18 May 2005 London

Transcription

18 May 2005 London

18 May 2005
London
Sale:
5:00pm Wednesday 18 May 2005
Viewing:
10:00–19:00 Tuesday 17 May
9:00–12:30 Wednesday 18 May 2005
London Tel: 44–20–7661–9325
Moscow Tel: 7–095–799–4683
AI
DH NO B
AS
BU
Fax: 004420-7661-9400
E-mail: Info@macdougallauction.com
www.macdougallauction.com
33 St. James Square
London SW1Y 4JS,
England
Lot 6. EXTER, ALEXANDRA (1882–1949) Costume Design for Ballet Don Juan.
MacDougall Arts Ltd
Russian Art Sale
WILLIAM MacDOUGALL,
Director
CATHERINE MacDOUGALL,
Director and Russian Art Expert
EVGENIA TESLYUK,
Russian Art Specialist
ANNA KORNDORF,
Moscow Representative
JACOB GILDOR,
Ecole de Paris Expert
NIKITA LOBANOV-ROSTOVSKY,
Russian Theatre Design Expert
VLADIMIR PETROV,
Russian Art Expert
Photography by Tom Miller and Richard Davies
Catalogue design by chaykadesign studio (www.chaykadesign.ru)
Printed by «Pushkinskaya Ploshchad» (www.pkpp.ru)
ISSN 1745-3429
©2005 MacDougall Arts Ltd.
MacDougall Arts Ltd.
33 St. James Square, London SW1Y 4JS, England
1.
VASSILIEFF, MARIE (1884–1957)
Icon of Mary, The Virgin of Montparnasse, Signed and dated 1933.
Info@macdougallauction.com
London Telephone 44–20–7661–9325, Fax 44–20–7661–9400
Moscow Telephone 7–095–799–4683
Collage of gilded paper and black rhodoid, blue crayon, 24 by 30 cm.
With religious dedication.
Catalogue online: www.macdougallauction.com
£3,000–5,000
Registered Office: 14 Cotton’s Gardens, Kingsland Road, London E2 8DN
MacDougall’s LONDON 18 May 2005
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KOUZNETSOFF, CONSTANTINE (1863–1936)
White Cliffs, Signed.
Oil on canvas, 65 by 81 cm.
Provenance: Family of the artist.
/
From the series Les Grandes Dalles, no. 674–675 in the unpublished Catalogue Raisonne from the family
archives.
4.
£4,000–6,000
After the Bath, Signed, с. 1905.
Pastel on cardboard, 65 by 80 cm.
£5,000–7,000
Константин Кузнецов известен в Европе прежде всего как мастер импрессионистических пейзажей,
написанных им во Франции, видами Сены, исполненными в пастельных тонах с присущим ему живописным
лиризмом. Ровесник Коровина, друг Борисова-Мусатова, Кузнецов большую часть жизни провел во
Франции, но до конца оставался русским патриотом, отказываясь принять французское гражданство.
3.
KOUZNETSOFF,
CONSTANTINE
(1863–1936)
Pont des Arts, Signed.
£2,000–3,000
В начале ХХ века художественная карьера Кузнецова стремительно развивалась и в Европе и в России.
Кузнецов активно участвовал в выставках Московского Товарищества Художников, членом которого он
был с 1905 г, его работы регулярно выставлялись на Осеннем салоне и салоне Независимых в Париже,
а также на выставках русского искусства в Мюнхене, Лондоне, Брюсселе. Революция навсегда оторвала
Кузнецова от родины. Потеряв огромное состояние, Кузнецов вынужден был писать на своих ранних
работах, а порой он разрезал свои прежние огромные холсты, и на них — создавал новые. Работы
Кузнецова представлены в Национальном музее современного искусства в Париже, в Третьяковской
галерее и других музеях и частных коллекциях.
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Summer Forest, Signed and dated 1903.
£3,000–4,000
Constantine Kousnetzoff is best known for his Impressionist landscapes, painted in Brittany and Normandy, as
well as for his depictions of squares and embankments of Paris, where he settled in 1927. His canvases, executed
in subtle pale tones, are very lyrical. Kouznetsoff created series of decorative panels and portraits as well as illustrations for Viy, by N. Gogol, Mermaid and Tale of Tsar Saltan, by A. Pushkin. After graduation from Saratov Art
School he continued his education in the famous Atelier Carmon in Paris. At the beginning of the 20th century
Kouznetsoff regularly exhibited in Moscow, St. Petersburg, Paris and London. His works are exhibited in the
National museum of Modern art in Paris, Tretyakov gallery, other museums and private collections.
*6.
EXTER, ALEXANDRA (1882–1949)
Costume Design for Ballet Don Juan, Signed.
Literature: John Bowlt et al., Alexandra Exter, Max Milo Editions, Paris 2003, p. 333, illustrated.
Exter created this design for the 1929 production of Gluck’s ballet Don Juan. It was produced by Elsa Kruger
Ballet Company for the Opera House in Cologne.
£12,000–15,000
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7.
MAK (PAVEL IVANOV, 1891–1967)
Man With a Pipe, Signed and dated 1932.
9.
IACOVLEFF,
ALEXANDER
(1887–1938)
Mixed media on paper, 47 by 25 cm.
Portrait of Sikander
Khan, Mir of Nagar,
£2,000–3,000
Signed, inscribed and dated
1931.
Sanguine, pastel on paper,
77 by 56 cm.
Данный портрет был
выполнен Яковлевым во
время «желтого круиза»
с Ситроеном в 1930-х.
This work was executed by
Iacovleff during Croisiere
Jaune with Citroen in 1930s.
\
£3,000–4,000
8.
LATRI, MICKAEL (1875–1942)
Swan Lake and Enchanted Town, Signed.
Two Watercolours, each 18 by 20 cm.
£1,200–1,500
*10. EXTER,
ALEXANDRA
(1882–1949)
Design for the Industrial
Exhibition in Moscow,
1923.
Gouache on paper,
9 by 17 cm.
Certificate of authenticity by
Dr. G. Kovalenko.
£2,500–3,000
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11.
IVANOFF, SERGE (1893–1983)
/
12.
Diane and Acteon, Signed and dated 1928.
Suzanne au Bain, Signed.
Sepia on cardboard, 193 by 52 cm.
Oil on board, 55 by 46 cm.
Authenticity has been confirmed by the family of the artist.
£4,000–6,000
£4,000–6,000
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Femmes se Coiffant, Signed and inscribed Paris.
£5,000–7,000
Серж Иванов известен замечательными портретами деятелей художественно-театрального мира, среди
которых — А. Бенуа (в Русском музее), Гончарова, Лифарь. Однако в наследии художника представлены
и жанровые полотна, и мифологические пейзажи, и откровенно эротические сюжеты. Серж Иванов
родился в Москве. С 1918 по 1922 учился в Академии Художеств в гравюрной мастерской Козлинского,
а затем у Кардовского и Браза. С 1923 года жил в Париже, где работал для театра и домов высокой моды.
Его персональные выставки проходили в Париже, Рио-де-Жанейро, Буэнос-Айресе и Сан-Франциско.
Работы Иванова находятся в Национальной библиотеке Парижа, Русском музее и Эрмитаже.
Serge Ivanoff was born in Moscow. In 1918–1922 he studied at the St. Petersburg Art Academy under Kozlinsky
and Braz. From 1923 Ivanoff lived in Paris, where he worked as an illustrator and costume designer. In Paris he
created many portraits, genre paintings, nudes and erotic paintings. Among his masterpieces are the portraits
of well-known Russian artists, such as Benois (in State Russian Museum), Goncharova and Lifar. Ivanoff had his
personal exhibitions in Paris, Rio de Janeiro, Buenos-Aires and San-Francisco. His works are represented in
National Library in Paris, State Russian Museum and Hermitage.
14.
BOGOLIUBOV, ALEXEI (1824–1896)
Seascape with Saleboats, Signed.
Provenance: Given to the present owner by Princess Sophia Dolgouruky.
£12,000–15,000
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16.
