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Click here to subscribeAttributed Alexey Kharlamov, Portrait of a little girl, Oil on panel, no signature, Russian painting of the 19th century. Alexey Alekseevich Kharlamov (1840 - 1925) Russian artist, portrait master, academician of the Imperial Academy of Arts. Oil painting for collecting. Frame size 50x44 cm.
Attributed to Wassily KANDINSKY (1866-1944) abstract composition, watercolor on paper, signature of the author and date on the front, 1940. Wassily Vasilyevich Kandinsky is a Russian artist and theorist of fine arts, who stood at the origins of abstract art. One of the founders of the "Blue Rider" group. A wonderful abstract painting collectible. Size 24x15.
Landscape, oil on canvas, without author's signature, French painting of the 19th century. The inscription on the back of the painting, "This painting was purchased from Madame Vernet in 1940. It was in the castle of Cagnes sur Mer. A Lambert 1962. Russian landscape", damage and restoration, see photos. Size 28x36.
Alexander KOLOMENKOV (1948-2008) "Duet" 1975, oil on canvas, Russian Soviet painting of the 20th _. Alexander KOLOMENKOV Russian Soviet Artist, Participant of numerous Leningrad exhibitions in 1965 - 1988. KolomenkovÕs work is filled with grotesque, phantasmagoria and emphasized expression. Most of his works are in private collections in Europe. Size 110x60 cm.
Attributed Konstantin Somov "Venice", watercolor on paper, not signed, Russian painting of the early 20th C. Konstantin Andreevich Somov (1869 - 1939) - Russian painter and graphic artist, master of portraiture and landscape, illustrator, one of the founders of the World of Art society and the magazine of the same name. Academician of the Imperial Academy of Arts (since 1913). Russian painting for collecting. Size 41x57 cm.
An antique Russian Orthodox hand painted icon of Christ Pantocrator, 19th century. Inscriptions in Arabic at the bottom of the icon. Mixed media painting: egg tempera and levkas on a wood board. The icon of Jesus Christ the Almighty is one of the central images of the Christian iconography of the Savior. Antique Russian Religious Items and Collectibles.Height: 38cm; Width: 31cm;
An _olored pencils on paper. People sitting at the table. Signed on the front in Cyrillic "S Rudakov". Presented in frame. Rudakov Sergey Konstantinovich (1929 - 2000), Russian painter, graphic artist, illustrator. Member of the Union of Artists of the USSR. Russian painting of the 20th century.
Attributed to Wassily KANDINSKY (1866-1944) abstract composition, watercolor on paper, signature of the author and date on the front, 1931. Wassily Vasilyevich Kandinsky is a Russian artist and theorist of fine arts, who stood at the origins of abstract art. One of the founders of the "Blue Rider" group. A wonderful abstract painting collectible. Size 39x29.
PERSPECTIVE OF THE GARDEN FROM THE NORTH SIDE AT A.P. BESTUZHEV-RYUMIN on STONE ISLAND. RUSSIAN EMPIRE, 18th CENTURY. Unknown engraver. Perspective of the garden from the North side at the house of A.P. Bestuzhev-Ryumin on Kamenny Island. Engraving with a cutter, etching. Authentic watercolor painting. Second half of the 18th century Engraving after the original by M.I. Makhaev. View of a garden and a dacha on Kamenny Island (1755) From a series of engravings depicting structures on Kamenny Island, commissioned by A.P. Bestuzhev-Ryumin. Size: 36 x 48 cm. From a 1770s edition.
Pavel Petrovich TRUBETKOY (1866-1938) ÒFigure SkaterÓ, Bronze, 1933. Signed on the base "Paul Troubetzkoy 1933". Prince Paolo Troubetzkoy (February 15, 1866 - February 12, 1938) Italian - Russian sculptor and painter, a prominent representative of sculptural impressionism, one of the most famous students of Ernesto Bazzaro. Author of monumental statues and portraits. One of them is monument to Emperor Alexander III in St. Petersburg. Professor of the Moscow School of Painting (1898Ð1906), one of the founding members of the "World of Art" society (in 1899). A wonderful collectible item of the famous Italian - Russian sculptor. Height 25 cm.
Dimitri VORONTZOV (1931) Autumn in the village - First snow, oil on canvas, Soviet painting of the 20th century. The author's signature on the front, the author's signature and the title of the painting on the back in Cyrillic letters. Vorontsov Dmitry Andreevich - Russian painter. Honored Artist of Russia. Member of the Union of Artists of Russia. Teaches at the Moscow Art School. The works of Dmitry Andreevich Vorontsov are included in the art collections of the Russian Ministry of Culture, as well as in private collections in Russia, the USA, France, Great Britain, Spain and Poland. Size 99x59 cm.
Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris. Printed on the front of a folded sheet, in which the poem "L'Apocalypse Selon Marc" is printed along the interior.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. There are no tears, creases, or restorations. There is an undulation to the sheet throughout. Along the verso there are two areas of skimming/residual framer's tape. The work has been removed from its hinges and is currently unframed. The paper backing of the frame has been cut along three edges (not pictured). Frame with plexiglass.
Nikolai Vladimirovich Remizov "Nicolas Remisoff" (Russian/American, 1887-1975). Watercolor on paper painting depicting a couple sitting outside their home while the man plays an accordion. Signed along the lower right.Provenance: The Veerhoff Galleries, Washington, D.C.; Private Minnesota Collection.Sight; height: 12 1/4 in x width: 11 1/4 in. Framed; height: 18 in x width: 16 1/2 in x depth: 3/4 in.Condition:The colors are bold and bright. There are no visible tears, creases, losses, or restorations. The sheet is very lightly toned. Extreme edges and verso not inspected. It is housed under an acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors appear bold and bright. There are no visible tears or restorations. Light wear to the edges. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
signed in Cyrillic ‘Lep. E. Naps’ (on the base of the bronze)bronze, casting, patina, white marble baseH. 22 cm, base 40 ? 25 cm19th centuryThis sculpture was made after the famous painting by Viktor Vasnetsov ‘A Vityaz at the crossroads’, inspired by the Russian bylina ‘Ilya Muromets and the Thieves’.
Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 24.2 x 21.6.
Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 31.4 x 16.6.
Vasily Kandinsky (1866 – 1944) was a Russian painter and art theorist who is widely regarded as one of the pioneers of abstract art. He played a crucial role in the development of non-objective and abstract painting, breaking away from representational art and exploring the emotional and spiritual aspects of color and form.Key aspects of Vasily Kandinsky's life and work include:1. **Early Career and Influences:** Kandinsky initially pursued a career in law and economics before turning to art. He began his artistic training in Munich, Germany, and was exposed to various art movements and ideas that would influence his work, including Symbolism, Fauvism, and the Blue Rider movement.2. **Abstraction and Non-Objectivity:** Kandinsky is often credited with creating some of the earliest purely abstract artworks. He believed that art should evoke emotions and spiritual experiences, transcending the limitations of recognizable forms. His "non-objective" compositions sought to communicate directly through color, shape, and line.3. **The Blue Rider:** Kandinsky was a co-founder of the Blue Rider movement (Der Blaue Reiter) along with Franz Marc. The movement advocated for the spiritual and symbolic potential of art, emphasizing the use of color and form to express inner truths.4. **Synesthesia:** Kandinsky experienced synesthesia, a phenomenon where one sensory experience triggers another. He believed that colors and forms could evoke specific emotions and musical qualities. This belief influenced his use of color and the relationships between shapes in his art.5. **Art Theory:** Kandinsky was not only a painter but also a prolific writer on art theory. His book "Concerning the Spiritual in Art" (1910) is a seminal text that discusses the connections between art, spirituality, and emotion. He also taught at the influential Bauhaus school in Germany.6. **Evolution of Style:** Kandinsky's work evolved over his career. He moved from representational art to increasingly abstract and geometric compositions. His later works often featured more structured forms and a refined use of color.7. **Move to Abstraction:** Kandinsky's move toward abstraction was driven by his desire to convey deeper meanings and experiences through art. His art aimed to express the internal world and the spiritual aspects of human existence.8. **Legacy:** Vasily Kandinsky is considered a pioneer of abstract art and a pivotal figure in the history of 20th-century art. His theories and artworks laid the foundation for the development of abstract expressionism and other modern art movements.Vasily Kandinsky's innovative approach to art, his exploration of color and form, and his commitment to expressing emotional and spiritual truths have left an enduring legacy. His influence is evident in the work of subsequent generations of abstract and non-objective artists.Measures 13 x 16.Signed in the plate.
