Art Investment

Open 337-е the Auction and 23-й curator's auction "twenty-first century. Contemporary Russian art"

The master catalogue — lots 30: 19 paintings, 3 sheets of original and 2 — printed graphics, 2 works in mixed media, 1 photography, 1 sculpture, 1 composition, made digital stereo-варио seal, and 1 lot of three objects

the fee from buyers is 18 %.

Catalogue of the Auction No. 337 and 23-го curator of the auction "twenty-first century. Contemporary Russian art".

Lots 337-го of the Auction presented in the exhibition online-выставки AI.

Lots 23-го curator of the auction "twenty-first century. Contemporary Russian art" presented in the exhibition online-выставки AI.

Dear participants and spectators of the auction AI! No monitor and no modern gadget ever authentic will not give works of art! Color, texture, not to mention the aura of a particular work, the impression from the meeting with her, the monitor is not subject. Good thing he can do at least wishy-washy, and not very good, on the contrary, to embellish (the last one we have, but it is fair to say it's worth). In addition, each person sees and feels by-своему. So come see all the work with my own eyes we have on Gorokhovsky, 7 (only need to call and make an appointment).

Today's section of Russian art early twentieth century not quite normal. Konstantin Korovin, Natalia Goncharova, whose theatrical graphics included in the catalog, called the masters of the Russian Diaspora, but this time we are presenting them doemigratsionny work performed for the Russian theatres, so happy to talk about them in the section of Russian art.

KOROVIN, Konstantin Alekseevich (1861-1939) the court of Prince Galitsky in Putivl. Sketch of a stage backdrop 1-му action Borodin's Opera "Prince Igor". 1908
the grey Paper on cardboard, ink, brush, tempera. 41,8 × 59,3

Opens the section "the court of Prince Galitsky in Putivl" (1908) — sketch stage back to 1-му action Borodin's Opera "Prince Igor" Konstantin Alexeevich Korovin. Premiere Opera staged by P. I. Melnikov took place on 20 September 1909 at the Mariinsky theatre in St-Петербурге in costumes and scenery based on sketches by K. A. Korovin. Inscription and label on the back of the work of contemporary sketch. As pointed out by the expert of the state Tretyakov gallery, E. M. Zhukova, "a variant of this sketch, more finished, reproduced in the catalogue of a personal exhibition of K. A. Korovin, 1961, with indication of its location: State. Theatre of Opera and ballet. Kirov, Leningrad".

GONCHAROVA Natalia S. (1881-1962) Count di Rocamarina. Costume design for the play "the Fan" by Goldoni. 1915
Paper, gouache, pencil. 32 × 23,5

another doemigratsionny theatrical graphics a great Russian artist — costume design count di Rocamarina for the play "the Fan" by Goldoni (1915) work Natalia Sergeevna Goncharova. The premiere of the performance staged by A. Y. Tairov took place on 27 January 1915 in the Moscow Chamber theatre. "Following the description of the character, according to Goldoni: "... the Count, dressed in-деревенски in charms and straw hat, with a cane in hand, sitting near the pharmacy, buried in a book", — Goncharova consciously departs from "historical truth" of the era of the action of the play (XVIII century), — says the expert. —, It solves a sketch in colours, giving the suit an extra large decorative ornamental elements. In search of a final decision of the suit, it creates a few options, changing the combination of colors".

KRYMOV Nikolai Petrovich (1884-1958) the Sunset at the edge. 1916
oil on Cardboard. 24,4 × 12,4 (light)

Completes section a small cardboard "Sunset on the edge" (1916) Nikolai Petrovich Krymov. The expert notes that it "the piece is created under the influence of Arkhip Kuindzhi. “Open in 1913 posthumous exhibition Kuindzhi brought a lot of new and unexpected even for those who were previously familiar with his work. ... Repeatedly visited the exhibition Krymov discovered the main — harmony of our own creative searches of those years. As a consequence, in his works of the mid 1910s-х years used the principle of spatial construction of the landscape based on the alternation of light and dark plans, a significant generalization of the outlines of the trees, attention to applicationhost color planes and lighting effects” (Ivan Porto. CIT. by: Expert conclusion of the NINE them. P. M. Tretyakov coolant 12024, No. 7627-26 from 13.08.2018)". On the back of the cardboard are an exhibition label of the XIV exhibition of paintings of the Union of Russian artists, held in 1916/1917 year. The expert notes that "this exhibit N. P. Krymov exhibited a number of sketches from # 189 to # 193. According to the label, ... the scenery was among them".

