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Lot
63011

PROPERTY FROM THE MKRTICH OKROYAN COLLECTION. BORIS ISRAELEVICH ANISFELD (Russian, 1879-1973). Early Spring - Petrograd...

2009 May Signature European & Russian Fine and Decorative Arts Auction #5017

 
Sold for: Not Sold Not Sold
Auction Ended On: May 7, 2009
Item Activity: 0 Internet/mail/phone bidders Number of Bidders
2,577 page views
Location:

Heritage Auctions - Design District Annex
1518 Slocum Street
Dallas, TX

Description:
PROPERTY FROM THE MKRTICH OKROYAN COLLECTION

BORIS ISRAELEVICH ANISFELD (Russian, 1879-1973)

Early Spring - Petrograd, 1917
Oil on canvas
36 x 28-1/8 inches (91.4 x 71.4 cm)
Signed and dated lower left: Boris Anisfeld / 1917

PROVENANCE:
Artist's collection;
Adler Gallery, New York;
Private collection;
MacDougall's, London, Russian XIX and XX Century Art & Russian Post War and Contemporary Art Sale, June 15, 2007, lot 23.

EXHIBITED:
Boris Anisfeld Exhibition (touring);
The Brooklyn Museum, New York, "The Boris Anisfeld Exhibition", 1918-1920;
Adler Gallery, New York, 1978-1980.

LITERATURE:
C. Brinton, The Boris Anisfeld Exhibition, New York, 1918, no. 70, illus.

Boris Israelevich Anisfeld's Early Spring-Petrograd is a wonderful example from the artist's early period. Completed in 1917, just six months prior to his immigration to the United States, this piece occupies a unique place in the artist's oeuvre, as well as a unique place in Russian history. Early Spring-Petrograd is both a historical reference, painted between the two Russian revolutions, and a representation of an important milestone in the creative journey of the artist, his immigration to the United States.

The first years of Anisfeld's independent creativity have been closely linked with two influential associations: The World of Art, which was both a magazine and a Russian art movement, and his relationship with art critic Sergei Pavlovic Diaghilev. It was Anisfeld's distinctive style of painting that earned him many accolades in the area of theater design. Anisfeld focused less on true depictions of the realities of life and more on his own philosophy and the fictional worlds of his many fantasies to become highly successful in this field. He created the stage sets and costumes for productions of Meyerhold and designed many of the ballets of Russian Seasons by Diaghilev, among them - Underwater Kingdom, Islamey, Egyptian Nights, as well as many others.

The title and date of Early Spring- Petrograd is historically significant because it places this painting during a pivotal time in Russian history. In February of 1917, the revolution that destroyed the Russian empire and monarchy occurred, but the upheaval did not put an end to the conflicts that many felt remained unresolved. This work was painted almost immediately after the February revolution. Despite its apparent detachment, it is closely linked to the events of its time and reflects the current mood of society. According to memoirs of contemporaries, after February 1917, there was a feeling of uncertainty in the air for many Russians, and everyone was waiting for change. The country was on the verge of a coup, the revolution was not spoken aloud, and the nation felt that the conflict had not been exhausted. It is this expectation of the unknown, the combination of fragility, loneliness, and confusion of the "little man" before the great and bloody machine of revolution that has been transferred by the artist as a leitmotif of his perception of the world. The painting is a kind of introspection on past events, the fate of Russia, and the future of the artist's life. After six months, these thoughts and feelings led the artist, like so many other Russian intellectuals, to the decision of leaving his homeland.

In 1917, Anisfeld received an invitation from the Brooklyn Museum in New York with a proposal to organize an exhibition of his works. In the fall of that year, shortly before the second revolution, the artist was granted permission from the Russian government to leave for the United States. Early Spring - Petrograd was included in the museum's exhibition and catalogue the following year. A significant part of the exhibition was enabled through the active support and participation of the famous American critic Christian Brinton, a great admirer of Russian art and the distinct creativity of Anisfeld.

Since the 1918 Brooklyn Museum exhibition, this painting has been included in multiple exhibitions of the artist's works, such as recent solo exhibitions held in St. Petersburg in 1996 and in Moscow in 2001. Anisfeld's popularity has further been enhanced by the recent availability of privately held works that have become accessible to the art world through auction. We are very fortunate here at Heritage to offer such an important piece of Boris Anisfeld's work in this sale.

