BOGOMAZOV ALEKSANDR KONSTANTIN (1880 - 1930) early 20th Cent. Ukrainian oil on panel - apocryphally signed Bogomazov / attributed to BOGOMAZOV ALEKSANDR KONSTANTIN (1880 - 1930) olieverfschilderij op paneel : "Geanimeerde marine" - 56 x 82 apocrief getekend / toegeschreven aan
BOGOMAZOV ALEKSANDR KONSTANTIN (1880 - 1930) (UA) werk in gemengde techniek met inkt op papier met een surrealistisch thema - 29 x 21 op verso gemonogrammeerd en met annotaties / toegeschreven aan 20th Cent. Ukranian mixed media with ink on paper - with on the back a monogram and annotations / attributed to Aleksandr Konstantin Bogomazov
ALEKSANDR KONSTANTIN BOGOMAZOV (Jampil 1880–1930 Kiew) View from the window. 1913. Oil on canvas. Dated and with confirmation of authenticity by the artist's daughter verso. 34 × 34 cm. Provenance: - With Galerie & Edition Schlégl, Zurich. - Bühler Collection, Landhaus Waldbühl, Uzwil, acquired from the above gallery on 28.2.1992. Literature: WVZ Bogomazov? Our thanks to Galerie MODERNISM for confirming the authenticity of this work, May 2024. The paintings of Ukrainian artist Alexander Bogomazov are among the most sophisticated works of Cubo-Futurism, an avant-garde art movement that flourished in Eastern Europe at the beginning of the 20th century. The period in which the present work was made is pivotal in the artist's life, both personally and professionally. In 1913, Bogomazov married his fellow artist, muse and loyal partner Wanda Monastirskaja, who preserved his work and archive after his early death from tuberculosis. In 1914, together with Alexandra Exter, he organized the exhibition "Kol'tso" (Ring), an important exhibition of Cubo-Futurism in Kiev, where Bogomazov showed no fewer than 88 works and received considerable praise. In the same year, the artist completed his theoretical treatise "Painting and Elements", a detailed analysis of the creation and perception of art and its development through art movements. Bogomazov interpreted avant-garde art movements in his own personal way, softening the rigor of Cubism in his works but simultaneously honoring the Futurist pathos of dynamism. In "View from the window" the artist transforms a banal urban scene viewed through an open window into an exhilarating private experience of light, colors and shapes. For Bogomazov, the viewer is essential because he deconstructs an artist's conception and only through his impression transforms the work into a work of art. In "View from the window" Bogomazov invites us to look through his eyes and share his delight in the artistic interpretation of an everday reality. A central concern for Bogomazov is the transformation of the mundane in his paintings. It is wonderful to see how carefully the artist has constructed the composition of the present work to ensure that harmony is created between lines, shapes and colors. So the curved outlines of the curtains reflect the round clouds in the sky, the blue stripes on the windowsill the paneled walls of the wooden house, and the yellow street the houses in the background. The painting is a reverberant expression of Bogomazov's programmatic statement: "Art is the perfect rhythm of the elements that compose it. The painter is a sensitive resonator who reveals their pictorial difference." (Translated from: Zhivopis ta elementi, Kiev 1996, p. 12). ------------------------------------------------- ALEKSANDR KONSTANTIN BOGOMAZOV (Jampil 1880–1930 Kiew) Blick aus dem Fenster. 1913. Öl auf Leinwand. Verso datiert und mit der Bestätigung der Authentizität durch die Tochter des Künstlers. 34 × 34 cm. Provenienz: - Galerie & Edition Schlégl, Zürich. - Sammlung Bühler, Landhaus Waldbühl, Uzwil, am 28.2.1992 in obiger Galerie erworben. Literatur: WVZ Bogomazov? Wir danken der Galerie MODERNISM für die Bestätigung der Authentizität des Werks, Mai 2024. Die Gemälde des ukrainischen Künstlers Alexander Bogomazov gehören zu den ausgereiftesten Werken des Kubo-Futurismus, einer avantgardistischen Kunstbewegung, die Anfang des 20. Jahrhundert in Osteuropa ihre Blüte erlebt. Die Zeit, in der das vorliegende Werk entsteht, ist entscheidend im Leben des Künstlers, sowohl privat als auch beruflich. Im Jahr 1913 heiratet Bogomazov seine Künstlerkollegin, Muse und treue Partnerin Wanda Monastirskaja, die sein Werk und Archiv nach seinem frühen Tuberkulose-Tod bewahrt. Zusammen mit Alexandra Exter organisiert er 1914 die Ausstellung "Kol'tso" (Ring), eine wichtige Manifestation des Kubo-Futurismus in Kiew, wo Bogomazov nicht weniger als 88 Werke ausstellt und viel Lob erntet. Im selben Jahr beendet der Künstler seine theoretische Abhandlung "Malerei und Elemente", eine detaillierte Analyse der Entstehung und Wahrnehmung von Kunst und ihrer Entwicklung im Laufe der Kunstbewegungen. Bogomazov interpretiert die avantgardistischen Kunstströmungen auf seine ganz persönliche Weise, indem er die kubistische Strenge in seinen Werken mildert, aber gleichzeitig das futuristische Pathos der Dynamik ehrt. In "Blick aus dem Fenster" verwandelt der Künstler eine banale Szene einer städtischen Aussicht durch das offene Fenster in ein