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Los 206
ANTIQUE JAPANESE TRIPTYCH PRINT BY TOYOKUNI IIIAntique Japanese woodblock print triptych by Toyokuni III (Utagawa Kunisada I) (1786–1864); depicting a lady seated on a verandah, with an attendant grinding an inkstone beside her, a princely genetleman observing the cherry blossoms beyond the railings, and with additional attendants to the right; each signed; 14 1/4" x 10" (each approx., oban size)
Los 133
MIHAIL CHEMIAKIN (RUSSIAN B. 1943)The Breakfast Still Life, color lithographplate size: 46 x 64.5 cm (18 1/8 x 25 3/8 in.)signed in pencil lower right, numbered 18/225 lower left LITERATUREThe original 1975 mixed media still life composition which inspired this print is illustrated in Mikhail Chemiakin`s monograph Mihail Chemiakin: Transformation, Petersburg Period, Paris Period, Vol.1, (New York: Mosaic Press, 1986), p. 207
Los 1
MITREITER, TORVALD (19TH CENTURY) Serbian Officer , variously inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered “No 242” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17.5 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 10
MITREITER, TORVALD (19TH CENTURY) The Bride's Sister, Slovenia , variously inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered “225” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17.5 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 11
MITREITER, TORVALD (19TH CENTURY) Slovak Girl from the Kriván Region , titled twice, once in Cyrillic, and numbered “No 221” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17.5 cm. Executed c. 1860s–1870s. Provenance: Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 12
MITREITER, TORVALD (19TH CENTURY) Slovak Boy from the Kriván Region , titled twice on the reverse, also further titled in Cyrillic and numbered “No 222.” on the label on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17.5 cm. Executed c. 1860s–1870s. Provenance: Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 13
MITREITER, TORVALD (19TH CENTURY) Croatian Man , titled twice, once in Cyrillic, and numbered “No 230” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 15
MITREITER, TORVALD (19TH CENTURY) Hungarian Man from Slovakia , variously inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered “No 217.” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 22 by 16.5 cm. Executed c. 1860s–1870s. Provenance: Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 18
MITREITER, TORVALD (19TH CENTURY) The Wedding Herald, Slovakia , titled twice, once in Cyrillic, and numbered “No 226.” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17.5 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 19
MITREITER, TORVALD (19TH CENTURY) Montenegrin Man from the Bay of Kotor Region , variously inscribed in Cyrillic, titled twice, once in Cyrillic, and numbered “No 238.” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 2
MITREITER, TORVALD (19TH CENTURY) Russian Girl , variously inscribed in Cyrillic, titled and numbered “No 269.” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17 cm. Executed c. 1867. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Exhibited: Possibly, Ethnographic Exhibition, Moscow, 1867. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 21
MITREITER, TORVALD (19TH CENTURY) Slovenian Bride , titled twice, once in Cyrillic, and numbered “No 227.” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17.5 cm. Executed c. 1867. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Exhibited: Possibly, Ethnographic Exhibition, Moscow, 1867. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 22
MITREITER, TORVALD (19TH CENTURY) Serbian Man , titled twice, once in Cyrillic, and numbered “233” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23.5 by 17 cm. Executed c. 1867. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Exhibited: Possibly, Ethnographic Exhibition, Moscow, 1867. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 3
MITREITER, TORVALD (19TH CENTURY) Bulgarian Boy from the Danube Region , variously inscribed in Cyrillic on the reverse, further titled twice, once in Cyrillic, and numbered “260” on the label on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
Los 36
GRINBERG, ALEXANDER (1885-1979) Nude Lying on Her Back . Gelatin silver print, 10 by 15 cm. Photographed and printed c. 1920s–1930s. Provenance: Private collection, Europe. Alexander Grinberg (1885–1979) studied at the Stroganov School for Technical Drawing, and in 1907 became a member of the Russian Photographic Society. In 1914 Grinberg set up a department of photography at the Alexander Khanzhonkov Film Factory. In the 1920s he taught at the State Institute of Cinematography and worked as a cameraman at Goskino. Being an exceptionally skilled technician, Grinberg nevertheless became a proponent of the idea of “clean photography”, devoid of complex chemical treatment. Between 1910 and 1930, Grinberg’s works were shown in most of the major photography exhibitions, including international ones. He specialised in erotic photography, which after 1929 became the subject of fierce attacks for its “decadency”. Grinberg’s refusal to change his course led to a spell in the labour camps (1936–1939). He was rehabilitated in 1950 and continued to work as a photographer.
