Vitaly Gavrilovich Tikhov Paintings & Artwork for Sale | Vitaly Gavrilovich Tikhov Art Value Price Guide

Nov. 27, 2019
TIKHOV, VITALY (1876-1939) Breton Women at the Fishing Pier
Est: £35,000 - £50,000
TIKHOV, VITALY (1876–1939) Breton Women at the Fishing Pier signed and dated 1915. Oil on canvas, 70.5 by 107.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov.
MacDougall's
Nov. 28, 2018
TIKHOV, VITALY (1876-1939) Nude with a Dog
Est: £60,000 - £90,000
TIKHOV, VITALY (1876-1939) Nude with a Dog signed and dated 1921. Oil on canvas, 98.5 by 143.5 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Gerashchenko.
MacDougall's
Dec. 02, 2015
* TIKHOV, VITALY (1876-1939) Bathers and Nude with
Est: £120,000 - £150,000
* TIKHOV, VITALY (1876-1939) Bathers and Nude with a Vase by the Rubens Painting "Perseus and Andromeda", double-sided work, one side signed and dated 1919. Each side oil on canvas, measuring 151 by 198 cm (Bathers) and 198 by 151 cm (Nude with a Vase). Provenance: Private collection, Europe. Vasily Tikhov is primarily known to the general public because of his works from the 1920s, depicting events associated with the building of the Soviet way of life. Curiously, while churning out monumental paintings documenting the activities of the first kolkhozes and promoting the swift industrialisation of the country, Tikhov was enthusiastically painting nudes. His many works in that genre, all variants of such topics as Bathers, or In the Bathhouse , form a whole cycle, an artistic suite of sorts, celebrating the beauty and allure of the female body. Initially, these works were kept exclusively in private collections, and it took them many years to make it into the collections of state museums. The painting offered here is in many ways unique. It was painted on both sides of the canvas, and it represents two distinct subjects that preoccupied the artist at that time: a finely balanced composition of nude figures and a picture of a young girl in front of a well-known painting by Peter Paul Rubens, one of maîtres of European art of the 17th century. It is impossible now to establish the reason as to why the artist resorted to such an arrangement. We may only guess that it was the scarcity of material resources at the end of the 1910s – beginning of the 1920s that prompted him to paint on both sides of the canvas. This renders the work even more valuable in that it embodies the master’s artistic proclivities and goals, externalised by him in the sacred, serene surroundings of his studio. The genre of nudes initially attracted Tikhov when he was a student at the Imperial Academy of Arts in 1903–1912. An outstanding pupil of Vladimir Makovsky, Tikhov received the rank of a certified artist and an entitlement to a funded research trip abroad for his painting Bathers . His impressions of the vast Old Masters collection at the Hermitage, enriched by his studies of Europe’s best collections, formed his artistic preferences. Moreover, the young artist creatively reinterpreted the styles of the 16th and 17th century paintings he saw to suit his own vision. In the manner of execution, and especially owing to the subdued palette, with only occasional bursts of colour, the girl painted in front of Rubens’s Perseus and Andromeda appears to echo the work of the Flemish master. Tikhov modified this subject in some of his pictures, which also feature works of the Old Masters. Bathers , however, is strikingly different. Here, Tikhov’s artistic aim is to express in painterly form the innate consonance between a naked body and nature, the harmony of their co-existence. The artist uses the language of Impressionism to communicate to the viewer the beauty and plasticity of human form, portraying his models as they move and turn their bodies. With an exceptional feel for colour, Tikhov envelops the riverbank and the foliage of the shrubs emerging in the background in a delicate, shimmering sunlight. The result is a work imbued with a distinctive mood and permeated by a joy that enchant the viewer by their sincerity and immediacy.
MacDougall's
Jun. 03, 2015
TIKHOV, VITALY (1876-1939), Venus Before the Mirror
Est: £50,000 - £70,000
TIKHOV, VITALY (1876-1939), Venus Before the Mirror, signed and dated 1920. Oil on canvas, 58 by 67.5 cm. Authenticity of the work has been confirmed by the expert V. Petrov.
