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  AIVAZOVSKY (АЙВАЗОВСКИЙ) BAKST (БАКСТ) FALK (ФАЛЬК) KOROVINE (КОРОВИH) RODCHENKO  (РОДЧЕНКО)  
  ALTMAN   (АЛЬТМАН) BENOIS (БЕНУА) GONCHAROVA (ГОНЧАРОВА) KUSTODIEV (КУСТОДИЕВ) ROERICH (РЕРИХ)  
  ANISFELD   (АНИСФЕЛЬД) BILIBINE (БИЛИБИН) GRIGORIEV (ГРИГОРЬЕВ) KUZNETSOV (КУЗНЕЦОВ) SARYAN (САРЬЯН)  
  ANNENKOV  (АННЕНКОВ) BURLIUK (БУРЛЮК) IACOVLEFF (ЯКОВЛЕВ) LARIONOV (ЛАРИОНОВ)     More...  
  Valentin Alexandrovich Serov, 1865-1911 ORIGINAL ART ВАЛЕНТИН СЕРОВ
 

 FISHERMAN signed with initials l.l. and dated 19th March 1902 pencil on paper 23 by 16cm., 6 by 9 in.

ITEM #SEROA1
$3,000

Etude préparatoire pour le portrait du baron Rausch de Traubenberg. Huile sur toile, conservée dans un encadrement à baguette dorée. H.: 28 cm - L.: 22 cm. Exhibited: Exposition Russe d’Art ancienne et Moderne, Ches Devambes & Co, November 1921, III-me section, salle No 2 (page 27 of the catalog), Helikon 1921. Provenance: Family of the sitter; sale Coutau-Begarie ,Paris: Nov 4 2011 lot 404.

Baron Konstantin K. RAUSCH FON TRAUBENBERG (1871-1935) – Russian sculptor, emigrated in Paris.


ITEM #SEROA1b
PRICE on request

Portrait of a young man (possibly a self-portrait), oil on canvas, circa 1880, 12x15”  Exhibited: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 88 ill 44 Label on the back: “50. Серов B.A. П-т мододого человека X.M.  38х32”

[“When the creative oeuvre of the celebrated Russian artists is concerned and Valentin Serov is, undoubtedly, one of the best artists of the 19th-20th centuries, then the main criteria used to establish the authorship of a picture is evaluation of the level of artistic craftsmanship as regards both, their mature and early works.

The given unfinished picture painted at the age of 15, already has the distinctive features of the would be famous in future “Serov’s portrait”. Simple composition, precise paintwork and delicate chiaroscuro modeling of the face as well as the emotional resonance of background create a convincing image of a concentrated, pensive young man. The representation has certain features of the artist’s self-portrait. The work was painted at a very important period of the artist’s life when he tried to sum up the knowledge he had gained from his teacher Ilya Repin, who prepared him for the studies at the Imperial Academy of Arts. His new teacher, Pavel Chistyakov genuinely admired Serov’s talent, and found the painterly language of the gifted young man developed “to the utmost””]  

ITEM #SEROA1
PRICE on request

 

images\russian museum - catalog.JPGPortrait of a sitting young girl in a pink dress (Granddaughter of P. Tretiakov, daughter of A.P. Botkina, niece of L. Bakst, later on - a well known soviet movie star Alexandra Sergeevna Hohlova (born 1891), spouse of the director L. Kuleshov- compare with her 1911 photo in R. Buckle “Nijinsky”, Simon and Shuster, NY, 1971p. 206 where she is photographed with Tamara Karsavina, Nijinsky, Diaghilev, Benois, and Stravinsky; Alexandra Hohlova has her portraits executed by F. MALIAVINE and A. Lentulov (1919) as well ), [1900], oil on canvas, 28 x 20" c.1899. Exhibited: “Mir Iskusstva”, 1901, Petersburg-Moscow;  “Faces of Russia”, February 2007, West Palm Beach International Art Fair, USA (illustrated on page 28 of the catalog). ; exhibited: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 88 ill 45);  illustrated in Русское Искусство magazine Moscow, 2015 v4 p 86.

