Kuz'ma Sergeevic Petrov-Vodkin Sold at Auction Prices
Painter, Illustrator, b. 1878 - d. 1939
Kuzma Sergeevich Petrov-Vodkin, (November 5, 1878 – February 15, 1939) was a Russian/Soviet painter. His early iconographic work used special creative effects based on the curve of the globe, but its images were considered blasphemous by the Russian Orthodox Church. However he went on to become the first president of the Leningrad Union of Soviet Artists. His autobiographical writings attracted much praise, and have enjoyed a later revival.
Rare oil on canvas painting by listed Russian artist Kuzma Sergeyevich Petrov-Vodkin ( 1878-1939 ). Signed and dated.Kuzma Sergeevich Petrov-Vodkin (1878 - February 15, 1939) was an important Russian and Soviet painter and writer. The largest collection of Petrov-Vodkin's works is in the Russian Museum in St Petersburg, where, as of 2012, a whole room in the permanent exhibition is devoted to the painter.Petrov-Vodkin was also an excellent semi-professional violinist.Size: Unframed- 14 1/2" x 10 1/2". ~ . Detailed condition reports are not included in this catalog. For additional information, including condition reports, please contact us at info@sofedesignauctions.com
Attributed to Kuzma Sergeyevich Petrov-Vodkin (RUSSIAN FEDERATION, 1878 - 1939) oil painting on canvas depicting seated figures with attendant. Initialed to lower left and dated 1921. Mounted in a gold painted wooden frame. Canvas on stretcher measures approx. 29" height x 36 1/4" width. Measures approx. 33 1/4" height x 41 1/4" width overall including frame. One corner of frame loose. JD/B15/BW
Attributed to Kuzma Sergeyevich Petrov Vodkin, Russian, 1878 to 1939, oil painting on canvas, portrait of Anna Akhmatova, 1922. Signed with a monogram and dated, lower right. Framed. Inscribed, A. Akhmatova, on the backside. Kuzma Sergeevich Petrov-Vodkin is a Russian and Soviet painter, graphic artist, art theorist, playwright, writer and teacher, Honored Artist of the RSFSR. Kuzma Petrov Vodkin was a prominent figure in the Symbolism movement. Petrov Vodkins artistic language developed at the intersection of traditions and avant garde ideas. Old Russian icon, Italian Renaissance, Cubism, Fauvism, Post Impressionism all these influences were intertwined in the artist’s search and became a support in his own sincere, direct study of the world and people. One of a kind artwork.
Attributed to Kuzma Sergeyevich Petrov-Vodkin (RUSSIAN FEDERATION, 1878 - 1939) oil painting on canvas depicting seated figures with attendant. Initialed to lower left and dated 1921. Mounted in a gold painted wooden frame. Canvas on stretcher measures approx. 29" height x 36 1/4" width. Measures approx. 33 1/4" height x 41 1/4" width overall including frame. One corner of frame loose. JD/B15/BW
Kuzma Sergeevich Petrov-Vodkin (RUSSIAN, 1878–1939) oil on canvas, Military Scene dated 1922 and 1923, initialed lower right, 36" x 29" canvas, 42" x 34 1/2" overall
DESCRIPTION: Lithograph of a sketch study for "The Dream" by Kuzma Petrov-Vodkin depicting a nude woman from the chest up. Piece bears artist's signature at lower left and artist license mark at bottom right; marked on verso with title in English and Russian and inscribed on verso with message for a recipient. CIRCA: 1910 ORIGIN: Russia DIMENSIONS: (With Frame) H: 26.5" W: 1" L: 22.25" (Without Frame) H: 21.75" L: 16.75" Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
Attributed to: Kuzma Sergeyevich Petrov-Vodkin, Russian (1878 - 1939) Oil on Canvas "Portrait of Achmatova" Signed and Dated 1922 Lowwer Right. Inscribed en verso of the canvas. Measures 19-3/4" x 15-3/4". Frame measures 24-1/2" x 20-3/8" x 2-5/8". A work listed as "attributed to:" the respective artist has not been authenticated by a recognized expert on the artist in question. We offer such a work without warranty as to authenticity. Condition: Good condition. Estimate: $800.00 - $1600.00 Domestic Shipping: $145.00
Attributed To: Kuzma Petrov-Vodkin, Russian (1878 - 1939) Oil on Canvas "The Playing Boys" Signed Lower Right. Measures 20-1/4" H x 28" W, frame measures 23-1/2" H x 31-1/4" W. Condition: Some areas of craquelure Estimate: $800.00 - $1200.00 Domestic Shipping: $165.00
The Village lane with Walkers inscribed, titled in Cyrrilic and dated 1898 (on the reverse) oil on canvas 48 x 32 cm painted in 1898 Provenance: Acquired by the present owner from immigrant Russians in Milan in the 1960s Private European collection КУЗЬМА СЕРГЕЕВИЧ ПЕТРОВ-ВОДКИН (1878-1939) Деревенская тропа подпись и дата ‘Петров-Водкин 1898’ (на обороте) холст, масло 48 х 32 см 1898 год Провенанс: Частная коллекция, Милан 1960-е Европейская частная коллекция
Attributed To: Kuzma Petrov-Vodkin, Russian (1878 - 1939) Oil on Canvas "The Playing Boys" Signed Lower Right. Measures 20-1/4" H x 28" W, frame measures 23-1/2" H x 31-1/4" W. Condition: Some areas of craquelure Estimate: $1000.00 - $1500.00 Domestic Shipping: $165.00
PETROV-VODKIN, KUZMA (1878–1939) Bathing Boys signed with a monogram, inscribed “S-kand” and dated “1921 28/IX”. Oil on canvas, 42 by 49.5 cm. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Authenticity has also been confirmed by the expert V. Petrov. Literature: V. Kostin, K.S. Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1966, p. 97, illustrated in black and white; p. 155, listed under the works from 1921; p. 165, listed. Related Literature: For other works from the Samarkand series, see K. Petrov-Vodkin, Samarkandiia, St Petersburg, Akvilon, 1923, pp. 9, 13, 17, 19, 23, 27, 29, 33, 37, 41, 45, 47, 51 and 53. V. Kostin, K.S. Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1966, pp. 94–96. V. Kostin, Petrov-Vodkine, Leningrad, Aurora Art Publishers, 1976, ill. 53–61. K. Petrov-Vodkin, Khlynovsk. Prostranstvo Evklida. Samarkandiia, Leningrad, Iskusstvo, 1982, pp. 567, 569, 570, 572–575, 591, 594–596. V. Kostin, Kuzma Sergeevich Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1986, ill. 57–63. Yu. Rusakov, N. Barabanova, Kuzma Petrov-Vodkin. Zhivopis, Grafika, Teatralno-dekoratsionnoe iskusstvo, Leningrad, Aurora Art Publishers, 1986, ill. 148–161. N. Adaskina, K.S. Petrov-Vodkin. Zhizn i tvorchestvo, Moscow, BuksMArt, 2014, pp. 140, 141, 276–278. The painting Bathing Boys, now presented for auction, belongs to one of the most important series in the œuvre of Kuzma Petrov-Vodkin — the depiction of boys or youths in or near water. The exploration of this topic became crucial for the artist in the 1910s, when he first conceived the ideas which translated into such iconic works as Boys ( Boys Playing, 1911, The State Russian Museum), Bathing of the Red Horse (1912, The State Tretyakov Gallery) and Thirsty Warrior (1915, The State Russian Museum). The present work is a typical example of Petrov-Vodkin's output from the late 1910s and early 1920s. Painted in Samarkand in September 1921, when he was on an expedition to Central Asia with the Academy of the History of Material Culture, it showcases his artistic search while he was moving away from the abstract space of his early years to the colourful and luminous metaphysical world of “planetary reality”. The subject — the young bathers — at first glance suggests a literal interpretation of the work: a mundane scene encountered by the artist. It is a depiction of a riverbank, with a group of boys who have chosen a spot near the water. Two of them are still undressing on the bank, while the other two are already in the water. It is not impossible that this is exactly how the artist remembered his own childhood, which he spent by the Volga, which gave him a life-long attachment to water, propelling him to seek it no matter where he was. In his essay Samarkandiia, written in 1923 just after returning from the trip, Petrov-Vodkin wrote that, even in scorching Turkestan, he would start the morning with an invigorating dip in a silvery stream, while his trips to the “turbulent emerald-grey waters of the Siab” gave him particular pleasure, since there, in the drowsy silence, “under the elms, nothing distracts the wandering painter striving to depict on canvas that what he sees”. Yet the painting is not the result of the plein air observations. It also contains the combination of two figurative planes — the ordinary and the symbolic — that is a constant feature of Petrov-Vodkin’s œuvre. This semantic duality predetermines the picture’s whole spatial structure. The light-blue expanse of the river is ambiguous: it is certainly real water, in which the tanned, youthful bodies are immersed, but it is also a blue substance, visible from a great height, in which the faceted ripples of the streams that are in motion, flowing in different directions, are subject to their own logic. The composition leads one to feel a special sensitivity to, and craving for, the metaphysical essence of things and phenomena — something that came to be uppermost in the works that Petrov-Vodkin produced in the late 1910s and early 1920s. In the markedly casual treatment of the scene and in what seem to be randomly adopted viewing angles, one can detect a carefully considered research objective — that of finding and perceiving, in the real connection between people and things, their inner relationship with each other and with nature, of comprehending the laws governing the hidden life of matter. That is why it comes as no surprise that variations of the same “random poses” can be encountered in Petrov-Vodkin’s other works: the stiffly raised arm of the youth in the water is found in Thirsty Warrior and Boys (Boys Playing), and the figure in the foreground with his back towards us, who is holding his shirt in his hands, certainly harks back to the sketch Two Models, made in 1920. In using a colouristic approach based on the juxtaposition of various shades of ochre and blue, Petrov-Vodkin didn’t just make references to the colours of Samarkand and Afrasiyab, featuring the combination of goldenhued sand and the pure turquoise of the mosques’ majolica domes, which had made such an impression on him. He also seemed to be emphasising the non-specific location and a timeless nature of the scene. Nothing definite can be said about the characters: their gender, the country or time in which they might have lived are irrelevant to the artist. This “planetary” approach to the subject is all the more expressive because, when the painting was X-rayed, a different composition was revealed underneath. It shows a townscape, typical of Petrov-Vodkin’s Samarkand work, with the figure of an Uzbek boy wearing a tyubeteika in the foreground on the left. Here, on the contrary, the composition depicts a very specific “oriental” way of life — a huge building with porticos, a camel and a donkey moving along the road, and a road-side tree. We will never know why the artist abandoned the original composition. He did work on subjects similar to that one later, after returning to Petrograd — for instance, in the painting Samarkand (1926). Conversely, Petrov-Vodkin had stopped painting bathing scenes already in the early 1920s, having found other subjects that interested him. This makes Bathing Boys a unique find on the market where most other similar works belong to museum collections.
Kuzma Petrov-Vodkin (1878-1939) Still life with lilac signed with monogram and dated '1928' (lower left), further signed with monogram (on the envelope) and inscribed in Russian '13–14. 27/IX Kokt.[ebel]' (lower right, inverted) oil on canvas 31 3/8 x 25 ¾ in. (80 x 65.4 cm.)
PETROV-VODKIN, KUZMA Fore-Title and Headpieces for the K. Petrov-Vodkin Book "Aoiia. Prikliuchenia Andriushi i Kati v vozdukhe, pod zemlei i na zemle" signed with a monogram. Pencil and ink on paper, 40 by 27.5 cm. Executed c. 1914. Exhibited: Vystavka russkogo izobrazitelnogo iskusstva nachala 20 veka. Iz chastnykh sobranii Leningrada, Leningrad, 1985. Literature: Exhibition catalogue, Yu. Gogolitsyn (ed.), Vystavka russkogo izobrazitelnogo iskusstva nachala 20 veka. Iz chetyrekh chastnykh sobranii Leningrada, Leningrad, Upravlenie kultury Lenoblispolkoma, 1985, p. 16, listed. Related Literature: For the printed version of the present work, see K. Petrov-Vodkin, Aoiia. Prikliucheniia Andriushi i Kati v vozdukhe, pod zemlei i na zemle, St Petersburg, Griaduschii den, 1914, p. 6, illustrated.
