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Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - October 25, 2014 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE USD 30,000 - 40,000 A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE SCENES, NORTHERN SCHOOL, LATE 16TH-EARLY 17TH CENTURY, the figure of Saint Paraskeva, venerated as the healer of the blind as well as the patron saint of trade and commerce, stands in a field of flowering plants, she holds her martyr`s cross in one hand and an open scroll in the other, a pair of angels places a crown upon her head, surrounding the central image are fourteen scenes from the saint`s life, including the many tortures she endured under Emperor Antoninus Pius and the Roman governor Tarasius. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, one-half of the other present. 103 x 80 cm (40 ½ x 31 1/2 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 541.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 2: A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, USD 10,000 - 15,000 A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, YAROSLAVL SCHOOL, CIRCA 1600, the saint depicted holding a scroll featuring an excerpt from his last words to his disciples, "Do not be sad Brothers, but rather preserve the purity of your bodies and souls, and love in a disinterested manner," above him is an image of the Holy Trinity - a reference to his Monastery of the Holy Trinity, as well as to the icon painted by Andrei Rublev under Sergius` successor, on a deep green background with a red border. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back. 31 x 26.4 cm (12 ¼ x 10 1/2 in.)PROVENANCECollection of Bernard Winters, Armonk, New YorkBernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 3: A RUSSIAN ICON OF THE MOTHER OF GOD HODEGETRIA, EARLY USD 25,000 - 35,000 A RUSSIAN ICON OF THE MOTHER OF GOD HODEGETRIA, EARLY 17TH CENTURY, also known as Our Lady of the Way, the figure of Mother Mary gently directs our attention to the Christ Child as the source of salvation for mankind, Jesus looks directly at the viewer, with a scroll in one hand and with the other formed in a gesture of blessing. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two shallow insert splints on the back, both missing, two smaller insert splints on the back. 107.5 x 86 cm (42 1/8 x 33 7/8 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 540, cover lot.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 4: A RUSSIAN ICON OF THE ANNUNCIATION, VOLOGDA, 17TH USD 8,000 - 12,000 A RUSSIAN ICON OF THE ANNUNCIATION, VOLOGDA, 17TH CENTURY OR POSSIBLY 19TH IN THE STYLE OF 17TH CENTURY, depicts the Archangel Gabriel announcing the impending birth of Jesus Christ to the Holy Virgin presented against a very detailed architectural landscape of Nazareth; the Archangel is depicted on the left, blessing the Holy Virgin who holds a skein of a red yarn (symbolic of the incarnation of Christ) close to her bosom; the Holy Spirit in the form of a dove descends from Heaven with the three colored rays symbolizing the Holy Trinity. Egg tempera, gold leaf and gesso on wood panel with a kovcheg. Two insert splints on the back. Mosgostorg sales tag with an inscription dated 1931 on the verso. 31.5 x 27 cm (12 3/8 x 10 5/8 in.) PROVENANCECollection of Bernard Winters, Armonk, New YorkBernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 5: A RARE RUSSIAN ICON OF THE TRINITY WITH CHRIST USD 15,000 - 20,000 A RARE RUSSIAN ICON OF THE TRINITY WITH CHRIST CRUCIFIED, CENTRAL RUSSIA, 17TH CENTURY, the enthroned figure of God the Father holds up the winged, crucified Christ, while the Holy Spirit, in the form of a white dove hovers above him, the starry sky within a radiating mandorla references the Holy Trinity`s omnipotent power, behind the central grouping are four angels standing on rolling clouds. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, the central section of the other insert splint missing, as well. 120 x 98 cm (47 ¼ x 38 5/8 in.)PROVENANCEChristie`s, New York, October 17, 1979, lot 408Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. Bid Live Online at LiveAuctioneers.com Page 1 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 6: A RUSSIAN ICON OF THE HOSPITALITY OF ABRAHAM (OLD USD 8,000 - 12,000 A RUSSIAN ICON OF THE HOSPITALITY OF ABRAHAM (OLD TESTAMENT TRINITY), 17TH CENTURY OR POSSIBLY 19TH IN THE STYLE OF 17TH CENTURY , the icon depicts Abraham and Sarah welcoming three pilgrims for a meal, the pilgrims are disguised messenger angels of God, the center of the background is occupied by an oak tree for which the village of Mamre is famous. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back. 31 x 25 cm (12 ¼ x 9 7/8 in.)PROVENANCENatalie Hays Hammond, daughter of John Hays Hammond, famous mining engineer, diplomat, and philantropistCollection of Bernard Winters, as of 1965 (acquired directly from Natalie Hammond)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items.EXHIBITEDNorth Salem, Westchester County, New York, The Hammond Museum, Faiths: An Exhibition based upon the definition in the Epistle to the Hebrews, xi, 1., April 1965. 7: A GREEK ICON OF THE ASCENSION OF CHRIST INTO HEAVEN, USD 10,000 - 15,000 A GREEK ICON OF THE ASCENSION OF CHRIST INTO HEAVEN, the figure of Christ, enveloped in a radiating mandorla of light, is depicted at the top center of the composition, being lifted up to heaven by a pair of angels, directly below stands Mother Mary in peaceful prayer, two white-clad angels pacify the elven confused Apostles. Egg tempera, gold leaf and cloth on wood panel, in an architectural frame. Without the frame: 45 x 34 cm (17 ½ x 13 3/8 in.)PROVENANCECollection of Bernard Winters, Armonk, New YorkBernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 8: A RUSSIAN ICON OF THE RESURRECTION FROM THE TOMB AND USD 7,000 - 10,000 A RUSSIAN ICON OF THE RESURRECTION FROM THE TOMB AND THE DESCENT INTO HELL, NOVGOROD SCHOOL, 17TH CENTURY, this icon is a spectacular example of the complex version of the Resurrection of Christ, presenting a combination of the iconography of the Descent into Hell and the Resurrection from the Tomb, which first appeared in Russian art in the early 17th century. In both scenes Christ is shown surrounded by an almond-shaped mandorla (representing shining light and glory). The right part of the panel presents the Resurrection scene with Jesus standing on his closed tomb, his hands raised in a benedictory gesture. The middle portion of the composition depicts the Descent into Hell, showing Christ holding a scroll symbolizing his victory over death, trampling upon the broken gates to hell.
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    Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry.
  • I Am Falling Behind the Happenings

    I Am Falling Behind the Happenings

    The Diary of Anatoly S. Chernyaev 1985 Donated by A.S. Chernyaev to The National Security Archive Translated by Anna Melyakova Edited by Svetlana Savranskaya http://www.nsarchive.org Translation © The National Security Archive, 2006 The Diary of Anatoly S. Chernyaev, 1985 http://www.nsarchive.org January 4th, 1985. I am falling behind the events. And they are bustling. Before the New Year’s I was distressed for Ponomarev:1 Kosolapov asked for permission to print in Communist the conclusion we wrote for B.N. [Ponomarev] for the eight-volume International Labor Movement. In response, he received instructions from Zimyanin2 to remove the footnote that it was the conclusion—let it, he says, be just an article... This is how Zimyanin now gives orders to B.N., being lower in rank than him! But something else is the most important—he reflects the “opinion” that it is not necessary to establish the connection (for many decades into the future) between Ponomarev and this fundamental publication in an official Party organ... That is, they are preparing our B.N. for the hearse. I think he will not survive the XXYII Congress; in any case not as CC [Central Committee] Secretary. At work, almost every day brings evidence of his helplessness. His main concern right now is to vindicate at least something of his self-imagined “halo” of the creator of the third (1961) Party Program. In no way can he reconcile himself to the fact that life has torn “his creation” to pieces. He blames everything on the intrigues of either Gorbachev3 or Chernenko4; but mainly on “the curly one” (this is how he calls Chernenko’s assistant Pechenev); and also in part on Aleksandrov5 and Zagladin.6 He complains to me, seeking in me somebody to talk to, a sympathizer.