Ivan Konstantinovich Aivazovsky (Russian 29 July 1817 – 2 May 1900) was a Russian painter of late Romanticism who is considered one of the greatest masters of marine art. Baptized as Hovhannes Aivazian, he was born into an Armenian family in the Black Sea port of Feodosia in Crimea and was mostly based there.
Following his education at the Imperial Academy of Arts in Saint Petersburg, Aivazovsky traveled to Europe and lived briefly in Italy in the early 1840s. He then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and often attended military maneuvers. He was sponsored by the state and was well-regarded during his lifetime. The saying "worthy of Aivazovsky's brush", popularized by Anton Chekhov, was used in Russia for describing something lovely. He remains highly popular in Russia in the 21st century.[3]
One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russian Empire. He held numerous solo exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time.[4][5] The vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums as well as private collections.
After Ivan Konstantinovich Aivazovsky, Russian-Armenian 1817-1900- The Bay of Naples by moonlight; oil on board, signed 'L. Seitz' (lower right), 24 x 27.2 cm. Provenance: Property of a European Private Collection. Note: The present work is a copy after an original by Aivazovsky (1817-1900) now held in the collection of the Aivazovsky National Art Gallery in Crimea.
IVAN AIVAZOVSKY (1817-1900) Ships at Port ink and gouache on paper 21.8 x 43.8 cm (8 5/8 x 17 1/4 in.) framed dimensions: 37 x 55 cm (14 5/8 x 21 3/4 in.) signed lower right N.B. Condition reports are available upon request. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Oil on canvas, 67.5 x 95 cm (unframed), 82 x 109 cm (framed). This impressive painting from the Russian school, painted around 1880, presents several variants of the work Aivazovsky produced in 1875 (sold by Christie's in 2008). The scene takes place in Feodosia, southern Crimea, by the light of a full moon. Traces of an illegible signature can be seen at the bottom left. Ivan Konstantinovich Aivazovsky, born on 17 July 1817 in Feodosia, was noted from an early age for his talents in languages, music and drawing. At the age of 16 he was admitted to the Russian Academy of Arts in St Petersburg, specialising in seascape painting, a passion that arose after taking part in training with the Russian naval fleet. In 1839 he won his first gold medal, and although he had the opportunity to study in Rome, he preferred to return to Feodosia to perfect his technique. Later, in Rome, his work The Bay of Naples in the Moonlight was praised by J.M.W. Turner. Aivazovsky travelled around Europe, taking part in exhibitions such as the Paris Salon, where he received another gold medal and the Legion of Honour in 1857. Provenance: French private collection.
Ivan Konstantinovich Aivazovsky, zugeschrieben 1817 Feodosija - 1900 ebenda Moonlit night Signature or inscription (restored) lower left. Oil auf canvas. 30.5 x 39 cm. Relined. Restored. Minor damage. Das vorliegende Gemälde entspricht stilistisch den frühen Arbeiten des Künstlers aus den 1840er Jahren. Ein klassisches Kompositionsschema wird mit romantischer Naturinterpretation gepaart. Das Interesse Aivazovskys (alternative Schreibweise Ajvazovskij) an dramatischen Lichteffekten wird bereits sichtbar. Seine frühen Werke, insbesondere jene, die er 1840-1844 während seines Italienaufenthalts schuf, fanden bereits Beachtung bei anderen Künstlern, so auch William Turner. Aivazovsky sollte später zum Begründer und bedeutendsten Vertreter der realistischen Marinemalerei in Russland werden.
An antique oil on canvas Seascape painting, attributed to Ivan Aivazovsky, 1817 to 1900, an Armenian Russian Romantic painter, a master of marine art. The fine painting depicts rocks in the storming sea with seagulls in the distance. Signed in Russian Aivazovsky, dated 1878 lower right. Housed in a gilt carved Rococo frame. Russian Seascape and Marine Art Paintings For Collectors.
An antique oil on canvas Seascape painting, attributed to Ivan Aivazovsky, 1817 to 1900, an Armenian Russian Romantic painter, a master of marine art. The fine painting depicts rocks in the storming sea with seagulls in the distance. Signed in Russian Aivazovsky, dated 1878 lower right. Housed in a gilt carved Rococo frame. Russian Seascape and Marine Art Paintings For Collectors.
