DROUOT
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Imperial Russia

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Salle 6 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
samedi 29 juin - 11:00/18:00, Salle 6 - Hôtel Drouot
lundi 01 juillet - 11:00/18:00, Salle 6 - Hôtel Drouot
mardi 02 juillet - 11:00/12:00, Salle 6 - Hôtel Drouot
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296 results

Lot 531 - REPINE Ilya Yefimovitch (1844-1930) - Self-portrait. Wash and graphite on paper, signed at the bottom by the artist in Latin letters "Ila Repine 1878", pasted onto a document bearing a handwritten inscription in Cyrillic characters in the artist's hand: "I certify that this self-portrait was indeed painted by me, on November 21, 1878, in Helsinki, Ilya Repin" with wax seal under paper at the bottom of the document, preserved under glass in an antique painted wood frame and frieze of gilded pearls. Good condition. Sight: drawing: H.: 16.5 cm - W.: 10 cm. Document: H.: 34 cm - W.: 12.5 cm. Frame: H.: 48 cm - W.: 25 cm. Biography: Before training as a painter, Ilya Yefimovitch Repine studied topography at the Military Academy, but two years later he joined the studio of icon painter I. Bounakoff in his native city. Bounakoff in his hometown of Chuguyev. In 1863, he took classes with Ivan Kramskoï and continued his training at the St. Petersburg Academy of Fine Arts. From 1872 to 1876, he received a scholarship from the Academy to study in Europe. On his return, he became an active member of the Société des Peintres Ambulants (a group of realist painters), then taught at the Higher Art Institute of the St. Petersburg Academy of Arts, and at the Maria Tenicheva School (1894-1907). He was appointed to the Imperial Academy of Fine Arts. Répine's work flourished in the 1880s. He composed a gallery of portraits of his contemporaries, worked as a painter of history and genre scenes, and is undeniably regarded today as one of the major painters of his time. Provenance: former private collection until 2000, then sold by Christie's in London on November 27, 2017 under no. 28. Reference: see another self-portrait by the artist in a pose quite similar to the one we present, painted in 1887, in "The Russian Vision - The Art Of Ilya Repin", by David Jackson, BAI Editions, 2002, page 219. This same work was presented in 2019 at the Petit Palais in Paris during the exhibition dedicated to the artist under the title "Ilya Répine (1844-1930), peindre l'âme russe" (Ilya Repin (1844-1930), painting the Russian soul), page 167 of the catalog.

Estim. 20 000 - 30 000 EUR

Lot 532 - ROERICH Nicolas (1874-1947) - Slavic Earth. Watercolor, gouache highlights and graphite on paper laid down on cardboard, signed lower right with the artist's initials, preserved under glass in a white-painted wooden frame. Slight traces of humidity and craquelure, but good overall condition, age wear to the frame. Sight: H.: 18.5 cm - W.: 25.5 cm. Frame: H.: 23.5 cm - W.: 31 cm. Biography: Nicolas Roerich was a Russian Symbolist painter. From 1893 to 1898, he studied at the Law Faculty of St. Petersburg University, then at the St. Petersburg Academy of Arts, notably as a pupil of Arkhip Kouïndji (1841-1910), one of the most original landscape painters of his time, with his play on materials and the effects of moon and sunlight. This theme is very present in Roerich's work. In 1900, he worked in Fernand Cormon's studio. The following year, he became secretary of the Association pour l'Encouragement des Arts (OPKh), before becoming director of the OPKh's drawing school in 1906. From then on, he undertook long stays in Russia's oldest cities. On his return, he exhibited his work in many foreign countries. He was an honorary member of the Salon d'Automne in Paris, and in 1910, when the Miriskousstva (World of Art) association was refounded, he became its president. From 1908 to 1914, he worked on sketches for theater productions and Russian ballets for Serge de Diaghilev in Paris and London. From then on, his work was regularly exhibited, and in 1920 he discovered New York, where he decided to settle for several years. In 1928, after several expeditions to Asia (Tibet and Mongolia), he settled in India. After the Russian Revolution, he lived between Paris and the United States. Highly committed to peace, in 1929 he was nominated for the Nobel Peace Prize by the University of Paris. His action for peace led the United States to sign the Roerich Pact on April 15, 1935. Provenance: former collection of Louis L. Horch and Netti S. Horch (1897-1991), friends and patrons of the artist, acquired in 1977, then kept by descent before being offered for sale at Christie's on May 28, 2012 in London under no. 33. Reference: this work is illustrated in the book "Roerich" by A. M. Prande, published in Riga in 1939, on page 38, sold in this sale under number 627.

