MacDougall's Russian Art Russian Art 2 December 2015 London 2 December 2015 London 2 December 2015 London Russian Art, Russian Works of Art, Fabergé and Icons Wednesday, 2 December Auction Wednesday, 2 December 2015, 10:30 Viewing Monday‒Friday, 20 November‒1 December, 11:00‒18:00 Saturday‒Sunday, 28‒29 November, 11:00‒18:00 MacDougall Arts Ltd 30A Charles II St London, SW1Y 4AE, England London: Moscow: Kiev: Paris: +44-20-7389-8160 +7-495-799-4683 +38-044-466-2006 +33-1-5345-5418 E-mail: Fax: russian@macdougallauction.com +44-20-7389-8170 www.MacDougallauction.com For G. MacDougall Arts Ltd. William MacDougall Dr Catherine MacDougall Director Director and Russian Art Expert Dr Vladimir Petrov Alexander Kuznetsov Russian Art Expert Russian Art Expert Dr Olga Vaigatcheva Associate Director, Head of Works of Art, Faberge' and Icons Tatiana Sapegina Associate Director Catherine Marshall Olga Glebova Helen McIldowie-Jenkins Senior Russian Art Cataloguer Russian Works on Paper Expert Icon Cataloguer Jacob Gildor Robert Bowman Lev Wolfson Ecole de Paris Expert Bronze Expert Icon Expert Nina Sorensen Associate Director Daria Sitnina Icons and Works of Art Cataloguer Anastasia Johnston Russian Theatre Design Expert Svetlana Djelalian Maria Garmaeva Charles Ross Accounts Manager Shipping Manager Auctioneer Nikita Lobanov-Rostovsky © 2015 MacDougall Arts Ltd ISSN 1745–3429, MacDougall Arts Ltd, 30A Charles II St, London Registered Company № 5175060 in England and Wales Catalogue design by chaykadesign studio, photography by Todd-White, printed by ATG Printers, London and Buki-Vedi, Moscow Russian Art Cataloguer Russian Art Lots 1−162 1. Kramskoy, Ivan (1837–1887) Vase of Flowers and a Visiting Card, signed, inscribed in Cyrillic “Mentona” and dated “84. Mai”. Oil on panel, 24 by 19 cm. Provenance: Icons, Russian Pictures and Works of Art, Sotheby’s London, 15 December 1994, lot 149. £40,000–60,000 MacDougall’s London 2 December 2015 ( 11 ) 2. Kryzhitsky, Konstantin (1858–1911) 3. Pechersky Ascension Monastery, Nizhny Novgorod, signed and dated 1905. The Lake, signed and dated 1892. Oil on canvas, 45 by 60 cm. Oil on canvas, 51 by 81 cm. Provenance: Private collection, UK. The present lot is an earlier version of the 1896 painting The Lake, presently in the collection of the Vladimir and Suzdal State Historical, Architectural and Art Museum-Reserve. Authenticity of the work has been confirmed by the expert V. Petrov. Provenance: Acquired by the father of the previous owners in Leningrad, in the 1970s. Thence by descent. Private collection, Vienna. Exhibited: Possibly, Posmertnaya vystavka kartin Akademika zhivopisi K.Ya. Kryzhitskogo v zalakh Imperatorskoi Akademii Khudozhestv, St Petersburg, 1911, No. 361. £5,000–7,000 ( 12 ) Kryzhitsky, Konstantin (1858–1911) £35,000–50,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 13 ) 4. Bilianitsky-Birulia, Vitold (1872–1957) § 5. Lapchine, Georges (1885–1950) Last Snow, signed. Market Scene in Naples, signed, also further Oil on canvas, 74 by 95.5 cm. signed and inscribed “Naples/Italiens” on the reverse. Oil on canvas, 54 by 65 cm. Executed c. 1945. Provenance: Collection of the renowned psychiatrists Viktor and Klara Lebedinsky, Moscow. Acquired from the estate of the above by the present owner. Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity certificate from the expert T. Zelyukina. £4,500–6,000 Provenance: Acquired by the previous owner in France, before 1970. Thence by descent. Private collection, France. Authenticity of the work has been confirmed by the expert V. Petrov. £4,000–6,000 6. Lakhovsky, Arnold (1880–1937) View of a Street in Pskov, signed. Oil on canvas, laid on cardboard, 80.5 by 59.5 cm. Provenance: Private collection, France. Authenticity of the work has been confirmed by the expert V. Petrov. £5,000–7,000 ( 14 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 15 ) 7. § 8. Yakovlev, Alexander (1887–1938) Annenkov, Georges (1889–1974) Peonies in a Vase, stamped with the artist’s Chinese stamp, Nature morte À la thÉiÈre, signed, also further with a sketch on the reverse. Gouache on card, 64 by 46.5 cm. further signed, titled and numbered “L.L.F. 1638.” on the reverse. Gouache on paper, 73.5 by 100.5 cm. Executed in the late 1920s–first half of the 1930s. Provenance: Sotheby’s Amsterdam, 7 November 1978, lot 366. Provenance: Private collection, France. Authenticity certificate from the expert C. Haardt de La Baume. £15,000–20,000 £12,000–18,000 ( 16 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 17 ) * 9. Osmerkin, Alexander (1892–1953) Bouquet of Flowers on a Red Background, signed and dated 1937, also further signed and dated on the reverse. Oil on canvas, 101 by 80.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. £150,000–200,000 «Рассеянный мягкий лирик, любитель поэзии, человек абсолютного живописного слуха, артист без всякого «делячества», беззаветно влюбленный в искусство, для которого оно было чем-то намного большим, чем любые практические мысли или вопросы тщеславия. Он прошел через нас Дон-Кихотом в искусстве», — эти слова, адресованные Александру Осмеркину, неожиданно произнес опосредованно жесткий и бескомпромиссный живописец, коим был Александр Дейнека. Александр Осмеркин от природы был наделен невероятным даром чувствовать осязаемость природных ландшафтов, моделей и изображаемых в своих натюрмортах предметов живой и «стагнированной» природы. В какой бы манере ни работал этот удивительный мастер, созданное им было вне ограничений опознанной искусствоведами стилистики. Один из бесспорных лидеров «Бубнового валета» — Осмеркин стойко переживал вынужденный отказ от своих авангардных экспериментов, избрав A. Osmerkin, Lilacs, late 1930s–early 1940s ( 18 ) путь углубленных колористических поисков и лирического самопогружения. Его пейзажи и натюрморты с цветами являются бесспорным тому доказательством: объекты природы становятся не просто механическим изображением всевозможных ботанических элементов, но именно ее «портретом», наделенным тонкой лирической субстанцией. Представленный на настоящие торги роскошный «Букет цветов на красном фоне» может быть поставлен в ряд лучших произведений Осмеркина конца 1930-х годов. Несколько нетрадиционная фронтальная трактовка композиции, завораживающая живописная пластика и контрастирующие цветовые эффекты останавливают взгляд, буквально заставляя зрителя почувствовать дивный цветочный запах. Это редкое по своей красоте произведение выдающегося русского художника достойно сравнения с передовыми образцами мировой станковой классики. A. Osmerkin, Still Life with Utochya Tower in the Background, 1944 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 19 ) “An absent-minded, gentle lyricist, a lover of poetry, a man with a unique feel for art, devoid of utilitarian concerns, wholeheartedly in love with art, which for him transcended practical considerations or concerns of vanity. He came across as a Don Quixote of art”. Such was the somewhat unexpected testimonial to Alexander Osmerkin by none other than Aleksandr Deineka, known for his tough, unsentimental approach to art. Alexander Osmerkin was gifted by nature with an astonishing feel for the physicality of natural landscapes, of his models and objects of nature morte arranged for his still lifes. Irrespective of what this remarkable artist painted, the result invariably defied stylistic categorisation. One of the undisputed leaders of the Jack of Diamonds group, Osmerkin put on a brave face when he was forced to abandon his avant garde experiments and moved on to the in-depth exploration of the colouristic dimension of art, A. Osmerkin, Female Portrait in Profile and Flowers, 1946 MacDougall’s London 2 December 2015 while maintaining a state of lyrical withdrawal. His landscapes and still lifes show this very clearly: in them, the objects of nature are not mere pictorial representations of botanical species but rather nature’s “portrait”, endowed with a delicate lyrical substance. The sumptuous work presented in this catalogue, Bouquet of Flowers on a Red Background, is one of Osmerkin’s finest works from the late 1930s. The somewhat unorthodox frontal interpretation of the composition, its mesmerising plasticity and stunning, contrasting colouristic effects enchant the viewer, conjuring up the delightful scent of fresh flowers. This exquisite work by the outstanding Russian master certainly measures up to other textbook examples of easel painting. A. Osmerkin, Lilies and Nasturtiums, 1947 ( 21 ) * 10. Grigoriev, Boris (1886–1939) Portrait of Selma Alexander, signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17–29 April 1933. Literature: A. Klevitsky, “Amerika” Borisa Grigorieva”, Novyi zhurnal, No. 231, 2003, mentioned in the text. £150,000–200,000 Представленная на торги работа «Портрет Сельмы Александер» — выдающийся пример живописи Бориса Григорьева, имевшего в 1920– 1930-е годы в Европе и Америке славу не только мастера «русской темы», но и великолепного портретиста. Его всегда интересовала в человеке некая тайна, загадка, внутренняя жизнь, поэтому он обычно фокусировался на лице своей модели, выразительных деталях, психологических характеристиках. Героиня нашего портрета изображена в полный рост, в вечернем платье, в драгоценных ювелирных украшениях. Ее хрупкая фигура словно и сидит на застланном золотистым атласом диване, и одновременно стоит в изящной позе (подобно ренуаровской Жанне Самари). В алом платье, затканном белыми цветами, и крошечных бирюзовых туфельках элегантная дама воспринимается драгоценной игрушкой в золотом футляре. Свободная эскизная манера, сложные фактурные поверхности и звучные яркие тона этого полотна выдают новое отношение к живописи мастера, тяготевшего в 1920-е годы к неоклассицизму с его четкостью форм и ясностью рисунка. Эти изменения заметили и нью-йоркские критики, писавшие по поводу выставки. Очевидно, новые черты в портрете Сельмы Александер связаны как с общими изменениями живописной стилистики художника в 1930-е годы, так и с характером самой модели — светской дамы, в те годы бывшей замужем за известным в культурной жизни Нью-Йорка успешным предпринимателем, меценатом и коллекционером Владимиром Башкировым (1885–1969). Именно под покровительством Сельмы 17–29 апреля 1933 года состоялась выставка картин и акварелей Бориса Григорьева в нью-йоркской галерее Marie Sterner. Показ работ в этой галерее был значимым событием для художника, ведь ее владелица Мари Стернер много способствовала продвижению модернистских явлений в искусстве США, сотрудничала с такими художниками, как Джордж Беллоуз, Артур Боуэн Дэвис, Эли Надельман, Марсель Дюшан, Джон Слоан и др. К тому же эта выставка была первым показом новых работ Григорьева в Нью-Йорке после восьмилетнего перерыва (в 1920-х годах он сотрудничал с New Gallery). Среди представленных на ней 18 живописных полотен и 30 акварелей был и портрет Сельмы Александер. Ему близок своим репрезентативным характером показанный там же портрет другой покровительницы художников — Анны Робен, написанной тоже в полный рост в белом платье. На период после этой знаменательной выставки приходится пик контактов Григорьева с Башкировым и его женой Сельмой, о чем свидетельствуют многочисленные письма художника 1933–1934 годов. Помимо портрета Сельмы в эти же годы мастер запечатлел и самого Владимира Николаевича. Но главное, произведениями Григорьева пополнилась коллекция русской живописи Башкирова (часть ее хранится в Метрополитен-музее в Нью-Йорке). Среди них были картины «Рыбак» (1922), «Портрет президента Чешской Республики Т. Масарика» (1932), «Натюрморт» (1932) и др. Художнику импонировало такое внимание коллекционера, он признавался ему: «Горжусь тем, что у Вас столько моих вещей». По возвращении из США дружба художника с Башкировым и его женой Сельмой окрепла. Поддержка Башкирова, как финансовая, так и эмоциональная, была неоценимой для Григорьева в это время, о чем художник писал своему другу со свойственной ему эмоциональностью: «Когда думаю о Вас, сердце мое сжимается — как Вы далеко. А не видеть Вас стало для меня большой заботой, прямо скажу — тяжело. Надеюсь, Вы получили мое письмо с парохода, я, едучи домой, думал больше о Вас, нежели о своем доме. Моя благодарность Вам не имеет границ, а также и к Вашей очаровательной жене, которая крепко живет в моей памяти, целую ее ручки». В 1933–1934 годах Григорьев настойчиво приглашал Башкирова с Сельмой погостить в его доме в Кань-сюр-Мер, но их визит, похоже, так и не состоялся. В середине 1930-х годов семейное положение Башкирова изменилось, он встретил другую женщину, и Сельма ушла из его жизни. А взаимоотношения с Борисом Григорьевым продолжались до кончины художника в 1939 году. Достоин внимания и превосходный провенанс картины. После выставки 1933 года портрет занял видное место в доме Сельмы в Лос-Анджелесе, где его заметил нынешний владелец. Увидев, насколько сильное впечатление картина Григорьева произвела на гостя, Сельма воскликнула: «Я оставлю ее тебе, когда придет мое время!» И она выполнила свое обещание. В 1982 году портрет Сельмы Александер был по завещанию отправлен в Австралию и передан в коллекцию одного из ее ближайших друзей и будущих биографов, которому он принадлежит и поныне. Тамара Галеева, искусствовед Selma Alexander, Los Angeles, May 1979 ( 22 ) B. Grigoriev, Female Portrait, 1933 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 23 ) The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920–1930s had a reputation in Europe and the USA as a master of the “Russian theme” and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of Renoir’s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artist’s style but also with the status of his model — a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885–1969). Upon Grigoriev’s return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirov’s support, both financial and emotional, was essential to the artist at that time. In one of his letters to Bashkirov, written in his typically emotional manner, Grigoriev confides: “When I think of you, my heart shrinks — you are so far away. Not seeing you has become a great concern for me; honestly, it is hard. I hope you received my letter sent from the ship — as I travelled home, I was thinking more of you than of my home. My gratitude to you has no bounds, and this extends to your charming wife whom I remember fondly, please kiss her hands from me.” In 1933–1934, Grigoriev frequently invited Bashkirov and his wife to visit him in France at Cagnes-sur-Mer, but it seems the meeting never took place. In the mid-1930s, Bashkirov’s family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latter’s death in 1939. The work’s provenance is impeccable. After the 1933 exhibition, the portrait was displayed in Selma’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: “I’ll bequeath it to you when my time comes!” And she kept her promise. In 1982, the Portrait of Selma Alexander made its way to Australia and became part of her close friend and future biographer’s collection and where it has remained until now. Moreover, Selma Alexander sponsored an exhibition of Grigoriev’s paintings and watercolours in New York from the 17–29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was Grigoriev’s first exhibition in the USA after an eightyear hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. Dr Tamara Galeeva, art historian In the aftermath of the exhibition, Grigoriev’s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933–1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of Grigoriev’s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia Tomáš Masaryk (1932), Still Life (1932) and others. B. Grigoriev, Portrait of V. Bashkirov,1930s MacDougall’s London 2 December 2015 B. Grigoriev, Portrait of A. Robene ( 25 ) Lots 11–13. Three Works by Isaak Levitan from an Important Israeli Collection * 11. Levitan, Isaak (1860–1900) High Water, signed. Oil on canvas, 44.5 by 74 cm. Provenance: Acquired in the 1920s by the father of the present owner. Important private collection, Israel. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv Museum of Art, Tel Aviv, 24 July–28 September 1991. Literature: Exhibition catalogue, Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv, Tel Aviv Museum of Art, 1991, p. 13, illustrated. £250,000–300,000 Представленные на торги три замечательные натурные композиции Исаака Левитана происходят из одной семейной коллекции и имеют общую почтенную историю. В 1920-е годы они вместе со своими владельцами покинули Советскую Россию, пережили эмиграцию и годы скитаний, теснились в стенах скромного жилища в сельскохозяйственной коммуне Израиля и, наконец, увидели свет, участвуя в выставке «Исаак Левитан. 1860–1900. Эскизы и картины», проходившей в Тель-Авивском музее изобразительных искусств в 1991 году. За простыми названиями «Половодье», «Лесная поляна» и «Дерево у озера» кроется круг образов, особенно близких художнику в последнее десятилетие XIX века. В них с необычайной яркостью проявился редкий дар Левитана находить для своих работ мотивы, одинаково поэтично звучащие и в сложных сюжетных картинах, и в небольших камерных пейзажах. Способность мастера увидеть в мгновенном непреходящее, в небольшом пейзаже отобразить «всю русскую природу», сказать о ней так лаконично, но в то же время настолько много и поэтично, которые мы видим в представленных на торги работах, — это замечательное единство мысли, чувства и живописного видения, составляющее драгоценную сущность великого наследия Левитана. Умение художника бесконечно разнообразно трактовать в своих полотнах одну и ту же увлекавшую его тему в полном объеме проявилось в композиции наиболее значительной картины в коллекции — «Половодье». Стоит только вспомнить многообразие вариантов темы разлива, паводка, «большой воды», столь занимавшей Левитана с конца 1880-х годов. То она рисуется нам почти лишенной берегов широкой гладью воды, в которой отражается хмурое, суровое небо и торчат редкие голые стволы («Разлив», ок. 1887), то беспросветным осенним половодьем, вызванным проливными дождями («Половодье», 1885), то едва сбросившей оковы льда рекой, заливающей перелески и напоенной ярким, по-весеннему звучным светом («Весна. Большая вода», 1897). Любовью к этому краткому состоянию природы, желанием любоваться им снова и снова пронизаны строки письма Левитана, написанного весной The present lot as illustrated in the 1991 exhibition catalogue ( 28 ) 1894 года из Ниццы своему другу Аполлинарию Васнецову: «Воображаю, какая прелесть теперь у нас на Руси — реки разлились, оживает все». Те же узнаваемые специфические левитановские интонации звучат и в представленном в каталоге безупречном полотне «Половодье», где художник достигает лишь ему присущей меры сочетания натурной естественности и непосредственности изображения «голого» среднерусского пейзажа и поэтической проникновенности, одушевленности не только мотива, но и самой живописной ткани картины. Способность наполнить поэтическим смыслом изображения самых непритязательных уголков природы в полной мере проявилась и в этюде «Лесная поляна». Цветовое решение этой композиции построено на сочетании различных оттенков неброской зелени, пожухшей на солнце травы, небесной голубизны и теплой, солнечной охры. В ее свободной, широкой живописи чувствуется пленэрное начало, желание приобщиться к впечатлению живого контакта с вечно движущейся световоздушной средой. В картине «Лесная поляна» раскрывается кредо Левитана — не только компоновать картину, но и «композиционно» видеть саму натуру. Не случайно именно в этюдах лесных опушек особенно ярко проявляется умение художника «чувствовать» дали. Небольшой размер, типичный для большинства левитановских этюдов, характерен для третьего представленного в нашей коллекции пейзажа «Дерево у озера». Формат 20 х 25 см художник считал не просто удобным для работы на пленэре, но и оптимальным. «Никогда не гонитесь за большими размерами этюдов. В большом этюде больше вранья, а в маленьком совсем мало, и если вы по-настоящему, серьезно почувствуете, что вы видели, когда писали этюд, то и на картине отобразится правильное и полное впечатление виденного», — любил говорить своим ученикам Левитан. Поэтому даже в столь камерном произведении он не просто мастерски передает нежность серо-зеленой листвы, шероховатость изогнутого, застывшего в напряженном равновесии ствола, покрытого бликами света, но и позволяет зрителю проникнуться настроением обычного летнего дня, пригревшего это затишье. Виртуозность тональной и тембровой разработки зеленого цвета сказывается в легких переходах его оттенков, возникающих на солнце и в тени, травах и кустарниках первого плана, водяной ряске, лесных кущах дальнего берега и даже в поблескивающей среди зарослей стоячей воде тихой речки. Этот лаконизм предельного обобщения и синтеза, при котором простой и обычный мотив наполняется широким и глубинным содержанием, становится лейтмотивом творчества Левитана последних лет жизни. Даже в самом беглом наброске зрелого художника, будь то рисунок или этюд маслом, нас поражает верность рисунка — стволов деревьев и листвы, травы, цветов, воды — и в особенности верность цветовых отношений земли, растительности и неба при самых разных условиях погоды и освещения. www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 29 ) High Water, Forest Meadow and Tree by the Lake, three outstanding plein air pictures by Isaac Levitan, come from a single family collection and have a distinguished shared history. They left Soviet Russia in the 1920s together with their owners, with whom they endured years in immigration, endlessly moving from place to place, before ending up in a cramped, modest abode in an Israeli kibbutz and later triumphantly re-emerging in 1991 at the exhibition Isaac Levitan. 1860–1900. Sketches & Paintings at the Tel Aviv Museum of Art. Behind the unpretentious titles of the paintings — High Water, Forest Meadow and Tree by the Lake — lies a range of themes that were particularly close to the artist in the last decade of the 19th century. They vividly showcase Levitan’s rare gift for finding an equal measure of poetry in both complex, multi-subject pictures and small chamber works. The artist’s ability to find the permanent in the transient, to represent the vastness of Russia’s nature in a small landscape, to speak about it so laconically, yet so profoundly and poetically — so evident in the works presented here for auction — reflects a remarkable unity of thought, feeling and artistic vision that form the precious substance of his impressive legacy. Levitan’s ability to treat one and the same preferred theme in a multitude of ways is manifest in the composition of the most important of these three paintings, High Water. One has only to recall the variety of related themes — inundation, spring torrents and flood — that occupied Levitan from the end of the 1880s. The image is sometimes of a broad, almost endless expanse of water with occasional bare tree trunks, mirroring a gloomy and threatening sky (Inundation, с. 1887). Elsewhere, Levitan shows us a dark autumn flood brought on by persistent rain (High Water, 1885) or a river early in the year that has just broken its bonds of ice, covering nearby thickets with water that is full of the bright, glimmering light of spring (Spring. High Water, 1897). A letter that Levitan wrote from Nice in the spring of 1894 to his friend Apollinary Vasnetsov reveals the artist’s love of this passing state of nature in his native land, and the desire to experience it over and over: “I imagine how lovely it is now in Russia: the rivers have burst their banks, everything is coming to life.” These traits, so characteristic of Levitan, are instantly recognisable in the impeccable work High Water, where the artist achieves his unique merging I. Levitan, Spring. High Water, 1897, The State Tretyakov Gallery ( 30 ) of plein air naturalness and direct representation of the unassuming central Russian landscape with a poetic intensity and humanity, of both the subject and the artistic fabric of the painting. Levitan’s capacity to fill a painting of the most humble corner of nature with poetic meaning is shown to good effect in the study of a forest edge entitled Forest Meadow. The colours of the composition combine various shades of muted green, grass bleached by the sun, the subtle blue of the sky and a warm sun-soaked ochre. The unfettered breadth of the painting is full of the plein air spirit, the desire to express an immediate contact with the ever-transient medium of light and air. Forest Meadow reveals Levitan’s artistic credo: not merely to arrange the elements of the picture, but to see nature itself as part of the composition. Studies such as this vividly demonstrate the artist’s ability to “feel” the space. The small size of our third landscape, entitled Tree by the Lake, is typical of most sketches by Levitan. The artist judged a 20 by 25 cm format to be both convenient and best-suited for plein air work. As he liked to say to his pupils: “Never be seduced by large size in sketches. A large sketch has much that is false, while a small sketch has very little of it, and if you really and truly feel what you saw when you painted the sketch, then the picture will also give an accurate and full impression of what was seen.” So, even in such a chamber work, the artist does more than to skillfully convey the tenderness of the gray-green foliage, the roughness of the curved trunk, frozen in a tense equilibrium and dappled with light. He also makes the viewer feel the mood of a summer day that has brought warmth to this corner of nature. The virtuosity of his tonal treatment of green colour is apparent in the easy transition between shades, in and out of the sun, in the grass and bushes of the foreground, the waterweed, the forest groves of the far shore, and even in the still water of the little river that gleams among the thickets. This succinct movement toward generality and synthesis, where a simple and ordinary motif is filled with broad and deep content, became the leitmotif of Levitan’s work in the last years of his life. Even the most cursory piece by the mature Levitan, drawing or oil sketch, strikes us by the faithfulness with which tree trunks, foliage, grass, flowers and water are portrayed, and particularly the truth of the colour relations between land, vegetation and sky in the most diverse conditions of weather and lighting. I. Levitan, High Water, 1885, The National Art Museum of the Republic of Belarus I. Levitan, High Water, 1887, The State Tretyakov Gallery www.MacDougallauction.com Russian Art Auction * 12. Levitan, Isaak (1860–1900) Forest Meadow, signed and dated 1890. Oil on canvas, 36 by 49.5 cm. Provenance: Acquired in the 1920s by the father of the present owner. Important private collection, Israel. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv Museum of Art, Tel Aviv, 24 July–28 September 1991. Literature: Exhibition catalogue, Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv, Tel Aviv Museum of Art, 1991, p. 11, illustrated. £120,000–180,000 The present lot as illustrated in the 1991 exhibition catalogue ( 32 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 33 ) * 13. Levitan, Isaak (1860–1900) 14. Polenov, Vasily (1844–1927) Tree by the Lake. Southern Landscape, signed with a monogram. Oil on canvas, laid on cardboard, 16 by 23 cm (canvas size). Oil on canvas, 24 by 47.5 cm. Provenance: Acquired in the 1920s by the father of the present owner. Important private collection, Israel. Provenance: Private collection, Slovenia. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity of the work has been confirmed by the expert V. Petrov. £25,000–50,000 Exhibited: Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv Museum of Art, Tel Aviv, 24 July–28 September 1991. Literature: Exhibition catalogue. Isaak Levitan. 