”Grimasy goroda”. Gouache and ink on cardboard signed by monogram and dated 1908. 11 x 8". Reproduced in “Perezvony”N10, 1926. Another version in GTG, Moscow, reproduced in "Dobuzhinski Mstislav" by A. Gusarova. Moscow, Izobrazitelnoe Iskusstvo, 1982, p.76. Provenance: A. Raydon Gallery, N-Y. In original Spanish 17th Century carved and gilded frame with leaf sight, reverse leaf to the hollow, and demi-flower back edge
Portrait of a dancer Alexandra Danilova, signed, dated 5.7.1925 and inscribed "London", pencil on paper, 14 x 11". Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.24. In original earlier 20 th century carved on tinted gray beech ( in the style that Klimt and Munch had used for their drawings) circa 1905.
Portrait of a dancer Clotilde Sakharova. Pencil, ink on paper. Signed. Dated 12.07.29, Lausanne. 13 x 10" Bibliography: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.24.Exhibited: “A World of Stage”, April- October2007, Tokyo Metropolitan Art Museum, Japan (illustrated in the catalog). In original art nouveau Austrian walnut hand-carved frame with a maker label “ C. Buhlmayer, Wien” on the back
Petersburg in 1921. Album of 36 lithographs + 1 hand-colored by the artist and inscribed by him. Personal presentation copy specially printed for A.Benois, 1/1000, with three different sets of lithographs on different types of paper (triple suite) + one hand-colored by the artist signed and inscribed by him. Inscribed and signed twice (in Cyrillic and in Latin) by A. Benois.
Also attached is a usual copy of the album (# 798/1000) signed by the artist with 12 lithographs in it - see two last images below (available for purchase independently for $2000)
Ф. Голлербах писал об этой работе Добужинского: «В отличие от Остроумовой-Лебедевой, запечатлевшей в своих гравюрах и литографиях преимущественно архитектурную красоту Петербурга, художник заглянул и в низины городской жизни, обнял своей любовью не только монументальное великолепие петербургского зодчества, но и жалкое убожество грязных окраин» .
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