Draft of a poster for Culture League exhibition in Moscow March-April 1922 (with participation of N. Altman, M. Chagall and D. Shterenberg; Culture League was a famous  More »

Draft of a poster for Culture League exhibition in Moscow March-April 1922 (with participation of N. Altman, M. Chagall and D. Shterenberg; Culture League was a famous cultural and political association of Jewish artists of the 1920-s – 30-s in Russia and Ukraine). Indian ink on paper, signed with initials and dated (19)22 low left; inscribed with a critical comment addressing revolutionary events in Russia on the left margin. On the reverse: a cubistic scene of two nude figures with a title in Aramaic(?). 4x8 inches. Bibliography: Nathan Altman. Text by Mark Etkind. VEB Verlag der Kunst Dresden, 1984 (a final version of the poster is illustrated on page 178; a similar cubistic drawing is illustrated on page 78) Provenance: estate of Alexander Leonidovich Pasternak (brother of the poet Boris Pasternak) – was put into the book that Nathan Altman presented to Alexander Pasternak in 1966 More Russian antiques at www.Russianartsalon.com   « Less

Drawing-Watercolor , Mixed media/paper ,19x41 cm (7.5x16.1 in) More Russian antiques at www.Russianartsalon.com BIOGRAPHY OF THE ARTIST Andriienko-Nechytailo,  More »

Drawing-Watercolor , Mixed media/paper ,19x41 cm (7.5x16.1 in) More Russian antiques at www.Russianartsalon.com BIOGRAPHY OF THE ARTIST Andriienko-Nechytailo, Mykhailo [Andrijenko-Nečytajlo, Myxajlo] (known in France as Michel Andreenko), b 29 December 1894 in Odesa, d 12 November 1982 in Paris. Modernist painter and stage designer. In 1912–17 Andriienko-Nechytailo studied with N. Rerikh, A. Rylov, and I. Bilibin at the art school of the Society for the Promotion of the Arts in Saint Petersburg. In 1914–16 he exhibited the composition Black Dome and his first cubist works in Saint Petersburg. In 1914 he participated in an international graphics exhibition in Leipzig. In 1917–24 he devoted most of his time to designing stage sets for various theaters—in Saint Petersburg, Odesa, Prague, Paris, and for the Royal Opera in Bucharest. In Paris, where he lived from 1923, he also worked on sets for the films Casanova and Sheherazade and continued to paint in the cubist-constructivist style (eg, Composition [1924], Construction [1924], or A Person [1926]). In the 1930s Andriienko-Nechytailo produced a series of surrealist paintings (eg, A Fair Stall [1933]). He switched to neorealism in the 1940s and painted a number of portraits as well as a series the cityscapes Disappearing Paris (such as Rue Carpeaux [1946], Rue Paul Barruel [1954], Rue Cambronne [1954], and Paysage du Cycle [1956]). From 1958 he returned to constructivism and abstraction. Andriienko-Nechytailo's work is characterized by a precision of composition that harmonizes subtly with color. His stage sets are remarkable for their laconic quality and architectural schematism, and his costume designs, for their richness. His paintings can be found in the City Museum of Modern Art and the Arsenal Library in Paris, the National Library in Vienna, the Victoria and Albert Museum in London, the Metropolitan Museum in New York, the National Museum in Lviv, and Ukrainian émigré museums and private art collections. Andriienko-Nechytailo is also the author of several short stories and articles on art. BIBLIOGRAPHY Sichyns’kyi, V. Andriienko (Lviv 1934) Popovych, V. Mykhailo Andriienko (Munich 1969) Marcadé, J.-Cl. and V. Andreenko (Lausanne 1978) M. Andriienko. Kataloh vystavky v Ukraïns'komu instytuti modernoho mystetstva (Chicago 1979)   « Less

Nude boy clutching himself, 1901- 1909. Red chalk on thin off-white wove paper. 17x13”. On verso: graphite sketch of cat with restudy of forehead. Inscribed at lower  More »

