, sunshine and air, becoming more and
more excited by the new challenges of combining light and colour. Instead
of the “museum-piece” brown tones of his early work, his colours are now
pure, un-mixed and thus vivid, vibrating with life.
This charming scene in the garden is bathed in sunlight. It seeps through
the leaves, falling in patches on the table, on the tanned faces of the
children, sparkling in the tea glasses and on the sides of the samovar
by the teacher. The artist lovingly paints the rural school-children and the
young woman revelling in the company of her pupils.
The Teacher’s Name Day is undoubtedly a work of museum quality and
worthy of a place in even the most refined of collections.
«Именины учительницы» имеет поистине музейное значение и способна
занять достойное место в самом изысканном собрании.
( 98 )
www.MacDougallauction.com
Russian Art Auction
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2 December 2015
( 99 )
* 57.
Kuznetsov, Pavel (1878–1968)
Still Life with Flowers in a Clay Pot.
Oil on canvas, 65.5 by 54.5 cm.
Executed in the late 1930s–early 1940s.
Provenance: Collection of the artist (inscription on the reverse).
Collection of Solomon Shuster, St Petersburg (inscription on the stretcher).
Authenticity of the work has been confirmed the expert V. Petrov.
Authenticity has also been confirmed by the expert I. Geraschenko.
Authenticity has also been confirmed by the expert T. Ermakova.
£80,000–120,000
P. Kuznetsov, Still Life. Fruits, 1926
( 100 )
P. Kuznetsov, Still Life with Pink Roses
P. Kuznetsov, Still Life with Vegetables, 1947
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( 101 )
* 58.
Lentulov, Aristarkh (1882–1943)
Still Life with Cakes and Fruit.
Oil on canvas, 78 by 110.5 cm.
Executed in the late 1930s.
Authenticity of the work has been confirmed by the experts A. Lyubimova and L. Shakirova.
Authenticity certificate from the expert Yu. Rybakova.
£200,000–300,000
Представленный на торги «Натюрморт с пирожными и фруктами»
Аристарха Лентулова, датируемый 1930-ми годами, относится к позднему периоду творчества художника, характеризуемому очевидным изменением его живописной манеры, в известной мере обусловленным его
желанием приобщиться к официально поддерживаемому реалистическому направлению в искусстве. Далеко позади остаются радикальные
эксперименты с цветом и пластической формой, принесшие Лентулову
славу в 1910-е годы — период расцвета легендарного творческого
объединения «Бубновый валет». Произведения зрелого периода художника отличает особая теплота и утонченность, которых он добивается
при помощи определенной сдержанности живописных средств и менее
контрастной, приглушенной цветовой палитры, однако с неизменным
сохранением размашистой, почти стихийной манеры письма.
В «Натюрморте с пирожными и фруктами» очевидно начавшееся
в 1930-х годах изменение самого взгляда художника на натуру, представляющую отныне самостоятельную ценность и не подвергаемую деформациям. В стремлении к фигуративности Лентулов реабилитирует такие ценности классического искусства, как светотень, пространственные
планы, световоздушную среду. Доминирующими становятся фиолетовый, различные оттенки зеленого, красно-коричневый и оранжевый,
а композиционное построение отличает «скученность» предметов, выложенных горкой и демонстрирующих нарочитое изобилие скромной еды.
При поэтической одухотворенности, спокойствии средств и умеренности
колорита фактура живописной поверхности неумолимо демонстрирует
поразительное лентуловское владение кистью. Даже после перехода
в поле повседневности и конкретности натюрмортной живописи работы
Лентулова 1930-х годов, одним из ярких примеров которых является
представленный в каталоге натюрморт, все так же отличают богатство
и полнозвучность образа, столь родственные эстетике «Бубнового
валета».
A. Lentulov, Still Life with Pumpkin, 1934
( 102 )
Aristarkh Lentulov’s Still Life with Cakes and Fruit, executed in the 1930s,
is from a late period in the artist’s career that was characterised by an
obvious change in his manner of painting, prompted by his desire to join
the officially supported realist movement. Left far behind are the artist’s
radical experiments with colour and texture that brought him fame in the
second decade of the century, a period that saw the blossoming of the legendary artistic group the Jack of Diamonds. A particular warmth and refinement marks out the work of his mature period. Lentulov achieves this by
applying a certain restraint to his painting, and replacing a palette of contrasting colours with one based on toned down, muted hues. Nonetheless,
his artistic manner — sweeping, seemingly spontaneous — remains intact.
The painting offered for sale is testament to the change in Lentulov’s view
on still life, which for him evolved into a valuable subject in its own right,
one not to be distorted in its artistic representation. In striving to be figurative, Lentulov reinstates classic painterly values, such as chiaroscuro, spatial planes, light and aerial perspective. The predominant shades are now
violet, various greens, red-brown and orange, and the composition
is marked by the crowding together of objects laid out in a pile, in a
deliberate display of the abundance of plain fare. The texture of the painted surface in this poetically spiritual, placid and colouristically restrained
work demonstrates the striking mastery of Lentulov’s technique. Even after
he had made the transition to the everyday, nuts-and-bolts world of still-life
painting, Lentulov’s work of the 1930s is still distinguished by a rich, resonant imagery that shows great affinity with the Jack of Diamonds aesthetic.
This is exemplified brilliantly by the still life offered in this catalogue.
A. Lentulov, Potted Plants on Green Background
A. Lentulov, Still Life. Vegetables, 1939
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Russian Art Auction
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2 December 2015
( 103 )
§ 59.
Férat, Serge (1881–1958)
60.
Shevchenko, Alexander (1883–1948)
Design for the Tapestry “Les travaux des champs”.
Two Women in the Park, signed with initials and dated 1920.
Pencil, oil and gouache on paper, laid on canvas, 82.5 by 59.5 cm.
Oil on cardboard, laid on cardboard, 32 by 30.5 cm.
Executed c. 1949.
Provenance: Private collection, Europe.
The present lot is a design for one of the three tapestries, commissioned to Férat by the General Administration of the
National Manufacturers of Furniture and Tapestries of France in 1953–1954, executed at the Beauvais factory in 1953.
Authenticity of the work has been confirmed by the experts
E. Tolstaya and A. Kiseleva.
Provenance: Bequest from the artist to Haba Roussot, 1958.
Collection of the above, until 2001.
Thence by descent.
Hommage à Serge Férat, collection Haba et Alban Roussot, Artcurial, Hôtel Dassault, Paris, 22 October 2007, lot 703.
£35,000–40,000
Literature: J. Warnod, Serge Férat. Un cubiste russe à Paris, Paris, Conti, 2010, p. 121, illustrated and listed.
£20,000–30,000
( 104 )
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Russian Art Auction
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2 December 2015
( 105 )
Lots 61–67. Important Collection of Works by Kirill Zdanevich
У
никальная коллекция графики знаменитого художника-футуриста
Кирилла Зданевича включает семь листов и охватывает самый
интересный и плодотворный период его творчества — с 1914 по
1924 год.
К 1914 году, которым датируется самая ранняя из представленных композиций, Зданевич уже успел бросить Императорскую Академию художеств ради учебы в парижской Школе изящных искусств, поучаствовать
в легендарном объединении «Ослиный хвост», стать одним из авторов
теоретической концепции «всёчества», проникнуться идеями кубофутуризма и полностью погрузиться в пучину авангардного
формотворчества. Вместе с братом Ильей он участвует в выпуске футуристических манифестов, иллюстрирует издания Алексея Крученых,
Владимира Маяковского и других поэтов-футуристов.
После вынужденного перерыва в художественной деятельности во время Первой мировой войны Зданевич вместе с братом переезжает
в Тифлис, ставший в первые послереволюционные годы новым центром
футуристического эксперимента. Здесь они отказываются от разработки
общественно-политических идей и сосредотачиваются на последовательном проведении в жизнь наиболее радикальных эстетических концепций футуризма. В силу разных обстоятельств одновременно со
Зданевичами в Тифлисе оказываются отец московского футуризма
Крученых и поэт Игорь Терентьев, ставшие главными вдохновителями
тифлисских футуристических объединений.
В 1917 году художники и поэты объединяются в «Синдикат футуристов»,
а год спустя компания реорганизуется в группу «41º» в составе
ветеранов русского футуризма — Крученых, Терентьева и Зданевичей.
Группа «41º», название которой возникло благодаря географическому
местоположению Тифлиса на 41° северной широты, оказалось едва
ли не самым леворадикальным объединением не только русского,
но и мирового авангарда. Рядом могут встать разве что дадаисты,
реализовавшие аналогичные идеи, но в ином масштабе и на более
обширном пространстве.
В «Манифесте», опубликованном в газете «41°» (вышел всего один
ее номер), заявлялось, что основной задачей объединения является
утверждение заумного языка в качестве «обязательной формы
воплощения искусства».
В это время Крученых разрабатывал теорию экономной поэзии.
Создавая в своих «гектографических книгах» параллели между
крайними формами литературной зауми и визуальными открытиями
беспредметности, он занимался исследованием знака как универсального и конечного образа. Именно поэтому при издании произведений
«41°» особое внимание уделялось положению знака на странице
и приему коллажа, выполненные вручную образцы которых можно
увидеть в подборке произведений Зданевича этого времени.
Участники группы «41°» не только активно публиковались, но и устраивали вечера, встречи и дискуссии в одном из артистических кафе
Тифлиса, носившем имя «Фантастический кабачок» и ставшем площадкой для выступлений многочисленных художников и художественных
групп. Над оформлением афиш таких литературных диспутов и лекций,
проходивших не только в Тифлисе, но и в Баку, Батуми и других городах,
нередко трудился и Кирилл Зданевич, о чем свидетельствуют представленные в коллекции выполненные в разных техниках эскизы.
Идеи соединения плоскостей и пространств, «прорезания» материи как
следствие магнетического действия природы на художественное сознание были органично присущи русскому футуризму. Стихия метаморфоз
вдохновляет и Кирилла Зданевича. В его графических композициях
конца 1910-х годов возникают сложные цветные образы с невероятной
геометрической пластикой. Обведенные черным контуром, они словно
прорезают бумажное поле, создавая иллюзию пространственных
выступов и глубин.
В это же время Зданевич создает серию геометрических композиций
для литографирования — зрительный эквивалент поэтических экспериментов своего брата Ильи, Алексея Крученых и Василия Каменского.
Об этих листах не скажешь, что они рисунки. Это — происходящее под
действием нарастающей авангардной геометрической динамики
переформирование материи.
С отъездом в 1920-х годах Ильи Зданевича в Константинополь, а затем
в Париж группа распадается, и оставшийся в Тифлисе Кирилл Зданевич
оказывается вынужден искать новое применение своим талантам.
В начале 1920-х годов он открывает для себя сферу творчества, отчасти
уже знакомую по дореволюционным московским годам жизни, но
теперь полностью поглощающую его силы. По приглашению знаменитого
режиссера Константина Марджанова (Марджанишвили) он выступает
в роли сценографа авангардных спектаклей Грузинского драматического
театра имени Руставели.
В 1924 году Марджанов, не удовлетворенный возможностями воздействия на массового зрителя выразительными средствами театра, обратился к искусству кино и вновь привлек Зданевича к оформлению своей
первой кинопостановки. Ею стала полнометражная картина «Накануне
грозы» («Буревестник»), в основе которой лежал историко-революционный сюжет. Фильм был снят на средства Наркомсобеса в помощь голодающим, но подвергся резкой критике современников и не дошел до
наших дней. Поэтому сохранившийся и предлагаемый на торги эскиз
Зданевича является одним из немногих свидетельств работы художника
в кино 1920-х годов.
T
his unique collection consists of seven works on paper by the
outstanding Futurist artist Kirill Zdanevich, encompassing his most
interesting and fruitful period, from 1914 to 1924.
By 1914, the year Zdanevich executed the earliest of these compositions, he
had already quit the Imperial Academy of Arts to pursue his studies at the
École des Beaux Arts in Paris, taken part in the legendary Donkey’s Tail
(Oslinyi khvost) art group, co-authored the theoretical concept of “everythingness”, absorbed the ideas of Cubo-Futurism and immersed himself in
the artistic melting pot of the avant-garde. Zdanevich worked alongside his
brother Ilya on Futurist manifestos and illustrated the works of Alexei
Kruchenykh, Vladimir Mayakovsky and other Futurist poets.
After a forced interruption of their artistic activity during World War I, the
Zdanevich brothers moved to the capital of Georgia, Tiflis, which in the first
post-revolutionary years emerged as a new centre of Futurist experimentation. The brothers renounced socio-political theorising and focused on consistent implementation of the most radical aesthetic concepts of Futurism.
Kruchenykh, the so-called father of the Futurist movement, and the poet Igor
Terentyev, who also happened to be in Tiflis at that time, became the masterminds of the city’s Futurist groupings.
In 1917, the progressive artists and poets of Tiflis formed the Syndicate of
Futurists and then, a year later, reorganised themselves as the 41° group,
which united the veterans of Russian Futurism: Kruchenykh, Terentyev and
the Zdanevich brothers. The group, which took its name from the position of
Tiflis at 41° northern latitude, became one of the most radical-leftist unions
of the Russian and international avant-garde. Only the Dadaists, who
implemented similar ideas, but on a different scale and across a wider
space, bear comparison with the 41° group.
A manifesto published in the newspaper 41° (only one issue of which ever
appeared) stated the main objective of the group to be the affirmation
of abstruse (zaumnyi) language as “the compulsory form for the realisation
of art”.
At this time, Kruchenykh developed the theory of economical poetry. Creating parallels in his hectographical books between extreme forms of literary
zaum and the visual discoveries of objectlessness (bespredmetnost),
he studied the sign as a universal and final image. Hence the focus, in
publications by the 41° group, on the position of the sign on the page and
the use of collage. Handmade works in this spirit can be found in
Zdanevich’s art from this time.
In addition to their publishing activities, the 41° group members held
evenings, meetings and discussions in a Tiflis art café, the Fantastic Tavern,
which was a favoured venue for performances by various artists and artistic
groups. Kirill Zdanevich often designed posters for such artistic debates and
lectures, which were held not only in Tiflis, but also in Baku, Batumi and
other cities of Transcaucasia. The sketches in various media that are
included in the collection were created for this purpose.
The ideas of connections between planes and spaces, “cutting through”
matter by the magnetic action of nature on the artistic consciousness were
an inherent part of Russian Futurism. This metamorphosis inspired Kirill
Zdanevich. His graphic compositions of the late 1910s present complex
colour images with astonishing geometric plasticity. Their black outlines
seem to make incisions in the paper, creating the illusion of spatial
protrusions and indentations.
At the same time, Zdanevich created a series of geometric compositions for
lithography — the visual equivalent of the poetic experiments of his brother
Ilya, Alexei Kruchenykh and Vasily Kamensky. These works do not resemble
drawings at all. Rather, they seem to reshape matter, driven by an ever more
powerful avant-garde geometry.
The departure of Ilya Zdanevich in 1920, first to Constantinople and then to
Paris, split the 41° group. Kirill Zdanevich, who remained in Tiflis, had to find
a new use for his talents.
In the early 1920s, he rediscovered a field that he had known fleetingly
during his pre-revolutionary years in Moscow, and in which he now fully
immersed himself. Responding to the invitation of the director Konstantin
Mardzhanov, Zdanevich worked as set designer for the avant-garde performances at Georgia’s Rustaveli Theatre of Drama.
