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Nicolaj Konstantinov Roerich

Russian Federation (1874 -  1947 )
ROERICH Nicolaj Konstantinov Banner Of Peace

MacDougall's /Jun 3, 2015
126,502.19 - 189,753.28
Not Sold

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Variants on Artist's name :

Rerikh Nicolay Konstantin.

Roerich Nikolai Kostantinovich

Roerich Nicholas

 

Artworks in Arcadja
248

Some works of Nicolaj Konstantinov Roerich

Extracted between 248 works in the catalog of Arcadja
Nicolaj Konstantinov Roerich - Karelian Study, From Ladoga Series

Nicolaj Konstantinov Roerich - Karelian Study, From Ladoga Series

Original 1918
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Lot number: 26
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Description:
Nikolai Konstantinovich Roerich (Russian, 1874-1947) Karelian study, from Ladoga series, 1918 signed with monogram and dated '1918' (lower left); with inscriptions and inventory numbers (on verso) pencil and tempera on paper laid on board 19 x 38cm (7 1/2 x 14 15/16in). Footnotes Provenance Presented by the artist to Imogen Cunningham, a prominent photographer, San Francisco, circa 1921 Collection of Imogen Cunningham (1883-1976) and her husband, artist Roi George Partridge (1888-1984) Presented by Imogen Cunningham to the family of the present owner, between 1921-1934 Thence by descent Exhibited Helsinki, Salon Strindberg, Nicholas Roerich, Taidenäyttely (Nicholas Roerich Art Exhibition), 1919, no. 118 New York, Kingor Galleries; Boston, Boston Art Club; Buffalo, Albright Art Gallery; Chicago, Art Institute; St Louis, City Art Museum; San Francisco, The Nicholas Roerich Exhibition , 1920–1921, no. 166 Among the inscriptions on verso, several are in Roerich's hand. Thus, the number "118" and "Этюд" refer to the exhibition in Helsinki, which the catalogue lists as "118. Skiss från Karelen" in Swedish, and "118. Karjalasta. (Harjoitelmia)" in Finnish. The inscription "To Imogen C. Partridge(?). N Roerich" is partly in the artist's hand (his signature and the starting "To"). The original label 'No 166 — Rocks and Cliffs — Ladoga Series — $200' refers to the 1920-1923 exhibition tour. Nicholas Roerich, Taidenäyttely (Nicholas Roerich Art Exhibition), Salon Strindberg, Helsinki, 1919, p. 7, cat. no. 118 Christian Brinton, The Nicholas Roerich Exhibition , Redfield-Kendrick-Odell Company, Inc., New York, 1920, no. 166 (nos. 152–172, listed collectively as: Rocks and Cliffs — Ladoga Series We are grateful to Mr Gvido Trepša, Senior Researcher at the Nicholas Roerich Museum, New York, for his assistance in cataloguing this lot.
Nicolaj Konstantinov Roerich - Guru-guri Dhar

Nicolaj Konstantinov Roerich - Guru-guri Dhar

Original 1933
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Lot number: 116
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Nikolai Konstantinovich Roerich 1874-1947 GURU-GURI DHAR signed with a monogram l.l.; further inscribed in Latin and bearing Ilya Tolstoy's collection stamp on a label on the reverse tempera on paper 22 by 29.5cm, 8 3/4 by 11 1/2 in. Executed circa 1929-1933 The collection of Ilya Andreevich Tolstoy (1903-1970), American envoy to Tibet and member of the Explorers Club Thence by descent to the present owner Catalogue Note '…to the north of Kulu rise the white peaks of the main Himalayan range. Beyond them lies the road to Lahoul and Ladak and the main white giant is called Guru-Guri Dhar — the Path of the Spiritual Teacher', N.Roerich, Gods of Kaluta. We would like to thank Gvido Trepša, Senior Researcher, Nicholas Roerich Museum, New York, for providing additional catalogue information.
Nicolaj Konstantinov Roerich - Himalayas