Los 37
GRINBERG, ALEXANDER (1885-1979) Nude Standing by the Curtain . Gelatin silver print, 18 by 11.5 cm. Photographed and printed c. 1920s–1930s. Provenance: Private collection, Europe. Alexander Grinberg (1885–1979) studied at the Stroganov School for Technical Drawing, and in 1907 became a member of the Russian Photographic Society. In 1914 Grinberg set up a department of photography at the Alexander Khanzhonkov Film Factory. In the 1920s he taught at the State Institute of Cinematography and worked as a cameraman at Goskino. Being an exceptionally skilled technician, Grinberg nevertheless became a proponent of the idea of “clean photography”, devoid of complex chemical treatment. Between 1910 and 1930, Grinberg’s works were shown in most of the major photography exhibitions, including international ones. He specialised in erotic photography, which after 1929 became the subject of fierce attacks for its “decadency”. Grinberg’s refusal to change his course led to a spell in the labour camps (1936–1939). He was rehabilitated in 1950 and continued to work as a photographer.
Los 38
GRINBERG, ALEXANDER (1885-1979) Lying Nude Draped in a Shawl . Gelatin silver print, 12 by 16.5 cm. Photographed and printed c. 1920s–1930s. Provenance: Private collection, Europe. Alexander Grinberg (1885–1979) studied at the Stroganov School for Technical Drawing, and in 1907 became a member of the Russian Photographic Society. In 1914 Grinberg set up a department of photography at the Alexander Khanzhonkov Film Factory. In the 1920s he taught at the State Institute of Cinematography and worked as a cameraman at Goskino. Being an exceptionally skilled technician, Grinberg nevertheless became a proponent of the idea of “clean photography”, devoid of complex chemical treatment. Between 1910 and 1930, Grinberg’s works were shown in most of the major photography exhibitions, including international ones. He specialised in erotic photography, which after 1929 became the subject of fierce attacks for its “decadency”. Grinberg’s refusal to change his course led to a spell in the labour camps (1936–1939). He was rehabilitated in 1950 and continued to work as a photographer.
Los 39
GRINBERG, ALEXANDER (1885-1979) Reclining Nude . Gelatin silver print, 10.5 by 16.5 cm. Photographed and printed c. 1920s–1930s. Provenance: Private collection, Europe. Alexander Grinberg (1885–1979) studied at the Stroganov School for Technical Drawing, and in 1907 became a member of the Russian Photographic Society. In 1914 Grinberg set up a department of photography at the Alexander Khanzhonkov Film Factory. In the 1920s he taught at the State Institute of Cinematography and worked as a cameraman at Goskino. Being an exceptionally skilled technician, Grinberg nevertheless became a proponent of the idea of “clean photography”, devoid of complex chemical treatment. Between 1910 and 1930, Grinberg’s works were shown in most of the major photography exhibitions, including international ones. He specialised in erotic photography, which after 1929 became the subject of fierce attacks for its “decadency”. Grinberg’s refusal to change his course led to a spell in the labour camps (1936–1939). He was rehabilitated in 1950 and continued to work as a photographer.
