acrylic on Japanese paper over silk. Kite Kaku, N. Yoshizumi, O. Okawauchi. 182 x 182 cm PROVENANCE Commissioned by Dr. Paul Jubel, director of the Goethe-Institut in Osaka, in 1987 (The artist made two Kites for the commission). LITERATURE Kartiny dlya neba Art Kites. Katalog vystavki. Prestel Pub, 1992 g. Kartiny dlya neba. Moskva, TsDKh, 1990 L'Art prend l'air. Cerfs-volants d'artistes. Art Kites Pictures for the Sky The Montreal Museum of Fine Arts, Montreal, Canada. 17 June 1993 – 26 September 1993 Art Kites Pictures for the Sky. Expo Sevilla, Pabellón de Bellas Artes, Sevilla, Spain. 04 June 1992 – 23 June 1992 Art Kites Pictures for the Sky. Galleria nazionale d'arte moderna e contemporanea, Rome, Italy. 05 March 1992 – 17 May 1992 Art Kites Pictures for the Sky. Promotrice delle Belle Arti, Turin, Italy. 19 October 1991 – 08 December 1991 Art Kites Pictures for the Sky. Charlottenborg, Copenhagen, Denmark. 24 August 1991 – 29 September 1991 Kunstdrachen. Bilder für den Himmel. Art Kites Pictures for the Sky. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany. 28 June 1991 – 11 August 1991 L'art prend l'air. Cerfs-volants d'artistes. Art Kites Pictures for the Sky Musées royaux des Beaux-Arts de Belgique, Brussels, Belgium. 15 February 1991 – 21 April 1991 Papagaios. Pinturas para o Céu. Art Kites Pictures for the Sky. Centro de Arte Moderna (CAM), Fundação Calouste Gulbenkian, Lisbon, Portugal. 04 January 1991 – 03 February 1991 Art Kites Pictures for the Sky. Deichtorhallen Hamburg, Hamburg, Germany. 03 November 1990 – 07 December 1990 Art Kites Pictures for the Sky. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. 13 July 1990 – 06 September 1990 L'Art prend l'air. Cerfs-volants d'artistes. Art Kites Pictures for the Sky. Grande Halle de la Villette, Paris, France. 24 April 1990 – 01 July 1990 Kunstdrachen. Bilder für den Himmel Art Kites Pictures for the Sky. Haus der Kunst, Munich, Germany. 16 December 1989 – 18 February 1990 Art Kites Pictures for the Sky. Hiroshima City Museum of Contemporary Art, Hiroshima, Japan. 10 October 1989 – 12 November 1989 Art Kites Pictures for the Sky. Nagoya City Art Museum, Nagoya, Japan. 05 September 1989 – 01 October 1989 Art Kites Pictures for the Sky. Shizuoka Prefectural Museum of Art, Shizuoka City, Japan. 23 July 1989 – 27 August 1989 Art Kites Pictures for the Sky. Hara Museum ARC, Shibukawa, Japan. 15 April 1989 – 04 June 1989 Art Kites Pictures for the Sky. Himeji City Museum of Art, Himeji, Japan. 03 March 1989 – 28 March 1989 Art Kites Pictures for the Sky. The Museum of Modern Art, Shiga, Japan. 22 October 1988 – 11 December 1988 Art Kites Pictures for the Sky. Mie Prefectural Museum, Tsu, Japan. 30 July 1988 – 04 September 1988 Art Kites Pictures for the Sky. The Miyagi Museum of Art, Sendai, Japan. 11 June 1988 – 10 July 1988
Ruhm der KPDSU II / Freiheit ist Freiheit II / Was, Wo, Wann?. 1975/2005 / 2000/2001 / 2005. Drei Farbserigrafien, jeweils auf Somerset Satin Bütten. Jeweils verso signiert und datiert (gerahmt beschrieben), sowie nummeriert: 4/100 / 4/100 / 5/100. Blattmaß jeweils: 60,5 x 60,5 cm. Jeweils unter Glas gerahmt: 63,5 x 63,5 cm. Hrsg.: Kestner-Gesellschaft, Hannover.
Erik Bulatov: Nicht Verbindbare Raume/ Incompatible Spaces. Koln, Galerie Berndt, Galerie Reckermann, 1995. Autographed by the artist, signed, 'To Sasha Glezer' and contains an ink drawing on the title page. This book was published on the occasion of the joint exhibition "Erik Bulatov: Incompatible Spaces," from 11 November 1995 to 19 January 1996 at Galerie Reckermann, Koln. Please make all inquiries before bidding. All lots are sold "as-is", refer to our T&C. Helios Auctions does not ship in-house. A list of recommended shippers will be provided.
