1. 2500-3500 --- 4200
Karl Ivanovich Kollman, 1788-1848
a group of four drawings, comprising: an officer visiting the country; street vendors; offering a ride;
the ice vendors
signed and dated 1842
watercolour heightened with white on paper (4)
size of smallest: 15.5 by 20.5 cm.,
size of largest: 20.5 by 17.5 cm.,
2. 4000-6000 --- не продан
Stepan Filippovich Galaktionov, 1779-1854
a pair of watercolours: view of the palace of ostankino and peasant women gleaning
both watercolour on paper (2)
13.5 by 22.5 cm., 5 1/4 by 8 3/4 in.
14.5 by 25.5 cm., 5 3/4 by 10 in.
3. 4000-6000 --- не продан
Russian School, c. 1854
an album of nine watercolour views of siberia, including interiors and local landscapes, dated from 1854-55
the majority inscribed in Russian
pencil and watercolour, some pen and ink, liad on the pages of the album including interiors of a Drawing Room;
Living Room in the Company House in Eniseisk 1854; Living Room with Bedroom on the right at Holy Spirit Mine, 1855; Room of Alexandr Ivanovich Barkov, Holy Spirit Mine, 1855; as well as views of Holy Spirit Mine, Disagreeable Mine, George Mine, and the Basil Mine belonging to the Barkov Trading Company, and a group of portrait drawings
The group of portraits is inscribed Drawn by Nikolai Bestuzhev. The famous Decembrist (1791-1855), was a naval officer, writer and painter, who together with his wife Elena, spent most of his life in exile in Siberia where he spent this time painting views of his surroundings and portraits of his fellow exiles. For two similar albums containing work by Bestuzhev see The Russian Sale, Sotheby's, London, 14/15 December 1995, lots 114 and 117. 29 by 41.5 cm., 11 1/2 by 16 1/2 in.
4. 1500-2000 --- 3840
E*** Gilbertson
English, fl. 1830s
a group of nine (mounted as eight) topographical watercolours comprising: in the gardens of tsarskoe selo; korbiakoff's church, shoomsha, near rezan; the cathedral of the annunciation in the moscow kremlin; the trinity gate, moscow; the troitsko-ismailoffsky church, st. petersburg; the moscow kremlin from the moskvoretsky bridge; the chinese temple and the chinese bridge, tsarskoe selo; moscow from mr schulz's house in the varvarka one dated 10th August 1838
all watercolour over pencil on paper (8)
size of largest: 18 by21.5 cm., 7 by 8 1/4 in.
size of smallest: 13.5 by 12 cm., 5 1/4 by 4 3/4 in.
- 7000-10000 --- 7200
Pierre Alexandrovich Parisot (Ludoviki), 1750-1820
village fete in the environs of tsarskoe selo
signed on reverse: P.Ludowick
oil on canvas
70.5 by 89 cm., 27 3/4 by 35 in.
Parisot was born in Paris and although without formal education he went on to study at Montauban, and from 1785 was director of the Grenoble art school. With the Revolution, he left France for Russia, arriving in Moscow in 1792 where he was to live for thirty-two years. He came to the attention of Prince Vasili Dolgoruky who bought a painting from the artist entitled Selski Prazdnik for 400 roubles.
Upon arrival in Russia Parisot adopted the name Ludovic and registered himself as Swiss. He was a teacher of art to the children of Prince Cherkassky. One of the few foreign artists to work in Russia at the end of the 18th century, works by him are very rare as many were destroyed in the 1812 fire of Moscow, but he is represented in museums in Russia, in Montauban, and in the Louvre, Paris. A painting of similar subject was in the collection of Mme J. Claverie, Montauban. (For an illustration of this and for further information about the artist see Stary Gody, 1914, pp. 8-19).
- 40000-60000 --- не продан
Stepan Semenovich Shchukin, 1758/62-1828
portrait of count nikolai alexandrovich zubov
oil on canvas
69.5 by 58.5 cm., 27 1/4 by 23 in.