GONCHAROVA,
NATALIA
(ILLUSTRATOR)
(1881–1962)
A. S. Pushkin. Conte de Tsar
Saltan, Paris, La Sirene, 1921.
/
Book of pochoir prints,
30 by 23 cm.
48 pages of pochoir prints, decorated
in colour, by Goncharova. Edition
of 599 copies on Ve lin de Rives
paper, of which this is number 125.
Loose as issued in original printed
boards, with original cover. Executed
by the Atelier Marty, under the
direction of Daniel Jacomet.
/
£1,000–1,500
17.
ZOUBTCHENKO,
CATHERINE (B. 1937)
View from Lanskoy’s Atelier,
Signed.
Provenance: From the artist.
£1,000–1,500
15.
LANSKOY, ANDRE (1902–1976)
/
Le Genese, Signed.
Set of 37 сoloured lithographs, loose in the box, 62 by 49 cm.
Edition of 125 copies. Number 6 out of first 12 copies reserved by the artist.
£3,000–5,000
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*18. STENBERG, VLADIMIR (1899–1963)
The Man of the Future, Signed.
Provenance: private collection, NY
£30,000–40,000
В мировую историю искусства Владимир Стенберг вошел прежде всего как создатель жанра советского
киноплаката. В 20-е годы вместе с братом Георгием он стал одним из основоположников русской авангардной сценографии, работал для Камерного театра Таирова, занимался книжной графикой, оформлением массовых зрелищ и демонстраций.
Сын шведского художника, приехавшего в Россию в конце XIX в., Стенберг окончил Строгановское училище
вместе с братом Георгием, в соавторстве с которым проработал до 1933 года, подписывая произведения
«2-Стенберг-2». Сотрудничал с ИНХУКом и ЛЕФом, создавая беспредметные индустриальные модели и «цветоконструкции» из стекла, металла и лески. В 1922 г. участвовал в Первой русской художественной выставке
в Берлине, в 1925-м в Международной выставке декоративного искусства в Париже.
Задачи утилитарного агитпропа в купе с футуристическим культом динамики, напора индустриальной эпохи и рожденных ею больших городов привели к созданию ряда композиций, символизирующих прогресс
и новые социальные реалии. Однако позднее художник и его понимание жанра киноплаката
эволюционировали от «чистого» конструктивизма к эстетике арт-деко. Работал с Эйзенштейном, Вертовым,
Протазановым, Чаплиным и др. После смерти брата в 1933 служил главным художником Всероссийской
сельскохозяйственной выставки ( с 1935), трудился над архитектурными проектами праздничного оформления Москвы, музейными экспозициями. В 1952 г. был арестован, но через год после смерти Сталина реабилитирован. В конце жизни занимался воссозданием ранних абстрактных композиций и театральных макетов.
Персональные выставки состоялись в Париже в 1923, Франкфурте в 1971, Лонд Антарио в 1975, в Москве
в 1984.
Данная работа представляет собой редкий образец станковой живописи Стенберга 1920 х годов, времени когда художник возглавлял художественный отдел Днепростроя. Аналогичная по технике и композиции картина Стенберга «Рабочий у станка» (холст, масло; 107х107 см) находится в Государственном музеезаповеднике Ростовский Кремль.
Vladimir Stenberg is best known for his film posters, which were created in collaboration with his brother Georgy.
At the age of 17 Stenberg wrote his Manifesto of Constructivism; his best works were created within the framework
of that art movement.
The Man of the Future was painted in the 1920s, Stenberg’s most
interesting, productive and prolific period. During that decade
the painter worked for Tairov’s Kamerny Theatre, becoming
one of the founders of the Russian avant-garde stage design.
He was also involved in decoration of streets and squares for
communist celebrations, military parades etc, created his first
film posters and worked as a book illustrator.
The Man of the Future was created while Stenberg was
employed as the Chief Painter for Dneprostroy, the construction of the largest hydro-power plant in the world.
A rare example of Stenberg’s oil on canvas work, it represensts one of the finest examples of Russian
Constructivism. A similar work can be found in Rostov
State museum, Russia.
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19.
LAPCHINE, GEORGE
(1885–1950)
Forest Pond, Signed.
£5,000–7,000
20.
LAPCHINE, GEORGE
(1885–1950)
Russian Church in France,
21.
FEDOROVA, MARIA (1859–1916)
Signed.
Watercolour, oil, pastel, pencil
on paper, 44 by 60 cm.
Shrine, Signed.
£700–900
£4,000–6,000
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TERECHKOVITCH, CONSTANTINE (1902–1978)
23.
TERECHKOVITCH, CONSTANTINE (1902–1978)
Summer Garden, Signed.
Spring Park, Signed.
£6,000–8,000
£4,000–6,000
Среди русских художников-эмигрантов Терешкович был одним из самых успешных. Его пейзажи и портреты,
исполненные в стиле импрессионизма, пользовались огромной популярностью во Франции уже в 1930-х
годах. Денди, державший скаковых лошадей, содержавший конюшню в Париже, Терешкович отображал
на своих полотнах жизнь сытого Парижа, чем вызывал неприязнь нищенствующих русских коллег.
Терешкович получил художественное образование в студиях Юона, Машкова и Кузнецова, а после приезда
в Париж — в академии Гранд Шомьер. Вместе с друзьями — Ларионовым, Шагалом, Кислингом — он активно
выставлялся в европейских столицах. Несмотря на то, что арткритики быстро причислили Терешковича
к французским художникам, сам он оставался верен русской теме всю свою жизнь. Наследие художника
наиболее полно представлено в его персональном музее близ Монако.
Terechkovitch is a rare example of a Russian exile who relatively quickly built up a successful artist’s career
in the West. He studied in Moscow under K. Youne and I. Mashkov and later briefly under P. Kuznetzov before
leaving Russia in 1920, at the age of eighteen. He came to Paris and under patronage of S. Romov he entered
the Academie Grande Chaumiere, met Larionov, Chagall and Kisling (See lots 30, 64,75). He participated in
various Russian group exhibitions of the cafe La Rotonde, art galleries, exhibiting solo and jointly with Lanskoy,
Bart etc. After early expressionism his style changed towards lyrical impressionism. His paintings were in demand;
by the mid — 1940s he could afford to buy his own mews with racing horses. Terechkovitch paintings are exhibited
in major world museums and private collections; his house-museum is based in Menton, near Monaco.
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24.
TERECHKOVITCH,
CONSTANTINE (1902–1978)
Dancer, Signed and dated 1939.
Gouache on paper, 60 by 36 cm.
Authenticity has been confirmed by the family
of the artist.
£3,000–4,000
25.
LAGORIO, LEV (1827–1905)
Seascape, Signed, Watercolour on paper,
23 by 30 cm.
£2,000–3,000
26.
RYBACK, ISSACHAR (1897–1935)
Lady of Fashion, Signed.
Charcoal on paper, 59 by 46 cm.
£4,000–5,000
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BENOIS, ALBERT (1879–1930)
Two Landscapes, both Signed.
Watercolour on paper, 12 by 17 cm, dated 1919 (on the left).
Watercolour on paper, 23 by 30 cm, dated 1929 (on the right).
£1,000–1,500
28.
CHUMAKOV, FEDOR (1823–1911)
Portrait of a Peasant Girl, Signed and inscribed.
Pastel on paper, 34 by 25 cm.
29.
OSMERKIN, ALEXANDER (1892–1953)
Summer Garden.
This work is a typical example of Chumakov’s
peasant girl portraits, executed in a Salon-style,
idealistic manner.
£2,000–3,000
£15,000–20,000
Authenticity has been confirmed by Osmerkin’s pupil Sofia Cherniak.
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*30. KISLING, MOISE (1891–1953)
Reclining Nude, Signed.
Provenance:
Collection of T. Edward Hanley, Pennsylvania.
Denver Art Museum, Colorado.
Collection of T. Mckittick,
Sotheby’s London, 29th November 1999, lot 281.
Exhibited: New York, Gallery of Modern Art,
The Hanley Collection, 1972.
