Russian icon, 19th century."Virgin of Vladimir".Painting on wood. Copper-plated brass oklad.Missing on the sides. Wear and tear due to use and the passage of time.Measurements: 22 x 18 cm .Russian icon of the XIXth century, with Virgin of Vladimir, painted on wood, with Oklad of copper-plated brass finely chiselled with ornaments and lateral borders. Inscription in Cyrillic alphabet at the bottom.The Virgin of Vladimir is one of the most 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.
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Russian icon from the late 18th, early 19th century."Burial".Painting on wood.Some lack of polychromy. Wear and tear due to use and the passage of time. Measurements: 20 x 18 cm.Rare Russian icon, which seems not to be complete and which could originally be part of a larger altarpiece. It represents the scene of the burial of a pope (priest) of the orthodox church. It is painted on wood.
19th century Russian icon."Virgin Odighitria".Painting on wood. Oklad of gilded brass.In glazed wooden box.In need of restoration. Damaged box. Wear and tear due to use and the passage of time.Measurements: 28 x 22.5 cm (icon); 50 x 33 x 7.5 cm (box-frame).One of the best known motifs in Marian iconology is that of the Virgin Odighitria, or "she who shows the way". The standard figure depicts the Mother of God with the Child in her arms, usually in the left, while her right hand points to her, showing her to the viewer. The Virgin's head is bent towards her child. The name Virgin Odighitria extends to all icons in which the Virgin extends her right hand in her gesture of "pointing the way".
19th century Russian icon."Christ Pantocrator".Painting on wood. Some lack of polychromy. Needs cleaning. Wear and tear due to use and the passage of time.Measurements: 35 x 30,5 cm .This icon we can locate it in its origins in one of the Schools of the old believers of the north of Russia, the raskolniki (schismatics) are an ultraconservative group that continues with the archaic traditions of the Russian orthodox church. It was originally led in the 17th century by Patriarch Avakum. They emerged in force to reject to the last consequences the reforms introduced by Patriarch Nikon.Ancient icon "of Christ Pantocrator", depicting Jesus half-length, frontal and hieratic face with expressive intensity. Christ in his left hand holds the open book of the Gospel 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.
Russian icon, late 18th century, early 19th century."Resurrection of Christ, Christ's Descent into Hell, and his life in 12 hagiographic scenes".Painting on wood.In need of restoration. Wear and tear due to use and the passage of time.Measurements: 50,5 x 40,5 cm.The descent of Christ to hell is one of the most important representations in Christian iconography. This passage has been known in Ancient Rus since the 11th century, although it became most popular in the second half of the 14th century. Iconography of this New Testament passage finally developed in the 17th century in Moscow workshops. In this period the icon reached its maximum complexity, combining the New and Old Testament passages, and at the same time composing the scenes of the Resurrection and Christ's descent into hell in one.
Russian icon from the end of the 18th century, beginning of the 19th century."Saint Peter and Paul".Painting on wood.Lack of polychromy. In need of restoration. Wear and tear due to use and the passage of time. Measurements: 31,5 x 26 cm.Russian icon dedicated to the apostles Peter and Paul, painted on wood. Saint Peter and Saint Paul are apostles, who gave a great testimony of Jesus. They are said to be the two pillars of the edifice of the Christian faith. They gave their lives for Jesus and thanks to them Christianity spread all over the world. They are also venerated in the Orthodox Church.
Russian icon from the end of the 19th century."Virgin Odighitria".Painting on wood. Silver oklad and enamels. Cloth on the reverse.Contrasts on one side.Needs cleaning. Wear due to use and the passage of time.Measurements: 30 x 25 cm .Russian icon of the end of the 19th century, painted on wood, with Oklad of embossed and chiselled silver, representing the Virgin of Odighitria with Child in her arms, enamel borders. Contrasts on one side. Lined with fabric on the reverseOne of the best-known motifs in Marian iconology is that of the Virgin Hodigitria, or 'she 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."Barbara of Nicomedia and Saint Nicholas of Bari".Painting on wood. Gilded silver oklad. Cloth on reverse.No contrasts visible.Needs general cleaning. Wear and tear due to use and the passage of time. Measurements: 31 x 27 cm.Russian icon, painted on wood, representing Barbara of Nicomedia and Saint Nicholas of Bari. With gilded silver oklad embossed and chiselled. Wood covered with cloth. Barbara of Nicomedia, known as Saint Barbara (3rd-4th century) was a Christian martyr, recognised as a saint by the Catholic Church. Saint Nicholas of Bari is one of the best-known saints of Christianity. Although little is known about his life, it is said that he was bishop of Myra in Asia Minor and that he was persecuted and captured by the Romans in the 4th century, being later freed by Emperor Constantine I. In the 11th century his relics were taken to Bari (a place of pilgrimage), Italy. He has become the patron saint of Bulgaria, Greece and Russia,
Vincent G. Stiepevich (Russian/American, 1841-1910). Orientalist oil painting on canvas depicting two women conversing in a harem. Signed along the lower left. A label from Vern Carver & Beard Art Galleries, Minneapolis, Minnesota, is affixed to the verso.Sight; height: 29 1/2 in x width: 19 1/2 in. Framed; height: 36 1/2 in x width: 26 1/2 in.
Group of 39 Russian hand painted lacquered objects including: 20 wooden boxes with illustrated scenes from Russian folklore and fairy tales and red interiors; 18 pins painted with flowers, portraits, or carriages; and one mother of pearl spoon. Most signed along the underside of the box and along the edge of the painting.Height ranges from 1/4 in to 2 in; width ranges from 1 1/2 in to 6 in; depth ranges from 1 1/4 in to 3 3/4 in.
