ZELMA, GEORGY (1906-1984) Soldiers Taking an Oath. Stalingrad , panorama, consisting of two joined photographs. Each gelatin silver print, 20 by 27 cm (overall size). 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.
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ZELMA, GEORGY (1906-1984) Yuri Gagarin with His Family , signed, stamped with the photographer’s estate stamp, inscribed in Cyrillic “1961 god./posle poliota”, titled, numbered “87” and dated 1961 on the reverse. Cibachrome print, 48 by 41 cm. Photographed and printed c. 1961. 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.
§ BINDE, GUNARS (B. 1933) Seated Nude by the Chair , stamped with the photographer's stamp, titled in Cyrillic and numbered “43” on the reverse. Gelatin silver print, 49 by 40 cm. Photographed and printed c. 1960s–1970s. Provenance: With the Museum of Viljandi, Estonia, c. 1980 (stamp and inscription on the reverse). Private collection, Europe. Gunars Binde (b. 1933) is a Latvian photographer who is perhaps best known for his erotic photos. He taught at Riga School of Applied Arts (1964–1975), worked as a photographer for the Research Council of the Latvian Society for the Preservation of Historical Sites (1975–1977), then for the Daugava Museum (1977–1994) and for the Latvian Ministry of Defence. Binde’s favourite genres are portraiture, landscape and particularly nudes. He has had over 30 personal exhibitions all over the world and is an Eminent Photographer of the International Federation of Photographic Art. His works are held in the museums in France, Denmark, Austria and others.
§ BINDE, GUNARS (B. 1933) Praying Nude and Nude, from the series “Heliography” , two works, one signed, titled in Cyrillic and dated, and the other stamped with the photographer's stamp on the reverse. Each gelatin silver print, measuring 25.5 by 17.5 cm and 24.5 by 18 cm respect. Photographed and printed c. 1960s. Provenance: Private collection, Europe. Gunars Binde (b. 1933) is a Latvian photographer who is perhaps best known for his erotic photos. He taught at Riga School of Applied Arts (1964–1975), worked as a photographer for the Research Council of the Latvian Society for the Preservation of Historical Sites (1975–1977), then for the Daugava Museum (1977–1994) and for the Latvian Ministry of Defence. Binde’s favourite genres are portraiture, landscape and particularly nudes. He has had over 30 personal exhibitions all over the world and is an Eminent Photographer of the International Federation of Photographic Art. His works are held in the museums in France, Denmark, Austria and others.
MITREITER, TORVALD (19TH CENTURY) Serbian Boy from Dalmatia , titled on the reverse, also further titled in Cyrillic and numbered “No 240.” on the label on the reverse. Albumen print, hand-coloured with watercolour and oil, laid on cardboard, 22.5 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.
An Edwardian chromolithograph stipple print of riders in 17th Century dress, an etching with aquatint of a Venetian canal 40/70 signed Vgo Baracco watercolour landscape indistinctly signed, dated October 85, The School Cloister Oundle, limited edition colour print 774/1000, signed in pencil Jane Carpanini and a framed Ordnance Survey map of Tudeley Kent (5).
Salvadore Dali (1904-1989), limited edition coloured print of a pair of horses being driven by a man cracking a whip with large insect, numbered CXII/CXX, signed in pencil to the margin lower right, 39cm x 56.5cm, framed and glazed *Subject to Artist Re-Sale rights (Droit de suite) - For further information go to to www.artistscollectingsociety.org CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description
Will Bullas, 'Wine-ocerous', a Greenwhich Workshop issued artist's proof, signed and numbered 48/50, (21cm x 32cm) in folio cover with documentation, together with Rod Frederick, 'Rim Walk' and 'Tropic Moon', unsigned artist's proofs in folio covers with documentation and another print by Combes, 'The Hypnotist' in folio cover.
A limited edition Lithographic art print from an original animation cell used in 'Pink Floyd - The Wall' numbered 2585/3850, bearing facsimile signature of Gerrald Scarfe and Roger Walters, with certificate of authenticity, together with Heroes & Villains, a hardback catalogue of the Gerald Scarfe exhibition at the National Portrait Gallery, his dedication signature signed by Gerald Scarfe to the cover page, with original certificate of authenticity and scarfe 'Line of Attack' published by Hamish Hamilton, London 1988.
A late 17th Century maiolica albarello, possibly Savona, pencilled in blue and manganese with a detailed bird in a landscape above Syr Malu.Extol, the reverse with the initials A.R. below a calligraphic flourish and dated 1690, height 24cm, A/F Malu is an abbreviation for malus, a fruit-bearing tree, e.g. apricot, quince or peach and the preceding abbreviation is syropo syrup. Such fruit are 'cold in the second degree' and recommended for the heart. The bird, which may be a Malay Fowl, would have been copied from a contemporary print, possibly after Francis Barlow (circa 1626-1702). By repute purchased from Sotheby's - 25th February 1972
JAMES A.M. WHISTLER (AMERICAN, 1834-1903), DRYPOINT, H 7 1/2", W 3 7/8", NUDE GIRL WITH ARMS RAISED. From the estate of Dr. John M. Rainey, Jr. Grosse Pointe Park, Mich. As viewed under room light in the opened frame: dry mounted; discoloration around edges of print where the lip of the acid mat is; unable to safely open up the mat from the mount because the two are securely glued together - therefore we cannot determine the size or condition of the hidden margins if any and the nature of any possible watermark; the molding of the frame is badly scratched.- For High Resolution Photos visit Dumouchelles website.
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