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Lot 54
A mixed group of packaged diecast models by EFE, Corgi, Lledo and others including bus and coach models from the Corgi 'Original Omnibus' range and a number of Bachmann OO scale vehicles. Overall models appear G/VG, in packaging ranging from F to G+, with some models loose in pack and or lacking outer card sleeves. (30 approx)
Lot 59
Three Corgi Heavy Haulage Wynns 1:50 scale diecast model sets: 31009 two Diamond T Ballast 24 Wheel Girder Trailer with Boiler Load and Scammell Highwayman Ballast; 31004 Scammell Articulated, Bedford S Articulated and Low Loader Set; 17903 Scammell Contractor. Models overall G, some damage, boxed. (3)
Lot 674
An early 19th Century mahogany cased stick barometer and thermometer by M. Dawson & Co of London, with exposed mercury tube and alcohol thermometer, silvered scale and vernier, contained in mahogany case with angled pediment, folding glazed door over scale and with turned cistern cover, 38ins high
Lot 97
Dolls house - scale model of a Georgian gentleman's house; hand built with separate custom-built stand, hardwood floors, windows and door frames in mahogany, fully wired with lighting inside, extensively decorated with wallpaper, carpeting to stairs, hall and landing, with a tiled kitchen, has been constructed by a gold and silver medal-winning joiner at international woodwork shows, overall dimensions 42inch long, 51inch high and 18inch deep.
Lot 171
Thamsanqa (Thami) Kitty (South African 1967-) SMUTS AND LION carved wooden sculpture height: 74cm Thami Kiti, an extraordinarily gifted carver is little known to collectors despite being well documented and included in prestigious collections and exhibitions in Cape Town. A product of the Community Arts Project during the turbulent 1980’s and 1990’s, Kiti’s work is represented in the holdings of both the Universities of Cape Town and the Western Cape. The artist was well represented in two important exhibitions seeking to redress the marginalization of Western Cape sculptors by their Limpopo counterparts, notably Made in Wood: Work form the Western Cape in 1992, and Against the Grain: Sculptors from the Cape, over a decade later; both at the Iziko South African National Gallery. He followed on this success with a solo show at the Irma Stern Museum. Raised in his father’s lands of the Eastern Cape, where his formative years were spent ranging the verdant area with the family cattle, Kiti invokes the longstanding ancestral traditions of skilled woodcarving from the area. Although on a monumental scale, Kiti’s compositions in hardwood recall the intricate and often amusing combinations of anthropomorphic figures on tobacco pipes, sticks and staffs - a genre for which 19th and early 20th century Xhosa-speaking carvers were renowned. The artist’s use of un-adorned wood, seasoned, finely honed and polished to reveal its natural patina, is a characteristic technique drawn from his cultural roots. Smuts and the Lion, combines a recognizable life size head of the statesman surmounting a classical lions’ head with flowing mane and single, powerful claw composed vertically. Totem like in composition, it can be viewed as an example of the artist’s resolve to seek commercial success by drawing on colonial imagery that would resonate with his privileged clients. - Carol Kaufmann
Lot 286
Peter Clarke (South African 1929-2014) RING-A-RING-OF-ROSES signed, inscribed 'Oslo' and dated 24.10.1978 mixed media on paper PROVENANCE Acquired directly from the artist and thence by descent to the current owner 48cm by 64cm Peter Clarke was invited to work at the Atelier Nord in Norway from October 1978 to the end of January 1979. Below his signature in Ring-A-Ring-Of-Roses, the artist has written ‘Oslo’ next to the date, 24.10.1978. While away in Norway, distance brought a different perspective of his home and a number of the works made while at Atelier Nord depicted South Africa. Ring-A-Ring-OfRoses is an example of a work made in Norway but portraying South African subject matter. To Clarke, Norway epitomised an ordered, contrastingly clean life and an organised society in comparison, however during his time there the artist found that he missed the ‘spontaneous warmth that makes a population alive.’ An example of this spontaneity and warmth can be seen in the expression depicted on the children’s faces. A great observer of the world around him, Clarke often represented children playing games, whether it was with a yo-yo, a windmill, a cricket match played in the street, or in this case the classical game of ring-a-ring-of-roses, which is a popular nursery rhyme commonly found on South African playgrounds. Many know the game and the accompanying song to represent the Great Plague of London, known as the Black Death, although this has never been confirmed. In its game form however, it takes on a jovial nature as depicted by the broad smiles on the faces of the girls in the present work. The painting depicts a group of four children, happily playing the game, by holding hands and dancing in a circle. The colour of the sky and the foreground are painted in various shades of rose-pink. The foreground and background are divided by a thick band of blue representing a wall. The vast landscape is interrupted only by a single electricity pole. A grey, ominous shadow leaks out from below the playing children. During his long career Clarke experimented with a variety of materials. In this mixed media work the artist has overlaid sections of fine gauze bandage (used traditionally for both damage and repair) on top of the blued wall. The gauze extends to just behind the children, who are surrounded by a halo of white. During his stay in Norway, Clarke made works of a larger scale, paintwork that was freer and used strips of coloured paper collage rather than brushwork, to portray clouds. The pink striations in the sky of Ring-A-Ring-of-Roses are created using pieces of paper, their torn edges forming a white lining around the clouds. Strips of silver paper are also incorporated into the sky for this effect. The bright pink sky brings to mind another popular rhyme; ‘Pink sky at night, shepherd’s delight’ meaning that the bright pink sunset signals that the following day will be clear and sunny. This delight is once again expressed on the faces of the dancing children. This work is about finding the silver lining in an area where circumstances seems to be dire, in this case the warmth of the people in South Africa, despite the political turmoil and socio-economic hardships faced by Clarke’s community. Hobbs, P and Rankin, E., Listening to distant thunder: the art of Peter Clarke, Fernwood Press, Cape Town, 2011
Lot 34
A Barkers of Kensington Mega Sport wristwatch, quartz movement, stainless steel back, the grey dial with orange detailing, three digital sub dials, 5 crowns, the bezel with tachymeter scale, on metal bracelet, together with original box, tags and 5 year Barkers of Kensington warranty, in unworn condition.
Lot 46
A Barkers of Kensington Mega Sport wristwatch, quartz movement, stainless steel back, the blue dial with orange detailing, three digital sub dials, 5 crowns, the bezel with tachymeter scale, on metal bracelet, together with original box, tags and 5 year Barkers of Kensington warranty, in unworn condition.
Lot 190
VIOLA PUSHKAROVA (UKRAINIAN B. 1929)Two Ivans and Oksana, 1964oil on canvas108 x 164.5 cm (42 1/2 x 64 3/4 in.)PROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Brooklyn Museum, Russian Modern, 2011-2016New York, Ukrainian Institute of America, December 2016-April 2018.LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 191 (illustrated) LOT NOTESViola Oleksiivna Pushkarova is a genre and still-life painter. In 1958, Pushkarova graduated from the Kharkiv Art Institute, where she studied under Leonid I. Chernov, Oleksandr P. Luibimskiy, Oleksandr A. Khmelnitskiy, et al.Two Ivans and Oksana serves as both a still life study and an authentic genre scene - the exhausted father dozes off at the table while his two children play on the floor. Pushkarova enriches the piece with details such as the milk bottle, placed precariously close to the sleeping man, and the overboiling pot on the stove in the upper right corner. The surface is remarkably textured - from the curving strokes on the walls to the richly patterned carpet, the image seems to pulsate, embodying the spirit of spontaneous verisimilitude. The concise, soft modeling of the children's faces, though mostly hidden from view, is reminiscent of that of Mary Cassatt, particularly in her mother-daughter scenes, and exemplary of Pushkarova's technical prowess.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).
