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Click here to subscribeEmiliano Fernandez de Rodrigo (Argentinian B.1980) The Window, Koln, Germany - 2013 No. 3, from an edition of 10 + 1 A.P., photograph (Dimensions: 22cm x 22cm (8.5in x 8.5in))(22cm x 22cm (8.5in x 8.5in))Footnote: Note: This artwork is accompanied by a certificate of authenticity from the artist. Provenance: From a private collection of Contemporary Art & Photography.
Raymond Pettibon (American B.1957) We are drawn . . . , 1992 Signed, numbered 62/80 and dated '92 in pencil to margin, etching and aquatint (Dimensions: 64.5cm x 39.5cm (25.5in x 19.5in))(64.5cm x 39.5cm (25.5in x 19.5in))Footnote: Provenance: Galerie Krinzinger , Vienna. From a private collection of Contemporary Art & Photography. This artwork is sold with accompanying certificate from the gallery.
§ Tadao Cern (Lithuanian B.1983) Comfort Zone, Image No. 1 Signed, dated 2013 and numbered 2/50 in pencil to margin, giclee photographic print (Dimensions: 50cm x 36.5cm (19.75in x 14.5in) and another print from the same series 'Comfort Zone, Image No.8' (2))(50cm x 36.5cm (19.75in x 14.5in) and another print from the same series 'Comfort Zone, Image No.8' (2))Footnote: Provenance : Purchased directly from the artist. From a private collection of Contemporary Art & Photography. Artist's signed certificate of authenticity affixed verso.
§ Stefano Bosis (Italian Contemporary) Blue and Green Oil on wood (Dimensions: 19.5cm x 19.5cm (7.75in x 7.75in) and a watercolour by Elena Tamburnini (2))(19.5cm x 19.5cm (7.75in x 7.75in) and a watercolour by Elena Tamburnini (2))Footnote: Provenance: From a private collection of Contemporary Art & Photography.
§ Eliza Kopec (Dutch Contemporary) Infante Margaret's Difficult Choice Mixed print (etching, aquatint, woodcut), 1993, 6/20, signed, numbered, titled and dated in pencil to margin (Dimensions: 82cm x 52cm (32.25in x 20.5in) and another, a signed etching and aquatint by Leyender Kuss (2))(82cm x 52cm (32.25in x 20.5in) and another, a signed etching and aquatint by Leyender Kuss (2))Footnote: Provenance: ING Art Collection From a private collection of Contemporary Art & Photography.
Terence Bennett (20th Century Aboriginal) Snake and Goanna Inscribed verso, acrylic on canvas (Dimensions: 75cm x 50cm (29.5in x 19.75in))(75cm x 50cm (29.5in x 19.75in))Footnote: Provenance: Warlayirti Aboriginal Corporation. From a private collection of Contemporary Art & Photography. This artwork is sold with accompanying paperwork from the corporation.
§ Guy LeClef (Belgian Contemporary) Paperworld: Werk 1 Signed and dated '06 verso, artist's name etched into acrylic box frame bottom right edge, woven collaged paper in acrylic box frame (Dimensions: 81cm x 81cm (31.75in x 31.75in))(81cm x 81cm (31.75in x 31.75in))Footnote: Provenance : Purchased directly from the artist in 2007. From a private collection of Contemporary Art & Photography.
§ Guy LeClef (Belgian Contemporary) Paperworld: Werk 2 Signed and dated '06 verso, artist's name etched into box frame bottom right corner, collaged paper and cardboard in acrylic box frame (Dimensions: 151cm x 106cm (59.5in x 41.75in))(151cm x 106cm (59.5in x 41.75in))Footnote: Provenance: Purchased directly from the artist in 2007. From a private collection of Contemporary Art & Photography.
