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Session 1

Fine Art - Painting, Russian

ALBERT SILZEMNIECKS (Russian, 20th Century)
Riga
Oil on artist board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: A. Silzemnicks

Located on the frigid shores of the Baltic Sea, the port city of Riga is known for its lovely Art Nouveau architecture. Silzemniecks has captured the beauty of this former Russian city contrasted against the backdrop of its extreme climate. As boats ply the icy waters of the harbor, the majestic Dom Cathedral rises above the buildings to the left. Silzemniecks was part of the Russian Impressionist school, which is recognized by the muted tones of his palette. He was a veteran of World War I as well as the fight for Latvian independence, thus making the subject matter of Riga a topic close to home.

РАСПОЛОЖЕННЫЙ НА ХОЛОДНЫХ БЕРЕГАХ БАЛТИЙСКОГО МОРЯ, ГОРОД-ПОРТ РИГА СЛАВИТСЯ СВОЕЙ ПРЕКРАСНОЙ АРХИТЕКТУРОЙ В СТИЛЕ МОДЕРН. СИЛЗЕМНИКС ЗАПЕЧАТЛИЛ КРАСОТУ ЭТОГО БЫВШЕГО РОССИЙСКОГО ГОРОДА НА ФОНЕ КОНТРАСТИРУЮЩЕГО С НЕЙ СУРОВОГО КЛИМАТА. СУДА КУРСИРУЮТ В ЛЕДЯНОЙ ВОДЕ РИЖСКОЙ ГАВАНИ, ВЕЛИЧЕСТВЕННЫЙ ДОМСКИЙ СОБОР ВОЗВЫШАЕТСЯ НАД ЗДАНИЯМИ СЛЕВА. СИЛЗЕМНИКС БЫЛ ПРЕДСТАВИТЕЛЕМ РУССКОЙ ШКОЛЫ ИМПРЕССИОНИЗМА, КОТОРАЯ УЗНАЁТСЯ В ПРИГЛУШЁННЫХ ТОНАХ ЕГО ПАЛИТРЫ. ОН БЫЛ ВЕТЕРАНОМ ПЕРВОЙ МИРОВОЙ ВОЙНЫ, А ТАКЖЕ УЧАСТНИКОМ БОРЬБЫ ЗА НЕЗАВИСИМОСТЬ ЛАТВИИ, ПОЭТОМУ ТЕМА РИГИ ОСОБЕННО БЛИЗКА ЕГО СЕРДЦУ.

65002

NADEZHDA UDALTSOVA (Russian, 1886-1961)
Guitar, 1915
Oil on canvas
25 x 19-1/2 inches (63.5 x 49.5 cm)
Signed and dated lower right in Cyrillic

Udaltsova made her artistic debut with the Jack of Diamonds exhibition of 1914. Having studied in various Russian studios, her formal training took place at the Académie de la Palette in Paris under the guidance of Metzinger and Fauconnier. There she learned the theories of the still-young Cubist movement directly from two of its great masters. Despite her association with several different groups and movements, Udaltsova was primarily a Cubist artist. This painting of 1915 was done the year that Udaltsova joined the Suprematist movement. Her Cubist study of guitars also incorporates the Suprematist theory of geometric form as the primary building blocks of art. Udaltsova has fractured the objects along the lines of Suprematism and deconstructed them to their most basic elements of square and circle, reducing the guitars to their most primitive state.

ДЕБЮТ УДАЛЬЦОВОЙ КАК ХУДОЖНИКА СОСТОЯЛСЯ НА ВЫСТАВКЕ ОБЪЕДИНЕНИЯ "БУБНОВЫЙ ВАЛЕТ» В 1914 ГОДУ. ПРОУЧИВШИСЬ КАКОЕ-ТО ВРЕМЯ В РАЗЛИЧНЫХ РОССИЙСКИХ МАСТЕРСКИХ, ХУДОЖНИЦА ПРОДОЛЖИЛА СВОЁ ОБРАЗОВАНИЕ В ПАРИЖСКОЙ АКАДЕМИИ «La Palette» («ПАЛИТРА») ПОД РУКОВОДСТВОМ ЖАНА МЕТЦЕНЖЕ И АНДРЕ ЛЕ ФОКОНЬЕ. ЭТИ ДВА ВЕЛИКИХ МАСТЕРА И ПОЗНАКОМИЛИ ЕЁ С ТЕОРИЕЙ ТОГДА СОВСЕМ ЕЩЁ МОЛОДОГО КУБИСТСКОГО ДВИЖЕНИЯ. НЕСМОТРЯ НА ЕЕ УЧАСТИЕ В РАЗЛИЧНЫХ ГРУППАХ И ДВИЖЕНИЯХ, УДАЛЬЦОВА, В ОСНОВНОМ, СЧИТАЕТСЯ ХУДОЖНИКОМ-КУБИСТОМ. ЭТА КАРТИНА ДАТИРОВАНА 1915 ГОДОМ, КОГДА УДАЛЬЦОВА ПРИСОЕДИНИЛИСЬ К ДВИЖЕНИЮ СУПРЕМАТИСТОВ. ЕЁ КУБИСТСКОЕ РЕШЕНИЕ ГИТАР ТАКЖЕ ВКЛЮЧАЕТ В СЕБЯ ЭЛЕМЕНТЫ СУПРЕМАТИСТСКОЙ ТЕОРИИ ГЕОМЕТРИЧЕСКИХ ФОРМ КАК ОСНОВНЫХ СТРОИТЕЛЬНЫХ ЭЛЕМЕНТОВ ПРОИЗВЕДЕНИЯ ИСКУССТВА. УДАЛЬЦОВА РАЗЛАМЫВАЕТ ПРЕДМЕТЫ ПО ЗАКОНАМ СУПРЕМАТИЗМА, А ПОТОМ РАЗБИРАЕТ ИХ НА БАЗОВЫЕ СОСТАВЛЯЮЩИЕ: КВАДРАТ И КРУГ, СВОДЯ ГИТАРЫ К ИХ САМОМУ ПРОСТЕЙШЕМУ ВИДУ.

65003

ARNOLD BORISOVICH LAKHOVSKY (Russian, 1880-1937)
Village Church in Snow
Oil on canvas laid on board
8-3/4 x 10-1/2 inches (22.2 x 26.7 cm)
Signed lower right in Cyrillic

PROVENANCE:
Martin-Chausselate Auction, Versailles July 2006; Private Collection, Paris.

65004

PAVEL OSIPOVITCH KOVALEVSKY (Russian, 1843-1903)
The Crossing
Oil on canvas
14-1/4 x 21-1/4 inches (36.2 x 54.0 cm)
Signed lower right in Cyrillic

Paintings

65005

IVAN KONSTANTINOVICH AIVAZOVSKY (Russian, 1817-1900)
Night at Gurzof, 1891
Oil on canvas
24 x 32 inches (61.0 x 81.3 cm)
Signed and dated lower left in Cyrillic
Aivazovsky was drawn to the subject of the sea almost as soon as he began painting and continued to be occupied with the subject for his long career. Often working from a mixture of memory and imagination, he exhibits a romantic sensibility.

The present lot is an appreciation of the wonder of nature and his beloved sea, depicted under a moonlit sky. Three pairs of figures appear to be awestruck witnesses to the beauty of the scene. The cloudy sky is in the process of unfurling, and we feel as if the clouds have just this very moment parted, resulting in the glittering view. The couple in the foreground stand quietly captivated, the dress of the woman fluttering gently in the breeze.

МОРСКАЯ ТЕМАТИКА ПРИВЛЕКЛА АЙВАЗОВСКОГО СРАЗУ, КАК ТОЛЬКО ОН НАЧАЛ ПИСАТЬ КАРТИНЫ. НА ПРОТЯЖЕНИИ ДОЛГОГО ТВОРЧЕСКОГО ПУТИ МОРЕ НЕИЗМЕННО ВДОХНОВЛЯЛО ХУДОЖНИКА. ЧАСТО РАБОТАЯ ПО ПАМЯТИ И ИСПОЛЬЗУЯ ВООБРАЖЕНИЕ, ОН ДЕМОНСТРИРОВАЛ РОМАНТИЧНУЮ ЧУВСТВИТЕЛЬНОСТЬ СВОЕЙ НАТУРЫ.

ДАННЫЙ ЛОТ - ЭТО ДАНЬ УВАЖЕНИЯ ХУДОЖНИКА СИЛАМ ПРИРОДЫ И ЕГО ГОРЯЧО ЛЮБИМОМУ МОРЮ, ИЗОБРАЖЁННОМУ ПОД ЗАЛИТЫМ ЛУННЫМ СВЕТОМ НЕБОМ. КАЖЕТСЯ, ЧТО УЧАСТНИКИ СЦЕНЫ ИСПЫТЫВАЮТ БЛАГОГОВЕЙНЫЕ ЧУВСТВА ПО ОТНОШЕНИЮ К ОКРУЖАЮЩЕЙ ИХ ПРИРОДЕ. ОБЛАЧНОЕ НЕБО ЗАПЕЧАТЛЕНО В МОМЕНТ РАССЕИВАНИЯ ОБЛАКОВ, КОГДА ОТТУДА СТРУИТСЯ СЕРЕБРИСТЫЙ СВЕТ. ПАРА НА ПЕРЕДНЕМ ПЛАНЕ СТОИТ СЛОВНО ЗАЧАРОВАННАЯ, ПЛАТЬЕ ЖЕНЩИНЫ СЛЕГКА КОЛЫШЕТСЯ ОТ ВЕТРА.

Fine Art - Sculpture, European

65006

A RUSSIAN BRONZE GROUP OF TWO HORSEMEN
Cast from a model by Vasilii Grachev, late 19th century
Signed in Cyrillic, with Woerffel foundry mark
15-3/4 x 18 x 10-1/4 inches (40.0 x 45.7 x 26.0 cm)

Depicting two Cossacks astride rearing horses, one with a rifle in his raised right hand, the other with a rifle in his lowered right hand, both looking towards an unknown object on the ground that has frightened the horses, on an octagonal naturalistic base

Fine Art - Painting, Russian

65007

IVAN YAKOVLEVICH BILIBIN (Russian, 1876-1942)
Study: Portrait of a Young Boy
Oil on canvas
8-1/2 x 8-1/2 inches (21.6 x 21.6 cm)
Certificate from Tretyakov Gallery.

65009

YURI PUGACHEV (Russian, 20th Century)
Mikhail Baryshnikov, 1968
Oil on canvas
26-1/2 x 20 inches (67.3 x 50.8 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65010

IVAN KOMISSAROV (Russian, b. 1928)
Winter in Samara, 1963
Oil on canvas
38 x 55-1/2 inches (96.5 x 141.0 cm)
Signed and dated lower left in Cyrillic

Komissarov painted Impressionistic scenes of Russian life that he saw around him. With a love for the natural beauty of his homeland, he focused primarily on landscapes and idealized views of city life. This painting of Samara captures the first snow-fall of the year in the town square. The trees still maintain their brilliant golden leaves of autumn, but a steel-gray sky has settled low over the government buildings in the background. Komissarov studied at the Penza Art College, and was later named a member of the Union of Artists and an Honored Artist of the Russian Federation.

КОМИССАРОВ ПИСАЛ ТЕ ИМПРЕССИОНИСТСКИЕ СЦЕНЫ, КОТОРЫЕ ОКРУЖАЛИ ЕГО В ПОВСЕДНЕВНОЙ ЖИЗНИ. ВДОХНОВЛЁННЫЙ ЛЮБОВЬЮ К КРАСОТЕ СВОЕЙ РОДИНЫ, ОН, В ПЕРВУЮ ОЧЕРЕДЬ, ОБРАЩАЛСЯ К ПЕЙЗАЖАМ И НЕМНОГО ИДЕАЛИЗИРОВАННЫМ СЦЕНАМ ИЗ ГОРОДСКОЙ ЖИЗНИ. ЭТО - ВИД САМАРЫ, ЗАПЕЧАТЛЁННЫЙ В МОМЕНТ, КОГДА НА ГЛАВНУЮ ПЛОЩАДЬ ГОРОДА ВЫПАЛ ПЕРВЫЙ СНЕГ. ДЕРЕВЬЯ ВСЕ ЕЩЕ СОХРАНЯЮТ СВОИ БЛЕСТЯЩИЕ ЗОЛОТОМ ОСЕННИЕ ЛИСТЬЯ, НО НИЗКОЕ НЕБО НАД ПРАВИТЕЛЬСТВЕННЫМИ ЗДАНИЯМИ НА ЗАДНЕМ ФОНЕ УЖЕ ОКРАСИЛОСЬ В СЕРЫЕ, СТАЛЬНЫЕ ТОНА. КОМИССАРОВ УЧИЛСЯ В ПЕНЗЕНСКОМ ХУДОЖЕСТВЕННОМ УЧИЛИЩЕ, А ПОЗЖЕ СТАЛ ЧЛЕНОМ СОЮЗА ХУДОЖНИКОВ И ПОЛУЧИЛ ЗВАНИЕ ЗАСЛУЖЕННОГО ХУДОЖНИКА РОССИЙСКОЙ ФЕДЕРАЦИИ.

65011

ILYA MASHKOV (Russian, 1881-1944)
Still Life with Plant and Fruit, 1914-1915
Oil on canvas
48 x 35-1/4 inches (121.9 x 89.5 cm)
Signed lower right in Cyrillic

PROVENANCE:
Private Collection

Ilya Ivanovich Mashkov, a founder of the 'Jack of Diamonds' group, a groundbreaking organization of Russian artists, was a master of avant-garde Russian art. In his Still Life with Plant and Fruit one can see his mastery of the palette with thick paint and vivid color; this work is the essence of Mashkov. Never before offered at auction and from a private collection, this picture is emblematic of his work. Mashkov studied under Konstantin Korovin and Valentin Serov but quickly developed his own style and manner with remarkable results. He traveled the world and brought his talent back to Russia to teach others in Moscow.

Still Life with Plant and Fruit has been examined by University College, London experts and has undergone a battery of testing including ultraviolet, infrared and chemical analysis to determine the structure and technique of the painting. The work, including the signature, has been found to be authentic in every manner. Copies of this report will be made available upon request. The painting also has a letter of authenticity from noted art expert Jean Chauvelin.

ИЛЬЯ МАШКОВ (1881-1944)
НАТЮРМОРТ С РАСТЕНИЕМ И ФРУКТАМИ
ХОЛСТ, МАСЛО
48 Х 35-1/4 ДЮЙМОВ (121.9 Х 89.5 СМ)
ПОДПИСЬ ПО-РУССКИ ВНИЗУ СПРАВА

ИЛЬЯ ИВАНОВИЧ МАШКОВ, ОСНОВАВШИЙ НОВАТОРСКОЕ ОБЪЕДИНЕНИЕ ХУДОЖНИКОВ «БУБНОВЫЙ ВАЛЕТ», БЫЛ МАСТЕРОМ АВАНГАРДНОГО НАПРАВЛЕНИЯ РУССКОГО ИСКУССТВА. В ЕГО «НАТЮРМОРТЕ С РАСТЕНИЕМ И ФРУКТАМИ» МОЖНО УВИДЕТЬ СОВЕРШЕНСТВО СОЧНОЙ И ЯРКОЙ ПАЛИТРЫ В СОЧЕТАНИИ С ПРОСТОТОЙ ОТОБРАЖЕНИЯ СУТИ ПРЕДМЕТА - В ЭТОМ ЗАКЛЮЧАЕТСЯ ВЕСЬ МАШКОВ. ПОСТУПИВШЕЕ ИЗ ЧАСТНОЙ КОЛЛЕКЦИИ И НИКОГДА РАНЕЕ НЕ ПРЕДЛАГАВШЕЕСЯ НА АУКЦИОНАХ, ЭТО ПОЛОТНО ЯВЛЯЕТСЯ ВОПЛОЩЕНИЕМ МАСТЕРСТВА ХУДОЖНИКА. МАШКОВ ИЗУЧАЛ ЖИВОПИСЬ ПОД РУКОВОДСТВОМ КОНСТАНТИНА КОРОВИНА И ВАЛЕНТИНА СЕРОВА, НО БЫСТРО РАЗРАБОТАЛ СВОЙ СОБСТВЕННЫЙ СТИЛЬ, ДОСТИГНУВ ЗАМЕЧАТЕЛЬНЫХ РЕЗУЛЬТАТОВ. ОН КАКОЕ-ТО ВРЕМЯ ПУТЕШЕСТВОВАЛ ПО МИРУ, НО, В КОНЕЧНОМ ИТОГЕ, ВЕРНУЛСЯ В РОССИЮ, ЧТОБЫ ПОДЕЛИТЬСЯ СВОИМ ТАЛАНТОМ С УЧЕНИКАМИ В МОСКВЕ.

65012

NIKOLAI KRYMOV (Russian, 1884-1958)
Winter
Oil on masonite
6 x 9-1/2 inches (15.2 x 24.1 cm)
Signed lower left in Cyrillic

Paintings

65013

VALENTIN SEROV (Russian, 1865-1911)
Village by the Water in Winter
Oil on artist board
7-3/4 x 10-1/2 inches (19.7 x 26.7 cm)
Initialed lower left: V. S.
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65014

IVAN KONSTANTINOVICH AIVAZOVSKY (Russian, 1817-1900)
Seascape
Oil on board
4-3/4 x 6-3/4 inches (12.1 x 17.1 cm)
Signed lower left in Cyrillic
PROVENANCE:
From the Edward Shevardnadze family.

Painting is in period frame.

65015

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Side Street, 1980
Oil on canvas
21-3/4 x 26-1/4 inches (55.2 x 66.7 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic
One of the great Russian landscape painters, Nikolai Timkov trained at the Moscow Institute of Painting, Sculpture, and Architecture, later working in the Leningrad studio of Isaac Brodsky. Throughout his career, he exhibited widely with the Russian Federation Union of Artists (1947, 1957, 1976), the All-Union exhibitions at the Tretyakov Gallery (1943, 1952, 1979), and the Smithsonian Institution in Washington, D.C. (2005). Known for his landscapes, Timkov's subject matter ranged from Impressionistic scenes of forests and flowering fields to quiet snowcaps and Russian city views. His paintings are found in prominent museum collections such as the Brodsky Art Museum, the Hermitage and the State Russian Museum of St. Petersburg.

Known as the master of Russian Impressionism,Timkov strove to express the harmony between people and the natural world around them. He created idealized landscapes that brought the tranquility of nature indoors. His use of thick impasto served to mimic textures found in nature such as mounded snowbanks blanketing a winter field. Timkov's use of simple compositions, organic shapes, and contrasting color theory demonstrate his emotional response to the subject matter before him.

65016

KONSTANTIN KOROVIN (Russian, 1861-1939)
Street Scene
Oil on panel
8-1/4 x 11-3/4 inches (21.0 x 29.8 cm)
Signed lower left in Cyrillic

65017

NIKOLAI PETROVICH KRYMOV (Russian, 1884-1958)
Cottage in Mountain Landscape
Oil on canvas
12 x 17 inches (30.5 x 43.2 cm)
Signed lower right in Cyrillic

Works on Paper

65018

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Watching Boats in a Cove, 1934
Watercolor on paper
11 x 14 inches (27.9 x 35.6 cm)
Signed and dated lower right in Cyrillic

Other

65019

A RUSSIAN HARDSTONE FIGURE
Unknown maker, circa 1909
7-1/2 inches (19.2 cm) high

This sculpture of a falconer, made of different semi-precious stones, represents a Russian falconer of the 17th century dressed in a corresponding historical costume. The tradition of creating hardstone figures was started in the late 19th-early 20th century by the famous St. Petersburg Company of Carl Fabergé, which revived the technique of the three-dimensional Florentine mosaic. This item was created in the style of Fabergé.

The figure is executed in a complicated technique out of three-dimensional pieces of semi-precious stones adjoined with pins and special glue. This labor-consuming, complicated work required the highest level of experience, skill and special knowledge.

The falconer's saber, arrows and bow are crafted from precious metals. The saber is executed accurately and painstakingly, and can be unsheathed. There are 25 rose cut diamonds carefully set throughout the figure as noted in the sheath, the falcon's eyes, and as the buttons on the caftan. Purpurin, a vitreous substance of deep red color invented by a worker at the Imperial Glass Factory in St Petersburg, is featured in the falconer's collar, cuff, and sash.

In the falconer sculpture a deliberate small distortion of proportions produces a comic impression. The coloring of the figure is based on the combination of red, green and beige; it is reserved and harmonious; the precious metal details vivify the figure with bright strokes.

Marks were stamped on the gold edge of the caftan, as well as on the sword and underside of the base, including the hallmark for gold (56 (583) - 14 karat); Russian State Hallmark Department for secondary details - female head in kokoshnik (Russian head decoration) turned to the right, enclosed into the circle (which was used in 1908-1917) of the master H. W. in the oval - Henrik Wigstrom, the head of one of Fabergé's workshops.

The falconer figure is distinguished in its high quality of execution, accurate fit of all stone details, and skillful work on metal detail - ammunition, quiver and saber. Especially nice is the modeling of the falcon's figure, its treatment in the technique of chasing and further engraving. The stone details are very well treated and highly polished.

Independent gem and mineral evaluations as well as metal spectroanalysis accompany the lot and are available for bidder review.

Provenance: From the collection of Kenneth Pushkin

Fine Art - Painting, Russian

65020

ALEXANDER RODCHENKO (Russian, 1891-1956)
Composition
Oil on panel
50-1/2 x 24-1/2 inches (128.3 x 62.2 cm)
Signed lower left in Cyrillic

Rodchenko was an avant-garde artist who helped found the Constructivist and Productivist movements in Russia. (Constructivist theory condemned the idea of art for art's sake and strove instead to harness art for social improvement. Productivist theory took this one step further, demanding that art play a useful role in industrial production.) As with many artists who experienced the revolution, Rodchenko took up the cause of social change and explored how his art would impact the new society. Leaving all sentiment behind, he intended to bury the problems of the past and usher in a new age. In 1921, Rodchenko exhibited what many purists consider to be the first true monochromes and proclaimed the death of art. "I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: this is the end of painting."

РОДЧЕНКО - ЭТО ХУДОЖНИК-АВАНГАРДИСТ, КОТОРЫЙ СТАЛ ОДНИМ ИЗ ОСНОВАТЕЛЕЙ ДВИЖЕНИЙ КОНСТРУКТИВИЗМА И ПРОДУКТИВИЗМА В РОССИИ. (ТЕОРИЯ КОНСТРУКТИВИЗМА ОСУЖДАЕТ ИДЕЮ СУЩЕСТВОВАНИЯ ИСКУССТВА РАДИ ИСКУССТВА. ВМЕСТО ЭТОГО ОНА СТРЕМИТСЯ ПОСТАВИТЬ ИСКУССТВО НА СЛУЖБУ ОБЩЕСТВУ. ТЕОРИЯ ПРОДУКТИВИЗМА ИДЁТ В ЭТОМ НАПРАВЛЕНИИ ДАЖЕ ДАЛЬШЕ, ТРЕБУЯ ОТ ИСКУССТВА ЦЕЛЕНАПРАВЛЕННОГО УЧАСТИЯ В РАЗВИТИИ ПРОМЫШЛЕННОГО ПРОИЗВОДСТВА). ТАК ЖЕ КАК И МНОГИЕ ДРУГИЕ ХУДОЖНИКИ, ПРОШЕДШИЕ ЧЕРЕЗ РЕВОЛЮЦИЮ, РОДЧЕНКО С ВООДУШЕВЛЕНИЕМ ВОСПРИНЯЛ ИДЕЮ СОЦИАЛЬНЫХ ПЕРЕМЕН, И ПОГРУЗИЛСЯ В ИЗУЧЕНИЕ ТОГО, КАКИМ ОБРАЗОМ ЕГО ИСКУССТВО МОЖЕТ ПОВЛИЯТЬ НА НОВОЕ ОБЩЕСТВО. НЕ ОСТАВЛЯЯ НИ ОДНОГО ШАНСА СЕНТИМЕНТАЛЬНЫМ ЧУВСТВАМ, ОН НАМЕРЕВАЛСЯ ПОКОНЧИТЬ С ПРОШЛЫМ РАДИ СВЕТЛЫХ ИДЕАЛОВ НОВОЙ ЭПОХИ. В 1921 ГОДУ РОДЧЕНКО ВЫСТАВИЛ СВОИ РАБОТЫ, КОТОРЫЕ ПО МНЕНИЮ СТОРОННИКОВ ЧИСТОГО ИСКУССТВА, СТАЛИ ПЕРВЫМ ИСТИННО МОНОХРОМНЫМИ ПРОИЗВЕДЕНИЯМИ. ТОГДА ЖЕ ОН ПРОВОЗГЛАСИЛ СМЕРТЬ ИСКУССТВА. «Я ДОВЁЛ ЖИВОПИСЬ ДО ЛОГИЧЕСКОГО КОНЦА И ВЫСТАВИЛ ТРИ ХОЛСТА: КРАСНЫЙ, СИНИЙ И ЖЁЛТЫЙ, Я УТВЕРЖДАЮ: ЭТО КОНЕЦ ЖИВОПИСИ».

65021

A RUSSIAN ICON OF SAINT NICHOLAS, SAINT NICHOLAS THE MIRACLE-WORKER, AND SAINT GREGORY
Ovchinnikov, Moscow, 1880-1890
12 x 10-1/2 inches (30.5 x 26.7 cm)

With silver and shaded enamel oklad, the borders chased with scrolling foliage, each corner set with a shaded enamel spandrel, each saint named in enamel and wearing a halo of shaded enamel

Paintings

65022

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Country Scene by the Water, 1947
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed and dated lower right: Burliuk / 1947

Fine Art - Painting, Russian

65023

ALEXANDER ALEKSANDROVICH OSMERKIN (Russian, 1892-1953)
Cityscape
Oil on board
46-3/4 x 20-3/4 inches (118.7 x 52.7 cm)
Signed lower left in Cyrillic

The youngest member of the Russian avant-garde group, the Jack of Diamonds, Osmerkin was influenced by both the works of Cézanne and those of Matisse. Combining elements of Impressionism and Fauvism, Osmerkin crafted his own unique artistic presence that would eventually traverse many different styles throughout the course of his life. After the revolution, he taught at the Russian State Art and Technical School in Moscow, the Surikov Institute of Moscow, and the Leningrad Academy of Arts. During the socially-repressive Stalin era, Osmerkin was officially banned from teaching and publicly exhibiting art. Today, Osmerkin's works are publicly celebrated in the Tretyakov Gallery, Museum of Fine Arts in Moscow, and State Russian Museum in St. Petersburg.

