Open 339-е the Auction and 25-й curator's auction "twenty-first century. Contemporary Russian art"
ARTinvestment.RU   21 июля 2020

The master catalogue — 30 lots: 16 paintings, 5 original leaves and 1 — printed graphics, 6 works in mixed media, 1 photo and 1 porcelain plate

the fee from buyers is 18 %.

Catalogue of the Auction No. 339 and 25-го curator of the auction "twenty-first century. Contemporary Russian art".

Lots 339-го of the Auction presented in the exhibition online-выставки AI.

Lots 25-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).

SCHILDER Andrei Nikolayevich (1861-1919) Oaks. 1890-е — 1900-е
Paper, pencil, ink. 22,9 × 29,5

Russian art the end of the XIX — early twentieth century is a pencil drawing of "Oak" (1890-е — 1900-е) Andrei Nikolaevich Schilder. Certifying the inscription in the figure, according to experts, undoubtedly in the handwriting of the artist's widow Matrona Victorovna Schilder. "According to the preserved inscriptions, M. V., Schilder, written by her, probably during the sale of the work, there is reason to assume that this figure until 1920 was in the collection of the artist's family". The drawing was sold just a year after the artist's death, it is clear that in difficult times his family was the necessary means to life. Academician of landscape painting Andrei Schilder in his artistic practice has kept the tradition of his teacher I. I. Shishkin, with paintings by Schilder are of a great lyricism, emotionality, softness is related to the landscapes with the art of Levitan.

CIRCASSIANS Yuri Yurievich (1900-1943) Rider in the woods. 1921
laid Paper, watercolour, Italian pencil. 30,7 × 41,2 (light)

Yury Cherkesov known primarily as a painter of the Russian Diaspora, however, the figure "Rider in the woods" (1921) performed 4 years prior to emigration and "refers to the Russian period of life and creative work of Yury Cherkesov. This early work by a young author created while teaching at the VKhUTEMAS. Already in this thing, I see a big potential and talent artist-графика. Drawing on the landscape is masterful, intricate, confident and virtuosic. Moreover, looking at this picture, you know that Yu Yu Cherkesov huge gift of the artist-гравера: it's no coincidence that in 1937 he was awarded it for the end of the “song of songs” at the Paris International exhibition.

figure "Rider in the woods", performed in 1921, is a unique, genuine and rare figure, Yu Yu Cherkesov", — said the expert.

BRAILOVSKY Leonid (1867-1937), BRAILOVSKY Rimma Nikitichna (1877-1959) pilgrimage to the Shrine. 1925
Paper on cardboard, oil. 50,3 × 67,2

Section artists of the Russian Diaspora, offers a picturesque composition "a pilgrimage to the Shrine" (1925) Leonid Mikhailovich andRimmy Nikitichna Brailovsky. "L. M. Brailovsky was seriously engaged in studying of monuments of ancient art, for this purpose he visited Rostov, Yaroslavl, Suzdal, and copied the frescoes of the Church of the Savior on Nereditsa in Novgorod, — says the expert. — acquired knowledge allowed the artist to successfully apply them in his work (in interior decoration, in the design of theatrical productions, the creation of easel painting). Leonid Brailovsky often worked together with his wife Rimma Brailovsky, creating compositions on the theme of ancient history". Rimma Brailovsky worked both independently and in collaboration with her husband. He painted landscapes, genre paintings; turned to the techniques of tempera and watercolors. In 1900-1910-х performed a series of watercolors based on fairy tales of Alexander Pushkin ("the Tale of the dead Princess...", 1907;, "the Tale of Tsar Saltan...", 1915). Engaged in decorative-прикладным art. Created a number of works in the techniques of embroidery, applique, painting, sang tapestries and decorative panels. Presumably, in 1900-х taught in the Studio art of embroidery in Central Stroganov artistic-промышленном school. In her drawings by students of the School were made many curtains, wall panels. He organized his own Atelier in Glogowska impasse in Moscow, where orders were taken for artistic embroidery. In his work acted as a skilled stylist, a masterful reworking of the motifs of old Russian and folk art. "In 1920-е years — said the expert, — they [Leonid and Rimma Brailovsky] has created a series of works "Visions of old Russia." These works were presented by the authors in Chicago (1925), Indianapolis (1927), Amsterdam (1928), new-Йорке (1929). In an interview with the artists on the occasion of their solo exhibition in ClarigeGallery (1926), describes the goals and objectives that they set for themselves, creating their works: “We work hard in order to reproduce in our pictures those brilliant, rich shades that covered our country for centuries. <...> Painters of the past were very creative artists, their works give us the opportunity to experience deep spirituality, which became the inspiration for the creation of their works"".

