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283284 Los(e)/Seite
Los 340
"Laura Knight, A Book of Drawings, London John Lane The Bodley Head 1923, foreword & descriptive notes by Charle Marriott, frontispiece self portrait and 20 tissue guarded plates by Laura Knight, four of which are in full colour, signed by the artist, No 86 of a Ltd edition of 500, printed paper label to spine 32x 26.5cm"
Los 345
"Jack Orr - 1961 Scottish School, portrait of Jean Pittalla Kinghorn, painted with a background of Oriental Panels decorated with storks and plants, oil on canvas in gilt frame, 101x 99cm. Provenance, Jean Pittalla Kinghorn sat for Jack Orr in late 1920/21 while she was awaiting the birth of her daughter. Orr had previously painted her sister-in-law Yvonne Kinghorn in a similar pose. This Portrait was sold in Sotheby`s, Gleneagles sale in 1994"
Los 242
Scarce "The Jubilee Book of Cricket" 1st ed 1897 signed by KS Ranjitsinghji to the limitation page no 79/350 - large thick 8vo c/w portrait frontis and other illustrations throughout c/w tissue guards – in the original white decorative cloth boards with gilt lettering to spine. Uncut pages with gilt top edges and ex -private library label – some intermittent speckle foxing and slight thumb stains to edges otherwise overall (G)
Los 243
1895 Cricket book titled "Famous Cricketers and Cricket Grounds" by C W Alcock very large heavy half leather boards with gilt title - originally issued as a part-work and subsequently bound in one volume (no original wrappers, title page or index) large glossy pages, majority have facsimile signatures, 288 images comprising portrait shots of cricketers, team photographs and smaller images of grounds - some scuffing to boards otherwise internally clean
Los 304
Don Bradman - Century of Centuries Commemorative cricket plate c. 1979 - Coalport bone china ltd ed plate of only 500, decorated with a central portrait and players details c/w facsimile signature to the base overall 9" in original makers box together with a similar commemorative mounted bronze plaque (2). Note: Bradman’s batting career average (95.14) and Test average (99.94) both of which have never been challenged. Bradman played 52 Test matches for Australia between 1928 and 1948. He made 117 first-class centuries in his career.
Los 8
GRIGORIEV, BORIS 1886-1939 Portrait of Anna Sergeeva , signed and dated 1921, further inscribed in Cyrillic with a dedication to Anna Sergeevna Sergeeva, signed and dated "Paris 921" on the stretcher. Oil on canvas, 92 by 73 cm. "Provenance: Private collection, France.Exhibited: Exposition des artistes russes à Paris en 1921, Galerie La Boétie, Paris, 1921, No. 46.Literature: T. Galeeva, Boris Dmitrievich Grigoriev, St Petersburg, Zolotoi Vek, 2007, p. 132, illustrated.Exhibition catalogue, Exposition des artistes russes à Paris en 1921 organisée par les membres et exposants de la Société Mir isskousstva (Monde artiste) à la Galerie “La Boétie”, Paris, Édition “L’Art russe” A. Kogan, 1921, No. 46.This portrait of the poet Anna Sergeeva was painted during the most fruitful and successful period of Boris Grigoriev’s life. Executed in 1921, shortly after the artist moved from Berlin to Paris, it became a kind of first milestone on the road to European recognition of his talent.As early as June 1921, the finished portrait of Sergeeva appeared in a World of Art exhibition at a renowned gallery in the rue La Boétie, in a fashionable area of central Paris. Although Grigoriev joined the World of Art group primarily to solve his financial problems, exhibiting side by side with the stars of the group — Bakst, Larionov, Goncharova, Sudeikin, Benois, Somov, Roerich and others — brought the artist real success.Grigoriev was noticed at the exhibition, not only thanks to the large number of works he showed (more than 40), but above all thanks to the “Realist audacity” that so struck the critics, and the “great expressiveness and conviction in his picture of Russia, its people and its way of life” of the new cycle, Faces of Russia (Visages de Russie). As a result, most of the exhibition reviews highlighted Grigoriev as one of the brightest talents of