1860–1900. Sketches & Paintings, Tel Aviv, Tel Aviv Museum of Art, 1991, pp. 20–21, illustrated. £35,000–50,000 The present lot as illustrated in the 1991 exhibition catalogue ( 34 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 35 ) An Important Work by Konstantin Somov Repose at Sunset * 15. Somov, Konstantin (1869–1939) Repose at Sunset, signed and dated 1922. Oil on canvas, 36.5 by 45 cm. Provenance: Private collection, USA. A gift from the above to the present owner, c. 1970s. Private collection, New York. £180,000–250,000 MacDougall’s с гордостью представляет изысканное камерное полотно Константина Сомова «Созерцание заката». Картина датирована 1922 годом и напоминает зрителю об ушедшей в прошлое эпохе мирискуснических пасторалей и утонченных барышень, развивая все тот же близкий многим художникам fin de siècle мотив пассеистической ностальгии по потерянной гармонии прошлого. Расширение сферы поисков идеализированного «золотого века» в сторону национальных героев и мотивов характерны в это время не только для Сомова, обращающегося в своих русских и парижских произведениях 1920–1930-х годов к новым для себя темам «крестьянской пасторали», но и для Бориса Кустодиева, Филиппа Малявина и других живописцев эпохи. Эта композиция перекликается со знаменитой картиной Сомова «Спящая молодая женщина в парке» (1922), где получает развитие тот же сюжет. Юная дама задремала на траве в усадебном парке и не слышит, что где-то вдалеке двое дуэлянтов дерутся на шпагах, а из кустов цветущей сирени нянюшка выводит на прогулку своего воспитанника. Данная композиция значительно проще и лапидарнее, однако в ней заметно, как меняются со временем у Сомова источники ностальгической образности. На смену образам галантного XVIII столетия, изощренной и дразнящей чувственности во вкусе Ватто и Буше, пудреным парикам и кринолинам здесь приходит обращение к идеалам наивной красоты русской усадебной жизни XIX века, к чистоте «тургеневских» девушек и мечтательной любви, к прогулкам среди родных полей и перелесков, а элементы композиции — садящееся солнце, цветущая сирень и, главное, фигура девушки в светлом платье — вызывают ассоциации с идиллическим восприятием образа далекой, утраченной России. K. Somov, Young Woman Sleeping in the Park, 1922, The State Tretyakov Gallery ( 38 ) MacDougall’s is proud to present an exquisite chamber work by Konstantin Somov, Repose at Sunset. The painting dates from 1922, but carries the viewer back to a bygone World of Art era of pastoral idylls and refined ladies, developing the fin de siècle nostalgia that was close to the heart of many artists. This tendency towards the inclusion of national heroes and motifs in the search for an idealised “golden age” is characteristic not only of Somov, whose Russian and Parisian works of the 1920s and 1930s explore the new “peasant pastoral” themes, but also of Boris Kustodiev, Philippe Maliavin and other painters of the time. This composition resonates with Somov’s well-known picture, Young Woman Sleeping in the Park (1922), which develops the same theme. A young woman has fallen asleep on the grass in a manor park and is completely oblivious of two duellists fighting with swords and a nanny taking a child for a walk amid the blossoming lilac bushes. Repose at Sunset is much simpler and more expressive, but it shows well how the sources of Somov’s nostalgic imagery changed over time. The gallantry of the 18th century, with its exquisite, tantalizing sensuality in the spirit of Watteau and Boucher, and its powdered wigs and crinolines, give way to the ideals of the naïve beauty associated with Russian country estate life in the 19th century, the innocent girls and romantic love (such as we find in Turgenev’s writing), walks through fields and woods. Furthermore, the elements of the composition — the setting sun, the lilac in blossom and, most importantly, the girl in a light-colouerd dress — evoke the idyllic image of a distant, lost Russia. K. Somov, On the Grass, 1919, Dnipropetrovsk State Art Museum K. Somov, Fireworks, 1922, The I. Brodsky Apartment Museum, St Petersburg www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 39 ) * 16. Shishkin, Ivan (1832–1898) Forest Clearing, signed. Oil on canvas, 36.5 by 58.5 cm. Provenance: Collection of Abram Minkin, St Petersburg. Acquired from the above by the present owner. Private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. £50,000–70,000 ( 40 ) www.MacDougallauction.com Russian Art Auction 17. Sverchkov, Nikolai (1817–1898) Equestrian Portrait of Seymourina Poirson, signed, inscribed “Paris” and dated 1863. Oil on canvas, 74 by 92.5 cm. The young lady in the painting presented here is the goddaughter and the foster child of Richard Seymour-Conway, 4th Marquess of Hertford, a founder of the Wallace collection. Lord Hertford commissioned the work to Nikolai Sverchkov, who was then working in Paris. Seymourina Poirson (née Cuthbertson) is painted astride a thoroughbred horse, acquired by Lord Hertford at the famous Tattersalls horse auction, where he notoriously outbid none other than the French Emperor Napoleon III. As the legend has it, once Lord Hertford had learned the identity of his underbidder, he attempted to present the horse to him. This portrait, therefore, was commissioned to commemorate this purchase, as well as to showcase the beauty and elegance of his goddaughter Seymourina. Provenance: Collection of Richard Seymour-Conway, 4th Marquess of Hertford. Bequeathed by the above to the sitter, his goddaughter. Thence by descent. Private collection, France. £60,000–90,000 N. Sverchkov, Equestrian Portrait of a Marchioness, 1871, The State Research Art Museum of Horse-Breeding, Moscow MacDougall’s London 2 December 2015 J.S. Sargent, Portrait of Madame Paul Poirson (Seymourina Poirson), 1885, Detroit Institute of Arts N. Sverchkov, Equestrian Portrait of A. Panaeva, 1870–1880, The State Research Art Museum of Horse-Breeding, Moscow ( 43 ) An Important Work by Vasily Kotarbinsky Roman Orgy ( 44 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 45 ) 18. Kotarbinsky, Vasily (1849–1921) Roman Orgy, signed, inscribed “Roma” and indistinctly dated 189?. Oil on canvas, 166 by 221 cm. Related literature: For another version of the present lot, see G. Romanov, A. Muratov, Zhivopis russkogo salona (1850–1917 gg.). Entsiklopediya, St Petersburg, Zolotoi Vek/Sankt-Peterburg Orkestr, 2004, p. 321, illustrated. £550,000–900,000 Представленная на торги картина «Римская оргия» — авторский вариант самой известной исторической композиции Вильгельма Котарбинского. Согласно каталогу Государственного Русского музея 1899 года аналогичная картина поистине монументального размера (300 х 500 см) вошла в первую коллекцию музея и была приобретена на выделенные Николаем II средства из собрания Императорской Академии художеств в 1898 году. Еще один, более камерный вариант той же композиции находится в собрании Донецкого областного художественного музея. Подобные случаи разработки одного и того же сюжета в творчестве Котарбинского не редкость, и, так же как у Айвазовского и Семирадского, они связаны с желанием заказчиков из высших кругов петербургского общества повторить для них полюбившуюся работу из Императорского музея. Конечно, вновь обращаясь к известной теме и воспроизводя готовые фрагменты, художник вносил в композицию некоторые вариации, индивидуализирующие новый холст и позволяющие проработать отдельные детали. Так, в нашей версии композиции по сравнению с картиной из Русского музея более удачно решена фигура старика с золотыми монетами на заднем плане, добавлены несколько персонажей в глубине, изменен облик и поза последнего пассажира в лодке, угол наклона кимвалов в руках музыканта и ракурс поворота головы девушки на первом плане. Но главное остается неизменным: картина увлекает разнообразием и игрой фактур — обнаженных тел, тканей, перьев, цветов, воды, многообразием поз и своеобразным ярусным композиционным решением, мастерством в изображении предметов. Центром композиции является красивая по пластике группа: стоящий у балюстрады римский патриций в темном плаще (возможно, император Нерон) в окружении полуобнаженной римлянки и девушки с веером и чашей. Photograph of the detail of the work in infrared light ( 46 ) Идеальные фигуры, закутанные в классические одеяния, классические профили и скульптурные позы придают этой сцене театральность и большую художественную выразительность. Героем картины можно назвать и теплый предзакатный свет, окрашивающий все в нежные розоватооранжевые тона и обволакивающий происходящее романтической дымкой и покровом некоторой таинственности. Этот световой эффект, переданный технически совершенно, тонко и со множеством нюансов, а также гармоническое сочетание тонов — от розово-коричневых до глубоко синих — составляют одно из основных достоинств работы, производящей впечатление большого декоративного панно. Не секрет, что источником вдохновения Котарбинского на протяжении всей его жизни оставались события и персонажи Древней Греции и Древнего Рима. Посвятив себя изучению и воссозданию истории и быта античности, художник нередко с археологической точностью показывал в своих полотнах обстановку, одежды и утварь того времени. Впервые приехав в Италию в 1868 году, Котарбинский оказался навсегда очарован Вечным городом. Он долгие годы жил в Риме, но, даже вернувшись потом в Россию и работая в Петербурге и Киеве, он попрежнему оставался преданным «пленником красоты» южного итальянского солнца, ее пышной природы и колоритных типажей, дающих богатейший материал для творчества. Котарбинский был одним из любимых художников Николая II. Им восхищались современники, сравнивали с Генрихом Семирадским и Павлом Сведомским, называли русским Альма-Тадемой, превозносили его изумительное мастерство и тонкость письма, красоту композиции и рисунка, грациозность и поэтичность сюжетов. Его талант превратить любой сюжет в зрелище красоты, даровать наслаждение и сладкое воспоминание о «золотых временах» человечества был чрезвычайно востребован временем. Photograph of the work in UV light www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 47 ) Живописец оживлял не столько античную историю, сколько легенду о ней. Разумеется, Котарбинский был не оригинален в выборе тем. Как правило, он брал сюжеты, уже интерпретированные другими художниками, но решал их по-своему и зачастую не менее удачно. Признанным мастером сцен из жизни Нерона в Мюнхене был Вильгельм фон Кульбах, в Лондоне корифеем стиля «неогрек» оставался голландец Лоуренс Альма-Тадема, обращавшийся к пиршествам времен Августов в «Розах Гелиогабала» (1888). Вакхические празднества и оргии Нерона и Тиберия привлекали и соотечественников художника. В 1896 году вышел в свет роман Генриха Сенкевича «Камо грядеши», еще раньше появились «Римская оргия блестящих времен цезаризма» (1871) и «Оргия времен Тиберия на острове Капри» (1881) Семирадского, «Оргия» (1883) и «Погребенные в цветах» (1886) Сведомского. The painting offered here at auction, entitled Roman Orgy, is a version by Vasily Kotarbinsky of the best-known historical composition that he created. According to the 1899 catalogue of the State Russian Museum, a variant of this picture of truly monumental proportions (300 by 500 cm) was in the museum’s first collection, having been acquired from the Imperial Academy of Arts in 1898 using funds provided by Nikolai II. There is another, somewhat scaled-down, version in the collection of Donetsk Art Museum. last passenger in the boat, the angle of the cymbals held by the musician and the angle of the girl’s head in the foreground. There are other, similar examples in Kotarbinsky’s oeuvre addressing the very same subject matter. These are not rare and, as with Aivazovsky and Semiradsky, they are linked to a desire on the part of patrons in the highest circles of St Petersburg society to have their own versions of their favourite works in the Imperial Museum. Naturally, in addressing a well-known theme and reproducing elements that already existed, the artist introduced certain variations to the composition to give the new canvas individuality and allow particular details to be further developed. So, by comparison with the painting in the Russian Museum, this version has a better portrayal of the old man with the gold coins, and several characters have also been added in the background. There are additional changes to the appearance and pose of the V. Kotarbinsky, Roman Orgy, The State Russian Museum MacDougall’s London 2 December 2015 Во всех этих полотнах мир античности предстает в виде многофигурных эффектных зрелищ, прекрасных идиллических сцен и не менее упоительных драм. Античная традиция воспринимается Котарбинским и его современниками как исток, основание европейской цивилизации, и обращение к ней позволяет художникам и их поклонникам ощущать себя не поляками, русскими или римлянами, но европейцами в широком смысле этого слова, людьми, причастными общей мировой истории. In the main, however, the painting remains unchanged: it has a captivating variety and interplay of textures — naked bodies, fabrics, feathers, flowers, water, a variety of poses, unique use of tiers in the composition, and masterly depiction of objects. The centre of the composition is a group of sculptural beauty: a patrician Roman in a dark cloak standing by a balustrade (possibly, the Emperor Nero) next to a half-naked Roman woman and a girl with a fan and bowl. The scene is given its theatricality and great artistic expressiveness by the idealised figures draped in classical garb, their classical profiles and sculptural poses. Another protagonist of the picture is the warm light of an impending sunset which embellishes everything in gentle, peach-coloured tones and envelops the composition in a romantic haze that lends it a certain sense of enigma. This effect of light, conveyed with technical perfection, subtlety and a multitude of nuances, as well as the harmonious way in which tones are combined — from rosy fulvous to deep blue — constitutes one of the main virtues of the work, which comes across as a large decorative panel. G. Semiradsky, Orgy in the Reign of Tiberius on the Capri Island, 1881, The State Tretyakov Gallery ( 49 ) It is no secret that the events and the characters of Ancient Greece and Ancient Rome remained a source of inspiration for Kotarbinsky throughout his life. Devoting himself to the study and reproduction of the history and way of life of antiquity, the artist would often portray on canvas the environment, clothing and utensils of that time with archaeological accuracy. Arriving in Italy for the first time in 1868, Kotarbinsky became irrevocably enchanted with the Eternal City. He lived in Rome for many years, and even when he subsequently returned to Russia and worked in St Petersburg and Kiev, he remained, as before, a “captive” to the beauty of the southern Italian sun, and the luxuriance of the landscape and colours that characterised it, providing such abundant material for creativity. Kotarbinsky was one of Nicholas II’s favourite artists. He was admired by his contemporaries, compared to Genrikh Semiradsky and Pavel Svedomsky, called the Russian Alma-Tadema and eulogised for the astonishing mastery and fineness of his painting, the beauty of his composition and draughtsmanship and the poetic grace of the subjects he painted. His talent for turning any subject into a vision of beauty, for conveying the delight and sweet remembrance of humanity’s “golden times” was in extraordinary demand at the time. The painter recreated not so much the history of antiquity but rather the legends associated with it. It goes without saying that Kotarbinsky was not V. Kotarbinsky, Favourite Concubine and Her Maid ( 50 ) original in his choice of subject matter. As a rule, he borrowed subjects that had already been interpreted by other artists, but dealt with them in his own way and often with no less success. In Munich, Wilhelm von Kaulbach was acknowledged as the master when it came to scenes from the life of Nero, whereas in London the Dutchman Lawrence Alma-Tadema remained the luminary of the Neo-Greek style, with his painting of a banquet in the time of Augustus entitled Roses of Heliogabalus (1888). The Bacchanalian feasts and orgies of Nero and Tiberius were also an attraction for Kotarbinsky’s fellow countrymen. Henryk Sienkiewicz’s novel Quo Vadis came out in 1896, whereas Semiradsky’s Roman Orgy in the Illustrious Time of the Caesars (1871) and Orgy in the Time of Tiberius on the Island of Capri (1881), and Svedomsky’s Orgy (1883) and Buried in Flowers (1886) appeared even earlier. In all these canvases the world of antiquity is presented as eye-catching spectacle involving many human figures, or as beautifully idyllic scenes and dramas of no less ravishing a nature. The tradition of antiquity is perceived by Kotarbinsky and his contemporaries as the origin and basis of European civilisation, and addressing this subject allows artists and their followers to feel they are not Poles, Russians or Romans, but Europeans in the broad sense of the word — people who are part of a common human history. P. Svedomsky, Buried in Flowers, 1886, Kiev National Museum of Russian Art www.MacDougallauction.com Russian Art Auction * 19. * 20. Kolesnikov, Stepan (1879–1955) Kolesnikov, Stepan (1879–1955) Laundry Day, signed. Still Life with Watermelons and Melons, signed. Oil on canvas, 101.5 by 130.5 cm. Oil on canvas, 75.5 by 100 cm. Provenance: A gift from the artist to his doctor V. Arnovljevic, Belgrade. Thence by descent. Acquired from the above by the present owner. Private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. £40,000–60,000 Authenticity of the work has been confirmed by the expert V. Petrov. £20,000–30,000 ( 52 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 53 ) * 23. Vasilkovsky, Sergei (1854–1917) Winter Village at Sunset, signed and indistinctly dated. Oil on paper, laid on panel, 6.5 by 10 cm. Provenance: Important private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. £2,000–3,000 24. Brovar, Yakov (1864–1941) Oak Grove, signed and dated 1915. Oil on cardboard, 69.5 by 99.5 cm. Provenance: Private collection, Germany. Thence by descent. £12,000–18,000 * 21. Vasilkovsky, Sergei (1854–1917) * 22. Vasilkovsky, Sergei (1854–1917) Winter Study, signed and numbered “402”, also further titled Ukrainian Hut on a Hill, signed. in Cyrillic, numbered “N 402” and bearing the artist’s studio stamp on the reverse. Oil on canvas, laid on cardboard, 14 by 24.5 cm. Oil on cardboard, 14 by 24 cm. Provenance: Important private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. Provenance: Important private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. £3,000–4,000 £2,000–3,000 ( 54 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 55 ) * 26. 25. Tikhmenev, Evgeny (1869–1934) * 27. Tikhmenev, Evgeny (1869–1934) Bear Hunt, signed and dated “1913 10/5 goda”. Dogs and Wolf, signed. Oil on canvas, 56 by 71.5 cm. Oil on canvas, 56 by 71 cm. £12,000–18,000 £12,000–18,000 Makovsky, Konstantin (1839–1915) Portrait of the Artist’s Daughter Olga in the Garden, signed. Oil on canvas, 61 by 38 cm. Provenance: Collection of the sitter, Olga Makovskaya. Thence by descent to a previous owner. £60,000–90,000 ( 56 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 57 ) 28. Gine, Alexander (1830–1880) 29. Goravsky, Apolinary (1833–1900) Fishermen in the Harbour, signed. Alpine Landscape, signed and dated 1859. Oil on canvas, laid on board, 19 by 27 cm. Oil on canvas, 85.5 by 115 cm. Authenticity of the work has been confirmed by the expert V. Petrov. £30,000–40,000 £4,000–6,000 ( 58 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 59 ) An Important Work by Ivan Shishkin Pine Forest 30. Shishkin, Ivan (1832–1898) Pine Forest, signed and dated 1866. Oil on canvas, 91 by 70.5 cm. Provenance: Private collection, UK. Literature: I. Shuvalova, Ivan Ivanovich Shishkin, St Petersburg, Khudozhnik Rossii, 1993, p. 41, illustrated; p. 38, mentioned in the text; p. 205, listed. Authenticity certificate from the expert V. Petrov. Authenticity certificate from the expert N. Ignatova. £400,000–600,000 «Сосновый лес» — редкая ранняя опубликованная работа Ивана Шишкина, которой открывается в его творчестве многолетняя и чрезвычайно значимая тема хвойного леса. Она написана по итогам пленэрной работы в подмосковном селе Братцево, где Шишкин со своим близким другом и сокурсником по Московскому училищу живописи, ваяния и зодчества Львом Каменевым провел все лето в старинной усадьбе, построенной, быть может, по проекту знаменитого Андрея Воронихина. Расположенная на северо-западе от Москвы усадьба спускалась к речке Братовке, притоку Сходни, соседствуя с общеизвестным большим селом Тушино. В тот сезон Шишкин, только вернувшийся на родину после нескольких лет пенсионерской поездки, работал запоем, «с жаром», как он сам говорил. Каждый день художник писал по нескольку натурных этюдов. На основе таких этюдов и была написана картина «Сосновый лес». Как и всегда, у Шишкина на картине изображено конкретное место. Полотно наполнено светом, воздухом и ощущением простора, которые характерны для его работ этого времени и позднее уступают место более замкнутым и сгущенным лесным пространствам. Шишкину удалось одновременно и придать композиции «облагороженное» звучание, и найти ту меру выражения представления о диком среднерусском пейзаже, которое не противоречило академическим идеалам: уходящая вниз, The present lot as illustrated in the I. Shuvalova monograph on the artist ( 62 ) к берегу пруда тропинка, пологое всхолмье, поросшие травой валуны и вырывающиеся на поверхность земли корни деревьев дают необходимый взгляду разбег, позволяя насладиться гармоничным соотношением масс лесного массива и высокого, чуть подернутого облаками летнего неба. Сосновая аллея, некогда составлявшая славу усадьбы и ведущая к беседке-ротонде, сегодня практически не сохранилась, остались лишь отдельные сосны и огромные пни от вырубленных деревьев. Только отчасти сохранились и сосны на склоне холма, вдохновившего художника. Но по воспоминаниям современников известно, что сосновая аллея в XIX веке обрамляла весь братцевский склон и прерывалась только около господского дома, а виды на поросшие деревьями склоны открывались и от поляны, и от берега усадебного пруда. По своим изобразительным особенностям картина «Сосновый лес» занимает особое место, обозначая переломный момент в творчестве художника. Ведь это не только удивительно целостный, живой, наполненный светом и воздухом вид на лесную опушку, построенный в лучших классических традициях, но и, безусловно, уже завершенная по замыслу и безупречная по исполнению картина, которая предвосхищает появление всех последующих шедевров прославленного пейзажиста. Именно благодаря работам, сделанным на основании пленэрных эскизов в Братцеве, на Шишкина обратил внимание Павел Третьяков, и к художнику пришел успех и общественное признание. I. Shishkin, Pine Forest. Mast Timber in Vyatka Province, 1872, The State Tretyakov Gallery www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 63 ) Pine Forest, offered here for auction, is a rare, early work by Ivan Shishkin. It is all the more noteworthy in that it was one of Shishkin’s first paintings of a pine forest, a subject that would dominate his oeuvre for many years. Pine Forest was painted en plein air in the village of Bratsevo, north-west of Moscow, where Shishkin and his close friend Lev Kamenev, a fellow student from the Moscow School of Painting, Sculpture and Architecture, spent the entire summer of 1866 in an old manor house allegedly designed by the famous architect Andrey Voronikhin. The grounds of the estate stretched out to the rivulet Bratovka, a tributary of the Skhodnya, and adjoined the famous historic village of Tushino. Shishkin, who had just returned home that year after spending several years travelling abroad on a funded research trip, completely immersed himself in painting, working “feverishly”, as he himself said. He would produce several plein air studies every day, and these served as the basis for Pine Forest. In Pine Forest, Shishkin, as always, depicts a specific place. The canvas is imbued with the light, air and sense of the vastness of space that are so characteristic of his work at the time, and which would later give way to more condensed and secluded forest scenes. He managed both to lend a note of refinement to the picture, and to find a way to convey the wild, untamed character of the central Russian landscape without clashing with the ideals of Russian Academism. The path leading down to the pond, the gentle slope of the hill, the boulders partly covered with grass and the tree roots that break free from the ground give free rein to the viewer’s eye, allowing him to enjoy the harmonious relation between the forest and the vault of the summer sky with its scattering of clouds. Once the glory of the old estate, a pine tree-lined alley that used to lead to the summer-house rotunda is now barely discernible — only a few trees remain, interspersed with the large stumps of others that have been felled. The pines that covered the hillside and which inspired the artist are now also mostly gone. However, contemporary 19th century memoirs tell us that the whole slope at Bratsevo was clad in pine forest that continued right up to the manor house, and that views of the wooded slopes opened out from the clearing and from the shore of the estate pond. The artistic qualities of Pine Forest lend it special importance as a turning point in Shishkin’s work. It is a remarkably complete, vivid forest scene, full of air and light, and executed in the best classical tradition. Carefully thought out and flawlessly executed, the picture is a precursor to all subsequent masterpieces by this illustrious Russian landscape painter. Indeed, it was Shishkin’s paintings based on the Bratsevo sketches that drew him to the attention of the influential philanthropist and collector Pavel Tretyakov, the founder of the State Tretyakov Gallery, who was instrumental in bringing the artist success and public recognition. I. Shishkin, Pine Forest, Lviv National Art Gallery ( 64 ) 31. Shilder, Andrei (1861–1919) Summer Landscape with a River, signed and dated 1918. Oil on canvas, 73 by 100.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the experts P. Klimov and S. Krivondenchenkov. £40,000–60,000 ( 66 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 67 ) * 32. Kustodiev, Boris (1878–1927) Shrovetide Fair Booths. Oil on canvas, 72.5 by 25 cm. Authenticity of the work has been confirmed by the experts A. Kiseleva and I. Geraschenko. Authenticity has also been confirmed by the experts L. Gladkova and M. Valyaeva. £280,000–350,000 Представленная в настоящем каталоге великолепная картина Бориса Кустодиева «Ярмарочные балаганы», написанная в стилистике целой серии его выдающихся произведений, таких как «Масленица», «Балаганы», «Троицын день», принадлежит к самому замечательному творческому периоду художника, принесшему ему известность не только в России, но далеко за ее пределами. Наше произведение, без сомнения, является подготовительным эскизом к знаменитому портрету Федора Шаляпина, написанному художником в 1921 году. Кустодиев неоднократно варьировал сценки своих жанровых картин, используя понравившиеся мотивы в портретах и крупноформатных произведениях. Праздничное действо, развивающееся на фоне стоящего во весь рост легендарного оперного певца, расположено в левой части портрета и во многих деталях сопоставимо с эскизом, который можно смело датировать 1920–1921 годами. B. Kustodiev, Shrovetide (Shrovetide Sleigh Ride), 1919, Research Museum of the Russian Academy of Fine Arts, St Petersburg ( 68 ) Произведения Кустодиева снискали у поклонников русского «рубежного» искусства особую славу и глубочайшее почитание. Искрящиеся светом и богатым радужным колоритом его холсты воспроизводят в нашем сознании восхитительный мир русских праздничных гуляний с их шумным весельем, ярмарочной суетой, балаганами, бодрящим морозным воздухом и запахами громоздящейся на уличных лотках горячей снеди. Приподнятая атмосфера всеобщего народного веселья была воссоздана художником по воспоминаниям его безоблачного детства и юности. Глядя на данную работу, кажется, что не было ни бурных революционных потрясений, ни трудных волнующих социальных перемен — лишь залитые солнцем, до боли знакомые уголки русской провинции, восторженно ликующая шумная толпа и всеобщее ощущение радости. B. Kustodiev, Portrait of Feodor Chaliapin, 1922, The State Russian Museum www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 69 ) Shrovetide Fair Booths, an excellent work by Boris Kustodiev, was painted in the style typical of a whole series of the artist’s renowned works: Shrovetide, Fair Booths and Pentecost, to name a few. It belongs to the best period in Kustodiev’s artistic career, one that brought him fame and critical acclaim both in Russia and overseas. The work offered at auction is a preparatory sketch for the famous portrait of Feodor Chaliapin of 1921. Kustodiev frequently modified details of his genre paintings, repeating his favourite motifs in other works. The details of the festivities taking place on the left hand-side of the Chaliapin portrait, behind the large-scale figure of the legendary opera singer, are very similar to those in the present work, which can be dated 1920–1921. B. Kustodiev, Shrovetide, 1919 MacDougall’s London 2 December 2015 Kustodiev’s works were famous and revered by the lovers of Russian fin de siècle art. Effervescent, with bright, iridescent colours, they evoke the fascinating milieu of Russian folk fêtes, with their rowdy fun, carnivalesque hustle and bustle, fair booths, invigorating cold air and alluring smells of hot street food, piled up high on the trays. Kustodiev recreates the boisterous ambience of the folk spectacle from the memories of the serene years of his youth. Looking at this work, it is easy to forget about the turbulent revolutionary events and dramatic societal changes taking place at the time it was painted. Rather, one is carried away thinking of the intricately familiar corners of Russia’s provincial towns, enthusiastic festive crowds and an all-consuming joyous feeling. B. Kustodiev, Fair Booths, 1917, The State Russian Museum ( 71 ) § 33. Kalmakov, Nikolai (1873–1955) La Femme de Satan, signed with a cipher and dated 1919, further inscribed and titled on the reverse. Pencil and gouache on paper, laid on cardboard, 49.5 by 26.5 cm. Provenance: Collection of Georges Martin du Nord, Paris. Private collection, UK. Exhibited: Nicolas Kalmakoff. L’Ange de l’Abime (1873–1955) et les peintres du Mir Iskousstva, Musée-galerie de la Seita, Paris, 26 March–17 May 1986, No. 24. Literature: Exhibition catalogue, Nicolas Kalmakoff. L’Ange de l’Abime (1873–1955) et les peintres du Mir Iskousstva, Paris, Musée-galerie de la Seita, 1986, p. 64, illustrated. £40,000–60,000 34. Zichy, Mikhail (1827–1906) Pencil and watercolour, heightened with white, on card, 23.5 by 19 cm (card size). Oil on panel, 18 by 11 cm. Russian Art Auction Provenance: Private collection, Europe. £4,000–6,000 £5,000–7,000 The present lot as illustrated in the 1986 exhibition catalogue www.MacDougallauction.com Zichy, Mikhail (1827–1906) Male Portrait, signed. Provenance: Private collection, Europe. ( 72 ) 35. By the Fountain, signed. MacDougall’s London 2 December 2015 ( 73 ) An Important Work by Fedor Matveev View of the Roman Campagna 36. Matveev, Fedor (1758–1826) View of the Roman Campagna, signed, inscribed “fecit. Roma” and dated 1796. Oil on canvas, laid on metal plate, 142.5 by 183.5 cm. Provenance: Sotheby's London, 28 November 1979, lot 9. Acquired at the above sale by a previous owner. Private collection, Pasadena, California. Authenticity of the work has been confirmed by the expert S. Podstanitsky. £600,000–900,000 «Следует отметить, что данная картина является ярким образцом матвеевского творчества. К тому же образцом довольно редким: на данный момент в музейных собраниях известно всего лишь три живописных полотна, датируемых 1790-ми годами. Заказчиками и покупателями подобных пейзажей чаще всего выступали российские и европейские августейшие особы (императоры Павел I и Александр I) и представители аристократии (князь Н.