Count Nikolai Alexandrovich Zoubov (1763-1805) was the eldest brother of Platon Zoubov, favourite of
Empress Catherine II. It has been recorded that until 1917, this portrait was in the collection of L. A. Talisina,
Moscow Guberniya. It was published in Grand Duke Nikolai Mikhailovich's Portraits Russes, St. Petersburg,
1905, vol I, no.116.
- 50000-60000 --- не продан
Alexander Molinari, 1772-1831
portrait of natalia alexandrovna zubova
oil on canvas
72 by 58.5 cm., 28 1/4 by 23 in.
Countess Natalia Alexandrovna Zoubova (1775-1844) was the daughter of A. Suvorov and the wife of Nikolai
Alexandrovich Zoubov (see lot 6). As with the partner portrait, it has been recorded that until 1917, this portrait
was in the collection of L. A. Talisina, Moscow Guberniya. It was published in Grand Duke Nikolai Mikhailovich's
Portraits Russes, St. Petersburg, 1905, vol I, no.116.
- 2500-3500 --- не продан
Dmitri Nikiforovich Martinov, 1826-1889
charity
signed l.r. and dated 1879
oil on canvas laid on card
15 by 22 cm., 6 by 8 3/4 in.
- 2000-3000 --- не продан
Konstantin Egorovich Makovsky, 1839-1915
the faun
signed in Latin l.l.
watercolour and gouache on paper
26.5 by 18.5 cm., 10 1/2 by 7 1/4 in.
Provenance:
Collection of the grand-daughter of the artist
- 18000-22000 --- 21200
Feodor Feodorovich Buchholz, 1857-1942
daedalus and icarus
signed in Latin l.l.
oil on canvas
220 by 150 cm., 86 by 59 in.
Provenance:
The President of the Estonian Board of Private Collectors, Vilnius
Private Collection Vilnius
Born in the province of Warsaw, Buchholz studied at the Imperial Academy of Art, St.Petersburg under Pavel
Chistyakov and Valeri Yakobi. In 1880 and 1884 he was awarded silver medals for his sketch of Ivan II and for
his study of Nature. In 1885 he won a gold medal for his painting Daedalus Attaching the Wings onto Icarus. He
graduated from the Academy in 1885. He exhibited in Munich (1901), the United States (1904) and in Rome
(1911).
Buchholz is noted for his Russian historical portraits, genre scenes and landscapes, in particular Roman
Galitzsky with Pope Innocent III and I.E.Repin Among Friends (1900), in the Russian Museum.
The inspiration for the offered work is a painting by A. V. Lebediev (1755-1842) Daedalus and Icarus from the
Tretyakov Gallery, Moscow.
- 5000-7000 --- не продан
Vladimir Ivanovich Hau, 1816-1895
portrait of grand duchess maria nicholaevna
signed in Latin l.r. and dated 1855
watercolour heightened with white on card, set in engraved oval silver mount and within a velvet lined blue
tooled leather case
16 by 13 cm., 6 1/4 by 5 1/4 in.
Provenance:
Paris, Hotel Drouot, 1st December 1972, Souvenir Historiques ayant appartenu au Prince Eugene et a la Grande
Duchesse Marie Nicolaiewna, lot 6, Private Collection
- 5000-7000 --- не продан
After Virgilius Erikson, 1722-1782
portrait of grand duke pavel petrovich as a young boy
oil on canvas
57 by 45.5 cm., 22 1/2 by 18 in.
The original portrait, located in the State Hermitage Museum, St. Petersburg, was painted in 1766 (see
Gosudarsvenni Ermitazh Zapodnoevropeiskaya Zhivopis'' kat II, Leningrad, 1981, p.268, no.9909). A
contemporary engraving was made of this painting by L.M. Bonnet and the offered portrait is a copy made from
this engraving. Another similar copy is in the Louvre, 55 by 38.7 cm., RF2116.
- 20000-30000 --- 38850
Nikolai Egorovich Sverchkov, 1817-1898
portrait of an officer of the life-guards hussars regiment
signed l.l. and dated 1878
oil on canvas
61.5 by 48.5 cm., 24 1/4 by 19 in.
- нет
- 80000-120000 --- 91500
Josef Andreas Weiss, 1814-1887
a view of the moskvoretsky bridge and the moscow kremlin
dated l.l. 18-63, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen
oil on canvas
83.5 by 107.5 cm., 33 by 42 1/4 in.