Lot 191
ZOYA LERMAN (UKRAINIAN 1934-2014)Nudes (Eastern Motif), 1957oil on canvas109.2 x 154.4 cm (43 x 60 3/4 in.)signed lower left, as well as signed, titled, and dated on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012. LOT NOTESZoya Naumovna Lerman was a Ukrainian painter and graphic artist best known for her portraits and genre scenes. In 1959, Lerman graduated from the Kiev Art Institute, where she studied under well-known practitioners of Socialist Realism such as Sergei Grigoriev (1910-1988), Volodimir Kostetsky (1905-1968), and Georgiy Melikhov (1908Ñ1985). The following year, Lerman was inaugurated into the Union of Artists of Ukraine, and began exhibiting in 1963.Nudes is a prototypic example of Lerman's early style, with subtle modulations of light on the sitters' bodies, roughened brushwork of the drapery and background, and a limited, earthy palette complicated by primary yellows and reds. Its alternative title, Eastern Motif, likely derives from the chestnut and turquoise-colored headdress of the lounging woman.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 192
HALINA, ZORYA (UKRAINIAN 1915-2002)Ukrainian Still Life with Cock, 1960oil on canvas115 x 104 cm (45 1/4 x 41 in.) signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012.LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 151 (illustrated) LOT NOTESHalina Grigoryevna Zorya was a Ukrainian still-life painter primarily active in Kiev. A graduate of the Kiev Art Institute (1946), where she studied with influential monumentalist painter Mikhailo Boychuk among others, she is known particularly for her verdant, sensuous flower bouquets.In Ukrainian Still Life With Cock, Zorya presents the viewer with an exquisitely patterned nature morte with blooming pink and red flowers, blue Matisse-esque wallpaper, an ornamental Khokhloma polychrome chair, decorative vessel flutes modeled as roosters, traditional linen red-embroidered tablecloth, and gzhel-like vase. Zorya deftly manipulates the many forms and textures of the setting, modulating her paint opacity from thin washes in the background to the robust impasto on the ceramic flutes. The academic execution of the still life is complemented well by the impressive compilation of folk arts.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 193
MIKHAILO WEINSTEIN (UKRAINIAN 1940-1981)Postal Worker, 1966tempera on canvas160 x 89 cm (63 x 35 in.)signed, dated, and inscribed on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 49 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 125 (illustrated) LOT NOTESMikhailo (born Moses) Weinstein was a painter, sculptor, and pedagogue, and one of the foremost figures among 1970s Ukrainian artists. In 1958, Weinstein graduated from the Kiev Republican Art School of Taras Shevchenko and entered the Kiev Art Institute the following year, where he studied with well-known professors Ilya N. Schtillman, Mikhailo N. Khmelko, and Volodymyr M. Kostetsky. He continued his education at the Creative Studios of the Soviet Academy of Arts (1965-1967), and was inducted into the Ukrainian Union of Artists in 1967. Weinstein's works are held in the collections of the National Art Museum of Ukraine, the Kiev Museum of Russian Art, and others. He is considered one of the key developers of the so-called "severe" style in Ukraine. The term, coined by art critic Aleksandr Kamenskiy, refers to monumental works of the 1950s-1960s. Heavily influenced by pre-Stalinist (1920s-1930s) avant-garde depictions of laborers, "severe" paintings focus on daily working life.Postal Worker is a highly compelling example of the "severe" style, evoking and exaggerating the qualities of a modern-day woman: her made-up blue face and purple-pink skin and short skirt, as well as the brash, animated strokes that surround her, indicate a certain kind of freedom (including economic) and self-reliance.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 194