Attributed to Ivan Konstantinovich Aivazovsky (RUSSIAN FEDERATION / UKRAINE, 1817 - 1900) oil painting on canvas depicting a marinescape / seascape scene with choppy waves and two ships. Signed to lower right. Mounted in a wooden frame. Canvas on stretcher measures approx. 27" height x 38" width. Measures approx. 33 1/4" height x 43 3/4" width overall including frame. Appears in overall good condition. JD/B13/SH:FL
Aleksei Vasil'evich Hanzen, Russian 1876-1937- View of the Dalmatian Coast, Dubrovnik; oil on canvas, signed in Latin 'A Hanzen' (lower left), 30 x 40.5 cm. Provenance: Private Collection, UK. Note: Hanzen was the grandson of the artist Ivan Aivazovsky (1817-1900). He studied at the Academy of Arts in Berlin and at the Dresden Academy of Fine Art, and then travelled to Paris, training with Jules Joseph Lefebvre (1836-1911) and Tony Robert-Fleury (1837-1911), and exhibiting at the Salon des Artistes Français and the Salon des Champs-Élysées. In January 1920, Hanzen and his wife left Russia and travelled to Croatia. Hanzen had his first solo exhibition in Zagreb in November 1920 and lived in Dubrovnik for the remainder of his life. The present work is particularly evocative, with the bright blues and pinks conveying the highly saturated quality of the Dalmatian coast in bright sunlight. A very similar work by Hanzen appeared at Christie's, London, 28 May 2012, lot 64.
After Ivan Konstantinovich Aivazovsky, Russian-Armenian 1817-1900- The Bay of Naples by moonlight; oil on board, signed 'L. Seitz' (lower right), 24 x 27.2 cm. Provenance: Property of a European Private Collection. Note: The present work is a copy after an original by Aivazovsky (1817-1900) now held in the collection of the Aivazovsky National Art Gallery in Crimea.
Property from a German Private Collection Ivan Konstantinovich Aivazovsky Russian 1817 - 1900 Alexander Pushkin by the Cliffs of Gurzuf signed in Cyrillic and dated 1899 lower left and signed in Cyrillic, dated and inscribed on the reverse oil on canvas Unframed: 60 by 94cm., 23½ by 37in. Framed: 72 by 106cm., 28¼ by 41¾in. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private Collection Attributed to Ivan Konstantinovich Aivazovsky Russian 1817 - 1900 Survivors signed in Cyrillic and dated 1868 lower left and bears inscription on the reverse oil on canvas Unframed: 36.5 by 45.3cm., 14¼ by 17¾in. Framed: 55 by 64.5cm., 21¾ by 25½in.
Attributed to Ivan Konstantinovich Aivazovsky (RUSSIAN FEDERATION / UKRAINE, 1817 - 1900) oil painting on canvas depicting a marinescape / seascape scene with choppy waves and two ships. Signed to lower right. Mounted in a wooden frame. Canvas on stretcher measures approx. 27" height x 38" width. Measures approx. 33 1/4" height x 43 3/4" width overall including frame. Appears in overall good condition. JD/B13/SH:7A
Ivan Konstantinovich Aivazovsky. 1817-1900. Watercolor. Crimean harbor. Shows a view of a sea bay with a parking lot of Russians, warships, fishermen catching their catch, against the backdrop of a coastal fortress, the gentle hills of Crimea and the wide peace of the skies. Signature on the bottom right. Paper, watercolor, whitewash. Sheet dimensions: 18.5 x 28 cm. Width: 50.5cm, Height: 40.5cm, Depth: 4cm, Weight: 3kg, Condition: Good, Material: Wash and watercolor on paper, ID: ID-ANTQ-8444
19th Cent. Russian oil on canvas - with an "A" monogram / attributed to / follower of Ivan C. Aivazovsky AIVAZOVSKY IVAN CONSTANTINOVICH (1817 - 1900) olieverfschilderij op doek : "Landschap met zeilboten aan de kust" - 60 x 120 gemonogrammeerd met " A " / toegeschreven aan / volger van
Ecole russe vers 1880. Paysage et marine, vues de Crimée (Simeiz près de Yalta). Suite de huit cartes postales russes peintes à la gouache. Dim. 8,5x13,8 cm chaque. Provenance : ancienne collection Anna Gagarine. Travail à rapprocher de l’œuvre du peintre Ivan Constantinovich AIVAZOVSKY (1817-1900).