НА ОСЬМЁРКИНА - САМОГО МОЛОДОГО ЧЛЕНА ГРУППЫ РУССКИХ АВАНГАРДИСТОВ "БУБНОВЫЙ ВАЛЕТ" - БОЛЬШОЕ ВЛИЯНИЕ ОКАЗАЛИ ПРОИЗВЕДЕНИЯ СЕЗАННА И МАТИССА. СОЕДИНЯЯ ЭЛЕМЕНТЫ ИМПРЕССИОНИЗМА И ФОВИЗМА, ОСЬМЁРКИН РАЗРАБОТАЛ СВОИ СОБСТВЕННЫЕ УНИКАЛЬНЫЕ ЖИВОПИСНЫЕ ПРИЁМЫ, КОТОРЫЕ НА ПРОТЯЖЕНИИ ВСЕЙ ЕГО ЖИЗНИ ПЕРЕСЕКАЛИСЬ СО МНОГИМИ ХУДОЖЕСТВЕННЫМИ ТЕЧЕНИЯМИ И СТИЛЯМИ. ПОСЛЕ РЕВОЛЮЦИИ ОН ПРЕПОДАВАЛ ВО ВХУТЕМАСЕ (ВЫСШИХ ХУДОЖЕСТВЕННО-ТЕХНИЧЕСКИХ МАСТЕРСКИХ), В СУРИКОВСКОМ ИНСТИТУТЕ В МОСКВЕ И В АКАДЕМИИ ХУДОЖЕСТВ В ЛЕНИНГРАДЕ. КОГДА НАЧАЛИСЬ СТАЛИНСКИЕ РЕПРЕССИИ, ОСЬМЁРКИНУ БЫЛО ОФИЦИАЛЬНО ЗАПРЕЩЕНО ВЕСТИ ПРЕПОДАВАТЕЛЬСКУЮ ДЕЯТЕЛЬНОСТЬ И УЧАСТВОВАТЬ В ХУДОЖЕСТВЕННЫХ ВЫСТАВКАХ. СЕГОДНЯ РАБОТЫ ОСЬМЁРКИНА УКРАШАЮТ СОБРАНИЯ ТРЕТЬЯКОВСКОЙ ГАЛЕРЕИ, МУЗЕЯ ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ В МОСКВЕ, ГОСУДАРСТВЕННОГО РУССКОГО МУЗЕЯ В САНКТ-ПЕТЕРБУРГЕ.

Paintings

65024

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
In Summer, 1974
Oil on cardboard
19-1/4 x 27-1/2 inches (48.9 x 69.9 cm)
Signed and dated lower left in Cyrillic

Fine Art - Painting, Russian

65025

MIKHAIL FEDOROVICH LARIONOV (Russian/French, 1881-1964)
Turkey, circa 1905
Oil on canvas
27-1/4 x 31-1/4 inches (69.2 x 79.4 cm)
Initialed upper left in Cyrillic

PROVENANCE:
Certificate from Tretyakov Gallery and Prof. Gleb Pospelov

As the founder of Rayonism, Larionov was very much interested in rejecting the past and embracing all that was considered modern. Born in 1898 in Tiraspol, near Odessa, he studied at the Moscow School of Painting, Sculpture, and Architecture. Influenced by French paintings, Larionov's earliest style of painting was Impressionistic as evidenced by this canvas. This style he would later develop into Post-Impressionism and then Neo-Primitivism. He was a founding member of the Jack of Diamonds group and the Donkey's Tail. In 1913, he developed Rayionism which was the first creation of near-abstract art in Russia. He moved to France in 1915 where he started producing stage sets for Diaghilev's Ballets Russes. Mikhail Fedorovich Larionov was also a theatrical designer and book illustrator until his death in 1964.

65026

NATALIA GONCHAROVA (Russian, 1881-1962)
Rayonist Composition, 1911-1912
Oil on canvas
35 x 37-1/2 inches (88.9 x 95.3 cm)
Initialed lower right in Cyrillic

Goncharova, together with her life-long partner and eventual husband, artist Mikhail Larionov, developed the first original Russian avant-garde art movement, which they named "Rayonism." Inspired by F.T. Marinetti's Futurist Manifesto, in which Marinetti declares that ". . .the essential element of our poetry will be courage, audacity and revolt," and that "the splendor of the world has been enriched by a new beauty: the beauty of speed." Goncharova and Larionov developed a new style of painting, together with a corresponding vocabulary, which was based on their desire to free art from realistic convention. In Larionov's pamphlet accompanying a Rayonist exhibition in 1913 he states, "We do not sense the object with our eye, as it is depicted conventionally in pictures and as a result. . . we perceive a sum of rays proceeding from a source of light. . .consequently, if we wish to paint literally what we see, then we must paint the sum of rays reflected from the object."

Goncharova's "Rayonist Composition" is an excellent example of Rayonist theories put into practice. The underlying structure achieved through the use of color and texture transmits to the viewer a feeling of speed, movement, and light. Rayonism was short-lived, though, lasting less than three years between 1911-1913.

Paintings

65027

IGOR GRABAR (Russian, 1871-1960)
Winter Village, 1924
Oil on canvas laid on board
9-1/4 x 17-1/2 inches (23.5 x 44.5 cm)
Signed and dated lower right in Cyrillic
Certificate from the Springville Museum of Art.

Fine Art - Painting, Russian

65028

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
The Water Carriers, 1955
Oil on canvas
26-1/4 x 32-3/4 inches (66.7 x 83.2 cm)
Signed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

65029

KONSTANTIN MAKOVSKY (Russian, 1839-1915)
Tsar Nicholas II on Horseback,
Pastel on paper laid on canvas
21 x 18 inches (53.3 x 45.7 cm)
Signed lower left in Cyrillic

PROVENANCE:
Maria Flamant, Paris (the artist's granddaughter);
Sotheby's, New York, May 1976; Sotheby's, November 2001

LITERATURE:
A La Vieille Russie, New York
Laura Cerwinske and Anthony Johnson. Russian Imperial Style, New York: Random House, 1990, page 197, illustrated.

The work offered here is an elegant presentation of Tsar Nicholas II on Horseback. Makovsky was highly valued for his portraiture work stage of his life, with this portrait being completed at a time when he was making more money than ever before. Nicholas II, the last Russian emperor is depicted in the uniform of the Imperial Cavalry Guards, with its gold and silver lace, wearing the distinctive winged helmet. The Tsar of Russia for just over 20 years, from 1894 to 1917, Nicholas ascended to the throne upon the death of his father, Alexander III, and was crowned on May 14, 1896. He married Alexandra Fedorovna who presented him with five children: four daughters, Olga, Tatiana, Maria and Anastasia, and a son, the Tsarevich Alexei, who suffered from hemophilia and adored his father. Young Alexei followed his father to the front lines in World War I and adopted the military dress of his father.
After suffering through two wars, the Russo-Japanese War of 1904 and World War I, the Tsar would see two revolutions, the last of which forced his abdication on March 2, 1917. The Tsar and his entire family were eventually executed on July 17, 1918 at Ipatiev House in Yekaterinburg.

This pastel portrait of the last Russian Tsar is meticulously executed and captures the regal Nicholas II at the height of his power. Makovsky would precede the Tsar in death by three years, thus making this portrait one of the portraits Makovsky completed of the royal family from life. Another, Portrait of the Grand Duchess Maria Nikolayevna, daughter of Nicholas II and Alexandra and completed in 1905 is in the Hermitage Museum at Saint Petersburg.

65030

RUSSIAN SCHOOL (19th Century)
Portrait of General Ivan Georgievitch Flevitsky, circa 1840
Oil on canvas
69 x 36 inches (175.3 x 91.4 cm)

PROVENANCE:
General Ivan Georgievitch Flevitsky; Ivan Ivanovich Flevitsky, his son; Georgii Ivanovich Flevitsky, his son; Princess Alexandra Obolensky, nee Helene Reza-Bek, his niece

The life-sized portrait offered here is an impressive and rare example of Russian-school portraiture work from the mid-19th century. Apparently commissioned of this accomplished artist to commemorate the General Flevitsky's appointment as Director of the Russian Engineering Academy by Tsar Nicholas I, it is the earliest known representation of the uniform dress for students and graduates of the prestigious Academy. Graduates of this pioneering institution would bring Russia into the industrial age, most notably through their completion of the monumental Moscow-Saint Petersburg railway.

The artist has captured the young, but distinguished General in his finest regalia, a historical snapshot of Imperial Russian civil dress attire. Resplendent in the gold braid of the formal shoulder boards, collar devices and gold knucklebow of the dress sword, this officer is of high station as evidenced by the appointment by Nicholas I himself. With one arm akimbo, hand on his sword, the other on his Napoleonic chapeau, one can see the pride in the face of this officer who almost certainly took part in the project of the great Moscow-Saint Petersburg railway.

History tells us that the engineers planning the project gave Nicholas the honor of mapping out the route. He promptly took out a ruler and drew a straight line between the two cities, a route that was followed almost to the letter, except for a small bypass around the Verbinsky gully which has since been straightened to accommodate the high-speed trains of the modern era.

This beautiful and historic portrait descends directly from the General's family and has been painstakingly researched by Larisa Dukelskaya, Curator of Western European Art, Print Division, the State Hermitage Museum at Saint Petersburg.

65031

ROBERT FALK (Russian, 1886-1958)
Town View
Oil on panel
24 x 16-1/2 inches (61.0 x 41.9 cm)
Signed lower right: R. Falk

Robert Falk studied under the great Russian artists Konstantin Iuon and Ilya Mashkov at the Moscow School of Painting. Falk would later enroll at the Moscow School of Painting, Sculpture, and Architecture with such greats as Konstantin Korovin and Valentin Serov. A founder and activist in the Russian school, the Jack of Diamonds, Falk's Neo-Impressionist style is a result of the group's admiration of the work of Paul Cézanne. It was a time of dramatic change in the Russian art community, and Falk led the way with beautiful works such as Town View.

This picture is typical of Falk's bright colors and minimalist figural work produced in the 1940s, pictures that captured town life with a calm but vibrant palette. Falk was very much a thinking and feeling artist who deliberated about his work before applying paint. This picture is emblematic of just such work. He was intense in his observations and his composition, as evidenced by a trip to Paris in 1928 which resulted in a ten-year stay to hone his skills.

65032

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Garden with Cottage
Oil on canvas
16 x 20-1/4 inches (40.6 x 51.4 cm)
Signed lower left in Cyrillic

65033

ARISTARKH VASILEVICH LENTULOV (Russian, 1882-1943)
Cubist Cityscape
Oil on canvas
37-1/4 x 50-1/2 inches (94.6 x 128.3 cm)

The son of a priest, Lentulov was one of the founders of the Russian avant-garde group the Jack of Diamonds. Lentulov attended several Russian art schools before moving to Paris in 1910 in order to train at Le Fauconnier and La Palette Academy. Both of these academies were well patronized by Russian artists of the avant-garde. It was during this time in Paris that Lentulov was exposed to the working theories of Fauvism and Cubism by such masters as Metzinger and Léger. After returning to Moscow, Lentulov exhibited with the Jack of Diamonds group and pioneered what would be known as Russian Futurism. This cityscape blends the distilation of form central to Cubism with the extreme palette of the Fauves, resulting in a style that is characteristically Lentulov's own.

СЫН СВЯЩЕННИКА, ЛЕНТУЛОВ, БЫЛ ОДНИМ ИЗ ОСНОВАТЕЛЕЙ РУССКОЙ АВАНГАРДИСТСКОЙ ГРУППЫ "БУБНОВЫЙ ВАЛЕТ". ЛЕНТУЛОВ ПРОУЧИЛСЯ В НЕСКОЛЬКИХ РУССКИХ ХУДОЖЕСТВЕННЫХ ШКОЛАХ, ПОКА НЕ ПЕРЕЕХАЛ В ПАРИЖ В 1910 ГОДУ С ЦЕЛЬЮ ПРОЙТИ ОБУЧЕНИЕ В АКАДЕМИЯХ «ЛЕ Fauconnier» И «La Palette». ОБЕ ЭТИ АКАДЕМИИ БЫЛИ ОЧЕНЬ ПОПУЛЯРНЫ СРЕДИ РУССКИХ ХУДОЖНИКОВ-АВАНГАРДИСТОВ. ИМЕННО ТОГДА, В ПАРИЖЕ, ТАКИЕ МАСТЕРА, КАК МЕТЦЕНЖЕ И ЛЕЖЕ, ПОЗНАКОМИЛИ ЛЕНТУЛОВА С ТЕОРИЕЙ ФОВИЗМА И КУБИЗМА. ВЕРНУВШИСЬ В МОСКВУ, ЛЕНТУЛОВ ВЫСТАВЛЯЛ СВОИ РАБОТЫ ВМЕСТЕ С ДРУГИМИ ХУДОЖНИКАМИ ИЗ ГРУППЫ "БУБНОВЫЙ ВАЛЕТ". ОН СТАЛ ОДНИМ ИЗ ЗАЧИНАТЕЛЕЙ ТЕЧЕНИЯ, КОТОРОЕ ПОЗЖЕ ПОЛУЧИЛО НАЗВАНИЕ РУССКИЙ ФУТУРИЗМ. ЭТОТ ГОРОДСКОЙ ПЕЙЗАЖ СОВМЕЩАЕТ В СЕБЕ ЧИСТОТУ ФОРМ, ПРИСУЩУЮ КУБИЗМУ, С МНОГОЦВЕТЬЕМ КРАСОК, ИДУЩИМ ОТ ФОВИЗМА. РЕЗУЛЬТАТОМ ЭТОГО СМЕШЕНИЯ СТАЛ СОБСТВЕННЫЙ НЕПОДРАЖАЕМЫЙ ЛЕНТУЛОВСКИЙ СТИЛЬ.

Fine Art - Work on Paper

65034

EMMANUEL MANÉ-KATZ (Ukrainian/French, 1894-1962)
Violinist
Gouache on paper laid on board
27 x 21 inches (68.6 x 53.3 cm)
Initialed upper right in Cyrillic

Fine Art - Painting, Russian

65035

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Chrysanthemum
Oil on canvas laid on board
19-3/4 x 16 inches (50.2 x 40.6 cm)
Signed lower left in Cyrillic

65036

VLADIMIR LEBEDEV (Russian, 1891-1967)
Pegasus
Mixed media on board
26 x 19 inches (66.0 x 48.3 cm)
Signed lower right: V. Lebedev

Fine Art - Work on Paper

65038

MARC CHAGALL (Belorussian, 1887-1985)
Painter and His Double
Blue bookplate lithograph
14-1/2 x 20-3/4 inches (36.8 x 52.7 cm) window
Signed lower right: Marc Chagall
Numbered lower left: H.C.

65039

MSTISLAV DOBUZHINSKY (Russian, 1875-1957)
Cityscape
Pastel on paper
13 x 18-1/4 inches (33.0 x 46.4 cm)
Signed lower right: M. Dobuzinsky

Fine Art - Painting, Russian

65040

NIKOLAI PETROVICH KRYMOV (Russian, 1884-1958)
Russian Wash House at River
Oil on canvas
20 x 24-3/4 inches (50.8 x 62.9 cm)
Signed lower right: Nuk Koumab

Paintings

65041

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
A Stroll in the Country, 1944
Oil on canvas
20 x 26 inches (50.8 x 66.0 cm)
Signed and dated lower right: David Burliuk '44

65042

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Pastoral Snow Scene, 1960
Oil on board
19-1/2 x 26 inches (49.5 x 66.0 cm)
Inscribed verso in Cyrillic

EXHIBITED:
The Wichita Center for the Arts, Wichita, Kansas, "Russian and Soviet Impressionism", November 18, 1997-March 9, 1998.

Fine Art - Painting, Russian

65043

VASILY VERESHCHAGIN (Russian, 1842-1904)
Portrait of a Scholar
Oil on canvas
10 x 7 inches (25.4 x 17.8 cm)
Stamp on verso Vasily Vasilievich Vereshchagin was a Russian Realist artist who was widely known for his paintings of historical scenes gleaned from his worldwide travels. He exhibited his works around the world and was famous in his day for his depictions of battle scenes and the lives of the local peoples he witnessed. A native of Cherepovets, Russia, he was born into a family who expected him to follow a military career. Although he graduated from the Naval Academy at Saint Petersburg, he entered the Academy of Arts and in 1864 enrolled at the Académie des Beaux Arts in Paris. Although he later enlisted in the Russian military and led the life of a soldier, he developed his artistic skills with precision as exhibited here in this remarkable work, Portrait of a Scholar. Although he died the death of a soldier on board the Russian warship Petropavlovsk on April 13, 1904 when it hit a mine killing all of the crew, he is best known for these intimate portraits of humanity.

ВАСИЛИЙ ВЕРЕЩАГИН (1842-1904)
ПОРТРЕТ УЧЕНОГО
ХОЛСТ, МАСЛО
10 Х 7 ДЮЙМОВ (25.4 Х 17.8 СМ)
ВАСИЛИЙ ВАСИЛЬЕВИЧ ВЕРЕЩАГИН - ЭТО ХУДОЖНИК РУССКОЙ РЕАЛИСТИЧЕСКОЙ ШКОЛЫ. ВЕРЕЩАГИН ШИРОКО ИЗВЕСТЕН СВОИМИ КАРТИНАМИ НА ИСТОРИЧЕСКИЕ ТЕМЫ, МАТЕРИАЛ ДЛЯ КОТОРЫХ ОН СОБИРАЛ ВО ВРЕМЯ СВОИХ ПОЕЗДОК ПО ВСЕМУ МИРУ. ОН ВЫСТАВЛЯЛ СВОИ РАБОТЫ ВО МНОГИХ СТРАНАХ, И ПОЛУЧИЛ ИЗВЕСТНОСТЬ ЕЩЁ ПРИ ЖИЗНИ ЗА ИЗОБРАЖЕНИЕ БАТАЛЬНЫХ СЦЕН И СЦЕН ИЗ ЖИЗНИ НАРОДОВ ТЕХ СТРАН, ГДЕ ЕМУ ДОВЕЛОСЬ ПОБЫВАТЬ. ХУДОЖНИК РОДИЛСЯ В ГОРОДЕ ЧЕРЕПОВЦЕ, В СЕМЬЕ, КОТОРАЯ СВЯЗЫВАЛА ЕГО БУДУЩЕЕ С ВОЕННОЙ КАРЬЕРОЙ. ХОТЯ ОН И ОКОНЧИЛ МОРСКОЙ КАДЕТСКИЙ КОРПУС В САНКТ-ПЕТЕРБУРГЕ, НО ВСЁ ЖЕ ПРИНЯЛ РЕШЕНИЕ БРОСИТЬ ВОЕННУЮ СЛУЖБУ И ПОСТУПАТЬ В ПЕТЕРБУРГСКУЮ АКАДЕМИЮ ХУДОЖЕСТВ. В 1864 ГОДУ ОН ПОСТУПИЛ В ШКОЛУ ИЗЯЩНЫХ ИСКУССТВ В ПАРИЖЕ. ПОЗДНЕЕ ОН ВЕРНУЛСЯ В РУССКУЮ АРМИЮ, ПРОДОЛЖАЯ ПРИ ЭТОМ ШЛИФОВАТЬ СВОЁ МАСТЕРСТВО ЖИВОПИСЦА, В ЧЁМ МОЖНО УБЕДИТЬСЯ ГЛЯДЯ НА ПРЕДСТАВЛЕННУЮ ЗДЕСЬ ЗАМЕЧАТЕЛЬНУЮ РАБОТУ - «ПОРТРЕТ УЧЕНОГО». ВЕРЕЩАГИН ПОГИБ 13 АПРЕЛЯ 1904 ГОДА, НАХОДЯСЬ НА БОРТУ РОССИЙСКОГО ВОЕННОГО КОРАБЛЯ «ПЕТРОПАВЛОВСК», КОГДА ТОТ НАПОРОЛСЯ НА МИНЫ. ПРИ ЭТОМ ПОГИБЛИ ВСЕ ЧЛЕНЫ ЭКИПАЖА. ДЛЯ НАС ОН НАВСЕГДА ОСТАНЕТСЯ НЕПРЕВЗОЙДЁННЫМ ХУДОЖНИКОМ, В БОЛЬШЕЙ СТЕПЕНИ ИЗВЕСТНЫМ ЗА ЭТИ МАСТЕРСКИЕ ПОРТРЕТЫ.

65044

KONSTANTIN KOROVIN (Russian, 1861-1939)
Still Life with Flowers and Fruit, 1916
Oil on canvas
18 x 21-3/4 inches (45.7 x 55.2 cm)
Signed and dated lower right in Cyrillic

Korovin was a member of the Russian Neo-Romanticism group Mir iskusstva, similar to the Pre-Raphaelite movement in England. The Mir iskusstva denounced the basic ugliness and industrialization of modern life, and sought a return to the aestheticism of the past. Still Life with Flowers and Fruit exemplifies this methodology and has utilized an Impressionist technique to achieve this end. When this canvas was painted, Korovin was working as a consultant for the Russian army as a camouflage designer, often times at the front lines. We can assume that the light-hearted subject matter of this still life provided a much-needed foil to Korovin's work at hand.

КОРОВИН БЫЛ ЧЛЕНОМ РУССКОЙ НЕОРОМАНТИЧЕСКОЙ ГРУППЫ «МИР ИСКУССТВА», ПОХОЖЕЙ НА ДВИЖЕНИЕ ПРЕРАФАЭЛИТОВ В АНГЛИИ. УЧАСТНИКИ ДВИЖЕНИЯ «МИР ИСКУССТВА» ОСУЖДАЛИ УРОДСТВО И ИНДУСТРИАЛИЗАЦИЮ СОВРЕМЕННОЙ ЖИЗНИ И СТРЕМИЛИСЬ ВЕРНУТЬСЯ К ЭСТЕТИЗМУ ПРОШЛОГО. «НАТЮРМОРТ С ЦВЕТАМИ И ФРУКТАМИ» ИЛЛЮСТРИРУЕТ ЭТИ ПОДХОДЫ И ИСПОЛЬЗУЕТ ТЕХНИКУ ИМПРЕССИОНИСТОВ ДЛЯ ДОСТИЖЕНИЯ ЭТОЙ ЦЕЛИ. КОГДА СОЗДАВАЛСЯ ДАННЫЙ ХОЛСТ, КОРОВИН РАБОТАЛ В КАЧЕСТВЕ КОНСУЛЬТАНТА ПО РАЗРАБОТКЕ ДИЗАЙНА КАМУФЛЯЖА ДЛЯ РОССИЙСКОЙ АРМИИ. ЕМУ ЧАСТО ПРИХОДИЛОСЬ БЫВАТЬ НА ПЕРЕДОВОЙ. МЫ МОЖЕМ ПРЕДПОЛОЖИТЬ, ЧТО СТОЛЬ БЕЗЗАБОТНЫЙ СЮЖЕТ ДАННОГО НАТЮРМОРТА СТАЛ ТАКИМ НЕОБХОДИМЫМ ПРОТИВОВЕСОМ К ОСНОВНОЙ ДЕЯТЕЛЬНОСТИ КОРОВИНА.

65045

NIKOLAI BOGDANOV-BELSKY (Russian, 1868-1945)
Young Girl Sitting in a Garden
Oil on canvas
27-1/4 x 20-1/4 inches (69.2 x 51.4 cm)
Signed lower right in Cyrillic

Bogdanov-Belsky was a very prolific genre painter and notable member of the Wanderers. He studied at the Moscow School of Painting, Sculpture, and Architecture, the Imperial Academy of Arts in St. Petersburg, and the Semen Rachinsky Fine Art School. Bogdanov-Belsky joined the Academy of Arts 1914, and painted numerous pastoral scenes of Russian life and landscape. He had a particular affinity for capturing the universal pastimes of childhood such as swimming, playing music, fishing, or games like tug-of-war. Bogdanov-Belsky's canvases reflect an idealization of contemporary life common in the academy-trained painters working prior to the revolution.

БОГДАНОВ-БЕЛЬСКИЙ БЫЛ ОЧЕНЬ ПЛОДОВИТЫМ ХУДОЖНИКОМ-ЖАНРИСТОМ И ЗАМЕТНЫМ ЧЛЕНОМ ОБЩЕСТВА ПЕРЕДВИЖНИКОВ. ОН УЧИЛСЯ В МОСКОВСКОМ УЧИЛИЩЕ ЖИВОПИСИ, ВАЯНИЯ И ЗОДЧЕСТВА, В ИМПЕРАТОРСКОЙ АКАДЕМИИ ХУДОЖЕСТВ В САНКТ-ПЕТЕРБУРГЕ, И В ШКОЛЕ ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА СЕМЁНА РАЧИНСКОГО. БОГДАНОВ-БЕЛЬСКИЙ ПОСТУПИЛ В АКАДЕМИЮ ХУДОЖЕСТВ В 1914 ГОДУ. ОН НАПИСАЛ БОЛЬШОЕ КОЛИЧЕСТВО СЦЕН ИЗ ПОВСЕДНЕВНОЙ РУССКОЙ ЖИЗНИ И ПЕЙЗАЖЕЙ. ОСОБЕННО ХУДОЖНИК ЛЮБИЛ ЗАПЕЧАТЛЕВАТЬ ТАКИЕ МОМЕНТЫ ДЕТСТВА, КАК ПЛАВАНИЕ, МУЗИЦИРОВАНИЕ, РЫБАЛКА ИЛИ, НАПРИМЕР, ИГРА ПО ПЕРЕТЯГИВАНИЮ КАНАТА. ПОЛОТНА БОГДАНОВА-БЕЛЬСКОГО ОТРАЖАЮТ ИДЕАЛИЗАЦИЮ СОВРЕМЕННОЙ ХУДОЖНИКУ ЖИЗНИ РАСПРОСТРАНЁННУЮ СРЕДИ ВЫПУСКНИКОВ АКАДЕМИИ, РАБОТАВШИХ ДО РЕВОЛЮЦИИ.

65046

A LARGE RUSSIAN ICON OF IMAGES OF THE MOTHER OF GOD
late 18th century
40 x 26 inches (101.6 x 66.0 cm)

Depicting multiple images of the Mother of God, interspersed with scenes from the life of Christ

Other

65047

A RUSSIAN GOLD AND JEWELED CIGARETTE CASE
Maker unidentified , St. Petersburg, 1908-1917
Marks: 'IP' in Cyrillic, with monogram of Tsar Nicholas II
3-3/4 x 2-3/4 inches (9.5 x 7.0 cm)

Paintings

65048

KONSTANTIN FEDOROVICH IUON (Russian, 1875-1958)
Winter
Oil on cardboard
14 x 20 inches (35.6 x 50.8 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65050

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Dacha near St. Petersburg
Oil on canvas
14-1/4 x 17-3/4 inches (36.2 x 45.1 cm)
Signed lower left in Cyrillic

65051

PETR NIKOLAEVICH GRUZINSKY (Russian, 1837-1892)
Wagon in Snow
Oil on canvas
15-3/4 x 27 inches (40.0 x 68.6 cm)
Signed lower left: P. Gruzinsky

65052

KONSTANTIN FEDOROVICH IUON (Russian, 1875-1958)
Summer Dawn
Pencil and watercolor on board
18-1/4 x 23-3/4 inches (46.4 x 60.3 cm)
Signed lower right in Cyrillic

PROVENANCE:
The family of the artist; Christie's, July 2000

Konstantin Iuon was an accomplished artist in many media. Much of this was due to his association with and tutelage by the renowned artists Konstantin Korovin and Valentin Serov. Their influence is best seen in this pencil and watercolor on board titled Summer Dawn. Korovin preceded Iuon in the Wanderers (Peredviszhniki) group, the first in the waves of associations of Russian artists that sought to revolutionize Russian art. Iuon would join him in the successor organization, World of Art, (or Mir Isskutssva) where they were free from the restraints of the Imperial Academy to pursue Impressionist works. He was such a remarkable artist that his success spanned from the Imperial era into the Soviet Russian regimes.