NATALIA KOROBOVA (UKRAINIAN B. 1949)Noon, 1970oil on canvas138 x 179.5 cm (54 3/8 x 70 5/8 in.)signed and dated lower rightPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on cover and p. 33 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p.162 (illustrated) LOT NOTESNatalia Vladimirovna Korobova is a Ukrainian artist whose repertoire ranges from portraiture and still life to landscape and genre painting. Korobova began exhibiting in 1969, the same year she graduated from the Taras Shevchenko Kiev Art School. Her father, artist Vladimir Korobov (b. 1924), proved a strong influence on her work, though hers is decidedly more symbolic and dreamlike.Noon, reminiscent of Manet's Luncheon on the Grass, depicts a recognisable and feminized space. Korobova treats the painting surface in a manner akin to that of the Post Impressionists, with rough rectangular strokes and vivid, summery pinks, fuschias, and blues. Like the still life within - complete with workers' staples: boiled eggs, bread, milk, potatoes, onion - the figures are positioned to include the viewer in the scene.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 195
YEVGEN LUCHENKO (UKRAINIAN 1914-1994) On the Balcony, 1970 oil on canvas 148.5 x 99.5 cm (58 1/2 x 39 1/8 in.) signed lower right PROVENANCE Jurii Maniichuk and Rose Brady Collection EXHIBITED New York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 35 of the exhibition catalogue)LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 169 (illustrated) LOT NOTES Yevgen Dmitrovich Luchenko was a Ukrainian painter, known best for his genre scenes, portraits, and landscapes. Luchenko studied under influential Ukrainian artists Karp Trokhymenko (1885-1979) at the Kiev Arts Technicum (1931) and Fedir Krychevsky (1879-1947) at the Kiev Art Institute (1934-1946). Although his education was interrupted by the outbreak of the Second World War, Luchenko returned from the front in 1946, completed his degree, and became a member of the Artists' Union of the USSR the same year. Luchenko made his artistic debut at the All-Union Art Exhibition (Moscow, State Tretyakov Gallery and the Pushkin State Museum of Fine Arts, 1947); and his first personal exhibition opened in Kiev in 1988. The painter's works are held in collections of the National Art Museum of Ukraine, as well as in nearly a dozen regional art and historical museums. On the Balcony bridges two of Luchenko's strengths: portraiture and landscape painting. The balcony door ajar, the viewer is invited to observe the intimate scene in the foreground (the woman in red counters our gaze, further enabling the relationship between the viewer and the viewed): a young boy and two women enjoying tea. The figures, carefully observed from life, are set against an inviting nightscape; a brilliant orange moon illuminating the waters. The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015). This lot is being sold without reserve.
Lot 196
GRIGORY TYSHKEVICH (UKRAINIAN B. 1940)Land to the Peasants, 1970oil on canvas130.5 x 164.8 cm (51 3/8 x 64 7/8 in.)signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 214 (illustrated) LOT NOTESGrigory Tyshkevich, a Distinguished Artist of Ukraine, is a portrait, landscape, and still life painter. In 1961, Tyshkevich graduated from the Odessa Art School, where he studied under well-known Odessite painters Mikhailo M. Bozhiy and N. Pavliuk; and in 1967 from the Kharkiv Art Institute, where his professors were Sergey F. Besedin and Oleksandr A. Khmelnitskiy.Land to the Peasants is as monumental in its themes as it is in its dimensions. Set in richly-textured fields of wheat and grass symbolic of Ukraine, the three foundational archetypes of the revolution - the soldier, the worker, and the farmer - dominate the composition. The red flag, intersecting the white-blue sky, frames the three men. Flanked by a mother and child on the left and a group of protesters on the right, the triad looks to the right, beyond the borders of the picture plane, onward. The stoicism of the three central figures, however, is offset by the expression on the mother's face and the apparent vigor of the revolutionaries. Tyshkevich is particularly attentive to the figure of the peasant: slightly offset to the right, his physiognomy appears more closely observed. (The fields in which the subjects stand, after all, are his domain). Despite the figuresÕ stylized, squared shoulders and faces, the artistÕs abbreviated, energetic strokes and use of brilliant blue-greens imbue the work with a lively, even hopeful character.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 197
