Circa 1880 A.D. A wooden painted board with gessoed surface, naturalistic painting of Jesus's entry into Jerusalem on a donkey, passing through an arch in the city wall with celebrating crowds waving palm fronds; Jesus and Joseph shown with outline nimbus; heavily gilded interlaced border with rich turquoise field and polychrome detailing; title to the lower edge in Cyrillic script: 'Entrance of the Lord in Jerusalem'. See Turtsova, N.M., The Entry of the Lord into Jerusalem. Series 'Russian icon. Images and symbols' (in Russian), St. Petersburg, 2014. 1.18 kg, 31 cm high (12 1/4 in.). Property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 11547-196367. The scene, painted in the style of late 19th-century romantic painters, represents a well-known part of the Gospels that describe the entry of Jesus into Jerusalem. He makes a grand entrance into the city on a donkey to fulfil the prophesy of Zechariah, “Tell the city of Zion, look, your king is coming to you! He is humble and rides on a donkey and on a colt, the foal of a donkey.”
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Marc Chagall (1887 Witebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', Farblithografie auf Velin, 1952, 68 cm x 49,5 cm Plattenmaß, 74,5 cm x 53,5 cm Passepartoutinnenmaß, signiert, Epreuves d'artiste nummeriert, im Druck signiert, 1949 datiert, leicht gewellt, leicht gebräunt, Literatur: Wvz. Solier VI, CS 4.Bereits um 1910-1914 löste sich Marc Chagall während seines Parisaufenthaltes vom Impressionismus, den er an der St. Petersburger Akademie erlernte. Dabei integrierte er Stilmerkmale des gerade durch Pablo Picasso und Georges Braque aufkommenden Kubismus und farbstarken Fauvismus in seiner Malerei. Nach Russland zurückgekehrt entwickelte Marc Chagall seinen eigenen Stil aus Elementen der russischen Volkskunst und der jüdisch-religiösen Erlebniswelt seiner Kindheit. Über Berlin emigrierte der Künstler nach Paris, wo er von 1920 an lebte und arbeitete. Das Werk Chagalls ist durch farbenprächtige Zusammenfügung symbolischer Bildmotive geprägt. Neben Gemälden fertigte er ein umfangreiches grafisches Oeuvre an und gestaltete Glasfensterentwürfe ebenso wie Keramik und Plastik. Ab 1950 lebte der Künstler in Vence, das über Nizza lediglich ca. 30 Kilometer von der Gemeinde Saint-Jean-Cap-Ferrat an der Côte d'Azur entfernt liegt und diese Farblithografie betitelt.Marc Chagall (1887 Vitebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', colour lithograph on Velin, 1952, 68 cm x 49.5 cm panel dimension, 74.5 cm x 53.5 cm inner passepartout dimension, signed, Epreuves d'artiste numbered, signed in print, dated 1949, slightly wavy, slightly browned paper, literature: WVZ. Solier VI, CS 4.As early as around 1910-1914, Marc Chagall broke away from Impressionism, which he had learned at the St. Petersburg Academy, during his stay in Paris. In the process, he integrated stylistic features of Cubism and colourful Fauvism, which were just emerging through Pablo Picasso and Georges Braque, into his painting. After returning to Russia, Marc Chagall developed his own style from elements of Russian folk art and the Jewish religious experience of his childhood. Via Berlin, the artist emigrated to Paris, where he lived and worked from 1920 onwards. Chagall's work is characterised by a colourful combination of symbolic pictorial motifs. In addition to paintings, he produced an extensive graphic oeuvre and designed stained glass windows as well as ceramics and sculpture. From 1950 onwards, the artist lived in Vence, which is only about 30 kilometres from the municipality of Saint-Jean-Cap-Ferrat on the Côte d'Azur via Nice and which is the title of this colour lithograph.
Alexej von Jawlensky (1867 Moskau - 1941 Wiesbaden)'Meditation', Öl auf leinenstrukturiertem Papier auf Karton montiert, 17,5 cm x 12,5 cm, Unterlagekarton 30,5 cm x 25 cm, monogrammiert, 36 datiert, verso auf dem Unterlagekarton A. Jawlensky bezeichnet, IX. 1936 datiert, N. 20 nummeriert, I.A bezeichnet, in den Ecken Stecknadellöcher, Kante unten rechts mit minimalem Papierabriss (durch das Stecknadelloch), Unterlagekarton mit Montierungsrückständen. Das Gemälde wurde im Oktober 2022 dem Alexej von Jawlensky-Archiv S.A. vorgelegt, Bestätigung der Aufnahme in das Werkverzeichnis folgt.Der deutsch-russische Maler Alexej von Jawlensky absolvierte zunächst die Militärakademie in Moskau und studierte anschließend an der St. Petersburger Kunstakademie und mit Künstlerkollegen, wie Wassily Kandinsky, in München. Er war Gründungsmitglied der Neuen Künstlervereinigung München und stand somit der weltbekannten Künstlergruppe "Blauer Reiter" nahe. Seine Farbpalette besteht aus leuchtenden Farben und markantem Pinselduktus mit dunklen Umrisslinien, die stets dem figurativen verhaftet blieben. Doch bewegte er sich mit den Jahren durch seine Arbeiten zu den Zügen des menschlichen Gesichts hin zur Abstraktion. Zur Werkreihe "Meditation" gehört unser vorliegendes Werk von 1936 ebenso, wie jenes Gesicht auf Goldgrund im Museum Lenbachhaus München. Seit 1929 litt Alexej Jawlensky an Arthritis, die ihn während seiner letzten Werkphasen in eine fast vollständige Lähmung zwang, die Malerei ganz aufzugeben. "So gingen die Jahre in großer Arbeit. Und dann wurde ich krank und konnte wohl weiter arbeiten, trotzdem meine Hände immer mehr und mehr steif wurden. Ich konnte den Pinsel nicht mehr in einer Hand halten, musste beide Hände dazu nehmen, immer mit großen Schmerzen. Mein Format wurde ganz klein, auch musste ich eine neue Technik finden. Drei Jahre malte ich diese kleinen abstrakten Köpfe wie ein Besessener. Da fühlte ich, dass ich bald ganz aufhören musste zu arbeiten. Und so kam es auch!" Der Kunsthistoriker Armin Zweite hat sich mit den drei Arbeitsjahren des Künstlers zwischen 1934 - 1937 beschäftigt und die Variationen von über Hunderten von Arbeiten des Künstlers analysiert. Das Kopfmotiv zeigt "[.] schwere Balken in tiefem Schwarz das griechische Kreuz, das auf der waagrechten Markierung des Mundes ruht und oben durch die stirnbegrenzenden Brauen überfangen wird. Aufgrund der parallelen Pinselspuren gewinnen die dazwischen liegenden Flächen eine eigene Struktur. [.] An der Nasenwurzel leuchtet das zum Abschluss aufgetragene Weisheitszeichen in hellem Ton und unterstreicht den religiös-meditativen Charakter der Bilder zusätzlich." Dieser Charakter wirkt auch in unserem Werk wie der einer Ikone. Das malerische Antlitz wird hier in blau, rot, grün und gelblichen Tönen in Farbfelder aufgeteilt und wirkt trotz der starken Abstraktion äußert emotional und tiefgründig. Selbst wenn dieses betrübt gefasste Gesicht nicht auf Goldgrund gesetzt wurde, ist es doch von starker Spiritualität durchzogen. Literatur: Friedel, Helmut; Hoberg, Annegret: Der Blaue Reiter im Lenbachhaus München, Prestel Verlag, 2007Alexei von Jawlensky (1867 Moscow - 1941 Wiesbaden)'Meditation', oil on linen-texturedpaper mounted on cardboard, 17.5 cm x 12.5 cm, backing board (dimensions) 30.5 cm x 25 cm, monogrammed, dated 36, inscribed on verso of backing board A. Jawlensky, dated