Perhaps highly reflected in his work here was his lifetime membership in Salon d'Automne in Paris. This pencil and watercolor shows the influence of the Salon's founders and early members, such as Henri Matisse and Pierre August-Renoir. Iuon was first and foremost a Russian artist, however, choosing to open his own art studio where he taught for 17 years, influencing the careers of many Russian artists and having in an immense impact on the direction of Russian art in the 20th century.

In Summer Dawn, Iuon lets his Impressionist style shine through in a masterful use of pencil and watercolor in this harbor scene. He personally valued this very picture enough to include it in the background of the portrait of his son he completed in 1911, a masterpiece which is exhibited in the Tretyakov Gallery in Moscow today.

Paintings

65053

NATALIA GONCHAROVA (Russian, 1881-1962)
Procession with Jugs for the Play 'Lysistrata'
Mixed media on paper
11-3/4 x 16-1/2 inches (29.8 x 41.9 cm)
Initialed lower right: N. G.

Works on Paper

65054

KONSTANTIN KOROVIN (Russian, 1861-1939)
Cityscape
Pastel on board
25-1/2 x 19 inches (64.8 x 48.3 cm)
Signed lower left in Cyrillic

Born in Moscow to a family of artists, Konstantin Korovin is as well known for his theatrical designs as he is for his paintings. He entered the Moscow School of Painting, Sculpture, and Architecture at the age of 14 where he was classically trained as a painter. In his early thirties, Korovin became associated with the Neo-Romanticism group Mir iskusstva. Similar in manifesto to the English Pre-Raphaelites, the Mir iskusstva denounced the basic ugliness of industrialized modern life and called for a return to aestheticism. Their members contributed to productions of the Ballets Russes, and Korovin soon began translating his artistic endeavors into three-dimensional media (even receiving a Legion of Honor at the 1900 World's Fair in Paris for his design of the Central Asia exhibit in the Russian Empire Pavillion). Korovin moved to Paris in 1923 and much of his later work centers on this subject matter.

65055

OLGA DELLA-VOS-KARDOVSKAYA (Russian, 1875-1952)
Lady in Hat, 1916
Pastel on paper
17-3/4 x 13-1/2 inches (45.1 x 34.3 cm)
Signed and dated lower left in Cyrillic

Fine Art - Painting, Russian

65056

NATALIA GONCHAROVA (Russian, 1881-1962)
Nude, circa 1906
Oil on canvas
36 x 23-1/4 inches (91.4 x 59.1 cm)

PROVENANCE:
Collection of Madame M. Cl. Dane;
Auktion Piasa, L'Hôtel Drouot, Paris, 2005, lot 682354.
Certificate from the Tretyakov Gallery.

65057

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Winter, 1969
Oil on board
20-1/2 x 29 inches (52.1 x 73.7 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65058

FILIPP MALYAVIN (Russian, 1869-1940)
Sunset on the Bay
Oil on board laid on panel
30 x 36 inches (76.2 x 91.4 cm)
Signed lower left in Cyrillic

PROVENANCE:
Campanile Galleries, Chicago (label verso).

65059

ILYA REPIN (Russian, 1844-1930)
Portrait of a Russian Peasant, 1892
Oil on canvas laid on board
19-1/4 x 11-7/8 inches (48.9 x 30.0 cm)
Signed lower left in Cyrillic and dated: 1892

PROVENANCE:
Christie's, July 2000

Ilya Efimovich Repin is historically considered one of Russia's most influential artists, many believing him to be one of the foremost national artists whose oeuvre best represents the Russian realist works so popular today. He rose from humble beginnings to being much sought after in his day, his work being collected by the great Pavel Tretyakov, who assembled the remarkable collection that is today the public Tretyakov Gallery in Moscow. Indeed, Repin's own portrait of Pavel Tretyakov occupies a prominent place within the gallery's walls.

Ilya Repin's Portrait of a Russian Peasant reflects his humble birth in 1844 in the Ukraine, the son of a soldier-settler who saw to it that his son received instruction in art at the age of 14. He received tutelage under the famous icon painter I. M. Bunakov, but Repin's goal was to make his way to St. Petersburg and enter the Imperial Academy. After stints at the School of Drawing and the Society for the Encouragement of the Arts, he was accepted at the Academy and prospered, ultimately winning the gold medal which brought with it a six-year scholarship to travel Europe and hone his skills.

While Repin completed many masterpieces such as his award-winning Resurrection of Jarius' Daughter and Barge Haulers on the Volga, Repin never left his roots and continued depicting the realist aspect of Russian life in his pictures. In Portrait of a Russian Peasant Repin delivers an iconic look at the everyday man, his typical dress and surroundings, and his steely determination and dignity. It was Repin's continued representations of Russian life such as this portrait that caused him to join the famed Wanderers (Peredvizhniki) group, a rebellious group of artists founded in part by the great Mikhail Klodt who travelled Russia exhibiting their work to the masses, even as Repin occupied the lofty position of instructor at the St. Petersburg Academy.

Ilya Efimovich Repin's legacy lies substantially in his portraiture work, whether that of the great Tretyakov or the Russian Peasant. He sought to capture the person and convey their message to the wider world. In his composition he delivers the essence of the person, from the contemplative Tretyakov to the stern and determined peasant and everyone in between, including the celebrated work depicting Ivan the Terrible and His Son Ivan, which occupies a prominent place at the Tretyakov Gallery today. It is the picture offered here that best exemplifies the high point period and power of Repin's work. Although he continued to work well into the 20th century (he died in 1930), Repin did not complete any masterpieces during the period. He rejected the Bolshevik Revolution and moved to Finland, where he died on his estate "Penates."

Paintings

65060

PROPERTY OF A PRIVATE NEW YORK STATE FAMILY COLLECTION

VERA ROCKLINE (French/Russian, 1896-1934)
Portrait of a Woman
Oil on canvas
21-1/2 x 18 inches (54.6 x 45.7 cm)
Signed lower right: Vera Rockline
Painting is in original frame. PROVENANCE:
Purchased from the artist.

Vera Rockline was born in Moscow in 1896 to a French mother and Russian father. She was a student of Neo-Impressionist Il'ia Mashkov and Cubist Alexandra Exter. In 1921, she arrived in Paris, and in 1922, she exhibited at the Salon d'Automne and the Salon des Tuileries. Influenced by her teacher Alexandra Exter, Rockline's early works are more Cubist in style but with a color palette that more closely resembles Cézanne. In her later Post-Impressionist works, as seen in this canvas, she incorporated both Neo-Impressionist and Cubist styles by using bold brush strokes and rich colors. Rockline's works were almost exclusively nudes, with the exception of a few portraits, and Cubist compositions. Tragically, her life was cut short at the age of 38.

ВЕРА РОХЛИНА РОДИЛАСЬ В МОСКВЕ В 1896 ГОДУ ОТ РУССКОГО ОТЦА И ФРАНЦУЗСКОЙ МАТЕРИ. ОНА БЫЛА УЧЕНИЦЕЙ НЕОИМПРЕССИОНИСТА ИЛЬИ МАШКОВА И КУБИСТА АЛЕКСАНДРЫ ЭКСТЕР. В 1921 ГОДУ ОНА ПРИБЫЛА В ПАРИЖ, А В УЖЕ 1922 ГОДУ СТАЛА ВЫСТАВЛЯТЬ СВОИ РАБОТЫ В ОСЕННЕМ САЛОНЕ И В САЛОНЕ ТЮИЛЬРИ. РАННИЕ РАБОТЫ РОХЛИНОЙ, ПОД ВЛИЯНИЕМ АЛЕКСАНДРЫ ЭКСТЕР, ПО СТИЛЮ ЯВЛЯЮТСЯ КУБИСТСКИМИ, А ПО ЦВЕТОВОЙ ГАММЕ БОЛЬШЕ НАПОМИНАЮТ СЕЗАННА. В СВОИХ БОЛЕЕ ПОЗДНИХ ПОСТИМПРЕССИОНИСТСКИХ РАБОТАХ, КАК ВИДНО НА ЭТОМ ПОЛОТНЕ, ОНА, С ПОМОЩЬЮ ОТЧЁТЛИВЫХ МАЗКОВ КИСТИ И ГУСТЫХ ТОНОВ, СМЕШИВАЕТ ОБА СТИЛЯ: НЕОИМПРЕССИОНИСТСКИЙ И КУБИСТСКИЙ. РАБОТЫ РОХЛИНОЙ - ЭТО ПОЧТИ ИСКЛЮЧИТЕЛЬНО ОБНАЖЁННЫЕ НАТУРЫ, ЕСЛИ НЕ СЧИТАТЬ НЕСКОЛЬКИХ ПОРТРЕТОВ И КУБИСТСКИХ КОМПОЗИЦИЙ. ЕЁ ЖИЗНЬ БЫЛА ТРАГИЧЕСКИ ПРЕРВАНА В ВОЗРАСТЕ 38 ЛЕТ.

Fine Art - Painting, Russian

65061

NADEZHDA UDALTSOVA (Russian, 1886-1961)
Cubist Still Life
Oil on board
29-3/4 x 20-1/8 inches (75.6 x 51.2 cm)
Signed lower right: N. Udal'tsova

Udaltsova trained in private studios in Moscow and with some of the great masters of the time, including Le Fauconnier, Metzinger, and Tatlin. Through her studies, she was exposed to Cubism and became a member of the Suprematist Group and later the Thirteen Group. After the revolution, Udaltsova taught in Moscow at the Free Art Shops and the Higher State Art and Craft Shops. Her later works mainly consist of still lifes that reflect an individual perspective.

65062

MAURICE MOLARSKY (Russian/American, 1885-1950)
Miss Irene Bordoni
Oil on canvas
51-1/2 x 38 inches (130.8 x 96.5 cm)
Signed and dated upper right in Cyrillic
Inscribed verso in Cyrillic

EXHIBITED:
Art Association of Newport, 19th Annual Exhibition, 1930 (label verso);
Art Institute of Chicago, 38th Annual Exhibition, 1934.

Paintings

65064

A. LAKOFSKY (Russian, 20th Century)
Two Men on a Bench
Oil on board
24 x 20-1/4 inches (61.0 x 51.4 cm)
Signed lower left: Lakofsky

Fine Art - Painting, Russian

65065

ALEXANDRE ISAILOFF (Russian, 1869-1996)
Anchored for the Night
Oil on canvas
15 x 20-1/2 inches (38.1 x 52.1 cm)
Signed lower left:...ISSAIEV
Painted verso

65066

Attributed to SERGEY YUREVICH SUDEIKIN (1883-1946)
Design for a Theatrical Production
Gouache, watercolor, and graphite on paper
8-3/4 x 11 inches (22.2 x 27.9 cm)
Inscribed lower right: Soudeikine

Works on Paper

65067

SERGEY YUREVICH SUDEIKIN (Russian, 1882-1946)
Jester
Gouache, watercolor, and graphite on paper
18-1/2 x 12 inches (47.0 x 30.5 cm)
Signed lower right in Cyrillic

Paintings

65068

SERGEY YUREVICH SUDEIKIN (Russian, 1882-1946)
Costume Design
Mixed media on paper
18-1/2 x 12 inches (47.0 x 30.5 cm)
Signed lower right in Cyrillic

PROVENANCE:
Raydon Gallery, New York (label verso).

Fine Art - Work on Paper

65069

VLADIMIR IGOREVICH YAKOVLEV (Russian, 1934-1998)
Dogwood
Gouache on paper
22-1/4 x 16-3/4 inches (56.5 x 42.5 cm)
Signed upper left in Cyrillic

Fine Art - Painting, Russian

65070

YURI PETROVICH KUGACH (Russian, b. 1917)
Summer by the Lake
Oil on artist board
21-1/2 x 14-1/2 inches (54.6 x 36.8 cm)
Signed lower right in Cyrillic

PROVENANCE:
Christie's Interiors, London (label verso).

Yuri Petrovich Kugach (b.1917) is one of the most highly influential Russian Realists of the second half of the twentieth century. His well known works include: "On Saturday", 1964 (Tver Picture Gallery); "Before the Dances", 1961 (Tretyakov Gallery), and "In the Family (First Steps)" 1969 (Nizhny Novgorod Art Museum). He is well known for his thematic works and landscapes of the Tver Region in the area of the Academic Dacha, where he maintains a studio to this day. He is the patriarch of the famous Kugach family of artists that include his son Mikhail Kugach, Grandchildren Katya and Ivan, and deceased wife Olga Svetlichnaya

65071

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Spring Thaw, 1970
Oil on canvas
27-1/4 x 34-1/4 inches (69.2 x 87.0 cm)
Signed and dated lower right in Cyrillic

65072

YAKOV IVANOVIC BROVAR (Russian, 1864-1941)
Winter Village
Oil on board
13-3/4 x 19-1/4 inches (34.9 x 48.9 cm)
Signed lower right in Cyrillic

65074

SASHA MOLDOVAN (Russian/American, 1901-1982)
Flowers, 1957
Oil on canvas laid on masonite
22 x 18 inches (55.9 x 45.7 cm)
Signed upper left: Moldovan
Inscribed verso: Sasha Moldovan 1957 Paris

PROVENANCE:
Dr. and Mrs. Donald M. Cohen, Brooklyn, New York.

Works on Paper

65075

ANDRÉ LANSKOY (Russian, 1902-1976)
Abstract Composition, circa 1960
Gouache on paper
19 x 25 inches (48.3 x 63.5 cm)
Signed lower left: Lanskoy

PROVENANCE:
Private collection, California.

Paintings

65076

YULIY YULEVICH (JULIUS) KLEVER AND STUDIO (Russian, 1850-1924)
Winter Evening on the Lake, 1887
Oil on canvas
38 x 28 inches (96.5 x 71.1 cm)
Signed and dated lower left in Cyrillic

Fine Art - Painting, Russian

65077

MIKHAIL RUNDALTSOV (Russian, 1871-1935)
Alexei in a Sailor Suit, 1913
Etching on paper
21-7/8 x 16-3/4 inches (55.8 x 42.5 cm)
Signed lower right in Cyrillic

Etching of Tsarevich Alexei in a Sailor Suit with a remarque depiction of the Imperial Yacht "Shtandart" in the lower left-hand corner, in a birchwood frame, circa 1900.

Mikhail Viktorovich Rundalstov was famous for his drypoint etchings of the Imperial Russian family, especially the children, with none more important than the young Tsarevich Alexei. This precious engraving of the young boy in his favorite sailor suit is enhanced by a remarque depiction of the Imperial Yacht "Shtandart" at the lower left, which increases the significance and value of the work. As he often did, Rundalstov would use such an offset at the lower left of his etchings, often the four siblings of the featured Romanov child. Remarkable for their rarity and attention to detail, these etchings were the master Rundalstov's claim to fame - and he had been taught well.

The child of a craftsman, Rundalstov was born in 1871 in St. Petersburg and took engraving lessons from his father. His craft was perfected in the studio of Vasily Mate, after which he worked for publishers and magazines, followed by a trip abroad, during which he became a master engraver. Upon his return to Russia he immediately began completing drypoint etchings like the work offered here, a touching master work of the ill-fated heir to the throne. Using the intaglio technique with its velvety shading, the effect is lost from the burr of the plates within just a few prints, making this first-state print much rarer than others. The etching is dramatically complemented by the elegant birchwood and silver rococo, possibly Faberge, frame.

The birth of the Tsarevich Alexei on July 4, 1904 was a celebrated event in the Imperial family and the entire country. By law since 1797, the heir to the throne was established only through the male lineage. He followed the birth of the Tsar and Tsarina's four daughters and he was indeed a special child. Tsar Nicholas II even broke with tradition by naming the child Alexei, suspending the traditional line of 'Alexander'- and 'Nicholas'-named successors to the Romanov dynasty.

Alas, the history of the young Tsarevich is surrounded by tragedy. At first, it was learned that he suffered from hemophilia, a condition passed down from his great-grandmother Queen Victoria of England. He was therefore watched closely so as not to suffer a wound from which he might not recover. One of his tutors was the retired boatswain Andrei Derevenko of the Imperial Yacht "Shtandart." One of Alexei's favorite military outfits was this sailor suit, which had an accompanying hat with the yacht's name emblazoned upon it.

Even under the most watchful eyes, however, the young boy still would suffer wounds that continually threatened his life. His mother, the Tsarina Alexandra, would find comfort in the holy man Rasputin, who purportedly was the only person who could give any relief to Alexei. Despite his illness, the boy actually traveled to the front lines with his father during World War I. Nicholas II felt it important that the heir to the throne be tutored in the ways of war if he were to lead the Russian armies and navies of the future. In fact, Alexei carried his "Shtandart" naval cap with him as he donned a miniature military uniform at the age of ten.

With Nicholas II at war and with hardships on the Russian people mounting every day, revolution fomented, and by 1917 Russia was on the verge of total collapse. Demonstrations increased and the government eventually fell, leaving Nicholas II with no option other than abdication, at first in favor of the young Tsarevich Alexei, but almost immediately thereafter withdrawing the proposal after being persuaded that the boy would not live long after being separated from his parents. With the Bolsheviks in power, the Romanov family were under house arrest in the Ipatiev House in Yekaterinburg, the entire family was taken into the basement and shot, the Romanov dynasty and the Tsarevich meeting a violent ending on July 17, 1918.

65078

GERASIM IVANOVICH MATVEEV (Russian, 19th Century)
Freed Serf, circa 1820
Oil on canvas
31 x 23 inches (78.7 x 58.4 cm)
Inscribed and stamped verso
Label verso: Fund for The Fine Arts, Chevy Chase, Maryland

PROVENANCE:
Sotheby's, London, April 5, 1990, lot 104;
Sotheby's, New York, Russian Art - Volume III, April 28, 2006, lot 454.

With the Freed Serf, Matveev has depicted an emotionally-charged subject matter to challenge a nineteenth-century Russian audience. The typical viewer of art exhibitions at this time would still have been of the upper class, and Matveev's handling of this liberated peasant would have been unsettling. With a traditional full beard and an intensely direct gaze, the newly-freed serf meets the viewer's eye as an equal. The straightness of his back conveys self-worth while his able-hand grasps a steadily grounded staff. A slight furrow of the brow is all that suggests the fatalistic streak that lies close to the Russian heart. Only his simple tunic belies his humble status; in any other costume he would be regal. When Tsar Alexander II officially abolished serfdom in 1861, the peasant class made up more than 80% of the population. The Emancipation Manifesto did little but actually worsen the plight of the peasant class and ensure economic stability for the aristocracy.

КАРТИНА МАТВЕЕВА «ОСВОБОЖДЕННЫЙ КРЕПОСТНОЙ» ОТРАЖАЕТ ЭМОЦИОНАЛЬНУЮ НАКАЛЁННОСТЬ ВОПРОСА О КРЕПОСТНИЧЕСТВЕ И БРОСАЕТ ВЫЗОВ РУССКОМУ ОБЩЕСТВУ ДЕВЯТНАДЦАТОГО ВЕКА. ТИПИЧНЫЕ ПОСЕТИТЕЛИ ХУДОЖЕСТВЕННЫХ ВЫСТАВОК ТОГО ВРЕМЕНИ БЫЛИ ПРЕДСТАВИТЕЛЯМИ ВЫСШИХ КЛАССОВ. ТРАКТОВКА ЖЕ МАТВЕЕВЫМ ОБРАЗА ОСВОБОЖДЁННОГО КРЕСТЬЯНИНА НАРУШАЛА ПРИВЫЧНЫЙ ХОД ИХ МЫСЛЕЙ И ОКАЗЫВАЛАСЬ НЕУДОБНОЙ ДЛЯ ВОСПРИЯТИЯ. С ТРАДИЦИОННО ДЛИННОЙ БОРОДОЙ НЕДАВНО ОСВОБОЖДЕННЫЙ КРЕПОСТНОЙ ПРОНЗИТЕЛЬНО СМОТРИТ В ГЛАЗА ЗРИТЕЛЯМ КАК РАВНЫЙ ИМ. ПРЯМОЛИНЕЙНОСТЬ СПИНЫ ПЕРЕДАЁТ ЕГО ЧУВСТВО СОБСТВЕННОГО ДОСТОИНСТВА, НАТРУЖЕННАЯ РУКА ОХВАТЫВАЕТ ПОСОХ, ТВЁРДО УПИРАЮЩИЙСЯ В ЗЕМЛЮ. СЛЕГКА НАХМУРЕННАЯ БРОВЬ - ЭТО ВСЁ, ЧТО ВЫДАЁТ В ОБРАЗЕ НЕКИЙ ФАТАЛИЗМ ТАК ПРИСУЩИЙ РУССКИМ. ТОЛЬКО ПРОСТАЯ РУБАХА ОБНАРУЖИВАЕТ ЕГО СКРОМНЫЙ СТАТУС, В ЛЮБОМ ДРУГОМ КОСТЮМЕ ОН ИМЕЛ БЫ ЦАРСТВЕННЫЙ ВИД. КОГДА ЦАРЬ АЛЕКСАНДР II ОФИЦИАЛЬНО ОТМЕНИЛ КРЕПОСТНОЕ ПРАВО В 1861 ГОДУ, КРЕСТЬЯНСКИЙ КЛАСС СОСТАВЛЯЛ ТОГДА БОЛЕЕ ЧЕМ 80% НАСЕЛЕНИЯ. МАНИФЕСТ ОБ ОСВОБОЖДЕНИИ КРЕСТЬЯН МАЛО ЧЕМ ПОМОГ ИМ, И, НА САМОМ ДЕЛЕ, УХУДШИЛ БЕДСТВЕННОЕ ПОЛОЖЕНИЕ КРЕСТЬЯН, ПОСЛУЖИВ ЗАЩИТЕ ЭКОНОМИЧЕСКИХ ИНТЕРЕСОВ АРИСТОКРАТИИ.

Paintings

65079

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Winter Sunset, 1965
Oil on artist board
14-3/4 x 20-1/2 inches (37.5 x 52.1 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65080

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Farmstead, 1972
Oil on canvas
42 x 55-1/4 inches (106.7 x 140.3 cm)
Signed and dated lower left in Cyrillic

Fine Art - Work on Paper

65081

IVAN YAKOVLEVICH BILIBIN (Russian, 1876-1942)
Russian Folklore Illustration, 1919-1935
Watercolor, gouache, and ink on paper
11-1/2 x 8 inches (29.2 x 20.3 cm)
Initialed and dated lower right in Cyrillic
Ivan Bilibin was born in St. Petersburg and rose to being one of the most well-known illustration artists in Russia. He traveled widely and drew inspiration from the wilderness of Russia he witnessed through his travels. His work became so admired that he was commissioned to illustrate such famous Russian folkloric tales as The Tale of Ivan the Tsar's Son, The Firebird and the Grey Wolf and The Frog Princess. In this Russian illustration we see Bilibin's more formal style, which he developed after his many travels and after he had moved his studio to Egypt, where he lived until 1925. His imagery is outstanding, the colors brilliant. Bilibin's work is scarce and highly sought-after for its attention to fine detail.

Paintings

65082

MOSES SOYER (Russian, 1899-1974)
Portrait of a Woman
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed lower right: M. Soyer
Label verso: Christie's New York

Fine Art - Work on Paper

65084

MARC CHAGALL (Belorussian, 1887-1985)
De Mauvais Sujets (Bad Situation)
Lithograph
16-3/4 x 12-1/2 inches (42.5 x 31.8 cm) window
Signed lower right: Marc Chagall

65085

MARC CHAGALL (Belorussian, 1887-1985)
Spirit of Light (Adam Eve)
Lithograph
21-3/4 x 15-3/4 inches (55.2 x 40.0 cm) window
Signed lower right: Marc Chagall
Numbered: H.C.

65086

MARC CHAGALL (Belorussian, 1887-1985)
L'Artiste Phenix (Artist Phoenix)
Lithograph
27-3/4 x 19-1/2 inches (70.5 x 49.5 cm) window
Signed lower right: Marc Chagall
Numbered lower left: H.C.

65087

MARC CHAGALL (Belorussian, 1887-1985)
Cheval Bleu et Couple (Blue Horse and Couple)
Lithograph
15-1/2 x 10-3/4 inches (39.4 x 27.3 cm) window
Signed lower right: Marc Chagall
Numbered lower left: H.C.

65088

MARC CHAGALL (Belorussian, 1887-1985)
XXe Siecle (M. 699), 1973
Lithograph
14-1/4 x 19-1/2 inches (36.2 x 49.5 cm) window
Signed lower right: Marc Chagall

Fine Art - Painting, Russian

65089

Attributed to KONSTANTIN MAKOVSKY (Russian, 1839-1915)
Portrait a Young Woman
Pastel on board
10-3/4 x 8-1/2 inches (27.3 x 21.6 cm)
Signed upper right in Cyrillic

Paintings

65090

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1933)
Fields of Gold, 1963
Oil on board
15-1/2 x 19-1/2 inches (39.4 x 49.5 cm)
Signed and dated lower right in Cyrillic

Fine Art - Painting, Russian

65091

IVAN KLYUN (Russian, 1870-1942)
Abstract Cubist Composition
Oil on canvas
38 x 24 inches (96.5 x 61.0 cm)
Signed lower left in Cyrillic

LITERATURE:
Morphology of the Russian Abstract, Virtual Gallery Publishing, Moscow, 2003, plate 291

As an outstanding figure in the Russian art world, Ivan Klyun fought for the artist's right to create according to the laws of their own art. Although little is know about Klyun's life, we do know that he studied in Kiev and Warsaw in the 1890s and then in Moscow. His early style of painting was Symbolist, which shifted in 1910 as he began to incorporate the influence of Cubism and Futurism, as seen in this canvas. In 1915, he signed fellow artist Zazimir Malevich's manifesto From Cubism to Suprematism creating a new art movement that focused on fundamental geometric forms. Throughout his life, Klyun felt that an artist was free to create independently and free from conformity. He never betrayed his ideas despite the pressure for Russian artists to represent ideological themes in their art. Klyun broke from Suprematism in 1919 and experimented with several artistic influences finally adopting a Purism style.