Work in the next section — the art of Soviet artists — integrates only the period of creation. Each of these authors followed his own path, far from the main line of socialist realism.

Open section two of the work of the disciples of Kazimir Malevich.

CHRISTMAS Konstantin (1906-1997) Peasant woman with outstretched arms in a green jacket. 1930-е
oil on Cardboard. 33,4 × 20 (light)

"the Woman with outstretched arms in the green jacket" (1930-е) Konstantin Ivanovich Rozhdestvensky is included in the "Peasant cycle" — a series of works inspired by the images of poststreptococcal "Peasant cycle" of Malevich. Researchers of creativity of the artist is creating this cycle "sometimes the highest achievements of the Nativity in painting". Sometimes he uses the plot, composite or plastic solution, seen Malevich, however, reinvents it, giving your belongings a special feeling, color and atmosphere drawn from your own experience of life in Siberia. "This is a Grand and luminous Siberian sunsets@the semicolon is a red Siberian peasants-крестьяне... this Golden domes of the churches against the dense Siberian forests", — described origins of his inspiration, the artist. About Christmas, read today's article in the category "artist of the week".

ROJAK Efim Moiseevich (1906-1987) Portrait of Kazimir Malevich. 1960-70-е
Canvas on cardboard, oil. 35,5 × 25

for Nearly half a century is from the "Peasant..." Christmas "Portrait by Kazimir Malevich" (1960-70-е) of Efim Moiseevich Roja — disciple of Chagall, Malevich pan and, once the youngest artist in the UNOVIS. "A special place in the artist's work is portraits, created throughout life. These paintings of friends and colleagues, captured in the background or surrounded by recognizable motifs of his work. So, Malevich, looking at us as if from another world is in the cycle cubist-супрематических forms and remarkable figure of a peasant with an axe, standing on a horizontal line in the foreground. The feeling running through the credits, of coursetime, quick change movements of the twentieth century and continues to live the creativity of artists after their death". About the life and work of Efim Roja read on AI: "artist of the week: Yefim royak — avant-garde, novicevic, Soviet artist".

GONCHAROV, Andrei Dmitrievich (1903-1979) Gate. 1947
Paper, watercolor, pencil. 39,5 × 48,7

In 1947 in Tallinn made watercolor "Gate" Andrei Dmitrievich Goncharov — pupil of K. F. Yuon, I. Mashkov, A. Shevchenko, student and assistant of Vladimir Favorsky, the artist Remains one of the best Russian artists and theorists of graphic art, artist's books, theatre artist, designer and a brilliant teacher, students who prepared for several decades of teaching, make up a "Golden Fund" of the domestic charts.

FALK Robert Rafailovich (1886-1958) Portrait of A. V. Shchekin-Кротовой
laid Paper, pencil. 61,8 × 44,8

dated "Portrait of A. V. Shchekin-Кротовой" Robert Rafailovich Falk, a portrait of his last wife, until the very end of his life making tremendous efforts to preserve, transfer to museums, cataloging and exhibiting his works — angelina Shchekin-Кротовой. On the back of the picture are two female portrait. Biography of Falk (1886-1958), you can set milestones in the history of Russian art of the twentieth century. Started in the Studio Juon and Mashkov. In 1910-х — one of the founders of "knave of diamonds" member of the "World of art". In 1920-х — lecturer at the VKhUTEMAS. In 1930-х — "Russian Parisian". In 1940-х — unreliable "formalist". And after the war — one of the legendary "three f" (Falk, Fonvizin, Tabor) — authority for emerging young generation of non-conformists, quiet ideologist of the post-war unofficial art. About the artist read on AI: "artist of the week: Robert Falk".