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) View of Reval, Estonia. 1845. Oil on canvas. Signed and dated lower right in Cyrillic: Aivazovsky 1845. 58.5 × 81.7 cm. Provenance: - Private collection. - Sale Sotheby’s, New York, 21.4.2005, Lot 7. - European private collection. - Sale Koller, Zurich, 22.09.2006, Lot 3109. - European private collection. Literature: - Gianni Caffiero and Ivan Samarine: Light, Water and Sky: The Paintings of Ivan Aivazovsky, London 2012, p. 86 and p. 268, cat. no. CS-1845-0004 (reproduced). - Gianni Caffiero and Ivan Samarine: Unknown Aivazovsky, Moscow 2016, p. 311, cat. no. CS-1845-0004 (reproduced). This view of Reval, today’s Estonian capital Tallinn, is an outstanding work by the marine painter Ivan Aivazovsky. It was painted in 1845, after Aivazovsky had returned from a study trip to Italy, and at a time when he was already enjoying considerable international recognition. When this painting was created, Aivazovsky, aged just 28, had already frequented numerous art academies in cultural centres such as Vienna, Paris and Rome, and illustrious personalities such as Pope Gregory XVI (1765–1846) and Tsar Nicholas I (1796–1855) were filling the young artist’s order books. The work offered here relates to a group of six paintings that Aivazovsky completed for Tsar Nicholas I during this same period. All six depict views of places on the Baltic Sea, including Kronstadt, St Petersburg, the fortresses of Suomenlinna and Gangut, as well as a painting of the Peterhof Fountains seen from the sea and another view of Reval, which is now in the Central Naval Museum in St Petersburg. This important commission from the Tsar was awarded to Aivazovsky as part of his appointment as official painter to the Imperial Navy, which also granted him the right to wear a naval uniform. Our painting is entirely within the romantic tradition of Aivazovsky’s seascapes. From the turbulent sea, Aivazovsky shows us a view of the harbour city of Reval, which was founded on the southern Baltic coast in the 10th century and belonged to the Russian Empire from 1721 to February 1918. Aivazovsky is able to convey the grandeur of this time-honoured harbour city in particular through his depiction of the imposing skyline of Reval with the cathedral hill on the right and the adjacent Nikolai and Olai churches. The large sailing ships in the background and the small rowing boat in the foreground dance on the waves and lend the composition an attractive dynamic. The sky, which Aivazovsky has masterfully infused with an atmospheric colour scheme of soft violet and pink tones, creates a wonderful contrast to the moving accents of the rough sea and the lashing waves. The ingenuity and romantic character of Aivazovsky’s painting are shown to their best advantage in this work through the use of colour and the sophisticated composition, the interplay between the calm sky and the roaring sea, and the juxtaposition of the delicately rendered masts of the sailing ships with the church spires of Reval. --------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Ansicht von Reval, Estland. 1845. Öl auf Leinwand. Unten rechts kyrillisch signiert und datiert: Aivazovsky 1845. 58,5 × 81,7 cm. Provenienz: - Privatsammlung. - Auktion Sotheby’s, New York, 21.4.2005, Los 7. - Europäische Privatsammlung. - Auktion Koller, Zürich, 22.9.2006, Los 3109. - Europäische Privatsammlung. Literatur: - Gianni Caffiero und Ivan Samarine: Light, Water and Sky: The Paintings of Ivan Aivazovsky, London 2012, S. 86 und S. 268, Kat.-Nr. CS-1845-0004 (mit Abb.). - Gianni Caffiero und Ivan Samarine: Unknown Aivazovsky, Moskau 2016, S. 311, Kat.