Provenance:
Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I
The Grand Dukes and Margraves of Baden
Schloss Eberstein
- 80000-120000 --- не продан
Josef Andreas Weiss, 1814-1887
panoramic view of the river neva from the troitsky bridge with views of the peter paul fortress, the stock exchange and rostral columns, and the winter palace
initialed l.r. and dated 18-67, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen
oil on canvas
75 by 122 cm., 29 1/2 by 48 in.
Provenance:
Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I
The Grand Dukes and Margraves of Baden
Schloss Eberstein
- 80000-120000 --- не продан
Josef Andreas Weiss, 1814-1887
the ice road on the neva before st isaac's cathedral and senate square
dated l.r. 18-62, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen
oil on canvas
82.5 by 108 cm., 32 by 42 1/2 in.
Provenance:
Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I
The Grand Dukes and Margraves of Baden
Schloss Eberstein
Literature:
Compare with a painting by Weiss of the same subject in the collection of the State Museum of History of the City of St. Petersburg, (See ex. cat. Saint Petersbourg, Ville de Granit de Gloire et de Malheur, Galerie CGER, Brussels, 1995, p. 41, cat. no. 106)
- 15000-20000 --- не продан
Konstantin Egorovich Makovsky, 1839-1915
irrigation in an egyptian palm grove
signed in latin l.r.
oil on canvas
54 by 65 cm., 21 1/4 by 25 1/2 in.
Provenance:
Collection of the grand-daughter of the artist
Makovsky visited Cairo in 1875 (See footnote to lot 21).
- 1500-2000 --- не продан
Attributed to Egor Ivanovich Makovsky, 1800-1866
the troubador
signed with initials l.l. and further inscribed
ink on paper
59 by 44 cm., 23 1/4 by 17 1/4 in.
Provenance:
Collection of the great grand-daughter of the artist
- 1500-2000 --- не продан
Attributed to Egor Ivanovich Makovsky, 1800-1866
the brigand
signed with initials l.l. and inscribed N.253
ink on paper
58 by 43 cm., 22 3/4 by 17 in.
Provenance:
Collection of the great grand-daughter of the artist
- 25000-35000 --- не продан
Konstantin Egorovich Makovsky, 1839-1915
young arab boy with orange
signed in Latin t.l. and inscribed Cairo
oil on canvas
80 by 58 cm., 31 1/2 by 22 3/4 in.
Like many 19th century European artists, Makovsky was drawn to the oriental world with its wealth of colourful and exotic subjects and picturesque views. In 1876 he travelled to Egypt and Serbia looking for inspiration. The result was a large oil composition which he exhibited at the annual Academy Exhibition in St. Petersburg, Carrying the Holy Carpet from Mekka to Cairo, 1877. This would have been pieced together from the sketches and observations he made on his trip, from vignettes of local woman carrying baskets of fruit to street urchins, such as the little arab boy in the offered lot, which was painted while the artist was in Cairo. His vision fired by the local sun, Makovsky has bathed the whole canvas in a warm orange glow shining from underneath the thick cream impasto against which the boy is placed.
- 2500-3500 --- 6240
Konstantin Egorovich Makovsky, 1839-1915
view of the bosphorous
signed on reverse with initials
watercolour on paper
17.5 by 23.5 cm., 7 by 9 1/4 in.
Provenance:
Collection of the grand-daughter of the artist
- 3500-6000 --- 6600
Genrikh Genrikhovich Schmidt, 1861-1922
outside the mosque
oil on cardboard
45 by 67.5 cm., 17 3/4 by 26 1/2 in.
- 1000-1500 --- не продан
Lev Felixovich Lagorio, 1827-1905
sailing barge on the river
signed l.r. and dated 1862
oil on board
11 by 14 cm., 4 1/4 by 5 1/2 in.
- 800-1200 --- не продан
Vasili Vasilievich Vereschagin, 1842-1904
genre scene with arabs at rest
signed l.l.
pencil and watercolour on paper
14 by 22.5 cm., 5 1/2 by 8 3/4 in.
