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MARTIN LINDENAU (B.1948) Les Marquises, l’île de Nuku Hiva, la Baie d’Hatiheu
MARTIN LINDENAU (B.1948) Les Marquises, l’île de Nuku Hiva, la Baie d’Hatiheu
signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm
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MARTIN LINDENAU (B.1948) Champagne!
MARTIN LINDENAU (B.1948) Champagne!
signed ‘M. Lindenau’ (lower right) oil on canvas 100 x 100 cm
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MARTIN LINDENAU (B.1948) Sortie mondaine au restaurant
MARTIN LINDENAU (B.1948) Sortie mondaine au restaurant
signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm
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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.
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ALBERT-MARIE LEBOURG (1849-1928) Notre Dame. Vue prise du Pont de la Tournelle
ALBERT-MARIE LEBOURG (1849-1928) Notre Dame. Vue prise du Pont de la Tournelle
signed, inscribed and dated ‘A Lebourg Paris Dec 79’ (lower left), inscribed ‘Notre Dame Vue prise du Pont de la Tournelle’ (lower right) oil on canvas 64 x 92 cm Painted in Paris in 1879 French impressionist painter Albert Marie LEBOURG (1849-1928) studied at the Ecole des Beaux Arts of Rouen. Lebourg was close friends with Victor Delamare and Gustave Morin, and started drawing with charcoal and painting by the Seine in his hometown – Montfort- sur-Risle. As a professor in Algiers around 1875, he was astonished by his surroundings and focused on the exploration of colour and light. He discovered the white city with its nuances of various shades. With his distinctive brushstroke, he started to paint winter views dominated by the color white, like this snowy view of Notre Dame, signed and dated on the lower left — a good representation of his style, featuring different soft shades of white pastel colors.
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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.
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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.
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MAURICE UTRILLO (1883-1955)
La Butte Pinson à Montmagny
MAURICE UTRILLO (1883-1955)
La Butte Pinson à Montmagny
Signed 'Maurice Utrillo. V.' (lower left) Oil on canvas laid on board 45.7 x 60 cm Painted circa 1905-1908 PROVENANCE: Louis Libaude, Paris. A. Comard, Paris. Private collection, Switzerland. Bernard d'Escayrac, Long Island. Carstairs Gallery, New York. Collection of James Pearson Duffy, May 1958. Acquired by the current owner in 2012 EXHIBITED: - Japan, “Maurice Utrillo, 130e anniversaire de sa naissance” by Jean Fabris, 2013. Illustrated in the exhibition catalogue (p.39, cat. No.15)* - Paris, “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926”, Musee de Montmartre, October 2015-March 2016. Illustrated in the exhibition catalogue (p.74, cat. No.45)** * Maurice Utrillo’s 130th birth anniversary traveling exhibition took place in: Kyoto, Takashimaya Art Gallery, 24 April-May 13; Tokyo, Takashimaya Art Gallery, Nihonbashi, 12 June-June 24; Hokkaido, Hokkaido Hakodate Museum of Art, 24 July-08 September; Kanakawa, Takashimaya Art Gallery, Yokohama, 18 September-September 30. ** The “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926” exhibition took place in occasion of the 150th anniversary of the birth of Suzanne Valadon, mother of Maurice Utrillo. At the end of the 19th century, the ateliers of rue Cortot were important places for creation and many artists lived here, including Utrillo, with his mother and her partner, André Utter. The works on display came from the collections of the Société d’Histoire et d’Archéologie “Le Vieux Montmartre” and, more importantly, from external loans of, among others, the Centre Pompidou, the Musée d’Art Moderne de la Ville de Paris, the Musées des Beaux-Arts in Liège and Brussels and other private collections. “In point of fact, naiveté and ingeniousness are more apparent than real, however, for one has only to examine with care a canvas by Utrillo to see to what extent one is dealing with a true painter”[…] his work “imparts something magnificently luxurious to the dejected, desperate aspects of modern life» (Edmond Jaloux, quoted in A. Tabarant, Utrillo, Paris, 1926, p. 234). The son of painter and model Suzanne Valadon and an unknown father, Maurice Utrillo was one of the few Montmartre artists to be born there and grew up living between the Parisian neighbourhood and Montmagny, on the northern outskirts of the city. Sharing his mother’s studio at 12 rue Cortot, he sold his first painting in 1905, and had work shown in 1909’s Salon d’Automne. For many years he battled alcoholism and mental illness, and his family encouraged his painting in part to help him deal with his daily struggles. Painted circa 1908-1910, La Butte Pinson à Montmagny is a good example of Utrillo’s urban landscapes, and is both typical of his admired early period, and points towards his esteemed white period, with the colour and texture of the building on the left side of the image. The artist lived in the Butte Pinson from 1896 with his grandmother, his mother and her husband. He began painting here and created a series of paintings of Montmagny from 1905 to 1908. While his mother was the first woman to be admitted into the Société Nationale des Beaux-Arts in 1894, Utrillo, like her, had great talent but received little formal artistic training. His confident yet soft brushstrokes demonstrate a lingering influence of Impressionism, and the colours of the fence and trees in the front of the image are echoed by some of the multi-coloured rooftops one can see in the distance Utrillo is celebrated for his cityscapes, and his early paintings from 1904 onwards of Montmagny and Montmartre in particular helped establish his reputation. If a street or monument fascinated him, he could make numerous paintings of the same subject, and many of his paintings are noted for their energy and a deceptive naiveté of style. In particular, Utrillo is famous for his “white period” which spanned the years 1909-1914, and where he used a thick white impasto which he applied to the canvas with a palette knife, and sometimes mixed in plaster.
