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Auktionsarchiv: Los-Nr. 25

Natalia Sergeevna Goncharova

Schätzpreis
120.000 £ - 150.000 £
ca. 154.420 $ - 193.025 $
Zuschlagspreis:
250.062 £
ca. 321.789 $
Auktionsarchiv: Los-Nr. 25

Natalia Sergeevna Goncharova

Schätzpreis
120.000 £ - 150.000 £
ca. 154.420 $ - 193.025 $
Zuschlagspreis:
250.062 £
ca. 321.789 $
Beschreibung:

Natalia Sergeevna Goncharova (Russian, 1881-1962) 'Birch trees' [Berezy], 1906 inscribed and numbered '374' (verso); further inscribed, titled, dated and numbered on stretcher oil on canvas 72 x 100cm (28 3/8 x 39 3/8in). Fußnoten Provenance The studio of the artist, Paris Sotheby's, London, Impressionist and Modern Paintings, Drawing and Sculpture, 30 November 1967, lot 116 Grosvenor Gallery (acquired from the above by Eric Estorick for £300) Acquired from the above in 1980 by His Honour Judge Bruce Griffiths, QC Thence by descent Exhibited Moscow, Art Salon (Bolshaya Dmitrovka, 11), Exhibition of Paintings by Natalia Sergeevna Goncharova 1900-1913, 1913, no. 374 Probably Paris, Galerie de l'Epoque, Nathalie Gontcharova: Peinture , 4-13 June, 1931 Probably Paris, Galerie de l'Institut, Exposition Michel Larionov et Nathalie Gontcharova. Peintures, 11-21 June, 1952, no. 90 Literature Catalogue of Exhibition of Paintings by Natalia Sergeevna Goncharova 1900-1913, Moscow, p. 8, no. 374 Eli Eganbury, Natalia Goncharova Mikhail Larionov Moscow, 1913, p. 6, 'Birch trees (Panino, Vyazma county)' Natalia Goncharova spent the summer of 1906 in the village of Panino, near Vyazma in the Smolensk province and it was here that she completed a cycle of landscapes which represented a turning point in her oeuvre. In the series, Goncharova - for the first time – perfected the technique of applying brusque, dense strokes that lie parallel to each other on the surface of the canvas, and it was this effect which divested her painting of an impressionistic airiness, imbuing it instead with a significant opacity. The artist's husband, Mikhail Larionov described this new manner as being achieved 'in a thick, dark palette of broad and rather rough masses of expressive drawing', auguring the emergence of the artist's primitive style which began to emerge at this time and which was made famous in her paintings of peasant labour. Goncharova herself attached great importance to her Panino paintings and always included works from the series when curating personal exhibitions. The composition of the cycle is known to scholars primarily from the list of the artist's works in Eli Eganbury's (I.M. Zdanevich) book Natalia Goncharova Mikhail Larionov (Moscow, 1913). Approximately twenty of her works are cited in the text and titled in such a way that many of them can be identified, such as Tree in the middle of the canvas, House and trees, Spring trees, branch to one side, Trunk on the side, and so on. However, even today, there is some uncertainty surrounding many of the works included in this cycle and, accordingly, some paintings are dated incorrectly in the book. The reason for this is - in part – due to the fact that the artist was not in the habit of inscribing the paintings' titles on the back of the canvases and the majority of inscriptions were applied later, when she was based in Paris. The present lot, Birch trees, is identifiable by the number painted in black on the back of the canvas: 'N 374'. This was how Goncharova marked those of her paintings which featured in the large solo exhibition of her works held in Moscow in 1913, and the catalogue of the exhibition lists Birch trees [Berezy] as the title for number 374. In the list cited in Eganbury's book, the painting's title is elaborated upon further Panino, Vyazma [county] (Eganbury E. op. cit. p.6). Further inscriptions and labels preserved on the back of the canvas of the offered lot shed light on the painting's history. A large inscription by Larionov (in blue, underneath the stretcher) indicates that the painting belongs to the Paris studio of Larionov and Goncharova. This particular inscription came about because when the couple left Russian to go abroad in 1915, Birch trees, along with other works, remained in their Moscow studio. In the late 1920s, as a result of the efforts of friends, the majority of these works were sent to Paris and many of them languished unstretched in rolls in