In 1924 Mardzhanov, dissatisfied with the limited impact of theatre on
a mass audience, turned to cinema and called on Zdanevich to design his
first cinematic project, a full-length film entitled The Petrels or Before the
Storm (Burevestniki or Nakanune grozy). The film told a historical-revolutionary story and was funded by the People’s Commissariat for Social Welfare,
with the proceeds to be used for famine relief. However, it was harshly
criticised, and no copies have survived. The sketch by Zdanevich in this
collection is one of the few remaining examples of the artist’s cinematic
work of the 1920s.
In their manifesto, the 41° group issued a challenge “to put the world on
a new axis” and the “astro-geological” actions of their programme included
a “battle with the Equator” and “battle of the Futurist (budetlyanin) with the
Ocean”. This notion of victory through strife was also expressed in many
works by Kirill Zdanevich.
В манифесте группы выдвигалась задача «надеть мир на новую ось»,
а в ряду «астрально-геологических» действий их программы намечались
«битва с экватором» и «битва будетлянина с Океаном». Эта идея
преодоления выражена и во многих работах Кирилла Зданевича.
( 106 )
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2 December 2015
( 107 )
* 61.
( 108 )
* 62.
Zdanevich, Kirill (1892–1969)
Zdanevich, Kirill (1892–1969)
Dispute. Futurists on Poetry, on Painting..., signed.
41° or ... Futurists’ Syndicate, signed.
Ink and collage with paper on paper, laid on card, 52.5 by 36 cm.
Ink and collage with paper on paper, laid on card, 52 by 36 cm.
Provenance: Acquired directly from the artist’s family by the
present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
Provenance: Acquired directly from the artist’s family by the
present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
£25,000–40,000
£25,000–40,000
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( 109 )
* 63.
* 64.
Zdanevich, Kirill (1892–1969)
Zdanevich, Kirill (1892–1969)
Set Design for the Film “Burevestniki”, signed, inscribed in Cyrillic “Nakanune” and dated “19 24/III 24”.
Futurism, signed with initials.
Pencil, ink, watercolour and gouache on paper, laid on card, 33 by 49 cm (card size).
Pencil, ink and tempera on paper, laid on paper, 51 by 39.5 cm.
The present lot is from the series of set and costume designs by Zdanevich for the 1924 film Burevestniki
or Nakanune grozy, directed by Shalva Dadiani and Konstantin Mardzhanov, and premiered on 3 August 1924
in Tbilisi and on 28 January 1925 in Moscow.
Provenance: Acquired directly from the artist’s family by the
present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
£10,000–15,000
£20,000–30,000
( 110 )
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2 December 2015
( 111 )
* 66.
Zdanevich, Kirill (1892–1969)
Futurist. Syndicate, signed with initials.
Pencil, ink and tempera on paper, laid on paper, 51 by 39 cm.
Provenance: Acquired directly from the artist’s family
by the present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
£10,000–15,000
* 65.
( 112 )
* 67.
Zdanevich, Kirill (1892–1969)
Zdanevich, Kirill (1892–1969)
Futurists. Syndicate. 41°, signed and inscribed in Cyrillic
Futurist Composition, signed, inscribed “Paris”
with a signed dedication.
Pencil, ink and tempera on paper, laid on paper, 52 by 35.5 cm.
and dated twice “21 fev 14 g.” and “1914 god”.
Pencil and ink on paper, 34 by 26.5 cm.
Provenance: Acquired directly from the artist’s family by the
present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
Provenance: Acquired directly from the artist’s family
by the present owners in Tbilisi, 1950s–1960s.
Important private collection, New York.
£10,000–15,000
£6,000–9,000
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( 113 )
§ 68. Dobuzhinsky, Mstislav (1875–1957)
69.
Petrov-Vodkin, Kuzma (1878–1939)
Crying Baby, signed, titled in Cyrillic and numbered “VIII”, further
A Collection of Set and Costume Designs for Les Ballets Ruth Sorel, Accompanied by Photoengraved
Plates, Photo Prints and Repertoire Brochures, 48 pieces, nine designs signed, one double-sided, some
inscribed “Slyozy” and dated 1927 on the reverse.
Pencil, ink and watercolour on paper, 23 by 16.5 cm (paper size).
inscribed, titled, numbered, seven dated 1949, and one 1933 and 1948.
Costume designs: 17 pencil, watercolour and gouache, some heightened with gold, on paper; and two chalk, crayon
and gouache on paper, the largest measuring 30.5 cm by 23 cm and the smallest 33.5 by 17.5 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the expert E. Zhukova.
Five repertoire brochures, one from 1949 and four from c. 1955 seasons, include reproductions of the Dobuzhinsky
costume designs, with accompanying photoengraved plates and photo prints, matching some of the illustrations.
£18,000–25,000
£10,000–15,000
( 114 )
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( 115 )
71.
Paul Mak (Ivanov, Pavel) (1891–1967)
Fireworks in Tehran on the Night of Accession
to the Throne of Reza Shah Pahlavi, signed,
inscribed “Teheran” [sic] and dated 1925, also further
inscribed “Téhéran, le soir de l’avènement de Réza Shah
Pahlévi./15 Décembre 1925.” on the mount board.
Pencil, ink and gouache on paper, laid on cardboard,
44.5 by 28.5 cm (paper size).
72.
Latri, Mikhail (1875–1942)
BÉziers, stamped with the artist’s studio stamp,
also further stamped on the reverse.
Pencil and watercolour on paper, 25 by 26 cm.
£1,500–3,000
£5,000–7,000
70.
Kliun, Ivan (1873–1943)
73.
Latri, Mikhail (1875–1942)
A Collection of Landscapes, Compositions and Sketches, 20 works,
Oriental Scene, stamped with the artist’s studio
16 signed, some inscribed in Cyrillic, titled or dated, some also further signed,
inscribed, titled, numbered or dated on the reverse; one also further signed,
titled and dated on the mount card.
Nineteen pencil and watercolour, some with gouache, ink or charcoal, on paper;
and one pencil, ink and oil on paper, the largest measuring 43.5 by 31 cm and
the smallest 14 by 11.5 cm.
stamp and with a sketch of a composition, also further
with a sketch on the reverse.
Pencil and watercolour on paper, 21 by 13.5 cm.
£1,000–2,000
Provenance: Acquired from the estate of the artist by a previous owner,
in 1956 (letters from S. Kliunkova-Soloveichik, the artist’s granddaughter).
Private collection, Israel.
Acquired from the above by a previous owner, in 2006.
Thence by descent.
Private collection, Germany.
£30,000–40,000
( 116 )
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2 December 2015
( 117 )
77.
Kukryniksy (ACTIVE 1924–1980s)
Designs for the Posters “Okno TASS No. 640. Prevrashchenie fritsev” and “Okno
TASS No. 1109. Krylovskaya martyshka o Gebbelse”, two works, each signed.
Each pencil, charcoal, ink, watercolour and gouache on paper, laid on cardboard, measuring 50 by 42.5 cm.
Related literature: For printed versions of the posters, see Okno Tass No. 640. Prevrashchenie “fritsev”,
Moscow, TASS, 1942.
Okno Tass No. 1109. Krylovskaya martyshka o Gebbelse, Moscow, TASS, 1944.
74.
Apsit, Alexander (1880–1944)
75.
Bathers, signed and dated 1929, also further signed, inscribed
£3,000–5,000
Sorine, Savely (1878–1953)
A Book of Portraits, including Anna Pavlova, Prince
and Princess Obolensky and the Queen Consort
Elizabeth Bowes-Lyon, Avant-propos by AndrÉ Salmon,
Berlin, Edition Ganymed, 1929.
in Cyrillic “risunok sobstvennost/Khudozhnika” and titled on the
reverse.
Pencil, ink and watercolour on paper, laid on cardboard, 20 by 16.5 cm.
78.
Designs for the Posters “Gryaznoe belyo” and “Damskie mody v Germanii. Zimnii
sezon 1941–1942 gg”, two works, each signed.
Folio, ten pages text, 36 lithographs, some colour, some signed and
dated in plate, with printed tissue guards. The half title inscribed
with a signed and dated “February 4th 1932” dedication by the artist.
Number 65 from an edition of 300 copies.
Provenance: Collection of the artist (inscription on the reverse).
Private collection, Latvia.
£2,000–3,000
Kukryniksy (ACTIVE 1924–1980s)
Each pencil, charcoal, ink, watercolour and gouache on paper, laid on cardboard, measuring 50 by 42.5 cm.
Related literature: For printed versions of the posters, see Gryaznoe belyo, Moscow, Isskustvo, 1942.
Damskie mody v Germanii. Zimnii sezon 1941–1942 gg, Moscow, Iskusstvo, 1941. Provenance: A gift from the artist to Wright Ludington, New York
(inscription on the half title).
£3,000–5,000
Kukryniksy is a conflation of the names
of three caricaturists, Mikhail Kupriyanov,
Porfiri Krylov and Nikolai Sokolov, who
were part of a group of eminent Soviet
artists and poets, involved between
1941 and 1945 in the work of the media
agency TASS, which led the propaganda
campaign Okna TASS. The works in the
present lot are sketches for the satirical
posters produced for Okna TASS.
Krylovskaya martyshka o Gebbelse is a
satirical take on Ivan Krylov’s famous fable The Mirror and the Monkey, in which
the monkey catches sight of its reflection
in a mirror and cries out: “I’d hang myself in great dismay/If I were a little bit
like that monkey there!”
£2,000–3,000
* 76.
Grigoriev, Boris (1886–1939)
Couple on the Bench.
Pencil on paper, 27.5 by 29 cm.
Executed in the early 1920s.
Provenance: Collection of Amir Tamiroff, a renowned Hollywood
actor, since the early 1920s.
A gift from the above to the mother of the present owner, a
close friend of the Tamiroffs, Hollywood, 1970s.
Thence by descent, from 2009.
Private collection, USA.
£4,000–8,000
( 118 )
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( 119 )
* 81.
Fedorovsky, Fedor (1883–1955)
Costume Design, variously inscribed in Cyrillic.
Pencil and gouache, heightened with gold, on paper, 69 by 52 cm.
Fedorovsky, Fedor (1883–1955)
Tsar Dodon, Costume Design for the N. Rimsky-Korsakov
Opera “The Golden Cockerel”, signed, inscribed in Cyrillic,
Provenance: Important private collection, Europe.
titled and dated 1932 on the reverse.
Pencil and gouache, heightened with gold, on paper, 65 by 51.5 cm.
Authenticity of the work has been confirmed by the artist’s
grandson (inscribed twice on the reverse).
Provenance: Important private collection, Europe.
£4,000–6,000
£4,000–6,000
* 79.
* 82.
Muratov, Nikolai (1908–1992)
Illustrations for A. Tolstoy’s “Zolotoi klyuchik, ili
Priklyucheniya Buratino”, twenty-three works, ten signed and dated
1949, two numbered, some also further signed, inscribed in Cyrillic and
dated 1949 or 1950, one with a sketch, on the reverse; one further
inscribed on the backing paper.
Each ink, some with pencil and some heightened with white, on paper,
the largest measuring 30 by 21 cm, and the smallest 12 by 23 cm.
The present lot is from a set of illustrations created by Nikolai Muratov
for the 1950 edition of Alexei Tolstoy’s fairy tale Zolotoi klyuchik,
ili Priklyucheniya Buratino.
Provenance: Acquired directly from artist’s family by the present owner.
Private collection, USA.
Related literature: For the published illustrations, see A. Tolstoy, Zolotoi
klyuchik, ili Prikliucheniya Buratino, Leningrad, Lenizdat, 1950. £3,000–5,000
Fedorovsky, Fedor (1883–1955)
Costume Designs for the I. Dzerzhinsky
Opera “Quiet Flows the Don”, variously
inscribed in Cyrillic and numbered “N 2”.
Pencil, watercolour and gouache on paper,
61.5 by 93 cm.
The present lot is from the series of set and
costume designs, created by Fedorovsky, the chief
artist of the Bolshoi Theatre, Moscow (1929–1953),
for the Ivan Dzerzhinsky opera Quiet Flows the
Don, staged in 1936 at the Bolshoi. The artist was
awarded a Grand Prix at the 1937 International
Exhibition in Paris for this series, as well as for
his set and costume designs for the A. Borodin
opera Prince Igor.
Provenance: Important private collection,
Europe.
* 80. Vereisky, Orest (1915–1993)
Still Life with Flowers and Watermelon, signed and dated 1943.
Executed in the 1940s.
Authenticity of the work has been confirmed
by the artist’s grandson (inscription on the
reverse).
£1,500–3,000
£6,000–9,000
Oil on canvas, laid on board, 62 by 51 cm.
( 120 )
* 83.
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2 December 2015
( 121 )
* 85.
84. Somov, Konstantin (1869–1939)
Spassky, Konstantin (20TH CENTURY)
Summer Landscape, signed and dated 1903.
Bathing Nude, signed and dated 1917.
Oil on panel, 22 by 27 cm.
Oil on canvas, 124.5 by 89.5 cm.
Provenance: Private collection, Latvia.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed
by the expert V. Petrov.
Authenticity of the work has been confirmed by the expert
S. Podstanitsky.
Authenticity has also been confirmed by the expert V. Petrov.
£25,000–30,000
£30,000–40,000
( 122 )
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2 December 2015
( 123 )
* 86. Gerasimov, Alexander (1881–1963)
Corn Field and Ploughed Field, double-sided work, one side signed.
Oil on canvas, 50 by 124 cm.
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts E. Burtseva and I. Geraschenko.
Exhibited: Palitra oseni. Liricheskii peizazh v tvorchestve russkikh khudozhnikov
XIX–XX vekov, Galereya iskusstv Daev 33, Moscow, October–November 2009.
Literature: Exhibition catalogue, Palitra oseni: liricheskii peizazh v tvorchestve
russkikh khudozhnikov XIX–XX vekov, Moscow, Galereya iskusstv Daev 33, 2009,
illustrated.
£80,000–120,000
The present lot as illustrated in the 2009 exhibition catalogue
( 124 )
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Russian Art Auction
A. Gerasimov, Country Road, 1907
MacDougall’s
London
2 December 2015
A. Gerasimov, Rye, 1954
( 125 )
88. Unknown Artist (18TH–19TH CENTURY)
§ 89.
Benois, Nadia (1896–1975)
Portrait of Louis Charles de Bode.
Set Design for the G. Mahler Ballet “Dark Elegies”,
Watercolour and gouache on ivory, laid on card, 6.5 by 5 cm (oval).
indistinctly signed and titled.
Gouache on paper, 47 by 63.5 cm.
Executed c. 1812.
The present lot, a portrait of the Baron Lev Karlovich Bode
(1787–1859) or Louis Charles de Bode, was included in the famous
exhibition of 2,286 portraits by the Russian artists from the
XVIII–XIX centuries, organised by Sergei Diaghilev at the Tauride
Palace in St Petersburg in 1905. The inscription “Le Baron Louis
Charles de Bode, Colonel du Rt des Chasseurs de la Garde de
S.M. l’Empereur de Russie, Aide de camp du Maréchal Prince de
Wittgenstein/né le 31. Janvier/1787.” and the number “№ 426”
on the verso of the work, possibly date back to the exhibition.
Provenance: Collection of the Countess Natalia Sollogub
(1851–1915), née Bode-Kolycheva, a granddaughter of the sitter,
Moscow, until after 1905.
The present lot is a design for the backcloth for the ballet Dark
Elegies, set to the song cycle Kindertotenlieder by Gustav Mahler
and first presented by Ballet Rambert at the Duchess Theatre
in London on 19 February 1937, with set and costume designs
by Nadia Benois.