РАННЯЯ ВЕСНА - ПЕТРОГРАД, 1917
БОРИС АНИСФЕЛЬД (1879-1973)
ХОЛСТ, МАСЛО 87.5 Х 70 СМ

ЭТО ОДНА ИЗ ЛУЧШИХ РАБОТ БОРИСА АНИСФЕЛЬДА. ЗАВЕРШЁННАЯ НЕЗАДОЛГО ДО НЬЮ-ЙОРКСКОЙ ВЫСТАВКИ 1918 ГОДА, КАРТИНА «РАННЯЯ ВЕСНА - ПЕТРОГРАД», 1917 СТАЛА ЗАМЕТНЫМ СОБЫТИЕМ В ЕГО ИСТОРИЧЕСКИ ЗНАЧИМОМ ТВОРЧЕСТВЕ. НАХОДЯСЬ ПОД ПОКРОВИТЕЛЬСТВОМ ВЫДАЮЩЕГОСЯ РУССКОГО ХУДОЖНИКА ИГОРЯ ГРАБАРЯ, ОН БЫЛ ПРИГЛАШЁН ЗНАМЕНИТЫМ РЕЖИССЁРОМ СЕРГЕЕМ ДЯГИЛЕВЫМ ДЛЯ СОЗДАНИЯ ДЕКОРАЦИЙ К ПОСТАНОВКАМ «РУССКОГО БАЛЕТА». БОРИС АНИСФЕЛЬД ОЧЕНЬ ДОРОЖИЛ ЭТОЙ КАРТИНОЙ. СЕЙ ФАКТ НАШЁЛ ОТРАЖЕНИЕ В КНИГЕ КРИСТИАНА БРИТТОНА, ПОВЯЩЁННОЙ АМЕРИКАНСКОЙ ВЫСТАВКЕ БОРИСА АНИСФЕЛЬДА 1918 ГОДА. ДАННАЯ РАБОТА ЯВЛЯЕТСЯ НАСТОЯЩЕЙ ЖЕМЧУЖИНОЙ В СОБРАНИИ ПРОИЗВЕДЕНИЙ РУССКОГО ИСКУССТВА КОЛЛЕКЦИОНЕРА МКРТЫЧА ОКРОЯНА. ИЗВЕСТНЫЙ ВО ВСЁМ МИРЕ СВОЕЙ БЛАГОТВОРИТЕЛЬНОСТЬЮ, Г-Н ОКРОЯН ПЛАНИРУЕТ СОЗДАНИЕ ХУДОЖЕСТВЕННОГО МУЗЕЯ ДЛЯ ТОГО, ЧТОБЫ ОТКРЫТЬ ДОСТУП К ЕГО КОЛЛЕКЦИИ ВСЕМ ЖЕЛАЮЩИМ.


КАРТИНЫ АНИСФЕЛЬДА И МАРЕВНЫ ПРОИСХОДЯТ ИЗ РЕДКОЙ КОЛЛЕКЦИИ, УНИКАЛЬНОЙ ПО СВОЕМУ МАСШТАБУ И ЗНАЧИМОСТИ, - СОБРАНИЯ ИЗЯЩНЫХ ИСКУССТВ М.О. ОКРОЯНА. ОКРОЯН ИЗВЕСТЕН В РОССИИ НЕ ТОЛЬКО И НЕ СТОЛЬКО КАК СОБИРАТЕЛЬ ПРОИЗВЕДЕНИЙ ИСКУССТВА. МАТЕМАТИК ПО ОБРАЗОВАНИЮ, В НАСТОЯЩЕЕ ВРЕМЯ ОН ЗАНИМАЕТСЯ ПРЕИМУЩЕСТВЕННО РАЗВИТИЕМ РОССИЙСКИХ АВИАЦИОННЫХ ТЕХНОЛОГИЙ, ОБШИРНЫМИ ЭКСПЕРИМЕНТАЛЬНЫМИ ИССЛЕДОВАНИЯМИ В ОБЛАСТИ АВИАСТРОЕНИЯ И ИНЖЕНЕРИИ. СОБИРАНИЕ ИСКУССТВА ЯВЛЯЛОСЬ ДЛЯ НЕГО УВЛЕЧЕНИЕМ, НО В ПОСЛЕДНИЕ ГОДЫ ПРИОБРЕЛО НАСТОЛЬКО КРУПНЫЕ МАСШТАБЫ, ЧТО ПРЕВРАТИЛОСЬ В ОДНУ ИЗ ОСНОВНЫХ СФЕР ДЕЯТЕЛЬНОСТИ.