 

[“In 1890s Valentin Serov revealed his talent as a portraitist. The main feature of his oeuvre was truthful psychological treatment of his models. Having mastered all the modern painterly media, he and his close associate painter Konstantin Korovin, strove to achieve virtuosity of each brush-stroke. All this enabled him to achieve peculiar spirituality of image, particularly felt in his portraits of children and young people. In the portrait of a sitting young girl the artist, presumably, depicted Alexandra Sergeyevna Botkina, daughter of a famous St. Petersburg doctor and collector Sergei Botkin. Serov was on friendly terms with the Botkins and painted and draw the members of the family many times.  It is a well known fact that the painter made sketches very quickly, but he was very scrupulous when painting portraits, they took him much time. The delicate harmony of soft colors combined with the expressive rendering of the young woman’s glance lend the portrait an especially lyrical mood.”]

 Provenance: Phillips Bayswater, 02.10.01, lot 75.  Initial study for this portrait is in State Russian Museum, Petersburg - see illustration in "Serov" by D. Sarabianov, Art-Rodnik, Moscow, 2000, p.9. Serov is mentioning that portrait in his letters to A.P. Botkina twice – first 12.2.1900 promising “to grill your girl the day after tomorrow i.e. on Monday” and second 5.1.1901 in connection with the opening of “Mir Iskusstva” Exhibition [ Valentine Serov in Letters, Documents and Memoirs, Hudojnik RSFSR, Leningrad, 1985, v.1 pp 278, 316]. At the same time period Paolo Troubetzkoy also created a sculptural portrait of the girl (together with her mother) – see TROUBETZKOY Paolo 1866-1938. Il Quadrante Edizioni. Text by G. Piantoni, P. Venturoli. Verbania Pallanza 29.4-29.7. 1990. Torino, p148 ill 87.  Compare also with the portrait of her mother, sitting at the sofa with same accessories, painted the same year – catalog of paintings, State Russian Museum, 1980, #5411, illustrated.. In original last quarter of 18th Century Italian (Emilia?)Louis Philippe style carved and gilded frame, octagonal, lion feet, cresting with putty head, acorn at the volute  and flower festoons to the sides, with a canvas inner slip (provenance for the frame: Dorotheum Rahmen. Wien 10.04.2003, lot 414 - compare also LODI Roberto La Collezzione Di Cornici Catalog N4,  Modena 1996, N47

ITEM #SEROA1a
PRICE on request

Portrait of N. V. Muraviev (Minister of Justice in 1894-1905), Oil on canvas, 28x31.5 inches, signed in Cyrillic В Серов and dated 1905. Inscribed on stretcher “Muraviev N. V.”

“Утром 7 января [1905] министром юстиции Н.В.Муравьевым была предпринята попытка вступить в переговоры с находившимся в подполье свящ. Г.Гапоном, который, по убеждению знавшего его уже не один год петербургского градоначальника генерала И.А.Фуллона, мог внести успокоение в ряды забастовщиков. Переговоры Н.В.Муравьева со свящ. Г.Гапоном состоялись днем в Министерстве Юстиции. По свидетельству самого Гапона, после того, как министр юстиции ознакомился с содержанием петиции ,"он ...простер руки с жестом отчаяния и воскликнул: "Но ведь вы хотите ограничить самодержавие!" "Да, — ответил я, — но это ограничение было бы на благо как для самого Царя, так и его народа. Если не будет реформ свыше, то в России вспыхнет революция, борьба будет длиться годами и вызовет страшное кровопролитие... Пусть простят всех политических и немедля созовут народных представителей" (Витте С.Ю.Воспоминания. T.1—3, М., 1962, 3, 32). Ультимативный характер радикальных политических требований гапоновской петиции сделал бессмысленным продолжение переговоров, но, выполняя взятое на себя во время переговоров обязательство, Н.В.Муравьев не отдал распоряжения о немедленном аресте свящ. Г.Гапона… Действиям "Собрания русских фабрично-заводских рабочих", организовавшего в Петербурге незаконную всеобщую забастовку с политическими требованиями, министр юстиции Н.В.Муравьев не сумел своевременно дать соответствующую правовую оценку, которая бы обязывала полицейские власти столицы предпринять активные меры против организаторов этой забастовки.” [ http://diak-kuraev.livejournal.com/265987.html ]