aufregendes privates Erlebnis von Licht, Farben und Formen. Für Bogomazov ist der Betrachtende entscheidend, denn er trägt im Wesentlichen dazu bei, die Konzeption eines Künstlers zu dekonstruieren und erst durch seinen Eindruck das Werk in ein Kunstwerk zu verwandeln. In "Blick aus dem Fenster" lädt Bogomazov uns ein, durch seine Augen zu sehen und die Aufregung der künstlerischen Interpretation einer gewöhnlichen Realität zu teilen. Denn ein zentrales Anliegen Bogomazovs ist die Übertragung des Alltäglichen in seine Gemälde. Wunderbar zu sehen ist, wie sorgfältig der Künstler die Komposition des vorliegenden Werks konstruiert hat, um sicherzustellen, dass zwischen Linien, Formen und Farben eine Harmonie entsteht. So spiegeln die geschwungenen Umrisse der Vorhänge die runden Wolken am Himmel wider, die blauen Streifen der Fensterbank die vertäfelten Wände des Holzhauses und die gelbe Strasse die Häuser im Hintergrund. Das Gemälde ist eine laute Manifestation von Bogomazovs programmatischer Aussage: "Kunst ist der vollkommene Rhythmus der Elemente, die sie bilden. Der Maler ist ein sensibler Resonator, der ihre malerische Differenz offenbart." (Übersetzt aus: Zhivopis ta elementi, Kiew 1996, S. 12).
Alexander Bogomazov, Ukrainian, 1880 to 1930, oil painting on canvas depicting an Avant Garde abstract composition. Signed on the backside. Provenance: Biennale Di Venezia, 1986, lot 770. A paper label is on the backside. Alexander Bogomazov or Oleksandr Bohomazov was a Ukrainian painter, cubo futurist, modern art theoretician and is recognised as one of the key figures of the Ukrainian avant garde scene. One of a kind artwork.
STILL LIFE Oil on canvas, mounted on cardboard, with handwritten confirmation on the reverse that it is a work by Aleksandr Konstantin BOGOMAZOV (1880-1930), 45 x 50 cm, frame: 61.5 x 56 cm On the back is written by hand in Russian: 'I confirm the work of my husband Professor A.K. Bogomasov - V. Bogomasova'.
Easel drawing by Alexander Konstantinovich Bogomazov. Triple portrait. 1916 It is a combination of three, multidirectional portraits, revealing the facets of the character of one person. The profile and face of a balding man in glasses, dressed in a suit, with a tie and a button on the lapel of his jacket, are clearly visible. The third silhouette combines both previous ones and is opposite to the profile. Represents radical materiality seen from the back of the head. If the profile drawing carries the plot of psychological characteristics, lifestyle; face - the inner, desired image of a tired lyricist; then the ball of a skull with an open mouth and prominent superciliary arches is rather an act of surprise, seen from the back of unfamiliar matter. And it acts as a frightening physical objectivity of a person. Although, in the heat of provocativeness, there is more methodological controversy with fellow workers; nevertheless, in a dispute in absentia with the Italian cubo-futurists, Bogomazov nevertheless clearly expands the tripartiteness to philosophical generalizations and a constructivist secret vision of matter. In the lower right corner (3rd portrait), 1916 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: “I certify the work of my husband AK Bogomazov: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.6 x52.6 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute of Restoration of the same year, Smolnikov’s own handwritten letter about the acquisition of six graphic works from the master’s family is attached . Width: 52.6cm, Height: 66.6cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7863
Alexander Konstantinovich Bogomazov. Graphic Portrait of a woman. 1916 A sharp-nosed and pointed-eyed lady with a headscarf and a veil. Impulsive figure and nature with a cuboid head covered with a veil. With an obligatory attribute of beautiful femininity - a feather falling from the head and a handkerchief in a claw-shaped hand. Her frustrated determination does not bode well. But how good she is in anger! The zigzags in the lower right part of the work are a possible allusion to the touching beauty of corset lacing, which we notice in the lady of the diagonally descending street. However, in the depths of imagery, there is more of a warm feeling of impressionistic transience than of the coldness of avant-garde manifestation. In the lower right corner, the initials of the master and the date: AB, 1916. On the back, in blue pencil, is the signature of Bogmazov`s widow Wanda: “I certify the work: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.5 x52.3 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and Smolnikov`s own handwritten letter about the acquisition of six graphic works from the master`s family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7862
