| Dmitri Dobrovolsky 55! |
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Dear art lovers! You are invited to our new exhibition dedicated to the 55th anniversary of the famous Ukrainian artist Dmitry Dobrovolsky. The exhibition is open from 10.04 to 05.05. Mon-Fri 10-18
Saturday by arrangement, tel. 5159196
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| Information by phone 5159196 |
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Dear Clients
Due to restrictions related to Covid 19, We work by prior arrangement.
Information by phone 5159196
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Description:
Etching, aquatint, paper
34,8 x 25,1
Lower left – На темы старофранцузского фабио II "О соколе "
Lower right - офорт акв Е. Антимонова
Jelena Antimonova - outstanding graphic artist and water-colour painter. In 1971 graduated from Latvian Academy of Arts, Department of Painting. Seascape painter E.Kalninsh was her diploma work supervisor, she studied serigraphy at the graphiс artist Joseph Elgurt. In 1976, she was accepted to the Latvian Union of Artists.
Jelena Antimonova participated in exhibitions from 1969 and held personal exhibitions in Riga, (1974,1982,1990,1991,1992,1993), Tartu (1978), Poland (1978), Jurmala (1983, 1986), Venice (1991). Antimonova's works are known in Switzerland, Finland, Japan, Germany, Denmark, France.
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Description:
Steel engraving, paper
Lm 15,6 x 23. Km 11,5 x 17,3.
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Description:
Graphics, thick paper
64.8x50
Lower right - Bachmann 40/90
Hermann Bachmann was a gifted and virtuoso painter, repeatedly stylized as a painter for artists. This is understandable given his great respect among friends and fellow artists.
Hermann Bachmann was born in 1922 to the sculptor and painter Hermann Bachmann. Between 1936 and 1941 he studied at the College of Applied Arts in Offenbach am Main. In addition to his studies, he took private drawing and painting lessons from the artist Otto Fischer-Lamberg. From 1949 he was in contact with the artists Max Pechstein and Karl Hofer. In 1952, his work was shown for the first time in Berlin, and so he decided to move there in 1953. In 1957 he received the Berlin Art Prize. In the same year he began teaching at the Hochschule für Bildende Künste in Berlin, where he received the title of professor in 1961.
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Description:
Brown, gray sepia, paper
30 x 37,1
Lower centre - sehr schönes Original von Baron von Stengel nr. 14
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Description:
Lithography, paper
64,2 x 46,3
Lower right - V. Bogatkin
1945 - 47. During the years, a documentary lithographic cycle was completed from the front line of the Soviet troops to Berlin.
Bogatkin Vladimir Valerjanovich (1922 - 1971) - the Soviet artist and painter. Studied at Art School at the All-Russia Academy of arts in Leningrad (1936 - 1940 г.г.). Further was engaged in M.V.Nesterov workshop. Since 1944 worked in Studio of military artists as it. M.B.Grekova, having devoted the creativity to display of life of the Soviet Army. On the basis of the sketches created within Great Domestic war has executed a series of lithographs « Leningrad in days of blockade », "Moscow invincible"-"Storm of Berlin".
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Description:
Graphic, aquatint, paper
28 x 52
Lower in the centre, on the plate -MOSCOW Publish`d by R.Bowyer, Pall Mall, 1814.
Published by R. Bowyer in his book "An Ilustrated Record of Important Events in the Annals of Europe, during the Jears 1812, 1813, 1814 & 1815: Comprising a Series of Views of Paris, Moscow, the Krermlin, Dresden, Berlin, the Battles of Leipsic, etc. Etc.together with a History of Those Momentuous Transactions."
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Description:
Lithograph, Paper
67 x 50
Upper in the centre - Bernard Buffet 57
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Description:
Lithograph, paper
28,7 x 42
Lower right on the plate – A. Calame f
Upper centre – Lower centre – Etudes progressives
Lower centre - Nr. 31 Imp. Lith Cattier rue de Lancry. 12
Lower left – Paris. Jeannin Place du Louvre.20
Lower right - Eoupil et Vibert, B. Montmartre. 15 et m. de Lancry.7.
Among the most celebrated Swiss landscape painters of the 19th century, Alexander Calame made a particular speciality of Alpine mountain scenes. Despite losing his right eye as a child, he was determined to make a career as an artist, and studied with the landscapist François Diday between 1829 and 1832. From 1828 he began producing vues pittoresques suisses in gouache, intended for sale as autonomous works of art, which allowed him a measure of financial independence. He first came to the attention of French collectors and connoisseurs at the Salon of 1839, where he exhibited a view set in the Bernese Oberland, entitled A Thunderstorm in Handeck. The painting was a great success in Paris, and was purchased by public subscription by the city of Geneva for the Musée Rath. At the Salon two years later one of his paintings, a View of the Valley of Ansasca, was purchased by the King, Louis-Philippe. By this time Calame’s success was assured. His paintings, worked up from oil sketches and drawings made sur le motif, were in great demand, and were purchased by collectors throughout Europe, and particularly in Russia. In 1854 he published a number of landscape drawings and studies in lithographic form as Leçons de dessin appliqué au paysage.
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Description:
Sepia, ink, paper (XVIII century).
15,6 x 19,9
On the reverse Record started XX centuries - Canaletto, from collection Oldekopp.
Oldekopp was the most serious collector in Estonia at the end of XIX beginning of XX century.
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Description:
Colour lithography, paper
39 x 64
Lower right - H.C. 11
German artist - animal painter. He worked in Germany and Russia.
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Description:
Colour lithography, paper
39 x 64
Bottom left - H.C. 11
German artist - animal painter. He worked in Germany and Russia.
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Description:
Colour ithography, paper
48 x 62
Lower right - H.C. 12
German artist - animal painter. He worked in Germany and Russia.
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Description:
Colour ithography, paper
48 x 62
Lower right - H.C.
German artist - animal painter. He worked in Germany and Russia.
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Description:
Coloured lithography, paper
58 х 44,5
Lower right - Dali
Lower left - 290/300
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Description:
Lithograph, Japanese paper
75,5 x 54
Lower a pencil - XVII / L
Lower right a pencil - Dali
Upper right - Dali's calligraphic signature
Valuable authentic work of interesting shape. Dalí's cycle is inspired by the novel Gargantua et Pantagruel by the French writer of the 16th century Francois Rabelais. The black and white lithographic series was printed in 50 copies.
Series "Mischievous Dreams of Pantagruel" - the most limited edition - 50 copies, signed and numbered personally by Dali.
"Mischievous Dreams of Pantagruel", published in 1973, is considered one of the best series among all the works of Dali-graphic artist.
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Description:
Coloured woodcut, paper
32,8 x 26,3
Lower n the centre - Dali
In the early 1950's, the Italian government commissioned Dali to illustrate a special commemorative edition of The Divine Comedy in honour of the upcoming 700th anniversary of Dante's birth. Dali was selected despite the controversy at the time over the choice of a Spanish artist to illustrate the work of Italy's greatest poet. What fascinated Dali most about Dante was his "angelic vision of being" and the "cosmic" side of God, invisible to humans, but reflected on the face of angels. Dali's illustrations apply his own extraordinary sense of analytic realism to the supernatural visions described by Dante. Dali's interpretation of Dante's work emphasises the many influences in the artist's life: from Giorgio de Chirico to the Dadaist movement, with traces of modern psychology, philosophy and aesthetics. The 100 illustrations were created originally as watercolours, and later turned into wood engravings.
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Description:
Colour lithography, etching, paper
40,5 x 56,6
Lower left – 63/195
Lower right – Dali (in pencil)
On the centre - Spoon on crutches
The work of Salvador Dali (1904-1989) is associated with the surrealist movement of the 20th Century. A diverse and multi-talented artist, Dali is considered one of the most collected artists today, and his works offer an incredible opportunity for enormous appreciation in value. Many of his works are held in prestigious museums, private and public collections around the world.
The German publishing house Taschen released the legendary book with recipes and illustrations by Salvador Dali in 1971.
136 recipes with illustrations by the author are collected in 12 sections.
Dalí’s subtle combination of a mermaid with a fish head is an illustration for an entrée in the cookbook. The artist’s original conception of this idea dates back to the “Dream of Venus” pavilion constructed during the 1939 World’s Fair. Dalí proposed that for the outside of the pavilion a colossal reproduction of Botticelli’s The Birth of Venus be installed. Dalí stipulation was that Venus’ head would be replaced with that of a fish head on the classic representation of ideal beauty.
The book Les Diners de Gala is dedicated to Dali's wife and muse Gala. By the way, as a child, a famous artist wanted to become a cook.
https://theartofplating.com/news/les-diners-de-gala-salvador-dalis-rare-surrealist-cookbook/
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Description:
Steel engraving, paper
Lm 19,7 x 29,5. Km 10 x 15,4
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Description:
Steel engraving, paper
Lm 19,8 x 29,5.Km 10,1 x 14,7
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Description:
Etching, copperplate engraving, paper
39,8 x 28,8
Lower on the right, on a plate - J.Daulle Sc.
