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Russian Art, Works of Art, Icons and Fabergã© Wednesday 04 June 2014 10:30 Russian Art, Works of Art, Icons and Fabergé Wednesday 04 June 2014 10:30 MacDougall's Fine Art Auctions 30A Charles II St London SW1Y 4AE MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 the most significant landscape works of their time." *DUBOVSKOY, NIKOLAI (1859-1918) River Running through a Estimate: £200,000.00 - £300,000.00 Wintry Forest , signed. Oil on canvas, 71 by 53 cm. "<br/>Authenticity of the work has been confirmed by the expert V. Petrov.<br/> Authenticity has also been confirmed by the Lot: 4 expert T. Goryacheva." *KUPRIN, ALEXANDER (1880-1960) Twilight Landscape. Estimate: £40,000.00 - £60,000.00 Churuk-Su River, Bakhchisarai , signed. Oil on canvas, 89 by 125 cm. "<br/>Executed c. 1927–1928.<br/><br/> Provenance: Private collection, Turkey.<br/><br/> Authenticity Lot: 2 of the work has been confirmed by the expert V. *DUBOVSKOY, NIKOLAI (1859-1918) Winter Scene , signed Petrov.<br/><br/> Exhibited:Vystavka kartin i skulptury and numbered "N 25" on the reverse. Oil on canvas, 56.5 by 98 obschestva moskovskikh khudozhnikov OMKh, Central Park of cm. "<br/>The present lot is a version of the painting Winter Culture and Leisure, Moscow, June 1929, No. 149.<br/> (1884), now in the collection of the State Tretyakov Shestaya vystavka “Krym i Kavkaz–zdravnitsy Rossii―, Gallery.<br/><br/> Provenance: Private collection, Exhibition Hall of the Moscow Union of Artists, Moscow, Europe.<br/><br/> Authenticity of the work has been confirmed 1931.<br/> Khudozhniki RSFSR za XV let (1917–1932), State by the expert V. Petrov.<br/> Authenticity has also been Historical Museum, Moscow, 1933, No. 412 or 414.<br/> XIXa confirmed by the experts S. Krivondenchenkov and P. Klimov." Esposizione Biennale Internazionale d’Arte, La Biennale di Estimate: £80,000.00 - £120,000.00 Venezia, Venice, 1934, No. 30 (label on the reverse).<br/><br/> Literature: Exhibition catalogue, Vystavka kartin i skulptury obschestva moskovskikh khudozhnikov OMKh, Moscow, 1929, p. 16, No. 149, listed as Semerechnyi [sic] peizazh.<br/> Lot: 3 Khudozhniki RSFSR za XV let (1917–1932) Zhivopis’, SAVRASOV, ALEKSEI (1830-1897) Evening Light , signed and Moscow, Vsekokhudozhnik, 1933, p. 20, No. 412 or 414.<br/> dated 1872. Oil on canvas, 73 by 58.5 cm. "<br/>Provenance: Exhibition catalogue, XIXa Esposizione Biennale Internazionale Important private collection, Italy.<br/><br/> Authenticity of the d’Arte, Venice, Carlo Ferrari, 1934, p. 320, No. 30, listed.<br/> work has been confirmed by the expert V. Petrov.<br/><br/> V. Nikolsky, Aleksandr Vasilievich Kuprin, Moscow, The great Russian landscapist Alexei Savrasov painted Vsekokhudozhnik, 1935, p. 43, illustrated; p. 104, listed under Evening Light in 1872 when his soaring artistic genius was at its works from 1928.<br/><br/> Alexander Kuprin was a founding peak. It belongs in a thematic strand developed at the outset of member of the Jack of Diamonds group at the start of the 20th the 1870s with the works Moonlit Night. A Marsh (1870), Sunset century and one of the most prominent Soviet painters. He is over a Marsh (1871) and Sunset (early 1870s).<br/><br/> In represented here by this landmark canvas from his Crimean turning his attention towards the most outwardly unremarkable period, Twilight Landscape. Churuk-Su River, Bakhchisarai, and decidedly inelegant of subjects – a marsh – Savrasov which dates from late 1920s.<br/><br/> Kuprin was a graduate reveals in the everyday landscape of Central Russia an of the Moscow School of Painting, Sculpture and Architecture, a inherent aesthetic richness that entirely holds its own against student of Konstantins Yuon and Korovin, and one of the most more “picturesque― scenery.<br/><br/> The intrinsic value ofpassionate adepts of French avant-garde experiments. The Savrasov’s swamps at dusk, as distinct from his romantic artist paid his first visit to the Crimea in 1907, whence he wrote sunsets of the 1850s, comes not from the scenic beauty of the in a letter to his wife, Anastasia Polozantseva, that there is landscape as such but from an affection for every little corner of sufficient material here to last an artist for not one, but several creation as a perfectly crafted piece of handiwork which it is the lifetimes.<br/><br/> However, it was not until the late 1920s, artist’s greatest delight to experience. This vision is based not that Kuprin produced his best Crimean landscapes, on simple contemplation, but an acute personal sensation of characteristic for their inner harmony and expressive form. As man’s connection with nature and the unseen presence of her the art critic Viktor Nikolsky wrote in his 1935 monograph on mood in the world of human experiences thoughts and Kuprin, the artist made annual pilgrimages to Bakhchisarai from feelings.