Б. Юсупов, князь А.И. Вяземский и др.)». Сергей Подстаницкий, историк искусства «Вид Римской Кампаньи» — очень редкое для художественного рынка произведение прославленного русского пейзажиста XVIII века Федора Матвеева. Согласно авторской подписи «Fedor... Matveeff fecit Roma» картина исполнена художником в Риме в 1796 году и принадлежит ко времени расцвета его славы и дарования. По окончании Императорской Академии художеств выпускник ландшафтного класса Матвеев был награжден большой золотой медалью и правом пенсионерской поездки. Приехав в Рим в 1779 году, он навсегда связал свою жизнь с Италией. Здесь он некоторое время посещал мастерскую немецкого пейзажиста Якоба Хаккерта, итальянские виды которого пользовались большим успехом у Екатерины II и ее европейских корреспондентов. Уже в 1799 году в донесении русского консула, присланном в Петербург вице-канцлеру графу Кочубею, он упоминается как художник, «выгодно отличающийся своим талантом в интернациональной среде живописцев, живущих в Риме». Матвеев посвятил свой талант изображению итальянских пейзажей и воплотил в картинах идеальный образ, сочетавший умозрительные представления о совершенной натуре и подлинные впечатления о природе и архитектурных памятниках «полуденного края». На протяжении более чем 40 лет художник создавал галерею видов этой прекрасной страны, среди которых важнейшее место заняли изображения Рима и его окрестностей. F. Matveev, View of Tivoli near Rome, 1782, The State Russian Museum ( 76 ) Матвеев писал древний Форум и Колизей, панорамы римской Кампаньи и водопады Тиволи. Современники сравнивали его полотна с творениями лучших европейских живописцев и даже именовали «русским Пуссеном». Художник неоднократно сопровождал знатных русских особ, совершавших «Гран-тур» для завершения своего образования, а также много путешествовал в поисках видов и привлекательной натуры. Он бывал в окрестностях Неаполя и на Сицилии, осматривал Пестум и Помпеи. В 1783 году вместе с князем Андреем Вяземским он отправился на север Италии, проехал через Венецию, Болонью, Милан и Турин до Савойских гор, а затем посетил кантоны Женева и Берн в Швейцарии. Сделанные в путешествиях зарисовки по возвращении в Рим становились основой для картин, которые художник создавал, не покидая своей мастерской. Поэтому, несмотря на несомненное сходство с натурным мотивом, зачастую непросто определить, какое именно место изображено на полотнах художника. Современники считали Матвеева мастером изображения водной стихии, и действительно, изображения водопадов и водных потоков можно встретить на его лучших видах Римской Кампаньи, Сицилии и Швейцарии. Шесть таких живописных полотен с изображениями водопадов и озер художник даже преподнес в дар Александру I в благодарность за назначенный ему пенсион. Сохранились свидетельства того, что Матвеев до старости ездил рисовать с натуры в расположенный неподалеку от Рима городок Тиволи, известный своими природными каскадами, один из которых, по всей вероятности, изображен на представленной картине. В то же время композиционная близость работы к «Сицилийскому водопаду» (1814) из собрания Национального исторического музея Армении свидетельствует об известной доле «сочиненности» и идеализации мотива, изображение которого подчинено непреложной классицистической схеме. F. Matveev, Waterfall. Sicily, 1814, National Historical Museum of Armenia, Yerevan Картину отличают строгое разделение пространственных планов; театральная, кулисная организация композиции; обязательная стаффажная мизансцена, без которой не существует классицистического пейзажа; и не менее обязательный «задник» с горной грядой, замыкающей вид и дающей опору глазу в бесконечном иллюзорном пространстве. www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 77 ) Как правило, в этом дальнем виде и кроется схваченный художником в натурных зарисовках узнаваемый реальный мотив, виртуозно аранжированный и мастерски погруженный в общую световоздушную перспективу. Один из почитателей таланта художника и коллекционер его произведений литератор Павел Свиньин особо подчеркивал это качество его пейзажей: «Матвеев более 30 лет находится в Риме и в сем Царстве Художников почитается одним из лучших пейзажистов. Произведения его отличаются синеватым View of the Roman Campagna, presented here for auction, was painted by the renowned 18th century Russian landscapist Fedor Matveev, whose work very rarely appears on the art market. According to the artist’s signature — “Fedor... Matveeff fecit Roma” — he executed it in Rome in 1796, at a time when his fame and artistic talent were at their height. On graduating from the landscape class of the Imperial Academy of Arts, Matveev was awarded a gold medal and the right to a funded trip to Europe. He arrived in Rome in 1779, and began a life-long association with Italy. During this time, he would visit the studio of the German landscape painter Jacob Hackert, whose Italian scenes were a great success with Catherine II and her correspondents in Europe. As early as 1799 Matveev is mentioned in a report submitted by the Russian consul in Rome to Count Kochubey, Vice-Chancellor at St Petersburg, as an artist “whose talent marked him out to his favour in the international milieu of painters living in Rome”. Matveev devoted his talents to depictions of the Italian landscape, and his paintings were the embodiment of an ideal image that combined notional conceptions of perfection in nature with genuine impressions of the natural landscape and architectural monuments of the “land of the midday sun”. Over a period of more than 40 years the artist created a string of works depicting views of this beautiful country, in which pride of place would be held by portrayals of Rome and the outskirts of the city. Matveev painted the ancient Forum and the Coliseum, and panoramic views of the Roman Campagna and the cascades of Tivoli. Contemporaries compared his canvases to work created by the best European painters and even called him “the Russian Poussin”. The artist often accompanied individual members of the Russian aristocracy who were on the Grand Tour to complete their education, but also travelled extensively himself in search of views and attractive landscapes. He was often in the country around Naples, saw Paestum and Pompeii, and also visited Sicily. In 1783 he set out with Prince Andrei Vyazemsky for the North of Italy, passing through Venice, Bologna, Milan and Turin before reaching the mountains of Savoy, then travelled to the Cantons of Geneva and Bern in Switzerland. ( 78 ) тоном, который вместо того, чтобы распространять холодность — покрывает какою-то приятною завесою особливо отдаленные предметы». Все эти приметы авторской манеры Матвеева отчетливо выражены в представленной на аукционе работе «Вид Римской Кампаньи», что позволяет отнести ее к лучшим произведениям художника конца XVIII столетия. reason, despite their undoubted resemblance to subjects found in nature, it is often no simple matter to determine the exact location depicted in the artist’s canvases. Matveev’s contemporaries regarded him as an undisputed master when it came to painting water; indeed, waterfalls and flowing water are frequent subjects in his best scenes of the Roman Campagna, Sicily and Switzerland. The artist presented Alexander I with six such picturesque canvases depicting waterfalls and lakes, in gratitude for the pension he had been awarded. There is surviving evidence that, well into old age, Matveev would travel to Tivoli, not far from Rome, to draw the natural waterfalls for which the little town is famous. In all probability, it is one of these waterfalls that is depicted in the painting at auction here. At the same time, the work’s closeness in terms of composition to Sicilian Waterfall (1814, now in the collection of the National Historical Museum of Armenia) bears witness to the well-known part played by compositional convention and the idealisation of subject matter, where its depiction is subordinated to a rigid classical formula. View of the Roman Campagna is distinguished by the way in which spatial planes are kept strictly separate; the way the composition is organised with wings like a stage set; the obligatory incidental figures included in the scenery, which no classical landscape can do without; and the no less obligatory “backdrop” of a mountain range that encompasses the view and lends support to the eye as it surveys an endless expanse of illusion. As a rule, there is also recognisable subject matter in the distance that the artist had captured in his drawings of the natural landscape. This is arranged with virtuosity and masterfully immersed in the atmosphere and light of the overall view. A collector of Matveev’s work and one of those who most admired the artist’s talent, the litterateur Pavel Svinyin, laid particular emphasis on this quality in his landscapes: “Matveev has been in Rome more than 30 years, and in the Realm of Artists that exists there is revered as one of the best painters of landscape. His work is distinguished by a darkish tone of blue which, rather than radiating coldness, spreads, over distant objects especially, a sort of kindly veil”. On his return to Rome, the sketches he had made on his travels became the basis for pictures that the artist painted without leaving his studio. For this All these features of Matveev’s creative style are clearly articulated in his View of the Roman Campagna, which allows it to be placed among the artist’s best work from the end of the 18th century. F. Matveev, Mountain Landscape in Sicily, 1811, The State Tretyakov Gallery F. Matveev, Italian Landscape, 1819, The State Tretyakov Gallery www.MacDougallauction.com Russian Art Auction * 37. * 38. Anisfeld, Boris (1878–1973) Anisfeld, Boris (1878–1973) Still Life with Buddha, signed and dated 1957. Still Life with a Vase, signed and dated 1952. Oil on canvas, 106.5 by 91.5 cm. Tempera and oil on canvas, 101.5 by 76 cm. Provenance: Raydon Gallery, New York (label on the reverse of the frame). Private collection, New York. Provenance: Private collection, Chicago. Russian Art, Sotheby’s New York, 15 April 2008, lot 68. Authenticity of the work has been confirmed by the artist’s grandson Charles Chatfield-Taylor. Authenticity of the work has been confirmed by the expert D. Volyak. Exhibited: Springfield Art Association, Springfield, c. 1980 (label on the reverse of the frame). Literature: E. Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné, Düsseldorf, Edition Libertars, 2011, p. 169, No. P 516, illustrated and listed. £20,000–30,000 £30,000–40,000 ( 80 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 81 ) 39. § 40. Tarkhoff, Nikolai (1871–1930) Issupoff, Alessio (1889–1957) Portrait of the Artist’s Sons, signed. Still Life with a Lady’s Hat, signed and dated 1947, Oil on canvas, 84.5 by 74.5 cm. further indistinctly inscribed “Vetrina per ...” and numbered “37” on the stretcher. Oil on canvas, 65.5 by 80.5 cm. Executed c. 1908. The present lot is a portrait of Jean and Boris Tarkhoff, painted in the artist’s apartment-studio on rue Belloni, Paris. £15,000–20,000 Authenticity of the work has been confirmed by The Nicolas Tarkhoff Committee and the painting will be included in the forthcoming catalogue raisonné of the artist. £30,000–40,000 ( 82 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 83 ) 41. Korovin, Konstantin (1861–1939) Boulogne, signed, inscribed “Boulogne” and dated 1935. Oil on canvas, 50.5 by 61 cm. Provenance: Private collection, Italy, until the late 1990s. Private collection, Croatia. £90,000–120,000 «Булонь» принадлежит к циклу блестящих по живописному мастерству картин, создававшихся Константином Коровиным в разные годы во время поездок к морю. По воспоминаниям современников, он мог встать на любом углу во время прогулки или остановить шофера словами «Стоп! Я буду писать!» и тут же, на месте, набросать композицию, которая казалась окружающим ничем не примечательной, но под рукой Коровина неожиданно обретала цельность изображаемого мотива. Boulogne belongs to a cycle of vibrant, superbly executed paintings that Konstantin Korovin painted over a number of years on his trips to the seaside. His contemporaries recalled that he would randomly interrupt a stroll, or bring his driver to a halt, exclaiming: “Stop! I want to paint!” Then, Korovin would make an impromptu sketch, transforming a seemingly unremarkable scene into a lovely landscape, with all the elements coherently organised into an integral composition. В летних — крымских и французских — пейзажах Коровина становится особенно заметно, что для него важнее живопись, чем предмет, а фрагментарная, порой как будто случайная, композиция — лишь повод для создания настоящей поэмы света и цвета. «Булонь» — одно из таких стремительных произведений, сохранивших для нас маэстрию коровинской кисти и главный завет его творчества: «Больше отрадного, светлого». In Korovin’s French and Crimean landscapes it becomes especially apparent that the process of painting was more important to the artist than the subject, and the fragmentary, sometimes incidental composition is only a pretext for creating a veritable poem of light and colour. Boulogne is one of these spontaneous works, which showcase Korovin’s consummate skills and the main principle that guided his artistic pursuits: “More pleasure, more brightness”. Атмосфера приморского лета передана так, что при первом взгляде на полотно в памяти невольно возникают дыхание летнего зноя и особый терпкий аромат раскаленной улицы, смешанный с запахом нагретой листвы. Все пронизано ощущением счастья жизни, напоенного теплым прибрежным солнцем. Оно исходит от солнечного света, по-летнему яркого и розовеющего, и свежести самой легкой, подвижной живописи, отрадность которой усилена выражением связи со световоздушной средой. The atmosphere of a summer day in a seaside town is conveyed so expertly that the first glance at the canvas evokes the hot summer air and conjures up that special, sharp scent of a sun-scorched street, mixed with the smell of leaves on the trees lining it. The scene exudes serene happiness, bathed in the seaside sun. This happiness is expressed by the bright light of the sun, with its rosy hue, so typical of summertime; and also by the gentle, vivacious manner of painting. Коровин всегда чуток к декоративности изображения, что проявляется в использовании объединяющего упругого ритма отрывистых мазков, словно простегивающих пространство улицы и неба, в то время как гармонизатором впечатления служит свет: сияющий свет солнца, отбрасывающий от предметов цветные отблески, синие и серо-сиреневые тени. K. Korovin, Coachman in Crimea, 1910s, The State Tretyakov Gallery ( 84 ) K. Korovin, Suburbs of Paris Korovin was unfailingly sensitive to the decorative aspect of the scenes he depicted. This comes through in the graceful rhythm unifying the short brushstrokes that make up the space of the street and the sky. However, it is the light that creates the picture’s sense of wholeness: the shining light of the sun casting coloured reflections off the objects, as well as dark-blue and lilac-grey shadows. K. Korovin, Paris by Daytime www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 85 ) 43. Korovin, Konstantin (1861–1939) 44. Korovin, Konstantin (1861–1939) Ushakovo-Ostrovno Village in Tver Province, signed, inscribed Rue de l’Abreuvoir, Montmartre, signed and “Russie” and dated 1912, also further inscribed in Cyrillic “Rossiya — Tverskoi gubernii derevnya Ushakovo-Ostrovno. Petrogradskii trakt.” on the reverse. Oil on cardboard, 33 by 41 cm. inscribed “Paris”. Oil on cardboard, 33 by 41 cm. Provenance: Private collection, Italy, until the late 1990s. Private collection, Croatia. Provenance: Private collection, Italy, until the late 1990s. Private collection, Croatia. £12,000–18,000 £7,000–9,000 *§ 42. Lapchine, Georges (1885–1950) First Signs of Spring, signed. Oil on canvas, 114 by 146.5 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the experts A. Kiseleva and I. Geraschenko. Exhibited: 36e Exposition de la Société des “Artistes Indépendants”, Palais de Bois, Paris, 21 March–3 May 1925 (label on the reverse). Literature: Exhibition catalogue, Catalogue de la 36e Exposition, Paris, 1925, p. 187, No. 1931, listed as Village russe (le réveil du printemps). £80,000–120,000 The present lot as listed in the 1925 exhibition catalogue ( 86 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 87 ) § 45. Pogedaieff, Georges (1894–1977) § 46. * 48. Pogedaieff, Georges (1894–1977) Grigoriev, Nikolai (1890–1943) § 49. Altman, Alexander (1885–1950) My House in MÉnerbes, signed, stamped Still Life with Fruit, signed twice. In the Park, signed and dated 1936. Rose Garden, signed. with the artist’s initials, inscribed “Chez moi — Ménerbes” and dated “le 4.9.68” on the artist’s studio label on the reverse. Oil on cardboard, 46 by 27 cm. Oil on paper, laid on cardboard, 28 by 46.5 cm. Oil on canvas, 61.5 by 38 cm. Oil on canvas, 100 by 81 cm. Provenance: Private collection, France. Authenticity of the work has been confirmed by the expert V. Petrov. £6,000–8,000 £1,000–1,500 £3,000–5,000 £1,000–2,000 47. Burliuk, David (1882–1967) * 50. Burliuk, David (1882–1967) Carriage Ride, signed. Siesta, signed. Oil on canvasboard, 30.5 by 40.5 cm. Oil on canvas, 31 by 41 cm. Provenance: Private collection, New Jersey (damaged label on the reverse). Executed in the second half of 1940s‒1950s. Authenticity certificate from the Burliuk Committee. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £8,000–12,000 Provenance: Acquired directly from the artist by Joseph Hirshhorn, New York. Collection of Joseph Hirshhorn, New York (label on the stretcher). A gift from the above to a previous owner, 1966. Authenticity of the work has been confirmed by the expert T. Levina. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £8,000–12,000 ( 88 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 89 ) * 52. Burliuk, David (1882–1967) Houses by the Lake, signed. Oil on cardboard, 25 by 28 cm. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £4,000–6,000 * 51. * 53. Burliuk, David (1882–1967) Burliuk, David (1882–1967) Still Life with Flowers, Fruit and Open Book, signed, also further signed, stamped with Farmers with a Bull, signed, also further signed the artist’s inventory stamp and numbered twice “N 273” and “673” on the reverse, also further numbered “N 673” on the reverse of the frame. Oil on canvas, 80 by 50 cm. and numbered “N 36” on the reverse. Oil on canvasboard, 60.5 by 50.5 cm. Provenance: Private collection, USA. Provenance: Collection of the artist (stamp on the reverse). Private collection, USA. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £15,000–20,000 £25,000–30,000 ( 90 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 91 ) 54. Vinogradov, Sergei (1869–1938) Pond by the Manor House, signed. Oil on canvas, 80.5 by 98.5 cm. Provenance: Private collection, Hungary. Authenticity of the work has been confirmed by the expert V. Petrov. £70,000−90,000 Сергей Виноградов, безусловно, находится в первом ряду плеяды таких блестящих русских импрессионистов, как Константин Коровин, Игорь Грабарь, Николай Тархов, Станислав Жуковский и Николай БогдановБельский. Обладая виртуозной техникой рисунка и великолепным композиционным даром, Виноградов создавал произведения, способные легко конкурировать с работами своих знаменитых учителей — Василия Поленова и Владимира Маковского. Именно благодаря своему крепкому рисунку художник мастерски сохранял форму и при наличии меньшей условности достигал блестящего импрессионистического эффекта. Совместно с Коровиным, а также Абрамом Архиповым, Константином Юоном и Аркадием Рыловым Виноградов стал одним из основателей и активных деятелей художественного объединения «Союз русских художников». Это сообщество, последовательно развивая линию русского импрессионизма, не просто внесло серьезный вклад в российскую художественную жизнь, но и в значительной мере определило пути дальнейшего развития современной реалистической живописи, отголоски которой отчетливо наблюдаются в лучших образцах советского послевоенного искусства. Представленная на настоящих торгах картина «Приусадебный пруд» написана, по всей видимости, в 1920–1923 годах и является ярким примером «пограничного» творчества художника. В 1923 году Виноградов навсегда покидает Россию и обосновывается в Латвии. Латгальские пейзажи на первый взгляд являются более жесткими по своей живописной пластике, мазок становится более отрывистым. Не изменилась лишь палитра. Пропитанные солнечным светом радостные полотна мастера все так же радовали взгляд и приводили в изумление публику. Блестящая проработка тончайших оттенков зеленого и синего и отраженных бликов на поверхности пруда, мастерское противопоставление света и тени на стенах дома и поразительное ощущение летнего теплого воздуха еще раз подтверждают статус данной работы как архетипного произведения в творчестве Виноградова. S. Vinogradov, Summer Landscape. Zofino. Latgale, 1936 ( 92 ) Sergei Vinogradov is undoubtedly in the front ranks of such luminaries of the Russian Impressionism, as the brilliant Konstantin Korovin, Igor Grabar, Nikolai Tarkhov, Stanislav Zhukovsky and Nikolai Bogdanov-Belsky. A virtuoso draughtsman endowed with a wonderful gift for composition, Vinogradov created works that were easily able to compete with those of his famous teachers, Vasily Polenov and Vladimir Makovsky. It was his strength in draughtsmanship that enabled the artist to preserve form in a masterly way and still achieve a brilliant impressionistic effect whilst making less use of the conventional idiom. Together with Abram Arkhipov, Konstantin Yuon, Arkady Rylov and Konstantin Korovin, Sergei Vinogradov was one of the founders of the Union of Russian Artists and an active figure in the association. This community, by consistently developing the path of Russian Impressionism, greatly contributed to Russia’s artistic life. It also determined, to a significant extent, the development of contemporary realist painting, of which we can detect distinct echoes in the best examples of Soviet art from the post-war period. Pond by the Manor House, presently at auction, was in all likelihood painted in the years 1920–1923 and is a striking example of the artist’s frontier creative work. In 1923 Vinogradov was to leave Russia forever and base himself in Latvia. His Latgalian landscapes are typically painted with more abrupt brushstrokes and appear slightly harsher, than the artist’s Russian works. It is only the palette that has not changed. The master’s joyous canvasses bathed in sunlight continued to delight and amaze the eyes of the public in the way they had before his emigration. A brilliant study of the most subtle shades of green and blue and reflected glare on the surface of a pond, a masterly juxtaposition of light and shadow on the walls of the house and a striking sense of warm summer air once again showcase Vinogradov’s mastery as a Russian Impressionist painter. S. Vinogradov, Autumn Landscape in Rodopol. Latgale, 1930 S. Vinogradov, Bridge in the Forest, Latgale, 1935 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 93 ) * 55. Grabar, Igor (1871–1960) Still Life With Apples and a Black Shawl, signed and indistinctly dated 190?. Oil on canvas, 63 by 63.