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Attributed to Just-Pierret L'Hernault (French, 1832-1922), After Franz Xaver WinterhalterPortrait of The Emperor Napoleon III bears signature and artist address (on stretcher verso)oil on canvas135.2 x 100.6cm (53 1/4 x 39 5/8in).Footnotes:The present portrait is a copy of the original painting of Louis-Napoleon, president of the French Republic in 1848 and proclaimed Emperor of the French in 1852 with the name of Napoleon III. The official portrait of the Emperor in full regalia by Franz Xaver Winterhalter was first shown publicly with the companion portrait of empress Eugenie at the Paris Salon of 1855, held during the Universal Exhibition. Under the directorship of the comte de Nieuwerkerke, the art venue took place at the Palais des Beaux-Arts, avenue Montaigne. It is believed that the original painting was later destroyed in the 1871 fire of the Palais des Tuileries.By 1855, Winterhalter had a well-established career among the French, Belgian, and English courts. His frequent visits to England had allowed him to paint numerous portraits of Victoria and Albert and their children. In France, Winterhalter saw members of the most mundane aristocracy sit for their portrait. In Paris, he also worked for the visiting nobility of the Russian and Polish courts. The German artist's sure ability to portray his famous sitters in the elegant dress and grand decor relating to their social rank ensured him a continuous flow of private commissions.In the present portrait of Napoleon III, the artist carefully displays the instruments of rule, reminding one of the legitimacy with which Napoleon III holds his imperial powers. Winterhalter's portrait of Napoleon III became the official image of the French ruler; as such, many copies were made to decorate the residences, embassies and offices of the Empire. They also served as official gifts, as the present painting appears to be.There is a version of the original by Winterhalter in the Museo Napoleónico, Rome.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Tamara Jovandić-Everson Untitled 3, 2022 Acrylic and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin... Education 1986-1991 Academy of Art, Sarajevo Select Exhibitions/Awards MAIN SOLO SHOWS: 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo GROUP EXHIBITIONS: 2017 London Biennale, Chelsea 2015 Royal College of Art, 20/21 International 2014 Arthorp Gallery, Arts Depot Open 2011 Galery 69, Limogue, France 2010 Landmark Art Center, Summer Art Fair 2010 Russian Art Fair, Park Lane, London 2010 Christie's auction, St.Mary's Church, London 2010 The Dissenters Gallery, London 2009 The Bridge, Ladbroke Grove 2007 National Gallery Museum, Croatia 2006 Pro Art Exhibition, Chelsea Town Hal 2004 Salon des Arts, "Religion, Art & War", Knightsbridge, London 2003 Discerning Eye Exhibition, Mall Galleries, London2001 Unicorn Gallery, Fulham, London 2001 Terra Gallery, Chiswick, London 2000 Erotica, Olympia, Kensington, London 2000 DFN Gallery, Manhattan, New York, USA 1999 Candid Gallery, Islington, London 1997 Talisman Fine Art Gallery, London 1996 Workhouse Gallery, Chelsea, London 1996 The Octagon, Fulham, London 1995 Sternberg Centre for Judaism, London 1995 The Illaca Gallery, Brighton 1994 Art and Life in Exile Exhibition, University of London 1994 Salama-Caro Gallery, Cork Street, London 1994 The Crypt, St. Martins in the Fields, London 1994 Garter Lane Arts Center, Waterford, Ireland 1993 Leo Baeck Association, London Jewish Community, Hampstead 1991 Group Exhibition of ULUBIH, Collegium Artisticum, Sarajevo 1991 Biennial Exhibition of Student Drawing Gallery of Student City, Belgrade 1991 Exhibition at Foca Museum, Foca 1990 Exhibition (Oil on canvas), Kamerni Theatre Gallery, Sarajevo Statement about AOAP Submitted Artwork These works were based on life models and are observational, but expressive. In these works I tried to depict power of emotion by minimal use of colour via dramatic contrast and texture. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Tamara Jovandić-Everson Untitled 4, 2022 Acrylic and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin... Education 1986-1991 Academy of Art, Sarajevo Select Exhibitions/Awards MAIN SOLO SHOWS: 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo GROUP EXHIBITIONS: 2017 London Biennale, Chelsea 2015 Royal College of Art, 20/21 International 2014 Arthorp Gallery, Arts Depot Open 2011 Galery 69, Limogue, France 2010 Landmark Art Center, Summer Art Fair 2010 Russian Art Fair, Park Lane, London 2010 Christie's auction, St.Mary's Church, London 2010 The Dissenters Gallery, London 2009 The Bridge, Ladbroke Grove 2007 National Gallery Museum, Croatia 2006 Pro Art Exhibition, Chelsea Town Hal 2004 Salon des Arts, "Religion, Art & War", Knightsbridge, London 2003 Discerning Eye Exhibition, Mall Galleries, London2001 Unicorn Gallery, Fulham, London 2001 Terra Gallery, Chiswick, London 2000 Erotica, Olympia, Kensington, London 2000 DFN Gallery, Manhattan, New York, USA 1999 Candid Gallery, Islington, London 1997 Talisman Fine Art Gallery, London 1996 Workhouse Gallery, Chelsea, London 1996 The Octagon, Fulham, London 1995 Sternberg Centre for Judaism, London 1995 The Illaca Gallery, Brighton 1994 Art and Life in Exile Exhibition, University of London 1994 Salama-Caro Gallery, Cork Street, London 1994 The Crypt, St. Martins in the Fields, London 1994 Garter Lane Arts Center, Waterford, Ireland 1993 Leo Baeck Association, London Jewish Community, Hampstead 1991 Group Exhibition of ULUBIH, Collegium Artisticum, Sarajevo 1991 Biennial Exhibition of Student Drawing Gallery of Student City, Belgrade 1991 Exhibition at Foca Museum, Foca 1990 Exhibition (Oil on canvas), Kamerni Theatre Gallery, Sarajevo Statement about AOAP Submitted Artwork These works were based on life models and are observational, but expressive. In these works I tried to depict power of emotion by minimal use of colour via dramatic contrast and texture. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Russian School (20th century) A wooden veranda with chair Unsigned, with gallery label - 'Roy Miles Gallery, London' on verso, oil on canvas.98cm x 78cm (38.5in x 30.75in)The painting is in very good, original condition. There is some cracking across the painting and one or two small flecks of paint loss. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
ALEXANDER DIMITREIVICH SOFRONOFF (RUSSIA AND CEYLON, 1901-1948) Native huts and characters in Ceylon Oil on cardboard Signed on the lower right Bears a label on the back: ‘Framed by Victor Waddington Galleries Art Dealers Picture Framers 8 South Anne Street Dublin no 66281’ Framed with a glass 31 x 45 cm Provenance (according to label): Victor Waddington Galleries, an art dealer located at 8 South Anne Street, Dublin, Ireland. Note: Alexander Sofronoff was a Russian painter trained as an artist in Yekaterinburg. When the Russian Revolution broke out, Sofronoff had to flee the country. In 1922, Sofronoff traveled on the Trans-Siberian railway to Manchuria where he found safe haven in Harbin and made a living as a set designer. In 1936, at the onset of the Second Sino-Japanese war, Sofronoff sailed to Ceylon as a theatrical scene painter with the Shanghai Russian Ballet Company. Sofronoff found life in Ceylon to his liking and found employment at the Galle Face Hotel in Colombo as the resident decorative artiste. He soon became popular amongst the British community who commissioned him to do portraits of their families and taught painting, one of his students being the well-known Ceylonese landscape artist Donald Ramanayake. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Vera Landchevsky (Russian/Ukrainian/French, 1897-1960)Portrait of a young woman signed in Latin (lower right)oil on canvas66 x 50cm (26 x 19 11/16in).Footnotes:ProvenanceClaude Aguttes SAS, Neuilly sur Seine, France, Tableaux des XIX eme et XX eme siecles, 15 February 2008, lot 155Private collection, UK (acquired at the above sale)Born in Voronezh, Vera Landchevsky spent her youth living in Kiev where she studied art under Vladislav Galimsky (1860-1940). At an early age, she moved to Moscow and continued her training in the studios of Petr Kelin (1874-1946), Michael Leblan (1875- 1940), as well as received sculpture lessons from Anna Golubkina (1864- 1927). After the breakout of the Civil War in Russia in 1917, Landchevsky moved to Geledzhik and then Tiflis, where she attended the Academy of Art. Her journey as an émigré began in the 1920s as she traveled to Romania and Berlin until settling in Paris in 1926. In Paris, Landchevsky joined the city's thriving art scene while participating in Paris salons and numerous exhibitions, including the 1931 Salon d'Automne, the 1936 Salon des Tuileries, and the 1943 Salon des Indépendants. In 1929, Landchevsky's solo exhibition opened at the Galerie Carmine in Paris, and in the 1930s, her work was included in the international exhibitions of Russian art in Belgrade (1930) and Prague (1935). Landchevsky is best known for her landscapes of Paris, delicate still lifes, and insightful portraits. The latter were often commissioned and portrayed prominent members of Russian intelligentsia living or visiting Paris and included portraits of poet Vladimir Elser (1922) and opera singer Leonid Sobinov (1925) donated to the Russian Cultural and Historical Museum in Prague. The artist's admiration for Paris reflected in a series of atmospheric landscapes, painted in the city and its vicinities. The diverse artist also worked in theatre, and excelled as a restorer, until shifting her interest towards abstract painting in the late period.For further information on this lot please visit Bonhams.com
Lackkästchen, Fedoskino/ RusslandPappmaché, schwarz lackiert, auf dem Deckel Lackgemälde Morgenstimmung im Wald (Bärin mit drei Jungen) nach Ivan Shishkin, sign. B. Morosow. Innen rot lackiert. 9,5 x 26 x 19 cm Russian (Fedoskino) lacquer box, cover painting "Morning in the woods" after Ivan Shishkin. Signed "B. Morosov". 9,5 x 26 x 19 cm
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Colombe volant à l'Arc-en-ciel", 1952.Colour lithograph, copy 129/200.Signed and justified by hand. Signed and dated on plate.Size: 54 x 77 cm; 68 x 96,5 cm (frame).Original lithograph, signed by Picasso. It represents a dove flying in front of the rainbow, a motif from 1952 that would be used as a symbol of peace against the Franco regime. The dove of peace motif appeared in Picasso's work after the Second World War. Just as in another well-known Picasso image from 1961, the biblical symbol of the dove with an olive branch in its beak appears here flying over a rainbow sky. In Genesis we are told of the appearance of the dove with an olive branch to Noah to symbolise the return of universal peace, the end of the floods. Picasso took up this symbol in a series of drawings of doves. One of them was used for the poster announcing the World Congress of Partisans for Peace. In February 1949, Louis Aragon went to Picasso's Paris studio to select a drawing for the congress, which was to be held in Paris in April of the same year. "La colombe", a blue pencil drawing on paper, was the chosen motif and the image quickly became known as "The Dove of Peace". On 19 April 1949 his second daughter was born, on the opening day of the Peace Congress, and he decided to name her Dove after the symbol he created for the posters that appeared all over the streets of Paris.The creator of Cubism together with Braque, Picasso's painting was a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.