KOLYADA Sergei avksentyevich (1907-1996) in the rain. Moscow. 1960-е (?)
oil on Canvas. 50 × 69,8

Continues our exposition oil "in the rain. Moscow" (1960-е (?)) Sergey Avksentyevich Kolyada — one of the Moscow artists of the second half of the twentieth century. It works — is a kind of album of views of the city, which today no longer exists. Carol wrote Taganka, the Lubyanka, German settlement, Moscow streets and squares, different from each other, distinctive, with their personalities, nobility, bourgeois, working. Wrote with love, with warmth, of course, not thinking about the fact that through the decades it protected Moscow types will remain only in old photographs and paintings — him and dedicated to their city artists.

NOVIKOV Timur Petrovich (1958-2002) Winter night. 1992
Paper, screen printing. 60 × 60 (worksheet), 40 × 40 (image)

Minimalist landscape on silk Timur Petrovich Novikov "Winter night" (1992). This work, like his other limited edition items, came out of his collages, the desire for signification of the image. "the Silhouettes very small — no signs, and icons; a little makes a huge resulting space, — wrote art Love Gurevich on the collages of Timur Novikov. — Artist comes to the limit of minimalism: one flag, one icon: sun, Swan, fish. Dwarf image... replicate... the technique used by Malevich in his “redthe cavalry”. To Malevich, as well as the icon in salary sends the square in the square... In these works was the simplicity and elegance, with the approval of neoacademism lost". Here — and accurate description of our work and experiences produced by it: simplicity and elegance.

the Following section of the catalog — works of the sixties.

ZVEREV Anatoly T. (1931-1986) portrait of a woman with blue eyes. 1961
Paper (circulation of Newspapers), oil. 59,3 × 44,2

One of the absolute top-лотов our auction — is large (59,3 × 44,2) "portrait of a woman with blue eyes" Anatoly T. Zverev. It "a unique work Zvereva, executed in 1961, — says the expert V. Silaev. — Such high quality early things remained very small, as the main part of the works of A. T. Zvereva the late 1950-х — early 1960-х years were taken from the Soviet Union. Of course, researched portrait of the creative success of the young artist, masterfully written in a free, masterly and innovative manner". The portrait is painted on the back of a piece of newspaper, obviously the first half of 1950-х years.

KROPIVNITSKY, Valentina E. (1924-2008) untitled (window). 1966
Paper, linocut. 41,5 × 25 (sheet), 28,7 × 16,6 (image)

In the vast body graphics of the sixties linocut uncommon. Virtuoso linocuts were Valentina E. Kropiwnicki, the author of the print "untitled (window)" (1966). The daughter of artists Yevgeny Kropivnitsky and Olga Potapova, sister of the artist Lev Kropivnitsky, wife of the artist Oscar Rabin, mother of the artist Alexander Rabin, member of the informal group, later called "Lianozovo" in the place of residence of its ideology of Yevgeny Kropivnitsky and spiritual center of Oscar Rabin. Nemukhin, Vechtomov, Masterkova — among the artists of the Lianozovo group Valentina Kropiwnicki had their own voice and their own style: her lovely recognizable mythical creatures live their own fabulous life filled with wise thoughts and events. In our print animals, but there is a wonderful warm, characteristic of all works of the artist. The abundance of detail in the work urged to consider carefully and literally to touch each of them. A wonderful thing.

STEINBERG Eduard Abramovich (1937-2012) still life with shell. 1966
oil on Canvas. 54,5 × 79,5

Canvas "still life with shell" Eduard Arkadievich Steinberg, representative of the metaphysical direction of the "unofficial art", written in 1966. About this period of the artist and art critic Sergey Kuskov wrote: "If in the early 60-х years Steinberg has not divided the world into Heaven and Earth — aristorenas clots in the environment arising from viscous shimmering alloy raspalennoe scenic stuff, they was in chaotic unity, — by the end of the 60-х artist "was kristallsaal" plastic structure of the landscape, enriching its luminosity. Subject number ("dead nature" — shells, rocks, skulls, birds, fish — "white geometry"), compressed, formed in the film kind of Area of the Earth, while the coated sparseness of the background depths were further discovered the properties of the celestial sphere" (

INFANTE-АРАНА Francisco (1943) Artifacts. From the"Addition". 1983
Paper, photograph. 49,7 × 50