contemporary Russian art.These pictures from the series People (Les Hommes) that were shown in the exhibition, and the female portraits among them, including that of Anna Sergeeva, mark a new stage in Grigoriev’s career. In them the acute individuality of the subjects combines with a vivid decorative structuring of the canvasses. A grotesque element, which had previously served as a stylistic principle of Grigoriev’s creative ideas, has not disappeared from his work entirely but has been partially neutralised and transformed under the influence of the Neoclassical trends that then seized European art. However, the characteristic “showiness” of the portrait concept remains.Grigoriev strives to penetrate the mystery of the individual human form with his vividly expressive sense of colour, he presents it extremely perceptively and with an affected deliberateness, emphasising the crucial features, surfaces and lines. In Grigoriev’s portraits of this period, designed to be taken in at a glance, we can recognise this artist’s hand even from a distance. But in this portrait of the Russian poet Anna Sergeeva, the distancing effect of the general detachment from real life, which was also the source of the cool, elegant brilliance of the artist’s work of the 1920s, comes together with the theme — common to all Grigoriev’s portraits of notable figures in the arts — of virtuosity. This would, some years later, be further developed in his dazzling cycle depicting actors from the Moscow Art Theatre."
Los 9
FALK, ROBERT 1886-1958 Woman in Red. Portrait of Lyubov Georgievna Popesku , signed. Oil on canvas, 71.5 by 91 cm. "Provenance: A gift from the artist to Nina Lurie, Moscow. Thence by descent.Collection of Olga Dvoretskaya, Moscow, until 1975. Private collection, Moscow, until 1994.Private collection, UK.Exhibited: Robert Falk, Tsentral’nyi dom rabotnikov iskusstv, Moscow, 1939.Literature: D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 572, No. 801, illustrated.The portrait of the artist Lyubov Georgievna Popesku, marked the final stage in the creative evolution of Robert Falk’s images of women.Falk first met Lyubov Popesku in the Crimea in 1916, where he painted her in a notable Nude, now in the collection of the Tretyakov Gallery. The next meeting between artist and model was 15 years later, in a totally different time and place. By this time, having initially arrived in Paris on a short trip, Falk was already more firmly settled in France. His previous enthusiasm for Cézannism during the Jack of Diamonds period had now given way to an ever more intense quest for a unified environment, saturated with colour and with light enveloping people and objects. Seeing Popesku in Paris in 1930, Falk painted her portrait In a Red Turban, as a traditional psychological study and, two years later, Woman in a Blue Beret. The picture Woman in Red occupies a special place in this series.The pose — in which the artist Popesku sits at a table — was quite random. The fragile female figure is shown as slightly alienated, as if seized by a fleeting moment of melancholy. A distinctive feature of the composition is its circular movement, which dictates the direction of our gaze and leads us from her left hand, placed on the table, up to the slightly bowed head and hat, making the painting harmonious.According to Falk, the portrait was created as a study for the monumental canvas Old Women. Loneliness which was conceived as a definitive summation of life. This female figure, still young and with traces of her former beauty, conveys much more clearly than other protagonists might the true meaning of the work. D. Sarabianov, speaking of this work, ascribed a special significance to the figure of Popesku. “Turned slightly sideways, away from the centre of the canvas, she is lost in this space, in this world, among other people. The figure of the woman was particularly important to Falk’s intention, demonstrating that the subject of his picture is not simply suffering from old age... It is the expression of emotional fatigue, anxiety, burn-out; in other words, of universal qualities born of the contemporary world — or perhaps intrinsic to mankind.”"