IX. 1936, numbered N. 20, inscribed I.A, pinholes in corners, edge lower right with minimal paper tear (through pinhole), backing board with mounting residues. The painting was submitted to the Alexej von Jawlensky Archive S.A. in October 2022, confirmation of inclusion in the catalogue raisonné follows.The German-Russian painter Alexej von Jawlensky first graduated from the military academy in Moscow and then studied at the St. Petersburg Art Academy and with fellow artists, such as Wassily Kandinsky, in Munich. He was a founding member of the Neue Künstlervereinigung München and was thus close to the world-famous ''Blauer Reiter'' group of artists. His colour palette consists of bright colours and a striking brushstroke with dark outlines that always remained figurative. However, over the years he moved towards abstraction through his works on the features of the human face. Our present work from 1936 belongs to the ''Meditation'' series, as does the face on a gold background in the Lenbachhaus Museum in Munich. Since 1929, Alexei Jawlensky had suffered from arthritis, which forced him into almost complete paralysis during his last phases of work, forcing him to give up painting altogether. ''So the years went by in great work. And then I fell ill and I suppose I could go on working, even so my hands became more and more stiff. I could no longer hold the brush in one hand, I had to use both hands, always with great pain. My format became very small, and I also had to find a new technique. For three years I painted these little abstract heads like a man possessed. Then I felt that soon I would have to stop working altogether. And so it came to pass!'' Art historian Armin Zweite has studied the artist's three working years between 1934 - 1937 and analysed the variations of over hundreds of the artist's works. The head motif shows ''[...] heavy bars in deep black the Greek cross resting on the horizontal marking of the mouth and overlaid above by the brows bordering the forehead. Due to the parallel brushstrokes, the intervening areas gain a structure of their own. [.] At the root of the nose, the wisdom sign applied at the end shines in a light tone and further underlines the religious-meditative character of the paintings.'' This character also appears in our work like that of an icon. Here, the painterly countenance is divided into colour fields in blue, red, green and yellowish tones and, despite the strong abstraction, appears extremely emotional and profound. Even if this sorrowful face was not set on a gold ground, it is still permeated by a strong spirituality. Literature: Friedel, Helmut; Hoberg, Annegret: Der Blaue Reiter im Lenbachhaus Munich, Prestel Verlag, 2007
Painting Rural Landscape Mikhail Konstantinovich Klodt (1832-1902) Honored general of Russian landscape painting of the mid-19th century, represents the epic landscape of the Russian village. In the center of the composition is a peasant farmstead with a wooden hut and a barn, located by a quiet river on the edge of a forest. A bridge is thrown across the river. To him, slowly follows a cart drawn by a horse. The summer swell of the wind plays with the tops of the trees and drives cheerful clouds in the wide summer sky. Canvas, oil. Dimensions: 67x106.5 cm. Expert opinion. Width: 142cm, Height: 99cm, Depth: 8cm, Weight: 20kg, Condition: Good, Material: 243
Painting Fir at the fence. Apollinary Mikhailovich Vasnetsov (1856-1933). One of the penetrating sketches by Apollinary Vasnetsov, about the quiet generalized beauty of the Russian world. A lyrical pause, a stop of time, embraces spruces against a rainy background, a lake with a gloomy reflection and a cool gleam of receding hopes. A cast of the ancient Russian universe. 1890s. Cardboard on wood, oil. Dimensions: 34x21 cm. Expertise is attached. Width: 43cm, Height: 54cm, Depth: 6cm, Weight: 3kg, Condition: Good, Material: 43
Russian fruit flowerpot-biscuit bowl made of solid crystal and 84 silver, in the form of a female figure, a winged bird Alkonost. A modest masterpiece of Russian Art Nouveau. The plot and idea go back to Slavic mythology and Vasnetsov`s 1896 painting of the same name, Sirin and Alkonost, where the opposition of good and evil, despondency and prosperity, are embodied in effeminate winged birds. Alkonost brings prosperity, hope and joy. It is not surprising that she frames the flowerpot; saving with one wing, offering the fullness of life with the other. Physical and metaphysical amulet of the house, hearth. The bewitching, dynamic movement of the figure, spreading its wings, embraces the diamond-shaped boat of crystal. The willful nature of the myth and the variability of luck are contained in the energy of a bird`s impulse, the turn of the head, the face and the dynamic expansion of the beads. The rich, viscous plasticity of open wings, feathers, and women`s hair create a moving, viscous pattern that enlivens a myth that comes to life with the utilitarian practicality of crystal. Moscow hallmark 84 samples of silver, 1908-1917. The maker`s mark is illegible next to it. Length: 29 cm. Total product weight: 2161 gr. Width: 29cm, Height: 17cm, Depth: 19cm, Weight: 2.161kg, Condition: Good, with traces of use , Material:Silver 84
Briem (Helgi P.) Iceland and the Icelanders, first edition inscribed "To E J Holt O.B.E. Director of Organisation I.O.C with best greetings from Ben G Wage" together with The Royal Capital of Prague (Kralovske Hlavni Mesto, Praha, 1911), Praha, 1980 Olympics booklet and a copy of Russian painting in the museums of the RSFSR Edition I CONDITION REPORT: Provenance - Ernest James Henry (Billy) Holt, CMG, CBE (1883 - 1972) who for more than 50 years was closely associated with athletics. He started as a sprinter with South London Harriers and turned to the administration side of the sport when he retired, He became an honorary official in 1907 when he was appointed assistant secretary of South London Harriers. In 1932 he became treasurer of the Amateur Athletic Association and progressed to become honorary secretary of the Amateur Athletic Board and honorary secretary treasurer of the International Amateur Athletic Federation. He was Director of Organization for the 1948 Olympic Games in London and was later invited to be adviser and technical director for the organisation of the 1956 games in Melbourne. He also held other roles in the Los Angeles 1932, Berlin 1936 and Helsinki 1952 Olympic Games. In recognition of his services to the sport he was awarded the O.B.E. in 1947, C.B.E in 1953 and C.M.G. in 1957 Freemasonry - He was initiated in Black Horse of Lombard Street Lodge, No. 4155, in 1922, Master of Athlon Lodge in 1938 and had coached the long-distance athlete, Gordon Pirie.
A large mixed collectors lot of religious trinkets and artefacts. Objects to include: quantity of brass and other metal miniature candle sticks, an oval shaped porcelain painting of Christ brass mounted, a number of metal religious artefacts and plaques, a two miniature Russian icons. a collection of novelty pencil sharpers.