Next in chronological order work — "Artifacts" from the "Add" (1983) Francisco Infante. "In 1976, as an artist, designed the book, Clifford Simak, — told Infante in an interview. — In it they talked about the Artifact, mysterious and coveted by all. Especially fascinated by the metamorphosis taking place in life with the emergence of this Artifact. The theme of the Artifact is very fascinating to me, and I decided to bring him in nature and thus create a kind of organizing principle, frame or sphere within which it is possible to dispose of the attributes of nature: sunlight, air, snow, earth, heaven, etc.

the Word “artifact” refers to the thing second nature, i.e., something man-made and, therefore, Autonomous in relation to nature. A symbolically important moment, a distillation of the artifact as an artificial object, additional to nature. It is appropriate to recall the concept of “frame” — design that simultaneously limits the infinity of the world, and focuses on the infinity. The fact that since ancient times we know about the artifact, demonstrates the infinity of the world, about the connection of all things with Mystery, this world is really filling. The consciousness of the artist who inspired the situation of interaction between artifact and nature, creates field lines of the game. So my work, in which man is absent is always about the person and his spiritual world, articulated consciousness" (

VECHTOMOV, Nikolai E. (1923-2007) Night Barack. 2000
oil on Canvas. 50,3 × 100,5

In 2000, the signature colors made meter-long canvas "Night Barack" Nicholas Evgenyevich Vechtomova.

Traditionally, the final section of the directory — of the work contemporary authors.

GRIGORIEV E. Alexander (1949) Hourglass. 1968
Paper, tempera. 53 × 73 (light)

Tempera "Hourglass" Alexander Yefimovich Grigoriev written in 1968. The artist is 19 years old and a year ago began a short but interesting period in his life — participation in the group of Russian kinetists "Movement" led by Lev Nusberg.

"We were friends, shared everything and looked into each other's work. Had an interesting life, even though we were all alone. Nothing like no one else did... Until we have reached fragmentary information about the Western kinetic art — and we accepted Russian equivalent of the term "Movement"" (interview with Francisco Infante, member of the "Movement"). "Kinetische longed to overcome the real art of aesthetic objects and static structures. Constructivists 20-х years understood the movement not only as a mechanical movement, but also as a form of perception of time and space, the movement as a universal position. Hence thesis Nusberg, confirmed the entire group: “I want to work with electromagnetic fields, with glowing and pulsating concentrations in space, with various movements of flows of gases and liquids, mirrors and optical effects, with changes of heat and smells ... and, of course, music.” In the text of the program in 1965 under the title “What is kinetic art?” Nusberg determines the kinetic of the synthesis: “...we require the use of all opportunities and resources, both technical and aesthetic,physical and chemical phenomena, all arts, all processes and forms of perception, as well as the involvement of the mental reactions and the influence of various sensory capabilities of a human, as a means of artistic expression"" ( Grigoriev joined the group in 1967 (left the group in 1972-м) and managed to participate in several of her projects. To the same period belong his first works in the style of abstract-геометрической minimalist painting and kinetic spatial objects (, including our tempera "Hourglass". The creativity of the participants group in our country is not very well known, the more valuable the work of a member of the "right" period.

NESTEROVA Natalia I. (1944) the Landscape. 1973
oil on Canvas. 112,4 × 100,4

Next in chronological order catalog — fairly early "Landscape" (1973) Natalia Igorevna Nesterova. "In the first half of 1970-х years Nesterova won fame with songs pertinaciously the Canon of socialist realist figure-сюжетной paintings: heroic-идиллические scenes of work and leisure has changed here images of some of the enchanted Kingdom, immersed in a stupor or absurd drudgery. Of key importance for it was at that time the images of the Crimean, Caucasian and Baltic "popular resorts" and "creativity houses"" (

"Yes, strange, sometimes mysterious world of Natalia Nesterova, with its conditional characters, faces with-масками, gambling houses and creatures, with the sculptures, what alive people with cold and melancholy of old buildings with the dead and attacking dogs with nervous flight of birds-кардиналов, with fantasies of the author, with its speculations and its hot everyday sense, with its grotesque, with its elegiac admiring, with her mischief and her virtue. But this is our world. Another thing is that he's seen a true artist, which hitherto was not, and we are invited: become a co-sponsor, call to the aid of their soul, their life experience, attitude, and you guess what lives and works by Natalia Nesterova. But you would never suspect, and just take in the beauty and sadness of life, the mystery shall remain a mystery" (Vladimir Viktorovich Orlov. The mysterious world of Natalia Nesterova,

KREGZDE Sergei (1958) the Horse. 1990
oil on Canvas. 70 × 120,5

In 1990, says "Horse" Sergey Kregzde. "The work of S. Kregzde refers to occurred in the eighties generation of young artists who see themselves as a generation that came after modernism.

