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SOLOMON SAMSONOVICH BOIM (RUSSIAN 1899-1978)

watercolor and pencil on paper34 x 51 cm (13 3/8 x 20 1/8 in.) initialed lower left; signed, dated, and titled on versoPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim'spaintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.This lot is being sold without reserve.En savoir plus

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IVAN YAKOVLEVICH BILIBIN (RUSSIAN 1876-1942)
IVAN YAKOVLEVICH BILIBIN (RUSSIAN 1876-1942)Tsar Dadon Before the Shemakha Queen, illustration from The Tale of the Golden Cockerel, 1906watercolor, ink, and gilding on paper;23.3 x 30.2 cm (9 1/8 x 11 7/8 in.)signed and dated lower left; numbered 21 on verso; sold together with exhibition label, now detached EXHIBITEDIvan Bilibine Exposition, Alexandria, December 1924, ill. no. 21 in the catalogue.RELATED:Another version of this illustration is in the collection of the Pushkin Museum in Saint Petersburg, iIllustrated in G. B. Romanov, Mir Isskustva, (St. Petersburg: Global View, 2010), p. 144 and Sergei Golynets, Ivan Bilibin, (Pan Books: 1981), ill. no. 30. Shapiro Auctions
KIRILL MIKHAILOVICH ZDANEVICH (RUSSIAN 1892-1969)
KIRILL MIKHAILOVICH ZDANEVICH (RUSSIAN 1892-1969), "Mountains," 1919, ink on paper, 11.5 x 16.5 cm (4 1/2 x 6 1/2 in.), signed and dated bottom center Shapiro Auctions
RUSSIAN 20TH CENTURY ARTIST, East courtyard
RUSSIAN 20TH CENTURY ARTIST, \n[East courtyard], watercolor and pencil on thick paper, 44 x 36 cm (17 1/3 x 14 1/6 in.) \n\nPROVENANCE INFORMATION \n\nThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. Shapiro Auctions
HUANG YONGYU (CHINESE B. 1924)
HUANG YONGYU (CHINESE B. 1924)Owl, Flying Away, Closed Its Eyes, 1995ink and watercolor on paper68 x 68 cm (26 3/4 x 26 3/4 in.)signed and dated upper center left, bearing a dedicatory inscription upper left, titled upper center right and upper centerPROVENANCE Gifted by the artist to the mother of the present ownerLOT NOTESDuring the 1970s, Huang Yongyu began to move away from his previously established medium of woodcut printing into ink paintings of flowers, landscapes and birds. These same subjects were promoted by the Premier of the People`s Republic of China, Zhou Enlai, as appropriate for the visual consumption by foreigners visiting the country, and so were used by members of the Hotel School to decorate establishments patronized by international visitors. Meant to be beautiful and innocuous, the works were in direct contrast to the language used in art meant for the general Chinese population, focusing on inherently political Socialist Realist themes. It might be seen as surprising then, that Yongyu`s 1973 Hotel School painting of a winking owl caused the uproar that it did. The owl, as well as Yongyu`s now iconic paintings of the bird, have a complex cultural significance in China. Unlike the long-held view of the owl as a figure of wisdom in the West, traditionally in China, the image of the owl was filled with ominous connotations and seen as a harbinger of ill news. A popular Chinese saying keeping one eye open and the other closed implies that one is deliberately pretending not to see and ignoring wrongdoing, with some applying this interpretation to the facial expression of the winking owl, thereby giving the painting a controversial politicized reading as critical of the Cultural Revolution. None the less, the artist has always maintained that the expression is a mere example of a natural phenomenon, and is something commonly seen in owls. At the same time, however, since the 1950s there was a concerted official effort to improve the cultural image of the owl. The late `50s were a period of widespread famine in China, with many blaming sparrows and rodents for the destruction of already faltering crops. The owl was promoted as a natural enemy to these creatures and as such, an aid to people. Publications for children and young adults featuring the owl as a lovable protagonist, and even a film, were created to promote the raptor`s image, and did so successfully. Yongyu himself was an illustrator of children`s books and likely was familiar with the new “official” stance on the bird. This benevolent view of the creature, and the artist`s subsequent paintings of owls, such as the present lot, seems to be supported by numerous other public figures including American poet Paul Engle, the husband of the person to whom this painting was dedicated and gifted, and who knew Yongyu. Engle even used one of his later images of the owl to illustrate one of his works, Owl Replies, a poem about the bird published in Images of China, 1981, which could be seen as a direct reference to the work: One eye open, one eye closed / Both eyes closed, both eyes open / I`m still a better bird than you... inviting the viewer to become a wise owl with furious feathers / Sitting one eye open, one eye closed.... Shapiro Auctions
ARTHUR BURDETT FROST (AMERICAN 1851-1928), "I
ARTHUR BURDETT FROST (AMERICAN 1851-1928), "I Don't Get It," gouache, watercolor and ink on paper, 10 x 8 in. (25.4 x 20.3 cm), signed lower right. Shapiro Auctions

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