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283284 Los(e)/Seite
Los 135
* POPKOV, VIKTOR (1932-1974) Three Artists, signed and dated 1962, also further signed, titled in Cyrillic and dated on the reverse. Oil on canvas, 160 by 225.5 cm. Executed in 1962–1963.Provenance: Acquired directly from the artist’s family by the present owner.Private collection, UK. Exhibited: Viktor Popkov (1932–1974). Genius of the Russian Soul, Somerset House, London, 22 May 2014–18 June 2014.Literature: Viktor Popkov. A Russian Painter of Genius, London, Unicorn Press, 2013, pp. 148, 149, illustrated.Exhibition catalogue, Viktor Popkov (1932–1974). Genius of the Russian Soul, London, Unicorn Press, 2014, No. 12, illustrated. Without any exaggeration, one can name the work of Viktor Popkov as the driving force behind the immense breakthrough in Soviet figurative art. The artist was one of the founders of the so-called Severe style that emerged in the early 1960s during the Khrushchev thaw. Popkov’s colleagues and kindred spirits were an entire generation of outstanding artists from Moscow, amongst them notably Geli Korzhev, Nilolay Andronov, Tair Salakhov, Petr Ossovsky and Pavel Nikonov. Their principal ambition was to reveal the truth about mundane life and work of a Soviet man, bereft of any embellishments and far removed from the sterile version propagated by totalitarian academism.There was a perfect match between these artists’ goal and their painterly style: generalised, with restrained colours and brutal plasticity. A perfect example is Popkov’s iconic Builders of the Bratsk Hydro-Electric Power Station (1961) – a painting that is not only the most important in the artist’s oeuvre but crucial to the overall development of the Severe style. By the mid-1960s, Popkov’s work as a whole was changing, with the artist shifting his emphasis from socially relevant topics to more personal, idyllic subject matter. In contrast to the official art of Stalin’s era that reflected state ideology, Popkov’s work expressed the voice of the author as an individual. Popkov’s narrative unfolds from the inside of his protagonists, speaking in the first person. The artist openly expressed his feelings for his nearest and dearest and other ordinary people, their daily life and the world around them. Popkov paints many self-portraits and portraits of other artists, attempting to “distil” his inner world and come to understand the mission of a creative person. One day in the summer of 1962, while in Arkhangel on a trip around the north of Russia, he conceived a monumental self-portrait which would also feature his fellow artists Karl Friedman (on the left) and Aleksandr Sorochkin. The finished painting became one of his most impressive works. Popkov re-interprets the classic “three-point” composition and dynamically modifies it within the enclosed space of a small room, visually expanded through the inclusion of a wardrobe with a built-in mirror. Reflected in the mirror is the artist himself, standing by his easel, lost in his thoughts. The reflection in the mirror considerably enhances the effect the author’s presence has in the picture, as he calmly observes the goings-on. Meanwhile, the intensity of the ochre and carmine palette is pared down by the dim electric light of the hotel room. The painting is flawless in its carefully measured precision and unhurried execution. No tiny detail is fortuitous; every aspect bears out the artist’s urge for solitude and meditative calmness. The three men – three kindred spirits, three personalities, distinct yet close to one another – are next to each other in the physical confines of the room but simultaneously detached. Each is fully immersed in his own thoughts, and the silence that permeates the place seemingly lasts an eternity.
Los 51
LARIONOV, MIKHAIL (1881-1964) Portrait of Natalia Goncharova, signed. Oil on canvas, 33.5 by 32.5 cm. Executed c. 1903–1905. Provenance: Collection of the artist and art historian Lev Zhegin (1892–1969), Moscow. Acquired from the above by George Costakis in 1961. A gift from George Costakis to his granddaughter in 1975 (inscription on the backing board). Important private collection, Europe. Authenticity of the work has been confirmed by Lev Zhegin (inscription on the reverse). Literature: A. Zander Rudenstine, Russian Avant-Garde Art. The George Costakis Collection, New York, Harry N. Abrams Inc., 1981, p. 238, No. 446, illustrated and listed as Female Portrait.