БУДУЧИ ВЫДАЮЩЕЙСЯ ЛИЧНОСТЬЮ В МИРЕ РУССКОГО ИСКУССТВА, ИВАН КЛЮН БОРОЛСЯ ЗА ПРАВО ХУДОЖНИКА ТВОРИТЬ В СООТВЕТСТВИИ С ЕГО СОБСТВЕННЫМИ ПРЕДСТАВЛЕНИЯМИ ОБ ИСКУССТВЕ. ХОТЯ СОХРАНИЛОСЬ НЕМНОГО СВЕДЕНИЙ О ЖИЗНИ КЛЮНА, МЫ ЗНАЕМ, ЧТО В 1890-ЫХ ОН УЧИЛСЯ В КИЕВЕ И В ВАРШАВЕ, А ЗАТЕМ В МОСКВЕ. НА РАННИХ ЭТАПАХ ТВОРЧЕСТВА ЕГО ПРИВЛЕКАЛ СИМВОЛИСТСКИЙ СТИЛЬ, КОТОРЫЙ К 1910 ГОДУ СТАЛ МЕНЯТЬСЯ ПОД ВОЗДЕЙСТВИЕМ ВЛИЯНИЯ КУБИЗМА И ФУТУРИЗМА, ЧТО ХОРОШО ВИДНО НА ЭТОМ ХОЛСТЕ. В 1915 ГОДУ КЛЮН ПОДПИСАЛСЯ ПОД МАНИФЕСТОМ ХУДОЖНИКА КАЗИМИРА МАЛЕВИЧА «ОТ КУБИЗМА К СУПРЕМАТИЗМУ», ОЗНАМЕНОВАВШИМ ПОЯВЛЕНИЕ НОВОГО ДВИЖЕНИЯ В ИСКУССТВЕ, КОТОРОЕ ВО ГЛАВУ УГЛА СТАВИЛО ОСНОВНЫЕ ГЕОМЕТРИЧЕСКИЕ ФОРМЫ. В ТЕЧЕНИЕ ВСЕЙ СВОЕЙ ЖИЗНИ КЛЮН ТВЁРДО ВЕРИЛ В ТО, ЧТО ХУДОЖНИК ИМЕЕТ ПРАВО НА САМОСТОЯТЕЛЬНОЕ ТВОРЧЕСТВО, СВОБОДНОЕ ОТ НАВЯЗЫВАЕМЫХ ДОГМ. ОН НИКОГДА НЕ ИЗМЕНЯЛ СВОИМ ИДЕАЛАМ, НЕСМОТРЯ НА ДАВЛЕНИЕ, КОТОРОЕ ОКАЗЫВАЛОСЬ НА РОССИЙСКИХ ХУДОЖНИКОВ, С ЦЕЛЬЮ ЗАСТАВИТЬ ИХ ОТОБРАЖТЬ В СВОЁМ ИСКУССТВЕ ИДЕОЛОГИЧЕСКИЕ ТЕМЫ. КЛЮН ОТОШЁЛ ОТ СУПРЕМАТИЗМА В 1919 ГОДУ, И, ПОЭКСПЕРИМЕНТИРОВАВ С РЯДОМ ХУДОЖЕСТВЕННЫХ СТИЛЕЙ, К КОНЦЕ КОНЦОВ, ПРИНЯЛ ДЛЯ СЕБЯ ПУРИЗМ.

65092

IVAN (JEAN POUGNY) PUNI (Russian, 1892-1956)
Pass, circa 1910
Oil on canvas laid on board
30-1/4 x 25 inches (76.8 x 63.5 cm)
Signed lower left in Cyrillic

LITERATURE:
M. Valyaeva, Morphology of the Russian Abstract, Moscow, 2003, pp. 302-303, illus.

Ivan Puni was born in Finland to parents of Italian descent. He was considered a member of the Russian avant-garde movement along with artists such as Popova, Klyun, and Rozanova. Around 1915, he joined Kazimir Malevich's Suprematist movement. During this time, he began to make paintings based on geometric abstractions and simplified flat forms, also incorporating letters and words. The use of abstraction combined with realistic identifiable forms, as seen in the present work, defined his personal style. While this painting reflects the influence of Malevich and even Picasso, it remains unmistakably Puni's own style.

ИВАН ПУНИ РОДИЛСЯ В ФИНЛЯНДИИ ОТ РОДИТЕЛЕЙ ИТАЛЬЯНСКОГО ПРОИСХОЖДЕНИЯ. ОН СЧИТАЛСЯ ЧЛЕНОМ ДВИЖЕНИЯ РУССКИХ АВАНГАРДИСТОВ НАРЯДУ С ТАКИМИ ХУДОЖНИКАМИ КАК ПОПОВА, КЛЮН И РОЗАНОВА. ПРИМЕРНО В 1915 ГОДУ ОН ПРИСОЕДИНИЛСЯ К ДВИЖЕНИЮ СУПРЕМАТИСТОВ КАЗИМИРА МАЛЕВИЧА. В ЭТО ВРЕМЯ ОН НАЧАЛ СОЗДАВАТЬ КАРТИНЫ НА ОСНОВЕ ГЕОМЕТРИЧЕСКИХ АБСТРАКЦИЙ И УПРОЩЕННЫХ ПЛОСКИХ ФОРМ, ТАКЖЕ ВКЛЮЧАЯ В НИХ ОТДЕЛЬНЫЕ БУКВЫ И СЛОВА. ИСПОЛЬЗОВАНИЕ АБСТРАКЦИИ В СОЧЕТАНИИ С РЕАЛИСТИЧЕСКИМИ, УЗНАВАЕМЫМИ ПРЕДМЕТАМИ, КАК ВИДНО НА ДАННОЙ КАРТИНЕ, И ОПРЕДЕЛИЛО ЕГО СОБСТВЕННЫЙ СТИЛЬ. ХОТЯ ЭТА РАБОТА ОТРАЖАЕТ ВЛИЯНИЕ МАЛЕВИЧА И ДАЖЕ ПИКАССО, ОНА БЕЗ СОМНЕНИЙ ПРЕДСТАВЛЯЕТ СОБСТВЕННЫЙ СТИЛЬ ПУНИ.

65093

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Dacha, 1961
Oil on board
7-3/4 x 5-3/4 inches (19.7 x 14.6 cm)
Signed and dated lower right: N. Timkov. 61.
Incribed verso in Cyrillic

65094

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Winter Snow, 1959
Oil on board
9 x 6-1/2 inches (22.9 x 16.5 cm)
Initialed and dated lower right: NT 59

65095

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Spring, 1966
Oil on board
6 x 12 inches (15.2 x 30.5 cm)
Signed and dated lower right: N. Timkov 66
Inscribed verso in Cyrillic

Fine Art - Work on Paper

65096

VASILI VASILIEVICH ROZHDESTVENSKY (Russian, 1884-1963)
Student with Folio, 1950; Mother and Child, 1970; and Standing Student
Gouache on paper
17 x 12 inches (43.2 x 30.5 cm) each
Each signed in Cyrillic, two dated

Fine Art - Painting, Russian

65097

ELENA KALLISTOVA (Russian, 20th Century)
Twins, 2000
Oil on canvas
39 x 40 inches (99.1 x 101.6 cm)
Signed and dated lower left in Cyrillic

65098

SIMKHA SIMKOVITCH (Russian, 1893-1949)
Portrait of a Lady, 1927
Pastel
30 x 25 inches (76.2 x 63.5 cm)
Signed and dated lower right: Simkha Simkovitch / 1927

65099

SIMKHA SIMKOVITCH (Russian, 1893-1949)
Portrait of a Man Driving
Pastel on canvas
25 x 30-1/4 inches (63.5 x 76.8 cm)
Signed lower left

65100

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Lavender Lake, 1960
Oil on board
7 x 9 inches (17.8 x 22.9 cm)
Signed lower left in Cyrillic

Paintings

65101

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
In the Park, 1958
Oil on artist board
9-1/2 x 13-1/4 inches (24.1 x 33.7 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65102

NALBI BUGASHEV (Russian, 20th Century)
Portrait of Lady, 1992
Oil on canvas
30 x 22 inches (76.2 x 55.9 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

65103

GRIGORY KRAVCHENKO (Russian, b. 1930)
Daughter, 1968
Oil on board
30-1/2 x 18-1/2 inches (77.5 x 47.0 cm)
Signed and dated upper right in Cyrillic
Inscribed verso in Cyrillic

65104

SERGI PANKRATOV (Russian, 20th Century)
Mariinsky Palace in St. Petersburg, 1951
Oil on board
17 x 22 inches (43.2 x 55.9 cm)
Signed and dated lower right in Cyrillic

Works on Paper

65105

IVAN MIHAILOVICH GRABOVSKY (Russian, 1878-1922)
Strolling in the Snow Outside the Dacha, 1910
Gouache, watercolor, and charcoal on paper
8 x 14 inches (20.3 x 35.6 cm)
Signed and dated lower right in Cyrilllic

Fine Art - Painting, Russian

65106

SERGEI IVANOVICH OSIPOV (Russian, 1915-1985)
St. Isaac's Cathedral, St. Petersburg
Oil on artist board
22 x 26 inches (55.9 x 66.0 cm)
Signed lower right in Cyrillic

65107

DMITRI STRIZHOV (Russian, b. 1967)
Sensitive Artist, 2002
Oil on canvas
44-1/4 x 50 inches (112.4 x 127 cm)
Signed and dated lower right: Strizhov '02

65108

ALEXEY TERENIN (Russian, 20th Century)
Ocean Battle, 1994
Oil on canvas
39 x 77 inches (99.1 x 195.6 cm)
Signed and dated lower right: A.Terenn '94

65109

GRIGORY KRAVCHENKO (Russian, b. 1930)
Portrait of the Artist's Wife, 1964
Oil on artist board
39 x 24 inches (99.1 x 61.0 cm)
Inscribed verso in Cyrillic

65110

GRIGORY KRAVCHENKO (Russian, b.1930)
A Veteran of Many Wars, 1965
Oil on canvas
43 x 31 inches (109.2 x 78.7 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65111

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Remembering, 1983-1985
Oil on canvas
55 x 66-1/2 inches (139.7 x 168.9 cm)
Signed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

65112

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2004)
Stalin Lying in Catafalque, 1953
Oil on fabric laid on cardboard
10-1/2 x 10-1/4 inches (26.7 x 26.0 cm)
Inscribed verso in Cyrillic

Heritage Auction Galleries is pleased to offer a select group of paintings from the most prominent artists of the former Soviet Republic of Azerbaijan: Mikhail Abdullayev, Yevegni Samsanov and Boyukaga Aga Mirzazade. They are all from the collection of noted historian Turgut Er, who was a good friend of both Mirzazade and Abdullayev. He was a senior diplomatic representative of Turkish Republic in Azerbaijan from 1993 to 2002, as well as an author and journalist. Er's collection is prized by the people of Azerbaijan, housed in their museums, and treasured by millions of people.

The collector, Mr. Er was a personal friend of the artist Mikhail Abdullayev. He recounts a story about the painting, Stalin Lying in Catafalque. Abdullayev told Mr. Er that in 1953 on the night that the Soviet Premier Josef Stalin died, the Russian government took Abdullayev on a special plane from Baku to the Kremlin. Abdullayev was shown the catafalque with Stalin's body lying in state. Abdullayev completed his preliminary work which lasted until the next morning. After Stalin was no longer a revered figure in Russia, Abdullayev hid the painting and the preliminary work we offer here, subsequently selling it to Mr. Er.

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2002)
Mikhail Abdullayev was an Azerbaijani painter who held the title of "People's Painter" of the former USSR since 1963. He is an alumnus of the Azimzadej Azerbaijan Painting School (1939) and the Surikov Moscow State Painting Institute (1949), and was a member of the Moscow department of the USSR Academy of Arts. Igor Emmanuilovich Grabar, who first discovered his talent, and Sergey Gerasimov were Abdullayev's masters and comrades during his academic education at the Moscow State Institute of Trade. Both praised Abdullayev's capability in their articles for the Iskusstvo Journal. Abdullayev's panel Gorky was exhibited in 1951 at the All Union Art Exhibition at the Tretyakov Gallery, where he was presented with a state award and hold grant from Stalin. During his trips to India, Afghanistan, Hungary, Poland, Italy and other countries from 1956 to 1971, Abdullayev painted many of his most well-known canvases, and he continued to work with Gerasimov at the USSR Academy of Arts from 1958-1963. Three paintings he created in 1964-1965 were sent to the USSR State Gallery for an exhibition dedicated to the 40th anniversary of the victory over Fascism.

According to German artist Walter Bomaka, Abdullayev's works have been widespread in the German Democratic Republic since 1958. Monographic albums of Abdullayev were published by Zeyman in 1959 and 1960, which were the first examples of modern Soviet descriptive art. On November 14th, 1966, there was an organized exhibition of his creative works in Berlin which traveled to Leipzig and continued until the end of March 1967. In 1969 Abdullayev was presented the Jawaharlal Nehru Award for International Understanding for his outstanding contribution to the promotion of international understanding, goodwill and friendship among peoples of the world for a series of paintings entitled Through India. Other winners of this award include Martin Luther King, Jr. (1965), Mother Teresa (1968), Andre Malraux (1971), Jonas Salk (1974), Nelson Mandela (1978), Indira Gandhi (1983), and Yasser Arafat (1987).

Abdullayev's paintings have been exhibited in Paris, London, Berlin, Montreal, Prague, Budapest, Belgrade, Sophia, Warsaw, Dehli, Cairo, and Brussels. Abdullayev is also the designer of an artistic panel in the Nizami Station of the Baku Metro. His paintings were exhibited in the Moscow State Museum of the Orient, The Tretyakov Gallery (The National Museum of Russian Fine Art), and are currently on display in the Azerbaijan State Museum of Art.

65113

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2004)
Gorky
Oil on board
26-3/4 x 21-3/4 inches (67.9 x 55.2 cm)
Signed upper right and lower center: M. Abdullayev
Inscribed verso: M. Abdullayev, Gorky

Maxim Gorky was a Russian literary folk hero credited with founding Socialist-Realism. Born Aleksey Maksimovich Peshkov, a sad childhood and difficult early life prompted him to permanently change his name to "the Bitter One". Gorky was both a social and political critic who frequently criticized the Tsar, Lenin, and Stalin - eventually dying under suspicious circumstances after being placed under house arrest by the latter. Although aligned early on with the revolutionary Bolshevik party, Gorky and Lenin had a falling out and were not on good terms. Interestingly, the portrait of Lenin hanging over Gorky's shoulder has been severely scratched. Perhaps this was done as a political statement by a previous owner of the painting, or perhaps on Gorky's behalf by an overzealous follower.

МИХАИЛ АБДУЛЛАЕВ (20-ЫЙ ВЕК)
ГОРЬКИЙ
ДОСКА, МАСЛО
26-3/4 Х 21-3/4 ДЮЙМОВ (67.9 Х 55.2 СМ)
ПОДПИСЬ СПРАВА ВВЕРХУ И ВНИЗУ В ЦЕНТРЕ: М. АБДУЛЛАЕВ
НАДПИСЬ НА ОБОРОТЕ: М. АБДУЛЛАЕВ, ГОРЬКИЙ

МАКСИМ ГОРЬКИЙ БЫЛ ГЛУБОКОУВАЖАЕМЫМ РУССКИМ ПИСАТЕЛЕМ, ПОЧТИ ГЕРОЕМ В ЛИТЕРАТУРЕ, ОСНОВАВШИМ СОЦИАЛИСТИЧЕСКОЙ РЕАЛИЗМ. ЕГО НАСТОЯЩЕЕ ИМЯ - АЛЕКСЕЙ МАКСИМОВИЧ ПЕШКОВ. ТРУДНЫЕ ДЕТСТВО И ЮНОСТЬ ПИСАТЕЛЯ ПОБУДИЛИ ЕГО ВЗЯТЬ ПСЕВДОНИМ "МАКСИМ ГОРЬКИЙ", ОТРАЖАЮЩИЙ ГОРЕЧЬ ИСПЫТАНИЙ ВЫПАВШИХ НА ЕГО ДОЛЮ. ГОРЬКИЙ ВСЕГДА БЫЛ КРИТИЧЕСКИ НАСТРОЕННЫМ ЧЕЛОВЕКОМ ПО ОТНОШЕНИЮ К СУЩЕСТВУЮЩЕЙ ВЛАСТИ - БУДЬ ТО ЦАРЬ, ИЛИ ЛЕНИН, ИЛИ СТАЛИН. В КОНЕЧНОМ ИТОГЕ ОН УМЕР ПРИ ЗАГАДОЧНЫХ ОБСТОЯТЕЛЬСТВАХ ПОСЛЕ ТОГО, КАК БЫЛ ПОМЕЩЁН СТАЛИНЫМ ПОД ДОМАШНИЙ АРЕСТ. И ХОТЯ В НАЧАЛЕ СВОЕГО ПУТИ ГОРЬКИЙ ПОДДЕРЖИВАЛ БОЛЬШЕВИСТСКУЮ ПАРТИЮ, ТО ВСКОРЕ МЕЖДУ НИМ И ЛЕНИНОМ НАМЕТИЛИСЬ РАСХОЖДЕНИЯ ПО РЯДУ ВОПРОСОВ, ПОЗЖЕ ПЕРЕРОСШИЕ В ОТКРЫТОЕ ПРОТИВОСТОЯНИЕ. ИНТЕРЕСНО, ЧТО НА КАРТИНЕ ПОРТРЕТ ЛЕНИНА, ВИСЯЩИЙ НАД ПЛЕЧОМ ГОРЬКОГО, СИЛЬНО ПОЦАРАПАН. ВОЗМОЖНО, ЭТО БЫЛО СДЕЛАНО ПРЕДЫДУЩИМ ВЛАДЕЛЬЦЕМ КАРТИНЫ, В КАЧЕСТВЕ ПОЛИТИЧЕСКОГО ЗАЯВЛЕНИЯ, ИЛИ, ЧЕРЕЗЧУР РЬЯНЫМИ ПОСЛЕДОВАТЕЛЯМИ ГОРЬКОГО ОТ ЕГО ИМЕНИ.

65114

MIKHAIL ABDULLAYEV (Azerbaijani, 20th Century1921-2004)
Bailing Cotton, 1958
Oil on cardboard
13-3/4 x 19-1/2 inches (34.9 x 49.5 cm)
Signed lower left in Cyrillic
Inscribed verso: M. Abdullayev

65115

BOYUK AGA MIRZAZADE (Azerbaijani, 20th Century)
Female Vocalist
Oil on canvas
12-3/4 x 18-1/2 inches (32.4 x 47.0 cm)
Inscribed verso in Cyrillic
The artist Boyuk Aga Mirzazade, was born in 1921. Mirzazade was from a very large family in the village of Fatmia, near Baku. His family did not have the means to support his love for art, but he continued to work very hard to pursue his passion. In the thirties, he and his family relocated to Baku and he attended Baku Art School where he graduated with honors. That same year he competed with hundreds of other applicants to be accepted to the Moscow Art College. He was accepted and during his time there he was greatly influenced by French Impressionists and Post-impressionists, whose collections are represented in the Moscow museum collections. In 1941, he returned home and began teaching at the same art school he graduated from in Baku. During the 1940s he focused on landscapes, both urban and rural. He also captured images of his 'heroes', the hard working citizens, soldiers, and peasants. During the fifties a new generation of artists and intellectuals came into the forefront in Azerbaijan, and Mirzazade captured many of their portraits. He also exhibited in the All-Union Art Exhibition in Moscow which included his series from the Caspian Sea. The exhibition was very well received and was a milestone in Mirzazade's career. Throughout his life he continued to explore subject matter and vivid color palettes. Mirzazade was a prominent artist who put Azerbaijan on the map of Soviet art.

65116

BOYUK AGA MIRZAZADE (Azerbaijani, 20th Century)
Woman with Cigarette, 1974
Oil on artist board
21-1/2 x 15-3/4 inches (54.6 x 40.0 cm)
Signed lower right in Cyrillic

65117

BOYUK AGA MIRZAZADE (Azerbaijani, 20th Century)
Seated Nude Woman, 1972
Oil on canvas
23-1/4 x 19-3/4 inches (59.1 x 50.2 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65118

BOYUK AGA MIRZAZADE (Azerbaijani, 20th Century)
Girl in the Garden
Oil on artist board
9-1/2 x 8-1/2 inches (24.1 x 21.6 cm)

БЕЮК МИРЗАЗАДЕ (20-ЫЙ ВЕК)
ДЕВУШКА В САДУ
ДОСКА, МАСЛО
9-1/2 Х 8-1/2 ДЮЙМА (24.1 Х 21.6 СМ)

65119

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2004)
Indian Women, 1957
Oil on cardboard
10-1/2 x 6-3/4 inches (26.7 x 17.1 cm)
Signed lower left in Cyrillic

Fine Art - Work on Paper

65120

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2004)
Woman in the Street, 1957
Graphite on paper
11-1/2 x 9-1/2 inches (29.2 x 24.1 cm)
Signed lower left in Cyrillic

Fine Art - Painting, Russian

65121

MIKHAIL ABDULLAYEV (Azerbaijani, 1921-2004)
Smiling Woman, 1964
Oil on canvas
19-3/4 x 17-1/4 inches (50.2 x 43.8 cm)
Signed upper center in Cyrillic
Inscribed verso: 95

65122

IVAN VASILIEVICH DMITRIEV (Russian, 1902-1975)
Still Life with Cherries, 1938
Oil on canvas
35 x 53 inches (88.9 x 134.6 cm)

Dmitriev was born in Ulyanovsk (formerly known as Simbirsk), a city on the Volga river that was also the birthplace of Lenin. After moving to Moscow in 1922, Dmitriev pursued his artistic training at the Higher Art and Technology Studios. His style was heavily influenced by the Post-Impressionists, and his oeuvre is composed primarily of still-life arrangements and landscapes. In this painting, Dmitriev has drafted a composition of apples, cherries, tomatoes, onions, eggplants, and a pumpkin. Bowls and baskets are scattered amidst pitchers and a cruet of oil. Such a scene of abundance would surely have been rare. Dmitriev painted this canvas as Russia was preparing for the Second World War, a span of years that would prove devastating to the people of Moscow.

ДМИТРИЕВ РОДИЛСЯ В УЛЬЯНОВСКЕ (РАНЕЕ ИЗВЕСТНОМ КАК СИМБИРСК), ГОРОДЕ НА БЕРЕГУ РЕКИ ВОЛГИ, КОТОРЫЙ ТАКЖЕ БЫЛ МЕСТОМ РОЖДЕНИЯ ЛЕНИНА. ПОСЛЕ ПЕРЕЕЗДА В МОСКВУ В 1922 ГОДУ, ДМИТРИЕВ ОБУЧАЛСЯ ЖИВОПИСИ В ВЫСШИХ ГОСУДАРСТВЕННЫХ ХУДОЖЕСТВЕННО-ТЕХНИЧЕСКИХ МАСТЕРСКИХ. НА ЕГО СТИЛЬ ВО МНОГОМ ПОВЛИЯЛИ ПОСТИМПРЕССИОНИСТЫ. ТВОРЧЕСКОЕ НАСЛЕДИЕ ХУДОЖНИКА, В ОСНОВНОМ, СОСТОИТ ИЗ НАТЮРМОРТОВ И ПЕЙЗАЖЕЙ. В ЭТОЙ КАРТИНЕ ДМИТРИЕВ СОЗДАЛ КОМПОЗИЦИЮ ИЗ ЯБЛОК, ВИШЕН, ПОМИДОРОВ, ЛУКА, БАКЛАЖАНОВ И ТЫКВЫ. ЧАШИ И КОРЗИНЫ БЕЗ ОПРЕДЕЛЁННОГО ПОРЯДКА РАСПОЛЖЕНЫ РЯДОМ С КУВШИНАМИ И БУТЫЛКОЙ МАСЛА. ТАКИЕ СЦЕНЫ ИЗОБИЛИЯ, БЕЗУСЛОВНО, БЫЛИ РЕДКИ. ДМИТРИЕВ СОЗДАВАЛ ЭТОТ ХОЛСТ В ТОТ МОМЕНТ, КОГДА РОССИЯ ГОТОВИЛАСЬ К ВЕЛИКОЙ ОТЕЧЕСТВЕННОЙ ВОЙНЕ, ВРЕМЕНИ, КОТОРОЕ ОКАЗАЛОСЬ СТОЛЬ РАЗРУШИТЕЛЬНЫМИ ДЛЯ МОСКВИЧЕЙ.

65123

IVAN ANDREVICH YAZEV (Russian, 1914-1995)
The Dove House, 1950
Oil on canvas
39-1/4 x 31-1/4 inches (99.7 x 79.4 cm)
Inscribed verso in Cyrillic

65124

ALEXANDRA TOKAREVA (Russian, b. 1926)
Iris Still Life, 1985
Oil on canvas
39 x 29 inches (99.1 x 73.7 cm)
Signed and dated upper left in Cyrillic

65125

VALENTIN BOGDANOV (Russian, 1919 - 1985)
Still Life with Flowers, 1958
Oil on canvas
40-1/4 x 27 inches (102.2 x 68.6 cm)
Inscribed verso in Cyrillic

PROVENANCE:
Acquired from the family of the artist.

65126

GENNADY MATVEYEV (Russian, 1920-1990)
Fishing by the Istra Lake, 1958
Oil on canvas
20-1/4 x 39-3/4 inches (51.4 x 101.0 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

LITERATURE:
O.M. Baker, 20th Century Russian Art, An Intimate World of Russian Painting, China, 2001, p. 127, pl. 62

65127

ALEXSANDR MALKIN (Russian, 20th Century)
Students of Altai, 1950
Oil on canvas
38-3/4 x 28-1/2 inches (98.4 x 72.4 cm)
Signed and dated lower right in Cyrillic

65128

BORIS PEROBRAZHENSKY (Russian, 1910-1995)
Portrait of Meshcheryakov, Laureate of Stalin's Prize, a Merited Horsebreeder at Budenny Stables, 1950
Oil on canvas
37-1/4 x 35-1/2 inches (94.6 x 90.2 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65129

ELENA YAKOVENKO (Russian, b. 1914)
Heroes of Socialist Labor, 1950
Oil on canvas
38 x 47 inches (96.5 x 119.4 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65130

PETR IVANOVICH KOTOV (Russian, 1889-1953)
Washing Day, 1934
Oil on canvas
33 x 47 inches (83.8 x 119.4 cm)
Inscribed verso in Cyrillic
In his painting Washing Day, Kotov depicts women laboring at the accumulated laundry of the week. Much like the scenes of laundresses prevalent in Barbizon or French Impressionist painting, Kotov has taken a sympathetic approach to the women's labor showing their chapped hands raw from the scalding water. Their faces are ruddy and pink from the steam and exertion, and they are dressed for battle with kerchiefs on and sleeves rolled up. Caught at the end of the day's work, the seated women lean heavily on their legs with drooping shoulders. The result of their efforts is visible in the background, where the freshly washed linen is hung to dry. Kotov's loose brushwork energizes this common scene, capturing the essence of emotion without getting bogged down by an over-attention to detail.

НА КАРТИНЕ «БАННЫЙ ДЕНЬ» («СТИРКА») КОТОВ ИЗОБРАЖАЕТ ЖЕНЩИН, СТИРАЮЩИХ НАКОПЛЕННОЕ ЗА НЕДЕЛЮ БЕЛЬЁ. ТАКЖЕ КАК И В СЦЕНАХ С ПРАЧКАМИ, ТИПИЧНЫМИ ДЛЯ БАРБИЗОНСКОЙ ШКОЛЫ ЖИВОПИСИ И ФРАНЦУЗСКОГО ИМПРЕССИОНИЗМА, ХУДОЖНИК С СОЧУВСТВИЕМ ОТНОСИТСЯ К НЕЛЁГКОМУ ТРУДУ ЖЕНЩИН, ОБРАЩАЯ ВНИМАНИЕ НА ИХ ПОТРЕСКАВШИЕСЯ И ВОСПАЛЁННЫЕ ОТ ОБЖИГАЮЩЕЙ ВОДЫ РУКИ. ИХ ЛИЦА РАСКРАСНЕЛИСЬ ОТ ПАРА И НАПРЯЖЕНИЯ. ОНИ ПОВЯЗАЛИ ПЛАТКИ КАК ДЛЯ БИТВЫ И ЗАСУЧИЛИ РУКАВА. ЗАСТИГНУТЫЕ В КОНЦЕ РАБОЧЕГО ДНЯ, ЖЕНЩИНЫ СГОРБЛЕННО СИДЯТ, ОПИРАЯСЬ РУКАМИ О КОЛЕНИ. РЕЗУЛЬТАТЫ ИХ УСИЛИЙ ВИДНЫ НА ЗАДНЕМ ПЛАНЕ, ГДЕ СВЕЖЕВЫСТИРАННОЕ БЕЛЬЕ РАЗВЕШЕНО ДЛЯ ПРОСУШКИ. НЕМНОГО НЕБРЕЖНЫЕ МАЗКИ КОТОВА БЕЗ ИЗЛИШНЕЙ ДЕТАЛИЗАЦИИ НАПОЛНИЛИ ЭТУ ОБЫДЕННУЮ СЦЕНУ ЭНЕРГИЕЙ, ЗАПЕЧАТЛЕВ СУЩНОСТЬ ЧУВСТВ И ЭМОЦИЙ.