БОЛЬШОЕ ВНИМАНИЕ М.О. ОКРОЯН УДЕЛЯЕТ ВОЗВРАЩЕНИЮ НА РОДИНУ, В РОССИЮ, ПРОИЗВЕДЕНИЙ ИСКУССТВА, ПРЕДСТАВЛЯЮЩИХ ДЛЯ СТРАНЫ ИСКЛЮЧИТЕЛЬНУЮ КУЛЬТУРНУЮ ЦЕННОСТЬ.
ПЕРВЫЕ ПРОИЗВЕДЕНИЯ ЖИВОПИСИ БЫЛИ ПРИОБРЕТЕНЫ ИМ ЕЩЕ В 1980-Е ГОДЫ, КОГДА КОЛЛЕКЦИЯ ПОПОЛНИЛАСЬ НЕ СТОЛЬ ГРОМКИМИ ТОГДА, НО ХОРОШО ИЗВЕСТНЫМИ СЕЙЧАС ИМЕНАМИ СОМОВА, ЛЕНТУЛОВА, АЙВАЗОВСКОГО, НЕСТЕРОВА.
НЕСКОЛЬКО ПОЗЖЕ У М.О. ОКРОЯНА ВОЗНИК ИНТЕРЕС К СКУЛЬПТУРЕ В СТИЛЕ АР ДЕКО, КОТОРЫЙ ВЫЛИЛСЯ В ОДНО ИЗ КРУПНЕЙШИХ СОБРАНИЙ ХРИЗОЭЛЕФАНТИННОЙ СКУЛЬПТУРЫ 1920-1930-Х ГГ. НЕ ТОЛЬКО В РОССИИ, НО И ВО ВСЕМ МИРЕ. ЭТИ ПРОИЗВЕДЕНИЯ, ОТРАЖАЮЩИЕ ТЕСНУЮ СВЯЗЬ РУССКОЙ И ЗАПАДНОЕВРОПЕЙСКОЙ КУЛЬТУРЫ, ПОДЧЕРКИВАЮТ ВЛИЯНИЕ РУССКОЙ ХУДОЖЕСТВЕННОЙ ЖИЗНИ НА ЗАПАДНОЕ ИСКУССТВО ПЕРВОЙ ЧЕТВЕРТИ XX ВЕКА И ГАРМОНИЧНО ВПИСЫВАЮТСЯ В КОЛЛЕКЦИЮ РУССКОЙ И ЗАПАДНОЙ ЖИВОПИСИ М.О. ОКРОЯНА. ПОСЛЕДНИЕ НЕСКОЛЬКО ЛЕТ ОКРОЯН АКТИВНО ЗАНИМАЕТСЯ СОБИРАНИЕМ РУССКОЙ КЛАССИЧЕСКОЙ И АВАНГАРДНОЙ ЖИВОПИСИ, А ТАКЖЕ ПОПОЛНЯЕТ КОЛЛЕКЦИЮ КРУПНЕЙШИМИ ИМЕНАМИ ЗАПАДНОЕВРОПЕЙСКОГО ИСКУССТВА.

