Russian Pictures

Property from a Distinguished Private Collection

Property from a Distinguished Private Collection Kazimir Malevich 1879 - 1935 Suprematist Composition inscribed 11 R on the reverse and bearing Galerie Gmurzynska and Guggenheim exhibition labels on the backing board pencil on paper Sheet: 16 by 11cm, 6 ¼ by 4 ¼ in. Framed: 54 by 49cm, 21 ¼ by 19 ¼ in.

View 1 of Lot 78: Suprematist Composition

suprematist composition

Modern Day Auction

Property from the Hans and Marion König Collection

Property from the Hans and Marion König Collection Kazimir Malevich 1878 - 1935 Province pencil on paper 17 by 17.8 cm. 6⅝ by 7 in. Framed: 52 by 52.7 cm. 20½ by 20¾ in. Executed in 1911.

province

Circle of Kazimir Malevich 1879 - 1935 The Tram Driver pencil on paper Sheet: approximately 28.5 by 19cm, 11¼ by 7½in.

the tram driver

Important Prints and Multiples Day Sale  

KAZIMIR MALEVICH 1879 - 1935 SIMULTANER TOD EINES MANNES IM FLUGZEUG UND IN DER EISENBAHN (KARSHAN 5) Lithograph, 1913, from the edition of approximately 450, from Explosion, on wove paper, published by Svet, St. Petersburg, framed image: 90 by 140 mm 3½ by 5½ in sheet: 116 by 176 mm 4⅝ by 6⅞ in

kazimir malevich | simultaner tod eines mannes im flugzeug und in der eisenbahn (karshan 5)

Livres et Manuscrits, de Galilée à Warhol

[Avant-garde russe] ─ Kasimir Malevitch

[Avant-garde russe] ─ Kasimir Malevitch Ot kubizma i futurizma k suprematizmu. Novyi zhivopisnyi realizm. [Du cubisme et du futurisme au suprématisme. La Nouvelle réalité en peinture]. Moscou, janvier 1916. In-8 (182 x 130 mm). Brochure agrafée, couverture imprimée. Première édition illustrée du "Carré noir". Cette troisième édition est la première édition révisée, augmentée et illustrée après celles parues un mois plus tôt en décembre 1915, pour accompagner la première exposition publique de la peinture Carré noir lors de l'exposition 0.10 à Petrograd. 2 planches montrant le cercle noir et le carré noir, entre les pages 12-13 et entre les pages 28-29. La couverture est également illustrée du carré noir. Exemplaire comportant une image suprématiste supplémentaire, en feuille, ajoutée librement à la publication. Très bel exemplaire.

View 1 of Lot 60: Ot' kubizma i futurizma k suprematizmu [Du cubisme et du futurisme au suprématisme]. 1916. Première édition illustrée du "Carré noir".

ot' kubizma i futurizma k suprematizmu [du cubisme et du futurisme au suprématisme]. 1916. première édition illustrée du "carré noir".

Impressionist & Modern Art Day Sale

two peasant women

Impressionist & Modern Art Evening Sale

suprematist composition with plane in projection

Ginette et Alain Lesieutre, Collection Privée

porcelainComprising five pieces : a teapot and four cupsTitled, signed, dated 1923 and marked with the hammer and sickle on the underside

suprematist tea set, designed in 1923

8vo (252 x 173mm), [limited to 1000 copies], printed on brown paper, 4 illustrations by Malevich and Burliuk, 2pp. advertisements, original printed wrappers, upper cover detached and frayed

ryav! perchatki, 1908-1914 [roar! the gauntlets, 1908-1914]. st petersburg: euy, 1914

small 4to (200 x 186mm.), [limited to 500 copies], printed on pale green paper, lithographed cover design and 4 other illustrations by Malevich, original pictorial wrappers, wrappers chipped, soiled and loose, lacking backstrip, pencil and ink annotations on lower wrappers

troe [the three]. st petersburg: zhuravl’, 1913

8vo (229 x 175mm.), [limited to 1000 copies], lithographed throughout with manuscript text, 3 plates and a 3-part pictorial structure of Cubism by Malevich, original upper wrapper comprising text and illustrations by Lissitzky, plates (originally loose) attached at front, new staple, upper wrapper laid down, lower wrapper in facsimile

o novykh sistemakh v iskusstve. statika i skorost’ [on new systems in art: statics and speed]. vitebsk: artel’ khudozhestvennogo truda pri vitsvomas, 1919