Alexander Konstantinovich Bogomazov. Abstract composition. 1915. The probable starting point of abstract stylization was a still life form, where a large plant is guessed on the floor, shifted somewhat to the right, against the background of a window sill and a window under the slope of the roof. In the lower right corner, the initials of the master and the date: 1915, AB. On the back, in blue pencil, is the signature of Bogmazov`s widow Wanda: “I certify the work: V. Bogomazov. The inscription was made during the sale of works in 1979. Gray semi-cardboard, charcoal pencil. 66.5 x52.3 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and Smolnikov`s own handwritten letter about the acquisition of six graphic works from the master`s family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7861
Alexander Konstantinovich Bogomazov. Abstract Composition. 1916 It is possible that the landscape was the reason for the stylization: a house under a hipped roof, surrounded by a garden, where a feather hangs from the roof. In this case, the motif of a shady branch or rain streams rolling down on the window shutters. The volume of the house is well read at the heart of the composition. Around it, the crowns of garden trees form spheres, where they are spotted with apples, where with a vegetative chaos of bushes and herbs, where with a rain cloud, a tree trunk. Home comfort is created by paths near the house and branches hanging over the windows. In the lower right corner, the initials of the master and the date: AB, 1916. On the reverse in the lower left corner in pencil: Etr. 1080. Gray semi-cardboard, charcoal pencil. 66x52.2 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration for the same year, Smolnikov’s own handwritten letter about the acquisition of six graphic works from the master’s family is attached. Width: 52.2cm, Height: 66cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7860
Alexander Konstantinovich Bogomazov. Abstract Composition. 1916 A dynamic composition where a zigzag of lightning separates the opposing spheres and the pattern into genders. The reality of the rural landscape is cut through by clues in the lower case of the work. There, on the right, one of the spheres is a lush crown of a fruitful tree. On the left is a window with a window sill. In the middle: vertical logs of some kind of log house and a fragment of an open window or a perch, or maybe a stretcher. In the lower right corner, the initials of the master and the date: AB, 1916, Kyiv. Gray semi-cardboard, charcoal pencil. 52.4x33.2 cm. In addition to the examinations of the All-Russian Art Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and the actual Smolnikov`s handwritten letter about the acquisition of six graphic works from the master`s family. Width: 33.2cm, Height: 52.3cm, Depth: 0.3cm, Weight: 0.6kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7859
Alexander Konstantinovich Bogomazov. Graphic portrait of a woman with a book. 1915 The cubo-futuristic composition shows a lady reading. Squinting her eyes, she carefully dug into the book, which she holds with her claw-hands. The entourage of clothes is well read. Wide semi-circular lines of the dress, a button on a la sailors collar. In addition to the pointed fox look of a pretty young lady, the artist adds character to her in wide cheekbones and lowered corners of a focused mouth. Indicates a high hairstyle-hat with feathers. Bangs and intense knowledge personifies the mirror reflection of the book in the ladys head. An open book with bangs of pages covers the head and forms a rhombus of the cornerstone of knowledge. The atmosphere is supplemented, apparently, by diffused light from behind the heroine’s back, where on the right at the bottom you can guess the corner of the locker, and above under the feathers, a fragment, possibly with a reduced projection, of a window from which light enters the interior. However, there is more observation of the random depth of character. In the lower right corner, the initials of the master and the date: AB, 1915 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: “I certify the work of AK Bogomazov: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.5x52.3 cm. In addition to the examinations of the All-Russian Art Scientific and Restoration Center named after Academician I.E. Grabar for 2006 and the State Scientific and Restoration Institute of the same year, Smolnikovs handwritten letter is attached on the acquisition of 6 graphic works from the masters family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Pencil, ID: ID-ANTQ-7858
Aleksandr Konstantin Bogomazov (Ukrainian, 1880-1930) Aleksandr Konstantin Bogomazov (Ukrainian, 1880-1930) Street scene signed with initials and dated '1914' l.r., pencil 21.5 x 18cm Provenance: Collection of Mrs Cassio Horta; Sotheby Parke Bernet, New York, 'Russian and European Avant-Garde Art and Literature: 1905-1930', 6 November 1979, lot 131. Condition Report: Framed: 43 x 37cm Light creases to the upper and lower left corners and the lower right corner. There is a small 3mm tear to the right edge and a very light 2cm scratch to a plain area of the paper in the upper right corner. Light surface dirt. Examined out of the frame there are some small rips and tears to the edges with discolouration where the work has been covered by the mount, please see images. The work is attached to the board behind with a small piece of acid free tape in each corner.