"At the morning of 7 January [1905] Minister of Justice N.V.Muravev attempted to negotiate with a priest  G.Gapon (who was in hiding), which, according to St. Petersburg mayor General I.A.Fullon (who knew him for years),  could make comfort in the ranks of the strikers. N.V.Muravev talks with  G.Gapon were held in the afternoon at the Ministry of Justice. According to a testimony of Gapon himself, after Justice Minister became acquainted with contents of petition, "... he put his hand with a gesture of despair, and exclaimed," Well, you want to limit the monarchy! " Yes, - I answered - but this limitation would benefit both to the Emperor and his people. If there are no reforms again, revolution breaks out in Russia, fight will go on for years and cause terrible bloodshed ... Free all political prisoners and immediately convene a national representatives forum" (Witte S.Yu.Vospominaniya. T.1-3, Moscow, 1962, 3, 32). Ultimate character of radical political demands in Gapon petition made no sense in continuing negotiations, but to honor his own obligation N.V.Muravev had not ordered the immediate arrest of  G.Gapon ... Action "Assembly of Russian Factory Workers", in St. Petersburg by the general strike illegal political demands, the Thus Minister of Justice failed to timely provide a proper legal assessment of the situation, which would require  police authorities of the capital to take active measures against the organizers of the strike. "[http://diak-kuraev.livejournal.com/265987.html]

After failing to prevent the “Bloody Sunday” N.V. Muraviev had been forced to resign as a Minister and finished his carrier dying in 1908 as an ambassador to Rome. His well known portraits had been also created by Kustodiev and Repin (as a participant in famous ”Заседание Государственного Совета”)

ITEM #SEROA1C
PRICE on request

Valentin Alexandrovich Serov (Russian: Валентин Александрович Серов) (January 19, 1865 - December 5, 1911) was a Russian painter, and one of the premier portrait artists of his era.

 

Youth and education

Serov was born in St. Petersburg, son of the Russian composer Alexander Serov, and his wife Valentina Bergman, a composer of German-Jewish and English background. In his childhood he studied in Paris and Moscow under Ilya Repin and in the St. Petersburg Academy of Arts (1880–1885) under Pavel Chistyakov. Serov's early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. Further influences on Serov were the old master paintings he viewed in the museums of Russia and Western Europe, friendships with Mikhail Vrubel and (later) Konstantin Korovin, and the creative atmosphere of the Abramtsevo Colony, to which he was closely connected.

Early works

The greatest works of Serov's early period were portraits: The Girl with Peaches (1887), and The Girl Covered by the Sun (1888), both in the Tretyakov Gallery. In these paintings Serov concentrated on spontaneity of perception of the model and nature. In the development of light and color, the complex harmony of reflections, the sense of atmospheric saturation, and the fresh picturesque perception of the world, there appeared the features of early Russian impressionism.

Portraiture and success

From 1890 on, the portrait became the basic genre in Serov's art. It was in this field that his early style would become apparent, the paintings notable for the psychologically pointed characteristics of his subjects. Serov's favorite models were actors, artists, and writers (Konstantin Korovin, 1891, Isaac Levitan, 1893, Nikolai Leskov, 1894, Nikolai Rimsky-Korsakov, 1898, - all in the Tretyakov gallery).

Initially abstaining from the polychromatic, brightly colored painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones. Impressionistic features appeared sometimes in composite construction of a portrait, or to capture a sense of spontaneous movement. As in the work of his contemporaries John Singer Sargent and Anders Zorn, the impressionism is not doctrinaire, but derives as much from the study of Hals and Velázquez as from modern theory. Receiving wide popularity, in 1894 Serov joined with the Peredvizhniki (The Itinerants), and took on important commissions, among them portraits of grand duke Pavel Alexandrovich, (1897, Tretyakov Gallery), S.M. Botkin, 1899, and F.F. Yusupova, 1903 (both in the Russian Museum in St. Petersburg). In these truthful, compositionally skillful, and picturesque executions in the grand manner, Serov consistently used linear-rhythmic drawing coupled with decorative color combinations.

At the same time, he developed a contrasting direction: he frequently produced intimate, heartfelt, chamber portraits, mainly of children and women. In portraits of children Serov aspired to capture pose and gesture, to reveal and emphasize a spontaneity of internal movement, sincere cleanliness and clearness of attitude of the child (Children, 1899, Russian Museum; Mika Morozov, 1901, Tretyakov gallery). Serov frequently called upon various graphic techniques - watercolors, pastels, lithographs and so forth. Figures in Serov's portraits gradually became more and more graphically refined and economical, particularly during the late period (Vasily Kachalov, 1908, Tamara Karsavina, 1909; numerous figures from Ivan Krylov's fables, 1895–1911). From 1890 to 1900 Serov produced many landscape compositions on country themes, in which the artistic direction took a romantic turn.