-Nr. CS-1845-0004 (mit Abb.). Diese Ansicht von Reval, der heutigen estnischen Hauptstadt Tallinn, ist ein herausragendes Werk des Marinemalers Ivan Aivazovsky. Es entstand 1845, nachdem Aivazovsky von einem Studienaufenthalt in Italien zurückgekehrt war und zu einem Zeitpunkt, an dem er bereits höchste internationale Anerkennung genoss. So verkehrte Aivazovsky zum Entstehungszeitpunkt des hier angebotenen Gemäldes im Alter von nur 28 Jahren bereits an zahlreichen Kunstakademien in kulturellen Zentren wie Wien, Paris und Rom. Auch illustre Persönlichkeiten der Weltgeschichte, wie beispielsweise Papst Gregor XVI. (1765–1846) und Zar Nikolaus I. (1796–1855), füllten zu dieser Zeit bereits die Auftragsbücher des jungen Künstlers. Das hier angebotene Gemälde bezieht sich auf eine Werkgruppe von sechs Gemälden, die Aivazovsky im Auftrag von Zar Nikolaus I. um die selbe Zeit malte und die allesamt Ansichten von Orten an der Ostsee zeigen. Zu dieser Serie baltischer Motive gehörten Ansichten von Kronstadt, St. Petersburg, der Festungen Suomenlinna und Gangut sowie ein Gemälde der Peterhof Fontänen vom Meer aus gesehen und eine weitere Ansicht von Reval, die sich heute im Zentralen Marinemuseum in St. Petersburg befindet. Dieser wichtige Auftrag des Zaren wurde Aivazovsky im Rahmen seiner Ernennung zum offiziellen Maler der kaiserlichen Marine zuteil, die ihm auch das Recht einräumte, eine Marineuniform zu tragen. Unser Gemälde steht ganz in der romantischen Tradition der Seestücke Aivazovskys. Vom aufgewühlten Meer aus zeigt uns Aivazovsky den Bilck auf die Hafenstadt Reval, die im 10. Jahrhundert an der baltischen Südküste gegründet wurde und von 1721 bis Februar 1918 zum russischen Kaiserreich gehörte. Insbesondere durch die Darstellung der imposanten Schauseite von Reval mit dem Domberg rechts im Bild sowie der danebenliegenden Nikolaikirche und Olaikirche vermag es Aivazovsky, uns die Erhabenheit der altehrwürdigen Hafenstadt an der Ostsee zu vermitteln. Die grossen Segelschiffe im Hintergrund sowie das kleine Ruderboot im Bildvordergrund tanzen auf den Wellen und verleihen der Komposition eine attraktive Dynamik. Der Himmel, der von Aivazovsky meisterhaft durch ein Spiel von sanften Violett- und Rosatönen in eine stimmungsvolle Farbigkeit getaucht ist, erzeugt zu den bewegten Akzenten der rauen See und den peitschenden Wellen einen wunderbaren Kontrast. Durch die Farbgebung und die anspruchsvolle Komposition, das Wechselspiel zwischen ruhigem Himmel und aufbrausender See sowie der Gegenüberstellung der filigranen Masten der Segelschiffe mit den Kirchtürmen von Reval, kommen die Genialität und der romantische Charakter der Malerei Aivazovskys in diesem Gemälde besonders gut zur Geltung. ---------------
Attributed to Ivan Konstantinovich Aivazovsky (RUSSIAN FEDERATION, 1817 - 1900) oil painting on canvas depicting a marine seascape scene depicting a schooner approaching dangerously close to a rough shore with other ships seen in the distance. Signed to lower right. Mounted in a gold gilt wooden frame. Canvas on stretcher measures approx. 24" height x 36" width. Measures approx. 33 1/4" height x 45" width overall including frame. B13/F
signed in Cyrillic and dated 'Aivazovsky/ 7 January 1885' (lower right) pencil on paper 18.2 х 26.5 cm executed in 1885signé en cyrillique et daté ‘Aivazovsky/ 7 janvier 1885’ (en bas à droite) crayon sur papier 18,2 х 26,5 cm exécuté en 1885
signed in Cyrillic and dated 'Aivazovsky/ 7 January 1885' (lower right) pencil on paper 18 х 26.5 cm executed in 1885signé en cyrillique et daté ‘Aivazovsky/ 7 janvier 1885’ (en bas à droite) crayon sur papier 18 х 26.5 cm exécuté en 1885
Ivan Konstantinovich Aivazovsky (Russian, 1817 - 1900) Oil on Panel. Signed and dated (1852) lower right. Provenance: Thomaston Place Auction Galleries - Nov 13, 2021 (Estimate: $80,000 - 120,000) Sight Size: 10.25 x 13.75 in. Overall Framed Size: 18 x 21 in.