PETROV-VODKIN, KUZMA SERGEEVICH (Khvalynsk 1878 - 1939 Leningrad) Demon. 1904. Oil on canvas. Recto dated in Cyrillic lower left. Verso titled, dated and signed in Cyrillic. 54.5 x 37 cm. Provenance: - Private collection, St. Petersburg, until 1986. - Private collection, Estonia. - Swiss private collection. Literature: Kostin, V. I.: K. Petrov-Vodkin, Moscow 1966 (in Russian), listed on p. 150. --------------- PETROV-VODKIN, KUZMA SERGEEVICH (Chwalynsk 1878 - 1939 Leningrad) Dämon. 1904. Öl auf Leinwand. Recto unten links kyrillisch datiert. Verso kyrillisch betitelt, datiert und signiert. 54,5 x 37 cm. Provenienz: - Privatsammlung, St. Petersburg, bis 1986. - Privatsammlung, Estland. - Schweizer Privatsammlung. Literatur: Kostin, V. I.: K. Petrov-Vodkin, Moscow 1966 (in russ. Sprache), gelistet auf S. 150. Kuzma Petrov-Vodkin, 1878 in Chwalynsk geboren, zählt zu den bekanntesten russischen und sowjetischen Künstlern des 20. Jahrhunderts. Als Teil einer Gruppe aufstrebender Avantgarde-Künstler, die neue Formen eines künstlerischen Ausdrucks zu manifestieren versuchten, ordnen sich seine Arbeiten in eine Zeit des sozialen sowie politischen Umbruchs Russlands ein. Dies zeigt sich auch in Petrov-Vodkins Malerei, in der Darstellungen russischer Ikonen mit einem modernen Symbolismus eine beeindruckende Symbiose eingehen. Durch die Verwendung markanter Farben und eines beschwingten sowie expressiven Pinselstrichs ziehen die nahezu sphärischen Kompositionen den Betrachter in ihren Bann. Bereits in jungen Jahren kam er als Schüler bekannter Künstler, wie Valentin Serow (1865-1911), Isaak Levitan (1860-1900) und Konstantin Korovin (1861-1939), mit unterschiedlichen Ausdrucksformen in Kontakt. So war es ihm vergönnt, auch in die hohe Kunst der Ikonenmalerei eingeführt zu werden. Später schulte er seine künstlerischen Fähigkeiten an der Moskauer Akademie für Malerei, Bildhauerei und Architektur. Alle seine gewonnenen Erkenntnisse führte er schliesslich in seinen Gemälden zusammen, die in Russland als Archetypen von Krieg und Frieden gelten. In der hier zum Verkauf stehenden Darstellung eines Dämons von 1904, vereinen sich all die zuvor genannten Komponenten in einer monumentalen, sphärischen und rhythmischen Komposition. In kraftvollen Blautönen verbinden sich Fantasie und Symbolismus zu einem der bekanntesten Werke aus Petrov-Vodkins Oeuvre. Unverkennbar ist auch eine gewisse stilistische Beeinflussung durch Michail Alexandrowitsch Wrubels (1856-1910) Darstellung eines Dämons von 1890 (Tretyakov Galerie in Moskau, (siehe Abb.1). In der Interpretation von Petrov-Vodkin erscheint der Dämon jedoch als Rebell und bringt die eigenständige Bildsprache des Künstlers deutlich zum Ausdruck.
KUZMA SERGEIEVICH PETROV-VODKIN (1878-1939) Mother and child signed with Cyrillic initials ‘KPV’ and dated ‘1927’ (lower right) watercolour and pencil on paper 52.3 x 38.4cm (20 9/16 x 15 1/8in).
PETROV-VODKIN, KUZMA (1878-1939) Portrait of an African Boy, inscribed “Biskra” and dated 1907. Oil on canvas, 48.5 by 36.5 cm. Provenance: Collection of Alexander Gidoni (1885–1943), an art historian and writer, St Petersburg. Collection of Lev Loitsiansky (1900–1991), a Soviet scientist, Leningrad. Icons, Russian Pictures and Works of Art, Sotheby’s London, 15 December 1994, lot 66. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Salon. 1908–1909, Kadetskii korpus, St Petersburg, January 1909. Vystavka proizvedenii zasluzhennogo deiatelia iskusstv RSFSR K. S. Petrova-Vodkina. 1879–1939, The State Russian Museum, Leningrad, 1966. Russkoe iskusstvo XVIII–nachala XX veka iz chastnykh sobranii Leningrada, Tsentralnyi vstavochnyi zal “Manezh”, Leningrad, 1988 (label on the stretcher). Literature: Exhibition catalogue, Salon. 1908–1909, St Petersburg, 1909, No. 247, listed as Negritenok (Vozhak za Semikryloi). A. Rostislavov, “Zhivopis Petrova-Vodkina”, Apollon, No. 3, 1915, p. 21, listed as Negritenok (Vozhak za Semikryloi). A. Galushkina, K. S. Petrov-Vodkin, Moscow, Gosudatstvennoe izdatelstvo izobrazitelnykh iskusstv–OGIZ, 1936, p. 66, listed as Negritenok (Vozhak za Semikryloi). Exhibition catalogue, N. Barabanova (ed.), Kuzma Sergeevich Petrov-Vodkin. 1878–1939, Leningrad–Moscow, 1966, p. 18, listed as Negritenok. Exhibition catalogue, Russkoe iskusstvo XVIII–nachala XX veka iz chastnykh sobranii Leningrada, Leningrad, Khudozhnik RSFSR, 1988, p. 40, listed as Negritenok. The Portrait of an African Boy featured in this catalogue belongs to a series of works that Kuzma Petrov-Vodkin painted in 1907 during a two-month trip to Algeria and Tunisia. This expressive, rather intimate image of a child was created during the artist's visit to Biskra, a town in northern Algeria. The work’s colour scheme seems to have literally soaked up the heat of the blazing African sun, the aroma from the local bakeries and the variety of colour in the Berber and Arab fabrics, the rhythmic pattern of which is associated with the measured beating of Berber drums and castanets. The image of the boy not only captivates one by its reverence and the impressionistic lack of constraint; it also constitutes a splendid example of a mood portrait that has conveyed to the modern viewer, through the surprised look of an inquisitive child, the fabulously alluring atmosphere of a remote ethnic group. Petrov-Vodkin’s Tunisian and Algerian works, executed in oils, are encountered extremely rarely in private collections, and their value is obvious. The artist only created a few paintings from the sketches and watercolours of 1907 that he brought back from Africa. The Portrait of an African Boy, painted from life, holds a special place in that group. The work’s provenance is also noteworthy. The portrait used to be in the collection of the eminent art historian and writer Alexander Gidoni, and later formed part of the collection of the distinguished Soviet scientist Lev Loitsiansky. The work has a commendable exhibition history and has been published several times – an unquestionable indication of the museum quality of this magnificent canvas. Petrov-Vodkin is arguably one of the most interesting Russian artists of the 20th century. His progressive discoveries in spatial and compositional structure ushered into the figurative pictorial art of the modern era the avantgarde ideas that still influence the creative work of many painters and graphic artists today. The system formulated by the colouristic vision of Petrov-Vodkin’s “three-colour spectrum” substantially transformed the palette of a whole community of the young artists of his time, providing many of them with wonderful opportunities for exploring new avenues in figurative art. The concepts of Petrov-Vodkin’s circle and the Petrov-Vodkin school now form an established part of the common usage of art historians. “Nowadays no one seems to be any longer in doubt that, in Petrov-Vodkin, Russian and Soviet art had a master of vast scope, profoundly unconventional and original, an artist and philosopher who strove to understand and bring to life in his art a person, an object, an occurrence or the universe in all their complexity and depth. It is precisely such people, rare by the very nature of their talent, who more than all others carry forward the artistic cognition of the world,” wrote Yury Rusakov, an expert on the artist’s work.
