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Los 133
* UDALTZOVA, NADEZHDA (1886-1961) Nude . Oil on canvas, 108.5 by 83.5 cm. Executed in the 1930s. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited: Vechnaya zagadka, Novyi Manezh, Moscow, 23 August?13 September 2006, No. 85. Aleksandr Drevin i Nadezhda Udal?tsova, Dom Naschokina Gallery, Moscow, 24 January?23 March 2008. Literature: Exhibition catalogue, Vechnaya zagadka, Moscow, 2006, p. 59, illustrated; p. 142, No. 85, listed. Exhibition catalogue, Aleksandr Drevin i Nadezhda Udal?tsova, Moscow, Virtual Gallery, 2008, p. 82, illustrated and listed. Nude is a picture by Nadezhda Udaltzova, an artist whose name stands alongside those of Kazimir Malevich, Vladimir Tatlin, Olga Rozanova and Lyubov Popova in the history of Russian art. This work postdates Udaltzova?s period of avant-garde experimentation, Cubist decomposition and her part in the Suprematist movement. She had instead returned to figurative painting, using Post-Impressionist forms and seeing her main object as working with colour. The then officious demands for ?thematic pictures? and accusations of ?formalism?, which arose in the 1930s drastically limited the scope of activity by the criticised artists, but simultaneously greatly enlarged the role of private aspects of creativity. The result for Udaltzova was the creation in the 1930s of a long series of portraits and self-portraits, landscapes in Altai and Armenia, floral still-lifes, genre pictures and nudes. Udaltzova?s pictures of the naked human form, often of imposing size, are far more than technical studies. These are finished, stand-alone paintings, valuable for their deep, almost psychological qualities as portraits. This depiction of a naked woman with a scarf around her neck is a fine example. The large and beautiful figure of the model seems to emerge from a neutral space, although the colour relationships between the graded background, and the warm body, render figure and space inseparable. This work is an absolutely individual portrait, with its own particular mood. The melancholy of the model, ?the exhaustion of being?, expressed in her gaze and the apparently minimalist colour palette, are redeemed by the consummate artistry of the technique and by ?incidental? colour inclusions. A continuous line, sometimes tense and sometimes free-flowing, encircles the bare arms of the model, her hands locked together behind her head, the silhouette of her shoulders and the hips. The result is a harmonious balance between linear and rhythmic ease, on the one hand, and a palpable density of mass, on the other.
Los 17
* 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. 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). 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 eight-year 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. 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 TomáÅ¡ Masaryk (1932), Still Life (1932) and others. Upon Grigoriev?s return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirov?s suppor
Los 310
A PORCELAIN COMPOSITION ?PEASANT FAMILY? RUSSIAN, AFTER A MODEL BY AUGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855?1881), 1860s Height 11.5 cm. Related literature: For similar works, see E. Khmelnitskaya,Avgust Spiess i Imperatorskiy farforovyi zavod. Zhizn?,posvyaschennaya farforu, Moscow, Lyubimaya Kniga, 2012,p.228 Realistically modelled group of a father and mother seated on a log playing with their child, the father barefoot and wearing a coral pink tunic and trousers, supporting the infant on his kneewith his left hand and clasping the mother?s wrist with his right,the playful infant dressed in a white chemise, the motherdressed in a white blouse and pale blue skirt clasping thechild?s knee with her left hand, on a circular naturalistic basewith a platter of five fish on the ground, with impressed initials?AP? in Cyrillic under base.
Los 318
A SOVIET PORCELAIN FIGURINE OF A JAPANESE GIRL WITH FLOWERS RUSSIAN, AFTER A MODEL BY NATALIA DANKO, SCULPTED BY ANATOLY LUKIN, STATE PORCELAIN MANUFACTORY, CIRCA 1923 Height 19 cm. Related literature:For a similar work, see V.V. Levshenkov, Tvorchestvo sister Danko, St Petersburg, Orchestr, 2012, p.186. Realistically modelled, wearing traditional geta sandals and sky bluekimono, decorated with flowers, cloud motifs and butterflies, holding abunch of sakura flowers, on a circular base, with manufactory marks and impressed with the modeller?s initials in Cyrillic ?A.L?.This rare figurine was created after a 1923 model by the State Porcelain Manufactory?s most renowned sculptor Natalia Danko. Her interest in Japanese themes may have been aroused by the exhibition of Japanese art in Moscow that same year, which presented pieces from London museums. This delicate, charming and colourful figurine of a Japanese girl in traditional costume, holding cherry blossom ? one of the most recognised symbols of Japan ? is a valuable find for any collector.
