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Lot 9
FALK, ROBERT 1886-1958 Woman in Red. Portrait of Lyubov Georgievna Popesku , signed. Oil on canvas, 71.5 by 91 cm. "Provenance: A gift from the artist to Nina Lurie, Moscow. Thence by descent.Collection of Olga Dvoretskaya, Moscow, until 1975. Private collection, Moscow, until 1994.Private collection, UK.Exhibited: Robert Falk, Tsentral’nyi dom rabotnikov iskusstv, Moscow, 1939.Literature: D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 572, No. 801, illustrated.The portrait of the artist Lyubov Georgievna Popesku, marked the final stage in the creative evolution of Robert Falk’s images of women.Falk first met Lyubov Popesku in the Crimea in 1916, where he painted her in a notable Nude, now in the collection of the Tretyakov Gallery. The next meeting between artist and model was 15 years later, in a totally different time and place. By this time, having initially arrived in Paris on a short trip, Falk was already more firmly settled in France. His previous enthusiasm for Cézannism during the Jack of Diamonds period had now given way to an ever more intense quest for a unified environment, saturated with colour and with light enveloping people and objects. Seeing Popesku in Paris in 1930, Falk painted her portrait In a Red Turban, as a traditional psychological study and, two years later, Woman in a Blue Beret. The picture Woman in Red occupies a special place in this series.The pose — in which the artist Popesku sits at a table — was quite random. The fragile female figure is shown as slightly alienated, as if seized by a fleeting moment of melancholy. A distinctive feature of the composition is its circular movement, which dictates the direction of our gaze and leads us from her left hand, placed on the table, up to the slightly bowed head and hat, making the painting harmonious.According to Falk, the portrait was created as a study for the monumental canvas Old Women. Loneliness which was conceived as a definitive summation of life. This female figure, still young and with traces of her former beauty, conveys much more clearly than other protagonists might the true meaning of the work. D. Sarabianov, speaking of this work, ascribed a special significance to the figure of Popesku. “Turned slightly sideways, away from the centre of the canvas, she is lost in this space, in this world, among other people. The figure of the woman was particularly important to Falk’s intention, demonstrating that the subject of his picture is not simply suffering from old age... It is the expression of emotional fatigue, anxiety, burn-out; in other words, of universal qualities born of the contemporary world — or perhaps intrinsic to mankind.”"
Lot 10
NESTEROV, MIKHAIL 1862-1942 The Nightingale is Singing , signed and dated 1918. Oil on canvas, 81 by 68.5 cm. Provenance: Private collection, UK.Authenticity certificate from the expert V. Petrov.Related literature: For a later version of the same composition, see Russkaya dorevolyutsionnaya i sovetskaya zhivopis’ v sobranii Natsional’nogo khudozhestvennogo muzeya Respubliki Belarus’, Vol. 2, Minsk, Belarus, 1997, p. 178, No. 1189, illustrated.Mikhail Nesterov’s The Nightingale is Singing is one of his earliest versions of the celebrated 1917 composition, of which the artist painted at least four. It is now impossible to establish what became of the 1917 original, which, according to contemporary sources, was a larger-scale work than the later versions. We know for certain that a picture of the same name was sold at the famous Russian Art Exhibition in America in 1924 (and it is possible that this and the present work are one and the same). Another version, painted in 1922, is in a private collection in Kiev and the 1929 work that concludes the series is in the collection of the National Art Museum of Belarus.The well-known avant-garde theatre director and theorist Nikolai Evreinov visited Nesterov’s studio in the early 1920s and wrote that: “Among the versions of subjects that I knew well I found my eyes glued, so to speak, to the spellbinding work The Nightingale is Singing which Nesterov had painted in 1917. The subject is not complicated: in early summer, a young novice nun stands by a dreamy lake bordered by a beautiful forest and listens breathlessly to the song of Nature pouring forth in the nightingale’s trilling; and on her lips, which have vowed never to know a sinful kiss, is a smile — such a sad smile, so understandable, so human!”The story of how this subject arose is closely linked to Nesterov’s cycle of works dedicated to nuns, the “brides of Christ”, which he created over twenty long and extremely