Los 40
KHLEBNIKOV, ALEXANDER (1897-1979) Bread . Gelatin silver print, 17.5 by 24 cm. Photographed and printed c. 1930s. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 41
KHLEBNIKOV, ALEXANDER (1897-1979) Milk . Gelatin silver print, 30 by 23.5 cm. Photographed and printed c. 1930s. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 42
KHLEBNIKOV, ALEXANDER (1897-1979) Glass Jug and Mug . Gelatin silver print, 30 by 40 cm. Photographed and printed c. 1960s. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 43
KHLEBNIKOV, ALEXANDER (1897-1979) Glass Jug and Tumbler . Gelatin silver print, 40 by 30 cm. Photographed and printed c. 1960s. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 44
KHLEBNIKOV, ALEXANDER (1897-1979) Classic Still Life , signed, titled in Cyrillic and dated 1966 on the reverse. Gelatin silver print, laid on cardboard, 26.5 by 39 cm. Photographed and printed in 1966. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Exhibited: 8 vystavka. Moskovskii fotoklub “Novator”. 1961–1966, Moscow, 1966 (label on the reverse). Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 45
KHLEBNIKOV, ALEXANDER (1897-1979) Perfume Bottles . Gelatin silver print, 12 by 18 cm. Photographed and printed c. late 1940s. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Alexander Khlebnikov (1897–1979) is acknowledged as the pioneer of Russian still life photography. He was also one of the first Soviet photographers who worked in advertising. He was a pupil of Alexander Grinberg and a friend of Alexander Rodchenko and Varvara Stepanova. It was he who helped and encouraged Stepanova to start the Sovetskaya zhenshchina magazine in 1945. Around that time he got actively involved in the fashion and advertising industry of the USSR. Together with Georgy Soshalsky, in 1961 he founded Novator, a highly influential photo club.
Los 46
SHOKIN, LEONID (1896-1962) Crimea and The Moskva-Volga Canal , two works, one signed, titled in Cyrillic and dated 1924 on the mounting paper. Each gelatin silver print, measuring 22.5 by 18.5 cm and 20.5 by 16.5 respectively. Crimea was photographed and printed in 1924 and The Moskva-Volga Canal c. 1938. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Leonid Shokin (1896–1962) was born and spent all his life in the small town of Kimry in Tver region, where he, together with his brother, set up a branch of the Russian Photographic Society. Before and after the October Revolution he participated in many exhibitions in Russia and in the West. In the late 1920s, Shokin, already an acclaimed photo artist, decided to take up work as a photo correspondent for rural newspapers, a move that allowed him to continue working and to keep his family home and studio, and avoid a risk of being purged for the “decadency” of his previous style. Carrying out official commissions, he photographed local party leaders and workers. After World War II, he continued working as a local photo journalist. In spite of that he managed to preserve throughout these years his gift for subtle psychologism and his fondness for lyricism, be that in portraiture or landscapes.
Los 47
SHOKIN, LEONID (1896-1962) Winter Sunset and Winter Twilight , two works, one signed, inscribed in Cyrillic “g. Kimry/ul Volodarsk 4 a” and titled on the reverse, also further signed twice, variously inscribed, titled twice, once in Cyrillic, and numbered “N 2” on the mounting card on the reverse; and the other sign Each gelatin silver print, measuring 18.5 by 23.5 cm and 21 by 27.5 cm respectively. Winter Sunset photographed and printed c. late 1930s and Winter Twilight in 1939. Provenance: Collection of the photographer. Thence by descent. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Leonid Shokin (1896–1962) was born and spent all his life in the small town of Kimry in Tver region, where he, together with his brother, set up a branch of the Russian Photographic Society. Before and after the October Revolution he participated in many exhibitions in Russia and in the West. In the late 1920s, Shokin, already an acclaimed photo artist, decided to take up work as a photo correspondent for rural newspapers, a move that allowed him to continue working and to keep his family home and studio, and avoid a risk of being purged for the “decadency” of his previous style. Carrying out official commissions, he photographed local party leaders and workers. After World War II, he continued working as a local photo journalist. In spite of that he managed to preserve throughout these years his gift for subtle psychologism and his fondness for lyricism, be that in portraiture or landscapes.