Alexander Konstantinovich Bogomazov. Abstract Composition. 1916 A dynamic composition where a zigzag of lightning separates the opposing spheres and the pattern into genders. The reality of the rural landscape is cut through by clues in the lower case of the work. There, on the right, one of the spheres is a lush crown of a fruitful tree. On the left is a window with a window sill. In the middle: vertical logs of some kind of log house and a fragment of an open window or a perch, or maybe a stretcher. In the lower right corner, the initials of the master and the date: AB, 1916, Kyiv. Gray semi-cardboard, charcoal pencil. 52.4x33.2 cm. In addition to the examinations of the All-Russian Art Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and the actual Smolnikov`s handwritten letter about the acquisition of six graphic works from the master`s family. Width: 33.2cm, Height: 52.3cm, Depth: 0.3cm, Weight: 0.6kg, Condition: Good, Material: Сardboard, Pencil.
Easel drawing by Alexander Konstantinovich Bogomazov. Triple portrait. 1916 It is a combination of three, multidirectional portraits, revealing the facets of the character of one person. The profile and face of a balding man in glasses, dressed in a suit, with a tie and a button on the lapel of his jacket, are clearly visible. The third silhouette combines both previous ones and is opposite to the profile. Represents radical materiality seen from the back of the head. If the profile drawing carries the plot of psychological characteristics, lifestyle; face - the inner, desired image of a tired lyricist; then the ball of a skull with an open mouth and prominent superciliary arches is rather an act of surprise, seen from the back of unfamiliar matter. And it acts as a frightening physical objectivity of a person. Although, in the heat of provocativeness, there is more methodological controversy with fellow workers; nevertheless, in a dispute in absentia with the Italian cubo-futurists, Bogomazov nevertheless clearly expands the tripartiteness to philosophical generalizations and a constructivist secret vision of matter. In the lower right corner (3rd portrait), 1916 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: “I certify the work of my husband AK Bogomazov: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.6 x52.6 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute of Restoration of the same year, Smolnikov’s own handwritten letter about the acquisition of six graphic works from the master’s family is attached . Width: 52.6cm, Height: 66.6cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Сardboard, Pencil.
Alexander Konstantinovich Bogomazov. Graphic portrait of a woman with a book. 1915 The cubo-futuristic composition shows a lady reading. Squinting her eyes, she carefully dug into the book, which she holds with her claw-hands. The entourage of clothes is well read. Wide semi-circular lines of the dress, a button on a la sailors collar. In addition to the pointed fox look of a pretty young lady, the artist adds character to her in wide cheekbones and lowered corners of a focused mouth. Indicates a high hairstyle-hat with feathers. Bangs and intense knowledge personifies the mirror reflection of the book in the ladys head. An open book with bangs of pages covers the head and forms a rhombus of the cornerstone of knowledge. The atmosphere is supplemented, apparently, by diffused light from behind the heroine’s back, where on the right at the bottom you can guess the corner of the locker, and above under the feathers, a fragment, possibly with a reduced projection, of a window from which light enters the interior. However, there is more observation of the random depth of character. In the lower right corner, the initials of the master and the date: AB, 1915 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: “I certify the work of AK Bogomazov: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.5x52.3 cm. In addition to the examinations of the All-Russian Art Scientific and Restoration Center named after Academician I.E. Grabar for 2006 and the State Scientific and Restoration Institute of the same year, Smolnikovs handwritten letter is attached on the acquisition of 6 graphic works from the masters family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Сardboard, Pencil.
Alexander Konstantinovich Bogomazov. Graphic Portrait of a woman. 1916 A sharp-nosed and pointed-eyed lady with a headscarf and a veil. Impulsive figure and nature with a cuboid head covered with a veil. With an obligatory attribute of beautiful femininity - a feather falling from the head and a handkerchief in a claw-shaped hand. Her frustrated determination does not bode well. But how good she is in anger! The zigzags in the lower right part of the work are a possible allusion to the touching beauty of corset lacing, which we notice in the lady of the diagonally descending street. However, in the depths of imagery, there is more of a warm feeling of impressionistic transience than of the coldness of avant-garde manifestation. In the lower right corner, the initials of the master and the date: AB, 1916. On the back, in blue pencil, is the signature of Bogmazov`s widow Wanda: “I certify the work: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.5 x52.3 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and Smolnikov`s own handwritten letter about the acquisition of six graphic works from the master`s family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Сardboard, Pencil.