Estim. 18 000 - 20 000 EUR

Lot 558 - BAKST Léon (1866-1924) - Costume design for the ballet Shéhérazade. Watercolor on paper signed lower left in Latin characters and stamped in ink: "December 1915". Folds and small accidents. H.: 50 cm - W.: 36.5 cm. Biography: Leon Bakst, born Léon Lev Samoïlovitch Rosenberg, signed his works under the pseudonym Léon Bakst, named after his grandmother. From 1883 to 1887, he studied at the St. Petersburg Academy of Arts under Pavel Tchistiakov and K. Vetchina. Between 1893 and 1896, he studied in Paris in Jean-Léon Gérôme's studio and at the Académie Julian, a private school founded in 1866 by French painter Rodolphe Julian and Finnish painter Albert Edelfelt. He then traveled extensively, to Germany, Belgium, France, Spain and Italy, and in 1897 to North Africa, and in 1907 to Greece. From 1906 to 1909, he taught painting at the Zvantseva School in Saint Petersburg. Between 1898 and 1903, he was one of the organizers and active members of the Association du Monde de l'Art. From 1891 to 1897, he took part in exhibitions organized by the Society of Russian Watercolorists, and between 1903 and 1910 by the Union of Russian Artists, and was a life member of the Salon d'Automne. In 1914, he became a member of the Academy and one of Serge Diaghilev's principal decorators for the Russian ballet seasons. He designed sets for the Mariisky and Alexandrinsky theaters in Petersburg, for the opera, for Ida Rubinstein's troupe and for other theaters in Europe. From 1909, he lived in Paris.

Estim. 10 000 - 15 000 EUR

Lot 561 - DELAUNAY Sonia (1885-1979) - Costume study for Tristan Tzara's "Coeur à Gaz", plate 4. Watercolor and graphite on cardboard, monogrammed lower left, dated (19)23, with handwritten annotations in French, excerpt from a text by Plato and drawing on reverse. This work is a preparatory study for an etching presented in 1970, taken from a selection of the artist's gouaches for the exhibition entitled "Sonia Delaunay - Quelques Peintures et Gouaches récentes" to coincide with the publication of the album "Avec moi-même". In this published version, the quotation from Plato on the reverse of the work does not appear. Some foxing, but overall good condition. H.: 21.5 cm - W.: 30.5 cm. Biography: Sonia Delaunay studied with Schmidt-Reutter in Germany in 1903. In 1905 she moved to Paris. She married Wihelm Uhde in 1909, and divorced him the following year in 1910. She studied at the Académie de la Palette and met Ozenfant and Dunoyer de Segonzac. In 1910 she marries Robert Delaunay. In 1912, she met Gueorgi Yakoulov. She creates her first "Compositions simultanées". In 1913, she met Blaise Cendrars, with whom she illustrated his Prose du Transsibérien. She begins exhibiting her work at Galerie Der Sturm in Berlin. In 1914, she exhibited Les Prismes électriques at the Salon des Indépendants in Paris. From 1914 to 1920, she lived in Portugal and Spain, and in 1918 designed her first sets and costumes for Serge Diaghilev, including Cleopatra. She returned to Paris in 1920. During this period, she created numerous fabrics with simple geometric motifs (squares, diamonds, circular bands). She opened a sewing studio with Jacques Heim in 1924, and the following year took part in the Arts Décoratifs exhibition in Paris. She worked on fabric design. In 1929-1930, she published two albums, Tissus et tapis and composition, couleurs, idée. She joined the Abstraction-Création group in 1932. From 1935 to 1937, she collaborated with Robert Delaunay on the creation of a mural for the International Exhibition, where she was awarded the gold medal. In 1939, she organized the first exhibition of new realities at the Galerie Charpentier with Robert Delaunay and Van Doesburg. History: For the theatrical presentation of one of his most important works, Tristan Tzara (1896-1963) asked his friend Sonia Delaunay to design the costumes. "Le Coeur à Gaz" is a Surrealist poem written in 1921: "considered one of the founding texts of the Surrealist movement, it perfectly embodies the aesthetics of the time. Tzara's provocative writing explores the limits of language and logic, creating a unique and avant-garde poetic work". Le Cœur à Gaz was first performed at the Galerie Montaigne (Champs-Élysées studio) in Paris, on June 10, 1921. A second performance took place during a Dada event at the Théâtre Michel in Paris, on July 6, 1923, as part of the "Cœur à barbe" evening, a name inspired by the single issue of the eponymous periodical, and the text byTristan Tzara. With staging by Siderski, costumes by Sonia Delaunay-Terk and Barthe and sets by Granovsky. At Paul Éluard's instigation, the evening is heckled by André Breton and his friends. Reference: "Avec Moi-Même", portfolio of ten copper engravings, printed by Jacques David, 1970

Estim. 2 000 - 3 000 EUR