Nude boy clutching himself, 1901- 1909. Red chalk on thin off-white wove paper. 17x13”. On verso: graphite sketch of cat with restudy of forehead. Inscribed at lower left in graphite: book 483 and in ink #4. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the next item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 483. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # G006, p.263 - illustrated. More Russian antiques at www.Russianartsalon.com ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.   « Less

Nude boy standing hunched, 1901-1909. Red chalk on thin off-white wove paper. 17x13”. On verso: inscribed at lower left in graphite: book 484 and in ink 1. Like  More »

Nude boy standing hunched, 1901-1909. Red chalk on thin off-white wove paper. 17x13”. On verso: inscribed at lower left in graphite: book 484 and in ink 1. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the previous item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 484. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # G007, p.263 - illustrated. More Russian antiques at www.Russianartsalon.com ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.   « Less

Book of Ioram. Cover and 3 drawings of letters. Ink on cardboard. [1910]. 20x16". Exhibited and described in the catalog of the exhibition, Brooklyn Museum, NY 1918,  More »

Book of Ioram. Cover and 3 drawings of letters. Ink on cardboard. [1910]. 20x16". Exhibited and described in the catalog of the exhibition, Brooklyn Museum, NY 1918, #114 Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, ##G159,G161 , p.271 - illustrated. More Russian antiques at www.Russianartsalon.com ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.   « Less

LAKE IN MICHIGAN oil/canvas board, signed low left and dated 1955, 15x20 inches.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr.  More »

LAKE IN MICHIGAN oil/canvas board, signed low left and dated 1955, 15x20 inches.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # 260, p.136 - illustrated. More Russian antiques at www.Russianartsalon.com ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.   « Less

Portrait O.K.["A Model"]. Indian ink on paper. 10 x 8". Another variant published in "Portraits", text by E .Zamiatin, M. Kuzmin, M. Babenchikov,  More »

