David Petrovic Sterenberg Paintings & Artwork for Sale | David Petrovic Sterenberg Art Value Price Guide

Oct. 11, 2024
ATTR. A DAVID PETROVICH SHTERENBERG - COMPOSIZIONE
Est: €250 - €500
Olio su tela riportata su cartone, cm. 15,3x13,5. Firma in basso a destra.
Pananti Casa D'Aste SRL
Sep. 19, 2024
David Petrovich Sterenberg (1881-1948), Ukrainian-born Russian, Still life with red glass
Est: £3,000 - £5,000
David Petrovich Sterenberg (1881-1948), Ukrainian-born Russian Still life with red glass Gouache on paper Signed bottom left Dimensions: (Frame) 25 in. (H) x 19.5 in. (W) (Paper) 19 in. (H) x 13 in. (W)
Sloane Street Auctions
Sep. 19, 2024
David Petrovich Sterenberg (1881-1948), Ukrainian-born Russian, Pink bowl of fruit Gouache on paper Signed bottom left
Est: £3,000 - £5,000
David Petrovich Sterenberg (1881-1948), Ukrainian-born Russian Pink bowl of fruit Gouache on paper Signed bottom left Dimensions: (Frame) 25 in. (H) x 19.5 in. (W) (Paper) 19 in. (H) x 13 in. (W)
Sloane Street Auctions
Aug. 31, 2024
RUSSIAN CATALOG OF SOCIETY EASEL PAINTERS EXHIBITION
Est: $100 - $150
A Russian early Soviet era Catalog of the First Exhibition of The Society of Easel Painters OST, a group of artists led by David Shterenberg, 1881 to 1948, depicted Soviet reality predominantly in expressionism. The catalog includes such artists as Alexander Barshch, 1897 to 1971, Lazar Weiner, 1885 to 1933, David Shterenberg, 1881 to 1948. In total, OST organized four exhibitions. 500 copies. Printing house of the publishing house Motor, Mosgublit, Moscow, 1925. Antiquarian Librarian Books, Russian Soviet Era Catalogs, and Collectibles.
Antique Arena Inc
Aug. 16, 2024
David STERENBERG (1881-1948) Russian
Est: $20,000 - $30,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Jun. 20, 2024
ATTR. A DAVID PETROVICH SHTERENBERG – COMPOSIZIONE
Est: €500 - €700
Olio su tela riportata su cartone, cm. 15,3x13,5.
Pananti Casa D'Aste SRL
Dec. 08, 2023
David STERENBERG (1881-1948) Russian
Est: $10,000 - $20,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Apr. 07, 2023
David STERENBERG (1881-1948) Russian
Est: $20,000 - $30,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Mar. 19, 2023
DAVID PETROVIC STERENBERG (1881-1948), STILL LIFE
Est: $4,000 - $6,000
Gouache on paper Signed (lower left). 50 x 35 cm Provenance: Private collection, Israel. Condition: For a detailed condition report, please contact us at info@hammersite.com
Hammersite
Mar. 19, 2023
DAVID PETROVIC STERENBERG (1881-1948), STILL LIFE
Est: $4,000 - $6,000
Gouache on paper Signed (lower left). 50 x 35 cm Provenance: Private collection, Israel. Condition: For a detailed condition report, please contact us at info@hammersite.com
Hammersite
Aug. 12, 2022
David STERENBERG (1881-1948) Russian
Est: $30,000 - $60,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Nov. 14, 2021
A DAVID SHTERENBERG WATERCOLOR ON PAPER PAINTING
Est: $600 - $900
David Petrovitch Shterenberg (Russian, 1881 - 1948) watercolor on paper landscape painting. Signed in Cyrillic at the lower right: "D. Shterenberg." David Shterenberg was a Ukrainian-born Russian painter and graphic artist, one of the main representatives of modern Russian fine art of the first half of the XX century.