Mariya VASILYEVA (1884-1957) the Collage image of the virgin. 1930-е
Cardboard, colored paper, ink, foil, pencil, scratching, stamping, collage. 31 × 24

One of the most interesting works catalog — "Collage with image of the virgin" (1930-е) Russian artist of the Paris school Maria Ivanovna Vasilyeva (see: "artist of the week: Maria Vasileva"). Religious compositions of this creative period in different techniques, a number of which included our work, the artist mentions in his memoirs, noting that the image of our lady in demand (especially in times of crisis). In our work, the artist uses a number of techniques decorative folk-прикладного art, which she was deeply interested, and which was a true master.

ARCHIPENKO, Alexander porfiryevich (1887-1964) Les formes encerclées (Circled shapes). Arrangement of folders, Les formes vivantes (the Living form). 1963
Paper, lithograph. 56,1 × 76 (sheet)

Lithograph Les formes encerclées(Circled forms, 1963) Alexander porfiryevich Archipenko — sheet from the folder Les Formes Vivantes ("Living form"), containing 10 tracks and released in Switzerland in 1963, edition of 75 copies.

the Next section — the work of Soviet artists.

LEBEDEV, Vladimir Vasilievich (1891-1967) Model in the chair. 1940
graphite pencil on Paper. 19,5 × 16,3

Opens his precise, expressive drawing with a pencil on paper "Model in the chair" (1940) Vladimir Vasilyevich Lebedev, one of the most brilliant masters of the national charts. Lebedev developed my individual style of performance in which the main role is played not by line, and masterfully blurred contours or spot. The outlines of the portrait are dissolved in the medium of light; fast pace of the picture, the contrasts compelling liveliness to the image.

UDALTSOV Nadezhda (1886-1961) Dry oak. 1946
oil on Canvas. 59,5 × 79,5

In 1946, painted canvas "Dry oak" of Nadezhda Andreevna Udaltsova. Udaltsov — is one of the "Amazons" of the Russian avant-garde. The artist worked mainly easel painting and graphics (especially in graphics worked a lot in his later years, in 1930-50-х). Its appeal to other art forms were quite rare, although Udaltsov was engaged in scenography, and in late 1910-х created sketches for fabrics. The work of the artist was influenced, on the one hand, the Munich school, with the other — French art of the early twentieth century. However, the strongest impact it had consistently constructivism of Tatlin and the Suprematism of Malevich. We present the work of the late period of creativity of the artist, it "is made in the genre of natural landscape and extremely characteristic of creativity N. Udaltsova 1940-50-х years", — said. Wonderful colour of the landscape: noble and reserved, but strikingly colorful.

DENISOVSKY, Nikolay Fedorovich (1901-1981) Morning. 1954
oil on Paper. 24 × 34,8 (light)

the Following landscape made by the artist of the famous Society of easel. "Morning" (1954) Nikolai Fedorovich Denisovsky — subtle in color and permeated the cool air of the first dawn minutes. In ostrowskie times Denisovskaya brilliantly conveyed motion even in still life, and this skill is embodied in our small late landscapes, where moving everything from sunlight and clouds to dense grass, disturbed by the wings of soaring birds.

BUKH Aron Froimovich (1923-2006) Fall. 1999
oil on Canvas. 69,9 × 60

Filled with fresh cool air, via-осеннему sharp sun rays and the bitter smell of fallen leaves landscape "Autumn" (1999) Aaron Froimovich Buch.