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
Circa 17th century A.D.. Hollow-constructed stepped pedestal with socket to accept a devotional cross; gesso surface with moulded edging and gilt finish; painted scene of the 'descent from the cross' and 'lamentation of the Christ' with Christ laid out on the Holy Shroud surrounded by sorrowful Mary Magdalene, Virgin Mary, Mary of Clopas, St John the Evangelist, St Joseph of Arimathea and Nicodemus holding a ladder in the background; coffin with open cover to the left, cave of Golgotha to the right with skull, landscape with city of Jerusalem in the background. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, figs.109,111; Sinkevi?, I., Windows to the Heaven, treasures from the Museum of Russian Icons, Easton, 2017, no.R2003.12; see Lazarev, V. N., Russian icon painting from the origins to the beginning of the 16th century, Moscow, 2000. 8 kg, 104 cm wide (41 in.). Ex property of a London lady, part of her family's collection.Accompanied by an academic report by Dr Raffaele D’Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 11542-196369.In the Orthodox world, single wooden crosses representing the Stavrosis (Crucifixion) were positioned as icons in their own right, with candles placed in front of them as offering for the dead. It is a tradition that dates back to Byzantium, and was continued in the Slavic Orthodox world with the creation of splendid painted wooden crucifixes placed on equally beautifully painted pedestals. In this case the complex representation includes all the elements of the Gospel that recall the passion, death and resurrection of Christ. Christ has been taken down from the cross and is surrounded by his loved ones. His muscular body highlights the wound in his right side procured by Longinus' spear. The pain of the mother, the piety of Mary, is expressed here with the mute silence of the Madonna, who holds her son's head, which contrasts with the pain manifested by the other bystanders. Saint Joseph of Arimathea, who procured the tomb and the sacred sheet, devoutly holds the feet of Christ. The right side of the scene shows the Golgotha, symbol of the human death of Christ. The left of the scene shows the open tomb, symbol of the human and divine Resurrection of Christ. The sacred sheet, loose inside the sepulchre with open lid, appears as a symbol of the saving grace of the Resurrection. The city in the background represents ancient Jerusalem transformed into its heavenly equivalent through the Resurrection of Christ. [A video of this lot is available to view on Timeline Auctions Website]
19th Century Russian School Naïve Folk-Art Painting, An equestrian portrait of Tsar Nicholas I (1796-1855) on horseback in a landscape with a monumental urn and a church in the distance. The image seemingly derived from an 1822 painting by George Dawe RA (1781-1829) whilst Nicholas was Grand Duke. Oil on Canvas 63 cm x 83 cm. A 19th Century St Petersburg gallery label to the back may relate to ownership of the military historian G S Gabaer (1877-1956) indistinct inscription on the stretcher
A group of eight modern Russian lacquer and hand painted boxes, varying sizes, the largest 17cm by 13cm by 4cm (8)Variously signed and titled. In good condition. One box, depicting a man being apprehended outide a palace, has some cracquelure to the painting and two flake of paint loss. (See additional photos).
[Otto Dettmer] ottoGraphic: 'The Modern Constructivist', Bath, Marshfield Screen Print, 2013, limited edition, number 7 of 20 copies only, pencil numbered and signed by Otto Dettmer, the 'original' pochoir stencilled edition, [24]pp, pochoir colour illustrations/printing throughout, plus loose folding pochoir poster at end, 58 x 41cm unfolded, 4to (29 x 21cm), original pochoir stencilled pictorial wraps, together with the two other smaller screenprinted 'copies' forming the complete 3 parts of the set, each limited editions of 100 copies, version 1 number 69 of 100, pencil numbered and signed by Otoo Dettmer, version 2 slightly varying from the first, some of the stencils reversed "and the result is more dreamlike", each 15 x 11cm, original pictorial wraps (3). Otto Dettmer is a Graphic Artist who practices as book artist, screen printer and illustrator. Twenty years ago Otto began creating and publishing screen printed books. His first participation at an artists’ book fair was at the Barbican in 1996 where he showed his conceptual visual narrative ‘Helping you back to work’. Since then he has been presenting books at major artists’ book fairs around the world and has now published in excess of 80 titles. Otto's image-making is derived from screen-printing which is digitalised since 1997. His technique is particularly affected by polish poster art and psychedelic designs of the sixties. The image composition is largely influenced by Russian Constructivist Designers, with their montage of photos, type and flat design elements. Baroque painting and sculpture has to a large degree informed Otto's treatment of the human figure.
[Otto Dettmer] ottoGraphic, a set of 5 screen-printing manuals published 2016-2018, comprising 'Screen Printing Manual', 'Screen Printing in Photoshop', 'Multichannel for Screen Printing', 'Image Making for Screen Printing', this a limited edition, number 30 of 45 copies, numbered and signed in pencil by the author, 'Advanced Screen Printing', all published otooBooks 2016-2018, all 26pp, screenprinted ills./text throughout, 22 x 15cm, original pictorial wraps, plus others by the graphic artist Otto Dettmer, including 'Dark Matter', Bath, 2018, limited edition, number 2 of 100 copies, pencil numbered and signed, [24] panel screen printed folded book, folded: 21 x 19 cm. unfolded: 38 x 84 cm. “Some years ago I made the book Dot Screen Print and the associated print "Molecules”. Dark Matter picks up the subject and explores the issue of super-imposing patterns further, touching on issues relating to quantum physics and astronomy.“ - Otto Dettmer is a Graphic Artist who practices as book artist, screen printer and illustrator. Twenty years ago Otto began creating and publishing screen printed books. His first participation at an artists’ book fair was at the Barbican in 1996 where he showed his conceptual visual narrative ‘Helping you back to work’. Since then he has been presenting books at major artists’ book fairs around the world and has now published in excess of 80 titles. Otto's image-making is derived from screen-printing which is digitalised since 1997. His technique is particularly affected by polish poster art and psychedelic designs of the sixties. The image composition is largely influenced by Russian Constructivist Designers, with their montage of photos, type and flat design elements. Baroque painting and sculpture has to a large degree informed Otto's treatment of the human figure.
Two albums containing a collection of Wills's cigarette cards circa 1900-1910 including Arms of the Bishopric 1907(full set), School Arms (incomplete), various Borough and City Arms (incomplete), Borough Arms 3rd Series 1905 (full set red), Borough Arms 3rd Series 1905 (full set grey) , Borough / City Arms 4th Series 1905 (full set), Nelson Series 1905 (missing 1, 10, 11, 12, 14, 17, 19, 20, 40 and 45), Town / City Arms 1904 (full set), another similar 1904 (full set), another 1903 (46/50), Vanity Fair 2nd Series (missing No. 29). Locomotives 1901 (28/50), Animals and Birds 1900 (x 9), Time and Money in Different Countries 1908 (full set), Royal Families of Europe 1908 (full set) (x 2), Naval Dress and Badges 1909 (full set), Billiards by John Roberts 1909 (x 17), Old English Garden Flowers 1910 (full set), Fish and Bait 1910 (full set), Arms of the British Empire 1910 (full set), The World's Dreadnoughts 1910 (full set) (25), Aviation 1910 (full set), The Coronation Series 1911 (full set), Signalling Series 1911 (full set), Celebrated Ships 1911 (full set), together with two albums of Wills's cigarette cards circa 1910-20 including A Series of 50 Roses, A Series 1912 (full set), Arms of Foreign Cities 1912 (full set), Musical Celebrities 1912 (full set), Historic Events 1912 (full set), Second Series of 50 Roses 1913 (full set), Old English Garden Flowers 1913 (full set), First Aid Series of 50 1913 (full set), Riders of the World Australian Issue 1913 (full set), A Series of 50 Alpine Flowers 1913 (full set), Arms of Companies A Series of 50 1913 (full set), Overseas Dominions (Canada) 1914 (full set), A Series of 50 Garden Life 1914 (full set), Musical