Helios Auctions
Oct. 15, 2021
David STERENBERG (1881-1948) Russian
Est: $60,000 - $90,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Dec. 11, 2020
David STERENBERG (1881-1948) Russian
Est: $60,000 - $90,000
David Petrovich STERENBERG (1881-1948) ; (David SHTERENBERG, David SCHTERENBERG) ; Avantgarde composition with teapot in yellow room ; early 20th century ; oil on canvas / framed ; artwork size 52 x 32 cm (20 1/2 x 12 2/3 in.) ; signed lower left corner ; 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
Oct. 27, 2020
+ DAVID SHTERENBERG (1881-1948)
Est: €70,000 - €80,000
Portrait of the artist’s sister (Malka Shterenberg) Oil on cardboard 74,5 x 47,5 cm Circa 1920 Provenance: Given by the artist to V. Baranov-Rossine Family of V. Baranov-Rossine Private collection, Europe Exhibited: Paris, Musée de Montmartre, Russes, 20 June-21 September 2003 Contemporaries of the Future. Jewish Artists in the Russian Avant-garde. 1910-1980, Jewish Museum and Centre of Tolerance. Moscow, 24th of March – 24th of May, 2015. Literature: Exhibition catalogue, Russes, Paris: Musée de Montmartre, 2003, illustrated p.115 Exhibition catalogue, Contemporaries of the Future. Jewish Artists in the Russian Avant-garde. 1910-1980, 2015, Moscow: Jewish Museum and Centre of Tolerance, illustrated p. 62 All lots marked with the symbol are under temporary importation are subject to import tax (5.5%) Defined by A. V. Lunacharsky «a decisive modernist» and «an honest man», David Shterenberg was a Soviet artist born in a modest Jewish family in Zhytomyr. He took active part in the defense of Zhytomyr during the three-day pogroms, after which he was forced to leave the Russian Empire. He lived briefly in Vienna, and then moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Vitti with the famous Kees van Dongen, one of the leading figures of Fauvism. During this period, he made several trips to Russia but did not settle there until after the 1917 Revolution. Deeply aware of his origins, he never missed the opportunity to support the Jewish artistic community, for example by presenting an exhibition with the group «Jewish Society for the Promotion of Arts» in Moscow or organizing an exhibition of Jewish artists in Moscow in 1922 which included Marc Chagall. In the same year, he participated in the First Berlin Exhibition of Russian Art in the van Diemen Gallery, the first major exhibition on the Russian avant-garde in Europe since the October Revolution. From 1920 to 1930, he was teacher in an art school founded in 1920 by a decree of Lenin. Among his students are some famous Russian artists such as Yuri Pimenov, Piotr Vladimirovich Williams, Andrei Dmitrievich Goncharov and others. A master of theatrical scenery, Shterenberg worked in the State Jewish and Moscow Drama and other theaters. He was a bright, creative personality, one of the recognized leaders who determined the cultural policy of the young Soviet state. This painting portraits his younger sister Malka and is part of a series of family paintings, of which most known is Portrait of the Artist’s Father and Sister (1914). It was presented among works of other Russian avant-garde artists at a Jewish artists exhibition in 2015. ДАВИД ПЕТРОВИЧ ШТЕРЕНБЕРГ (1881-1948) Сестра художника (Малка Штеренберг) картон, масло 74,5 x 47,5 cm 1920-е Провенанс: Подарок Владимиру Давидовичу Баранову-Россине (Шулим Вольф-Лейб Баранову) Собрание семьи В. Баранова-Россине Частная коллекция. Европа Выставки: Париж, Musée de Montmartre, Russes, 20 июня-21 сентября 2003 Москва, Еврейский музей, Современники Будущего. Еврейские художники в русском авангарде. 24 марта - 24 мая 2015 Литература: Каталог выставки, Russes, Париж, 2003, иллююстрация стр. 115 Каталог выставки, Современники Будущего. Еврейские художники в русском авангарда, Москва, 2015, иллюстрация стр. 62 Любой лот, отмеченный символом "плюс" (+), относится к "порто-франко" и облагается налогом на импорт 5,5%.