KROPIWNICKI Evgeny Leonidovich (1893-1979) Green glow. 1953
Paper, gouache. 23,6 × 33,4

About the works of the sixties begin to talk with a recognizable gouache "Green glow" (1953) Yevgeny Leonidovich Kropivnitskogo, painter, graphic artist, poet, composer, and teacher and inspirer of a group of artists and poets, later known as the "Lianozovsky school". Our work shows him a great master of composition and a talented colorist.

INFANTE-АРАНАFrancisco (1943) Artifacts. From the series "Suprematist games". 1968
Photo. 50 × 50 (sheet) 48,5 × 48,5 (light)

To the series of landscape installations, which Francisco Infante-Арана engaged in the late 1960-х is the picture of "Artifacts" from the series "Suprematist games" (1968), the first photographic series of the artist. "...I saw for the first time a reproduction of Malevich —, I immediately liked it, it was such force, power, gravity. Then I read his treatise “God is not cast” @the blind mdas instance, the seventh copy of it, probably I read, writing every letter. “White Nothing” — is the same infinity, and I have my infinity symbols, spiral, point. I was struck by it: the metaphysician, soul sister! Malevich I idolized. Took and made shapes in the snow —, I have not called it the "artifacts", I called it a "spontaneous games in nature"" (kommersant.ru).

"In 1976, I as the artist designed a book Clifford Simak (book "Reserve of goblins" was released in 1972-м. — AI.). It was 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" (nsad.ru).

INFANTE-АРАНА Francisco (1943) Plate. Figure 4 on the motif of "Suprematist painting" Malevich (1920). 1992
Porcelain, painting. Ø 24,5

the Second work Francisco Infante-Араны in the directory — plate "figure 4 on the motif of "Suprematist painting" Malevich (1920)" — belongs to a series of works made in 1992, Infante and Eduard Steinberg in conjunction with the Centre for contemporary arts (CCA) and the Association "Kuznetsovsky porcelain". Every plate is a limited edition of only 25 pieces (our plate has No. 3) plus a few unnumbered (backup) copies. Instead of Francisco Infante four plates were produced only three. Most copies were purchased by the Ministry of culture of the Russian Federation.

"Porcelain proved to be fertile material for illustrating the ideas of Francisco Infante. We can say that here got a new breaking of his famous “the concept artifact”. “Artifact” — is the term used in the interpretation of the artist “refers to the thing second nature, i.e., something man-made and, therefore,Autonomous in relation to nature,” but which, in the artist's thoughts, associated with such concepts as “tradition” and “culture”. Special emphasis in his theory Infante did on the embodiment in the artifact link “technology — nature”, communication, capable, in his opinion, to create a new synthesis in the eternal art. This ability of the artifact Infante saw a special “symbol of the Mystery of creativity.” Porcelain also — material, born of fire, combining the natural and the technological side, anciently confers mysterious properties — as nothing else matched the author's conception of the artifact. Therefore, it is likely, as a harmonious and logical look works Infante on porcelain plates" (Victoria Petukhov. Porcelain as nepriglyadnoy art or another facet of nonconformism // Porcelain of the sixties: an Exhibition in Romanov gallery. M : Bonfi, 2012. C. 14).

SIDUR Vadim Abramovich (1924-1986) Lovers. 1978
Paper, marker. 42 × 29,5

Big picture, "the Lovers" (1978) Vadim Abramovich Sidur is a felt-tip pen in one color and remarkable for the purity and smooth lines.