Portrait O.K.["A Model"]. Indian ink on paper. 10 x 8". Another variant published in "Portraits", text by E .Zamiatin, M. Kuzmin, M. Babenchikov, Petropolis, Peterburg, 1922, p99. More Russian antiques at www.Russianartsalon.com BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated Russian-French artist, active in Russia, France, Germany, and Italy, also known as Yuri Annenkov in the 'Silver Age' of Russian art. He was born Yuri Pavlovich Annenkov on July 18, 1889, in Petropavlovsk-Kamchatsky, Kamchatka province, Russian Empire (now Petropavlovsk-Kamchatsky, Russia), where his father, Pavel Annenkov, was serving his sentence in Siberian exile for his anti-Tsar activities. The Annenkovs belonged to Russian cultural elite, and were in the opposition to the Tsar's rule. Annenkov's grand uncle, also named Pavel Annenkov, was among the leading intellectuals of his time, he was the publisher of Alexander Pushkin. In 1892, Annenkov's father was forgiven by the Tsar, and young Annenkov with his parents returned to their ancestral home in St. Petersburg. There he attended the private gymnasium of Stolbtsov, then studied at the Law School of St. Petersburg University, but did not graduate. In 1909, Annenkov applied to the Imperial Academy of Fine Arts, but was not accepted, because his anti-Tsar caricatures were published in Russian liberal magazines. In the 1900s, Annenkov met the famous Russian artist Ilya Repin, who was a neighbor of the Annenkovs in the St. Petersburg suburb of Kuokkala. Repin's art made a strong impression on young Annenkov, albeit he became interested in a more experimental and avant-garde movements. In 1909-1911, in St. Petersburg, he studied at the Stieglitz School of Art, and attended the drawing class of Saveli Seidenberg, where his classmate was Marc Chagall. In 1911 - 1913 Annenkov lived in Paris and studied painting with Symbolist artists Maurice Denis and Felix Vallotton. In the summer of 1912 he lived on the Atlantic coast of France, in Bretagne, there he made a series of drawings of fish and plants for the Department of Zoology at Sorbonne University. In 1913, Annenkov participated with his two paintings in the show at 'Salon des Independents', then he traveled and worked in France and Switzerland. Over the course of his artistic development, Annenkov absorbed a range of influences, from Russian Folk-style Lubok and Cubism of Pablo Picasso to Nabism, Expressionism, Futurism, Dada, and other Avant-garde movements, and created his own style called New Synthetism. Annenkov In 1914, when the First World War broke, he was back in St. Petersburg, Russia. There Annenkov worked for art magazines, and took part in several art shows. He made stage design for several stage productions at the Theatre of Komissarzkhevskoy, and also worked with the director Nikolai Yevreinov and his Theatre Krivoe Zerkalo (aka.. The Curved Mirror) in St. Petersburg. By 1917 Annenkov joined the Mir Iskusstva group of artists, where he met such leaders of Russian art as Alexandre Benois, Mstislav Dobuzhinsky, and Yevgeni Lansere among others. During 1910s - 1920s, Annenkov was active as a book illustrator for such writers and poets as Alexander Blok, Maxim Gorky, Mikhail Kuzmin, and Yevgeni Zamyatin among others. In 1918 Annenkov created his well known illustrations for "The Twelve" by Aleksandr Blok. After the Communist Revolution of 1917, Annenkov followed his democratic and liberal instincts and became associated with non-Bolshevik leaders, such as Leon Trotsky, Maxim Gorky, and Anatoli Lunacharsky. In 1918 - 1921, Annenkov made several large-scale, experimental and most avant-garde street decorations for mass shows and outdoor performances in St. Petersburg, Russia. On May 1, 1920, he staged an outdoor mystery show titled 'Liberated Labour Anthem' for the