Oil on canvas painting titled "Caravan in Oasis, Egypt" in the style of Ivan Konstantinovich Aivazovsky (Russian, Ukrainian, 1817 - 1900). It is inscribed in Cyrillic 'Aivazovsky' lower right. In 1869, Aivazovsky went to Egypt to participate in the opening ceremony of the Suez Canal. As a result of this trip, a panorama of the canal and a number of paintings reflecting the nature and way of life of Egypt, with its pyramids, sphinxes, and camel caravans. Ivan Aivazovksy was a Russian Romantic painter of Armenian descent living and working in Crimea, most famous for his seascapes, which constitute more than half of his paintings. His talent as an artist earned him sponsorship and entry to the Simferopol gymnasium and later the St. Petersburg Academy of Arts, from which he graduated with a gold medal. Earning awards for his early landscapes and seascapes, he went on to paint a series of portraits of Crimean coastal towns before traveling throughout Europe. Aivazovsky is best known for his seascapes and coastal scenes. His technique and imagination in depicting the shimmering play of light on the waves and seafoam is especially admired and gives his seascapes a romantic yet realistic quality that echoes the work of English watercolorist J. M. W. Turner and Russian painter Sylvester Shchedrin.
An Old Crimea landscape by Ivan Aivazovsky (1817-1900). Watercolour on a paper. 1850s. Dimensions without frame: 25.4 x 34.5 cm. See similar in Russian State Museum collection in Saint-Petersburg: https://commons.wikimedia.org/wiki/File:Старый_Крым._Фонтан_Айвазовского.jpg?uselang=ru
An Old Crimea landscape by Ivan Aivazovsky (1817-1900). Watercolour on a paper. 1850s. Dimensions without frame: 25.4 x 34.5 cm. See similar in Russian State Museum collection in Saint-Petersburg: https://commons.wikimedia.org/wiki/File:Старый_Крым._Фонтан_Айвазовского.jpg?uselang=ru
Attributed to Ivan Konstantinovich Aivazovsky (RUSSIAN FEDERATION, 1817 - 1900) oil painting on canvas depicting a marine seascape scene depicting a schooner approaching dangerously close to a rough shore with other ships seen in the distance. Signed to lower right. Mounted in a gold gilt wooden frame. Canvas on stretcher measures approx. 24" height x 36" width. Measures approx. 33 1/4" height x 45" width overall including frame. JD/B:15/SH:4B
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) View of Venice with San Giorgio Maggiore and gondola. 1851. Oil on canvas. Signed in Cyrillic lower left and dated: Aivazovsky 1851. 99.5 × 142.5 cm. Provenance: - Collection of an important Party official, USSR. - By inheritance, private collection. - Sale MacDougall's London, 25.11.2012, lot 28. - Private collection. Literature: Gianni Caffiero, Ivan Samarine: Light, Water and Sky. The Paintings of Ivan Aivazovsky, London 2012, pp. 100 f. ‘View of Venice with San Giorgio Maggiore and a Gondola’ by Ivan Aivazovsky is one of the most outstanding paintings in the artist’s oeuvre and is an exceptional example of the marine painter’s virtuosity. Already in 1847, the 30-year-old Aivazovsky was appointed professor of marine painting at the renowned Russian Academy of Arts in St Petersburg. The present work was created four years later, at a time when Aivazovsky had already advanced to become one of the most famous painters, not only in the Russian Tsarist Empire, but in all of Western Europe. International recognition led him on extensive journeys to all of Europe’s cultural centres, such as Berlin, Vienna, Rome, Paris and London. He spent long periods in Italy in particular, including Venice. The painting offered here not only bears witness to Aivazovsky’s stay in the Floating City, it also shows why he was held in such high esteem by the contemporary art public, his artist colleagues and the Tsar’s court alike. The large-format painting shows a typical Venetian gondola in the foreground, in which a pair of lovers are gliding over the calm waters of the lagoon. Slightly offset in the background is the island of San Giorgio Maggiore with the Benedictine monastery of the same name. This masterfully reduced composition distinguishes