CHUBAROV Eugene I. (1934-2012) untitled. 1982
oil on Canvas. 100,3 × 99,6

In 1982, written on canvas "untitled" one of the most mysterious artists of the second half of the twentieth century, Eugene Iosifovicha Chubarova, the hero of today's article under the heading "artist of the week". Among the preserved memories of the most famous Chubarov associated with a visit to his Studio in Mytishchi Ilya Kabakov in the company of Viktor Pivovarov and Vitaly Patsyukova in 1978 or 1979. Kabakov affected environment portfolio, said: "We were visiting a living genius". Vitaly Patsyukov later described the artist: "It is a mammoth in a frozen heap. In this piece he experienced the entire evolution — from the amoeba up to the present time, recorded it on your hard drive and as soon as it thawed, was able to give the information accumulated in a single plane" (artinvestment.ru). Fame Chubarov brought a huge abstraction starting — the mid 1990-х, sold at Sotheby's. Our canvas is made before, it bears a line of human figures, but very generalized and simplified, and-чубаровски powerful, rich what-то superhuman energy. But the energy that balances the... color. Chubarov, who is known to many for its black tolevymi cycles have been an amazing colorist: rough anthropomorphic shapes, filling the canvas in a-то strange compositions written in the marvelous beauty of the coloring, just beautiful.

ZVEREV Anatoly T. (1931-1986) Forest. 1984
oil on Canvas. 37 × 52,2

Concise compositional and coloristic late canvas "Forest" (1984) Anatoly T. Zverev.

NEMUKHIN Vladimir Nikolaevich (1925-2016) Pass. 2013
Canvas, oil, collage, pencil. 60 × 60

Completes a section of the sixties canvas "Pass" (2013) Vladimir Nikolaevich Nemukhin. Thing strict, wise and emotional. Dynamic and extremely concise, even for Nemukhin arrangement, low details, but — relevant, more than the restrained color scheme, in which the main role is played by the green "cloth" card table.

PEPPERSTEIN Pavel (1966) Numbers. 1997
Canvas,oil. 23,8 × 29,4

Artist of the next generation of the "other art" — Pavel Viktorovich Pepperstein — is in the directory, the canvas "Numbers" (1997).

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

GOROKHOVSKY, Evgeny E. (1951) Moscow courtyard. 1972
Paper on plywood, gouache, tempera. 50 × 70,4

Eugene E. Gorokhovsky, the author of the painting "Moscow yard" (1972), was born in the family of Eduard Gorokhovsky, one of the most famous of the sixties. "Becoming an artist happened in 1970-е in the immediate neighborhood of the masters of the "other art" — Ilya Kabakov, Viktor Pivovarov, Erik Bulatov. Then he developed his own style at the crossroads of photorealistic images and metaphysical, reflected the conceptual content. Actually Evgeny Gorokhovsky became one of the founders of domestic photorealism (O. Kozlova "Photorealism", Moscow, 1994), giving it a specifically philosophical meaning" (popoffart.com).

Sergei SHUTOV, A. (1955) in the Morning. Beginning 2000-х
Canvas, oil spraying, stencil, silver sequins. 100,6 × 120,6

By the beginning of 2000-х apply canvas "in the Morning" Sergey A. Shutova, executed in mixed media with silver glitter. Important: "his works are very lose in reproduction: glare silverfish, foil and varnish is impossible to convey on paper. And these glares and reflections are very important. They say that when Solovyov on the set of “assy” corrected what-то, a few seemingly important piece of foil, those present felt that the track crumbled. Have every detail of Shutova — is not just. Let the case with foil maybe someone-то seem a stretch, but with reproductions make no mistake: what looks faded in a magazine or auction catalog, may the light be work stunning joie de vivre" ().

Paata MERABISHVILI, Marasovic (1964) Muse modi. 2014
the Polymer, pencil, acrylic, ink, oil. 117,5 × 57,7

Difficult, very busy three-dimensional object "Muse modi" (2014) sculptor Marasovich Paata Merabishvili — original author's realization of the image of Jeanne hébuterne, a Muse of Amedeo Modigliani, made in the style, reminiscent of the manner of the great Italian, the author's homage to the Artist and his Muse.

at the same time with our staff 339-м AI Auction open 25-й auction "twenty-first century. Contemporary Russian art" — monococcion the Moscow artist Irina Korsakov. Read on AI: "the Pulse of time. Irina Korsakova".

All the best of luck on 339-м AI-Аукционе and 25-м auction "twenty-first century. Contemporary Russian art"!

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