May Day Parade. That show started a tradition of grand-scale Soviet parades and street shows, for which Annenkov made the original designs, working with the group of such artists as Dobuzhinsky, Maslovsky, Kugel, and Shchuko. In the fall of 1920, Annenkov designed and directed a massive show 'Revolutionary Takeower of the Winter Palace' at the Palace Square in St. Petersburg. At that time, Annenkov invested his experimental ideas in such innovative stage productions as 'Gaz' by G.Keiser (1920) and 'The Mutiny of the Machines' by A. Tolstoy (1924) at Bolshoi Drama Theatre (BDT) in St. Petersburg. Annenkov's design for 'The Mutiny of the Machines' was involving several consecutive stage sets with large-scale moving mechanisms symbolizing the domination of industrial technology over human life. Annenkov was among organizers of 'Segodnya' publishing house in St. Petersburg. In 1922, he published a book of his original portraits of eighty leading cultural and political figures of Russia of that time, such as Anna Akhmatova, Fedor Sologub, Yevgeni Zamyatin, Maxim Gorky, Boris Pasternak, and Leon Trotsky, V.I. Lenin, and Aleksandr Kerensky among many others. Annenkov's portraits show his mastery of blending several styles for better representation of complex, multi-faceted personalities of his famous sitters. In 1923 Annenkov collaborated with Kornei Chukovsky on the popular children books series, of which "Moidodyr" with illustrations by Yuri Annenkov had over 30 re-printings, and became one of the best known Russian books for children. In the summer of 1924, Annenkov emigrated from the Soviet Union together with his wife, actress and ballerina Elena (Helen) Galperi. He took part in the 1924 Venice art show, then worked in Berlin, Germany, and exhibited his art in several shows across Europe. Eventually he settled in Paris, France. He also made set designs for about 60 stage productions of operas, ballets, and dramas, in collaboration with such directors as George Balanchine, Léonide Massine, Bronislava Njinska, Michael Chekhov and Serge Lifar. He also made numerous portraits of such cultural figures as Maurice Ravel and Jean Cocteau, among others. In the 1930s Annenkov became involved in film productions. He first collaborated with such film directors as F.W. Murnau and Viktor Tourjansky. Georges Annenkov is best known for his costumes for Madame de... (1953), for which he earned an Academy Award-nomination for Best Costume Design, shared with Rosine Delamare. Annenkov's costumes and set designers had won him much critical acclaim, especially his costumes for Gérard Philipe in Amants de Montparnasse (Montparnasse 19), Les (1958) and Chartreuse de Parme, La (1948), among other films. Among his works for television was his lavish design for 'The Cherry Orchard', a 1959 WD production of the eponymous play by Anton Chekhov. From 1945 - 1955 Annenkov was president of the French Syndicate of Cinema Technicians. Annenkov's witty and bitter-sweet memoirs were published in Russian and French and had success among intellectuals in Europe. His book 'Journal of my meetings' (1966) was translated in several languages, albeit the book was banned in the Soviet Union, until the collapse of the USSR in 1991. Georges Annenkov died of natural causes, aged 83, on July 12, 1974, in Paris, France, and was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois, in Paris, France. Georges (Yuri) Annenkov was married to Russian ballerina Elena (Helen) Annenkov (nee Galperi), who was also his Muse and inspirational model for numerous drawings, oil portraits, and design ideas for cinema. Annenkov's works are now in permanent collections of the State Russian Museum in St. Petersburg, the Tretyakov Gallery in Moscow, and in private collections and galleries across the world.   « Less