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert I. Geraschenko. Authenticity has also been confirmed by the expert S. Podstanitsky. Authenticity has also been confirmed by the expert T. Ermakova. £180,000–250,000 Представленный на торги «Натюрморт с яблоками и черной шалью» Игоря Грабаря является блестящим образцом жанра, получившего активное развитие в творчестве художника в начале 1900-х годов. Интерес к натюрмортному жанру появился у Грабаря еще во время преподавания в Мюнхене в школе Антона Ашбе, где художник ввел для своих учеников задание писать натюрморт для развития чувства формы и цвета. В «Натюрморте с яблоками и черной шалью» отразились все основные стилистические особенности, свойственные творчеству Грабаря начала 1900-х годов. Художник уделяет особое внимание аранжировке натюрморта, умело совмещая используемые материалы и цвета. В картине также ярко проявилось мастерство Грабаря в построении фактуры. Это ощущается в осязаемости и объемности спелых фруктов на переднем плане; тонкости в изображении бликов и отражений на фарфоре и серебре; прозрачности хрусталя, видимого на заднем плане; уютной тяжести черной шали, разложенной на деревянном столе и эффектно контрастирующей с лежащими на ней фруктами и посудой. Характерным элементом данной работы, заметным в большинстве натюрмортов этого периода, является использование Грабарем I. Grabar, Still Life with a Samovar, 1915 ( 94 ) традиционного голландского бело-синего фаянса. Таким образом художник проводит параллель с виденными им незадолго до этого за границей и глубоко поразившими его воображение образцами европейской живописи, а именно голландскими натюрмортами XVII века. Однако совершенно ясно, что представленная работа демонстрирует иную, современную трактовку жанра, вобравшую в себя лучшее от достижений русского натюрморта и в то же время основывающуюся в определенной степени на импрессионистических тенденциях, которые к тому времени уже начали находить отражение в творчестве художника. В данном случае импрессионистическая манера заметна в использовании художником мелкого пастозного мазка, а также в ярко выраженном диагональном построении композиции. «Натюрморт с яблоками и черной шалью» можно, без сомнения, отнести к одной из наиболее выразительных и значимых натюрмортных композиций, созданных Игорем Грабарем в начале 1900-х годов. Натюрморты этого периода украшают собрания Государственного Русского музея, Государственной Третьяковской галереи, а также крупные частные коллекции. Одновременно с этим представленная работа является тонким отражением быта дворянской усадьбы, в которой прослеживается присущая тому времени ностальгия по уходящему веку и желание запечатлеть со всей глубиной чувства его неповторимую, ускользающую атмосферу. I. Grabar, Apples, 1916, The A. Kasteev State Museum of Arts of the Republic of Kazakhstan, Almaty www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 95 ) Igor Grabar’s Still Life with Apples and a Black Shawl is a brilliant example of a genre that preoccupied him during the first few years after 1900. Grabar first developed an interest in still life when he was teaching at Anton Ažbe’s school in Munich. There, he made the drawing of still life an integral part of his coursework, believing it would help his students enhance their sense of form and colour. Still Life with Apples and a Black Shawl reflects all the main stylistic features of Grabar’s oeuvre of the early 1900s. The artist is particularly meticulous about the arrangement of the components of his still life, skilfully combining materials and colours. This work is a striking example of his masterful handling of the various textures, which comes through in the palpable plumpness of the ripe fruit in the foreground; the delicacy with which he portrays the highlights and reflections on the china and silver; the transparency of the crystal visible in the background; the homely feel of the heavy black shawl slung over the wooden table, contrasting to great effect with the crockery and fruit arranged upon it. artist’s way of drawing parallels with the images he had seen in European painting on a recent trip abroad — in this case, with the 17th century Dutch still lifes. It is quite clear, however, that this picture represents a different, modern interpretation of the genre. This interpretation, on the one hand, embraced the most progressive developments in Russian still life painting; but, on the other, was based to a certain extent on the principles of Impressionism, which Grabar had begun to incorporate in his art at that time. Here, an Impressionist influence is recognisable in the artist’s use of fine impasto brushstrokes and in the strikingly pronounced diagonal structure of the composition. Still Life with Apples and a Black Shawl is indisputably among the most expressive and important still life compositions created by Igor Grabar in the early 1900s. Still lifes from this period grace the collections of the State Russian Museum and the State Tretyakov Gallery and can also be found in major private collections. This work is a delicate, perceptive reflection of the way of life of a manor house of the Russian gentry, exuding nostalgia for the passing era, so typical of that time, and striving to capture the finest nuances of its unique atmosphere, about to vanish forever. This work also exhibits a feature very typical of Grabar’s still lifes of that period, namely the use of traditional Dutch blue and white china. This is the I. Grabar, Peaches on the Piano, 1910s ( 96 ) www.MacDougallauction.com Russian Art Auction § 56. Bogdanov-Belsky, Nikolai (1868–1945) The Teacher’s Name Day, signed. Oil on canvas, 108.5 by 136.5 cm. Provenance: Russian Sale, Christie’s, 18 December 1996, lot 121. Collection of Gordon P. Getty, American investor, philanthropist and composer. Russian Art I, Sotheby’s New York, 15 April 2008, lot 105. Acquired at the above sale by the present owner. Related literature: For other versions of the present lot, see exhibition catalogue, The 39th Exhibition of the Society for Itinerant Art Exhibitions, Moscow, 1911, p. 4. Iskry. Illustrated Arts and Humour Magazine, No. 1, 1913, p. 4. N. Lapidus, Bogdanov-Belsky, Moscow, Belyi gorod, 2005, p. 31. The work will be included in the forthcoming monograph on Bogdanov-Belsky being prepared by A. Kuznetsov. £100,000–150,000 Предлагаемый на торги холст «Именины учительницы» представляет собой вариант знаменитой картины Николая Богданова-Бельского с тем же названием, ныне известной только по воспроизведениям и считающейся утраченной. Идея композиции «Именин» впервые возникла у художника в 1908 году в Вышневолочковском уезде Тверской губернии. Здесь, в березовых рощах, на берегах глубоких первозданных озер, Богданов-Бельский проводил лето и работал вместе со своими товарищами-художниками Константином Коровиным, Станиславом Жуковским, Витольдом Бялыницким-Бируля и другими. Двадцать лет спустя он с ностальгией вспоминал те дни молодости: «Наше сожительство напоминало братство… все довольствовались самой простой, но сытной пищей. Ранним утром, в шесть утра я уходил с этюдником в лес и работал. А вечером — душевный разговор, сердечный, откровенный, ни тени ханжества. Царили радость и благожелательность. Кипела и работа». В один из таких летних дней 1908 года художник посетил селение Островно в имении помещика Ушакова, где он написал эскиз картины «В гостях у учительницы», ныне хранящийся в Государственном художественном музее Латвии. А два года спустя на основе этой работы Богданов-Бельский создал большое полотно «Именины учительницы». С успехом экспонировавшееся на международных выставках 1911 года в Риме и Мюнхене — оно вскоре было приобретено любителем и коллекционером живописи из Лондона, покинуло пределы России, и его след затерялся. Однако в последующие годы художник неоднократно возвращался по просьбе заказчиков к столь полюбившемуся сюжету. Один из наиболее известных вариантов знаменитой картины MacDougall’s с гордостью представляют на аукцион. Написанная по итогам поездки во Францию картина «Именины учительницы» стала этапным произведением в творчестве художника. Непосредственное знакомство с искусством импрессионистов — Огюста Ренуара, Камиля Писсарро, Эдуарда Мане и других современников — существенно повлияло на живописные приемы Богданова-Бельского. Сохраняя приоритет темы счастливого сельского детства, художник наполняет свои картины движением света, солнца и воздуха. Его все больше увлекают новые задачи световых и красочных построений. На смену «музейному» коричневому тону ранних работ приходят чистые, не смешанные и оттого живые, яркие, вибрирующие краски. Обаятельная жанровая сцена в саду окутана солнечными лучами. Проcачиваясь сквозь листву, свет бликами ложится на стол, на загорелые лица детей, искрится в стеклах чайных стаканов и на стоящем возле учительницы самоваре. Живописец любовно выписал фигуры сельских школьников и молодой женщины, увлеченной общением со своими воспитанниками. Nikolai Bogdanov-Belsky’s The Teacher’s Name Day is a version of his celebrated eponymous work, thought to be lost and now known only from reproductions. The idea for the composition came to the artist in 1908, in Tver province. Here, Bogdanov-Belsky spent the summer in birch groves on the shores of deep, primeval lakes, working with his fellow-artists Konstantin Korovin, Stanislav Zhukovsky, Vitold Bilianitsky-Birulia and others. Twenty years later he fondly recalled those days of his youth: “We were like brothers… we were all happy with the plainest food, as long as it was filling. I would leave early in the morning, at six o’clock, with my sketching equipment and go into the forest to work. In the evenings our conversation was sincere, heartfelt, open, with no trace of guile. Joy and goodwill reigned. And the work went well too.” It was on one of those summer days in 1908 that the artist visited the settlement of Ostrovno, on the estate of the wealthy landowner Ushakov, where he did a study for the picture Visiting the Teacher, which is now in the State Art Museum of Latvia. Two years later, based on this sketch, Bogdanov-Belsky created the large canvas The Teacher’s Name Day. After showing successfully at international exhibitions in 1911 in both Paris and Munich, it was acquired by a London-based art-lover and collector and left Russian shores. The trail then goes cold. However, the artist painted in the years that followed several variations of the much-loved scene at the request of his many patrons. The work offered here for auction is one of the best-known versions. Painted following a trip to France, The Teacher’s Name Day became a landmark work in Bogdanov-Belsky’s oeuvre. His firsthand knowledge of the work of the Impressionists — Renoir, Pissarro, Manet and other contemporaries — had a substantial influence on his technique. Keeping the subject matter of happy, rural childhood as his principal theme, the artist fills his pictures with the movement of light, sunshine and air, becoming more and more excited by the new challenges of combining light and colour. Instead of the “museum-piece” brown tones of his early work, his colours are now pure, un-mixed and thus vivid, vibrating with life. This charming scene in the garden is bathed in sunlight. It seeps through the leaves, falling in patches on the table, on the tanned faces of the children, sparkling in the tea glasses and on the sides of the samovar by the teacher. The artist lovingly paints the rural school-children and the young woman revelling in the company of her pupils. The Teacher’s Name Day is undoubtedly a work of museum quality and worthy of a place in even the most refined of collections. «Именины учительницы» имеет поистине музейное значение и способна занять достойное место в самом изысканном собрании. ( 98 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 99 ) * 57. Kuznetsov, Pavel (1878–1968) Still Life with Flowers in a Clay Pot. Oil on canvas, 65.5 by 54.5 cm. Executed in the late 1930s–early 1940s. Provenance: Collection of the artist (inscription on the reverse). Collection of Solomon Shuster, St Petersburg (inscription on the stretcher). Authenticity of the work has been confirmed the expert V. Petrov. Authenticity has also been confirmed by the expert I. Geraschenko. Authenticity has also been confirmed by the expert T. Ermakova. £80,000–120,000 P. Kuznetsov, Still Life. Fruits, 1926 ( 100 ) P. Kuznetsov, Still Life with Pink Roses P. Kuznetsov, Still Life with Vegetables, 1947 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 101 ) * 58. Lentulov, Aristarkh (1882–1943) Still Life with Cakes and Fruit. Oil on canvas, 78 by 110.5 cm. Executed in the late 1930s. Authenticity of the work has been confirmed by the experts A. Lyubimova and L. Shakirova. Authenticity certificate from the expert Yu. Rybakova. £200,000–300,000 Представленный на торги «Натюрморт с пирожными и фруктами» Аристарха Лентулова, датируемый 1930-ми годами, относится к позднему периоду творчества художника, характеризуемому очевидным изменением его живописной манеры, в известной мере обусловленным его желанием приобщиться к официально поддерживаемому реалистическому направлению в искусстве. Далеко позади остаются радикальные эксперименты с цветом и пластической формой, принесшие Лентулову славу в 1910-е годы — период расцвета легендарного творческого объединения «Бубновый валет». Произведения зрелого периода художника отличает особая теплота и утонченность, которых он добивается при помощи определенной сдержанности живописных средств и менее контрастной, приглушенной цветовой палитры, однако с неизменным сохранением размашистой, почти стихийной манеры письма. В «Натюрморте с пирожными и фруктами» очевидно начавшееся в 1930-х годах изменение самого взгляда художника на натуру, представляющую отныне самостоятельную ценность и не подвергаемую деформациям. В стремлении к фигуративности Лентулов реабилитирует такие ценности классического искусства, как светотень, пространственные планы, световоздушную среду. Доминирующими становятся фиолетовый, различные оттенки зеленого, красно-коричневый и оранжевый, а композиционное построение отличает «скученность» предметов, выложенных горкой и демонстрирующих нарочитое изобилие скромной еды. При поэтической одухотворенности, спокойствии средств и умеренности колорита фактура живописной поверхности неумолимо демонстрирует поразительное лентуловское владение кистью. Даже после перехода в поле повседневности и конкретности натюрмортной живописи работы Лентулова 1930-х годов, одним из ярких примеров которых является представленный в каталоге натюрморт, все так же отличают богатство и полнозвучность образа, столь родственные эстетике «Бубнового валета». A. Lentulov, Still Life with Pumpkin, 1934 ( 102 ) Aristarkh Lentulov’s Still Life with Cakes and Fruit, executed in the 1930s, is from a late period in the artist’s career that was characterised by an obvious change in his manner of painting, prompted by his desire to join the officially supported realist movement. Left far behind are the artist’s radical experiments with colour and texture that brought him fame in the second decade of the century, a period that saw the blossoming of the legendary artistic group the Jack of Diamonds. A particular warmth and refinement marks out the work of his mature period. Lentulov achieves this by applying a certain restraint to his painting, and replacing a palette of contrasting colours with one based on toned down, muted hues. Nonetheless, his artistic manner — sweeping, seemingly spontaneous — remains intact. The painting offered for sale is testament to the change in Lentulov’s view on still life, which for him evolved into a valuable subject in its own right, one not to be distorted in its artistic representation. In striving to be figurative, Lentulov reinstates classic painterly values, such as chiaroscuro, spatial planes, light and aerial perspective. The predominant shades are now violet, various greens, red-brown and orange, and the composition is marked by the crowding together of objects laid out in a pile, in a deliberate display of the abundance of plain fare. The texture of the painted surface in this poetically spiritual, placid and colouristically restrained work demonstrates the striking mastery of Lentulov’s technique. Even after he had made the transition to the everyday, nuts-and-bolts world of still-life painting, Lentulov’s work of the 1930s is still distinguished by a rich, resonant imagery that shows great affinity with the Jack of Diamonds aesthetic. This is exemplified brilliantly by the still life offered in this catalogue. A. Lentulov, Potted Plants on Green Background A. Lentulov, Still Life. Vegetables, 1939 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 103 ) § 59. Férat, Serge (1881–1958) 60. Shevchenko, Alexander (1883–1948) Design for the Tapestry “Les travaux des champs”. Two Women in the Park, signed with initials and dated 1920. Pencil, oil and gouache on paper, laid on canvas, 82.5 by 59.5 cm. Oil on cardboard, laid on cardboard, 32 by 30.5 cm. Executed c. 1949. Provenance: Private collection, Europe. The present lot is a design for one of the three tapestries, commissioned to Férat by the General Administration of the National Manufacturers of Furniture and Tapestries of France in 1953–1954, executed at the Beauvais factory in 1953. Authenticity of the work has been confirmed by the experts E. Tolstaya and A. Kiseleva. Provenance: Bequest from the artist to Haba Roussot, 1958. Collection of the above, until 2001. Thence by descent. Hommage à Serge Férat, collection Haba et Alban Roussot, Artcurial, Hôtel Dassault, Paris, 22 October 2007, lot 703. £35,000–40,000 Literature: J. Warnod, Serge Férat. Un cubiste russe à Paris, Paris, Conti, 2010, p. 121, illustrated and listed. £20,000–30,000 ( 104 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 105 ) Lots 61–67. Important Collection of Works by Kirill Zdanevich У никальная коллекция графики знаменитого художника-футуриста Кирилла Зданевича включает семь листов и охватывает самый интересный и плодотворный период его творчества — с 1914 по 1924 год. К 1914 году, которым датируется самая ранняя из представленных композиций, Зданевич уже успел бросить Императорскую Академию художеств ради учебы в парижской Школе изящных искусств, поучаствовать в легендарном объединении «Ослиный хвост», стать одним из авторов теоретической концепции «всёчества», проникнуться идеями кубофутуризма и полностью погрузиться в пучину авангардного формотворчества. Вместе с братом Ильей он участвует в выпуске футуристических манифестов, иллюстрирует издания Алексея Крученых, Владимира Маяковского и других поэтов-футуристов. После вынужденного перерыва в художественной деятельности во время Первой мировой войны Зданевич вместе с братом переезжает в Тифлис, ставший в первые послереволюционные годы новым центром футуристического эксперимента. Здесь они отказываются от разработки общественно-политических идей и сосредотачиваются на последовательном проведении в жизнь наиболее радикальных эстетических концепций футуризма. В силу разных обстоятельств одновременно со Зданевичами в Тифлисе оказываются отец московского футуризма Крученых и поэт Игорь Терентьев, ставшие главными вдохновителями тифлисских футуристических объединений. В 1917 году художники и поэты объединяются в «Синдикат футуристов», а год спустя компания реорганизуется в группу «41º» в составе ветеранов русского футуризма — Крученых, Терентьева и Зданевичей. Группа «41º», название которой возникло благодаря географическому местоположению Тифлиса на 41° северной широты, оказалось едва ли не самым леворадикальным объединением не только русского, но и мирового авангарда. Рядом могут встать разве что дадаисты, реализовавшие аналогичные идеи, но в ином масштабе и на более обширном пространстве. В «Манифесте», опубликованном в газете «41°» (вышел всего один ее номер), заявлялось, что основной задачей объединения является утверждение заумного языка в качестве «обязательной формы воплощения искусства». В это время Крученых разрабатывал теорию экономной поэзии. Создавая в своих «гектографических книгах» параллели между крайними формами литературной зауми и визуальными открытиями беспредметности, он занимался исследованием знака как универсального и конечного образа. Именно поэтому при издании произведений «41°» особое внимание уделялось положению знака на странице и приему коллажа, выполненные вручную образцы которых можно увидеть в подборке произведений Зданевича этого времени. Участники группы «41°» не только активно публиковались, но и устраивали вечера, встречи и дискуссии в одном из артистических кафе Тифлиса, носившем имя «Фантастический кабачок» и ставшем площадкой для выступлений многочисленных художников и художественных групп. Над оформлением афиш таких литературных диспутов и лекций, проходивших не только в Тифлисе, но и в Баку, Батуми и других городах, нередко трудился и Кирилл Зданевич, о чем свидетельствуют представленные в коллекции выполненные в разных техниках эскизы. Идеи соединения плоскостей и пространств, «прорезания» материи как следствие магнетического действия природы на художественное сознание были органично присущи русскому футуризму. Стихия метаморфоз вдохновляет и Кирилла Зданевича. В его графических композициях конца 1910-х годов возникают сложные цветные образы с невероятной геометрической пластикой. Обведенные черным контуром, они словно прорезают бумажное поле, создавая иллюзию пространственных выступов и глубин. В это же время Зданевич создает серию геометрических композиций для литографирования — зрительный эквивалент поэтических экспериментов своего брата Ильи, Алексея Крученых и Василия Каменского. Об этих листах не скажешь, что они рисунки. Это — происходящее под действием нарастающей авангардной геометрической динамики переформирование материи. С отъездом в 1920-х годах Ильи Зданевича в Константинополь, а затем в Париж группа распадается, и оставшийся в Тифлисе Кирилл Зданевич оказывается вынужден искать новое применение своим талантам. В начале 1920-х годов он открывает для себя сферу творчества, отчасти уже знакомую по дореволюционным московским годам жизни, но теперь полностью поглощающую его силы. По приглашению знаменитого режиссера Константина Марджанова (Марджанишвили) он выступает в роли сценографа авангардных спектаклей Грузинского драматического театра имени Руставели. В 1924 году Марджанов, не удовлетворенный возможностями воздействия на массового зрителя выразительными средствами театра, обратился к искусству кино и вновь привлек Зданевича к оформлению своей первой кинопостановки. Ею стала полнометражная картина «Накануне грозы» («Буревестник»), в основе которой лежал историко-революционный сюжет. Фильм был снят на средства Наркомсобеса в помощь голодающим, но подвергся резкой критике современников и не дошел до наших дней. Поэтому сохранившийся и предлагаемый на торги эскиз Зданевича является одним из немногих свидетельств работы художника в кино 1920-х годов. T his unique collection consists of seven works on paper by the outstanding Futurist artist Kirill Zdanevich, encompassing his most interesting and fruitful period, from 1914 to 1924. By 1914, the year Zdanevich executed the earliest of these compositions, he had already quit the Imperial Academy of Arts to pursue his studies at the École des Beaux Arts in Paris, taken part in the legendary Donkey’s Tail (Oslinyi khvost) art group, co-authored the theoretical concept of “everythingness”, absorbed the ideas of Cubo-Futurism and immersed himself in the artistic melting pot of the avant-garde. Zdanevich worked alongside his brother Ilya on Futurist manifestos and illustrated the works of Alexei Kruchenykh, Vladimir Mayakovsky and other Futurist poets. After a forced interruption of their artistic activity during World War I, the Zdanevich brothers moved to the capital of Georgia, Tiflis, which in the first post-revolutionary years emerged as a new centre of Futurist experimentation. The brothers renounced socio-political theorising and focused on consistent implementation of the most radical aesthetic concepts of Futurism. Kruchenykh, the so-called father of the Futurist movement, and the poet Igor Terentyev, who also happened to be in Tiflis at that time, became the masterminds of the city’s Futurist groupings. In 1917, the progressive artists and poets of Tiflis formed the Syndicate of Futurists and then, a year later, reorganised themselves as the 41° group, which united the veterans of Russian Futurism: Kruchenykh, Terentyev and the Zdanevich brothers. The group, which took its name from the position of Tiflis at 41° northern latitude, became one of the most radical-leftist unions of the Russian and international avant-garde. Only the Dadaists, who implemented similar ideas, but on a different scale and across a wider space, bear comparison with the 41° group. A manifesto published in the newspaper 41° (only one issue of which ever appeared) stated the main objective of the group to be the affirmation of abstruse (zaumnyi) language as “the compulsory form for the realisation of art”. At this time, Kruchenykh developed the theory of economical poetry. Creating parallels in his hectographical books between extreme forms of literary zaum and the visual discoveries of objectlessness (bespredmetnost), he studied the sign as a universal and final image. Hence the focus, in publications by the 41° group, on the position of the sign on the page and the use of collage. Handmade works in this spirit can be found in Zdanevich’s art from this time. In addition to their publishing activities, the 41° group members held evenings, meetings and discussions in a Tiflis art café, the Fantastic Tavern, which was a favoured venue for performances by various artists and artistic groups. Kirill Zdanevich often designed posters for such artistic debates and lectures, which were held not only in Tiflis, but also in Baku, Batumi and other cities of Transcaucasia. The sketches in various media that are included in the collection were created for this purpose. The ideas of connections between planes and spaces, “cutting through” matter by the magnetic action of nature on the artistic consciousness were an inherent part of Russian Futurism. This metamorphosis inspired Kirill Zdanevich. His graphic compositions of the late 1910s present complex colour images with astonishing geometric plasticity. Their black outlines seem to make incisions in the paper, creating the illusion of spatial protrusions and indentations. At the same time, Zdanevich created a series of geometric compositions for lithography — the visual equivalent of the poetic experiments of his brother Ilya, Alexei Kruchenykh and Vasily Kamensky. These works do not resemble drawings at all. Rather, they seem to reshape matter, driven by an ever more powerful avant-garde geometry. The departure of Ilya Zdanevich in 1920, first to Constantinople and then to Paris, split the 41° group. Kirill Zdanevich, who remained in Tiflis, had to find a new use for his talents. In the early 1920s, he rediscovered a field that he had known fleetingly during his pre-revolutionary years in Moscow, and in which he now fully immersed himself. Responding to the invitation of the director Konstantin Mardzhanov, Zdanevich worked as set designer for the avant-garde performances at Georgia’s Rustaveli Theatre of Drama. In 1924 Mardzhanov, dissatisfied with the limited impact of theatre on a mass audience, turned to cinema and called on Zdanevich to design his first cinematic project, a full-length film entitled The Petrels or Before the Storm (Burevestniki or Nakanune grozy). The film told a historical-revolutionary story and was funded by the People’s Commissariat for Social Welfare, with the proceeds to be used for famine relief. However, it was harshly criticised, and no copies have survived. The sketch by Zdanevich in this collection is one of the few remaining examples of the artist’s cinematic work of the 1920s. In their manifesto, the 41° group issued a challenge “to put the world on a new axis” and the “astro-geological” actions of their programme included a “battle with the Equator” and “battle of the Futurist (budetlyanin) with the Ocean”. This notion of victory through strife was also expressed in many works by Kirill Zdanevich. В манифесте группы выдвигалась задача «надеть мир на новую ось», а в ряду «астрально-геологических» действий их программы намечались «битва с экватором» и «битва будетлянина с Океаном». Эта идея преодоления выражена и во многих работах Кирилла Зданевича. ( 106 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 107 ) * 61. ( 108 ) * 62. Zdanevich, Kirill (1892–1969) Zdanevich, Kirill (1892–1969) Dispute. Futurists on Poetry, on Painting..., signed. 41° or ... Futurists’ Syndicate, signed. Ink and collage with paper on paper, laid on card, 52.5 by 36 cm. Ink and collage with paper on paper, laid on card, 52 by 36 cm. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. £25,000–40,000 £25,000–40,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 109 ) * 63. * 64. Zdanevich, Kirill (1892–1969) Zdanevich, Kirill (1892–1969) Set Design for the Film “Burevestniki”, signed, inscribed in Cyrillic “Nakanune” and dated “19 24/III 24”. Futurism, signed with initials. Pencil, ink, watercolour and gouache on paper, laid on card, 33 by 49 cm (card size). Pencil, ink and tempera on paper, laid on paper, 51 by 39.5 cm. The present lot is from the series of set and costume designs by Zdanevich for the 1924 film Burevestniki or Nakanune grozy, directed by Shalva Dadiani and Konstantin Mardzhanov, and premiered on 3 August 1924 in Tbilisi and on 28 January 1925 in Moscow. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. £10,000–15,000 £20,000–30,000 ( 110 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 111 ) * 66. Zdanevich, Kirill (1892–1969) Futurist. Syndicate, signed with initials. Pencil, ink and tempera on paper, laid on paper, 51 by 39 cm. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. £10,000–15,000 * 65. ( 112 ) * 67. Zdanevich, Kirill (1892–1969) Zdanevich, Kirill (1892–1969) Futurists. Syndicate. 41°, signed and inscribed in Cyrillic Futurist Composition, signed, inscribed “Paris” with a signed dedication. Pencil, ink and tempera on paper, laid on paper, 52 by 35.5 cm. and dated twice “21 fev 14 g.” and “1914 god”. Pencil and ink on paper, 34 by 26.5 cm. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. Provenance: Acquired directly from the artist’s family by the present owners in Tbilisi, 1950s–1960s. Important private collection, New York. £10,000–15,000 £6,000–9,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 113 ) § 68. Dobuzhinsky, Mstislav (1875–1957) 69. Petrov-Vodkin, Kuzma (1878–1939) Crying Baby, signed, titled in Cyrillic and numbered “VIII”, further A Collection of Set and Costume Designs for Les Ballets Ruth Sorel, Accompanied by Photoengraved Plates, Photo Prints and Repertoire Brochures, 48 pieces, nine designs signed, one double-sided, some inscribed “Slyozy” and dated 1927 on the reverse. Pencil, ink and watercolour on paper, 23 by 16.5 cm (paper size). inscribed, titled, numbered, seven dated 1949, and one 1933 and 1948. Costume designs: 17 pencil, watercolour and gouache, some heightened with gold, on paper; and two chalk, crayon and gouache on paper, the largest measuring 30.5 cm by 23 cm and the smallest 33.5 by 17.5 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert E. Zhukova. Five repertoire brochures, one from 1949 and four from c. 1955 seasons, include reproductions of the Dobuzhinsky costume designs, with accompanying photoengraved plates and photo prints, matching some of the illustrations. £18,000–25,000 £10,000–15,000 ( 114 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 115 ) 71. Paul Mak (Ivanov, Pavel) (1891–1967) Fireworks in Tehran on the Night of Accession to the Throne of Reza Shah Pahlavi, signed, inscribed “Teheran” [sic] and dated 1925, also further inscribed “Téhéran, le soir de l’avènement de Réza Shah Pahlévi./15 Décembre 1925.” on the mount board. Pencil, ink and gouache on paper, laid on cardboard, 44.5 by 28.5 cm (paper size). 