Jan van Os (1744-1808), A still life with flowers, fruits, insects, a mouse and a bird's nest, oil on panel, 70x56 cm, Exhibited:-Amsterdam, Kunsthandel P. de Boer (22 April-30 May 1983)/Braunschweig, Herzog Anton Ulrich-Museum (15 June-31 July 1983), 'A fruitful past, A survey of the fruit still lifes of the northern and southern Netherlands from Brueghel till Van Gogh', no. 69. Lots 56-83: A Distinguished Collection, signed and dated 'J. van Os. fecit 1774' (lower left), Painter Jan van Os was already a famous artist when he was visited by admirers in his house in The Hague at the end of the eighteenth century. When they asked who had been his tutor, the answer was surprisingly short: “Nature”. Now this was not quite true of course, as Van Os was taught to draw and paint by the animal, still life and decorative painter Aert Schouman (1710-1792) in The Hague. In 1773 Van Os became a member of the Confrérie Pictura in the same city, which also gave him status enough to send pictures to the Society of Artists in London. These quickly earned him quite a reputation with England’s and France’s aristocracy and even resulted in a commission by the Russian Tsarina, who – rumour had it – paid him with 1,000 Dutch florins or even more! Initially Jan van Os painted seascapes and river views based on seventeenth century paintings, but he soon became most famous as a painter of flower and fruit still lifes. In 1775 Van Os married Susanna de la Croix, a very respectable artist herself, and the daughter of the portraitist Pieter Frederik de la Croix. With two artistic parents - father Van Os was also a poet - it is no wonder that the three Van Os children, Pieter, Maria Margaretha and Georgius, all became reputable artists. Looking at this delightful lot we know the Tsarina paid not a cent too much for such great talent. We also begin to understand why Van Os saw nature to be his real tutor. The profusion of luscious fruit and flowers is painted with such delicacy and accuracy that you have to prevent yourself from trying to pick some of the delicious grapes, or from smelling the exquisite pink roses. Van Os’ lavish choice of fruit and flowers include both the exotic, such as the cockscomb and pineapple, and the more common, such as the hollyhock and plums.Some elements, like the cockscomb, pineapple and bird’s nest, are strong reminders of Van Os’ great example, fruit and flower painter Jan van Huysum (1682-1749), as are the arrangements of the background and foreground. However, Van Os had a virtuosity of his own and some details are rendered with such great technical skill that in certain aspects he is even outdoing his famous predecessor. The pewter plate on the right reflects both the rose and a bunch of white grapes, with the pips showing through. The waxy coat of the plums and grapes is applied with such great skill that they look as if they were freshly picked just before they were painted. Other elements like the split melon and the cracked walnuts are depicted meticulously and, again, bring seventeenth century still lifes to mind, as does the little mouse in the left hand corner. Two bluebottle flies, one perching on a grape and one on a hollyhock, seem at first to disturb the equilibrium of the beautiful piece, but then they are also proof of the painter’s great technical virtuosity and simultaneously his ode to nature in which after all, all things are bright and beautiful, all creatures great and small. Sources:-Sam Segal, ‘Flowers and Nature : Netherlandish flower painting of four centuries’, The Hague 1990.-A. Hallema, ‘Uit de bescheiden van de familie Copes van Cattenburch: Te weinig bekende Haagsche beelden en typen uit de 18de eeuw’, In: Het Vaderland: Staat- en letterkundig nieuwsblad, 10 July 1937.
Attributed to Frank Duveneck,American 1848-1919-A Circassian Soldier wearing a papakha;oil on canvas, 88.2 x 73 cm.Provenance: Anon. sale, Christie's, London, 30 November 2004, lot 31 (as 'Russian School, 19th century').; Private Collection, UK.Note: The present work exhibits a striking resemblance to a larger painting of the same subject by the American artist Frank Duveneck, dated 1880, and held at the Museum of Fine Arts in Boston [no.76.296]. Indeed, one can confidently posit that our work is a preliminary, and, as such, unsigned, study for the Boston picture. Born in Kentucky, Duveneck was active also in Germany and Italy, and specialised in painting portraits and figure studies.Please refer to department for condition report
Original vintage advertising poster for Serge Poliakoff exhibition 8 September to 7 November 2004 at Musee Maillol, the poster features an abstract yellow, white, red, burgundy, blue, black and light blue shape set over blue background. Serge Poliakoff (1900-1969) was a Russian-born French modernist painter belonging to the New Ecole de Paris Tachisme abstract painting movement. Good condition, creasing, small tears, tape on corners. Country of issue: France, designer: Serge Poliakoff, size (cm): 58x40, year of printing: 2004.
Russian icon from the 18th century, with 19th century cover."Odighitria". Painting on wood, with silver case, enamels, semi-precious stones and Volga pearls.Slight marks of wear due to the passage of time.Measurements: 32 x 27 cm.Russian icon of the 18th century, painted on wood with 19th century Oklad of silver, enamels, semiprecious stones and pearls of the Volga, representing the Virgin of Odighitria with Child in her arms, adorned with ornaments and pendant of enamels. One of the best-known motifs in Marian iconology is that of the Virgin Hodigitria, or 'the one who shows the way'. The standard figure depicts the Mother of God with the Child in her arms, usually on the left, while her right hand points to her, showing her to the viewer. The Virgin's head is bent towards her son. The designation "Virgin Hodigitria" is extended to all icons in which the Virgin extends her right hand in her gesture of "pointing the way".
19th century Russian icon."Mother of God Fyodorovskaya".Painting on wood, with gilt silver case, enamels and semi-precious stones.Russian contrasts on one side: 84 (silver grade), AE (unknown silversmith from Moscow), St. George on horseback (Moscow city mark), A.B. 1893 (assayer Aleksandr Kazimirovich Vyrzhikovsky of Kiev 1893-1898).Slight wear marks due to the passage of time.Measurements: 36 x 29 cm.The icon is a version of the Eléousa type (Virgin of the "Tenderness"), which carries the Infant Jesus nestled against the mother's cheek. The Mother leans her face towards the child, who raises an anxious face to her. However, she is not looking at the child, but at the one looking at the icon.Mother of God Fyodorovskaya (also known as Our Lady of St. Theodore and the Black Virgin Mary of Russia) is the patron icon of the Romanov family. It is one of the most revered icons of the Upper Volga region.Heotókos is the name of an iconographic type of the Virgin in Byzantine art, in which she appears seated on a throne with the Child Jesus on her lap, both facing forward in a hieratic attitude. This iconographic model is based on another characteristic of Romanesque art: the Maiestas Mariae (Mary's majesty or supreme highness - in the heavens), which from the Italian Gothic onwards became known as Maestà.
GAVRIIL GLYUK (1912-1983)."Views of Transcarpathia", 1982.Oil on canvas.With label of the Union of Artists of the USSR.Signed and titled on the back.Measurements: 44,5 x 73 cm; 64 x 93 cm (frame).This painting does not belong to the pictorial tradition of Russian realism, heir to the Soviet realism that permeated the arts and literature of the 19th century, but is closer to models related to France, above all. An example of this is the capture of landscape through the use of broad, long brushstrokes to form the scenes.
Year: 19th CenturySize: 28" x 20" Medium: OilDescription: Large circa 1900 Russian maritime scnee of a ship off the coast at sunset, oil on canvas. Excellent quality and condition distinctly similar to Aivazovsky's painting and signed indistinctly. Framed with old private collection inventory number verso. Measurements: 28" x 20" framed approxProvenance: A private collection, Surrey, UK
LANDSCHAFTSMALER MITTE 19. JAHRHUNDERT, Russisch-orthodoxe Kirche auf dem Neroberg in WiesbadenMischtechnik auf Papier. Unsigniert. 14 x 21 cm. Gerahmt & hinter Glas : 30 x 43 cm. Minutiös gemalte Ansicht mit Figurenstaffage. Herzog Adolph von Nassau ließ sie als Grabeskirche für seine verstorbene Gattin Elisabeth Michailowna (1826-1845, Großfürstin von Russland und eine Nichte der Zaren Alexander I. und Nikolaus I.) erbauen. Passepartout, verglaster Goldrahmen. Rahmen partiell defekt. * Partnerauktion Bergmann. LANDSCAPE PAINTING MID-19th CENTURY, Russian Orthodox Church on the Neroberg in WiesbadenMixed media on paper. Unsigned. 14 x 21 cm. Framed & behind glass : 30 x 43 cm. Meticulously painted view with figure staffage. Duke Adolph of Nassau had it built as a burial church for his late wife Elizabeth Mikhailovna (1826-1845, Grand Duchess of Russia and a niece of Tsars Alexander I and Nicholas I). Mounted, glazed gold frame. Frame partially defective. * Partner auction miner. *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.
Russische Volkskunst: Beschnitzter Zigarettenspender und bemalter Holzkrug. Anfang 20. Jh. Nussbaum mit Kerbschnitzerei bzw. dunkel gebeiztes Weichholz mit Gravur und Malerei. 15 x 15 x 11 cm bzw. H 19 cm. Allseits beschnitztes Zigarettenkästchen Pomorie, Archangelsk, Nordrussland. / Konischer Krug mit Handhabe und Scharnierdeckel Künstlerkolonie Abramzewo. Geringe Abplatzer am Krug, Scharnierachse fehlt. Russian folk art: carved cigarette dispenser and painted wooden jug. Early 20th century Walnut with notched carving or dark stained softwood with engraving and painting. 15 x 15 x 11 cm or H 19 cm. All sides carved cigarette box Pomorie, Arkhangelsk, Northern Russia. / Conical jug with handle and hinged lid artist colony Abramtsevo. Minor chipping on the jug, hinge axis missing. *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.