Celebrities Second Series 1914 (missing No. 5, 15, 23 and 29), Physical Culture 1914 (Exercises) (full set), A Series of 12 Reproductions of Recruiting Posters 1915 (full set), Famous Inventions 1915 (full set), Famous Inventions New Zealand Issue 1915 (missing 15 Electric Tram), Overseas Dominions (Australia) 1915 (full set), Gems of Belgian Architecture 1915 (full set), British Birds 1915 (full set), Mining 1916 (full set), Military Motors 1916 (no Censor) (full set), Military Motors 1916 (Censor) (full set), Gems of French Architecture 1916 (full set), Gems of Russian Architecture 1917 (full set), Allied Army Leaders 1917 (full set), Britain's Part in the War 1917 (full set) (24) and three albums of Wills's cigarette cards circa 1920-30 including Did You Know 1922 A Series (full set), Wild Flowers 1923 (full set), Lucky Charms 1923 (full set), Gardening Hints 1923 (full set), Merchant Ships of the World 1924 (full set), Did You Know 1924 Second Series (full set), Railway Engines 1924 (full set), Flowering Trees and Shrubs 1924 (full set), Flower Culture in Pots 1925 (full set) and Ships Badges 1925 (full set), New Zealand Butterflies, Moths and Beetles 1925 (New Zealand Issue), Life in the Treetops 1925 (full set), Do You Know Third Series 1926 (full set), Roses 1926 (full set), Flags of the Empire 1926 (full set) (25), Wonders of the Past 1926 (full set), Roses 1926 (full set), Lighthouses 1926 (full set), Zoo 1926 (New Zealand Issue) (full set), Household Hints 1927 (full set), Engineering Wonders 1927 (full set), British Butterflies 1927 (full set), Homeland Events 1927 (New Zealand Issue) (missing 12 and 49), Units of the British Army and RAF 1928 (New Zealand Issue) (full set), Ships and Shipping 1928 (New Zealand Issue) (full set), Cricketers 1928 (full set), Wonders of the Sea 1928 (full set), Cinema Stars First Series 1928 (full set) (25), Cinema Stars Second Series 1928 (full set) (25), Romance of the Heavens 1928 (full set), English Period Costumes 1929 (full set), Rugby Internationals 1929 (full set), Flags of the Empire Second Series 1929 (full set) (25), Cricketers 1929 (full set), Famous Picture in 48 Sections "Between Two Fires by FD MILLETT" (x 1), together with another set (missing No. 5, 20, 21, 28, 29, 33), Railway Locomotives 1930 (No. 6, 11 and 50 of 50), Household Hints 1930 (full set) and three albums of Will's cigarette cards, full sets, large, including Old Silver 1924, Flowering Shrubs 1934, Trees 1937, Celebrated Pictures by British Artists 1916 2nd series, Arms of Universities 1923, Old Furniture 1st Series 1923, Old Furniture 2nd Series 1924, Heraldic Signs & their origin 1925, British Castles 1925, English Period Costumes 1927, Public Schools 1927, British School of Painting 1927, Modern British Sculpture 1928, Old Sundials 1928, Animals and their furs 1929, Rigs of Ships 1929, Cathedrals 1933, Arms of the British Empire 1st Series 1933, Arms of the British Empire 2nd Series 1933, Arms of Public Schools 1st Series 1933, Arms of Public Schools 2nd Series 1934, Famous British Liners 1934, Old Pottery & Porcelain 1934, Famous British Liners 2nd Series 1935, Round Europe 1936, Old Inns A Series 1936, Roses 1936, Famous British Authors 1937, Butterfles & Moths 1938, The King's Art Treasures 1938, Garden Wild Flowers New Varieties A Series 1938, Garden Flowers New Varieties 2nd Series 1939, Racehorses & Jockeys 1938 - 1939, Old Inns 2nd Series 1939
8 russische Sektgläser. St. Petersburg. Ende 18. Jh./Anfang 19. Jh. Russland. Kobaltblaues Glas, Gold- und Silbermalerei. H 18 cm. Schlanke, am Ansatz facettierte Kraterkuppa, facettierter Schaft, Rundfuß; ausgekugelter Abriss. Auf der Kuppa stilisierte Floralmalerei in Gold und Silber. Partieller Goldabrieb. Literatur : Vgl. https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/08.+applied+arts/917932. Aufrufzeit 21. | Feb 2024 | voraussichtlich 16:59 Uhr (CET)8 Russian champagne glasses. St. Petersburg. Late 18th century/early 19th century Russia. Cobalt blue glass, gold and silver painting. H 18 cm. Slim, faceted crater dome at the base, faceted shaft, round foot; spherical base. Stylized floral painting in gold and silver on the dome. Partial gold abrasion. Literature : Cf. https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/08.+applied+arts/917932. Aufrufzeit 21 | Feb 2024 | voraussichtlich 16:59 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 russische Email-Miniaturikonen mit Silbermontierungen. Größere Ikone: 84 Zolotniki/Stadtzeichen Jaroslawl gepunzt, verso Etikett der Kirche von Schloss Gattschina mit Nr. sowie auf rotem Samt kyrillische Beschriftung (Vermerk zur Schenkung wohl vom Zaren mit Datum 1854). Am Rand der Silbermontierung 2 Nummern. / Kleinere: Silber geprüft. 19. Jh. Russland. Emailmalerei auf bombierten Kupfertafeln, Silbermontierungen mit Hängeöse. 10,5 x 8,5 bzw. 7 x 5,5 cm (ohne Ösen). 2 Ikonen-Anhänger: Auf dem größeren 9 kyrillisch beschriftete Heilige unter der von Engeln getragenen Madonnenikone im Himmel. / Kleiner Anhänger: Auferstehung Christi. mit Resten einer geringen Goldstaffierung, verso auf gesonderter Emailtafel kyrillische Erläuterung. Minimale Alters-/Gebrauchsspuren. Aufrufzeit 22. | Feb 2024 | voraussichtlich 15:04 Uhr (CET)2 Russian enamel miniature icons with silver mounts. Larger icon: 84 Zolotniki/town mark Yaroslavl punched, on the reverse label of the church of Gatchina Castle with no. and Cyrillic inscription on red velvet (note on the donation probably from the Tsar with date 1854). On the edge of the silver mount 2 numbers. / Smaller: Silver tested. 19th century Russia. Enamel painting on cambered copper plates, silver mounts with suspension loop. 10.5 x 8.5 and 7 x 5.5 cm respectively (without eyelets). 2 icon pendants: On the larger 9 saints inscribed in Cyrillic under the Madonna icon carried by angels in heaven / Smaller pendant: Resurrection of Christ. with remnants of minor gold decoration, Cyrillic explanation on separate enamel panel on the reverse. Minimal signs of age/use. Call time 22 | Feb 2024 | presumably 15:04 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 russische Lackdosen. Fedoskino. Je kyrillisch Fedoskino und undeutlich bezeichnet. 20. Jh. Papiermaché, Lackmalerei, außen schwarz, innen rot lackiert. Maximal 4 x 10 x 6,5 cm. Je auf den Scharnierdeckeln bemalt: Oblonge Dose mit fein gemalter Biedermeier-Dame; ovale Dose mit Mädchenbildnis. Beide Scharniere fefekt; 1x mit minimalem Ausbruch. Provenienz : Sammlungsnachlass aus Hannover. Aufrufzeit 22. | Feb 2024 | voraussichtlich 15:05 Uhr (CET)2 Russian paint cans. Fedoskino. Each Cyrillic Fedoskino and indistinctly marked. 20th century Paper maché, lacquer painting, painted black on the outside, red on the inside. Maximum size 4 x 10 x 6.5 cm. Painted on each of the hinged lids: Oblong box with finely painted Biedermeier lady; oval box with portrait of a girl. Both hinges defective; 1x with minimal chipping. Provenance : Collection estate from Hanover. Call time 22 | Feb 2024 | probably 15:05 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Vase, Schale und russisches Ei. Um 1900. 1x bauchige Vase aus farblosem Glas mit purpurfarbenem Innenfang, umsponnen mit farblosem Fadennetz, irisiert (H 14 cm). / 1x gedrückt gebauchte Dose aus violettem Glas, mit opalweißen Fäden umsponnen, metallmontierter Rand mit Bügelhenkel, irisiert (H gesamt 10 cm). / 1x russisches Osterei mit emailgemaltem Blumenstrauß, ornamentaler Goldmalerei und den kyrillischen Reliefbuchstaben "XB" (= Христос воскресе [Christus ist auferstanden]) (H 8,5 cm). Aufrufzeit 21. | Feb 2024 | voraussichtlich 17:51 Uhr (CET)Vase, bowl and Russian egg. Circa 1900. 1x bulbous vase of clear glass with purple inner rim, woven with clear thread, iridescent (h 14 cm). / 1x bulbous vase made of violet glass, woven with opal white threads, metal-mounted rim with bow handle, iridescent (H total 10 cm). / 1x Russian Easter egg with enamel-painted bouquet of flowers, ornamental gold painting and the Cyrillic relief letters "XB" (= Христос воскресе [Christ is risen]) (H 8.5 cm). Call time 21 | Feb 2024 | presumably 17:51 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Bemalte russische Dose. 19. Jh. Russland. Kyrillisch bezeichnet (Tichonov?). Kuhhorn, Ölmalerei. 3 x 10,5 x 5 cm. Tabatiere mit geschwungener Wandung. Auf dem Scharnierdeckel der gemalte Frauenakt einer Odaliske; neben ihr eine Laute und am Fußende ein Falke. Allseits und auch innen wohl kyrillische Ritzungen, sonst kaum Alters-/Gebrauchsspuren. Aufrufzeit 22. | Feb 2024 | voraussichtlich 15:04 Uhr (CET)Painted Russian box. 19th century Russia. Inscribed in Cyrillic (Tikhonov?). Cow horn, oil painting. 