Ignaty Nivinsky Paintings & Artwork for Sale | Ignaty Nivinsky Art Value Price Guide

Nov. 25, 2023
FEMALE NUDE
Est: CHF80 - CHF160
FEMALE NUDE Charcoal on paper, signed "Nivinskij", probably Ignaty Ignatievich NIVINSKY (1881-1933) Light dimensions: 23 x 32 cm, frame: 37.5 x 45.5 cm
Galerie Moenius
Nov. 28, 2022
Attrib. Ignaty Nivinsky (1881- 1933), The Red Lightening
Est: $2,000 - $3,000
Attrib. Ignaty Nivinsky (1881- 1933), The Red Lightening Watercolor and ink on paper 1919 36.5 x 30.5 cm Note: Probably the final preparation for the Soviet propaganda poster. Provenance: The Eliezer Perel (1908-1994) collection. Mordechai Perel by descent. Purchased by Albert and Olivia Amar in 1989. Condition: For a detailed condition report, please contact us at info@hammersite.com
Hammersite
Feb. 10, 2022
Ignaty Ignatievich Nivinsky (1881-1933): Blue Rocks, Kislovodsk, from Caucasian Capriccio
Est: $500 - $800
Etching in colors with embossing on wove paper, signed and titled in pencil, numbered 21/50. 11 x 13 3/4 in. (sight), 17 3/4 x 20 1/2 in. (frame).
STAIR
Jun. 06, 2018
NIVINSKY, IGNATY (1881-1933) - Moscow Factory
Est: £30,000 - £40,000
NIVINSKY, IGNATY Moscow Factory signed. Oil on canvas, 58.5 by 80.5 cm. Provenance: Private collection, Europe.
MacDougall's
Jun. 28, 2017
NIVINSKY Ignaty Ignatievich 1881-1933
Est: €5,500 - €6,000
NIVINSKY Ignaty Ignatievich 1881-1933 Princesse Turandot, 1922 Pochoir sur velin Affiche pour l'Opéra de Puccini signée en cyrilique 35 x 28 cm
The Bru Sale Gallery
Jun. 10, 2017
Ignaty NIVINSKY (1881-1933)
Est: $1,200 - $1,500
Ignaty NIVINSKY (1881-1933) ; Kislovodsk ; 1924-25 ; From the series Caucasian Capriccio ; Color etching, aquatint ; Sheet - 60 x 40 cm ; In the frame 77 x 57 cm ; Shipping to USA - DHL $320 , National post with tracking service $170 / Shipping to EU, Russia, Middle Assia - DHL $220 , National post with tracking service $100
Art-Torg
May. 03, 2017
NIVINSKY Ignaty Ignatievich Ignaty Ignatievich 1881-1933
Est: €5,500 - €6,000
Princesse Turandot, 1922 Pochoir sur velin Affiche pour l'Opéra de Puccini signée en cyrilique 35 x 28 cm
The Bru Sale Gallery
Mar. 22, 2017
IGNATI NIVINSKY (1880-1933) PRINCESSE TURANDOT, 1922 Pochoir sur vélin Affi
Est: €5,000 - €7,000
IGNATI NIVINSKY (1880-1933) PRINCESSE TURANDOT, 1922 Pochoir sur vélin Affiche pour l'opéra de Puccini Signée en cyrillique 35 x 28 cm Eugène Vakhtangov, directeur du théâtre V s’intéresse à son œuvre graphique, et lui demande de participer à l’activité du théâtre. En 1922, Ignati Nivinsky aquafortiste de renomée, crée les décors et les costumes pour La Princesse Turandot de Gasparo Gozzi mise en scène par Vakhtangov.
Cornette de Saint-Cyr
Nov. 30, 2016
NIVINSKY, IGNATY (1881-1933)
Est: £25,000 - £40,000
NIVINSKY, IGNATY (1881-1933) A Dance, signed and dated 1915. Oil on canvas, 42 by 47.5 cm. Provenance: Private collection, Finland. Acquired from the above by the present owner. Private collection, Germany.