Alexander Konstantinovich Bogomazov. Abstract Composition. 1916 It is possible that the landscape was the reason for the stylization: a house under a hipped roof, surrounded by a garden, where a feather hangs from the roof. In this case, the motif of a shady branch or rain streams rolling down on the window shutters. The volume of the house is well read at the heart of the composition. Around it, the crowns of garden trees form spheres, where they are spotted with apples, where with a vegetative chaos of bushes and herbs, where with a rain cloud, a tree trunk. Home comfort is created by paths near the house and branches hanging over the windows. In the lower right corner, the initials of the master and the date: AB, 1916. On the reverse in the lower left corner in pencil: Etr. 1080. Gray semi-cardboard, charcoal pencil. 66x52.2 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration for the same year, Smolnikov’s own handwritten letter about the acquisition of six graphic works from the master’s family is attached. Width: 52.2cm, Height: 66cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Сardboard, Pencil
Alexander Konstantinovich Bogomazov. Abstract composition. 1915. The probable starting point of abstract stylization was a still life form, where a large plant is guessed on the floor, shifted somewhat to the right, against the background of a window sill and a window under the slope of the roof. In the lower right corner, the initials of the master and the date: 1915, AB. On the back, in blue pencil, is the signature of Bogmazov`s widow Wanda: "I certify the work: V. Bogomazov". The inscription was made during the sale of works in 1979. Gray semi-cardboard, charcoal pencil. 66.5 x52.3 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and Smolnikov`s own handwritten letter about the acquisition of six graphic works from the master`s family. Width: 52.3cm, Height: 66.5cm, Depth: 0.3cm, Weight: 1kg, Condition: Good, Material: Сardboard, Pencil
Aleksandr Konstantin Bogomazov (Ukrainian, 1880-1930) Aleksandr Konstantin Bogomazov (Ukrainian, 1880-1930) Street scene signed with initials and dated '1914' l.r., pencil 21.5 x 18cm Provenance: Collection of Mrs Cassio Horta; Sotheby Parke Bernet, New York, 'Russian and European Avant-Garde Art and Literature: 1905-1930', 6 November 1979, lot 131. Condition Report: Framed: 43 x 37cm Light creases to the upper and lower left corners and the lower right corner. There is a small 3mm tear to the right edge and a very light 2cm scratch to a plain area of the paper in the upper right corner. Light surface dirt. Examined out of the frame there are some small rips and tears to the edges with discolouration where the work has been covered by the mount, please see images. The work is attached to the board behind with a small piece of acid free tape in each corner.
Aleksandr BOGOMAZOV (1880-1930) ; Cubistic composition ; early 20th century ; charcoal on paper / framed ; dimensions 36,5 x 40 cm (14 1/3 x 15 3/4 in.) ; frame size 50 x 53,5 cm (19 2/3 x 21 in.) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
Aleksandr BOGOMAZOV (1880-1930) ; Cubistic composition ; early 20th century ; charcoal on paper / framed ; dimensions 36,5 x 40 cm (14 1/3 x 15 3/4 in.) ; frame size 50 x 53,5 cm (19 2/3 x 21 in.) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
*BOGOMAZOV, ALEKSANDR (1880–1930) By the Riverbank. Oil on canvas, 61 by 51.5 cm. Provenance: Private collection, USA. Russian Art, Sotheby's New York, 15 April 2008, lot 59. Acquired at the above sale by the present owner. Private collection, Switzerland. By the Riverbank is one of those rare early works by the outstanding artist and avant-garde theorist Aleksandr Bogomazov. Thanks to Alexandra Exter, a fellow-student at the Kiev Art School, Bogomazov began to take a keen interest in current world trends in painting, turning first to the work of the Post-Impressionists and Symbolists, later to Italian Futurism. He then tried out various techniques, ranging from Impressionist to Abstract. In the end, he reinterpreted everything and evolved his own artistic language, to which he gave formal expression in his treatise Painting and Elements. The landscape presented here dates from this formative period, one of an impassioned and radical creative artistic quest by Bogomazov and his Kiev workshop companions. It bears the stamp of Symbolist influence and the painting techniques characteristic of Post-Impressionism, where the driving force of the composition is a dot that lengthens into short, disciplined yet vigorous brushstrokes. Thanks to this technique, the subjects merge into a shared dynamic space where all the elements are equally important – the trees, the cloudy sky and the bend in the road with the bluish shadows cast on it, as well as the human figures – the only spot of vivid colour in the picture. In his treatise Bogomazov sets out the rationale for identifying the dot as the primary element of painting on the pictorial surface, writing that "movement leads the development from the dot to the line, the shifting of which produces area as a result." This, according to Bogomazov, gives rise to the phenomenon of a form that exists only from the "moment when the primary element moves" (A. Bogomazov, Painting and Elements. From the Treatise quoted in Nashe Nasledie. Istoriko-kulturny zhurnal, 1991, No. 2 (20), p. 144). Bogomazov’s field studies were no less important to him at the time. After being expelled from art school in 1905 for taking part in street protests, Bogomazov