Hermitage Fine Art
Mar. 21, 2020
DAVID SHTERENBERG (RUSSIAN 1881-1948)
Est: $325,000 - $375,000
DAVID SHTERENBERG (RUSSIAN 1881-1948) Still Life with Wine Bottle, Glass and Fruit, oil on canvas 70 x 60.9 cm (27 9/16 x 24 in.) signed lower right PROVENANCE Collection of Carol Robinson (probably acquired directly from the artist circa 1925) Private collection by descent from the above James D. Julia Auctions, Fairfield, Maine, August 25-27, 2004, lot 116 Acquired at the above by the present owner EXPERTISE Accompanied by an authenticity certificate from the Tretyakov Gallery signed by Yulia Rybakova, 2012. (Copy available upon request) LITERATURE G. D. Gloss, Music and the Moderns: The Life and Work of Carol Robinson (Metuchen: Scarecrow Press, 1993), p. 89, 257 LOT NOTES The present work comes from the collection of renowned American pianist and teacher Carol Robinson. She was an avid participant of the Parisian avant-garde scene, and counted among her milieu many artists and authors, such as Fernand Léger, Cocteau, Hemingway, Tchelitchew, Grosz and Terechkovitch. As documented in Robinson's biography, her impressive art collection comprised many works by such illustrious acquaintances, most gifted by the artists themselves. Robinson and Shterenberg met at a Parisian salon likely in 1925 or 1927, at which point this work (referred to in the biography as Still Life) entered Robinson's collection, where it would remain for several decades. By the 1920s, Shterenberg, who had lived in Paris for over a decade in 1906-1917, returned to Moscow in the pursuit of possibilities offered by the new communist state. These opportunities – to direct, for example, major international exhibitions of Soviet art and to display his own works — brought Shterenberg back to Paris at various points in the 1920s (Mikhail P. Lazarev, David Shterenberg, Painter and Era: the Artist's Path, (Moscow: Galaktika, 1992), pp. 174-200). He would continue his association with the Parisian avant-garde, including its primary actors, such as Picasso, Modigliani, Chagall and Kees van Dongen. Despite his involvement with proponents of Cubism and Fauvism, Shternberg did not follow any particular school or faction, preferring instead a syncretic approach. The present work is part of Shterenberg's most important and well-known genre: the still life. His fascination with materiality and the artist's role as its mediator made still lives the ideal vehicle through which to realize objects' essence. Here, the sharply tilted tabletop is populated by an empty wine bottle, delicate etched glass, brilliantly red strawberries, pear and apple in a basket and, finally, an oblong melon — all precariously teetering on the surface, yet modelled with all the gravity of real weighty objects. The painting surface — here striated and resembling wood grain, there scraped, revealing the plain weave of the canvas — is, too, both strikingly formalistic and suggestive of a somatic connection to the objects. Shternberg's powerful composition and perspective, coupled with his deft, detailed handling of the paint, create a layered vision that rewards attentive inspection.
Shapiro Auctions LLC
Jul. 20, 2019
SHTERENBERG David Petrovitch (1881-1948).
Est: €2,000 - €3,000
SHTERENBERG David Petrovitch (1881-1948). Projet d’un costume pour un ballet russe joué en 1937. Gouache, aquarelle et mine de plomb sur papier, signée en bas à droite des initiales de l’artiste et datée (19)37, conservée dans un encadrement moderne à baguette dorée et bois noirci. Bon état. À vue : H. : 27, 5 cm – L. : 18 cm. Cadre : H. : 58, 5 cm – L. : 48, 5 cm.
HVMC - Hôtel des Ventes de Monte-Carlo
Jun. 15, 2019
Print, David Petrovich Sterenberg
Est: $150 - $250
David Petrovich Sterenberg (Russian, 1881-1948), Cityscape, lithograph, pencil signed lower right, overall (with frame): 18"h x 14.5"w
Clars Auctions
Nov. 06, 2018
SHTERENBERG DAVID PÉTROVITCH (1881-1948) / Штеренберг, Давид Петрович (1881-1948)
Est: €60,000 - €70,000
SHTERENBERG DAVID PÉTROVITCH (1881-1948) / Штеренберг, Давид Петрович (1881-1948) Nature morte au vase rouge. Huile sur toile. 71,3 x 55,5 cm. Provenance : Collection de la famille de l’artiste jusqu’en 1995. Collection André Nakov, Paris. Collection privée, Genève. L’authenticité de l’œuvre a été certifié par la fille de l’artiste Fialca Davidovna Stenrenberg. Штеренберг, Давид Петрович (1881-1948) Натюрморт с красной вазой Масло, холст Провенанс: Коллекция семьи художника до 1995 года. Коллекция Андрея Накова, Париж. Частная коллекция, Женева Подлинность работы была подтверждена дочерью художника Фиалкой Давидовной Штеренберг
Leclere - Maison de ventes
Jun. 06, 2018
SHTERENBERG, DAVID (1881-1948) - Still Life with Fish
Est: £75,000 - £100,000
SHTERENBERG, DAVID Still Life with Fish signed. Oil on canvas, 74.5 by 61.5 cm (oval). Executed in the 1920s. Provenance: Estate of the artist, Moscow. A gift from Fialka Shterenberg, the artist’s daughter, to Andrei Nakov in Moscow, c. 1982-1985. Collection of A. Nakov, Paris. Acquired from the above by the present owner after 1995. Private collection, Switzerland. Still Life with Fish was painted by David Shterenberg, according to his daughter Fialka, in the 1920s, when his period of study at the Académie Vitti under the supervision of Henri-Jean Guillaume Martin and Kees van Dongen, the turbulent life of the La Ruche residence in Paris and his enthusiasm for Cubism and Paul Cézanne had already come to an end. However, the lessons that the artist had received, assimilated and synthesised to form his own pictorial style, recognisable at every stage of his career, can, in a particular way, be sensed here too. From the cubist experiments of his years in Paris Shterenberg retains his characteristic, unvarying view of an object from above. It