Deux Cerises Signé, daté "1907" et avec numéro "2093" (au dos), monogrammé "M.L."(en haut à gauche)et au dos "M.Larionow" Toile 45 x 81 cm.
Provenance: Vente Me Morel-Marchandet, Hôtel Drouot, 14 avril 1992, expert Michel Maket, lot 80, reproduit; sale Paris Drouot, Thierry de MAIGRET, September 22 2017, COLLECTION JEAN LAFONT, LOT n°159
That painting constitutes a 1/3 part (and the best part actually) of the tryptich by the artist: as clearly shows an acquaintance with his two canvases under the titles "Still Life" (image 4) and "Still Life. Drapery and a double portrait"(image 5) - both images are shown on COA by Dr. Alexandra Shatskikh (link to it is below).
The first one was created around 1927 and exhibited in Moscow at the exhibition "Contemporary French Art" 1928. That painting belonged to Pierre Vorms, Parisian art critic and a gallery owner, who highly valued Larionov. The work was reproduced in the exhibition catalog. The second one, with a narrative non-author's addition to the basic title "Still Life" , was part of the collection of the artist’s widow A.K. Tomilina-Larionova, Paris (now in the State Tretyakov Gallery).
That very important addition to the provenance of the painting was made by Dr. Alexandra Snatskikh in her COA – TO SEE IT Click HERE
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
CHRYSANTHEMUMS, circa 1917-1921, oil on board, signed low left, 56 x 28 cm (21,84 x 10,92 in.) In original French Art Nouveau hand carved frame
Still life with the background of the landscape [View with a mill]. Oil on canvas, laid on board, signed “M. L.” lower left c.1920. 19 x 12". In original end of 18th Century carved and gilded Directoire frame with reeled frieze (provenance for the frame: Dorotheum Rahmen. Wien 10.04.2003, lot 471)
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.
Girl in a red bathing suit, oil on brown paper, inscribed verso with presentation inscription “A mon cher ami Noel Ton Michel M. Larionov” 14.5 x 9in. Provenance: Gorringes sale Dec 06-07, lot 2469..
Nude with a Cat (Portrait of Alexandra Tomilina), signed with initials. Ink and wash on paper, 26.5 by 42.5 cm Provenance: collection of Phyllis Schreiber; Macdougall London lot 486 auction 9.6.2011
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
VOYAGE EN TURQUIE: A COMPLETE SET OF 32 pochoirs (stencils) IN THE ORIGINAL FOLIO
Artist Yakulov at the street of Paris. Erotic Caricature. The study of the old bearded man (L. Tolstoy?) on the reverse. Blue ink on paper, signed lower left 12 x 7". [1925]
"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
Color lithograph made for an exhibition catalog "Russian Lubok" circa 1914 6x8 inches
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
Two original drawings (pencil and ink) for "Twelve" by A. Blok, 9x13 inches, signed with initials ML and dated (19)18.Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina - Larionov (Larionov's second wife)
OIL LANDSCAPE ON TIN BOX (RAYONNISM) 5" X 3 1/2" X 1":signed lower right with improvised palette on the back
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.
Costume mecanique Un Paon pochoir signed "M. Larionow" 52x32 cm L’art decoratif theatral moderne Paris La Cible 1919 Provenance: Ballet, Theater and Opera, Decor and Costume Designs, Portraits and Posters, London.31.06.1971 lot 110
Russian children playing, oil on card monogrammed low left, 6 x 8.75in. Provenance: bears stamp “Atelier M. Larionov” on the back; Alexandra Tomilina - Larionov (Larionov's second wife
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)
Portrait through the branches, Voyage en Turquie, signed with initials ML low left, watercolor on paper, 8x10 inches. Initial draft of the larger pochoir (stencil) published in 1928. Bibliography: Sotheby’s, Russian sale, New York, April 21, 2005, lot 261 (illustrated).
Woman with two birds. Ink and watercolor on paper (235 x 305 mm). Initialed lower right. Matted and framed. Initial draft of the larger pochoir (stencil) published in 1928. Bibliography: Sotheby’s, Russian sale, New York, April 21, 2005, lot 261.
M. LARIONOV (attributed). Fishes, oil/canvas, 20x21inches, signed with a monogram MFL and dated 1913 on the back
Affiche Exposition Dix peintres russes 48x62cm Lanskoy/Gontcharova/Larionov/Arapoff/Blond/Kremegne/Montchine/Terechkovitch/Volovick/Pougny Galerie Agora rue de la Boëtie Paris 1963 Lithographie de Larionov