Los 319
A SOVIET PORCELAIN FIGURINE OF BORIS GODUNOV RUSSIAN, AFTER A 1922 MODEL BY YAKOV TROUPYANSKY, STATE PORCELAIN MANUFACTORY, SCULPTED BY ANATOLY LUKIN, LENINGRAD, 1929 Height 28.5 cm. Provenance: Acquired by the grandfather of the current owner inthe late 1920s?1930s.Thence by descent. Related literature:For a similar work, see T.N. Nosovich,I.P. Popova, Gosudarstvenny farforovy zavod. 1904?1944,St Petersburg, Orchestr, p. 380. A realistically modelled figure depicting Feodor Chaliapin in therole of Boris Godunov, wearing a long finely embroidered whitetunic with yellow belt, purple overcoat, gold skull cap, white bootsand a handkerchief, incised on base in Cyrillic ?Troupyanskii?, withimpressed factory hammer and sickle dated 1929 and modeller?sinitials in Cyrillic ?A.L?, with red stamp ?Made in Russia?
Los 320
A PORCELAIN FIGURINE OF A BURYAT MAN RUSSIAN, AFTER A 1912 MODEL BY PAVEL KAMENSKY, IMPERIAL PORCELAIN MANUFACTORY, EARLY 20TH CENTURY Height 40 cm. Provenance: Acquired by the grandfather of the currentowner in the late 1920s?1930s. Thence by descent. Related literature: For similar works, seeE. Khmelnitskaya, Farforovaya Rossiya P.P. Kamenskogo,Moscow, Lyubimaya Kniga, 2013, p. 318. Realistically modelled wearing a blue Buryat long-sleeved robe (?degel?) elaborately decorated with native Buddhist ornament, dragons and flowers and a hat, both with furry trims, on a green naturalistically shaped base, with incised inscription in Cyrillic on the underside ?Buryat?. The series ?Peoples of Russia? by Kamensky were commissioned personally by Nicholas II from the Imperial Porcelain Factory in 1907 with the purpose of showing the cultural diversity of Imperial Russia. Kamensky, a well-known and established sculptor, collaborated withthe Imperial Manufactory on this project for the following decade. One of the distinctive qualities of his work is the highly realistic representation of figures, achieved through consultation with leading ethnological specialists, studies and censuses. The Buryat, in his brightfestive blue ?degel? with various Buddhist ornaments and characteristic face is a spectacular example of craftsmanship and a thorough knowledge of the subject.The rare large scale of the present lot distinguishes it from other pieces in this renowned series. A comparable example of a Buryat man in terms of size and clothing is held in the collection of the State Hermitage Museum, inventory number: ?ERF-3708? in Cyrillic. This impressive porcelain figure of Buryat comes from the private collection of the German professor and diplomat Max Meyer (1886?1967). Having studied structural design at the Technical University in Munich, he was awarded a scholarship to the Maximilinaeum (Bavarian Parliament) and soon became a professor at the Bauhausschool in Weimar, famous for such illustrious fellows as Walter Gropius, Paul Klee and Wassily Kandinsky. After the school was closed under pressure from the Nazi regime, which considered it a centre for communist intellectualism, Meyer moved to Moscow where he lived and worked for five years. It was during this time that he started collecting Russian works of art, acquiring numerous objects, including several lots offered here for sale (lots 319, 329, 335, 338, 376, 377, 379, 382).
Los 336
* A PORCELAIN POTPOURRI VASE RUSSIAN, AFTER A MODEL BY AUGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855?1881), 1860s?1870s Height 35.5 cm. Literature: E. Khmelniskaya, Avgust Spiess i Imperatorskiy farforovyizavod. Zhizn`, posvyaschennaya farforu, Moscow, Lyubimaya Kniga,2012, p. 53, illustrated. Of squashed bulbous form with bracket handles, the front and backwith circular reserves, the elaborate ovoid body raised on a twistedbaluster stem supported on a shaped square base, the front andback with circular medallions and applied with ribbon-tied laurelgarlands, the pierced domed lid with cone finial, with green Imperialcipher for Alexander II.