Lower on the left, on a plate - Rembrandt Pinx
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Description:
Steel engraving, paper
Lm 15,4 x 23.Km 9,5 x 15,7
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Description:
Steel engraving, paper
Lm 19,4 x 29,8. Km 9,5 x 14,6
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Description:
Steel engraving, paper
Lm 19 x 28,8. Km 10,3 x 15,4.
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Description:
Lithograph, Paper
54 х 40
Lower right of the plate - Raoul Dufy
Raoul Dufy - French painter, graphic artist, decorator. Born 1877 and died 1953 in France. He got education in Paris Fine Arts School. The impressionist`s paintings were very close to his creative works. In 1906 was organized the first personal artist's exhibition, where he met the painter Anry Matis. The last one used in his paintings only bright, clean colors and sharp contours. The same lines were characterized to Dufy`s works in 1906-1909. The artist has not his own style until the 1920's, only later he has worked it out. His latest creative period painting style was called "scenagraphical". His water-colours and oil paintings presented the manners picture of the artist lifetime.
Dufy was a well-known and talented illustrator, the master of Decorative applied art- and monumental paintings.
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Description:
Lithograph on paper
64 x 85
Lower left
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Description:
Colour lithograph, paper
38 x 28
Lower right - F. Leger. 29
Lithograph from the series "Hommage à Fernand Leger", made shortly after his death, the famous publishing house Mourlot` litad Maeght`i. A rarity.
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Description:
Colour lithograph, paper
38 x 28
Lower right - F. Leger. 30
Lithograph from the series "Hommage à Fernand Leger", made shortly after his death, the famous publishing house Mourlot` litad Maeght`i. A rarity.
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Description:
Colour lithograph, paper
38 x 28
Lower right - F. Leger. 21
Lithograph from the series "Hommage à Fernand Leger", made shortly after his death, the famous publishing house Mourlot` litad Maeght`i. A rarity.
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Description:
Lithograph on paper
97, 5 х 71,5
Lower left – 14/250
Lower right - Ernst Fuchs.
Ernst Fuchs is an Austrian artist famous as a co-founder of the Vienna School of Fantastic Realism and mastering and teaching the Mischtechnik to others. Many other artists have studied under and have been influenced by him and his work.
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Description:
Lithograph painted by a water color, a paper
Km 27,1 x 38,7
Lower left - Disegnano Lago di Garda Oct 1834 JDN
Harding was born at Deptford in 1798, the son of a drawing-master who had been a pupil of Paul Sandby. He was taught perspective by his father and had lessons from Samuel Prout. At the age of thirteen he exhibited two drawings of buildings in the style of Prout at the Royal Academy.
He was apprenticed to the engraver Charles Pye, but left him after only a year to concentrate on painting watercolours, and when he was 18 he was awarded a silver medal by the Society of Arts. In 1818 he showed with the Society of Painters in Watercolours, (known as the "Old Watercolour Society or OWCS from 1831) for first time. He was to contribute to its exhibitions for the rest of his life. He was elected an associate of the society in 1820 and a full member in 1821. In 1843 he took up oil painting, and exhibited many landscapes in that medium at the Royal Academy. In 1847 he resigned his membership of the OWCS , hoping to be elected a member of the academy; but, after nine years without success, he withdrew his candidature, and was re-elected to the OWCS.
From an early on in his career Harding was a successful and popular teacher. When lithography became popular in Britain, he quickly adopted it as a means of reproducing good examples for the use of pupils and students. His first productions were drawing-books, consisting of pencil sketches and studies of trees; they were printed in tints with two stones, allowing the reproduction of more elaborate drawings. His Sketches at Home and Abroad, a series of fifty plates using this method, was published in 1836. In 1841 he published The Park and the Forest, a set of sketches drawn on the stone with a brush instead of the crayon, a technique of his own invention which he called "lithotint". His other lithographic works included A Series of Subjects from the Works of R. P. Bonington (1829–30); Recollections of India (1847, from drawings by C. S. Hardinge) and Picturesque Selections (1861).
In 1830, Harding exhibited a series of Italian views sketched on papers of various colours and textures, the syyle of which was widely imitated. His use of opaque body colourin watercolour, following the example set by J.M.W. Turner also proved influential. His drawings were praised by John Ruskin in Modern Painters. From the 1830s a range of papers was produced under the name of "JDH pure drawing paper", initially for Winsor and Newton. The papers, which proved popular amongst both amateur and professional artists, and which Harding used himself, were produced in white, and in shades of cream, buff and grey. They were marketed until around 1910. Winsor and Newton also produced pencils under Harding's name.
Harding was a prolific author of educational manuals, and his Lessons on Art, Guide and Companion to Lessons on Art, Elementary Art, or the Use of the Chalk and Lead Pencil advocated and explained, and The Principles and Practice of Art, were widely used both in Britain and abroad.[1] His Drawing Models and Their Uses (1854) describes the use of a range of solid forms which he prepared and marketed.
He was described by Gilbert Redgrave in A History of Water Colour Painting in England as "a skilful and rapid draughtsman, though somewhat mannered, and rarely rising above the commonplace."
He died at Barnes, on 4 December 1863, and was buried in Brompton Cemetery.
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Description:
Lithograph painted by a water color, a paper
Km 26,2 x 37,5
Lower left - Verona Oct 1834 JDN
Harding was born at Deptford in 1798, the son of a drawing-master who had been a pupil of Paul Sandby. He was taught perspective by his father and had lessons from Samuel Prout. At the age of thirteen he exhibited two drawings of buildings in the style of Prout at the Royal Academy.
He was apprenticed to the engraver Charles Pye, but left him after only a year to concentrate on painting watercolours, and when he was 18 he was awarded a silver medal by the Society of Arts. In 1818 he showed with the Society of Painters in Watercolours, (known as the "Old Watercolour Society or OWCS from 1831) for first time. He was to contribute to its exhibitions for the rest of his life. He was elected an associate of the society in 1820 and a full member in 1821. In 1843 he took up oil painting, and exhibited many landscapes in that medium at the Royal Academy. In 1847 he resigned his membership of the OWCS , hoping to be elected a member of the academy; but, after nine years without success, he withdrew his candidature, and was re-elected to the OWCS.
From an early on in his career Harding was a successful and popular teacher. When lithography became popular in Britain, he quickly adopted it as a means of reproducing good examples for the use of pupils and students. His first productions were drawing-books, consisting of pencil sketches and studies of trees; they were printed in tints with two stones, allowing the reproduction of more elaborate drawings. His Sketches at Home and Abroad, a series of fifty plates using this method, was published in 1836. In 1841 he published The Park and the Forest, a set of sketches drawn on the stone with a brush instead of the crayon, a technique of his own invention which he called "lithotint". His other lithographic works included A Series of Subjects from the Works of R. P. Bonington (1829–30); Recollections of India (1847, from drawings by C. S. Hardinge) and Picturesque Selections (1861).
In 1830, Harding exhibited a series of Italian views sketched on papers of various colours and textures, the syyle of which was widely imitated. His use of opaque body colourin watercolour, following the example set by J.M.W. Turner also proved influential. His drawings were praised by John Ruskin in Modern Painters. From the 1830s a range of papers was produced under the name of "JDH pure drawing paper", initially for Winsor and Newton. The papers, which proved popular amongst both amateur and professional artists, and which Harding used himself, were produced in white, and in shades of cream, buff and grey. They were marketed until around 1910. Winsor and Newton also produced pencils under Harding's name.
Harding was a prolific author of educational manuals, and his Lessons on Art, Guide and Companion to Lessons on Art, Elementary Art, or the Use of the Chalk and Lead Pencil advocated and explained, and The Principles and Practice of Art, were widely used both in Britain and abroad.[1] His Drawing Models and Their Uses (1854) describes the use of a range of solid forms which he prepared and marketed.
He was described by Gilbert Redgrave in A History of Water Colour Painting in England as "a skilful and rapid draughtsman, though somewhat mannered, and rarely rising above the commonplace."
He died at Barnes, on 4 December 1863, and was buried in Brompton Cemetery.
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Description:
Hand colored etchings, paper
26 x 17,2
Lower left – „Menuett“ orig.Rad.aquarelliat)
Lower right - Kurt Hilsscher
Kurt Hilscher (1904–1980) was a German illustrator. Hilscher studied in 1924–1926 at the Dresden Academy of Fine Arts under Max Frey and in 1926 under Franz von Stuck in Munich. He lived in Paris from 1927 to 1934 where he was influenced by the work of Ludwig Hohlwein, Jean Carlu, Ch. Loupot, P. Colin, and AM Cassandre.