Villas by the river. Oil/canvas, signed low right, 14x11 inches. C.1925-8. For the larger version of the similar painting see Sotheby’s London May 26 2004,  More »

Villas by the river. Oil/canvas, signed low right, 14x11 inches. C.1925-8. For the larger version of the similar painting see Sotheby’s London May 26 2004, lot154. BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated Russian-French artist, active in Russia, France, Germany, and Italy, also known as Yuri Annenkov in the 'Silver Age' of Russian art. He was born Yuri Pavlovich Annenkov on July 18, 1889, in Petropavlovsk-Kamchatsky, Kamchatka province, Russian Empire (now Petropavlovsk-Kamchatsky, Russia), where his father, Pavel Annenkov, was serving his sentence in Siberian exile for his anti-Tsar activities. The Annenkovs belonged to Russian cultural elite, and were in the opposition to the Tsar's rule. Annenkov's grand uncle, also named Pavel Annenkov, was among the leading intellectuals of his time, he was the publisher of Alexander Pushkin. In 1892, Annenkov's father was forgiven by the Tsar, and young Annenkov with his parents returned to their ancestral home in St. Petersburg. There he attended the private gymnasium of Stolbtsov, then studied at the Law School of St. Petersburg University, but did not graduate. In 1909, Annenkov applied to the Imperial Academy of Fine Arts, but was not accepted, because his anti-Tsar caricatures were published in Russian liberal magazines. In the 1900s, Annenkov met the famous Russian artist Ilya Repin, who was a neighbor of the Annenkovs in the St. Petersburg suburb of Kuokkala. Repin's art made a strong impression on young Annenkov, albeit he became interested in a more experimental and avant-garde movements. In 1909-1911, in St. Petersburg, he studied at the Stieglitz School of Art, and attended the drawing class of Saveli Seidenberg, where his classmate was Marc Chagall. In 1911 - 1913 Annenkov lived in Paris and studied painting with Symbolist artists Maurice Denis and Felix Vallotton. In the summer of 1912 he lived on the Atlantic coast of France, in Bretagne, there he made a series of drawings of fish and plants for the Department of Zoology at Sorbonne University. In 1913, Annenkov participated with his two paintings in the show at 'Salon des Independents', then he traveled and worked in France and Switzerland. Over the course of his artistic development, Annenkov absorbed a range of influences, from Russian Folk-style Lubok and Cubism of Pablo Picasso to Nabism, Expressionism, Futurism, Dada, and other Avant-garde movements, and created his own style called New Synthetism. Annenkov In 1914, when the First World War broke, he was back in St. Petersburg, Russia. There Annenkov worked for art magazines, and took part in several art shows. He made stage design for several stage productions at the Theatre of Komissarzkhevskoy, and also worked with the director Nikolai Yevreinov and his Theatre Krivoe Zerkalo (aka.. The Curved Mirror) in St. Petersburg. By 1917 Annenkov joined the Mir Iskusstva group of artists, where he met such leaders of Russian art as Alexandre Benois, Mstislav Dobuzhinsky, and Yevgeni Lansere among others. During 1910s - 1920s, Annenkov was active as a book illustrator for such writers and poets as Alexander Blok, Maxim Gorky, Mikhail Kuzmin, and Yevgeni Zamyatin among others. In 1918 Annenkov created his well known illustrations for "The Twelve" by Aleksandr Blok. After the Communist Revolution of 1917, Annenkov followed his democratic and liberal instincts and became associated with non-Bolshevik leaders, such as Leon Trotsky, Maxim Gorky, and Anatoli Lunacharsky. In 1918 - 1921, Annenkov made several large-scale, experimental and most avant-garde street decorations for mass shows and outdoor performances in St. Petersburg, Russia. On May 1, 1920, he staged an outdoor