Los 391
* A LARGE LISINSKY BEAR RUSSIAN, AFTER A MODEL BY NIKOLAI LIEBERICH, INSCRIBED WITH A SIGNATURE, C.F. WOERFFEL FOUNDRY, ST PETERSBURG Bronze with dark brown patina, height 56 cm. Small bronze sculptures destined for interiors became fashionablein Russia in the second half of the 19th century. Hunting scenes, already a popular subject in paintings and drawings, not least becauseof Emperor Alexander II?s passion for hunting, were now embracedin sculpture. Alexander II was an avid hunter and from an early age, hunting was an essential part of his leisure activities. At the tender age of 10, Alexander Nikolaevich was already accomplished with a rifle. Upon enthronement, the Tsesarevich?s hobby became the Emperor?s fully-fledged hunting seasons, which began during the Coronation festivities in 1856. The hunting lodge in Lisino, built by Nikolai Benois, was a favourite of Emperor Alexander II and where he stayed on some 86 occasions. Such lodges were decorated with various hunting trophies, depictions of the Imperial hunt and the animal statues, for which Nikolai Lieberich is the most famous. In 1865?1866, Lieberich was invited to partake in the Imperial hunt, which provided a valuable source of observation and inspiration for his work. A bear killed by the Emperor during a hunt in Lisino, became the prototype for this highly popular model, executed in 1866. Whilst Lieberich?s works were highly praised at court in the 19th century, they are still sought after today. For example, a specially commissioned bronze-gilt casket with a hunting scene by the sculptor was sold by Sotheby?s in 2011 for almost £140,000. The present cast, with its sharp and precise elaboration of detail, is an example of Lieberich?s animal sculpture at its best.
Los 17
* 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. 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 RenoirÂ’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 artistÂ’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). Moreover, Selma Alexander sponsored an exhibition of GrigorievÂ’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 GrigorievÂ’s first exhibition in the USA after an eight-year 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. In the aftermath of the exhibition, GrigorievÂ’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 GrigorievÂ’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 TomáÅ¡ Masaryk (1932), Still Life (1932) and others. Upon GrigorievÂ’s return from the USA, his friendship with the Bashkirovs grew even stronger. BashkirovÂ’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, BashkirovÂ’s family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latterÂ’s death in 1939. The workÂ’s provenance is impeccable. After the 1933 exhibition, the portrait was displayed in SelmaÂ’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: “IÂ’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 biographerÂ’s collection and where it has remained until now. Dr Tamara Galeeva, art historian.
Los 133
* UDALTZOVA, NADEZHDA (1886-1961) Nude . Oil on canvas, 108.5 by 83.5 cm. Executed in the 1930s. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited: Vechnaya zagadka, Novyi Manezh, Moscow, 23 August–13 September 2006, No. 85. Aleksandr Drevin i Nadezhda Udal’tsova, Dom Naschokina Gallery, Moscow, 24 January–23 March 2008. Literature: Exhibition catalogue, Vechnaya zagadka, Moscow, 2006, p. 59, illustrated; p. 142, No. 85, listed. Exhibition catalogue, Aleksandr Drevin i Nadezhda Udal’tsova, Moscow, Virtual Gallery, 2008, p. 82, illustrated and listed. Nude is a picture by Nadezhda Udaltzova, an artist whose name stands alongside those of Kazimir Malevich, Vladimir Tatlin, Olga Rozanova and Lyubov Popova in the history of Russian art. This work postdates Udaltzova’s period of avant-garde experimentation, Cubist decomposition and her part in the Suprematist movement. She had instead returned to figurative painting, using Post-Impressionist forms and seeing her main object as working with colour. The then officious demands for “thematic pictures” and accusations of “formalism”, which arose in the 1930s drastically limited the scope of activity by the criticised artists, but simultaneously greatly enlarged the role of private aspects of creativity. The result for Udaltzova was the creation in the 1930s of a long series of portraits and self-portraits, landscapes in Altai and Armenia, floral still-lifes, genre pictures and nudes. Udaltzova’s pictures of the naked human form, often of imposing size, are far more than technical studies. These are finished, stand-alone paintings, valuable for their deep, almost psychological qualities as portraits. This depiction of a naked woman with a scarf around her neck is a fine example. The large and beautiful figure of the model seems to emerge from a neutral space, although the colour relationships between the graded background, and the warm body, render figure and space inseparable. This work is an absolutely individual portrait, with its own particular mood. The melancholy of the model, “the exhaustion of being”, expressed in her gaze and the apparently minimalist colour palette, are redeemed by the consummate artistry of the technique and by “incidental” colour inclusions. A continuous line, sometimes tense and sometimes free-flowing, encircles the bare arms of the model, her hands locked together behind her head, the silhouette of her shoulders and the hips. The result is a harmonious balance between linear and rhythmic ease, on the one hand, and a palpable density of mass, on the other.