cannot be confidently stated what the fish is actually lying on a dish, into which the actual surface of the artist’s canvas has been transformed, or the small round table that is so familiar from many of the artist’s works dating from the late 1910s and early 1920s. Shterenberg skilfully portrays the shiny scales, the bluish-grey and green backs of the fish and their delicate pink underbellies. In the Still Life with Fish, as in the Herrings, painted somewhat earlier (1917-1918), and the no less famous Pike from the turn of the 1920s, the important part of the composition is not only the actual fish, but also the virtually non-figurative background surrounding the white cloth, the table top or the wooden top of the stool. Shterenberg has gone down in the history of art as a master of still life. He was always fascinated by the objective essence of existence and the infinite variety of matter. The simplest natural materials, flowers, fruit, the morning’s catch brought from the fish market — any “natural objects no longer alive” — were never just “studies” for the artist. In the 1920s, the period when he was at his creative peak, Shterenberg focuses on the plainest objects and strives to attain an extreme simplification in depicting the objective world, and, in so doing, turns simplicity into elegance. Bidding farewell to the graphic and geometrical nature of his previous period, the artist concentrates on painterliness. The Still Life with Fish that is now offered for auction is an outstanding landmark along that path.
MacDougall's
Nov. 28, 2017
DAVID PETROVICH SHTERENBERG | Portrait of the Artist's Father and Sister (Pinchas and Malka Shterenberg)
Est: £250,000 - £350,000
oil on canvas
Sotheby's
Nov. 07, 2017
STERENBERG David Petrovich 1881-1948
Est: €350 - €450
STERENBERG David Petrovich 1881-1948 Mixed technic on wood signed lower left 54 x 41 cm
The Bru Sale Gallery
Jun. 07, 2017
*SHTERENBERG, DAVID (1881-1948) Still Life with Fish
Est: £150,000 - £200,000
*SHTERENBERG, DAVID (1881-1948) Still Life with Fish, signed. Oil on canvas, 74.5 by 61.5 cm (oval). Provenance: Estate of the artist, Moscow. A gift from Fialka Sterenberg, the artist’s daughter, to Andrei Nakov in Moscow, c. 1982–1985. Collection of A. Nakov, Paris. Acquired from the above by the present owner after 1995. Private collection, Switzerland. Still Life with Fish was painted by David Shterenberg, according to his daughter Fialka, in the 1920s, when his period of study at the Académie Vitti under the supervision of Henri-Jean Guillaume Martin and Kees van Dongen, the turbulent life of the La Ruche residence in Paris and his enthusiasm for Cubism and Paul Cézanne had already come to an end. However, the lessons that the artist had received, assimilated and synthesised to form his own pictorial style, recognisable at every stage of his career, can, in a particular way, be sensed here too. From the cubist experiments of his years in Paris Shterenberg retains his characteristic, unvarying view of an object from above. It cannot be confidently stated what the fish is actually lying on a dish, into which the actual surface of the artist’s canvas has been transformed, or the small round table that is so familiar from many of the artist’s works dating from the late 1910s and early 1920s. Shterenberg skilfully portrays the shiny scales, the bluish-grey and green backs of the fish and their delicate pink underbellies. In the Still Life, as in the Herrings, painted somewhat earlier (1917–1918), and the no less famous Pike from the turn of the 1920s, the important part of the composition is not only the actual fish, but also the virtually non-figurative background surrounding the white cloth, the table top or the wooden top of the stool. The rapidly-moving green and yellow-red whirls of the background are exquisitely painted and anticipate the artistic mastery of the “herbs” series of the late 1920s. Yet, at the same time, the artist does not reject his avantgarde principles regarding the interaction between an object and space either – principles that lie beyond the laws of linear perspective. The still life’s composition demonstrates the artist’s virtuosity: he made simple objects “fit” precisely and naturally into the space of the picture. Shterenberg combines a static composition with dynamic colouring, as well as a clarity of organisational structure with the rapid Fauvist brushstrokes. As a successful state and public figure, a professor at VKhUTEMAS (the Higher Art and Technical Workshops) and chairman of OST (the Society of Easel Painters), Shterenberg remains at the centre of Moscow’s vibrant artistic life and the multiplicity and diversity of its artistic tendencies in the 1920s. This is also manifest in the still life, where one senses the artist’s avantgarde enthusiasm for ordering and harmonising the objective world, yet where, at the artist’s own admission, “natural contingencies” exist alongside the analytical construction of form. Shterenberg has gone down in the history of art as a master of still life. He was always fascinated by the objective essence of existence and the infinite variety of matter. The simplest natural materials, flowers, fruit, the morning’s catch brought from the fish market – any “natural objects no longer alive” – were never just “studies” for the artist. In the 1920s, the period when he was at his creative peak, Shterenberg focuses on the plainest objects and strives to attain an extreme simplification in depicting the objective world, and, in so doing, turns simplicity into elegance. Bidding farewell to the graphic and geometrical nature of his previous period, the artist concentrates on painterliness. The Still Life with Fish that is now offered for auction is an outstanding landmark along that path.
