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Lot 2166
CHRISTOPHER BURKETT (American b.1951) Resplendent Light - Day`s End, 2004 Ilfochrome Sight: 11 x 11 inches/ 28 x 28 centimeters Signed lower right in pencil on mat "Christopher Burkett" Number 167 Included in lot: Invoice from Studio 391, Gualala Frame: 17.75 x 17.25 inches/ 45 x 43.8 centimeters PROVENANCE: Private Collection, Honolulu, Hawaii Starting Price: $200
Lot 2188
Russian Icon Painting of Madonna and Child. The rectangular panel centering the seated figure of the Mother of God with a halo of light, wearing a pale blue crowned hood over a matching blue and red dress, holding a thin figure of baby Jesus wearing a green robe, vertically adorsed by Prophets, each holding gospel inscribed in Cyrillic, against a sky blue background, the icon headed by the Cyrillic inscription "Praise of Our Lady". 19th Century; Dimensions 41 3/4 x 34 inches (103.5 x 86.5 cm) [Crack down middle] Starting Price: $750
Lot 2235
Louis XV Style "Sevres" Gilt Metal Porcelain Clock Garniture. The pink ground urn with an inset porcelain dial centering an rose garland circular medallion around the Arabic numeral chapter ring, twin side lion mask supports, urn form finials, raised on twin leafy scroll feet, surmounted by a figure of Cupid with a bowl; en suite with a pair five light conforming porcelain urn form candelabra raised on square bases, the clock movement stamped with Japy & Fils Medaille D`Honneur "Made in France" "13233/32". Japy & Fils. Height of clock 22 1/4 inches (56.5 cm); Candelabra 23 1/4 inches (59 cm). [Key, Pendulum, piece] Starting Price: $1300
Lot 2256
Partial Herend Rothschild Bird Porcelain China Service. Comprising two handled cache pots (height 6 1/4 inches, 15.8 cm); two cache pots (one large, height 8 inches, 20 cm), one small, height 5 1/2 inches, 14 cm); one footed urn form center piece; one two light candle stand (height 8 3/4 inches, 22 cm); one covered vegetable (height 9 inches, 22 cm); length 10 1/4 inches, 26 cm); one covered ramekin; two platters (length of longest 16 inches, 40 cm); and one two part relish with bird form handle (11). Starting Price: $500
Lot 2370
Art Nouveau Gilt and Cold Painted Bronze Figural Light. The beauty cast as a partially nude young lady, clad in a long flowing draped skirt, painted in a dark green, her long hair up in chignon with an orchid, her eyelids heavy, holding in one arm an oil lamp, the other a book, unmarked, lacking attachments for the candle cup. Cast After A Model of Gustav Gurschner (Austrian 1873-1970). Height 8 1/2 inches (46 cm). Starting Price: $1300
Lot 2382
Pair American Gilt Bronze Art Glass Shade Figural Lights. Each threaded cylindrical glass shade with a pull feather design in a palette of gold, green, and white, the reticulated cover cast with a standing figure of Cupid, looking down into the light, raised on a pedestal base cast with two climbing amorini. Height 15 inches (38.1 cm); One with crack Starting Price: $500
Lot 2415
Art Deco Bronze Torchiere Floor Lamp. The barley twist standard surmounted by a reticulated inverted bell form surround, the cage form frame cast with flora and fauna medallions joined by a scrolling vine; the medallions including bunches of grapes, pineapples, ram, lion and goat masks; fitted with an incised white iridescent opaline shade, enclosing the single light socket, raised on a tripod base with leafy volute scroll supports, cushioned on paw feet, the shade possibly by Steuben. In the Style of Oscar Bach Circa 1920 Height 67 inches (170.1 cm) Property of Northern California Collector Starting Price: $400
Lot 2588
