Jun 6, 2017
Artworks in Arcadja220
Some works of Piotr Petrovich KonchalovskyExtracted between 220 works in the catalog of Arcadja
Auction: Sotheby's -Nov 27, 2018 - LondonLot number: 143
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STANDING NUDE BYA STREAM Petr Petrovich Konchalovsky 1876-1956 signed in Cyrillic l.r.; further signed in Latin, numbered 1016 and dated 1932 on the reverse; also inscribed with a dedication by Mikhail Konchalovsky and bearing the remnants ofa label on the reverse oil on canvas 72.5 by 58cm, 28 1/2 by 22 3/4 in.
Auction: MacDougall's -Jun 6, 2018 - LondonLot number: 72
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Description: KONCHALOVSKY, PETR Still Life with a Lemon and a Teapot signed with initials and dated 1929, also further signed, numbered "740" and dated on the reverse. Oil on canvas, 17 by 23.5 cm. Provenance: Imperial and Post-Revolutionary Russian Art, Christie\’s London, 10 October 1990. Acquired at the above sale by the previous owner. Thence by descent. Collection of an English gentleman, UK.
Auction: Sotheby's -Jun 5, 2018 - LondonLot number: 114
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THE CHURCH OF SAINTSBORIS AND GLEB IN NOVGOROD Petr Petrovich Konchalovsky 1876-1956 signed in Cyrillic l.r.; further signed in Latin, titled in Cyrillic,numbered 565 and dated1925 on the reverse oil on canvas 73 by 92cm, 28 3/4 by 36 1/4 in. Provenance A gift from the artist to Vasily Dmitrievich Tikhomirov (1876-1956), Moscow Lydia Vladimirovna Tikhomirova, the widow of the above Thence by descent toher granddaughter, Lydia Olegovna Abrikosova, Moscow A gift to the present owner Exhibited Moscow, Tsvetkov Gallery, Tretya vystavka kartin i risunkov P.P. Konchalovskogo, 1926, no.27 Harbin, Tokyo and Aomori,Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, June 1926 - November 1927 Literature Exhibition catalogue Tretya vystavka kartin i risunkov P.P. Konchalovskogo, Moscow: Khudozhestvennyi otdel Glavnauki, 1926, no.27 listed as Borisi Gleb Konchalovsky. Khudozhestvennoe nasledie, Moscow: Iskusstvo, 1964, p.111 listed aszhi 453 Catalogue Note The Church of SaintsBoris and Gleb in Novgorod was painted during Konchalovsky's first visit to Veliky Novgorod in 1925, as part of a series of views of Novgorod'smedieval monasteries. Over the previous year or so Konchalovsky had participated in the Venice Biennale and held a solo exhibition in Paris, and had taken the opportunity to travel in Italy, France and England with his family. 'It became clear that we knew Europe inside out but we did not know our own frescoes', his wife recalled.'As soon as Petr Petrovich came back we set out to Veliky Novgorod. We spent three consecutive summers near Novgorod,on Lake Ilmen and the Antoniev Monastery. It was an important period for Petr Petrovich, as far as hisartwas concerned. He gave so much of his creative powers toNovgorod'swonderful architecture and the surrounding nature...' (quoted in Unknown Konchalovsky, Moscow, p.113). Theoriginal owner of The Church of SaintsBoris and Gleb in Novgorod, Vasily Dmitrievich Tikhomirov, was an old friend ofKonchalovsky'sand aninfluential ballet dancer and choreographer. The head of the Bolshoi from 1924 to 1937, he is widely credited with preservingits vigorous classical techniqueafter the Revolution. His most distinguished production is The Red Poppy (1927),the first Soviet ballet with a modern revolutionary theme. According toTikhomirov's granddaughter, Lydia Abrikosova, from 1936 onwardthepicturehung in Tikhomirov's study alongside otherworks from his collection includingpaintings by Vasily Polenov.
Auction: MacDougall's -Jun 7, 2017 - LondonLot number: 62
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Description: KONCHALOVSKY, PETR (1876-1956) Ray of Sun in the Forest, signed, also further signed, numbered "862" and dated 1930 on the reverse. Oil on canvas, 63.5 by 72.5 cm. Provenance: Collection of Ekaterina Semenova, the artist\’s granddaughter. Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: P. P. Konchalovsky. Vosmaia personalnaia vystavka. 1930–1932, Vsekokhudozhnik, Moscow, 1932. P. P. Konchalovsky. Desiataia personalnaia vystavka. XXXV let tvorcheskoi deiatelnosti, Moscow Association of Artists, Moscow, 1941. P. P. Konchalovsky. Chetyrnadtsataia personalnaia vystavka proizvedenii. K 40-letiiu tvorcheskoi deiatelnosti, Moscow Association of Artists, Moscow, 1947. Petr Petrovich Konchalovsky. Piatnadtsataia personalnaia vystavka proizvedenii. K 75-letiiu so dnia rozhdeniia, Academy of Fine Arts of the USSR, Moscow, 1951. P. P. Konchalovsky, Shestnadtsataia personalna?a vystavka proizvedenii, Moscow–Leningrad, 1956. P. P. Konchalovsky, K stoletiiu so dnia rozhdeniia, Moscow, 1976. Literature: V. Nikolsky, Petr Petrovich Konchalovsky, Moscow, Vsekokhudozhnik, 1936, p. 57, illustrated as Osen; p. 17, listed as Luch solntsa v lesu. Exhibition catalogue, P. P. Konchalovsky. Desiataia personalnaia vystavka. XXXV let tvorcheskoi deiatelnosti, Moscow– Leningrad, Iskusstvo, 1941, p. 18, listed under works from 1930. Exhibition catalogue, Vystavka proizvedenii Narodnogo khudozhnika RSFSR i laureata Stalinskoi premii P. P. Konchalovskogo, Moscow, 1947, p. 14, listed under works from 1930. K. Kravchenko, Petr Petrovich Konchalovsky, Moscow–Leningrad, Isskustvo, 1949, p. 26, mentioned in the text. Exhibition catalogue, Petr Petrovich Konchalovsky. Piatnadtsataia personalnaia vystavka proizvedenii. K 75-letiiu so dnia rozhdeniia, Moscow, 1951, listed under works from 1930. Exhibition catalogue, Vystavka proizvedenii P.P. Konchalovskogo, Moscow, 1956, p. 21, listed under works from 1930. Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, pl. 87, illustrated; p. 125, listed as \“zhi 715\”. M. Neiman, P. P. Konchalovsky, Moscow, Sovetskii khudozhnik, 1967, listed under works from 1930. A. Korzukhin, P. Konchalovsky. Kraski zemli, Moscow, Sovetskii khudozhnik, 1974, p. 24. Exhibition catalogue, P. P. Konchalovsky, K stoletiiu so dnia rozhdeniia, Moscow, Sovetskii khudozhnik, 1976, listed under works from 1930.