Late work

During his late period, which began in 1900, Serov was a member of "The World of art", an influential Russian art association and magazine which grew, in part, out of dissatisfaction with the Itinerants movement. At the turn of the century, Serov was at a stylistic turning point: features of impressionism disappeared from his work, and his modernistic style developed, but the characteristic truthful and realistic comprehension of the nature of his subjects remained constant. In the early 1900s Serov created heroic portrait images; within the genre of the fashionable portrait, Serov focused on the dramatic depiction of creative artists, writers, actors, and musicians of import: Maxim Gorki's portraits (1904), A.M. Gorki's museum, Moscow; Maria Yermolova (1905), Feodor Chaliapin (charcoal, 1905) - both in the Tretyakov Gallery.

Serov's democratic beliefs were clearly shown during the Revolution from 1905 to 1907: he depicted a number of satirical figures exposing chastisers. A full member of the St.Petersburg Academy of Arts since 1903, in 1905 he resigned as a gesture of protest against the execution of striking workers and their families on January 9, Bloody Sunday. His late creativity found expression in historical painting (Peter II departure and Empress Elizabeth Petrovna on hunting, 1900, Russian Museum), and depth of comprehension of the historical maintenance of an epoch (Peter I, distemper, 1907, Tretyakov Gallery).

 

The last years of Serov's life were marked by works on themes from classical mythology. While addressing images from the ancient tradition, Serov endowed classical subject matter with a personal interpretation.

Valentin Serov died in Moscow on December 5, 1911. He is buried at the Novodevichy Cemetery.

Legacy

The best works of Serov are among the greatest of Russian realistic art. He taught in the Moscow School of Painting, Sculpture and Architecture from 1897 to 1909), and among his students were Pavel Kuznetsov, N.N. Sapunov, Martiros Saryan, Kuzma Petrov-Vodkin, N.P. Ulyanov, and Konstantin Yuon.