PETROV-VODKIN, KUZMA (1878-1939) Crying Baby, signed and titled in Cyrillic, further inscribed "litografiya/4 kraski/(natur. velich.)/1/1" on the reverse. Pencil, ink and watercolour on paperr, 23 by 16.5 cm (paper size). Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert E. Zhukova.
SCHOOL OF KUZ'MA SERGEEVITCH PETROV-VODKIN (1878-1939), RUSSIANHOUSES AND PICKET FENCEOil on canvas; signed in cyrillics and dated 1971 lower right19.75" x 19.75" - 50.2 x 50.2 cm.Estimate: $400-600
PETROV-VODKIN, KUZMA (1878-1939) Shakh-i-Zinda, Samarkand , signed with a monogram, also further signed, numbered "102" and dated "6/IV"on the reverse. Ink on paper, 10 by 12 cm. Executed in 1921. Provenance: Collection of P.I. Basmanov, St Petersburg. Important private collection, Germany. Authenticity of the work has been confirmed by the expert E. Zhukova. Related literature: For similar works, see K. Petrov-Vodkin, Samarkandia. Iz putevykh nabroskov 1921, Petrograd, Akvilon, 1923.
PETROV-VODKIN, KUZMA (1878-1939) Village Scene with Five Female Figures , signed with a monogram and dated "13/14 I I/1 1924". Watercolour on paper, laid on cardboard, 38.5 by 31 cm. Provenance: Important private collection, France.
Petrov-Vodkin, Kuzma. Samarkandiya. Iz putevkych nabroskov 1921 (russischer Druck: Das Land von Samarkand, Aufzeichnungen einer Reise 1921). 49 S., 3 Bl. Mit 14 blattgroßen und 7 Text-Illustrationen von K. Petrov-Vodkin. 27 x 22 cm. Farbig illustr. oBroschur (gebräunt und etwqas fleckig; Rücken brüchig; Vorderumschlag im oberen Rand mit alter handschriftl. Signatur in Farbstift). St. Petersburg, Akvilon, 1923. Hellyer 416. The Russian Avantgarde-Book 496. - Erste, in kleiner Auflage erschienene Reisebeschreibung des Künstlers und Schriftstellers (1878-1939), der im Sommer 1921 vier Monate Samarkand besuchte und dort diese Impressionen festhielt. Petrov-Vodkin wurde 1878 in der Stadt Chwalynsk (heute Oblast Saratow) als Sohne eines Schuhmachers geboren. Ende der 1890er Jahre studierte er in Samara Malerei und Zeichnen sowie in Sankt Petersburg an der Zentralen Schule für Technisches Zeichnen. 1901 setzte er sein Studium in München fort. Später zog er nach Moskau, wo er bei Walentin Serow an der Moskauer Schule für Malerei, Bildhauerei und Architektur studierte. 1905 beendete er sein Studium in Moskau und ging nach Paris, um dort an privaten Schulen weiter zu lernen. Er besuchte auch Italien und Nordafrika. 1911 wurde er Mitglied der Vereinigung Welt der Kunst und 1924 der Gruppe Vier Künste. In der Zeit der Sowjetunion arbeitete Petrov-Vodkin viel als Grafiker und Dramatiker. Er verfasste Erzählungen und Stücke sowie theoretische Aufsätze. Von 1918 bis 1933 unterrichtete er in den Freien Staatlichen Kunstpädagogischen Ateliers in Leningrad. 1932 bis 1937 war er der erste Präsident der Sankt Petersburger Künstlervereinigung. - Umschlag stockfelckig; innen teils etwas fleckig, insgesamt jedoch gutes Exemplar.
KUZMA SERGEYEVICH PETROV-VODKIN(1878-1939), Samarkandiya [Samarkandland]. Petrograd: Akvilon, 1923. 4to. 55 pages. 273 x 220 mm. Original decorated wrappers. Wrappers soiled; bookstore name rubberstamped on back free endpaper. First edition, one of 1000 copies. This Russian avant-garde book is illustrated with on-the-spot sketches by the artist.
KUZMA SERGEYEVICH PETROV-VODKIN(1878-1939), Aoiya. Priklyucheniya Andryushi I Kati v vozduhe, na zemle I pod zemlyoi [Aoiya. The Adventures of Andryusha and Katya in the Sky, on Earth and Underground]. Saint Petersburg: "Gryadushiy Den", 1914. 8vo. 116 pages. 255 x 193 mm. Original decorated wrappers. Wrappers soiled, spine replaced, pages buckled. First and only edition of this rare children`s book written and illustrated by the famous Russian avant-garde painter. This story for children describes the wild adventures of two friends, Andryusha and Katya, who fly away to a strange island called "Aoiya". Written and illustrated by Petrov-Vodkin.
