Jeunes Filles au bord de la Riviera. Signed with Russian initials lower left Oil on canvas laid down on board.[c. 1903-1906 - Tiraspol]. 14 x 18". Provenance: Leonid Benetov, Paris; Exhibited: Musee d'Art Modern de la Ville de Paris, 1963, catalog #75(label on the reverse) – dated 1903/1904 by Larionov himself in that catalog. Bibliography: A retrospective exhibition of Paintings and Designs for the Theatre, Leeds-Bristol-London 1961 – two similar items ##6,7 are illustrated. In original Spanish 17th century carved, pierced and polychromed frame with cavetto sight, bound and centered laurel-leaf D-section top edge, and boldly scrolling leaf running between leaf centers and corners
Tete de Jeune Fille. Oil(tempera?) and gouache and watercolor on paper, signed with initials up right, 12x19 inches, c.1920-1924. Exhibited: “Faces of Russia”, February 2007, West Palm Beach International Art Fair, USA (illustrated on page 28 of the catalog). Bibliography: “A Time to Gather… RUSSIAN ART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.22. Provenance: Adelson galleries New York (label on the back); Julian Barran Gallery, London.
Girls with goats in a forest; oil on canvas; signed with Latin initials low left, signed two more times (in Latin and in Cyrillic) and dated 1898 on the back. 13x18 inches. In original American XIXth Century, applied ornament and gilded Whistler frame with flat panel. Provenance: Rosebery’s Auction, London, October 11, 2005, lot 607. Dr. Anthony Parton wrote about the painting: “The Larionov looks wonderful - it is a 1930s work - exquisite - I love it. Larionov frequently predated his paintings I have seen some wonderful examples. The best was one of his 1929 pochoirs from the series "An Imaginary Voyage to Turkey" which, in later life, he had signed and dated 1898! There are many late abstracts, from the 1930s / 1940s which are dated to 1912 - what confusion they cause! Perversely, the fictitious dates on the backs of the picture are, usually, a good sign of their authenticity!”
Draft of a curtain for "Le Soleil de Minuit" (Ballet in Diaghilev enterprise, Music by Rimskij-Korsakov from Snegourotcka). Mixed technique - oil, gouache and w/c on paper laid on cardboard, 12x14 inches, signed low left with initials m.L. and dated 4. 11(?).15, numbered 46 on the back. Provenance: collection of John Carr-Doughty. Exhibited: Ballet Designs, from the collection of John Carr-Doughty The Arts Council , London 1952 (#46 in the catalog); “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). In original American arts and crafts hand carved and guilt frame by Foster brothers (label on the back) Compare: another draft of the decor published in "LARIONOV" par Voldemar George, La Bibliotheque des Arts, Lausanne, 1996p. 97.
Portrait of N. Goncharova. Pen, brown ink and watercolor, (slight traces of folds), signed and inscribed on the top left: “A Chip, mon ami. Cher Chip n’oubliez pas moi s.v.p M. Larionov(son ami), 20/7/1958” inscription in the back of the mount: Chips Shannon, 27 x 21.5 cm .[ The name 'Chip' was the nickname for the composer Marcel Mihalovici whom Larionov knew well.] REFERENCES: Larionov and Goncharova, fifty years Saint - Germain des Pres, Tatiana Loguin, Editions Klincksieck, Paris, 1971, reproduced plate 44. Provenance: Former collection Marcel Mihalovici; Rossini Paris sale 6/28/2011 lot 43
A nude with a cat. Signed M.L. upper right, watercolor over charcoal on paper laid on board. 22 x 14".Inscribed “Resnikoff, 11 Rue Camille-Demousline, Cachan” on the back. Executed 1907-1909 and published (upper half -without a cat) as a pochoir (stencil) in an album "Le voyage en Torque" in 1928. Illustrated: Kovtun E. "Mikhail Larionov", Parkstone Press, 1998, p.102 (pochoir (stencil)); George Waldemar “Larionov”, la Biblioteque des Arts, Lausanne, 1996, p.26.(original). Provenance: Sotheby’s. The Russian Sale. London,11.06.97. Lot 137 In original Austrian secession hand carved and blackened frame, lire- shaped, partly pierced, with lilies to the sides and flowers incised on the freezes
Portrait of Diaghilev as a young man, signed with initials, pen and ink on paper, 27.2x20 cm. Inscribed in pencil on the reverse “Portrait de Diaghilev dans sa jeunesse par Michele Larionov (1906)” by Michel Seuphor. Provenance: Michel Seuphor, Paris (a gift from the artist), Julian Barran Ltd. Exhibited: The Hague, Gemeentemuseum, Larionov, No. 106. Illustrated on the back of the title page: RUSSIAN SEASONS IN PARIS 1908-1929 by M.N. Pojarskaia, Iskusstvo, Moscow, 1988