Los 52
GRACHEV, MIKHAIL (1916-2009) Moscow by Night , stamped with the photographer's stamp. Gelatin silver print, 37 by 28.5 cm. Photographed and printed c. 1940s–1950s. Provenance: Private collection, Europe. A prominent Soviet photographer, Mikhail Grachev (1916–2009) started his career working for the daily Izvestia in 1936. He took pictures of the major Soviet construction sites, including the construction of the Great Fergana Canal. During World War II, he led the photo department of Izvestia and worked as a photo correspondent for Vechernyaya Moskva. He was deployed to the Kalinin and Western Fronts, and worked in Leningrad during the siege. During the Battle of Moscow in 1941–1942, he photographed the offensives for Volokolamsk and Tula. From 1949, he worked for the magazine Sovetsky Soyuz.
Los 53
GRACHEV, MIKHAIL (1916-2009) Children's Railway Built by Schoolchildren , stamped twice with the photographer's stamp and titled in Cyrillic on the reverse. Gelatin silver print, 26 by 39 cm. Photographed and printed c. 1940s. Provenance: Private collection, Europe. A prominent Soviet photographer, Mikhail Grachev (1916–2009) started his career working for the daily Izvestia in 1936. He took pictures of the major Soviet construction sites, including the construction of the Great Fergana Canal. During World War II, he led the photo department of Izvestia and worked as a photo correspondent for Vechernyaya Moskva. He was deployed to the Kalinin and Western Fronts, and worked in Leningrad during the siege. During the Battle of Moscow in 1941–1942, he photographed the offensives for Volokolamsk and Tula. From 1949, he worked for the magazine Sovetsky Soyuz.
Los 56
IGNATOVICH, BORIS (1899-1979) Military Exercise . Gelatin silver print, 52.5 by 37.5 cm. Photographed and printed c. 1930s. Provenance: With the Grekov Studio of Military Artists, from 1948 (stamp on the reverse). Private collection, Europe. The iconic Russian photographer Boris Ignatovich (1899–1979) started out as a journalist, but from 1922 developed an interest in photography. In 1926 became one of the directors of the Association of Photo-Correspondents at the Publishing House (Dom pechati); and in 1928 together with Alexander Rodchenko he set up Oktiabr, a group of progressive artists, architects and filmmakers. He also worked for Ogoniok, Sovetskoye foto and SSSR na stroike. In the 1930s, Ignatovich filmed several documentaries, continuing at the same time to work as a journalist. He also headed the illustration department of the newspaper Vechernyaya Moskva and collaborated with the agency Soyuzfoto and several other periodicals specialising in construction. During World War II, he worked as a war correspondent on German-occupied territories, producing a well-known series of photographs documenting the Soviet resistance movement. After the war, Ignatovich became one of the directors of the legendary Moscow photo club Novator.
Los 57
BALTERMANTS, DMITRY (1912-1990) She Found Her Husband..., from the Series “That's How it Was” , stamped with the photographer's stamp and the photographer's estate stamp, titled in Cyrillic, inscribed “seriya “Tak eto bylo” and dated “(Kerch 1942 g.)” on the reverse. Gelatin silver print, 30.5 by 40.5 cm. Photographed in January 1942, printed c. 1970. The photograph depicts the massacre of Kerch residents by the Nazis in 1941. One of the women, V. Tereshchenko, is captured searching among the bodies for her husband. The photograph was published in the Ogoniok magazine in March 1942. Provenance: Estate of the photographer. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Dmitry Baltermants (1912–1990), a prominent Soviet photojournalist and war correspondent, earned his fame during World War II, in particular thanks to his coverage of the Battles of Stalingrad and Moscow, and military offensives in the Crimea. One of his most famous photographs is Grief, from the series “That’s How it Was”, capturing the massacre by the Nazis of the Kerch inhabitants in 1941. After the war, Baltermants worked as photo editor at the magazine Ogoniok. Many of his war images were initially censored because of their disturbing content and were only first published in the 1960s during the Thaw. Baltermants had personal exhibitions in London and New York, and was one of the very few photographers of the Soviet era who won widespread acclaim in the West during his lifetime.
