Nicolaj Konstantinov Roerich

Russian Federation (18741947 ) - Artworks
ROERICH Nicolaj Konstantinov Set Design For Prince Igor

Sotheby's /Nov 24, 2014
89,014.17 - 133,521.25
Not Sold

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Variants on Artist's name :

Rerikh Nicolay Konstantin.

Roerich Nikolai Kostantinovich

Roerich Nicholas

 

Artworks in Arcadja
233

Some works of Nicolaj Konstantinov Roerich

Extracted between 233 works in the catalog of Arcadja
Nicolaj Konstantinov Roerich - Secrets Of The Walls

Nicolaj Konstantinov Roerich - Secrets Of The Walls

Original 1920
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Price:

Lot number: 100
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Description:
Description: NIKOLAI KONSTANTINOVICH ROERICH (RUSSIAN 1874-1947) Secrets of the Walls , 1920 mixed media on canvas 50.5 x 76 cm (19 7/8 x 30 in.) monogrammed lower left LOT NOTES : The composition of Secrets of the Walls is nearly devoid of human presence, with the two lone figures dwarfed by the stern edges of the fortress and the promise of mountainous wilderness beyond its gates. As observed by Liudmila Korotkina, "nature, in [Roerich's] mind, is inseparably linked with human activities" (ref: Nicolay Roerich , (Leningdrad: Aurora, 1976), p. 6. The man-made landscape, in its pathetic fallacy, appears victorious in its ability to endure over generations of men passing by its walls. The bold combinations of burnt oranges and sparkling yellows contrast with the plum purples, showing the living fortress bathed in the midday sun. PROVENANCE : John T. Spaulding, Boston, 1920s Private Collection, California, until 1957 Private Collection, acquired from the above Sotheby's, New York, April 21-22, 2009, lot 44 Acquired by the present owner from the above EXHIBITED : Kingor Galleries, New York, December 1920-January 1921 Boston Art Club, Boston, February 1921 LITERATURE : Christian Brinton, The Nicholas Roerich Exhibition , (New York, 1921), no. 174 Corona Mundi International Art Center, Roerich , (New York, 1924), pl. [35] F. Grant et al., Roerich, Himalaya, A Monograph , (New York, 1926), p. 198 Elena Yakovleva, N.K. Roerich's Theater and Decorative Art , (Czech Republic, 1996), p. 70, ill.
Nicolaj Konstantinov Roerich - Trees, Sketch For A Painting

Nicolaj Konstantinov Roerich - Trees, Sketch For A Painting

Original
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Lot number: 24
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Description:
Nikolai Konstantinovich Roerich (Russian, 1874-1947) Trees, sketch for a painting signed with artist's monogram (lower left); stretcher inscribed with numbers '216' and '64' gouache and tempera on canvas 45 x 25cm (17 11/16 x 9 13/16in). Footnotes Provenance Nettie and Louis Horch collection, New York, c. 1935. Thence by descent. Private collection from 2010. Literature Paintings by Nicholas Roerich , 8th ed., New York: Roerich Museum catalogue, 1930, page 16, item 166
Nicolaj Konstantinov Roerich - The Doomed City

