Alexander Ossipovich Orlowsky

Alexander Orlovsky (1777-1832) A Cossack on horseback; and A Kirghiz on horseback the second signed with monogram and dated '18 AO 13' (lower left) both watercolour on paper both 15¾ x 12¼ in. (40 x 31.1 cm.) These works are reputed to have been in the collection of the Polish magnate family of Zamoyski. (2) A unique figure in the history of Russian Art, Alexander Orlovsky is as noted for his powerful battle scenes as for his distinctive and highly original caricatures, the popularity of which provided the motivation for their transformation into some of the earliest lithographs in Russia. The Dr R. Krystyna Tolczynska Dietrich Collection, which began in 1962 with the acquisition of five Orlovsky drawings, is unparalleled beyond the borders of Poland and Russia. The first comprehensive American exhibition dedicated to Orlovsky's work, held at the Hopkins Centre of Dartmouth College in Hanover, featured 50 works belonging to Dr Dietrich. Comprising of drawings, lithographs and an extremely rare oil, the significance of this collection is best expressed in the late Dr Dietrich's own words: 'I sometimes ponder on the previous owners of my drawings: they make a panorama of the history of Poland: the Zamoyskis; the Branickis, the Tarnowskis, Marshal Rydz-Smigly; Emeryk Hutten-Czapski; the Grand Duchess Olga, sister of the last Tsar; Colonel Roman Umiastowski, who gave the marching orders to men in Warsaw during World War II - and I realize they are not only works of art but also symbols of history.' A passionate advocate of Orlovsky's work, Dr R. Krystyna Tolcyznska Dietrich completed her Ph.D. in American studies from Columbia University, New York and went on to publish the first complete bibliography of books and pamphlets providing information on the artist. Of Polish origin, born in Warsaw into a gentrified if somewhat diminished family who soon after his birth acquired an inn in the provincial town of Siedlce, Orlovsky's talent was spotted at an early age by Princess Izabela Czartoryska, who in 1793 provided him as a pupil to the French-born artist Jean-Pierre Norblin de La Gourdaine, one of the most important painters of the Polish Enlightenment. From 1774 Norblin had worked for the magnate family of Czartoryski, becoming their court artist and drawing tutor to their children. Norblin had a great, almost father-like affection for Orlovsky and his influence on Orlovsky's subject matter, style and artistic approach is discernable throughout the younger artist's career. Of a passionate nature apparent from his self-portraits, Orlovsky entered the Polish army and participated in the successful but short-lived Warsaw uprising of 1794, returning to the city after being injured in battle. His artistic talent soon attracted the attention of Prince Jozef Poniatowski (1763-1813), nephew to King Stanislaw August Poniatowski (1732-1798) and he achieved a degree of fashion amongst the Polish nobility. In 1802, Orlovsky moved to St Petersburg, where, courtesy of his connection to Prince Adam Czartoryski, he enjoyed the patronage of Grand Duke Constantin Pavlovich (1779-1831), the second son of Emperor Paul I. Battle scenes, landscapes and caricatures remained his chosen subject matter, while later in his career he painted a significant number of portraits, his work becoming progressively less romantic and more realistic. Time spent in Russia did little to undermine his ethnic roots; Orlovsky continued to depict Polish types and landscapes throughout his lifetime. Politically progressive and a Decembrist sympathiser, Orlovsky became friends with a number of Russian intellectuals including Ivan Krylov (1769-1844) and Alexander Pushkin (1799-1837). He was one of the first artists in Russia to depict a multitude of ethnic types, the landscapes and character studies in which he portrays the beautiful and the bad in Russia foreshadowing the Russian realist works, which were to emerge in the second half of the 19th century. A formidable painter, Orlovsky was a draughtsman first and foremost, giving little consideration to the St Petersburg Academy's classification of drawing as undeniably secondary to painting at this time. A pioneer in the field of lithography, which occupied him significantly from 1816, Orlovsky's interest in this medium reflected more than just an artistic interest; the artist favoured a more democratic approach to art, entirely in keeping with his political sympathies. Well represented in the State Tretyakov Gallery, Moscow, the State Hermitage Museum, St Petersburg and the National Museums of Krakow, Warsaw and Berlin, Orlovsky's fame and ability for capturing his subject's was immortalised by Pushkin in Ruslan and Ludmila: Take your quick pencil, Orlovsky, draw the night and battle!