65131

SERGEY VINOGRADOV (Russian, 1869-1938)
The Picnic, 1912
Oil on canvas
39-1/2 x 45-1/2 inches (100.3 x 115.6 cm)
Signed and dated lower right in Cyrillic

65132

VIKTOR POPKOV (Russian, 1932-1974)
Sketch for 'They Built Bratsk Hydro-Electric Power Station', 1960
Oil on board
19-5/8 x 27-5/8 inches (49.8 x 70.2 cm)
Inscribed verso in Cyrillic

65133

GRIGORY KRAVCHENKO (Russian, b. 1930)
Sunny Afternoon Amusements, 1962
Oil on canvas
30 x 50 inches (76.2 x 127 cm)
Signed and dated lower left in Cyrillic

65134

YURI SKORIKOV (Russian, b. 1924)
Girl with Pomegranate, circa 1950
Oil on canvas
43-1/2 x 28 inches (110.5 x 71.1 cm)

Paintings

65135

PAVEL TCHELITCHEW (Russian, 1898-1957)
Untitled (Surrealist Composition)
Oil on cardboard
20 x 15 inches (50.8 x 38.1 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65136

ANDREI MIROSHNICHENKO (Russian, 20th Century)
Still Life, 1954
Oil on canvas
40 x 51 inches (101.6 x 129.5 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65137

LAURENT ZHEI-ZHARENKO (Ukrainian, 1899-1977)
Lilac March, 1957
Oil on canvas
33-1/2 x 48-1/2 inches (85.1 x 123.2 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65138

BORIS VALENTINO SHAPOSHNIKOV (Russian, 1890-1956)
Still Life, 1950
Oil on canvas
39-1/4 x 29-1/2 inches (99.7 x 74.9 cm)
Signed and dated lower right in Cyrillic

65139

STANISLAV ALATOV (Russian, 20th Century)
In the Village, 1960
Oil on canvas
25-1/2 x 42 inches (64.8 x 106.7 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

65140

MEVSKI (Russian, 20th Century)
Flower Bouquets with Pot, 1923
Oil on canvas
23-1/2 x 47-1/2 inches (59.7 x 120.7 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Paintings

65141

GLEB BARABANSHCHIKOV (Russian, 1910-1977)
Picking Flowers, 1945
Oil on canvas
39 x 35 inches (99.1 x 88.9 cm)
Signed lower left in Cyrillic

Fine Art - Painting, Russian

65142

GEORGI FEDEROVICH GOTGOLDT (Russian, 1915-1984)
Winter Wedding, 1950
Oil on canvas
39 x 70 inches (99.1 x 177.8 cm)
Signed lower right in Cyrillic

65143

KONSTANIN MEFODEVICH MAKSIMOV (Russian, 1913-1993)
On the River Volga (Stalingrad), 1947
Oil on canvas
23-1/2 x 38 inches (59.7 x 96.5 cm)
Inscribed verso in Cyrillic

65144

NIKOLAI YAKOVLEVICH BELYAEV (Russian, b. 1916)
They Are Happy, 1949
Oil on canvas
76-1/2 x 58-1/2 inches (194.3 x 148.6 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic
.Nikolai Belyaev was born in Tsarytsyn Russia and studied at the 1905 Revolution Art School graduating in 1939. He spent his career documenting everyday Russian life in his thematic works such as They Are Happy, offered here. A scene of joyous, patriotic children, the work is full of life and color. Painted in 1949, Belyaev was then rising to the top of the Russian art world. A member of the Grekov Studios of Monumental and Battle Art, he became a laureate of the All-Union Exhibition of 1949 with this very work.

НИКОЛАЙ ЯКОВЛЕВИЧ БЕЛЯЕВ (Р. 1916) СЧАСЛИВЫЕ, 1949
ХОЛСТ, МАСЛО
76-1/2 Х 58-1/2 ДЮЙМОВ (194.3 Х 148.6 СМ)
ПОДПИСЬ ПО-РУССКИ И ДАТА ВНИЗУ СПРАВА
НАДПИСЬ НА ОБОРОТЕ ПО-РУССКИ

НИКОЛАЙ БЕЛЯЕВ РОДИЛСЯ В РОССИИ, В ГОРОДЕ ЦАРИЦИН. В 1939 ГОДУ ОН ЗАКОНЧИЛ МОСКОВСКОЕ АКАДЕМИЧЕСКОЕ ХУДОЖЕСТВЕННОЕ УЧИЛИЩЕ ПАМЯТИ 1905 ГОДА. БЕЛЯЕВ ПРОЖИЛ ЗАМЕЧАТЕЛЬНУЮ ЖИЗНЬ, ДОКУМЕНТИРУЯ В СВОИХ ТЕМАТИЧЕСКИХ РАБОТАХ СЦЕНЫ СОВЕТСКОГО БЫТА. ИМЕННО ТАКИМ И СТАЛО ПРЕДСТАВЛЕННОЕ ЗДЕСЬ ПОЛОТНО «СЧАСТЛИВЫЕ». НА КАРТИНЕ, ИЗЛУЧАЮЩЕЙ ЖИЗНЕННУЮ ЭНЕРГИЮ, ИЗОБРАЖЕНЫ ЮНЫЕ ПИОНЕРЫ. НАПИСАВ ЭТУ РАБОТУ В 1949 ГОДУ, БЕЛЯЕВ ДОСТИГ ОПРЕДЕЛЁННЫХ ВЫСОТ В МИРЕ СОВЕТСКОГО ИСКУССТВА. ЧЛЕН СТУДИИ ВОЕННЫХ ХУДОЖНИКОВ ИМЕНИ ГРЕКОВА, ОН СТАЛ ЛАУРЕАТОМ ВСЕСОЮЗНОЙ ВЫСТАВКИ 1949 ГОДА, ПРЕДСТАВИВ ТАМ ИМЕННО ЭТУ РАБОТУ.

65145

ANDREI KUZNETSOV (Russian, b. 1930)
The Restorer, 1951
Oil on canvas
43-1/2 x 29-1/2 inches (110.5 x 74.9 cm)
Signed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

Paintings

65146

IVAN ZAKHAROV (1888-1969)
Portrait of Natalya Agapova, the artist's wife, circa 1910
Oil on masonite
31 x 25-1/2 inches (78.7 x 64.8 cm)

Fine Art - Painting, Russian

65147

ANATOLI PASSAN-SAPKOV (Russian, 20th Century)
Evening on the Lake, 1952
Oil on canvas
24-3/4 x 34 inches (62.9 x 86.4 cm)
Signed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

65148

ANDREI YAKOVLEV (Russian, b. 1934)
A Sunny Day (Chukotka), 1990
Oil on canvas
16-1/2 x 31-1/4 inches (41.9 x 79.4 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

PROVENANCE:
Acquired from the family of the artist.

65149

ALEXANDER LYUBIMOV (Russian, 1879-1955)
Motherhood, 1950
Oil on canvas
26-1/2 x 33-1/2 inches (67.3 x 85.1 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65150

ROMAN PODOBEDOV (Russian, 1920-2000)
Still Life with Fruit, circa 1960
Oil on canvas
23-1/2 x 31-1/2 inches (59.7 x 80.0 cm)

PROVENANCE:
Acquired from the artist's studio.

65151

SERGEI SAFARGALIN (Ukrainian, 20th Century)
May Day, 1963
Oil on canvas
43-1/2 x 58 inches (110.5 x 147.3 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65152

ANDREI YAKOVLEV (Russian, b. 1934)
The Date (Chukotka), 1990
Oil on canvas
17-1/2 x 31-1/2 inches (44.5 x 80.0 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65153

VICTOR PANFILOV (Russian, b. 1924)
Surveying , 1959
Oil on canvas
18-1/2 x 30 inches (47.0 x 76.2 cm)
Inscribed on stretcher in Cyrillic

65154

VLADIMIR ALEKSANDROVICH SEROV (Russian, 1910-1968)
Portrait of the Artist's Wife, 1962
Oil on canvas
31 x 29 inches (78.7 x 73.7 cm)
Initialed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

PROVENANCE:
Acquired from the family of the artist in 1992.

EXHIBITED:
Department of Exhibitions of the Academy of Fine Arts, of the USSR (label verso).

65155

VALENTIN BOGDANOV (Russian, 1919-1985)
Man in Landscape, 1957
Oil on canvas
24 x 38 inches (61.0 x 96.5 cm)
Signed and dated upper right in Cyrillic

65156

ALEKSANDR DUDIN (Russian, 20th Century)
Demonstration, 1989
Oil on canvas
57 x 43 inches (144.8 x 109.2 cm)
Monogrammed lower right
Inscribed verso in Cyrillic

65157

KUZMA VASILEVICH NICOLAEV (Russian, 1890-1972)
Moscow University, 1956
Oil on artist board
13-1/2 x 19-1/2 inches (34.3 x 49.5 cm)
Inscribed verso in Cyrillic

65158

VLADIMIR ALEKSANDROVICH SEROV (Russian, 1910-1968)
Moscow; Construction of the Council of Economic Mutual Aid (SEV), 1950
Oil on board
19 x 13 inches (48.3 x 33.0 cm)
Label verso in Cyrillic

PROVENANCE:
By descent through the family of the artist.

65159

MIKHAIL IVANOVICH MIIKHAILOV (Russian, 1903-1983)
Winter Village, circa 1950
Oil on canvas
19 x 23 inches (48.3 x 58.4 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65160

VLADIMIR GREMITSKIKH (Russian, 1916-1991)
Night, Moscow, circa 1960s
Oil on board
27 x 19 inches (68.6 x 48.3 cm)
Inscribed verso in Cyrillic

65161

NIKOLAI SERGEYEV (Russian, 1908-1989)
Winter Village, 1960
Oil on board
19 x 27 inches (48.3 x 68.6 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Paintings

65162

V.A. PLAKSIN (Russian, 20th Century)
Fishermen, 1962
Oil on board
19 x 27 inches (48.3 x 68.6 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65163

YURI VNODCHENKO (Russian, 20th Century)
Stage Arrangement, 1956
Oil on canvas
55-1/2 x 49 inches (141.0 x 124.5 cm)
Signed upper right in Cyrillic
Inscribed verso in Cyrillic

65164

V. MEY (Russian, 20th Century)
Friends, 1934
Oil on canvas
55 x 75 inches (139.7 x 190.5 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65165

NATALIA GONCHAROVA (Russian, 1881-1962)
Couple Sitting at Table
Oil on canvas
29-1/2 x 23-3/4 inches (74.9 x 60.3 cm)
Initialed lower left: NG
Certificate by Denis Bazetoux and Jean Chauvelin.

65166

IGOR LARIONOV (Russian, b. 1917)
Self Portrait
Oil on canvas
13-3/4 x 9-1/2 inches (34.9 x 24.1 cm)

PROVENANCE:
Collection of Mme Marie-Claude Dane, PISAS Auction October 5th, 2005.

65168

IVAN (JEAN POUGNY) PUNI (Russian, 1892-1956)
Still Life with Cards
Oil on board
29-1/2 x 23-1/2 inches (74.9 x 59.7 cm)
Signed lower right: IV. Pouni

65169

MIKHAIL FEDOROVICH LARIONOV (Russian/French, 1881-1964)
Portrait of Goncharova
Oil on canvas
11-3/4 x 10 inches (29.8 x 25.4 cm)

PROVENANCE:
Collection of Marie-Claude Dane
Certificate from Tretyakov Gallery.

65170

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Winter Lake Scene, 1965
Oil on board
8-3/4 x 13 inches (22.2 x 33.0 cm)
Signed and dated lower right: N. Timkov 65
Inscribed verso in Cyrillic

Paintings

65171

NIKOLAI EFIMOVICH TIMKOV (Russian, 1912-1993)
Gurzuf, 1986
Oil on board
8-3/4 x 6-1/2 inches (22.2 x 16.5 cm)
Initialed and dated lower right: N.T. 86
Inscribed verso: N. Timkov 1986 / Gurzuf

Fine Art - Painting, Russian

65172

VICTOR P. KUDRIN (Russian, b. 1925)
In Zagorsk, 1953
Oil on canvas
20 x 31 inches (50.8 x 78.7 cm)
Inscribed verso in Cyrillic

65173

IGOR POPOV (Russian, 1927-2001)
Blue Evening, 1963
Oil on board
13-1/2 x 20 inches (34.3 x 50.8 cm)
Inscribed verso in Cyrillic

65174

FYODOR PAVLOVICH RESHETNIKOV (Russian, 1906-1988)
Morning, 1965
Oil on canvas
23 x 32 inches (58.4 x 81.3 cm)
Signed lower right: Reshetnikov
Inscribed verso in Cyrillic

65175

VALENTINA SAVELEVA (Russian, b. 1938)
Russian Woman, circa 1960
Oil on canvas
39 x 29 inches (99.1 x 73.7 cm)
Signed lower right in Cyrillic
LITERATURE:
O.M. Baker, 20th Century Russian Art, An Intimate World of Russian Painting, China, 2001, p. 102, pl. 38

65176

VICTOR PRIBYLOVSKY (Russian, 1919-1975)
Boy Fishing
Oil on board
27 x 20 inches (68.6 x 50.8 cm)
Initialed lower left in Cyrillic

65177

VLADIMIR GREMITSKIKH (Russian, 1916-1991)
Café Friendship, 1957
Oil on cardboard
25 x 19-1/2 inches (63.5 x 49.5 cm)
Inscribed verso in Cyrillic

65178

S. KLEMENTJEVA (Russian, b. 1929)
Autumn Still Life, 1955
Oil on canvas
39-1/2 x 59 inches (100.3 x 149.9 cm)
Inscribed verso in Cyrillic

65179

IVAN GOMZIKOV (Russian, 1917-2000)
Resting, 1960
Oil on board
19 x 27 inches (48.3 x 68.6 cm)
Signed lower right in Cyrillic

65180

ROMAN LEONIDOVICH PODOBEDOV (Russian, 1920-2000)
Riga Port in Latvia
Oil on canvas
27-1/2 x 26-1/2 inches (69.9 x 67.3 cm)

65181

NIKITA CHEBAKOV (Russian, 1914-1968)
At a River Crossing, 1951
Oil on canvas
22 x 38 inches (55.9 x 96.5 cm)
Signed lower right: Chebakov
Inscribed verso in Cyrillic

Prints

65182

MIHAIL CHEMIAKIN (Russian, b. 1943)
Circus Performers
Color lithograph
28 x 20 inches (71.1 x 50.8 cm)
Artist's Proof
Signed lower right: M.Chemiakin
Numbered lower left: E.P.

Fine Art - Painting, Russian

65183

VICTOR ABRAMYN (Russian, 20th Century)
Meal Time, 1994
Oil on canvas
23-3/4 x 27-1/2 inches (60.3 x 69.9 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65184

KUZMA VASILEVICH NICOLAEV (Russian, 1890-1972)
Walk in the Country
Oil on canvas
21-1/2 x 25 inches (54.6 x 63.5 cm)
Signed lower left in Cyrillic

65185

KUZMA VASILEVICH NICOLAEV (Russian, 1980-1972)
Mother Walking with Children, 1968
Oil on canvas
19-1/2 x 27-1/2 inches (49.5 x 69.9 cm)
Signed and dated lower right in Cyrillic

65186

IVAN KOZLOV (Russian, 20th Century)
Sports Day, 1952
Oil on canvas
19-1/2 x 32-1/2 inches (49.5 x 82.6 cm)
Signed lower right in Cyrillic
Titled and dated lower center in Cyrillic

65187

KUZMA VASILEVICH NICOLAEV (Russian, 1890-1972)
Walk in the Valley, circa 1950
Oil on canvas
18 x 23-1/2 inches (45.7 x 59.7 cm)

65188

VLADIMIR GOLTSOV (Russian, b. 1925)
Arrival of Spring, 1960
Oil on canvas
23-1/2 x 29-1/2 inches (59.7 x 74.9 cm)
Initialed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65189

ANDREI YAKOVLEV (Russian, b. 1934)
First Steps, 1993
Oil on canvas
23-1/2 x 31-1/2 inches (59.7 x 80.0 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65190

ANDREI PLOTNOV (Russian, b. 1916)
Liberated, Southern Sakhailin, 1946
Oil on canvas
21-3/4 x 29-3/4 inches (55.2 x 75.6 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic
LITERATURE:
O.M. Baker, 20th Century Russian Art, An Intimate World of Russian Painting, China, 2001, p. 83, pl. 20

65191

KONSTANTIN A. SHURUPOV (Russian, 1910-1985)
After Work, 1970
Oil on canvas
54 x 86 inches (137.2 x 218.4 cm)
Signed lower left in Cyrillic

Paintings

65192

GRIGORY KRAVCHENKO (Russian, b. 1930)
On Sunday, 1962
Oil on canvas
31 x 20 inches (78.7 x 50.8 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65193

YAROSLAV TITOV (Russian, 20th Century)
Going Skiing, circa 1930s
Oil on canvas
31-1/2 x 23-1/2 inches (80.0 x 59.7 cm)
Signed lower left in Cyrillic

PROVENANCE:
By descent from the artist.

65194

MOSCOW SCHOOL (20th Century)
Mother and Child in Garden
Oil on canvas
27 x 31-1/2 inches (68.6 x 80.0 cm)

65195

NINA LURYEH (Russian, 20th Century)
Still Life with Pastries
Oil on canvas
28-1/2 x 35 inches (72.4 x 88.9 cm)
Signed lower right in Cyrillic

LITERATURE:
O.M. Baker, 20th Century Russian Art, An Intimate World of Russian Painting, China, 2001, p. 73, pl. 10.

65196

NIKOLAI DUBOVIK (Russian, b. 1960)
March at the Dacha
Oil on canvas
31-1/4 x 28-1/2 inches (79.4 x 72.4 cm)
Inscribed verso in Cyrillic

65197

VSEVOLOD FILIPPOV (Russian, 1893-1972)
Cityscape, Nara, 1947
Oil on canvas
27-1/4 x 38 inches (69.2 x 96.5 cm)
Signed and dated lower left in Cyrillic
Inscribed on stretcher in Cyrillic

65198

ANDREI YAKOVLEV (Russian, b. 1934)
Arctic Miracle, 1970
Oil on canvas
30 x 31-1/2 inches (76.2 x 80.0 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

65199

PAVEL KUCHEROV (Russian, b. 1922)
September, 1953
Oil on canvas
26 x 34-3/4 inches (66.0 x 88.3 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

Paintings

65200

NIKOLAI ULYANOV (1922-1990)
Girls with Goat, 1964
Oil on canvas
31 x 35 inches (78.7 x 88.9 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65201

MIKHAIL KUZNETSOV (Russian, 1904-1989)
Loggers, 1957
Oil on canvas
27 x 37-3/4 inches (68.6 x 95.9 cm)
Inscribed verso in Cyrillic

65202

VALENTIN BOGDANOV (Russian, 1919-1985)
Sheep Shearing, circa 1953
Oil on canvas
18 x 27-1/2 inches (45.7 x 69.9 cm)

Paintings

65203

BORIS VALENTINO SHAPOSHNIKOV (Russian, 1890-1956)
Beach Scene with Sailboats, circa 1950
Oil on canvas
17-1/2 x 24-3/4 inches (44.5 x 62.9 cm)
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65204

VLADIMIR ALEKSANDROVICH SEROV (Russian, 1910-1968)
Artist's daughter, Masha and Anton, 1963
Oil on canvas
39 x 29 inches (99.1 x 73.7 cm)
Initialed and dated lower right in Cyrillic

Paintings

65205

ALEKSANDR GERASIMOV (Russian, 1881-1963)
Young Miner
Oil on canvas
30-1/4 x 23 inches (76.8 x 58.4 cm)

Fine Art - Painting, Russian

65206

VALERY KOVININ (Russian, b. 1930)
Peace, 1967
Oil on canvas
63 x 43 inches (160.0 x 109.2 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65207

MIKHAIL NESTEROV (Russian, 1862-1942)
Cosmonauts and Yuri Gregarin, 1969
Oil on canvas
62 x 92-1/2 inches (157.5 x 235.0 cm)
Signed and dated lower right in Cyrillic

65208

FEDOR VASILEVIC ANTONOV (Russian, 1904-1990)
Still Life, At the Window, 1953
Oil on canvas
47 x 59 inches (119.4 x 149.9 cm)
Inscribed verso in Cyrillic

65209

LEV SERAFIMOVICH KOTLYAROV (Russian, b. 1925)
The Artist's Sons, 1969
Oil on canvas
39-1/2 x 59 inches (100.3 x 149.9 cm)
Signed lower right in Cyrillic

65210

ANATOLY LOBKO (Russian, 20th Century)
Villagers, 1986
Oil on canvas
85 x 67 inches (215.9 x 170.2 cm)
Signed and dated lower right Cyrillic
Inscribed verso in Cyrillic

65211

R. KHAIKIN (Russian, 20th Century)
Market Scene, 1957
Oil on canvas
23 x 46 inches (58.4 x 116.8 cm)
Signed and dated lower left in Cyrillic

65212

SERGEI KOROVYANKO (Russian, 20th Century)
By the Dnepr River, circa 1950s
Oil on canvas
74-3/4 x 29-1/2 inches (189.9 x 74.9 cm)

Paintings

65213

N. SKORIKOVA (Russian, 20th Century)
Virgin Lands, 1965
Oil on canvas
37 x 75 inches (94.0 x 190.5 cm)
Signed and dated lower right in Cyrillic

Fine Art - Painting, Russian

65214

IVAN ALEKSANDROVICH KOZLOV (Russian, b. 1920)
Portrait of the Artist's Wife, circa 1960
Oil on canvas
58 x 29 inches (147.3 x 73.7 cm)
Signed and dated lower right in Cyrillic

Paintings

65215

VLADIMIR ALEXEEVITH VASSIN (Russian, b. 1918)
Young Boy Reading, 1965
Oil on board
22 x 16-1/4 inches (55.9 x 41.3 cm)
Initialed lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65216

Attributed to KUZMA PETROV-VODKIN (Russian, 1878-1939)
Portrait of a Man
Oil on canvas
20-1/4 x 15-3/4 inches (51.4 x 40.0 cm)
Inscribed lower right in Cyrillic

65217

IVAN SOROKINE (Russian, 1910-1986)
In Crimea, 1957
Oil on canvas
20-3/4 x 25-1/4 inches (52.7 x 64.1 cm)
Signed and dated lower right: I. Sorkin 57
Inscribed vero: I. Sorkin 1957 / "The Crimea, Kozy"

Session 2

65218

ALEXANDRA EXTER (Russian, 1884-1949)
City
Oil on board
21-1/4 x 16-3/4 inches (54.0 x 42.5 cm)
Signed lower right in Cyrillic
As one of the founders of Art Deco, Alexandra Exter developed her own style of art by combining her education with western avant-garde influences. She was born Aleksandra Aleksandrovna Grigorovich to a wealthy family in a part of Imperial Russia which is now Poland. Due to her family's wealth, she was able to receive an exceptional education. Exter studied several subjects including music, languages, and private drawing lessons. In 1903 she studied painting at Kieve art school. That same year she married and spent several months with her husband in Paris where she attended the Académie de la Grand Chaumière in Montparnasse. As a result of her education and travel, her style of art was a mixture of Russian, Cubism, and Futurism, as seen in this piece. Exter was a personal friend of Pablo Picasso, Georges Braque, and Gertrude Stein. She worked with influential Russian artists such as Ivan Puni and Kazimir Malevich. In 1914 she participated in the International Futurist Exhibition in Milan, and in 1915 she joined "The Supremus," an avant-garde artist's group. She and her husband emigrated to France in 1924. They settled in Paris where she became a professor at the Academie de l'Art Moderne in Paris and Fernand Léger's Académie de l'Art Contemporain. In 1933 she started creating illuminated manuscripts, and in 1936 she was in the New York exhibition of "Cubism and Abstract Art." Exter was also a stage designer and is mostly recognized for her work for Alexander Tairov's Kamerny Theatre. She died in Paris in 1949.

65219

IVAN KLYUN (Russian, 1870-1942)
Still Life with Bottles
Oil on board
23 x 26-3/4 inches (58.4 x 67.9 cm)
Signed lower right: I. Kliun

Klyun's influence on Russian and French modern art is well documented. Klyun studied in Kieve and Warsaw in the 1890s and then in Moscow. He joined the Union of Youth group and contributed to their final exhibition in St. Petersburg from 1913-1914. In December of 1915, Klyun signed fellow artist Zazimir Malevich's manifesto, From Cubism to Suprematism, which ushered in a new style of art. He was director of the Central Exhibitions Bureau for the Fine Art Department of Narkompros (The People's Commissariat for Enlightenment). During that time as well, he taught at the Moscow Free Art Studios and the Vkhutemas Higher Artistic and Technical Workshops. In the 1920s, he was one of the organizers of the Museum of Painting Culture, which was created as a center for modern art.

СУЩЕСТВУЕТ МНОЖЕСТВО ПОДТВЕРЖДЕНИЙ ВЛИЯНИЯ КЛЮНА НА РУССКОЕ И ФРАНЦУЗСКОЕ СОВРЕМЕННОЕ ИСКУССТВО. В 1890-Х КЛЮН УЧИЛСЯ В КИЕВЕ И ВАРШАВЕ, А ЗАТЕМ И В МОСКВЕ. ОН ВСТУПИЛ В ОБЪЕДИНЕНИЕ «СОЮЗ МОЛОДЕЖИ» И УЧАСТВОВАЛ В ИХ ПОСЛЕДНЕЙ ВЫСТАВКЕ 1913-1914 ГОДОВ В САНКТ-ПЕТЕРБУРГЕ. В ДЕКАБРЕ 1915 ГОДА КЛЮН ПОДПИСАЛСЯ ПОД МАНИФЕСТОМ ХУДОЖНИКА КАЗИМИРА МАЛЕВИЧА «ОТ КУБИЗМА К СУПРЕМАТИЗМУ», ОЗНАМЕНОВАВШИМ ПОЯВЛЕНИЕ НОВОГО СТИЛЯ В ИСКУССТВЕ. ОН БЫЛ ДИРЕКТОРОМ ВСЕРОССИЙСКОГО ЦЕНТРАЛЬНОГО ВЫСТАВОЧНОГО БЮРО ОТДЕЛА ИЗО НАРКОМПРОСА (НАРОДНОГО КОМИССАРИАТА ПРОСВЕЩЕНИЯ). ОДНОВРЕМЕННО КЛЮН ПРЕПОДАВАЛ ЖИВОПИСЬ В ГСХМ (ГОСУДАРСТВЕННЫХ ХУДОЖЕСТВЕННЫХ СВОБОДНЫХ МАСТЕРСКИХ) И ВО ВХУТЕМАСЕ (ВЫСШИХ ГОСУДАРСТВЕННЫХ ХУДОЖЕСТВЕННО-ТЕХНИЧЕСКИХ МАСТЕРСКИХ). В 1920-Х ОН БЫЛ ОДНИМ ИЗ ОРГАНИЗАТОРОВ МУЗЕЯ КУЛЬТУРЫ ЖИВОПИСИ, КОТОРЫЙ БЫЛ СОЗДАН КАК ЦЕНТР СОВРЕМЕННОГО ИСКУССТВА.