In 1988, G. S. Kregzde enters the artistic group “HAMMER”, attributed by experts to the Russian neo-expressionism, although individual creative manner of the artist is clearly beyond the scope of this direction. With neoekspressionista school it brought, of course, improvisational approach to finding artistic solutions.

In 1989 S. Kregzde becomes a member of the Moscow Union of artists “Malaya Gruzinskaya — 28”, of the section painting Art... each work with. Kregzde develops under the influence of various stylistic impulses. The combination and synthesis of styles and techniques are characteristic for the artist. It can be argued that the manner of S. Kregzde polystylene in its essence, and this method is mandatoryare psychology, associative thinking, the work of the subconscious, explosive and spontaneous nature of the writing. A lot of attention to the psychology of a living being "generally", by merging the essence of animals, birds, insects, people with animating elements winds, waters, fire, stones..." (

KORKODIL Vladimir Nikolaevich (1940) Asters. 2004
Hardboard, acrylic, tempera. 65,3 × 74,5 (light)

Classic staged still life, "Asters" (2004) was established by brush Vladimir Nikolaevich Corcodile, a graduate of the Surikov Institute (workshop of A. M. Gritsai, D. D. Zhilinsky and S. N. Shilnikova). For many years the artist, born in Vladivostok, live in the North, in Vologda, Arkhangelsk region. Painting it is usually attributed to Russian realism — to the realism that colored endless palette of colors of nature, where sunlight penetrates and warms primarily the artist's soul, and therefore returns to the canvas spiritualized landscapes, portraits, still lifes, which forced to stop, look, consider, gaze wandering from part to part, — but to look, to feel the warmth of true art. Flowers painting artist — for special and favorite subject, says our still life.

ACORN Anya (1981) untitled (Roses). 2017
fiberboard, tempera, lacquer. 59,7 × 49,9

a Masterpiece of color and narrative conciseness — work "untitled (Roses)" (2017) modern artist Ani Acorn.

KREMNEV Sergey Vladimirovich (1953) In nature. 2018
oil on Canvas. 57 × 48

In 2018 written elegant canvas is the "nature" of the artist from the city of Vladimir Sergey V. Kremneva. In his works one can discern not so much the tradition of the Vladimir landscape school, how obvious the author's love for this brilliant and original scenic area. Painting of Sergey Kremnev was distinguished by a kind of recognizable architectural flavor, not like the color of the solution of recognized masters of the Vladimir school, more strict and laconic composition, more attention to the chart. Confident, independent manner of Sergey Kremnev, its luxurious color scheme is wonderful and manifest in our work, combining landscape and still life, favorite genres of the author.

at the same time with our staff 337-м AI Auction open 23-й auction of the project "XXI century. Contemporary Russian art". In the directory: Lidia Vitkovskaya, Dima Goryachkin, Ivan Lungin, Denis Mikhailov, Victor Orekhanov, Valery Polienko, Muriel Russo, Andrew the Fishermen, Armand Sirunyan, Ekaterina Sharkova.

All the best of luck on 337-м AI-Аукционе and 23-м auction "twenty-first century. Contemporary Russian art"!

Fair market price level on the works of the authors represented in the catalog of this auction can be identified in the information database of auction results ARTinvestment.RU.

the auction AI continues to operate a virtual party "Reserve price is not reached". He appears in the final minutes of trading, so that customers have the option to kill the reserve price (for those items where it is). In other words, if you see party "Reserve price is not reached," that is a reason to continue the fight — perhaps the victory is near.

If the latter rate appears accompanied litters "Until reserve was 1 step", it meansthat making the next bet, you win the auction — unless, of course, who-нибудь, inspired close luck not interrupt your last words. And always a shame when participants traded a few days and especially the last couple of hours excitedly before closing suddenly stop just one step from victory. If you feel that thing — is yours, so take this step!

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