Literature: J. Kessel, H. Troyat & J. Dutourd,
Moise Kisling 1891–1953, Catalogue Raisonne ,
Paris, 1995, Vol II, number 98, illustrated.
/
£30,000–40,000
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32.
KONCHALOVSKY, PIOTR (1876–1956)
View of a Distant Monastery, Signed.
Watercolour on paper, 30 by 43 cm.
Authenticity certificate by V. Silaev, dated from 25 August 2003.
£4,000–6,000
33.
KONCHALOVSKY,
PIOTR
(1876–1956)
Pine Trees on the River
Bank, Signed.
*31. OSTROUMOVA-LEBEDEVA, ANNA (1871–1955)
Watercolour on paper,
30 by 43 cm.
Rainbow at Vasilyevsky Island, Signed, dated May 1918 and inscribed.
Authenticity certificate by V. Silaev, dated from March 2005.
Authenticity certificate
by V. Silaev, dated from
27 October 2003.
£6,000–8,000
£3,500–4,000
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36.
ISTOMIN,
CONSTANTIN
(1887–1942)
Crossing the Street, Signed.
Oil on cardboard,
32 by 50 cm.
£1,500–1,800
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37.
ISTOMIN, CONSTANTIN (1887–1942)
KREMEGNE, PINCHUS (1890–1981)
Still Life with Fish, Signed on reverse.
Summer Village, Signed.
Oil on cardboard, 36 by 52 cm.
£3,500–4,000
£1,500–1,800
35.
ISTOMIN, CONSTANTIN (1887–1942)
Red Tram, Signed.
£1,500–1,800
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39.
ARNSTAM, ALEXANDER
(1880–1969)
Reclining Nude, Signed.
Ink on paper, 47 by 60 cm.
Exhibited: Alexander Arnstam, Retrospective,
State Russian Museum, St. Petersburg, 2000.
Literature: Alexandre Arnstam,1880–1969,
Exhibition Catalogue. State Russian Museum,
St. Petersburg, 2000, illustrated.
38.
ARNSTAM, ALEXANDER (1880–1969)
£3,000–5,000
Nude in Masque, Signed.
Exhibited: Alexander Arnstam, Retrospective, State Russian Museum, St. Petersburg, 2000.
40.
TCHELISCHEV, PAVEL (1898–1957)
Literature: Alexandre Arnstam,1880–1969, Exhibition Catalogue.
State Russian Museum, St. Petersburg, 2000, illustrated.
Acrobat in Blue, Signed and dated 1929.
£3,000–5,000
£2,000–2,500
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42.
TCHELISCHEV, PAVEL
(1898–1957)
Flowers, Signed.
Gouache on cardboard, 51 by 37 cm.
£2,500–3,000
43.
TCHELISCHEV, PAVEL
(1898–1957)
Nude Boy.
Provenance: Acquired by the present
owner from the artist’s sister Alexandra
Zassouloff, Paris.
41.
TCHELISCHEV, PAVEL (1898–1957)
Reclining Nymph, Signed.
This work appears to be a study for
the painting Two Nude Boys, executed
in 1929. See: Gallery of Modern Art,
Tchelitchew, NY, 1964, Plate 6.
£7,000–9,000
£2,500–3,000
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EBERLING, ALFRED (1872–1951)
Portrait of Ballerina Tamara Karsavina, Signed and dated 1911.
£15,000–20,000
Альберт Эберлинг был обласкан и Николаем II, и Лениным. Он был популярен и как художник, автор
изысканных портретов, и как скандальный фотограф, снимавший петербургских красавиц, актрис
и балерин Матильду Кшесинскую, Анну Павлову и Тамару Карсавину обнаженными.
Соученик Рериха, Малевича, Кустодиева, Петрова-Водкина, Эберлинг окончил Санкт-Петербургскую
академию художеств по классу Репина. Прослужив придворным художником Николая II шестнадцать
лет, после революции Эберлинг писал портреты Сталина, Молотова и Когановича. Особую известность
художнику принес портрет Ленина, признанный лучшим на конкурсе в 1924 и воспроизведенный
на денежных купюрах. После этого он создает череду портретов вождей, растиражированных «Гознаком».
Имя Тамары Карсавиной, примы Императорского театра и первой красавицы Петербурга, еще при жизни
стало легендарным. Ее портреты писали Серов, Бакст, Добужинский, Судейкин, Серебрякова. Эберлинг
познакомился с Карсавиной при дворе Николая II; завязался роман, растянувшийся на годы. Данный
портрет был написан в 1911, после того как Эберлинг завершил серию фотопортретов балерины (недавно
выставлявшихся в Петербурге). Еще несколько изображений Карсавиной работы Эберлинга находятся
в Университетском музее в Торонто, в музее Бахрушина в Москве.
Alfred Eberling was equally popular with authorities in pre-and post-revolutionary Russia. He was known both
as an original artist and as a photographer, whose models included famous Petersburg actresses and ballerinas
Kshesinska, Pavlova, and Tamara Karsavina.
In 1905 Eberling replaced Serov as the court painter to the Tsar Nicholas II. After the October revolution he
switched to painting Stalin and Kaganovich. His most famous work is the portrait of Lenin, which won him the
first prize in the 1924 competition. It was later printed on the Russian banknotes.
This portrait of Tamara Karsavina was painted in 1911. She was a prima ballerina at the Royal Theater in
St. Petersburg and a legendary beauty. From their first meeting Eberling was taken up by her charm. There
complicated romantic relations lasted for many years. He made numerous photographs of her (recently exhibited
in St. Petersburg) and painted several portraits.
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*45. EBERLING, ALFRED (1872–1951)
Portrait of a Lady, Signed.
46.
Exhibited: Female Portrait of the XXth Century, Gallery Art Divage, Moscow, 2003.
GODLEVSKY, IVAN (1908–1998)
Literature: Exhibition Catalogue, Female Portrait of the XXth Century, Gallery Art Divage, Moscow, 2003,
p. 62, illustrated.
Flowers, Signed and dated 1956.
£5,000–7,000
£4,000–5,000
39
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47.
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BARANOV-ROSSINE, VLADIMIR (1888–1944)
48.
HARLAMOV, ALEKSEI (1840–1922)
Summer Landscape, Signed.
Still Life, Signed and dated 1909.
£8,000–10,000
£28,000–30,000
41
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50.
MANE-KATZ
(IMMANUIL KATZ,
1894–1962)
Rabbi, Signed with initials. Also
signed and dated 1959 on the
reverse.
Provenance: Mr. and Mrs.
Brussell, New York.
Literature: Robert S. Aries et al,
Mane-Katz, 1894–1962. The Complete
Works, Vol. II, London, 1972,
number 81, p. 24, illustrated.
£2,500–3,000
Выходец из Кременчуга Мане-Кац получил художественное образование сперва в Киеве, а затем в Париже,
куда приехал в 1913. Там подружился с Шагалом и Сутиным, увлекся фавизмом и открыл для себя «старых
мастеров», в первую очередь Рембрандта. После войны Мане-Кац вернулся в Россию, где стал заметной
фигурой харьковского авангарда. Входил в «Группу трех» и «Союз семи», объединявший художниковпоследователей французского кубизма и итальянского футуризма. В это время в творчестве Мане-Каца
наметился интерес к национальной теме и сюжетам еврейской жизни. В 1919 состоялись его персональные
выставки в Харькове, Ростове-на-Дону, Тифлисе.
В 1921 г. художник перебирается в Париж, где под влиянием окружения его манера становится более
экспрессивной, но в то же время сохраняет приверженность национальной тематике. В 1940–45 Мане-Кац
живет и работает в Нью-Йорке, все больше отдавая предпочтение скульптуре (см. лоты 94 и 97). В конце
жизни большинство работ были подарены художником городу Хайфе.