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ANDY WARHOL (1928-1987) Flowers (hand coloured), 1974
ANDY WARHOL (1928-1987) Flowers (hand coloured), 1974
signed with initials (lower right), label of Max Protetch Gallery (on reverse) screenprints with handcolouring Edition of 250, series of 10 103.2 × 69.2 cm Provenance: Max Protetch, USA Acquired from the above from the present owner, USA-Europe
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MARTIN LINDENAU (B. 1948) Le Café de Paris à Monte-Carlo
MARTIN LINDENAU (B. 1948) Le Café de Paris à Monte-Carlo
signed ‘M. Lindenau’ (lower left); inscribed (on the reverse) oil on canvas 81 x 60 cm
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JAZEH TABATABAI (1931-2008) Two seating figures
JAZEH TABATABAI (1931-2008) Two seating figures
signed in Farsi and English ‘JAZEH TABATABAI’ (lower right and left) watercolour, ink and gold paint on paper 49 x 35 cm Born in 1931 in Tehran, Jazeh Tabatabai (Ali Tabatabai) was an Iranian avant-garde painter, sculptor, poet, and writer. He started writing when he was twelve. He wrote folklore stories, novels, poems, art critic and plays. He graduated from the ballet academy in 1950. Ten years later, at the age of twenty-nine, he completed his painting course at the Faculty of Fine Arts at the University of Tehran. The following year he established the Iran’s Modern Art Gallery, the first art gallery in Iran. Jazz Tabatabai’s works are held in many museums and art collections around the world, including the Louvre and Metropolitan Museum of Art, and have been part of the Biennials of Paris, Sao Paulo, Venice.
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VICTOR VASARELY (1906-1997) Untitled
VICTOR VASARELY (1906-1997) Untitled
signed in pencil (lower right) and numbered 99/300 (lower left) serigraph in colors 57.5 x 54.5 cm
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VICTOR VASARELY (1906-1997) Untitled
VICTOR VASARELY (1906-1997) Untitled
signed in pencil (lower right) and numbered 86/250 (lower left) serigraph in colors 57.5 x 54.5 cm
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PABLO PICASSO (1881-1973) Piquè
PABLO PICASSO (1881-1973) Piquè
signed in pencil ‘Picasso’ (lower right), numbered ‘50/300’ (lower left), inscribed ‘Piquè/Ed. Cercle d’Art Paris 1962’ (on the reverse) original linocut 37.6 x 31.6 cm edition 50/300 1962
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FATIMA HASSAN EL FAROUJ (1945-2011) The celebration
FATIMA HASSAN EL FAROUJ (1945-2011) The celebration
signed and dated (lower left) oil on canvas 110 x 53 cm Painted in 1976 Fatima Hassan El Farouj was a Moroccan painter. Classified in the category of naïve art, self-taught with no academic or artistic training, painting was for her a means of expression and a hobby. The expressions are fresh, infantile, naive, simple with a lot of narration like a storyteller and no logic in dimensions, forms, and perspectives. She grew up in a popular setting in the north of Morocco and practiced like other girls and women of her age embroidery, weaving, sewing and henna tattooing. All these moments of traditional learning were a source of inspiration for her. Her paintings are a testimony to the great celebrations and rituals of the women’s world of the 1950s.
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OLLE (GUSTAV OLOF) HJORTZBERG (1872-1959) Still life with a yellow rose in a silver vase
OLLE (GUSTAV OLOF) HJORTZBERG (1872-1959) Still life with a yellow rose in a silver vase
signed and dated ‘Olle Hjortzberg 48’ (lower right) oil on board 60 x 73 cm Painted in 1948
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OLLE (GUSTAV OLOF) HJORTZBERG (1872-1959) Still life with roses in a silver jar
OLLE (GUSTAV OLOF) HJORTZBERG (1872-1959) Still life with roses in a silver jar
signed and dated ‘Olle Hjortzberg 54’ (lower left) oil on canvas 46 x 38 cm Painted in 1954
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PINCHUS KREMEGNE (1890-1981) "(+)" Seated nude
PINCHUS KREMEGNE (1890-1981) "(+)" Seated nude
signed ‘Kremegne’ (lower left) oil on board 82 x 62 cm Provenance: Galerie des Granes, Geneva (old label on the reverse) Private collection A Lithuanian Jewish-French artist, Pinchus Kremegne knew Soutine and Kikoine, whom he met at the school of fine art in Vilnius, where he trained from 1909. He arrived in Paris in 1912, and the artist remained in France, where he lived and worked most of his life. In Montparnasse, he made friends with Chagall and Leger; he met the artists André Derain, Maurice de Vlaminck, and Max Jacob, and Modigliani painted his portrait. From 1905 to 1939, Paris was the world's art capital, and Kremegne became part of the group known as Ecole de Paris. ⊕ This lot is under temporary importation and is subject to import tax (5.5%) (EU) and administrative customs broker fees.
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VERA ROCKLINE (1896-1934) "(+)" Sleeping Nude
VERA ROCKLINE (1896-1934) "(+)" Sleeping Nude
signed ‘Vera Rockline’ (lower right) oil on canvas 53.5 x 70 cm ⊕ This lot is under temporary importation and is subject to import tax (5.5%) (EU) and administrative customs broker fees.
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UNKNOWN ARTIST, 20TH CENTURY View of the Principality of Monaco
UNKNOWN ARTIST, 20TH CENTURY View of the Principality of Monaco
signed ‘Molinario’ (lower left) oil on panel 46.5 x 64.5 cm
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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UNKNOWN ARTIST Oriental Landscape
UNKNOWN ARTIST Oriental Landscape
oil on canvas 110 x 140 cm circa 1930s
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