Paintings

65220

SEMON A. ROTNITSKY (Russian, b. 1915)
Standing Nude, 1991
Oil on board
32 x 17-1/2 inches (81.3 x 44.5 cm)
Signed and dated upper left in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65221

ALEKSANDR GOLOVIN (Russian, 1863-1930)
Slavic Count and Female Captive
Oil on board
11-1/2 x 14 inches (29.2 x 35.6 cm)
Signed lower left in Cyrillic

PROVENANCE:
Aguttes Auction, Paris November 2005; Private collection, Paris.

65222

ANATOLY ZVEREV (Russian, 1931-1986)
Untitled, Abstract Landscape
Oil on canvas laid on board
27-1/4 x 19-1/4 inches (69.2 x 48.9 cm)
Signed lower center in Cyrillic

PROVENANCE:
Acquired directly from the artist.

65223

ANATOLY ZVEREV (Russian, 1931-1986)
Still Life with Flowers
Oil on board
19-1/2 x 13-1/2 inches (49.5 x 34.3 cm)
Signed across top in Cyrillic

PROVENANCE:
Acquired directly from artist.

65224

ANATOLY ZVEREV (Russian, 1931-1986)
Lobster
Oil on board
22-1/2 x 14-3/4 inches (57.2 x 37.5 cm)
Initialed lower left: AZ

PROVENANCE:
Acquired directly from artist.

Fine Art - Work on Paper

65225

MIKHAIL MARKELOVICH GUZHAVIN (1888-1929)
Roof of the Peasant House, circa 1910s
Graphite on paper
10-1/4 x 10-3/4 inches (26.0 x 27.3 cm)
Signed lower right in Cyrillic

65226

MIKHAIL MARKELOVICH GUZHAVIN (Russian, 1888-1929)
Country House in Winter, circa 1920s
Watercolor and graphite on paper
13-3/4 x 9-1/2 inches (34.9 x 24.1 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65227

ALEXANDER EVGENIEVICH YAKOVLEV (Russian, 1887-1938)
Africa
Oil on board
51-3/4 x 30-1/2 inches (131.4 x 77.5 cm)
Signed lower right in Cyrillic

Alexander Yakovlev was born in St. Petersburg, Russia and is considered a Neo-Classicist painter, draughtsman, designer, and etcher. He was a member of Mir iskusstva, a Russian magazine and art movement which endeavored to promote the understanding and conservation of art from previous periods. In particular, they strove to revitalize the periods of traditional folk art and the 18th-century Rococo. Throughout his career, he received several scholarships that allowed him to study internationally, which in turn, profoundly affected his art. On scholarship, Yakovlev traveled to the Far East, took part in an expedition of the Sahara desert, and journeyed to Equatorial Africa. Inspired by his travels, Yakovlev's paintings reflected the many exotic images he saw on his various journeys. This piece is an example of his African paintings, which are regarded as some of his most successful. As a result of these works, he was awarded the Legion of Honor by the French government in 1926.

65228

JEAN BÉRAUD (Russian, 1849-1935)
Couple in Carriage
Pastel on paper
17-1/2 x 14 inches (44.5 x 35.6 cm)
Signed lower right: Jean Beraud

Paintings

65229

MARTIN VAN MEYTENS (Swedish, 1695-1770)
Portrait of Catherine the Great
Oil on canvas
32-1/4 x 44-3/4 inches (81.9 x 113.7 cm)
Faintly signed lower right in Cyrillic

Fine Art - Painting, Russian

65230

EVGENI IVANOVICH SAMSONOV (Russian, b. 1926)
Adbullayev's Portrait, 1955
Oil on cardboard
20 x 13-1/2 inches (50.8 x 34.3 cm)
Inscribed verso in Cyrillic
E. САМСОНОВ (Р. 1926)
ПОРТРЕТ АБДУЛЛАЕВА, 1955
КАРТОН, МАСЛО
20 Х 13-1/2 ДЮЙМОВ (50.8 Х 34.3 СМ)
НАДПИСЬ ПО-РУССКИ НА ОБОРОТЕ

Fine Art - Painting, European

65231

ANDRÉ LANSKOY (Russian, 1902-1976)
Small Abstraction, circa 1950
Gouache on paper
5-1/8 x 6-3/4 inches (13.0 x 17.1 cm)
Signed lower right: Lanskoy

PROVENANCE:
Private collection, California.

Fine Art - Painting, Russian

65232

NIKOLAI IVANOVICH MAKAROV (Russian, b. 1952)
Untitled
Oil on canvas
55 x 79 inches (139.7 x 200.7 cm)
Initialed lower right: NM

Makarov's work evokes the mystic and haunting images of the Cold War with desolate scenes of empty chambers. Indeed, his work is exhibited at the Museum House of Checkpoint Charlie in Berlin. The viewer is drawn into his insight by use of shading and composition to complete a very compelling work.

Fine Art - Work on Paper

65233

MIKHAIL MARKELOVICH GUZHAVINE (Russian, 1888-1929)
Valleys Under Snow, circa 1920
Watercolor on paper
10-1/2 x 12-3/4 inches (26.7 x 32.4 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65234

ALEKSANDR KUPRIN (Russian, 1880-1960)
Untitled
Oil on cardboard
12 x 13-3/4 inches (30.5 x 34.9 cm)
Signed lower right in Cyrillic

Fine Art - Work on Paper

65235

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Seaside Landscape
Watercolor and graphite on paper
14-1/4 x 18-1/4 inches (36.2 x 46.4 cm) window
Signed lower right: A. Benois

65236

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Winter Scene
Watercolor and graphite on paper
19-1/4 x 25-1/4 inches (48.9 x 64.1 cm) window
Signed lower right: A. Benois

Fine Art - Painting, Russian

65237

MIKHAIL FEDOROVICH LARIONOV (Russian/French, 1881-1964)
Impressionist Landscape
Oil on canvas
15-1/4 x 18-1/4 inches (38.7 x 46.4 cm)
Initialed lower right in Cyrillic

65238

After VLADIMIR BOROVIKOVSKY (Russian, 1757-1825)
Portrait of a Nobleman
Oil on canvas
35-1/2 x 27-1/2 inches (90.2 x 69.9 cm)

Fine Art - Painting, European

65239

IVAN (JEAN POUGNY) PUNI (Russian, 1894-1956)
Man on a Bench
Oil on canvas laid on cardboard
4-3/4 x 4-3/4 inches (12.2 x 12.1 cm)
Signed lower right: Pougny

65240

VLADIMIR EGOROVITCH MAKOVSKY (Russian, 1846-1920)
Portrait of V.A. Beklemishev, 1899
Ink and graphite on paper
9-1/4 x 8 inches (23.5 x 20.3 cm)
Initialed lower right in Cyrillic
Inscribed verso in Cyrillic

Works on Paper

65241

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
The Lawyer
Watercolor and gouache on paper
12-1/2 x 9 inches (31.8 x 22.9 cm)
Signed upper right in Cyrillic

PROVENANCE:
Arie Togliani.

65242

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Soldier
Watercolor and graphite on paper
12 x 9 inches (30.5 x 22.9 cm)

PROVENANCE:
Arie Togliani.

Fine Art - Work on Paper

65243

NICOLAS OBELENSKI (Russian, 19th Century)
Praying at the Holy Oak
Ink on paper
12-3/4 x 9 inches (32.4 x 22.9 cm)
Signed lower right: N. Obelenski

Fine Art - Painting, Russian

65244

EVGENY IVANOVICH KAMZOLKIN (Russian, 1885-1957)
Retired General Collecting Mushrooms
Oil on canvas
18 x 14-3/4 inches (45.7 x 37.5 cm)

65245

LEONID TERENTEVICH CHUPYATOV (Russian, 1890-1942)
Set Design
Graphite, ink, and collage on paper
17-3/4 x 21-1/2 inches (45.1 x 54.6 cm)
Inscribed verso in Cyrillic

65246

MIKHAIL MARKELOVICH GUZHAVIN (Russian, 1888-1929)
Winter Landscape, Trees and Haystacks, 1920s
Graphite on paper
14-1/2 x 18 inches (36.8 x 45.7 cm)
Signed lower right in Cyrillic

Fine Art - Work on Paper

65247

MIKHAIL MARKELOVICH GUZHAVIN (Russian, 1888-1929)
Autumn Alley, 1920s
Graphite on paper
10-1/4 x 14 inches (26.0 x 35.6 cm) window
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65248

BORIS GRIGORIEV (Russian, 1886-1939)
Portrait of Ilia Mashkov
Graphite on paper
12-3/4 x 9-1/4 inches (32.4 x 23.5 cm)
Signed lower right in Cyrillic

PROVENANCE:
Boisgirard Auction, Paris November 2005; Private collection, Paris.

65249

ALEXANDER VASILIEVITCH VIUSHIN (Russian, 19th Century)
Ship at Sea, 1857
Oil on canvas
10 x 12-1/4 inches (25.4 x 31.1 cm)
Signed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

Works on Paper

65250

BORIS GRIGORIEV (Russian, 1886-1939)
Prostitutes
Graphite on paper
13 x 9-1/4 inches (33.0 x 23.5 cm)
Signed lower right in Cyrillilc

PROVENANCE:
Boisgirard Auction, Paris 2006; Private Collection Paris

Fine Art - Work on Paper

65251

PETR SAVVITCH UTKIN (Russian, active 1877-1934)
Russian Legend Illustration, circa 1900
Graphite, ink, and collage
7-3/4 x 10-3/4 inches (19.7 x 27.3 cm)
Signed and titled lower left in Cyrillic
Certificate of Tretyakov Gallery.

65252

MIKHAIL MARKELOVICH GUZHAVIN (Russian, 1888-1929)
Untitled
Graphite on paper
8 x 10-1/4 inches (20.3 x 26.0 cm) window
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65253

NIKOLAI NIKOLAYEVICH VOLKOV (Russian, 1897-1974)
Landscape
Oil on board
8-1/2 x 14 inches (21.6 x 35.6 cm)

Fine Art - Work on Paper

65254

IVAN IVANOVICH ENDOGROUROFF (Russian, 1861-1898)
Forest
Watercolor
6 x 4 inches (15.2 x 10.2 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

Paintings

65255

NIKOLAI NIKOLAYEVICH VOLKOV (20th Century)
Landscape (double-sided)
Oil on artist board
10 x 18-3/4 inches (25.4 x 47.6 cm)

Works on Paper

65256

SERGEI VASILEVICH CHECKHONIN (Russian, 1878-1935)
Oriental Fairytale Character, circa 1920
Watercolor and graphite
10-1/4 x 7-1/2 inches (26.0 x 19.1 cm)
Inscribed verso: To: I.A. Ryazanovsky from S. Chehonin
Certificate of the Tretyakov Gallery

65257

BORIS GRIGORIEV (Russian, 1886-1939)
Prostitute in Doorway
Graphite on paper
12 x 7 inches (30.5 x 17.8 cm)
Signed lower right in Cyrillic

PROVENANCE:
Boisgirard Auction, Paris November 9, 2005; Private collection, Paris.

Fine Art - Painting, Russian

65258

RUSSIAN SCHOOL (19th Century)
Portrait of Ivan Aivazovsky
Reproduction of a photograph, with oil on board
9 x 6-1/2 inches (22.9 x 16.5 cm)
Bearing signature and date lower left: Aivazovsky 1889

PROVENANCE:
Sloan Auctions, USA, 2002

The present work depicts a photograph of the artist Ivan Aivazovsky seated before an easel painting. The print is inset with a small oil painting in the style of the artist, signed with the initial A.

Fine Art - Work on Paper

65259

PETR SAVVICH UTKIN (Russian, 1877-1934)
Lady with Monkey
Watercolor, ink, and graphite on paper
5 x 7-1/4 inches (12.7 x 18.4 cm)
Signed lower right in Cyrillic

65260

NIKOLAI IVANOVICH MAKAROV (Russian, 20th century)
Taiga
Graphite on paper
10 x 7-1/2 inches (25.4 x 19.1 cm)
Signed lower right in Cyrillic

65261

KIRILL BORISOVICH KUSTODIEV
Indian, 1924
Ink on paper
8-1/2 x 9 inches (21.6 x 22.9 cm)
Signed lower right in Cyrillic
Certificates from Tretyakov Gallery.

Fine Art - Painting, Russian

65262

RUSSIAN SCHOOL (20th Century)
Landscape
Oil on board
11-1/2 x 15-1/2 inches (29.2 x 39.4 cm)
Signed and dated lower right: M...49

Paintings

65263

VASILY DIMITRIEVICH POLENOV (Russian, 1844-1927)
Landscape with House
Oil on artist board
7 x 12-1/2 inches (17.8 x 31.8 cm)
Monogrammed lower right

Fine Art - Painting, Russian

65264

VILLI LEOPOLDOVICH MOKROZHITSKIM (Russian, b. 1928)
Racing Yachts, 1950
Oil on canvas
36 x 43-1/2 inches (91.4 x 110.5 cm)
Signed lower right in Cyrillic

65265

RUSSIAN SCHOOL (20th Century)
Landscape with Peasants, 1952
Oil on canvas
36 x 51 inches (91.4 x 129.5 cm)
Signed lower right in Cyrillic

65266

VALENTIN BOGDANOV (Russian, 1919-1985)
The Machinistka (The Sewing Lesson), 1960
Oil on canvas
39 x 52 inches (99.1 x 132.1 cm)
Initialed upper left in Cyrillic

65267

ALEXANDRE KHMILNITSKY (Russian, 1924)
Portrait of a Driver, 1965
Oil on canvas
52-1/2 x 30 inches (133.4 x 76.2 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65268

KUZMA VASILIEVIC NICOLAEV (Russian, 1890-1972)
Moscow Zoo, circa 1950s
Oil on canvas
28 x 36 inches (71.1 x 91.4 cm)

65269

S. KORINOV (Russian, 20th Century)
Portrait of a Uzbek Woman, 1964
Oil on canvas
46 x 35 inches (116.8 x 88.9 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

65270

GRIGORIY MIKAHAILOVICH SHEGAL (Russian, 1889-1956)
In Samarkand, 1950
Oil on canvas
33 x 39 inches (83.8 x 99.1 cm)
Signed and dated lower right in Cyrillic
Inscribed on stretcher in Cyrillic

65271

NIKOLAI DUBOVIK (Russian, b. 1960)
Morning at the Dacha, 1994
Oil on canvas
32-3/4 x 36-1/2 inches (83.2 x 92.7 cm)
Inscribed verso in Cyrillic

65272

NICOLAI IGNATOV (Russian, 20th Century)
Lilacs, 1979
Oil on canvas
30 x 37 inches (76.2 x 94.0 cm)
Inscribed verso in Cyrillic

65273

ANDREI YAKOVLEV (Russian, b. 1934)
Spring in Chukotka, 1970s
Oil on canvas
30 x 32 inches (76.2 x 81.3 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

65274

VALENTIN BOGDANOV (Russian, 1919-1985)
Meeting at the Collective Farm, 1950
Oil on canvas
36 x 38 inches (91.4 x 96.5 cm)
Inscribed verso in Cyrillic

Fine Art - Work on Paper

65275

LEV FELIKSOVICH LAGORIO (Russian, 1827-1905)
At Port, 1886
Graphite on paper
7 x 9 inches (17.8 x 22.9 cm)
Signed and dated lower left in Cyrillic

Fine Art - Painting, Russian

65276

PETR NIKOLAEVICH GRUZINSKY (Russian, 1837-1892)
Horse Market
Oil on board
12 x 25 inches (30.5 x 63.5 cm)
Signed lower left in Cyrillic

65277

ANDREJ NIKOLAJEVICH SCHILDER (Russian, 1861-1919)
Hollow, circa 1880s
Oil on canvas laid on board
8-3/4 x 12-1/4 inches (22.2 x 31.1 cm)
Signed lower right in Cyrillic

65278

MIKHAIL IVANOVITCH SOLOMONOV (Russian, 1879-1942)
Spring Landscape with Pond, 1924
Oil on paper laid on board
11 x 16-1/2 inches (27.9 x 41.9 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65279

S. ZIABLOVA (Russian, 20th Century)
Log Cabin, 1930
Oil on artist board
11-1/2 x 9 inches (29.2 x 22.9 cm)
Signed lower left in Cyrillic

65280

PETR SAVVICH UTKIN (Russian, 1877-1934)
Nightscape with Twisted Tree
Mixed media on paper
11-1/4 x 14-1/4 inches (28.6 x 36.2 cm)

65281

NIKOLAI IVANOVICH MAKAROV (Russian, b. 1952)
Untitled
Oil on canvas
55 x 79 inches (139.7 x 200.7 cm)
Initialed lower right: NM

Nikolai Makarov's work was exhibited at the important "Ten Years After the Fall of the Berlin Wall" exhibition in Berlin in 1990. Makarov is active in Germany and the United States, with works in many museums. About the darkness, he points out that 'creation emerges from darkness'.

Fine Art - Work on Paper

65282

KONSTANTIN YAKOVLEVICH KRYZHITSKY (Russian, 1858-1911)
Lake, 1893
Charcoal on paper
12-1/4 x 16 inches (31.1 x 40.6 cm)
Signed lower left in Cyrillic
Label verso in Cyrillic

Fine Art - Painting, Russian

65283

IVAN SILYCH (SILOVICH) SOROKOPUDOV-GORYUSHKIN (Russian, 1873-1954)
Winter Scene, Russian Village
Oil on board
12 x 17 inches (30.5 x 43.2 cm)
Signed lower left in Cyrillic

65284

CHARLES VASNIER (French/Russian)
Portrait of Nadie Leger
Pastel on paper
15 x 18-1/2 inches (38.1 x 47.0 cm)
Signed lower right: Ch. Vasnier

65285

PETR SAVVICH UTKIN (Russian, 1877-1934)
Landscape Study
Graphite on paper
11 x 17-1/2 inches (27.9 x 44.5 cm)
Signed lower right: P. Utkin

65286

PETR NIKOLAEVICH GRUZINSKY (Russian, 1837-1892)
Winter
Oil on canvas
16 x 23-3/4 inches (40.6 x 60.3 cm)
Signed lower right in Cyrillic

65287

MIKHAIL MARKELOVICH GUZHAVIN (Russian, 1888-1929)
Spring Landscape by Lake
Oil on canvas
17-3/4 x 27 inches (45.1 x 68.6 cm)
Signed lower right in Cyrillic

65288

ALEKSANDR IVANOVICH MOROZOV (Russian, 1835-1904)
Country Landscape, 1903
Oil on canvas
20-3/4 x 25-1/2 inches (52.7 x 64.8 cm)
Signed and dated lower left in Cyrillic

65289

YAKOV VEBER (Russian, active 1890-1941)
Landscape by the Volga River, 1913
Watercolor, pastel, graphite, and gouache on paper
16 x 27-1/2 inches (40.6 x 69.9 cm)
Signed and dated lower right in Cyrillic

Works on Paper

65290

LEONID TERENTEVICH CHUPYATOV (Russian, 1890-1941)
Set Design
Ink, graphite, and collage on paper
15-1/4 x 21-1/2 inches (38.7 x 54.6 cm) window
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65291

ANATOLY ZVEREV (Russian, 1931-1986)
Abstract Portrait of Woman
Oil on cardboard
30-3/4 x 19-3/4 inches (78.1 x 50.2 cm)
Initialed upper right: AZ

65292

ALEKSANDR SAMOKHVALOV (Russian, 1894-1974)
Seascape with Rocks, 1930
Watercolor on paper laid on board
12 x 18-1/2 inches (30.5 x 47.0 cm) window
Signed lower left by the artist's daughter

65293

ALEXANDER AFANASJEV (Russian, 20th Century)
Summer, 1954
Oil on canvas
37-1/4 x 47-1/4 inches (94.6 x 120.0 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65294

LAZAR MARKOVITCH LISSITSKY (Russian, 1890-1941)
Taurus
Oil on board
34-1/2 x 25-1/4 inches (87.6 x 64.1 cm)
Initaled lower right in Cyrillic

Fine Art - Work on Paper

65295

NIKOLAI KORNILOVITCH BODAREVSKI (Russian, 1850-1921)
Portrait of Rasputin, 1913
Pastel on paper
15-1/2 x 12 inches (39.4 x 30.5 cm)
Signed and dated lower left in Cyrillic

65296

NIKANDOR GRIGORIEVICH CHERNETSOV (Russian, 1805-1879)
Crimean Festival, 1890
Watercolor on paper
6-1/4 x 9-1/4 inches (16 x 23.5 cm)
Signed and dated lower right in Cyrillic

PROVENANCE:
Raydon Gallery, New York (label verso).

Paintings

65297

EUGENE ANDREW AGAFONOFF (Russian/American, 1879-1956)
Spring Festival
Oil on canvas
29-1/4 x 37 inches (74.3 x 94.0 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65298

IVAN (JEAN POUGNY) PUNI (Russian, 1892-1956)
Fruits and Bottle, 1905-1906
Oil on canvas
21-1/2 x 30 inches (54.6 x 76.2 cm)
Signed lower right in Cyrillic

Puni was born in Finland while it was still part of the Russian Empire and attended the military academy in St. Petersburg. He traveled in Italy and France for several years before settling in Paris and enrolling at the Académie Julian. Throughout his career, he experimented with Fauvism, Cubism, and other avant-garde movements. While in Paris, he exhibited with the well known Salon des Indépendants. Puni returned briefly to Russia at the request of his friend, Marc Chagall, to teach at the Vitebsk Art School. Puni's works are exhibited in the Russian Museum, the Trekyakov Gallery, the Pushkin Museum, and the Museum of Modern Art in New York.

This Cubist still life depicts a wine bottle and fruit resting upon a small table. All the components of the scene have been represented on a flattened field, without perspective or foreshortening. The vignette is set against a white ground, and the upper-right corner shows a detail of lattice-patterned green wallpaper. Puni has incorporated pears, an apple, grapes, and a halved watermelon upon the dark table.

ПУНИ РОДИЛСЯ В ФИНЛЯНДИИ В ТО ВРЕМЯ, КОГДА ЭТА ТЕРРИТОРИЯ ЕЩЁ БЫЛА ЧАСТЬЮ РОССИЙСКОЙ ИМПЕРИИ, И ОБУЧАЛСЯ В ВОЕННОЙ АКАДЕМИИ В САНКТ-ПЕТЕРБУРГЕ. ОН НЕСКОЛЬКО ЛЕТ ПУТЕШЕСТВОВАЛ ПО ИТАЛИИ И ФРАНЦИИ, ПОКА НЕ ОБОСНОВАЛСЯ В ПАРИЖЕ, ГДЕ ОН ПОСТУПИЛ В АКАДЕМИЮ ДЖУЛИАНА. НА ПРОТЯЖЕНИИ СВОЕГО ТВОРЧЕСКОГО ПУТИ ПУНИ ЭКСПЕРИМЕНТИРОВАЛ С ФОВИЗМОМ И КУБИЗМОМ, А ТАКЖЕ С ДРУГИМИ АВАНГАРДНЫМИ НАПРАВЛЕНИЯМИ В ЖИВОПИСИ. НАХОДЯСЬ В ПАРИЖЕ, ОН ПРИНИМАЛ УЧАСТИЕ В ИЗВЕСТНОМ САЛОНЕ НЕЗАВИСИМЫХ. ПУНИ НЕНАДОЛГО ПРИЕЗЖАЛ В РОССИЮ ПО ПРОСЬБЕ СВОЕГО ДРУГА, МАРКА ШАГАЛА, ЧТОБЫ ПРЕПОДАВАТЬ В ХУДОЖЕСТВЕННОМ ИНСТИТУТЕ ГОРОДА ВИТЕБСКА. РАБОТЫ ПУНИ ЯВЛЯЮТСЯ ЧАСТЬЮ ЭКСПОЗИЦИИ РУССКОГО МУЗЕЯ, ТРЕТЬЯКОВСКОЙ ГАЛЕРЕИ, ПУШКИНСКОГО МУЗЕЯ И МУЗЕЯ СОВРЕМЕННОГО ИСКУССТВА В НЬЮ-ЙОРКЕ.

В ЭТОМ КУБИСТСКОМ НАТЮРМОРТЕ ПРЕДСТАВЛЕН МАЛЕНЬКИЙ СТОЛИК С БУТЫЛКОЙ ВИНА И ФРУКТАМИ НА НЁМ. ВСЕ ДЕТАЛИ ЭТОЙ КАРТИНЫ ИЗОБРАЖЕНЫ ПЛОСКИМИ, БЕЗ КАКОЙ-ЛИБО ПЕРСПЕКТИВЫ. РИСУНОК СТОЛА ВЫПОЛНЕН НЕ БЕЛОМ ФОНЕ, А В ПРАВОМ ВЕРХНЕМ УГЛУ РАЗМЕЩЁН ФРАГМЕНТ ЗЕЛЕНЫХ ОБОЕВ С РЕШЕТЧАТЫМ УЗОРОМ. ПРЕДМЕТЫ, ИЗОБРАЖЁННЫЕ ПУНИ НА ТЕМНЫЙ СТОЛИКЕ - ЭТО ГРУША, ЯБЛОКИ, ВИНОГРАД, И ПОЛОВИНКА АРБУЗА.

65299

ILYA MASHKOV (Russian, 1881-1944)
Still Life with Plums and Pink Flower
Oil on canvas
20 x 28 inches (50.8 x 71.1 cm)
Signed upper left in Cyrillic

Maskhov is best known as a prominent artist in the Jack of Diamonds group. He came to Moscow in 1900 to attend the Moscow School of Painting, Sculpture, and Architecture where he studied under Konstantin Korovin and Valentin Serov. Born to a peasant family, his education made it possible for him to travel extensively throughout France, Germany, Austria, England, Spain, Italy, Turkey, and Egypt. In 1909, Mashkov was expelled from school as a result of non-conformist thinking. He then opened his own art school and later exhibited with the World of Art, the Society of Artists, the Golden Fleece, and the Jack of Diamonds group, which he organized.

65300

VIKTOR IVANOVICH ZARUBIN (Russian, 1866-1928)
Fishermen in Normandie
Oil on panel
10 x 13-3/8 inches (25.4 x 34.0 cm)
Signed lower left in Cyrillic

Works on Paper

65301

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Statues in Park, 1906
Watercolor
13-1/4 x 18-3/4 inches (33.7 x 47.6 cm)
Singed and dated lower right: Alexandre Benois 1906

PROVENANCE:
Aguttes Auction, Paris, June 2006; Private Collection, Paris.