ONE UNMOUNTED DIAMOND TOGETHER WITH PENDANT MOUNTING & CHAIN. The unmounted old European-cut diamond weighing exactly 3.33 cts. and measuring 9.59 x 9.25 x 6.06 mm together with a 14k yellow gold pendant mounting and chain. Accompanied by a GIA Gem Trade Laboratory Color Report #2151345866, dated April 3, 2013, stating "Diamond, W to X, light yellow - natural color". Weight (mounting and chain only): 4.2 dwts Please Note: Photo is of diamond only, please see our website for additional photos including the mounting and chain. Starting Price: $2500
![x Edinburgh and Northern Railway, £5 share, 184[8], no.2749, printed in orange on light blue-grey paper, with white paper sea](http://lot-images.atgmedia.com/SR/1141/2883305/385-201351619134_468x382.jpg)
![Buckingham & Adams Cycle & Motor Co. Ltd., 5 shilling shares, 1[900], no.21, scrollwork at left, green, light stain f](http://lot-images.atgmedia.com/SR/1141/2883305/408-2013516191410_468x382.jpg)
![x Asylum Life Assurance Company, one share, [1837], no.1798, printed in black on vellum, some light discolouration, good very](http://lot-images.atgmedia.com/SR/1141/2883305/411-2013516191419_468x382.jpg)
![Shell Transport & Trading Co. Ltd., £1 ordinary shares, 19[10], no.14990, oilfield at right, tanker at left, storage tank](http://lot-images.atgmedia.com/SR/1141/2883305/434-2013516191518_468x382.jpg)
Lot 453
A very good collection of Gas companies comprising Altrincham Gas Co., 2 types, 1846 and 1855; Ampthill Gas and Coke Co., 1849, on vellum; Appledore Gas Co Ltd., 2 types 1875 and 1889 plus a transfer certificate; Aslpley Guise & Woburn Sands Gas Co. Ltd., 1869; Birmingham & Staffordshire Gas Light Co., 1845; Chester Gas Light Co., 1845; Cranbrook Gas Co., 1844; Derby Gas Light and Coke Co., 1915; Donington Gas Co. Ltd., 1857; Economic Gas and Coke Co. Ltd., 1891; Folkestone Gas & Coke Co., 1899; Folkingham Gas & Coke Co. Ltd., 1863; Gas Light & Coke Co., 1870; Longtown Gas & Coke Co., 1856; Middleton and Dinsdale Gas Co., Ltd., 1872; Middlewich Gas Light and Coke Co., 1855; Montgomery Gas Co. Ltd., 1857; Pewsey Gas Co. Ltd., 1863; Poulton Le Fylde Gas, Coal, Lime & Coke Co., proof, 18- (circa 1890); Settle Gas Co. Ltd., 2 types, 1856 and 1861, the first with corner torn away; South Luton District Gas Light & Coke Co. Ltd., 1907; Tattershall & Coningsby Gas & Coke Co Ltd., 2 types, 1860 and 1866; Warrington Gas-Light & Coke Co., 1848; Wath-Upon-Dearne Gas & Coke Co., 1844, and, Wymondham Gas Light & Coke Co., 1848, generally very fine and many better. (30) Vat Status: Margin Scheme View Terms & Conditions
![x London & Colonial Company Limited, £100 class B share, 18[65], no.844, vignette at top of dockyard scene, purple with l](http://lot-images.atgmedia.com/SR/1141/2883305/465-2013516191644_468x382.jpg)
![x Ratcliff Gas Light & Coke Company, £100 share, London 18[24], no.984, printed in black on vellum, pink paper seal attac](http://lot-images.atgmedia.com/SR/1141/2883305/467-2013516191650_468x382.jpg)
Lot 538
Banco Territorial de Cuba, dividend share, Havana 1911, a group of 4 certificates numbered 10617 to 10620, arms in centre flanked by Government building to the left and ox wagon to the right, green and black, printed by the American Bank Note Company, with coupons, light fold otherwise about extremely fine (4) Vat Status: Margin Scheme View Terms & Conditions
Lot 50
ANNéES 70 Spectaculaire suspension, structure principale formée d`une grande coupole en acier maintenant d`une part une succession de bras de hauteur différente terminés chacun par un cache-ampoule métallique cylindrique, et d`autre part la structure cruciforme principale et les bras soutenant les trois jeux de couronnes de diamètre décroissant, chacun formé de deux larges anneaux sur lesquels viennent se fixer les tubes de verre translucide, chaque anneau accueillant un tube de taille différente. Bras supérieur de fixation cylindrique en métal laqué blanc. A spectacular steel, lacquered metal, and smoked glass ceiling light. Haut. max : 127 cm - Haut. suspension : 70 cm - Diam. 98 cm / Height. max: 50 in. - Height. suspension: 27 1/2 in. - Diam. 38 5/8 in.