Provenance: Private collection, UK.
Related literature: For another version of the present lot, see
C. Beaumont, Ballet Design. Past and Present, London, The Studio,
1946, p. 130, illustrated.
£1,200–1,800
Exhibited: Istoriko-khudozhestvennaya vystavka russkikh portretov,
Tauride Palace, St Petersburg, 6 March–26 September 1905.
Literature: Russkie portrety XVIII i XIX stoletii. Izdanie Velikogo
Knyazya Nikolaya Mikhailovicha, vol. II, issue 3, St Petersburg,
Ekspeditsiya zagotovleniya gosudarstvennykh bumag, 1906, p. LXI,
illustrated; No. 81, listed.
Russkie portrety XVIII i XIX stoletii. Izdanie Velikogo Knyazya Nikolaya
Mikhailovicha, vol. II, reprint of the 1909 edition, Moscow, Tri veka
istorii, 2000, p. LXI, illustrated; No. 81, listed.
£3,000–5,000
87.
Harlamoff, Alexei (1840–1925)
90.
Female Portrait, signed and dated “31 mai 1922”.
Der Moderne Buchschmuck in Russland
Edited by Sergei Makovsky, text by N. Radlov,
St Petersburg, R. Golicke and A. Willborg, 1914,
Oil on canvas, 78.5 by 62.5 cm.
text in German, with 137 illustrations, some in colour, and
19 plates, most in colour; illustrations by Alexander Benois,
Konstantin Somov, Léon Bakst, Evgeny Lanceray and others.
Provenance: Acquired directly from the artist by the parents of the previous owner, Paris.
Thence by descent.
Private collection, France.
Acquired from the above by the present owner.
Private collection, Spain.
Provenance: Private collection, Europe.
£400–600
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by Dr O. Sugrobova-Roth and Dr E. Lingenauber and it has
been entered under number A 31–P into the addendum to their catalogue raisonné of the artist.
£20,000–30,000
( 126 )
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2 December 2015
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* 91.
Unknown Artist (19TH CENTURY)
* 92.
Sokolov, Petr (1791–1848)
Portrait of a Lady.
Portrait of Count Lev Sollogub, signed.
Pencil, watercolour and gouache, heightened with
gold, on card, 19.5 by 16.5 cm (card size).
Pencil and watercolour on paper, 20 by 16 cm (paper size).
The present lot is a portrait of Count Lev Aleksandrovich Sollogub (1812–1852),
a diplomat, brother of the renowned writer Vladimir Sollogub (1813–1882)
and acquaintance of Alexander Pushkin, Nikolai Gogol and Mikhail Lermontov.
£1,000–2,000
Authenticity of the work has been confirmed by the expert V. Petrov.
§ 93.
£8,000–12,000
Klestova, Irene (1908–1989)
Roses, signed.
Oil on cardboard, 24 by 19 cm.
Provenance: Acquired by the previous
owner in France, before 1970.
Thence by descent.
Private collection, France.
£2,000–3,000
§ 94.
Klestova, Irene (1908–1989)
Still Life with a Porcelain Figurine, signed and
inscribed “Paris”, also further signed on the reverse.
Oil on cardboard, 41 by 33 cm.
£3,000–5,000
95.
Sapunov, Nikolai (1880–1912)
Carnival, signed and indistinctly dated 190?.
Oil on canvas, 49.5 by 71.5 cm.
Provenance: Private collection, Europe.
£60,000–90,000
( 128 )
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( 129 )
*§ 96.
Bogdanov-Belsky, Nikolai (1868–1945)
Portrait of Maria Emelianova, signed.
Oil on canvas, 133 by 100 cm (oval).
Authenticity of the work has been confirmed by the experts A. Kiseleva and I. Geraschenko.
The work will be included in the monograph on the artist being prepared by A. Kuznetsov.
£80,000–120,000
( 130 )
Знаменитый русский живописец Николай Богданов-Бельский представлен
в настоящем каталоге великолепным полотном «Портрет Марии Емельяновой». Художник эмигрировал в Латвию из послереволюционной России
в 1921 году и обосновался в Риге. Его первая персональная выставка
в латвийской столице, открывшаяся 8 декабря 1921 года, пользовалась
огромной популярностью и привлекла внимание к творчеству художника
влиятельных меценатов. Василий Емельянов, владелец крупнейшего
в Риге кинотеатра, был среди первых клиентов, заказавших БогдановуБельскому портрет своей жены. Представленный лот является одним из
четырех портретов рижской красавицы Марии Емельяновой, выполненных Богдановым-Бельским в 1920–1930-х годах.
The renowned Russian painter Nikolai Bogdanov-Belsky is represented here
by the magnificent Portrait of Maria Emelianova. Bogdanov-Belsky
emigrated to Latvia from post-revolutionary Russia in 1921 and settled in
Riga. His first personal exhibition in the Latvian capital, which opened on
8 December 1921, proved to be very popular and attracted the attention
of wealthy patrons of the arts. Businessman Vasily Emelianov, the owner
of the largest cinema in Riga, was one of the first clients to approach the
artist with a commission, to paint a portrait of his wife. The present lot was
the first from a series of four portraits of Maria Emelianova, one of the most
beautiful women in Riga, that Bogdanov-Belsky executed in the 1920s and
1930s. Продолжая демократическую традицию своего учителя, передвижника
Владимира Маковского, художник обогатил отечественную жанровую
живопись пластическими находками импрессионистов, привнеся в неe
подлинную свежесть и непосредственное видение натуры.
Continuing in the democratic tradition of his teacher, the Itinerant painter
Vladimir Makovsky, Bogdanov-Belsky modified the Russian tradition of
genre painting by adopting textural discoveries pioneered by the
Impressionists, introducing into his painting real freshness and visual
immediacy.
С конца 1910-х – начала 1920-х годов палитра художника освобождается от тeмной умбристой «подкладки», характерной для всей старой академической школы. Его полотна насыщаются чистым цветом, мазок становится свободнее и шире, многочисленные колористические нюансы,
обогащeнные естественным ярким освещением, способствуют созданию
особого приподнятого настроения.
At the end of the 1910s and beginning of the 1920s, the artist abandoned
the dark, umbrous “basis” so typical of the old Academic school. His canvasses are saturated with pure colour, his brushwork becomes broader and
less constrained, and his many nuances of colour enriched by bright, natural light enable him to create a distinctive, uplifting mood.
В это время художник пишет множество портретов, отличающихся высоким мастерством, бытоописательной точностью и проникновенной передачей психологических характеристик. Его модели, как правило, из высшего света. Это российская и европейская интеллигенция, высокопоставленная знать, видные чиновники, люди из мира искусства.
At this time the artist painted a large number of superbly executed portraits, distinguished by their accurate portrayal of the subjects and penetrating psychological insight. As a rule, his models are of high social standing: the Russian and European intelligentsia, nobility, prominent public servants and members of the artistic community.
Представленный на настоящие торги «Портрет Марии Емельяновой» является пограничной фазой: переходом художника от академической традиции
к первым опытам импрессионизма. Салонно-заказной характер работы не
умаляет еe великолепных художественных достоинств, определяющих высочайшую планку живописного мастерства Богданова-Бельского, прекрасно
владевшего рисунком, принципами построения композиции и обладавшего
потрясающе тонким цветоощущением. В ней очевидны отголоски мирискусников, сомовско-кустодиевская трактовка изображаемой модели, определяющая особую поэтическую негу и изысканный куртуазный флeр.
This portrait of a young woman belongs to a transitional phase when the
artist was moving from an Academic tradition to his first experiments with
Impressionism. The commissioned, salon nature of the work does not overshadow its outstanding quality. In it, Bogdanov-Belsky sets the very highest standard in terms of technical skill, fine draughtsmanship, immaculate
composition and exceptionally nuanced use of colour. The work evokes the
legacy of the World of Art, and is reminiscent of the manner in which
Konstantin Somov or Boris Kustodiev portrayed their models, a style
underpinned by poetic longing and an air of courtly elegance.
N. Bogdanov-Belsky, Portrait of
Maria Emelianova, c. 1921–1925
N. Bogdanov-Belsky, Portrait of the Artist’s Wife
N. Bogdanov-Belsky, Portrait of a Lady
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97.
Kouznetsov, Nikolai (1850–1929)
Portrait of Lyudmila, the Artist’s Daughter, signed
and dated 1916, also further signed, inscribed in Cyrillic “moya
doch/Lyudmila.” and “pastel/Rafayoli”, and dated “1916./18
Sentyabr” on the reverse.
Oil and pastel on canvas, 97 by 59 cm.
Provenance: Collection of the artist.
Thence by descent to Mikhail Tolstoy, the artist’s grandson.
Thence by descent.
Private collection, Slovenia.
Authenticity of the work has been confirmed by the expert V. Petrov.
£4,000–6,000
98. Kouznetsov, Nikolai (1850–1929)
Portrait of Misha and Portrait of Marusya, two works,
each signed with initials, titled in Cyrillic and dated 1891.
Each oil on canvasboard, measuring 31.5 by 22.5 cm and
25.5 by 19.5 cm respectively.
Two works presented here are the portraits of the artist’s children
Mikhail and Maria. Maria Kouznetsova-Benois was a renowned opera
singer and a star of the Mariinsky Theatre in St Petersburg. She was
one of the most prominent women of Russia’s Silver Age, working
with Sergei Diaghilev, Nikolai Rimsky-Korsakov and Richard Strauss,
and singing with the famous Feodor Chaliapin. Her first husband
was Albert Benois, a son of the artist Albert Nikolaevich Benois.
Provenance: Collection of the artist.
Thence by descent to Mikhail Tolstoy, the artist’s grandson.
Thence by descent.
Private collection, Slovenia.
Authenticity of the work has been confirmed by the expert V. Petrov.
£2,000–3,000
99.
Klever, Yuli (1850–1924)
Wintry Village, signed and dated 1910.
Oil on canvas, 54 by 36 cm.
Provenance: Private collection, France.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£6,000–9,000
( 132 )
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( 133 )
* 100. Zankovsky, Ilya (1832–1919)
101. Zankovsky, Ilya (1832–1919)
Mountain Landscape with a River, signed.
Forest River, signed.
Oil on canvas, 60 by 109 cm.
Oil on canvas, 111.5 by 72 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
Provenance: Private collection, USA.
Private collection, Austria.
£15,000–20,000
Authenticity of the work has been confirmed
by the expert V. Petrov.
£30,000–50,000
( 134 )
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( 135 )
* 104. Bashindzhagyan, Gevorg (1857–1925)
Lake Sevan by Night, signed and dated 1910.
Oil on canvas, 65.5 by 54.5 cm.
Authenticity of the work has been confirmed
by the expert V. Petrov.
£8,000–12,000
* 102. Bashindzhagyan, Gevorg (1857–1925)
103. Ducker, Evgeny (1841–1916)
View of Mount Ararat, signed.
Crab Fishermen on the Baltic Coast, signed.
Oil on canvas, 65 by 114.5 cm.
Oil on canvas, laid on board, 49 by 70.5 cm (board size).
Authenticity of the work has been confirmed by
the expert V. Petrov.
Provenance: Private collection, Austria.
£10,000–15,000
Authenticity of the work has been confirmed by the expert V. Petrov.
£5,000–7,000
§ 105. Terechkovitch, Constantin (1902–1978)
La Seine, signed.
Oil on canvas, 46 by 65 cm.
Provenance: Private collection, France.
£2,500–4,000
( 136 )
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( 137 )
106. Vereschagin, Petr (1836–1886)
View of Mtskheta, Georgia, signed
Street in Cairo, signed, inscribed in Cyrillic “Kair” and dated 1877.
and inscribed in Cyrillic “Mtskhet”.
Oil on canvas, 24 by 34.5 cm.
Oil on canvas, 61 by 45 cm.
Authenticity certificate from the expert
T. Goryacheva.
£50,000–70,000
( 138 )
107. Makovsky, Nikolai (1842–1886)
Provenance: Private collection, France.
Authenticity of the work has been confirmed by the expert V. Petrov.
£20,000–30,000
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( 139 )
108. Babaev, Polidor (1813–1870)
The Feat of the Grenadier of the Finland Life Guards
Regiment Leontiy Korennoi in the 1813 Battle of Leipzig.
Pencil and watercolour, heightened with white, on paper,
60 by 71.5 cm.
Executed c. 1846.
The present lot is a study for the eponymous 1846 oil painting
by Babaev, currently in the collection of the State Russian Museum.
Provenance: Private collection, Latvia, from the 1990s.
Authenticity certificate from the expert N. Lapidus.
£3,000–5,000
109. Ovsyannikov, Valery (1862–1911)
110. Karazin, Nikolai (1842–1908)
St Basil’s Cathedral, signed and dated 1886.
Battle of Makhram in Turkestan, signed.
Pencil and watercolour, heightened with white, on paper,
34 by 23.5 cm.
Oil on canvas, 67 by 102.5 cm.
Executed c. 1888.
Provenance: Private collection, Latvia, from the 1990s.
The present lot is a study for the 1888 painting Battle of Makhram on
22 August 1875, currently in the collection of the Museum of Artillery,
Engineers and Signal Corps, St Petersburg.
Authenticity of the work has been confirmed by the expert
V. Petrov.
Authenticity certificate from the expert N. Lapidus.
Authenticity of the work has been confirmed by the expert V. Petrov.
£1,500–2,000
Related literature: For the finished painting, see T. Ilyina, Nikolai Karazin.
Voin, pisatel, zhivopisets, St Petersburg, Museum of Artillery, Engineers
and Signal Corps, 2010, p. 19, illustrated; p. 18, listed.
£25,000–30,000
( 140 )
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* 111. Tikhov, Vitaly (1876–1939)
Bathers and Nude with a Vase by the Rubens Painting “Perseus and Andromeda”,
double-sided work, one side signed and dated 1919.
Each side oil on canvas, measuring 151 by 198 cm (Bathers) and 198 by 151 cm (Nude with a Vase).
Provenance: Private collection, Europe.
£120,000–150,000
Творчество Василия Тихова широкой публике известно преимущественно по его работам 1920-х годов, сюжетами для которых служили
события становления советского быта. Примечательно, что параллельно
созданию монументальных живописных сцен, запечатлевающих деятельность первых колхозов и активную индустриализацию страны,
мастер увлеченно работал над произведениями в жанре «ню». Исполненные художником многочисленные изображения обнаженных натурщиц, вариации на тему «Купальщиц» и «В бане» складываются
в настоящий цикл работ, своего рода живописную «сюиту»,
прославляющую красоту и магию женского тела.
Подобные полотна в собрания государственных музеев поступали много
позже времени их создания, находясь преимущественно в частных коллекциях. Представленная картина уникальна в своем роде. Записанный
автором с обеих сторон холст демонстрирует одновременно два мотива,
наиболее привлекающих художника в ту пору, — композиция, состоящая
из гармонично сгруппированных фигур обнаженных натурщиц, и образ
девушки, запечатленной на фоне одного из известных полотен европейского мастера XVII века.
Установить истинную причину совмещения изображений на одном холсте до настоящего момента не представляется возможным. Можно предположить, что причиной служили скудные материальные обстоятельства
жизни Тихова в конце 1910-х — начале 1920-х годов, вынудившие его
использовать обе пригодные для живописи поверхности. Тем более ценными в таком случае становятся произведения, обнаруживающие истинные творческие интересы и художественные задачи, воплощенные
в сакральной тишине мастерской.