§ ALFREDO HÄBERLI (B. 1964) FOR ALIAS TT3 AND TT1 SOFA AND OTTOMAN leather upholstery with cast aluminium frame (Dimensions: sofa: 189cm wide, 74cm high, 63.5cm deep, ottoman: 71cm wide, 38cm high, 63cm deep)(sofa: 189cm wide, 74cm high, 63.5cm deep, ottoman: 71cm wide, 38cm high, 63cm deep)Footnote: Provenance: From a private collection of Contemporary Art & Photography.
§ Kerstin Heymann (German Contemporary) Against All Odds Etching and aquatint, 3/10, signed, dated '99 and inscribed in pencil to margin (Dimensions: 77cm x 96cm (30.25in x 37.75in))(77cm x 96cm (30.25in x 37.75in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
§ Dominic Willsdon (British Contemporary) I miss the light northern rain, i miss the seasons Etching and aquatint, 4th state, signed and inscribed 14.1.92 in pencil to margin (Dimensions: 81cm x 60.5cm (31.75in x 23.75in))(81cm x 60.5cm (31.75in x 23.75in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
§ S. McKay (Scottish Contemporary) The Necklace Signed and indistinctly inscribed, pastel and charcoal (Dimensions: 44cm x 63cm (17.25in x 24.75in))(44cm x 63cm (17.25in x 24.75in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
An Elizabeth II Silver 'Aqua Posy Dom' Beaker, by Hiroshi Suzuki, London, 2006, Fine Silver, tapering cylindrical and chased with asymmetrical spiral-fluting, applied underneath with a label inscribed 'HS206', 7.5cm high, 11oz 13dwt Hiroshi Suzuki was born in Miyagi prefecture in Japan in 1961 into a family with a strong tradition as makers, his father being a silversmith and his grandfather a potter and calligrapher. Following this tradition Hiroshi was to go on to complete an MA in Tokyo before moving to the London to study at Camberwell and later the Royal College of Art. Initially working in a variety of media it was at the Royal College of Art that Hiroshi was to discover the fluidity that he could achieve working with silver. His work was very quickly to find a devoted following including Peregrine Cavendish, 12th Duke of Devonshire who says of Hiroshi's work 'His vessels are incredibly tactile. The beakers, for example, make you want to drink, to pick the vessel up and use it. They are weighted so that the ridge and furrow are perfect for your hand', as quoted by Rachel Spence, 'Quick Silver: The Art of Hiroshi Suzuki', The Financial Times, 21 September 2018. Now represented exclusively by Adrian Sassoon, the UK's leading dealer in contemporary works of art, Hiroshi's work has been widely exhibited and is represented in major private and public collections around the world. In the UK this includes the Victoria and Albert Museum, London; The National Museum of Scotland; the Ashmolean, Oxford, the Fitzwilliam in Cambridge and further afield in the Metropolitan Museum of Art, New York; The Cheongju National Museum, South Korea and the Art Gallery of South Australia. . Marked underneath. The marks are clear. In generally good condition.
Phillpotts (Eden) The Girl and the Faun, one of 350 copies on hand-made paper signed by the author and artist, decorative title & frames to text printed in plate brown and tipped-in colour plates by Frank Brangwyn, later half green morocco, by Zaehnsdorf, t.e.g., others uncut, 1916 § Stevenson (R.L.) Prayers written at Vailima, printed in red and black with colours from an illuminated manuscript by Alberto Sangorski and heightened in gold, light spotting, handsomely bound in contemporary crushed purple morocco elaborately blocked in gilt with decorative corner-pieces and central lozenge, spine gilt, t.e.g., others uncut, 1910 § Butterworth (A.M.) William Blake, Mystic: a Study, one of 250 copies, engraved illustrations, original buckram, uncut, spine browned, Liverpool & London, 1911 § Day (Lewis F.) Of William Morris and his work, Easter Art Annual, Art Journal Extra Number, colour plates, illustrations, advertisement for William Morris & Company bound in, modern half navy morocco, original pictorial wrappers bound in, uncut, 1899, 4to (4)
The Mysteryes of Nature and Art conteined in foure severall Tretises.., London: for Ralph Mab 1634, small 4to, first edition, engraved title, marked 'T. Willoughby' at head in a contemporary hand, illustrations throughout, early ink MS notes to final blank, separate titles to each part, 1 plate at f.14 (=T4 according to BL catalogue), lacking portrait, G4 is a full page illustration, apparently lacks p.143 (a blank? before 2A1 title of Book of Extravagants), otherwise gatherings seem to collate without loss, repaired early calf with chipped spine. Note: STC 1577
Mackenzie Thorpe (British Contemporary), Man Walking Through Telegraph Poles, photo lithograph, 775/850 edition, dated 2000, artist proof /85, signed bottom right, mounted and framed. Measurements 41.8 x 12 cm, framed measurements 70 x 39 cm. Certificate of Authenticity verso- Washington Green Fine Art Publishing Company ltd.