mystery show titled 'Liberated Labour Anthem' for the May Day Parade. That show started a tradition of grand-scale Soviet parades and street shows, for which Annenkov made the original designs, working with the group of such artists as Dobuzhinsky, Maslovsky, Kugel, and Shchuko. In the fall of 1920, Annenkov designed and directed a massive show 'Revolutionary Takeower of the Winter Palace' at the Palace Square in St. Petersburg. At that time, Annenkov invested his experimental ideas in such innovative stage productions as 'Gaz' by G.Keiser (1920) and 'The Mutiny of the Machines' by A. Tolstoy (1924) at Bolshoi Drama Theatre (BDT) in St. Petersburg. Annenkov's design for 'The Mutiny of the Machines' was involving several consecutive stage sets with large-scale moving mechanisms symbolizing the domination of industrial technology over human life. Annenkov was among organizers of 'Segodnya' publishing house in St. Petersburg. In 1922, he published a book of his original portraits of eighty leading cultural and political figures of Russia of that time, such as Anna Akhmatova, Fedor Sologub, Yevgeni Zamyatin, Maxim Gorky, Boris Pasternak, and Leon Trotsky, V.I. Lenin, and Aleksandr Kerensky among many others. Annenkov's portraits show his mastery of blending several styles for better representation of complex, multi-faceted personalities of his famous sitters. In 1923 Annenkov collaborated with Kornei Chukovsky on the popular children books series, of which "Moidodyr" with illustrations by Yuri Annenkov had over 30 re-printings, and became one of the best known Russian books for children. In the summer of 1924, Annenkov emigrated from the Soviet Union together with his wife, actress and ballerina Elena (Helen) Galperi. He took part in the 1924 Venice art show, then worked in Berlin, Germany, and exhibited his art in several shows across Europe. Eventually he settled in Paris, France. He also made set designs for about 60 stage productions of operas, ballets, and dramas, in collaboration with such directors as George Balanchine, Léonide Massine, Bronislava Njinska, Michael Chekhov and Serge Lifar. He also made numerous portraits of such cultural figures as Maurice Ravel and Jean Cocteau, among others. In the 1930s Annenkov became involved in film productions. He first collaborated with such film directors as F.W. Murnau and Viktor Tourjansky. Georges Annenkov is best known for his costumes for Madame de... (1953), for which he earned an Academy Award-nomination for Best Costume Design, shared with Rosine Delamare. Annenkov's costumes and set designers had won him much critical acclaim, especially his costumes for Gérard Philipe in Amants de Montparnasse (Montparnasse 19), Les (1958) and Chartreuse de Parme, La (1948), among other films. Among his works for television was his lavish design for 'The Cherry Orchard', a 1959 WD production of the eponymous play by Anton Chekhov. From 1945 - 1955 Annenkov was president of the French Syndicate of Cinema Technicians. Annenkov's witty and bitter-sweet memoirs were published in Russian and French and had success among intellectuals in Europe. His book 'Journal of my meetings' (1966) was translated in several languages, albeit the book was banned in the Soviet Union, until the collapse of the USSR in 1991. Georges Annenkov died of natural causes, aged 83, on July 12, 1974, in Paris, France, and was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois, in Paris, France. Georges (Yuri) Annenkov was married to Russian ballerina Elena (Helen) Annenkov (nee Galperi), who was also his Muse and inspirational model for numerous drawings, oil portraits, and design ideas for cinema. Annenkov's works are now in permanent collections of the State Russian Museum in St. Petersburg, the Tretyakov Gallery in Moscow, and in private collections and galleries across the world.   « Less