Lot 60
POUL HENNINGSEN (1894-1967) & LOUIS POULSEN (éDITEUR) Spectaculaire suspension "PH Louvre", circa 1957, de forme générale sphérique présentant sur une structure en acier une succession de corolles en métal laqué blanc, élément conique interne accueillant l`ampoule. A spectacular "PH Louvre" ceiling light, circa 1957, spherical, steel structure with lacquered metal shades elements. Haut. moyenne : 110 cm - Diam. 60 cm / Height. average : 43 3/8 in. - Diam. 23 5/8 in. Bibliographie : - O. Hansen, S. Jorgensen & T. Jorstian, "Light years ahead, The story of the PH lamp", Éditions Louis Poulsen, Copenhague 1994, p. 269. - B. Polster, "Dictionnaire du Design, Scandinavie", Éditions du Seuil, Paris 1999, p. 206. - Charlotte & Peter Fiell, "1 000 lights", vol.1, Taschen, Cologne, p. 536. - Michael Ellison & Leslie A. Piña, "Designed for Life", Éditions Schiffer, Atglen 2002, p. 57.
Lot 84
années 50 Important lustre "Spoutnik", structure en laiton présentant une sphère centrale laquée noir, d`où s`échappent de nombreux bras de lumière de longueurs différentes, terminés par des éléments tronconiques laqués noir perforés en pourtour, formant cache-ampoule, cache-bélière hémi-sphérique laqué noir. A large "Spoutnik" ceiling light. Haut. 158 cm - Diam. 190 cm / Height. 62 1/4 in. - Diam. 74 3/4 in.
Lot 116
ARLUS Grande applique mobile à structure en métal laqué noir et aluminium, platine murale soutenant un fût mobile pivotant en U inversé se terminant par une rotule maintenant en suspension un bras mobile animé à une extrémité d`un contrepoids et à l`autre d`un déflecteur biconique mobile sur une rotule, muni d`un double interrupteur. (Abat-jour absent). A large adjustable wall light, in lacquered metal and aluminium. (Missing shade). Haut. max : 60 cm - Prof. max : 122 cm / Max. Height. 23 5/8 in. - Max Length. 48 in. Bibliographie: "Ensembles Mobiliers", volume 17, Éditions Bibliothèques de l`image, Paris 2005, modèle reproduit pl. 19.
Lot 136
Mario TORREGIANI Spectaculaire applique murale, à structure rectangulaire en métal laqué blanc soutenant une succession de dix plaques d`acier pliées formant composition géométrique laissant filtrer la lumière. Spectacular wall light, white lacquered metal structure, ten steel lampshades. Haut. 90 cm - Long. 191,5 cm - Prof. 14,5 cm / Height. 35 1/2 in. - Length. 75 3/8 in. - Depth. 5 3/4 in.
Lot 151
TRAVAIL ITALIEN Élégante suspension, années 50, structure en métal chromé présentant un cache-bélière d`où s`échappe une chaîne maintenant un cylindre cache-ampoule sur lequel est fixée une large structure circulaire soutenant une succession de hautes lames de verre vert bordées de motifs ondés. (Quelques petits éclats). An elegant 50s chromed metal and green glass ceiling light. (A few minor chips). Haut. 96 cm - Diam. 30 cm / Height. 37 3/4 in. - Diam. 11 3/4 in.
Lot 168
Maison CHARLES Importante suspension "Rouleaux", structure métallique, à base hexagonale, accueillant des lames d`acier découpées et repliées formant six volutes alternées accueillant six lumières dans des habitacles cylindriques. A large ceiling light, formed of six curved steel pieces. Haut. 87 cm - Diam. 55 cm / Height. 34 1/4 in. - Diam. 21 5/8 in. Bibliographie : Catalogue de la Maison Charles édité en 2006, modèle similaire reproduit et référencé p. 58.