Los 14
* KUSTODIEV, BORIS 1878-1927 Merchant`s Wife , signed and dated 1923. Oil on canvas, 97.5 by 77 cm. "Provenance: Private collection, 1924-1998.Anonymous Sale; The Russian Sale, Sotheby’s London, 19 February 1998, Lot 90. Private collection.Authenticity certificate from the expert V. Petrov.Exhibited: The Russian Art Exhibition, Grand Central Palace, New York, 1924, No. 421 (label on the reverse).Literature: Die Dame, No. 19, June 1924, p. 11, illustrated.Exhibition catalogue, The Russian Art Exhibition, New York, 1924, No. 421, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatel’stvo, 1925, p. 87, listed.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 232, No. 645, listed.Russian merchants’ wives are without doubt among the most memorable and recognisable images in Boris Kustodiev’s oeuvre. Painted in 1923, the present work was conceived as a kind of continuation and development of the celebrated 1915 work of the same name, which now occupies pride of place in the Russian Museum. The subject is recognisable, as is the protagonist’s pose — as if in a state of suspended animation before the viewer — and even the details: a shawl over her shoulder and handkerchief in her hand. However, what we have before us is not merely the artist’s retrospective attempt to outdo himself at a successful subject. His pictures of merchants’ wives of the early 1920s, painted at a time of tumultuous and dramatic events in Russia, play a far more symbolic role and are of far greater significance than would at first appear. Imbued with nostalgia for the dignified patriarchal society that was by then gone for ever, these portraits of archetypes became a kind of symbol of early 20th-century Russia.Of course, Kustodiev’s romantic view of his homeland, based on an aesthetic fondness for the past and a poetizing of its images, is interwoven with elements of stylisation, as were the images of his old World of Art comrades. Kustodiev’s languid, contented merchants’ wives are as different from their real-life prototypes as Somov’s saucy marchionesses. Boris Kustodiev’s bright, festive, carefree, big-hearted peasant Rus became for him a kind of dream of Russia, as she had at no time, in no place existed but as she unwittingly appeared when looking back from the bleak, cold-hearted Petrograd of the 1920s. For this very reason the best-known merchants’ wives works were done during the Civil War and the destruction that followed when the Kustodiev family, like many others in Russia, were forced to sell their belongings and queue for bread. The hunt for a ripe watermelon in that half-starved city, for the famous Merchant’s Wife Drinking Tea, was a real feat for the artist’s wife Yulia Yevstafievna.The artist had long dreamed of creating a universalised image of Russian beauty, for in the 1910s none of his contemporaries had set themselves such a task. When Kustodiev found his ideal of female beauty he was already an established and recognised artist, and he invested all of his creative genius and the searing power of bright, full-blooded colours into these merchants’ wives. Once seen, you cannot forget these magnificent, corpulent women, their figures towering majestically over a Volga townscape, which fades into the background, eclipsed by their ripe beauty.Yet, at the same time Kustodiev’s beauty is only a fruit of the imagination, a splendid mirage appearing before a European, a World of Art member, along with the legends of the city of Kitezh and the firebird’s feather, from the exotic life of the deep provinces. It is no accident that the ladies who modelled for the sketches of practically all Kustodiev’s merchants’ wives were members of the intelligentsia. One of the models for the Merchants’ Wives of 1912 was the European-educated Natalia Zelenskaya, whom Kustodiev had met in Switzerland. He used a pencil and sanguine sketch of the young actress Faina Shevchenko, done at a premiere at the Moscow Art Theatre, as the basis for his picture Beauty (1915); for Girl on the Volga (1915) the daughter of a neighbouring landowner, Pazukhin, sat for him; the model for Merchant’s Wife Drinking Tea (1918) was Galina Aderkas, a student at the medical institute, who lived nearby; and, finally, the model for his celebrated Russian Venus (1925-1926) was his own daughter Irina. However, when sketching a real individual for one of his protagonists, Kustodiev would always create