MacDougall's
Nov. 26, 2014
*TIKHOV, VITALY - (1876-1939) Bathers and Nude with a Vase by the Rubens Painting "Perseus and Andromeda", double-sided work
Est: £150,000 - £200,000
*TIKHOV, VITALY (1876-1939) Bathers and Nude with a Vase by the Rubens Painting "Perseus and Andromeda", double-sided work, one side signed and dated 1919. Each side oil on canvas, measuring 151 by 198 cm (Bathers) and 198 by 151 cm (Nude with a Vase). Provenance: Private collection, Europe.
MacDougall's
Nov. 27, 2013
TIKHOV, VITALY (1876-1939) Bathers
Est: £50,000 - £70,000
TIKHOV, VITALY (1876-1939) Bathers , signed and dated 1935. Oil on canvas, 86 by 100 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert G. Tchurak.Authenticity has also been confirmed by the expert V. Petrov.
MacDougall's
Nov. 16, 2013
VITALI GAVRILOVICH TIKHOV (RUSSIAN 1876-1939),
Est: $25,000 - $35,000
VITALI GAVRILOVICH TIKHOV (RUSSIAN 1876-1939), 'Russian Beauty', oil on canvas, 100 x 62.2 cm. (39 3/8 x 24 1/2 in.), signed in Cyrillic 'V. Tikhov' lower right., PROVENANCE: Sotheby's, London, November 19, 2003, lot 78; Property of an American Foundation,
Shapiro Auctions LLC
Oct. 05, 2013
VITALI GAVRILOVITCH TIKHOV (RUSSIAN 1876-1939)
Est: $25,000 - $35,000
"Nudes in the Lake", oil on canvas, 29 1/4 x 23 1/4 in (74.3 x 59.1 cm), signed lower left, dated 1930
Trinity International Auctions & Appraisals, LLC
Nov. 28, 2012
TIKHOV, VITALY (1876-1939) - Nude with a Dog
Est: £100,000 - £200,000
TIKHOV, VITALY (1876-1939) Nude with a Dog , signed and dated 1921. Oil on canvas, 98.5 by 143.5 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Gerashchenko. As one of the most talented students in Vladimir Makovsky's studio, Vitaly Tikhov made his entrance into art history with his "bathing" pictures and nudes. Among these, his various "bathhouse" pictures were particularly popular and successful in the early 1910s. His magnificent large-format nudes, redolent of Classical art which were painted a decade later, were also successful. Nude with a Dog was painted in 1921 in Tikhov's distinctive free and rather fluid style and belongs to this group. The model is depicted lying in a state of drowsy euphoria, amid brightly-coloured drapery. At this period the artist was trying to find a new way of interacting with Classical art by having his models stand or recline in the poses of The Three Graces , Venus Before a Mirror or the "reclining Venus" paintings of Giorgione and Titian, sometimes, touchingly, giving his own paintings those same titles. In the case of this particular nude, Tikhov turned to the Classical iconography of "Venus with a dog". This motif, which had cut a long and distinguished path through art history, beginning with Titian's Venus of Urbino , took on a new lease of life in the 1920s, riding on the neo-Classical wave of the early 20th century. It is no coincidence that at the same time as Tikhov, the Italian artist Pietro Marussig of the celebrated Novecento group, was painting his own version of this subject and striving to revive interest in Italian Classicism and re-establish the pre-eminence of the Renaissance tradition, which had been eclipsed by the avant-garde. Renouncing any pretension to the multiple meanings of the historical works - where the dog was treated as a symbol of fidelity or, adversely, as a "bestial" image to emphasise the woman's beauty and femininity - Tikhov set himself a complex artistic challenge. He sought here to convey all the nuances in the correlation and juxtaposition of textures: between the rippling silk of the drapery and the pale, velvety surface of the woman's skin and the dog's fur, with their rich, coloured reflections. Those who wish to might see the artist's wife and favourite model in this sleeping Venus, but most probably, Tikhov's recourse to the Classical canon of female beauty and the echoes of Titian's Danaë in the pose of the nude are engendered by his desire to counter the harsh, comfortless reality of post-revolutionary life with the beauty and splendour of eternal, timeless values.