Nicolaj Konstantinov Roerich - The Doomed City

Original 1914
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Lot number: 46
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Description:
Description: * ROERICH, NICHOLAS (1874-1947) The Doomed City, signed with the artist's monogram and dated 1914, further signed twice, once with initials, titled, inscribed in Cyrillic "1.000 rub./Dlya Moskvy/V Moskvu na Bel'giiskuyu vystavku" and numbered "229" on the reverse. Tempera on cardboard, 51 by 75.5 cm. > Provenance: A present from the artist to Maxim Gorky, 1915. >Acquired by A. Hamann, Riga, before 2 January 1936. Important Russian Art , Sotheby's London, 28 November 2011, lot 7. >Acquired at the above by the present owner. Private collection, Europe. > Exhibited: World of Art Exhibition , Petrograd, 28 February-29 March 1915. Nikolaja Rēriha Muzejs (Nicholas Roerich Museum), Riga, October-November 1937. > Literature: Lukomor'e , 25 December 1914, No. 32, p.16, illustrated. >Exhibition catalogue, World of Art Exhibition , Petrograd, 1915, No. 229, listed. >A. Gidoni, "Tvorchesky put' Rerikha", Apollon , 1915, No. 4-5, pp. 1-34, mentioned in the text, illustrated between pp. 26 and 27. >Yu. Baltrushaitis et al, Roerich , Petrograd, Svobodnoe Iskusstvo, 1916, p. 167, illustrated and listed; p. 224, listed. >S. Ernst, N.K. Roerich , Petrograd, Obshchina Svyatoi Evgenii, 1918, p. 102, mentioned in the text, p. 125, listed, pl. [28], illustrated. >A. Yaremenko, Nikolai Konstantinovich Roerich. His Life and Creations During the Past Forty Years, 1889‒1929 , New York, Central Book Trading Co., 1931, pl. 29, illustrated. >N. Roerich, Listy dnevnika , vol. 2, Moscow, International Centre of the Roerichs, 2000, p. 34, mentioned in the text. > Nicholas Roerich. Paintings from the Collection of the Latvian State Museum of Art , Riga, Uguns, 1999, p. xxix. >V. Knyazeva et al, Rerikh. Prorochestva , Samara, Agni, 2004, mentioned in the text. > Nicholas Roerich's masterpiece The Doomed City is highly versatile in its symbolism, and managed to reflect the state of mind of modern society at the time so well, that every viewer who saw the painting could not help but respond to what is unfolding before him. > It is not possible to interpret the artist's intended meaning outside of the social context of the time. At that time, Roerich himself experienced a major existential crisis, connected with the breakdown of all that represented deep philosophical and ideological values for him. The geopolitical crises and the concomitant collapse of cultural and humanistic foundations certainly deeply affected Roerich as an artist. Thus, the work offered here for auction, despite its metaphorical associations, is, first and foremost, an emotionally saturated and deeply-felt allegory for the power of human spirit and the inviolability of true values and ideals. > This magnificent work, with its impressive imagery and colours, has left an indelible mark not only in the cultural life of its contemporaneous society, but it continues to be reborn within historical, political and spiritual contexts, as well as continuing to delight and inspire awe. Over the years, it can be seen as acquiring a new, life-affirming meaning; conveying the deeply entrenched, universal belief that, no matter how strong or evil the enemy, goodness will triumph and defeat the "great serpent", that menacing embodiment of the encroaching forces of darkness. Moreover, thoughthe imagery of the Heavenly City, the idea of salvation through cultural and spiritual values is also emphasised. > This idea is further developed in Roerich's next series, Sancta, represented here by the work And We Continue Fishing . Its main protagonists are monks who symbolise the primacy of the spiritual, while the rising sun personifies faith in the life-affirming power of Christianity. This work is in so many ways truly unique and can take one of the most honourable places in any respectable collection. > The Doomed City is one of several works painted by Nicholas Roerich shortly before the start of World War I. They have a strong current of foreboding, both in the dark colour palette and unsettling symbolic elements. When war broke out in July of 1914, the public and critics alike declared these works "prophetic." Roerich himself described the impetus behind these works in his blank verse poem Dream : > "Before the war came dreams: We are crossing a field. Dark clouds over a hill. A Storm. There, piercing the cloud, like a flash of lighting hitting the ground, stands a fiery serpent. With many heads. Or: we are crossing a grey plain. A dark hill towers above. Another look, and it's not a hill, but a serpent like a grey pillar twirling. > ...Then, there were omens. Ignored. Dismissed. Overlooked. Trampled over by the masses. And, alas, awoke the serpent. Arose the enemy of mankind. Trying to conquer the world with malignant power. Destroy cities. Desecrate temples. Burn people and homes. Arose to meet his death." (Yu. Baltrushaitis et al, Roerich , Petrograd, Svobodnoe iskusstvo, 1916, p. 191.) The vision of the serpent - Satan, the enemy of mankind - found its expression in the paintings The Doomed City, The Dead City , and Cry of the Serpent . The creature takes over the scene, encircling the city like a river of hot magma. Its skin is jewel-like amid the dreary grey tones of the landscape, holding the city, and our attention, hostage. But the blood red that glows under specks of blue foreshadows the blood of war, and the familiar outlines of a metropolis becomes a metaphor for the whole of Europe. As a contemporary critic noted: " The Doomed City is especially beautiful, both in concept and in execution - encircled by an enormous fiery serpent, under the spell of its evil, piercing eyes." The tension between beauty and an undercurrent of violence is what makes this painting especially powerful. > The first owner of the painting was the famous Russian writer Maxim Gorky, who selected it himself. In one of his diary leaves , Roerich described the occasion: "He was determined to have a painting by me. From those that I had at the time, he chose not some realistic landscape but one of the so-called 'pre-war' series - The Doomed City , which was fitting for his poet's nature." (N. Roerich, Listy dnevnika , vol.2, Moscow, International Centre of the Roerichs, 2000, p. 34.) Gorky parted with it most likely during his stay in Italy during the 1920s. The next record of the painting is from a 1937 exhibition in the Roerich Museum in Riga, Latvia, for which it was lent by its new owner, Mr. Hamann. More recently, it surfaced in the auction world. > We are grateful to Gvido Trepša, Senior Researcher at the Nicholas Roerich Museum, New York, for catalogue information .
Nicolaj Konstantinov Roerich - Set Design For Prince Igor