(Russian, born 1933) New York, 1989, edition 36/50, signed "E Bulatov 89" and titled, lithograph in colors, 30 x 22 in.; modern wood frame, 33-1/4 x 27-1/8 x 1-1/2 in. Provenance: Estate of Sara Graham Peacock
"Sunrise or Sunset?" by Erik Bulatov, . Paper size is 6 x 4.25 inches, with an image size of 4 x 4 inches. The is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Vintage blank postcard published by te Neues Publishing Company. Printed in Germany.
BULATOV, ERIK (1933) "La Gioconda" 2006 ARSMUNDI, Giclée on canvas, Ex.50/199, signed on the front, numbered on the back, stretched on stretcher, HxW: 80/120 cm. Frame, HxW: 84/124.
ERIK BULATOV (B. 1933) Liberté screenprint in colors, on thin white card, 1990, signed in pencil, numbered 23/40 (there were also ten artist's proofs), printed and published by Edition Domberger, Stuttgart, with their blindstamp, with full margins, in very good condition Image: 9^5 ⁄_8 x 19 in. (245 x 493 mm.) Sheet: 22^3 ⁄_4 x 29^7 ⁄_8 in. (578 x 759 mm.)
BULATOV, Erik (Эрик Булатов)(* 1933 Jekaterinburg) Marilyn laughing Filzstift/Genussschein, Sonderausgabe für Portikus, Frankfurt am Main (64/1000). Links unten signiert, verso signiert. 2000. 29,5 x 21 cm. Gerahmt & hinter Glas : 45,5 x 40 cm. Russischer Maler, studierte am Surikow Kunstinstitut Moskau. BULATOV, Erik (Эрик Булатов)(b. 1933 Ekaterinburg) Marilyn laughing Felt pen/Genusschein, special edition for Portikus, Frankfurt am Main (64/1000). Signed lower left, signed on verso. 2000. 29.5 x 21 cm. Framed & behind glass : 45.5 x 40 cm. Russian painter, studied at the Surikov Art Institute Moscow. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Eric Bulatov 1933 Swerdlowsk - lebt und arbeitet in Paris - "Herzliche Grüße aus BAYERN" - Farbserigraphie/Papier. 15/30. 68,7 x 48,8 cm, 73,5 x 51,9 cm (Passepartoutausschnitt). Sign. und dat. r. u.: E. Bulatov (19)89. Betit.: "Herzliche Grüße aus BAYERN". Passepartout. Verso auf Galerieetikett (Galerie Depelmann, Langenhagen) bez. Unterlegkarton. - Provenienz: Galerie Depelmann, Langenhagen.
Erik Bulatov New York 1989 lithograph in colors image: 21 h x 16 w in (53 x 41 cm) sheet: 29.875 h x 22.25 w in (76 x 57 cm) Signed, titled, dated and numbered to lower edge '37/50 New York E Bulatov 89'. This work is number 37 from the edition of 50 published by Landfall Press, Chicago. This work will ship from Lambertville, New Jersey.
ERIK BULATOV (RUSSIAN B. 1933) I live! I see! [Jivu-Viju], 1980 color pencil on paper 21.5 x 21 cm (8 1/2 x 8 1/4 in.) [plate, sight] framed dimensions: 46 x 44 cm (18 1/8 x 17 3/8 in.) signed and dated lower right PROVENANCE Norton Dodge Collection
Erik Bulatov, Russian Soviet, born 1933, color silkscreen on paper, Red Landscape, 1994. Signed and dated lower right. Erik Vladimirovich Bulatov is one of the most famous contemporary Russian artists, one of the founders of Sots Art, and an Avant-garde artist. Honorary Member of the Russian Academy of Arts. Erik Bulatov is known for Large scale landscape, skyscapes, urban scenes, and figure painting calligraphy. The works of the artist are an experimental opposition of the Modern and Contemporary styles and traditional paintings. Graphic Art prints and Collectibles.
Erik Bulatov, Russian Soviet, born 1933, color silkscreen on paper, Young Girl, 1994. Signed and dated lower right. Erik Vladimirovich Bulatov is one of the most famous contemporary Russian artists, one of the founders of Sots Art, and an Avant-garde artist. Honorary Member of the Russian Academy of Arts. Erik Bulatov is known for Large-scale landscape, skyscapes, urban scenes, and figure painting calligraphy. The works of the artist are an experimental opposition of the Modern and Contemporary styles and traditional paintings. Graphic Art prints and Collectibles.