Los 59
KHALDEI, EVGENY (1917-1997) Red Flag on the Brandenburg Gate in Berlin , signed on the reverse. Gelatin silver print, 24 by 30.5 cm. Photographed in May 1945, printed c. 1960s. Provenance: Private collection, Europe. Evgeny Khaldei (1917–1997) was a legendary Soviet photographer and war correspondent, the author of the most iconic war image Raising the Flag over the Reichstag. Khaldei made his first photograph at the age of 13 on the camera he constructed himself, while working at a factory. He studied photography and gained experience by working for numerous Soviet periodicals and for the Fotokhronika TASS agency. Khaldei was mobilised as a TASS photo correspondent from the very beginning of World War II and recorded it through to the Victory Day. He took the most emotionally charged images, which quickly obtained symbolic status. His world-famous photograph of the Raising the Flag over the Reichstag was printed in millions of copies. Many people saw the war through his images. He photographed the Potsdam Conference, signing of the German Instrument of Surrender and negotiations of the Marshall Plan in Paris. Some of the photographs he made were used as documentary evidence material during the Nuremberg trials.
Los 60
KHALDEI, EVGENY (1917-1997) Soldiers Carrying a Wounded Comrade , signed on the reverse. Gelatin silver print, 34.5 by 48 cm. Photographed c. 1941–1945, printed c. 1960s. Provenance: Private collection, Europe. Evgeny Khaldei (1917–1997) was a legendary Soviet photographer and war correspondent, the author of the most iconic war image Raising the Flag over the Reichstag. Khaldei made his first photograph at the age of 13 on the camera he constructed himself, while working at a factory. He studied photography and gained experience by working for numerous Soviet periodicals and for the Fotokhronika TASS agency. Khaldei was mobilised as a TASS photo correspondent from the very beginning of World War II and recorded it through to the Victory Day. He took the most emotionally charged images, which quickly obtained symbolic status. His world-famous photograph of the Raising the Flag over the Reichstag was printed in millions of copies. Many people saw the war through his images. He photographed the Potsdam Conference, signing of the German Instrument of Surrender and negotiations of the Marshall Plan in Paris. Some of the photographs he made were used as documentary evidence material during the Nuremberg trials.
Los 61
KHALDEI, EVGENY (1917-1997) Liberation of Austria , signed on the reverse. Gelatin silver print, 29.5 by 40.5 cm. Photographed in April 1945, printed c. 1960s. Provenance: Private collection, Europe. Evgeny Khaldei (1917–1997) was a legendary Soviet photographer and war correspondent, the author of the most iconic war image Raising the Flag over the Reichstag. Khaldei made his first photograph at the age of 13 on the camera he constructed himself, while working at a factory. He studied photography and gained experience by working for numerous Soviet periodicals and for the Fotokhronika TASS agency. Khaldei was mobilised as a TASS photo correspondent from the very beginning of World War II and recorded it through to the Victory Day. He took the most emotionally charged images, which quickly obtained symbolic status. His world-famous photograph of the Raising the Flag over the Reichstag was printed in millions of copies. Many people saw the war through his images. He photographed the Potsdam Conference, signing of the German Instrument of Surrender and negotiations of the Marshall Plan in Paris. Some of the photographs he made were used as documentary evidence material during the Nuremberg trials.
Los 65
MARKOV-GRINBERG, MARK (1907-2006) The Battle of Kursk and Soldiers Carrying Out an Attack , two works, one measuring 27.5 by 40.5 cm and the other 40.5 by 26.5 cm. Each gelatin silver print, one measuring 27.5 by 40.5 cm and the other 40.5 by 26.5 cm. Photographed in 1943, printed c. 1960s. Provenance: Private collection, Europe. Mark Markov-Grinberg (1907–2006) was very active in the 1930s when he took some of the most famous images of the time, such as Portrait of the Stakhanovite coal miner Nikita Izotov and photograph Youth, made at one of the Moscow recreation centres. During World War II Markov-Grinberg served as a soldier and only in 1943 became a war correspondent for Krasnoarmeiskaya illiustrirovannaya gazeta. In the 1950s he worked for the VDNKh Publishing House and several periodicals. He participated in many international exhibitions, including those in Australia, Germany, France and England.