V. Tikhov, Bathers, 1935
( 142 )
Увлечение темой обнаженной натуры возникло у Тихова во время обучения в Императорской Академии художеств (1903–1912). Выдающийся
ученик Владимира Маковского — он получает в 1912 году за картину
«Купальщицы» звание классного художника и право пенсионерской поездки за границу. Впечатления от обширной коллекции живописи старых
мастеров, хранящейся в Эрмитаже, были дополнены опытом по итогам
посещения европейских художественных собраний, что в совокупности
определило симпатии молодого художника. Сама стилистика полотен
XVI–XVII столетий Тиховым будет успешно усвоена и переработана
в собственном творчестве. Изображенная девушка на фоне картины
Питера Пауля Рубенса «Персей и Андромеда» в манере исполнения,
особенно по приглушенности колорита, местами «загорающегося»
вспышками яркого цвета, словно вторит полотну фламандского мастера.
Существует несколько вариаций подобного сюжета, в которых Тиховым
обыгрываются включения в собственные работы произведений старых
мастеров.
Совсем иной характер запечатленных им «Купальщиц». В данной работе
художественной задачей выступает попытка передать естественное созвучие обнаженного тела и природы, гармонию их сосуществования. Тихов
на языке импрессионизма сообщает зрителю красоту и пластику форм,
изображая своих моделей в разнообразных движениях, поворотах.
С чуткостью великолепного колориста мастер будто пеленой солнечного
света окутывает берег реки, проступающую на фоне листву кустарников.
Тихову удалось наполнить своих «Купальщиц» особым настроением
и чувством радости, в своей искренности и непосредственности
очаровывающих зрителя.
V. Tikhov, Nude with a Rubens Painting, 1920
V. Tikhov, Bathing Mother and Child, 1929
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Vasily Tikhov is primarily known to the general public because of his works
from the 1920s, depicting events associated with the building of the Soviet
way of life. Curiously, while churning out monumental paintings
documenting the activities of the first kolkhozes and promoting the swift
industrialisation of the country, Tikhov was enthusiastically painting nudes.
His many works in that genre, all variants of such topics as Bathers, or In
the Bathhouse, form a whole cycle, an artistic suite of sorts, celebrating the
beauty and allure of the female body.
Initially, these works were kept exclusively in private collections, and it took
them many years to make it into the collections of state museums. The
painting offered here is in many ways unique. It was painted on both sides
of the canvas, and it represents two distinct subjects that preoccupied the
artist at that time: a finely balanced composition of nude figures and a
picture of a young girl in front of a well-known painting by Peter Paul
Rubens, one of maîtres of European art of the 17th century.
It is impossible now to establish the reason as to why the artist resorted to
such an arrangement. We may only guess that it was the scarcity of material
resources at the end of the 1910s — beginning of the 1920s that prompted
him to paint on both sides of the canvas. This renders the work even more
valuable in that it embodies the master’s artistic proclivities and goals,
externalised by him in the sacred, serene surroundings of his studio.
The genre of nudes initially attracted Tikhov when he was a student at the
Imperial Academy of Arts in 1903–1912. An outstanding pupil of Vladimir
Makovsky, Tikhov received the rank of a certified artist and an entitlement
to a funded research trip abroad for his painting Bathers. His impressions
of the vast Old Masters collection at the Hermitage, enriched by his studies
of Europe’s best collections, formed his artistic preferences. Moreover, the
young artist creatively reinterpreted the styles of the 16th and 17th century
paintings he saw to suit his own vision. In the manner of execution, and
especially owing to the subdued palette, with only occasional bursts of
colour, the girl painted in front of Rubens’s Perseus and Andromeda
appears to echo the work of the Flemish master. Tikhov modified this
subject in some of his pictures, which also feature works of the Old
Masters.
Bathers, however, is strikingly different. Here, Tikhov’s artistic aim is to
express in painterly form the innate consonance between a naked body and
nature, the harmony of their co-existence. The artist uses the language of
Impressionism to communicate to the viewer the beauty and plasticity of
human form, portraying his models as they move and turn their bodies.
With an exceptional feel for colour, Tikhov envelops the riverbank and the
foliage of the shrubs emerging in the background in a delicate, shimmering
sunlight. The result is a work imbued with a distinctive mood and
permeated by a joy that enchant the viewer by their sincerity and
immediacy.
V. Tikhov, Female Nude, 1921
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Russian Art Auction
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( 145 )
* 112. Korovin, Konstantin (1861–1939)
Pond at Kuskovo, signed, inscribed in Cyrillic “Kuskovo” and dated “1915 g./Avgust”.
Oil on cardboard, laid on canvas, 66 by 88 cm.
Provenance: Important private collection, USA, from the 1980s.
Thence by descent.
Russian Art, Sotheby’s New York, 15 April 2008, lot 58.
Acquired at the above sale by the present owner.
Authenticity of the work has been confirmed by the experts V. Kruglov, G. Krechina
and S. Rimskaya-Korsakova.
£300,000–400,000
( 146 )
Cамый именитый и талантливый русский импрессионист Константин
Коровин представлен в настоящем каталоге выдающимся полотном
«Пруд в Кусковo». Художник не имел соперников в достижении подлинности передачи мгновенно пойманного, сиюминутного состояния природы и гармонии колористического звучания. Мастерски подмечая тончайшие цветовые нюансы, меняющиеся с изменением освещения, Коровин
добивался удивительной целостности картинного восприятия. Перед
нами работа лучшего периода творчества художника — периода его
подлинного расцвета, наделившего русское искусство рубежа веков
неотъемлемым термином «коровинский импрессион». «Можно отметить
новые изменения в колористической системе художника. Он почти отказывается от тонкой тональной разработки, от постепенных переходов.
Само строение живописи и организация композиции в целом, основанные, как и прежде, преимущественно на цветовых контрастах, становятся более упрощенными. Меняется и сама манера письма. Мазок
становится гуще, сочнее, рука — еще смелее. Но абсолютная гармония
колористической композиции, внутренняя соразмерность ее слагаемых,
так же как пластичность живописи, придают им ту закономерность,
которая обеспечивает образу не только зрительную декоративную звучность, но и необычайную чувственную силу, полнокровность, внутреннюю напряженную жизненность, убеждают в его достоверности», —
писала об этом периоде творчества художника известный советский
искусствовед Дора Коган.
«Пруд в Кусковo» — подлинная демонстрация высокого пленэрного
мастерства, исключающего любые студийные доработки. Известно, что
художник в эти годы даже с большим форматом холста работал только
с натуры, будь то зимний морозный охотинский день или палящее гурзуфское солнце. Картина исполнена в один прием, что видно невооруженным глазом. Зафиксированное художником трепетное догорание
теплого летнего вечера буквально пропитано атмосферой покоя, тихой
поэтикой неброской, но удивительно притягательной сущности природы
среднерусской полосы в состоянии, еще не предвещающем грозные
социальные катаклизмы. Сложный колорит произведения, основанный
на изумрудных и серо-голубых плоскостях, несколько «взволнован»
пурпурно-красным пятнышком рыбачка-стаффажа, что является своеобразной визитной карточкой мастера, расставляющего подобные акценты как бы невзначай, отнюдь не для эффектной коды, но воистину
ради присутствия живой души, его сакрального, коровинского участия.
Феномен мастерства художника настолько тонок и неуловим, что
раскрывается он именно в произведениях неброских, располагающих
к философскому созерцанию, особому медитативному погружению,
зачастую помогающему обнаружить в себе несколько иное, чувственнообостренное восприятие прекрасного.
K. Korovin, Canoe, 1913
K. Korovin, Landscape with a Boat, 1917, The State
Tretyakov Gallery
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( 147 )
Konstantin Korovin, perhaps the most distinguished and talented Russian
Impressionist, is represented in this catalogue by his notable canvas Pond
at Kuskovo. The artist was unrivalled in his ability to authentically convey
the “captured moment”, the fleeting state of nature and a vibrant colour
harmony. By masterly observation of colour changing with the light, Korovin
achieved an astonishing perceptive integrity. The work before us is from the
artist’s best creative period, a genuine flourishing which gave Russian art
at the turn of the last century the indispensable term “a Korovin
impression”. The well-known Soviet art critic Dora Kogan wrote: “New
changes can be seen in the artist’s system of using colour. He almost
rejects subtle tonal development and gradual transitions. The very structure
of his painting and the way he organises colour composition…becomes
more simplified. His actual manner of painting also changes. The paint
becomes thicker and juicier, and the brushwork even bolder. But the
perfectly harmonious arrangement of colours, the internal balance of
compositional elements, as well as the texture of the painting impart
a consistency that endows the image not only with decorative visual
resonance, but also with exceptional sensual power and a tense, fullblooded inner liveliness that persuade us it is true.”
Pond at Kuskovo is evidence of a towering mastery of plein air painting.
In these years, the artist — even when painting large canvasses — worked
only from nature, whether a scorching day on the Black Sea or a frosty
winter’s day in Okhotino. Pond at Kuskovo was painted in one go, as is
clearly seen. The artist has imbued the still, pulsating heat of a summer’s
evening in central Russia with calm, and the quietly poetic, subtly alluring
spirit of nature does not herald the social cataclysms to come. The complex
emerald and grey-blue colouration is livened up a little by the crimson
speck of a figure fishing — the master’s personal calling card. Korovin’s
distinctive, sacred contribution was to insert this kind of touch as if by
chance, not as a gimmick, but for a living soul to be present. The
phenomenon of his fine and elusive artistry is particularly apparent in his
understated works that are so conducive to philosophical contemplation
and a singular, meditative “immersion”. This frequently prompts a rather
different, sensorily-sharpened, aesthetic perception in oneself.
K. Korovin, In a Boat, 1915, The State
Tretyakov Gallery
( 148 )
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* 113. Rozhdestvensky, Vasili (1884–1963)
Landscape with a Tree, signed and dated 1924.
Oil on canvas, 89 by 55 cm.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by the expert Yu. Rybakova.
Authenticity certificate from the expert V. Petrov.
Literature: V. Petrov, “Vasilii Vasilievich Rozhdestvensky 1884–1963”, Antikvarnoe
obozrenie, No. 1 (14), 2005, p. 40, illustrated.
£120,000–180,000
«Пейзаж с деревом» относится к зрелому периоду творчества Василия
Рождественского — члена группы «Бубновый валет» и соратника таких известных мастеров, как Михаил Ларионов, Роберт Фальк и Илья Машков.
Благодаря обучению у Валентина Серова и Константина Коровина творчество Рождественского с самого начала развивалось на западных живописных основах, в первую очередь на основе опыта неоимпрессионистов
и кубистов. Рождественского также увлекала природа: ее краски, сочетания геометрических форм и насыщенных цветов и пространственные соотношения, что просматривается и в предложенной на торги работе.
Landscape with a Tree belongs to the mature period in the oeuvre of Vasili
Rozhdestvensky — a member of the Jack of Diamonds group and a close
associate of such famous artists as Mikhail Larionov, Robert Falk and Ilya
Mashkov. Thanks to his teachers, Valentin Serov and Konstantin Korovin,
Rozhdestvensky’s development as a painter was founded from the very
outset on the Western artistic tradition, primarily influenced by NeoImpressionism and Cubism. Rozhdestvensky was also captivated by nature,
its hues, combinations of geometric forms, intense colours and spatial
relationships, all of which can be seen in the work presented in the
catalogue.
В «Пейзаже с деревом» классическая линейная перспектива на переднем плане плавно переходит в тональную. Возникающая в результате
вертикальная и горизонтальная двуплановость создает ощущение всеобъемности пространства, близкой по восприятию к видению человеческого глаза. В дополнение к этому интенсивные короткие мазки чистых
красок сообщают полотну необычайную энергию жизни — эффект, достижение которого было одной из важнейших живописных задач художника. Характерна для него и мастерски выполненная глубокая тональная
разработка, в данном случае зеленого цвета.
In Landscape with a Tree, the classic linear perspective in the foreground
gradually recedes into a tonal perspective. As a result, the vertical and horizontal planes merge, and the resulting two-dimensional composition creates an illusion of an all-encompassing space, striving to emulate the way
the human eye perceives space. In addition, the intense, short brushstrokes of pure colours lend the canvas an extraordinary vivacity, which
was one of Rozhdestvensky’s main artistic goals. The nuanced, masterful
development of tonality — in this case in green — is also characteristic
of his work.
Однако «Пейзаж с деревом» — не только логическое размышление художника над живописной техникой, но и плод его глубоко прочувствованного лирического единения с природой. На полотне, скорее всего,
изображены окрестности усадьбы Ясная Поляна, принадлежавшей
очень уважаемому Рождественским Льву Толстому, которые художник
часто посещал и о которых он много писал в своих дневниках. Это придает произведению личностный оттенок и духовную осмысленность,
что выгодно отличает его от других пейзажей художника.
Landscape with a Tree represents a deeply felt lyrical union with nature.
The work possibly depicts the environs of Yasnaya Polyana, the estate that
belonged to Leo Tolstoy, which Rozhdestvensky often visited and wrote so
much about in his diaries. Most probably, this is what lends the work its
sense of intimacy and inner meaning, making it all the more special
amongst the many landscapes that Rozhdestvensky painted.
V. Rozhdestvensky, Landscape in
the Environs of Moscow, 1948,
The Regional Art Museum, Kaluga
( 150 )
V. Rozhdestvensky, Belomorye. A Swamp, 1938, The Kostroma
State History, Architecture and Art Museum Reserve
The present lot as illustrated in the
Antikvarnoe obozrenie magazine
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* 114. Burliuk, David (1882–1967)
Still Life on the Beach, signed.
Oil on canvasboard, 50.5 by 40.5 cm.
Provenance: Private collection, New York.
The work will be included in the forthcoming David
Burliuk catalogue raisonné being prepared by the
Burliuk Committee in collaboration with Mary Burliuk.
£20,000–30,000
MacDougall’s
London
2 December 2015
( 153 )
* 115. Burliuk, David (1882–1967)
Fishermen and the Artist’s Wife on the
Long Island’s Shore, signed.
Oil on canvas, 92.5 by 132.5 cm.
Executed in the 1950s.
The work will be included in the forthcoming David
Burliuk catalogue raisonné being prepared by the
Burliuk Committee in collaboration with Mary Burliuk.
£70,000–90,000
D. Burliuk, Fishermen at the Harbour
( 154 )
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2 December 2015
( 155 )
* 116. Gritsai, Alexei (1914–1998)
* 117. Plastov, Arkady (1893–1972)
Golden Autumn, signed.
Spring. Evening Approaching, stamped with the artist’s initials, also
Oil on paper, laid on cardboard, 50 by 66.5 cm.
further signed, stamped with the artist’s initials, titled in Cyrillic and dated
“60e gg.” on the reverse.
Oil on cardboard, 35 by 50 cm.
Executed in the mid-1970s.
Provenance: Acquired directly from Alla Gritsai,
the artist’s daughter-in-law in Moscow, 2005.
Important private collection, USA.
Provenance: Collection of Nikolai Plastov, the artist’s grandson (stamp on
the reverse).
Acquired directly from the above by the present owner in Moscow, c. 2000.
Important private collection, USA.
Authenticity certificate from Alla Gritsai.
Authenticity certificate from Nikolai Plastov.
£12,000–18,000
£12,000–18,000
( 156 )
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2 December 2015
( 157 )
* 118. Plastov, Arkady (1893–1972)
* 119. Gritsai, Alexei (1914–1998)
May in a Birch Grove, stamped with the artist’s initials, further signed
Gold of Autumn, signed.
and titled in Cyrillic on the reverse.