MacDougall's
Nov. 21, 2012
Vitaly Gavrilovich TIKHOV (1876-1939) Deux amies
Est: €50,000 - €60,000
Vitaly Gavrilovich TIKHOV (1876-1939) Deux amies Huile sur toile, signée en cyrillique en bas à droite 122 x 90 cm - 48 x 35 1/2 in. Oil on canvas, signed in Cyrillic lower right
Collin du Bocage
Jul. 06, 2012
Vitaly Gavrilovich TIKHOV (1876-1939) Deux amies
Est: €70,000 - €90,000
Vitaly Gavrilovich TIKHOV (1876-1939) Deux amies Huile sur toile, signée en cyrillique en bas à droite 122 x 90 cm - 48 x 35 1/2 in. Oil on canvas, signed in Cyrillic lower right
Collin du Bocage
May. 30, 2012
TIKHOV, VITALY (1876-1939) In a Russian Banya,
Est: £300,000 - £400,000
TIKHOV, VITALY (1876-1939) In a Russian Banya, signed and dated 1916. Oil on canvas, 132.5 by 105 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert I. Geraschenko. Vitaly Tikhov, one of the most talented students of Vladimir Makovsky's studio, made his entrance into art history with his pictures of bathers and nudes. In the early 1910s his magnificent, large-format bath-house paintings were especially successful and much admired, earning him the graduation Gold Medal of the Imperial Academy of Arts, having studied there on two separate occasions. The present lot, In a Russian Banya, belongs to this series. It was painted in 1916 when, his creative talent at its peak, he became a member of the Society of Itinerant Art Exhibitions, which enabled him to exhibit in many towns around Russia. It is thus quite natural that this large-scale composition should be so accomplished, and of undoubted exhibition quality. The artist depicts the models in his distinctive free and rather fluid manner, sitting or standing in clouds of steam on the floor-boards of a simple Russian bath-house. Despite his predilection for Classical echoes in his works - he often depicted his models standing or reclining in the poses of the Three Graces or Venus before a Mirror and sometimes, touchingly, gave his works those same titles - in his In a Russian Banya Tikhov was not thinking allegorically. Rather, this painting is an exquisite study of his models (one, his most important and most regular, was his wife), in which the artist strives to emphasise the pale beauty of their delicate skin, effectively highlighting it with the coloured reflections from the sunlight falling through the window. The most important attributes of Tikhov's work are his impressionistic freshness and decorativeness. It was with similar works, such as Zinaida Serebriakova's bath cycle and Boris Kustodiev's Russian Venus, that the genre of Classical women bathing, which had been given a new lease of life by Impressionism and Post-Impressionism, developed into an established, home-grown, iconographic tradition of Russian village bath-house pictures. The apparent simplicity of this subject, successor to the Academic Roman baths and harem pools of Gérôme and Ingres, allowed artists to concentrate on purely painterly issues. Deliberately executed in bright and resonant colours, Tikhov's works were not only popular with patrons, and a decorative element of early 20th-century interiors, but also came to exert a considerable influence on the future of this genre, notably on the celebrated bathhouses of Alexander Gerasimov. Today examples of Tikhov's bathing women are represented in the State Russian Museum and in private collections worldwide.
MacDougall's
Apr. 21, 2012
VITALI GAVRILOVICH TIKHOV (1876-1939)
Est: $4,000 - $6,000
VITALI GAVRILOVICH TIKHOV (1876-1939); Oil on canvas of a nude (framed); Signed; 28'' x20''
Rago Arts and Auction Center
Dec. 01, 2011
Seated Nude
Est: £40,000 - £60,000
TIKHOV, VITALY 1876-1939 Seated Nude , signed and dated 1925. Oil on canvas, 66 by 53 cm.