НОВАЯ ПРОСВЕТИТЕЛЬСКАЯ ДЕЯТЕЛЬНОСТЬ, КОТОРОЙ УСПЕШНО ЗАНИМАЕТСЯ М.О. ОКРОЯН В НАСТОЯЩЕЕ ВРЕМЯ, - СОЗДАНИЕ МУЗЕЯ ЧАСТНЫХ КОЛЛЕКЦИЙ В МОСКВЕ - ЦЕНТРА ИСКУССТВ. ЭТО БУДЕТ ОДНО ИЗ КРУПНЕЙШИХ ЧАСТНЫХ СОБРАНИЙ РУССКОЙ И ЕВРОПЕЙСКОЙ ЖИВОПИСИ И НАИБОЛЕЕ ЗНАЧИТЕЛЬНАЯ КОЛЛЕКЦИЯ СКУЛЬПТУРНЫХ ПРОИЗВЕДЕНИЙ АР ДЕКО В МИРЕ, ДОСТУПНЫЕ ШИРОКОМУ ЗРИТЕЛЮ. ОБШИРНОЕ СОБРАНИЕ НОВОГО ЦЕНТРА ИСКУССТВ БУДЕТ ВКЛЮЧАТЬ В СЕБЯ ШЕДЕВРЫ ЛУЧШИХ ХУДОЖНИКОВ РОССИИ, ТАКИХ КАК К.И. АЙВАЗОВСКИЙ, Б.И. АНИСФЕЛЬД, Н.С. ГОНЧАРОВА, Б.Д. ГРИГОРЬЕВ, В.В. КАНДИНСКИЙ, К.Е. МАКОВСКИЙ, М.С. САРЬЯН, К.А. СОМОВ, А.А. ХАРЛАМОВ, А. Е. ЯКОВЛЕВ И ДРУГИЕ, А ТАКЖЕ ЗНАМЕНИТЫХ ВО ВСЕМ МИРЕ ЗАРУБЕЖНЫХ ХУДОЖНИКОВ - Э. ДЕГА, А. СИСЛЕЙ, К. ПИССАРО, Ф. ПИКАБИА, П. БОННАР, КИСС ВАН ДОНГЕН, П. СИНЯК, Э. НОЛЬДЕ. В ПРОСТРАНСТВЕ МУЗЕЯ ЖИВОПИСНЫЕ ПОЛОТНА РУССКИХ ХУДОЖНИКОВ, ПРЕДСТАВИТЕЛЕЙ ФРАНЦУЗСКОГО ИМПРЕССИОНИЗМА И ЕВРОПЕЙСКИХ АВАНГАРДНЫХ НАПРАВЛЕНИЙ XX ВЕКА И СКУЛЬПТУРЫ В СТИЛЕ АР ДЕКО БУДУТ СОСУЩЕСТВОВАТЬ В ГАРМОНИЧНОМ СОГЛАСИИ, ПОДТВЕРЖДАЯ ИДЕЮ О ЗНАЧИТЕЛЬНОЙ РОЛИ РУССКОГО ИСКУССТВА В КОНТЕКСТЕ ЕВРОПЕЙСКОЙ КУЛЬТУРЫ XX ВЕКА.
ЦЕНТР ИСКУССТВ СТАНЕТ НЕ ТОЛЬКО МЕСТОМ ПРЕЗЕНТАЦИИ ЛИЧНОЙ КОЛЛЕКЦИИ М.О. ОКРОЯНА, НО ТАКЖЕ КРУПНОЙ КУЛЬТУРНОЙ ПЛОЩАДКОЙ, ОТКРЫТОЙ ДЛЯ САМЫХ РАЗНООБРАЗНЫХ ВЫСТАВОЧНЫХ ПРОЕКТОВ. ЗДЕСЬ БУДУТ ОРГАНИЗОВЫВАТЬ РЕГУЛЯРНЫЕ ТЕМАТИЧЕСКИЕ ВЫСТАВКИ РУССКОГО И ЗАРУБЕЖНОГО ИСКУССТВА, КАК ИЗ ПРЕДСТАВЛЕННОГО СОБРАНИЯ, ТАК И НА ОСНОВЕ ДРУГИХ КОЛЛЕКЦИЙ ИЗЯЩНЫХ ИСКУССТВ, БУДУТ ПРОВОДИТЬСЯ НАУЧНЫЕ КОНФЕРЕНЦИИ И ЧИТАТЬСЯ ЛЕКЦИИ ОБ ИСКУССТВЕ. КРОМЕ ТОГО, ЦЕНТР ИСКУССТВ СТАНЕТ МЕСТОМ ПРОВЕДЕНИЯ КОНЦЕРТОВ, МУЗЫКАЛЬНЫХ ВЕЧЕРОВ И ПРОЧИХ АКТУАЛЬНЫХ СОБЫТИЙ РУССКОЙ КУЛЬТУРНОЙ ЖИЗНИ.

Condition Report*:

Re-varnished canvas with area of inpainting in central region, overall wear comensurate with age.

*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots are sold "AS IS" under the Terms & Conditions of Auction.

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