Oil on canvas, 52.5 by 62 cm.
Oil on canvasboard, 34 by 49.5 cm.
Executed c. 1979.
Executed c. 1957–1958.
Provenance: Acquired directly from the artist
by the present owner in Moscow, 1990s.
Important private collection, USA.
Provenance: Collection of Nikolai Plastov, the artist’s grandson.
Acquired directly from the above by the present owner in Moscow, c. 2000.
Important private collection, USA.
( 158 )
Authenticity certificate from Nikolai Plastov.
Authenticity certificate from Alla Gritsai, the
artist’s daughter-in-law.
£12,000–18,000
£12,000–18,000
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2 December 2015
( 159 )
* 121. Chuikov, Semen (1902–1980)
On a Central Asian Farm.
Oil on canvas, 40 by 88.5 cm.
£15,000–20,000
120. Konchalovsky, Petr (1876–1956)
122. Popkov, Viktor (1932–1974)
Spring Birches, signed and dated 1952, also further signed,
Tselinnik, signed and dated 1963, also further signed, titled
numbered “1593” and dated on the reverse.
Oil on canvas, 80 by 65 cm.
in Cyrillic and dated on the reverse.
Tempera on paper, laid on canvas, 85.5 by 64 cm.
Provenance: Acquired by a previous owner in Moscow, between
1952 and 1956.
Thence by descent.
Private collection, Luxembourg.
Provenance: Acquired directly from the artist’s family by
the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow,
Iskusstvo, 1964, p. 156, listed as “zhi 1305”.
Literature: Viktor Popkov, A Russian Painter of Genius, London,
Unicorn Press, 2013, p. 153, illustrated.
£25,000–30,000
( 160 )
£5,000–7,000
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2 December 2015
( 161 )
* 123. Tkachev, Sergei (B. 1922)
Potatoes, signed, titled in Cyrillic and
dated 1974 on the reverse.
Oil on cardboard, 49.5 by 79.5 cm.
Provenance: Acquired directly from Sergei
and Aleksei Tkachev by the present owner
in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from the Tkachev
brothers.
£10,000–15,000
* 124. Tkachev, Alexei (B. 1925)
* 125. Gritsai, Alexei (1914–1998)
Open Window, signed, also further
Spring in Priluki Village. Oaks, signed.
signed, titled in Cyrillic and dated 1987
on the reverse.
Oil on cardboard, 40 by 50 cm.
Oil on canvasboard, 43.5 by 69.5 cm.
Executed c. 1968.
Provenance: Acquired directly from the artist
by the present owner in Moscow, 1990s.
Important private collection, USA.
Provenance: Acquired directly from the
artist by the present owner in Moscow,
1990s.
Important private collection, USA.
Authenticity certificate from Alla Gritsai, the artist’s
daughter-in-law.
Authenticity certificate from the artist.
£12,000–18,000
£6,000–9,000
( 162 )
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( 163 )
* 126. Terpsikhorov, Nikolai (1890–1960)
* 127. Terpsikhorov, Nikolai (1890–1960)
* 128. Terpsikhorov, Nikolai (1890–1960)
Evening Approaching, signed, also further signed, titled in Cyrillic
Road to the Kama River, signed, also further signed, titled in Cyrillic
Noon on the Oka River, signed, also further signed and titled in Cyrillic on
and dated 1953 on the reverse.
Oil on canvas, 80 by 135.5 cm.
and dated 1952 on the reverse.
Oil on canvas, 94.5 by 130.5 cm.
the reverse.
Oil on canvas, 76.5 by 154.5 cm.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Executed in the 1940s.
Authenticity certificate from Natalia Terpsikhorova.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
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. 92,
pl. LXXIII, illustrated; p. 101, listed.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of
Mother Russia, Springville, Springville Museum of Art, 2008, p. 91,
pl. LXXII, illustrated; p. 101, listed.
Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 121, illustrated.
£8,000–12,000
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter,
by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum
of Art, Springville, 13 September–16 October 2008.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008, p. 81, pl. LX, illustrated; p. 100, listed.
£10,000–15,000
£9,000–12,000
( 164 )
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( 165 )
* 129. Terpsikhorov, Nikolai (1890–1960)
* 130. Terpsikhorov, Nikolai (1890–1960)
Mountain River, signed.
Spring on the Oka River, signed, also further signed and titled in Cyrillic
Oil on canvas, 71 by 115 cm.
on the reverse.
Oil on canvas, 67.5 by 108.5 cm.
Executed in the 1950s.
Executed c. 1951.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s
daughter, by the present owner in Moscow, 1990s.
Important private collection, USA.
Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter,
by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Natalia Terpsikhorova.
Authenticity certificate from Natalia Terpsikhorova.
Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville Museum of Art, Springville, 13 September–16 October 2008.
( 166 )
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. 81,
pl. LIX, illustrated; p. 100, listed.
Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia,
Springville, Springville Museum of Art, 2008, p. 88, pl. LXVIII, illustrated; p. 101, listed.
£10,000–15,000
£7,000–9,000
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( 167 )
132. Baturin, Victor (1863–1938)
133. Svetlakov, Sergei (B. 1961)
Cape Ai-Panda, Crimea, signed and dated “17 iyulya 1914.”, further inscribed in Cyrillic “Petrograd
Still Life with Pomegranates, signed,
Etiudnaya/vystavka 1914 g 7. sentyabrya.” [sic], indistinctly titled and numbered “N 19” on the reverse.
Oil on canvas, laid on cardboard, 34.5 by 50 cm.
also further signed and titled in Cyrillic on
the reverse.
Oil on canvas, 55.5 by 65.5 cm.
Provenance: Private collection, Austria.
Authenticity of the work has been confirmed by the expert V. Petrov.
Exhibited: Vystavka kartin, etyudov i eskizov Petrogradskogo Obshchestva Khudozhnikov,
Shvedskii dom, Petrograd, September 1914.
Provenance: Private collection, Europe.
£3,000–5,000
Literature: Exhibition catalogue, Vystavka kartin, etyudov i eskizov Petrogradskogo Obshchestva
Khudozhnikov, Petrograd, 1914, No. 28, listed.
£5,000–7,000
* 131. Gritsai, Alexei (1914–1998)
Evening Approaching. Herd of Cows near Priluki Village, signed.
Oil on paper, laid on cardboard, 35.5 by 48 cm.
Executed c. 1962.
Provenance: Acquired directly from the artist by the present owner in Moscow, 1990s.
Important private collection, USA.
Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law.
£12,000–18,000
( 168 )
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( 169 )
134. Fokin, Leonid (1930–1985)
* 135. Vladimirsky, Boris (1878–1950)
Before the Storm, signed and dated 1960, further
Round Dance, signed.
titled in Cyrillic on the reverse.
Oil on canvas, 103 by 200.5 cm.
Oil on canvas, 68.5 by 99 cm.
Provenance: With the salon of the Art Fund of the USSR
(label on the stretcher).
Galerie G. Basmadjian, Paris (stamps on the stretcher).
Estate of G. Basmadjian.
Thence by descent.
Private collection, France.
Provenance: Private collection, USA.
£3,000–5,000
£10,000–15,000
136. Popkov, Viktor (1932–1974)
A Couple, signed and dated 1966, also further signed, inscribed in Cyrillic “Eskiz
k kartine “Dvoe” and dated on the reverse.
Oil on cardboard, 57 by 69.5 cm.
The present lot is a study for the 1966 painting A Couple (Dvoe), presently in the
collection of the State Tretyakov Gallery.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013,
p. 272, illustrated; p. 68, the present work can be seen on the easel in the artist’s studio.
£12,000–18,000
V. Popkov, A Couple, 1966, The State Tretyakov Gallery
( 170 )
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2 December 2015
( 171 )
137. Popkov, Viktor (1932–1974)
138. Popkov, Viktor (1932–1974)
139. Andronov, Nikolai (1929–1998)
Wake in Kashira, signed, titled in Cyrillic and dated “63–66 g”, also further
Boy with His Hand Raised, signed, titled in Cyrillic
Window to the Lake, double-sided installation, each side
signed, titled and dated on the reverse.
Oil on canvas, 105.5 by 120.5 cm.
and dated 1973 on the reverse.
Oil on cardboard, 50 by 35 cm.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Provenance: Acquired directly from the artist’s family
by the present owner.
Private collection, UK.
signed, one twice, and dated 1995, one side titled in Cyrillic.
Each side oil on canvas, laid on board, and oil on wood,
117 by 110.5 cm.
Authenticity of the work has been confirmed by Alexei Popkov, the artist’s son
(inscription on the reverse).
Exhibited: Severity of Style, MacDougall’s, London,
1–14 May 2015.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
£2,000–3,000
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press,
2013, p. 143, illustrated.
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May
2015.
£4,000–6,000
£10,000–15,000
( 172 )
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2 December 2015
( 173 )
140. Popkov, Viktor (1932–1974)
141. Popkov, Viktor (1932–1974)
Red Monastery Walls.
March in Gurzuf, signed, titled in Cyrillic and dated 1972
Oil on paper, laid on cardboard, 48.5 by 65 cm.
on the reverse.
Oil on cardboard, laid on canvas, 57.5 by 74.5 cm.
Provenance: Acquired directly from the artist’s family by the present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn
Press, 2013, p. 230, illustrated.
£4,000–6,000
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
£4,000–6,000
142. Popkov, Viktor (1932–1974)
Girl by the Door, signed, titled in Cyrillic and dated 1963
on the reverse.
Oil on paper, laid on cardboard, 84.5 by 60.5 cm (cardboard size).
Provenance: Acquired directly from the artist’s family by the
present owner.
Private collection, UK.
Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015.
Literature: Viktor Popkov, A Russian Painter of Genius, London,
Unicorn Press, 2013, p. 227, illustrated.
£10,000–15,000
( 174 )
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2 December 2015
( 175 )
143. Plavinsky, Dmitry (1937–2012)
Old Russian Manuscript, triptych, one part signed with a monogram and dated
1977, also further one part signed, titled in Cyrillic and dated, and each part
numbered “N 1”, “N 2” and “N 3” respectively on the reverse.
Each part oil, acrylic and collage with sand, one also with paper, fabric and rope,
on canvas, each measuring 78.5 by 47 cm.
Provenance: Private collection, Europe.
Authenticity of the work has been confirmed by Maria Plavinskaya, the artist’s widow.
£45,000–50,000
MacDougall’s
London
2 December 2015
( 177 )
146. Kalinin, Viatcheslav (B. 1939)
Date on the Sofa or Dreamy Illusion,
signed and dated 1989, also further signed,
titled in Cyrillic and dated on the reverse.
Oil on canvas, 61.5 by 49.5 cm.
Provenance: Private collection, France.
Authenticity of the work has been confirmed
by the artist.
Literature: Viacheslav Kalinin. Painting, Works
on Paper, Moscow, Belyi gorod, 2014, p. 144,
No. 2, illustrated as On the Sofa by the
Moskvoretsky Bridge.
£2,000–3,000
147. Slepyshev, Anatoly (B. 1932)
Under a Tree, signed and dated 1995.
Oil on canvas, 203 by 292.5 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
£8,000–12,000
144. Purygin, Leonid (1951–1995)
Fish. Love, signed “Lenya Purygin iz Nary”.
Oil on canvas, 61 by 91cm.
Provenance: Private collection, Europe.
£10,000–15,000
145. Afrika (Bugaev, Sergey) (B. 1966)
Moskva-Shch-2, signed, inscribed in Cyrillic
“Berlinskoi/sektsii kluba/Mayakovskogo/ot
Predsedatelya” and dated 1988 on the reverse.
Oil and collage with fabric on canvas, 94 by 65 cm.
Provenance: With Raab Gallery, London.
Acquired from the above by a previous owner, c. 1989.
Private collection, USA.
Exhibited: Possibly, Timur Novikov and Africa,
Tate Gallery, Liverpool; Raab Gallery, London, 1989.
Authenticity of the work has been confirmed by the artist.
£3,000–5,000
( 178 )
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2 December 2015
( 179 )
149. Nesterova, Natalia (B. 1944)
Debout sur la ville, signed, also further signed,
titled and dated 1995 on the reverse.
Oil on canvas, 100 by 81 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£5,000–7,000
150. Nesterova, Natalia (B. 1944)
Le petite dejeuner, signed, also further signed,
titled and dated 1992 on the reverse.
Oil on canvas, 80.5 by 100 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£6,000–9,000
148. Ovchinnikov, Vladimir (1941–2015)
St George, signed and dated “MM”, also further
signed, titled in Cyrillic and dated 2000 on the reverse.
Oil on canvas, 195 by 130 cm.
Provenance: Acquired directly from the artist
by the present owner, St Petersburg.
Private collection, Washington, DC.
£8,000–12,000
( 180 )
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2 December 2015
( 181 )
153. Nesterova, Natalia (B. 1944)
Seafood, signed, also further signed, titled and dated 1996 on
the reverse.
Oil on canvas, 92 by 73 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£5,000–7,000
154. Grositsky, Andrey (B. 1934)
The Key, signed, titled in Cyrillic and dated 1995 on the reverse.
Oil and collage with sand on canvas, 116 by 89 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£2,000–3,000
155. Nesterova, Natalia (B. 1944)
The Letter “N” Mask, from the “Masks” series, signed,
also further signed, titled in Cyrillic and dated 1994 on the reverse.
Oil on canvas, 55 by 46.5 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£3,000–5,000
151. Nesterova, Natalia (B. 1944)
Limours, diptych, each part signed, also further signed,
titled and dated 1992 on the reverse.
Each oil on canvas, measuring 120 by 100.5 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£15,000–20,000
152. Nesterova, Natalia (B. 1944)
Le marronnier d’Inde, signed, also further signed, titled and
dated 1995 on the reverse.
Oil on canvas, 115.5 by 89 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
Authenticity certificate from the artist.
£6,000–9,000
( 182 )
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2 December 2015
( 183 )
157. Belenok, Pyotr (1938–1991)
Untitled, signed and dated 1981.
Oil, tempera and collage with paper on cardboard,
141.5 by 122.5 cm.
Provenance: Acquired directly from the artist
by the present owner, Moscow.
Private collection, France.
Exhibited: Collages russes, Galerie Blue Square,
Paris, 24 October 2007–5 January 2008.
£3,000–5,000
156. Novikov, Timur (1958–2002)
( 184 )
158. Belenok, Pyotr (1938–1991)
USSR, the Country of the Rising Sun, signed,
Cataclysm, signed and dated 1984.
titled in Cyrillic and dated 1986.
Acrylic screen printing on fabric, 193 by 193.5 cm.
Oil, tempera and collage with paper on cardboard,
66 by 53 cm.
Provenance: With Raab Gallery, London.
Acquired from the above by the present owner, 1989.
Private collection, UK.
Provenance: Acquired directly from the artist
by the present owner, Moscow.
Private collection, France.
Exhibited: Timur Novikov and Africa, Tate Gallery, Liverpool;
Raab Gallery, London, 1989.
Exhibited: Collages russes, Galerie Blue Square,
Paris, 24 October 2007–5 January 2008.
£20,000–30,000
£1,500–2,000
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( 185 )
§ 160. Koshlyakov, Valery (B. 1962)
Villa, signed twice, inscribed in Cyrillic with a
dedication, titled and dated 2003 on the reverse.
Pencil and acrylic on canvas, 149 by 139 cm.
Provenance: Acquired directly from the artist
by the present owner.