3 x 10.5 x 5 cm. Tabatiere with curved walls. On the hinged lid the painted female nude of an odalisque; next to her a lute and at the foot a falcon. Probably Cyrillic incisions on all sides and also inside, otherwise hardly any signs of age/use. Call time 22 Feb 2024 | probably 15:04 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Russischer Maler: Bildnis eines ClownsÖl/Malkarton. Rechts unten undeutlich signiert. 30,5 x 24,5 cm. Gerahmt : 45 x 39 cm (teils goldener Rahmen). Sitzender Clown mit Flöte. Aufrufzeit 24. | Feb 2024 | voraussichtlich 12:29 Uhr (CET) Russian painter: Portrait of a clownOil/painting card. Indistinctly signed lower right. 30.5 x 24.5 cm. Framed : 45 x 39 cm (partly gold frame). Sitting clown with flute. Aufrufzeit 24. | Feb 2024 | voraussichtlich 12:29 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Amphorenvase mit grünem Fond. Meissen. Schwertermarke, Jahreszeichen 1949, 2 Schleifstriche. Polychrom bemalt, goldstaffiert. H 29,5 cm. Ovoider Korpus mit Kraterhals, zwei Rosettenhenkeln und Rundfuß, auf Quadratplinthe. Russischgrüner Fond, schauseitig eine goldgerahmte Vierpasskartusche mit Blumenmalerei. 2 minimale Chips am Rand der Plinthe. Aufrufzeit 23. | Feb 2024 | voraussichtlich 16:23 Uhr (CET)Amphora vase with green background. Meissen. Sword mark, year mark 1949, 2 grinding lines. Polychrome painted, gilt. H 29.5 cm. Ovoid body with crater neck, two rosette handles and round foot, on a square plinth. Russian green ground, on the front a gold-framed quatrefoil cartouche with floral painting. 2 minimal chips to the edge of the plinth. Call time 23 | Feb 2024 | probably 16:23 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
The Thyssen-Bornemisza Collection. Renaissance jewels, gold boxes and objets de vertu, by Anna Somers Cocks and Charles Truman, 1984; European silver, by Hanneklore Müller, 1986; Nineteenth-century American painting, by Barbara Novak, 1986; Twentieth-century American painting, by Gail Levin, 1987; Set and costume designs for ballet and theatre, by Alexander Schouvaloff, 1987; Medieval sculpture and works of art, by Paul Williamson, 1987; Seventeenth-century Dutch and Flemish painting, by Ivan Gaskell, 1989; Early Netherlandish painting, by Colin Eisler, 1989; Early Italian painting 1290-1470, by Miklós Boskovits, 1990; Early German painting 1350-1550, Isolade Lübbeke, 1991; Renaissance and later sculpture, by Anthony Radcliffe et al, 1992; Twentieth-century German painting, by Peter Vergo, 1992; Twentieth-century Russian and East European painting, by John E. Bowlt & Nicoletta Misler, 1993; The European Avant-gardes, by Christopher Green, 1995; Carpets and Textiles, by Friedrich Spuhler, 1998; Seventeenth and eighteenth century Italian painting, by Roberto Contini, 2002, all 1st editions, all original cloth in dust jackets, some covers lightly rubbed to head & foot, large 4to, together with:Lopera (José Alvarez), Modern Masters, Thyssen-Bornemisza Museum, 1st edition, Fundación Colección Thyssen-Bornemisza, 1992, numerous colour illustrations, original cloth in dust jacket, covers lightly rubbed, large 4to, plusHeinemann (Rudolf J.), The Thyssen-Bornemisza Collection, illustrations of the paintings, 1st edition, Ticino: Villa Favorita, 1969, numerous colour & monochrome illustrations, some minor toning, original cloth in dust jacket & slipcase, covers slightly marked & rubbed with a small tear to the foot of the spine, large 8voQTY: (18)
Beautiful color lithograph of Song of Songs III (Cantique des Cantiques) based on an original painting by Marc Chagall. The composition in pinks include biographical symbols of Chagall's life. Those include two elongated couples in embraces, a wandering jew, the city of St-Paul de Vence, groups of figures, some with wings. and a green donkey. It can be read from all sides as Chagall included figures and elements upside down and sideways. Housed in dark brown frame with a white mat. Sight size: 15"L x 12"H. Frame size: 25"L x 21"H x 1.15"W. Artist: Marc Chagall (Russian/French 1887-1985)Condition: Age related wear.
Depicts a working lady setting up the china cabinet. Housed in a gilded ornate frame. Signed by artist on lower left side. Title of painting written on back. Frame size: 29.75"L x 28.75"H x 2"depth. Sight size: 19.25"L x 27"H. Artist: Alexander Nikolaevich Popov (Russian, 1959-2011)Country of Origin: RussiaCondition: Age related wear.
SHEVCHUK, MYKOLA (Ukrainian, b.1965) "Morning", a forest view with morning dappled light, Impasto acrylic on canvas, signed bottom right, 80 x 60 cms (1) Further information:Mykola Shevchuk, is a Ukrainian artist. sculptor member of the National Union of Artists of Ukraine (1997 ) was born on October 30, 1965, in the village of Smiga, Dubensky district, Rivne region, Ukraine)., Honored Artist of Ukraine (2015), teacher, volunteer, head of the district organization of the Vasyl Stus "Memorial" soclety, "Person of the Year of Ternopil Oblast - 2015" in 1980-1984 he studied at the Kremenets Pedadodical School. After araduation. he worked as a teacher of labor and drawing at an eight-year school in the village of VovchkivtsI, Zboriv district, Ternopil region In 1992, he graduated from the Faculty of Architecture of the Lviv Polytechnic Institute (now Lviv Polytechnic National University). In 1993-199. he worked in the Tereboviva Cit Councias an endineer-architect. Since 1995, he has been a teacher at the Terebovlya Higher School of Culture (TVUK), [now the Terebovlva Vocationa Collece of Culture and Arts) one of the founders of the Department of Decorative and Applied Arts of this institution. Creative activity covers the fields of graphics, monumental, easel and decorative painting, iconography and sculbture. He is a participant in regional, regional, All-Ukrainian and international exhibitions of painting, graphics and sculpture. In 1997 he was the author of the idea and the artist of the mosaic bane "Terebov-900" (34 square meters, enamel), which was created for the 900th anniversary of the city of Terebovli, Ternopil region together with Dmytro Shainoga, Honored Artist of Ukraine, and Bohdan Tkachyk, People's Artist of Ukraine. Personal exhibitions; Organized the first personal exhibition at the Ternopil Regional Art Museum (1995), Terebovlyan Museum of Local Lore (2005), Exhibition of icon painting in the Ternopil "Art Gallery" (2010), A series of personal exhibitions from the 200th anniversary of Taras Shevchenko's birthday, "In our paradise on earth", which highlight the history of Ukraine from ancient times to the present: National University "Ostroh Academy" (2014), Rivne, art gallery of the National Union of Artists of Ukraine [2014), Ternopil, art gallery of the National Union of Artists of Ukraine (2015), Terebovlia. central district library for adults (2015), Kyiv, municipal gallery in Troeshchyna (2018), Zbarazh. National Reserve "Castles of Ternopil" (2019), Berezhany, Bohdan Lepky Museum (2019), Smiga of the Duben District, Center for Culture and Leisure (2019), Historical and Architectural Reserve "Duben Castle" (2019). The author and performer of the first three-dimensional monument of the Heavenly Hundred in Ukraine in 2014 in the city of Terebovli (sandstone 4 m./0.80 m./0.70 m) Author and executor of the monument to the Fighters for the Freedom of Ukraine (Terebovlia) Organizer and leader of a number of art symposia and plein airs: 1.International pictorial plein air "StareNove city. Terebovlya-2012, 2.International pictorial plein air "Stare Nove city. Terebovlya-2013" 3.All-Ukrainian stone symposium "Water from under the stone. Terebovlia 2013". 4.All-Ukrainian charitable plein-air exhibition in support of defenders of Ukraine "To vou. Mother of God. Zarvanvtsia-2015" 5. All -Ukrainian charitable plein-air exhibition in support of the defenders of Ukraine "Bayda-SICH. Vyshnivets-2015", 6. All-Ukrainian charitable Icon-painting and painting plein air in support ot defenders ot UKraine "WINDOW IN THE SKY. Zarvanytsia-2016",-2017,-2018, 1.Initiator and organizer of the First All-Ukrainian Sculpture Symposium "THE AGE OF GOD. Zarvanvtsia - 2017". 2.Participant in the charity painting of the first military chapel in Ukraine on Mount Lvson to commemorate the 100th anniversary of the battle of the Sich riflemen with the Russian invaders Received man state awards Mykola Shevchuk's paintings are in private collections in Ukraine, the USA, England, and Europe.