Marc Chagall (Russian/French, 1887-1985). Lithograph in colors on paper titled "The Artist and His Model," depicting an artist painting a reclining woman in red. Signed in the plate along the lower right; numbered 480/750 along the lower left.Sight; height: 15 in x width: 11 1/2 in. Framed; height: 23 in x width: 19 1/2 in.
D. KOVRIGIN (Russian) - 'Last Snow' - a hardstone panel after the oil painting by Boris Valentinovich Shcherbakov. White marble decorated in relief with coloured sands and with a jade-like hardstone variegated green frame.Two paper labels verso with Cyrillic script listing the artist, the title and the medium as comprising over 300 different stones, including crystals, precious stones and off-cuts from the the Malakhit stone-cutting factory (24cm x 30cm)
Russian icon, late 18th - early 19th century."Saint Nicholas".Painting on wood.Slight flaws in the polychromy. Good state of conservation.Measurements: 49 x 39 cm.Nicholas of Bari was one of the most popular saints in the Byzantine iconographic tradition. In the icons he is represented as we see here: with a wide forehead and white beard, and dressed like a Greek bishop; that is to say, with white felonion and omophorion. In his left hand he holds the book of the Gospels, while with his right hand he makes a gesture of blessing. As was also common in certain Russian icon typographies, scenes from the saint's life have been depicted in great detail around him: from his birth to his martyrdom, and even his heavenly ascension.Saint Nicholas of Bari is one of the best-known saints of Christianity. Although little is known about his life, it is said that he was bishop of Myra in Asia Minor and was persecuted and captured by the Romans in the 4th century, but was later freed by Emperor Constantine I. In the 11th century, his relics were found on his body. In the 11th century his relics were taken to Bari (a place of pilgrimage), Italy. He has become the patron saint of Bulgaria, Greece and Russia.
Jamie Wyeth - (American b. 1946) - Rudolf Nureyev - A signed limited edition colour lithograph by Jamie Wyeth depicting New York company Russian ballet dancer Rudolf Nureyev as part of his series 'Capturing Nureyev', 1978, New York. Nureyev is captured mid grand jeté. Original painting in the media of pencil and pastel. Signed in pencil by the artist. No. 32/300. Framed and glazed. Measures102cm x 77cm.
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "USSR Sedov" Signed lower right. Original oil painting on Masonite. 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 USSR 32k Sedov stamp issued September 18, 1981. By far the largest square-rigger of our time, the Sedov shadows even the massive Kruzenshtern. This monumental four-masted bark stretches a full 388 ft., has a net tonnage of 3,516, and can reach and maintain speeds of up to 15 knots with over 4,611 square feet of sail embracing the wind. The Sedov is owned by the Ministry of Fisheries of the U.S.S.R. and bears the name of the famous Russian polar explorer George Sedov. She was built by the renowned Krupp shipyard in Kiel, Germany, and commissioned on September 19, 1921. For several years thereafter, she carried bulk cargo between ports of Europe, Australia, South America, and the Pacific. In 1936, the Magdalene Vinnen, as she was then called, was sold to the North German Lloyd. Under her new owner, she was fitted with accommodations for ninety German cadets and thus began her new life as a training vessel. In 1946, she was taken over by the Soviet fleet, renamed the Sedov, and used for combined oceanographic and training purposes. This magnificent square-rigger is presently being completely refitted specifically for cadet training purposes. Sea specialists and seamen throughout the world are looking forward to the return of this unique and largest of square-riggers of our time. Image Size: 19.25 x 21.75 in. Overall Size: 25 x 27 in. Unframed. (B07354)
ARTIST: Anatoly Zinovyevich Itkin (Russia, born 1931)NAME: Still Life with MaskYEAR: 1999MEDIUM: watercolor on paperCONDITION: Excellent.SIGHT SIZE: 12.5 x 19.5 inches / 31 x 49 cmFRAME SIZE: unframed (In-House framing available)SIGNED: Upper rightCATEGORY: antique vintage paintingSKU#: 113434US Shipping $29 + insurance.AD: ART CONSIGNMENTS WANTED. CONTACT USAnatoly Zinovyevich Itkin (Russia, born 1931)Anatoly Itkin born 28 January 1931 in Moscow. In 1950 he graduated from the Moscow Art School in 1956 - graphic faculty of the Moscow Art Institute. Surikov (portrait studio of Professor BA Dehterova). Taught at the Faculty Eugene E. A. Kibrik , M. S. Rodionov , P. Suvorov, P. Rayner. From 1954 he worked as an illustrator in many Moscow publishing houses, for a total of his creative life master illustrated a number of books - from fairy tales for little children to Russian and foreign classics.Anatoly Z. Itkin - a member of the Union of Artists of the USSR, Honored Artist of Russia, winner of many competitions, and his works are in the State Tretyakov Gallery, the State Pushkin Museum, Central Pushkin Museum in St. Petersburg, the State Museum of Literature, Literary Museum A. Tolstoy in Samara, the Museum-Reserve "Abramtsevo", Tver Regional Museum and in private collections in Russia, Yugoslavia, Israel, the U.S., Germany and South Korea.Years go by, times change, but the artist remains faithful to his creative credo: "My realism is not characteristic of any excessive grotesque or emotional excesses. Virtues to me are honesty and integrity. And if they are present in my picture, but still expressive in addition, I think a good figure. Since my student years, I learned a postulate that we should not engage in self-expression specifically. Better address the needs of the depicted, and the problem of self-expression will be decided in the process itself ».https://fantlab.ru/art186
ARTIST: Dmitriy Yakovin (Russian, born 1969)NAME: Photo Model (titled on verso)YEAR: 2004MEDIUM: oil on canvasCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 11 x 14 inches / 27 x 35 cmFRAME SIZE: 18 x 21 inches / 45 x 53 cmSIGNATURE: lower right and on versoCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120998US Shipping $60 + insurance.BIOGRAPHY:Dmitry Yakovin was born in Vladivostok in 1969. In 1995, he graduated from the Academy of Arts. I. Repin, department of drawing. He also studied at the Academy of Arts in West Berlin.Since 1992, Dmitry is a member of the Union of Artists of Russia, later the artist was admitted to the London club Imagination of Art, in which he was recognized as the best artist of 2005. Known in Russia, America, Canada, France and Germany.Dmitry works in the genre of microrealism. He himself created this trend several years ago on the basis of surrealism. Heroes of Dmitry's paintings are micro-realists. These are tiny creatures similar to humans, something between fairies, gnomes and brownies.