Important private collection, Belgium.
£7,000–9,000
161. Zverev, Anatoly (1931–1986)
Composition, signed and dated 1965.
Oil on cardboard, 74.5 by 47 cm.
Provenance: Acquired directly from the
artist by the father of the present owner.
Important private collection, France.
£4,000–6,000
§ 159. Koshlyakov, Valery (B. 1962)
162. Dubossarsky, Vladimir
and Vinogradov, Alexander
(B. 1964 and B. 1963)
Fountain, signed and dated 1994.
Oil, gouache and collage with tape on corrugated cardboard,
laid on canvas, 196 by 132 cm.
Procreation, signed and dated 2001.
Pencil, acrylic and tempera on paper,
70 by 67 cm.
Provenance: Acquired directly from the artist by the present owner.
Important private collection, Belgium.
£7,000–9,000
Authenticity certificate from the artist.
£10,000–15,000
( 186 )
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Russian Works of Art, Fabergé
and Icons
Lots 201–282
* 202. A Soviet Porcelain Figurine
of a Fortune-Teller
MODEL BY NATALIA DANKO, LOMONOSOV
STATE PORCELAIN MANUFACTORY,
LENINGRAD, CIRCA 1920s
Height 19.5 cm.
Related literature: For similar works,
see T.N. Nosovich, I.P. Popova,
Gosudarstvenny farforovy zavod.
1904–1944, St Petersburg, Orchestr,
pp. 360–361.
Realistically modelled as a gypsy fortune
teller with a hand of cards beside an
elegantly dressed young lady, with
impressed manufactory mark and
signed ‘N.Danko’.
£10,000–15,000
204. A Porcelain Composition “Telephone Talk”
205. A Porcelain Composition “Manicure (The Gossips)”
MODEL BY NINA MALYSHEVA, DULEVO PORCELAIN MANUFACTORY,
MOSCOW, 1958
Height 25.5 cm.
MODEL BY NINA MALYSHEVA, DULEVO PORCELAIN MANUFACTORY,
MOSCOW, 1958
Height 18.5 cm.
Realistically modelled, the woman in raspberry-coloured coat dress
and matching ribboned shoes, holding a white bag with gilt trim and
listening on the telephone, the man on the other side of the
telephone post, wearing a light coat, characteristic red tie, green
trousers and large boots and a cap with a small suitcase beside him,
similarly engaged on the telephone, with blue overglaze manufactory
stamp and incised manufactory mark, further inscribed ‘7’ in black.
Realistically modelled, two ladies seated at the stylised manicure
table, the customer in violet dress with a headpiece, seated on a chair
with the green coat thrown over the back, the manicurist in a salon
robe in holding the client’s hand and attentively listening, apparently
unmarked.
£12,000–15,000
£12,000–15,000
203. A Porcelain Composition
“Taking a Walk”
MODEL BY NINA MALYSHEVA, DULEVO
PORCELAIN MANUFACTORY, MOSCOW,
CIRCA 1952
Height 24 cm.
201. A Soviet Porcelain Figurine
of a Peasant Musician
with a Harmonica
MODEL BY BORIS KUSTODIEV, PAINTING BY
VARVARA RUKAVISHNIKOVA, LOMONOSOV
STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1955
Height 21 cm.
Realistically modelled, the mother in
a beige skirt and matching jacket, with
white patterned chemise and ornate
headscarf, pushing a white pram with
a baby dressed in red, the older girl in
a pastel green costume and a matching
hat attentively showing a flower to her
brother, on square shaped naturalistic
base imitating the grass in the park,
with green overglaze manufactory
marks, further marked ’30’ in green.
£18,000–25,000
Related literature: For similar works, see
T.N. Nosovich, I.P. Popova, Gosudarstvenny
farforovy zavod. 1904–1944, St Petersburg,
Orchestr, p. 323.
206. A Rare Porcelain Composition
of a Mother Bathing Her Child
MODEL BY EFIM GENDELMAN, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1952–1954
Height 20 cm.
Realistically modelled, wearing a white
winter overcoat with ornate folk trimming
and white valenki, holding a harmonica
and playfully looking away, signed and
dated, with blue artist’s monogram.
£1,500–2,000
( 190 )
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207. A Porcelain Composition “Clean hands”
MODEL BY GALINA STOLBOVA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1950
Height 21 cm.
Realistically modelled in white, the mother in a white dress
holding a blond child on top of the stool with a basin, on white
circular shaped naturalistic base, apparently unmarked.
Realistically modelled, the nurse in white dress with green flowers and a
red cross bag, checks the hands of the young boy in beige T-shirt and
blue shorts with suspenders, on circular shaped naturalistic base,
signed ’N.K.’ in Cyrillic, further signed ‘8’ in black.
£7,000–9,000
£12,000–15,000
MacDougall’s
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2 December 2015
( 191 )
208. A Soviet Porcelain Plate “No End
to the Kingdom of Workers and Peasants”
( 192 )
* 209. A Soviet Porcelain Figurine of a Washer Woman
210. An Oval Soviet Porcelain Platter “A Baltic Sailor”
LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1926
Diameter 24.5 cm.
MODEL BY NATALIA DANKO, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1920–1930s
Height 24.5 cm.
MODEL BY SERGEY CHEKHONIN, PAINTING BY VARVARA RUKAVISHNIKOVA,
LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1925
Length 45.5 cm.
Circular, the cavetto painted with a scene of peasants working in
the fields, with a symbolic red star shining above them, the border carrying the slogan in gold within blue rim, with obliterated
Nicholas II mark and blue manufactory mark, dated ‘1926’.
Realistically modelled, wearing a white dress with blue flowers and
a yellow apron with an orange headscarf, standing barefoot and
wringing clothes, with a basin beside her, on a shaped naturalistic
base, with incised manufactory mark, further numbered in purple.
Oval, with a sailor painted in red against a white and blue radial
background, with a black ribbon and gilt logo surrounded by a green leaf,
within dark red and gilt rims, with Imperial cypher for Alexander III and
manufactory marks, dated ‘1925’.
£3,000–5,000
£3,000–5,000
£2,500–3,500
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( 193 )
214. A Soviet Porcelain Plate “Outlines
of Factory Chimneys”
* 211. A Soviet Porcelain Composition “On Guard Duty”
NINA ZANDER, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1919
Diameter 24 cm.
* 212. A Soviet Porcelain Figurine of a Sentry
AFTER A 1938 MODEL BY NATALIA DANKO, LOMONOSOV PORCELAIN
MANUFACTORY, LENINGRAD, 1938–1939
Height 24 cm. AFTER A 1930 MODEL BY TIGRAN DAVTYAN, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD
Height 20cm.
Related literature: For similar works, see T.N. Nosovich, I.P. Popova,
Gosudarstvennyi farforovyi zavod 1904–1944, St Petersburg Orkestr,
2005, p. 565.
Related literature: For similar works, see E. Sametskaya, Sovetskiy
Agitatsionnyi Farfor (Soviet Agitation Porcelain), Moscow, 2004, p. 130, ill.
1[1].
T.Kudryavtseva, Circling the Square. Avant-Garde Porcelain from
Revolutionary Russia, London, Fontanka, 2004, p. 100, No. 40.
Ode to Joy. Russian Porcelain in the Yuri Traisman Collection, Moscow,
Pinakotheke, 2008, p. 195, No. 129.
Two women keeping armed watch and looking attentively into the distance,
both wearing peasant dress, one woman kneeling holding a rifle, the other
standing, leaning on her rifle and shading her eyes, stamped under base
with black ‘LFZ’, red commemorative factory marks and numbered ‘34’.
£1,800–2,500
Related literature: For a similar work, see T.N.
Nosovich, I.P. Popova, Gosudarstvenny farforovy
zavod. 1904–1944, St Petersburg, Orchestr, p. 237.
Circular, the cavetto painted with factory cityscape
in black and grey against a dramatic red sunrise,
within a wide bottle-green band and matching rim ,
with blue overglaze manufactory marks and
obliterated Imperial cypher for Nicholas II,
further incised ‘12’.
215. A Soviet Porcelain Plate “He Who Works Eats”
VASILY TIMORYOV, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1921
Diameter 22 cm.
Related literature: For similar works, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy
zavod. 1904–1944, St Petersburg, Orchestr, p. 255.
Circular, the cavetto painted with a labour card in the name of the artist, the border with red
ribbon carrying the propaganda slogan and a hammer, sickle and rye within a green rim, with red
artist monogram, green Imperial cypher for Nicholas II and blue overglaze manufactory mark.
£3,000–5,000
£3,000–5,000
Realistically modelled, wearing a sheepskin coat and Budenny Cap,
holding a rifle, on white square shaped base, with blue hammer and
sickle manufactory mark.
£1,800–2,500
213. A Soviet Porcelain Vase “Glory to October”
216. A Soviet Porcelain Propaganda Plate
YU. OKHOTINA, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1958
Height 20 cm.
ANATOLIY KISELYOV, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1967
Diameter 25.2 cm.
Cylindrical form on stepped foot with flaring neck, the body
decorated with a burnished and matt gold figure of Lenin against
the Soviet red flag backdrop, the banner underneath the figure with
slogan “Glory to October”, signed in Cyrillic in black “kh. Okhotina
Yu. / 1958”.
Circular, painted in red with Red Army soldiers and a gilt
sickle against white background, signed in Cyrillic “Avt.
Kiselyov A. Ya” and dated 1967.
£800–1,000
£600–800
( 194 )
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219. A Soviet Porcelain Plate “Peacock”
ELIZAVETA ROZENDORF, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1919
Diameter 25.5 cm.
Circular, with scalloped rim, the body painted with a flying peacock
surrounded by highly stylised flowers and foliage accentuated in gold,
within gold rim, with green and blue overglaze manufactory marks, further
numbered ‘26/12’.
£5,000–7,000
217. A Soviet Porcelain Figurine of Galina Ulanova
as “Odette” from “Swan Lake”
ELENA YANSON-MANIZER, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, 1950s
Height 50 cm.
Depicted in an arabesque, with black manufactory mark. This portrait of one of the most celebrated dancers of the 20th century was
created by the leading sculptor of Soviet ballet, Elena Yanson-Manizer and
reproduced in porcelain at the Lomonosov State Manufactory in 1951.
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 figurine “Dancer”. Later in the 1950s Ulanova
became Yanson-Manizer’s muse once again resulting in a series of
porcelain figurines, Ulanova as “Tao-Hoa” in “Red Flower”, Ulanova as the
swan in “Swan Lake”, as Juliet in “Romeo and Juliet” and so on.
The presented figurine of Ulanova as “Odette” became the most famous,
and a life-size version executed in bronze occupies pride of place in front
of the Museum of Dance, Stockholm. 218. A Soviet Porcelain Plate “Woman with a Demon”
220. A Soviet Porcelain Cup and Saucer “Mermaids”
ALEXANDRA SCHEKOTIKHINA-POTOTSKAYA, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, 1922
Diameter of the saucer 14.5 cm, height of the cup 6.5 cm.
AFTER A DESIGN BY SERGEY CHEKHONIN, LOMONOSOV STATE
PORCELAIN MANUFACTORY, LENINGRAD, 1922
Diameter 23 cm.
Related literature: For a similar work, see T.N. Nosovich, I.P. Popova,
Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 290.
Related literature: For a similar work, see T.N. Nosovich,
I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St
Petersburg, Orchestr, p. 219.
The cup painted with four mermaids depicted above the water surface,
surrounded by reeds and a fishing net, the interior of the bowl painted with a
goldfish, saucer similarly decorated with stylised flowers, with green Imperial
cyphers for Alexander III and Nicholas II, blue overglaze manufactory marks
dated 1922, cup further inscribed in Cyrillic “po ris. Schekotikhinoi”.
Circular, the cavetto painted with a reclining nude caressing
a monkey-like creature surrounded by lush vegetation within
a black band and royal blue border within gold rims, with blue
overglaze manufactory marks and green Imperial cypher for
Alexander III, further signed in Cyrillic “po ris. Chekhonina”.
£6,000–8,000
£5,000–7,000
221. A Soviet Porcelain Vase “Cockerels”
VLADIMIR GORODETSKIY, LOMONOSOV STATE PORCELAIN MANUFACTORY,
LENINGRAD, LATE 1960s–EARLY 1970s
Height 32.5 cm.
Recently, for the first time in 40 years, the porcelain manufactory recreated
this particular model especially for the Galina Ulanova Foundation. Baluster-shaped with a slightly flaring neck and foot, the body painted en grisaille
with geometric stylised cockerels, with blue underglaze export factory mark.
£700–900
£800–1,200
( 196 )
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222. A Wooden Imperial Presentation Bread Plate
223. A Porcelain Dessert Plate from
the Coronation Service of Tsar Nicholas I
1902
Diameter 49 cm.
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–
1855), 1826
Diameter 21 cm.
Circular shaped, in Neo-Byzantine style, centered with a crowned
monogram of Nicholas II, applied with finely carved inscription in
Cyrillic “Kursk Merchants Society” and dated “1902”.
Circular, the cavetto painted with the Imperial arms with the collar
of the Order of St. Andrew against an ermine-lined mantle and the
Imperial crown, the border with stylised gilt ciselé swans and
garlands against a cobalt blue ground, apparently unmarked.
£5,000–7,000
£8,000–12,000
( 198 )
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224
* 224. A Porcelain Ink Set
in the Form of a Lumberjack
225
KOZLOV BROTHERS MANUFACTORY, ZHIROVO,
MOSCOW GUBERNIA, 1860–1880s
Height 14 cm.
Realistically modelled, wearing a striped pink
tunic, green and white striped trousers, black
hat and lapti, with a pile of wood on his back,
standing on his knee, on a naturalistic base
imitating the ground, with impressed
manufactory mark.
227
£1,500–2,000
* 228. A Porcelain Figurine
of a Peasant Girl Water-Bearer
GARDNER MANUFACTORY, MOSCOW, MID
19TH CENTURY
Height 25 cm.
226
Realistically modelled, wearing a white
sarafan, with gilt ornament, a matching
kokoshnik and red shoes, on circular
shaped naturalistic base.
KOZLOV BROTHERS MANUFACTORY,
ZHIROVO, MOSCOW GUBERNIA, 1840s
Height 14 cm.
£6,000–8,000
225. A Porcelain Figurine
of a Coachman
GARDNER MANUFACTORY, MOSCOW,
1820–1840
Height 17 cm.
Realistically modelled, wearing a white
overcoat with an orange belt and dotted
chemise underneath, brown boots,
gloves and a hat, on a circular shaped
naturalistic base, with blue underglaze
manufactory mark.
* 226. Three Porcelain Birds
GARDNER MANUFACTORY, MOSCOW,
1870–1890s
Height of the teapot 11 cm, of the goose
5 cm, of the chicken 6 cm.
The teapot shaped as a quail with detachable
lid and green handle, with red manufactory
stamp, the salt shaped as a chicken in
a yellow basket, with red manufactory stamp
further incised ‘344’, the figurine depicting
a goose with red feet and beak, with incised
manufactory mark.
* 229. A Porcelain Figurine
of a Boy with a Playful Puppy
Realistically modelled wearing 18th century
pantaloons, white chemise, a cobalt blue
vest and brown hat with ribbon, depicted
with a playful puppy, with impressed
manufactory mark, further incised with
crossed swords.
* 227. A Porcelain Figurine
of a Fish Vendor
KORNILOV BROTHERS MANUFACTORY,
ST PETERSBURG, 1860–1880s
Height 18 cm.