12mo (175 x 113mm.), original printed wrappers, small repair to head of upper cover

ot sezanna do suprematizma. kriticheskii ocherk [from cézanne to suprematism. a critical sketch]. [st petersburg]: izo. n.k.p. [narkompros department of performing arts] ], [1920]

Russian Art Evening

painted with a Suprematist design after a lithograph entitled: In Suprematist Space, marked Suprematism and po ris Malevicha in Cyrillic, with black square, green manufactory mark and No. 660/24

a soviet suprematist porcelain plate, kazimir malevich, state porcelain manufactory, circa 1923

12mo (175 x 113mm.), original printed wrappers, new backstrip, wrappers slightly worn

ot sezanna do suprematizma. kriticheskii ocherk [from cézanne to suprematism. a critical sketch]. [st petersburg]: izo. n.k.p. [narkompros department of performing arts], [1920]

Russian Art

pervyi tsikl leksii chitannykh na kratkosrochnykh kursakh dlia uchitelei risovaniia [first cycle of lectures given for short courses for teachers of drawing]. petrograd: izo nkp, 1920

8vo (229 x 175mm.), [limited to 1000 copies], lithographed throughout with manuscript text, 3 plates and a 3-part pictorial structure of Cubism by Malevich, original wrappers comprising text and illustrations by Lissitsky, illustrations on upper wrapper inscribed "Suprematizm = Sharlatanstvo v iskusstve = Ili bezdarnost [Suprematism = Charlatanism = Or Lack of Talent]" and "Sup re ma it zm", first four leaves restored at fore-edge and gutter, restitched, upper wrapper restored at edges and backstrip

8vo (252 x 173mm), [limited to 1000 copies], printed on brown paper, 4 illustrations by Malevich and Burliuk, 2pp. advertisements, original printed wrappers, wrappers repaired at backstrip and lower edge

12mo (175 x 113mm.), original printed wrappers, some underlining, backstrip worn

ot sezanna do suprematizma. kriticheskii ocherk [from cézanne to suprematism. a critical sketch]. [moscow]: izo narkompros, [1920]

Important Russian Art

head of a peasant

Continental and Russian Books and Manuscripts

12mo (175 x 114mm.), original printed wrappers

8vo (231 x 180mm.), [limited to 1000 copies], lithographed throughout with manuscript text, 3 plates and a 3-part pictorial structure of Cubism by Malevich, original upper wrapper comprising text and illustrations by El Lissitzky, plates (originally loose) attached at front, a few page edges slightly chipped, both covers repaired at edges (including new backstrip), upper cover partly in facsimile

o novykh sistemakh v iskusstve. statika i skorost' [on new systems in art: statics and speed]. vitebsk: artel' khudozhestvennogo truda pri vitsvomas, 1919

Photographs

Three vintage silver prints. Individually framed.

kazimir malevich and his studio, 1930s

kazimir malevich at the artists of the rsfsr exhibition, leningrad 1932

L13402

Gliad, pogliad, uzh blizko Visly [Look, just look, the Vistula is near...], [Hellyer 364]

Gliad, pogliad, uzh blizko Visly [Look, just look, the Vistula is near...], [Hellyer 364]Shel avstriyets v Radzivily... [An Austrian came to Radzivil...]U souyznikov frantsuzov bitykh nemtsev polnyi kuzov... [The French allies have a wagon full of dead Germans...], [c. 1914], text by Mayakovsky, [Hellyer 373] all approx 380 x 550mm., coloured lithographs, a few small paper repairs

a group of three first world war propaganda posters produced by segodnyashnii lubok, moscow, 1914