MacDougall's
Mar. 11, 2017
A GROUP OF 5 SOVIET BOOK ILLUSTRATED BY FAMOUS ARTISTS, 1960-80S
Est: $200 - $250
comprised: 1. LEBEDEV, Vladimir (Russain 1891-1967) [illustrator], author: MARSHAK S., USATYI POLOSATYI [The One with Stripes and Whisker], (Moskva: Detskaya Kultura, 1969). 4to (270 x 210 mm) softcover. Text in Russian. 2. SHTERENBERG, David (Russian 1881-1948) [illustrator], author: MAYAKOVSKIY V., CHTO TAKOE HOROSHO I CHTO TAKOE PLOHO [What is good and What is Bad], (Moskva: DetLit, 1969). 4to (275 x 210 mm) softcover. Text in Russian. 3. MAYOFIS, Mikhail (Russian 1939-) [illustrator], author: Tarutin O., VERNYE LAPY [Reliable Paws], (Leningrad: DetLit, 1971). 4to (270 x 210 mm) softcover. Text in Russian. 4. Romanov, V (Russian), author: CHUKOVSKIY, K., AIBOLIT, (Habarovsk: Habarovskoe Knizhnoe Izdatelstvo). 4to (285 x 220 mm) softcover. Text in Russian. 5. SHTERENBERG, David (Russian 1881-1948) [illustrator], author: GAGARIN-MIHAILOVSKIY, N., TEMA I ZHUCHKA [Tema and Zhuchka], (Moskva: DetLit, 1981). 4to (275 x 210 mm) softcover. Text in Russian.
Shapiro Auctions LLC
Dec. 10, 2016
DAVID SHTERENBERG [ILLUSTRATOR], CHAI, 1931
Est: $800 - $1,200
DAVID SHTERENBERG [ILLUSTRATOR], CHAI, 1931 Illustrated by SHTERENBERG, David Petrovich (1881-1948). CHAI [Tea]. Moscow and Leningrad: OGIZ Molodaya Gvardiya, 1931. Original color lithographed wrappers. 10 pages. Square 8vo (222 x 193 mm). Printed in Moscow, edition of 30,000. Children`s book.
Shapiro Auctions LLC
Nov. 26, 2014
Still life with fruit
Est: £400,000 - £600,000
Still life with fruit signed in Latin (lower right) oil on canvas 70 x 60.9cm (27 9/16 x 24in).
Bonhams
Dec. 11, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948.- Chai [Tea]. Moscow: OGIZ, 1931.
Est: $2,000 - $3,000
Chai [Tea]. Moscow: OGIZ, 1931. Square 8vo. 12 pp. Original decorated wrappers. Library marks removed from front wrapper and retouched. An exceptional production book by the important Jewish avant-garde painter and former Head of the Department of Fine Arts of the People's Commissariat of Enlightenment (NARKOMPROS), who traces the development of tea from its cultivation to the packing of the product in a factory in Moscow.
Bonhams
Dec. 11, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948.- EMDEN, E.- Pesnya o Mame [A Song about Mamma]. Moscow: GIZ, 1930.
Est: $2,000 - $3,000
EMDEN, E. Pesnya o Mame [A Song about Mamma]. Moscow: GIZ, 1930. 8vo. 12pp. Color lithographs. Original color lithographed wrappers. Some soiling and creases. One of the more obvious agit-prop picture books illustrated by Shterenberg in which children are taught to take pride in their mothers who work in factories. He greatly enlivened the rather banal subject with brightly colored minimalist compositions. Includes at the back the song of the same name with lyrics by E. Emden and music by N. Frenkel.
Bonhams
Dec. 11, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948.- Tsvety [Flowers]. Moscow: GIZ, 1930.