Los 417
SEMENKA, ANATOLY (20TH CENTURY) Group Portrait of T. Naito, B. Pasternak, S. Eisenstein, O. Tretyakova, L. Brik, V. Mayakovsky, A. Voznesensky and the Interpreter for T. Naito Gelatin silver print, 24.5 by 35.5 cm. Photographed in 1924 and printed c. 1950s. Provenance: Possibly, with the archive of the newspaper Pravda (stamp on the reverse). Borodulin collection, Europe. Literature: For the published photograph, see L. Grinberg, “Krupneyshiy arkhiv ostalsya bez kontseptsii”, in The Art Newspaper Russia, No. 10, December 2013‒January 2014, illustrated (detail). M. Smorodinskaya, Mayakovsky i Brik. Istoriya velikoy lyubvi v pismakh, Moscow, Algoritm, 2014, illustrated.
Los 1121
Four Edwardian silhouettes, two white paper on black card, one depicting a youthful male bust portrait, the second a youthful female bust portrait, in circular ebonised frames with domed glass, 5in. (12.7cm.) diameter (inc. frame); the second pair of an older male and female subjects, black paper on white card in ebonised rectangular frames, 5 x 4in. (12.7 x 10.2cm., inc frames). (4)
Los 1162
Major General N. G. Hind, 2nd King Edward VII's own Gurkhas (The Sirmoor Rifles) - An important cased set of twelve medals, comprising: The Most Exalted Order of the Star of India - C.S.I., Companion’s neck badge, in gold and enamels, with central onyx cameo bust of a youthful Queen Victoria within rose diamonds set legend; The Military Cross; The 1914-1915 Star; The British War Medal 1914-1920; The Victory Medal 1914-1919; The Most Venerable Order of St. John, Knight of Grace Star neck Badge; The Poland Order of Polonia Restituta, Commander's Cross; The George V India General Service Medal 1908-35 three bars, Mahsud 1919-20, Waziristan 1919-21 and Afghanistan N.W.F 1919; The War Medal 1939-1945; The India Service Medal 1939-1945; a King George V Silver Jubilee Medal; and a King George VI Coronation Medal; cased; together with a watercolour portrait of the esteemed recipient in uniform, signed Sheldon, 14¼ x 11¼in. (36.2 x 28.6cm.). (2) , * Please see lot 1160, an Indian silver salver presented to Major General Hind in 1945.
Los 19
A good large pearlware Lord Nelson commemorative jug or pitcher, early 19th century, commemorating the victories of 'Horatio Lord Viscount Nelson Vice-Admiral of the White', transfer printed in blue and white with a portrait of Nelson, a vignette of the Victory and two oval panels listing his titles below a Naval device, the rim with similar and floral decoration, brown line rim, the body with moulded basal fluting and collar, 8½in. (21.5cm.) high. * Condition: Some rubs to brown line rim. Glaze wear to tip of spout. Hairline crack across base. A few glaze scratches to body. No other cracks, chips or damage. No restoration.
Los 32
An Italian maiolica portrait plaque depicting Agostino Barbarigo (1419-1501), Doge of Venice from 1486 until his death in 1501, possibly 17th century, the flat circular plaque depicting a portrait of the Doge against a black ground, within a feathered pale yellow border, 11in. (28cm.) diameter. * Condition: Two small drilled holes to top for hanging. Some glaze losses from edge with a few old retouches, most notably around the top - these glaze chips have extended into the back surface of the plaque, with some flaking from the top surface of the earthenware ground. There is some crazing to glaze all over - the crazing to the Doge's head shows some light brown staining due to age. There are two large glaze flakes from the black ground just above and to the right of the word 'Augustinus' - these have old repainting in black. There are small unglazed flaw
Los 40
A Sevres style porcelain girandole, late 19th / early 20th century, painted interlaced Ls mark and incised 'EL 67 7' to base, the plate with a bust portrait of King Louis XVI within a blue celeste and gilt border with four floral reserves, the gilt metal surround with tied ribbon surmount and Bacchus mask base issuing two candle arms with urn form nozzles, 13½in. (34.25cm.) high, * Provenance: Bears Christies lot label to base.