- 10000-15000 --- 48800
Rufin Gavrilovich Sudkovsky, 1850-1885
sunset on the bay
signed l.l. and dated 1878
oil on canvas
87 by 119 cm., 34 by 47 in.
- 7000-9000 --- 11400
Ilya Nikolaevich Zankovsky, 1843-1917
caravan halt in the caucasus
signed l.l.
oil on canvas
46 by 83 cm., 18 by 32 1/2 in.
- 60000-80000 --- не продан
Konstantin Egorovich Makovsky, 1839-1915
the pretty boyarina
signed in Latin m.r.
oil on canvas
60.5 by 50 cm., 23 3/4 by 19 3/4 in.
By the 1880s Konstantin Makovsky, was a highly successful society portraitist. Early in his career he had been a founding member of the peredvizhniki, and he now turned to Russian history, in particular the lives of the 16th and 17th century nobility for inspiration. His slick brush and love of luxurious materials and fabrics produced some of the best-loved images of Boyar life in Russia and earned him the admiration of Alexander II, who called him my painter (Anne Odom, Hillwood Studies: Konstantin Makovsky "A First-Rate Boyar"' Spring 1996, Vol.3 No.1, p.8).
Where his peredvizhnik contemporaries, such as Ilya Repin, may have been more interested in depicting tragic events from mediaeval Russian history, focussing on the psychology of the characters involved, Makovsky revelled in the celebration of Boyar life. The Boyar wedding ceremony presented the perfect theme, with its close gathering of the sumptuously-clad rich and famous, dramatic tension being provided by a demure young bride as she prepares for married life.
Makovsky produced several large compositions on this theme, A Boyar Wedding Feast, 1883, (Hillwood Collection, Washington); The Choosing of the Bride, 1887 (Museo de Arte de Ponce, Puerto Rico); and The Russian Bride's Attire, 1887 (Fine Arts Museum of San Francisco). These ambitious works were built up from smaller studies of Boyars and Boyarinas, such as Girl in a Boyar Costume, (sold Sotheby's, February 1998, lot 34; see fig1) which is a sketch for one of the brides in The Choosing of the Bride, 1887; and sketches of the props in his studio. These studies depicting the head and shoulders of the subject are referred to as golovki or "little heads".
The Boyar paintings found their warmest reception outside Russia, and this accounts for the numerous examples which are today located in American collections. A Boyar Wedding Feast was exhibited in Antwerp in 1885 where it was purchased by the American Jewellery merchant Charles William Schumann (1845-1912). It was to hang in his shop on Broadway, the painting becoming so popular that Schumann started to charge an entrance fee to view it (Anne Odom, Hillwood Studies: Konstantin Makovsky "A First-Rate Boyar"' Spring 1996, Vol.3 No.1, p.10). He went on to commission another painting directly from the artist, The Choosing of the Bride, 1887.
The Pretty Boyarina, being offered for sale from an American collection, may be the product of the immense rise in Makovsky's popularity in the USA as a result of the exhibition of his Boyar wedding compositions. It was not uncommon for the artist to be commissioned to paint a sitter in medieval dress and kokoshnik, a collection of which the artist kept in his studio.
29. 6000-8000 --- не продан
M*** Rundaltsov, Early 20th Century
seated nude with flowers
signed in Latin
oil on canvas
77 by 62.5 cm., 30 1/4 by 24 1/2 in.
- 4000-6000 --- 4800
Yuri Yakovlevich Leman, 1834-1901
coquette; portrait of the artist's wife luise
signed t.l. and dated 1878
oil on canvas
55.5 by 46 cm., 22 by 18 in.
- 7000-9000 --- 10800
Konstantin Egorovich Makovsky, 1839-1915
beauty with bonnet and flowers
partial signature in Latin t.r
oil on canvas
oval 40.5 by 33.5 cm., 16 by 13 1/4 in.
Provenance:
Collection of the grand-daughter of the artist
- 15000-20000 --- не продан
Konstantin Egorovich Makovsky, 1839-1915
boyar and boyarina: sketch for the canvas 'minin's appeal'
signed l.r.; the stretcher and reverse of canvas stamped Atelier Konstantin Makovsky, c/o Flamant, 2 rue Auguste Vitu, Paris, 15e
oil on canvas
55 by 46 cm., 21 3/4 by 18 1/4 in.