Est: $2,000 - $3,000
Tsvety [Flowers]. Moscow: GIZ, 1930. 8vo. 12pp. Color lithographs. Original color lithographed wrappers. Wrappers touched up. RARE WORDLESS PICTURE ALBUM of all kinds of flowers. Shterenberg was a master of the still life and his modern approach to floral decoration is evident in this suite of minimalist studies. He also plays with negative space while simplifying the forms, colors and compositions back to the basics.
Bonhams
Dec. 11, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948.- Moi igrushki [My Toys]. Moscow: GIZ, 1930.
Est: $2,000 - $3,000
Moi igrushki [My Toys]. Moscow: GIZ, 1930. 8vo. 8 pp. Color lithographs. Color lithographed wrappers. Library stamps and pocket removed. RARE WORDLESS PICTURE ALBUM of typical Russian playthings designed by the great modernist painter. It looks like a sketchbook devoted to a single theme. In one double-page spread he contrasts the nesting doll of old with a new Red Guard toy soldier.
Bonhams
Dec. 11, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948.- KIPLING, RUDYARD.- 40 nord 50 vest [Forty North and Fifty West]. Leningrad and Moscow: GIZ, 1931.
Est: $2,000 - $3,000
KIPLING, RUDYARD. 40 nord 50 vest [Forty North and Fifty West]. Leningrad and Moscow: GIZ, 1931. 8vo. 22pp. Illustrated with wood engravings. Original decorated wrappers. Wrappers restored and soiled. RARE COLLECTION OF POEMS FOR CHILDREN by the great British writer and rendered into Russian by Samuil Marshak. The translator took some liberties with the originals mostly from Just So Stories (1900). For example, the title poem, was originally "Fifty North and Forty West" in "How the Whale Got His Throat." in Just So Stories . Always experimenting, Shterenberg tried black on white wood engraving, his only children's book to be illustrated in this manner. He expressed his low opinion of the British Empire in his dramatic designs for "Pekhota v Afrike" [The Infantry in Africa]. Despite his imperialistic bombast, Rudyard Kipling was enormously popular in the USSR.
Bonhams
Jun. 26, 2013
SHTERENBERG, DAVID PETROVICVH, ed. 1881-1948. Izobrazitelnoe iskusstvo [Visual Art]. No 1. Petersburg: Narkompros, 1919.
Est: $1,000 - $1,500
SHTERENBERG, DAVID PETROVICVH, ed. 1881-1948. Izobrazitelnoe iskusstvo [Visual Art]. No 1. Petersburg: Narkompros, 1919.
Bonhams
Jun. 26, 2013
SHTERENBERG, DAVID PETROVICH. 1881-1948. Chai [Tea]. Moscow: OGIZ, 1931.
Est: -
SHTERENBERG, DAVID PETROVICH. 1881-1948. Chai [Tea]. Moscow: OGIZ, 1931.
Bonhams
Jun. 05, 2013
SHTERENBERG, DAVID (1881-1948) - Self-Portrait
Est: £25,000 - £40,000
SHTERENBERG, DAVID (1881-1948) Self-Portrait , signed. Oil on canvas, 61 by 50 cm. Provenance: Private collection, France.
MacDougall's
Jun. 05, 2012
Shterenberg David (1881-1948) Nature Morte Huile
Est: €5,000 - €7,000
Shterenberg David (1881-1948) Nature Morte Huile sur toile - Signée en bas à droite. 60 x 50 cm
AUCTIONeVENTE SAS
May. 28, 2012
David Shterenberg (1881-1948)
Est: £12,000 - £15,000
David Shterenberg (1881-1948) Flowers signed in Cyrillic and dated 'D Shterenberg 1948' (lower right); further signed in Cyrillic, inscribed in Russian with title and dated 'D. Shterenberg. "Flowers" 1948' (on the stretcher) oil on canvas 14 7/8 x 18 in. (37.7 x 45.7 cm.)