72. Latri, Mikhail (1875–1942) BÉziers, stamped with the artist’s studio stamp, also further stamped on the reverse. Pencil and watercolour on paper, 25 by 26 cm. £1,500–3,000 £5,000–7,000 70. Kliun, Ivan (1873–1943) 73. Latri, Mikhail (1875–1942) A Collection of Landscapes, Compositions and Sketches, 20 works, Oriental Scene, stamped with the artist’s studio 16 signed, some inscribed in Cyrillic, titled or dated, some also further signed, inscribed, titled, numbered or dated on the reverse; one also further signed, titled and dated on the mount card. Nineteen pencil and watercolour, some with gouache, ink or charcoal, on paper; and one pencil, ink and oil on paper, the largest measuring 43.5 by 31 cm and the smallest 14 by 11.5 cm. stamp and with a sketch of a composition, also further with a sketch on the reverse. Pencil and watercolour on paper, 21 by 13.5 cm. £1,000–2,000 Provenance: Acquired from the estate of the artist by a previous owner, in 1956 (letters from S. Kliunkova-Soloveichik, the artist’s granddaughter). Private collection, Israel. Acquired from the above by a previous owner, in 2006. Thence by descent. Private collection, Germany. £30,000–40,000 ( 116 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 117 ) 77. Kukryniksy (ACTIVE 1924–1980s) Designs for the Posters “Okno TASS No. 640. Prevrashchenie fritsev” and “Okno TASS No. 1109. Krylovskaya martyshka o Gebbelse”, two works, each signed. Each pencil, charcoal, ink, watercolour and gouache on paper, laid on cardboard, measuring 50 by 42.5 cm. Related literature: For printed versions of the posters, see Okno Tass No. 640. Prevrashchenie “fritsev”, Moscow, TASS, 1942. Okno Tass No. 1109. Krylovskaya martyshka o Gebbelse, Moscow, TASS, 1944. 74. Apsit, Alexander (1880–1944) 75. Bathers, signed and dated 1929, also further signed, inscribed £3,000–5,000 Sorine, Savely (1878–1953) A Book of Portraits, including Anna Pavlova, Prince and Princess Obolensky and the Queen Consort Elizabeth Bowes-Lyon, Avant-propos by AndrÉ Salmon, Berlin, Edition Ganymed, 1929. in Cyrillic “risunok sobstvennost/Khudozhnika” and titled on the reverse. Pencil, ink and watercolour on paper, laid on cardboard, 20 by 16.5 cm. 78. Designs for the Posters “Gryaznoe belyo” and “Damskie mody v Germanii. Zimnii sezon 1941–1942 gg”, two works, each signed. Folio, ten pages text, 36 lithographs, some colour, some signed and dated in plate, with printed tissue guards. The half title inscribed with a signed and dated “February 4th 1932” dedication by the artist. Number 65 from an edition of 300 copies. Provenance: Collection of the artist (inscription on the reverse). Private collection, Latvia. £2,000–3,000 Kukryniksy (ACTIVE 1924–1980s) Each pencil, charcoal, ink, watercolour and gouache on paper, laid on cardboard, measuring 50 by 42.5 cm. Related literature: For printed versions of the posters, see Gryaznoe belyo, Moscow, Isskustvo, 1942. Damskie mody v Germanii. Zimnii sezon 1941–1942 gg, Moscow, Iskusstvo, 1941. Provenance: A gift from the artist to Wright Ludington, New York (inscription on the half title). £3,000–5,000 Kukryniksy is a conflation of the names of three caricaturists, Mikhail Kupriyanov, Porfiri Krylov and Nikolai Sokolov, who were part of a group of eminent Soviet artists and poets, involved between 1941 and 1945 in the work of the media agency TASS, which led the propaganda campaign Okna TASS. The works in the present lot are sketches for the satirical posters produced for Okna TASS. Krylovskaya martyshka o Gebbelse is a satirical take on Ivan Krylov’s famous fable The Mirror and the Monkey, in which the monkey catches sight of its reflection in a mirror and cries out: “I’d hang myself in great dismay/If I were a little bit like that monkey there!” £2,000–3,000 * 76. Grigoriev, Boris (1886–1939) Couple on the Bench. Pencil on paper, 27.5 by 29 cm. Executed in the early 1920s. Provenance: Collection of Amir Tamiroff, a renowned Hollywood actor, since the early 1920s. A gift from the above to the mother of the present owner, a close friend of the Tamiroffs, Hollywood, 1970s. Thence by descent, from 2009. Private collection, USA. £4,000–8,000 ( 118 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 119 ) * 81. Fedorovsky, Fedor (1883–1955) Costume Design, variously inscribed in Cyrillic. Pencil and gouache, heightened with gold, on paper, 69 by 52 cm. Fedorovsky, Fedor (1883–1955) Tsar Dodon, Costume Design for the N. Rimsky-Korsakov Opera “The Golden Cockerel”, signed, inscribed in Cyrillic, Provenance: Important private collection, Europe. titled and dated 1932 on the reverse. Pencil and gouache, heightened with gold, on paper, 65 by 51.5 cm. Authenticity of the work has been confirmed by the artist’s grandson (inscribed twice on the reverse). Provenance: Important private collection, Europe. £4,000–6,000 £4,000–6,000 * 79. * 82. Muratov, Nikolai (1908–1992) Illustrations for A. Tolstoy’s “Zolotoi klyuchik, ili Priklyucheniya Buratino”, twenty-three works, ten signed and dated 1949, two numbered, some also further signed, inscribed in Cyrillic and dated 1949 or 1950, one with a sketch, on the reverse; one further inscribed on the backing paper. Each ink, some with pencil and some heightened with white, on paper, the largest measuring 30 by 21 cm, and the smallest 12 by 23 cm. The present lot is from a set of illustrations created by Nikolai Muratov for the 1950 edition of Alexei Tolstoy’s fairy tale Zolotoi klyuchik, ili Priklyucheniya Buratino. Provenance: Acquired directly from artist’s family by the present owner. Private collection, USA. Related literature: For the published illustrations, see A. Tolstoy, Zolotoi klyuchik, ili Prikliucheniya Buratino, Leningrad, Lenizdat, 1950. £3,000–5,000 Fedorovsky, Fedor (1883–1955) Costume Designs for the I. Dzerzhinsky Opera “Quiet Flows the Don”, variously inscribed in Cyrillic and numbered “N 2”. Pencil, watercolour and gouache on paper, 61.5 by 93 cm. The present lot is from the series of set and costume designs, created by Fedorovsky, the chief artist of the Bolshoi Theatre, Moscow (1929–1953), for the Ivan Dzerzhinsky opera Quiet Flows the Don, staged in 1936 at the Bolshoi. The artist was awarded a Grand Prix at the 1937 International Exhibition in Paris for this series, as well as for his set and costume designs for the A. Borodin opera Prince Igor. Provenance: Important private collection, Europe. * 80. Vereisky, Orest (1915–1993) Still Life with Flowers and Watermelon, signed and dated 1943. Executed in the 1940s. Authenticity of the work has been confirmed by the artist’s grandson (inscription on the reverse). £1,500–3,000 £6,000–9,000 Oil on canvas, laid on board, 62 by 51 cm. ( 120 ) * 83. www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 121 ) * 85. 84. Somov, Konstantin (1869–1939) Spassky, Konstantin (20TH CENTURY) Summer Landscape, signed and dated 1903. Bathing Nude, signed and dated 1917. Oil on panel, 22 by 27 cm. Oil on canvas, 124.5 by 89.5 cm. Provenance: Private collection, Latvia. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity of the work has been confirmed by the expert S. Podstanitsky. Authenticity has also been confirmed by the expert V. Petrov. £25,000–30,000 £30,000–40,000 ( 122 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 123 ) * 86. Gerasimov, Alexander (1881–1963) Corn Field and Ploughed Field, double-sided work, one side signed. Oil on canvas, 50 by 124 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the experts E. Burtseva and I. Geraschenko. Exhibited: Palitra oseni. Liricheskii peizazh v tvorchestve russkikh khudozhnikov XIX–XX vekov, Galereya iskusstv Daev 33, Moscow, October–November 2009. Literature: Exhibition catalogue, Palitra oseni: liricheskii peizazh v tvorchestve russkikh khudozhnikov XIX–XX vekov, Moscow, Galereya iskusstv Daev 33, 2009, illustrated. £80,000–120,000 The present lot as illustrated in the 2009 exhibition catalogue ( 124 ) www.MacDougallauction.com Russian Art Auction A. Gerasimov, Country Road, 1907 MacDougall’s London 2 December 2015 A. Gerasimov, Rye, 1954 ( 125 ) 88. Unknown Artist (18TH–19TH CENTURY) § 89. Benois, Nadia (1896–1975) Portrait of Louis Charles de Bode. Set Design for the G. Mahler Ballet “Dark Elegies”, Watercolour and gouache on ivory, laid on card, 6.5 by 5 cm (oval). indistinctly signed and titled. Gouache on paper, 47 by 63.5 cm. Executed c. 1812. The present lot, a portrait of the Baron Lev Karlovich Bode (1787–1859) or Louis Charles de Bode, was included in the famous exhibition of 2,286 portraits by the Russian artists from the XVIII–XIX centuries, organised by Sergei Diaghilev at the Tauride Palace in St Petersburg in 1905. The inscription “Le Baron Louis Charles de Bode, Colonel du Rt des Chasseurs de la Garde de S.M. l’Empereur de Russie, Aide de camp du Maréchal Prince de Wittgenstein/né le 31. Janvier/1787.” and the number “№ 426” on the verso of the work, possibly date back to the exhibition. Provenance: Collection of the Countess Natalia Sollogub (1851–1915), née Bode-Kolycheva, a granddaughter of the sitter, Moscow, until after 1905. The present lot is a design for the backcloth for the ballet Dark Elegies, set to the song cycle Kindertotenlieder by Gustav Mahler and first presented by Ballet Rambert at the Duchess Theatre in London on 19 February 1937, with set and costume designs by Nadia Benois. Provenance: Private collection, UK. Related literature: For another version of the present lot, see C. Beaumont, Ballet Design. Past and Present, London, The Studio, 1946, p. 130, illustrated. £1,200–1,800 Exhibited: Istoriko-khudozhestvennaya vystavka russkikh portretov, Tauride Palace, St Petersburg, 6 March–26 September 1905. Literature: Russkie portrety XVIII i XIX stoletii. Izdanie Velikogo Knyazya Nikolaya Mikhailovicha, vol. II, issue 3, St Petersburg, Ekspeditsiya zagotovleniya gosudarstvennykh bumag, 1906, p. LXI, illustrated; No. 81, listed. Russkie portrety XVIII i XIX stoletii. Izdanie Velikogo Knyazya Nikolaya Mikhailovicha, vol. II, reprint of the 1909 edition, Moscow, Tri veka istorii, 2000, p. LXI, illustrated; No. 81, listed. £3,000–5,000 87. Harlamoff, Alexei (1840–1925) 90. Female Portrait, signed and dated “31 mai 1922”. Der Moderne Buchschmuck in Russland Edited by Sergei Makovsky, text by N. Radlov, St Petersburg, R. Golicke and A. Willborg, 1914, Oil on canvas, 78.5 by 62.5 cm. text in German, with 137 illustrations, some in colour, and 19 plates, most in colour; illustrations by Alexander Benois, Konstantin Somov, Léon Bakst, Evgeny Lanceray and others. Provenance: Acquired directly from the artist by the parents of the previous owner, Paris. Thence by descent. Private collection, France. Acquired from the above by the present owner. Private collection, Spain. Provenance: Private collection, Europe. £400–600 Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by Dr O. Sugrobova-Roth and Dr E. Lingenauber and it has been entered under number A 31–P into the addendum to their catalogue raisonné of the artist. £20,000–30,000 ( 126 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 127 ) * 91. Unknown Artist (19TH CENTURY) * 92. Sokolov, Petr (1791–1848) Portrait of a Lady. Portrait of Count Lev Sollogub, signed. Pencil, watercolour and gouache, heightened with gold, on card, 19.5 by 16.5 cm (card size). Pencil and watercolour on paper, 20 by 16 cm (paper size). The present lot is a portrait of Count Lev Aleksandrovich Sollogub (1812–1852), a diplomat, brother of the renowned writer Vladimir Sollogub (1813–1882) and acquaintance of Alexander Pushkin, Nikolai Gogol and Mikhail Lermontov. £1,000–2,000 Authenticity of the work has been confirmed by the expert V. Petrov. § 93. £8,000–12,000 Klestova, Irene (1908–1989) Roses, signed. Oil on cardboard, 24 by 19 cm. Provenance: Acquired by the previous owner in France, before 1970. Thence by descent. Private collection, France. £2,000–3,000 § 94. Klestova, Irene (1908–1989) Still Life with a Porcelain Figurine, signed and inscribed “Paris”, also further signed on the reverse. Oil on cardboard, 41 by 33 cm. £3,000–5,000 95. Sapunov, Nikolai (1880–1912) Carnival, signed and indistinctly dated 190?. Oil on canvas, 49.5 by 71.5 cm. Provenance: Private collection, Europe. £60,000–90,000 ( 128 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 129 ) *§ 96. Bogdanov-Belsky, Nikolai (1868–1945) Portrait of Maria Emelianova, signed. Oil on canvas, 133 by 100 cm (oval). Authenticity of the work has been confirmed by the experts A. Kiseleva and I. Geraschenko. The work will be included in the monograph on the artist being prepared by A. Kuznetsov. £80,000–120,000 ( 130 ) Знаменитый русский живописец Николай Богданов-Бельский представлен в настоящем каталоге великолепным полотном «Портрет Марии Емельяновой». Художник эмигрировал в Латвию из послереволюционной России в 1921 году и обосновался в Риге. Его первая персональная выставка в латвийской столице, открывшаяся 8 декабря 1921 года, пользовалась огромной популярностью и привлекла внимание к творчеству художника влиятельных меценатов. Василий Емельянов, владелец крупнейшего в Риге кинотеатра, был среди первых клиентов, заказавших БогдановуБельскому портрет своей жены. Представленный лот является одним из четырех портретов рижской красавицы Марии Емельяновой, выполненных Богдановым-Бельским в 1920–1930-х годах. The renowned Russian painter Nikolai Bogdanov-Belsky is represented here by the magnificent Portrait of Maria Emelianova. Bogdanov-Belsky emigrated to Latvia from post-revolutionary Russia in 1921 and settled in Riga. His first personal exhibition in the Latvian capital, which opened on 8 December 1921, proved to be very popular and attracted the attention of wealthy patrons of the arts. Businessman Vasily Emelianov, the owner of the largest cinema in Riga, was one of the first clients to approach the artist with a commission, to paint a portrait of his wife. The present lot was the first from a series of four portraits of Maria Emelianova, one of the most beautiful women in Riga, that Bogdanov-Belsky executed in the 1920s and 1930s. Продолжая демократическую традицию своего учителя, передвижника Владимира Маковского, художник обогатил отечественную жанровую живопись пластическими находками импрессионистов, привнеся в неe подлинную свежесть и непосредственное видение натуры. Continuing in the democratic tradition of his teacher, the Itinerant painter Vladimir Makovsky, Bogdanov-Belsky modified the Russian tradition of genre painting by adopting textural discoveries pioneered by the Impressionists, introducing into his painting real freshness and visual immediacy. С конца 1910-х – начала 1920-х годов палитра художника освобождается от тeмной умбристой «подкладки», характерной для всей старой академической школы. Его полотна насыщаются чистым цветом, мазок становится свободнее и шире, многочисленные колористические нюансы, обогащeнные естественным ярким освещением, способствуют созданию особого приподнятого настроения. At the end of the 1910s and beginning of the 1920s, the artist abandoned the dark, umbrous “basis” so typical of the old Academic school. His canvasses are saturated with pure colour, his brushwork becomes broader and less constrained, and his many nuances of colour enriched by bright, natural light enable him to create a distinctive, uplifting mood. В это время художник пишет множество портретов, отличающихся высоким мастерством, бытоописательной точностью и проникновенной передачей психологических характеристик. Его модели, как правило, из высшего света. Это российская и европейская интеллигенция, высокопоставленная знать, видные чиновники, люди из мира искусства. At this time the artist painted a large number of superbly executed portraits, distinguished by their accurate portrayal of the subjects and penetrating psychological insight. As a rule, his models are of high social standing: the Russian and European intelligentsia, nobility, prominent public servants and members of the artistic community. Представленный на настоящие торги «Портрет Марии Емельяновой» является пограничной фазой: переходом художника от академической традиции к первым опытам импрессионизма. Салонно-заказной характер работы не умаляет еe великолепных художественных достоинств, определяющих высочайшую планку живописного мастерства Богданова-Бельского, прекрасно владевшего рисунком, принципами построения композиции и обладавшего потрясающе тонким цветоощущением. В ней очевидны отголоски мирискусников, сомовско-кустодиевская трактовка изображаемой модели, определяющая особую поэтическую негу и изысканный куртуазный флeр. This portrait of a young woman belongs to a transitional phase when the artist was moving from an Academic tradition to his first experiments with Impressionism. The commissioned, salon nature of the work does not overshadow its outstanding quality. In it, Bogdanov-Belsky sets the very highest standard in terms of technical skill, fine draughtsmanship, immaculate composition and exceptionally nuanced use of colour. The work evokes the legacy of the World of Art, and is reminiscent of the manner in which Konstantin Somov or Boris Kustodiev portrayed their models, a style underpinned by poetic longing and an air of courtly elegance. N. Bogdanov-Belsky, Portrait of Maria Emelianova, c. 1921–1925 N. Bogdanov-Belsky, Portrait of the Artist’s Wife N. Bogdanov-Belsky, Portrait of a Lady www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 131 ) 97. Kouznetsov, Nikolai (1850–1929) Portrait of Lyudmila, the Artist’s Daughter, signed and dated 1916, also further signed, inscribed in Cyrillic “moya doch/Lyudmila.” and “pastel/Rafayoli”, and dated “1916./18 Sentyabr” on the reverse. Oil and pastel on canvas, 97 by 59 cm. Provenance: Collection of the artist. Thence by descent to Mikhail Tolstoy, the artist’s grandson. Thence by descent. Private collection, Slovenia. Authenticity of the work has been confirmed by the expert V. Petrov. £4,000–6,000 98. Kouznetsov, Nikolai (1850–1929) Portrait of Misha and Portrait of Marusya, two works, each signed with initials, titled in Cyrillic and dated 1891. Each oil on canvasboard, measuring 31.5 by 22.5 cm and 25.5 by 19.5 cm respectively. Two works presented here are the portraits of the artist’s children Mikhail and Maria. Maria Kouznetsova-Benois was a renowned opera singer and a star of the Mariinsky Theatre in St Petersburg. She was one of the most prominent women of Russia’s Silver Age, working with Sergei Diaghilev, Nikolai Rimsky-Korsakov and Richard Strauss, and singing with the famous Feodor Chaliapin. Her first husband was Albert Benois, a son of the artist Albert Nikolaevich Benois. Provenance: Collection of the artist. Thence by descent to Mikhail Tolstoy, the artist’s grandson. Thence by descent. Private collection, Slovenia. Authenticity of the work has been confirmed by the expert V. Petrov. £2,000–3,000 99. Klever, Yuli (1850–1924) Wintry Village, signed and dated 1910. Oil on canvas, 54 by 36 cm. Provenance: Private collection, France. Authenticity of the work has been confirmed by the expert V. Petrov. £6,000–9,000 ( 132 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 133 ) * 100. Zankovsky, Ilya (1832–1919) 101. Zankovsky, Ilya (1832–1919) Mountain Landscape with a River, signed. Forest River, signed. Oil on canvas, 60 by 109 cm. Oil on canvas, 111.5 by 72 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Provenance: Private collection, USA. Private collection, Austria. £15,000–20,000 Authenticity of the work has been confirmed by the expert V. Petrov. £30,000–50,000 ( 134 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 135 ) * 104. Bashindzhagyan, Gevorg (1857–1925) Lake Sevan by Night, signed and dated 1910. Oil on canvas, 65.5 by 54.5 cm. Authenticity of the work has been confirmed by the expert V. Petrov. £8,000–12,000 * 102. Bashindzhagyan, Gevorg (1857–1925) 103. Ducker, Evgeny (1841–1916) View of Mount Ararat, signed. Crab Fishermen on the Baltic Coast, signed. Oil on canvas, 65 by 114.5 cm. Oil on canvas, laid on board, 49 by 70.5 cm (board size). Authenticity of the work has been confirmed by the expert V. Petrov. Provenance: Private collection, Austria. £10,000–15,000 Authenticity of the work has been confirmed by the expert V. Petrov. £5,000–7,000 § 105. Terechkovitch, Constantin (1902–1978) La Seine, signed. Oil on canvas, 46 by 65 cm. Provenance: Private collection, France. £2,500–4,000 ( 136 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 137 ) 106. Vereschagin, Petr (1836–1886) View of Mtskheta, Georgia, signed Street in Cairo, signed, inscribed in Cyrillic “Kair” and dated 1877. and inscribed in Cyrillic “Mtskhet”. Oil on canvas, 24 by 34.5 cm. Oil on canvas, 61 by 45 cm. Authenticity certificate from the expert T. Goryacheva. £50,000–70,000 ( 138 ) 107. Makovsky, Nikolai (1842–1886) Provenance: Private collection, France. Authenticity of the work has been confirmed by the expert V. Petrov. £20,000–30,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 139 ) 108. Babaev, Polidor (1813–1870) The Feat of the Grenadier of the Finland Life Guards Regiment Leontiy Korennoi in the 1813 Battle of Leipzig. Pencil and watercolour, heightened with white, on paper, 60 by 71.5 cm. Executed c. 1846. The present lot is a study for the eponymous 1846 oil painting by Babaev, currently in the collection of the State Russian Museum. Provenance: Private collection, Latvia, from the 1990s. Authenticity certificate from the expert N. Lapidus. £3,000–5,000 109. Ovsyannikov, Valery (1862–1911) 110. Karazin, Nikolai (1842–1908) St Basil’s Cathedral, signed and dated 1886. Battle of Makhram in Turkestan, signed. Pencil and watercolour, heightened with white, on paper, 34 by 23.5 cm. Oil on canvas, 67 by 102.5 cm. Executed c. 1888. Provenance: Private collection, Latvia, from the 1990s. The present lot is a study for the 1888 painting Battle of Makhram on 22 August 1875, currently in the collection of the Museum of Artillery, Engineers and Signal Corps, St Petersburg. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity certificate from the expert N. Lapidus. Authenticity of the work has been confirmed by the expert V. Petrov. £1,500–2,000 Related literature: For the finished painting, see T. Ilyina, Nikolai Karazin. Voin, pisatel, zhivopisets, St Petersburg, Museum of Artillery, Engineers and Signal Corps, 2010, p. 19, illustrated; p. 18, listed. £25,000–30,000 ( 140 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 141 ) * 111. Tikhov, Vitaly (1876–1939) Bathers and Nude with a Vase by the Rubens Painting “Perseus and Andromeda”, double-sided work, one side signed and dated 1919. Each side oil on canvas, measuring 151 by 198 cm (Bathers) and 198 by 151 cm (Nude with a Vase). Provenance: Private collection, Europe. £120,000–150,000 Творчество Василия Тихова широкой публике известно преимущественно по его работам 1920-х годов, сюжетами для которых служили события становления советского быта. Примечательно, что параллельно созданию монументальных живописных сцен, запечатлевающих деятельность первых колхозов и активную индустриализацию страны, мастер увлеченно работал над произведениями в жанре «ню». Исполненные художником многочисленные изображения обнаженных натурщиц, вариации на тему «Купальщиц» и «В бане» складываются в настоящий цикл работ, своего рода живописную «сюиту», прославляющую красоту и магию женского тела. Подобные полотна в собрания государственных музеев поступали много позже времени их создания, находясь преимущественно в частных коллекциях. Представленная картина уникальна в своем роде. Записанный автором с обеих сторон холст демонстрирует одновременно два мотива, наиболее привлекающих художника в ту пору, — композиция, состоящая из гармонично сгруппированных фигур обнаженных натурщиц, и образ девушки, запечатленной на фоне одного из известных полотен европейского мастера XVII века. Установить истинную причину совмещения изображений на одном холсте до настоящего момента не представляется возможным. Можно предположить, что причиной служили скудные материальные обстоятельства жизни Тихова в конце 1910-х — начале 1920-х годов, вынудившие его использовать обе пригодные для живописи поверхности. Тем более ценными в таком случае становятся произведения, обнаруживающие истинные творческие интересы и художественные задачи, воплощенные в сакральной тишине мастерской. V. Tikhov, Bathers, 1935 ( 142 ) Увлечение темой обнаженной натуры возникло у Тихова во время обучения в Императорской Академии художеств (1903–1912). Выдающийся ученик Владимира Маковского — он получает в 1912 году за картину «Купальщицы» звание классного художника и право пенсионерской поездки за границу. Впечатления от обширной коллекции живописи старых мастеров, хранящейся в Эрмитаже, были дополнены опытом по итогам посещения европейских художественных собраний, что в совокупности определило симпатии молодого художника. Сама стилистика полотен XVI–XVII столетий Тиховым будет успешно усвоена и переработана в собственном творчестве. Изображенная девушка на фоне картины Питера Пауля Рубенса «Персей и Андромеда» в манере исполнения, особенно по приглушенности колорита, местами «загорающегося» вспышками яркого цвета, словно вторит полотну фламандского мастера. Существует несколько вариаций подобного сюжета, в которых Тиховым обыгрываются включения в собственные работы произведений старых мастеров. Совсем иной характер запечатленных им «Купальщиц». В данной работе художественной задачей выступает попытка передать естественное созвучие обнаженного тела и природы, гармонию их сосуществования. Тихов на языке импрессионизма сообщает зрителю красоту и пластику форм, изображая своих моделей в разнообразных движениях, поворотах. С чуткостью великолепного колориста мастер будто пеленой солнечного света окутывает берег реки, проступающую на фоне листву кустарников. Тихову удалось наполнить своих «Купальщиц» особым настроением и чувством радости, в своей искренности и непосредственности очаровывающих зрителя. V. Tikhov, Nude with a Rubens Painting, 1920 V. Tikhov, Bathing Mother and Child, 1929 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 143 ) Vasily Tikhov is primarily known to the general public because of his works from the 1920s, depicting events associated with the building of the Soviet way of life. Curiously, while churning out monumental paintings documenting the activities of the first kolkhozes and promoting the swift industrialisation of the country, Tikhov was enthusiastically painting nudes. His many works in that genre, all variants of such topics as Bathers, or In the Bathhouse, form a whole cycle, an artistic suite of sorts, celebrating the beauty and allure of the female body. Initially, these works were kept exclusively in private collections, and it took them many years to make it into the collections of state museums. The painting offered here is in many ways unique. It was painted on both sides of the canvas, and it represents two distinct subjects that preoccupied the artist at that time: a finely balanced composition of nude figures and a picture of a young girl in front of a well-known painting by Peter Paul Rubens, one of maîtres of European art of the 17th century. It is impossible now to establish the reason as to why the artist resorted to such an arrangement. We may only guess that it was the scarcity of material resources at the end of the 1910s — beginning of the 1920s that prompted him to paint on both sides of the canvas. This renders the work even more valuable in that it embodies the master’s artistic proclivities and goals, externalised by him in the sacred, serene surroundings of his studio. The genre of nudes initially attracted Tikhov when he was a student at the Imperial Academy of Arts in 1903–1912. An outstanding pupil of Vladimir Makovsky, Tikhov received the rank of a certified artist and an entitlement to a funded research trip abroad for his painting Bathers. His impressions of the vast Old Masters collection at the Hermitage, enriched by his studies of Europe’s best collections, formed his artistic preferences. Moreover, the young artist creatively reinterpreted the styles of the 16th and 17th century paintings he saw to suit his own vision. In the manner of execution, and especially owing to the subdued palette, with only occasional bursts of colour, the girl painted in front of Rubens’s Perseus and Andromeda appears to echo the work of the Flemish master. Tikhov modified this subject in some of his pictures, which also feature works of the Old Masters. Bathers, however, is strikingly different. Here, Tikhov’s artistic aim is to express in painterly form the innate consonance between a naked body and nature, the harmony of their co-existence. The artist uses the language of Impressionism to communicate to the viewer the beauty and plasticity of human form, portraying his models as they move and turn their bodies. With an exceptional feel for colour, Tikhov envelops the riverbank and the foliage of the shrubs emerging in the background in a delicate, shimmering sunlight. The result is a work imbued with a distinctive mood and permeated by a joy that enchant the viewer by their sincerity and immediacy. V. Tikhov, Female Nude, 1921 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 145 ) * 112. Korovin, Konstantin (1861–1939) Pond at Kuskovo, signed, inscribed in Cyrillic “Kuskovo” and dated “1915 g./Avgust”. Oil on cardboard, laid on canvas, 66 by 88 cm. Provenance: Important private