ARTIST: Paul Calle (Connecticut, New York, 1928 - 2010) & Chris Calle (US,Born 1961)NAME: 1900s - ImmigrationYEAR: 1997MEDIUM: mixed media on boardCONDITION: Excellent.SIGHT SIZE: 16 x 14 inches / 40 x 35 cmBOARD SIZE: 22 x 16 inches / 55 x 40 cmSIGNATURE: lower rightNOTE: This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32c Immigrants Arrive stamp issued February 3, 1998. "Give me your tired, your poor, your huddled masses yearning to breathe free." The poignant words of American poet Emma Lazarus' sublime poem, The New Colossus, inscribed on the Statue of Liberty, reflect America's attitude toward the millions of immigrants that landed on Ellis Island during the late 19th and early 20th centuries. As the nation's largest port of entry, the island received nearly three-fourths of all immigrants during its 40 years of full operation. Ellis Island received as many as 5,000 people a day, with the peak year for immigration occurring in 1907 when 1.3 million immigrants arrived. Most of America's immigrants between 1905 and 1907 were Russian Jews, Italians and people from the Austro-Hungarian Empire. Ellis Island's facilities included dormitories to accommodate 1,500 people, kitchens, a laundry, recreation rooms and a special ferry service to the mainland. Most immigrants remained at Ellis Island for a short time, while waiting for their papers to be approved and until their families' arrival on later ships. Some were detained in quarantine for health checks. The massive immigration during the early 20th century helped to establish America as a melting pot of many cultures, providing people from all over the world with a new beginning. PROVENANCE: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 118705US Shipping $60 + insurance.BIOGRAPHY:Paul Calle, Postage Stamp Designer, Is Dead at 82 By MARGALIT FOX The cause was melanoma, said his son Chris, who is also a stamp designer. A longtime Stamford resident, Mr. Calle (pronounced KAL-ee) designed more than 40 United States stamps, licked by generations of postwar Americans. He was best known for the 10-cent stamp, commissioned by NASA and issued in 1969, commemorating the Apollo 11 moon landing that year. His other stamps include ones honoring Gen. Douglas MacArthur (1971), Robert Frost (1974), the International Year of the Child (1979), Helen Keller and Anne Sullivan (1980), Frederic Remington (1981), Pearl S. Buck (1983), the Vietnam Veterans Memorial (1984) and folk-art carousel horses (1988 and again, with new artwork, in 1995). Mr. Calle's work has been exhibited at the National Gallery of Art in Washington, the National Cowboy and Western Heritage Museum in Oklahoma City and elsewhere. With Chris, he designed two 1994 stamps a 29-cent first-class stamp and a $9.95 express-mail stamp commemorating the moon landing's 25th anniversary. Father and son also collaborated on stamps for Sweden, the Marshall Islands, Micronesia and the United Nations. Paul Calle was born on the Lower East Side of Manhattan on March 3, 1928. He earned a bachelor's degree from Pratt Institute in Brooklyn and during the Korean War was an illustrator for the Army. Early in his career, Mr. Calle did cover artwork for science-fiction pulp magazines like Galaxy, Fantasy Fiction and Super Science Stories, as well as for general-interest publications like The Saturday Evening Post. In 1962, he was among the inaugural group of artists chosen for the NASA Art Program, a documentary record of the space program that has produced thousands of works to date. Mr. Calle's early art for the program includes a pair of 5-cent stamps, issued in 1967, depicting the Gemini casule and the astronaut Ed White making the first American spacewalk in 1965. On July 16, 1969, the day Apollo 11 was launched, Mr. Calle was the only artist allowed to observe the astronauts, Neil Armstrong, Michael Collins and Buzz Aldrin, as they readied themselves for the mission eating breakfast, donning their spacesuits and the like. He captured their preparations in a series of intimate pen-and-ink sketches later exhibited at the National Air and Space Museum. That morning, when the astronauts lifted off, one of the things they carried was the engraved printing plate of Mr. Calle's commemorative stamp. As the moon lacked a post office, a proof made from the plate was hand-canceled by the men aboard the spacecraft. Mr. Calle's wife, the former Olga Wyhowanec, whom he married in 1951, died in 2003. Besides his son Chris, he is survived by another son, Paul P., a veterinarian at the Bronx Zoo; a daughter, Claudia Calle Beal; and six grandchildren. Interviewed after the moon landing, Mr. Calle divulged the secret of his rigorous craft: "When you do a stamp," he said, "think big, but draw small."
IWAN GRIGORJEWITSCH DOWGOBROD 1924 Selidowka/ Region Donetsk Ansicht von Azow-Stahl (Azovstal) Öl auf Leinwand. 82 cm x 149,5 cm. Unten rechts in Kyrillisch signiert, datiert '1980'. Part. Farbverluste. Der Versteigerungserlös sowie die Verkaufsprovision werden für das regionale Krankenhaus in Tschernihiw gespendet. Im Jahr 1946 wurde der Künstler Opfer des politischen Terrors in den UdSSR und wurde zu fünf Jahren Haft verurteilt. Danach arbeitete er als Dreher im Azovstal-Werk. Im Jahr 1989 wurde er rehabilitiert. Interessantes Gemälde zeigt das berühmte Stahlwerk, das 2022 zum Symbol des ukrainischen Widerstandes in Mariupol während des Ukrainisch-Russischen-Kriegs geworden ist. In Kooperation mit einer Kiewer Galerie veranstaltet Hargesheimer Kunstauktionen Düsseldorf eine Benefiz-Versteigerung ukrainischer Kunst unter dem Motto „Save the future, save the life“. Der Krieg in der Ukraine, der bereits tausende Menschenleben forderte, verursachte auch eine humanitäre Krise mit Millionen Geflüchteten. Er ruiniert Schicksale und zerstört Kultur. Die KünstlerInnen, deren Werke im Rahmen dieser Versteigerung angeboten werden, versuchen in ihrer Kunst Harmonie und Schönheit trotz der harten Realität in die Welt zu bringen und dadurch eine Brücke zum Frieden zu schlagen. Wir präsentieren junge MalerInnen aus verschieden Regionen der Ukraine, die unserer Meinung nach eine Entdeckung für das westeuropäische Publikum sein können. In das Programm wurden auch Maler aufgenommen, die bereits ihre Erfahrungen auf den internationalen Messen und Ausstellungen gesammelt haben, wie Olexiy Say, Olexander Bogomaz oder Maxim Masur. Auch Klassiker ukrainischer Kunst beispielsweise von Zoja Lermann und Vasyl Nepyjpywo dürfen bei dieser Auswahl nicht fehlen. Ihre Werke befinden sich in den führenden ukrainischen Museen und Privatsammlungen. Der volle Versteigerungserlös sowie die Verkaufsprovision werden für das regionale Krankenhaus in Tschernihiw gespendet, das seit Anfang des Krieges die Versorgung der Kranken und der Verwundeten aus der ganzen Region unter härtesten Bedingungen sicherstellt. Vierzig Tage lang war der gesamte Komplex diversen Angriffen ausgesetzt, was zu enormen Gebäudeschäden außen und innen, sowie Verlusten der diagnostischen und therapeutischen Geräte führte. Mit unserer gemeinsamen Aktion werden wir einen wichtigen humanitären Beitrag leisten, der die Neubeschaffung der benötigten Geräte und die Instandsetzung der zerstörten Gebäudeteile ermöglicht. IVAN GRIGORIEVITCH DOVGOBROD 1924 Selidovka/ Donetsk-Region A view of Azov-Steel (Azovstal) Oil on canvas, 82 by 149,5 cm, lower right in Cyrillic signed, dated '1980', part. with losses of the paint. The hammer price and the buyer's premium will be donated to the Regional Clinic Hospital in Tchernihiv. In 1946, the artist became a victim of political terror in the USSR and was sentenced to five years in prison. After that he worked as a turner at the Azovstal. In 1989 he was rehabilitated. Interesting painting depicts the famous steelwork that became a symbol of Ukrainian resistance in Mariupol during the Ukrainian-Russian War in 2022.