fruitful years. He conceived The Bride of Christ as a memorial to his beloved wife who had died unexpectedly. He first painted a large study of a girl lost in thought, in a dark dress with a little stalk of grass in her teeth and “with the face of my Masha”. In the words of one who had seen this now-lost work, “you could stand before this pensive girl for a good while and ponder for hours that mystery of life that she too is pondering. And in those thoughtful eyes there was so much that was familiar and close to us, such a revelation of the deepest recesses of the female soul that, looking into them, you could not help but recall the similar pensive heroines of Melnikov-Pechersky, his Flenushka and others, and the whole of our native Rus and its God-seeking people.”“With this picture” said Nesterov later, “I had reached a turning point and something had appeared that would later grow more consistent, something well-defined, which gave me my ‘persona’... My love for Masha and my losing her made me into an artist, brought to my art what had been missing: emotion and a living soul — in a word, everything that people would later come to value and still value in my art.”And indeed, The Bride of Christ immediately attracted serious critical attention. With this work, the artist’s destiny was decided. Continuing his initial theme, between the 1890s and 1910s Nesterov painted a whole story in pictures dedicated to the fate of the innocent girl, partly serving to develop the theme of his own sweet melancholy and partly inspired by Pavel Melnikov-Pechersky’s twin works In the Woods and In the Highlands.However, according to the celebrated writer and close friend of the artist S.N. Durylin, it was The Nightingale is Singing that “became one of the most poetic versions of Nesterov’s theme of the fate of the Russian woman. Again we have a bride of Christ, but this time the artist brings her outside the convent walls one peaceful May evening to the edge of the forest, basking in the fragrant warmth of spring, while the nightingale’s song of love and paean to springtime makes her forget for a moment all her vows to obey, to pray and to ‘withdraw from the world’… We cannot see the nightingale in the picture, but we hear its song in the fragrant stillness of that spring evening, a stillness that seems to hear and respond, and the subject of the song is clear: youth, happiness and love.”Indeed, in the delicately observed motif of the nightingale’s song, which seems to come from beyond the bounds of the picture, a theme resonates which was of great significance in Nesterov’s work — the theme of music bringing man and nature into harmony. As we look at this picture, we are reminded of what Vasily Rozanov said of Nesterov in 1907, in connection with the gloomy and oppressive state of Itinerant painting, and his words seem prophetic: “Then, like the resonant song of the skylark from a warm, blue sky, we heard the music and the musicality of Vasnetsov and Nesterov. ‘To the sky! To the sky!’ And we all looked to the sky. That is why we love them!”
Lot 13
KONCHALOVSKY, PETR 1876-1956 Pier at Ryazan , signed, also further signed, dated 1931 and numbered "898" on the reverse. Oil on canvas, 73.5 by 92 cm. Provenance: Private collection, France.Exhibited: 8th Exhibition of Works by P.P. Konchalovsky, Moscow, 1933.14th Exhibition of Works by P.P. Konchalovsky Dedicated to 50 Years of Painting, Moscow, 1947.Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 126, listed as “zhi 743”.Petr Konchalovsky’s work of the 1920s and 1930s is characterised by a “serene” painting style. The radical experimentation, his search for new forms of expression and his work with the legendary left-wing Jack of Diamonds group was now behind him. During this period Konchalovsky focussed on his palette and on greater material authenticity in the rendering of landscape elements and still life details. This authenticity was not the pursuit of greater accuracy in his line, or elaboration of colour and shading, but of the figurative impact of areas of colour planes. The work Pier at Ryazan is uncommonly joyful in mood and resonant with saturated colour, and is a fine exemplar of the artist’s creative credo of the late 1920s and early 1930s. In this work the master has brilliantly achieved his aim of a harmonious relationship between a rather conventional mode of expression and a luminous colour palette. Its apparent minimalism is deceptive. The white, pink and blue areas trigger such profound and diverse “incidental” colour interactions that the overall symbiosis of pigments is utterly unique and generates an impression of highly complex colour permutations.