Costume design for an officer with a gun, w/c on paper, signed low right, 19x 12 inches. BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated  More »

Costume design for an officer with a gun, w/c on paper, signed low right, 19x 12 inches. BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated Russian-French artist, active in Russia, France, Germany, and Italy, also known as Yuri Annenkov in the 'Silver Age' of Russian art. He was born Yuri Pavlovich Annenkov on July 18, 1889, in Petropavlovsk-Kamchatsky, Kamchatka province, Russian Empire (now Petropavlovsk-Kamchatsky, Russia), where his father, Pavel Annenkov, was serving his sentence in Siberian exile for his anti-Tsar activities. The Annenkovs belonged to Russian cultural elite, and were in the opposition to the Tsar's rule. Annenkov's grand uncle, also named Pavel Annenkov, was among the leading intellectuals of his time, he was the publisher of Alexander Pushkin. In 1892, Annenkov's father was forgiven by the Tsar, and young Annenkov with his parents returned to their ancestral home in St. Petersburg. There he attended the private gymnasium of Stolbtsov, then studied at the Law School of St. Petersburg University, but did not graduate. In 1909, Annenkov applied to the Imperial Academy of Fine Arts, but was not accepted, because his anti-Tsar caricatures were published in Russian liberal magazines. In the 1900s, Annenkov met the famous Russian artist Ilya Repin, who was a neighbor of the Annenkovs in the St. Petersburg suburb of Kuokkala. Repin's art made a strong impression on young Annenkov, albeit he became interested in a more experimental and avant-garde movements. In 1909-1911, in St. Petersburg, he studied at the Stieglitz School of Art, and attended the drawing class of Saveli Seidenberg, where his classmate was Marc Chagall. In 1911 - 1913 Annenkov lived in Paris and studied painting with Symbolist artists Maurice Denis and Felix Vallotton. In the summer of 1912 he lived on the Atlantic coast of France, in Bretagne, there he made a series of drawings of fish and plants for the Department of Zoology at Sorbonne University. In 1913, Annenkov participated with his two paintings in the show at 'Salon des Independents', then he traveled and worked in France and Switzerland. Over the course of his artistic development, Annenkov absorbed a range of influences, from Russian Folk-style Lubok and Cubism of Pablo Picasso to Nabism, Expressionism, Futurism, Dada, and other Avant-garde movements, and created his own style called New Synthetism. Annenkov In 1914, when the First World War broke, he was back in St. Petersburg, Russia. There Annenkov worked for art magazines, and took part in several art shows. He made stage design for several stage productions at the Theatre of Komissarzkhevskoy, and also worked with the director Nikolai Yevreinov and his Theatre Krivoe Zerkalo (aka.. The Curved Mirror) in St. Petersburg. By 1917 Annenkov joined the Mir Iskusstva group of artists, where he met such leaders of Russian art as Alexandre Benois, Mstislav Dobuzhinsky, and Yevgeni Lansere among others. During 1910s - 1920s, Annenkov was active as a book illustrator for such writers and poets as Alexander Blok, Maxim Gorky, Mikhail Kuzmin, and Yevgeni Zamyatin among others. In 1918 Annenkov created his well known illustrations for "The Twelve" by Aleksandr Blok. After the Communist Revolution of 1917, Annenkov followed his democratic and liberal instincts and became associated with non-Bolshevik leaders, such as Leon Trotsky, Maxim Gorky, and Anatoli Lunacharsky. In 1918 - 1921, Annenkov made several large-scale, experimental and most avant-garde street decorations for mass shows and outdoor performances in St. Petersburg, Russia. On May 1, 1920, he staged an outdoor mystery show titled 'Liberated Labour Anthem' for the May Day Parade. That show started a tradition of grand-scale Soviet parades and street shows, for which Annenkov made the original designs, working with the group of such artists as Dobuzhinsky, Maslovsky, Kugel, and Shchuko. In the fall of 1920, Annenkov designed and directed a massive show 'Revolutionary Takeower of the Winter Palace' at the Palace Square in St. Petersburg. At that time, Annenkov invested his experimental ideas in such innovative stage productions as 'Gaz' by G.Keiser (1920) and 'The Mutiny of the Machines' by A. Tolstoy (1924) at Bolshoi Drama Theatre (BDT) in St. Petersburg. Annenkov's design for 'The Mutiny of the Machines' was involving several consecutive stage sets with large-scale moving mechanisms symbolizing the domination of industrial technology over human life. Annenkov was among organizers of 'Segodnya' publishing house in St. Petersburg. In 1922, he published a book of his original portraits of eighty leading cultural and political figures of Russia of that time, such as Anna Akhmatova, Fedor Sologub, Yevgeni Zamyatin, Maxim Gorky, Boris Pasternak, and Leon Trotsky, V.I. Lenin, and Aleksandr Kerensky among many others. Annenkov's portraits show his mastery of blending several styles for better representation of complex, multi-faceted personalities of his famous sitters. In 1923 Annenkov collaborated with Kornei Chukovsky on the popular children books series, of which "Moidodyr" with illustrations by Yuri Annenkov had over 30 re-printings, and became one of the best known Russian books for children. In the summer of 1924, Annenkov emigrated from the Soviet Union together with his wife, actress and ballerina Elena (Helen) Galperi. He took part in the 1924 Venice art show, then worked in Berlin, Germany, and exhibited his art in several shows across Europe. Eventually he settled in Paris, France. He also made set designs for about 60 stage productions of operas, ballets, and dramas, in collaboration with such directors as George Balanchine, Léonide Massine, Bronislava Njinska, Michael Chekhov and Serge Lifar. He also made numerous portraits of such cultural figures as Maurice Ravel and Jean Cocteau, among others. In the 1930s Annenkov became involved in film productions. He first collaborated with such film directors as F.W. Murnau and Viktor Tourjansky. Georges Annenkov is best known for his costumes for Madame de... (1953), for which he earned an Academy Award-nomination for Best Costume Design, shared with Rosine Delamare. Annenkov's costumes and set designers had won him much critical acclaim, especially his costumes for Gérard Philipe in Amants de Montparnasse (Montparnasse 19), Les (1958) and Chartreuse de Parme, La (1948), among other films. Among his works for television was his lavish design for 'The Cherry Orchard', a 1959 WD production of the eponymous play by Anton Chekhov. From 1945 - 1955 Annenkov was president of the French Syndicate of Cinema Technicians. Annenkov's witty and bitter-sweet memoirs were published in Russian and French and had success among intellectuals in Europe. His book 'Journal of my meetings' (1966) was translated in several languages, albeit the book was banned in the Soviet Union, until the collapse of the USSR in 1991. Georges Annenkov died of natural causes, aged 83, on July 12, 1974, in Paris, France, and was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois, in Paris, France. Georges (Yuri) Annenkov was married to Russian ballerina Elena (Helen) Annenkov (nee Galperi), who was also his Muse and inspirational model for numerous drawings, oil portraits, and design ideas for cinema. Annenkov's works are now in permanent collections of the State Russian Museum in St. Petersburg, the Tretyakov Gallery in Moscow, and in private collections and galleries across the world.   « Less