Christie's
May. 27, 2012
SHTERENBERG, DAVID (1881-1948) Pussy Willow in a
Est: £315,000 - £400,000
SHTERENBERG, DAVID (1881-1948) Pussy Willow in a Jar, signed. Oil on canvas, 80 by 61 cm. Provenance: Acquired directly from Fialka (Violetta) Shterenberg, the artist's daughter. Private collection, Europe. Literature: David Petrovich Shterenberg. 1881-1948. Zhivopis', grafika. Katalog, Moscow, Sovetskii khudozhnik, 1978, p. 32, listed under works from 1945. David Shterenberg entered art history as a painter of still lifes. His constant concerns were the material essence of life and the immeasurable variety of matter. The simplest of natural objects - flowers, fruit, any aspect of "still life" - were never just "studies" for Shterenberg. His still lifes contain a deep-seated significance: there is always an element of intrigue, action, mystery and they always bear the imprint of time. Pussy Willow in a Jar is clear testimony to this. Pussy Willow in a Jar was painted when the artist's years of study at the Académie Vitti (1907-1912) under Henri Martin and Kees van Dongen, his wild period in the Parisian artists' colony La Ruche and his enthusiasms for Cubism and Cézanne were all in the distant past. However these lessons, assimilated by Shterenberg and synthesised into his own "modelled" style which is recognisable at every stage of his career, are still discernable in Pussy Willow in a Jar. We feel his keen interest in constructing a sense of volume on a flat surface, for ordering and harmonising the world of objects. He emphasises the depth of the composition, arranging the napkin, jar with pussy willow, fruit bowl and flower pot in one diagonal line so that the solidity of the materials gradually increases, from the foreground to the background. At the same time he deliberately depicts the largest item in the composition - the bowl of pears that is the optical and pictorial centre of the picture - in a highly geometrical and flattened manner. Replacing the "naturalistically haphazard" works of the 1920s, as Shterenberg himself called them, came a more conscious conception of the reproduction of reality. Now, returning to three-dimensional space, he places at the apex of an angle an area of absolute stasis, a calmness, as if in contradistinction to Cubist and Expressionist approaches. The artist strives for extreme simplification of his objective world but, when working on the most unassuming of objects he raises this extreme simplicity to the point where it tips over into sophistication. He abandons the graphic, geometrical approach to concentrate on painterliness. The relaxed, tonal painting of Pussy Willow in a Jar is notable not for its particular technical virtuosity but for the emotions it embodies. The depiction of the light of a spring day, the sense of a certain levity, the undefined, loose contours of the sprigs, as if dissolved in the haze of the illuminated background - these form a surge of spontaneity, absent from Shterenberg's earlier "organised" works. This elegant still life was the creation of an artist already far-removed from the analytical dissection of nature of his earlier years and embodies a desire, typical of his work of this period, towards a soothing, classical clarity. It is this capacity for preserving an immediate connection with the spirit of his age, without joining any particular artistic or political camp, which enabled him to continue to create works throughout his life that never took on an abstracted, academic character. It is no accident that Shterenberg's still lifes, along with his other significant works, have become classics of 20th century world art.
MacDougall's
Oct. 25, 2011
David Shterenberg (Russian, 1881-1948)
Est: £500 - £700
David Shterenberg (Russian, 1881-1948) Costume design for 'Menachem Mendel' indistinctly inscribed in Cyrillic (upper right) pencil and watercolour, on paper 13 x 8¾ in. (33 x 22.3 cm.)
Christie's
May. 24, 2011
David Shterenberg (Russian, 1881-1948)
Est: £1,000 - £1,500
David Shterenberg (Russian, 1881-1948) Costume design for 'Menachem Mendel' indistinctly inscribed in Cyrillic (upper right) pencil and watercolour, on paper 13 x 8¾ in. (33 x 22.3 cm.)
Christie's
Feb. 22, 2011
David Shterenberg (Russian, 1881-1948)
Est: £1,000 - £1,500
David Shterenberg (Russian, 1881-1948) Costume design for Menachem Mendel variously inscribed throughout in Cyrillic bodycolour 11½ x 18 3/8 in. (29.2 x 46.7 cm.)
Christie's
Feb. 17, 2010
David Petrovich STERENBERG (1881-1948) Femme
Est: €300 - €400
David Petrovich STERENBERG (1881-1948) Femme allongée Crayon, signé en bas à droite et daté 928 31 x 48 cm à vue 121/4 x 19 in. Pencil, signed and dated 1928 lower right
Aguttes
Nov. 26, 2008
David Shterenberg (1881-1948)
Est: £400,000 - £600,000
David Shterenberg (1881-1948) Portrait of the Artist's Wife signed 'D Sterenberg' (lower left) oil on canvas 31½ x 45½ in. (80 x 115.5 cm.) Painted circa 1912
Christie's
Nov. 24, 2008
- David Shterenberg , 1881-1948 Fruit and Plate on a Red Background oil on canvas
Est: £325,000 - £500,000
oil on canvas
Sotheby's
Apr. 15, 2008
David Shterenberg , Russian 1881-1948 Flowers in a Vase oil on canvas
Est: $300,000 - $400,000
signed in Cyrillic (lower right) oil on canvas
Sotheby's
Nov. 29, 2007
BABEL, Isaak Emmanuilovich (author; 1894-1940) and SHTERENBERG, David Petrovich (illustrator; 1881-1948). Rasskazy . [Stories]. Moscow: Federation, 1932.