the specific character he needed and which was frequently rather different from the original. The Merchant’s Wife of 1923 belongs to this group of splendid female types.It should be noted that all the artist’s paintings of this subject, in their various guises and different formats and sizes, were not conceived as parts of a single, unified series. So it is that each one of them — be it the 1920 Merchant’s Wife Taking a Walk (Russian Academy of Fine Arts Museum) or the 1923 Merchant’s Wife — represents an intrinsically valuable and unique variation on the composition, of which Kustodiev painted many. All, with the exception of the work offered here, are either long settled in museums and private collections or lost without trace. Today Kustodiev’s various merchants’ wives adorn the collections of the Russian Art Museum in Kiev, the National Art Museum of the Republic of Belarus, the Russian Museum, the State Tretyakov Gallery and several other Russian museums, as well as the best private collections. The portrait of collector and painter Isaak Brodsky attests to the popularity of this image. Kustodiev depicted him walking in a Petrograd in the grip of famine and destruction during the terrible years of the Civil War. Lost in thought and with a dreamy expression on his face, the artist carries a Kustodiev Merchant’s Wife under his arm, oblivious to what is going on around him.The Merchant’s Wife of 1923 was already widely-known during the artist’s own lifetime. He showed the work a year after it was painted, at the celebrated Russian Art Exhibition, organised by Igor Grabar and Sergei Vinogradov, which was housed at the Grand Central Palace in New York, before travelling around a good many of the central and southern states. The exhibition opened on 8 March 1924, and many of the paintings sold successfully, including the Merchant’s Wife, which was acquired by a private collector. Soon after the exhibition, the much admired picture of the young and smartly dressed beauty out for a walk, appeared in the pages of the popular German women’s magazine Die Dame. The picture remained out of public view until 1998, when it sold successfully at Sotheby’s. Today, for the first time in many years, it is again offered for sale and presents a rare opportunity for even the most exacting collector of Russian art. This painting is undoubtedly among Kustodiev’s most iconic works."
Los 16
* KOROVIN, KONSTANTIN 1861-1939 Lady with a Guitar , signed and dated 1912. Oil on canvas, 86 by 66 cm. "Provenance: Collection of A.Y. Abramyan, Russia.Private collection, USA.Exhibited: The Fine Art Exhibition of the Russian Union of Artists, Fadeev Central House of Literature, March-April 1972 (label on the stretcher).Literature: Illustrated on a postcard published by Izobrazitel’noe iskusstvo, Moscow, 1974.Lady with a Guitar is a magnificent example of Korovin’s work from the 1910s when the master reached the peak of his career. His canvasses became increasingly colourful during this period, and a free, sweeping style emerged. This is clearly visible in the portraits of Nadezhda Komarovskaya, a close friend of Korovin, who frequently modelled for him during this period.Korovin painted his model by improvising directly from nature, and therefore the portrait has none of the deliberate, painstaking style and faithfully recreated details which were characteristic of his very early work. He strove to depict the young lady in a relaxed pose and to convey a lively, domestic scene. His speedily produced works are focused on conveying first impressions. A relationship between the sitter and her environment is constructed with the aid of vibrating light and varied reflections. The way in which he makes use of his own “trademark” colourist discovery of 1886 is also extremely striking: the “burning” of the red next to green, gradually transforming into the traditional colour spectrum of the master and his diverse combinations of dark green and red-ochre tones. The very structure of the composition, in which a model sits in the corner against the background of a window, becomes a characteristic feature of Korovin’s works of this period, which frequently combine the genres of portraiture, landscape painting and still life. A number of compositions from this series are well-known. They include one of the Lady with a Guitar portraits, which was sold at MacDougall’s Russian Art Sale in May 2006."