collection, USA, from the 1980s. Thence by descent. Russian Art, Sotheby’s New York, 15 April 2008, lot 58. Acquired at the above sale by the present owner. Authenticity of the work has been confirmed by the experts V. Kruglov, G. Krechina and S. Rimskaya-Korsakova. £300,000–400,000 ( 146 ) Cамый именитый и талантливый русский импрессионист Константин Коровин представлен в настоящем каталоге выдающимся полотном «Пруд в Кусковo». Художник не имел соперников в достижении подлинности передачи мгновенно пойманного, сиюминутного состояния природы и гармонии колористического звучания. Мастерски подмечая тончайшие цветовые нюансы, меняющиеся с изменением освещения, Коровин добивался удивительной целостности картинного восприятия. Перед нами работа лучшего периода творчества художника — периода его подлинного расцвета, наделившего русское искусство рубежа веков неотъемлемым термином «коровинский импрессион». «Можно отметить новые изменения в колористической системе художника. Он почти отказывается от тонкой тональной разработки, от постепенных переходов. Само строение живописи и организация композиции в целом, основанные, как и прежде, преимущественно на цветовых контрастах, становятся более упрощенными. Меняется и сама манера письма. Мазок становится гуще, сочнее, рука — еще смелее. Но абсолютная гармония колористической композиции, внутренняя соразмерность ее слагаемых, так же как пластичность живописи, придают им ту закономерность, которая обеспечивает образу не только зрительную декоративную звучность, но и необычайную чувственную силу, полнокровность, внутреннюю напряженную жизненность, убеждают в его достоверности», — писала об этом периоде творчества художника известный советский искусствовед Дора Коган. «Пруд в Кусковo» — подлинная демонстрация высокого пленэрного мастерства, исключающего любые студийные доработки. Известно, что художник в эти годы даже с большим форматом холста работал только с натуры, будь то зимний морозный охотинский день или палящее гурзуфское солнце. Картина исполнена в один прием, что видно невооруженным глазом. Зафиксированное художником трепетное догорание теплого летнего вечера буквально пропитано атмосферой покоя, тихой поэтикой неброской, но удивительно притягательной сущности природы среднерусской полосы в состоянии, еще не предвещающем грозные социальные катаклизмы. Сложный колорит произведения, основанный на изумрудных и серо-голубых плоскостях, несколько «взволнован» пурпурно-красным пятнышком рыбачка-стаффажа, что является своеобразной визитной карточкой мастера, расставляющего подобные акценты как бы невзначай, отнюдь не для эффектной коды, но воистину ради присутствия живой души, его сакрального, коровинского участия. Феномен мастерства художника настолько тонок и неуловим, что раскрывается он именно в произведениях неброских, располагающих к философскому созерцанию, особому медитативному погружению, зачастую помогающему обнаружить в себе несколько иное, чувственнообостренное восприятие прекрасного. K. Korovin, Canoe, 1913 K. Korovin, Landscape with a Boat, 1917, The State Tretyakov Gallery www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 147 ) Konstantin Korovin, perhaps the most distinguished and talented Russian Impressionist, is represented in this catalogue by his notable canvas Pond at Kuskovo. The artist was unrivalled in his ability to authentically convey the “captured moment”, the fleeting state of nature and a vibrant colour harmony. By masterly observation of colour changing with the light, Korovin achieved an astonishing perceptive integrity. The work before us is from the artist’s best creative period, a genuine flourishing which gave Russian art at the turn of the last century the indispensable term “a Korovin impression”. The well-known Soviet art critic Dora Kogan wrote: “New changes can be seen in the artist’s system of using colour. He almost rejects subtle tonal development and gradual transitions. The very structure of his painting and the way he organises colour composition…becomes more simplified. His actual manner of painting also changes. The paint becomes thicker and juicier, and the brushwork even bolder. But the perfectly harmonious arrangement of colours, the internal balance of compositional elements, as well as the texture of the painting impart a consistency that endows the image not only with decorative visual resonance, but also with exceptional sensual power and a tense, fullblooded inner liveliness that persuade us it is true.” Pond at Kuskovo is evidence of a towering mastery of plein air painting. In these years, the artist — even when painting large canvasses — worked only from nature, whether a scorching day on the Black Sea or a frosty winter’s day in Okhotino. Pond at Kuskovo was painted in one go, as is clearly seen. The artist has imbued the still, pulsating heat of a summer’s evening in central Russia with calm, and the quietly poetic, subtly alluring spirit of nature does not herald the social cataclysms to come. The complex emerald and grey-blue colouration is livened up a little by the crimson speck of a figure fishing — the master’s personal calling card. Korovin’s distinctive, sacred contribution was to insert this kind of touch as if by chance, not as a gimmick, but for a living soul to be present. The phenomenon of his fine and elusive artistry is particularly apparent in his understated works that are so conducive to philosophical contemplation and a singular, meditative “immersion”. This frequently prompts a rather different, sensorily-sharpened, aesthetic perception in oneself. K. Korovin, In a Boat, 1915, The State Tretyakov Gallery ( 148 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 149 ) * 113. Rozhdestvensky, Vasili (1884–1963) Landscape with a Tree, signed and dated 1924. Oil on canvas, 89 by 55 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Authenticity certificate from the expert V. Petrov. Literature: V. Petrov, “Vasilii Vasilievich Rozhdestvensky 1884–1963”, Antikvarnoe obozrenie, No. 1 (14), 2005, p. 40, illustrated. £120,000–180,000 «Пейзаж с деревом» относится к зрелому периоду творчества Василия Рождественского — члена группы «Бубновый валет» и соратника таких известных мастеров, как Михаил Ларионов, Роберт Фальк и Илья Машков. Благодаря обучению у Валентина Серова и Константина Коровина творчество Рождественского с самого начала развивалось на западных живописных основах, в первую очередь на основе опыта неоимпрессионистов и кубистов. Рождественского также увлекала природа: ее краски, сочетания геометрических форм и насыщенных цветов и пространственные соотношения, что просматривается и в предложенной на торги работе. Landscape with a Tree belongs to the mature period in the oeuvre of Vasili Rozhdestvensky — a member of the Jack of Diamonds group and a close associate of such famous artists as Mikhail Larionov, Robert Falk and Ilya Mashkov. Thanks to his teachers, Valentin Serov and Konstantin Korovin, Rozhdestvensky’s development as a painter was founded from the very outset on the Western artistic tradition, primarily influenced by NeoImpressionism and Cubism. Rozhdestvensky was also captivated by nature, its hues, combinations of geometric forms, intense colours and spatial relationships, all of which can be seen in the work presented in the catalogue. В «Пейзаже с деревом» классическая линейная перспектива на переднем плане плавно переходит в тональную. Возникающая в результате вертикальная и горизонтальная двуплановость создает ощущение всеобъемности пространства, близкой по восприятию к видению человеческого глаза. В дополнение к этому интенсивные короткие мазки чистых красок сообщают полотну необычайную энергию жизни — эффект, достижение которого было одной из важнейших живописных задач художника. Характерна для него и мастерски выполненная глубокая тональная разработка, в данном случае зеленого цвета. In Landscape with a Tree, the classic linear perspective in the foreground gradually recedes into a tonal perspective. As a result, the vertical and horizontal planes merge, and the resulting two-dimensional composition creates an illusion of an all-encompassing space, striving to emulate the way the human eye perceives space. In addition, the intense, short brushstrokes of pure colours lend the canvas an extraordinary vivacity, which was one of Rozhdestvensky’s main artistic goals. The nuanced, masterful development of tonality — in this case in green — is also characteristic of his work. Однако «Пейзаж с деревом» — не только логическое размышление художника над живописной техникой, но и плод его глубоко прочувствованного лирического единения с природой. На полотне, скорее всего, изображены окрестности усадьбы Ясная Поляна, принадлежавшей очень уважаемому Рождественским Льву Толстому, которые художник часто посещал и о которых он много писал в своих дневниках. Это придает произведению личностный оттенок и духовную осмысленность, что выгодно отличает его от других пейзажей художника. Landscape with a Tree represents a deeply felt lyrical union with nature. The work possibly depicts the environs of Yasnaya Polyana, the estate that belonged to Leo Tolstoy, which Rozhdestvensky often visited and wrote so much about in his diaries. Most probably, this is what lends the work its sense of intimacy and inner meaning, making it all the more special amongst the many landscapes that Rozhdestvensky painted. V. Rozhdestvensky, Landscape in the Environs of Moscow, 1948, The Regional Art Museum, Kaluga ( 150 ) V. Rozhdestvensky, Belomorye. A Swamp, 1938, The Kostroma State History, Architecture and Art Museum Reserve The present lot as illustrated in the Antikvarnoe obozrenie magazine www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 151 ) * 114. Burliuk, David (1882–1967) Still Life on the Beach, signed. Oil on canvasboard, 50.5 by 40.5 cm. Provenance: Private collection, New York. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £20,000–30,000 MacDougall’s London 2 December 2015 ( 153 ) * 115. Burliuk, David (1882–1967) Fishermen and the Artist’s Wife on the Long Island’s Shore, signed. Oil on canvas, 92.5 by 132.5 cm. Executed in the 1950s. The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Mary Burliuk. £70,000–90,000 D. Burliuk, Fishermen at the Harbour ( 154 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 155 ) * 116. Gritsai, Alexei (1914–1998) * 117. Plastov, Arkady (1893–1972) Golden Autumn, signed. Spring. Evening Approaching, stamped with the artist’s initials, also Oil on paper, laid on cardboard, 50 by 66.5 cm. further signed, stamped with the artist’s initials, titled in Cyrillic and dated “60e gg.” on the reverse. Oil on cardboard, 35 by 50 cm. Executed in the mid-1970s. Provenance: Acquired directly from Alla Gritsai, the artist’s daughter-in-law in Moscow, 2005. Important private collection, USA. Provenance: Collection of Nikolai Plastov, the artist’s grandson (stamp on the reverse). Acquired directly from the above by the present owner in Moscow, c. 2000. Important private collection, USA. Authenticity certificate from Alla Gritsai. Authenticity certificate from Nikolai Plastov. £12,000–18,000 £12,000–18,000 ( 156 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 157 ) * 118. Plastov, Arkady (1893–1972) * 119. Gritsai, Alexei (1914–1998) May in a Birch Grove, stamped with the artist’s initials, further signed Gold of Autumn, signed. and titled in Cyrillic on the reverse. Oil on canvas, 52.5 by 62 cm. Oil on canvasboard, 34 by 49.5 cm. Executed c. 1979. Executed c. 1957–1958. Provenance: Acquired directly from the artist by the present owner in Moscow, 1990s. Important private collection, USA. Provenance: Collection of Nikolai Plastov, the artist’s grandson. Acquired directly from the above by the present owner in Moscow, c. 2000. Important private collection, USA. ( 158 ) Authenticity certificate from Nikolai Plastov. Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law. £12,000–18,000 £12,000–18,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 159 ) * 121. Chuikov, Semen (1902–1980) On a Central Asian Farm. Oil on canvas, 40 by 88.5 cm. £15,000–20,000 120. Konchalovsky, Petr (1876–1956) 122. Popkov, Viktor (1932–1974) Spring Birches, signed and dated 1952, also further signed, Tselinnik, signed and dated 1963, also further signed, titled numbered “1593” and dated on the reverse. Oil on canvas, 80 by 65 cm. in Cyrillic and dated on the reverse. Tempera on paper, laid on canvas, 85.5 by 64 cm. Provenance: Acquired by a previous owner in Moscow, between 1952 and 1956. Thence by descent. Private collection, Luxembourg. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 156, listed as “zhi 1305”. Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013, p. 153, illustrated. £25,000–30,000 ( 160 ) £5,000–7,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 161 ) * 123. Tkachev, Sergei (B. 1922) Potatoes, signed, titled in Cyrillic and dated 1974 on the reverse. Oil on cardboard, 49.5 by 79.5 cm. Provenance: Acquired directly from Sergei and Aleksei Tkachev by the present owner in Moscow, 1990s. Important private collection, USA. Authenticity certificate from the Tkachev brothers. £10,000–15,000 * 124. Tkachev, Alexei (B. 1925) * 125. Gritsai, Alexei (1914–1998) Open Window, signed, also further Spring in Priluki Village. Oaks, signed. signed, titled in Cyrillic and dated 1987 on the reverse. Oil on cardboard, 40 by 50 cm. Oil on canvasboard, 43.5 by 69.5 cm. Executed c. 1968. Provenance: Acquired directly from the artist by the present owner in Moscow, 1990s. Important private collection, USA. Provenance: Acquired directly from the artist by the present owner in Moscow, 1990s. Important private collection, USA. Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law. Authenticity certificate from the artist. £12,000–18,000 £6,000–9,000 ( 162 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 163 ) * 126. Terpsikhorov, Nikolai (1890–1960) * 127. Terpsikhorov, Nikolai (1890–1960) * 128. Terpsikhorov, Nikolai (1890–1960) Evening Approaching, signed, also further signed, titled in Cyrillic Road to the Kama River, signed, also further signed, titled in Cyrillic Noon on the Oka River, signed, also further signed and titled in Cyrillic on and dated 1953 on the reverse. Oil on canvas, 80 by 135.5 cm. and dated 1952 on the reverse. Oil on canvas, 94.5 by 130.5 cm. the reverse. Oil on canvas, 76.5 by 154.5 cm. Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s. Important private collection, USA. Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s. Important private collection, USA. Executed in the 1940s. Authenticity certificate from Natalia Terpsikhorova. Authenticity certificate from Natalia Terpsikhorova. Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, 13 September–16 October 2008. Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, 13 September–16 October 2008. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art, 2008, p. 92, pl. LXXIII, illustrated; p. 101, listed. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art, 2008, p. 91, pl. LXXII, illustrated; p. 101, listed. Nikolai Terpsikhorov. Zhivopis, Grafika, Moscow, 2011, p. 121, illustrated. £8,000–12,000 Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s. Important private collection, USA. Authenticity certificate from Natalia Terpsikhorova. Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, 13 September–16 October 2008. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art, 2008, p. 81, pl. LX, illustrated; p. 100, listed. £10,000–15,000 £9,000–12,000 ( 164 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 165 ) * 129. Terpsikhorov, Nikolai (1890–1960) * 130. Terpsikhorov, Nikolai (1890–1960) Mountain River, signed. Spring on the Oka River, signed, also further signed and titled in Cyrillic Oil on canvas, 71 by 115 cm. on the reverse. Oil on canvas, 67.5 by 108.5 cm. Executed in the 1950s. Executed c. 1951. Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s. Important private collection, USA. Provenance: Acquired directly from Natalia Terpsikhorova, the artist’s daughter, by the present owner in Moscow, 1990s. Important private collection, USA. Authenticity certificate from Natalia Terpsikhorova. Authenticity certificate from Natalia Terpsikhorova. Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, 13 September–16 October 2008. ( 166 ) Exhibited: Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville Museum of Art, Springville, 13 September–16 October 2008. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art, 2008, p. 81, pl. LIX, illustrated; p. 100, listed. Literature: Exhibition catalogue, Nikolai Terpsikhorov, Master Artist of Mother Russia, Springville, Springville Museum of Art, 2008, p. 88, pl. LXVIII, illustrated; p. 101, listed. £10,000–15,000 £7,000–9,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 167 ) 132. Baturin, Victor (1863–1938) 133. Svetlakov, Sergei (B. 1961) Cape Ai-Panda, Crimea, signed and dated “17 iyulya 1914.”, further inscribed in Cyrillic “Petrograd Still Life with Pomegranates, signed, Etiudnaya/vystavka 1914 g 7. sentyabrya.” [sic], indistinctly titled and numbered “N 19” on the reverse. Oil on canvas, laid on cardboard, 34.5 by 50 cm. also further signed and titled in Cyrillic on the reverse. Oil on canvas, 55.5 by 65.5 cm. Provenance: Private collection, Austria. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Vystavka kartin, etyudov i eskizov Petrogradskogo Obshchestva Khudozhnikov, Shvedskii dom, Petrograd, September 1914. Provenance: Private collection, Europe. £3,000–5,000 Literature: Exhibition catalogue, Vystavka kartin, etyudov i eskizov Petrogradskogo Obshchestva Khudozhnikov, Petrograd, 1914, No. 28, listed. £5,000–7,000 * 131. Gritsai, Alexei (1914–1998) Evening Approaching. Herd of Cows near Priluki Village, signed. Oil on paper, laid on cardboard, 35.5 by 48 cm. Executed c. 1962. Provenance: Acquired directly from the artist by the present owner in Moscow, 1990s. Important private collection, USA. Authenticity certificate from Alla Gritsai, the artist’s daughter-in-law. £12,000–18,000 ( 168 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 169 ) 134. Fokin, Leonid (1930–1985) * 135. Vladimirsky, Boris (1878–1950) Before the Storm, signed and dated 1960, further Round Dance, signed. titled in Cyrillic on the reverse. Oil on canvas, 103 by 200.5 cm. Oil on canvas, 68.5 by 99 cm. Provenance: With the salon of the Art Fund of the USSR (label on the stretcher). Galerie G. Basmadjian, Paris (stamps on the stretcher). Estate of G. Basmadjian. Thence by descent. Private collection, France. Provenance: Private collection, USA. £3,000–5,000 £10,000–15,000 136. Popkov, Viktor (1932–1974) A Couple, signed and dated 1966, also further signed, inscribed in Cyrillic “Eskiz k kartine “Dvoe” and dated on the reverse. Oil on cardboard, 57 by 69.5 cm. The present lot is a study for the 1966 painting A Couple (Dvoe), presently in the collection of the State Tretyakov Gallery. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013, p. 272, illustrated; p. 68, the present work can be seen on the easel in the artist’s studio. £12,000–18,000 V. Popkov, A Couple, 1966, The State Tretyakov Gallery ( 170 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 171 ) 137. Popkov, Viktor (1932–1974) 138. Popkov, Viktor (1932–1974) 139. Andronov, Nikolai (1929–1998) Wake in Kashira, signed, titled in Cyrillic and dated “63–66 g”, also further Boy with His Hand Raised, signed, titled in Cyrillic Window to the Lake, double-sided installation, each side signed, titled and dated on the reverse. Oil on canvas, 105.5 by 120.5 cm. and dated 1973 on the reverse. Oil on cardboard, 50 by 35 cm. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. signed, one twice, and dated 1995, one side titled in Cyrillic. Each side oil on canvas, laid on board, and oil on wood, 117 by 110.5 cm. Authenticity of the work has been confirmed by Alexei Popkov, the artist’s son (inscription on the reverse). Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. £2,000–3,000 Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013, p. 143, illustrated. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. £4,000–6,000 £10,000–15,000 ( 172 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 173 ) 140. Popkov, Viktor (1932–1974) 141. Popkov, Viktor (1932–1974) Red Monastery Walls. March in Gurzuf, signed, titled in Cyrillic and dated 1972 Oil on paper, laid on cardboard, 48.5 by 65 cm. on the reverse. Oil on cardboard, laid on canvas, 57.5 by 74.5 cm. Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013, p. 230, illustrated. £4,000–6,000 Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. £4,000–6,000 142. Popkov, Viktor (1932–1974) Girl by the Door, signed, titled in Cyrillic and dated 1963 on the reverse. Oil on paper, laid on cardboard, 84.5 by 60.5 cm (cardboard size). Provenance: Acquired directly from the artist’s family by the present owner. Private collection, UK. Exhibited: Severity of Style, MacDougall’s, London, 1–14 May 2015. Literature: Viktor Popkov, A Russian Painter of Genius, London, Unicorn Press, 2013, p. 227, illustrated. £10,000–15,000 ( 174 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 175 ) 143. Plavinsky, Dmitry (1937–2012) Old Russian Manuscript, triptych, one part signed with a monogram and dated 1977, also further one part signed, titled in Cyrillic and dated, and each part numbered “N 1”, “N 2” and “N 3” respectively on the reverse. Each part oil, acrylic and collage with sand, one also with paper, fabric and rope, on canvas, each measuring 78.5 by 47 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by Maria Plavinskaya, the artist’s widow. £45,000–50,000 MacDougall’s London 2 December 2015 ( 177 ) 146. Kalinin, Viatcheslav (B. 1939) Date on the Sofa or Dreamy Illusion, signed and dated 1989, also further signed, titled in Cyrillic and dated on the reverse. Oil on canvas, 61.5 by 49.5 cm. Provenance: Private collection, France. Authenticity of the work has been confirmed by the artist. Literature: Viacheslav Kalinin. Painting, Works on Paper, Moscow, Belyi gorod, 2014, p. 144, No. 2, illustrated as On the Sofa by the Moskvoretsky Bridge. £2,000–3,000 147. Slepyshev, Anatoly (B. 1932) Under a Tree, signed and dated 1995. Oil on canvas, 203 by 292.5 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. £8,000–12,000 144. Purygin, Leonid (1951–1995) Fish. Love, signed “Lenya Purygin iz Nary”. Oil on canvas, 61 by 91cm. Provenance: Private collection, Europe. £10,000–15,000 145. Afrika (Bugaev, Sergey) (B. 1966) Moskva-Shch-2, signed, inscribed in Cyrillic “Berlinskoi/sektsii kluba/Mayakovskogo/ot Predsedatelya” and dated 1988 on the reverse. Oil and collage with fabric on canvas, 94 by 65 cm. Provenance: With Raab Gallery, London. Acquired from the above by a previous owner, c. 1989. Private collection, USA. Exhibited: Possibly, Timur Novikov and Africa, Tate Gallery, Liverpool; Raab Gallery, London, 1989. Authenticity of the work has been confirmed by the artist. £3,000–5,000 ( 178 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 179 ) 149. Nesterova, Natalia (B. 1944) Debout sur la ville, signed, also further signed, titled and dated 1995 on the reverse. Oil on canvas, 100 by 81 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £5,000–7,000 150. Nesterova, Natalia (B. 1944) Le petite dejeuner, signed, also further signed, titled and dated 1992 on the reverse. Oil on canvas, 80.5 by 100 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £6,000–9,000 148. Ovchinnikov, Vladimir (1941–2015) St George, signed and dated “MM”, also further signed, titled in Cyrillic and dated 2000 on the reverse. Oil on canvas, 195 by 130 cm. Provenance: Acquired directly from the artist by the present owner, St Petersburg. Private collection, Washington, DC. £8,000–12,000 ( 180 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 181 ) 153. Nesterova, Natalia (B. 1944) Seafood, signed, also further signed, titled and dated 1996 on the reverse. Oil on canvas, 92 by 73 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £5,000–7,000 154. Grositsky, Andrey (B. 1934) The Key, signed, titled in Cyrillic and dated 1995 on the reverse. Oil and collage with sand on canvas, 116 by 89 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £2,000–3,000 155. Nesterova, Natalia (B. 1944) The Letter “N” Mask, from the “Masks” series, signed, also further signed, titled in Cyrillic and dated 1994 on the reverse. Oil on canvas, 55 by 46.5 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £3,000–5,000 151. Nesterova, Natalia (B. 1944) Limours, diptych, each part signed, also further signed, titled and dated 1992 on the reverse. Each oil on canvas, measuring 120 by 100.5 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £15,000–20,000 152. Nesterova, Natalia (B. 1944) Le marronnier d’Inde, signed, also further signed, titled and dated 1995 on the reverse. Oil on canvas, 115.5 by 89 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. Authenticity certificate from the artist. £6,000–9,000 ( 182 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 183 ) 157. Belenok, Pyotr (1938–1991) Untitled, signed and dated 1981. Oil, tempera and collage with paper on cardboard, 141.5 by 122.5 cm. Provenance: Acquired directly from the artist by the present owner, Moscow. Private collection, France. Exhibited: Collages russes, Galerie Blue Square, Paris, 24 October 2007–5 January 2008. £3,000–5,000 156. Novikov, Timur (1958–2002) ( 184 ) 158. Belenok, Pyotr (1938–1991) USSR, the Country of the Rising Sun, signed, Cataclysm, signed and dated 1984. titled in Cyrillic and dated 1986. Acrylic screen printing on fabric, 193 by 193.5 cm. Oil, tempera and collage with paper on cardboard, 66 by 53 cm. Provenance: With Raab Gallery, London. Acquired from the above by the present owner, 1989. Private collection, UK. Provenance: Acquired directly from the artist by the present owner, Moscow. Private collection, France. Exhibited: Timur Novikov and Africa, Tate Gallery, Liverpool; Raab Gallery, London, 1989. Exhibited: Collages russes, Galerie Blue Square, Paris, 24 October 2007–5 January 2008. £20,000–30,000 £1,500–2,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 185 ) § 160. Koshlyakov, Valery (B. 1962) Villa, signed twice, inscribed in Cyrillic with a dedication, titled and dated 2003 on the reverse. Pencil and acrylic on canvas, 149 by 139 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. £7,000–9,000 161. Zverev, Anatoly (1931–1986) Composition, signed and dated 1965. Oil on cardboard, 74.5 by 47 cm. Provenance: Acquired directly from the artist by the father of the present owner. Important private collection, France. £4,000–6,000 § 159. Koshlyakov, Valery (B. 1962) 162. Dubossarsky, Vladimir and Vinogradov, Alexander (B. 1964 and B. 1963) Fountain, signed and dated 1994. Oil, gouache and collage with tape on corrugated cardboard, laid on canvas, 196 by 132 cm. Procreation, signed and dated 2001. Pencil, acrylic and tempera on paper, 70 by 67 cm. Provenance: Acquired directly from the artist by the present owner. Important private collection, Belgium. £7,000–9,000 Authenticity certificate from the artist. £10,000–15,000 ( 186 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 187 ) Russian Works of Art, Fabergé and Icons Lots 201–282 * 202. A Soviet Porcelain Figurine of a Fortune-Teller MODEL BY NATALIA DANKO, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, CIRCA 1920s Height 19.5 cm. Related literature: For similar works, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, pp. 360–361. Realistically modelled as a gypsy fortune teller with a hand of cards beside an elegantly dressed young lady, with impressed manufactory mark and signed ‘N.Danko’. £10,000–15,000 204. A Porcelain Composition “Telephone Talk” 205. A Porcelain Composition “Manicure (The Gossips)” MODEL BY NINA MALYSHEVA, DULEVO PORCELAIN MANUFACTORY, MOSCOW, 1958 Height 25.5 cm. MODEL BY NINA MALYSHEVA, DULEVO PORCELAIN MANUFACTORY, MOSCOW, 1958 Height 18.5 cm. Realistically modelled, the woman in raspberry-coloured coat dress and matching ribboned shoes, holding a white bag with gilt trim and listening on the telephone, the man on the other side of the telephone post, wearing a light coat, characteristic red tie, green trousers and large boots and a cap with a small suitcase beside him, similarly engaged on the telephone, with blue overglaze manufactory stamp and incised manufactory mark, further inscribed ‘7’ in black. Realistically modelled, two ladies seated at the stylised manicure table, the customer in violet dress with a headpiece, seated on a chair with the green coat thrown over the back, the manicurist in a salon robe in holding the client’s hand and attentively listening, apparently unmarked. £12,000–15,000 £12,000–15,000 203. A Porcelain Composition “Taking a Walk” MODEL BY NINA MALYSHEVA, DULEVO PORCELAIN MANUFACTORY, MOSCOW, CIRCA 1952 Height 24 cm. 201. A Soviet Porcelain Figurine of a Peasant Musician with a Harmonica MODEL BY BORIS KUSTODIEV, PAINTING BY VARVARA RUKAVISHNIKOVA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1955 Height 21 cm. Realistically modelled, the mother in a beige skirt and matching jacket, with white patterned chemise and ornate headscarf, pushing a white pram with a baby dressed in red, the older girl in a pastel green costume and a matching hat attentively showing a flower to her brother, on square shaped naturalistic base imitating the grass in the park, with green overglaze manufactory marks, further marked ’30’ in green. £18,000–25,000 Related literature: For similar works, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 323. 