Two stunning contemporary Art Deco style leaded stained glass panels to include; a round shaped spiral designed panel with hanging chain and another in a bulbous hourglass shape. Both having multiple colours. Measures; 57cm x 36xm. Condition; small crack to two of the central section within the panel.
Doug Hyde (Contemporary) ''Bronze, Silver, Gold'' Signed, inscribed and numbered 102/395, giclee on paper, 33.5cm by 103cm Sold together with the De Montfort Fine Art Certificate of Authenticity. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Doug Hyde (Contemporary) ''Daisy Trail'' Signed and numbered 504/595, cold cast porcelain, 29cm high Sold together with the De Montfort Fine Art Certificate of Authenticity and the original box Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
John Piper (British, 1903-1992)Fountains Abbey, Yorkshire (Levinson 351) Screenprint in colours, 1983, on Arches, signed and numbered 20/150 in pencil, printed by Kelpra Studio, London, co-published by Christie's Contemporary Art and The National Trust, with the printer's and publishers' blindstamps, with margins, 450 x 623mm (17 3/4 x 24 1/2in)(I)This lot is subject to the following lot symbols: AR
* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), SHINING HEART oil on board, signed 40cm x 40cm Framed and under glass. Note: Emma studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show, sales included pages from her sketchbook. From the time of graduating to today she has been working full time as an artist. Emma’s diary is filled with exhibitions and commissions from collectors worldwide. She has received many awards over the years including House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.
* SALLY ANNE FITTER (BRITISH CONTEMPORARY), EVENING IN CORNWALL oil on canvas, signed and titled on stretcher verso 76cm x 76cm Framed. Note: Sally Anne Fitter (born 1963) studied ceramics at Bristol Art School gaining a First Class Honours Degree. After a textile design course at Chelsea School of Art, Sally set up and ran 'Digby Morton', a textile design studio in London. Her designs have been selling worldwide for nearly 10 years to clients such as Ralph Lauren in New York and Liberty of London. In 2003 she turned professionally to painting. She has an "imaginative eye for colour, with a warm, rich palette". Her vigorous handling, developing surface textures, with numerous painting techniques, lead to a strong sense of design and composition. Sally Anne Fitter's paintings are widely exhibited and avidly collected.