Los 310
A PORCELAIN COMPOSITION “PEASANT FAMILY” RUSSIAN, AFTER A MODEL BY AUGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881), 1860s Height 11.5 cm. Related literature: For similar works, see E. Khmelnitskaya,Avgust Spiess i Imperatorskiy farforovyi zavod. Zhizn’,posvyaschennaya farforu, Moscow, Lyubimaya Kniga, 2012,p.228 Realistically modelled group of a father and mother seated on a log playing with their child, the father barefoot and wearing a coral pink tunic and trousers, supporting the infant on his kneewith his left hand and clasping the mother’s wrist with his right,the playful infant dressed in a white chemise, the motherdressed in a white blouse and pale blue skirt clasping thechild’s knee with her left hand, on a circular naturalistic basewith a platter of five fish on the ground, with impressed initials“AP” in Cyrillic under base.
Los 318
A SOVIET PORCELAIN FIGURINE OF A JAPANESE GIRL WITH FLOWERS RUSSIAN, AFTER A MODEL BY NATALIA DANKO, SCULPTED BY ANATOLY LUKIN, STATE PORCELAIN MANUFACTORY, CIRCA 1923 Height 19 cm. Related literature:For a similar work, see V.V. Levshenkov, Tvorchestvo sister Danko, St Petersburg, Orchestr, 2012, p.186. Realistically modelled, wearing traditional geta sandals and sky bluekimono, decorated with flowers, cloud motifs and butterflies, holding abunch of sakura flowers, on a circular base, with manufactory marks and impressed with the modeller’s initials in Cyrillic “A.L”.This rare figurine was created after a 1923 model by the State Porcelain Manufactory’s most renowned sculptor Natalia Danko. Her interest in Japanese themes may have been aroused by the exhibition of Japanese art in Moscow that same year, which presented pieces from London museums. This delicate, charming and colourful figurine of a Japanese girl in traditional costume, holding cherry blossom — one of the most recognised symbols of Japan — is a valuable find for any collector.
Los 319
A SOVIET PORCELAIN FIGURINE OF BORIS GODUNOV RUSSIAN, AFTER A 1922 MODEL BY YAKOV TROUPYANSKY, STATE PORCELAIN MANUFACTORY, SCULPTED BY ANATOLY LUKIN, LENINGRAD, 1929 Height 28.5 cm. Provenance: Acquired by the grandfather of the current owner inthe late 1920s–1930s.Thence by descent. Related literature:For a similar work, see T.N. Nosovich,I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944,St Petersburg, Orchestr, p. 380. A realistically modelled figure depicting Feodor Chaliapin in therole of Boris Godunov, wearing a long finely embroidered whitetunic with yellow belt, purple overcoat, gold skull cap, white bootsand a handkerchief, incised on base in Cyrillic “Troupyanskii”, withimpressed factory hammer and sickle dated 1929 and modeller’sinitials in Cyrillic “A.L”, with red stamp “Made in Russia”
Los 320
A PORCELAIN FIGURINE OF A BURYAT MAN RUSSIAN, AFTER A 1912 MODEL BY PAVEL KAMENSKY, IMPERIAL PORCELAIN MANUFACTORY, EARLY 20TH CENTURY Height 40 cm. Provenance: Acquired by the grandfather of the currentowner in the late 1920s–1930s. Thence by descent. Related literature: For similar works, seeE. Khmelnitskaya, Farforovaya Rossiya P.P. Kamenskogo,Moscow, Lyubimaya Kniga, 2013, p. 318. Realistically modelled wearing a blue Buryat long-sleeved robe (‘degel’) elaborately decorated with native Buddhist ornament, dragons and flowers and a hat, both with furry trims, on a green naturalistically shaped base, with incised inscription in Cyrillic on the underside “Buryat”. The series “Peoples of Russia” by Kamensky were commissioned personally by Nicholas II from the Imperial Porcelain Factory in 1907 with the purpose of showing the cultural diversity of Imperial Russia. Kamensky, a well-known and established sculptor, collaborated withthe Imperial Manufactory on this project for the following decade. One of the distinctive qualities of his work is the highly realistic representation of