Lot 16
* KOROVIN, KONSTANTIN 1861-1939 Lady with a Guitar , signed and dated 1912. Oil on canvas, 86 by 66 cm. "Provenance: Collection of A.Y. Abramyan, Russia.Private collection, USA.Exhibited: The Fine Art Exhibition of the Russian Union of Artists, Fadeev Central House of Literature, March-April 1972 (label on the stretcher).Literature: Illustrated on a postcard published by Izobrazitel’noe iskusstvo, Moscow, 1974.Lady with a Guitar is a magnificent example of Korovin’s work from the 1910s when the master reached the peak of his career. His canvasses became increasingly colourful during this period, and a free, sweeping style emerged. This is clearly visible in the portraits of Nadezhda Komarovskaya, a close friend of Korovin, who frequently modelled for him during this period.Korovin painted his model by improvising directly from nature, and therefore the portrait has none of the deliberate, painstaking style and faithfully recreated details which were characteristic of his very early work. He strove to depict the young lady in a relaxed pose and to convey a lively, domestic scene. His speedily produced works are focused on conveying first impressions. A relationship between the sitter and her environment is constructed with the aid of vibrating light and varied reflections. The way in which he makes use of his own “trademark” colourist discovery of 1886 is also extremely striking: the “burning” of the red next to green, gradually transforming into the traditional colour spectrum of the master and his diverse combinations of dark green and red-ochre tones. The very structure of the composition, in which a model sits in the corner against the background of a window, becomes a characteristic feature of Korovin’s works of this period, which frequently combine the genres of portraiture, landscape painting and still life. A number of compositions from this series are well-known. They include one of the Lady with a Guitar portraits, which was sold at MacDougall’s Russian Art Sale in May 2006."
Lot 19
BOGDANOV-BELSKY, NIKOLAI 1868-1945 The Teacher`s Guests , signed. Oil on canvas, 80.5 by 102 cm. Provenance: Private collection, UK.The work will be included in the book on N. Bogdanov-Belsky being prepared by A. Kouznetsoff.The Teacher’s Guests by Nikolai Bogdanov-Belsky is the artist’s reworking of his celebrated work The Teacher’s Name Day. Executed with impeccable skill, it presents a significant departure from his earlier works painted at the turn of the century and bears witness to the creative strides made during his later period.The idea of a work on the theme of village children invited to tea with their teacher was first conceived of by Bogdanov-Belsky in 1908, when visiting the estate of a landowner named Ushakov, in Tver Province. There he executed a sketch entitled Visiting the Teacher from which, two years later, he painted the large-scale work that brought him celebrity in Europe. Sadly, it has been lost and is known only from reproductions. The artist, however, carefully preserved the sketch itself and used it as the basis for several variations which would have been well-known by his contemporaries, including The Teacher’s Name Day, The Teacher’s Birthday and Visiting the Teacher.When Bogdanov-Belsky left Soviet Russia for Latvia in 1924 he took the sketch with him, and it is today preserved in the Art Museum in Riga. As an émigré he again turned to the theme of children having tea in a garden, always composed from fresh sketches drawn from life and never forfeiting the principles of Impressionism, which for him were still relevant. Thus his protagonists change from picture to picture and this large work, The Teacher’s Guests, is a splendid demonstration of this. Painted while the artist was living in Latvia, this work continues to focus on the theme of a happy village childhood, which allowed him to address the creative problems of light and colour that interested him. By arranging his figures within their landscape and using lively, vivid, vibrant colours, the artist fills the picture with the fleeting movement of foliage trembling in the wind and with the sense of a glimpse of real life. The composition is imbued with the desire to convey artistically the link between man and nature and to suffuse the canvas with light and air.It was most likely local youngsters who posed for this picture, alongside the artist’s young wife, who often modelled for Bogdanov-Belsky’s portraits and genre works. Incidentally, many of the teacher’s guests can also be seen in his other works of the time. We can, for example, recognise the little girl in the flowered headscarf and striped top, drinking tea from a saucer, as the protagonist in the romanticised work Inspiration, and the two urchins sitting at the end of the table nearest to us as the young visitors to an artist’s studio in the painting Guests.