Since the 1920s, he has been producing attractive etchings and partially Art Deco graphics. The motifs of images appear clearly satirical, as well as circus and burlesque performers. In the following decades, he worked on graphics for advertising purposes: brochures, magazine covers, book covers.
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Description:
Etchings, paper
24,3 x 16,9
Lower left – „Promenade“ orig.Rad.)
Lower right - Kurt Hilsscher
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Description:
Hand colored etchings, paper
24,7 x 18
Lower left – „Rivalen“ orig.Rad.aquarelliat)
Lower right - Kurt Hilsscher
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Description:
Hand colored etchings, paper
24,1 x 18,7
Lower left – „Die Schäfersünde“ orig.Rad.aquarelliat)
Lower right - Kurt Hilsscher
Kurt Hilscher (1904–1980) was a German illustrator. Hilscher studied in 1924–1926 at the Dresden Academy of Fine Arts under Max Frey and in 1926 under Franz von Stuck in Munich. He lived in Paris from 1927 to 1934 where he was influenced by the work of Ludwig Hohlwein, Jean Carlu, Ch. Loupot, P. Colin, and AM Cassandre.
Since the 1920s, he has been producing attractive etchings and partially Art Deco graphics. The motifs of images appear clearly satirical, as well as circus and burlesque performers. In the following decades, he worked on graphics for advertising purposes: brochures, magazine covers, book covers.
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Description:
Graphic, drawing style, dot style.
72 x 51
Lower on the left on a plate - Dessine par Eugene Bourgeous Eleve de M.`David,
et pensionnaire de S.M. l` Empereur et Roi.
Lower left – Grave` sous le Direction de M.`David par Noel Bertrand.
On the centre – NAPOLEON LE GRAND.
D`apre`s le Portrait en pied de S.M.l` Empereur et Roi Fait par M.` David son premier Peintre.
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Description:
Etching, aquatint, paper
24,5 x 24,8
Lower left – ofort, akvatinta
Lower right - Päivikki Kallio 79
After initially studying Theoretical Philosophy and Art History at the University of Helsinki, Päivikki Kallio (b. 1952) graduated as a graphic artist and designer from the University of Art and Design, Helsinki, in 1977. After this, she studied printmaking at the Estonian Academy of Arts in Tallinn, from 1977 to 1979.
Since 1978, Kallio’s works have featured in numerous solo and group exhibitions in Finland and abroad. Her works are included in the collections of Kiasma and the Finnish state. As an artist, it is characteristic of Kallio’s works that they address the spatial elements of printmaking. Many of her works are spatial installations, in which their parts reflect the process of printmaking and in which light, in its different forms, makes up an essential part of the work.
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Description:
Woodcut, paper
25,5 x 25,1
Lower left on the plate - WKaulbach
Painter and illustrator. After initial instruction from his father, Kaulbach received his principal education, from 1822 to 1826, at the Kunstakademie, Düsseldorf, under Peter Cornelius. Six months after Ludwig I, King of Bavaria, had summoned Cornelius to Munich, Kaulbach followed his tutor to the Bavarian capital, where he worked on various collaborative ventures with other pupils of Cornelius, and completed his practical training on such projects as the decoration of the Odeon (destroyed) in 1826, and of the Hofgartenarkaden, from 1826 to 1829 (now painted over). More independent work followed with 16 frescoes on the theme of Cupid and Psyche for the Festsaal of the Herzog-Max-Palais (1829-35; now Munich, Neue Pinakothek), and in the throne-room, salon and queen's bedroom of the newly erected Königsbau of the Residenz (1832-35; partly destroyed).
In 1835 he undertook a study trip to Venice and during the years 1835/39 to Rome. After being raised to the position of Court Painter to King Ludwig I he increasingly distanced himself from Cornelius. Starting 1847 he also worked in Berlin on numerous commissions from Prussia's King Friedrich Wilhelm IV. In 1849 von Kaulbach was named director of the Munich Academy and began a short time later with the plans for the Neue Pinakothek's frescoes. Kaulbach, who achieved widespread popularity through his sharp, satirical illustrations to several important literary works from, among others, Goethe and Schiller, was one of the most important and successful artists of his time. Whereas the large format of Kaulbach's major works owe much to the history paintings of Carl Theodor von Piloty, his sculptural-baroque modelling coupled with restrained coloration are directly related to the Cornelius school.
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Description:
Steel engraving, paper
Lm 19,4 x 28,8. Km 10,3 x 16,5
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Description:
Graphics, paper
30 x 21
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Description:
Graphics, paper
30 x 21
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Description:
Graphics, paper
30 x 21
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Description:
Graphics, paper
21 x 30
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Description:
Graphics, paper
30 x 21
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Description:
Lithography, paper
44,5 x 59
Lower left – Гитлер капут
Lower right – В. Курдов 1944 год
On the reverse - Leht sarjast "Sõjateedel" (1944)
People's artist of the RSFSR, laureate of the RSFSR State Prize named after I.E. Repin. One of the founders and leaders of the Leningrad Studio of Satirical Poster "Boyevoy Karandash". Attended Perm Free Art Studios. During 1923-1926 studied at VKHUTEIN under A.E. Karev, K.S. Petrov-Vodkin, M.D. Matushin and A.I. Savinova. Took lessons from Kazimir Malevich in GINHUK. At the same time under V.V. Lebedev's supervision Kurdov V.I. started to illustrate books for children and juvenile sections of the State Publishing House. His artworks can be found in the State Tretyakov Gallery and other museum collections of Russia.
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Description:
Coloured lithograph, paper
43,4 x 65,6
Lower right - George Lambert
Lower left - 106/200
Studied at the Academy with Othon Friesz and then Edouard Mac`Avoy. The first lithographs and graphics of the artist gained recognition in the fifties. George Lambert becomes a prolific exhibitor. He participates in many shows in France, Monaco, Sweden and other European countries and attracts attention of the art critics and galleries in the USA. His use of colour and liтe is appreciated by many connoisseurs, and galleries as well as private collectors are proud to own the works of this French artist.
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Description:
Lithography, paper
26,6 x 39,5
Lower left on the plate - Dessine par Lauvergne
Lower right on the plate - Lith.par Bayot
Upper left on the plate - voyages en Scandinavie et Laponie etc.
Upper right not plate - Atlas pittoresque
Excellent collector's edition. Rarity.
Another copy is in the National Library of Norway.
Barthélemy Lauvergne (Lauvergne, Barthelemy (1805-1871) - French painter, marine painter, student of Pierre Letoire. Barthélemy Lauvergne took part in numerous marine expeditions. During the second expedition to search for sunken ships, Laperouse Laperouse met a French surgeon and naturalist, later a member -correspondent of the St. Petersburg Academy of Sciences Joseph-Paul Guemar. In 1838, Gemar organized a series of expeditions to the northern regions of Europe, which went down in history under the name La Recherche Expedition. In 1839-1840 the expedition traveled to Finland, Russia, Germany, Denmark and Eastern Europe Reports of this expedition were collected in one publication - "Journey to Scandinavia, Lapland, Finland, Svalbard in 1838, 1839, 1840" (Voyages en Scandinavie, en Laponie, au Spitzberg et aux Feröe, pendant les années 1838, 1839 , 1840).
Since 1838, Barthélemy Lauverne exhibited at the Paris Salon on several occasions, in 1839 Lauverne was awarded a medal of the third class of the Salon and became a Chevalier of the Legion of Honor in 1841. Lauvergne's lithographs were highly valued in the French milieu and beyond. They found a worthy assessment in Russia.
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Description:
Coloured lithography, paper
28,2 x 18,2
Lebedev Vladimir Vassilievich (1891, Saint-Petersburg – 1967, Leningrad).
People’s Artist of the RSFSR, corresponding member of the USSR Academy of Arts.
One of the founders of the Russian school for illustrating of the books for children. Attended the F.A. Russo Studio (1910-1914) and the M.D. Bernstein and L.V. Sharewood School of Drawing, Painting and Sculpture. Studied at the Saint-Petersburg Academy of Arts (1912-1914).
Collaborated with the “Satirikon’ and ‘New Satirikon’ Magazines. Was one of the founders of the propagandistic Windows of ‘ROSTa’ in Petrograd (1920-1921).
Professor of the Petrograd State Arts Studios (1918-1921).
Joined the ‘Association of New Trends in the Art’ (1922-1923) headed by V.E. Tatlin, having been considerably influenced by that. Later on was a member of the ‘Four Arts’. Created a special type of books illustration, uniting the traditions of the book illustrating drawing technique of the ‘World of the Arts’ and the futurists. In the 1920th made the satirical series ‘NEP’ (New Economical Policy), ‘New Life’, ‘Love of the Rabble’. The brilliant drawings ‘Acrobats’, ‘Ballerinas’ and ‘Guitar-players’ as well the numerous sketches of the naked appeared as the results of everyday work with the models. The artist’s illustrations to the ‘Baby elephant’ by R. Kipling and the poems of S. Marshak ‘Yesterday and Today’, ‘Ice-cream’, ‘Silly little mouse’, ‘Circus’ (all 1925), ‘Luggage’ (1926) and ‘How the Plane made the Plane’ opened a new era in the illustrated book for children. V.V. Lebedev was heading the Artistic Editorial Office of the Children and Youth literature Department of the State Edition, having converted it to the centre of creation of highly artistic books for children (1924-1933).