L13406

8vo (252 x 173mm), [limited to 1000 copies], printed on brown paper, 4 illustrations by Malevich and Burliuk, 2pp. advertisements, original printed wrappers, wrappers repaired at backstrip and lower edge with a few small tears

Impressionist & Modern Art, Part One

kazimir malevich (1878-1935) suprematist painting, rectangle and circle

lithographs and woodcuts, three lithographed plates by the author, the first strenghtened at the outer margin, 33 pages of handwritten lithographed text, the woodcut cover design by El Lissitzky (continuing on the back cover), some leaves strenghtened at centre fold, loose, frayed and repaired

o novych sistemakh v isskustve [on new systems in art], art labour co-operative, vitebsk, 1919-1920

Russian Pictures: Including the Bar-Gera Collection of Soviet Non-conformist Art

square and cone

Music, Continental and Russian Books and Manuscripts

1) autograph letter to Shimkevich, in which Malevich declares that there has been no Russian Futurist movement in literature, although the term has been bandied about by many, stressing that to write anything coherent about "Russian Futurism" one must first acquire a thorough knowledge of the Italian Futurist painters and musicians, before identifying it in other fields such as Russian literature; Malevich emphasizes the Italians' use of new artistic resources deriving from machines to produce a dynamic element, through which they have been able to give expression to new aspects of modern life, and deriding the efforts of Burlyuk (known as "The Father of Russian Futurism"), because all he has done is throw overboard Pushkin & Tolstoy, and declaring the zaum poems of Kruchenykh and Khlebnikov, such as "Dyr bul shchyl" [1913], to be mere nonsensical word games, which, although approaching non-figurative art, are hardly comparable with the coherently mechanized music of the Italians, 2 pages

1) autograph letter to Shimkevich, in which Malevich declares that there has been no Russian Futurist movement in literature, although the term has been bandied about by many, stressing that to write anything coherent about "Russian Futurism" one must first acquire a thorough knowledge of the Italian Futurist painters and musicians, before identifying it in other fields such as Russian literature; Malevich emphasizes the Italians' use of new artistic resources deriving from machines to produce a dynamic element, through which they have been able to give expression to new aspects of modern life, and deriding the efforts of Burlyuk (known as "The Father of Russian Futurism"), because all he has done is throw overboard Pushkin & Tolstoy, and declaring the zaum poems of Kruchenykh and Khlebnikov, such as "Dyr bul shchyl" [1913], to be mere nonsensical word games, which, although approaching non-figurative art, are hardly comparable with the coherently mechanized music of the Italians, 2 pages 2) autograph manuscript by Malevich containing his annotated transcripts of poems by Kruchenykh and others inscribed at the head ("This is a poem sent by Kruchenykh" [translation]), including i) the 42-line poem 'My ustaly' ("I am weary") here ascribed to "Sergei Pushkin", dated 1817 and signed for him at the end, written on the left-hand side of the page, with four passages of commentary on the right, including a response to a letter by Ivan Klyun about Kruchenykh and non-figurative art, 1 page, with on the verso:   ii) a 13-line poem ostensibly addressed to Malevich ("O Casimir..."), signed and dated with "apologies" to Pushkin at the end ("...S. Pushkin Tsarske Selo 1817"); iii) a poem 'Pivet ot Feta' ("Greetings from Fet") about Kruchenykh and Malevich, andiv) a poetic statement by Kruchenykh, marked "Kopie" at the head 4 pages, folio (c.35 x 22cm), all written in blue ink, and apparently sent together, autograph envelope addressed "Konstantin Antonovich Shimikevich", unstamped and unfranked [Leningrad], 18 March 1929, some small waterstains to the letter, and creasing at folds

long and important autograph letter about futurist literature, signed ("kmalevich"), to the critic konstantin shimkevich, enclosing an autograph poetical manuscript, in russian:

Results for "kazimir malevich"