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Lot 127
NIKOLAI GLUSHCHENKO (UKRAINIAN 1902-1977)A Pair of Landscapes,1. Fields of Kaniv, 1969oil on paperboard42.8 x 48 cm (16 7/8 x 18 7/8 in.)signed lower right; titled on verso, stamp from the collection of [Yan] Yurovsky in Cyrillic on verso2. Village by the Lakeoil on paperboard17 x 42.2 cm (6 5/8 x 16 5/8 in.)signed lower right; inscribed with a gifting dedication on verso, stamp from the collection of [Yan] Yurovsky in Cyrillic on verso LOT NOTESA graduate of the Academy of Art in Berlin (1924), from 1925 Glushchenko worked in Paris where he immediately attracted the attention of French critics. From the Neue Sachlichkeit style of his Berlin period he changed to Post-Impressionism. Besides numerous French, Italian, Dutch, and later, Ukrainian landscapes, Glushchenko also painted still life, nudes, and portraits such as those of Oleksander Dovzhenko and Volodymyr Vynnychenko, as well as portraits commissioned by the Soviet government of the French writers Henri Barbusse, Romain Rolland, and Victor Margueritte and the painter Paul Signac. At the beginning of the 1930s, Gluschenko belonged to the Association of Independent Ukrainian Artists and helped organize its large exhibition of Ukrainian, French, and Italian paintings at the National Museum in Lviv. In 1936 he moved to the USSR, but was allowed to live in Ukraine only after the war, when his works began to reflect an officially approved socialist realism. In the 1960s, having come into a close contact with new artistic trends, he revitalized his paintings with expressive colors, and assumed a leading position among Ukrainian colorists.
Lot 82
ALEKSANDR SHEVCHENKO (RUSSIAN 1883-1948)Still Life with Pipe, 1920oil on canvas67.5 x 47.5 cm (26 5/8 x 18 3/4 in.)signed and dated upper leftPROVENANCEDavid Kramer and Elena Ruben, Moscow, 1930, by reputeSolomon Shuster, Saint Petersburg, 1949, by reputeOleg Chashin, Riga, 1970, by reputeNelly and Stanislav Makarenko, 1984Private collection, Paris, 2006Private collection, New York, 2011EXPERTISEA copy of an authenticating letter by Dmitriy Sarabyanov, 2006A signed expert opinion by V. Shalabayeva, 2012 A study of materials and techniques executed by V. P. Golikov and V. B. Lukyanov, Moscow, 2012n.b. Copies of all above expertises available upon request.LITERATUREThe present lot was studied by Charlotte Douglas in an article published in New York, 2005 (available upon request)
Lot 77
MARC CHAGALL (RUSSIAN-FRENCH 1887-1985)L'homme à la barbe, circa 1922-23lithograph on paper32 x 24 cm (12 5/8 x 9 1/2 in.)PROVENANCECollection of the artist Karlis Miesnieks, RigaAcquired from the family of the above by Moscow Cultural Business center in the 1990s, RigaAcquired by the present owner from Arthur Avotinsh, RigaEXPERTISEA letter of a research and expertise from Ye. Zhukova, N. Markova and I. Shumanova of the State Tretyakov Gallery, Moscow, 2004A copy of a letter from Mara Litse, Art Historiann.b. Copies of all above expertises available upon request. LOT NOTESThis very rare lithograph by Marc Chagall of a bearded Jewish man was based by Chagall on his original drawing of the same name of 1911, now in the collection of the Centre Pompidou in Paris. According to the research performed by both Mara Litse and Ye. Zhukova, several interesting facts about its provenance, rarity, and dating can be noted. While this lithograph is exceedingly rare, there does exist another copy in the permanent collection of the State Tretyakov Museum in Moscow, which was gifted to the Museum by the well known collector George Costakis in 1977, and has been in numerous exhibitions and Chagall Retrospectives as "Old Man," "Head of a Jew", and "Old Jew" amongst other titles (New York, 1981; Moscow, 1988; Athens 1996). According to the expertise, these two copies were compared by Ms. Litse and Ms. Zhukova and were found to be identitical. The currently offered drawing was originally in the collection of the noted Latvian artist Karlis Miesnieks, who acquired it during his studies in Berlin in 1922-23, where he had seen Chagall's works at the Erste Russiche Kunstaustellung at Galerie van Diemen & Co. in 1922. Also in that year 1922, Chagall was actively studying lithography in Berlin at the studio of Hermann Struck, a fellow Jewish artist, master printmaker, and later Jewish activist. A well known and published painting by Miesniks that he painted in 1923, Still LIfe with Doll, shows this lithograph posted on the wall (see reference image here). For these reasons, as the expertises note, it is reasonable to assume that the current lithograph was made around 1922, and no later than 1923.
Lot 117
KONSTANTIN KONSTANTINOVICH KUZNETSOV (RUSSIAN 1895-1980)Seder Still Life from a Holiday Calendar, gouache on paperboard20.5 x 26.5 cm (8 1/8 x 10 3/8 in.)from a series of illustrations for a holiday calendar created by the artistLOT NOTESKonstantin Kuznetsov was born in 1895 in St. Petersburg and became a very well known illustrator in the Soviet Union. As of 1944 he was in a prisoner of war camp in Yugoslavia, and after the war would later live in Munich before emigrating for the United States in 1950, where he would continue his career as an illustrator. Kuznetsov died in Los Angeles in 1980.