The works of V.V. Lebedev are kept at the State Tretyakov Gallery, the State Russian Museum and other museums.
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Description:
Coloured lithography, chalk, paper
37 x 26,9
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Description:
View of the Interior of the Temple of Jupiter at Spalatro. (1798-1800)
Etching, paper
53 x 32
Lower left - Dessine par Cassas
Lower Center – Grave a Eau de forte par Lepagelet
Lower right - termine par Liénard
Below - Vue L'Interieur du Temple de Jupiter a Spalatro
Et Fragment Trouve dans les Vuines de Salones Nr.48
The view of the Temple of Spalato is probably related to the decree of the Abbe de Saint-Noni on his "Journey to the Kingdom of Naples and Sicilia". To this end, all kinds of views were drawn and engraved by many artists, incl. artists Louis-Francois Cassas and etchings by Lepagelet and Liénard.
Louis-François Cassas was a prominent French landscape painter, sculptor, architect, archaeologist and antiquarian. This work is in the collection of the State Hermitage, in St. Petersburg, Russia.
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Description:
Publisher Helmut Sailer, Stuttgart
Coloured lithograph, paper,
47 x 32
The text on the inside of the mapp: Karl Schwend. Steingewordene Kultur des Abendlandes.
Inside the mapp: under the number 73, and the signature of L. Liberts. Each engraving mat. On every page: the lower left of the city, at the lower right signature.
Circulation 300
Painter, stage designer, an outstanding figure of the Latvian culture.
The first impulse was to make art from artist B. Zeltiņš. He attended art studio Yu Madernieksa. He studied with the 1911 to 1912 at the Art Industrial School. Stroganov at sculpture department in Moscow. He graduated from the Kazan Art School (1915) where he studied Russian artist Nikolai Feshina. And from 1913 to 1914 he worked as a decorator in Kazan Opera.
Participates in the First World War as a gunner. Receive awards for achievements in the arena. In 1921, the artist returned to Latvia and began to actively draw.
In the exhibitions since 1914 participated in exhibitions of the Cultural Foundation of Latvia, Association of Artists "Green Crow" in Latvia and abroad. I participated in the device of the Latvian pavilion at the World Exhibition in Paris in 1937
Working in Latvia, in the early period felt some influence of constructivism. After a trip to Western Europe line softer, rounded shapes, colors softer and more silvery. One feels the influence of Impressionism, which later becomes dominant.
In exile since 1944 he stopped first in Austria after World War II - in Germany. During this period, writes a lot tempera, 1947 in Stuttgart, published the album of his works "European Symphony" with the beautiful sight of the European cities. In 1950 he moved to the United States. He began to teach a class carnival painting in New York City College. In 1953, the Latvian Association in the Americas presented in deference to US President D. Eisenhower Dvaitu picture L. Liberts "Towers of Riga", which is then having fun in the office of the president's White House.
His works are in museums in Latvia, France, Austria, Finland, Sweden, Belgium, Russia and America. It makes a clearance of more than 70 performances in Latvia, Lithuania, Russia, Finland, Sweden and Yugoslavia.
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Description:
Etching, paper
17,2 x 18,3
On the lower right of the plate - Makar 78
Lower left - 6/20 Makar
Lower right - MV78
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Description:
Etching, paper
18,3 x 16,4
On the lower right of the plate - Makar 78
Lower left - 12/20 Makar
Lower right - MV78
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Description:
Etching, paper
17,7 x 18,3
On the lower right of the plate - Makar 78
Lower left - 15/20 Makar
Lower right - MV78
Born in with Novo-Pushkarevka, Dnepropetrovsk region. In 1963 he graduated from the Dnepropetrovsk art school in the workshop of Y. Kalashnik. For his diploma work "In the Blue Land" in the manner of "geometric realism" he was accused of formalism, the painting was destroyed, and the artist was deprived of the opportunity to continue his studies in Ukraine. He moved to Leningrad, where in 1963 he entered the monumental faculty of the Higher School of Monumental Art. V. Mukhina. In Leningrad, he took private lessons in the studios of N. Altman and P. Kondratiev. He was friends with the artists M. Shemyakin, E. Rukhlina, V. Mishin, E. Esaulenko, V. Yankilevsky, A. Nemukhin and O. Tselkov. In 1969 he completed his studies and received a diploma in muralist. In the same year he became a member of an informal organization of non-conformist artists, known in the West as the "Petersburg Group". In 1973 he was forced to leave Leningrad and move to Tallinn, where he quickly entered the artistic circle and took part in group exhibitions together with Estonian masters M. Vint, R. Lyapin, N. Kormashov. In 1974, together with F. Gumenyuk, V. Sazonov and V. Strelnikov, he exhibited at an exhibition of Ukrainian nonconformist artists in Moscow in the Sychovs' apartment. In 1976, the first solo exhibition was held in Paris at the Hardy Gallery. The works were also exhibited at one of the most famous exhibitions of nonconformist artists in the West - La Peinture russe contemporaine at the Palais des Congrès in Paris. Living in Tallinn, he worked as a stoker, refused to join the Union of Artists. He worked in a small workshop, sometimes received orders for illustrations for magazines and newspapers. In 1973 - 1980, he annually applied for travel to France, and only in 1981 received permission and moved to Paris. Has held exhibitions in Paris, Metz, Toronto, Winnipeg, Stockholm, Chicago, New York, Washington, Dortmund, Bremen, Toulouse, Lily and Baden-Baden. Collaborates with galleries Galerie Saint-Leger (France), Turm-Galerie-Bonn (Germany), Galerie Noordeinde (Holland), Alla Rogers Gallery and Artfira Gallery (USA), KUMF Gallery (Canada). In 1987 he received the Paris Silver Medal for artistic achievement (Medaille dArgent de la Ville de Paris pour la contribution au developpement de lArt de France). In 1990 art historian J.-C. Marcade, in the preface to the catalog of V. Makarenko's exhibition in Paris at the Modern Art Gallery, called the artist's style "orphism", where the main shaping component is light.
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Description:
Lithograph, colored soft varnish, paper
32 x 26
Lower left - Dessine et grave par
Lower right - Martinow 1808.
Lower in the center - Сборщикъ. Queteur.
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Description:
Lithograph, colored soft varnish, paper
32 x 26
Lower left - Dessine et grave par
Lower right - Martinow 1808.
Lower in the center - Киргизецъ Kirgisse
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Description:
Lithograph, colored soft varnish, paper
32 x 26
Lower left - Dessine et grave par
Lower right - Martinow 1808.
Lower in the center - Mongol Монголъ
Martynov - one of the greatest Russian landscape painters of the late XVIII - the first third of the XIX century, a brilliant draftsman and engraver.
born in the family of a soldier of the Life Guards regiment. In 1773 he studied at the IAH in landscape class at Sam. Shchedrin. During the period of study repeatedly pointed medals: in 1787 received a small silver medal in 1788 - a large silver and small gold medals for "writing program." In the same year was released from the Academy with the certificate of degree 1 for the title of class artist and the pensioner's right to travel abroad for a period of 6 years.
in 1789 as a pensioner IAH went to Rome, worked under the leadership of the German landscape painter YA.-F. Hakkert. Advice of FM Matveeva. In 1795 he returned to St. Petersburg, made in Rome for landscapes is recognized as "designated" in academics. In the same year for the painting "View in the vicinity of Rome" was awarded the title of academician. In 1802 he was appointed to the post of Adviser IAH. In 1804 made a trip to Russia in 1805-1806 - a trip to China with the Russian Embassy Earl A. Golovkin. Performances during the visits of full-scale sketches created a series of etchings "Picturesque journey from Moscow to the Chinese border ..." (1808), a series of lithographs "Types of the peoples of Russia and Mongolia" (1808) and "Russian folk types" (1818). In 1810 traveled to the Baltic Sea in the retinue of the Empress Elizabeth Alekseyevna.
In 1808-1819 served as a decorator in the Directorate of Imperial Theaters. Together with Semyon Shchedrin created landscape paintings, panels and easel paintings for the decoration of palaces at Pavlovsk and Gatchina, Mikhailovsky Castle in St. Petersburg. In 1812 a petition on the "determination of his office at the Academy for training of landscape painting, which was denied.
in 1821-1822 performed on watercolors album of lithographs "Views of St. Petersburg and its environs", which printed his own. Also engaged in manufacturing of repetitions of its engravings and original lithographs based on travel: A Collection of Russian Costume "(1821-1822)," New Collection of Russian Costume "(1822)," Ball in Irkutsk (1821-1824), "The Mongolian subjects. From travels in Rossiyskom Embassy in China" (1822-1824).