1.Weltkrieg : Preußen: Roter Adler Orden - Satz 1. Klasse mit Eichenlaub und Schwertern, 4. Modell, letzte Ausführung, 1917-1918.Verliehen an den Führer des 1. Armeekorps Generalleutnant Robert Kosch. Das Kreuz Silber - vergoldet und emailliert. Auf dem unteren Kreuzarm eingeschlagene Herstellermarke "W" der Hofjuweliere Wagner & Sohn, Berlin sowie der Silberstempel "938". Auf einem Kreuzarm ganz unwesentlich gechipt. Das Vorderseitenmedaillon in feinster Emaillemalerei und Goldtauschierung. Die Schwerter in der bei diesem Typ charakteristischen Form hohl geprägt. Das Eichenlaub mit Silberstempel "800". Der Bruststern Silber, die Auflagen vergoldet und emailliert, die Schwerter hohl geprägt. An vergoldeter Nadel. Unterhalb des Nadelhakens eingeschlagene Herstellermarke "W".Rückseitig Schraubmedaillon. Beide Stücke zusammen im schönen Originaletui aus rotem Leder mit Goldprägung. Im Innenteil schwarze Samteinlage, der Innendecke mit entsprechendem Seidenfutter. Beigefügt gedruckte Trageinstruktionen. Robert Kosch wurde am 5. April 1856 in Glatz/Schlesien geboren und ab 1863 im Kadettenhaus Berlin erzogen. 1874 trat er als Seconde-Leutnant in das I.R. 51 ein.1877 - 1880 absolvierte er die Kriegsakademie und war auf verschiedenen Dienstposten u. a. im Generalstab eingesetzt. Zu Beginn des 1. Weltkriegs war Kosch Generalleutnant und Kommandeur der 10. Division in Posen und wurde mit dem V. Armeekorps erfolgreich an der Westfront eingesetzt.Am 9. Oktober 1914 wurde Generalleutnant Kosch zum Führer des 1. Armeekorps in Litauen ernannt, wo sich seine Truppen den zahlenmäßig überlegenen russischen Truppen entgegenstellten und nach anfänglichem Rückzug in der Winterschlacht in den Masuren erfolgreich waren. Für diese Erfolge wurde Generalleutnant Kosch mit dem Orden Pour le Mérite ausgezeichnet. Am 11. Juni 1915 zum kommandierenden General des X. Reservekorps ernannt, führte er dieses in den Schlachten am Dnjestr, Gnisa Lipa, Krasnostaw bis an den Bug. Danach wurde General Kosch zum Kriegsschauplatz auf dem Balkan versetzt, wo er mit der ihm unterstellten 101. und 103. Infanteriedivision Serbien eroberte. Für diesen Erfolg seiner Soldaten erhielt General Kosch das Eichenlaub zum Orden Pour le Mérite. Ende Februar 1916 wurde General Kosch bei Verdun eingesetzt, wo er am 18. 8. 1916 zum General der Infanterie befördert wurde. Am 28. August 1916 wurde General Kosch zum Führer des neugebildeten Generalkommandos (z.b.V.) Nr. 52 berufen und im bulgarischen Donauraum zum Schutz gegen die ebenfalls in den Krieg eingetretenen Rumänen eingesetzt. General Kosch erhielt den Oberbefehl über die deutsche 217. Infanterie - Division sowie über österreichische, bulgarische und türkische Kräfte. In einer mehrtägigen Schlacht am Argesch Ende November bis Anfang Dezember wurden die Rumänen mit eigenen und Truppen der 9. Armee besiegt und die rumänische Hauptstadt Bukarest eingenommen, womit der Zusammenbruch der rumänischen West- und Nordwestfront besiegelt war. Nach Auflösung der Donau-Armee im März 1918 nahm General Kosch als Führer des Generalkommandos 52 an der Besetzung der Ukraine und der Kämpfe gegen die Rote Armee teil, wo er am 1. Mai 1918 zum Oberbefehlshaber aller Truppen in Taurien und der Krim ernannt wurde. Vom 1. Dezember 1918 führte General Kosch seine Truppen in die Heimat zurück. General Kosch reichte sein Abschiedsgesuch ein und wurde am 10. Januar 1919 zur Disposition gestellt. Der Rote-Adler-Orden 1. Klasse mit Eichenlaub und Schwertern war in Preußen bis zum Jahr 1918 immer eine der höchsten Kriegsauszeichnungen. In den Jahren 1848 - 1863 wurden nur 14 Exemplare (davon zehn ohne Eichenlaub) ausgegeben. Im Feldzug 1864 wurden nur zwei Schwerterdekorationen, im Krieg 1866 nur drei Schwerterdekorationen und im Krieg 1870/1871 ebenfalls nur drei Schwerterdekorationen des Roten-Adler-Ordens 1. Klasse verliehen. Selbst in der Materialschlacht des 1. Weltkriegs wurden lediglich 32 Rote-Adler-Orden 1. Klasse mit Schwertern verliehen. In diesen Zahlen sind die Verleihungen mit Eichenlaub und Schwertern bereits enthalten. Die Ordensdekorationen wurden bis zum November 1916 in Gold, danach aufgrund eines entsprechenden Erlasses Kaiser Wilhelm II. in silbervergoldeter Ausführung hergestellt. Die Verleihungszahlen zeigen den hohen Wert dieser Kriegsauszeichnung und dokumentieren gleichzeitig die außerordentlich große Seltenheit der heute noch real existierenden Originalexemplare der Schwerterdekoration der 1. Klasse des RAO. Der Orden gehört daher zu den größten Raritäten unter den preußischen Ordenund hat als reiner Kriegsorden mit dokumentierter Provenienz zusätzlich einen ganz besonderen Stellenwert. WWI : Prussia: Order of the Red Eagle - First Class Set with Oakleaves and Swords, last type awarded 1917 - 1918. Awarded to the leader of the 1st Army Corps Lieutenant General Robert Kosch. The ist class badge silver - gilt and enameled. On the lower arm of the cross the maker's mark "W" of the court jewelers Wagner & Sohn, Berlin and the silver stamp "938". One arm very insignificantly chipped. The front medallion in finest enamel painting and gold inlay. The swords hollow die struck construction in the form characteristic of this type. The oak leaves with silver mark "800". The breast star silver, the center gilt gilded and enameled, fitted with gilded pin. The swords hollow die struck construction. Maker's mark "W" stamped below the pin catch. Screw medallion on the back. Both pieces together in beautiful original red leather case with gold embossing. Inside black velvet inlay, the inside cover with corresponding silk lining. Attached printed wearing instructions. Robert Kosch was born in Glatz, Silesia on April 5, 1856 and was educated at the Cadet House in Berlin from 1863. In 1874 he joined the I.R. 51 as a Seconde-Leutnant. From 1877 to 1880 he graduated from the War Academy and served in various posts, including on the General Staff. At the beginning of World War 1, Kosch was a lieutenant general and commander of the 10th Division in Poznan and was successfully deployed with the V Army Corps on the Western Front. On October 9, 1914, Lieutenant General Kosch was appointed leader of the 1st Army Corps in Lithuania, where his troops confronted numerically superior Russian forces and, after an initial retreat, were successful in the Winter Battle in the Masuria. For these successes, Lieutenant General Kosch was awarded the Order Pour le Mérite. On June 11, 1915, appointed commanding general of the X. Reserve Corps, he led it in the battles on the Dniester, Gnisa Lipa, Krasnostaw to the Bug. After that, General Kosch was transferred to the Balkan theater of war, where he conquered Serbia with the 101st and 103rd Infantry Divisions under his command. For this success of his soldiers, General Kosch received the Oak Leaf to the Order Pour le Mérite. At the end of February 1916, General Kosch was deployed at Verdun, where he was promoted to General der Infanterie on August 18, 1916. On August 28, 1916, General Kosch was appointed leader of the newly formed General Command (z.b.V.) No. 52 and deployed in the Bulgarian Danube region to protect against the Romanians, who had also entered the war. General Kosch was given the supreme command of the German 217th Infantry - Division as well as Austrian, Bulgarian and Turkish forces. In a battle on the Argesch River lasting several days in late November to early December, the Romanians were defeated with their own troops and those o
Großformatige Ikone mit der Gottesmutter Pokrow, Russland, 19. Jhdt. Holztafel mit zwei profilierten Rückseiten-Sponki. Kowtscheg, Tempera auf Kreidegrund, vergoldete Nimben. Im oberen Bereich steht die Gottesmutter mit zur Fürbitte erhobenen Händen. Sie ist von Engeln und zahlreichen Heiligen gerahmt. Der untere Bereich zeigt den Hymnus vortragenden Romanos auf einem Podest. Zur Linken flankiert ihn das Kaiserpaar Leo und Zoe, zur Rechten stehen Andreas und Epiphanios. Am Rand erscheint der Erzengel und ein Mönchsheiliger. Farbverluste. Maße 45 x 39,5 cm. A large Russian icon showing the Pokrov Mother of God, 19th century Tempera on wood panel with flat kovcheg, gilded halos. The archangel and one saint appear at the border. Painting with losses. Dimensions 45 x 39.5 cm.