the artwork offered here from classical city views of Venice and makes this painting enormously effective. Through his painterly focus on the monastery island and the gondola in the still waters, Aivazovsky is able to create a sense of calm and harmony that invites the viewer to contemplation. The colour gradient in the picture is also masterfully executed. Starting with the deep blue of the mirror-smooth water surface in the foreground, Aivazovsky creates a soft colour transition towards the sky, which ends in a pale pink via reddish hues. The horizon line between the water and the sky, which is only hinted at, allows the gondola and the monastery to float almost spherically in the picture; only the reflections of the architecture and the woman's hand dipped in the water recall their earthly anchorage. This painting by Aivazovsky is completely devoted to the Romantic ideal. The graceful monastery bathed in evening light and the lovers in the gondola seem to be removed from the world; the virtuoso light-painting formulation of the evening scenery testifies to the painter’s great artistry and demonstrates beyond doubt why Aivazovsky was one of the most celebrated artists of the Romantic period. --------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Blick auf Venedig mit San Giorgio Maggiore und Gondel. 1851. Öl auf Leinwand. Unten links kyrillisch signiert und datiert: Aivazovsky 1851. 99,5 × 142,5 cm. Provenienz: - Sammlung eines hohen Parteifunktionärs der Sowjetunion. - Durch Erbschaft, Privatbesitz. - Auktion MacDougall's London, 25.11.2012, Los 28. - Privatbesitz. Literatur: Gianni Caffiero, Ivan Samarine: Light, Water and Sky. The Paintings of Ivan Aivazovsky, London 2012, S. 100 f. Blick auf Venedig mit San Giorgio Maggiore und Gondel von Ivan Aivazovsky zählt zu den herausragendsten Gemälden im Werk des Künstlers und präsentiert sich als ein ausserordentliches Beispiel der Virtuosität des Marinemalers. Bereits 1847 wurde der damals erst 30-jährige Aivazovsky zum Professor der Marinemalerei an die renommierte Russische Kunstakademie in St. Petersburg berufen. Vier Jahre später entstand das vorliegende Werk, also zu einem Zeitpunkt, an dem Aivazovsky bereits zu einem der bekanntesten Maler, nicht nur im russischen Zarenreich, sondern auch in allen Teilen des westeuropäischen Kontinents avanciert ist. Die internationale Anerkennung führte Aivazovsky auf ausgedehnte Reisen, die ihn in alle kulturellen Zentren Europas, wie unter anderem nach Berlin, Wien, Rom, Paris und London führten. Insbesondere in Italien weilte Aivazovsky längere Zeit, so auch in Venedig. Das hier angebotene Gemälde zeugt nicht nur vom Aufenthalt Aivazovskys in der Schwimmenden Stadt, es lässt auch ersichtlich werden, weshalb ihm jene Hochachtung zuteil wurde, die er vom zeitgenössischen Kunstpublikum, seinen Künstlerkollegen und dem Zarenhof gleichermassen genoss. Das grossformatige Gemälde zeigt im Vordergrund eine typisch venezianische Gondel, in der sich ein Liebespaar über das ruhige Wasser der Lagune gleiten lässt. Leicht versetzt im Hintergrund ist die Insel San Giorgio Maggiore mit der gleichnamigen Benediktinerabtei zu erkennen. Diese meisterhaft reduzierte Komposition unterscheidet das hier angebotene Kunstwerk von klassischen Stadtansichten Venedigs und macht dieses Gemälde enorm wirkungsvoll. Durch seinen malerischen Fokus auf Klosterinsel und Gondel im stillen Gewässer vermag es Aivazovsky, ein Gefühl der Ruhe und Harmonie zu erzeugen, welches den Betrachter des Werkes zu sinnlicher Kontemplation anregt. Auch der Farbverlauf im Bild ist meisterhaft ausgeführt, so schafft Aivazovsky, beginnend mit dem tiefen Blau der spiegelglatten Wasseroberfläche im Bildvordergrund, einen weichen Farbübergang gen Himmel, der über rötliche Farbtöne in einem blassen Rosa mündet. Die nur angedeutete Horizontlinie zwischen Wasser und Himmel lässt die Gondel und das Kloster beinahe sphärisch im Bild schweben; einzig die Spiegelungen der Architektur und die ins Wasser getauchte Hand der Dame verweisen auf deren irdische Verankerung. Dieses Gemälde Aivazovskys gibt sich ganz der romantischen Idee hin. Die anmutige, ins Abendlicht getauchte Abtei sowie das grazile Liebespaar in der Gondel scheinen der Welt entrückt, die virtuose lichtmalerische Ausformulierung der abendlichen Szenerie zeugt von der grossen Kunstfertigkeit des Malers und lässt schnell ersichtlich werden, warum Aivazovsky einer der gefeiertsten Künstler der Romantik war. ---------------