MARSHAK, SAMUIL YAKOVLEVICH. 1887-1964. Zagadki [Riddles]. Leningrad and Moscow: Raduga, 1925. 8vo. 12pp. Wrappers restored, library stamp on title page with carbon-copy note affixed to p 3. RARE CHILDREN'S BOOK with pictures by the great modern artist Petrov-Vodkin. Combining the traditions of the icon with the principles of Cubism, he created an entirely new kind of Russian painting. He illustrated only a few picture books. The haunting pictures provide the answers to Marshak's riddles in verse. The modern text and illustrations about the phonograph, the telephone, the automobile and other everyday objects reflect contemporary life in Russia. His work fell out of favor during the years of Soviet Social Realism, but he is now considered to be one of his country's exceptional painters.
WLADIMIR TATLIN (1885-1953) Contrepoids Counter-relief Technique mixte, peinture à la gouache et fusain sur papier signé en bas à gauche. Provenance : Hampel, Allemagne, Collection privée. Expertise : Nadia Filatoff Dimensions : 42,7 x 28 cm Rapport d'expertise : «Contre-reliefs de Tatline» sont l'une des créations les plus importantes de la Russie "Avant-Garde", en ce qui concerne non seulement la Russie, mais aussi tout le développement de l'art du 20e siècle. Ils sont une nouvelle étape d'expérimentation artistique suivi d'un travail créatif avec des formes Cubiste. Tatlin est venu à Paris en Mars 1914 et a visité l'atelier de Pablo Picasso, où il a pu voir des "reliefs", ce qui lui à donné la possibilité d'entreprendre ses propres recherches artistiques. Tatlin a décidé d'utiliser différents matériaux ordinaire comme le bois, le feu et le métal, en modifiant ni les couleurs ni les formes .... Le volume du cylindre dans la partie médiane est une évocation de la peinture de L.Popova comme on le voit avec les plans géométriques. Tatlin est l'un des plus grands artistes de l'avant-garde russe en face du suprématiste Malevitch. Il est un précurseur du constructivisme ». Mixed media, gouache painting and pencil on paper, signed on the bottom left. Provenance : Hampel Germany, Private Collection. Expertise : Nadia Filatoff Expertise report : " Tatlin's counter-reliefs" are one of the most important creations by the Russian "Avant-Garde", as regarding not only Russia, but the development of the Art of the 20th Century. They are a new stage of artistic experiment witch followed the creative work with shapes in Cubism. Tatlin who came in Paris in March 1914, visited shortly the atelier of Pablo Picasso, where he could have seen reliefs, this gave him the opportunity to undertake his own artistic explorations. Tatlin decided to use various and ordinary materials, wood, fire and metal, no modifying neither the colors nor the shapes.... The volume of the cylinder in the middle part is an evocation of the paintings of L.Popova as seen with geometrical plans. He is one of the most major artist of the russian Avant-Garde opponent to the Suprematism of Malevitch. He is a precursor of Constructivism".
PETROV-VODKIN, KUZMA (1878-1939) Shakh-i-Zinda, Samarkand , signed with a monogram, also further signed, numbered "102" and dated "6/IV"on the reverse. Ink on paper, 10 by 12 cm. Executed in 1921. Provenance: Collection of P.I. Basmanov, St Petersburg. Important private collection, Germany. Authenticity of the work has been confirmed by the expert E. Zhukova. Related Literature: For similar works, see K. Petrov-Vodkin, Samarkandia. Iz putevykh nabroskov 1921, Petrograd, Akvilon, 1923.
* PETROV-VODKIN, KUZMA (1878-1939) Flowers, a Set Design , signed with a monogram, also further signed, inscribed in Cyrillic "Dekoratsiya" and dated 1926 on the reverse. Pencil and watercolour, heightened with white, on paper, 28.5 by 30 cm. Provenance: Important private collection, Europe. Authenticity certificate from the expert E. Zhukova. In the mid-1920s Kuzma Petrov-Vodkin occasionally worked in theatres. It is known for certain that at that time the artist did the designs for four productions in all, two of which were performed. No mention has been found in the artist's published diaries, or in the monographs and reference material on his creative work, of the production which Petrov-Vodkin was busy designing in 1926. Despite this fact, however, it has been established from the artist's signature on the reverse of the present work that he signed and dated this sketch at precisely that time. "One's attention is drawn to the similarity of the geometric decorative elements of the sketch and the curtain for Beaumarchais's comedy The Marriage of Figaro (State Academic Drama Theatre, Leningrad, 1935)... In the Flowers there is a more definite expression of Petrov-Vodkin's favourite three-colour combination (dark blue, yellow and red). He achieved the expressive, pulsating effect of the coloured surface of the curtain, painted with distinct brushstrokes, through his great practical experience in the 1920s of pencil drawing and wielding pen and brush, when the artist learned to fill form with light and air" - notes the art critic E.M. Zhukova in an essay she wrote.
* PETROV-VODKIN, KUZMA (1878-1939) Motherhood, a Cover Design for the Magazine "Krasnaya Niva" , signed twice, once with a monogram, and titled in Cyrillic, also further titled and dated 1926 on the reverse. Pencil, ink and watercolour on paper, 23 by 30 cm (sheet size). Provenance: Important private collection, Europe. Authenticity certificate from the expert E. Zhukova. In the 1920s Petrov-Vodkin's work in the field of illustration and children's book design was particularly fruitful. As with his works in oil, the artist builds his designs - creates their structure - on the basis of the theory of spherical perspective that he conceived in his book Euclid's Space. On one occasion when he threw himself to the ground as a boy, the future artist's attention was caught by the unusual state engendered in him at the moment he fell by the landscape around him. The art critic Yury Rusakov wrote: "Later he mulled over this impression and came to the conclusion that in painting, the artist's own movement needed to be coordinated with movement in the surrounding world, because when that coordination took place there arose a sensation of the spherical nature of the surface of the earth. The system for perceiving space, however, and the method he developed of turning that into a painting, Petrov-Vodkin firmly believed, allowed a planetary sensation to be felt - in any canvas - of the connection between a specific object depicted and the immense spaces of the universe. Even if spherical perspective was not a discovery of universal significance, it still gave the spatial construction of Petrov-Vodkin's own pictures unusual sharpness and a unique quality." We can clearly see all this in the drawing of Motherhood here at auction, where in the mother's rocking of her baby, in her every movement, in the slope of the window and the landscape glimpsed in it, we observe the instability of the universe and, alongside it, the accompanying equilibrium.