Art reference books on Painters & Paintings: European & Russian Kostenevich, Albert: Bouguereau to Matisse, French Art at the Hermitage, 1860-1950 Kostenevich, Albert: French Art at the Hermitage, Splendid Masterpieces, New Discoveries Distel, Anne: Les Collectionneurs des Impressionnistes Pictures in the Royal Collection, The Later Italian Pictures Berenson, Bernard: The Italian Painters of the Renaissance Chiristou, Chrysanthos: The National Gallery, 19th and 20th Century Greek Painting Zampetti, Pietro: A Dictionary of Venetian Painters, Volume 5, Nineteenth and Twentieth Centuries Giampaolo, Mario Di: Los Frescos Italianos de El Escorial Ward-Jackson, Peter: Italian Drawings, Volume Two: 17th-18th century, V&A Catalogue De Piro, Nicholas: The International Dictionary of Artists who painted Malta Preston, Col. Rupert: Seventeenth Century Marine Painters of the Netherlands Taras Shevchenko / Schewtschenko / Chevtchenko: Tapac Webyehko [Tarass Chevtchenko Paintings] Haesaerts, Paul: Laethem-Saint-Martin. Le Village elu de l'Art Flamand, 3rd Edition, in Slipcase Die Kunstwelt, Monatsschrift fur die Bildende Kunst, Band III, Juni 1913-Sept. 1913 Auction Catalogues: Christie's, King Street: German and Austrian Art '97, including The Ravenborg Collection and German Abstraction - A Private Collection, 3 Catalogues in Slipcase Auction Catalogue, Sotheby's New Bond Street: German & Austrian Art; Impressionist & Modern Art Evening Sale, 2 Volume boxed set, 7 February 2006 Auction Catalogues: Sotheby's, New Bond Street: The Beck Collection: German Expressionist & Modern Art, 5 Catalogues in Slipcase Astakhova, N: Ivan Aivazovskiy - Great Collection, in Slipcase Auction Catalogue, MacDougall's: Russian Classic and Contemporary Art Auction Catalogue, MacDougall's: Important Russian Art Auction Catalogue, Sotheby's New Bond Street: Russian Art, Paintings, 28 November 2006 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 11 and 12 June 1997 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 18 November 1999. (30)
Dame Laura KNIGHT (1877-1970) Pavlova & Mordkin, 1914 Limoges enamel plaque Initialled LK and dated 1914 to verso, 5.2 x 3.8cmProvenance - From the Estate of Ella Naper, thence by family descent, the estate of Maryella Pigott, niece of Ella Naper, Trewoofe House, Lamorna. Catalogue note: This is one of two very similar black and yellow enamels that Knight made depicting the Russian dancers Anna Pavlova (1881-1931) and Mikhail Mordkin (1880-1944). The other was given to her friend and patron Marjorie Averill in 1958 (sold Bonhams 2017). In an accompanying letter to Mrs Averill, dated 7 April, Knight writes 'At Last! I do hope you will like it. The enamel is Limoges, it is one of about eight I did in the year 1914 with the help of the jeweller, Mrs Ella Naper.'Ella Naper was Laura's friend and near neighbour at Trewoofe, just above the Lamorna Valley in Cornwall. As well as modelling for Laura (she was the model in Knight's seminal 1913 work 'Self Portrait with Model') she was a talented jeweller who had studied under Frank Partridge. Naper and Knight collaborated on a number of enamels, notably themed with dancers and the ballet, which Laura adored. Knight was an avid admirer of the prima ballerina Pavlova, who she became good friends with in later life. It is likely that Knight first saw Pavlova and Mordkin dance together at the Palace Theatre in London in 1910. As with Diagalev's 'Ballet Russe' the following year, they took London by storm; ‘Anna Pavlova and Michael Mordkin, "Russia's acknowledged greatest dancers and the famous leaders of the Imperial Russian Ballet," who made their debut at the Palace Theatre last night, are the last word in the art of dancing. The perfection of their art cannot be disputed.' Wrote the Daily Mail. It is not surprising that they made a strong impression upon Laura, so much so that in 1914, when draconian rules prevented artists particularly in coastal areas, from sketching or painting outdoors, she used them as inspiration for creativity in a new medium. These gorgeously jewel-like little works are a testament to Knight’s versatility. Enamel is a notoriously difficult medium to master and yet under Naper’s skilful guidance, Laura has created these beautifully expressive pieces, which fully capture the elegant grace of Pavlova’s lithe figure and the exuberant movement and fluidity of both dancers.Naper made a particularly fine, stone-set piece, the central jewel of which was one of Naper and Knight's enamels depicting a ballerina, which is most likely to represent Pavlova in her most famous role Le cygne (The Swan). This enamel has been bequeathed to Penlee House.
Dame Laura KNIGHT (1877-1970) Dancers of the Ballet Russe Limoges enamel plaque, 5.3 x 4.9cmProvenance - From the Estate of Ella Naper, thence by family descent, the estate of Maryella Pigott, niece of Ella Naper, Trewoofe House, Lamorna. Catalogue note: This is one from a series of enamels that Knight made depicting the dancers of Diagalev's 'Ballet Russe'. The Russian ballet troupe had first performed in Paris in 1909 to rapt audiences. Their exoticism was unlike anything Western Europe had seen before; culturally, they influenced everything from dance, music and fashion to interior design. This plaque is likely to depict The Polovtsian Dance from Prince Igor, which Knight would have seen when the Ballet Russe performed in London in 1911.In 1958 Knight gave one of her enamels to her friend and patron Marjorie Averill (sold Bonhams 2017). It depicted Pavlova and her partner Mikhail Mordkin. It is a very similar work to lot 16 in this sale. In an accompanying letter to Mrs Averill, dated 7 April, Knight writes 'At Last! I do hope you will like it. The enamel is Limoges, it is one of about eight I did in the year 1914 with the help of the jeweller, Mrs Ella Naper.'Ella Naper was Laura's friend and near neighbour at Trewoofe, just above the Lamorna Valley in Cornwall. As well as modelling for Laura (she was the model in Knight's seminal 1913 work 'Self Portrait with Model') she was a talented jeweller who had studied under Frank Partridge. Naper and Knight collaborated on a very small number of these enamels, all themed with dancers and the ballet. Knight adored the spectacle of the ballet and particularly the ballerina Pavlova, who she wrote about extensively about her in her autobiography:'I first saw Pavlova dancing with Mordkin. During another season, at the Palace Theatre, when her partner was Novikov, so thrilled was I, I never missed a show; she held me to such a degree that I became almost completely absorbed in her art. I knew her every step and gesture in every dance she did.' They made such a strong impression upon Laura it is not surprising that in 1914 when draconian rules prevented artists particularly in coastal areas from sketching or painting outdoors, she used them as inspiration for creativity in a new medium. These gorgeously jewel-like little works are a testament to Knight’s versatility. Enamel is a notoriously difficult medium to master and yet under Naper’s skilful guidance, Laura has created these beautifully expressive pieces, which fully capture the elegant grace of Pavlova’s lithe figure and the exuberant movement and fluidity of both dancers.Naper made a particularly fine, stone-set piece, the central jewel of which was one of Naper and Knight's enamels depicting a ballerina, which is most likely to represent Pavlova in her most famous role Le cygne (The Swan). This enamel has been bequeathed to Penlee House Museum & Gallery. This historic enamel has multiple fine cracks. These are likely to be part of the creative process. The frame is likely to date from the date of the plaque. It is of three-ply and wormed to the back.
CYRUS AFSARY (AMERICAN b. 1941), STILL LIFE WITH RED POPPIES oil on canvas, signedframed image size 40cm x 46cm, overall size 65cm x 49cm Note: Cyrus Afsary is an American artist known for works of art that not only capture moments in time, but create moods about people and places as well. With an eclectic range of subjects, Afsary moves from portraits to still lifes to landscapes with a magical grace that reflects his sensitive and emotional study of life. As a child, his love for art was evident. And while his father was concerned for his penchant for art, his mother encouraged his talent. Afsary received commissions for painting portraits, which served him well later in his career when he was invited to paint portraits of John Wayne, Sylvester Stallone, Frank Sinatra, Susan Anton, Dean Martin, and Wayne Newton’s horse, Aramis. In college, Afsary earned two Bachelor of Arts degrees, one in Fine Arts and the other in interior design. His education has led him, through the years, to paint a wide variety of subjects in his preferred medium, oil, and sometimes watercolours and pastels. He has been greatly influenced by the artwork of the masters, especially the great Russian artists, Ilya Repin and Valentin Serov and also European artists.