"PORTRAIT" Watercolor, pencil on paper, dated 1907 low left and signed on reverse. 7x10 inches. Provenance: Galleria Schwarz, Milano; Grosvenor gallery, London; John H. Levy, London; Sotheby’s sale Russian and European Avant-Garde Art: 1905-1930, NY 3.11.78 lot 330 ( illustrated) Exhibited: Larionov-Goncharova, Mostra Colletiva, Galleria Schwarz, Milano, 15-28 Feb 1961(illustrated on page 3 of the catalog); London, Grosvenor gallery Aspects of Russian Experimental Art 1900-1925, 1967 #56 in catalogue. Bibliography: Art+Auction, March 2008, illustrated on p. 84
Reclining Nude. Oil on board. Signed with initials ML upper left. C. 1912. 3,5x11”. In hand carved and gilded English pre-Raphaelite floating frame, beginning of the XX century. compare similar item sold Sotheby, Russian Twentieth century and Avant-garde Art sale, London, 6.4.89 lot 508; Bibliography: “A Time to Gather… RUSSIAN ART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.22.Provenance: Calmels-Cohen, Paris, Sale Art Modern et Contemporain, 13.12.02 “This monochrome “grey” manner should be considered as an initial one. Grey color of these small paintings was not similar to they grey in simultaneous works of Serov or KOROVIN… Here all grey mixture of dabs is perceived as “potentially multicolored”. It was like initial color element not yet differentiated to individual colors. Its main feature- graphic unity of the area, kind of fusion, not yet disjointed – a feature that Larionov has kept in later works, where individual colors gradually became insulated more and more…”(G. Pospelov, The Knave of Diamonds, Moscow, Sovetskij Hudozhnik, 1990, p. 38).
Cubist costume design. Tempera on board, signed low right. 9.5x12 inches. Compare: similar costume design illustrated in LARIONOV Mikhail . Text by Anthony Parton. Princeton University Press1993 p.158 ill. 149 and “Sihouette de femme” at exhibition ”Larionov” , Maison de Culture Saint-Etienne 1973, item 124. Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina - Larionov (Larionov's second wife); Fletcher, Ifan Kyrle, (1905-1969) – theatre critic, acquired from him by the previous owner
The Conversation. Signed l/r with initials ML. Oil on board. c.1920 Bears title in Cyrillic (on the reverse). 11 ¼ by 12 inches. Provenance: Isselbacher Gallery New York,; lot 215 Sale 11 Oct 2011 Sotheby’s New York. The painting is demonstrating clear parallels with a classical "Three Graces" theme.
JM.LARIONOV (after). Display charger with a hand-painted portrait of legendary Greek collector George Costakis created on a Greek Keramikos pottery blank 1959-1963 (according to a type of porcelain mark). 35cm in diameter (13-3/4“), 5cm deep, marked with the artist’s ML signature numbered 3. Dr. Anthony Parton wrote on March 16.07: Costakis met Larionov and Goncharova in 1956. A possibility is that Costakis obtained a design from Larionov and then had the piece painted and initialed on his behalf in Greece.
Abstract composition. Oil on board, signed and dated 1906 low right, 20x16 inches. Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina - Larionov (Larionov's second wife) Dr. Anthony Parton: "This looks ok to me. It is based, of course, upon Larionov’s 1919 pochoir print for L’art decoratif theatral moderne. The thing that probably best points to the fact that it is ok is that the signature has it dated to 1906! It is a typical example of Larionov pre-dating one of his works." Compare: Composition cubo-futuriste (study) 1915 Ader: Friday, March 26, 2010 [Lot 00028] Dessins modernes et Avant-Garde
Cubistic still life. Watercolor/wash drawing signed with the initials m.l. and dated 1907; inscribed or signed on the reverse Larionov and also with the initials. 11x8 inches. Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina -Larionov (Larionov's second wife); Fletcher, Ifan Kyrle, (1905-1969) – theatre critic, acquired from him by the previous owner. Another variant of that still life is in Marion Koogler McNay Art Museum, San Antonio, Texas – exhibited “Procession” 1991, #48 of the catalog (illustrated).
"Au service de Madam". Oil on board, 8,25x7,5 inches, apparently unsigned, circa 1900; bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina -Larionov (Larionov's second wife) Provenance: Vinogradov family; S. A. Schuster collection; Iegor, Montreal Sale 25-26 Jan. 2005 lot 73. Authenticity confirmed by Dr. Anthony Parton.
Etude rayonniste pour un danseur en mouvement, draft for a postcard, pencil and watercolor on card, 4x6 inches. Compare: larger version of the same drawing at Sotheby's London 18 July 1968 lot 124 (illustrated in the catalog) Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina - Larionov (Larionov's second wife)