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Broad landscape with oxcarts. 1858. Oil on canvas. Signed lower right in Cyrillic and dated: Aivazovsky. 1858. 98.3 × 146.3 cm. Provenance: European private collection. ‘Extensive landscape with ox carts’ from 1858 was only recently rediscovered in a private collection and represents a rarity in Aivazovsky’s oeuvre, who tended to concentrate on marine paintings. In the lot offered here, Aivazovsky depicts a wide grassy landscape traversed by a wagon train of ox carts. The landscape likely represents the steppe in the northern part of the Crimea, Aivazovsky’s homeland. From his native town of Feodosia in the east of the peninsula, the vast grasslands and fields of the steppe, from which only a few small hills rise, were not far away. The present work can therefore be seen as the artist’s homage to the countryside of his native land. Through the skilful use of the vanishing point, Aivazovsky succeeds in creating an impressive diagonal with the wagon train, which aptly conveys the vastness of the steppe and the distance to the horizon. The composition also hints at his artistic predilection, marine painting: the flat surface of the grassland, the wide sky and the deep, seemingly endless horizon are all typical features of the artist’s depictions of the sea. The large format of the painting provides information about Aivazovsky’s manner of working in the studio, and at the same time is a testament to his great fame – he was already internationally established and in high demand at the time this picture was painted. Aivazovsky’s artistic mastery is particularly evident in the way light is rendered in the painting. The low evening sun casts long shadows over the landscape, filling the scene with atmospheric, masterfully executed light. Here Aivazovsky’s appreciation of the nature of his homeland comes to the fore, and the peasants blend into the landscape quite in the same manner as the herons standing in the tall grass. The present painting, presented in its original frame, with its atmospheric mood created by Aivazovsky through subject, composition and lighting, is a very special masterpiece by the famous artist, of a kind that rarely appears on the art market. Gianni Caffiero, to whom the painting was hitherto unknown, confirmed after examining the original that it is by the hand of Aivazovsky, for which we are grateful. --------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Weite Landschaft mit Ochsenkarren. 1858. Öl auf Leinwand. Unten rechts kyrillisch signiert und datiert: Aivazovsky. 1858. 98,3 × 146,3 cm. Provenienz: Europäischer Privatbesitz. Das Gemälde "Weite Landschaft mit Ochsenkarren" von 1858 wurde erst kürzlich in einer Privatsammlung wiederentdeckt und stellt eine Seltenheit im Gesamtwerk Aivazovskys, der sich sonst eher auf Marinedarstellungen konzentrierte, dar. Aivazovsky zeigt uns in dem hier angebotenen Los eine weite Graslandschaft, die von einer Wagenkolonne aus Ochsenkarren durchquert wird. Bei der dargestellten Landschaft handelt es sich vermutlich um die Steppe im Nordteil der Krim, Aivazovskys Heimat. Von seiner, im Osten der Halbinsel gelegenen Geburtsstadt Feodosija aus, waren das ausgedehnte Grasland und die weiten Felder der Steppe, aus der sich nur vereinzelt kleine Hügel erheben, nicht fern. Das uns vorliegende Gemälde Aivazovskys kann daher als Hommage des Künstlers an das Land seiner Heimat angesehen werden. Durch den geschickten Einsatz des Fluchtpunktes gelingt es Aivazovsky, mit dem Wagenzug eine eindrucksvolle Diagonale in seiner Bildkomposition entstehen zu lassen, die uns treffend die Weite der Steppe und die Ferne des Horizonts zu vermitteln vermag. Zudem gibt uns Aivazovsky durch die Komposition