Erik Bulatov, Russian Soviet, born 1933, color silkscreen on paper, Red Landscape, 1994. Signed and dated in pencil lower right. Erik Vladimirovich Bulatov is one of the most famous contemporary Russian artists, one of the founders of Sots Art, and an Avant-garde artist. Honorary Member of the Russian Academy of Arts. Erik Bulatov is known for Large scale landscape, skyscapes, urban scenes, and figure painting calligraphy. The works of the artist are an experimental opposition of the Modern and Contemporary styles and traditional paintings. Graphic Art prints and Collectibles.
Erik Bulatov, Russian Soviet, born 1933, color silkscreen on paper, Young Girl, 1994. Signed and dated in pencil lower right. Erik Vladimirovich Bulatov is one of the most famous contemporary Russian artists, one of the founders of Sots Art, and an Avant-garde artist. Honorary Member of the Russian Academy of Arts. Erik Bulatov is known for Large-scale landscape, skyscapes, urban scenes, and figure painting calligraphy. The works of the artist are an experimental opposition of the Modern and Contemporary styles and traditional paintings. Graphic Art prints and Collectibles.
HERZLICHE GRÜSSE AUS BAYERN, 1989 Siebdruck/ Lichtdruck. 76 x 58 cm. Rechts unten signiert und datiert „89“. Ungerahmt. In Mappe. Exemplar 73/100. Anmerkung: Die Arbeit stammt aus dem Mappenwerk „Kinderstern“ 1989. Dieses umfasst ein Portfolio mit 22 original Grafiken von 22 Künstlern. Das Mappenwerk ist erschienen in einer Auflage von 100 Exemplaren. Durch den Verkauf der auf 100 Exemplare limitierten Auflage mit dem Portfolio mit 22 original Grafiken konnte dem Förderkreis krebskranker Kinder Geld zur Verfügung gestellt werden. (12916919) (1) (18)
People in a Crowd, hand painted lithograph, image size 9 x 13 1/2 in (23 x 34.3 cm), paper size 13 x 16 1/2 in (33 x 41.9 cm) pencil signed lower right, dated 1997, PROVENANCE: Private collection New Jersey
*§BULATOV, ERIK (B. 1933) The Vault of Heaven, signed, titled in Russian "Nebosvod" and in French "La voûte céleste", and dated 2007 on the reverse. Oil on canvas, 200 by 200 cm. Provenance: Collection of the artist, Paris. Galerie Pièce Unique, Paris, 2008. Private collection, Switzerland. Certificate of authenticity from the artist. Exhibition: Erik Bulatov, Galerie Pièce Unique, Paris, 17 January–5 April 2008. Literature: A. Mathias, R. Kristin (eds.), Nashe Vremya Prishlo. Catalogue Raisonné of Erik Bulatov's Works 1952 – 2011, Cologne, Wienand Verlag, 2012, p. 211, illustrated. Erik Bulatov’s masterpiece, The Vault of Heaven, presented here for auction belongs to a series of paintings inspired by the texts of Vsevolod Nekrasov (1934–2009), a minimalist poet of the Moscow Conceptual School and a close friend of the artist. In 2001 Erik Bulatov created his first work in this series, his famous Sky Horizon (Russian: Nebosvod Nebosklon). In his poems, Nekrasov reveals the opposition, concealed in the very construction of the compound Russian words meaning “sky/vault” and “sky/slope”, between the sky as a “dome” or “vault”, striving in the spring to reach its highest point, and the autumn sky moving to the “slope”, down to the horizon. In Sky Horizon Bulatov creates an ideal visual formula for this dichotomy, worthy of his best conceptual works. The arc of the hemispherical vault on the surface is the “sky” while its mirror image looking downwards from the horizon is the concave arc of the “horizon”. They are closed cycles and pass endlessly into each other, with the ascent being followed by a steady decline and then by a new ascent. The artist himself explains the idea behind the painting as follows: “The impulse was provided by a poem written by Vsevolod Nekrasov. He is my favourite modern poet and means a lot to me. Space was turned inside out in it. And the result was sometimes the globe of the Earth and, at other times, quite the opposite, the depth; it was just such a double game.” Returning to the same theme six years later in The Vault of Heaven of 2007 Bulatov resumes his deliberations on the most important theme in his works, the sky. In one of his interviews, he says: “In fact, I have worked a lot with the sky, ever since 1975, when I painted the picture I Am Going (Russian: Idu) – there was already movement in it through the picture, through the image. The sky for me is an image of freedom. I am convinced that there can be no freedom in the social space. I do not think that, all in all, for a person, the meaning of life, the meaning of existence, is to be found in the social space. The necessary needs are met there, but we do not live for that, we live for something else, it seems to me.” The development of The Vault of Heaven or Sky theme over several years is the best confirmation that Bulatov’s interests are not restricted to Soviet society or to any society at all. He is interested in the problems of existence, which extend far beyond the social system and do not form part of the “Soviet/anti-Soviet” dialectic. In compositions like The Vault of Heaven, the artist draws closer to philosophical, ontological issues and breaks out of the confines of social issues into the world of pure