Lot 248
FRANCO ALBINI (1905-1977) & FRANCA HELG (1920-1989) & ANTONIO PIVA (né en 1936) - SIRRAH (Éditeur) Suspension "AM AS", dessin 1969, structure potence métallique chromée articulée d`où s`échappe un câble maintenant l`abat-jour conique en opaline blanche. A chromed metal and white opaline "AM AS" ceiling light, designed in 1969. Haut. 120 cm - Diam. 40,5 cm / Height. 47 1/4 in. - Diam. 16 in.
Lot 282
Georges JOUVE (1910-1964) Applique "Sirène" à deux lumières, corps émaillé noir lustré à reflets métalliques, chevelure et queue bifide déployée, émaillées rouge orangé craquelé. Bobèches et hampe supérieure permettant fixation de l`abat-jour en cuivre rouge. Non signée. (Un retrait de cuisson au niveau de la main droite). A "Sirène" two bulb, wall light in polychrome enamel. Unsigned. (A minor firing irregularity at the level of the right hand). Haut. Sujet : 35 cm - Haut. totale : 58 cm - 22 cm - Larg. 19 cm - Prof. 12 cm / Height. Figure : 13 3/4 in. Total : 22 7/8 in. - 8 1/2 in. - Width. 7 1/2 in. - Depth. 4 3/4 in. Bibliographie : - Catalogue de vente "Le Regard d`Alan", Mes Binoche et Godeau, mai 1991, Hôtel de vente de Drouot-Montaigne, modèle reproduit p. 48. - Philippe Jousse, "Georges Jouve", Jousse entreprise, Paris, 2005, modèle similaire reproduit p. 204.
Lot 27
KITCHENER (William) - The Cooks Oracle Containing Receipts For Plain Cookery ... for Private Families C.1822, third edition, lacking title page, rebound; JEWRY (Mary) - The Every-Day Cookery, Special Edition n.d. orig. cloth; RUNDELL (Mrs.) - Domestic Cookery For The Use of Private Families, London n.d. circa. 1905; and VAUGHAN (Thomas) Eugenius Philalethis Pseud - Lumen De Lumine or A New Magicall Light London 1651, full calf, top board detached and spine partially missing (4)
Lot 27
KOROVIN, KONSTANTIN(1861-1939)Café sur les Grands Boulevards, signed.Oil on canvas, 50 by 61 cm.Executed c. 1925. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibition: Russes. Artistes de Saint-Pétersbourg à Paris au début du XXème siècle, Musée de Montmartre, Paris, 20 June–21 September 2003. Literature: Exhibition catalogue, Russes. Musée de Montmartre, Paris, Fragments, 2003, pp. 36–37, illustrated.Konstantin Korovin, perhaps the most distinguished and talented Russian Impressionist, is represented in this catalogue by the notable canvas Café sur les Grands Boulevards. Korovin was unrivalled in his ability to convey the “captured moment”, the fleeting state of nature and a vibrant colour harmony. Through his masterly observation of the effect of colour on light, he achieved astonishing integrity of perception. The painting before us was executed around 1925, two years after the artist’s departure from the Soviet Union to Paris, and is a wonderful manifestation of his mature style. Korovin adored Paris, and Parisian street scenes constitute a substantial part of his late oeuvre. As Alexander Benois put it, “Korovin… somehow particularly passionately loved that city. Paris had an exhilarating, almost electrifying effect on him… it was indeed ‘The Moveable Feast’.” Korovin most often depicted his beloved city at night, filled with the bright lights from street lanterns, rushing crowds, automobiles and the overall atmosphere of excitement. However, Café sur les Grands Boulevards is a rare depiction of Paris during the day. This canvas, highly expressive yet delicately executed, is a shining example of the artist’s painterly mastery, with its striking patchwork-like play of light created by the sun rays reflected on the tables, chairs and marquees of the surrounding cafés, and the shadows of the tree tops. The thin, rapidly-applied, angular brushstrokes of his scenes of night-time remain, conveying the buzz of the boulevard, crowded with flâneurs observing the city life unfolding before them. As does the precise, clearly delineated composition of the canvas, which is an equally distinguishing characteristic of his late works. The atmosphere of Café sur les Grands Boulevards is incredibly relaxed and festive, with the work acting as a paean to the carefree and easygoing life of leisure. The degree of skill and the depth of feeling with which Korovin conveys the lightness of being that permeates the canvas is particularly striking given the uneasy reality of the artist’s personal life, thus once again underlining the unswerving buoyancy of his oeuvre that acts as its major appeal."