des Gemäldes auch Hinweise auf sein künstlerisches Hauptthema, die Marinemalerei. So erweisen sich die ebene Fläche des Graslandes, der weite Himmel und der tiefe, endlos erscheinende Horizont als typische Merkmale der Meeres-Darstellungen des Künstlers. Während das grosse Format des Gemäldes über Aivazovskys Arbeitsweise im Atelier Aufschluss gibt und zugleich auf den hohen Bekanntheitsgrad des Salonmalers, der zur Entstehungszeit dieses Bildes bereits ein international etablierter und gefragter Maler war, hinweist, zeigt sich in der Art der Lichtmalerei im Gemälde Aivazovskys künstlerische Meisterschaft. Das stimmungsvolle Abendlicht, welches von der tiefstehenden Sonne ausgeht, wirft lange Schatten über die Landschaft, was dieses Gemälde mit der für Aivazovsky typischen lichtmalerischen Virtuosität erfüllt. Hierbei kommt Aivazovskys Wertschätzung für die Natur seiner Heimat zur Geltung, so fügen sich die dargestellten Bauern ebenbürtig mit den im hohen Gras stehenden Reihern in die Landschaft ein. Das vorliegende Gemälde, welches in seinem Originalrahmen angeboten wird, besticht durch seine stimmungsvolle Atmosphäre, die Aivazovsky durch Sujet, Komposition und Lichtführung erzeugt, was dieses Bild zu einem ganz besonderen, auf dem Kunstmarkt nur selten auftauchenden Meisterwerk des berühmten Malers macht. Gianni Caffiero, dem das Gemälde bislang unbekannt war, bestätigt nach Prüfung des Originals die Eigenhändigkeit, wofür wir ihm danken. ---------------
Monogramist A., Russian painter of the 19th century, tall ship at sunset on a moving sea, possibly occasional work by Ivan Constantinovich Aivazovsky (1817-1900) in oil on canvas mounted on cardboard, monogrammed lower left, ''A.'', cardboard bumped, 15 x 9,7 cm
seascape ; end of the 19th - early 20th century ; oil on canvas - framed ; dimensions 17 x 16 cm (6 2/3 x 6 1/3 in.) ; lower right corner - A ; Shipping to USA: DHL - $160 / National post with tracking service - $80 ; Shipping to Europe, Russia, Middle Assia: DHL - $100 / National post with tracking service - $40
Property from a Private Collection Ivan Konstantinovich Aivazovsky Feodosia 1817–1900 Breaking Wave signed in Cyrillic and dated lower left: Aivazovskii 1895 oil on canvas unframed: 61.4 x 99 cm.; 24 x 39 in. framed: 95 x 132.5 cm.; 37½ x 52 in.
Property from an Important Private Collection, United States Ivan Konstantinovich Aivazovsky Feodosia 1817–1900 The Beach at Biarritz signed lower right: Aïvazovsky oil on canvas 63.5 x 96.5 cm.; 25 x 38 in.
signed and dated 'I Aivazovsky 1890' (lower right) ink and brownish-grey wash on paper 10 x 12 cm (a vue) signé et daté 'I Aivazovsky 1890' (en bas à droite) encre et lavis brun-gris sur papier 10 x 12 cm (a vue)
signed and dated ‘A1861 ’(lower right) oil on artist’s board, old label (on the reverse) 23 x 18 cm We express our gratitude to Ivan Samarine for help in cataloguing and confirmation of authenticity of the present artwork. It will be included in the artist's archive of artworks, and accompanied by the certificate of authenticity. signé et daté 'A1861' (en bas à droite) huile sur carton d'artiste, ancienne étiquette (au verso) 23 x 18 cm
Property from a Private Collection Ivan Konstantinovich Aivazovsky Russian 1817-1900 A Moonlit Night on the Crimean Coast signed and dated lower right: Aivasovsky 1875 oil on canvas canvas: 19 by 27 ½ in.; 48.5 by 70 cm framed: 32 ¾ by 41 ¼ in.; 83.5 by 105 cm
Aivazovsky, Ivan Konstantinovich 1817 Fedossija - 1900 Fedossija Krimhafen mit ankernden Fregatten und Kriegsschiffen. Signiert. Aquarell mit weiß gehöht. 18,5 x 26,5 cm.
Aivazovsky Ivan Konstantinovich (1817-1900)Sailboat near the coastOil on canvas, signed monogram A., last third of the XIX century, 13.5x10 cmGRM examination Width: 35cm, Height: 38cm, Depth: 10cm, Weight: 5kg, Condition: Good, Material: Oil on cardboard
Ivan Konstantinovich Aivazovsky (Russian, 1817-1900) Seascape signed in Cyrillic and dated 'Aivazovsky/1898' (lower right); further signed and inscribed 'To Alfred Fedecki with deep respect from Aivazovsky, 1898' (on the reverse) oil on canvas 38.5 x 30.5cm (15 3/16 x 12in).