A large and impressive panoramic view of the city of Lahore Punjab, Lahore, circa 1840-45watercolour with some gold on paper, 11 separate joined sheets of paper, identifying inscriptions in Persian on painted surface, in mount, framed 24 x 235 cm.Footnotes:The two peaks of Lahore's fortune as a great city were first under the early Mughal emperors, until the death of Aurangzeb, when it was adorned with palaces, gardens and tombs; and second, the period of Maharajah Ranjit Singh, the acme of Sikh power, from his triumphant entrance into the city in 1799 and the establishment of his regime, to the collapse of Sikh rule in the years after his death, and British control of the Punjab. Between those two events it had been captured twice, first by the Persian Nadir Shah, in his catastrophic invasion of India in 1739, and then again by the Afghan Ahmad Shah Durrani.In 1831 the British political officer and traveller, Alexander Burnes, capturing something of the ancient nature of the city, and its various layers of history, wrote:On the morning of June 18th we made our public entrance into the Imperial city of Lahore, which once rivalled Delhi. We moved among its ruins [...] In our evening at Lahore, we had many opportunities of viewing this city. The ancient capital extended from east to west for a distance of five miles, and an average breadth of three, as may yet be traced by the ruins. The mosques and tombs, which have been more stably built than the houses, remain in the midst of fields and cultivation as caravanserais for the travellers. The modern city occupies the western angle of the ancient capital, and is encircled by a strong wall. The houses are very lofty, and the streets, which are narrow, offensively filthy, from a gutter that passes through the centre. (Travels into Bokhara, London 1834).The city was first of all drawn by various European artists, including Frances ('Fanny') Eden (1801-1841), sister of the more famous Emily Eden, who recorded sketching it in her diary for December 1838 (so roughly contemporary with our painting). However, the European doctor, Martin Honigberger, who was in Lahore at the Sikh court between 1829 and 1833, and then again between 1839 to 1849, recorded that he sold a panorama of Lahore by an Indian artist to the Russian painter Prince Alexis Soltykoff. Honigberger apparently took home similar paintings, since in his illustrated memoir Thirty-Five Years in the East (1852) he included lithograph views based on them (see F. S. Aijazuddin, Lahore: Illustrated Views of the 19th Century, 1991, pp. 48-49, no. 15). Woodcut versions, apparently derived from such paintings, but in a much more naive style, were also being produced in the latter half of the 19th Century: for an example, see F. S. Aijazuddin, op. cit., 1991, pp. 84-85, no. 39. At a similar date, panoramas of Delhi, and other highly detailed topographical studies of the city, were being produced by artists such as Mazhar Ali Khan, at the tail end of Mughal power, and Mughal art (for which see J. P. Losty, 'Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists', in W. Dalrymple, Y. Sharma (edd.), Princes and Painters in Mughal Delhi 1707-1857, New York 2012, pp. 52-59.)For another example of such a panorama, see Christie's, Arts of India, 10th June 2015, lot 101 (previously at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 139), which appeared in the exhibition Interaction of Cultures: Indian and Western Paintings 1780-1910, The Fine Arts Museum of San Francisco, 1998, cat. no. 71 (pp. 278-80). For a smaller example from a similar viewpoint, see Christie's, Art of the Islamic and Indian World, 4th October 2012, lot 221.An example of similar size with both English and Persian inscriptions is in the Singh Toor Collection: for a good discussion, along with a survey of the locations and buildings depicted, see D. Singh Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 96-101.The monuments identified identified in the inscriptions include (ten have not been fully deciphered):The Shah's tower.The Tower of Rajah Ranjit Singh, construction of which began in 1839, not completed until 1851.The Shah's Tower of Yakki Gate.The Royal (Padshahi) Samman Tower.The Black Gate.The Gate of Light (Roshnai Gate) (illuminated at night).The White (Jasmine) Gate of Jawahir Singh Jiv.The Masti Gate.The Kashmiri Gate (facing in the direction of Kashmir).The Khizri Gate.The Royal (Padshahi) Mosque.The Old Mosque.The Mosque of Vazir Khan.The Hazuri Garden. The Mazhar 'Ali small garden.The Royal Summerhouse.The Sleeping quarter.The Large Sleeping quarter.The Mansion of [...] Nau Nihal Singh Jiv.The Mansion of Sardar Thij [?] Singh.The Mansion of the officer of the army, Khoshhal Singh.The Mansion of Sardar Ahlu Waliyah [?]. The Mansion of Sardar [...] Singh.The Arsenal [?] of Mazhar 'Ali.The Akbari District.The Akbari stable.For further information on this lot please visit Bonhams.com
Marc Chagall (1887 Witebsk - 1985 Saint-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 aufkommende 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 Saint-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 is the title of this colour lithograph.
Enrico Arcioni, 1875 Spoleto - 1954 Rom, Studium an den Akademien Rom und Perugio, lebte ab 1892 in Paris und von 1900-1915 in St. Petersburg, malte vorwiegend Porträts des französischen und russischen Adels sowie einige religiöse Themen, hier: Salome mit dem Haupt Johannes des Täufers, stimmungsvolle Jugendstilmalerei mit gekonnter Führung des Lichts aus unterschiedlichen Quellen: von hinten und Feuerschein von vorne, attributive Funktion des Johanneshauptes zugunsten der ekstatisch-erotisierenden Darst. Salomes stark reduziert, rechts unten signiert und bez., Öl/Lwd, rest., doubliert, ca. 87x67cm, R. ca. 95x74cmEnrico Arcioni, 1875 Spoleto - 1954 Rome, Studies at the Academies Rom and Perugio, lived in Paris from 1892 and of 1900-1915 in St. Petersburg, mainly painted portraits of the French and Russian nobility and some religious subjects, here: Salome with dem Headof John the Baptist, atmospheric Art Nouveau painting with skillful use of light from different sources: from behind and firelight from front, attributive function of the head of John in favor of the ecstatic-eroticizing depiction of Salome, greatly reduced, signed lower right and inscribed, oil/canvas, restored, relined, approx. 87x67cm, frame approx. 95x74cm
IVAN FEDOROVICH CHOULTSÉ (RUSSIAN 1877-1932)RAYONS DU MATIN, SNOW SCENEOil on panelSigned and dated 192153 x 65cm (20¾ x 25½ in.)Provenance:Burlington Paintings, LondonIvan Fedorovich Choultsé was born in Saint Petersburg into a family of German origin (Schultze) who had lived in Russia since the seventeenth century. Originally an electrical engineer until the age of thirty, he showed his first essays to the famous painter and member of the Russian Academy of Fine Arts, Constantin Jakovlevich Kryzhitsky (1858-1911), who then invited Choultsé to study art. In 1910 they travelled to Spitzbergen together, where Choultsé was captured by the Arctic landscapes. By 1916 he had already become a renown artist, with Carl Fabergé and members of the Tsar family acquiring his works. During the Revolutionary Years Choultsé was forced to leave Russia and travelled across Europe, painting views of Southern France, Northern Italy and particularly of the Swiss Alps. These often set the scene for his most sought after winter landscapes, which have an almost magic realist quality due to his specific handling of light. Nowadays, his radiant depictions of water and snow are particularly collected in the United States and Canada (Hillwood Museum in Washington D.C., Indianapolis Museum of Art, Montreal Museum of Fine Arts), ever since his works were exhibited in New York in the early 1930's. Condition Report: The canvas appears cleaned and the colours are fresh. UV light reveals very minor scattered retouching. The surface impasto also fluoresces under UV, but we believe this is the artist's technique rather than signs of retouching. One small area of paint loss measuring approx. 1 cm lower left. Condition Report Disclaimer
PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Suite 156".Engraving, copy 24/50.Signed in plate, justified by hand.Belonging to the series "Suite 156".Work published in "Picasso Suit 156". Kosme Baraño Letamendia, Ed. BBV, Bilbao 1998.Measurements: 50 x 65 cm; 75 x 88 cm (frame).This series is made up of a set of one hundred and fifty-six prints from as many copperplates that Picasso engraved when he was over ninety years old. The works reveal his old age through an iconography that never fails to show an elderly Picasso. The prints do not provide an overall view, but they all have in common a retrospective look at the artist's life and work, and a nod to his visual memory. Thus we can glimpse the theme of the circus, to which Picasso was a regular in his youth, the female nude, with images of brothels, or his debt to painters for whom he felt admiration.The creation of Suite 156 was structured in three stages. From January to 25 May 1970, Picasso engraved more than fifty copper plates. In the second stage, between 25 February and 16 June of the following year, he made nearly a hundred plates, including thirty-eight dedicated to the image of Degas. Finally, in March 1972, he produced three more copperplates, two of them for Suite 156. Of this series, printed in its entirety by the brothers Piero and Aldo Crommelynck, fifty numbered copies were printed. The only three complete series of Suite 156 in existence are in the Musée Picasso in Paris, in a private collection and in the Bancaixa Foundation.The creator of Cubism together with Braque, Picasso's painting marked a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.