Alexander Orlovsky (1777-1832) A veteran of the Imperial Russian army signed with initials, inscribed and dated 'AO 1837/l'Invalide' (lower right), further inscribed 'Roul ta bosse.' (upper left) pencil and charcoal on paper 13½ x 7¾ in. (34.3 x 19.7 cm.) The collection of Marshal Edward Rydz-Smigly, 1920s. Colonel Tadeusz Rudnicki. Acquired from the above by the present owner in Paris in 1967. PROPERTY OF A DISTINGUISHED AMERICAN COLLECTOR Alexander Orlovsky preferred drawing to oil painting and his deft artistry is evident in A veteran of the Imperial Russian Army. This drawing is a fine example of his mastery in depicting military attire and insignia, a skill that was stressed by his patron the Grand Duke Konstantin Pavlovich, son of Emperor Paul I. The number of chevrons indicates this veteran's years of service and brings us back to 1794, the year of the Polish Insurrection. Orlovsky's superlative artistry was not overlooked by celebrated authors of the time. Alexander Pushkin, Adam Mickiewicz and Pyotr Vyazemsky all praised him in their writing - Pushkin in Ruslan and Ludmila, Mickiewicz in Pan Tadeusz and Vyazemsky in a poetic eulogy following the artist's death.

LOT 109 PROPERTY FROM A PRIVATE EUROPEAN COLLECTION ALEXANDER OSIPOVICH ORLOVSKY 1777-1832 PORTRAIT OF A LADY signed in Latin and dated 1806 l.l. watercolour over pencil on paper 3,000—5,000 GBP 22.5 by 17.5cm., 9 by 7in. PROVENANCE The Duval family Collection Thence by descent CATALOGUE NOTE Louis-David Duval was a Swiss jeweller to the Russian Imperialfamily. The sitter is thought to be one of his daughters.

Alexander Orlovsky (1777-1832) Giacomo Quarenghi wearing the Order of the Knights of Malta andplaying the flute pencil and watercolour on paper 9 x 8 in. (22.9 x 20.3 cm.) approximately With signed authentication by Alexandre Benois: 'Caricature dupeintre russo-polonais Alexandre Orlovsky sur le célèbre architecteitalien à la cour de Catherine II et d'Alexandre I GiacomoQuarenghi (1744-1817) qui fut souvent l'objet de la verve satyriqued'Orlovsky A. Benois' Special Notice VAT rate of 5% is payable on hammer price and at 17.5% on thebuyer's premium. Pre-Lot Text Property of a Distinguished American Collector Lot Notes Take your swift pencil, Draw at night, Orlovsky and mock! Alexander Pushkin, Ruslan and Ludmila Battle scene painter, engraver, lithographer and caricaturist,Alexander Osipovich Orlovsky was born in Warsaw in 1777. Histalents were discovered by Prince Adam Szartorysky who sent him tothe Warsaw Art School to be trained under the painter Jean-PierreNorblin de la Gourdaine. As a young man, he travelled extensivelyand took part in the Polish liberation movement and uprising of1794. He moved to Russia in 1802 where he settled in St Petersburgas a protegé of Grand Duke Konstantin Pavlovich and served as courtartist. In 1809, he received the title of Academician of BattlePainting which led to his appointment to the General Staff. The subject of this watercolour, Giacomo Quarenghi (1744-1817), wasborn in Italy and was appointed court architect by Catherine theGreat. His celebrated designs included the Alexander Palace inTsarskoe Selo and the Smolny Institute. After Catherine'ssuccessor, Emperor Paul, was elected Grand Master of the Knights ofMalta, Quarenghi joined the order and served as their officialarchitect. With his distinctive bulbous nose, Quarenghi was often the subjectof caricatures by his friend Orlovsky, other examples of which canbe found in the collections of the State Russian Museum, StPetersburg and the Pushkin Museum of Fine Arts, Moscow.

Alexander Orlovsky (1777-1832) Stallion rolling; with saddle signed with monogram and dated '1813' (lower right); numbered '19.' (upper left) pencil and ink on paper 12¾ x 19¼ in. (32.5 x 49 cm.) Provenance François-David Duval (1776-1854), Crown Jeweller to Tsar Alexander I from 1802-1820. By descent to the present owner.