Abraham Manievich

Abraham Manievich (Russian/American, 1883-1942) Autumn faintly signed with initial in Latin (lower left), verso with applied exhibition label oil on board 35.8 x 38cm (14 1/8 x 14 15/16in). PROVENANCE: Collection of Lucy Manievich, daughter of the artist Collection of Pasha Kunst, cousin of the artist Thence by descent in the family to the present owner, c. 1954 EXHIBITED: American Artists School, New York (according to label on the reverse)

LOT 17 ABRAHAM MANIEVICH 1883-1942 EARLY SPRING signed in Latin l.r.; further inscribed with owner's name inLatin and Cyrillic and bearing exhibition label on reverse oil on canvas 120,000—180,000 GBP 84 by 86cm, 33 by 33 3/4 in. Description signed in Latin l.r.; further inscribed with owner's name inLatin and Cyrillic and bearing exhibition label on reverse oil on canvas PROVENANCE Arthur Horvatt, Geneva EXHIBITED Paris, Galerie Durand-Ruel, Exposition Manievich ,February 26 - March 15, 1913, no. 3, Soleil de Printemps LITERATURE AND REFERENCES G.Mourey, Catalogue des Peintures de Abraham Manievitch ,Galerie Durand-Ruel, Paris, 1913. no.3E.A.T., 'Studio Talk', International Studio , 49, no. 196,June, 1913: illustrated p.324 CATALOGUE NOTE Early Spring was a major work in Manievich's soloexhibition at Galerie Durand-Ruel in Paris in 1913. The exhibitionwas Manievich's second solo show and introduced his work to aninternational audience; the June 1913 issue of InternationalStudio featured a review that included a reproduction of theoffered lot, and the exhibition was reviewed for Russian languagenewspapers in Kiev, St. Petersburg and Vilnius by AnatoleLunacharsky and Ilya Ehrenburg. Manievich's first solo show at theKiev City Museum in 1909-19 firmly established his reputation andthe museum subsequently acquired one of his works for itscollection. Painted circa 1911 in what appears to be a public space or parkwithin the city of Kiev, Early Spring was one of thirteenManievich paintings owned by the Geneva collector Arthur Horvattincluded in the Durand-Ruel exhibition. The brilliant light anddazzling colour are characteristic of the artist's best work fromthis period, as is the imposing tree which is a signature Manievichcompositional device. The elegant, complex network of branches andshadows are described in short, thick brushstrokes which recall thelandscapes of the great Secessionist painter, Gustav Klimt. Thesimple wooden bench with its reclining back might be interpreted asa subtle suggestion of leisure and the Modern age. We are grateful to Alan Pensler for providing additionalcataloguing information.

ABRAHAM MANIEVICH (RUSSIAN 1881-1942) Winter, Backyard , 1929-1932 oil on canvas 58.4 x 53.3 cm (23 x 21 in.) signed lower right titled and dated on an old sticker attached to the back of the stretcher. We are grateful to Alan Pensler for confirming the authenticity of this painting. Additional Images (click to enlarge):

LOT 44 PROPERTY FROM A PRIVATE COLLECTION, NEW YORK ABRAHAM MANIEVICH 1883-1942 FALL SCENE signed A. Manievich (lower right) oil on canvas laid down on board 18,000—22,000 USD measurements 17 3/4 by 23 1/2 in., 45 by 59.5 cm Description signed A. Manievich (lower right) oil on canvas laid down on board PROVENANCE Leon Kobrin, New York (acquired directly from the artist)Thence by descent CATALOGUE NOTE We would like to thank Alan Pensler and Mimi Ginsberg forproviding additional catalogue information. Their forthcomingmonograph on Abraham Manievich will be distributed in the fall of2011.

LOT 41 PROPERTY FROM A PRIVATE COLLECTION, BETHESDA, MARYLAND ABRAHAM MANIEVICH 1881 - 1942 FLOWERS ON A FLORAL TABLECLOTH, CIRCA 1930 60,000—80,000 USD 30 1/2 by 22 in., 77.5 by 56 cm signed Manievich (lower left) oil on canvas PROVENANCE Estate of the ArtistPrivate Collection, FloridaAcquired directly from the above by the present owner CATALOGUE NOTE While typically known for his richly dynamic landscapes,Manievich devoted considerable energy to still life paintingbeginning in the late 1920s. These works are a continuation of hislife-long experimentation with color and form, combining a Fauvistpalette with an original sense of perspective and space. Flowerson a Floral Tablecloth epitomizes Manievich's work from thisperiod and shows his adventurous foray into unusual patterning.Pure swirls of color define the flower blossoms, vase andtablecloth, and thus the canvas is brought to life by vibrantpigment and abstracted form. We would like to thank Alan Pensler and Mimi Ginsberg forproviding additional catalogue information. The present lot will bereproduced in their forthcoming monograph on Abraham Manievich tobe distributed in the Fall of 2010.