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AUGUSTE RODIN (1840-1917) Faun and Bacchante
AUGUSTE RODIN (1840-1917) Faun and Bacchante
Bronze, brown patina Signed and numbered on the base: ‘Rodin 8/8’ Foundry stamp of the Fonderie de Coubertin. Conceived in 1871, the present work is a posthumous casting made in 1992. Edition of 12 copies numbered from 1/8 to 8/8 and from I/IV to IV/IV. 28.5 x 24.5 x 20 cm With a certificate of authenticity from the Comité Auguste Rodin, Paris, 11 July 2007. The work is registered there under the number 2007VII93B and will be included in the Catalogue Critique de l’oeuvre Sculpté d’Auguste Rodin.
LUCA GIORDANO (1634 – 1705), CIRCLE OF Susanna and the Elders
LUCA GIORDANO (1634 – 1705), CIRCLE OF Susanna and the Elders
oil on canvas 173 x 123 cm Provenance: Private collection, Italy Luca Giordano was an Italian late-Baroque painter. Born in Naples, Luca Giordano studied in Rome, Parma and Venice and developed an elaborate Baroque style fusing Venetian and Roman influences. From 1692 to 1702 Giordano served as court painter to King Charles II of Spain decorating, among other important works, the ceilings of the Escorial, the Cathedral of Toledo, and the Buen Retiro in Madrid.Considered the leading Neapolitan painter of the 17th century, his work influenced many other artists in Italy, and he had many pupils and followers. His paintings express the drama of religious and mytholo- gical subjects in large-scale canvases and frescoes.The present grand scale painting is a representation of a biblical narrative from chapter 13 of the Book of Daniel: two elderly men are shown spying on a young married woman named Susanna. Susanna was taking a bath in her garden when the two elders came in. The elders spied on Susanna and then de-manded sexual favors from her, which she refused. To take revenge, the men decided to ruin Susanna’s reputation and falsely accused her of adultery - a crime which was punishable by stoning. The young Daniel decided to help Susanna, he questioned the elders separately, and observed that details in the two elders’ stories did not match up. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna’s name.The subject was relatively common in European art from the 16th century with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of female nudes, often for the pleasure of their male patrons.
ANTONIO CARRACCI (1583 – 1618) The father, his son and their donkey
ANTONIO CARRACCI (1583 – 1618) The father, his son and their donkey
oil on canvas 45,7 x 65,5 cm Painted circa 1615-1616 Provenance: Private collection, Italy Expertise: Professor Maurizio Marini According to Professor Maurizio Marini, the present work is one of four paintings executed by Antonio Carracci depicting four episodes of a famous fable. In this fable, a man and his son are accompanied by their donkey and meet constant criticism from passers-by for how they treat the donkey for leaving the elderly walking by (representing egosim of a child), or the young son walking along, for not riding it, or for overburdening their beast, when they both ride the donkey. The story’s purpose is to show that eve-ryone has their own opinion and there is no way one can satisfy all. The location of three other paintings is now unknown. This painting, as Professor Marini suggested, could be dated 1615-1616, the artist’s most significant period, when he executed the frescoes in the Church of San Bartolomeo in Rome, on the Tiber Island between 1612 and 1614.Born in Venice, Antonio was the son of the artist Agostino Carracci and a Venetian courtesan, Isabella. He first apprenticed with his father. When his father died, Antonio moved to Rome to work under his uncle Annibale from 1602 until 1609, and for whom he may have worked with other studio assistants on the frescoes in the Galleria Farnese. Later, he made a short visit to Bologna to join the workshop of Ludovico Carracci, and returned to Rome in 1610 to work with Guido Reni.In Rome, Antonio executed many important commissions, such as the decoration of three chapels in S. Barolomeo all’Isola and a fresco in one of the rooms of the Pope’s palace at Monte Cavallo commissioned by Cardinal Michelangelo Tonti, the frescoes of the Galleria Farnese.
FILIP MALJAVIN (1869-1940) The laugh
FILIP MALJAVIN (1869-1940) The laugh
signed ‘Ph. Maliavine’ (lower right)  oil on canvas 79 x 54 cm circa 1925. Provenance: Private collection, London Exhibited: Russes, Musée de Montmartre, Paris, 2003, Fragments Editions, Paris, 20 June – 21 September 2003, p.11 Literature: Russes, Musée de Montmartre, Paris, 2003, Exh cat. Fragments Editions, Paris, 20 June – 21 September 2003, p.11 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
MIKHAIL LARIONOV (1881-1964) Rayonist black composition
MIKHAIL LARIONOV (1881-1964) Rayonist black composition
signed (lower right) pencil on paper 15.4 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 224 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
MIKHAIL LARIONOV (1881-1964) Rayonist red composition
MIKHAIL LARIONOV (1881-1964) Rayonist red composition
signed with initials in Cyrillic ‘М Л’ (lower left) pencil on paper 15.3 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 225 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
MIKHAIL LARIONOV (1881-1964) Rayonist composition
MIKHAIL LARIONOV (1881-1964) Rayonist composition
signed with initials in Cyrillic ‘М Л’ (lower right) pencil on paper 16.5 x 23 cm circa 1910 -1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 223 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
BORIS KUSTODIEV (1878-1927) The Village Fair
BORIS KUSTODIEV (1878-1927) The Village Fair