Lacktabatiere mit bäuerlicher Szene, Russland, Ostaschkowo, Osip Wischnjakow und Söhne, 1882 - 1885 Papiermaché, Schwarzlack, innen rot lackiert. Vorderseite mit polychromer Darstellung: drei Bauern beim Teetrinken. Steckdeckel gestempelt mit Ausstellungsmedaillen. Minimale Altersspuren, sonst guter Zustand. Höhe 10,5 cm.Keywords: Lukutin A Russian papiermaché and lacquer case, Ostashkovo, Osip Vishyakov and Sons, 1882 - 1885 Dark red lacquer inside. Polychrome peasant painting. Lid with exhibition medals. Height 10.5 cm. Keywords: Lukutin
Ikone mit Christus Pantokrator mit Silberoklad, Russland, Moskau, Matwej Wasiljewitsch Sergejew, 1832 (Oklad) Holztafel mit zwei Rückseiten-Sponki. Ölmalerei. Rückseite mit Samtabdeckung. Stark getriebenes Silberoklad und Nimbus punziert mit Stadtmarke, Feingehalt "84", Beschauzeichen von Nikolai Lukitsch Dubrowin "ND 1832" und Meistermarke "MS" in Kyrillisch. Malerei stark beschädigt. Nimbus leicht verbogen. Maße 31,5 x 26,5 cm. A Russian icon showing Christ Pantokrator with silver oklad, Moscow, Matvei Vassilevitch Sergeev, 1832 (oklad) Oil on gesso on wood panel. Back covered. Embossed silver oklad and halo stamped with hallmark, 84-standard, assayer's mark "ND 1832" and master's mark "MS" in Cyrillic. Painting slightly damaged. Halo chipped. Dimensions 31.5 x 26.5 cm.
Lacktabatiere, Russland, Ostaschkowo, Werkstatt Osip Wischnjakow und Söhne, 1872 - 1882 Papiermaché, Schwarzlack, innen rot lackiert. Vorderseite polychrom bemalt. Steckdeckel mit Ausstellungsmedaillen. Höhe 10 cm.Keywords: Lackdose, Lukutin A Russian papiermaché and lacquer cigarette case, Ostashkovo, Osip Vishyakov and Sons, 1872 - 1882 Red lacquer inside. Front with polychrome painting. Lid with exhibition medals. Height 10 cm. Keywords: Lukutin
Ikone mit der Gottesmutter von Tichwin (Tichwinskaja), Russland, um 1700 (Tafel) bzw. 19. Jhdt. (Malerei) Holztafel mit zwei Rückseiten-Sponki. Doppeltes Kowtscheg, Hintergrund freigelegt. Restauriert. Starke Farbverluste. Maße 31,5 x 25,5 cm. A Russian icon of the Tikhvinskaya Mother of God, circa 1700 (panel) resp. 19th century (painting) Tempera on gesso on wood panel with double-kovcheg, background stripped to gesso. Restored. Painting with losses. Dimensions 31.5 x 25.5 cm.
KLIMENT REDKO (UKRAINIAN-RUSSIAN 1897-1956)On the Russian Provincial Market,circa 1920soil on board51 x 41 cm (20 1/8 x 16 1/8 in.)unframedsigned lower leftPROVENANCE Kliment Redko was a painter, graphic designer and monumental artist, representative of the avant-garde of the 1920s, creator of the painting direction "electro organiism."
HEINRICH SCHMIDT (RUSSIAN 1867-CIRCA 1917)Bandura,oil on canvas36 x 23 cm (14 1/8 x 9 in.)framed dimensions: 43 x 31cm (16 7/8 x 12 1/4 in.)signed lower right LOT NOTES Heinrich Schmidt was a Russian artist working late XIX - early XX century. He was auditing at the Imperial Academy of Arts, St Petersburg. He traveled extensively around Russia, Ukraine, Central Asia and exhibited with other artists from Peredvizhniki Movement. The person in the painting is depicted with a bandura, a Ukrainian plucked string folk instrument.
GRIGORIY CHOROS-GURKIN (RUSSIAN 1870-1937)Pine Tree in Russian Forest,oil on canvasboard36.5 x 39.3 cm (14 3/8 x 15 1/2 in.)framed dimensions: 53 x 39.3 cm (20 7/8 x 15 1/2 in.)signed lower rightLOT NOTESChoros-Gurkin was an Altaian artist, who became famous for sketching and painting the Altai landscapes. He was a student of Ivan Shishkin.
ANDREI MYLNIKOV (RUSSIAN 1919-2012)Hot Day,1974oil on board55 x 45 cm (21 5/8 x 17 3/4 in.)unframedsigned and dated lower rightLOT NOTES Andrei Mylnikov was a Russian and Soviet painter, who lived and worked in Saint Petersburg and played an important role in the formation of the Leningrad school of painting.LITERATUREA. Kaganovich, Andrey Mylnikov (Leningrad,1962), catalogue raisonne, p. 260
RAPHAEL SOYER (RUSSIAN 1899-1987)Study of a Seated Female Nude,oil on canvas62 x 51.5 cm (24 3/8 x 20 1/4 in.)framed dimensions: 81 x 72 cm (31 7/8 x 28 3/8 in.)signed lower right; signed and inscribed Kar? Study for a large painting on versoPROVENANCE Acquired at DuMouchelles Auctions on May 20, 2018, LOT 2020.
SIMKHA SIMKHOVITCH (RUSSIAN-AMERICAN 1893-1949)Girl in Pink (Portrait of the Artist's Daughter),circa 1941oil on canvas board50.8 x 40.5 cm (20 x 15 7/8 in.)framed dimensions: 63 x 52 cm (24 3/4 x 20 1/2 in.signed lower leftPROVENANCEJanet Marqusee Fine Arts Ltd., New YorkDoyle, New York, May 9, 2012, lot 85LOT NOTESThis painting was used as the cover illustration for the 1990 publication of the novel Allegra Maud Goldman, written by Edith Konecky.