Los 66
ZELMA, GEORGY (1906-1984) Mass Grave. Stalingrad , signed, stamped with the photographer's estate stamp and titled in Cyrillic on the reverse. Gelatin silver print, 44.5 by 58 cm. Photographed c. 1942–1943, printed c. 1960s. Provenance: Estate of the photographer. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Georgy Zelma (Zelmanovich) (1906–1984) began his photographic career working for the agency Russfoto in 1921; he was its correspondent in Uzbekistan, Iraq, Afghanistan and Central Asia in 1924–1927. After he relocated to Moscow in the late 1920s, Zelma, alongside his peer Alexander Rodchenko, began to experiment with avant-garde photographic technologies. In the decade that followed, Zelma’s work was published on the pages of Izvestia, Krasnaya zvezda, SSSR na stroike and other periodicals. At that time he specialised in documenting major construction projects, collaborating most notably with the celebrated documentary filmmaker Roman Karmen. During World War II, Zelma was a correspondent for Izvestia, shooting on the frontlines in Moldova and Ukraine. His most important work during the war is the Battle of Stalingrad series.
Los 67
ZELMA, GEORGY (1906-1984) Defenders of Stalingrad . Gelatin silver print, 25 by 37 cm. Photographed in 1942–1943, printed c. 1940s–1950s. Provenance: Estate of the photographer. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Georgy Zelma (Zelmanovich) (1906–1984) began his photographic career working for the agency Russfoto in 1921; he was its correspondent in Uzbekistan, Iraq, Afghanistan and Central Asia in 1924–1927. After he relocated to Moscow in the late 1920s, Zelma, alongside his peer Alexander Rodchenko, began to experiment with avant-garde photographic technologies. In the decade that followed, Zelma’s work was published on the pages of Izvestia, Krasnaya zvezda, SSSR na stroike and other periodicals. At that time he specialised in documenting major construction projects, collaborating most notably with the celebrated documentary filmmaker Roman Karmen. During World War II, Zelma was a correspondent for Izvestia, shooting on the frontlines in Moldova and Ukraine. His most important work during the war is the Battle of Stalingrad series.
Los 68
ZELMA, GEORGY (1906-1984) Residents of Stalingrad Walking through the Liberated City . Gelatin silver print, 41 by 60 cm. Photographed in 1943, printed c. 1960s. Provenance: Estate of the photographer. Acquired directly from the above by the previous owner. Acquired from the above by the present owner. Private collection, Europe. Georgy Zelma (Zelmanovich) (1906–1984) began his photographic career working for the agency Russfoto in 1921; he was its correspondent in Uzbekistan, Iraq, Afghanistan and Central Asia in 1924–1927. After he relocated to Moscow in the late 1920s, Zelma, alongside his peer Alexander Rodchenko, began to experiment with avant-garde photographic technologies. In the decade that followed, Zelma’s work was published on the pages of Izvestia, Krasnaya zvezda, SSSR na stroike and other periodicals. At that time he specialised in documenting major construction projects, collaborating most notably with the celebrated documentary filmmaker Roman Karmen. During World War II, Zelma was a correspondent for Izvestia, shooting on the frontlines in Moldova and Ukraine. His most important work during the war is the Battle of Stalingrad series.
Los 7
MITREITER, TORVALD (19TH CENTURY) Serbian Man , titled twice, once in Cyrillic, and numbered “259” on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 23 by 17.5 cm. Executed c. 1860s–1870s. Provenance: With the B. Avanzo Art Shop, Moscow, c. 1890s–1900s (stamp on the reverse). Private collection, Europe. Torvald Mitreiter was a Danish photographer active in Russia in the late 19th century, working for the Imperial Court. Between 1879 and 1897, Mitreiter was affiliated with the Rumyantsev Museum, Moscow’s first public museum, which commissioned a photographic album from him. In 1867 he participated in the Moscow Ethnographic Exhibition, with a series of photographs of mannequins wearing Russian folk costumes. Four works from the offered here Mitreiter collection were possibly included in this exhibition. He owned a salon in Moscow, Viennese Photography. Some of his photographs are in the collection of the Russian Ethnographic Museum in St Petersburg.
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