Lot 30
SHISHKIN, IVAN(1832-1898)Twilight, signed and dated 1896.Oil on canvas, 162 by 121 cm.Provenance: Private collection, Finland. Anonymous sale; Kansainvälinen Keväthuutokauppa, Bukowskis Helsinki, 12 December 2006, lot 250. Acquired from the above by the present owner. Private collection, Europe. Authenticity certificate from the expert V. Petrov. Exhibited: The 24th Exhibition of the Society for Itinerant Art Exhibitions, various cities, 1896–1897, No. 140. The All-Russia Industrial and Art Exhibition, Nizhny Novgorod, 1896, No. 391. Literature: Exhibition catalogue, The 24th Exhibition of the Society for Itinerant Art Exhibitions, St Petersburg, N. Sobko, 1896, p. 5, No. 140, listed and illustrated in black and white. Exhibition catalogue, The All-Russia Industrial and Art Exhibition, St Petersburg, 1896, N. Sobko, p. 14, No. 391, listed; p. 63, illustrated in black and white. N. Pikulev, I.I. Shishkin, Moscow, Iskusstvo, 1955, p. 224, listed. G. Romanov, Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok. 1871–1923. Entsiklopediya, St Petersburg, Orkestr, 2003, p. 183, No. 2–188, listed and illustrated in black and whiteIvan Shishkin’s picture Twilight is considered one of the best of his late works. It is well known from the text and illustration in the catalogue for the 1896 All-Russia Exhibition in Nizhny Novgorod, where it was marked as sold. Few have had the fortune to see it first hand, however, because from the time of its sale until 2006 the picture remained in the confines of a private collection in Finland. Shishkin painted Twilight in Siverskaya – a little village near Gatchina where many Russian artists and writers would spend the summer months at the turn of the 19th and 20th centuries. This area of dachas, picturesque, hilly, and with magnificent pinewoods, often served as inspiration for Shishkin, Kramskoy, Repin and Brodsky. “Here one can breathe easily and nature is wonderful,” Shishkin wrote of Siverskaya. Thus in 1896, leaving his post as director of the landscape studio at the Higher School of Art attached to the Academy of Arts, the master painter decided to set off “to the dacha” and paint from nature. Shishkin’s sojourns at Siverskaya were always extraordinarily fruitful. It was here that his best known canvasses were painted – Rye (1878) and Morning in the Pine Forest (1889); here he devised new compositions and made numerous studies: Ferns in the Forest, Dacha at Siverskaya, Wood on a Riverbank, A Swamp by the Warsaw Railway. The present lot, Twilight, undoubtedly holds its own among these seminal compositions painted in and around Gatchina. The lyrical and epic composition is characteristic of Shishkin’s work of the 1890s. Of a rather large scale and thoughtful execution, it produces an impression of monumentality, solemn magnificence and calm. The tall mast-pines soar skyward, in the foreground extending beyond the confines of the painting, then opening out in a wide glade that melts away in the limpid depths of the wood. A summer storm has just passed and the woodland track rutted by cartwheels has turned into an enormous puddle sparkling in the last rays of the setting sun and reflecting the reddish colour of the pine trunks. The majestic woods, the eternally swamped Russian roads, the stumps, the felled trees and new shoots rising in the same spot, the sparse needles of the tall northern trees through which the warm air streams, everything bathed in the golden light of sunset, and the cold lilac twilight is already forming in the distance, where gently painted tree trunks huddle – this scheme of contrasting elements is welded into a single integrated image of nature to generate great poetic expressiveness. A lyrical, intimate note sounds more strongly in Twilight than in many other of the artist’s paintings; he achieves a striking virtuosity in conveying forms without resorting to minute detail or unnecessarily pettifogging botanical descriptiveness. In the last decades of the 19th century Shishkin turned to the subject of the pine wood particularly regularly. He grew up in Yelabuga among the pine-covered expanses of the Afonasov mast grove and knew and loved pine woods like no other artist. Contemporaries called Shishkin the “Bogatyr of the Woods”, the “Forest Tsar” and, according to the artist and collector Ilya Ostroukhov, even to look at he was a “sturdy pine”. Under his hand, the pine wood, this master’s legacy to Russian painting, became transformed into something original and genuinely poetic. Pine Forest, Track in the Forest, Sun-Lit Pines, Morning in the Pine Forest, The Forest of Countess