Mane-Katz was born in Kremenchug. After studying in Kiev, he visited Paris in 1913, where he befriended Chagall
and Soutine at the Ecole des Beaux-Arts. While in France Mane-Katz discovered works of Rembrand and also
became influenced by the Fauves, especially Derain, and briefly, by Cubism. After the outbreak of World War
Mane-Katz returned to Russia where he was one of the major players of avant-garde art scene in Kharkov. He
was member of Group of Three and Union of Seven that were stylistically influenced both by French Cubism and
Italian Futurism. In 1919 he held his personal exhibitions in Kharkov, Rostov-on-Don and Tiflis.
*49. MANE-KATZ (IMMANUIL KATZ, 1894–1962)
Vision (Young Man’s Vision of Moses), Signed.
Provenance: Schreck collection, New York.
Literature: Robert S. Aries et al, Mane-Katz, 1894–1962. The Complete Works, Volume I, London, 1970,
no. 438, p. 135 illustrated.
£10,000–12,000
From 1921 he lived in Paris, where he created many works on the subjects of life in the ghettos of Eastern Europe,
the rabbis and Talmudic students, the fiddlers and drummers, comedians and beggars. He also painted a number
of landscapes and flower studies. Mane-Katz held his exhibitions in major European cities.
In 1940–1945 Mane-Katz lived in New York where he began making sculptures, some of which are represented
in this catalogue (see lots 94 and 97). The artist donated many of his works to the town Haifa.
43
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51.
KAKABADZE, DAVID (1889–1952)
Abstract Composition, Signed and dated 1927.
£35,000–40,000
Предлагаемая работа принадлежит к серии
«Абстрактные формы», созданной художником
в 1927 в Париже перед самым возвращением
на родину. Для этой серии характерно динамическое
переплетение красочных пятен и извилистых
линий, создающих эмоциональное напряжение,
созвучное работам Кандинского.
Давид Какабадзе, художник, теоретик и историк
искусства, начал свою художественную карьеру
в мастерской Дмитриева-Кавказского. В 1914 вместе
с Павлом Филоновым он создал группу «Интимная
мастерская живописцев и рисовальщиков», где
разрабатывал принципы аналитического искусства.
Для работ этого периода характерны эпические
мотивы кавказской природы, решенные
в символическом духе стиля модерн «Имеретия —
мать моя». 1918, Музей искусств Грузии, Тбилиси).
В 1919–1927 Какабадзе жил в Париже, где занимался
историей и культурой Византии. В работах этого
периода художник сочетал модерн с авангардными
экспериментами, вводя в свои коллажи зеркала,
линзы, блестящий металл, стремясь к эффекту
внутреннего света, излучаемого самим
произведением. В 1921 в галерее Ликорн была
организована выставка работ грузинских
художников, где выставлялись работы Какабадзе,
Ладо Гудиашвили и Шалвы Кикодзе. Свою
теорию искусства Какабадзе изложил в книгах
«О конструктивной картине» и «Искусство
и пространство», изданных в 1921–1925 в Париже
на французском и грузинском языках.
David Kakabadze is an artist, theoretician and art
historian. In 1919–1927 Kakabadze lived in Paris,
where he studied Byzantium history and art. In his
Paris period the artist combined modern style with
avant-garde experiments, much along the same lines
as of Picasso, Dufy and Derain. He took part in major
Parisian exhibitions and in displays of European art
in the US.
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CHARCHOUNE, SERGE (1888–1975)
Abstract Composition, Signed.
Provenance: Galerie Le Minotaure, Paris.
£2,500–3,000
*53. FECHIN, NIKOLAI (1881–1955)
Winter in Vasilievo, Signed and dated 1923.
Provenance: Gift of the artist to P.P. Benkov.
Later collection of Teregulov family.
Exhibited: Nikolai Fechin, Gallery Art Divage,
Moscow, 3 June — 26 July 2004, number 21.
Literature: Nikolai Fechin. Painting. Drawing.
Exhibition catalogue. Gallery Art Divage,
Moscow, 2004, number 21, p. 36 illustrated.
£35,000–40,000
47
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55.
STERLING, MARC
(1897–1976)
Still Life with Flowers, Signed.
Provenance: Authenticity has been
confirmed by the family of the artist.
£2,000–3,000
56.
54.
STERLING, MARC (1897–1976)
FEDER, ADOLPHE (1885–1943)
Still Life with Flowers and a Mask, Signed.
Fish with a Jug, Signed.
Provenance: Authenticity has been confirmed by the family of the artist.
Authenticity has been confirmed by the family of the
artist. Recorded in the archives of the Museum Ghetto
Fighters; also recorded in the family archive.
£4,000–5,000
£5,000–7,000
49
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ISSAEV, NIKOLAI (1891–1977)
Abstract Still Life, Signed.
Provenance: Mes Oger et Dumont, Sale of the Atelier Nicolas Issaiev, October, 1991, Paris.
£2,000–3,000
58.
ISSAEV, NIKOLAI
(1891–1977)
59.
VASSILIEFF, MARIE (1884–1957)
Abstract Oriental City,
Signed.
Portrait of a Man, Signed and dated 1947.
Tempera on silk, 32 by 24 cm.
£2,000–3,000
£4,000–6,000
51
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61.
POGEDAIEFF,
GEORGE (1894–1977)
Summer Landscape, Signed
and dated 1950.
£2,000–3,000
62.
60.
POGEDAIEFF, GEORGE (1894–1977)
POGEDAIEFF,
GEORGE (1894–1977)
Escape from Bethlehem,
Still life with Melon and Grapes, Signed and dated 1961.
Signed.
£3,500–4,000
£3,000–4,000
53
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63.
GONCHAROVA, NATALIA
(1881–1962)
Lady with Flowers, Signed with initials.
Pencil on paper, 41 by 25 cm.
Certificate of authenticity by Dr. Anthony
Parton dated from 7 February 2003.
£3,000–5,000
64.
KISLING, MOISE
(1891–1953)
Bord de Mer en Provence.
Signed and dated 1917.
Provenance: private collection, France,
acquired by the previous owner in 1941.
Certificate of authenticity issued by
Kisling Committee, signed by Jean
Kisling, dated 27 February 2004.
Literature: J. Kessel, H. Troyat &
J. Dutourd, Moise Kisling (1891–1953),
Catalogue Raisonne , Paris, 1995, Vol IV.
/
£30,000–35,000
55
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66.
ARAPOFF, ALEXIS PAUL (1905–1948)
Small Fire, Signed.
£3,000–4,000
67.
65.
VINDRIAEVSKY, MAXIM (1908–1988)
River Bank, Signed.
Oil on canvas mounted on cardboard, 39 by 30 cm.
ARAPOFF, ALEXIS PAUL (1905–1948)
Bicycle Ride, Signed. Circa 1928.
Provenance: Private collection, Israel, since 1974.
Authenticity has been confirmed by the artist’s son.
£5,000–7,000
£1,000–1,200
57
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68.
STOZHAROV, VLADIMIR (1926–1973)
French Park, Signed and dated 1960.
£3,000–4,000
69.
ISZELENOV, NIKOLAI (1891–1981)
Five Drawings of Follies, Each signed with monogram and dated 1936.
Ink, pencil on paper, 32 by 24 cm each.
£2,500–3,000
*70. GRITCHENKO, ALEXIS (1883–1977)
Little Town, Signed with initials and dated 1918.
Provenance: private collection, NY.
£10,000–15,000
59
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72.
WIDHOPFF,
DAVID (1867–1933)
Mediterranean Coast,
Signed.
Oil on canvas,
50 by 65 cm.
£2,000–2,500
71.
WIDHOPFF, DAVID (1867–1933)
Still Life with Purple Roses, Signed.
£10,000–12,000
Давид Видгоф получил художественное образование в Одесской рисовальной школе и Мюнхенской
художественной академии. С 1890 г. жил в Париже. Создал серию портретов знаменитостей: Золя,
Немировича-Данченко, Сары Бернар и др. Исполнял рисунки и карикатуры для французских журналов
«Courrier Francais» и «L’assiette au beurre», а также иллюстрации к «Братьям Карамазовым» Достоевского.
Его работы выставлялись на Осеннем салоне и салоне Независимых.