MacDougall's
Dec. 01, 2011
Nude with a Dog
Est: £120,000 - £150,000
TIKHOV, VITALY 1876-1939 Nude with a Dog , signed and dated 1921. Oil on canvas, 98.5 by 143.5 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity of the work has also been confirmed by the expert I. Geraschenko. As one of the most talented students in Vladimir Makovsky's studio, Vitaly Tikhov made his entrance into art history with his "bathing" pictures and nudes. Among these, his various "bathhouse" pictures were particularly popular and successful in the early 1910s. His magnificent large-format nudes, redolent of Classical art which were painted a decade later, were also successful. Nude with a Dog was painted in 1921 in Tikhov's distinctive free and rather fluid style and belongs to this group. The model is depicted lying in a state of drowsy euphoria, amid brightly-coloured drapery. At this period the artist was trying to find a new way of interacting with Classical art by having his models stand or recline in the poses of The Three Graces , Venus Before a Mirror or the "reclining Venus" paintings of Giorgione and Titian, sometimes, touchingly, giving his own paintings those same titles. In the case of this particular nude, Tikhov turned to the Classical iconography of "Venus with a dog". This motif, which had cut a long and distinguished path through art history, beginning with Titian's Venus of Urbino , took on a new lease of life in the 1920s, riding on the neo-Classical wave of the early 20th century. It is no coincidence that at the same time as Tikhov, the Italian artist Pietro Marussig of the celebrated Novecento group, was painting his own version of this subject and striving to revive interest in Italian Classicism and re-establish the pre-eminence of the Renaissance tradition, which had been eclipsed by the avant-garde. Renouncing any pretension to the multiple meanings of the historical works - where the dog was treated as a symbol of fidelity or, adversely, as a "bestial" image to emphasise the woman's beauty and femininity - Tikhov set himself a complex artistic challenge. He sought here to convey all the nuances in the correlation and juxtaposition of textures: between the rippling silk of the drapery and the pale, velvety surface of the woman's skin and the dog's fur, with their rich, coloured reflections. Those who wish to might see the artist's wife and favourite model in this sleeping Venus, but most probably, Tikhov's recourse to the Classical canon of female beauty and the echoes of Titian's Danaë in the pose of the nude are engendered by his desire to counter the harsh, comfortless reality of post-revolutionary life with the beauty and splendour of eternal, timeless values.
MacDougall's
Nov. 19, 2011
TIKHOV, VITALI
Est: $20,000 - $30,000
VITALI GAVRILOVICH TIKHOV (RUSSIAN 1876-1939), "Russian Beauty", oil on canvas, 99 x 62 cm. (39 x 24.5 in.), signed in Cyrillic 'V. Tikhov' lower right. PROVENANCE: Sotheby's, London, November 19, 2003, lot 78; Property of an American Foundation
Shapiro Auctions LLC
Jun. 08, 2011
* TIKHOV, VITALY (1876-1939) In a Russian Banya,
Est: £300,000 - £400,000
* TIKHOV, VITALY (1876-1939) In a Russian Banya, signed and dated 1916. Oil on canvas, 132.5 by 105 cm. Provenance: Private collection, Europe. Authenticty of the work has been confirmed by the expert I. Geraschenko. Vitaly Tikhov, one of the best and most talented students in Vladimir Makovsky's studio, made his entrance into
MacDougall's
Jun. 08, 2011
TIKHOV, VITALY (1876-1939) Bathers,
Est: £60,000 - £90,000
TIKHOV, VITALY (1876-1939) Bathers, signed and dated 1935. Oil on canvas, 86 by 100 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the experts G. Tchurak and V. Petrov.
MacDougall's
Dec. 02, 2010
TIKHOV, VITALY 1876-1939 Nude with a Rubens Painting
Est: £120,000 - £150,000
TIKHOV, VITALY 1876-1939 Nude with a Rubens Painting signed and dated 1920 Oil on canvas, 124 by 106.5 cm. Authenticity has been confirmed by the expert V. Petrov. Authenticity has been confirmed by the expert I. Geraschenko. One of the best and most talented students in Vladimir Makovsky's studio, Vitaly Tikhov made his entrance into art history with his "bathing" pictures and his nudes. Among these, various "bath-house" pictures were particularly successful and popular in the early 1910s and Tikhov, then a student at the Imperial Academy of Arts, was twice awarded the graduates' Gold Medal for these. Also successful were his magnificent, large-format nudes, painted a decade later and very redolent of classical