Lot 21
* LAGORIO, LEV 1827-1905 Sea Shore. Crimea , indistinctly signed and dated 1891. Oil on canvas, 97.5 by 125.5 cm. "Provenance: Private collection, Europe.Authenticity of the work has been confirmed by the expert V. Petrov.Authenticity of the work has also been confirmed by the expert N. Ignatova.Sea Shore. Crimea dates from Lagorio’s mature period. During this period, he remained consistently Romantic in style, capturing hues in the natural environment evocative of moods and feelings. In the 1890s his work was distinguished by an ability to combine the immediacy of an on-the-spot study with the artifice of colour effects in the best traditions of Romantic and Academic landscape painting. It is the very compositions that included people strolling along the beach which marked the highpoint of Lagorio’s genre landscapes, combining the polish and tranquillity of the Italian school with a more Russian, psychological element.Lagorio — who was among the most talented of the 19th-century landscape, seascape and battle artists — had a special love of the Crimean coast, for he was born in Feodosia, into the family of the Neapolitan Vice-Consul. His childhood on that coast, together with the direct influence of Aivazovsky, who lived nearby, would determine Lagorio’s artistic credo throughout his life. In the late 19th century the Crimea became a Mecca for many Russian artists, having replaced their beloved but distant Italy. His main subject was the seashore and in portraying it he attached particular significance to the rendering of light, aerial perspective and water in its various states. After graduating from the Imperial Academy of Arts, from the class of Maxim Vorobiev and Bogdan Villevalde, and completing a study tour of Europe, he even took a studio for himself in Sudak, where he would often spend the summer months.Sea Shore. Crimea resembles Lagorio’s typical compositional and artistic devices. The rocks are depicted in an extremely realistic way and the strolling couple is typical of Lagorio’s use of staffage in Crimean landscapes. The painting is executed with all the distinctive traits of the artist’s best works — a strong basic composition, decorative but true colouring and effective lighting — and can be considered his benchmark work.When Lagorio painted the present work he was already a revered professor of the Academy of Arts and had behind him hundreds of coastal views which were highly rated by his contemporaries, yet he was still able to preserve a certain freshness in his impression and a sincerity of feeling in his Crimean landscapes. His coastal views, joyous, sunny, animated by a sailing ship on the horizon, by a boat coming in to moor or elegant figures taking a stroll, were so popular with the local high society that the artist decided to devote the whole of his 1893 solo exhibition to landscapes of the Crimea’s southern coast.It was these Crimean works that constitute the lion’s share of the artist’s output, which have come down to us. Certainly, the catalogue for his memorial exhibition, organised in 1906 by Lagorio’s admirers in St Petersburg, lists many views of Kuchuk-Lambat, Yalta, Simeiz, Feodosia, Alushta, Sebastopol and the surroundings of Sudak: Sea Shore. Crimea might well be hiding behind one of their rather uninformative titles."
Lot 27
AIVAZOVSKY, IVAN 1817-1900 Classical Poets on a Moonlit Shore in Ancient Greece , signed and dated 1886, also further signed on the reverse. Oil on canvas, 94 by 146 cm. Provenance: Property of a distinguished Greek family, Istanbul, until the 1950s.Anonymous Sale; The Russian Auction, Stockholms Auktionsverk, 4 October 2007, Lot 47.Acquired at the above sale by the present owner.Private collection, UK.Authenticity certificate from the expert V. Petrov.The work will be included in the forthcoming second volume of G. Caffiero and I. Samarine’s monograph on the artist.In his paintings Ivan Aivazovsky often turned to the subject of great poets, from the classical bards of the ancient world to more recent men of genius — Dante, Byron and Pushkin. Art historians are certain about many of the reasons that impelled the celebrated painter of seascapes towards portraying men of letters. For example, the artist was initially inspired to paint the great Russian poet when the two men met at the Imperial Academy of Arts, and subsequently after discussions with Pushkin’s friend Nikolai Raevsky and plans for an exhibition, marking the anniversary of the poet’s death. It was the mature master’s ideas on the meaning of life and art that found form in the work Dante Shows an Artist Some Unusual Clouds. The occasion of his painting, in 1898, the celebrated Byron Visiting the Mecharist Monastery on San Lazzaro Island in Venice was a flare-up of the Armenian question. However, Aivazovsky’s