YURI ZORKO (RUSSIAN B. 1937)Vuktyl Gas Workers, 1978-79oil on canvas149.5 x 164 cm (58 7/8 x 64 5/8 in.)signed, dated, and inscribed on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 53 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 149 (illustrated) LOT NOTESYuri Valentinovich Zorko, born in Russia, is Ukrainian genre and still life painter. After graduating from the Krasnodar Arts School (1961), he studied under V. Gladkiy and B. Stashevskiy at the Donetsk School of Artist-Designers (1962-1966). In 1972, Zorko was accepted to the Artist's Union of Ukraine, and would later go on to become a board member of the Donetsk chapter of the National Artists' Union of Ukraine (1985-1991, 1995-). In addition, Zorko has been the head of the "Donetsk Plein Air" art group since founding it in 1999.In Vuktyl Gas Workers, twisting pipes and yellow- and fuschia-speckled steel cylinders are scaled to a near-miniature size, heightening the worker's stature and role in the industry. The painting, though reminiscent in theme and the use of bright color of Yuri Pimenov's 1927 Give All to Heavy Industry! and other such artistic tributes to burgeoning industrialism, is executed with Seurat-esque chromoluminarism rarely seen in Socialist Realist works.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 198
ASKHAT SAFARGALIN (TATAR 1922-1975)School Girl, 1958oil on canvas79.8 x 60.2 cm (31 3/8 x 23 3/4 in.)signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on cover and p. 33 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p.194 (illustrated) LOT NOTESAskhat Gazizulinovich Safargalin was a Tatar genre and landscape painter and a Distinguished Artist of the Ukrainian SSR (1968). In 1938-41 and 1945-47 Safargalin was a student at the Kazan Art School (his artistic career interrupted by the outbreak of the Second World War); and in 1947-1953 at the Kharkov Arts Institute under well-known artists Aleksey A. Kockel, Pyotr I. Kotov and Leonid I. Chernov. His works are held at the National Art Museum of Ukraine and at close to a dozen regional art and historical museums.Safargalin's Schoolgirl, youthful and studious, represents a popular type, as common a subject in Soviet Socialist Realist art as the Venus of Urbino in Renaissance Italian painting. The girl's white apron and plush bows in her hair indicate a special occasion, such as the beginning of the school year. She stiffly holds a chalkboard eraser, as if awaiting instruction from the teacher. Scholarly accoutrements - the globus, an illustration of two elephants, and an East Asian painting - abound, in keeping with conventional Socialist Realist representations of schools as vehicles of progress and intellectual modernization.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Lot 629A
A Victorian doll's accessories set including a pair of leather gloves with tiny mother of pearl buttons, 5.6cm, an ivory double sided hair comb, 2.3cm, a set of miniature crane sewing scissors, 4cm, a slightly larger scale ivory backed hand mirror, 9.5cm, and tooth brush, 5.6cm, together with a selection of three tortoiseshell doll's hair slides, one faux tortoiseshell miniature comb and a pair of miniature glass scent bottles with silver gilt tops, each with indistinct hallmarks, 5.2cm, all in apparently original Victorian card gift box with silvered mirror inset to lid. (12)
Lot 651
A collection of 8 Burago, Maisto, Tonka and Signature die cast models, 1/24 scale, including 1938 Citroen 15 cvTA, a 1934 Duesenberg, 1937 Cord, 1989 Porsche 911 Speedster etc, all boxed, together with a large collection of Models of Yesteryear and others, die cast cars and vans, mostly mint and boxed. (q) (2 boxes)
Lot 652
A collection of three Burago die cast models, 1/18 scale, including a Lancia Aurelia, a Ferrari 250 Testa Rossa 1957 and an Alpine, together with three Burago 1/24 scale models, a Citroen, a Bugatti and a Peugeot, three Maisto 1/18 scale models, and six further boxed models to include a Porsche and a 1935 Packard etc. (15) (2 boxes)
Lot 656
A Mira by Solido die cast 1/18 scale model of a Ford Mustang Convertible (mint and boxed), two Burago 1/24 scale models, to include a Bugatti Type 55 and a Citroen C3, a Welly Porsche Boxter, a Majorette Bugatti 55 and a Tonka Polistil VW Beetle Convertible, together with 13 assorted 1/43 scale models, some boxed. (19)
Lot 1354
A Large cased model of a twin screw 4 masted motor sailer 'Nippon Maru', 1/100 scale model, 1776-1976 'American Revolution Bicentenial flag on main mast. Metal plaque on boat stand marked "1/100 Nippon Maru Imai Kagaku Co Ltd". A finely detailed ship with no sails but full standing and running rigging, hardwood and glass case measures 15 inches x 45 inches x 25.5 inches tall
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