Late 17th century A.D. A Greek Orthodox icon formed as a rectangular wooden panel with slightly curved profile, one face with polychrome religious scene showing Christ identified by the Greek Letters '?CXC' (Jesus Christ), on the left corner of the icon, dressed in a blue chiton and a red cloak, blessing the central figure of the painting, representing Saint Onuphrius (identified by the inscription on his left, ? ????C ????????C); the saint, usually represented as a desert hermit, is shown here in three quarter-length, dressed in priests' vestments, wearing a simple pinkish-red phelonion (chasuble) from which is hanging a blue omophorion wrapped around the neck, decorated with gold crosses and stars, while the body is clad in an off-white tunica talaris; holding a prophecy roll in his left hand with right hand raised in a gesture of blessing. See a similar style of painted icon in Christie's, Icons and Artefacts from the Orthodox World, Monday 24 November 2008, London, 2008. p.83; cf. also the style of the icon of the Transfiguration from the iconostasis of c. Flora and Lavra c. Megrega, Olonetsky district; Russia, Karelia, at the Museum of Fine Arts of the Republic of Karelia (MIIRK). 683 grams, 28 x 25 cm (11 x 9 7/8 in). Charterhouse auctioneers, Sherborne, Dorset, UK. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985. The icon seems be painted in egg tempera with gold leaf on wood (cypress?), prepared with gesso and linen. Red and black paint was also used for the frame of the icon in the shape of two simple narrow bands. The style of the icon, although inscribed with Greek letters, and especially the faces of the divine figures recalls the Russian school. Fine condition.
A FINE VICTORIAN PORTRAIT MINIATURE OF COLONEL HENRY HUME OF THE 95TH, HERO OF CRIMEA.An oval portrait miniature on ivory, English School c1860, of an officer in dress uniform, looking to his right with gloves in one hand and cane in another. A black mourning band on his left arm and wearing a group of five medals which comprise the Order of the Bath, Crimea Medal with two clasps, Legion D’Honeur, Turkish Order of the Medjidieh and Turkish Crimea Medal. In leather outer case, a paper label to the reverse of the miniature ‘Colonel Henry Hume’. 12cm x 8.5cm.With a letter ‘My Dear Colonel’ dated 2nd Jan 1857 from De Lacy Evans and ‘My Dear Colonel Lewis’ dated 15 June 1860, and an Order ‘Head Quarters Before Sebastopol’.Henry Hume had a long and distinguished military career being wounded at Alma and Inkermann, being recommended for the Victoria Cross and receiving the honour of being presented with his Crimea Medal by Queen Victoria. It seems that Henry Hume was born on the 23rd January 1816, he joined the Army at the age of 19 years and three months. His rise through the ranks was impressive, Ensign from 9/5/1835, Lieutenant 1/12/1837, Captain from 19/1/1844, Major from 24/12/1852, Temporary Lt. Colonel from 12/12/1854 and Lieutenant Colonel from 9/3/1855 serving with the 95th Nottingham and Derby Regiment of Foot and later the Grenadier Guards.He fought gallantly during the Crimean War 1853-6 being twice wounded, dangerously at the battle of Inkermann when he was shot through the thigh and slightly at the battle of Alma, suggesting that the clasps visible were a well deserved reward for Alma and Inkermann, however records suggest he was also entitled to a clasp for Sebastopol. Wylly in his history of the 95th at Crimea records many details about Hume, most notably at the Battle of Alma ‘No supports were immediately at hand, and the moment was critical. Major Hume, who was on foot, his horse having been shot, seized the regimental Colour from the shattered hand of Ensign Bazalgette… the remaining men rallied to the Colour’. Hume had two horses shot from under him during the campaign, this horse being ‘Charlie’.This act of bravery was rewarded with a mention in the Lieutenant-General’s report of Officers whose gallant conduct had been brought to his attention following the battle: ‘Major H. Hume, after crossing the river, had a horse shot under him, headed the attack on the Russian main outwork and carried the Regimental Colour for some time during the hardiest part of the struggle’. It seems that Hume had also been shot at the time when he seized the Colours. It was also for this act that Major Hume was ‘recommended by Sir de Lacy Evans for the Victoria Cross’.The 2/95th suffered many casualties during the action and by the end of the battle they were reduced to ten officers and 433 non-commissioned Officers and men fit for duty. The losses were such that it was said that ‘There may be few of the 95th left but those few are hard as nails’. Lt Colonel Hume had the great honour of being awarded his Crimea Medal ‘from the hands of the Queen at Horse Guards, London on the 26th May 1855. Records further confirm his entitlement to the Legion D’Honneur 5th Class, Companion of the Bath and Order of Medjidieh 4th Class.Henry Hume transferred to the Grenadier Guards in April of 1858. As Her Majesty the Queen was Colonel in Chief of the Kidderminster Grenadier Guards it seems likely that the black arm band worn in this portrait is in remembrance of Prince Albert who died in December 1861 suggesting that this portrait was painted either in December 1861 or some point in 1862.Henry Hume received a commission from Thomas Henry Foley, Baron Foley of Kidderminster etc to the rank of Colonel to be one of Her Majesty’s Guard of the Honorable Corps of Gentleman at Arms on the 1st of December 1862.The promotion might well have promoted the painting of this miniature. The letter from 1857 signed by De Lacy Evans explains that he has recommended the Colonel for the VC ‘In an official report of the General Co.The Second Division of Lord Raglan (now Lt Colonel) Hume was referred to - Major Hume of the 95th Regt, Seized a Colour and led over the Bridge… this occurred at the Battle of Alma. The Officers previously bearing the Standard had been struck down by the Enemy’s Fire. It was a highly meritorious act of Valour at an opportune moment, decidedly useful in maintaining the successful advance of the Regiment against the enemy’.The letter of 1860 appears to be written by Hume explaining his part in carrying the colours whilst leading the Left Wing of the Regiment over the river whilst under deadly fire from the enemy ‘my horse was here killed under me - the next moment I caught sight of the Colours of my Regiment in the very act of retiring there were at that time only about ten of the 95 with them… I carried the Colour till I was hit in the right shoulder by musket balls.The Memorandum from ‘Head Quarters before Sebastopol 17th June 1855’ concerns encourages those in charge to impress upon their men the importance of ‘keeping together, and formed as a Military body after the Storm.Provenance: a distant relative of Colonel Hume.