Nicolaj Konstantinov Roerich - Set Design For Prince Igor

Original 1908
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Lot number: 7
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Description:
Nikolai Konstantinovich Roerich 1874-1947 SET DESIGN FOR PRINCE IGOR signed in Cyrillic and dated 908 l.l.; further titled and inscribed on exhibition labels on the reverse tempera, pastel and charcoal on paper laid on board 46 by 62.5 cm, 18 by 24 3/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance The collection of P.A.Pletnev, St Petersburg Acquired by the grandfather of the present owner in St Petersburg in 1910 Exhibited Moscow, VII Exhibition of the Union of Russian Artists, 26 December 1909 - 8 February 1910 St Petersburg, VII Exhibition of the Union of Russian Artists, 21 February 1910 - 31 March 1910 Brussels, Palais des Beaux Arts, Exposition d'Art Russe, ancien et moderne, May - June 1928, no.827 Literature Ogonek, 16/26 May 1909, no.20 p.17, illustrated and titled Steny Putivlya - Plach Yaroslavny (Knyaz' Igor) Exhibition catalogue VII Exhibition of the Union of Russian Artists, 1909, p.20 listed Yu.Baltrushaitis et al., Rerikh, Petrograd: Svobodnoe iskusstvo, 1916, p.216 listed S.Ernst, N.K.Rerikh, Petrograd: Obshchina Sv.Evgenii, 1918, pl.50 illustrated, titled Knyaz' Igor / Gorodskaya ograda, 1909 F. Grant et al., Roerich, Himalaya, A Monograph, New York: Brentano Publishers, 1926, p.190 listed Exhibition catalogue Palais des Beaux Arts, Exposition d'Art Russe, ancien et moderne, Brussels, 1928, p.78, no.827 listed E.Yakovleva, Teatral'no-dekoratsionnoe iskusstvo N.K.Rerikha, Samara: Agni, 1996, p.116, illustrated (incorrect dimensions and later provenance) The 1909 production of Prince Igor was among Roerich's very earliest collaborations with Diaghilev and the Ballet Russes. His set designs were a tremendous success. 'This will make you great' predicted the director, Alexander Sanin. 'If you had never been born, we would have needed to create you in order to dream up Prince Igor'. Valentin Serov was equally impressed by Prince Igor and wrote to congratulate Roerich on the success of his Paris set designs. A number of variations for the Polevetsian Camp are known, but the present work is a rare example of his design for Act IV, Yaroslavna's Lament. Acquired in Russia over a century ago, it has remained in the same family collection ever since. It was the only work by Roerich to have been included in the 1928 Brussels exhibition. The paper has been laid down on board, the corners of which have been cut round. The board is slightly bowed. The paper has become detached from the board in the bottom corners and is undulating in these areas. There is a tear across the signature in the bottom left corner, and a smaller tear in the bottom right corner. There is another small tear to the centre of the bottom edge. Cardboard strips have been glued to the edges in order to protect the surface from the glass. Areas in the foreground and the central tower show signs of minor rubbing, the pigments appear fresh otherwise. Held in a gold painted wooden frame behind glass. Unexamined out of frame. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Nicolaj Konstantinov Roerich - Castles Of Gessar Khan

Nicolaj Konstantinov Roerich - Castles Of Gessar Khan

Original 1929
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Gross Price
Lot number: 25
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Description:
Nicholas Roerich (1874-1947) Castles of Gessar Khan signed with artist's monogram (lower right); inscribed in Russian 'Cas[tles] of Ges[sar] Khan, N. 2, 1928-1929' (on the reverse) gouache on board 8¼ x 10¾ in. (21 x 27.3 cm.) Painted in Tibet in 1928 Roerich, Museum, New York. Louis and Nettie Horch. Sponder Collection. Anonymous sale, Christie's, New York, 24 October 2002, lot 28. Anonymous sale, Tajan, Paris, 26 June 2003, lot 104. Acquired at the above sale by the present owner. PROPERTY OF A NEW YORK COLLECTOR Roerich Museum catalogue, New York, 1930, numbered between 917-926. We are grateful to Gvido Trepša, Senior Researcher at the Nicholas Roerich Museum, New York for his assistance in cataloguing this work.
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