figures, achieved through consultation with leading ethnological specialists, studies and censuses. The Buryat, in his brightfestive blue ‘degel’ with various Buddhist ornaments and characteristic face is a spectacular example of craftsmanship and a thorough knowledge of the subject.The rare large scale of the present lot distinguishes it from other pieces in this renowned series. A comparable example of a Buryat man in terms of size and clothing is held in the collection of the State Hermitage Museum, inventory number: “ERF-3708” in Cyrillic. This impressive porcelain figure of Buryat comes from the private collection of the German professor and diplomat Max Meyer (1886–1967). Having studied structural design at the Technical University in Munich, he was awarded a scholarship to the Maximilinaeum (Bavarian Parliament) and soon became a professor at the Bauhausschool in Weimar, famous for such illustrious fellows as Walter Gropius, Paul Klee and Wassily Kandinsky. After the school was closed under pressure from the Nazi regime, which considered it a centre for communist intellectualism, Meyer moved to Moscow where he lived and worked for five years. It was during this time that he started collecting Russian works of art, acquiring numerous objects, including several lots offered here for sale (lots 319, 329, 335, 338, 376, 377, 379, 382).
Los 336
* A PORCELAIN POTPOURRI VASE RUSSIAN, AFTER A MODEL BY AUGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881), 1860s–1870s Height 35.5 cm. Literature: E. Khmelniskaya, Avgust Spiess i Imperatorskiy farforovyizavod. Zhizn`, posvyaschennaya farforu, Moscow, Lyubimaya Kniga,2012, p. 53, illustrated. Of squashed bulbous form with bracket handles, the front and backwith circular reserves, the elaborate ovoid body raised on a twistedbaluster stem supported on a shaped square base, the front andback with circular medallions and applied with ribbon-tied laurelgarlands, the pierced domed lid with cone finial, with green Imperialcipher for Alexander II.
Los 391
* A LARGE LISINSKY BEAR RUSSIAN, AFTER A MODEL BY NIKOLAI LIEBERICH, INSCRIBED WITH A SIGNATURE, C.F. WOERFFEL FOUNDRY, ST PETERSBURG Bronze with dark brown patina, height 56 cm. Small bronze sculptures destined for interiors became fashionablein Russia in the second half of the 19th century. Hunting scenes, already a popular subject in paintings and drawings, not least becauseof Emperor Alexander IIÂ’s passion for hunting, were now embracedin sculpture. Alexander II was an avid hunter and from an early age, hunting was an essential part of his leisure activities. At the tender age of 10, Alexander Nikolaevich was already accomplished with a rifle. Upon enthronement, the TsesarevichÂ’s hobby became the EmperorÂ’s fully-fledged hunting seasons, which began during the Coronation festivities in 1856. The hunting lodge in Lisino, built by Nikolai Benois, was a favourite of Emperor Alexander II and where he stayed on some 86 occasions. Such lodges were decorated with various hunting trophies, depictions of the Imperial hunt and the animal statues, for which Nikolai Lieberich is the most famous. In 1865–1866, Lieberich was invited to partake in the Imperial hunt, which provided a valuable source of observation and inspiration for his work. A bear killed by the Emperor during a hunt in Lisino, became the prototype for this highly popular model, executed in 1866. Whilst LieberichÂ’s works were highly praised at court in the 19th century, they are still sought after today. For example, a specially commissioned bronze-gilt casket with a hunting scene by the sculptor was sold by SothebyÂ’s in 2011 for almost £140,000. The present cast, with its sharp and precise elaboration of detail, is an example of LieberichÂ’s animal sculpture at its best.
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629120 Los(e)/Seite