David Widhopff was born in Odessa in 1867; he graduated from the Odessa School of Art, then studied
in Munich Academy of Art. He himself taught art briefly in Rio de Janeiro. Came to Paris in the 1890s, painted
portraits, worked with French publishers and magazines including Courier Francais and L’assiette au beurre.
Exhibited at the Salon d’Automne, Salon des Independents etc. Was awarded the medal of the French Legion.
73.
STARITSKY, ANNA (1908–1981)
Morning Bay, Signed.
£3,000–4,000
61
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STARITSKY, ANNA (1908–1981)
Abstract Composition with the text by Luc Henri, Signed.
Gouache and ink on paper, 66 by 50 cm.
£4,000–5,000
75.
KISLING, MOISE (1891–1953)
Tulips, Signed.
Provenance: Private Collection, New York,
acquired in 1964 from La Galerie 18, Paris.
£28,000–30,000
63
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*76. SAMOKHVALOV, ALEXANDER (1894–1971)
Portrait of a Girl in White Scarf, Signed and dated 1934.
*77. GERASIMOV, SERGEI (1885–1964)
Exhibited: Female Portrait of the XXth Century, Gallery Art Divage, Moscow, 2003, cat. 48.
Autumn Landscape.
Literature: Female Portrait of the XXth Century, Exhibition Catalogue, Gallery Art Divage, Moscow, 2003,
p. 48, illustrated.
Provenance: Acquired by the present owner from family of the artist.
£8,000–10,000
£25,000–30,000
65
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79.
PANN, ABEL
(1883–1963)
Yuval, Signed.
Authenticity has been confirmed
by Itiel Pann, son of the artist.
£4,000–6,000
78.
80.
PANN, ABEL (1883–1963)
PANN, ABEL (1883–1963)
Man in a Red Hat, Signed.
Young Boy with an Olive Branch, Signed.
Authenticity has been confirmed by Itiel Pann, son of the artist.
by Itiel Pann, son of the artist.
£16,000–18,000
£4,000–6,000
67
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82.
MOROZOV, NIKOLAI (1882–1956)
Seascape in a Moonlight, Signed.
£2,500–3,000
83.
PRESSMANE, JOSEPH (1904–1967)
Canal Saint Denis, Signed and dated 1955.
£2,000–3,000
81.
ALTMANN, ALEXANDER (1895–1950)
Bridge Over the Quiet River, Signed.
£9,000–11,000
69
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HEFTER, FANNY (1900–1964)
Sabbath Candels, Signed.
Provenance: Private Collection, Jerusalem.
Ровесница века Фанни Хефтер родилась и училась в Москве, затем приехала в Париж, где продолжила образование и влилась в европейский художественный мейнстрим. Последние годы жизни провела в Иерусалиме.
Fanny Hefter was born in Moscow; she graduated from the Moscow Art School and then moved to Paris,
to continue her art education. In France she became a prominent figure of Paris art life, together with her
relative Elizabeth Epstein (lot 85). She lived the last seven years of her life in Jerusalem.
85.
EPSTEIN, ELIZABETH (1879–1956)
Still Life, Signed and dated 1950.
Provenance: Moos Galerie, Geneva.
£4,000–5,000
£4,000–5,000
71
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88.
RYBACK, ISSACHAR
(1897–1935)
Flowers, Signed.
£3,000–3,500
/
86.
MICHONZE, GREGOIRE
(1902–1982)
Family in the Yard, Signed.
£1,500–1,800
89.
FEDER, ADOLPHE (1885–1943)
/
87.
MICHONZE, GREGOIRE (1902–1982)
Toreador, Signed and stamped with the atelier stamp.
Family with Cat by the Table, Signed and dated 1966.
£1,500–1,800
£1,200–1,500
73
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90.
RYBACK,
ISSACHAR
(1897–1935)
Portrait of a Woman,
Signed in Yiddish.
Sepia, charcoal on paper,
37 by 30 cm.
£3,000–4,000
91.
AXELROD, MEIR
(1902–1970)
Farmers in the field,
Gouache on cardboard,
36 by 50 cm.
92.
RYBACK, ISSACHAR (1897–1935)
Provenance: Estate of the
Artist.
In the Field, Signed.
£1,000–1,500
£7,000–10,000
75
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93.
IACOVLEFF,
ALEXANDER (1887–1938)
Japanese Theatre (Kabuki).
Oil, gouache on cardboard,
100 by 120 cm.
Provenance: Galerie Blondel, Paris.
£30,000–40,000
77
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96.
RYBACK,
ISSACHAR
(1897–1935)
A Bronze Figure of
a Violin Player, Signed
and numbered.
Height 26 cm.
Cast by Sacharov and
Zariski Foundry, Haifa in
the 1970’s.
Provenance: Private
collection, Jerusalem.
£2,000–3,000
94.
MANE-KATZ (IMMANUIL KATZ, 1894–1962)
A Bronze Figure of a Trombone Player.
Height 27 cm. Signed with initials.
Cast by Sacharov and Zariski Foundry in Haifa, Israel, in the 1970’s. Edition of 8 numbered copies and 2 HS.
Literature: Robert S. Aries, Mane-Katz, 1894–1962. The Complete Works, Vol. I, Ldn, 1970, no. 632, p. 190
(ill. of another cast by Valsuani).
£2,000–3,000
97.
MANE-KATZ
(IMMANUIL KATZ,
1894–1962)
A Bronze Figure of a Boy
with a Flute, Signed
95.
RYBACK,
ISSACHAR
(1897–1935)
A Bronze Figure of a Man
with Geese, Signed.
Height 25 cm.
with initials.
Height 27 cm.
Zariski Foundry in Haifa,
Israel, in the 1970’s.
Edition of 8 numbered
copies and 2 HS.
Provenance: Private
collection, Jerusalem.
Literature: Robert S. Aries,
Mane-Katz, 1894–1962.
The Complete Works, Vol. I,
Ldn, 1970, no. 630, p. 190
(ill. of another cast
by Valsuani).
£1,500–2,000
£1,500–2,000
Zariski Foundry, Haifa in
the 1970’s.
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99.
ANNENKOV, YURI
(1889–1974)
Cubist Portrait, Signed
with initials.
Pencil on paper,
30 by 23 cm.
£4,000–6,000
98.
POUGNY, IVAN (1892–1956)
Reclining Girl, Signed.
Exhibited:
Salon de Tuileries, Paris, 1930.
Peintures de Pougny, Galerie Jeanee Castel, Paris, 1933.
100. ROCKLINE, VERA (1896–1934)
Literature:
Herman Berninger, Pougny, Catalogue Raisonne , Vol. II, p 12. Archive no. 449–154b.
Peintures de Pougny, Exhibition catalogue, Paris, 1933, no. 2.
Nude, Stamped with the atelier stamp.
£20,000–25,000
£800–1,000
/
Sanguine on paper, 37 by 27 cm.
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101. LARIONOV, MIKHAIL
(1881–1964)
Reclining Nude, Signed and dated 1928.
Provenance: Sotheby’s, Israeli and International
Art, 8 October, 1998, Lot 117.
Galerie Chantepierre, Aubonne.
£4,500–5,000
102. MALIAVIN, PHILIPPE
(1869–1940)
103. LARIONOV, MIKHAIL (1881–1964)
In the Park, Signed with initials.
Portrait of King Gustav of Sweden, Signed.
Pencil and crayon on paper, 43 by 27 cm.
/
Provenance: private collection, UK.
This work will be included in the forthcoming catalogue raisonee ,
prepared by Dr. Anthony Parton.
£2,000–3,000
£5,000–7,000
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104. ZDANEVICH, ILIA (1894–1975)
Enchanted Town, Signed on the reverse and
inscribed Design for a Spanish theatre decoration, 1920s.
Collage on paper, 33 by 49 cm.
Provenance: Gallery Arcette Gimarey.
£5,000–6,000
*105. ANISFELD, BORIS (1878–1973)
Costume Design for Ballet Sadko, Signed and dated
1911, Inscribed in Cyrillic Sadko and Mermaids.