In 1821 he retired. In 1824 left for treatment in Italy.
buried in the cemetery of Monte Testaccio in Rome.
Martynov works are in many museum collections, including the State Russian Museum, State Tretyakov Gallery, Pushkin Museum im. Pushkin State Museum of History and others.
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Description:
Lithograph, colored soft varnish, paper
39,7 x 28,4
Lower left - Dessine et grave par
Lower right - Martinow 1808.
Lower in the center - Екатеринбургская девица. Fille D’Ecatherinbourg
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Description:
Colour lithograph, paper
Plm 32 x 48,5
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Description:
Colour lithograph, paper
Plm 33 x 24
WV 1041
Spanish painter, whose surrealist works, with their subject matter drawn from the realm of memory and imaginative fantasy, are some of the most original of the 20th century.
Miró was born April 20, 1893, in Barcelona and studied at the Barcelona School of Fine Arts and the Academia Galí. His work before 1920 shows wide-ranging influences, including the bright colors of the Fauves, the broken forms of cubism, and the powerful, flat two-dimensionality of Catalan folk art and Romanesque church frescoes of his native Spain. He moved to Paris in 1920, where, under the influence of surrealist poets and writers, he evolved his mature style. Miró drew on memory, fantasy, and the irrational to create works of art that are visual analogues of surrealist poetry. These dreamlike visions, such as Harlequin's Carnival or Dutch Interior, often have a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. The forms of his paintings are organized against flat neutral backgrounds and are painted in a limited range of bright colors, especially blue, red, yellow, green, and black. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the canvas with seeming nonchalance. Miró later produced highly generalized, ethereal works in which his organic forms and figures are reduced to abstract spots, lines, and bursts of colors.
Miró also experimented in a wide array of other media, devoting himself to etchings and lithographs for several years in the 1950s and also working in watercolor, pastel, collage, and paint on copper and masonite. His ceramic sculptures are especially notable, in particular his two large ceramic murals for the UNESCO building in Paris (Wall of the Moon and Wall of the Sun, 1957-59). Miró died in Majorca, Spain, on December 25, 1983.
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Description:
Colour lithograph, paper
Plm 32 x 24
WV 1256
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Description:
Colour lithograph, paper
37 x 55
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Description:
Colour lithograph, paper
Plm 37 x 55
On the reverse - “Derriere le miroir” , Edition Maeght Paris 1970
WV 672
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Description:
Miró Sculptor -Denmark Medium: Original lithograph in colours, 1974, On heavy cream wove Guarro paper, signed in the stone Reference: Miro Lithographie V (1972 - 1975) - Maeght Editeur (Catalogue Raisonee) - No 939 Patrick Cramer “The Illustrated Books” Number 210 Published by: Grafica Contemporanea, Milan Printed by: La Poligrafa, S A Barcelona, Spain Edition: 1500 There was also a signed and numbered edition of 135 proofs Note: This was created to commemorate an exhibition of Miro’s sculptures and the catalogue was in Danish
Spanish painter, whose surrealist works, with their subject matter drawn from the realm of memory and imaginative fantasy, are some of the most original of the 20th century.
Miró was born April 20, 1893, in Barcelona and studied at the Barcelona School of Fine Arts and the Academia Galí. His work before 1920 shows wide-ranging influences, including the bright colors of the Fauves, the broken forms of cubism, and the powerful, flat two-dimensionality of Catalan folk art and Romanesque church frescoes of his native Spain. He moved to Paris in 1920, where, under the influence of surrealist poets and writers, he evolved his mature style. Miró drew on memory, fantasy, and the irrational to create works of art that are visual analogues of surrealist poetry. These dreamlike visions, such as Harlequin's Carnival or Dutch Interior, often have a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. The forms of his paintings are organized against flat neutral backgrounds and are painted in a limited range of bright colors, especially blue, red, yellow, green, and black. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the canvas with seeming nonchalance. Miró later produced highly generalized, ethereal works in which his organic forms and figures are reduced to abstract spots, lines, and bursts of colors.
Miró also experimented in a wide array of other media, devoting himself to etchings and lithographs for several years in the 1950s and also working in watercolor, pastel, collage, and paint on copper and masonite. His ceramic sculptures are especially notable, in particular his two large ceramic murals for the UNESCO building in Paris (Wall of the Moon and Wall of the Sun, 1957-59). Miró died in Majorca, Spain, on December 25, 1983.
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Description:
Colour lithograph, paper
Plm 49 x 32
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Description:
Colour lithograph, paper
Plm 32 x 49,5
On the reverse - Miró Lithographs II/1610
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Description:
Steel engraving, paper
Lm 19,7 x 29,1. Km 10,3 x 15,5
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Description:
Coloured lithography, paper
36,5 x 46
Lower in the center - Verlag u. Buntdruck v. L. Oeser in Neusalza. / NAPOLEON IM BRENNENDEN MOSKAU
High-grade color lithography for its time.
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Description:
Lithography, paper
40,2 x 30,8
Lower left Рисо. С натуры професор Крюгеръ Сентяб 1850
Lower Center - Собственное издание
Лит. Глав. Управ. Путей сообщ. и Публичных Зданий (К. Поль. Дир.) С. Петербургъ
Lower right - Рисовал на камне Петръ Пашенный
Franz Kruger is a German painter, portraitist, worked at the Imperial Court of Russia, at the Royal Court of Prussia. He painted many portraits of the august persons. Kruger's brilliant technique coexisted with impeccable taste and enormous efficiency. Taught painting at the Berlin Academy of Architecture
Pyotr Pashenny worked as a lithographer at the Government Printing House of Ways of Communication. and Public Buildings.
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Description:
Etching, paper
18,8 x 24,7
11,2 x 15
Lower left – D. Bydgoszcz. Pinx
Lower right - A.H- Payne sc.
Engraving by the well known English artist Albert Henry Payne (1812-1902) after drawings of D. Bydgoszcz.
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Description:
printing, сhalked paper.
84 x 59,5
World famous brand of German car Mercedes-Benz has more than a century history. In the twenties of the XX century in Germany was published a posters series of this car brand. Over many decades in connection with the celebrate the jubilee of named car brand was re-printed the series of retro posters, 18 of them are in front of You.
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Description:
printing, сhalked paper.
84 x 59,5
World famous brand of German car Mercedes-Benz has more than a century history. In the twenties of the XX century in Germany was published a posters series of this car brand. Over many decades in connection with the celebrate the jubilee of named car brand was re-printed the series of retro posters, 18 of them are in front of You.
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Trükkimine, kriiti paber
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Printing, сhalked paper.
84 x 59,5
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Description:
Graphics, paper
20,6 x 28,3
Lower right
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Description:
Etching, paper
21,8 õ 17,6
Lower right - I.H.pinx 1833
Lower left, on the image - Gem. v. J. Hantsch.
Lower right, on the image - gest. v. L.Richter
http://spaightwoodgalleries.com/Pages/Richter.html
Richter, one of the most beloved artists in Germany during most of the nineteenth century, was the son and the pupil of Carl August Richter, Professor at the Fine Arts Academy in Dresden. Adrian Ludwig worked under his direction for his first twelve years. In 1823 he took trip to Italy, where he based himself in Rome and travelled to Naples and the surrounding area. From this trip, numerous works were generated including The Valley of the Amalfi. In 1836, he was named Professor of Landscape and Animal Painting at the Dresden Academy. After another trip to Italy, he decided to dedicate himself to works on the German landscape and people. In 1853 he was made an honorary member of the Munich Academy and in 1874 of the Berlin Academy. He was awarded Gold Medals at the Salons in Paris (1855) and Vienna (1883). He also engraved many landscapes and genre scenes, many of which were made into woodcuts and used for illustrations for popular books and children's books.
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Description:
Etching, paper
24,8 x 33
Lower left on the plate - JERidinger inv. fec. et excud.
Lower in the center on a plate - Пётр Фёдорович, Великий Князь Всероссийский. Petrus Friderici Filius Magnus Dux Russorum.
Johann Elias Ridinger was a German painter, engraver, draughtsman. He is considered one of the most famous German engravers of animals, particularly horses, hounds and huntingscenes.
He began his training in Ulm with the painter Christoph Resch (1701–16), and later studied under Johann Falch (1687–1727) in Augsburg. He learned the art of engraving from Georg Philipp Rugendas. On the invitation of Wolf, Freiherr von Metternich (1706–31), he spent three years in Regensburg: his coursing and visits to the riding school there proved decisive for his development. His engraved, etched and scratched sheets show the animals in characteristic movements and positions in alandscape environment. The ornamental movements in his works show visibly Rococo stylistic tendencies. He later founded his own art publishing house in Augsburg, where most of his works appeared. In 1759 he became the director of the Augsburg Stadtakademie. His drawings were often executed with precision and taste and hence his work was held in high esteem and was also transferred to decoration, porcelain and ceramics.