Staffordshire Potteries / Juvenalia Interest. Collection of books comprising: The Father's Best Gift (small booklet, 9.5cm height), woodcut frontispiece, decorative paper covers, Burslem: J. Tregortha [c.1800]; The Cottage Fire-Place, C. Bentham, 1821, illustrated with wood-engravings in the manner of Thomas Bewick, 'Crewe Hall Library - Juvenile Books' label to front pastedown; The Sunday Scholars' Magazine and Juvenile Miscellany for 1829, Hanley: W. Shuttleworth, contemporary half-calf; Enoch's Bell: A Ballad, by J. H., Burslem: J. Tregortha, 1819; The Complete New Cow Doctor, by T. Beaumont, Burslem: John Tregortha, 1816; A Collection of Hymns for Primitive Methodists, Bemersley: J. Bourne, 1829, full calf with brass clasps; The Housekeeper's Assistant or Whole Art of Cookery, by Mrs Carter, Burslem: J. Tregortha, 1820; The Young Man's Best Companion, by J. Sutcliffe, Burslem: J. Tregortha, 1816, full contemporary leather with oxblood morocco title label; Art and the Beauty of the Earth, a Lecture Delivered by William Morris at Burslem, London: Longmans, 1898, publisher's paper covers (9)
Collection of books relating to Staffordshire history/topography, comprising: General View of the Agriculture of Stafford, by William Pitt, London: G. Nicol, 1796, full contemporary calf with oxblood morocco title label; A Topographical History of Staffordshire, by William Pitt, Newcastle-under-Lyme, J. Smith, 1817, half-calf; A Survey of Staffordshire, by Sampson Erdeswicke, London: E. Curll, 1717, rebound; A Copy of the Poll of Stafford, Newcastle-under-Lyme, W. H. Hyde, 1833; a manuscript 'Inventory of Plate' for P. Beresford Hope Esq., 1887; Notes and Collections Relating to the Parish of Aldridge in the County of Stafford, by Jeremiah Finch Smith, Leicester: W. H. Lead, 1889; On the Art of Pottery, by Joseph Mayer, Liverpool: D. Marples, 1873; Directory of Staffordshire (as found), Parson & Bradshaw (8)
Fougasse. P.T.O. A Book of Drawings by Fougasse, [1926], eight colour plates, monochrome illustrations, contemporary presentation inscription to Harold Mudd (assistant to Percy V Bradshaw, founder of the Press Art School, pencil note at front), original pictorial boards, light spotting to spine and extremities, 4to, with three others by H.M. Bateman: More Drawings, 1922, Colonels, 1925 and Rebound, 1927 (Qty: 4)
David Hockney (born 1937)My Pool and Terrace Etching and aquatint in colours, 1983, on wove paper, signed, dated and numbered 133/250 in pencil, from the portfolio 'Eight by Eight to Celebrate the Temporary Contemporary', published by the Museum of Contemporary Art, Los Angeles, the full sheet, in very good condition, framedImage 603 x 905mm. (23 3/4 x 35 5/8in.); Sheet 737 x 1059mm. (29 x 41 5/8in.)This lot is subject to the following lot symbols: AR
DOUG HYDE (BRITISH CONTEMPORARY), 'Found At Last', a naive study of a boy holding a cat, signed lower right, pastel on paper, framed, approximately 74cm x 49cm, with insurance valuation from Gallery 3 Fine Art dated Nov 2008 (condition: no obvious damage) (Artists Resale Rights May Apply To This Lot)
‡ Charlie Macpherson (Contemporary) Movement Seven, four in blue and three in colourless etched glass, each with windows Largest 83.5cm high; Smallest 56.9cm high (7)Provenance: The Estate of Peter and Rosa Seldon; Woolley and Wallis, Modern British & 20th Century Art, 4 December 2018, lot 206
Clifford Possum Tjapaltjarri AO (Australian 1932-2002) Men's Corroborie Inscribed with the artist's name and numbered 142 to verso Acrylic on canvas Painted in 1990 166 x 123 cm Unframed Provenance: Arunta Art Gallery, Alice Springs, 1990 Literature: Patrick Corbally Stourton, Songlines and Dreamings: Contemporary Australian Aboriginal Painting (Lund Humphries, 1996), p 52, no 38, illustrated