Minin's Appeal is Makovsky's largest and most ambitions canvas, stretching to a massive 48 square metres. The artist started work on the painting in Paris in the former studio of Vasili Vasilievich Vereschagin, completing it almost five years later in St. Petersburg and assisted by a team of other artists, including Franz Roubaud. The offered lot is a study of a boyar and boyarina who appear in the canvas, with some slight alterations, for example, the boyarina holds an icon in the finished version.
For further information on the canvas, see: A. V. Ilevsky, Vozzvaniye Minina Kartina Khudozhnika, K.E. Makovskogo, Gorky, 1962
- 2000-3000 --- 2280
Konstantin Egorovich Makovsky, 1839-1915
katya and olga makovsky
inscribed in Russian t.r. New Year 1894 Katya and Olga Makovsky....
watercolour on paper
22 by 29 cm., 8 3/4 by 11 1/2 in.
Provenance:
Collection of the grand-daughter of the artist
- 2500-3500 ---3000
Nikolai Egorovich Makovsky, 1842-1886
the farmyard
signed on the reverse
oil on panel
19.5 by 33 cm., 7 3/4 by 13 in.
- 7000-9000 --- 7800
Alexander Alexandrovich Kiselev, 1838-1911
walk by the river
signed l.l. and dated 1886
oil on canvas
58 by 76 cm., 22 3/4 by 30 in.
- 6000-8000 --- 7200
Ilya Efimovich Repin, 1844-1930
the foreigner, c.1881
signed l.r.
oil on canvas
43 by 17 cm., 17 by 6 3/4 in.
This appears to be a study for the painting Khrestny Khod v dubobom Lesu, 1877-1924, in the Czech Republic. There is an almost idential work listed and illustrated in Ilya Repin, Zhivopis Grafika, Leningrad, cat.115.
- 10000-15000 --- не продан
Ivan Ivanovich Tvorozhnikov, 1848-1919
home after the harvest
signed l.l. and dated 1915
oil on canvas
80 by 148 cm., 31 1/2 by 58 1/4 in.
- 6000-8000 --- не продан
Konstantin Egorovich Makovsky, 1938-1915
study for the fortune teller in 'the great adventure'
the stretcher inscribed in Russian
oil on canvas
61 by 26 cm., 24 by 10 1/4 in.
Provenance:
Collection of the grand-daughter of the artist
- 6000-8000 - 10800
Nikolai Egorovich Sverchkov, 1817-1898
horse's head
signed l.l. and dated 1859
oil on board
48.5 by 39 cm., 19 by 15 1/4 in.
- 2500-3500 --- 4560
Sergei Ivanovich Svetoslavsky, 1857-1931
horses at rest
signed l.r.
oil on canvas
47.5 by 54 cm., 18 3/4 by 21 1/4 in.
- 1800-2200 --- не продан
Ludwig Ossipovich Premazzi, 1814-1891
on the monastery steps
signed in Latin l.r. and dated 1864
watercolour on paper
37 by 29 cm., 14 1/2 by 11 1/2 in.
- 3000-5000 --- не продан
Pavel Antonovich Rizzoni, 1823-1913
still life with peaches
signed in Latin l.l.
oil on canvas
33 by 47.5 cm., 13 by 18 3/4 in.
- 3000-5000 --- 3000
Property of the late Mr Ziedonis Liegers
Janis Rozenthals
Latvian, 1866-1916
young girl wearing white headscarf
signed l.l. and dated 1913
oil on canvas laid on board
37 by 27.5 cm., 14 1/2 by 10 3/4 in.
Trained in St. Petersburg at the Imperial Academy of Arts, Rozenthals spent most of his career in his native Latvia, painting local views and people. One of the earliest Latvian artists to draw subjects from his own land, he is considered to be the founder of the national school of Latvian painting.
44. 8000-10000 --- не продан
Other properties
Konstantin Egorovich Makovsky, 1839-1915
portrait of the operatic baritone jean-louis lassalle
signed l.r. and dated 1886
oil on canvas
61 by 50.5 cm., 24 by 19 3/4 in.