forms. In the 2001 version, Bulatov likens the sky to the globe and encloses it inside the circle of blue text letters that melt away at the edges, whereas in the 2007 version (with the canvas sizes being identical), the Vault of Heaven turns out to be boundless: the canvas captures only an insignificant fragment of it, and the white outlines of the words float beneath the clouds and turn into a multifaceted metaphor. The Russian word nebo ( sky) is of Indo-European origin and one of the most ancient in the language. Its etymology comes close to the Greek νεφέλε ( nephele) and the Latin nebula – “cloudiness” or “nebula”. It is no coincidence that Bulatov’s skies are always covered with clouds, which turn them from a symbol of the absolute into a metaphor of eternal movement, changes of form, transience and the boundless, triumphant freedom of the universe. It’s that life-long striving for the absolute that made Erik Bulatov one of the most celebrated and respected artists among contemporary conceptual painters. He created his own unique and instantly recognisable system, which embodies an unexpected clash between the poster-like sans-serif typeface text of Soviet totalitarian propaganda and a purely realistic component of contemporary world. The interaction of the pictorial space and the font itself in Bulatov’s works gives rise to a whole series of discoveries by an artist who works to comprehend some absolutely new super-reality and who convincingly proves that “the social space is limited, it has a boundary, and Freedom always lies on the other side of that boundary". The Vault of Heaven is a powerful work that enables us to draw closer to an understanding of the creative system of an outstanding artist of our times. * Simon Hewett interviewed Erik Bulatov in 2007, weeks before The Vault of Heaven went on show at Galerie Pièce Unique in Paris: “Erik Bulatov was putting the finishing touches to The Vault of Heaven (Russian: Nebosvod) when I interviewed him in his cosy Paris flat close to Les Halles on 27 November 2007. “Bulatov told me that his first painting to use lettering was Way In (Russian: Vkdod) in 1971. ‘I needed to use words to transform the white field from flat to spatial,’ he explained. He always uses capitals because ‘the lettering needs to look as simple as possible, like on posters.’ “Bulatov used the phrase Sky Horizon (Russian: Nebosvod Nebosklon) in his first painting to use circular lettering, in 2001. This work looks very similar to The Vault of Heaven of 2007, and is the same size and format. The Vault of Heaven, however, is repeated twice, with lettering in white; the lettering in the earlier work is blue. ‘The sky stands for freedom,’ he told me. ‘The sky embodies eternity. Blue is the colour of freedom and space. The letters and sky are far apart – not on the same plane. You can see that the letters are not written in the sky itself, but located a certain distance from it. The sky is on another plane – one that is free from the letters, where clouds are moving. The letters are still, but the sky is in motion: these are two different worlds. The sky is a space of freedom, where letters do not let us go.’ “The contrast between static lettering and dynamic Nature is explicit in Bulatov’s 2000 work How the Clouds Move (Russian: Kak idut oblaka). And the notion of sky embodying freedom is further explored in two other works from the same series Here (Russian: Vot), both entitled Freedom is Freedom (Russian: Svoboda est svoboda) – titles that punningly exploit the linguistic similarity between nebosvod and svoboda. ‘Such paintings,’ says Bulatov, ‘can only be understood through feelings and sensation. If you just read the letters you will not understand what I want to say. The main thing is emotional perception: to see the word in space’. “Seven weeks after our interview, on 17 January 2008, The Vault of Heaven went on show at Pièce Unique. It was granted the melodious French title La Voûte Céleste and hung in splendid isolation on the back wall, summoning passers-by through the glass façade. “Bulatov springs eternal.” Erik Bulatov next to The Vault of Heaven in his Paris apartment, 2007. Photo: Simon Hewitt The present lot as illustrated in the 2012 catalogue raisonné Verso of the present lot Starting Bid: 400000
Erik Bulatov (Russian, born 1933) Study for the painting Stop signed in Cyrillic and dated '88' (lower right) pencil and crayon on paper 21.5 x 16cm (8 7/16 x 6 5/16in). (unframed) For further information on this lot please visit the Bonhams website
Erik Bulatov (Russian, born 1933) Study for Nonstop signed in Cyrillic and dated '88' (lower left) pencil and crayon on paper 21.2 x 16.2cm (8 3/8 x 6 3/8in). (unframed) For further information on this lot please visit the Bonhams website
Hitchcock, handpainted lithograph, 10 x 9 in (25.7 x 22.9 cm), signed lower right, PROVENANCE: From The Artist To The Present Collector In New Jersey, Illustrated On Page 34 Of "Erik Bulatov",
Erik Bulatov (b. 1933) Je vis plus loin (ou \"Je continue à vivre\") signed and dated 'E Bulatov 08' (lower right) color pencil on paper 11 5/8 x 11 in. (29.5 x 27.9 cm.) Executed in 2008.