Auktionsarchiv: Los-Nr. 25
Auktion:
Datum:
27.11.2019 - 28.11.2019
Auktionshaus:
Bonhams London
London, New Bond Street 101 New Bond Street London W1S 1SR Tel: +44 20 7447 7447 Fax : +44 207 447 7401 info@bonhams.com
Beschreibung:

Natalia Sergeevna Goncharova (Russian, 1881-1962) 'Birch trees' [Berezy], 1906 inscribed and numbered '374' (verso); further inscribed, titled, dated and numbered on stretcher oil on canvas 72 x 100cm (28 3/8 x 39 3/8in). Fußnoten Provenance The studio of the artist, Paris Sotheby's, London, Impressionist and Modern Paintings, Drawing and Sculpture, 30 November 1967, lot 116 Grosvenor Gallery (acquired from the above by Eric Estorick for £300) Acquired from the above in 1980 by His Honour Judge Bruce Griffiths, QC Thence by descent Exhibited Moscow, Art Salon (Bolshaya Dmitrovka, 11), Exhibition of Paintings by Natalia Sergeevna Goncharova 1900-1913, 1913, no. 374 Probably Paris, Galerie de l'Epoque, Nathalie Gontcharova: Peinture , 4-13 June, 1931 Probably Paris, Galerie de l'Institut, Exposition Michel Larionov et Nathalie Gontcharova. Peintures, 11-21 June, 1952, no. 90 Literature Catalogue of Exhibition of Paintings by Natalia Sergeevna Goncharova 1900-1913, Moscow, p. 8, no. 374 Eli Eganbury, Natalia Goncharova Mikhail Larionov Moscow, 1913, p. 6, 'Birch trees (Panino, Vyazma county)' Natalia Goncharova spent the summer of 1906 in the village of Panino, near Vyazma in the Smolensk province and it was here that she completed a cycle of landscapes which represented a turning point in her oeuvre. In the series, Goncharova - for the first time – perfected the technique of applying brusque, dense strokes that lie parallel to each other on the surface of the canvas, and it was this effect which divested her painting of an impressionistic airiness, imbuing it instead with a significant opacity. The artist's husband, Mikhail Larionov described this new manner as being achieved 'in a thick, dark palette of broad and rather rough masses of expressive drawing', auguring the emergence of the artist's primitive style which began to emerge at this time and which was made famous in her paintings of peasant labour. Goncharova herself attached great importance to her Panino paintings and always included works from the series when curating personal exhibitions. The composition of the cycle is known to scholars primarily from the list of the artist's works in Eli Eganbury's (I.M. Zdanevich) book Natalia Goncharova Mikhail Larionov (Moscow, 1913). Approximately twenty of her works are cited in the text and titled in such a way that many of them can be identified, such as Tree in the middle of the canvas, House and trees, Spring trees, branch to one side, Trunk on the side, and so on. However, even today, there is some uncertainty surrounding many of the works included in this cycle and, accordingly, some paintings are dated incorrectly in the book. The reason for this is - in part – due to the fact that the artist was not in the habit of inscribing the paintings' titles on the back of the canvases and the majority of inscriptions were applied later, when she was based in Paris. The present lot, Birch trees, is identifiable by the number painted in black on the back of the canvas: 'N 374'. This was how Goncharova marked those of her paintings which featured in the large solo exhibition of her works held in Moscow in 1913, and the catalogue of the exhibition lists Birch trees [Berezy] as the title for number 374. In the list cited in Eganbury's book, the painting's title is elaborated upon further Panino, Vyazma [county] (Eganbury E. op. cit. p.6). Further inscriptions and labels preserved on the back of the canvas of the offered lot shed light on the painting's history. A large inscription by Larionov (in blue, underneath the stretcher) indicates that the painting belongs to the Paris studio of Larionov and Goncharova. This particular inscription came about because when the couple left Russian to go abroad in 1915, Birch trees, along with other works, remained in their Moscow studio. In the late 1920s, as a result of the efforts of friends, the majority of these works were sent to Paris and many of them languished unstretched in rolls in

Auktionsarchiv: Los-Nr. 25
Auktion:
Datum:
27.11.2019 - 28.11.2019
Auktionshaus:
Bonhams London
London, New Bond Street 101 New Bond Street London W1S 1SR Tel: +44 20 7447 7447 Fax : +44 207 447 7401 info@bonhams.com
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