Provenance:
Collection of the grand-daughter of the artist
- 5000-7000 ---6000
Andrei Nikolaevich Shilder, 1861-1919
reflections in a woodland lake
signed l.r. and dated 1903
oil on canvas
46.5 by 54 cm., 18 1/4 by 21 1/4 in.
- 7000-9000 --- 7800
Yuli Yulievich Klever, 1850-1924
woodland scene
signed l.r.
oil on canvas
70 by 48.5 cm., 27 1/2 by 19 in.
- 20000-30000 --- не продан
Alexander Karlovich Beggrov, 1841-1914
the moonlit neva with st. isaac's beyond
signed l.l.
oil on canvas
41 by 71.5 cm., 16 by 28 in.
Alexander Beggrov was the son of the artist Karl Petrovich Beggrov (1799-1875). Born in St. Petersburg he studied under Alexei Petrovich Bogoliubov in his Paris studio from 1871 until 1874 when he returned to Russia. In that year he began exhibiting with the Wanderers becoming a member in 1876.
- 12000-15000 --- не продан
Robert Mols
Belgian, 1848-1903
inspection of the russian fleet at la rochelle
signed l.l.
oil on canvas
78 by 149 cm., 30 3/4 by 58 3/4 in.
- 800-1200 --- 1320
Alexander Innokentevich Chirkov, 1865-1913
study for the painting 'on the amur'
inscribed on the reverse in Russian I confirm that this is a study by the artist A.I. Chirkov for his painting 'On the Amur'' Academician Sergei Vinogradov.
oil on card
28.5 by 38.5 cm., 11 1/4 by 15 in.
- 80000-120000 --- 91500
Ivan Konstantinovich Aivazovsky, 1817-1900
elegant ladies fishing at the water's edge
signed m.r. and dated 1870
oil on canvas
56 by 80 cm., 22 by 31 1/2 in.
Literature:
Illustrated in: Caffiero and Samarine, Seas, Cities and Dreams, The Paintings of Ivan Aivazovsky, London, 2000, p.99, plate 53
Exhibited:
Turkiye Is Bankasi A.S. Istanbul, Denizler, Sehirler ve Dusler: Ivan Ayvazovski'nin Resimleri, January/February 2001
Born by the sea in the small Crimean port of Theodosia, the sea in all its variety of moods, at different times of day and in different seasons, imbued the young Aivazovsky with a passion that was to last the length of his highly successful career. During his early education at the Imperial Academy of Arts in St. Petersburg, he was primarily influenced by his contact with the Dutch 17th century seascapes in the Imperial collection that the artist would have seen, but it was the bright, light landscapes of the French painter Claude Lorrain which had the most profound influence on his style. Lorrain was particularly concerned with the effects of light on landscape - and would also greatly influence Aivazovsky's English contemporary William Turner. The natural quality of Southern light Lorrain experienced and depicted in his Roman canvasses, would have also been found similar to the light of the Crimean coast, and Aivazovsky would have considered himself a natural inheritor.
Although primarily concerned with the effects of light on water, Aivazovsky was no plein-air painter prepared to suffer outdoors for his art, in the manner of Turner who famously tied himself to a ship's mast during a storm to paint what he saw and felt. He preferred to paint in the comfort of his studio and had a remarkable talent for recreating whole townscapes using his memory and fantasy. In his opinion, this was a higher artistic achievement than the mere copying of nature. Although his canvasses have a highly finished appearance, they were famously created at great speed, resulting in a thin paint surface. X-rays of the artist's work reveal he nominally sketched out a large composition with the horizon line in pencil and a few marks representing waves and clouds; the rest he would paint fluently with no reworking.
The offered painting is a delightful study of the sea at its most calm. The pleasant Summer weather is being enjoyed by two fashionable young ladies who are trying their hand at fishing, assisted by a young companion in red. One shades herself from the sun under a white parasol, the other tentatively holds the fishing rod whilst leaning perilously close to the end of the jetty. In the distance is a rowing boat, the white sail of a ship is visible on the horizon, partially obscured by a huge flurry of clouds which provides the central focus to the composition.
51. 60000-90000 --- 69500