This design was created by the artist for
Rimsky-Korsakov’s ballet Sadko, produced by Mikhail
Fokin for Diagilev’s Ballet Russe. It was performed
in 1911 at the Theatre du Chatelet in Paris.
/ /\
/\
106. KOROVIN, KONSTANTIN (1861–1939)
Stage Design for Don Quixote, Signed and dated 1903.
Provenance: private collection, NY.
Provenance: Christie’s, London, 15 June, 2000.
Private collection, NY.
£2,500–3,500
£12,000–15,000
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107. TELINGATER, SOLOMON
(1903–1969)
Costume Design.
Mixed media on cardboard, 25 by 17 cm.
£1,000–1,200
108. BAKST, LEON (1866–1924)
Study for Daphnis and Chloe, Stamped
with the atelier stamp (on the reverse).
Design for ballet Daphnis and Chloe, music
by Ravel, choreography by Fokin for
Diaghilev’s Ballet Russe. It was performed
in Theatre du Chatelet, Paris, in May 1912
with Karsavina (see lot 44) and Nijinsky.
/ /\
/\
109. ANNENKOV, YURI (1889–1974)
Watercolour, ink on paper, 39 by 28 cm.
Girl in apron. Costume Design, Signed.
£700–900
£700–900
Girl with ribbons. Costume Design, Signed.
£3,000–4,000
111. ANNENKOV, YURI (1889–1974)
Freedom. Costume Design, Signed with initials.
Watercolour, pencil on paper,
37 by 25 cm.
£700–900
110. ANNENKOV, YURI (1889–1974)
87
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112. WAKHEVITCH, GEORGE (1907–1984)
Costume Design, Signed and inscribed Igor.
£800–1,000
*113. FEDOROVSKI, FEDOR (1883–1955)
Costume Design for Opera Carmen, Signed with initials.
Gouache on board, 44 by 54 cm.
*114. FEDOROVSKI, FEDOR
Acquired from the family by the present owner.
These costume designs were produced by the artist for
Carmen, performed at the Bolshoi Theatre in 1922.
£2,500–3,500
(1883–1955)
Costume Design for Opera Carmen,
Stamped with atelier stamp, Authenticity
confirmed by the artist’s daughter.
Provenance: Family of the artist. Acquired
from the above by the present owner.
£2,000–3,000
*115. FEDOROVSKI, FEDOR
(1883–1955)
Costume Design for Opera Carmen, Signed.
Provenance: Family of the artist. Acquired
from the above by the present owner.
£2,000–3,000
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118. BENOIS,
ALEXANDER
(1870–1960)
*116. KUSTODIEV, BORIS
(1878–1927)
Russian Merchant, Signed with initials.
Watercolour, pencil on paper, 26 by 18 cm.
£4,000–5,000
Gentleman in 18th Century
Costume, Signed and dated
1905.
Watercolour, pencil on paper
laid on board, 47 by 33 cm.
Exhibition label on reverse
number 60 Alexandre Benois
(watercolour) Paris, rue Campagne
Premier.
Provenance: Christie’s,
London, 24 April 1991.
£3,000–4,000
117. RIABUSHKIN, ANDREI (1861–1904)
119. SOULIMENKO,
PIOTR (1914–?)
Pushkin and Brullov, Signed.
Boyar Lady, Signed.
23 by 30 cm.
£1,500–2,000
£1,000–1,200
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120. REPIN, ILYA
(1844–1930)
Portrait of Vera Ilyinishna
Repina, Signed and dated
1892.
23 by 18 cm.
£8,000–10,000
Портрет Веры Ильиничны
Репиной (1872–1948), дочери
художника. Происходит из ее
собрания.
122. VASSILIEFF,
MARIE
(1884–1957)
Portrait of Mlle Yvonne
de Galle, del'Opera
France, Signed and dated
1925.
Oil on cardboard,
42 by 34 cm.
£4,000–6,000
Портрет написан в имении Репина Здравнёво, в пятнадцати
километрах от г. Витебска. Летом 1892 художник написал несколько портретов Веры. Среди них — знаменитый «Осенний букет», хранящийся в
Третьяковской галерее.
Авторство подтверждено Е. В.
Кириллиной, Директором по
научной работе музея Репина
«Пенаты».
Portrait of Repin’s oldest daughter Vera Ilyinishna, painted in
Repin’s estate Zdravnevo. During the summer of 1892,
Repin painted several portraits
of Vera. The most famous one,
Autumn Bouquet, is in the Tretyakov Gallery.
by E.Kirillina, Repin’s museum,
Russia.
121. AFANASIEV, ALEKSEI
(1850–1920)
Russian Winter, Signed.
Ink, mixed media on paper,
12 by 19 cm.
£1,000–1,200
123. LUBITCH, OSSIP
(1896–1990)
Horse in the Meadow,
Signed.
21 by 26 cm.
Flowers on a Chair, Signed.
Oil on panel, 26 by 12 cm.
£1,000–1,500
93
94
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Russian Art Auction
125. GOTKO, JACQUES (YANKELLI
GOTKOVSKI, 1899–1944)
View of the Compiegne Concentration Camp,
Watercolour and ink on paper, 26 by 37 cm.
Born in Odessa in 1899, he immigrated to France
with his family in 1905. Studied in the Academie
des Beaux-Arts in Paris. Exhibited in Salon
d’Automne and Salon des Inde pendants. In 1941
he was arrested by Germans and sent to Compiegne
Concentration Camp, where he continued to paint.
This watercolour is a rare example of his work
executed while in the camp.
/
£2,000–3,000
124. LAKHOVSKY, ARNOLD (1880–1937)
126. ANNENKOV, YURI (1889–1974)
Anichkov Bridge in St. Petersburg, Signed and dated 1920.
Town Street, Signed.
£8,000–10,000
£1,500–2,000
95
96
Russian Art Auction
Russian Art Auction
128. SURVAGE,
LEOPOLD
(1879–1968)
Village Church,
36 by 47 cm.
£1,000–1,200
129. GAUSH, ALEXANDER (1873–1947)
Landscape with Haystacks, Signed.
£4,000–6,000
127. SURVAGE, LEOPOLD (1879–1968)
La Rue Aux Grands Arbres, Signed.
Provenance: Collection of Dimitry Snegaroff.
£4,000–6,000
97
98
Russian Art Auction
Russian Art Auction
131. LANSKOY, ANDRE
(1902–1976)
Family Around the Table,
Signed.
Provenance: Galerie
Jean-Ledeur, Paris.
£3,500–4,000
132. LANSKOY, ANDRE
(1902–1976)
View of the Room, Signed.
130. LANSKOY, ANDRE (1902–1976)
Children in the Summer Garden, Signed.
Provenance: Galerie
Le Minotaure, Paris.
£8,000–10,000
£2,500–3,000
99
Russian Art Auction 101
100 Russian Art Auction
133. LANSKOY, ANDRE
(1902–1976)
134. LANSKOY, ANDRE (1902–1976)
Diary of a Madman (Zapisky Sumashedshego).
Abstract Composition, Signed.
Collage on paper, 65 by 43 cm.
Provenance: Galerie Le Minotaure, Paris.
Provenance: Galeire Semiha Huber, Zurich.
This work will be included in the forthcoming Catalogue Raisonne by Andre Schoeller.
Ланской воспроизвел в работе фрагмент текста Гоголя из «Записок сумасшедшего»: «Сегодняшнего дня случилось необыкновенное приключение. «Я писала к тебе, Фидель; верно, Полкан не принес письма моего!»»
£9,000–11,000
£3,000–4,000
/
135. TCHERKESSOFF, YURI (1900–1943)
Villa in Province, Signed and dated 1937.
£2,000–3,000
136. TCHERKESSOFF,
YURI (1900–1943)
Landscape in Province,
Stamped with the atelier
stamp.
£2,000–2,500
137. MINTCHINE, ABRAHAM (1898–1931)
Flower Vase.
Provenance: Galerie di Viroli.