Jackson (David). The Russian Vision, The Art of Ilya Repin, 1st edition, Belgium: BAI, 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, together with:Blakesley (Rosalind P.), The Russian Canvas, painting In Imperial Russia 1757-1881, 1st edition, New Haven: Yale University Press, 2016, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusOs (Henk van), The Art of Devotion in the Late Middle Ages in Europe 1300-1500, 1st edition, London: Merrell Holberton, 1994, numerous colour & monochrome illustrations, original cloth in dust jacket, covers very lightly rubbed, large 4to, and Longnon (Jean), Les Très Riches Heures du Duc de Berry, 2nd printing, London: Thames & Hudson, 1973, numerous colour full page facsimiles, original red cloth in slipcase, plus other Russian art, illumination and Icon reference, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/4to QTY: (37)
Büttner, Erich.1889 Berlin - 1936 Freiburg im Breisgau. Russengräber vor Willudden (Angerburg). Öl auf Leinwand. 1915. Signiert und datiert u.re. Rückseitig auf Spannrahmen betitelt und nochmals datiert. 42 x 52 cm. Ungerahmt. Malschicht dezent angeschmutzt. Büttner, Erich. 1889 Berlin - 1936 Freiburg im Breisgau. Russian graves in front of Willudden (Angerburg). Oil on canvas. 1915. signed and dated on the lower right. Titled and dated again on the stretcher on the reverse. 42 x 52 cm. Unframed. Painting layer discreetly soiled.
Vladimir Tretchikoff (Russian/South African, 1913-2006)A horse and rider along the shoresigned 'TRETCHIKOFF', oil on canvas61 x 123cmProvenance: By descent from the owner's parents.Condition ReportThe painting is in original condition with no significant signs of damage or restoration. The painting was possibly purchased in south Africa by the parents of the present owner.
Yuri Podlyaski (Russian, 1923-1987). Oil on canvas painting titled "Zhenya," depicting a portrait of a young Soviet Russian girl, 1955. Signed along the lower right. Further signed and titled along the verso.Sight; height: 16 1/2 in x width: 13 1/4 in. Framed; 23 1/4 height: in x width: 20 in.
SOL LEWITT (United States, 1928 - 2007)."Five pointed star with colorbands", from the Suite Olympic Centennial, 1992.Silkscreen on 270 g Velin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm. The Olympic Suite is made up of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.An artist linked to various movements, including conceptual and minimal art, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the 1950s, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasised that the idea, and not its physical form, was fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been associated with Minimalism. From 1965 onwards LeWitt was the subject of hundreds of solo exhibitions in museums and galleries all over the world. His works range from two- and three-dimensional works, from wall paintings (over 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York devoted its first retrospective exhibition to LeWitt. LeWitt is currently represented there, as well as at the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.
Russian School, 19th centuryThe Last Supperoil on panel, tondo37cm diameterCondition ReportThe painting is executed in oil on a wooden panel support. The thick panel has a horizontal batten fixed into a groove. The panel is in a good condition overall. At the left hand side is a slight dip in the panel which appears to have original paint. The paint layers have suffered from wear around the edges. There is some wrinkling in the paint layer at the right hand side with raised edges. The painting is compromised by a degraded varnish which has yellowed with age and has become matte and patchy in many areas, no longer adequately saturating the paint layers below.
RUSSISCHE SCHULE (XX). Frühling im Birkenwald.30 cm x 39,5 cm. Gemälde. Öl auf Leinwand auf Karton aufgezogen. Rechts unten undeutlich signiert. Versand kann organisiert werden.RUSSIAN SCHOOL (XX). Spring in the birch forest. Painting. Oil on canvas mounted on cardboard. Signed indistinctly on the lower right. Shipping can be organized.
SERGE FÉRAT (Moscow, 1881- Paris, 1958)."Untitled, ca.1930.Pencil on paper.Signed in the lower right corner.With stains on the paper and tear in the lower left margin.Size: 50 x 32 cm; 66 x 50 cm (frame).Serge Férat, pseudonym of Count Sergei Nikolayevich Yastrebzov, was a painter and decorator. In 1911, together with his friend Apollinaire and his cousin Baroness Hélène Oettingen, he bought the avant-garde magazine Les Soirées de Paris, which the poet edited. He took over its artistic direction under the pseudonym Jean Cérusse. The magazine was interrupted by the Great War. In 1917, Férat illustrated and designed the sets and costumes for Apollinaire's play Les Mamelles de Tirésias, directed by Pierre Albert-Birot at the Conservatoire Maubel in Paris. Ruined by the Russian Revolution, he nevertheless managed to continue painting. He exhibited at the Salon des indépendants, the Salon d'automne and the Salon de la Section d'Or. In the 1930s, his Cubist style became increasingly refined. He also produced tapestry cartoons for the Beauvais factory. He took part in the Russian Art Exhibition in Prague in 1935. His work was noticed in the great Cubist exhibition of 1953 at the Musée d'art moderne de la Ville de Paris.
French school, 19th century."Portrait of a lady.Oil on canvas.Signed "Winterhalter" in the lower left zone.Measurements: 76 x 60 cm; 87 x 74 cm (frame).The signature, in addition to the aristocratic style that characterises this female portrait, leads us to think that the author could belong to the circle of painters close to the one who was the main court portraitist during the Second French Empire, Franz Xaver Winterhalter (Black Forest, 1805-Frankfurt am Main, 1873). This is a half-length portrait of a lady with dark eyes and a firm gaze. Her countenance denotes character, so that the painter captures the psychology as well as the sumptuous qualities of the silks, the jewels and the smooth flesh tones.Franz Xaver Winterhalter was a German painter and lithographer particularly known for his portraits of royalty painted in the mid-19th century. Among his best known works are The Empress Eugenie surrounded by her ladies-in-waiting (1855) and the portrait of the Empress Elisabeth of Austria, popularly known as Sisi (1864). In Paris Winterhalter soon became a fashionable painter. He was appointed court painter to King Louis Philippe of France, who commissioned him to paint portraits of the members of his great family. Winterhalter executed more than thirty commissions for him. His success also earned him a reputation as a specialist in dynastic and aristocratic portraiture, skilfully combining portraiture and flattery and intensifying official ostentation with modern fashion. In 1852 Winterhalter travelled to Spain, accompanied by his compatriot Edward Magnus, also a prominent portraitist, to paint Queen Isabella II1 and also worked for the Portuguese royal family. Russian aristocrats visiting Paris also liked the portraits by the famous master and often hired his services. As the "painter of princes", Winterhalter was in great demand at most European courts: in England (from 1841), Spain, Belgium, Russia, Mexico, the various German states and France. In the following years Winterhalter's fame continued and his services were in great demand. In 1856 he travelled to Poland to paint the local aristocrats and in 1857 he painted the German-born Tsarina Maria Alexandrovna in Bavaria. During the 1860s he received many commissions from Russia. His popularity increased after Napoleon III came to power in France. During the Second French Empire he became the leading portraitist of the court and the imperial family. The beautiful Empress Eugénie became one of his favourite models and she treated him generously. In 1856 Winterhalter painted what was to be his masterpiece, The Empress Eugénie surrounded by her ladies-in-waiting, in which the Empress of France - the Spanish-born Eugénie de Montijo - is shown in a pastoral setting picking flowers in a harmonious circle with her ladies-in-waiting. The painting was acclaimed by the public and exhibited at the Universal Exhibition of 1853, and remains Winterhalter's most famous work. During the Second Mexican Empire, under the rule of Emperor Maximilian I of Mexico, Winterhalter was commissioned to paint the portraits of the imperial couple. The Empress consort of Mexico, Charlotte of Belgium, was the daughter of Louise Marie d'Orléans, Queen of Belgium, who had engaged Winterhalter's services early in his career. Some of Winterhalter's paintings of the Mexican monarchs are still preserved in his palace in Mexico City, which is now the National Museum of History.