Mordvinova – in these works Shishkin not only conveys the beauty of stately trees soaring aloft, but also addresses contemporary problems of painting en plein air and allies himself with the principles of creating atmospheric landscape. In response to innovative trends in Russian figurative art that started in the 1880s and in seeking to express the more complex and ephemeral natural conditions that resonate with man’s spiritual state, Shishkin paid ever more attention to light and recreating atmospheric effects on canvas. In his best paintings there is movement of light, and the impression of air enshrouding the trees; there is a clarity and transparency to the vibrant shadows and undertones. Shishkin’s technique becomes richer and more varied, his palette more beautiful and the relationships between colours more subtle. As before however, the underlying principle of his work remains disciplined draughtsmanship and definition of form, precision in the colouring of every detail, and marvellous brushwork. In addition, his later work is characterised by a diversity of texture. His creative method – painting thick over thin – is manifest in the magnificent calm of Twilight, where the impasto in the foreground is combined with the soft, almost transparent, rendering of the background and sky. The artist’s desire to combine monumentality with elegiac reverie and to express a spiritual connection with nature is manifest. Twilight reflects Shishkin’s particular interest in rendering atmospheric phenomena – sunset, sunrise, sheets of drizzle and misty damp air, woods wet from rainstorms. A female acquaintance of the artist recalled how running past his dacha in a downpour, she was taken aback to see him standing barefoot and soaked through in a puddle. “Ivan Ivanovich!” she cried, “Did you get caught in the rain too?” “No, I came out to be in the rain!” the artist replied excitedly, “The storm caught me indoors. I saw this marvel from my window and hopped out to take a look. What an exceptional picture! This rain, this sun, these flourishes of dripping water... the dark forest. I want my memory to register the light, the colour and the lines ...” Shishkin longed to capture such moments. Every day he would arrive at his preferred spot and catch every variation in the air, light and elements of the natural world. He would then labour over the picture in his studio to combine the sketch-like immediacy of an impression with the finish of a studio work, which imparts to his canvasses their sense of compositional harmony and completeness
Lot 78
KOROVIN, KONSTANTIN(1861-1939)Summer Morning. Okhotino, signed, inscribed in Cyrillic "Okhotino" and dated 1916.Oil on canvas, 87.5 by 134 cm.Provenance: Collection of Colonel Josef Košek (1886–1953), member of the Diplomatic Corps of Czechoslovakia and First Consul of Czechoslovakia in Riga, from 1921. Acquired from the above by the present owner. Private collection, Germany. Authenticity of the work has been confirmed by the expert V. Petrov.Konstantin Korovin’s life-affirming landscape, Summer Morning. Okhotino, belongs to the remarkable cycle painted at the artist’s beloved country estate in the 1910s. Korovin acquired the Okhotino estate from Savva Mamontov in 1897 and designed and built a small house there (which is now near Pereslavl-Zalessky). From then on he tried to spend as much time as he could there, to escape the noise of Moscow, the scenery workshops of the Bolshoi Theatre and the stuffy classrooms of the College of Painting, Sculpture and Architecture where he taught. The full-blooded loveliness of the Vladimir countryside with its lush green woodlands, the deep dark-blue River Nerl, with its fluffy blanket of snow in winter and babbling thaw-holes, was extraordinarily dear to his heart. Korovin painted many canvasses of the Okhotino landscape, capturing familiar sights like the long lines of high trees and typical Okhotino houses with pointed finials to their sloping roofs. It is as though Okhotino nourished Korovin with its vital energy, the warmth of its sunny days, the splendour of its autumn colours, the cordiality of its winter evenings and the simplicity of peasant life. Okhotino canvasses such as Summer Morning, even more remarkable for their virtuoso painterly artistry, are essentially plein air studies elevated to the status of fully finished pictures. He painted them astonishingly quickly, sometimes out fishing or shooting – while waiting for a bite or between drives. Accordingly, nature comes across in these paintings as a concentrated sensation infused with the painter’s poetic sentiment and