206. A Rare Porcelain Composition of a Mother Bathing Her Child MODEL BY EFIM GENDELMAN, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1952–1954 Height 20 cm. Realistically modelled, wearing a white winter overcoat with ornate folk trimming and white valenki, holding a harmonica and playfully looking away, signed and dated, with blue artist’s monogram. £1,500–2,000 ( 190 ) www.MacDougallauction.com Russian Art Auction 207. A Porcelain Composition “Clean hands” MODEL BY GALINA STOLBOVA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1950 Height 21 cm. Realistically modelled in white, the mother in a white dress holding a blond child on top of the stool with a basin, on white circular shaped naturalistic base, apparently unmarked. Realistically modelled, the nurse in white dress with green flowers and a red cross bag, checks the hands of the young boy in beige T-shirt and blue shorts with suspenders, on circular shaped naturalistic base, signed ’N.K.’ in Cyrillic, further signed ‘8’ in black. £7,000–9,000 £12,000–15,000 MacDougall’s London 2 December 2015 ( 191 ) 208. A Soviet Porcelain Plate “No End to the Kingdom of Workers and Peasants” ( 192 ) * 209. A Soviet Porcelain Figurine of a Washer Woman 210. An Oval Soviet Porcelain Platter “A Baltic Sailor” LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1926 Diameter 24.5 cm. MODEL BY NATALIA DANKO, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1920–1930s Height 24.5 cm. MODEL BY SERGEY CHEKHONIN, PAINTING BY VARVARA RUKAVISHNIKOVA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1925 Length 45.5 cm. Circular, the cavetto painted with a scene of peasants working in the fields, with a symbolic red star shining above them, the border carrying the slogan in gold within blue rim, with obliterated Nicholas II mark and blue manufactory mark, dated ‘1926’. Realistically modelled, wearing a white dress with blue flowers and a yellow apron with an orange headscarf, standing barefoot and wringing clothes, with a basin beside her, on a shaped naturalistic base, with incised manufactory mark, further numbered in purple. Oval, with a sailor painted in red against a white and blue radial background, with a black ribbon and gilt logo surrounded by a green leaf, within dark red and gilt rims, with Imperial cypher for Alexander III and manufactory marks, dated ‘1925’. £3,000–5,000 £3,000–5,000 £2,500–3,500 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 193 ) 214. A Soviet Porcelain Plate “Outlines of Factory Chimneys” * 211. A Soviet Porcelain Composition “On Guard Duty” NINA ZANDER, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1919 Diameter 24 cm. * 212. A Soviet Porcelain Figurine of a Sentry AFTER A 1938 MODEL BY NATALIA DANKO, LOMONOSOV PORCELAIN MANUFACTORY, LENINGRAD, 1938–1939 Height 24 cm. AFTER A 1930 MODEL BY TIGRAN DAVTYAN, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD Height 20cm. Related literature: For similar works, see T.N. Nosovich, I.P. Popova, Gosudarstvennyi farforovyi zavod 1904–1944, St Petersburg Orkestr, 2005, p. 565. Related literature: For similar works, see E. Sametskaya, Sovetskiy Agitatsionnyi Farfor (Soviet Agitation Porcelain), Moscow, 2004, p. 130, ill. 1[1]. T.Kudryavtseva, Circling the Square. Avant-Garde Porcelain from Revolutionary Russia, London, Fontanka, 2004, p. 100, No. 40. Ode to Joy. Russian Porcelain in the Yuri Traisman Collection, Moscow, Pinakotheke, 2008, p. 195, No. 129. Two women keeping armed watch and looking attentively into the distance, both wearing peasant dress, one woman kneeling holding a rifle, the other standing, leaning on her rifle and shading her eyes, stamped under base with black ‘LFZ’, red commemorative factory marks and numbered ‘34’. £1,800–2,500 Related literature: For a similar work, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 237. Circular, the cavetto painted with factory cityscape in black and grey against a dramatic red sunrise, within a wide bottle-green band and matching rim , with blue overglaze manufactory marks and obliterated Imperial cypher for Nicholas II, further incised ‘12’. 215. A Soviet Porcelain Plate “He Who Works Eats” VASILY TIMORYOV, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1921 Diameter 22 cm. Related literature: For similar works, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 255. Circular, the cavetto painted with a labour card in the name of the artist, the border with red ribbon carrying the propaganda slogan and a hammer, sickle and rye within a green rim, with red artist monogram, green Imperial cypher for Nicholas II and blue overglaze manufactory mark. £3,000–5,000 £3,000–5,000 Realistically modelled, wearing a sheepskin coat and Budenny Cap, holding a rifle, on white square shaped base, with blue hammer and sickle manufactory mark. £1,800–2,500 213. A Soviet Porcelain Vase “Glory to October” 216. A Soviet Porcelain Propaganda Plate YU. OKHOTINA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1958 Height 20 cm. ANATOLIY KISELYOV, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1967 Diameter 25.2 cm. Cylindrical form on stepped foot with flaring neck, the body decorated with a burnished and matt gold figure of Lenin against the Soviet red flag backdrop, the banner underneath the figure with slogan “Glory to October”, signed in Cyrillic in black “kh. Okhotina Yu. / 1958”. Circular, painted in red with Red Army soldiers and a gilt sickle against white background, signed in Cyrillic “Avt. Kiselyov A. Ya” and dated 1967. £800–1,000 £600–800 ( 194 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 195 ) 219. A Soviet Porcelain Plate “Peacock” ELIZAVETA ROZENDORF, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1919 Diameter 25.5 cm. Circular, with scalloped rim, the body painted with a flying peacock surrounded by highly stylised flowers and foliage accentuated in gold, within gold rim, with green and blue overglaze manufactory marks, further numbered ‘26/12’. £5,000–7,000 217. A Soviet Porcelain Figurine of Galina Ulanova as “Odette” from “Swan Lake” ELENA YANSON-MANIZER, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1950s Height 50 cm. Depicted in an arabesque, with black manufactory mark. This portrait of one of the most celebrated dancers of the 20th century was created by the leading sculptor of Soviet ballet, Elena Yanson-Manizer and reproduced in porcelain at the Lomonosov State Manufactory in 1951. Yanson-Manizer first saw the young prima ballerina in 1936 when she danced in «The Fountain of Bakhchisarai» and asked Ulanova to model for her, subsequently creating a figurine “Dancer”. Later in the 1950s Ulanova became Yanson-Manizer’s muse once again resulting in a series of porcelain figurines, Ulanova as “Tao-Hoa” in “Red Flower”, Ulanova as the swan in “Swan Lake”, as Juliet in “Romeo and Juliet” and so on. The presented figurine of Ulanova as “Odette” became the most famous, and a life-size version executed in bronze occupies pride of place in front of the Museum of Dance, Stockholm. 218. A Soviet Porcelain Plate “Woman with a Demon” 220. A Soviet Porcelain Cup and Saucer “Mermaids” ALEXANDRA SCHEKOTIKHINA-POTOTSKAYA, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1922 Diameter of the saucer 14.5 cm, height of the cup 6.5 cm. AFTER A DESIGN BY SERGEY CHEKHONIN, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, 1922 Diameter 23 cm. Related literature: For a similar work, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 290. Related literature: For a similar work, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p. 219. The cup painted with four mermaids depicted above the water surface, surrounded by reeds and a fishing net, the interior of the bowl painted with a goldfish, saucer similarly decorated with stylised flowers, with green Imperial cyphers for Alexander III and Nicholas II, blue overglaze manufactory marks dated 1922, cup further inscribed in Cyrillic “po ris. Schekotikhinoi”. Circular, the cavetto painted with a reclining nude caressing a monkey-like creature surrounded by lush vegetation within a black band and royal blue border within gold rims, with blue overglaze manufactory marks and green Imperial cypher for Alexander III, further signed in Cyrillic “po ris. Chekhonina”. £6,000–8,000 £5,000–7,000 221. A Soviet Porcelain Vase “Cockerels” VLADIMIR GORODETSKIY, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, LATE 1960s–EARLY 1970s Height 32.5 cm. Recently, for the first time in 40 years, the porcelain manufactory recreated this particular model especially for the Galina Ulanova Foundation. Baluster-shaped with a slightly flaring neck and foot, the body painted en grisaille with geometric stylised cockerels, with blue underglaze export factory mark. £700–900 £800–1,200 ( 196 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 197 ) 222. A Wooden Imperial Presentation Bread Plate 223. A Porcelain Dessert Plate from the Coronation Service of Tsar Nicholas I 1902 Diameter 49 cm. IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825– 1855), 1826 Diameter 21 cm. Circular shaped, in Neo-Byzantine style, centered with a crowned monogram of Nicholas II, applied with finely carved inscription in Cyrillic “Kursk Merchants Society” and dated “1902”. Circular, the cavetto painted with the Imperial arms with the collar of the Order of St. Andrew against an ermine-lined mantle and the Imperial crown, the border with stylised gilt ciselé swans and garlands against a cobalt blue ground, apparently unmarked. £5,000–7,000 £8,000–12,000 ( 198 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 199 ) 224 * 224. A Porcelain Ink Set in the Form of a Lumberjack 225 KOZLOV BROTHERS MANUFACTORY, ZHIROVO, MOSCOW GUBERNIA, 1860–1880s Height 14 cm. Realistically modelled, wearing a striped pink tunic, green and white striped trousers, black hat and lapti, with a pile of wood on his back, standing on his knee, on a naturalistic base imitating the ground, with impressed manufactory mark. 227 £1,500–2,000 * 228. A Porcelain Figurine of a Peasant Girl Water-Bearer GARDNER MANUFACTORY, MOSCOW, MID 19TH CENTURY Height 25 cm. 226 Realistically modelled, wearing a white sarafan, with gilt ornament, a matching kokoshnik and red shoes, on circular shaped naturalistic base. KOZLOV BROTHERS MANUFACTORY, ZHIROVO, MOSCOW GUBERNIA, 1840s Height 14 cm. £6,000–8,000 225. A Porcelain Figurine of a Coachman GARDNER MANUFACTORY, MOSCOW, 1820–1840 Height 17 cm. Realistically modelled, wearing a white overcoat with an orange belt and dotted chemise underneath, brown boots, gloves and a hat, on a circular shaped naturalistic base, with blue underglaze manufactory mark. * 226. Three Porcelain Birds GARDNER MANUFACTORY, MOSCOW, 1870–1890s Height of the teapot 11 cm, of the goose 5 cm, of the chicken 6 cm. The teapot shaped as a quail with detachable lid and green handle, with red manufactory stamp, the salt shaped as a chicken in a yellow basket, with red manufactory stamp further incised ‘344’, the figurine depicting a goose with red feet and beak, with incised manufactory mark. * 229. A Porcelain Figurine of a Boy with a Playful Puppy Realistically modelled wearing 18th century pantaloons, white chemise, a cobalt blue vest and brown hat with ribbon, depicted with a playful puppy, with impressed manufactory mark, further incised with crossed swords. * 227. A Porcelain Figurine of a Fish Vendor KORNILOV BROTHERS MANUFACTORY, ST PETERSBURG, 1860–1880s Height 18 cm. £1,000–1,500 Realistically modelled, wearing a brown overcoat, with a white belt, blue trousers, black boots, gloves and a hat, holding a green fish bowl on his head, with red overglaze manufactory mark. * 230. A Porcelain Composition of a Young Couple Sheltering from the Storm POPOV MANUFACTORY, MOSCOW, 19TH CENTURY Height 17 cm. Realistically modelled, the girl in a pink and white dress arm-in-arm with a young man in striped trousers and white chemise, both barefoot and holding the skirt as cover, beside a tree stump, with blue underglaze manufactory mark. £2,000–3,000 £2,000–3,000 £3,000–5,000 ( 200 ) £5,000–7,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 201 ) 234. A Biscuit Porcelain Composition of Children Playing MODEL BY AVGUST SPIESS, IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF ALEXANDER II (1855-1881), 1863 Height 58 cm. 231. A Soviet Porcelain Figurine of an Uzbek Related literature: Khmelnitskaya E., Avgust Spiess i Imperatorskiy farforoviy zavod, Lyubimaya Kniga, 2012, Moscow, p. 254 MODEL BY PAVEL KAMENSKIY, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, CIRCA 1930 Height 19.5 cm. Realistically modelled, the two children in stylised white tunics, the older child holding an apple away from the other, both barefoot, the blue stand with white neo-classical garlands and ribbons, centering a seashell with scrolled feet, signed and dated. Related literature: For a similar work, see T.N. Nosovich, I.P. Popova, Gosudarstvenny farforovy zavod. 1904–1944, St Petersburg, Orchestr, p.136. £12,000—18,000 Realistically modelled, wearing traditional uzbek costume and a turban, decorated with varicoloured striped and floral ornaments, on a circular shaped white base, with incised white manufactory mark and red stamp ‘made in Russia’. £2,000–3,000 * 235. A Porcelain Figurine of a Scolding Seamstress GARDNER MANUFACTORY, MOSCOW, 1810–1840s Height 12.5 cm. Provenance: Anonymous sale; Russian Works of Art, Fabergé and Icons, Sotheby’s Olympia London, 23 May 2002, lot 213. Realistically modelled, wearing a floral printed white dress with a pink apron and light blue headscarf, standing argumentatively with hands on her hips beside a wicker basket, on a circular shaped naturalistic base, with impressed manufactory mark. £1,500–2,000 * 232. A Rare Large Porcelain Figurine of a Draughts Player ( 202 ) * 233. Two Miniature Porcelain Figurines of an Ottoman Couple POPOV MANUFACTORY, MOSCOW, MID 19TH CENTURY Height 22.5 cm. POPOV MANUFACTORY, MOSCOW, 19TH CENTURY Height of the woman 5 cm, of the man 5.5 cm. Realistically modelled, expensively dressed in a green tunic with a long, trimmed coat with gilt ornaments, with gold jewellery and black boots, depicted seated on a decorative armchair, apparently unmarked Realistically modelled, both wearing patterned, multicoloured attire and jewellery, on square shaped bases, with blue underglaze and impressed manufactory marks. £5,000–7,000 £5,000–7,000 www.MacDougallauction.com * 236. A Porcelain Figurine of a Naiad with a Seashell IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855) Height 15.5 cm. Realistically modelled with grey tails and a dark purple seashell, with gilt necklace and hairband, depicted seated on a stylised gilt rocaille stand, with blue Imperial cypher for Nicholas I. £4,000–6,000 Russian Art Auction MacDougall’s London 2 December 2015 ( 203 ) * 237. A Silver-Gilt and CloisonnÉ Enamel Sugar Bowl and a Creamer MAKER’S MARK ‘AK’ IN CYRILLIC, MOSCOW, 1891–1896, WITH SCRATCHED INVENTORY NUMBER 407, THE CREAMER WITH FURTHER NUMBER 3846 Height of the creamer 8.5 cm, diameter of the bowl 12.5 cm. The bowl of circular form, with bulbous body decorated with blue medallions with silver-gilt ornaments, surrounded with red, cobalt blue and white enamels centering flowers, top part with a rim of cobalt blue band, the foot with cobalt blue zigzag and white beads ornament, scrolled handles, gilt interior, the creamer of traditional form with a matching decor, both with engraved initials ‘MV’ in Cyrillic. £8,000–10,000 * 238. A Silver-Gilt and CloisonnÉ Enamel Cigarette Case * 240. A Silver and Cut-Glass Tankard MARK OF PAVEL OVCHINNIKOV BENEATH THE IMPERIAL WARRANT, MOSCOW, 1886, 88 STANDARD 9.7 by 6 cm. ANTIP KUZMICHEV, MOSCOW, CIRCA 1880, 88 STANDARD Length of the tea strainer 17 cm, of the caddy scoop 12.5 cm, of the sugar tongs 14.5 cm. Rectangular with rounded corners, enamelled with polychrome exotic birds and floral ornaments, within a triple row of blue beads on steepled ground, the sides with patterned green and purple band, gilt thumbpiece. The bowl of the tea strainer centered with a strawberry-red enamel heart surrounded by a band of intertwined ornament within blue borders, the handle similarly decorated; the caddy scoop bowl centered with a black enamel spade, surrounded by scrolls, sugar tongs of spring form with black enamel club tips, handle similarly decorated with clubs surrounded by scrollwork. The ovoid glass body mounted with a decorative silver band and applied with a stylised cast and chased silver dragon, the lower part cut with diamond and radial ornament, the upper part decorated with alternating flowers, on tapering foot with a diamond patterned cut glass handle, the hinged silver cover cast as a dolphin head. £2,000–3,000 £7,000–9,000 £2,500–3,500 ( 204 ) * 239. A Set of Three Silver and Enamel Tea Serving Accessories www.MacDougallauction.com Russian Art Auction ALEXANDER LYUBAVIN, ST PETERSBURG, CIRCA 1896, 84 STANDARD Height 34 cm. MacDougall’s London 2 December 2015 ( 205 ) * 241. A Silver-Gilt, CloisonnÉ and Pictorial Enamel Spoon with a View of St Isaac's Cathedral MAKER’S MARK ‘VA’ IN CYRILLIC, MOSCOW, 1899–1908, 84 STANDARD Length 18 cm. The circular bowl enamelled en plein within a border of stylised scrolling foliage against an off-white speckled ground, the handle with cobalt blue, blue and purple enamels against the matching off-white ground, inscribed in Cyrillic “Vernomu Sokolovu na dobruyu pamyat’ ot Leonida Patisheva”. £1,800–2,200 * 244. A Silver-Gilt and CloisonnÉ Enamel Bowl FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD, SCRATCHED INVENTORY NUMBER 1540C Length 14 cm. Oval, the body decorated with stylised foliate and floral designs in shaded polychrome enamels against stippled ground and flanked by two sculptural handles in the form of the bear heads. £18,000–25,000 * 242. A Silver-Gilt, CloisonnÉ and Pictorial Enamel Pill Box 11TH ARTEL, MOSCOW, 1908–1917, 84 STANDARD Diameter 6 cm. Circular, the lid painted with a boyar bride in a plum coloured dress with layered necklaces and richly decorated jewelled kokoshnik with a white veil, the body enamelled with shaded polychrome floral and foliate motifs on stippled gilt ground within green rims, green thumbpiece. * 243. A Silver and CloisonnÉ Enamel Stamp Box MAKER’S MARK ‘IS’ IN CYRILLIC, MOSCOW, 1899–1908, 84 STANDARD 8 by 3.5 cm. Of rectangular form, decorated in polychrome enamels with stylised flowers, the lid with three painted stamps in light orange, green and red against a pastel blue ground, within a row of blue beads, gilt interior. £2,000–3,000 £8,000–10,000 ( 206 ) www.MacDougallauction.com Russian Art Auction * 246. A Silver-Gilt, CloisonnÉ and Plique-À-Jour Enamel Tazza * 245. A Silver-Gilt and CloisonnÉ Enamel Tea Set MAKER’S MARK OF FEODOR RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD Height 5.5 cm, diameter 17 cm. RETAILED BY GiSH, MOSCOW, 1908–1917, 84 STANDARD Height of the teapot 13.5 cm, of the sugar bowl 12.5 cm, of the milk jug 7.5 cm, length of the sugar tongs 14 cm. Comprising a teapot, sugar bowl, milk jug and sugar tongs; teapot and sugar bowl with hinged covers and mother-of-pearl insulators, all pieces enamelled with shaded polychrome floral and foliate motifs against pastel pistachio-coloured ground, purple ornament within beaded borders to the lower sections, gilt interiors. Circular on raised foot, the interior of the bowl centered with a turquoise flower surrounded by a leaf wreath against white and speckled duck egg coloured backgrounds, the wide band of stylised flowers in polychrome shaded enamels on a seafoam coloured ground, the border with floral and geometric design in purple, green and amber plique-à-jour enamel, pierced foot similarly decorated with flowers and plique-à-jour rectangles on blue ground. £35,000–50,000 £40,000–60,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 * 251. A Silver-Gilt and CloisonnÉ Enamel Kovsh PROBABLY FEODOR RÜCKERT FOR OREST KURLYUKOV, MOSCOW, 1908–1917, 88 STANDARD Length 21 cm. * 247. A Silver-Gilt and CloisonnÉ Enamel Salt Throne * 248. A Silver-Gilt and CloisonnÉ Enamel Salt Throne NEMIROV-KOLODKIN, MOSCOW, 1899–1908, 84 STANDARD Height 12.5 cm. MAKER’S MARK ‘M.T’ IN CYRILLIC, MOSCOW, PRE-1896, 84 STANDARD Height 15.5 cm. Of traditional form, the bulbous body and hinged cover decorated with scrolling foliage enamelled in white, green, purple, pink, blue and red, the seatback and cover centered with a shield-shaped reserve. The body and the hinged lid decorated with scrolling foliage in opaque and marine blue, red and white enamel, the front panel with chased silver ornament, on four triangle feet. Of spherical form with slightly raised prow, the body decorated in shaded polychrome enamels, with stylised flowerheads in muted earthy tones against an off-white ground, the front centering a characteristic flower with blue and orange petals, the handle with matching decor, on raised tapering foot with engraved dedication in Cyrillic “Vladimiru Bakaleynikovu / Druzya Muzikal’noy Studii i Orkestra MHAT 14/III 1924”, gilt interior further engraved in Cyrillic “Pey, Piva Ne Zhaley”. 251 £40,000–45,000 £2,200–2,500 £2,000–3,000 * 252. A Large Silver-Gilt, Gem-Set and CloisonnÉ Enamel Kovsh VASILY AGAFONOV, MOSCOW, 1899–1908, 84 STANDARD Length 19.5 cm. Of typical form, with raised prow and scroll handle, the lobed body decorated with shaded polychrome flowers, the upper register with scrolling foliage accentuated with gems against turquoise ground, the handle similarly decorated. £8,000–12,000 252 * 249. A Silver-Gilt and Plique-À-Jour Enamel Tea Glass Holder PAVEL OVCHINNIKOV, MOSCOW, 1888, 88 STANDARD Height 8 cm. Cylindrical, on domed circular foot, the body with infinity designs in blue centered with yellow flowerheads, alternating with stylised foliage, within geometric borders, the scroll handle with cloisonné flower band within white beaded borders. 250. A Gem-Set Silver-Gilt and Cloisonn É Enamel Egg OREST KURLYUKOV, MOSCOW, 1899–1908, 84 STANDARD Height 6.5 cm. The body decorated with three registers of scrolling flowers in shaded polychrome enamels alternating with varicoloured ribbons against an off-white ground, accentuated with gems. £600–800 £4,000–6,000 * 253. A Silver-Gilt and CloisonnÉ Enamel Kovsh MARK OF PAVEL OVCHINNIKOV BENEATH THE IMPERIAL WARRANT, MOSCOW, 1899–1908, 88 STANDARD Length 15 cm. Of typical form with raised prow and stylised scroll handle, the body enamelled with shaded varicoloured floral motifs and centered with a dragon on cream and olive green grounds, the handle similarly decorated. £8,000–12,000 253 ( 210 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 211 ) 254. A FabergÉ Wood Silver-Gilt and GuillochÉ Enamel Photograph Frame MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK OF HENRIK WIGSTRÖM, ST PETERSBURG, 1908–1917, 88 STANDARD 22 by 22 cm. Square, circular aperture enamelled in translucent pink over wavy engine-turned ground within reeded ribbon-tied and pellet borders, each corner applied with a ribbon-tied wreath of laurel leaf tips. £15,000–20,000 256. A FabergÉ Jewelled Gold Nephrite and GuillochÉ Enamel Photograph Frame MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK OF MIKHAIL PERCHIN, ST PETERSBURG, PRE-1896, 56 STANDARD Height 10.5 by 8.4 cm. Of upright rectangular form with extended corners, centered with an oval, diamond set aperture, the ground enamelled in translucent oyster white over wavy engine-turning within ribbon-tied laurel leaf gold border, ivory back and gold scroll strut. £13,000–16,000 * 257. A FabergÉ Silver-Gilt and Bowenite Photograph Frame 255. A FabergÉ Silver and GuillochÉ Enamel Photograph Frame ( 212 ) MAKER’S MARK OF ANDERS NEVALAINEN, ST PETERSBURG, 1899–1908, 88 STANDARD, SCRATCHED INVENTORY NUMBER 11972 Height 8 cm. MARK OF FABERGÉ IN CYRILLIC, MAKER’S MARK OF MIKHAIL PERCHIN, ST PETERSBURG, PRE-1896. 88 STANDARD, SCRATCHED INVENTORY NUMBER 54109 10 by 8.2 cm. Heart-shaped with beaded bezel, the rounded surface enamelled in translucent salmon-pink over wavy sunburst engine-turned ground, surmounted with a bow and tied ribbons, silver back and strut. Rectangular, the oval aperture with a dash and pellet frame, the hardstone body with a beaded bezel applied with ribbon-tied wreaths of laurel leaves suspending laurel garlands, ivory back and silver-gilt strut. £8,000–12,000 £4,000–6,000 www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 213 ) 258. A FabergÉ Gold Miniature Pendant MAKER’S MARK OF VLADIMIR SOLOVYOV, ST PETERSBURG, CIRCA 1900, 56 STANDARD Length 2.5 cm. Realistically modelled as an elephant with silver tusks. 259. A FabergÉ Jewelled Pendant in a Form of a Hippopotamus MAKER’S MARK OF AUGUST HOLLMING, ST PETERSBURG, CIRCA 1900, 56 STANDARD Length 2.2 cm. Realistically modelled, the surface set with rose and circular cut diamonds, eyes set with rubies. £1,500–2,000 260. A Rhodonite Pendant in the Form of a Piglet SUSPENSION LOOP WITH ILLEGIBLE MAKER’S MARK, POSSIBLY, ‘V.YE’ IN CYRILLIC, 56 STANDARD Length 2.4 cm. Realistically modelled, eyes set with lapis-lazuli, in a fitted Fabergé box. 258 259 £3,000–5,000 261. A Miniature Jasper Model of a Hippopotamus POSSIBLY FABERGÉ, LATE 19TH-EARLY 20TH CENTURY Length 3.3 cm. Realistically modelled, eyes set with light green coloured gems. £2,000–3,000 261 £2,000–3,000 260 262. A FabergÉ Platinum and Diamond-Set Egg Pendant MARK ‘KF’ IN CYRILLIC, MAKER’S MARK OF HENRIK WIGSTRÖM, ST PETERSBURG, CIRCA 1914 Height excluding loop 2.2 cm. Related literature: Snowman, A. Kenneth, Fabergé: Lost and Found The Recently Discovered Jewellery Designs from the St. Petersburg Archives, New York, Abrams, p.152, illustrated. Set with three bands of diamonds, the front centered with a larger diamond. A similar egg was sold at Sotheby’s, Russian Works of Art, Fabergé and Icons, 08 June 2011, lot 545. 