Clara Ivanovna Kalinicheva (Russian 1933-1999) Landscape with a Red Cat Signed, titled and inscribed to verso Oil on board, executed in the 1960s 35.6 x 73.5cmProvenance: Acquired from the artist's family in 2010; A Private Collection of Soviet, Russian and Azerbaijani ArtLiterature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 248, 250-251 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century.Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Evgeny Spiridonovich Logvinenko (Russian b.1944) Sunrise on the Black Sea Signed and dated 1983, and further signed, dated, titled and inscribed to verso Oil on board 22.5 x 35.4cm Unframed Together with Boris Nikolaevich Bezikovich (Russian 1917-1980), Edge of a Forest, signed, dated 1948, titled and inscribed to verso, oil on canvas, 11.8 x 29.3cm, unframed and unstretched (2) Provenance: Each acquired from Moscow private collections by the present owner, 2007 and 2009; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 239-241. 270-271 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Ivan Yegorovich Bazanov (Russian b. 1946) Narrow Street Flickering; Memorial House of the Painter E.V. Nagaievskaya Two, each signed and further signed, titled, dated 2002 and 2003, and inscribed to verso Each oil on canvas 22 x 14cm; 15 x 20cm The latter unframed (2) Provenance: Both acquired from a Moscow private collection by the current owner, 2009; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 233-237 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Evgeny Davidovich Redko (Russian 1924-2004) Autumn Evening Signed, titled, dated 1980s and inscribed to verso Oil on board 34.7 x 46.7cm Provenance: Acquired by the present owner from the artist's family, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 354-355 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Evgeny Davidovich Redko (Russian 1924-2004) Wide Space Signed, dated 1980s, titled and inscribed to verso Oil on board 28.5 x 37.9cm Provenance: Acquired by the present owner from the artist's family, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 340-341 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Evgeny Davidovich Redko (Russian 1924-2004) The School Girl; Work in Spring; Fog in Winter Three, each signed and titled to verso Each oil on card Largest 36 x 48cm; Smallest 11.7 x 11.7cm Two unframed (3) Provenance: All acquired from the artist's family by the current owner, 2006; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 344-345, 349 (all illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Kim Nikolaevich Britov (Russian 1925-2010) Spring Twilight Signed, and further signed, dated 2007, titled and inscribed to verso Oil on canvas board 33 x 45.8cm Provenance: Acquired directly from the artist's estate by the current owner, 2010; A Private Collection of Soviet, Russian and Azerbaijani Art A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Igor Nikolaevich Avramenko (Russian b.1964) Sunset on the Caspian Sea; Street scene Each signed with initials Mixed media 40.7 x 46.8cm; 49.9 x 39.8cm Both unframed Together with A. Makhonin (Russian 20th Century), Still life with lilacs in a vase, signed and dated 1953, oil on card, 36.7 x 32.8cm, unframed (3) Provenance: Avramenkos with Seasons of the Year Gallery, Moscow, 2008, where acquired by the current owner; Makhonin acquired from a Moscow private collection; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 226-227, 230-231, 274-275 (all illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Evgeny Fiodorovich Karasiov (Russian 1926-1997) On the Volga Signed, dated 1957, and titled to verso Oil on card 13 x 18.6cm Together with Dmitriy Gavrilovich Leskin (Russian 1928-2008), Academicheskaya Dacha, signed and indistinctly titled and inscribed to verso, oil on cardboard, 10.2 x 15.4cm (2) Provenance: Karasiov acquired by the current owner from Seasons of the Year Gallery, Moscow, 2005; Leskin acquired by the current owner from a private collection; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 252, 258-259, 264, 266-267 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Phikret Mamedovich Kashimov (Azerbaijani b.1948) Moon Song Signed with monogram, and further signed, inscribed and dated 1991 to verso Oil on canvas 96 x 172cm Unframed and unstretched Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
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![Fougasse. P.T.O. A Book of Drawings by Fougasse, [1926], eight colour plates, monochrome illustrations, contemporary presenta](https://cdn.globalauctionplatform.com/117b213f-3a61-4e3a-8621-ab1400de82b3/0fc269d4-1929-421c-adc7-ab140120a157/468x382.jpg)