19th century Greek icon."Konstantin and Helen of Constantinople".Painting on wood. Silver oklad. Cloth on reverse.Contrasts sterling silver 900 thousandth.Needs cleaning. Wear and tear due to use and passage of time.Measures: 25,5 x 19 cm .Russian icon representing Konstantin and Helen of Constantinople, painted on wood, with chiselled and embossed silver Oklad. Contrasts at the top. Maroon cloth on the reverse.Flavius Valerius Constantinus was Roman emperor from his proclamation by his troops on 25 July 306, and ruled a steadily growing Roman Empire until his death. He is also known as Constantine I, Constantine the Great or, in the Orthodox Church, the Eastern Orthodox Churches and the Greek Byzantine Catholic Church, as Saint Constantine. Flavia Iulia Helena, also known as Saint Helena, Saint Helena and Helena of Constantinople, was a Roman empress and saint of the Catholic and Orthodox Churches.
19th century Russian icon."Virgin Odighitria".Painting on wood. Silver oklad. Cloth on reverse.Needs cleaning. Wear and tear due to use and passage of time.Measurements: 24,5 x 19 cm .Russian icon of the Virgin Hoditrigia, painted on wood, with chiselled and embossed silver case.One of the best known motifs in Marian iconology is that of the Virgin Hodigitria, or "she who shows the way". The standard figure depicts the Mother of God with the Child in her arms, usually in 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".
Russian icon from the end of the 18th century."Saint Nicholas of Bari".Painting on wood. Oklad of silvered and gilded metal in border.Some lack of polychromy. Needs cleaning. Wear and tear due to use and passage of time.Measurements: 35 x 30,5 cm .In the Byzantine art, Saint Nicholas is represented with a wide forehead and white beard, and dressed like a Greek bishop; that is to say, with white felonion and omophorion. In his left hand he holds the book of the Gospels, while with his right hand he makes a gesture of blessing.Saint Nicholas of Bari is one of the best-known saints of Christianity. Although little is known about his life, it is said that in Asia Minor he was bishop of Myra and that he was persecuted and captured by the Romans in the 4th century, being later freed by Emperor Constantine I. In the 11th century his relics were taken to Bari (a place of pilgrimage), Italy. He has become the patron saint of Bulgaria, Greece and Russia,
Ikone mit dem nicht von Menschenhand geschaffenen Bild Christi (Mandylion), Russland, 19. Jhdt. Verbund aus zwei Holztafeln mit zwei Rückseiten-Sponki. Tempera auf Kreidegrund. Sehr flaches Kowtscheg, Tempera auf Kreidegrund. Zentrale Darstellung eingesetzt, Randmalerei später ergänzt. Maße 32 x 27,5 cm.Zustand: II - IIIA Russian icon showing the Image of Edessa (Mandylion), 19th century Tempera on gesso on wood panel. Center inset in another wood panel. Painting at the borders added. Dimensions 32 x 27.5 cm.Condition: II - III
Sehr große Lackdose (Schatulle) mit Troika, Russland, Werkstatt Osip F. Wischnjakow mit Söhnen, 1887 - 1896 Papiermaché, Schwarzlack, innen rot lackiert. Scharnierdeckel mit feiner Ölmalerei auf Silberfolie: Troika in Schneelandschaft. Innen sechs Ausstellungsmedaillen. Schlüssel fehlt. Maße 24 x 7,5 x 16 cm.Zustand: I - IIA large Russian lacquer and papier-mâché box with troika, workshop Osip Vishnjakov and Sons, 1887 - 1896 Red lacquer inside. Lid with polychrome painting showing a troika in snow landscape. Stamped with six medals inside. Key lost. Dimensions 24 x 7.5 x 16 cm.Condition: I - II
Ikone mit dem Heiligen Sergej von Radonesch, Russland, Anfang 18. Jhdt. Holztafel mit zwei Rückseiten-Sponki (verloren). Kowtscheg, Tempera auf Kreidegrund. Bildfüllende Darstellung eines Heiligen mit geöffneter Schrift (wahrscheinlich Sergej von Radonesch), kirchenslawischer Titulus unleserlich. Am oberen Bildrand erscheint die Heilige Dreifaltigkeit. Malerei wirft Blasen. Leicht restauriert. Maße 32 x 27 cm.Zustand: II -A Russian icon showing St. Sergei of Radonezh, early 18th century Tempera on gesso on wood panel with kovcheg. Painting with bubbles. Slightly restored. Dimensions 32 x 27 cm. Condition: II -
Lackdose mit Troika, Russland, Ostaschkowo, Werkstatt Ossip Wischnjakow, 1882 - 1888 Papiermaché, Schwarzlack, innen Silberfolie. Scharnierdeckel mit polychromer Darstellung einer Troika in Winterlandschaft. Innen gestempelt mit drei Ausstellungsmedaillen unter einer Krone. Silberfolie mit Fehlstellen, zwei Kanten bestoßen. Maße 13,5 x 8 x 8,5 cm.Zustand: II -A Russian papier mâché and lacquer box with troika, workshop Osip Vishnjakov, 1882 - 1888 Silver foil inside. Hinged lid with polychrome painting. Three medals inside. Silver foil with losses, two corners chipped. Dimensions 13.5 x 8 x 8.5 cm.Condition: II -
Große Jahresikone mit Anastasis, Passionszyklus und 48 Gnadenbildern der Gottesmutter, Russland, spätes 19. Jhdt. Holztafel mit zwei Rückseiten-Sponki. Floral gravierter Randbereich. Mittig Darstellung der Anastasis umgeben von zwölf Bildfeldern mit der Passion Christi. Darum bilden sich die zwölf Monate, beginnend mit Januar bis Dezember, jeweils mit Heiligen und Hochfesten des jeweiligen Monats über drei horizontalen Registern. Der äußere Kreis zeigt 48 Gottesmutterdarstellungen. In den Ecken sind die Erweckung des Lazarus, der Einzug Christi nach Jerusalem, die Himmelfahrt Christi und die alttestamentliche Dreifaltigkeit dargestellt. Stark berieben. Maße 53,5 x 44 cm.Zustand: II -A large Russian year icon with the Anastasis, ten fields showing the Passion of Christ and 48 portraits of the Mother of God, late 19th century Tempera on gesso on wood panel. Engraved border. The center depicts Christ's Descent into hell and his Resurrection surrounded by ten fields showing the Passion of Christ. One circle depicts twelve months, starting with January, each with saints and feasts over three rows. Outer circle with 48 portraits of the Mother of God. In the corners four scenes showing the Rising of Lazarus, Christ's entry into Jerusalem, the Ascension of Christ and the Old Testament Trinity. Painting with losses. Dimensions 53.5 x 44 cm. Condition: II -
Lackdose mit Liebespaar, Russland, Werkstatt Osip F. Wischnjakow mit Söhnen, 1887 - 1896 Papiermaché, Schwarzlack, innen rot-braun lackiert. Scharnierdeckel mit polychromer Ölmalerei auf Silberfolie: Darstellung eines bäuerlichen Liebespaares. Innen gestempelt mit sechs Ausstellungsmedaillen. Kleine Fehlstellen. Maße 15 x 5,5 x 9 cm.Zustand: IIA Russian papier-mâché and lacquer box with peasant couple, workshop Osip Vishyakov and Sons, 1887 - 1896 Red lacquer inside. Hinged lid with polychrome oil painting over silver foil showing a peasant couple. Six medals inside. Tiny losses. Dimensions 15 x 5.5 x 9 cm. Condition: II
Große Schale (Wandteller), Russland, Werbilki, M. S. Kuznetzow (ehemals Fabrik Gardner), um 1900 Porzellan. Runder Standring. Spiegel und Fahne mit Blattrankendekor auf rosa-rotem und türkisfarbenem Fond, goldstaffiert. Unterseite mit roter Manufakturmarke, bezeichnet "Fabrik Gardner" in Kyrillisch, mit arabischer Inschrift (Marke 1871 - 1917). Leicht berieben. Durchmesser 36 cm.Zustand: IIA large Russian porcelain plate, Verbilki, M. S. Kuznetzov (former company Gardner), circa 1900 Round stand. Painted leaves on pink and blue ground. Bottom with red company mark "Factory Gardner" in Cyrillic with Arabic letters (mark 1871 - 1917). Tiny painting losses. Diameter 36 cm.Condition: II