Aoiya Prikliucheniya Andriushi i Kati v vozdukh na zeml i pod zemlei. [AOIIA: The Adventures of Andriusha and Katya in the Sky, on Earth and Underground.] St. Petersburg: "Gryadyschii Den," 1914. 8vo. 116 pp. Original decorated wrappers. Wrappers soiled, spine replaced, pages buckled. FIRST AND ONLY EDITION of this rare children's book written and illustrated by the famous Russian avant-garde painter. Petrov-Vodkin was a well-respected and controversial artist who introduced erotic elements to the traditions of icon painting. This story for children, published just as World War II broke out, describes the wild adventures of two friends, Andriusha and Katya, who fly away in a hot air balloon to a strange island called "Aoiya," all illustrated in Petrov-Vodkin's inimitable style. Not in MoMA.
Flowers, 1926 signed with monogram in Cyrillic (lower centre); inscribed by the artist on the verso in Cyrillic 'K.S.Petrov-Vodkin/Decoration 31/5 x38/1926' watercolour and pencil on paper 28.3 x 29.3cm (11 1/8 x 11 9/16in). unframed
PETROV-VODKIN, KUZMA (1878-1939) Tailpiece to The Princess of the Tide by Mikhail Lermontov, signed with a monogram and inscribed in Cyrillic. Pencil and ink on paper, 15 by 33.5 cm (sheet size). Provenance: M. Petrova-Vodkina, the artist's widow. Collection of O. Desnitskaya, Leningrad. Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Solonovich. Exhibited: M.Yu. Lermontov. K 125-letiyu so dnya rozhdeniya (1814-1939), The State Russian Museum, Leningrad, 1939, No. 423. Literature: Exhibition catalogue, M.Yu. Lermontov. K 125-letiyu so dnya rozhdeniya (1814-1939), Moscow, Leningrad, Izdatel'stvo Akademii Nauk SSSR, 1941, p. 78, No. 423, listed; p. 116, illustrated. Lermontovskaya Entsiklopediya, Moscow, 1981, p. 414. This small pen and ink tailpiece, executed with great artistry and elegance, illustrates the most tragic moment in Lermontov's last ballad - the death of the Princess of the Tide. Removed from her watery element, the beautiful girl turns into a repulsive sea monster "with a tail covered in snake's scales, All writhing coils, trembling and dying". The young man who has made her his "catch" is the cause of the princess's death ("look how my catch struggles"). The moment of her death is the culmination of the poem. At this instant the prince recognises in the chthonic monster a living creature suffering and dying like a human-being: "Pale hands grasping at the sand, Lips whispering an unintelligible reproach". The young man's desire to remove the cloak of secrecy from existence has proved to be fatal, but the main tragedy is that the very path he has taken in his search for the truth of existence is based on mistrust for that which reveals itself to be of value. The prince finishes the ballad a changed man, not the brave and conquering hero, but doomed to remember forever the Princess of the Tide and her fate. He himself is a victim of his truth-seeking experiment. The princess's death is thus the consequence of a false conviction that the truth must inevitably be hidden under the deceptive mantle of what is outwardly visible, and there is therefore a need to prove by direct experience, in other words that it should hold up to scrutiny even outside the natural element in which it exists. The artist, like the poet before him, is inclined to philosophising and portrays the subject in a symbolic manner, imparting to both the illustration and the tailpiece a multiplicity of ideas and possible interpretations.
PETROV-VODKIN, KUZMA (1878-1939) Irakli Vyrubov. Illustration for Maxim Gorky's The Cemetery, signed and inscribed in Cyrillic. Pencil and watercolour on paper, 28 by 22 cm (sheet size). Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the experts E. Zhukova and V. Silaev. Literature:M. Gorky, Izbrannye proizvedeniya, Moscow, Gosudarstvennoe izdatel'stvo khudozhestvennoi literatury, 1932, illustrated. The illustrations for several short stories by the classic Soviet writer Maxim Gorky, published in the 1932 volume of his selected works occupy a special place in Petrov-Vodkin's oeuvre. The artist selected five tales to illustrate: Mother, from Tales of Italy; Lullaby and The Cemetery from the collection Through Russia; Fire and A Girl and Death. In each of his illustrations Petrov-Vodkin endeavoured to capture the most distinctive and vivid images from the story. The watercolour Irakli Vyrubov is one of two surviving examples from this notable series. It reveals Petrov-Vodkin to be a mature artist who well understands both the specific requirements and the possibilities of book illustration, deploying with an easy hand his media of choice: pencil and translucent watercolour, which allows no margin for error. Irakli Vyrubov, the hero of Gorky's short story The Cemetery, stands at the gate of his house, looking just as the author had imagined him: "enormous, stooped and clean-shaven like a cook, Vyrubov was always anxiously hoisting up his trousers which slipped off his belly - a belly stuffed, probably, with watermelons. His thick, greedy lips were slightly open and in his colourless eyes was a frozen expression of insatiable hunger". However, the artist visibly softens Gorky's stern characterisation with his fluid drawing style and delicate, blue-ish palette which lends the scene a gentle hint of detached irony rather than social censure. In his illustration for The Cemetery, Petrov-Vodkin is not only anxious that the drawing should fit the story: he is also in a way preparing the reader for the text. Like Gorky, he too had grown up in the Volga region and had travelled a great deal around Russia. Therefore, he could convincingly recreate the living conditions, landscapes and, primarily, the distinctive appearance of the various protagonists in his illustrations, which were at times based on his own experiences.
PETROV-VODKIN, KUZMA (1878-1939) Seated Youth. Classical Composition, signed and indistinctly inscribed in Cyrillic. Pencil, ink and watercolour on paper, 22 by 27.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova.