  Inventory

ADAMOVICH АДАМОВИЧ ERMILOV ЕРМИЛОВ JAKUNCHIKOVA ЯКУНЧИКОВА MAK МАК POPOVA ПОПОВА STELLETSKIJ СТЕЛЛЕТСКИЙ
AIVAZOVSKY АЙВАЗОВСКИЙ ERTE ЭРТЕ JAWLENSKIJ ЯВЛЕНСКИЙ MAKOVSKI   МАКОВСКИЙ PORCELAIN ФАРФОР STENBERG СТЕНБЕРГ
ALTMAN АЛЬТМАН EXTER ЭКСТЕР KALMAKOV  КАЛМАКОВ MALEVITCH МАЛЕВИЧ POSTCARDS ОТКРЫТКИ STEPANOVA СТЕПАНОВА
ANDREENKO АНДРЕЕНКО FABERGE ФАБЕРЖЕ KANDINSKY   КАНДИНСКИЙ MALIAVINE МАЛЯВИН POUGNY ИВАН ПУНИ SUETIN СУЕТИН
ANISFELD АНИСФЕЛЬД FALK ФАЛЬК KLIUN КЛЮН MANE-KATZ МАНЕ-КАЦ POZHEDAEFF ПОЖЕДАЕВ TCHELITCHEW ЧЕЛИЩЕВ
ANNENKOV АННЕНКОВ FASINI ФАЗИНИ KLODT КЛОДТ MANSUROV МАНСУРОВ RABIN РАБИН TERECHKOVITCH ТЕРЕШКОВИЧ
  ARKHIPOV БЕРМАН FEDOROVSKI ФЕДОРОВСКИЙ KONCHALOVSKI КОНЧАЛОВСКИЙ MASHKOV МАШКОВ RADAKOV РАДАКОВ TROUBETZKOY ТРУБЕЦКОЙ  
  ARKHIPENKО БЕНУА FILONOV ФИЛОНОВ KOROVINE КОРОВИН MILIOTTI МИЛИОТТИ REMISOV РЕМИЗОВ TYSCHLER ТЫШЛЕР  
  ARONSON БАРАНОВ -РОССИНЕ FONVISIN ФОНВИЗИН KRAMSKOI КРАМСКОЙ MUKHINA МУХИНА REPIN РЕПИН UDALTSOVA УДАЛЬЦОВА  
  BAKST БАКСТ GABO ГАБО KRUCHENYKH КРУЧЕНЫХ NARBUT НАРБУТ RODCHENKO РОДЧЕНКО USHIN УШИН  
  BARANOV-ROSSINE АРОНСОН GASPARD ГАСПАР KRUGLIKOVA КРУГЛИКОВА NEIZVESTNYI НЕИЗВЕСТНЫЙ RODIONOV РОДИОНОВ UTKIN NIKOLAI УТКИН НИКОЛАЙ  
  BENOIS АРХИПЕНКO GLUCKMAN ГЛЮКМАН KUPRINE КУПРИН NILOUSS НИЛУС ROERICH РЕРИХ UTKIN PIOTR УТКИН ПЕТР  
  BERMAN АРХИПОВ GOLOVСHENKO ГОЛОВЧЕНКО KUSTODIEV КУСТОДИЕВ ORLOFF GHANA ОРЛОВА SARYAN САРЬЯН VASNETSOV ВАСНЕЦОВ  
BILIBINE БИЛИБИН GOLOVINE ГОЛОВИН KUZNETSOV КУЗНЕЦОВ OSTROUMOVA -LEBEDEVA ОСТРОУМОВА-ЛЕБЕДЕВА SCHEKOTIHINA-POTOTSKAIA ЩЕКОТИХИНА-ПОТОЦКАЯ VESNIN ВЕСНИН
BOGOMASOV БОГОМАЗОВ GONCHAROVA ГОНЧАРОВА LANSKOY   ЛАНСКОЙ PALMOV ПАЛЬМОВ SCHAKHOVSKAIA ШАХОВСКАЯ WALKOWITZ ВАЛКОВИЦ
BORISOV--MUSATOV БОРИСОВ-МУСАТОВ GRABAR ГРАБАРЬ LARIONOV    ЛАРИОНОВ PASCIN ПАСКИН SEREBRIAKOVA СЕРЕБРЯКОВА WESCHILOV  ВЕЩИЛОВ
BOZHERIANOV БОЖЕРЯНOB GRIGORIEV ГРИГОРЬЕВ LEBEDEFF ЛЕБЕДЕВ PATLAGEAN ПАТЛАДЖАН SEROV СЕРОВ YAKULOV ЯКУЛОВ
BURLIUK БУРЛЮК GRISCHENKO ГРИЩЕНКО LENTULOV ЛЕНТУЛОВ PETRITSKI ПЕТРИТСКИЙ SHUKHAEV ШУХАЕВ YUON ЮОН
CHAGALL ШАГАЛ GUDIASHVILI ГУДИАШВИЛИ LINDE ЛИНДЕ PETROVA ПЕТРОВА SINEZUBOV СИНЕЗУБОВ ZABELLO ЗАБЕЛЛО
CHEKHONIN ЧЕХОНИН HARITONOFF ХАРИТОНОВ LISSIM ЛИССИМ PHOTOGRAPHS ФОТОГРАФИИ SOMOV СОМОВ ZACK  ЗАК
DANKO ДАНЬКО HARLAMOFF ХАРЛАМОВ LISSITZKY ЛИСИТСКИЙ POLENOV ПОЛЕНОВ SOUDBININE СУДБИНИН ZADKINE ЦАДКИН
KARDOVSKAIA КАРДОВСКАЯ IACOVLEFF ЯКОВЛЕВ LOVET- LORSKI ЛОВЕТ- ЛОРСКИЙ POLIAKOFF ПОЛЯКОВ SORINE СОРИН ZDANEVITCH ЗДАНЕВИЧ
DERUJINSKY ДЕРЮЖИНСКИЙ IMPRESSIONISTS ИМПРЕССИОНИСТЫ MAIAKOVSKIJ  МАЯКОВСКИЙ POPKOV ПОПКОВ SOUDEIKINE СУДЕЙКИН  
DOBUZHINSKI ДОБУЖИНСКИЙ IVANOV ИВАНОВ                    
 
 
 
 

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