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Description:
Aquatint painted watercolor paper
47,7 x 59
Lower right on the plate - J. Rugendas inv. 1813
In the middle of the plate - Insendie de Moscau. Le 15 Septembre 1812 we ... Augsbourg Chez L. Rugendas.
German historical painter, engraver and publisher.
Professor and Director of the School of Fine Arts in Augsburg, a representative of the famous family of artists.
The same print is in the collection of the Russian Museum (http://www.virtualrm.spb.ru/ru/node/11930), as illustrated in the collected works of Leo Tolstoy (http://tolstoy.ru/creativity/90 -volume-collection-of-the-works / 1981 /).
Rugendas Jr. (Johann Lorenz Rugendas-junior) Johann Lorenz (1775-1826) -genus Feb. 5, 1775 in Augsburg (Augsburg) in the family of the engraver Georg Lorenz Rugendasa (Georg Lorenz Rugendas) (1730-1799), an initial art education under the the guidance of his father from 1784 to 1793 he studied at the Imperial Academy of Arts (Kunstakademie) in Augsburg, in 1804 - a teacher of Drawing School of Augsburg (Augsburger Zeichenschule), in 1811 - the director of the Drawing School. From 1820 to 1824 he served as deputy director of the Royal School of Art (Koniglichen Kunstschule), specialized in images of battle scenes, visit the main battles of the Napoleonic era, thus issued a series of 52 lithographs, dedicated its main landmarks. Died December 19, 1826 in Augsburg at the age of 51 years. His son Johann Moritz (Johann Moritz Rugendas) (1802-1858), also known engraver, he studied under the guidance of his father and the painter Albrecht Adam (Albrecht Adam) (1786-1862).
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Description:
Steel engraving, paper
Lm 15,5 x 23. Km 10 x 14,1
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Description:
Steel engraving, paper
Lm 15,5 x 23. Km 10 x 15,5.
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Description:
Paper, acrylic
500 x 32,5
Lower right
Sadovnikova Elena, artist and a professional illustrator.
After Art School, graduated in Moscow State University of Printing Arts.
I have illustrated books in the following publishers: "Detskaya Literatura" (Moscow, Russia), "Kniga" (Moscow, Russia), "Egmond" (Moscow, Russia), "Strekoza - Press" (Moscow, Russia), Unipress (Moscow, Russia), "Jalyn" (Alma-Ata, Kazahstan), "Arevik" (Yerevan, Armenia).
I drew the design and illustrations of "Russian Fairy Tales" for the U.S. publisher "Billinna Publishing". Has worked as an illustrator with the magazines "Misha", "Murzilka", "Znaniye sila", "12 ½".
My works were exhibited gallery "Modius" in Moscow (1994 - OPM Bank, 1995 - "Eclectic" Central House of Artists). Personal exhibitions: 1991 Gallery "Montserrat Gallery" (New York, USA), 1993 Gallery "The Ludwa Studio" (Carmel, USA), 1994 and 2011 participated in the exhibition at the Kroshitski State Museum of Fine Arts (Sevastopol, Ukraine). Illustrations for the "Armenian tales" included in the short-list competition "ADCR Russia 2006".
I live and work in Moscow and Tallinn.
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Description:
Coloured woodcut on paper
29,9 x 41,1
Lower left - A. E. Schmidt
Artist EA Schmidt married in 1905 in Weimar to the artist from Riga Irmgat Schmidt-Busch. (Encyclopedia of Baltic-German artists Kuno Hagen). (Kuno Hagen, Lexikon deutch-baltischer bildender künstler, 20. Jahrhundert).
Elegant Art Nouveau woodcut.
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Description:
Etching, paper
Plm 21 x 14.5
On the reverse - G.Rff (signature G. Reidorf (work from the collection of G. Reindorf)).
The well-known Russian painter Valentin Serov was also an outstanding graphic artist. In one of his portraits he portrayed an outstanding teacher on the schedule of V.V. Mate, with whom undoubtedly was acquainted with G. Reindorff, who studied in 1905-13. in St. Petersburg in the art school of Stieglitz. Out of respect and love for both masters, Serov acquired this impression from the press of 1945 (with a circulation of 100).
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Description:
Etching, paper
Lm 40,5 x 30,7
Plm 15,7 x 10,7
Lower left – Шишкинъ 1873
Lower righr - На порубке 1873
Lower righr - Собственность А. Ф. Маркса нр. 5
Lower left - Печат. Въ Артист. Зав. А.Ф. Маркса въ СПБ
I.I. Shishkin, Russian painter and landscape painter. Academician, professor.
The works of this outstanding artist enjoy vast popularity in Russia; the best of them have become the classics of Russian landscape painting. During 40 years of his artistic activity Ivan Shishkin produced hundreds of paintings, thousands of studies and drawings and a large number of engravings. For contemporaries, Shishkin’s personality embodied Russian nature itself; they called him “forest tzar”, “old pine tree”, and “lonely oak”.
Shishkin was at one time an etcher even more appreciated than a painter. He created approximately 100 etchings. Shishkin's etchings, stylistically and in content close to his painting, contributed to the revival of this type of engraving in Russia.
Ivan Ivanovich Shishkin was born into the family of a merchant. His father, a self-made and broad-minded man, after long hesitations, supported his son's desire to become an artist. In 1852-1856, Shishkin studied in the Moscow School of Painting and Sculpture, in 1856-1860, he continued his studies in St. Petersburg, in the Academy of Arts. He made rapid progress and got all the awards the Academy offered. Having received a Major Gold Medal for two pictures with the same name View of Valaam Island. Kukko. (1860) and an Academy grant for studies abroad, Shishkin spent 3 years (1862-1865) in Germany, Switzerland, Czech, France, Belgium and Holland. Gradually he got disappointed in his foreign teachers and European authorities in landscape painting. Now he felt free and independent and longed to return home, to Russia.
During his stay abroad Shishkin engaged in lithography and etching. His numerous pen drawings caught the eye of the Dusseldorf public and critics by their virtuoso hatching and filigree treatment of detail. In 1865, Shishkin painted his View near Dusseldorf for which he was awarded the title of Academician and which was shown at the 1867 World Fair in Paris.
In 1865, he returned to Russia and settled in St. Petersburg, where he joined the Itinerants’ Society of Traveling Exhibitions (Peredvizhniki). One of his first masterpieces Noon in the Neighbourhood of Moscow (1869) critics called “song of joy”. He always preferred to draw daytime scenes, full of sunlight and life. Pine Forest in Viatka Province (1872), Rye (1878), Path in a Forest (1880), Oaks (1887), Coniferous Forest. Sunny Day. (1895). His scrupulous reproduction of nature stood in sharp contrast to the academic canons of landscape painting. For his loving approach to detail some critics called his works colored pictures, which lack of life. But despite such attention to details Shishkin’s paintings do not fall apart, but give full and finished impression.
Among the Russian landscape painters Shishkin was the staunchest and most consistent exponent of the materialistic aesthetics – to depict nature in all its pure, unadorned beauty. His role in Russian art did not lose its significance even in the years, which saw the appearance of splendid landscapes by Isaac Levitan, Valentin Serov and Constantin Korovin. Despite the fact that he espoused different aesthetic principles and advocated a different artistic system, Shishkin enjoyed an indisputable authority among young Russian painters of the late 19th century. The new generation did not fail to acknowledge him as a thoughtful and masterful portrayer of Russian nature.
Shishkin died in his studio at the easel with newly begun canvas.
The minor planet 3558 Shishkin, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1978, is named after him.
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Description:
Etching, paper
Lm 30,7 x 40,5
Plm 15,4 x 22,1
Lower left – Шишкинъ 85
Lower righr - Сатырдагъ. 1885
Lower righr - Собственность А. Ф. Маркса нр. 47
I.I. Shishkin, Russian painter and landscape painter. Academician, professor.
The works of this outstanding artist enjoy vast popularity in Russia; the best of them have become the classics of Russian landscape painting. During 40 years of his artistic activity Ivan Shishkin produced hundreds of paintings, thousands of studies and drawings and a large number of engravings. For contemporaries, Shishkin’s personality embodied Russian nature itself; they called him “forest tzar”, “old pine tree”, and “lonely oak”.
Shishkin was at one time an etcher even more appreciated than a painter. He created approximately 100 etchings. Shishkin's etchings, stylistically and in content close to his painting, contributed to the revival of this type of engraving in Russia.