A circa 16th - 17th century ecclesiastical oil on canvas painting. The painting likely continental in original, possibly Eastern European / Russian. Featuring Jesus having been taken down from the cross, with others on the crucifix in the background, and weeping followers around his body. The painting with significant historic damage to the centre, with three tears from a point of impact, and four other small perforations to the canvas - in need of sympathetic restoration. Circa 18th century inscription to verso reads 1456 Capt. Cosck (?). Measures approx. 53cm x 43cm.
A naive 18th century continental, likely Eastern or Russian, orthodox oil on board painting. The painting depicting a nun & a young maiden in the doors of an almshouse, likely ecclesiastical. With naive painted frame around the central scene. Painted cartouche to verso with illegible writing, seeming in foreign alphabet. Wall hanging to verso. Measures approx. 25.5cm x 22cm.
Russisches Kaiserreich - Deckeldose "Zur Auszeichnung im Türkenkrieg 1877 und 1878" (1880-1890). Oval geformte und adrett verzierte Deckeldose, vierfüßiger Stand mit vegetabilem Dekor, Verschlussknopf mit braunem Farbstein. Innenseitig am Boden und im Deckel punziert. 875er Silber mit Teilvergoldung. Deckelkopf mit Porträt aus Emaillemalerei. Diverse Applikationen mit Bezugnahme auf die Widmung in kyrillischer Schrift. Übersetzung: "Zur Auszeichnung im Türkenkrieg 1877 und 1878" und "Finnisches Rettungsschwimmerregiment". Maße: BxTxH: 10 x 8,5 x 4 cm, Gewicht ca. 180 Gramm. Alters- und Abriebspuren.| Russian Empire - Lidded Box "For Distinction in the Turkish War of 1877 and 1878" (1880-1890). Oval shaped and neatly decorated lidded box, four-legged stand with vegetal decoration, locking knob with brown colored stone. Hallmarked inside on the bottom and lid. Silver 875 with partial gilding. Lid head with enamel painting portrait. Various applications with reference to the dedication in Cyrillic script. Translation: "For distinction in the Turkish War 1877 and 1878" and "Finnish Lifeguard Regiment". Dimensions: WxDxH: 10 x 8.5 x 4 cm, weight approx. 180 grams. Signs of age and wear.
The Thyssen-Bornemisza Collection. Renaissance jewels, gold boxes and objets de vertu, by Anna Somers Cocks and Charles Truman, 1984, European silver, by Hanneklore Müller, 1986, Nineteenth-century American painting, by Barbara Novak, 1986, Medieval sculpture and works of art, by Paul Williamson, 1987, Seventeenth-century Dutch and Flemish painting, by Ivan Gaskell, 1989, Early Netherlandish painting, by Colin Eisler, 1989, Early Italian painting 1290-1470, by Miklós Boskovits, 1990, Early German painting 1350-1550, Isolade Lübbeke, 1991, Renaissance and later sculpture, by Anthony Radcliffe et al, 1992, Twentieth-century German Painting, by Peter Vergo, 1992, Twentieth-century Russian and East European painting, by John E. Bowlt & Nicoletta Misler, 1993, The European Avant-gardes, by Christopher Green, 1995, Carpets and Textiles, by Friedrich Spuhler, 1998Seventeenth and eighteenth century Italian painting, by Roberto Contini, 2002, 14 volumes in total, all 1st editions, all original cloth in dust jackets, some covers lightly rubbed to head & foot, large 4to, together with other modern antiques & art reference, mostly original cloth in dust jackets, some 'as new' in original plastic wrap, G/VG, 8vo/4toQTY: (3 shelves)
Rupprecht Geiger 1908 München - 2009 München 446/66. 1966. Öl auf Leinwand. Verso signiert und datiert. Auf dem Keilrahmen betitelt. 82 x 90,5 cm (32,2 x 35,6 in). [JS]. • Rupprecht Geiger ist einer der bedeutendsten Vertreter der deutschen Farbfeldmalerei. • Fein durchmoduliertes, frühes Farbfeld, das durch sein sanftes Oszillieren roter Farbwerte begeistert. • Besonders frühes Beispiel für Geigers um 1965 einsetzende Verwendung der Spritzpistole. • Die leuchtenden Kompositionen des Frühwerkes gelten als Geigers gefragteste Arbeiten. • Geiger ist mit seinen berühmten Farbmodulationen von 1959 bis 1977 mehrfach auf der documenta vertreten. • Rote Farbfelder der 1960er Jahre befinden sich in bedeutenden Sammlungen, wie u. a. dem Städel Museum, Frankfurt a. Main, der Städtischen Galerie im Lenbachhaus, München, der Neuen Nationalgalerie, Berlin, und der Pinakothek der Moderne, München. PROVENIENZ: Galleria Peccolo, Livorno (auf dem Keilrahmen mit dem Etikett). Privatsammlung Norddeutschland. AUSSTELLUNG: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, S. 61, Kat.-Nr. 42 (auf dem Keilrahmen mit dem Etikett). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, S. 32, Kat.-Nr. 41 (o. Abb.). LITERATUR: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Werkverzeichnis 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, München 2003, WVZ-Nr. 429 (m. Abb.). 'Der Himmel ist von beispielloser Farbenpracht und von unglaublicher Weite. Die Möglichkeiten sind unbegrenzt', hatte Rupprecht Geiger bereits 1941 in seinem russischen Kriegstagebuch festgehalten (Rupprecht Geiger, zit. nach: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, S. 31). Es sind die sanften Farbmodulationen des Himmels, die Geiger reizen und die in der Nacht durch brennende Städte in eindrucksvolle Farbszenarien verwandelt werden, die für Geiger zu Gegenbildern der bedrückenden Realität des Krieges werden. Rot und Blau sind schließlich ab den 1950er Jahren die Farben, die das beeindruckende künstlerische Schaffen des deutschen Farbfeldmalers Rupprecht Geiger in entscheidender Weise prägen und bis Ende der 1950er Jahre zunächst noch in Kombination auftreten. Anfang der 1960er Jahre dann erfolgt schließlich eine klare Trennung beider Farbwerte. Während Rot als die Farbe des Blutes und des Feuers für extreme Energie und emotionale Aufgeladenheit steht, ist das kühlere Blau der rationalere, stärker in sich ruhende Farbwert. Das sich von oben scheinbar ins Format schiebende rote Rechteck hat Geiger durch den Einsatz von gespritzter Farbe sanft nach oben hin von einem satten Dunkelrot zu einem glühenden Orange hin durchmoduliert und vom strahlenden Weiß umfangen in eine geradezu schwebende Balance gebracht. Geiger beginnt um 1965 seinen bis dahin manuellen Farbauftrag durch den Auftrag mit der Spritzpistole abzulösen, der fortan feinere Farbmodulationen zulässt. Die vorliegende Arbeit ist ein besonders frühes Beispiel für die Anwendung dieser neuen Technik. Rupprecht Geiger hat nicht nur mit seinen Farbmodulationen, sondern auch mit seinen shaped canvases kunsthistorisch Bedeutendes geschaffen, das ihm innerhalb Deutschlands eine progressive Sonderstellung zuweist, die, wie von Helmut Friedel im Vorwort zum Werkverzeichnis nahegelegt, viel mehr den Vergleich mit seinen Zeitgenossen in Amerika, wie etwa Mark Rothko, Ellsworth Kelly und Barnett Newman, fordert. In den USA werden Geigers Gemälde bereits ab den 1950er Jahren in unterschiedlichen Ausstellungen gezeigt und 1959 wird der Künstler mit dem Solomon-Guggenheim-Preis, New York, ausgezeichnet. [JS] Aufrufzeit: 08.12.2023 - ca. 13.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRupprecht Geiger 1908 München - 2009 München 446/66. 1966. Oil on canvas. Signed and dated on the reverse. Titled on the stretcher. 82 x 90.5 cm (32.2 x 35.6 in). [JS]. • Rupprecht Geiger is one of the most important representatives of German Color Field painting. • Finely modulated, early color field that impresses with its gentle oscillation of red hues. • A particularly early example of Geiger's use of the spray gun, which began around 1965. • The early luminous compositions are considered Geiger's most sought-after works. • Geiger's famous color modulations were exhibited several times at documenta between 1959 and 1977. • Red Color Fields from the 1960s can be found in important collections such as the Städel Museum, Frankfurt am Main, the Städtische Galerie im Lenbachhaus, Munich, the Neue Nationalgalerie, Berlin, and the Pinakothek der Moderne, Munich. PROVENANCE: Galleria Peccolo, Livorno (label on the stretcher. Private collection Northern Germany. EXHIBITION: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, p. 61, cat. no. 42 label on the stretcher). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, p. 32, cat. no. 41 (no. fig.). LITERATURE: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Catalogue raisonné 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, Munich 2003, no. 429 (fig.). 'The sky is unprecedentedly colorful and incredibly vast. The possibilities are unlimited', Rupprecht Geiger noted in his Russian war diary in 1941 (Rupprecht Geiger, quoted from: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, p. 31). It is the soft color modulations of the sky that appeal to Geiger and which are transformed at night by burning cities into impressive color scenarios that become counter-images to the oppressive reality of war for Geiger. From the 1950s onward, red and blue are the colors that decisively shape the impressive artistic work of the German color field painter Rupprecht Geiger and initially appeared in combination until the end of the 1950s. At the beginning of the 1960s, the two color values were finally clearly separated. While red, as the color of blood and fire, stands for extreme energy and emotional charge, the cooler blue is the more rational, more self-composed color. By using sprayed paint, Geiger gently modulated the red rectangle, which appears to push itself into the format from above, upwards from a rich dark red to a glowing orange and, surrounded by radiant white, has brought it into an almost floating balance. Around 1965, Geiger began to replace his hitherto manual application of paint with that of the spray gun, which henceforth allowed for finer color modulations. The present work is a particularly early example in this new technique. Rupprecht Geiger not only created art-historically significant works with his color modulations, but also with his shaped canvases, which earned him a special progressive position within German post-war art, as Helmut Friedel suggested in the foreword to the catalogue raisonné, demanding stronger comparison with American contemporaries like Mark Rothko, Ellsworth Kelly and Barnett Newman. In the USA, Geiger's paintings were shown in various exhibitions from the 1950s onward and the artist was awarded the Solomon Guggenheim Prize in New York in 1959 . [JS] Called up: December 8, 2023 - ca. 13.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Franz Roubaud 1856 Odessa - 1928 München Kaukasische Reiter. um 1890/1900. Öl auf Leinwand. Links unten signiert. 62 x 39,5 cm (24,4 x 15,5 in). • Roubaud gehört zu den bedeutendsten Malern im Austausch zwischen Russland und Europa am Ende des 19. Jahrhunderts • Ein bedeutender Mäzen seines Schaffens ist der russische Zar Alexander III. • Seine Reiterfiguren faszinieren durch ihren folkloristischen, ethnografisch-dokumentarischen Charakter. PROVENIENZ: Privatsammlung Hessen. Bereits 1865 mit neun Jahren besucht Franz Roubaud die Zeichenklasse der Kunstschule in Odessa, die dort im selben Jahr unter der Patronage wohlhabender Mäzene gegründet worden war. Sein vielversprechendes Talent lässt ihn schließlich seine Studien ab 1877 in München weiterverfolgen, wo er an der Akademie der Bildenden Künste vom Direktor und großen Historienmaler Carl von Piloty wertgeschätzt wird. Im privaten Atelier des Schlachtenmalers Josef von Brandt spezialisiert er sich weiter in der Figurendarstellung, der Komposition vielfiguriger Szenen und ihrem Arrangement in der Landschaft. Zar Alexander III. wird auf ihn aufmerksam und finanziert ihm jährliche Sommeraufenthalte im Kaukasus und der Ukraine, sowie seine Reisen in die damalige russische Provinz und die Landstriche um das Schwarze und Kaspische Meer in Jerewan, Tiflis, Baku, Taschkent und Samarkand. Eine erste Goldmedaille erhält er auf der Ausstellung der Akademie der Schönen Künste in Sankt Petersburg 1883. Sein großer Bewunderer, der Zar Alexander III. gibt 19 große Gemälde in Auftrag, die die militärischen Erfolge des Zarenreiches abbilden sollen, wofür Roubaud erneut lange Reisen in die Türkei, Persien und Zentralasien unternimmt. Seine Werke stellt er mit großem Erfolg in Paris, München und Sankt Petersburg aus. In den letzteren beiden Städten residiert er im Wechsel, zwischen 1908-1913 lehrt er als Professor für Schlachten- und Pferdemalerei an der Akademie in Sankt Petersburg. Die Ausstellung 1914 im Münchner Glaspalast, bei der er 34 Werke in einem Saal präsentiert, markiert einen Höhepunkt seiner malerischen Reputation. Bei seinen zahlreichen Reisen entstanden Zeichnungen, Fotografien und Gemälde, die für die entlegenen Gebiete, in denen er sich aufhielt, in ihrer Gesamtheit fast dokumentarischen Charakter haben. Die einsamen Reiter in der Steppe zeigen das Bild einer Begegnung mit den Menschen und der Natur, die für die Besucher der städtischen Ausstellungshallen gewissermaßen exotischen Charakter gehabt haben müssen. Insbesondere die Unmittelbarkeit der auf die Betrachtenden zukommenden Reiter intensiviert den Eindruck und lässt die Szenerie erlebbar werden. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz Roubaud 1856 Odessa - 1928 München Kaukasische Reiter. um 1890/1900. Oil on canvas. Lower left signed. 62 x 39.5 cm (24.4 x 15.5 in). • Roubaud was one of the most important painters in the exchange between Russia and Europe at the end of the 19th century • The Russian Tsar Alexander III was an important patron of his work. • His equestrian figures fascinate with their folkloristic, ethnographic-documentary character. PROVENANCE: Private collection Hesse. In 1865, at the age of nine, Franz Roubaud attended the drawing class at the art school in Odessa, which had been founded there in the same year by wealthy patrons. His promising talent eventually led him to pursue his studies in Munich from 1877, where he was appreciated by the director and great history painter Carl von Piloty at the Academy of Fine Arts. In the private studio of the battle painter Josef von Brandt, he specialized further in the depiction of figures, the composition of multi-figure scenes and their arrangement in the landscape. Tsar Alexander III became aware of him and financed his annual summer sojourns in the Caucasus and the Ukraine, as well as his travels to the then Russian province and the regions around the Black and Caspian Seas in Yerevan, Tbilisi, Baku, Tashkent and Samarkand. He received his first gold medal at the exhibition of the Academy of Fine Arts in St. Petersburg in 1883. His great admirer, Tsar Alexander III, commissioned 19 large paintings depicting the military successes of the Tsarist Empire, for which Roubaud again went on long journeys to Turkey, Persia and Central Asia. He exhibited his works with great success in Paris, Munich and St. Petersburg. He alternated between the latter two cities, and between 1908 and 1913, he taught as a professor of battle and horse painting at the Academy in St. Petersburg. The 1914 exhibition at Munich’s Glaspalast, in which he presented 34 works in one room, marked a high point of his career. During his numerous travels, he produced drawings, photographs and paintings which, in their entirety, are almost of documentary character for the places he visited. The lonely riders in the steppe depict an encounter with people and nature that must have had a somewhat exotic character for visitors to the urban exhibition halls. In particular, the immediacy of the riders approaching the viewer intensifies the impression and allows observers to immerse into the scenery. This lot can be purchased subject to differential or regular taxation.
Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Öl auf Malpappe. Links unten monogrammiert sowie rechts unten datiert. Verso mit einer Ölstudie zu einem Bauernschrank sowie der Bezeichnung '12'. 22 x 15,5 cm (8,6 x 6,1 in). • Ein besonders farbstarkes Exemplar aus der wichtigen Serie der 'Abstrakten Köpfe'. • Radikal überwindet Jawlensky hier die klassische Porträtmalerei. • Harmonische Komposition in reizvoller, geometrisch-inspirierter Symmetrie. • 1933 als Geschenk von Jawlensky an die Kunsthistorikerin und Freundin Mela Escherich. PROVENIENZ: Sammlung Mela Escherich, Wiesbaden (1933 als Geschenk vom Künstler erhalten). Nachlass Mela Escherich, Wiesbaden (seit 1956). Sammlung Hanna Bekker vom Rath, Hofheim im Taunus. Privatsammlung. Privatsammlung (1989 vom Vorgenannten erworben). Privatsammlung Süddeutschland (1992 vom Vorgenannten erworben). LITERATUR: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, Bd. II (1914-1933), München 1992, S. 481, WVZ-Nr. 1417 (m. Farbabb. S. 493). Sotheby's, London, 29.11.1989, Los 199 (m. Farbabb.). Grisebach, Berlin, 24. Auktion, 29.5.1992, Los 63 (m. Farbabb.). Mela Escherich, in: Der Cicerone, Jg. XVIII, 1926, zit. nach: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, S. 129. Von Beginn an verfolgt Alexej von Jawlensky konsequent lediglich drei Bildsujets: Das Stillleben, die Landschaft und das Porträt. Zunehmend wendet er sich der Thematik des Porträts zu, das er in den 'Meditationen', 'Variationen' und später in Serien bis zu seinem Tod 1941 in Wiesbaden immer wieder aufgreift. Schon 1914 im Exil in der Schweiz entstehen erste 'Heilandsgesichter' und 'mystische Köpfe', die den Porträtcharakter der bisherigen Köpfe bereits fast vollständig hinter sich lassen. In logischer Konsequenz geht er einen weiteren Schritt in Richtung Abstrahierung sowie Entwicklung der Farbfeldmalerei und wendet sich von 1918 bis 1933 den 'Abstrakten Köpfen' zu. Unser 'Abstrakter Kopf' von 1933 verbindet ein besonders spannendes Spiel von fröhlicher Farbigkeit einerseits und einem geschlossenen Blick voll innerer Einkehr andererseits. Das den traditionellen russischen Ikonendarstellungen entnommene Schema entrückt Jawlensky restlos einer naturalistischen Darstellung. Auf der Suche nach einer Tiefe im Ausdruck werden die Gesichtsmerkmale aufgelöst in geometrische Formen und in einer beinahe architektonischen Symmetrie neu angeordnet. Mit einer Komposition aus scharfen Linien und fein abgestimmten Farbfeldern dringt Jawlensky mit seiner Kunst auf eine mythische Ebene vor und macht das Unsichtbare fühlbar. Diese Thematik beschäftigt auch die Kunsthistorikerin, Schriftstellerin und Freundin Jawlenskys Mela Escherich, aus deren Besitz das Gemälde stammt. Nach ersten Kontakten zu Beginn der 1920er Jahre entwickelt sich eine enge Freundschaft zwischen diesen beiden Gleichgesinnten. Escherich versorgt ihn sowohl mit Lektüre als auch mit finanzieller Unterstützung und wird mit Jawlenskys zunehmender Bewegungseinschränkung eine seiner sog. 'Nothelferinnen'. Der Künstler dankt es ihr mit Bildgeschenken wie dem 'Abstrakten Kopf' von 1933. Auch nach seinem Tod agiert sie als unermüdliche Befürworterin und unternimmt sogar erste Anstrengungen hinsichtlich eines Werkverzeichnisses. Es ist also nicht nur die besondere Ausdruckskraft des Werkes, was dieses mit einem so geistvollen Charakter kennzeichnet, sondern auch die spannende Provenienz und einzigartige Hintergrundgeschichte. [AW] Aufrufzeit: 09.12.2023 - ca. 17.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Oil on cardboard. Lower left monogrammed and lower right dated. With an oil study of a rustic wardrobe and the inscription '12' on the reverse. 22 x 15.5 cm (8.6 x 6.1 in). • A particularly color-intense copy from the important series of the 'Abstract Heads'. • Jawlensky left classic portraiture behind him in a radical manner. • Harmonious composition in an appealing symmetry informed by geometry. • In 1933 present from Jawlensky to the art historian and friend Mela Escherich. PROVENANCE: Mela Escherich Collection, Wiesbaden (gifted from the artist in 1933). Estate of Mela Escherich, Wiesbaden (since 1956). Hanna Bekker vom Rath Collection, Hofheim im Taunus. Private collection. Private collection (acquired from the above in 1989). Private collection Southern Germany (acquired from the above in 1992). LITERATURE: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. II (1914-1933), Munich 1992, p. 481, no. 1417 (color illu. p. 493). Sotheby's, London, November 29, 1989, lot 199 (color illu.). Grisebach, Berlin, 24th auction, May 29, 1992, lot 63 (color illu.). Mela Escherich, in: Der Cicerone, year XVIII, 1926, quoted from: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, p. 129. From the beginning on, Alexej von Jawlensky consistently pursued only three subjects: the still life, the landscape and the portrait. He increasingly turned to portraits, which he revisited in meditations, variations and in serial works, until his death in Wiesbaden in 1941. As early as in 1914 while in exile in Switzerland, he made first “Savior Faces” and “Mystical Heads” in which he would almost completely overcome the portrait character of previous heads. As a logical consequence, he made another step towards abstraction and the development of color field painting with the “Abstract Heads” made between 1918 and 1933. Our 'Abstract Head' from 1933 combines a particularly exciting play of cheerful colors on the one hand, and inner contemplation on the other. Jawlensky entirely removed the scheme, taken from traditional Russian icons, from all naturalistic representation. In search of depth of expression, he broke facial features into geometric shapes and rearranged in an almost architectural symmetry. With a composition of sharp lines and finely coordinated color fields, Jawlensky's art reached a mythical level at which he made the invisible tangible. This topic also concerned the art historian Mela Escherich, writer and friend of Jawlensky, who was among the work’s early owners. After they had met in the early 1920s, the two like-minded people became close friends. Escherich provided him with reading material as well as with financial support and, as Jawlensky became increasingly ill, she was one of his so-called 'emergency helpers'. In return for her help, the artist gave her pictures such as the present 'Abstract Head' from 1933. Even after his death, she acted as a tireless supporter and even made first efforts to compile a catalogue raisonné. So it's not just the special expressiveness of the work that gives it such a spirited character, but also the exciting provenance and the unique background story. [AW] Called up: December 9, 2023 - ca. 17.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
An important Coalport dessert centre dish, from the Nicholas I Service, circa 1845 made by command of Queen Victoria for presentation to Czar Nicolas I of Russia, painted in enamel colours and decorated with gilding, painted with the badge of the Russian Order of St. Andrew with panels to the rim with Orders of St. George, St. Alexander of Nevsky, St. Vladimir, St. Stanislaus and St. Anne, printed retailer's mark for A B and R P Daniell, 129 New Bond Street and 18 Wigmore Street, London, 40cm wide (restored) Provenance: Ivor Southorn Collection. Notes: This dessert dish originates from a service commissioned by Queen Victoria for Tsar Nicholas I during his official visit to England in 1844. This set, referred to as the 'Coalport Service' in Russia, consisted of 62 plates and was presented to St. Petersburg the following year. The design of the plates closely imitates the William IV service crafted by Flight, Barr, and Barr, which was initially designed to commemorate the Coronation of King William IV in 1831. However, the British emblems on the original design were substituted with Russian Orders to suit the occasion.The Tsar was so captivated by the elegance of the service that he decided to order an additional 124 matching plates from the Imperial Porcelain Factory. These plates were intended for use during official state banquets. Subsequently, in 1849, a coordinating dinner service was commissioned from Coalport. In 1934, a selection of plates from the original service was sold by the Narkomat for Foreign Trade. Nonetheless, a substantial number of the surviving pieces can be found in the State Hermitage Museum. Condition:Both handle areas restored with obvious re-gilding and over-painting. Two cracks to foot.
19th-20th century A.D. Painted on a wooden board with mounting slots and panels to the reverse, gessoed surface with painting of the Virgin of Kazan, head of Mary with gilded nimbus and russet-coloured veil, standing infant Jesus similarly nimbate with right hand raised in the pax gesture; gilt monograms to the upper corners and title to the lower left corner. See Preobrazhensky, A., ‘The icon of the Virgin of Kazan: new data on the early history of its veneration and the most ancient copies (in Russian)’ in ??????????? ????????? ????? ?????????? ? ??????? ?????? ? ??????? ???????????. ??????? ???????? ?????????? ??????-???????????????? ??????, (Miraculous Kazan image of the Mother of God in the fate of Russia and world civilization. Collection of reports of participants of scientific and educational readings, in Russian), ??????, 2018, pp.295-429. 968 grams, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection.The original icon, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.
"Skiing". An oil on board. Signed on the front in Cyrillic "IA-1994". Signed in Cyrillic at the back I Arestov "Skiing". Presented in frame. Ivan Nikolaevich Aristov (1917-1994) Russian painter. His works are in several museums in Russia, in private collections in Europe and the USA. Russian painting of the 20th century.Height: 56cm; Width: 46cm;
Pierre DMITRIENKO (1925-1974) "Before sleep" 1946, oil on cardboard, signature of the author, date and title on the front, sketch of a nude man and woman on the back. Pierre Dmitrienko was a French artist who belongs to the generation of the artist who founded the so-called Lyrical Abstraction. Of Russian and Greek parentage, he moved to Paris where he became the famous and successful abstractionist of the Parisian school. Hovering between Informal Art and Lyrical Abstraction, his work was the expression of the erring of an era. French painting of the 20th century.Height: 18cm; Width: 18cm;
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