Los 688
Louis Le Ray (British, b.1894), Caricature portrait of a gentleman , watercolour, signed 'Le Ray' lower right , 21½ x 14½in. (54.5 x 37cm.) , * Born Herbert Thomas Allen, Le Ray was a caricaturist in Northampton during WW2, moving to Guernsey in 1947, working for The Guernsey Star from 1950-55, when he left the island.
Los 2434
An interesting collection of19x records, includes: Jethro Tull “Living In The Past” (2xLPs); Roxy Music “S/T” (Pink Rim label); Fleetwood Mac “Greatest Hits” (CBS); Johnny Kidd & The Pirates “Shakin' All Over”; Johnny Cash “Star Portrait” (2xLPs); Roy Orbison “Crying”; “Reggae Chartbusters” (Trojan TBLS 105); “Buddah In Mind”; “Supergroups”; “Mersey Beat '62- '64” (2x LPs USD 305/6 with inners); Them “Good Or Bad” (2xLPs German); “Immediate Best Of The Nice, Small Faces etc” (2xLPs German); Donna Summer “I Feel Love” (Casablanca 12” FEEL 12); etc. The condition of the vinyl appears to be mostly excellent.
Los 315
Insieme di quattro medaglie tre medaglie ritratto del principe Alfredo di Windischgraetz per la repressione dell’insurrezione del 1848, una in argento, una in bronzo e una in stagno, incisore del conio “D” (Gottfried Drentwett), minimi graffi, gradevoli tonalità di colore (Wurzbach 9829 (Sn)) (Hauser 276); medaglia ritratto senza data (1848-1849) del barone Julius von Haynau per le campagne di guerra in Italia, stagno, minimi graffi (Wurzbach 3616) (Hauser 268) 4 Medaillen 3 Portrait-Medaillen Alfred Fürst zu Windischgraetz auf die Unterdrückung des Aufstandes 1848, Silber bzw. Bronze bzw. Zinn, Stempelschneider “D” (Gottfried Drentwett), minimale Kratzer, feine Tönung (Wurzbach 9829 (Sn)) (Hauser 276); Portrait-Medaille Julius Freiherr von Haynau auf die Feldzüge in Italien o.J. (1848-1849), Zinn, minimale Kratzer (Wurzbach 3616) (Hauser 268) € 100
Los 317
Insieme di tre medaglie medaglia ritratto senza data e con motto al rovescio, bronzo, incisore del conio “C. RADNITZKY” (Karl Radnitzky, 1818 - 1901), minimi graffi (Montenuovo 2645) (Wurzbach 2692) (Hauser 279); medaglia per l’emanazione della “Gemeinde-Autonomie” (autonomia comunale) il 17 marzo 1849, bronzo, incisore del conio “C. RADNITZKY”, minimi graffi (Hauser 794); medaglia 1849 per la Costituzione “oktroyierte” (imposta), stagno, incisore del conio „Neuss“ (Johann Jakob Neuss, 1770 - 1847) e “RABAUSCH” (Karl Rabausch), graffi e colpi al contorno (Wurzbach 6924) (Hauser 792 (AE)) 3 Medaillen Portrait- und Wahlspruchmedaille o.J., Bronze, Stempelschneider “C. RADNITZKY” (Karl Radnitzky, 1818 - 1901), minimale Kratzer (Montenuovo 2645) (Wurzbach 2692) (Hauser 279); Medaille auf die Erlassung der Gemeinde-Autonomie am 17. M€rz 1849, Bronze, Stempelschneider “C. RADNITZKY”, minimale Kratzer (Hauser 794); Medaille auf die oktroyierte Verfassung 1849, Zinn, Stempelschneider „NeussN (Johann Jakob Neuss, 1770 - 1847) bzw. “RABAUSCH” (Karl Rabausch), Kratzer, Randschl€ge (Wurzbach 6924) (Hauser 792 (AE)) € 100
Los 174
Frank Watson Wood (1862-1953), oil on canvas portrait of Captain Frederick Claude Hynman Allenby C.B.E. (1864-1934), later J.P. for Northumberland, taken in 1924 82cm x 65.5cm, in gilt frame Slightly over cleaned, though bearing no obvious signs of significant damage or repair. Frame with some minor damages
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283284 Los(e)/Seite