seemingly living and breathing the same air that he does. The same old woods, barns, wattle fences, weirs and stretches of water not only fail to tire Korovin’s eye but, on the contrary, take on a sharper individual resonance on each occasion, with the season and time of day. No wonder his peers, on seeing these unpretentious views of the Vladimir region, observed that “Korovin saw the same life as others do, but saw it in astonishing richness”. As early as the 1870s, when he was seeking landscape motifs that were “close to my heart and which resonate with my soul” and distancing himself from the Itinerant position, Korovin wrote: “What is needed is light – more gladness, more brightness”. The strongest embodiment of these words, which became a kind of creative credo for the artist, is in the Okhotino canvasses, in which, captivated by the natural force that is colour, becomes a true bard of the Russian summer. Warm summer days and evenings, few in number and therefore especially gladdening to the Russian soul, dazzled Korovin with their riot of shimmering colours. In Summer Morning, dated 1916, it seems that the sun itself – rising above the horizon outside the picture and casting strips of shade on the sparse verdure of the countryside – is urging the artist to reproduce the effects of light. There are wooden houses everywhere in the distance, there are barns and stacks of wood; among the trees a peasant girl in a red dress hurries about her business and, the artist’s hunting dog waits on the road for his master to finish, wipe off his palette and pack up his easel. These tokens of the rustic genre seem to blend with the surrounding landscape in shimmering light and a multiplicity of reflections, into a single joyous symphony of colour. It is also significant that Korovin uses his trademark chromatic discovery of 1886: the burning of red against green, which gradually takes hold in his traditional palette and the many and varied combinations of dark green and ochre tones. Running through the morning light of summer, the contrasts of hue and swiftness of his brushwork, is his intoxication with the luxuriance of painting and, through painting – the luxuriance of nature. The style of painting in which the artist applies a succession of precise, impetuous, broad brushstrokes appears relaxed. This imparts to the whole composition not only a slightly uplifted, festive mood, but also a special cadence. It seems that the artist has seized the moment and then, from behind the treetops, the sun comes out, clouds scud across the sky and the earth begins to shine in the light of summer. Thus, these landscapes of the first and second decades of the 20th century occupy a special place in Korovin’s creative legacy. Preserving the immediacy and vivacity of an impression and the astonishing painterly bravura that distinguishes Korovin’s best pieces, they have become perhaps more profound and poignant than anything else that the artist bequeathed to posterity."
Lot 444
*SHEVCHENKO, ALEXANDER(1883-1948)Portrait of the Artist’s Wife Nadezhda Psishcheva.Pencil and watercolour on paper, 23 by 26 cm.Executed c. 1908. Provenance: Acquired directly from the artist’s family, Moscow. Private collection, Europe. Alexander Shevchenko’s two remarkable portraits of his wife in this sale were painted in 1907 and 1908 and clearly represent the creative manner in which the artist was workingfrom the middle of the first decade of the century to the early 1910s. The early Shevchenko is characterised by his commitment to Impressionism, to the use of the effects of light, and to more realistic rendering of his portrait subjects. The pur- suit of a sculptural form that was new to the painter naturally tended to be subjected to the advancing influence of Cubo-Futurism, which took hold of Russian painting in the 1910s. Later, Shevchenko’s work too was to come under this influence for a few years.Both portraits depict Nadezhda Sergeievna Shevchenko (née Psishcheva) (1882–1913). As though with a foreboding of her untimely death, the artist painted his first wife’s portrait repeatedly, using various materials and techniques, of which the best examples are the earliest, painted in the years 1904–1908."
Lot 12
x Great Britain 1840 Mulready Proofs Proof of the Stereotype, with frame lines, "w. mulready r.a." and "john thompson" imprints, without value, in black on India paper (139x126mm.), endorsed 4-40 and Clowes & Son in pencil; light central vertical fold and a trifle stained, fine. Photo Vat Status: Import 5% View Terms & Conditions
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