TARSILA DO AMARAL (Brazil, 1886- 1973)."Illustrated study for the book by Martim Cereré p. 72, II".Pencil on paper.Work reproduced in the artist's catalogue raisonné. DI398.Provenance: Luiz Buarque de Hollanda collection.Size: 29,5 x 21 cm; 39 x 34 cm (frame).Written in 1928 by Cassiano Ricardo, Martim Cereré is a book of epic poems that delves into the roots of the Brazilian people. In 1962, the artist Tarsila do Amaral rescued the text and created a series of illustrations to accompany the literary publication. This work is the result of that workTarsila do Amaral has always been described as the artist who managed on the one hand to capture the European avant-garde and at the same time express her own roots, showing the Brazilian nationalist sentiment in a modern, free and original way. Tarsila began her training in an academic environment, like many of the artists of the time. She studied in Sao Paulo, but in 1920 she moved to Paris to take classes at an academy of classical art. She returned to Brazil in 1922 and found that Sao Paulo was hosting the Semana de Arte Moderno, where she met Anita Malfati and the poet Oswald de Andrade, her future husband. This whole atmosphere had a great influence on her, so much so that she decided to return to Paris in 1922, this time accompanied by Andrade. It was on this second trip to Paris that she began to get to know the European avant-garde. She meets Picasso, but in these years he is married to Olga and in his classical period. Tarsila will have a close relationship with Léger, who changes her aesthetic perspective. He not only brings her closer to the avant-garde, but through the avant-garde she recognises her roots. Through these artists who value the purity of uncontaminated art, other cultures, etc. All this makes him say that he wants to soak up or devour the aesthetic freedom presented to him by European artists in order to come to his country and create an indigenous but modern art, with his feet set on the roots of the country. In April 1923 he returned to Brazil. Shortly before her return, she wrote to her family from Paris: "I feel even more Brazilian. I am going to be a painter of my country; how grateful I am to have spent all my childhood on the farm! The memories of those times have become very dear to me. I want, in art, to be the little country girl from Sao Bernardo, who plays with straw dolls, as in the last painting I am working on... don't think that this tendency is considered negatively here. On the contrary. What they want here is for everyone to bring the contribution of their own country. This explains the success of Russian ballets, Japanese graphic arts and black music. Paris has already had too much Parisian art". She returned to Brazil accompanied by Andrade and the Swiss poet Cendrars, because Cendrars wanted to get to know the real Brazil. They travelled through the popular cultures of Brazil. In the spring of 1924, they visited the Rio carnival with the poet, one of the typical examples of the profane Brazilian festivals, where the races, costumes, traditions, etc. were at their purest. After getting to know this profane festival, they went to see the religious festival of Holy Week in the state of Minas Gerais. From this moment on, Tarsila painted a mixture of local indigenism and the heritage of cubism in her paintings.
Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
NINA MURASHKINA (Ukraine, 1985)."Triumph of Justice".2019.Acrylic paint and gold leaf on canvas.Signed.Size: 200 x 120 cm.Studied painting at Kharkiv Art Design Academy, and at the Art Academy of Jan Mateyko. Poland, Krakow (2012). Member of the National State Artists Union. Member of the Independent Artists Union (2009). LATEST EXHIBITIONS: 2017 The Art of Menschlichkeit "Nicolas Treadwell's Gallery", Vienna. 2017 "The Siren" with sculptor Xavier Escala. Penz, Russia.2016 "Black Chocolate in Gold" Glo'art Belgium. 2016 ZINE festival, Vienna.2016 solo exhibition, I am not afraid! Museum of Dreams in Kiev, Ukraine.2016 Earthly Delights Nicolas Treadwell's Gallery, Vienna.2016 Personal Exhibition The Full Moon! "Spasskaya 45" gallery, Nikolaev, Ukraine.2016 Dialoges, Lavra gallery, Kiev 2016 "KunstlersommerOttensheim 2016 "Honzik" Gallery /Aigen, Austria.2016 "KunstlersommerOttensheim 2016. RaiffeisenAvalbank /Ottensheim, Austria 2016" / Ottensheim, Austria.2016 The Heritage Modern Art Research Institute of the National Academy of Arts of Ukraine.2016 I want Love! "A3 - Gallery" Moscow.2016 "SERENDIPITY" solo exhibition "KZ" gallery, Kiev.2016 "Involved to Beauty" Mansion Uvarova Countess. Kiev.2016 Women's Art Project Exhibition in the Goverment's Hall. Kiev .2016 "Baby, please forgive me!" solo exhibition. "The Chocolate House" Kiev national museum of the Russian art. Ukraine.2016 "Women's Art Project" "The Chocolate House" Kiev national museum of the Russian art.2016 Short stories. Contemporary Artists from Ukraine, Imago Mundi project/ The catalogue presentation. "Mystetsky Arsenal Gallery" in Kiev.2016 "Ergo Sum" "Dukat Gallery"/ Kiev, Ukraine.2015 "INSPIRED BARBARA" /art - club "Atlas", Kiev, 2015 "Green Life" Modern Art Research Institute of the National Academy of Arts of Ukraine./ Kiev 2015 Shanghai International Contemporary Art Exchange Exhibition/ Cnina, Shanghai, "Chun Gallery "2015 "TOY STORY" curator project/ ArtZbirka Gallery, Kiev, Ukraine. 2015 "INSATIABLE", Contemporary Art Kiev 10./"Mystetsky Arsenal Gallery" in Kiev. 2015 "Woman Secret" curator project in the Contemporary Art Kiev project. STATEMENT: My art talks about love, pain, violence and despair, emotions that have to be intense to emerge into the conscious world. I draw on traditional art, archetypes, myths and the subconscious. All these are an inseparable part of my creativity. My favourite authors are Annette Messager, Louise Bourgeois, Francis Bacon, Antoine Watteau, Antoine Watteau.
Attributed to Thomas Weaver - Prize Brown Hereford Bull, 19th century oil on canvas, label verso, 41.5cm x 52cm, within a stained wood and gilt frame. Note: according to a typed label verso, the bull depicted in this painting was the property of Timothy Bluck of Lawton Farm, Diddlebury, Shropshire, whose family were noted Hereford cattle breeders. Provenance: 'British, Continental & Russian Pictures', Christie's, 22nd August 2007, lot no. 797.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Gherman Alexeyvich Komlev (Russian, 1933 - 2000) "'Siren' Experiment on Space Station" Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S.S.R. 15K Siren Crystal experiment issued June 30, 1978. During a week-long stay on board Salyut 6-Soyuz 29 Space Station, the Intercosmos crew of Soyuz 30 carried out a program of research and experiments, some of which had been designed jointly by scientists of the U.S.S.R. and the Polish People's Republic. Medical and biological research, aimed at assessing the influence of space travel on a human body with a particular investigation of the circulatory and cardiovascular systems, was performed. Observation and the photography of Earth's surfaces, and certain technical experiments connected with the functioning of on-board systems and of the orbital complex as a whole were also carried out. On the afternoon of June 29, 1978, the crew executed the "Siren" experiment aimed at studying the processes of obtaining semiconducting materials in weightlessness. The cosmonauts put into an electric furnace, ampoules with source material for growing valuable semiconducting monocrystals. During one of the experiments a triple semiconducting material was developed incorporating cadmium, tellurium and mercury. These semiconducting materials are used to make detectors for infrared telescopes capable of solving many scientific riddles including laser communication, the investigation of pollution, and disease detection. This artwork features the symbolic picture of that crystal experiment. After successfully completing the program of planned research and experiments on board the Salyut 6-Soyuz 29 Space Station, Soyuz 30 returned to earth on July 5, 1978. Image Size: 7.75 x 9 in. Overall Size: 15.25 x 19.5 in. Unframed. (B05904)
A large Gzhel Russian blue and white porcelain figure group, circa 2004, modelled as a standing female watching a seated artist painting a house, on a naturalistic base, blue painted title and marks, height 39.5cm, together with a similar Gzhel roundel, diameter 32cm, a dish, a small group of Lomonosov figures and animals, two pieces of fruit moulded Sarreguemines, a modern Gien jardinière and a glass vase.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Vladimir Griegorov Tretchikoff (1913-2006) Russian portrait of a gentleman, white chalk and sanguine on paper, signed, situated dated 'Java 1943', 61 cm high x 44.5 cm wideProvenance: the sitter in the painting met the artist in a prisoner of war camp in Indonesia where they became friends and arranged to meet after their release. The illustration was made at the sitter's home in Indonesia during the Japanese invasion in 1943. (The vendor being the child of the gentleman in the illustration). A mention is made of the family in who's house Tretchikoff stayed for a period of time in his book 'The People's Painter', as this time of his life was pivotal in his career.