MacDougall's
Nov. 29, 2016
IGNATY IGNATIEVICH NIVINSKY | Costume Designs for Rosina, Bartolo and a Soldier from The Barber of Seville
Est: £3,000 - £5,000
gouache on paper
Sotheby's
Nov. 29, 2016
IGNATY IGNATIEVICH NIVINSKY | Six Studies of Female Figures
Est: £6,000 - £8,000
pencil on paper
Sotheby's
Nov. 29, 2016
IGNATY IGNATIEVICH NIVINSKY | Three Studies of Male Figures
Est: £3,000 - £5,000
two pencil and charcoal on paper, the other charcoal on paper
Sotheby's
Oct. 08, 2016
Ignaty NIVINSKY (1881-1933) Russian
Est: $2,000 - $2,500
"Ignaty Ignatievich NIVINSKY (1881-1933) ; From series The Caucasian Capriccio ; 1924-25 ; color etching on Arches paper, aquatint / framed ; dimensions 60 x 40 cm ; signed lower right corner ; Shipping to USA - DHL $320 , National post with tracking service $170 / Shipping to Europe, Russia, Middle Assia - DHL $220 , National post with tracking service $10"
Art-Torg
Feb. 05, 2016
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933)
Est: $80,000 - $120,000
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933),"Fairy forest", oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Dec. 01, 2015
IGNATY IGNATIEVICH NIVINSKY | The Dance
Est: £40,000 - £60,000
oil on canvas
Sotheby's
Sep. 27, 2015
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933)
Est: $80,000 - $120,000
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933),"Fairy forest", oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Jun. 27, 2015
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933)
Est: $100,000 - $150,000
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933),"Fairy forest", oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Apr. 04, 2015
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933)
Est: $100,000 - $150,000
IGNATY IGNATIEVICH NIVINSKY(RUSSIAN,1880 - 1933),"Fairy forest", oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Dec. 21, 2014
IGNATY NIVINSKY(RUSSIAN,1880 - 1933)
Est: $100,000 - $150,000
IGNATY NIVINSKY(RUSSIAN,1880 - 1933),"Fairy forest", oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Oct. 10, 2014
IGNATY NIVINSKY(RUSSIAN,1880-1933)
Est: $100,000 - $150,000
IGNATY NIVINSKY(1880 - 1933) "Fairy forest" oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Apr. 30, 2014
IGNATY NIVINSKY(1880 - 1933)
Est: $120,000 - $150,000
IGNATY NIVINSKY(1880 - 1933) "Fairy forest" oil on canvas,105,6 x 88 cm, Signed lower right.
Arman Antiques LLC
Nov. 27, 2013
NIVINSKY, IGNATY (1881-1933) Architecture, Painting, Engraving, Sculpture
Est: £5,000 - £7,000
NIVINSKY, IGNATY (1881-1933) Architecture, Painting, Engraving, Sculpture , signed. Pencil and gouache on cardboard, laid on cardboard, 24.5 by 32.5 cm. Provenance: With the Art salon of Moskultorg before 1940, Moscow (label on the reverse). Private collection, Europe.
MacDougall's
May. 27, 2012
NIVINSKY, IGNATY (1880-1933) Nude, signed and
Est: £150,000 - £200,000
NIVINSKY, IGNATY (1880-1933) Nude, signed and dated 1915. Oil on canvas, 103 by 54 cm. Provenance: Private collection, Europe. Authenticity certificate from the expert Yu. Rybakova. Ignaty Nivinsky painted Nude in the mythological style that is characteristic of his work of the 1910s. Similar works, painted at the same time as his monumental wall paintings, reflect the thematic interests of an artist in love with the art of the Italian Renaissance. It is no coincidence that we encounter complex dynamic perspectives similar to those in Nude in several well-known works by Nivinsky; in Atlas, whose powerful sculptural form reminds us of Michelangelo's slaves, as well as in the different versions of his Saint Sebastian. It seems that, in the complex composition of Nude, the artist was seeking the exact image that he needed at that period for Saint Sebastian. The model's pose also attests to this, seeming to invite comparison with the celebrated work of Titian, who for Nivinsky was always an indisputable authority, as does the delicate little tree emerging on the right of the picture and symbolically foreshadowing the hero's martyrdom. In Nude Nivinsky solves the central problem of the figure's stability: like Titian before him, he uses chiasmus, a technique known and favoured by Renaissance sculptors and painters. Thanks to this positioning of the body with cross-wise movement - with the model's right shoulder and left leg raised - the dynamic composition acquires a visual stability and the artist, basing his approach on the experience of classical art, succeeds in creating a powerful, heroic image, capacious, collective and symbolic, as was Saint Sebastian for the Renaissance age. An impression of strong and expressive modelling of volume is created by a deep chiaroscuro and by the very texture of the painting. Nivinsky's approach is disharmonious and angular. But the expressiveness of the form, the unity of the composition and the play of light, formed by the movement of light and dark areas, do not undermine the crispness of the compositional plan. The striking effect constantly sought by the artist consists here not only in the elegant composition and rhythmic organisation but, mainly, in the wholeness of the mood and the generalisation of the image. It is essentially a study of a nude model, painted at the point of greatest physical stress; but it is at the same time the most finished and the most integrated of all Nivinsky's portrayals of nude models.