ERIK BULATOV (Russian b. 1933 - ) New York - 1989 Lithograph Pencil signed and dated lower right, titled, and editioned 29/50 lower left 22 inches x 16 inches (56 x 40.5 cm) Provenance: Acquired by the present owner directly from Phyllis Kind Gallery, New York, New York, and accompanied with a copy of original receipt of purchase dated August 7, 1990. SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
Eric Bulatov (* 1933), ''Herzliche Grüße aus Bayern'', from the Kinderstern folder from 1989 with matching cover, color silkscreen, handsigned / numbered, sheet dimensions approx. 76 x 58 cm
BULATOV Eric (1933) Dessin Pastel, crayon sur papier Signé et daté « 1988 » en bas à droite 24,5 x 35,5 cm. Provenance : Collection particulière, Paris. БУЛАТОВ Эрик (1933) Рисунок Карандаш, пастель, бумага Подпись и дата «1988» права внизу 24,5 x 35,5 см.
ERIK BULATOV (B. 1933) Libertéscreenprint in colors, on thin white card, 1990, signed in pencil, numbered 23/40 (there were also ten artist's proofs) , printed and published by Edition Domberger, Stuttgart, with their blindstampImage: 95⁄8 x 19 in. (245 x 493 mm.) Sheet: 223⁄4 x 297⁄8 in. (578 x 759 mm.)
"VOY!" by Erik Bulatov, 2008 Unsigned Offset Lithograph. Paper size is 31 x 26.75 inches, with an image size of 27 x 26.75 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: First release exhibition poster for La Illustracion Total, Arte Conceptual De Moscu 1960-1990, Foundation Juan March October 2008- January 2009
signed in Cyrillic and dated ' 1967' l.r. and inscribed in Cyrillic l.l. colored pencil over pencil on paper According to the inscription, this is a study for an unrealized painting.
signed in Cyrillic and dated ' 1977' l.r. colored pencil over pencil on paper The overtly politically works of the non-conformist artists were various in their critiques of the system and state, but as Andrew Solomon notes, Bulatov’s likeness of Brezhnev was an act of resistance simply because he was the portraitist (quoted in ' Space and Light: Oleg Vassiliev', 2014). The present drawing relates to the large-scale version of the same year from the John L. Stewart Collection sold at auction for $1.7m (USD equivalent) in 2007.
signed in Cyrillic and dated ' 88' l.r. colored pencil on paper Erik Bulatov was one of the earliest of his generation to achieve recognition on the international art market, with several of his large-scale oils having sold for over $1m. The oil version of the present lot was sold at Sotheby’s London in 2007 for $385,000 (USD equivalent). He was honored with a major retrospective at the State Tretyakov Gallery in Moscow in 2006. His preparatory drawings for major paintings are often meticulously worked and are finished pictures in themselves. These drawings would be transferred onto the canvas before being reworked in paint. 'I feel pleasure and a certain sense of pride that I am using the same means as artists did 5000 years ago. I feel a close connection to these artists and this gives me a feeling of freedom and the necessary distance in relation to the social material with which I am working'.
AR ERIK BULATOV (BORN 1933) ‘Sudak’, 1977 signed, inscribed and dated (lower right) pen and coloured pencil on paper 45.8 x 34.2cm (18 1/16 x 13 7/16in).