![Basil Blackshaw HRHA RUA (1932-2016) UNTITLED [STILL LIFE] oil on paper Acquired directly from the artist Accompanied by a ce](https://cdn.globalauctionplatform.com/374f2866-ae70-4819-874d-a6c8012bd3fe/c2de9113-5013-4295-c3a1-2e31c397a274/468x382.jpg)
Lot 161
CALLAS MARIA: (1923-1977) American-born Greek Soprano. A good vintage signed and inscribed 8 x 10 photograph, the image depicting La Divina in a head and shoulders pose in costume as Leonora from Giuseppe Verdi's opera Il trovatore. Signed in bold, dark fountain pen ink to the image, 'To Bernard Baker, Cordially, Maria Meneghini Callas', and dated 1958 in her hand. The signature runs across a darker area of the image, although is perfectly legible. About EX The present image of Callas was captured in 1955 and shows her in the Chicago Lyric Opera's production of the opera Il trovatore. The impresario Rudolf Bing recalled of Callas's performance as Leonora in Chicago that 'it was Callas's quiet listening, rather than [Jussi] Bjorling's singing that made the dramatic impact….He didn't know what he was singing, but she knew'. Maria Callas led a life full of drama and personal tragedy, however her artistic achievement and enduring influence were such that Leonard Bernstein described her as 'the Bible of opera' and the singer still remains the definition of the diva as artist.
Lot 54
WAGNER RICHARD: (1813-1883) German Composer. An unusual printed 8vo page annotated by Wagner, being the introduction to a publication relating to the composer's opera Tannhauser, the German text to the recto and verso of the page, removed from a First Edition work published by Schulthess of Zurich, August 1852. At the head of the first page Wagner has added the words 'Programm der Ouvertüre zu Tannhäuser' in his hand. A thin strip of sellotape staining to the left edge, not affecting the printed text or Wagner's holograph annotation. Some very light, minor creasing, about VG Tannhäuser und der Sängerkrieg auf Wartburg (1845) is an opera in three acts with music and text by Wagner, inspired by two German legends. The story centres on the struggle between sacred and profane love, and redemption through love, a theme running through much of Wagner's mature work. Wagner made a number of revisions of the opera throughout his life and was still unsatisfied with its format when he died. The most significant revision was made for the opera's premiere in Paris in 1861. The opera remains a staple of major opera house repertoire in the 21st century.Richard Wagner is primarily known for his operas (or 'music dramas' as some of his later works were known) and, unlike most opera composers, Wagner wrote both the libretto and music for each of his stage works. The composer revolutionised opera through his concept of the Gesamtkunstwerk ('total work of art') and described his vision in a series of essays published between 1849-52. Wagner's most important operas continue to be performed annually at the Bayreuth Festival, run by his descendants. The effect of Wagner's ideas can be traced in many of the arts throughout the 20th century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.
Lot 45
GEORGE IV: (1762-1830) King of the United Kingdom 1820-30. A good D.S., George R, as King, at the head, four pages, folio, Court at Carlton House, 14th May 1824. The manuscript document is addressed to the Reverend George Gregory and William Ponsford and is a License allowing John Lambert Arden and his issue to take and use the surname of Gorwyn in addition to, and after that, of Arden and provides a lengthy explanation, stating, in part, 'Whereas George Gregory of Dunsford in the County of Devon, Clerk, and William Ponsford, of Puddicombe in the same County, Gentleman, for and on behalf of John Lambert Arden, of the Parish of Cheriton Bishop in the County aforesaid, Gentleman, a minor of the age of twenty years and upwards, the fourth and youngest son of George Arden, late of the City of Exeter, Mercer, deceased, by Joan his wife, one of the sisters of John Lambert Gorwyn, late of Cheriton Bishop….also deceased, have by their Petition humbly represented us, that the said John Lambert Gorwyn, the late material uncle of the said John Lambert Arden, in and by his last Will….gave and devised his messauges….in the said Will, there is contained a Proviso and Direction that when and as soon as the said John Lambert Arden should become seized or entitled to the actual Possession of the said Estate….he shall use, assume and take upon him and afterwards continue the surname of Gorwyn only instead of his then surname or by adding the same thereto….' Countersigned at the conclusion by Robert Peel (1788-1850) British Prime Minister 1834-35, 1841-46 and Home Secretary 1822-27 & 1828-30. With blind embossed paper seal affixed. A good document featuring fine examples of the signatures of King George IV and Robert Peel. VG Robert Peel twice served as the United Kingdom's Prime Minister (1834-35, 1841-46) and twice as Home Secretary (1822-27, 1828-30) and is regarded as one of the founders of the modern Conservative Party and the father of modern British policing. His establishment of the Metropolitan Police Force for London in 1829 led to a new type of officer known in tribute to him as 'bobbies', a term still used today. King George IV had served as Prince Regent during the final years of his father, King George III's, illness and acceded to the throne in 1820. The King led an extravagant lifestyle that contributed to the fashions of the Regency era. He was a patron of new forms of leisure, style and taste and commissioned the building of the Royal Pavilion in Brighton, the remodelling of Buckingham Palace and the rebuilding of Windsor Castle. His charm and culture earned him the title of 'the first gentleman of England', however his way of life brought contempt from his public, many of whom found his behaviour selfish, unreliable and irresponsible.
Lot 490
A 19th Century ENGLISH SCHOOL still life study "Flowers in basket", oil on canvas, unsigned CONDITION REPORTS Various cracks and crazing to the paintwork throughout. Various scratches and impressed marks. Lower right hand corner looks like it has been re-painted / touched up together with various other sections throughout. 59.5 cm x 90 cm. All over general signs of wear and tear throughout.
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