Est: £2,000 - £3,000
BABEL, Isaak Emmanuilovich (author; 1894-1940) and SHTERENBERG, David Petrovich (illustrator; 1881-1948). Rasskazy. [Stories]. Moscow: Federation, 1932. 8° (190 x 131mm). Seven chromolithographs after Shterenberg and one lithograph. Illustrated endpapers by Shterenberg. (Occasional small marginal stains.) Contemporary blue blind-stamped cloth (extremities rubbed, spine head and tail splitting slightly). FIRST EDITION. Includes the story 'The story of my Dovecote', dedicated to Gor'kii, the play Sunset and some of the Odessa Tales: 'How it was done in Odessa', 'The Father' and 'The King'. Babel achieved great success and sudden fame following the initial publication in 1926 of Red Cavalry, a novel composed of a cycle of stories based on Babel's experiences while with Budennyi's Cossacks in the Russo-Polish War. The themes of a clash between old and new worlds and between Jewish and Russian identity and community that come to the fore in Red Cavalry are also evident in the Odessa Tales, in which Babel describes vividly the criminal underworld of the Jewish ghetto in Odessa. In the later 1930s, as the state attempted to exert increasing control over the arts, Babel began to practise the 'genre of silence'. He was arrested in 1939 and executed soon after. He was posthumously rehabilitated in 1954. MOMA The Russian Avant-Garde Book 1005.
Christie's
Jun. 13, 2007
Still life with glass
Est: £80,000 - £120,000
David Petrovich Shterenberg (1881-1948) Still life with glass signed 'D Sterenberg.' (lower right) oil on board 19 5/8 x 27 3/8 in. (49.7 x 69.5 cm.)
Christie's
Jun. 13, 2007
Still life with watermelon
Est: £150,000 - £200,000
David Petrovich Shterenberg (1881-1948) Still life with watermelon signed in Cyrillic 'D Shterenberg' (lower left) oil on canvas 29½ x 19¾ in. (74.9 x 50.2 cm.)
Christie's
Apr. 26, 2006
DAVID SHTERENBERG
Est: $300,000 - $400,000
PROPERTY FROM A PRIVATE COLLECTION UKRAINIAN, 1881-1948 FRUIT AND PLATE ON A RED BACKGROUND FRUIT AND PLATE ON A RED BACKGROUND measurements 29 1/2 by 23 1/2 in. alternate measurements 75 by 60 cm signed in Cyrillic (lower left) oil on canvas NOTE The flourishing pluralism in the visual arts during the first decade of the twentieth century facilitated David Shterenberg's distinct approach to rendering objects in space. Static objects become animated through Shterenberg's dynamic use of color and form, and the splintered brushwork of the Impressionists melds with the Cubist's fragmentation of space as in the present work Fruit and Plate on a Red Background. David Shterenberg methodically arranged each composition, carefully choosing each object. Fruit and Plate on a Red Background uses a white plate and other items to create a mood, evoking memories using familiar Russian "every-day" porcelain. Shterenberg's innovative perspective liberates the objects from gravity and allows them to appear as entities in defiance of space. Each object is emphasized for its ritual quality. It appears that Shterenberg painted this work in the 1920s, as it is consistent with his works from the period. White Vase on Red Background (see fig. 1), dated 1931 has a composition similar to Fruit and Plate and is executed in a similar style. Both paintings show everyday wares suspended in time and space against fiery red backgrounds. Shterenberg's work of this period is also characterized by his use of increasingly tense, energized color combinations. Fruit and Plate on a Red Background is an important example of the work that Shreternberg created during this tumultuous time in his life. At the time he painted this still life, Shreternberg was being stigmatized as the leader of the "formalists", the propagandists of Western ideas. Spreading such ideas was forbidden by the Soviet regime. The artist defended himself at a Moscow Organization of the Union of Soviet Artists meetings, where he was vice president: "... those who speak of traditional Russian painting forget that our Union included multicultural peoples, the art of whom is as valuable as those of the European art. This art contains elements of such power of no lesser significance then that of European art. The art of these cultures is their understanding of color and form, has to be as extensively studied as the Renaissance... there is no doubt in my mind, that whatever the conclusions may be of that group or another, the way of our revolutionary fine art does not lie in imitation and epigonism...We have to strive for the synthesis of form and content so that art, sculpture and architecture would contain in itself that which would set them apart from the preceding epochs (Declaration, 1932 read by the artist at the MOCCH meeting, Family Archives).
Sotheby's