Los 51
JAWLENSKY, ALEXEJ VON 1864-1941 Landschaft mit rotem Dach, Wasserburg , signed. Oil on board, 48.5 by 52.5 cm. Executed c. 1906.Provenance: Museum Wiesbaden, Wiesbaden, acquired by 1952.Galerie Wilhelm Grosshennig, Düsseldorf, acquired by 1961.Anonymous Sale; Lempertz, Cologne, 28th November 2007, Lot 154.Acquired from the above.Private collection, Germany.Private collection.Exhibited: Alexej Jawlensky, Neues Museum, Wiesbaden, 4 September-3 October 1954, No. 10 (label on the reverse).Kunstwerke aus Galeriebesitz, Städtisches Museum, Wiesbaden, 14 October-117 March 1956-1957, No. 24.Alexej Jawlensky, Galerie Wilhelm Grosshennig, Düsseldorf, 3-31 October 1961.Vom Abbild zum Urbild, Ganserhaus, Wasserburg, 5 September-28 October 1979, No. 8.Literature: C.Weiler, Alexej Jawlensky, Cologne, 1959, p. 262, No. 514, illustrated.Vom Abbild zum Urbild, Wasserburg, Ganserhaus, 1979, p. 32, No. 8, illustrated.M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1890-1914, London, 1991, vol. I, p. 136, No. 145, illustrated.Landschaft mit rotem Dach, Wasserburg (Landscape with a Red Roof, Wasserburg) is an early work by the outstanding innovator and gifted colourist Aleksej von Jawlensky. It was painted in 1906 at Wasserburg am Inn, at a time when the artist’s enthusiasms for various styles were constantly shifting and he was seeking his signature colour palette.In January of that year Jawlensky showed nine pictures at the World of Art exhibition in St Petersburg, along with Mstislav Dobuzhinsky, Vladimir Serov and Konstantin Somov. The exhibition was organised by Sergei Diaghilev, who invited Jawlensky and Marianne von Werefkin to spend the winter with him in St Petersburg. That summer the artists set out for Wasserburg, an old Bavarian town with narrow lanes and picturesque views. Jawlensky worked tirelessly, painting from nature, excited by the idea of “life in colour”.The countryside had a calming effect on Jawlensky: his colours were already less outrageously dazzling, and light and dark bluegreen tones now predominated in his pictures, while his yellows and reds became somewhat muted. The landscape is charged with exceptional energy, conveying the psychological state of a person as he contemplates nature. Jawlensky was a real observer, convinced that it was necessary to devote one’s whole being to take in and commit to canvas the beauty of nature. Of the works of this period — mostly spent in Germany with only occasional visits to Russia — a significant number were landscapes, executed in the spirit of Impressionism. However, over time, the artist adopted the portrait as his favourite genre and this is the genre in which he was to work most and which was clearly the answer to all his creative urges.Jawlensky was forever trying to find himself and continually discovering new enthusiasms. His acquaintance with Matisse and his passion for the work of Cézanne and later Gauguin, greatly influenced his aesthetic views and it was under the influence of the French masters that Jawlensky developed his individual colour palette, which would blaze particularly brightly on the eve of the First World War.
Los 213
FALK, ROBERT 1886-1958 Portrait of the Artist`s Son, Valerik Oil on canvas, 64 by 54 cm. Painted in the artist’s studio in Moscow in 1941.Provenance: Collection of K.R. Baranovskaya-Falk, Moscow, until 1997.Private collection, Germany.Exhibited: Moskovskie khudozhniki. 1920-1930s, Central House of Artists, Moscow, 1991.Literature: Moskovskie khudozhniki. 1920-1930s, Moscow, 1991, p. 114, incorrectly dated 1939.D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta Fal’ka, Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 673, No. 987, illustrated.The portrait of Valery Falk, the artist’s son, occupies a special place in the remarkable oeuvre of Robert Falk. Painted in 1941, this work was to be not only one of Falk’s most successful of that period but also his last portrayal of his son, before the latter’s untimely death two years later at the Battle of Stalingrad. Valery (1916-1943) was an artist like his father. Robert Falk talked of his son’s divine draughtsmanship and uncommon talent. Others in their circle also noted the familial gift. In the 1930s Valery and his father lived in France, where their works were often exhibited together.The works that Falk produced of his close friends and family were always of special significance for him and this closeness is clearly revealed here. The young man’s grown-up appearance notwithstanding, the artist is here developing a previous image of Valery — lost in concentration and sad, frail and tired — an image well known from many portraits painted during the years when they were in France together and after their return to the USSR.
Los 165
A TRAY CONTAINING 5 X FIVE POUND COINS, 1990, 1997, 1999, 2000, 2001, uncirculated set 1983, 5 x two pounds, Cook Islands Matt proof with polished portrait of Princess Diana one Dollar 1997, South Africa five shillings 1953 v.f, silver fob, modern crowns, Diana photographs, First Day Covers etc
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283284 Los(e)/Seite