<br/><br/> In Evening Light, Savrasov stresses how 1926 to 1930 and never tired of his artistic love-affair with this true the painting is to nature by occupying the foreground with neglected corner of the Crimea.<br/><br/> Kuprin’s deliberately prosaic details: a waterlogged marsh overgrown landscapes of the time are remarkable for their expressiveness with sedge, and seemingly unprepossessing tussocks and and freedom of brushwork. They show to best effect the scrub. The only token of human presence is the curling plume artist’s skill in conveying a sense of volume and the rhythm of of smoke in the distance (this, along with birds flying high in the architectural forms. But while formalist experiments had sky, was always one of Savrasov’s favourite minor motifs), previously taken centre stage in Kuprin’s work, the which creates the sense that the landscape is lived in. It Bakhchisarai landscapes of the late 1920s reveal a deeply communicates the feeling that human life is there, its warmth lyrical approach to their subject. Here, as never before, we can enlivening the image of nature.<br/><br/> The diagonal see how Kuprin was bewitched by the carefree atmosphere of movement of the stream flowing like a ribbon into the distance what Nikolsky called this lazy, sleepy southern town.<br/><br/> is balanced on both sides by the line of the horizon at sunset Twilight Landscape. Churuk-Su River. Bakhchisarai is the only and the motionless tranquillity of the glassy water on the cusp work of Kuprin’s Bakhchisarai cycle to remain in private of nightfall.<br/><br/> Not only is the illumination arranged with hands. The others have long been the pride of Russian great skill, the sky and water lit with subtly nuanced tints from museum collections: Bakhchisarai. Churuk-Su. Evening (1930) the setting sun, but the artist attracts one’s attention to the in the collection of the Tretyakov Gallery in Moscow, and middle ground and distance as a whole, rather than detail by Bakhchisarai. Churuk-Su. Noon (1927) hangs in the Russian detail, which endows the seemingly prosaic subject matter with Museum in St Petersburg.<br/><br/>" romance and lyricism.<br/><br/> Savrasov was one of the first Estimate: £150,000.00 - £200,000.00 Russian artists to shape an essentially new figurative interpretation of nature. The marshes he painted in the early 1870s – with their inner naturalness, originality of conception and expressive artistic execution – deserve their place among Lot: 5 1 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com ZICHY, MIKHAIL (1827-1906) An Oriental Bazaar , signed and Tolstoy’s Tsar Fyodor Ioannovich, took several roles in dated 1867. Pencil, watercolour and gouache, heightened with Gorky’s Lower Depths, played Yasha in The Cherry Orchard white, on paper, laid on cardboard, 36.5 by 59.5 cm. and Artemyev in Turgenev’s Living Corpse.<br/><br/> As a "<br/>Provenance: Private collection, Hungary.<br/><br/> highly-skilled character actor, Alexandrov could fashion a tour Authenticity of the work has been confirmed by the expert V. de force from the most minor part. Boris Grigoriev captured this Petrov.<br/> Authenticity certificate from Borbély László, an art ability in his pictures of Alexandrov: a small drawing, published historian and senior research associate from the Hungarian in the first edition of Visages de Russie in 1923 shows National Gallery." Alexandrov in the role of the Actor from The Lower Depths, and Estimate: £50,000.00 - £70,000.00 the large portrait, offered here for auction, shows Alexandrov as the merchant Krasilnikov in Tsar Fyodor Ioannovich.<br/><br/> The portrait of Alexandrov, like all the portraits of MKhAT artists Lot: 6 in 1923, is not a staged composition, but an impressionistic §STELLETSKY, DMITRI (1875-1947) Boyar Couple , two work of art. Only a few of these works – painted for the most works, one signed, each titled on the stretcher. Each oil on part backstage after performances – are against backgrounds canvas, each measuring 55.5 by 46 cm. "<br/>Provenance: that resemble stage scenery. In most of the pictures Grigoriev Acquired directly from the artist by the family of the previous creates an expressive image with nothing but the enlarged face owner.<br/> Private collection, UK." of the actor in the role. Grigoriev remains true to the theme of Estimate: £80,000.00 - £120,000.00 the artist and artistry, which he had already marked out in his portraits of Meyerhold and Chaliapin from the 1910s, but here the theme is developed not through the outer trappings, but by capturing how the actor’s personality manifests a “face of Lot: 7 Russia―. What interests Grigoriev is not any expressive mise- §STELLETSKY, DMITRI (1875-1947) Crossing the River , en-scène, but the psychological portrayal of character, captured signed.
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