studied alongside Alexander Archipenko (1887–1964) under Sergei Svetoslavsky (1857–1931), a painter strongly influenced by the Barbizon School, who urged them both to adopt his Impressionistic plein air methods: "Go to the parks and look at the same place every day and every hour – then you will see how nature changes." It was when these formal searches came up against Bogomazov’s emerging interest in colour, rhythm and mobility of forms that his own recognisable style of the pre-avant-garde period came into its own. In 1908 Bogomazov took part in Kiev’s famous The Link exhibition, a landmark in the drive to establish a new kind of art. David Burliuk (1982–1967), the exhibition’s principal ideologist and organiser, marked its opening by publishing his manifesto An Impressionist’s Voice in Defence of Painting, in the magazine In the World of Art and the newspaper The Kievan. Burliuk explained that Russian Impressionism as practised by artist such as Bogomazov – originated in French Impressionism, but had been transformed by their pantheistic and primitivist mindset. The green-blue-pink colour range of By the Riverbank is typical of this stage. It reflects the connection between Bogomazov’s painting and the muted palette of the Symbolists, and also between his work and the impressions gained from the frescoes in the Cathedral of St Sophia in Kiev – and, of course, from his circle’s shared search for a way to express sound and colour sensations visually. It is no coincidence that, during these years, David Burliuk was writing his ‘impressionistic’ poems Lazy Blue and Green and Blue, and Exter’s contemporaries could see a ‘green coldness’ in her canvases (D. Burliuk, Fragmenty iz vospominaniy futurista, quoted in G.F. Kovalenko, Alexandra Exter, Galart, Moscow 1993, p. 181). Bogomazov’s surviving compositions from this period are extremely rare and mainly to be found in museum collections. The appearance at auction of an early work of such quality is an extraordinary opportunity for collectors to acquire an exquisite example of Bogomazov’s early ouerve. Starting Bid: 120000
Alexander Bogomazov (Russian, 1880-1930) oil painting on paper, Pine Forest, 1923. Signed lower right. Framed. The inscription, From G. R. Freiberger's collection of paintings, on the white label and on the board on verso.
Aleksandr BOGOMAZOV (1880-1930) ; Cubistic composition ; early 20th century ; charcoal on paper / framed ; dimensions 36,5 x 40 cm (14 1/3 x 15 3/4 in.) ; frame size 50 x 53,5 cm (19 2/3 x 21 in.) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
Ink on paper, signed with a monogram lower right, with label from Shepherd Gallery, NY. 11 1/2 x 8 3/4 in. (sheet), 21 x 15 in. (frame). John Richardson: A Scholar Collects
Aleksandr BOGOMAZOV (1880-1930) ; Cubistic composition ; early 20th century ; charcoal on paper / framed ; dimensions 36,5 x 40 cm (14 1/3 x 15 3/4 in.) ; frame size 50 x 53,5 cm (19 2/3 x 21 in.) ; signed lower right corner ; Shipping to USA - DHL $250 , National post with tracking service $120 / Shipping to EU, Russia, Middle Assia - DHL $150 , National post with tracking service $65
BOGOMAZOFF Alexandre Constantinovitch (1880-1930) Femme élégante marchant dans la rue. Fusain noir sur papier bleu, collé sur carton noir, non signé, circa 1915-1916, conservé dans un encadrement moderne. Bon état. À vue : H. : 25 cm - L. : 17 cm
BOGOMAZOFF Alexandre Constantinovitch (1880-1930) Autoportrait de l’artiste sur fond d’un village cubiste. Fusain noir sur papier bleu, collé sur carton noir, non signé, circa 1916-1917, conservé dans un encadrement moderne. Bon état. À vue : H. : 24, 5 cm - L. : 17 cm.
*BOGOMAZOV, ALEKSANDR (1880-1930) Väinämöinen Playing the Kantele Oil on canvas, 104.5 by 62 cm. Executed c. 1911. Authenticity of the work has been confirmed by Ya. Ivannikova, the artist’s daughter (inscription on the reverse). Authenticity has also been confirmed by the expert Yu. Rybakova. The work offered for auction, Väinämöinen Playing the Kantele, is a singular example of the artistic endeavours from the 1910s of Aleksandr Bogomazov, one of the leading lights in the Ukrainian avant-garde. When, in 1911, Bogomazov was sent by the newspaper Kievskaia Mysl to Finland to produce a series of landscape and genre studies, his work still reflected the strong influence of Blue Rose symbolism, in which nature is perceived as an illusionist substance, and the treatment of the subject, while retaining a resemblance to reality, aims at simplification and idealisation of form. The work presented here, which depicts a sculpture of the hero of the Finnish and Karelian Kalevala epic – the legendary minstrel and storyteller Väinämöinen, playing the kantele – was painted during that trip. In his treatise Painting and Elements (1914), Bogomazov was to write that “Painting is the perfect rhythm of the elements comprising it.” As though transmitting this thought visually, the picture Väinämöinen Playing the Kantele is marked by a unique rhythmic harmony of colour and form. The stylised tree branches, which seem to be slowly flowing downwards, and the moss on the rocks contrast here with the dynamic figure of the minstrel and storyteller, who appears to have come suddenly to life, with his left arm raised towards the sky, while the canvas’s colour scheme is eminently suitable for a stage set. The actual sculpture, erected in 1873 in the Mon Repos Park near Vyborg, was lost during the Soviet-Finnish War of 1939–1940. Restored in 2007, it is in the same spot where Bogomazov depicted it.