Nicolaj Konstantinov Roerich - Himalayas

Original 1940
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Lot number: 44
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Various properties Nikolai Konstantinovich Roerich (Russian, 1874-1947) Himalayas, 1940 signed with artist's monogram (lower right); further titled, signed and numbered '53' (on verso) tempera on canvas 47.5 x 79cm (18 11/16 x 31 1/8in). unframed Footnotes Provenance Acquired by the grandfather of the present owner directly from the artist, c. 1930 Himalayas was painted during the last decade of Nikolai Roerich's life, which he spent in his estate in Kullu, a Western Himalayan valley located in Himachal Pradesh. During this time (1938–1947) he created about fourteen hundred paintings, a staggering output that marks a distinct and productive stage in his career. The majority of works from this period are currently in museums in Russia and India; the rest are mostly in private collections in India. There, in 1979, Roerich's paintings were declared national "art treasures" and were therefore banned from export. The present lot is one of the very few paintings from this period in private hands outside India. Nikolai Roerich is the only non-Indian of a total of nine artists whose works in India have been elevated to the highest status of national treasures. He is recognized unanimously as the unsurpassed "Master of Mountains," particularly regarding his beloved Himalaya. Roerich came to India in 1923 and spent his first year there painting Himalayan vistas that opened up from Darjeeling, as well as views from travels through Sikkim and Nepal. It was during this time that he found a renewed sense of creativity and artistic inspiration. For a philosopher and mystic, such as he was his whole life, the mountains were the best earthly counterparts to the shapes and sounds of the world's intangible subtleties. Their majestic forms helped him tell the story of his spiritual journey in terms that people from all walks of life could understand and connect to. In his own words: "Where can one find words with which to praise the Creator, after seeing the incomparable beauty of the Himalayas? ... Along the paths of the Guru, along the peaks of the Rishi, along the mountain paths of the pilgrims of the spirit, lies that treasure, which no torrents of rain can wear away, nor any lightning turn to ashes. He who walks towards the Good, is blessed on all paths." The present work is a quintessential example of Roerich's Himalayan landscapes. He depicts his timeless surroundings as a place of extremes. On one hand, you have the strong, dark blue outlines in the foreground that indicate a harsh, forbidding landscape. On the other, the mountain peaks in the background are treated with such lightness and delicacy that they seem almost to disappear into the sky above. The rich, nuanced range of blue tones exemplifies his intimate knowledge of how light transforms the mountain landscape. He is able to capture the moment when the pale dawn touches the rough rock faces and brings them to life. The present work constitutes a rare masterpiece by Roerich from the final period of his creative life. The verso of the painting bears the markings of the artist characteristic for this period. The title Himalayas and the signature are indisputably in his own hand. The number 53 enclosed in the double triangle corresponds to the list of his paintings for the year 1940. The numbers 11 and 25 most likely refer to the catalogue numbers of the exhibitions in India to which this painting was sent during the period between 1940 and 1947. We are grateful to Gvido Trepša, Senior Researcher at the Nicholas Roerich Museum, New York, for his assistance in researching the present lot and for providing this note.
Nicolaj Konstantinov Roerich - Banner Of Peace

Nicolaj Konstantinov Roerich - Banner Of Peace

Original 1931
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Lot number: 142
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Description: *ROERICH, NICHOLAS (1874-1947), Banner of Peace , signed twice with monograms “NR” and “MR”, inscribed “pax cultura” and dated 1931, further numbered “No. 38” on the reverse. Pencil and tempera on paper, laid on board, 15 by 23 cm (sheet size). Provenance: Roerich Museum, New York, USA, 1932–1935. Collection of Nettie and Louis Horch, USA, from 1935. Thence by descent. Private collection, USA. Exhibited: Roerich Museum, New York (permanent collection), 1932, No. 38. Banner of Peace, 1935-2015. Exhibition of Works by N. and S. Roerich Dedicated to the 80th Anniversary of the Signing of the Roerich Pact , MacDougall’’’’s, London, 25 February–13 March 2015. Literature: Nicholas Roerich’’’’s personal list of paintings from 1931, listed as “No. 38. Znamya mira”. Roerich Museum, inventory list (1931–1935), listed as “Banner of Peace. 1931. $500, sent to Paris for making postcard and later transshipped to New-York.” The present lot is a painting of the Banner of Peace , a symbol of the cause that earned Nicholas Roerich the nomination for the Nobel Peace prize in 1929 and which culminated in the signing of the Roerich Peace Pact by Franklin D. Roosevelt and representatives of twenty Latin American countries at the White House on 15 April, 1935. The Peace Pact called for the Banner of Peace to be flown over important cultural buildings and monuments to protect them from the destruction of war. The signing of the Peace Pact, “represented the culmination of Roerich’’’’s thirty-six year effort to focus international attention on the importance of preserving and protecting the world’’’’s cultural legacy.” (Jacqueline Decter, Nicholas Roerich , 1989) The painting portrays the symbol of the Roerich Peace Pact within a banner and with the words, “Pax Cultura” or “Peace through Culture” written underneath. To Roerich, Peace through Culture was an important belief and guided his many artistic works, as well as his teachings and organizational activities. As the artist stated, “Where there is Peace, there is Culture; Where there is Culture there is Peace.” The symbol of the three dots within a circle appears in about ten of Roerich’’’’s known works. This painting is the most official representation and the most widely-known painting of the Banner of Peace worldwide.
Nicolaj Konstantinov Roerich - The Monastery Alexander Newsky In St. Petersburg

Nicolaj Konstantinov Roerich - The Monastery Alexander Newsky In St. Petersburg

Original
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Lot number: 789
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Description:
Petersburg - 1947 Naggar (India) Notes: The Monastery Alexander Newsky in St. Petersburg. Oil on wood. 31 x 40cm. Framed. Verso: Several old adhesive labels on the panel: - Louisiana Purchase Exposition, St. Louis 1904 - Brandeis University Art Collection, Waltham, Massachusetts with the inventory no. 1971.692 R - U.S. customs note. Mr. Gvido Trepsa of the Roerich Museum in New York has been presented a photo of this painting in November 2014 and he confirmed the attribution to Roerich via e-mail. About seventy of the architecture studies Roerich made while travelling Russia around 1903 were afterwards exhibited in St. Louis, Missouri. The present work is listed under catalogue number 420 and it has been acquired by the New York Roerich Museum together with six more "Studies from Old Russia" in 1931. Since 1935 the work was in private ownership and subsequently it was in several American museums as a loan. Amongst others it was exhibited in the Brandeis University Collection, Waltham, Massachusetts in 1971. Artist or Maker: ROERICH, NIKOLAI KONSTANTINOVITCH
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