paintings devoted to the classical poets, works linked by motif and the time of their composition, represent a strange and intriguing, yet still little known, chapter in the artist’s biography.This small group consists of three works: the picture now offered for auction, Classical Poets on a Moonlit Shore in Ancient Greece, Acropolis of Athens in Ancient Times (private collection) and Wedding of a Poet in Ancient Greece (Art Gallery of Armenia, Yerevan). Painted in 1886, all three works are similar in size and all evoke an idyllic atmosphere of Arcadian harmony. However, despite these similarities, it is now hard to establish with any certainty, whether the choice of subject in these works was in response to a commission or simply the fruit of the artist’s unconstrained imagination.Either way, Classical Poets on a Moonlit Shore in Ancient Greece occupies a special place in his antiquity cycle. This heartfelt depiction of a peaceful nocturnal view of a Greek shore is distinguished from its daytime counterparts by a greater integrity. Here the portrayal is less detailed in the delineation of the terrain and its distinctive colouring. Unlike the other two works, in this picture Aivazovsky does not offer the viewer porticos of ancient temples to win them over. We can barely make out, through the gloom of night, the laurel wreaths and togas of the winners in the poetry contest. The poetic face of ancient Hellas is composed of different artistic ingredients.The moon, which has risen over the sea, framed by clouds, watches over the peace and silence of the sleeping, mirror-like surface of the water. The artist has conveyed perfectly the mystery of night, its power to transform the visible world, the close mystical connection between the moon and the sea that reveals itself on this kind of night. The beauty of the moonlight is expressed not only in the colouring of the pale night sky, but also in that of the sea, across which runs the luminous moonglade. The sea and rocks, bathed in spectral moonlight, evoke a Romantic sense of the vastness of the earth’s expanse and the delights with which it is filled.Aivazovsky laboured hard over his depiction of the moon, which he referred to as a “half-ruble moon”. His virtuosity at conveying the effects of moonlight playing on the clouds and the moonglade lying, trembling, on the water surface, became his greatest painting achievement and elicited admiring recognition from the public. Aivazovsky distributes the glitter of moonlight in vivid, bright, rhythmical brushstrokes and splashes, like golden sparks. They are ripples on the calm sea and, at the same time, visual highlights. Here water, light and air fuse into a single element. Light is contained in the demurely cool and elegant grey-blue colour palette. It seems to oscillate with the movement of the water, rolling when it gets to the shore, and the dynamic, curved brushstrokes convey the form of the waves.Air and water — these are the two main elements of nature and for Aivazovsky, following the views of the natural philosophers of antiquity, they are the two basic elements of painting. The sky in his Classical Poets on a Moonlit Shore in Ancient Greece is as informative as is the sea. For the sky tells the viewer in detail about the time of day, the atmospheric conditions and dictates the mood. This aerial ocean, with its currents and its clouds, running into the moon that illuminates the water — this is the area where this artist’s mastery is seen at its most refined.The picture is endowed with a special tonality and appeal to the emotions, thanks to the combination of landscape with a genre motif. Aivazovsky often had recourse to this strategy — much loved by his public — in order to ring changes in his seascapes. When portraying the protagonists in his picture sitting and standing on the rock by the water, the artist applied one of his most effective techniques for nocturnal scenes: he placed his figures against the light. This use of contre-jour gave the composition further dramatic expressiveness. The rock, the boats moving across the water, the water’s edge and the cliffs resemble dark wing flats on a theatre stage. And between these “flats”, in the foreground, we see the poets, deep in conversation, actors in a shadow play. In the distance, behind them, a multi-layered composition of sky and sea opens up, lit by the moon from its diaphanous heights and by subtly elaborated lighting effects.Although Aivazovsky often compared his own creative process with that of poetry, saying that “the subject of a picture comes together in my mind as does a poet’s subject in his”, this canvas shows its real literary subject receding into the background, while the picture is perceived as a harmonious poem of colour and light.