£18,000–20,000
139. KOROCHANSKY, MIKHAIL (1866–1925)
Landscape, Signed.
£3,000–5,000
140. CHABANIAN,
ARSEN (1864–1949)
138. KOROCHANSKY, MIKHAIL (1866–1925)
Seacoast, Signed.
£5,000–7,000
£1,500–2,000
In the Forest, Signed.
142. GODLEVSKY, IVAN (1908–1998)
Summer Day in Crimea, Signed.
Literature: G.V.Kekysheva et al, Ivan Godlevsky — Paintings, Petropol, Saint Petersburg, 2004, illustrated.
£3,000–5,000
143. AXELROD, MEIR
(1902–1970)
141. GODLEVSKY, IVAN (1908–1998)
Gulchokhra, Signed and dated 1960.
Landscape with the River,
Signed.
Gouache on paper,
58 by 43 cm.
Literature: G.V.Kekysheva, V. D. Liubimova, V. S. Kaplunov, S. G. Ryazanova, Ivan Godlevsky — Paintings,
Petropol, Saint Petersburg, 2004, illustrated.
Provenance: Estate of the
Artist.
£3,000–5,000
£1,000–1,500
145. KIKOIN,
MICHAEL
(1892–1968)
Fields in Spring, Signed.
Mixed media and oil on
paper laid on canvas,
26 by 41 cm.
Provenance: Hadassah K
Klachkin Gallery, Tel Aviv.
£1,500–2,000
146. STARITSKY, ANNA (1908–1981)
Abstract Composition with Text by Albert Dasnoy, Signed and dated 1964.
Gouache and ink on paper, 50 by 66 cm.
£4,000–6,000
144. KIKOIN, MICHAEL (1892–1968)
Landscape, Signed.
£8,000–10,000
147. DOBRINSKY,
ISAAK (1891–1973)
Morning Room, Signed.
£1,200–1,500
148. KOGAN, RAKHIL
(1912–1975)
Still Life with a Violin
and Renaissance Portrait,
Provenance: Private
collection, Rishon Le-Zion,
Israel, acquired directly
from the artist.
£2,000–3,000
149. MANEVICH, ABRAM (1881–1942)
Portrait of Artist’s Wife, Signed and stamped.
Provenance: Estate of the Artist.
Acquired from the above by the present owner.
£5,000–7,000
MacDougall’s LONDON 30 November 2004
150. TITOV, VLADIMIR (B.1950)
Fallen Man and the Angel, Signed.
Provenance: From the Artist.
£3,000–5,000
151. DLUGY, VITALY
(1934–1990)
Corkscrew, Signed and dated
1983.
Mixed media on cardboard,
58 by 80 cm.
152. SVESHNIKOV, BORIS (1927–1998)
Provenance: private collection,
France.
Acquired by the present owner
from A. Gleizer.
Winter Crossing, Signed and dated 1984.
£2,000–2,500
£4,000–5,000
Provenance: private collection, France. Acquired by the present owner from A. Gleizer.
Index of Artists
153. RABIN, ALEXANDER (1952–1994)
City in Ruins, Signed and dated 1974.
Oil on canvas, collage, 80 by 100 cm.
Provenance: private collection, France. Acquired by the present owner from A. Gleizer.
£4,000–5,000
154. ZVEREV,
ALEXANDER
(1931–1986)
Portrait of a Girl, Signed
and dated.
Provenance: private collection, France.
Acquired by the present
owner from A. Gleizer.
£3,500–4,000
AFANASIEV, ALEKSEI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
ALTMANN, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
ANISFELD, BORIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
ANNENKOV, YURI . . . . . . . . . . . . . . . . . . . . . . . . 99, 109, 110, 111, 126
ARAPOFF, ALEXIS PAUL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65, 66
ARNSTAM, ALEXANDER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 39
AXELROD, MEIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91, 143
BAKST, LEON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
BARANOV-ROSSINE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
BENOIS, ALBERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
BENOIS, ALEXANDER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
BOGOLIUBOV, ALEXEI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
CHABANIAN, ARSEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
CHARCHOUNE, SERGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
CHUMAKOV, FEDOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
DLUGY, VITALY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
DOBRINSKY, ISAAK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
EBERLING, ALFRED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44, 45
EPSTEIN, ELIZABETH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
EXTER, ALEXANDRA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 10
FECHIN, NIKOLAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
FEDER, ADOLPHE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56, 89
FEDOROVA, MARIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
FEDOROVSKI, FEDOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 114, 115
GAUSH, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
GERASIMOV, SERGEI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
GODLEVSKY, IVAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46, 141, 142
GONCHAROVA, NATALIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 63
GOTKO, JACQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
GRITCHENKO, ALEXIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
HARLAMOV, ALEKSEI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
HEFTER, FANNY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
IACOVLEFF, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 93
ISSAEV, NIKOLAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57, 58
ISTOMIN, CONSTANTIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 35, 36
ISZELENOV, NIKOLAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
IVANOFF, SERGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 12, 13
KAKABADZE, DAVID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
KIKOIN, MICHAEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144, 145
KISLING, MOISE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30, 64, 75
KOGAN, RAKHIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
KONCHALOVSKY, PIOTR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 33
KOROCHANSKY, MIKHAIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138, 139
KOROVIN, KONSTANTIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
KOUZNETSOFF, CONSTANTINE . . . . . . . . . . . . . . . . . . . . . . . . 2, 3, 4, 5
KREMEGNE, PINCHUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
KUSTODIEV, BORIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
LAGORIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
LAKHOVSKY, ARNOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
LANSKOY, ANDRE . . . . . . . . . . . . . . . . . 15, 130, 131, 132, 133, 134
LAPCHINE, GEORGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 20
LARIONOV, MIKHAIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101, 103
LATRI, MICKAEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
LUBITCH, OSSIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
MAK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
MALIAVIN, PHILIPPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
MANE-KATZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49, 50, 94, 97
MANEVICH, ABRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
MICHONZE, GREGOIRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86, 87
MINTCHINE, ABRAHAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
MOROZOV, NIKOLAI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
OSMERKIN, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
OSTROUMOVA-LEBEDEVA, ANNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
PANN, ABEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78, 79, 80
POGEDAIEFF, GEORGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60, 61, 62
POUGNY, IVAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
PRESSMANE, JOSEPH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
RABIN, ALEXANDER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
REPIN, ILYA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
RIABUSHKIN, ANDREI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
ROCKLINE, VERA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
RYBACK, ISSACHAR . . . . . . . . . . . . . . . . . . . . . . . 26, 88, 90, 92, 95, 96
SAMOKHVALOV, ALEXANDR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
SOULIMENKO, PIOTR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
STARITSKY, ANNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73, 74, 146
STENBERG, VLADIMIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
STERLING, MARC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 55
STOZHAROV, VLADIMIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
SURVAGE, LEOPOLD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127, 128
SVESHNIKOV, BORIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
TCHELISCHEV, PAVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 41, 42, 43
TCHERKESSOFF, YURI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135, 136
TELINGATER, SOLOMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
TERECHKOVITCH, CONSTANTINE . . . . . . . . . . . . . . . . . 22, 23, 24
TITOV, VLADIMIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
VASSILIEFF, MARIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 59, 122
VINDRIAEVSKY, MAXIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
WAKHEVITCH, GEORGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
WIDHOPFF, DAVID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71, 72
ZDANEVICH, ILIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
ZOUBTCHENKO, CATHERINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ZVEREV, ALEXANDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
/
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1. These Terms and Conditions govern the contractual relations of the vendors, the prospective buyers, and
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vendor — are called The Auctioneers or us; and the representative of MacDougall Arts Ltd. conducting the auction is
called The Auctioneer.
HAMMER PRICE
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buyer’s premium is payable at a rate of 20% on the first £100,000, and at a rate of 12% on the amount above
£100,000, of the hammer price. By the making of any bid the buyer acknowledges that on the sale of any lot the
Auctioneers may receive from the vendor a seller’s commission in addition to the said buyer’s premium. All prices
are quoted in UK Pounds Sterling.