MacDougall's
May. 27, 2012
NIVINSKY, IGNATY (1880-1933) Two Female Figures
Est: £260,000 - £400,000
NIVINSKY, IGNATY (1880-1933) Two Female Figures (Venus), signed and dated 1916. Oil on canvas, 159 by 112 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the experts E. Ivanova and A. Kiseleva. Exhibited: Ignaty Ignat'evich Nivinsky, 1880-1933. Vystavka k stoletiyu so dnya rozhdeniya, Pushkin State Museum of Fine Arts, Moscow, 1980, No. 357. Literature: V. Dokuchaeva, Ignaty Nivinsky, Moscow, Sovetskii khudozhnik, 1969, p. 42, No. 14, illustrated, titled Venera. Exhibition catalogue, Ignaty Ignat'evich Nivinsky, 1880-1933. Vystavka k stoletiyu so dnya rozhdeniya, Moscow, 1980, p. 74, No. 357, listed. Nivinsky's reputation as a painter came from the nudes that he painted in the spirit of Neoclassicism in 1916. In these works the "confirmed Italianist", as the artist called himself, tried to engage with the methods of the great painters of the Renaissance. It is no coincidence that Nivinsky even chose titles for his paintings in keeping with traditional examples of Italian art. Thus the present lot, entitled Two Female Figures, was long known as Venus, and other similar studio compositions were called Adam and Eve, The Upbringing of Diana and finally the darling of Italian art, Saint Sebastian. It is not only the names of the pictures; it is first and foremost the look of the models he selected, which brings to mind the Venetian masters who inspired him. Nivinsky's aim in his pictures was to create something equivalent to the Renaissance ideal of beauty. Somehow he sets a full-blooded sense of life, health and harmony against the elegance and refinement extolled as the aesthetic ideal by Art Nouveau and Symbolism, and against Cubism's distortion of form. The renowned art critic Yakov Tugendhold wrote: "Nivinsky has this remarkable urge to rehabilitate the Renaissance beauty of the human body in modern Cubist art with its emphasis on the tangible and material". The artist's chief source of inspiration was Italian monumental and decorative painting. Having made several trips to Italy in the early 1900s with Zholtovsky, the renowned Neoclassical architect, Nivinsky was enthralled by the magnificent legacy of the Renaissance artists. He produced many sketches and pictorial copies of paintings in the cathedrals and palazzi of Rome, Assisi, Mantua, Pisa and Ferrara. In painting, Nivinsky was striving for what Zholtovsky was then trying to do in architecture - to revive the classical tradition. Nivinsky carries many of the conventions and methods of decorative and monumental painting over to his smaller easel compositions: vigorous, intensely vibrant colour covering large flat surfaces, a treatment of form in which the evocative silhouette acquires special importance (the artist sometimes emphasises it by outlining the figure) and a precision in rendering rhythm. Nivinsky combines different principles in his work - monumentalism and easel painting, tradition and modernity. For this reason, his canvasses always evoke pictorial associations. Two Female Figures with its painterly quality, richness and opulence of tone, and sensual beauty of the female body is reminiscent of the art of the Venetians. His treatment of the image shows the artist operating in his characteristic borderline space. Nivinsky depicts his nude subject neither in an interior setting, though the drapery to the right continues this tradition, nor in a natural setting, though beyond the figures to the left a landscape is clearly visible. His composition is built on contrasting the gentle elastic movement of the crouching figure with the figure thrusting out its arms, yet equilibrium and stability are preserved. The extraordinary tonal richness and painterly artistry with which Nivinsky communicates the sprightly fragility of the human body put Two Female Figures (Venus) among the most successful examples of the artist's mythological easel work.
MacDougall's
Nov. 29, 2011
IGNATY NIVINSKY
Est: £100,000 - £150,000
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION 1880 - 1933 GURZUF LANDSCAPE signed in Cyrillic and dated 1917 l.r. oil on canvas 87 by 53.5cm, 34 1/2 by 21in.
Sotheby's
Nov. 21, 2008
Ignati Nivinski: Stage set design. Signed and
Est: €1,600 - €2,000
Ignati Nivinski: Stage set design. Signed and dated Ign. Niv. 1921. Gouache on paper mounted on cardboard. 38 x 46 cm.
Bruun Rasmussen Auctioneers