Lot 35
SAVRASOV, ALEKSEI 1830-1897 Pastoral Scene , signed. Oil on canvas, 65 by 54 cm. Authenticity certificate from the expert V. Petrov.Authenticity of the work has been confirmed by the expert N. Ignatova.Authenticity of the work has also been confirmed by the expert G. Churak.Pastoral Scene is one of the small group of light, lyrical landscapes that Savrasov painted towards the end of his life. Very few works of this period survive and for this reason they are of undoubted interest to collectors.The small-scale, salon-style format so beloved by Savrasov (similar to that of the celebrated works in the State Tretyakov Gallery, Rooks Have Returned and A Country Road) and the poetic nature of the motif bear testimony to that single-minded quest for artistic form which for many years was at the centre of the work of one of Russia’s most soulful landscape painters.The juxtaposition of the expansiveness of a Central-Russian river panorama, a blue sky covered with scudding clouds and the peaceful, unspectacular beauty of a river bank and pine forest with a herd of cows come to drink at the water’s edge, is a motif which first appeared in the artist’s work in the 1850s. Even then, in the earliest days of his artistic career, Savrasov’s keen love of nature, tinged with a religious quality, was already finding radiant expression in his low-key landscapes, imbued with careful and touching attention to the details of village life.Domestic cattle grazing peacefully by the water became the theme of a series of notable Savrasov works, so that the subject the artist elaborated in Summer Day (1850s, now in the Krasnodar Regional Art Museum) was taken further in his work of the 1860s and 1870s, including the celebrated Elk Island, Sokolniki (1869), acquired by Pavel Tretyakov. We sense definite echoes and resonances with this masterpiece in Pastoral Scene, painted two decades later, which was composed as a variation on the artist’s favourite motifs. It displays Savrasov’s usual selection of component parts: a watering-place in the foreground reflecting the intricate pattern of clouds and sky, a group of cows drinking unhurriedly, slender pine trunks suffused with sunlight, a path leading off into the distance and a far-off, evanescent church and bell-tower.His paint is applied in thin, almost transparent layers. The brushwork is without superfluous differentiation in the texturing of forms and only serves to emphasise the details this artist considered essential — the silhouette of the distant church on the hill and the tiny figures of birds over the water. Only the copse intrudes into the expanse of sky, preventing the eye from penetrating any further, instead directing us upwards towards the sky which still shows blue between the clouds. The artist has managed to seamlessly combine the intimacy of this homely little spot with the picturesque beauty of the view. As Savrasov’s pupil Isaak Levitan wrote of his master, “What simplicity! But behind that simplicity you sense the good, gentle soul of the artist, for all this is dear to him, close to his heart... In this simplicity lies a whole world of sublime poetry.”
Lot 58
* ANISFELD, BORIS 1878-1973 Still Life with Flowers and Fruit , signed and indistinctly dated. Oil on canvas, 89 by 63.5 cm. Provenance: Formerly in the collection of Mrs Esther Ruth Dry, Chicago.Acquired directly from the artist while studying at the Art Institute of Chicago under Anisfeld, c. 1950.
Lot 93
GONCHAROVA, NATALIA 1881-1962 Still Life with Flowers , signed, further titled on the reverse. Oil on canvas, 41.5 by 27.5 cm. Provenance: Private collection, UK.Still Life with Flowers by Natalia Goncharova is one of a series of still lifes featuring flowers, her preferred genre during the 1920s and 1930s. The motif of blossoming not only fulfils an aesthetic role but is also endowed with symbolic significance. Marina Tsvetaeva talks about this symbol of regeneration in her recollections of Goncharova. “The idea of rebirth — not the idea but the living sensation, not just at some time but here and now, right now! This is what all her green shoots, her new leaves, her brushstrokes are about.”Still Life with Flowers is a splendid demonstration of Natalia Goncharova’s superb skill. Her impressionistic works of this period — which lasted up until the outbreak of the Second World War — are marked by an expressive approach to composition, variety in form and line and diversity of texture. Still Life with Flowers is without doubt one of this artist’s most distinctive works, filled with a sense of warmth and harmony.
Lot 321
§ PLAVINSKY, DMITRY B. 1937 Come si dipingeva una volta , signed and inscribed in Cyrillic with a dedication on the reverse. Tempera and oil on canvas,78.5 by 60.5 cm. Executed in 1972.Provenance: Important private collection, Italy.Authenticity of the work has been confirmed by the artist’s wife Maria Plavinskaya.Exhibited: La nuova arte Sovietica: Una prospettiva non ufficiale, La Biennale di Venezia, Palazzetto dello Sport all’Arsenale, Venice, Italy, 1977 (label on the reverse).La nouva arte Sovietica: Una prospettiva non ufficiale, Palazzo Madama, Turin, 1978.Rassegna sul dissenso culturale nell’Est europeo, Scuola Cantonale di Commercio, Bellinzona, Switzerland, 1978 (label on the reverse).Literature: Exhibition catalogue, La nuova arte Sovietica: Una prospettiva non ufficiale, Venice, Marsilio, 1977, p. 221, listed as Come si dipingeva una volta.Exhibition catalogue, La nuova Arte Sovietica: Una prospettiva non ufficiale, Turin, Gazzetta del Popolo, 1978, p. 41, illustrated; p. 188, listed as Come si dipingeva una volta.Exhibition catalogue, Rassegna sul dissenso culturale nell’Est europeo, Bellinzona, Arte Incontri Mass-media, 1978, listed as La lettera.Dmitry Plavinsky, New York, Rizzoli, 2000, p. 201, illustrated; p. 263, listed as Still Life in a Cobweb.
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