VAT
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 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.
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.
6. Buyers from outside the EU who ship their purchases outside the EU within three months should tell the
Auctioneers at time of payment. For them, the VAT charge implicit in the premium (and the 5% charge on starred
lots) will be treated as a deposit, refundable on presentation of documentary proof of export outside the EU within three months.
BIDDING
7. The bidding is regulated at the sole discretion of the Auctioneer, who reserves the right to accept or reject any
bid and, in the case of lots upon which the seller has placed a reserve, the Auctioneer shall have the right to bid
on behalf of the seller, 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. The Auctioneers have
absolute discretion to refuse admission to the auction.
8. If instructed, the Auctioneers will execute bids for prospective purchasers. 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 you would bid if you were attending the auction yourself. Buy or unlimited bids will not be
accepted. Commission bids placed by telephone are accepted at the client’s risk.
principal unless they have prior written consent from the Auctioneers to bid as agent for another party. Staff
and consultants of the Auctioneers may only bid when they are unaware of commission bids and comply with
internal regulations. Bidders are personally liable for their bid and are jointly and severally liable with their
principal if bidding as agent.
10. (a) All lots must be paid for within seven days of the sale.
(b) No lot can be taken away until the full purchase price has been paid with cleared funds.
(c) Buyers are reminded that they may require an export licence for some items in order to remove the lot
from the United Kingdom, that they alone are responsible for obtaining any such licence, and that the sale is
valid whether or not such licence is obtained.
11. If a buyer fails either to pay for, or take away, any lot in accordance with the condition 7 and 8, the Auctioneers
shall be entitled at their absolute discretion to exercise one or more of the following rights.
(a) To cancel the sale 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 the Auctioneers in connection with the lot.
(c) To charge to buyers, on accounts remaining unpaid seven days after the sale, interest at a rate of 2% above
HSBC Bank Base Rate.
(d) With a week’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 the Auctioneers of the premium) to be paid to the seller. By the making of any bid the buyer acknowledges his acceptance of these conditions in the catalogue.
(e) Set off any amounts owed to the Buyer against any amount owed to MacDougall’s Arts Ltd. by the Buyer.
(f) Commence legal proceedings to recover the purchase price and Buyer’s Expenses for that lot.
(g) Release the name and address of the Buyer to the Seller to enable the Seller to commence the legal proceedings against the Seller.
12. Legal title shall not pass to the buyer until the lot has been paid for in full, but each lot will immediately on
the fall of the hammer be and remain in every respect at the risk of the buyer. MacDougall Arts Ltd. shall be entitled to a lien on any lot sold until the purchase price (as defined in condition 2) is paid in full by the buyer.
CATALOGUE DESCRIPTIONS
13. The Auctioneers reserve the right to withdraw, consolidate, divide or alter any lot or combine any two or
more lots.
14. 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.
IDENTIFICATION AND PAYMENT
9. The Buyer shall forthwith supply his name and address and his bank and other suitable references. The
Buyer may also be required to pay forthwith the whole or any part of the purchase price, and if he fails to do so
the lot or lots may at the Auctioneer’s absolute discretion be put up for sale again and resold. Bidders act as
15. The Auctioneers 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).
MacDougall's Telephone and Commission Bidding
Form: 18 May 2005
Buyers are reminded that, in accordance with all sales conducted by MacDougall Arts Ltd., a premium at a rate of 20%
on the first ‡100,000, and 12% thereafter is payable on the hammer price, plus applicable VAT.
All telephone and commission bidding requests must be completed by twenty-four hours before the sale. MacDougall
Arts Ltd. do not accept any liability if for any reason you do not receive a phone call during the sale. In submitting this
form you must agree to comply with Terms and Conditions of the Sale.
I would like to leave a Commission Bid:
(please tick one)
To make a Telephone Bid:
GUARANTEE
16. 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.
Preferred Languages for Telephone bidding:
ARE YOU REGISTERED AS A CLIENT:
Lot Number
Yes
English;
Russian;
French
No
Brief Description
For Commission Bids:
Maximum Bid
(UK‡ Hammer Price)
DATA PROTECTION
17. 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
18. 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 non-exclusive jurisdiction of the English courts. In the event of a dispute then the matter
shall be settled by arbitration, the arbitrator to be nominated by the President of the Royal Institution of
Chartered Surveyors. Both the buyer and the vendor agree to be bound by the decision.
PASSPORT OR NATIONAL ID CARD
19. Where a translation of this agreement has been provided, it is agreed that the English language version shall
be the governing one.
Citizenship
Number
Issued at
Date:
BANK DETAILS
Bank Account or
Credit Card
Details
PAYMENT METHODS:
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 GB22MIDL40071373662942
HSBC Bank plc, 22 Victoria St., Westminster, London SW1H 0NJ.
I have read the Terms and Conditions of Sale and agree to comply with them.
Signature
Date
Other Payment Methods:
Credit card payments are charged 1.5% extra.
UK debit card payments are free of charge.
Personal cheque payments will have to clear before delivery of purchases.
Bankers drafts and cash within certain limits may be accepted by arrangement.
MacDougall Arts Ltd., 33 St. James Square, London SW1Y 4JS, England
Tel: 0044–20–7661–9325. Fax: 0044–870–4329–922
50-я Венецианская биеннале
Искусство принадлежит
Измерение времени
Русские музеи: уникальные коллекции
Немецкий номер
Слово / Мона Лиза
Художники начала века
Апокалипсис сегодня
Государственный музей Востока
Когда Россия говорила по-французски...
Де Кирико, Дейнека, Марко Поло
Брейгель, Лихтенштейн, Петров-Водкин
WAM
– сдвоенные
тематические номера
(+300 стр., переплет,
суперобложка)
Подписка
на 6 любых
номеров
WAM – 180$
Телефон 913 6295/96
Московский концептуализм
70 лет Московскому метро
С мая 2005 года по новому адресу:
Малая Дмитровка, 24/2
www.wamonline.ru
Where to Find Us
d
roa
nd S
tr.
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Gre
tr.
r.
Str
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uit
nd
Sh
ick
rw
Str
tr.
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nor S
rosve
r.
nt St
Mou
Piccadilly
Circus
M
H
illy
d
ca
tr.
Pic
tr.
yn
Be
l
.
Str
Hyde Park
.
Str
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P
s's
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all
M
all
Whit
Kin
me
La
MacDougall's
tr.
gS
Ja
rk
r.
St.
St
Pa
n
ce
Christies
St. James's
Square
Pla
.
tto
Str
Bo
tr.
ley
loo
J
ange Str.
Or
Trafalgar
Square
ter
erm
rke
r
ha
C
ley S
ne
La
S
es
Wa
ll S
Hi
Aud
rk
Pa
South
oun
t
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ma
ay
.
t Str
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St r .
ne
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Uppe
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St. Martin's La
Co
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Monmouth Str.
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ad
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Tott
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ur
sb
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Cou
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Str
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Bo
Str.
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Str.
tr.
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Duke
r Str.
Bake
ro
Sotheby's
r Str
eno
sv
Gro
tr.
ok S
er B
Upp
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k Str
Broo
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Str.
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Oxford
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Ave
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New O
ms
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ore
Wigm
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cast
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Wigm
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ten
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Harle
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Wim
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Str.
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Welb
Thayer Str.
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Man
imer
Mort
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uss
R
at
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ca
Pic
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sv
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Str.
lk
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Belgrave
Square
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Palace
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Grosvenor
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sc
Parllament Str.
Saint James Park
Hyde Park
Corner
MacDougall Arts Ltd.
33 St. James Square,
London SW1Y 4JS
Telephone: 44–20–7661–9325
Fax: 44–20–7661–94001
Moscow Telephone: 095-799–4683
www.macdougallauction.com
Front cover. Lot 18. V. STENBERG. Man of the Future.
Back cover. Lot 12. S. IVANOFF. Suzanne au Bain.
Lot 104. ZDANEVICH, ILIA (1894–1975) Enchanted Town.
18 May 2005
London

18 May 2005 London

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