£1,000–1,500
Realistically modelled, wearing a brown
overcoat, with a white belt, blue
trousers, black boots, gloves and a hat,
holding a green fish bowl on his head,
with red overglaze manufactory mark.
* 230. A Porcelain Composition
of a Young Couple Sheltering
from the Storm
POPOV MANUFACTORY, MOSCOW, 19TH
CENTURY
Height 17 cm.
Realistically modelled, the girl in a pink and
white dress arm-in-arm with a young man
in striped trousers and white chemise, both
barefoot and holding the skirt as cover,
beside a tree stump, with blue underglaze
manufactory mark.
£2,000–3,000
£2,000–3,000
£3,000–5,000
( 200 )
£5,000–7,000
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 201 )
234. A Biscuit Porcelain Composition of Children Playing
MODEL BY AVGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY,
PERIOD OF ALEXANDER II (1855-1881), 1863
Height 58 cm.
231. A Soviet Porcelain Figurine of an Uzbek
Related literature: Khmelnitskaya E., Avgust Spiess i Imperatorskiy
farforoviy zavod, Lyubimaya Kniga, 2012, Moscow, p. 254
MODEL BY PAVEL KAMENSKIY, LOMONOSOV STATE PORCELAIN
MANUFACTORY, LENINGRAD, CIRCA 1930
Height 19.5 cm.
Realistically modelled, the two children in stylised white tunics,
the older child holding an apple away from the other, both barefoot,
the blue stand with white neo-classical garlands and ribbons, centering
a seashell with scrolled feet, signed and dated.
Related literature: For a similar work, see T.N. Nosovich, I.P. Popova,
Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr,
p.136.
£12,000—18,000
Realistically modelled, wearing traditional uzbek costume and a turban,
decorated with varicoloured striped and floral ornaments, on a circular
shaped white base, with incised white manufactory mark and red stamp
‘made in Russia’.
£2,000–3,000
* 235. A Porcelain Figurine of a Scolding Seamstress
GARDNER MANUFACTORY, MOSCOW, 1810–1840s
Height 12.5 cm.
Provenance: Anonymous sale; Russian Works of Art, Fabergé and
Icons, Sotheby’s Olympia London, 23 May 2002, lot 213.
Realistically modelled, wearing a floral printed white dress with
a pink apron and light blue headscarf, standing argumentatively
with hands on her hips beside a wicker basket, on a circular
shaped naturalistic base, with impressed manufactory mark.
£1,500–2,000
* 232. A Rare Large Porcelain Figurine
of a Draughts Player
( 202 )
* 233. Two Miniature Porcelain Figurines
of an Ottoman Couple
POPOV MANUFACTORY, MOSCOW, MID 19TH CENTURY
Height 22.5 cm.
POPOV MANUFACTORY, MOSCOW, 19TH CENTURY
Height of the woman 5 cm, of the man 5.5 cm.
Realistically modelled, expensively dressed in a green tunic with a
long, trimmed coat with gilt ornaments, with gold jewellery and
black boots, depicted seated on a decorative armchair, apparently
unmarked
Realistically modelled, both wearing patterned,
multicoloured attire and jewellery, on square shaped
bases, with blue underglaze and impressed
manufactory marks.
£5,000–7,000
£5,000–7,000
www.MacDougallauction.com
* 236. A Porcelain Figurine of a Naiad with a Seashell
IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I
(1825–1855)
Height 15.5 cm.
Realistically modelled with grey tails and a dark purple seashell,
with gilt necklace and hairband, depicted seated on a stylised
gilt rocaille stand, with blue Imperial cypher for Nicholas I.
£4,000–6,000
Russian Art Auction
MacDougall’s
London
2 December 2015
( 203 )
* 237. A Silver-Gilt and CloisonnÉ Enamel Sugar Bowl
and a Creamer
MAKER’S MARK ‘AK’ IN CYRILLIC, MOSCOW, 1891–1896, WITH SCRATCHED INVENTORY NUMBER 407, THE
CREAMER WITH FURTHER NUMBER 3846
Height of the creamer 8.5 cm, diameter of the bowl 12.5 cm.
The bowl of circular form, with bulbous body decorated with blue medallions with silver-gilt ornaments, surrounded with red, cobalt blue and white enamels centering flowers, top part with a rim of cobalt blue band,
the foot with cobalt blue zigzag and white beads ornament, scrolled handles, gilt interior, the creamer of traditional form with a matching decor, both with engraved initials ‘MV’ in Cyrillic.
£8,000–10,000
* 238. A Silver-Gilt and CloisonnÉ Enamel Cigarette Case
* 240. A Silver and Cut-Glass Tankard
MARK OF PAVEL OVCHINNIKOV BENEATH THE IMPERIAL WARRANT,
MOSCOW, 1886, 88 STANDARD
9.7 by 6 cm.
ANTIP KUZMICHEV, MOSCOW, CIRCA 1880, 88 STANDARD
Length of the tea strainer 17 cm, of the caddy scoop 12.5 cm, of the sugar
tongs 14.5 cm.
Rectangular with rounded corners, enamelled with polychrome
exotic birds and floral ornaments, within a triple row of blue beads
on steepled ground, the sides with patterned green and purple
band, gilt thumbpiece.
The bowl of the tea strainer centered with a strawberry-red enamel heart
surrounded by a band of intertwined ornament within blue borders, the handle
similarly decorated; the caddy scoop bowl centered with a black enamel
spade, surrounded by scrolls, sugar tongs of spring form with black enamel
club tips, handle similarly decorated with clubs surrounded by scrollwork.
The ovoid glass body mounted with a decorative silver band and
applied with a stylised cast and chased silver dragon, the lower
part cut with diamond and radial ornament, the upper part
decorated with alternating flowers, on tapering foot with a diamond
patterned cut glass handle, the hinged silver cover cast as a
dolphin head.
£2,000–3,000
£7,000–9,000
£2,500–3,500
( 204 )
* 239. A Set of Three Silver and Enamel Tea Serving Accessories
www.MacDougallauction.com
Russian Art Auction
ALEXANDER LYUBAVIN, ST PETERSBURG, CIRCA 1896, 84 STANDARD
Height 34 cm.
MacDougall’s
London
2 December 2015
( 205 )
* 241. A Silver-Gilt, CloisonnÉ and Pictorial Enamel Spoon
with a View of St Isaac's Cathedral
MAKER’S MARK ‘VA’ IN CYRILLIC, MOSCOW, 1899–1908, 84 STANDARD
Length 18 cm.
The circular bowl enamelled en plein within a border of stylised
scrolling foliage against an off-white speckled ground, the handle with
cobalt blue, blue and purple enamels against the matching off-white
ground, inscribed in Cyrillic “Vernomu Sokolovu na dobruyu pamyat’
ot Leonida Patisheva”.
£1,800–2,200
* 244. A Silver-Gilt and CloisonnÉ Enamel Bowl
FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD,
SCRATCHED INVENTORY NUMBER 1540C
Length 14 cm.
Oval, the body decorated with stylised foliate and floral designs in
shaded polychrome enamels against stippled ground and flanked
by two sculptural handles in the form of the bear heads.
£18,000–25,000
* 242. A Silver-Gilt, CloisonnÉ
and Pictorial Enamel Pill Box
11TH ARTEL, MOSCOW, 1908–1917, 84 STANDARD
Diameter 6 cm.
Circular, the lid painted with a boyar bride in a plum coloured dress
with layered necklaces and richly decorated jewelled kokoshnik with
a white veil, the body enamelled with shaded polychrome floral and
foliate motifs on stippled gilt ground within green rims, green
thumbpiece.
* 243. A Silver and CloisonnÉ Enamel Stamp Box
MAKER’S MARK ‘IS’ IN CYRILLIC, MOSCOW, 1899–1908, 84
STANDARD
8 by 3.5 cm.
Of rectangular form, decorated in polychrome enamels with stylised
flowers, the lid with three painted stamps in light orange, green and
red against a pastel blue ground, within a row of blue beads, gilt
interior.
£2,000–3,000
£8,000–10,000
( 206 )
www.MacDougallauction.com
Russian Art Auction
* 246. A Silver-Gilt, CloisonnÉ and Plique-À-Jour Enamel Tazza
* 245. A Silver-Gilt and CloisonnÉ Enamel Tea Set
MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD
Height 5.5 cm, diameter 17 cm.
RETAILED BY GiSH, MOSCOW, 1908–1917, 84 STANDARD
Height of the teapot 13.5 cm, of the sugar bowl 12.5 cm, of the
milk jug 7.5 cm, length of the sugar tongs 14 cm.
Comprising a teapot, sugar bowl, milk jug and sugar tongs; teapot
and sugar bowl with hinged covers and mother-of-pearl insulators,
all pieces enamelled with shaded polychrome floral and foliate
motifs against pastel pistachio-coloured ground, purple ornament
within beaded borders to the lower sections, gilt interiors.
Circular on raised foot, the interior of the bowl centered with a turquoise flower
surrounded by a leaf wreath against white and speckled duck egg coloured
backgrounds, the wide band of stylised flowers in polychrome shaded enamels
on a seafoam coloured ground, the border with floral and geometric design in
purple, green and amber plique-à-jour enamel, pierced foot similarly decorated
with flowers and plique-à-jour rectangles on blue ground.
£35,000–50,000
£40,000–60,000
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
* 251. A Silver-Gilt and CloisonnÉ Enamel Kovsh
PROBABLY FEODOR RÜCKERT FOR OREST KURLYUKOV,
MOSCOW, 1908–1917, 88 STANDARD
Length 21 cm.
* 247. A Silver-Gilt and CloisonnÉ Enamel Salt Throne
* 248. A Silver-Gilt and CloisonnÉ Enamel Salt Throne
NEMIROV-KOLODKIN, MOSCOW, 1899–1908, 84 STANDARD
Height 12.5 cm.
MAKER’S MARK ‘M.T’ IN CYRILLIC, MOSCOW, PRE-1896, 84 STANDARD
Height 15.5 cm.
Of traditional form, the bulbous body and hinged cover
decorated with scrolling foliage enamelled in white, green,
purple, pink, blue and red, the seatback and cover centered
with a shield-shaped reserve.
The body and the hinged lid decorated with scrolling foliage in
opaque and marine blue, red and white enamel, the front panel with
chased silver ornament, on four triangle feet.
Of spherical form with slightly raised prow, the body
decorated in shaded polychrome enamels, with stylised
flowerheads in muted earthy tones against an off-white
ground, the front centering a characteristic flower with
blue and orange petals, the handle with matching decor,
on raised tapering foot with engraved dedication
in Cyrillic “Vladimiru Bakaleynikovu / Druzya Muzikal’noy
Studii i Orkestra MHAT 14/III 1924”, gilt interior further
engraved in Cyrillic “Pey, Piva Ne Zhaley”.
251
£40,000–45,000
£2,200–2,500
£2,000–3,000
* 252. A Large Silver-Gilt, Gem-Set
and CloisonnÉ Enamel Kovsh
VASILY AGAFONOV, MOSCOW, 1899–1908, 84 STANDARD
Length 19.5 cm.
Of typical form, with raised prow and scroll handle,
the lobed body decorated with shaded polychrome
flowers, the upper register with scrolling foliage
accentuated with gems against turquoise ground,
the handle similarly decorated.
£8,000–12,000
252
* 249. A Silver-Gilt and Plique-À-Jour Enamel
Tea Glass Holder
PAVEL OVCHINNIKOV, MOSCOW, 1888, 88 STANDARD
Height 8 cm.
Cylindrical, on domed circular foot, the body with infinity designs
in blue centered with yellow flowerheads, alternating with stylised
foliage, within geometric borders, the scroll handle with cloisonné
flower band within white beaded borders.
250. A Gem-Set Silver-Gilt and Cloisonn É Enamel Egg
OREST KURLYUKOV, MOSCOW, 1899–1908, 84 STANDARD
Height 6.5 cm.
The body decorated with three registers of scrolling flowers in
shaded polychrome enamels alternating with varicoloured ribbons
against an off-white ground, accentuated with gems.
£600–800
£4,000–6,000
* 253. A Silver-Gilt and CloisonnÉ Enamel Kovsh
MARK OF PAVEL OVCHINNIKOV BENEATH THE IMPERIAL
WARRANT, MOSCOW, 1899–1908, 88 STANDARD
Length 15 cm.
Of typical form with raised prow and stylised scroll
handle, the body enamelled with shaded varicoloured
floral motifs and centered with a dragon on cream and
olive green grounds, the handle similarly decorated.
£8,000–12,000
253
( 210 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 211 )
254. A FabergÉ Wood Silver-Gilt and
GuillochÉ Enamel Photograph Frame
MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK OF
HENRIK WIGSTRÖM, ST PETERSBURG, 1908–1917,
88 STANDARD
22 by 22 cm.
Square, circular aperture enamelled in translucent
pink over wavy engine-turned ground within
reeded ribbon-tied and pellet borders, each
corner applied with a ribbon-tied wreath
of laurel leaf tips.
£15,000–20,000
256. A FabergÉ Jewelled Gold Nephrite
and GuillochÉ Enamel Photograph Frame
MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK OF MIKHAIL
PERCHIN, ST PETERSBURG, PRE-1896, 56 STANDARD
Height 10.5 by 8.4 cm.
Of upright rectangular form with extended corners, centered with an
oval, diamond set aperture, the ground enamelled in translucent
oyster white over wavy engine-turning within ribbon-tied laurel leaf
gold border, ivory back and gold scroll strut.
£13,000–16,000
* 257. A FabergÉ Silver-Gilt
and Bowenite Photograph Frame
255. A FabergÉ Silver and GuillochÉ Enamel
Photograph Frame
( 212 )
MAKER’S MARK OF ANDERS NEVALAINEN, ST PETERSBURG,
1899–1908, 88 STANDARD, SCRATCHED INVENTORY
NUMBER 11972
Height 8 cm.
MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK
OF MIKHAIL PERCHIN, ST PETERSBURG, PRE-1896.
88 STANDARD, SCRATCHED INVENTORY NUMBER 54109
10 by 8.2 cm.
Heart-shaped with beaded bezel, the rounded surface
enamelled in translucent salmon-pink over wavy sunburst
engine-turned ground, surmounted with a bow and tied
ribbons, silver back and strut.
Rectangular, the oval aperture with a dash and pellet
frame, the hardstone body with a beaded bezel applied
with ribbon-tied wreaths of laurel leaves suspending
laurel garlands, ivory back and silver-gilt strut.
£8,000–12,000
£4,000–6,000
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
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2 December 2015
( 213 )
258. A FabergÉ Gold Miniature Pendant
MAKER’S MARK OF VLADIMIR SOLOVYOV, ST PETERSBURG,
CIRCA 1900, 56 STANDARD
Length 2.5 cm.
Realistically modelled as an elephant with silver tusks.
259. A FabergÉ Jewelled Pendant in a Form
of a Hippopotamus
MAKER’S MARK OF AUGUST HOLLMING, ST PETERSBURG,
CIRCA 1900, 56 STANDARD
Length 2.2 cm.
Realistically modelled, the surface set with rose and circular
cut diamonds, eyes set with rubies.
£1,500–2,000
260. A Rhodonite Pendant in the Form of a Piglet
SUSPENSION LOOP WITH ILLEGIBLE MAKER’S MARK, POSSIBLY,
‘V.YE’ IN CYRILLIC, 56 STANDARD
Length 2.4 cm.
Realistically modelled, eyes set with lapis-lazuli, in a fitted
Fabergé box.