Ivan Ivanovich Shishkin was born into the family of a merchant. His father, a self-made and broad-minded man, after long hesitations, supported his son's desire to become an artist. In 1852-1856, Shishkin studied in the Moscow School of Painting and Sculpture, in 1856-1860, he continued his studies in St. Petersburg, in the Academy of Arts. He made rapid progress and got all the awards the Academy offered. Having received a Major Gold Medal for two pictures with the same name View of Valaam Island. Kukko. (1860) and an Academy grant for studies abroad, Shishkin spent 3 years (1862-1865) in Germany, Switzerland, Czech, France, Belgium and Holland. Gradually he got disappointed in his foreign teachers and European authorities in landscape painting. Now he felt free and independent and longed to return home, to Russia.
During his stay abroad Shishkin engaged in lithography and etching. His numerous pen drawings caught the eye of the Dusseldorf public and critics by their virtuoso hatching and filigree treatment of detail. In 1865, Shishkin painted his View near Dusseldorf for which he was awarded the title of Academician and which was shown at the 1867 World Fair in Paris.
In 1865, he returned to Russia and settled in St. Petersburg, where he joined the Itinerants’ Society of Traveling Exhibitions (Peredvizhniki). One of his first masterpieces Noon in the Neighbourhood of Moscow (1869) critics called “song of joy”. He always preferred to draw daytime scenes, full of sunlight and life. Pine Forest in Viatka Province (1872), Rye (1878), Path in a Forest (1880), Oaks (1887), Coniferous Forest. Sunny Day. (1895). His scrupulous reproduction of nature stood in sharp contrast to the academic canons of landscape painting. For his loving approach to detail some critics called his works colored pictures, which lack of life. But despite such attention to details Shishkin’s paintings do not fall apart, but give full and finished impression.
Among the Russian landscape painters Shishkin was the staunchest and most consistent exponent of the materialistic aesthetics – to depict nature in all its pure, unadorned beauty. His role in Russian art did not lose its significance even in the years, which saw the appearance of splendid landscapes by Isaac Levitan, Valentin Serov and Constantin Korovin. Despite the fact that he espoused different aesthetic principles and advocated a different artistic system, Shishkin enjoyed an indisputable authority among young Russian painters of the late 19th century. The new generation did not fail to acknowledge him as a thoughtful and masterful portrayer of Russian nature.
Shishkin died in his studio at the easel with newly begun canvas.
The minor planet 3558 Shishkin, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1978, is named after him.
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Description:
Charcoal on cardboard
52 x 65
Lower right - P.Sonberg. 1XII.19
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Description:
Mezzotint, paper
34,6 x 24,6
Rarity
Johann Stenglin (1700–1710, Augsburg, Holy Roman Empire - 1777, St. Petersburg, Russian Empire) was a Bavarian mezzotint engraver and miniaturist who worked in Russia for a significant part of his life.
Born in the family of a wealthy burgher; studied engraving, as is believed, under the guidance of Johann Georg Friedrich Bodener (1691-1730) - a representative of the famous Augsburg dynasty of mezzotintists;
In 1741, at the invitation of Academician Y. Y. Shtelin, Shtenglin arrived in St. Petersburg and began working at the then newly opened art department of the Academy of Sciences. Then at the Art Academy.
Stenglin depicted one hundred Russian tsars based on portraits of various authors.
Tsar Fyodor Blessed (1557 - 1598) was the third son of Ivan IV Grozny, who was on the throne from 1584 to 1598. The line of Ryurikovich ended with him.
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Description:
Mezzotint, paper
34,5 x 24,3
Rarity
Johann Stenglin (1700–1710, Augsburg, Holy Roman Empire - 1777, St. Petersburg, Russian Empire) was a Bavarian mezzotint engraver and miniaturist who worked in Russia for a significant part of his life.
Born in the family of a wealthy burgher; studied engraving, as is believed, under the guidance of Johann Georg Friedrich Bodener (1691-1730) - a representative of the famous Augsburg dynasty of mezzotintists;
In 1741, at the invitation of Academician Y. Y. Shtelin, Shtenglin arrived in St. Petersburg and began working at the then newly opened art department of the Academy of Sciences. Then at the Art Academy.
Stenglin depicted one hundred Russian tsars based on portraits of various authors.
Mikhail Fedorovich Romanov ascended the throne in 1613, after the so-called. A mixture of time, being the founder of a dynasty that ruled in 1917.
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Description:
Colour heliography, paper
21,5 x 31,5
Lower right - Franz Stuck
F. von Stuck is the most important German artist in the Art Nouveau style in Munich. Work with the exhibition "Franz Stuck and Dance", held in the early XX century. Reproduced in the exhibition catalog.
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Description:
Etching, watercolor on paper
20,1 x 14,8
Lower left on the plate - Franz von Styck
Lower right of the plate - Gravure Hanfstaengl
Lower in the center on a plate - Des Künstlers Tochter
Franz Von Stuck lived from 1863 to 1928. Von Stuck lived most of his life in Munich, Germany and attended the school of Plastic Arts and the Munich Academy there. He first made his living by illustrating for numerous magazines. Eventually around 1892 he became one of the founders of the Munich Sezession and his symbolist period is also of this decade. Around 1895 he began teaching at the Munich academy that he once attended. Some of his pupils at the academy included Klee, Albers, and Kandinsky. Among Von Stuck's archetectual creations is the Villa Stuck Prinzregentenstrasse, Munich which is now a museum. Von Stuck died in 1928 and was buried in Waldfriedhof in Munich with his wife Mary.
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Description:
Coloured etching, aquatint, paper.
vm 25,3 x 72; km 21 x 70,3
Lower to the right, on the plate
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Description:
Steel engraving, paper
Lm 15,5 x 23. Km 9,7 x 14
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Description:
Colour lithograph on paper
32 x 22,3
Lower right - C.Terechkovitch
Constantin (or Kostia) Terechkovitch was born near Moscow on May 1st, 1902. He attended Moscow’s Academy of Fine Arts in Moscow before (at the age of eighteen) leaving his homeland and venturing to Paris. There, Terechkovitch met Michel Larionoff and became involved in the Ballets Russes which had swept the Parisian social world. He was also introduced to other major French artists of Jewish extraction, such as Chaim Soutine, Amadeo Modigliani and Marc Chagall.
Starting in 1926, Terechkovitch exhibited his work at the Girard, Quatre-Chemins, Elysйe, Petrides and Bernier galleries. He also participated in the Paris Salons and in many group shows in Paris. In 1951 he was elected a Knight of the Legion of Honor. Abroad, Terechkovitch exhibited in Brussels, Geneva and New York.
Terechkovitch is best remembered for his scenes of family life as well as his depictions of horse races (which reflect the influence of Raoul Dufy), as well as his still lifes and landscapes.
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Description:
Lithograph, paper
41 x 24
Lower left - 200/500
Lower right - it is not legible
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Description:
Woodcut, paper.
13 x 10,5
The present photo was printed in „Illustrierte Leitung“ № 2462, 6.IX 1890 in connection the German Emperor visit to Russia in 1890, when he was staying in Tallinn and after that, was met by Aleksander III in the city of Narva and was observing of Russian army military maneuvers in region St.Petersburg – Narva – Krasnoje Selo. The Great Prince was St.Peterburg`s military region (Estonia – Arhangelsk) Supreme Commander in Chief and the person who received the German Emperor.
In the XIX centuty the graphics in woodcut technique were the most popular one in mass-media.
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Description:
Etching, colorued watercolors, paper
23,7 x 30
Lower left, a plate - Pinx Watteau.
Lower left, a plate - M elle La Montagne de Maitre Watteau
The work comes from the Rococo a new way over the time when Jean-Antoine Watteau was rediscovered and his gallant scenes of the 18th century. from the beginning. It belongs to the 18th century. initial decades unionists, Watteaus` modern figurative series.
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Description:
Four colour stipple engraving, paper
34,9 x 26,2
Signature, on the edge of the sheet is cut
In the 18th and 19th century nachel most popular were broken pencil style associated with high culture of the European figure of the 18th century.
This work, is pair to the "The Woman Gardener".
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Description:
Four colour stipple engraving, paper
33,4 x 25,2
Signature, on the edge of the sheet is cut
In the 18th and 19th century nachel most popular were broken pencil style associated with high culture of the European figure of the 18th century.
This work, is pair to the "The Woman Gardener".
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Description:
On the Palace Square. Winter. (1830s).
Etching painted with watercolor, paper
9.6 x 14.2
The work was reproduced in the album of Gordin Arkady Moiseevich "Pushkin Petersburg" (Leningrad 1973 ill. 111)
Ludwig Tumling is a German engraver. He worked in Russia.
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Description:
Etching, akvarell paper.
50,2 x 57,5
Lower on the left - vignette with the text:
Spatiosissimum Imperium Russiae Magnae
juxta recentissimas Observationes Mappa Geographica assuratissime delineatum opera et sumtibus Tobiae Conradi Lotteri Geogr.et Chalcogr. Augustae Vindel.