Ikone mit der Gottesmutter von Kasan (Kasanskaja), Russland, 19. Jhdt. Holztafel mit zwei Stirnseiten-Sponki. Tempera auf Kreidegrund, Hintergrund vergoldet. Weiche Modellierung der Gesichtszüge. Das Himation und das Mamphorion mit reicher Goldverzierung. Malschicht im unteren Randbereich leicht gewölbt. Maße 31 x 27,5 cm.Zustand: IIA Russian icon showing the Kazanskaya Mother of God,19th century Tempera on gesso on wood panel. Painting slightly domed at the lower part. Dimensions 31 x 27.5 cm. Condition: II
Großformatige Ikone mit der Darbringung Christi im Tempel, Russland, 17. Jhdt. Massive Holztafel mit einem Rückseiten-Sponki, oberer Randbereich abgeschnitten. Kowtscheg, Tempera auf Kreidegrund. Hintergrund freigelegt. Darstellung der Gottesmutter, die den Christusknaben an Simeon überreicht hat. Hinter der Gottesmutter schließen sich die Prophetin Hanna, die letzte Zeugin des Alten Testaments, sowie Joseph mit der Opfertaube an. Malerei wirft leichte Blasen. Maße 48 x 37 cm.Zustand: IIA large Russian icon showing the presentation of Christ at the temple, 17th century Tempera on gesso on wood panel with kovcheg, background stripped to gesso. Painting with bubbles. Dimensions 48 x 37 cm.Condition: II
RUSSISCHE SCHULE (XX). "Nach dem Gottesdienst"47 cm x 40 cm. Gemälde. Öl auf Leinwand. Ausgeführt 1989. Verso beschriftet. Russian School. "After Church". Versand kann organisiert werden. Russian School (XX). "After Church". Painting. Oil on canvas. Executed 1989. Inscribed on verso. Shipping can be arranged.
Icon of Russian Art Nouveau The Almighty in a silver frame of the early 20th century. A majestic and solid image in ascetic silver, and with thoughtful sacral painting. The silent severity and great wisdom of Christ - in the stern power of the clothes, perfectly agrees with the laconic and solemn simplicity of the salary, where the scanty corners are a tribute to the great. Moscow 1908-1917. 84 sample of silver. Master: KK. Konov Kuzma Ivanovich Silversmith 1891-1917 Salaries of books, lamps, a cross in the collection of the State Historical Museum.Icon dimensions: 31x27 cm.
Russian painting plate of the Imperial Porcelain Factory, decorated with a field bouquet of flowers and golden cartouches. Hallmarks: blue underglaze hallmark in Cyrillic HI from the period of the reign of the Russian Emperor Nicholas I (1825–1855). Imperial Porcelain Factory, St. Petersburg. Diam. 23.5 cm.Condition: GoodProduct sizes: Height - 23.5cm width - 23.5cm
EGIL KARLOVICH VEYDEMANIS (Russia, 1924-2004)."Opera Square, Berlin, 1948.Oil on hardboard.Signed in the lower right corner. Signed, dated and titled on the front.Measurements: 49 x 59 cm., 54 x 65 cm. (with frame).An honoured painter from Russia. The laureate of the Moscow City Hall Prize 2003 awarded for his portfolio dedicated to Moscow. The winner of the Russian Academy of Arts Prize 2003. Son of the leading painter K.Y.Veydemanis, who works in the Latvian theatre "The Scatuve". After his discharge from the army, he studied at the Moscow Art School in memory of the year 1905 (1944) taking classes from V.N. Baksheev, N.B. Terpsikhorov, at the Painting Workshop of the Veterans of the Great Patriotic War under G.A. Sretensky and attended V.F. Shtanikh's art studio. Graduated from Latvian State University, faculty of architecture. Travelled extensively, visited the Far East, the North, the Baltic and Middle Asia. Created interior scenes of old Russian manor houses, such as Kuskovo and Ostankino. He created a portfolio dedicated to Moscow from the war years. His solo exhibitions were held in 1985, 2002 and 2005 (posthumously) in Moscow and in 1987 in Riga and Cesisa (Latvia). Regular exhibitor at art exhibitions all over Russia. The painter's works are kept in the Museum of History and Reconstruction in Moscow, in museums in Riga, Ryazan, Riga, Cesisa (Latvia). Most of the author's collection was acquired by the Ministry of Culture of the USSR.
Russian School, 20th Century/Portrait of a Stylish Lady/seated in an interior/signed/oil on oak panel, 55.5cm x 43.5cm CONDITION REPORT: Surface slightly dirty, some very small splits to panel near the bottom, but otherwise the painting appears in good condition. We have been unable to read the signature in red to the bottom right of the painting. The gilt frame has some small dents and scratches.
Original vintage advertising poster for Retrospective Matisse La Desserte, Harmonie Rouge / Dessert, Red Harmony (1908) at the Hermitage Museum in Saint-Petersburg, the painting features a lady sat at a dining table holding onto a platter of fruit with floral pattern wallpaper and green grass seen outside the window. The painting was created by Matisse for Sergei Shchukin, famous Russian collector, it was later handed over from the State Museum of New Western Art in Moscow to Hermitage in 1948. Henri Matisse (1869-1954) was a French artist working in Fauvism, Modernism, Post-Impressionism movements. Horizontal. Good condition, creasing, staining, pinholes. Country of issue: France, designer: Unknown, size (cm): 60x80, year of printing: 1992.
PERE YSERN ALIÉ (Barcelona, 1875 - 1946)."Ballerina".Watercolour on paper.Signed in the lower right-hand margin.Size: 25 x 34 cm; 39.5 x 48 cm (passapartout); 49.5 x 57 cm (frame).Pere Ysern Alié was a disciple of Pere Borrell del Caso in his academy, where with Ramón Riera he formed the nucleus of the group "El Rovell de l'Ou". He made his first appearance at the General Exhibition of Fine Arts in Barcelona in 1894, and in 1896 he travelled to Rome, where he stayed for two years and completed his training with Ramón Tusquets. On his return to Barcelona in 1898 he took part in the Municipal Exhibition of Fine Arts. The following year he settled in Paris, where he exhibited at the Salon des Artistes Français in 1900. He was also a regular participant in the Salon des Indépendants. A clear sign of his international success was his participation, in 1901, in the International Exhibition of St. Petersburg, where the Russian Tsar bought one of his paintings. On his trip to Paris he became fully integrated into Parisian life, as well as into the Catalan circle residing in the city. He frequented the cabarets, making friends with Toulouse-Lautrec and creating a work based on an impressionist style in which he reflected the themes of dances, both classical and Spanish. After settling in Paris, he made occasional visits to Barcelona, where he exhibited his work at the Sala Parés in 1901 and 1903, and took part in the collective exhibition of the Association of Catalan Painters and Sculptors in 1905. In 1927 he returned to Spain, and from then on his presence in Barcelona and Catalan competitions was constant, and his painting was finally appreciated in our country. Today he is mainly represented in the MACBA, as well as in the Luxembourg Museum in Paris, the National Art Museum of Catalonia, the Fundació La Caixa and various private collections.
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