263. A FabergÉ Two-Colour Gold, Gem-Set Egg Pendant MAKER’S MARK OF AUGUST HOLLMING, ST PETERSBURG, CIRCA 1900, 56 STANDARD Height excluding loop 2 cm. In Byzantine style, the body set with gems and decorated with a band of laurel leaves. £3,000–5,000 262 263 £6,000–8,000 ( 214 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 215 ) 268 264 265 269 270 266 * 264. A FabergÉ Silver Presentation Cigarette Case MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, 1896, 84 STANDARD, SCRATCHED INVENTORY NUMBER 7165 8.5 by 8 cm. Square with rounded corners, the lid cast and chased with rocaille motif and engraved with Latin initials ‘HN’, thumbpiece with a cabochon sapphire, gilt interior. £2,500–3,500 * 266. A Silver-Gilt and GuillochÉ Enamel Beaker GRACHEV BROTHERS, ST PETERSBURG, 1908–1917, 88 STANDARD Height 4 cm. Of tapering cylindrical form, the body enamelled in translucent powder-blue over zigzag engine-turning, gilt interior. £2,200–2,500 267 * 265. A FabergÉ Silver-Gilt Ladies Case MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, 1899–1908, 84 STANDARD, SCRATCHED INVENTORY NUMBER 22950 7.5 by 4.5 cm. * 268. A FabergÉ Two-Colour Gold, GuillochÉ Enamel and Satinwood Paper Knife MAKER’S MARK OF KARL GUSTAV HJALMAR ARMFELT, ST PETERSBURG, 1896–1908, 56 STANDARD Length 26 cm. Rounded with rectangular corners, lid set with gold diamond-set monogram, the back with engraved signature ‘Zosia’ in Latin characters, sapphire thumbpiece. The flat handle enamelled in pale lavender and oyster white guilloché over wavy engine-turned ground and mounted with laurel band within gold dash and pellet borders. £2,500–3,500 £6,000–8,000 * 267. A Silver-Gilt and GuillochÉ Enamel Bell Push * 269. A FabergÉ Gold Fountain Pen INDISTINCT MAKER’S MARK, ST PETERSBURG, LATE 19TH CENTURY, 56 STANDARD, SCRATCHED INVENTORY NUMBER 39213 Length 19.5 cm. Of tapering form, the nib by Swan with manufacturer’s marks, in fitted Fabergé case. £4,000–6,000 270. A FabergÉ Three-Colour Gold Jewelled Miniature Kovsh WITH MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, FURTHER MARKED ‘AC’, ST PETERSBURG, 1908–1917 Diameter 5.5 cm. MAKER’S MARK OF MIKHAIL PERCHIN, ST PETERSBURG, PRE-1896, 56 STANDARD Length 8.6 cm. Circular bowl, set with a coin of Catherine the Great, the outer border of alternating pink and green gold reeded panels, handle set with a ruby, sapphire and diamond. Squashed bulbous body enamelled in mother-of-pearl over wavy engineturned ground, centered with a moonstone push-piece and laurel band surround, the wooden base with matching band, on three ball feet. £5,000–7,000 £4,000–6,000 ( 216 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 ( 217 ) 271. An Equestrian Composition “Steeplechase” 272. A Bronze Sculpture of a Hussar MODEL BY EVGENY LANCERAY, INSCRIBED WITH A SIGNATURE IN CYRILLIC AND DATED 1882 Bronze with dark brown patina, length 5 cm, height 30.5 cm, width 27 cm. MODEL BY PIERRE TOURGUENEFF, SUSSES FRÈRES FOUNDRY MARK, LATE 19TH–EARLY 20TH CENTURY Gilt bronze, height 40.5 cm. £25,000–35,000 £4,000–6,000 273. A Bronze Composition of a Georgian with a Bull-Drawn Cart (“Arbakesh”) MODEL BY FELIX KHODOROVICH, INSCRIBED WITH A SIGNATURE IN CYRILLIC, WOERFFEL FOUNDRY MARK, ST PETERSBURG, LATE 19TH–EARLY 20TH CENTURY Dark brown patina, length 61 cm, width 29 cm, height 36. £7,000–9,000 ( 218 ) www.MacDougallauction.com Russian Art Auction MacDougall’s London 274. A Paperweight in the Form of a Bear Cub MODEL BY NIKOLAI LIEBERICH, LATE 19TH–EARLY 20TH CENTURY Related literature: Russky Muzey, Nikolai Lieberich, Almanah, PlacaeEditions, Italy, p.92. Dark patina, red marble base, 20 by 11 cm. £3,000–5,000 2 December 2015 ( 219 ) 275. An Important Silver and CloisonnÉ Enamel Triptych of the Mother of God of Kazan with Saint Alexis and Saint Empress Alexandra ( 220 ) www.MacDougallauction.com Russian Art Auction MacDougall’s * 276. An Important Icon of the Empress, Saint Alexandra GRACHEV BROTHERS, MOSCOW, 19TH CENTURY, 88 STANDARD, OIL ON ZINK 22.5 cm. FRAME WITH MAKER’S MARK FOR PAVEL OVCHINNIKOV IN CYRILLIC BENEATH THE IMPERIAL WARRANT, MOSCOW, 1908–1917, 84 STANDARD, OIL ON METAL 62.5 by 40.5. £18,000–25,000 £40,000–60,000 London 2 December 2015 ( 221 ) 277. The Mother of God of the Burning Bush and The Mother of God of Kazan MAKER’S MARK ‘AA’, MOSCOW, 1896 18 by 14.5 cm. 22.5 by 18 cm. 280. A Fine Icon of St Nicholas the Miracle Worker, Ioannikiy and Onufriy the Great with Silver and Enamel Haloes MOSCOW, SIGNED BY IOSIP CHIRIKOV IN CYRILLIC AND DATED 1890 31 by 26 cm. £800–1,200 £12,000–18,000 281. A Mother of God “All Creation Rejoices in Thee” OLD BELIEVERS’ WORKSHOP, MOSCOW, MID 19TH CENTURY 44.5 by 38 cm. £2,000–3,000 278. A Double-Sided Silver Diptych of the Nativity and the Mother of God 282. Christ Emmanuel 18TH CENTURY, OIL ON COPPER Height (including loop) 11.5 cm. CENTRAL RUSSIA, CIRCA 1600 WITH RESTORATION OF THE 19TH AND 20TH CENTURIES 33 by 25.5 cm. £1,200–1,400 £4,000–6,000 280 279. St. John Lestvichnik (of the Ladder) OLD BELIEVER’S WORKSHOP, GUSLITSI, SECOND HALF 19TH CENTURY 36 by 31 cm. £1,800–2,300 281 ( 222 ) www.MacDougallauction.com Russian Art Auction MacDougall’s 282 London 2 December 2015 ( 223 ) MacDougall's Terms & Conditions of Sale December 2015 1. All contractual rights and obligations made between vendors, bidders and MacDougall Arts Ltd in respect of an auction conducted by MacDougall Arts Ltd (an “auction”) are subject to these Terms and Conditions of Sale. 2. In these Terms and Conditions of Sale, MacDougall Arts Ltd. — who act as agents for the vendor unless specified otherwise in the catalogue for the auction in question — are called “MacDougall’s”, or “us”; and the representative of MacDougall Arts Ltd. conducting the auction is called “The Auctioneer”. 11. If instructed, MacDougall’s will execute bids for prospective buyers. This service is free. Lots will always be purchased as cheaply as is allowed by such other bids and reserves as are on the Auctioneer’s books. In the event of identical bids, the earliest will take precedence. There must always be a maximum limit indicated, i.e. the amount to which the buyer would bid if attending the auction in person. «Buy» or unlimited bids will not be accepted. Commission bids placed by telephone are accepted at the client’s risk. 12. Notwithstanding clause 14, the buyer and the vendor shall enter into the contract for the buyer to buy and the vendor to sell the lot in question upon the fall of the Auctioneer's hammer. Hammer price 3. All bids for a lot at an auction shall be considered an offer for that lot, which the Auctioneer can accept or reject in accordance with clauses 9 and 12 of these Terms and Conditions. The hammer price means the highest bid accepted by the Auctioneer for the lot. The purchase price payable by the buyer shall be the aggregate of the hammer price plus the buyer’s premium (together with any VAT chargeable on the hammer price and buyer’s premium). The buyer’s premium is at a rate of 25% on the first £50,000; 20% on the amount between £50,001 and £1,000,000; and at a rate of 12% on the amount above £1,000,000, of the hammer price. All prices are quoted in UK Pounds Sterling. 13. Lots purchased online will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT at the rate imposed. Identification and payment 14. The buyer shall forthwith supply his name and address and his bank and other suitable references considered necessary by MacDougall's, acting reasonably. Bidders act as principal unless they have prior written consent from MacDougall’s to bid as agent for another party. Bidders are personally liable for their bid and are jointly and severally liable with their principal if bidding as agent. VAT 15. Legal title to a lot shall not pass to the buyer until MacDougall’s receive the full purchase price for the lot in cleared funds. 4. Lots are normally sold under the UK Auctioneers Margin Scheme. Input tax deduction has not been and will not be claimed in respect of such lots. The charge for the buyer’s premium will include VAT on the charges described above, which will not be shown separately and may not be reclaimed as input tax. 16. Unless MacDougall’s agree with the buyer otherwise: (a) the lot must be paid for in full within twenty-one days of sale; and 5. Items marked with an asterisk (*) have been imported from outside the EU. 5% will be added to the hammer price and buyer’s premium to cover Import VAT. EU VAT registered buyers should note that neither this 5% nor the VAT on the buyer’s premium can be refunded or claimed against VAT. (b) the buyer must remove the lot in question, at their expense, within 30 calendar days following sale. 6. Buyers from outside the EU who intend to ship their purchases outside the EU within three months should tell MacDougall’s at time of payment. For them, the VAT charge included in the premium (and the 5% charge on asterisked lots) will be treated as a deposit, refundable on presentation of documentary proof of export outside the EU within three months. 17. MacDougall’s are not obliged to release a lot to a buyer until title to that lot has passed, but any earlier release will not affect the passing of title. Droit de suite (Artist's resale right) 19. If a buyer fails to pay for or remove a lot in accordance with clauses 13 to 17 above, MacDougall’s shall be entitled at their absolute discretion to exercise one or more of the following rights, unless agreed otherwise with the buyer. 7.1. Some works will be subject to Droit de Suite (Artist’s Resale Right), and will be indicated with a “§” mark in the catalogue or otherwise notified. This is a royalty payable to a qualifying artist (citizens of EU and EEA countries) each time a work is re-sold during the artist’s lifetime and to their descendants for 70 years after the artist’s death. 18. To the extent an export licence is required in order to remove a lot from the United Kingdom, the buyer alone is responsible for obtaining and paying for such a licence. (a) To rescind the contract in respect of that lot. (b) To store the lot or cause it to be stored at their own premises or warehouses elsewhere at the sole expense and risk of the buyer, and to release the lot only after payment in full of the purchase price, accrued storage and haulage charges and all other costs incurred by MacDougall’s in connection with the lot. 7.2. Buyers will be charged an amount equal to this resale royalty where it applies. These resale royalties are not subject to VAT and do not apply when the hammer price is less than 1,000 euros. Invoices are normally issued in Pounds Sterling, with the resale royalty calculated on the basis of the European Central Bank reference rate on the date of the sale. (c) To charge interest and storage charges. Interest is charged at 10% per annum, and storage charges at 50 pounds per lot per week. However these charges will be waived if payment is received by the 21 day contractual deadline and the purchases are collected within four months. 7.3. Droit de Suite Scale Charge Portion of the hammer price (in euros) 4% Up to 50,000 3% 50,001–200,000 1% 200,001–350,000 1/2% 350,001–500,000 1/4% Over 500,000 (d) With seven day’s notice to the buyer to resell the lot or cause it to be resold by public or private sale. Any deficiency in the purchase price attending such resale (after giving credit for any payment and after deducting full costs incurred in connection with the lot) to be made good by the defaulting buyer, any surplus (after retention by MacDougall’s of the premium) to be paid to the vendor. (e) Commence legal proceedings on behalf of the vendor to recover the purchase price and other expenses for that lot. (f) Release the name and address of the buyer to the vendor to enable the vendor to commence the legal proceedings against the buyer. (g) MacDougall’s shall in all circumstances be entitled to exercise a lien against any property belonging to the buyer or where the buyer has acted as an agent any property belonging to the buyer’s principal which is in the possession of or in the control of MacDougall’s in respect of any debt howsoever arising owed by the buyer (or the buyer’s principal) to MacDougall’s notwithstanding that the value of the property exceeds the amount owed to MacDougall’s. To a maximum of 12,500 euros Guaranteed Property 8. A minimum price has been guaranteed to the seller for lots marked with the symbol “°”. This guarantee may be provided by MacDougall’s, by a third party or jointly by MacDougall’s and a third party. Third parties providing all or part of a guarantee benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. ( 224 ) (h) MacDougall’s may set off any sums owed by a buyer or its principal against any money owed by MacDougall’s to the buyer or its principal not withstanding that MacDougall’s may have in their possession or under their control property belonging to the buyer or its principal. Bidding (i) MacDougall’s are entitled at their absolute discretion to apportion any monies received by or on behalf of the buyer against any sums owed by the buyer or its principal by or on behalf of the buyer against any sums owed by the buyer or its principal to MacDougall’s. 9. Bidding at an auction is regulated at the sole discretion of the Auctioneer, who reserves the right to reject any bid. (j) 10. In the case of lots upon which the vendor has placed a reserve, the Auctioneer shall have the right to bid on behalf of the vendor, but no higher than the reserve. MacDougall Arts Ltd., its Directors, its staff, or its consultants may own or have a beneficial interest in a lot being sold. All lots are offered subject to a Reserve Price agreed in writing with the vendor; it shall be no higher than the low estimate of the hammer price. MacDougall’s have absolute discretion to refuse admission to the auction. (k) To debit the bank account of the buyer, on the basis of the debit or credit card details provided by the buyer to MacDougall’s prior to the auction in question, in part or full payment of the outstanding purchase price and any other outstanding fees. www.MacDougallauction.com Russian Art Auction MacDougall’s Where lots are not removed in accordance with clause 17 above, whether or not payment has been made, MacDougall’s shall be permitted to remove the lot to a third party warehouse at the buyer's expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us. London 2 December 2015 ( 225 ) Telephone and Commission Bidding Form: December 2015 Buyers are reminded that a premium at a rate of 25% on the first 50,000; 20% on the amount between £50,001 and £1,000,000; and of 12% on the amount above £1,000,000 is payable on the hammer price, plus applicable VAT. Some lots are also subject to import charges and/or Artist’s Resale Right charges, as described in the Terms and Conditions. All telephone and commission bidding requests should be completed by twenty-four hours before the sale. MacDougall Arts Ltd. does not accept any liability if for any reason you do not receive a phone call during the sale. In submitting this form you agree to comply with the Terms and Conditions of the Sale. Catalogue descriptions 20. MacDougall’s reserve the right to withdraw, consolidate, divide or alter any lot or combine any two or more lots. 21. All statements in the catalogues, advertisements or brochures of forthcoming sales are statements of opinion only. Illustrations in the catalogues, advertisements or brochures of forthcoming sales may not necessarily reveal imperfections in any lot. The exact physical description of any lot and the extent of any defect, restoration or repair to any lot should be ascertained by intending buyers through inspection. Each buyer by making a bid for a lot acknowledges that he has satisfied himself fully before bidding by inspection or otherwise as to all the sale conditions the physical condition of and description of the lot including but not restricted to whether the lot is damaged or has been repaired or restored. Cleared funds must be received for all purchases within 21 days of the sale. Interest is charged at 10% per annum, and storage charges at £50 per week. However these charges will be waived if payment is received by the 21 day contractual deadline. The buyer must remove the lot in question, at their expense, within 30 calendar days following sale. Credit Card processing fee charged at 2 %. I Would Like A) Leave A Commission Bid B) Telephone Bid English Russian Preferred Language: 22. MacDougall’s reserve the full and absolute right to illustrate and photograph any lot placed in its hands for sale, and to use these photographs and illustrations at any time at its absolute discretion (whether or not in connection with the auction). Lot Number (please select one) French (please select one) Maximum Commission Bid (GBP Hammer Price) Brief Description Guarantee 23. Notwithstanding any other terms of these conditions, if within one year after the sale the buyer of any lot gives notice in writing to the Auctioneer that in his view the lot is a counterfeit (i.e. an imitation created to deceive as to authorship, origin, date, or age); and within fourteen days after such notification the buyer returns the lot to the Auctioneer in the same condition as at the time of sale and free of third party claims; and by producing evidence, with the burden of proof to be upon the buyer, satisfies MacDougall Arts Ltd. that the lot is a counterfeit, not reflected by the description in the catalogue; then the sale of the lot will be rescinded and the purchase price of the same refunded. No lot shall be considered a counterfeit by reason only of any damage and/or restoration and/or modification work of any kind including repainting or over-painting. This limited right of refund lies with the original buyer only and is not transferable to third parties. Data protection 24. By agreeing to these Terms and Conditions, vendors, bidders, and buyers agree to the storage and processing of their personal information by the Auctioneer. The data may be stored in countries which do not offer equivalent protection of personal information to that offered in the EU. The Auction may be subject to video and audio recording by the Auctioneer. The Data Controller is MacDougall Arts Ltd. English law and language 25(a). All sales and related matters included within these Conditions of Sale shall be governed by and construed in accordance with the laws of England (regardless of where the lot may have been received by the Auctioneer) and the buyer submits to the exclusive jurisdiction of the English courts. 25(b). Any dispute arising out of or in connection with this contract, including any question regarding its existence, validity or termination, shall be referred to and finally resolved by arbitration under the LCIA Rules, which Rules are deemed to be incorporated by reference into this clause. The number of arbitrators shall be one. The seat, or legal place, of arbitration shall be London. The language to be used in the arbitral proceedings shall be English. The governing law of the contract shall be the substantive law of England and Wales. Registration Details First Name: 26. Where a translation of this agreement has been provided, it is agreed that the English language version shall be the governing one. Surname: Business Name: Address: Payment methods: Email: For payments by wire transfer, please direct payment in UK pounds sterling (with all charges to be paid by sender, and include a reference to the lot number) to: MacDougall Arts Client Trust Account No. 73662942, Sort Code 40-07-13, Swift code MIDLGB22, IBAN GB90MIDL40071373662942 HSBC Bank plc, 8 Victoria St., Westminster, London SW1H 0NJ. Telephone: Telephone (other): Other payment methods: Credit card payments are charged 2% extra. UK debit card payments are free of charge. Personal UK cheque payments will have to clear before delivery of purchases. Banker’s drafts and cash within certain limits may be accepted by arrangement. Fax: Citizenship: Passport/ID No.: ID Type: Credit Card No.: Expiry Date: Security Code: I have read the Terms and Conditions of Sale and agree to comply with them. I warrant that I am not subject to EU or UK sanctions. Signature: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 226 ) MacDougall Arts Ltd. MacDougall Arts Ltd. 30A Charles II St., London SW1Y 4AE, England 30A Charles II St., London SW1Y 4AE, England Info@macdougallauction.com Tel +44-20-7389-8160 Fax +44-20-7389-8170 www.MacDougallauction.com Info@macdougallauction.com Tel +44-20-7389-8160 Fax +44-20-7389-8170 www.MacDougallauction.com www.MacDougallauction.com Russian Art Auction MacDougall’s London 2 December 2015 Date: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 227 ) The forthcoming novel Index of Artists Highgate Unicorn Afrika (Bugaev, Sergey) ........................................................ 145 Altman, Alexander ............................................................... Andronov, Nikolai .............................................................. Anisfeld, Boris ............................................................... 49 139 37, 38 Annenkov, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Apsit, Alexander Babaev, Polidor .................................................................. ................................................................. Bashindzhagyan, Gevorg Baturin, Victor ................................................ 74 108 102, 104 .................................................................. 132 Belenok, Pyotr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157, 158 Benois, Nadia ..................................................................... 89 Bilianitsky-Birulia, Vitold ....................................................... Bogdanov-Belsky, Nikolai ................................................. Brovar, Yakov ..................................................................... Burliuk, David ............................................. Chuikov, Semen Levitan, Isaak .............................................................. 11, 12, 13 Makovsky, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Makovsky, Nikolai 107 .............................................................. Matveev, Fedor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Muratov, Nikolai Novikov, Timur 79 ................................................................. Nesterova, Natalia ................................... 149, 150, 151, 152, 153, 155 156 ................................................................... Osmerkin, Alexander 9 ......................................................... 148 ............................................................ 109 Ovchinnikov, Vladimir Ovsyannikov, Valery ............................................................. ......................................................... 71 ........................................................... 69 Paul Mak (Ivanov, Pavel) Petrov-Vodkin, Kuzma Plastov, Arkady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117, 118 Plavinsky, Dmitry 90 Pogedaieff, Georges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45, 46 ......................................................... 68 ............................................................... 143 Polenov, Vasily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 ..................... 162 Popkov, Viktor .................................................................. 103 Purygin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 81,82, 83 Rozhdestvensky, Vasili . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Fedorovsky, Fedor ....................................................... ....................................................................... 59 .................................. Sapunov, Nikolai 122, 136, 137, 138, 140, 141, 142 95 ................................................................. Fokin, Leonid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Shevchenko, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Gerasimov, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Shilder, Andrei Gine, Alexander .................................................................. 28 Goravsky, Apolinary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Shishkin, Ivan 31 ................................................................... ................................................................ 16, 30 Slepyshev, Anatoly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Grabar, Igor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Sokolov, Petr Grigoriev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10, 76 Somov, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 84 Grigoriev, Nikolai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Sorine, Savely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Gritsai, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116, 119, 125, 131 Spassky, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 154 Grositsky, Andrey .............................................................. Harlamoff, Alexei ................................................................ 87 Issupoff, Alessio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Kalinin, Viatcheslav Kalmakov, Nikolai Karazin, Nikolai Klestova, Irene ............................................................ 146 ................................................................ ................................................................. ............................................................... 33 110 93, 94 92 ..................................................................... Sverchkov, Nikolai ............................................................... 17 Svetlakov, Sergei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Tarkhoff, Nikolai 39 ................................................................. Terechkovitch, Constantin Terpsikhorov, Nikolai .................................................... .................................... 105 126, 127, 128, 129, 130 Tikhmenev, Evgeny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 27 Tikhov, Vitaly 111 ..................................................................... Klever, Yuli ........................................................................ 99 Tkachev, Alexei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Kliun, Ivan ......................................................................... 70 Tkachev, Sergei Kolesnikov, Stepan .......................................................... 19, 20 .................................................................. Unknown Artist (19th Century) Korovin, Konstantin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 43, 44, 112 Vasilkovsky, Sergei ........................................................ Kotarbinsky, Vasily Kouznetsov, Nikolai Kramskoy, Ivan 159, 160 .............................................................. ......................................................... 18 Vereisky, Orest 88 ................................................ 91 ..................................................... 21, 22, 23 ................................................................... 80 Vereschagin, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 97, 98 Vinogradov, Sergei 1 Vladimirsky, Boris ..................................................................... 123 ........................................ Unknown Artist (18th–19th Century) Konchalovsky, Petr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Koshlyakov, Valery .............................................................. .............................................................. 54 135 2, 3 Yakovlev, Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Kukryniksy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77, 78 Zankovsky, Ilya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 101 Kryzhitsky, Konstantin ( 228 ) 72, 73 .................................... Dubossarsky, Vladimir And Vinogradov, Alexander Férat, Serge ................................................................. Lentulov, Aristarkh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 121 Der Moderne Buchschmuck In Russland Ducker, Evgeny 24 50, 51, 52, 53, 114, 115 .................................................................. Dobuzhinsky, Mstislav 4 56, 96 Latri, Mikhail ........................................................ Kustodiev, Boris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Zdanevich, Kirill Kuznetsov, Pavel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Zichy, Mikhail Lakhovsky, Arnold ................................................................ Lapchine, Georges ............................................................ 6 ....................................... 61, 62, 63, 64, 65, 66, 67 ................................................................. Zverev, Anatoly 34, 35 .................................................................. 161 5, 42 www.MacDougallauction.com Russian Art Auction by Catherine MacDougall Where to Find Us n. et Leicester Square Wh om itc g fal Tra n rlto Ca Ho e ac er r eT ll St J s's ame Park Kustodiev, Boris (1878–1927). Shrovetide Fair Booths Levitan, Isaak (1860–1900). High Water Zdanevich, Kirill (1892–1969). Set Design for the Film “Burevestniki” Kotarbinsky, Vasily (1849–1921). Roman Orgy Lake Guards Rd . P a r k ll al l T Saint James's Park ns re Ac ra St No r t us de ar William IV Charing Cross ar H o r se M he Ma The National Gallery eha Whit ll Pa ll Ma G rn nd are S t ain r ts l bo t. nS lto e Covent Sh Garden ng Lo Sq u St. t. bS ar II l es o Sh Ho . St. Mar tin's Ln tre eS ue Upper St Mar tin's L n ve yA ad it S t. et ss Ro du g Cro Co n in Char St. r tre nS MacDougall’s s's Back cover: ek Ch et Inside Back cover: Lot 32. Lot 11. Lot 63. Lot 18. Gre re me tre 's S es Inside Front cover: et ark ua Ja St. ke St. am Christie's ym Du ry J St. Bu Sq et et e Str tre tS en t. eS yn er m Ha vi l l g Re ck et et J ly www.MacDougallauction.com Front cover: t. hS Sa et e Str tre dS le russian@macdougallauction.com F r it w Ro ar E-mail: te u sb High Piccadilly y St. Circus Coventr 30A Charles II St. London, SW1Y 4AE, England +44-20-7389-8160 +44-20-7389-8170 +7-495-799-4683 +38-044-466-2006 +33-1-5345-5418 af to mp Lisl MacDougall Arts Ltd London tel: Fax: Moscow tel: Kiev tel: Paris tel: t. oS Sh St. er w e Br dil ca c i P e Th Constitution Hill et Stre vi le on Hyde Park Corner o dC St. Sa dB Royal Academy of Arts an on gt Ol i l ly G r e e n So h t ree et Stre e ar qu nS St. lde i ck Go w r Wa et e et Str tre nt ge yS Re St. r St i ck gl ak Tottenham Court Road De et x in Le Kin Be Ol . St d ca Pi c Street ou a r lb Stre rw at M ug h oro et n t. sS t. dS tfor t. kS B r ic Her lto e rg treet r zon S Green Park Bo la e H y d e P a r k e Str et C an kL Cu r ve Do tre sS e Str r le em s a Ch Alb ew ley r Pa et Stre Ha M rke dley St. y 's St. Be h Au et Stre ll St. St. Hi n to y le r ke a re BeSqu S o ut Park F Sotheby's u Br et t Stre oun m ar orge St. no r r St. M et sve e Str Gro nd r Bo o lt on La t ne e e r t ok S e St. G w Ne o sven Gro veno G ro s a re Sq u hM t tree ies S k St. treet xford S Ox Gre ut D av St. pp roo er B Oxford Circus Be reet dley Bro O Oxford eet ford Str rd Wa es St Bond Street So reet N Au e St D uk Ox eet ford Str l . es St H tta P enr ie Holl Jam Wig St. astle Eastc t Stree more hum ber la ite Wh ha l nd A l Pl .