* BOGOMAZOV, ALEKSANDR (1880-1930) Composition with a Black Triangle , signed with initials and dated 1916. Oil on canvas, 52.5 by 52.5 cm. Inscribed in Cyrillic with an authentication by the artist's wife Vanda Bogomazova and dated 1979. Provenance: Estate of the artist. Acquired directly from the widow of the artist by the previous owner. Private collection, Europe. Authenticity of the work has been confirmed by the experts D. Sarabianov and A. Sarabianov. Authenticity of the work has also been confirmed by the expert M. Krasilin. Authenticity of the work has also been confirmed by the experts M. Valyaeva and I. Lomize. Authenticity of the work has also been confirmed by the expert Yu. Rybakova. This work by Aleksandr Bogomazov is one of the rare examples of the artist's mature Cubo-Futurist period. Painted in 1916, his Composition with a Black Triangle became the creative embodiment of his theoretical principles of painting. Between 1913 and 1915 Bogomazov was busy working on his treatise Painting and Its Elements, the most important theoretical work produced by the artist and quite possibly by the entire Cubo-Futurist movement in Russia. Without actually publishing this treatise in his lifetime, Bogomazov nonetheless put into practice the principles of painting that he had developed. He believed that an artistic image should not correspond to an actual object, but should be the product of the artist's interpretation and creative feelings. Bogomazov's primary aim was to convey the emotional mood evoked by the object being depicted. Having set out a detailed methodology for creating works of art in his treatise, Bogomazov strove for perfection in practice. Composition with a Black Triangle is one example of the experiments he undertook. The graphic arrangement of the painting is imbued with rhythms - in terms of colour, line and texture - that generate the inner motion of the composition. The non-figurative Cubo-Futurist composition is deliberately without a distinguishable top or bottom. Dynamism is imparted to the textured painting by aggressive brushstrokes and the combination of various geometric forms straining in different directions. The artist managed to capture energy on the canvas with the aid of his brush and endow it with huge artistic temperament. This approach to organising a painted surface, as well as vibrant contrasting dark blue, lilac and green hues, is characteristic of Bogomazov's creative work in the mid-1910s. In Kiev of the 1910s Cubo-Futurist works elicited an ambivalent reception from critics, and in 1915 Bogomazov decided to move to the Caucasus, to the village of Goris, which is where Composition with a Black Triangle was painted. While teaching drawing at the local school, the artist continued working on his theoretical treatise and pursuing his painting far away from civilisation, drawing inspiration from the exotic climes of the Caucasus. Despite his financial difficulties and life in Goris being far from simple, Bogomazov would share in letters to his wife Vanda Bogomazova (née Monastyrskaya) his vivid impressions of the landscape and his aesthetic observations. The works of his Caucasian period came to represent the next stage in Aleksandr Bogomazov's artistic career. As distinct from his early work, his creative output in the years 1915 to 1916 is more abstract and experimental. While visiting her husband in the Caucasus in 1916, Vanda Bogomazova wrote: "The scintillating colours in his new paintings are much more vivid and crystalline than in his previous work". Composition with a Black Triangle is among the last of Alexandr Bogomazov's Cubo-Futurist works, for soon after his return to Kiev in 1917 he was already concentrating on his teaching, and also engaging in agitprop art. Paintings by Bogomazov are very rarely encountered on the market and this work will certainly make a valuable addition to even the finest collection, as a shining example of the epoch of the experimental avant-garde.
BOGOMAZOV, ALEKSANDR (1880-1930) Composition , signed with initials and dated 1915, further inscribed with an authentication by the artist's wife on the reverse. Charcoal on paper, 39 by 28.5 cm.
BOGOMAZOV, ALEKSANDR (1880-1930) Composition , signed with initials and dated 1915, further inscribed with an authentication by the artist's wife on the reverse. Charcoal on paper, 40.5 by 31 cm.
BOGOMAZOV, ALEKSANDR (1880-1930) Old Kiev , signed with initials and dated 1913, further inscribed with an authentication by the artist's wife on the reverse. Charcoal on paper, 37 by 29 cm.