PETROV-VODKIN, KUZMA (1878-1939) By the Shore of Lake Ilmen, signed with a monogram, also further signed, titled in Cyrillic and dated 1936 on the reverse. Oil on canvas, 66 by 50 cm. Provenance: Collection of G. Blokh, Leningrad. Collection of N. Efron, Leningrad. Private collection, Europe. Authenticity of the work has been confirmed by the experts O. Musakova and A. Lyubimova. Literature: Yu. Rusakov, Kuzma Petrov-Vodkin. Zhivopis', grafika, teatral'no-dekoratsionnoe iskusstvo, Leningrad, Aurora, 1986, p. 281, No. 361, illustrated in black and white. By the Shore of Lake Ilmen is one of several works painted by Kuzma Petrov-Vodkin in 1936 on a summer trip to Lake Ilmen near Veliky Novgorod. It was here that the artist also painted his famous composition Collective Farm Girl at Lake Ilmen and the remarkable portrait of the Fisherman's Daughter. In his later years, he produced a number of portraits of children - his growing daughter Lyonushka, his goddaughter Tatulya Piletskaya, and the unknown Girl in the Woods. It is possible that the girl in By the Shore of Lake Ilmen is also his daughter Elena, sitting in the long grass of the lakeside in a blue swimming costume, her hair still wet from bathing. In keeping with his later portraits of children, the painting's composition reflects Petrov-Vodkin's increasing desire to strengthen the genre element. In contrast with his 1925 portrait Girl on the Beach. Dieppe, with its light, neutral background of shingle almost entirely obscured by the figure of the girl, here the artist strives to set the sitter in a real, everyday environment. Petrov-Vodkin places his study of the girl, with its immediacy and ingenuousness, in the specific setting of a summer's day by the lake. The backdrop to the portrait is the smooth surface of the lake viewed from above - therefore in rather sharp perspective, but painted with great naturalism - and, in the distance, little boys bathing. The composition is imbued with that special waterside atmosphere, which hides the artistic incompleteness of the shoreline. Everything is tinted by the sparkling reflection of the setting sun, forming delicate splashes of pink on the water and on the sunburnt skin of the children. At the same time, throughout this feast of light and colour, there is the sense of organisational discipline that is intrinsic to all of the artist's creative oeuvre.
PETROV-VODKIN, KUZMA (1878-1939) Illustration for The Princess of the Tide by Mikhail Lermontov, signed with a monogram. Black ink, heightened with white, on paper, 37 by 27.5 cm. Provenance: M. Petrova-Vodkina, the artist's widow. Collection of O. Desnitskaya, Leningrad. Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Solonovich. Exhibited: M.Yu. Lermontov. K 125-letiyu so dnya rozhdeniya (1814-1939), The State Russian Museum, Leningrad, 1939, No. 422. Literature: Exhibition catalogue, M.Yu. Lermontov. K 125-letiyu so dnya rozhdeniya, Moscow, Leningrad, Izdatel'stvo Akademii Nauk SSSR, 1941, p. 78, No. 422, listed; p. 116, illustrated. Mikhail Yur'evich Lermontov. Kartiny i risunki poeta. Illyustratsii k ego proizvedeniyam, Moscow, Leningrad, Sovetskii khudozhnik, 1964, p. 111, No. 78, illustrated; p. 125, listed. Lermontovskaya Entsiklopediya, Moscow, 1981, p. 414. The present illustration for Mikhail Lermontov's ballad The Princess of the Tide is a rare surviving example of Kuzma Petrov-Vodkin's work in book illustration. The artist had dreamt for years of illustrating Lermontov, whose imagery had always moved him. Although Petrov-Vodkin began creating illustrations for Lermontov's poems in the 1910s, his dream finally came true in the 1930s, when he became actively engaged in the preparation for jubilee publications of the poet's work to mark his 125th anniversary. He produced drawings and a vignette for the poem The Criminal, as well as two illustrations and a tailpiece for The Princess of the Tide. Of particular interest is the earlier of the two, a large composition dated 1913 depicting the moment when the prince first meets the King of the Sea's beautiful daughter in the watery depths. It is notable that the artist saw in Lermontov's prince not the brave hero boasting of his exploits to his dashing friends, but a slight, innocent boy much like the youths on horseback in his paintings of the 1910s. Lermontov's poetic masterpiece, terse and laconic in form and vivid in its dramatic action, set Petrov- Vodkin the very difficult task of finding an equivalent condensed and incisive form in which to visually express the mounting drama of the romantic encounter. The artist chose to draw laconically with a quill-pen in a single tone, rarely having recourse to brushwork or softening with white. Taking into account the reduction in size necessary for printing, the architectural strictness and abundant hatching, his work is reminiscent of the wood-cut or lino-cut engravings popular at the time. The artist found himself in good company in his work for the jubilee publications that were in preparation. In parallel with his efforts, drawings were being made to accompany Lermontov's works of prose and drama by such remarkable artists as N. Tyrsa, T. Mavrina, V. Bekhteev, N. Kuzmin and P. Pavlinov. Petrov-Vodkin did not live to see the actual jubilee celebrations, the 1939 art exhibition dedicated to Lermontov in the Russian Museum, or the publication of the book, but this work became a great creative triumph for the artist and, perhaps, one of his best graphic illustrations.