tradition. In Nude with a Rubens Painting, the artist portrays his model in a characteristically free, somewhat fluid style, sitting on a brightly-coloured drape between Rubens's famous Bacchanalia and a large, porcelain vase. It is interesting to note that Tikhov selected as his "props" genuine objects in museums which, even in the hard times of the early 20s, the artist was able to see in the State Museum of New Western Art (now the Pushkin State Museum of Fine Arts) in Moscow. It was most probably in the museum galleries in Volkhonka Street that Tikhov worked on his copy of the Rubens canvas. Later, in his studio, he slightly altered the actual proportions of the Flemish master's work before "superimposing" on it the figure of his nude model. It is unlikely that the use of that particular painting, the Bacchanalia, as a background has any specific subtext. It is most likely that Tikhov's use of the classical canon of female beauty, and his including the Rubens painting in his own favourite compositional theme, "nude in an interior", was probably inspired by his desire to set the beauty and splendour of eternal, timeless values against the reality of post-revolution life. In other works of this period the artist tried to find a different way of interacting with classical art, by having his models stand or recline in the poses of the Three Graces and Venus with a Mirror, sometimes, touchingly, giving his own paintings those very titles. However, the technique of direct use of part of a painting, around which a whole scene unfolds, turned out to be the most effective. So Tikhov repeated it again, ringing the changes on his successful new compositional formula, "Nude with a Rubens Painting". A year after the present picture, he painted another version (sold by MacDougall's in December 2009. Lot 274). On this canvas, with a strongly vertical composition, we can recognise the same vase and the flowery crimson drape and even perhaps the same model, but this time standing, her back to the viewer. She is facing another Rubens masterpiece, which takes up the whole of the background, the renowned Perseus and Andromeda which is in the State Hermitage Museum. Moreover, Tikhov places his nude in such a way that her body completely obscures Andromeda, as if to take her place, leaving Perseus perfectly visible with his shield bearing the Gorgon's head, and Pegasus, Venus and three putti. Both these compositionally complex works represent an extremely interesting stage in Tikhov's career, when the artist, on his path from the "content-less" "girls in a bath house" formula of the prerevolution period to the politically shrewd Bathing of Red Sailors, was turning to the indisputable masterpieces of art history, trying to discover new, classical foundations for his own art, beautiful but out of place during this time of change.
MacDougall's
Jun. 10, 2010
TIKHOV, VITALY 1876-1939 Sitting Nude
Est: £20,000 - £30,000
TIKHOV, VITALY 1876-1939 Sitting Nude signed and dated 1925 Oil on canvas, 66 by 53 cm.
MacDougall's
Jun. 10, 2010
TIKHOV, VITALY 1876-1939 Bathing Mother and Child
Est: £90,000 - £120,000
TIKHOV, VITALY 1876-1939 Bathing Mother and Child signed and dated 1929 Oil on canvas, 93 by 74 cm. Authenticity has been confirmed by Vladimir Petrov.
MacDougall's
Dec. 03, 2009
TIKHOV, VITALY 1876-1939 Female Nude signed and
Est: £50,000 - £70,000
TIKHOV, VITALY 1876-1939 Female Nude signed and dated 1921 Oil on canvas, 101.5 by 64.5 cm. Authenticity has been confirmed by Vladimir Petrov.
MacDougall's
Nov. 24, 2008
Vitaly Gavrilovich Tikhov , 1876-1939 nude with a dog oil on canvas
Est: £200,000 - £300,000
signed in Cyrillic and dated 1921 l.l. oil on canvas
Sotheby's
Jun. 10, 2008
- Vitaly Gavrilovich Tikhov , 1876-1939 nude with shawl oil on canvas
Est: £40,000 - £60,000
signed in Cyrillic and dated 24 l.l. oil on canvas
Sotheby's
Apr. 17, 2008
VITALY GAVRILOVICH TIKHOV (RUSSIAN 1876-1939) The
Est: $18,000 - $25,000
VITALY GAVRILOVICH TIKHOV (RUSSIAN 1876-1939) The Bathers, 1930 oil on canvas 29 1/2 x 23 1/2 in. (74.9 x 59.7 cm.) signed lower right
Shapiro Auctions LLC
Apr. 17, 2007
Vitaly Gavrilovich Tikhov , Nude Portrait
Est: - $252,000
signed in Cyrillic and dated 19. (lower left) oil on canvas
Sotheby's
Apr. 16, 2007
Vitaly Gavrilovich Tikhov , Nude Portrait
Est: $150,000 - $200,000
signed in Cyrillic and dated 19. (lower left) oil on canvas
Sotheby's
Nov. 19, 2003
f - VLADIMIR TIKHOV, EARLY 20TH CENTURY
Est: £10,000 - £15,000
SIGNED AND DATED (MAKER'S MARKS) signed l.r.
Sotheby's