BOGOMAZOV, ALEKSANDR (1880-1930) Kiev , signed with initials, inscribed "Kiev" in Cyrillic and dated 1913, further inscribed with an authentication by the artist's wife on the reverse. Charcoal on paper, 34 by 26 cm.
* BOGOMAZOV, ALEKSANDR (1880-1930) Cityscape , signed with initials, inscribed "Kiev" in Cyrillic and dated 1915. Charcoal on paper, 28.5 by 35 cm. Provenance: Private collection, Europe. Authenticity certificate from the expert O. Glebova.
* BOGOMAZOV, ALEKSANDR (1880-1930) Landscape with a Boat , signed with initials and dated 1915, further inscribed with an authentication by the artist's wife on the reverse. Charcoal on paper, 34 by 29 cm. Provenance: Private collection, Europe. Authenticity certificate from the expert O. Glebova.
BOGOMAZOV, ALEKSANDR 1880-1930 Portrait of Vanda Monastyrskaya with a sketch of a landscape on the reverse, also inscribed in Cyrillic with an authentication by the artist's daughter A. Ivanikova Oil on canvas, 36 by 24 cm. Provenance: Acquired directly from the artist's family by the current owner. Related Literature: For a similar work, see Exhibition catalogue, A. Bogomazov, The State Russian Museum, Palace Editions, St Petersburg, 2008, p. 34. Alexander Bogomazov painted Vanda Monastyrskaya on several occasions, even before they got married in 1913. Five years before, they had met at the Kiev Art School, which they both attended. Vanda was not only Bogomazov's wife, but also his muse, supporting the artist in his creative work. It was to his wife that he dedicated his principal theoretical work, Painting and its Elements, which he accomplished in 1914. In 1916, Vanda wrote to her husband, "I want to tell you that you are not an ordinary mortal in art, that your work is sublime and profoundly beautiful, that in it there is the passionate power of lines, the movement of all molecules of the world..." The present work is possibly a preparatory study for another monochrome portrait of the artist's wife, exhibited at the State Russian Museum in 2008. However, Portrait of Vanda Monastyrskaya must be seen as a finished work, and is a striking example of Bogomazov's talent as a portrait painter.
BOGOMAZOV, ALEKSANDR 1880-1930 Abstract Composition c. 1913-1914 Oil on canvas, laid on cardboard, 35 by 34 cm. Exhibited: A. Bogomazov, Musee d'Art Moderne, Refectoire des Jacobins, Toulouse, 21 June- 28 August 1991. A. Bogomazov, The State Russian Museum, Palace Editions, St Petersburg, 2008. Literature: Exhibition catalogue, A. Bogomazov, Musee d'Art Moderne, Refectoire des Jacobins, Toulouse, 1991, p. 47, illustrated. Exhibition catalogue, A. Bogomazov, The State Russian Museum, Palace Editions, St Petersburg, 2008, p. 38, illustrated. Dating from 1913-1914, Abstract Composition is a rare work from what is undoubtedly the most important period in Bogomazov's oeuvre. By then, the artist had gone through to all the styles typical of the time, from Realism to Symbolism. In 1913-1914 however, under the influence of Italian Futurism, Bogomazov's style changed completely, and the artist painted his very best works. Having absorbed the lessons of Italian Futurism, his paintings of that time are full of movement and energy. Abstract Composition is a typical example of the artist's Futurist period. Building on his theoretical work, such as the treatise Painting and its Elements (1914), Bogomazov introduced the spiral into this dynamic composition, which he saw as a symbol for the ever-changing cosmos. Bogomazov had learned about the Italian Futurists through Alexandra Exter, whom he had met while studying at the Kiev Art School. Exter, who visited Paris on a regular basis, had a huge influence on the Ukrainian and Russian avant-garde, promulgating the latest tendencies in European art. In 1914, the two artists organized in Kiev the exhibition Kol'tso (The Ring), where Bogomazov showed 88 works. Nikolai Kulbin, the famous theoretician and patron of Russian Futurism, wrote on this occasion, "The latest discovery at the Kol'tzo exhibition is above all the work of Bogomazov. He is without any doubt an accomplished, real painter, who has embraced the values of the French school, but works independently." The main representative of the Ukrainian avant-garde, Bogomazov must also be seen as one of the best representative of Russian Futurism, together with such eminent artists as Natalia Goncharova and Mikhail Larionov. Despite its importance in understanding the development of the artistic avant-garde in Russia and Ukraine, Bogomazov's legacy is to a certain extent uncoordinated, and his works are rarely encountered outside the context of museums and exhibitions. The present work was included in the artist's first posthumous exhibition in the West, which took place in Toulouse in 1991, as well as in the first ever exhibition of the artist's work in Russia, which was organized by the State Russian Museum in 2008.