Fine Art - Painting, Russian

65302

JOSEF VON BRANDT (Polish, 1841-1915)
Kaukasische Schlacht
Oil on canvas
37 x 59-1/2 inches (94.0 x 151.1 cm)
Certificate from Vadim Sadkov PhD

65303

VASILY SHUKHAYEV (Russian, 1887-1973)
Seated Female Nude
Oil on board
38-3/4 x 29-1/4 inches (98.4 x 74.3 cm)
Signed lower right in Cyrillic

Works on Paper

65304

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Polonaise Militaire
Watercolor, gouache, and graphite on paper
12 x 9 inches (30.5 x 22.9 cm)

PROVENANCE:
Arie Togliani.

Alexandre Benois was a member of the intellectually and artistically prominent Benois family of St. Petersburg, Russia. Both his father and brother were important Imperial architects. While earning a law degree, Benois developed a circle of friends that included Sergei Diaghilev and Leon Bakst, and together they founded the Ballets Russes in 1909. While Benois produced costume and set designs for the Ballets Russes, he also worked with the Moscow Art Theatre.

The Polonaise is a Polish folk dance which began with the peasantry and then spread in popularity among the upper classes. It is in 3/4 time and has a rather stately character, which Benois is ridiculing in the present work, and which doubtlessly refers to the most famous of all the Polonaises written for the piano in the nineteenth century, the Polonaise Militaire by Chopin.

Fine Art - Work on Paper

65305

ALEXEI HANZEN (Russian, 1876-1937)
Locomotive
Watercolor on paper
7-1/4 x 11-1/4 inches (18.4 x 28.6 cm) window
Signed lower right in Cyrillic
Inscribed lower left in Cyrillic
Artist is the grandson of Ivan Konstantinovich Aivazovsky.

Fine Art - Painting, Russian

65306

ADOLF BAUMGARTNER-STOILOFF (Austrian, 1850-1924)
Convoy of Gold in Siberia
Oil on canvas
26-3/4 x 21-1/2 inches (67.9 x 54.6 cm)
Signed lower right in Cyrillic

65307

B. ZUBRICZKY (Russia, b. 1852)
Loading the Cart, 1898
Oil on panel
7-3/4 x 11-3/4 inches (19.7 x 29.8 cm)
Signed and dated lower right in Cyrillic

Fine Art - Work on Paper

65308

ALEKSANDROVSKI (Russian, 19th Century)
Ship at Sea -an Imperial Yacht, 1866
Watercolor on paper
14-1/2 x 17-3/4 inches (36.8 x 45.1 cm) window
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65309

BORIS CHETKOV (Russian, b. 1926)
Still Life with Vases of Flowers and Fruit on a Green Tablecloth, 2001
Oil on canvas
28 x 36 inches (71.1 x 91.4 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65310

BORIS CHETKOV (Russian, b. 1926)
A Walk in the Park, 1992
Oil on canvas
26-3/4 x 34-3/4 inches (67.9 x 88.3 cm)
Inscribed verso in Cyrillic

65311

BORIS CHETKOV (Russian, b. 1926)
Cosmos, 2004
Oil on canvas
23-1/2 x 27-1/2 inches (59.7 x 69.9 cm)
Initialed lower left in Cyrillic
Inscribed verso in Cyrillic

65312

BORIS CHETKOV (Russian, b. 1926)
Evening, 2004
Oil on canvas
19-3/4 x 27-1/2 inches (50.2 x 69.9 cm)
Initialed lower right in Cyrillic
Inscribed verso in Cyrillic

65313

FEDOR IVANOVICH DERYAZHNYI (Ukrainian, b. 1914)
Defeat of the Fascist Troops, 1966
Oil on canvas
39 x 58-1/4 inches (99.1 x 148.0 cm)
Signed and dated lower left in Cyrillic

EXHIBITED:
Art Fund of the Ukrainian SSR, Kiev Regional Department, June 7, 1966 (label verso).

65314

LYDIA OSTROVA (Russian, b. 1914)
Leaves on the Window, 1973
Acrylic on canvas
29 x 34 inches (73.7 x 86.4 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

Works on Paper

65315

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Scholar, 1952
Ink, crayon, and graphite on notepad paper
9 x 6 inches (22.9 x 15.2 cm)
Signed and dated lower left: Burliuk / Feb 25 / 1952

Fine Art - Painting, Russian

65316

ALEXANDER NAZARENKO (Russian, 20th Century)
Still life with Honeydew, 1985
Oil on canvas
24-1/2 x 29-1/2 inches (62.2 x 74.9 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Paintings

65317

PIOTR SULIMENKO (Russian, b. 1914)
The Fishermen, 1951
Oil on canvas
31 x 19-1/4 inches (78.7 x 48.9 cm)
Singed and dated lower left in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65318

ZINAIDA ZATSEPIN (Russian, 1910-1989)
Field in Constantinov, 1979
Oil on canvas
25-1/2 x 27-3/4 inches (64.8 x 70.5 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65319

ZINAIDA ZATSEPIN (Russian, 1910-1989)
Blooming Apple Trees, 1978
Oil on canvas
30-1/2 x 38-1/4 inches (77.5 x 97.2 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65320

NINA VOLKOVA (Russian, b. 1923)
Apples in Basket, 1979
Oil on canvas
23-3/4 x 27-1/2 inches (60.3 x 69.9 cm)
Signed and dated lower left in Cyrillic
Inscribed on stretcher in Cyrillic

Paintings

65321

NINA VOLKOVA (Russian, b. 1923)
Wild Sunflowers, 1979
Oil on canvas
19 x 14-1/2 inches (48.3 x 36.8 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

Fine Art - Painting, Russian

65322

ALEXIS MATTHEW PODCHERNIKOFF (Russian/American, 1886-1933)
The Meandering Brook at Sunset
Oil on board
17 x 14 inches (43.2 x 35.6 cm)
Signed lower left in Cyrillic

65323

SERGUEI BABKOV (Russian, b. 1920)
Bringing Up the Submarine, 1966
Oil on canvas
16 x 31-1/2 inches (40.6 x 80.0 cm)
Signed and dated lower right in Cyrillic
Inscribed verso in Cyrillic

PROVENANCE:
Nedra Matteucci Galleries, Santa Fe (label verso).

Paintings

65324

NICHOLAS B. HARITONOFF (Russian/American, 1880-1944)
Nude
Oil on canvas
25 x 40 inches (63.5 x 101.6 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65327

YURI REPIN (Russian, 1877-1954)
Portrait of Woman, 1950
Oil on canvas
43-1/2 x 31-1/2 inches (110.5 x 80.0 cm)
Signed and dated lower left in Cyrillic

Paintings

65328

BORIS ZHERDIN (Russian/American, 20th Century)
Reagan and Gorbechev
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed lower right in Cyrillic

Fine Art - Painting, Russian

65329

WILHELM VELTEN (Russian, 1847-1929)
The Horse Drawn Cart, 1882
Oil on canvas
13-1/4 x 22 inches (33.7 x 55.9 cm)
Signed and dated lower right in Cyrillic

65330

SACHA MOLDOVAN (Russian/American, 1901-1982)
Farm Scene
Oil on canvas
21-1/4 x 25-1/2 inches (54.0 x 64.8 cm)

65331

MIKHAIL SPIRIDONOICH ERASSI (Russian, 1823-1898)
Pastoral Landscape
Oil on canvas
17 x 25-1/4 inches (43.2 x 64.1 cm)
Signed lower right in Cyrillic

65332

PJOTR STOJANOW (Bulgarian, 1857-1957)
Napoleon Fleeing from Moscow
Oil on canvas
20-1/4 x 39-1/2 inches (51.4 x 100.3 cm)
Signed lower left in Cyrillic

PROVENANCE:
Christie's, South Kensington, 19th Century European Art Including Russian Pictures, March 14, 2007, lot 71.

65333

CONSTANTIN ALEKSANDROVICH WESTCHIOFF (Russian, 1877-1945)
Rocks, Capri
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left in Cyrillic
Inscribed verso in Cyrillic

65334

VLADIMIR BOROVISKOVSKY (Russian 1757-1825)
Portrait of Sergei Savvich Yakovlev, circa 1810
Oil on canvas
32 x 24-1/2 inches (81.3 x 62.2 cm)

Fine Art - Painting, European

65335

ALEXIS MATTHEW PODCHERNIKOFF (Russian/American, 1886-1933)
Landscape
Oil on canvas
28 x 36 inches (71.1 x 91.4 cm)
Signed lower left in Cyrillic

Fine Art - Work on Paper

65336

SERGEY YUREVICH SUDEIKIN (1883-1946)
A Group of Sudeikin Ephemera
Various materials
15 x 10 inches (38.1 x 25.4 cm) costume design

Costume design drawings are originals from "La Fontane de Bakhtchisarai" ballet from the season of 1920-1921 in Paris under Nikita Baliev. The lot includs photographs, original costume designs, opera pamphlets, and a hand-written letter from the artist

Fine Art - Painting, Russian

65337

RUSSIAN SCHOOL (late 19th Century)
The Imperial Yacht Jupiter
Oil on canvas
21-1/2 x 31 inches (54.6 x 78.7 cm)

65339

NICHOLAS B. HARITONOFF (American, 1880-1944)
Bather
Oil on canvas
17-1/2 x 27 inches (44.5 x 68.6 cm)
Signed lower right in Cyrillic

65340

WILHELM VELTEN (Russian, 1847-1929)
Stopping for a Drink at the Gypsy Camp
Oil on board
8-1/4 x 11-1/2 inches (21.0 x 29.2 cm)
Signed lower right in Cyrillic

65341

FEDOR KARLOVICH BURKHARDT (Russian/German, 1854-1918)
River in the Summer
Oil on canvas
18 x 26-1/2 inches (45.7 x 67.3 cm)
Signed lower right in Cyrillic

Fine Art - Work on Paper

65342

VIKTOR IVANOVICH ZARUBIN (Russian, 1866-1928)
Cottage by the Shore, 1907
Watercolor, ink, and white chalk on paper.
12 x 18 inches (30.5 x 45.7 cm)
Signed and dated lower right in Cyrillic

Paintings

65343

MINAS AVETISIAN (Armenian, 1928-1975)
Untitled, 1971
Oil on canvas
18-3/4 x 14-3/4 inches (47.6 x 37.5 cm)
Signed and dated lower left: Minas 71

Fine Art - Painting, Russian

65344

IVAN KARPOFF (Russian, 20th Century)
Haying Scene
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65345

N. VASILIEV (20th Century)
Thatch Farm Houses and Windmill, 1904
Oil on canvas
31 x 41-1/2 inches (78.7 x 105.4 cm)
Signed and dated lower left in Cyrillic

65346

VASSIL IVANOFF (French, 1897-1973)
Tsar Peter the Great - St. Petersburg, 1948
Oil on canvas
28 x 28 inches (71.1 x 71.1 cm)
Inscribed lower left: V.Ivanoff, 1948, N.Y.C.

65348

RUSSIAN SCHOOL (late 19th Century - early 20th Century)
Kremlin
Oil on canvas
31 x 47 inches (78.7 x 119.4 cm)
Initialed lower right in Cyrillic
Label verso: Christie's New York

65366

IVAN GOROKHOV (Russian, 20th Century)
Distant Landscape at Evening
Oil on board
6 x 11-3/4 inches (15.2 x 29.8 cm)
Inscribed verso in Cyrillic

65367

KONSTANTIN YAKOVLEVICH KRYZHITSKY (Russian, 1858-1911)
Winter Landscape
Oil on canvas
22-1/2 x 31 inches (57.2 x 78.7 cm)
Signed lower right in Cyrillic
Inscribed verso in Cyrillic

65368

GRIGORI STRETENSKY (Russian, 20th Century)
Violin, 1969
Oil on canvas
31 x 39-1/4 inches (78.7 x 99.7 cm)
Inscribed verso in Cyrillic

Decorative Arts, Continental

65369

A PAIR OF FABERGE RARE RUSSIAN GOLD-MOUNTED NEPHRITE SALT AND PEPPER SHAKERS
Marked Fabergé, Workmaster Anders Nevalainen, St. Petersburg, 1896-1908
1-3/4 inches (4.4 cm) high, each
5.9 ounces (gross)

Designed as carved egg-shaped nephrite containers, the interior lined with silver, the dome-shaped openwork slip-on covers of finely chased gold, in original Karelian birchwood fitted case

For more on Finnish workmasters see, U. Tillander-Godenhielm "Personal and Historical Notes on Fabergé's Finnish Workmasters and Designers" Carl Fabergé and his Contemporaries, Helsinki, 1980, pp. 28-51.

Anders Nevalainen (1851-1933)

Fabergé workmaster Anders Nevalainen specialized in Neoclassical silver-mounted picture frames and other desk and table items including menu and tea glass holders. Born in Finland, he left for St. Petersburg in 1874 and became a master goldsmith in 1885. He then joined the workshop of August Holmström and later became head of his own workshop working exclusively for Fabergé.

Estate Jewelry

65370

A PAIR OF RARE RUSSIAN JEWELED HAT PINS
Marked Fabergé, Workmaster Alfred Thielemann, St. Petersburg, circa 1890
7-5/8 inches (19.4 cm) long, each
0.7 ounces (gross)

A pair of carved obsidian blackamoors, each with with rose diamond eyes, on a ruby and diamond base, one ear suspending a ruby and diamond ear pendant, mounted on long gold pins, in original fitted case stamped Fabergé, St. Petersburg, Moscow, Odessa below the Imperial Warrant

For a similar stickpin by Thielemann formerly in the Forbes Collection, see C. Forbes and R. Tromeur-Brenner, Fabergé, the Forbes Collection, Hong Kong, 1999, p. 162.

Alfred Rudolfovich Thielemann

A goldsmith of German origin, Alfred Thielemann followed in his father's trade. In 1858 he qualified as Master Jeweler in St. Petersburg and became a Fabergé workmaster in 1880. His workshop at 24 Balshaya Morskaya produced badges, jetons and fine jewelry.

Decorative Arts, Continental

65371

A RUSSIAN GOLD AND ROCK CRYSTAL CASE WITH GOLD COIN
Karl Faberge, Moscow, Russia, circa 1900
Marks: 56 (Assay master Ivana Sergeevicha Lebedkina), KF
1 x 1-1/2 inches diameter (2.5 x 3.8 cm)
1.5 ounces
The glass case with hinged gold lid inset with gold enameled coin within fretwork border in black enamel.

65372

A RHODONITE CUP ON GOLD BASE WITH INSET COIN
Karl Gustav Hjalmar Armfelt, 1899-1908
Marks: (left facing kokoshnik) AP, 56 (left facing kokoshnik) (Assay master A. Richter), HA (in Cyrillic)
2-5/8 x 1-1/8 inches (6.7 x 2.9 cm)
4.1 ounces
The faceted tapered cylindrical rhodonite cup on 14K yellow gold base, base inset with coin.

Fine Art - Sculpture, European

65373

Attributed to ALEXANDER ARCHIPENKO (Ukrainian/American, 1887-1964)
Dancer, circa 1925
13 x 5 x 3 inches (33.0 x 12.7 x 7.6 cm)
Inscribed on left foot: Archipenko

Silver Smalls

65374

A TWO-COLOR GOLD CIGARETTE CASE
Marked Fabergé, Workmaster August Hollming, St. Petersburg, 1908-1917
3-3/8 inches (8.6 cm) long
4.0 ounces (gross)

The slim cigarette case overall decorated with alternating vertical bands of rose and yellow gold, applied with a nephrite thumbpiece, later engraved with an inscription inside the cover reading Humphrey/November 27th 1946/Vienna - Lime Kiln

PROVENANCE:
Count Alexander Benckendorff;
By descent to Countess Nathalie Benckendorff;
Sotheby's, London, June 12, 2007, lot 516;
Mrs. Humphrey Brooke;
Christie's, London, June 11, 2008, lot 462.

For a similar gold case by August Hollming, see J. Traina, The Fabergé Case, New York, 1998, p. 142.

August Fredrik Hollming (1854-1913)

Born in Loppi, Finland, Hollming became a registered goldsmith in St. Petersburg in 1876. He first opened a workshop at 35 Kazanskaya Street and in 1900, moved into the Fabergé shop at 24 Bolshaya Morskaya Street. There, as workmaster, he specialized in gold and enameled jewelry, miniature egg pendants and boxes. Fabergé cigarette cases were usually entrusted to either Henrik Wigström or August Hollming. One of the finest examples of Hollming's oeuvre is an imperial presention box in diamonds and yellow guilloché enamel in the Collection of the H.M the Queen Mother.

Other

65375

A RUSSIAN GOLD CIGARETTE CASE
Yegor Kuzmich Cheryatov, Moscow, Russia, 1908-1917
Marks: (delta) (right facing kokoshnik) 56, YCh (in Cyrillic)
0-3/8 x 4-1/8 x 3 inches (1.0 x 10.5 x 7.6 cm)
7.5 ounces

The rectangular case , banded ribbing to surface, front and reverse with inset gold medallions, one depicting Ludwig and Emmanuel Nobel inscribed in Cyrillic Ludwig & Emanuel Nobel, the reverse inscribed Baku Oil, second inset coin depicting striking worker, dated to reverse 2V 1909, cabochon set button release.

Decorative Arts, Continental

65376

A SILVER GILT AND CLOISONNÉ ENAMEL BELT
Pavel Milukov, Moscow, Russia, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Ivan Lebedkin), PM (in Cyrillic)
32-3/4 x 2-3/4 inches (83.2 x 7.0 cm)
6.8 ounces

The belt with shaped medallions of textured ground overlaid with filigree work and alternating designs of scroll and foliate patterns, clasp with saber closure pin.

Estate Jewelry

65377

AN ENAMELED CROSS
5-1/2 x 2-1/2 inches (14.0 x 6.4 cm)
127.20 grams
An enameled crucifix on white base metal, with round-cut white stones, engraving on verso of cross, and accompanied with decorative box.

Decorative Arts, Continental

65378

A SILVER GILT AND CLOISONNÉ ENAMEL CIGARETTE CASE
Alexander Benediktovich Lyubavin, St. Petersburg, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Yakov Lyapunov), LU (in Cyrillic)
0-3/4 x 4-1/8 x 2-7/8 inches (1.9 x 10.5 x 7.3 cm)
7.2 ounces

The cigarette case with green enamel ground and scroll and foliate pattern.

Paintings

65379

A CASED SET OF RUSSIAN SILVER TEA SPOONS AND DEMI TASSE SPOONS
Marked Fabergé, Moscow, circa 1890
5 inches (12.7 cm) long, tea spoon
20.7 ounces (gross)

Comprising twenty-four tea spoons and twelve demi tasse spoons, each with an openwork Rococo style handle on a twisted stem, in original oak fitted case stamped in Cyrillic K. Fabergé, Moscow, St. Petersburg below the Imperial Warrant

PROVENANCE:
Christie's, New York, April 18, 2008, lot 255.

Works on Paper

65380

A SILVER AND SILVER GILT INKSTAND
Ivan Petrovich Khlebnikov, Moscow, Russia, circa 1910
Marks: (right facing kokoshnik), (Imperial Warrant), KHLEBNIKOV (in Cyrillic)
7-1/2 x 13-1/8 x 7 inches (19.1 x 33.3 x 17.8 cm)
84.2 ounces

The inkwell comprising two inkwells on stand, square cut glass inkwells with hinged stepped lid, silver gilt to lid interior and crowned with acorn finial, stand on four bun feet with stamped decorative edge of swans and swags.

Silver Smalls

65381

A RUSSIAN SILVER GILT AND ENAMEL CIGARETTE CASE
Unidentified maker, St. Petersburg, Russia, circa 1900
Marks: KA, (St. Petersburg),
3-7/8 inches (9.8 cm) long
The oval section top opening cigarette case with stylized strapwork and foliate enamel decoration, with vesta compartment and aperture for tinder cord, attached chain.

Silver Flatware, Continental

65382

A SILVER AND SILVER GILT SET OF FISH FORKS AND KNIVES
Aleksei V. Stepanov, Moscow, Russia, 1908-1917
Marks: 84 (right facing kokoshnik), (Imperial Warrant), OVCHINIKOV, AC
6-5/8 inches long (16.8 cm)
31.26 troy ounces
The 12 forks and 12 knives with silver gilt tines and shaped blades, flared stem with stylized design, in original fitted box. Originally retailed by Ovchinikov.

Silver Holloware, Continental

65383

A SILVER GILT AND CLOISONNÉ ENAMEL TEA SERVICE
Gustav Klingert, Moscow, Russia, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Ivan Lebedkin), GK
6-3/4 x 7 x 3-3/4 inches (17.1 x 17.8 x 9.5 cm)
53.2 ounces
The service comprised of a coffee pot, tea pot, creamer and sugar with textured ground overlaid with floral and foliate pattern bordered in turquoise dots, the hinged lids with disk finial of mother of pearl crowned with enameled floret, in original fitted wooden box with cartouche monogrammed WP.

Silver Smalls

65384

A GOLD, ENAMEL AND DIAMOND PERFUME BOTTLE
Unknown maker, circa 1910
Marks: Unmarked
2-5/8 inches (6.7 cm) long

The cylindrical perfume bottle in the Fabergé style with purple guilloché enamel ground overlaid with twisting gold bands joining the lid set with pavé diamonds, bezel set diamond button latch.

65385

A RUSSIAN GUN METAL AND MIXED METAL PRESENTATION CIGARETTE CASE
Unknown maker, circa 1890
Marks: unmarked
0-5/8 x 3-5/8 x 2-1/2 inches (1.6 x 9.2 x 6.4 cm)

The gun metal cigarette case with ribbed repoussé decoration, with applied gold and silver facsimile signatures to both sides along with crossed cannons and an elephant to the lower right corner of the front, cabochon sapphire thumbpiece, monogrammed to the reverse.

Estate Jewelry

65386

A GARNET CABOCHON, DIAMOND, AND GOLD BRACELET
Samuel Arnd, St. Petersburg , 1861-1900
7-1/4 x 1-3/4 inches (18.5 x 4.4 cm)
90.70 grams

65387

A RARE RUSSIAN GOLD PENDANT
Marked Fabergé, Moscow, 1908-17, 72 Zolotnik
1-3/8 inches (3.5 cm) long, including suspension ring
0.7 ounces (gross)

Of 18k gold, overall engraved with Neoclassical foliate borders, fitted on opposite ends with four hinged circular gold covers all of which open to portrait images of Russian Grand Dukes dressed for the 1903 Costume Ball at the Winter Palace, on a gold suspension ring.

Other

65388

A RUSSIAN DIAMOND AND SAPPHIRE PIN
Attributed to Lorie, Moscow
0-3/4 x 1-1/8 inches (1.9 x 2.9 cm)
Accompanied with original fitted box.

Ceramics & Porcelain, Russian

65389

A RUSSIAN PORCELAIN JEWISH MAN
Dimitrov Porcelain Factory of Verbilki, 1940-1945
Marks: 147, (blue factory mark)
8-5/8 inches (21.9 cm) high

Dressed in a long double-breasted overcoat, the standing bearded figure supported by an umbrella in his right hand

Paintings

65390

A RUSSIAN PORCELAIN TEA SERVICE
Kornilov Brothers, St. Petersburg, circa 1900
Marks: (double-headed eagle crest)
9-1/4 inches (23.5 cm) long, tea pot

Comprising a tea pot, creamer, covered sugar bowl, waste bowl, and ten cups and saucers, each decorated with a pink ribbon and foliage, the rims gilt.

Silver Smalls

65391

A RUSSIAN TWO-COLOR GOLD CIGARETTE CASE
Marked Fabergé, St. Petersburg, 1908-1917, with inventory number 25087
3-3/4 inches (9.5 cm) long
5.2 ounces (gross)

The slim cigarette case overall decorated with alternating vertical bands of rose and yellow gold, applied with a cabochon sapphire thumbpiece

Paintings

65392

A SILVER GILT AND CLOISONNÉ ENAMEL CIGARETTE CASE
Ivan Dimitriyevich Saltykov, circa 1887
Marks: AP over 1887, 88 (Moscow), IC (in Cyrillic)
0-3/4 x 3-5/8 x 1-3/4 inches (1.9 x 9.2 x 4.4 cm)
3.8 ounces

The cigarette case with textured ground overlaid with floral and foliate decoration bordered with blue dots.

65393

A SILVER GILT AND CLOISONNÉ ENAMEL BELT
Maker unidentified, St. Petersburg, Russia, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Yakov Lyapunov, YL (in Cyrillic)
30-1/2 x 2-1/4 inches (77.5 x 5.7 cm)
5.0 ounces

The belt of textured medallions over laid with foliate and scroll pattern, clasp with sword closure pin.

65394

A CASED RUSSIAN SILVER AND GILT METAL DESSERT SERVING SET
Grachev, St. Petersburg, Russia, circa 1908-1917
Marks: BRGR (in Cyrillic), (St. Petersburg), (right facing kokoshnik), 84
11-5/8 inches long (29.5 cm) slice

The dessert serving set with shaped handles with interlaced strapwork and foliate decoration, gilt metal blades, the slice, serving fork and pastry server with acid etched wreath and swag decoration, comprising:

a slice;
a serving fork;
a cream ladle;
a pastry server;
a serving spade;
a small waffle server;
a pierced serving spoon;
a fish fork;
a cheese knife;
a cheese scoop;
a master butter knife;
two butter forks;
and an associated footed bowl.

In fitted light blue velvet and satin lined oak case.

65395

A RUSSIAN SILVER AND SILVER GILT BOX
Karl Faberge, Moscow, Russia, 1896
Marks: 84 (Moscow), (Assay master Anatolii Apollonovich Artsibashev), KF (in Cyrillic
2-3/8 x 6-1/8 x 4-1/4 inches (6.0 x 15.6 x 10.8 cm)
17.9 troy ounces

The rectangular box with hinged lid embellished with frame of cast and applied foliate corners, engraved Moscow cityscape.

Silver Smalls

65396

A RUSSIAN PARCEL GILT SILVER SOUVENIR CIGARETTE CASE
Marked Fabergé with the Imperial Warrant, Moscow, 1899-1908
4-3/4 inches (12.1 cm) long
6.9 ounces (gross)

The smooth silver case with rounded corners, the hinged cover depicting in repoussé silver a racehorse's head and horseshoe surrounded by two Russian signatures and a salutation in applied gold, and dates June 29th 1913, with green crysoprase thumbpiece

PROVENANCE:
Christie's, New York, April 18, 2008, lot 171.

Decorative Arts, Continental

65398

A SILVER GILT AND CLOISONNÉ ENAMEL CIGARETTE CASE
Maker unidentified, Moscow, Russia, 1908-1917
Marks: (delta) 84 (right facing kokoshnik), IR (in Cyrillic)
0-5/8 x 4-1/4 x 3-1/8 inches (1.6 x 10.8 x 7.9 cm)
7.2 ounces

The cigarette case with cover divided by decorative borders into fields of foliate and geometric patterns, inscribed to the interior Ivan Petrovich from the boss Abram, Moiseevich, Aizler Yalta 1916 (in Cyrillic).