Vladimir Griegorov Tretchikoff (1913-2006) Russian portrait of a lady, inscribed to the back 'Voor Mary Willy-Anne, From mother' and further below 'Van Anne - Djakarta, Indonesia 1943 (Jap war)', sanguine on paper, signed, situated dated 'Java 1943' lower right, 56 cm high x 41 cm wideProvenance: the sitter in the painting is the wife of the sitter in the previous lot. (see note in lot 215)
Russian icon from the late 18th, early 19th century."Virgin Dolorosa".Painting on wood. Brass oklad.In need of restoration and general cleaning. Wear and tear due to use and the passage of time. Measurements: 22,5 x 18 cm .Russian icon that shows The Virgin with two Archangels at her side and characters in the lower part, painted on wood, with brass oklad, embossed and chiselled.The Virgin of All Sorrows is a type of Marian iconography venerated in the Russian Orthodox Church, and is considered miraculous. The canon appeared in 1688 in Moscow in the Church of the Madonna of All Sorrows, also known as the Church of the Transfiguration, although earlier versions are known, but with different iconography.The final typology of the icon was formed in Russia under a strong Western influence. It is possible to perceive similarities with the iconography of Misericordia, of the Immaculate Conception or Maestà.
19th century Russian icon."Virgin of Vladimir".Painting on wood. Silver oklad. Cloth on the reverse.Silver hallmarks of 800 thousandth.In need of paint restoration. Needs cleaning. Wear and tear due to use and the passage of time.Measurements: 20 x 15 cm .Russian icon of the 19th century, with Virgin of Vladimir, painted on wood, with embossed and chiselled silver oklad of 800 thousandth, with ornaments and lateral borders.The Virgin of Vladimir is one of the most widely venerated devotional images of the Virgin Mary in Russia. The image is a Byzantine icon representation of the Virgin Mary holding the Christ Child. The origin of the image seems to date back to the 12th century in Constantinople, but it takes its name from the city of Vladimir, where it was transferred from Kiev in 1154 by Prince Andrew I.
19th century Russian icon."Virgin of Kazan".Painting on wood.brass Oklad. In need of restoration and general cleaning. Wear and tear due to use and the passage of time. Measurements: 28,5 x 24 cm.Russian icon showing The Virgin and Child in her arms, painted on wood, with brass oklad, embossed and chiselled. The Virgin of Kazan or Our Lady of Kazan is an icon venerated in the Russian Orthodox Church depicting the Blessed Virgin Mary as patroness and protector of the city of Kazan. It is the most venerated Marian invocation by the Russian Orthodox, having its origins in the 16th century.
Russian icon from the late 18th, early 19th century."Saint Paraskeva".Painting on wood. Oklad of crystals, stones and pearls.In need of restoration and general cleaning. Wear and tear due to use and the passage of time. Size: 29 x 23 cm.Saint Paraskeva developed her own personality and functions on Russian soil. 13th-15th century icons from Novgorod already represent Paraskeva as an ascetic figure dressed in the red of martyrdom. She holds an Eastern cross, a scroll professing her faith or a vessel containing the perfume of martyrdom. Saint Paraskeva of Iconium is venerated as a Christian virgin martyr. According to Christian tradition, she was born into a wealthy family in Iconium. Her parents were Christians, and Paraskeva was so named (the name means "Friday" in Greek) because she was baptised on a Friday and because Friday was the day of Christ's Passion. Paraskeva became a preacher and, according to tradition, converted a man named Antoninus to Christianity. She was later martyred in Iconium during the persecutions of Diocletian.
19th century Russian icon."Virgin of Vladimir".Painting on wood. Silver plated copper oklad. Red cloth on the reverse.Needs cleaning. Wear due to use and the passage of time.Measurements: 22 x 17,5 cm .Russian icon from XIXth century, with Virgin of Vladimir, painted on wood, with embossed and chiselled silver plated copper Oklad, with ornaments and lateral borders. The Virgin of Vladimir is one of the most widely venerated devotional images of the Virgin Mary in Russia. The image is a Byzantine icon depiction of the Virgin Mary holding the Christ Child. The origin of the image seems to date back to the 12th century in Constantinople, but it takes its name from the city of Vladimir, where it was transferred from Kiev in 1154 by Prince Andrew I.
Russian icon -Estaurotheque-, 18th century."Crucifixion of Christ".Painting on wood. Later gilded bronze cross.In need of restoration and cleaning. Wear and tear due to use and the passage of time.Measurements: 26,5 x 22 cm .Russian icon of the 19th century, presenting the crucifixion of Christ, that picks up the moment in which Christ already died in the cross (of the Old believers), of gilded and chiselled bronze, of later epoch end XIX, beginnings of the XX, being accompanied by the Virgin Mary and San Juan. Next to him the other two crucified (the Good Thief -Dimas- and the Bad Thief -Gestas-). In the upper part God the Father, with four Saints, two on each side.This is a reliquary containing a fragment of the True Cross. The True Cross or Holy Cross is the cross on which, according to Christian tradition, Jesus of Nazareth was crucified. In Catholicism and in the Orthodox Church it is considered a relic of the first order.
Russian icon, mid-19th century."Christ Pantocrator".Painting on wood. Silver oklad.Contrasts of Moscow "B.C." on bottom, possibly by the goldsmith Aleksey Spiridonov.Silver case with damage. The painting needs cleaning and restoration. Wear and tear due to use and time.Measurements: 13,5 x 10,5 cm .Icon "Christ Pantocrator", completely painted on the inside and with silver chiselled cover, with contrasts from Moscow. It depicts Jesus half-length, on the frontal and hieratic face with expressive intensity. Christ holds the open book of the Gospel in his left hand in front of the congregation, and with his right hand, according to the Orthodox/Byzantine rite, he blesses with an open palm and the joint of the thumb and ring finger. In this type of icon the ineffable reality of God made Man is expressed.
19th century Russian icon."The Virgin of Burning Bush".Painting on wood. Oklad of silver plated copper. In need of general cleaning. Wear and tear due to use and the passage of time. Measurements: 31,5 x 27 cm .The Virgin of the Burning Bush is one of the most complex and symbolic icons of the Marian theme in orthodox iconography. It alludes to the passage of the same name from the Old Testament. On the symbolic level it develops different facets of Christian worship related to the appearance of Christ, based on the Old Testament stories. This Old Testament Epiphany was commemorated by the creation of a chapel in honour of the Burning Bush, which was built behind the altar of the Cathedral of St Catherine's Monastery at the foot of Mount Sinai. The iconography is known from proto-Christian times, when the Praying Virgin, or in some cases the Odigidria, was depicted enclosed in the Burning Bush, with Moses kneeling and contemplating her.
Russian school, ca. 1900."Mother of God Tikhvinskaya". Painting on wood. Oklad of gilded brass.In need of general cleaning. Wear and tear due to use and the passage of time.Measurements: 26,5 x 22 cm .This Mother of God to half body, with the slightly inclined head, supporting the Infant Jesus in the left arm, indicating him with the right arm, is called Tikhvinskaya. It is one of the most common depictions of the Mother of God and Jesus in Orthodox iconography. With the indicative gesture, the Virgin tells the viewer that the Truth is behind the Child Jesus, and all those who will follow Him.
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