Auction: Sotheby's -Jun 6, 2017 - LondonLot number: 58
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Petr Petrovich Konchalovsky WOMEN BATHING UNDER THE WILLOWS signed in Latin, titled Vetly in Cyrillic, numbered 441 and dated 1922 on the reverse oil on canvas 138 by 178cm, 54 1/4 by 70in. Provenance Collection of the artist's nieces, Elena and Natalia Konchalovskaya, Paris Gift from the above to the present owner Literature P.Muratov, Zhivopis' Konchalovskogo, Moscow: Tvorchestvo, 1923, illustrated between pages 80 and 81 V.Nikolsky, Petr Petrovich Konchalovsky, Moscow: Vsekokhudozhnik, 1936, listed as Kupan'e Konchalovsky. Khudozhestvennoe nasledie, Moscow: Iskusstvo, 1964, p.106 listed as zhi 350 Catalogue Note In 1920, inspired by the landscape at Kuntsevo and Abramtsevo, Konchalovsky abandoned the interior portraits and natures-mortes that had been the mainstay of his oeuvre for the past decade and turned instead to living nature. As he escaped the confines of his studio and the urban surroundings of Moscow his previously bright palette changed to one \\\‘built on the play of shades of green which quietly blend with the browns used for the buildings and pine trunks, grey for poplar trunks. A grey-blue sky tops off the landscape compositions\\\’ (V.Turchin, Petr Konchalovsky, p.136). The primacy of Cézanne\\\’s influence gave way instead to that of the Old Masters, John Constable and the Barbizon school. The works of the Abramtsevo series are joyful studies in green. The English artist Constable had first pioneered the use of bright greens in landscape painting in order to replicate nature as it truly was, not as convention dictated it was painted. As Eugène Delacroix recalled in a journal entry dated 23 September 1846, \\\‘Constable said that the superiority of the green he uses for his meadows derives from the fact that it is composed of a multitude of different greens\\\’. Although largely unappreciated by his countrymen, Constable\\\’s revolutionary approach to landscape painting and his upending of the traditional pictorial hierarchy paved the way for the French landscape painters of the 19th century, most notably the Barbizon school. In the autumn of 1920 Konchalovsky visited the opening of the Barbizon exhibition in Moscow. This was to have a profound influence on him and his approach to landscape painting and he returned to Abramtsevo brimming with ideas. He later recollected that in these paintings of the park at Abramtsevo his aim was to paint trees as the Old Masters had, logically growing out of the ground from their roots right up to the tips of their leaves. Before setting down to paint, he would take his time waking around the grove to find the best spot and to really understand the lay of the land and discover the inherent natural logic and rhythm within it. \\\‘One cannot take everything one sees, one must generalise, select…\\\’(quoted in Khudozhestvennie nasledie, p.27). Savva Mamontov\\\’s estate was nationalised after the Revolution but the area continued to attract artists. Konchalovsky\\\’s contemporary and fellow founding-member of the Jack of Diamonds, Ilya Mashkov, also painted the landscape around Abramtsevo at this time. Mashkov's painting Bathers (fig.1) depicts a strikingly similar scene of a group of female bathers swimming in a pond in a clearing. Bathers was exhibited in 1923 at the succinctly named Vystavka kartin, an exhibition that was essentially a reunion of the original Jack of Diamonds artists as well as a public declaration of the continued relevance of easel painting in the age of constructivism. One of Konchalovsky\\\’s exhibits is listed in the catalogue as Willows (Vetly), the same title given by the artist on the reverse of the present lot. The painting exhibited was either this painting or the other composition from 1922 with the same title which is listed in Khudozhestvennie nasledie as being in a collection in London. Women Bathing under the Willows was published in Pavel Muratov\\\’s monograph on Konchalovsky in 1923 while the artist was still working on the painting. It is not therefore included in the listings from 1922 but is illustrated in its unfinished state, (fig.3) still with areas of blank canvas and without the child in the woman's arms. The work was taken to Paris not long after it was painted, where it hung in the apartment of the artist\\\’s brother Dmitri and his daughters Elena and Natalia in the rue Boulard. The present owner received it as a gift from the two sisters. Fig. 1 I.Mashkov, Bathers, 1922