258
259
£3,000–5,000
261. A Miniature Jasper Model of a Hippopotamus
POSSIBLY FABERGÉ, LATE 19TH-EARLY 20TH CENTURY
Length 3.3 cm.
Realistically modelled, eyes set with light green coloured gems.
£2,000–3,000
261
£2,000–3,000
260
262. A FabergÉ Platinum and Diamond-Set Egg Pendant
MARK ‘KF’ IN CYRILLIC, MAKER’S MARK OF HENRIK WIGSTRÖM,
ST PETERSBURG, CIRCA 1914
Height excluding loop 2.2 cm.
Related literature: Snowman, A. Kenneth, Fabergé: Lost and Found
The Recently Discovered Jewellery Designs from the St. Petersburg
Archives, New York, Abrams, p.152, illustrated.
Set with three bands of diamonds, the front centered with a larger
diamond.
A similar egg was sold at Sotheby’s, Russian Works of Art, Fabergé
and Icons, 08 June 2011, lot 545.
263. A FabergÉ Two-Colour Gold,
Gem-Set Egg Pendant
MAKER’S MARK OF AUGUST HOLLMING, ST PETERSBURG,
CIRCA 1900, 56 STANDARD
Height excluding loop 2 cm.
In Byzantine style, the body set with gems and decorated
with a band of laurel leaves.
£3,000–5,000
262
263
£6,000–8,000
( 214 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 215 )
268
264
265
269
270
266
* 264. A FabergÉ Silver Presentation Cigarette Case
MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW,
1896, 84 STANDARD, SCRATCHED INVENTORY NUMBER 7165
8.5 by 8 cm.
Square with rounded corners, the lid cast and chased with rocaille
motif and engraved with Latin initials ‘HN’, thumbpiece with
a cabochon sapphire, gilt interior.
£2,500–3,500
* 266. A Silver-Gilt and GuillochÉ Enamel Beaker
GRACHEV BROTHERS, ST PETERSBURG, 1908–1917, 88 STANDARD
Height 4 cm.
Of tapering cylindrical form, the body enamelled in translucent
powder-blue over zigzag engine-turning, gilt interior.
£2,200–2,500
267
* 265. A FabergÉ Silver-Gilt Ladies Case
MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW,
1899–1908, 84 STANDARD, SCRATCHED INVENTORY NUMBER
22950
7.5 by 4.5 cm.
* 268. A FabergÉ Two-Colour Gold, GuillochÉ Enamel
and Satinwood Paper Knife
MAKER’S MARK OF KARL GUSTAV HJALMAR ARMFELT,
ST PETERSBURG, 1896–1908, 56 STANDARD
Length 26 cm.
Rounded with rectangular corners, lid set with gold diamond-set
monogram, the back with engraved signature ‘Zosia’ in Latin
characters, sapphire thumbpiece.
The flat handle enamelled in pale lavender and oyster white
guilloché over wavy engine-turned ground and mounted with laurel
band within gold dash and pellet borders.
£2,500–3,500
£6,000–8,000
* 267. A Silver-Gilt and GuillochÉ Enamel Bell Push
* 269. A FabergÉ Gold Fountain Pen
INDISTINCT MAKER’S MARK, ST PETERSBURG, LATE 19TH CENTURY,
56 STANDARD, SCRATCHED INVENTORY NUMBER 39213
Length 19.5 cm.
Of tapering form, the nib by Swan with manufacturer’s marks, in
fitted Fabergé case.
£4,000–6,000
270. A FabergÉ Three-Colour Gold Jewelled Miniature Kovsh
WITH MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, FURTHER
MARKED ‘AC’, ST PETERSBURG, 1908–1917
Diameter 5.5 cm.
MAKER’S MARK OF MIKHAIL PERCHIN, ST PETERSBURG, PRE-1896, 56 STANDARD
Length 8.6 cm.
Circular bowl, set with a coin of Catherine the Great, the outer border of alternating
pink and green gold reeded panels, handle set with a ruby, sapphire and diamond.
Squashed bulbous body enamelled in mother-of-pearl over wavy engineturned ground, centered with a moonstone push-piece and laurel band
surround, the wooden base with matching band, on three ball feet.
£5,000–7,000
£4,000–6,000
( 216 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
( 217 )
271. An Equestrian Composition “Steeplechase”
272. A Bronze Sculpture of a Hussar
MODEL BY EVGENY LANCERAY, INSCRIBED WITH
A SIGNATURE IN CYRILLIC AND DATED 1882
Bronze with dark brown patina, length 5 cm, height
30.5 cm, width 27 cm.
MODEL BY PIERRE TOURGUENEFF, SUSSES
FRÈRES FOUNDRY MARK, LATE 19TH–EARLY
20TH CENTURY
Gilt bronze, height 40.5 cm.
£25,000–35,000
£4,000–6,000
273. A Bronze Composition of a Georgian
with a Bull-Drawn Cart (“Arbakesh”)
MODEL BY FELIX KHODOROVICH, INSCRIBED WITH A SIGNATURE
IN CYRILLIC, WOERFFEL FOUNDRY MARK, ST PETERSBURG,
LATE 19TH–EARLY 20TH CENTURY
Dark brown patina, length 61 cm, width 29 cm, height 36.
£7,000–9,000
( 218 )
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Russian Art Auction
MacDougall’s
London
274. A Paperweight in the Form of a Bear Cub
MODEL BY NIKOLAI LIEBERICH, LATE 19TH–EARLY 20TH CENTURY
Related literature: Russky Muzey, Nikolai Lieberich, Almanah,
PlacaeEditions, Italy, p.92.
Dark patina, red marble base, 20 by 11 cm.
£3,000–5,000
2 December 2015
( 219 )
275. An Important Silver and CloisonnÉ Enamel
Triptych of the Mother of God of Kazan
with Saint Alexis and Saint Empress Alexandra
( 220 )
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
* 276. An Important Icon of the Empress,
Saint Alexandra
GRACHEV BROTHERS, MOSCOW, 19TH CENTURY, 88 STANDARD,
OIL ON ZINK
22.5 cm.
FRAME WITH MAKER’S MARK FOR PAVEL OVCHINNIKOV
IN CYRILLIC BENEATH THE IMPERIAL WARRANT, MOSCOW,
1908–1917, 84 STANDARD, OIL ON METAL
62.5 by 40.5.
£18,000–25,000
£40,000–60,000
London
2 December 2015
( 221 )
277. The Mother of God of the Burning Bush
and The Mother of God of Kazan
MAKER’S MARK ‘AA’, MOSCOW, 1896
18 by 14.5 cm.
22.5 by 18 cm.
280. A Fine Icon of St Nicholas the Miracle Worker,
Ioannikiy and Onufriy the Great with Silver
and Enamel Haloes
MOSCOW, SIGNED BY IOSIP CHIRIKOV IN CYRILLIC AND DATED 1890
31 by 26 cm.
£800–1,200
£12,000–18,000
281. A Mother of God “All Creation Rejoices in Thee”
OLD BELIEVERS’ WORKSHOP, MOSCOW, MID 19TH CENTURY
44.5 by 38 cm.
£2,000–3,000
278. A Double-Sided Silver Diptych
of the Nativity and the Mother of God
282. Christ Emmanuel
18TH CENTURY, OIL ON COPPER
Height (including loop) 11.5 cm.
CENTRAL RUSSIA, CIRCA 1600 WITH RESTORATION
OF THE 19TH AND 20TH CENTURIES
33 by 25.5 cm.
£1,200–1,400
£4,000–6,000
280
279. St. John Lestvichnik (of the Ladder)
OLD BELIEVER’S WORKSHOP, GUSLITSI, SECOND
HALF 19TH CENTURY
36 by 31 cm.
£1,800–2,300
281
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Russian Art Auction
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282
London
2 December 2015
( 223 )
MacDougall's Terms & Conditions of Sale
December 2015
1. All contractual rights and obligations made between vendors, bidders and MacDougall Arts Ltd in respect of an auction conducted by MacDougall Arts Ltd (an
“auction”) are subject to these Terms and Conditions of Sale.
2. In these Terms and Conditions of Sale, MacDougall Arts Ltd. — who act as agents for the vendor unless specified otherwise in the catalogue for the auction
in question — are called “MacDougall’s”, or “us”; and the representative of MacDougall Arts Ltd. conducting the auction is called “The Auctioneer”.
11. If instructed, MacDougall’s will execute bids for prospective buyers. This service is free. Lots will always be purchased as cheaply as is allowed by such
other bids and reserves as are on the Auctioneer’s books. In the event of identical bids, the earliest will take precedence. There must always be a maximum
limit indicated, i.e. the amount to which the buyer would bid if attending the auction in person. «Buy» or unlimited bids will not be accepted. Commission
bids placed by telephone are accepted at the client’s risk.
12. Notwithstanding clause 14, the buyer and the vendor shall enter into the contract for the buyer to buy and the vendor to sell the lot in question upon
the fall of the Auctioneer's hammer.
Hammer price
3. All bids for a lot at an auction shall be considered an offer for that lot, which the Auctioneer can accept or reject in accordance with clauses 9 and 12 of
these Terms and Conditions. The hammer price means the highest bid accepted by the Auctioneer for the lot. The purchase price payable by the buyer shall
be the aggregate of the hammer price plus the buyer’s premium (together with any VAT chargeable on the hammer price and buyer’s premium). The buyer’s
premium is at a rate of 25% on the first £50,000; 20% on the amount between £50,001 and £1,000,000; and at a rate of 12% on the amount above £1,000,000,
of the hammer price. All prices are quoted in UK Pounds Sterling.
13. Lots purchased online will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT at the rate imposed.
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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.
( 224 )
(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.
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
Where lots are not removed in accordance with clause 17 above, whether or not payment has been made, MacDougall’s shall be permitted to remove
the lot to a third party warehouse at the buyer's expense, and only release the items after payment in full has been made of removal, storage, handling,
and any other costs reasonably incurred, together with payment of all other amounts due to us.
London
2 December 2015
( 225 )
Telephone and Commission Bidding Form:
December 2015
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: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
( 226 )
MacDougall Arts Ltd.
MacDougall Arts Ltd.
30A Charles II St., London SW1Y 4AE, England
30A Charles II St., London SW1Y 4AE, England
Info@macdougallauction.com
Tel +44-20-7389-8160 Fax +44-20-7389-8170
www.MacDougallauction.com
Info@macdougallauction.com
Tel +44-20-7389-8160 Fax +44-20-7389-8170
www.MacDougallauction.com
www.MacDougallauction.com
Russian Art Auction
MacDougall’s
London
2 December 2015
Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
( 227 )
The forthcoming novel
Index of Artists
Highgate
Unicorn
Afrika (Bugaev, Sergey)
........................................................
145
Altman, Alexander
...............................................................
Andronov, Nikolai
..............................................................
Anisfeld, Boris
...............................................................
49
139
37, 38
Annenkov, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Apsit, Alexander
Babaev, Polidor
..................................................................
.................................................................
Bashindzhagyan, Gevorg
Baturin, Victor
................................................
74
108
102, 104
..................................................................
132
Belenok, Pyotr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157, 158
Benois, Nadia
.....................................................................
89
Bilianitsky-Birulia, Vitold
.......................................................
Bogdanov-Belsky, Nikolai
.................................................
Brovar, Yakov
.....................................................................
Burliuk, David
.............................................
Chuikov, Semen
Levitan, Isaak
..............................................................
11, 12, 13
Makovsky, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Makovsky, Nikolai
107
..............................................................
Matveev, Fedor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Muratov, Nikolai
Novikov, Timur
79
.................................................................
Nesterova, Natalia
...................................
149, 150, 151, 152, 153, 155
156
...................................................................
Osmerkin, Alexander
9
.........................................................
148
............................................................
109
Ovchinnikov, Vladimir
Ovsyannikov, Valery
.............................................................
.........................................................
71
...........................................................
69
Paul Mak (Ivanov, Pavel)
Petrov-Vodkin, Kuzma
Plastov, Arkady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117, 118
Plavinsky, Dmitry
90
Pogedaieff, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45, 46
.........................................................
68
...............................................................
143
Polenov, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
.....................
162
Popkov, Viktor
..................................................................
103
Purygin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
81,82, 83
Rozhdestvensky, Vasili . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Fedorovsky, Fedor
.......................................................
.......................................................................
59
..................................
Sapunov, Nikolai
122, 136, 137, 138, 140, 141, 142
95
.................................................................
Fokin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Shevchenko, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Gerasimov, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Shilder, Andrei
Gine, Alexander
..................................................................
28
Goravsky, Apolinary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Shishkin, Ivan
31
...................................................................
................................................................
16, 30
Slepyshev, Anatoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Grabar, Igor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Sokolov, Petr
Grigoriev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10, 76
Somov, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 84
Grigoriev, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Sorine, Savely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Gritsai, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116, 119, 125, 131
Spassky, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
154
Grositsky, Andrey
..............................................................
Harlamoff, Alexei
................................................................
87
Issupoff, Alessio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Kalinin, Viatcheslav
Kalmakov, Nikolai
Karazin, Nikolai
Klestova, Irene
............................................................
146
................................................................
.................................................................
...............................................................
33
110
93, 94
92
.....................................................................
Sverchkov, Nikolai
...............................................................
17
Svetlakov, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Tarkhoff, Nikolai
39
.................................................................
Terechkovitch, Constantin
Terpsikhorov, Nikolai
....................................................
....................................
105
126, 127, 128, 129, 130
Tikhmenev, Evgeny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 27
Tikhov, Vitaly
111
.....................................................................
Klever, Yuli
........................................................................
99
Tkachev, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Kliun, Ivan
.........................................................................
70
Tkachev, Sergei
Kolesnikov, Stepan
..........................................................
19, 20
..................................................................
Unknown Artist (19th Century)
Korovin, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 43, 44, 112
Vasilkovsky, Sergei
........................................................
Kotarbinsky, Vasily
Kouznetsov, Nikolai
Kramskoy, Ivan
159, 160
..............................................................
.........................................................
18
Vereisky, Orest
88
................................................
91
.....................................................
21, 22, 23
...................................................................
80
Vereschagin, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
97, 98
Vinogradov, Sergei
1
Vladimirsky, Boris
.....................................................................
123
........................................
Unknown Artist (18th–19th Century)
Konchalovsky, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Koshlyakov, Valery
..............................................................
..............................................................
54
135
2, 3
Yakovlev, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Kukryniksy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 78
Zankovsky, Ilya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 101
Kryzhitsky, Konstantin
( 228 )
72, 73
....................................
Dubossarsky, Vladimir And Vinogradov, Alexander
Férat, Serge
.................................................................
Lentulov, Aristarkh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
121
Der Moderne Buchschmuck In Russland
Ducker, Evgeny
24
50, 51, 52, 53, 114, 115
..................................................................
Dobuzhinsky, Mstislav
4
56, 96
Latri, Mikhail
........................................................
Kustodiev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Zdanevich, Kirill
Kuznetsov, Pavel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Zichy, Mikhail
Lakhovsky, Arnold
................................................................
Lapchine, Georges
............................................................
6
.......................................
61, 62, 63, 64, 65, 66, 67
.................................................................
Zverev, Anatoly
34, 35
..................................................................
161
5, 42
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Russian Art Auction
by Catherine MacDougall
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Kustodiev, Boris (1878–1927). Shrovetide Fair Booths
Levitan, Isaak (1860–1900). High Water
Zdanevich, Kirill (1892–1969). Set Design for the Film “Burevestniki”
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