signed and dated in Cyrillic ‘Б. Кустодiевъ 1919’ (lower right) oil on cardboard 17.5 x 22 cm 1919 Provenance: Private collection, Europe; Private collection, London Certificate of Authenticity by Scientific and research independent expertise named after P.M. Tretyakov, Expert’s report ОЖ 4482, 08.02.2013 In 1919, when Boris Kustodiev was painting “The Village Fair”, he was confined to a wheelchair and was constantly in his studio. Nevertheless, it was during this period that he created some of his most life-affirming and joyful works. As Vsevolod Voinov writes in his 1925 monograph, «...perhaps more than any of his contemporaries, the artist, immobilized by illness and at times seriously suffering, was able to affirm health and a life full of happiness, abundance and vivacity. This sense of health and the unshakable fabric of life is so natural to the artist. He depicts it with such conviction that the viewer is fully imbued with it» (V. Voinov, B.M. Kustodiev, Leningrad: State Publishing House, 1925, p.35). “The Village Fair” is a miniature incarnation of Kustodiev’s artistic universe, bringing together some of his most famous and beloved motifs. The scene is bustling with life: while the village fair is in full swing, a group of women are bathing nearby and another group is enjoying a picnic under a tree. Small, charming details further enliven the scene: a dog in the center and a coachman swinging to avoid colliding with two young children on horseback in the foreground. Kustodiev’s skill is evident in the way he conveys the mood and the rapidly changing weather. Swirls of thunderclouds sweep past, while the sun has already come out and illuminates the tree crowns, the church dome and the bell tower, and this dramatic illumination that fills the sky symbolizes the triumph of life. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
ALEXEI GRISCHENKO (1883-1977) Sailing Boats in Constantinople
ALEXEI GRISCHENKO (1883-1977) Sailing Boats in Constantinople
signed and dated ‘A. Gri 20’ (lower left) oil on canvas 95.5 x 72 cm 1920 Provenance: Artist’s studio; Acquired directly from the artist late 1950s–early 1960s; Thence by descent; Private collection, Norway; Private collection, Europe (+) All lots marked with the symbol are under temporary importation and are subject to 5.5% import tax (EU) and administrative customs broker fees
NATALIA GONCHAROVA (1881-1962) Stage design for the opera-ballet “Le Coq d’Or” of Nikolai Rimsky-Korsakov
NATALIA GONCHAROVA (1881-1962) Stage design for the opera-ballet “Le Coq d’Or” of Nikolai Rimsky-Korsakov
signed ‘N. Gontcharowa’(along the upper edge of the central panel) watercolour, gouache, and pencil on cardboard 54 x 18.5 cm (each) 1914 Provenance: Anonymous sale; Sotheby’s, London, 5 April 1990, lot 162; with Thos. Agnew and Sons Ltd., London, nos. 32153-5 (labels on the reverse of the backboard); Property of a European Lady of Title; Christie’s, London, 3 December 2009, lot 20; Acquired at the above sale by the present owner Before World War I, Natalia Goncharova was invited by Sergei Diaghilev to create sets and costumes for the opera-ballet The Golden Cockerel (staged by Mikhail Fokin for Diaghilev’s Russian Ballet company based on the opera by Nikolai Rimsky-Korsakov). The opera-ballet premiered in Paris and London in 1914. Goncharova’s fresh approach to popular Russian art, her familiarity with contemporary French painting, and her sense of humor allowed the artist to become an intermediary between the Russian avant-garde and Western art. Nikolai Rimsky-Korsakov’s opera, based on Alexander Pushkin’s fairy tale and political satire The Golden Cockerel, inspired Goncharova to create colorful sets that established her as a leading artist and set designer. Her success paved the way for further collaborations between the Russian Ballet and such artists as Mikhail Larionov, Pablo Picasso and Henri Matisse. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
JEAN POUGNY (1892-1956) Paddock
JEAN POUGNY (1892-1956) Paddock
signed ‘Pougny’ (upper right) oil on canvas on board 7 x 20 cm 1942-1943 Provenance: Collection of Georges Barany, Paris Private collection, France Auction Art Rémy Le Fur & Associés, Tableaux et sculptures impressionnistes, XIXe et modernes, 2011 Private collection Literature: Pougny, Catalogue raisonné de l’œuvre, Paris - Côte d’Azur, 1924-1956, peintures, tome 2 Herman Berninger, Editions Ernst Wasmuth, Tübingen, 1992, ill. p.198 and 199, n. 763 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.
KONSTANTIN YUON (1875-1958) In the park. Petrovskoe. Tver province.
KONSTANTIN YUON (1875-1958) In the park. Petrovskoe. Tver province.
oil on canvas 61 x 61 cm 1897 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow; Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.
KONSTANTIN YUON (1875-1958) In the Dining Room (Family Portrait of the Weideman Family). Petrovskoye
KONSTANTIN YUON (1875-1958) In the Dining Room (Family Portrait of the Weideman Family). Petrovskoye
oil, charcoal on cardboard 72.2 x 95 cm 1899 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow (painted by the artist for the family of Nata Chachkhiani, one of the sitter); Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.
UNKNOWN ARTIST Oriental Landscape
UNKNOWN ARTIST Oriental Landscape
oil on canvas 110 x 140 cm circa 1930s
IVAN KONSTANTINOVICH AIVAZOVSKY (1817-1900)
Figures by a moonlight shore
IVAN KONSTANTINOVICH AIVAZOVSKY (1817-1900)
Figures by a moonlight shore
signed in Cyrillic and dated 1858 (lower right) oil on canvas 41 x 33 cm painted in 1858 Provenance: from a private collection of the merchant and art collector in Russia, acquired before 1905 The present work is included in the numbered archive of the artist’s work compiled by Gianni Caffiero and Ivan Samarine.

IVAN KONSTANTINOVICH AIVAZOVSKY (1817-1900)
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