PETROV-VODKIN, KUZMA (1878-1939) Still Life. Apples and Eggs, signed with a monogram, inscribed in Cyrillic S-kand and dated 1921-VII. Oil on canvas, 35.5 by 47 cm. Provenance: Collection of G. Blokh, Leningrad. Collection of N. Efron, Leningrad. Collection of A. Chudnovsky, Leningrad. Private collection, Europe. Authenticity certificate from the experts N. Aleksandrova and T. Zelyukina. Exhibited: Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Ateneum, Helsinki, 14 October 1993-9 January 1994, No. 53 (label on the reverse). Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Turku Art Museum, Turku, 5 February 1994-6 March 1994, No. 53 (label on the reverse). K.S. Petrov-Vodkin. Izbrannoe, The State Russian Museum, St Petersburg, 1996 (label on the reverse). Literature: V. Kostin, Kuzma Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1986, No. 64, illustrated; p. 157, listed. Exhibition catalogue, Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Helsinki, 1993, p. 102, No. 53, illustrated. Still Life. Apples and Eggs is one of the most typical and recognisable of Petrov-Vodkin's works of the early 1920s. It was painted in Samarkand during the summer of 1921 when he was travelling around Central Asia with an expedition organised by the Academy of the History of Material Culture and it very clearly reflects his experimental path from the abstract space of his early years to the metaphysical world of "planetary reality", full of colour and light. On the table, which is covered with a vivid, rich sky-blue cloth or sheet of paper, there are apples - some red and green, one yellow - and two eggs. At first glance we are struck by the absolute verisimilitude of the depiction: the sharply delineated flattened spheres of the apples, with their light, mauve shadows, and the accurately gauged ellipse of the eggs, warmed by the sun. The modesty of this still life, fairly typical of everyday life in those hard years, did not prevent the artist from creating a serene and exceptionally harmonious piece. In this still life we can sense that special sensitivity and pursuit of the metaphysical essence of objects and phenomena that became the defining element of Petrov-Vodkin's works of the late 1910s and early 1920s and which resonated with the principles of his Italian contemporaries, Carrà and de Chirico. In its well thought-out haphazardness and in the seemingly random scattering of the fruit across the surface we see the artist's carefully planned game; he is trying to trace, to get a feel for the inherent interconnection between objects by their very arrangement - the hidden life of inanimate matter. On the one hand, this "magic of corporeality" allows the artist to convey faithfully the concrete attributions of an object (of a greenish, ripe apple, of an egg) but on the other, to create a universalised image of that object, its Platonic eidos: the apple is a generous gift of the earth, the egg a symbol of the eternal beginning of life. Arranging his colour harmonies around the subtle juxtaposition of primary and complementary colours, Petrov-Vodkin achieves a striking vibrancy and richness. The artist is looking at the foodstuffs placed about the table from on high so that their configuration can be accurately rendered and we see them "as if in the palm of our hand". In this way the artist tries to overcome the one-sidedness of the monocular point of view, considering it neither adequate nor a reflection of genuine knowledge of the object which can and must be viewed from as many angles as possible in order to form a true idea of it. Thus Petrov-Vodkin's still lifes always have a peculiarly intense character generated by the strong lines of "spherical perspective" which spread throughout the whole space of the canvas. For Petrov-Vodkin, the problem posed by the object is inseparable from the concept of spherical perspective. Although he noted that this acquires an "even greater kinetic sense" in relation to large-scale objects - "landscapes and urban spaces", which are inconceivable for him without strong "planetary" motion - the apples, matches and violins of his still lifes are connected with planetary motion in exactly the same way. It is no coincidence that a tilted perspective and tilted pictorial axis appear in all of them. The technique based on his "spherical system of perception", allows Petrov-Vodkin to convey the whole in part, to retain in any still life a sense of the link between the object portrayed and the infinite expanse of the universe. As the artist himself confirmed, it is no coincidence that his study of the object, and by extension his principal work on still lifes, took place during the years of revolution. It seemed to him that without doing this he could not progress further; he could not solve the new artistic challenges he was presented with. Petrov-Vodkin succintly defined this genre, which was so important to him at this period: "The still life is one of the intense conversations the artist has with nature. In it, subject matter and psychology do not hinder the definition of an object in its space. What kind of object is it, where is it, and where am I, the viewer? This is the fundamental question the still life asks of us. And in this there is the great joy of knowing, which is what the viewer takes from the still life." Petrov-Vodkin had occasionally painted still lifes of flowers and apples earlier in his career, but it was only from about 1918 to 1920 that they became central to his work. During this period he also regularly inserted into his landscapes and portraits the motif of an appletree branch loaded with fruit or of a single fruit or vegetable (Midday, 1917; Portrait of the Artist's Daughter with Still Life, 1930s). However, thanks to their wonderfully sculptural forms and their graceful draughtsmanship and colour design, each of this artist's still lifes with apples (Pink Still Life, Apple Tree Branch, 1918; Apple and Cherry, 1917; Apples, 1917; Still Life with Blue Cube, 1918 etc.) proves to be as beautiful and expressive as it is self-contained. Having resolved his major creative challenges of this period in both painting and drawing, Petrov-Vodkin did return from time to time to this genre, but the still life never again reached such heights in his oeuvre. The conciseness and creative concentration of his still lifes from the late 1910s to early 1920s (which invoke fundamental symbols, religious and cultural principles of existence and compassion for spiritual and physical hunger) make them, perhaps, the benchmark standards of Russian art of the post-Revolutionary period, alongside Pavel Filonov's revolutionary Formula paintings.
A SOVIET PORCELAIN PLATE, attributed to Kuzma Sergeevich Petrov-Vodkin (1878-1939), c. 1930, hand painted decoration depicting red army cavalrymen carrying red-flagged lances on a hilly terrain, diameter: 24.7 cm. (9 3/4 in.), underglazed State Porcelain Manufactory hallmark
PETROV-VODKIN, KUZMA (1878-1939) Cows in a Barn, signed with initials, inscribed "Urrugne" and dated "[juil]let 07", also further signed, inscribed in Cyrillic "V khlevu. Frantsiya" and dated 1907 on the reverse. Charcoal, sanguine and pastel on paper, 29 by 37 cm. Provenance: Acquired from the artist's widow in the late 1950s. Important private collection, Germany. Authenticity certificate from the expert E. Zhukova. Kuzma Petrov-Vodkin, one of the most significant Russian artists of
* PETROV-VODKIN, KUZMA (1878-1939) The Artist and His Model, signed with a monogram, further inscribed by the artist in Cyrillic, numbered "N29" and dated "Paris 1906-1907" on the reverse; also further inscribed in Cyrillic "Drawing at the Académie Colarossi/Sitting Model and Head with Pipe" by the artist's widow. Charcoal and watercolour on laid paper, 46 by 31 cm. Provenance: Collection of Ya.E. Rubinshtein, Moscow. Authenticity certificate from the expert E. Zhukova Exhibited: Russkaya grafika XVIII-XX vekov iz sobranii I.V. Kachurina i Ya.E. Rubinshteina, Leningrad, 1982.
![PETROV-VODKIN, KUZMA SERGEEVICH, illustrator.- MARSHAK, SAMUIL YAKOVLEVICH. 1887-1964.- Zagadki [Riddles]. Leningrad and Moscow: Raduga, 1925.](https://stageimg.invaluable.com/housePhotos/Butterfields/36/429236/H0078-L49017974.jpg)
![PETROV-VODKIN, KUZMA SERGEEVICH. 1878-1939. Samarkandiya [Samarkand]. Petrograd: Akvilon, 1923.](https://stageimg.invaluable.com/housePhotos/Butterfields/44/422744/H0078-L69509864.jpg)