65399

A SILVER COVERED CUP WITH HANDLE
Alexander Iosifovich Fuld, Moscow, Russia, 1884
Marks: BC over 1884, 84 (Moscow), AF (in Cyrillic)
6-1/4 x 7 x 4-7/8 inches (15.9 x 17.8 x 12.4 cm)
24.43 troy ounces

The covered cup with tapered cylindrical form, repoussé bands bordered with geometric engraved pattern, cast angular scroll handle with hinged shaped lid, silver gilt interior, engraved to lid Our forefathers used to drink casually and their life expectancy was one hundred year (in Cyrillic).

65400

A PAIR OF SILVER TWO HANDLED BOWLS
Karl Faberge, Moscow, Russia, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Ivan Lebedkin), (Imperial Warrant), FABERGE (in Cyrillic)
4-1/8 x 6-1/4 x 4-3/8 inches (10.5 x 15.9 x 11.2 cm)
19.32 troy ounces

The bowl with die cast side of foliate panels, shaped handles secured at rim and base with inset rinceaux pattern, spreading base on four ball feet.

65401

A RED CROSS SILVER BOX
Maker unidentified, St. Petersburg, Russia, 1895
Marks: AW over 1895, 84, PR
2-7/8 x 4-3/4 x 0-3/8 inches (7.3 x 12.1 x 1.0 cm) open
10.6 ounces

The box silver gilt box with applied enameled shield, two loops at top, swing arm closure at side, opens to two picture frames, the frames of textured ground with enameled foliate pattern, in gold on the white enamel shield love your neighbor as yourself.

65402

AN ALBUM WITH SILVER OVERLAID COVER
Maker unidentified, 1899-1908
Marks: 84 (left facing kokoshnik) (Assay master Ivan Lebedkin), GR (in Cyrillic
15-3/4 x 12-5/8 x 0-7/8 inches (40.0 x 32.1 x 2.2 cm)
69.7 ounces

Leather album with silver overlay in a fluid Art Nouveau design of iris.

Paintings

65403

A GARNET AND GOLD BROOCH
Samuel Arnd, St, Petersburg
2-1/8 x 1-1/2 inches (5.4 x 3.8 cm)
17.10 grams
Briolette-cut Garnet and Garnet Cabochon accompanied by original fitted box.

Decorative Arts, Continental

65404

A SILVER AND SILVER GILT BOWL WITH INSET COINS
Stephen Wakeva, St. Petersburg, Russia, circa 1900
Marks: 88 (St. Petersburg), (Imperial Warrant), SW, FAGERGE (in Cyrillic)
1-3/8 x 4-3/4 inches (3.5 x 12.1 cm)
7.84 troy ounces

The silver fluted bowl with applied masks and rosettes with silver gilt interior, raised on ring with three pad feet, inset with two 1752 and one 1757 Russian ten kopecks coins.

65405

A SILVER TRIANGULAR TRAY
Aders Johansson Nevalainen, St. Petersburg, Russia, 1899-1908
Marks: 84 (right facing kokoshnik), (Assay master A. Richter), (Imperial Warrant), AN
3-3/4 x 5-1/2 inches (9.5 x 14.0 cm)
4.28 troy ounces

The triangular silver tray decorated with bands of beading and acanthus leaf pattern, inset with 1753 Russian rouble. Originally retailed by Faberge, St. Petersburg, Russia.

Paintings

65406

A SILVER AND SILVER GILT COVERED STANDING CUP
Maker unidentified, St. Petersburg, Russia, 1848
Marks: AT over 1848, 84, (Assay master Dimitri Ilbich Tverskoi), FG
11-1/8 x 13-1/2 x 8-7/8 inches (28.3 x 34.3 x 22.5 cm)
56.7 troy ounces

The lobed standing cup on stepped spreading foot with silver gilt interior, cast handles and rim of addorsed scrolls, floral finial to lobed lid, inscribed to base of foot 4th November 1848.

65407

A SILVER FOOTED VASE
Maker unknown, circa 1845 from Odessa
Marks: 84
10-5/8 x 6-5/8 inches diameter (27.0 x 16.8 cm)
27.34 troy ounces

The lobed and chased vase with cast and applied cartouche on each lobe, baluster stem to spreading fluted foot.

Ceramics & Porcelain, Russian

65408

A PORCELAIN PAINTED JEWELRY BOX
Marks: unidentified
1-1/4 x 3 x 2-3/4 inches (3.2 x 7.6 x 7.0 cm)
Interior of lid is adorned with a painting of Catherine the Great.

65409

A RUSSIAN PORCELAIN FIGURE OF PLIUSHKIN
Gardner Factory, Moscow, late 19th century
Marks: (red factory mark), various stamped marks
9 inches (22.9 cm) high

From a series of figures from the novel Dead Souls by Nikolai Gogol

65410

A RUSSIAN PORCELAIN FIGURAL GROUP
Gardner Factory, Moscow, late 19th century
Marks: (red factory mark), various stamped marks
9-3/4 inches (24.8 cm)

Depicting a man from the North dressed in a long coat, mittens, and boots, carrying a child in a sling across his back.

65411

A RUSSIAN PORCELAIN PEASANT
Gardner Factory, Moscow, late 19th century
Marks: (red factory mark), various stamped marks
5-1/2 inches (14.0 cm) high

The bearded figure depicted drinking from a kovsch, seated next to a large barrel, the lid removable.

Silver & Vertu

65412

A RUSSIAN GOLD PENCIL HOLDER
Karl Faberge, Odessa, Russia, circa 1908-1917
Marks: KF (in Cyrillic), (Odessa), (left facing kokoshnik), 56
3-1/8 inches long (7.9 cm)
The 14k gold flattened oval pencil holder with ribbed cover, attached loop to top.

Other

65413

A RUSSIAN GOLD AND DIAMOND BROOCH
1 x 1-1/4 inches (2.5 x 3.0 cm)
Gross weight 7.70 grams
14k Yellow Gold

Decorative Arts, Continental

65414

A SILVER GILT AND CLOISONNÉ ENAMEL PILL BOX
Maker unknown, Russian, circa 1890
0-5/8 inches high x 2-5/8 inches wide x 2 inches deep (1.6 x 6.7 x 5.1 cm)
2.9 ounces

The pill box with foliate pattern on turquoise ground bordered with white dots.

65415

A SILVER GILT AND CLOISONNÉ ENAMEL CUP
Maker unidentified, Moscow, Russia, circa 1900
Marks: 84 (left facing kokshnik) (Assay master Ivan Lebedkin), H3
3-5/8 x 4-3/8 x 2-7/8 inches (9.2 x 11.1 x 7.3 cm)
6.0 ounces

The silver gilt cup with D handle on flared base, textured ground overlaid with foliate and scroll design bordered by bands of white dots and blue and white trefoils.

65416

A SILVER GILT AND CLOISONNÉ PILL BOX
Maker unidentified, Moscow, Russia, circa 1890
Marks: 84 (left facing kokoshnik) Assay master Ivan Lebedkin, KIG (in Cyrillic)
0-7/8 inches high x 2-3/4 inches wide x 1-1/2 inches inches deep (2.2 x 7.0 x 3.8 cm)
3.0 ounces

The pill box with textured ground over laid with floral and foliate design bordered by turquoise dots.

65417

A SILVER GILT AND CLOISONNÉ ENAMEL CUP
Maker unidentified, Moscow, Russia, 1950
Marks: (delta)(right facing kokoshnik) 84, CK
2-1/4 inches high x 1-7/8 inches wide (5.7 x 4.8 cm)

The textured silver gilt cup with stylized foliate design within architectural frame bordered with white dots.

Bronze

65418

OLEG SLEPOV (Russian, 20th Century)
Mother Earth, 1996
Bronze with brown and green patination
23-1/2 inches (59.7 cm) high
Ed. 5/8
Stamped with monogram

Fine Art - Sculpture, European

65419

A RUSSIAN BRONZE GROUP OF ZAPOREZH COSSACK AFTER BATTLE
Cast from a model by Evgeni Alexandrovich Lanceray, last quarter 19th century
Signed in Cyrillic
18-1/2 x 19 x 9 inches (47.0 x 48.3 x 22.9 cm)

Depicting a cossack on horseback cleaning his sword after battle, leading a finely-saddled pack horse, on an oval naturalistic base.

65420

A RUSSIAN BRONZE GROUP OF THE COSSACK'S FAREWELL
Cast from a model by Evgeni Alexandrovich Lanceray, last quarter 19th century
Signed and stamped in Cyrillic, with Chopin foundry mark
15-1/2 x 13 x 6 inches (39.4 x 33.0 x 15.2 cm)

Depicting a cossack embracing his lover for a kiss goodbye, the reins of his impatient mount held in his left hand, on an oval naturalistic base.

Decorative Arts, Continental

65421

A RUSSIAN ICON OF OUR LADY OF KAZAN
19th - early 20th century
Maker's mark: «CГ»
12 x 10-1/2 inches (30.5 x 26.7 cm)

The traditional iconography of Our Lady of Kazan in an ornate silver gilded oklad, with colorful enameled halos and highly detailed filigree robes on a golden foil background.

Other

65422

A RUSSIAN ICON OF CHRIST
Late 19th - early 20th century
Maker's mark added: «АС».
12-1/2 x 10-1/2 inches (31.8 x 26.7 cm)

With silver gilded oklad, decorated with foliage, the robe covered with silver filigree, halo with blue enamel.

Fine Art - Painting, Russian

65423

A RUSSIAN SILVER FRAME ENCLOSING AN ICON OF SAINT ALEXANDER NEVSKY
The frame marked Fabergé, Moscow, 1908-1917; the icon 19th century
3-7/8 inches (9.8 cm) high
5.8 ounces (gross)

Rectangular, the silver frame decorated with beaded and geometric corners, the icon painted on porcelain, with a red velvet backing.

Other

65424

A RUSSIAN ICON SAINT NICHOLAS THE MIRACLE WORKER
1847, St. Petersburg
Maker's marks « ЯФ»
12-1/2 x 10-1/2 inches (31.8 x 26.7 cm)

Saint Nicholas is depicted with his right hand in benediction and his left hand holding the Gospels. With partially gilded silver oklad chased with foliage.

65425

A RUSSIAN ICON OF CHRIST
19th century
7 x 5-3/4 inches (17.8 x 14.6 cm)

With partly gilded silver oklad and decorative engraving.

65426

A RUSSIAN ICON OF THE MIRACLE OF OUR LADY OF THE SIGN
20th century
20-1/2 x 16 inches (52.1 x 40.6 cm)

The composition consists of two tiers narrating the legendary story of the Miracle Working Icon of Our Lady of the Sign protecting the city of Novgorod from the forces of Prince Andrew of Bogolubovo in 1170.

65427

A RUSSIAN ICON OF CRUCIFIXION WITH TWO SCENES FROM THE STATIONS OF THE CROSS
19th century
17-3/4 x 15-1/2 inches (45.1 x 39.4 cm)

The bronze crucifixion in the middle of the icon is surrounded by the afflicted figures of the Virgin, John the Theologian, and several saints. On the top - two miniature scenes of Jesus Taken Down from the Cross and Jesus Buried in a Tomb.

65428

TRIPTYCH 'THE DEISIS'
late 19th century - early 20th century
14 x 12-1/2 inches (35.6 x 31.8 cm)

The triptych depicts the enthroned Christ in the middle, with the Virgin and John the Baptist on each side. With foliate metal basma.

Fine Art - Painting, Russian

65429

A RUSSIAN ICON OF THE KAZAN MOTHER OF GOD
Kazanskaya, 19th century
21 x 17 inches (53.3 x 43.2 cm)

Painted in the traditional manner on a silver ground within a green border.

Other

65430

A DIPTYCH of BOYARS AND PRIESTS
19th century
24 x 33-1/2 inches (61.0 x 85.1 cm)

A two-part icon showing in very high detail two groups of boyars and priests.

65431

A RUSSIAN ICON OF HOLY MANDYLION
1816
Marks: Maker's mark <>
12 x 10-1/4 x 1-1/2 inches (30.5 x 26.0 x 3.8 cm)

The icon depicts a veil imprinted with the miraculous image of Christ. With partially gilded silver oklad chased with foliage.

Paintings

65432

A RUSSIAN ICON WITH FOUR SCENES
late 18th century
12-1/2 x 11-1/2 inches (31.8 x 29.2 cm)

The icon depicts the Mother of God covered with rustic oklad, encrusted with pearls, St. George Slaying the Dragon, Saints Constantine and Elena and Saint Anna the Prophetess. With metal halos and border.

Other

65433

A RUSSIAN ICON JOHN THE THEOLOGIAN AND SAINT PROKHOR
17th century
12-1/2 x 10-1/2 inches (31.8 x 26.7 cm)

The icon shows John the Theologian, one of the twelve apostles and the author of the Gospel of John, dictating to his disciple Prokhor.

65434

TRIPTYCH
19th century

Three panels depicting Saints Boris and Gleb in the middle and Archangels Michael and Gabriel on the sides. The robes of the saints are made of textured metal.

Paintings

65435

A RUSSIAN ICON OF SAINT NAUM AND SAINT PORPHIRIY
19th century
21 x 17-3/4 inches (53.3 x 45.1 cm)

With silvered brass oklad, depicting Saints Naum and Porphiriy flanked by smaller figures of Saints Vaha and Antippa.

Fine Art - Painting, Russian

65436

A RUSSIAN ICON OF THE MOTHER OF GOD OF THE BURNING BUSH
Mid 19th century
21 x 18 inches (53.3 x 45.7 cm)

Painted in the traditional manner, surrounded by Biblical scenes, with a silvered brass riza decorated in scrolling foliage.

Paintings

65437

A RUSSIAN ICON OF SAINT ALEXANDRA
19th century
21 x 15-1/2 inches (53.3 x 39.4 cm)

Depicted surrounded by Saints Dimitry, Alexander, Alexey, and Peter.

65438

A RUSSIAN ICON OF THE NATIVITY
Mid 19th century
25 x 19-3/8 inches (63.5 x 49.1 cm)

Painted in the traditional manner, with Mary, Joseph, and the infant Christ surrounded by shepherds.

65439

A RUSSIAN ICON OF THE MOTHER OF GOD "JOY TO ALL WHO GRIEVE"
19th century
19-1/2 x 16-1/4 inches (49.5 x 41.3 cm)

Depicting the Mother of God, surrounded by the crowd of the afflicted people, Lord Sabaoth appearing in blessing from open skies above.

65440

A MONUMENTAL RUSSIAN ICON OF THE MOTHER OF GOD "JOY TO ALL WHO GRIEVE"
19th century
37-1/2 x 17-1/2 inches (95.3 x 44.5 cm)

With silver oklad, depicting the Mother of God standing on a cloud, holding the young Christ child, surrounded numerous angels attending to the crowd of the afflicted people.

65441

A LARGE RUSSIAN ICON OF SAINT PELEGAYA, SAINT NIKITA, AND SAINT AKILINA
19th century
21 x 16-1/2 inches (53.3 x 41.9 cm)

With silver oklad decorated in a border of scrolling foliage.

65442

TWO RUSSIAN ICONS OF THE MOTHER OF GOD
Late 18th and 19th century
12 x 10-1/2 inches (30.5 x 26.7 cm) larger

The first depicting the Kazan Mother of God, decorated with gilt halos within a painted border; the second depicting the Vladimir Mother of God, flanked by two small figures of saints.

Fine Art - Painting, Russian

65443

A RUSSIAN ICON OF CHRIST PANTOCRATOR
19th century
12-1/4 x 10-3/4 inches (31.1 x 27.3 cm)

The parcel gilt oklad with repoussé and chased decoration in a scrolling foliage pattern.

Paintings

65444

A RUSSIAN ICON OF THE KAZAN MOTHER OF GOD
19th century
13-1/2 x 11-1/4 inches (34.3 x 28.6 cm)

Painted in the traditional manner.

65445

A RUSSIAN ICON OF SAINT NICHOLAS THE MIRACLE-WORKER
19th century
12-1/4 x 10 inches (31.1 x 25.4 cm)

With brass oklad, depicted raising his right hand in benediction, his veiled left hand holding the Gospels.

Fine Art - Painting, Russian

65446

A RUSSIAN ICON OF THE MOTHER OF GOD OF THE BURNING BUSH
19th century
12 x 10-1/4 inches (30.5 x 26.0 cm)

Depicting Saints John and Anastasia holding aloft an image of the Mother of God of the Burning Bush, painted in the traditional manner within a white border.

Paintings

65447

TWO RUSSIAN ICONS OF SAINT VLASEI
19th century
7 x 5-1/2 inches (17.8 x 14.0 cm)

The first depicting Saints Harlampei and Vlasei; the second depicting Saint Vlasei receiving blessing from the Virgin.

65448

TWO RUSSIAN ICONS
19th century
7 x 5-3/4 inches (17.8 x 14.6 cm) larger

The first with silver oklad, depicting Saint Nicholas the Miracle-Worker, Saint John the Baptist, Saint Sergei, and the Mother of God; the second with silver oklad, depicting Christ Pantocrator.

65449

TWO RUSSIAN ICONS OF SAINT SERGEI
Mid 19th century
10-3/4 x 8-1/2 inches (27.3 x 21.6 cm) larger

The first depicting the apparition of the Holy Virgin to Saint Sergei; the second depicting Saint Sergei with the Holy Mother and Saints Seraphim, Varlana, John, and Basil.

65450

A RUSSIAN ICON OF THE MOTHER OF GOD ENTHRONED
Late 19th-early 20th century
13-1/2 x 11-1/4 inches (34.3 x 28.6 cm)

With silvered brass oklad decorated in scrolling foliage, depicting the Virgin and Child enthroned and surrounded by ten saints.

Fine Art - Painting, Russian

65451

A RUSSIAN ICON OF THE VLADIMIR MOTHER OF GOD
19th century
12 x 10 inches (30.5 x 25.4 cm)

With silver oklad marked: 84, with maker's mark A*, framed in gilt wood and hinged glazed box.

65452

A RUSSIAN ICON OF CHRIST PANTOCRATOR
19th century
13 x 10-1/2 inches (33.0 x 26.7 cm)

Painted in the traditional manner with a gilt halo, flanked by smaller figures of Saints Onofrei and Ephemrei

Other

65453

A RUSSIAN ICON OF THE KAZAN MOTHER OF GOD
Late 19th-early 20th century
10-1/2 x 9 inches (26.7 x 22.9 cm)

With gilt oklad, the spandrels with scrolling foliage.

Fine Art - Painting, Russian

65454

A RUSSIAN ICON OF CHRIST PANTOCRATOR
19th century
14 x 12-1/4 inches (35.6 x 31.1 cm)

Painted in the traditional manner with a gilt halo.

Paintings

65455

A RUSSIAN ICON OF SAINT INNOKENTY THE FIRST BISHOP OF IRKUTSK
19th century
17-1/2 x 12-3/4 inches (44.5 x 32.4 cm)

Depicted raising the cross to his chest and holding prayer beads, wearing a gem-set Episcopal mitre, an opulent cape, and an omophorion

65456

A RUSSIAN ICON OF SAINT JOHN THE BAPTIST
Mid 19th century
16-1/2 x 13-5/8 inches (41.9 x 34.5 cm)

Depicting a winged Saint John the Baptist holding the baptismal, surrounded by scenes from his life and martyrdom.

Fine Art - Painting, Russian

65457

A RUSSIAN ICON OF THE MOTHER OF GOD OF THE SIGN
Mid 19th century
17-1/4 x 14-1/2 inches (43.8 x 36.8 cm)

Depicting the Mother of God seated in orans pose, as the Savior of Novgorod, in a presentation riza.

65458

A RUSSIAN ICON OF SAINT JOHN THE WARRIOR
Mid 19th century
17-1/2 x 14-3/4 inches (44.5 x 37.5 cm)

The armored saint holding a spear in his left hand, a crucifix in his right, surrounded by eight female saints, all within an elaborate border of parcel gilt scrolling foliage.

Paintings

65459

A RUSSIAN ICON OF SAINT NICHOLAS
19th century
16-3/4 x 13-1/2 inches (42.5 x 34.3 cm)

Depicting the saint flanked by busts of Christ and the Mother of God.

Fine Art - Painting, Russian

65460

A RUSSIAN ICON OF THE NATIVITY
19th century
13-1/4 x 10 inches (33.7 x 25.4 cm)

Painted in the traditional manner, with Mary, Joseph, and the infant Christ surrounded by shepherds and the Three Magi.

65461

A RARE RUSSIAN DOUBLE-SIDED ICON
19th century
14-3/4 x 12-3/4 inches (37.5 x 32.4 cm)

Depicting Saint Nicholas the Miracle-Worker on one side, and the Kazan Mother of God on the other, both on an incised and tooled gilt ground.

65462

A RUSSIAN ICON OF THE VLADIMIR MOTHER OF GOD
18th century
14 x 11-3/4 inches (35.6 x 29.8 cm)

Painted in the traditional manner, with gilt highlights.

65463

A RUSSIAN ICON OF THE MOTHER OF GOD "JOY TO ALL WHO GRIEVE"
19th century
14 x 12-1/2 inches (35.6 x 31.8 cm)

With brass oklad, the Mother of God holding Christ, surrounded by the crowd of the afflicted people, Lord Sabaoth appearing in blessing from open skies above, flanked the Sun and the Moon.

65464

A RUSSIAN ICON OF THE MOTHER OF GOD "JOY TO ALL WHO GRIEVE"
19th century
28-3/4 x 18-1/2 inches (73.0 x 47.0 cm)

Depicting the Mother of God standing amidst the clouds, holding the young Christ.

Paintings

65465

A RUSSIAN ICON OF THE MOTHER OF GOD "JOY TO ALL WHO GRIEVE"
19th Century
12-1/2 x 10-1/2 inches (31.8 x 26.7 cm)

With silver gilt oklad, the Mother of God holding Christ, surrounded by the crowd of the afflicted people, Lord Sabaoth appearing in blessing from open skies above, flanked the Sun and the Moon.

Fine Art - Painting, Russian

65466

A RUSSIAN ICON OF SAINT GEORGE SLAYING THE DRAGON
19th century
12-1/2 x 10-1/4 inches (31.8 x 26.0 cm)

With silver oklad decorated in scrolling foliage, the top panel depicting Saint George slaying the dragon, the bottom panel depicting six saints.

Paintings

65467

A RUSSIAN ICON OF THE MOTHER OF GOD OF THE SIGN
Late 19th-early 20th century
12 x 10-1/2 inches (30.5 x 26.7 cm)

With embossed tin oklad decorated in scrolling foliage, depicting the Mother of God and Christ framed by the busts of nine saints.

This icon was produced as a fundraiser to rebuild a church in the city of Kursk, which was damaged by explosion on March 8, 1893.

Fine Art - Painting, Russian

65468

A RUSSIAN ICON OF THE BOGOLUBSKAYA MOTHER OF GOD
19th century
14-1/4 x 10-3/4 inches (36.2 x 27.3 cm)

With brass oklad decorated in scrolling foliage, depicting an elongated figure of the Mother of God addressing the five saints above, and Christ appearing from the skies.

65469

A RUSSIAN ICON OF THE BIRTH OF THE VIRGIN
19th century
8-3/4 x 7 inches (22.2 x 17.8 cm)

Depicting an interior with the Mother of Mary and the newly born Virgin, surrounded by attendants, within a stylized border, framed in gilt wood and enclosed in a hinged glazed frame.

65470

A RUSSIAN ICON OF THE MOTHER OF GOD ENTHRONED
19th century
12-1/2 x 10-1/4 inches (31.8 x 26.0 cm)

With brass oklad and halos, depicting the Virgin and Christ enthroned and flanked by four saints.

Paintings

65471

TWO RUSSIAN ICONS
Late 18th and 19th centuries
12 x 10-1/2 inches (30.5 x 26.7 cm) larger

The first depicting the Kazan Mother of God, fitted with a brass frame; the second depicting Saint Barbara with a brass oklad chased with a stylized floral design, the figure of Barbara standing, holding a chalice and staff.

65472

TWO RUSSIAN TRAVELING ICONS
Mid 19th century
6 x 4-1/2 inches (15.2 x 11.4 cm) larger

The smaller with silver oklad marked: 84, with illegible maker's mark, depicting Christ Pantocrator, in fitted gilt frame and hinged glazed box; the larger with silvered oklad, depicting Christ Pantocrator surrounded by four named saints: Adrey, Nikita, Kasma, and Agripina, also in fitted frame and hinged glazed box.

65473

TWO RUSSIAN TRAVELING ICONS
19th Century
5-1/4 x 4-1/4 inches (13.3 x 10.8 cm) larger

The first depicting Saint Simon, Saint Guri, and Saint Aviv, with silver oklad marked: 84, 1859, with assayer's mark BO, and town mark; the second with the Kazan Mother of God, with silver oklad marked: 84, probably Moscow, 1854, with assayer's mark for Viktor Savinkov, and maker's mark C AM.

65474

THREE RUSSIAN TRAVELING ICONS
19th century
6 x 5 inches (15.2 x 12.7 cm) largest

The first depicting Saint John the Baptist, with silver oklad marked: 84, 1864, with maker's mark PC, assayers mark CW, and the town mark; the second depicting Christ Pantocrator, with silver oklad marked: 84, with maker's mark AK, other marks rubbed; the third also depicting Christ Pantocrator, with silver oklad marked: 84, 1838, with assayer's mark HA.

Miscellaneous

65475

A RUSSIAN ORTHODOX HAND-COPIED TEXT
19th century
15-1/2 x 9-1/2 x 4 inches (39.4 x 24.1 x 10.2 cm)

The front cover fitted with brass plaques depicting Christ's Crucifixion, with spandrels in lower right and left depicting Saints Luke and John, the back cover decorated in repoussé with Golgotha.

Paintings

65476

A RUSSIAN ICON OF SAINT GEORGE SLAYING THE DRAGON
19th century
14 x 12-1/2 inches (35.6 x 31.8 cm)

With brass oklad, the borders of scrolling foliage, depicting the saint on horseback slaying the dragon below.

65477

A RUSSIAN ICON OF THE PROPHET ELIJAH
Mid 19th century
14 x 12-1/4 inches (35.6 x 31.1 cm)

Depicting the prophet and his fiery ascent into Heaven, passing over images of the Savior's life, with an embossed riza border and halo.

Fine Art - Painting, Russian

65478

A RUSSIAN ICON OF THE RESURRECTION WITH TWELVE FEASTS
19th century
20-3/4 x 17-1/2 inches (52.7 x 44.5 cm)

The center icon with twelve surrounding scenes representing the life of Christ.

Decorative Accessories

65479

A RUSSIAN ICON OF SAINT NICHOLAS
19th century
21 x 17-1/2 inches (53.3 x 44.5 cm)

Dressed in the robes of a Bishop and adorned with a crown, Saint Nicholas flanked by busts of the Saviour with the Gospels and the Virgin with an omophorion.

Fine Art - Painting, Russian

65480

A RUSSIAN ICON OF CHRIST
19th century
10-1/2 x 9 inches (26.7 x 22.9 cm)

Depicting the bust of the Savior within a gilt decorated frame.

Sale Number:	5013
Location:	Heritage Auctions - Design District Showroom 1518 Slocum Street Dallas, TX 75207
Auction Date:	November 14th at 9 AM CT

2008 November Signature Russian Fine & Decorative Art Auction