The Map of the Russian Empire published by the cartographer from Ausburgh.
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Description:
Offsetprint-Lithofraphyб зфзук
67 х 44,5
Full name Henri Marie Raymond de Toulouse-Lautrec-Monfa. He was born into an aristocratic family of Anglophiles, and spent some time in London designing posters. He became friends with Oscar Wilde and painted his portrait. But he will be forever associated with his paintings and posters of the Moulin Rouge in Paris.
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Description:
Etching, paper
10,6 x 17
On the centre – Moscau von der Kreml-Seite
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Description:
Etching, paper
1,8 x 16,4
On the centre – Moscau die Kreml-Seite
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Description:
Colour etching, paper
Lm 32,8 x 45,9
Km 29,2 x 44,5
Lower right – Maurice Utrillo.V.
This piece is a lithograph by Maurice Utrillo, printed in 1959 for the Douze Contemporains portfolio, featuring various artists work.
Utrillo was a French painter who specialized in cityscapes. This piece depicts the Montmartre quarter of Paris, France, where
Utrillo was born and raised. This piece is signed in the plate and is from the unnumbered edition of 970.
Maurice Utrillo born Maurice Valadon; 26 December 1883 – 5 November 1955), was a French painter of School of Paris who specialized in cityscapes. Born in the Montmartre quarter of Paris, France, Utrillo is one of the few famous painters of Montmartre who were born there.
Utrillo was the son of the artist Suzanne Valadon (born Marie-Clémentine Valadon), who was then an eighteen-year-old artist's model. She never revealed who was the father of her child; speculation exists that he was the offspring from a liaison with an equally young amateur painter named Boissy, or with the well-established painter Pierre-Cécile Puvis de Chavannes, or even with Renoir. (see below under Utrillo's Paternity). In 1891 a Spanish artist, Miquel Utrillo [es] (Miquel Utrillo i Morlius), signed a legal document acknowledging paternity, although the question remains as to whether he was in fact the child's father.
Valadon, who became a model after a fall from a trapeze ended her chosen career as a circus acrobat, found that posing for Berthe Morisot, Renoir, Henri de Toulouse-Lautrec, and others provided her with an opportunity to study their techniques. She taught herself to paint, and when Toulouse-Lautrec introduced her to Edgar Degas, he became her mentor. Eventually, she became a peer of the artists she had posed for.
An apocryphal anecdote told by Diego Rivera concerning Utrillo's paternity is related in the unpublished memoirs of one of his American collectors, Ruth Bakwin:
"After Maurice was born to Suzanne Valadon, she went to Renoir, for whom she had modeled nine months previously. Renoir looked at the baby and said, 'He can't be mine, the color is terrible!' Next she went to Degas, for whom she had also modeled. He said, 'He can't be mine, the form is terrible!' At a cafe, Valadon saw an artist she knew named Miguel Utrillo, to whom she spilled her woes. The man told her to call the baby Utrillo: 'I would be glad to put my name to the work of either Renoir or Degas!"
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Description:
Colour etching, paper
Lm 37,5 x 28,4
Km 27 x 20,8
Lower left - Monmartre
Lower right – Maurice Utrillo.V.
The work was reproduced in the memoirs compiled by T. A. Savitskaya "Maurice Utrillo. To the portrait of the artist" (Moscow, 1988).
Issue : 250 copies
Maurice Utrillo born Maurice Valadon; 26 December 1883 – 5 November 1955), was a French painter of School of Paris who specialized in cityscapes. Born in the Montmartre quarter of Paris, France, Utrillo is one of the few famous painters of Montmartre who were born there.
Utrillo was the son of the artist Suzanne Valadon (born Marie-Clémentine Valadon), who was then an eighteen-year-old artist's model. She never revealed who was the father of her child; speculation exists that he was the offspring from a liaison with an equally young amateur painter named Boissy, or with the well-established painter Pierre-Cécile Puvis de Chavannes, or even with Renoir. (see below under Utrillo's Paternity). In 1891 a Spanish artist, Miquel Utrillo [es] (Miquel Utrillo i Morlius), signed a legal document acknowledging paternity, although the question remains as to whether he was in fact the child's father.
Valadon, who became a model after a fall from a trapeze ended her chosen career as a circus acrobat, found that posing for Berthe Morisot, Renoir, Henri de Toulouse-Lautrec, and others provided her with an opportunity to study their techniques. She taught herself to paint, and when Toulouse-Lautrec introduced her to Edgar Degas, he became her mentor. Eventually, she became a peer of the artists she had posed for.
An apocryphal anecdote told by Diego Rivera concerning Utrillo's paternity is related in the unpublished memoirs of one of his American collectors, Ruth Bakwin:
"After Maurice was born to Suzanne Valadon, she went to Renoir, for whom she had modeled nine months previously. Renoir looked at the baby and said, 'He can't be mine, the color is terrible!' Next she went to Degas, for whom she had also modeled. He said, 'He can't be mine, the form is terrible!' At a cafe, Valadon saw an artist she knew named Miguel Utrillo, to whom she spilled her woes. The man told her to call the baby Utrillo: 'I would be glad to put my name to the work of either Renoir or Degas!"
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Description:
Van Blime, Jean – Claude (born 1932).
Yellow Rhapsody (2001)
Oil on canvas
39,5 x 39,7
Lower right – JCB 2001
On the reverse - I Yellov Rapsody I JCB Von Blime
The painting of the author's career has been particularly successful in the 2000s. She has been a partner for the famous French painter Zao Wou Ki, worked for Unicef, and in 2006 she published her book "Van Blime and Art Cosmique" on several issues by Cerele d'Art.
http://jcvanblime.com/galerie/
http://jcvanblime.com/en-savoir-plus/la-carriere-de-lartiste/
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Description:
Colour lithograph, paper
Vm 46 x 46
Lower right – Vasarely
Lower left - 96/100
French painter and printmaker of Hungarian birth. He was one of the leading figures in the development of geometrical abstraction known as Op art, popular in Europe and the USA during the 1960s. He studied in Budapest at the Academy of Painting (1925–7) and under Alexander Bortnyk (1893–1977) at the ‘Mühely’ Academy, also known as the Budapest Bauhaus (1929–30). In 1930 he moved to Paris and worked as a graphic designer for the next decade. He was thus able to commit himself seriously to the task of devising a new pictorial language only in the period following World War II. After what he regarded as a false start in 1944–6, he began the process of lengthy and methodical abstraction from particular features of his environment that resulted in his pure and individual style of the 1960s.
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Description:
Colour lithograph, paper
Vm 47 x 47
Lower right – Vasarely
Lower left - 7/325
French painter and printmaker of Hungarian birth. He was one of the leading figures in the development of geometrical abstraction known as Op art, popular in Europe and the USA during the 1960s. He studied in Budapest at the Academy of Painting (1925–7) and under Alexander Bortnyk (1893–1977) at the ‘Mühely’Academy, also known as the Budapest Bauhaus (1929–30). In 1930 he moved to Paris and worked as a graphic designer for the next decade. He was thus able to commit himself seriously to the task of devising a new pictorial language only in the period following World War II. After what he regarded as a false start in 1944–6, he began the process of lengthy and methodical abstraction from particular features of his environment that resulted in his pure and individual style of the 1960s.
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Description:
Lithograph on paper
19,5 x 13,1
On the centre – Lith. Anstaldt v. Ch. Volleier Stuttgardt 11
Die Riesenglocke in Moskau
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Description:
Woodcuts, paper
21,8 x 32,2
Lower left – Vervielfältigung und Einzelverkauf dieses Kunstblattes ist untersagt
On the centre – A. Wagner Das Turnier des Matthias Corvinus.
Lower right - Wagner – Linnden
https://en.wikipedia.org/wiki/Alexander_von_Wagner
https://commons.wikimedia.org/wiki/File:W%C3%A1gner_S%C3%A1ndor_M%C3%A1ty%C3%A1s_kir%C3%A1ly_legy%C5%91zi_Holub%C3%A1rt.jpg
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Description:
Graphics, paper
20 х 28,4
Lower in the center - F.B. Werner
Lower right - Johann Christian Loepold Augsburg
Werner drew and etched numerous kinds of cities. Engravings, were mostly printed by Johann Christian Leopold of Augsburg.
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Description:
Woodcuts, paper
20,7 x 31,5
Lower left – A. Bengt. Vervielfältigung und Einzelverkauf dieses Kunstblattes ist untersagt
Lower right - A. Westphalen Berlin.
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Description:
Graphics, paper
Lm 23,4 x 16,5
Km 18 x 13,3
Lower left - Magnus Zeller
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Description:
Graphics, paper
lm 23,4 x 16,4
km 17.2 x 13,5
Lower left - Magnus Zeller
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