Hommage a Modigliani [Nude] Oil/canvas, signed low left c 1930 61x91 cm BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated Russian-French artist,  More »

Hommage a Modigliani [Nude] Oil/canvas, signed low left c 1930 61x91 cm BIOGRAPHY OF THE ARTIST Georges Annenkov was an Academy Award-nominated Russian-French artist, active in Russia, France, Germany, and Italy, also known as Yuri Annenkov in the 'Silver Age' of Russian art. He was born Yuri Pavlovich Annenkov on July 18, 1889, in Petropavlovsk-Kamchatsky, Kamchatka province, Russian Empire (now Petropavlovsk-Kamchatsky, Russia), where his father, Pavel Annenkov, was serving his sentence in Siberian exile for his anti-Tsar activities. The Annenkovs belonged to Russian cultural elite, and were in the opposition to the Tsar's rule. Annenkov's grand uncle, also named Pavel Annenkov, was among the leading intellectuals of his time, he was the publisher of Alexander Pushkin. In 1892, Annenkov's father was forgiven by the Tsar, and young Annenkov with his parents returned to their ancestral home in St. Petersburg. There he attended the private gymnasium of Stolbtsov, then studied at the Law School of St. Petersburg University, but did not graduate. In 1909, Annenkov applied to the Imperial Academy of Fine Arts, but was not accepted, because his anti-Tsar caricatures were published in Russian liberal magazines. In the 1900s, Annenkov met the famous Russian artist Ilya Repin, who was a neighbor of the Annenkovs in the St. Petersburg suburb of Kuokkala. Repin's art made a strong impression on young Annenkov, albeit he became interested in a more experimental and avant-garde movements. In 1909-1911, in St. Petersburg, he studied at the Stieglitz School of Art, and attended the drawing class of Saveli Seidenberg, where his classmate was Marc Chagall. In 1911 - 1913 Annenkov lived in Paris and studied painting with Symbolist artists Maurice Denis and Felix Vallotton. In the summer of 1912 he lived on the Atlantic coast of France, in Bretagne, there he made a series of drawings of fish and plants for the Department of Zoology at Sorbonne University. In 1913, Annenkov participated with his two paintings in the show at 'Salon des Independents', then he traveled and worked in France and Switzerland. Over the course of his artistic development, Annenkov absorbed a range of influences, from Russian Folk-style Lubok and Cubism of Pablo Picasso to Nabism, Expressionism, Futurism, Dada, and other Avant-garde movements, and created his own style called New Synthetism. Annenkov In 1914, when the First World War broke, he was back in St. Petersburg, Russia. There Annenkov worked for art magazines, and took part in several art shows. He made stage design for several stage productions at the Theatre of Komissarzkhevskoy, and also worked with the director Nikolai Yevreinov and his Theatre Krivoe Zerkalo (aka.. The Curved Mirror) in St. Petersburg. By 1917 Annenkov joined the Mir Iskusstva group of artists, where he met such leaders of Russian art as Alexandre Benois, Mstislav Dobuzhinsky, and Yevgeni Lansere among others. During 1910s - 1920s, Annenkov was active as a book illustrator for such writers and poets as Alexander Blok, Maxim Gorky, Mikhail Kuzmin, and Yevgeni Zamyatin among others. In 1918 Annenkov created his well known illustrations for "The Twelve" by Aleksandr Blok. After the Communist Revolution of 1917, Annenkov followed his democratic and liberal instincts and became associated with non-Bolshevik leaders, such as Leon Trotsky, Maxim Gorky, and Anatoli Lunacharsky. In 1918 - 1921, Annenkov made several large-scale, experimental and most avant-garde street decorations for mass shows and outdoor performances in St. Petersburg, Russia. On May 1, 1920, he staged an outdoor mystery show titled 'Liberated Labour Anthem' for the May Day Parade. That show started a tradition of grand-scale Soviet parades and street shows, for which Annenkov made the original designs, working with the group of such artists as Dobuzhinsky, Maslovsky, Kugel, and Shchuko. In the fall of 1920, Annenkov designed and directed a massive show 'Revolutionary Takeower of the Winter Palace' at the Palace Square in St. Petersburg. At that time, Annenkov invested his experimental ideas in such innovative stage productions as 'Gaz' by G.Keiser (1920) and 'The Mutiny of the Machines' by A. Tolstoy (1924) at Bolshoi Drama Theatre (BDT) in St. Petersburg. Annenkov's design for 'The Mutiny of the Machines' was involving several consecutive stage sets with large-scale moving mechanisms symbolizing the domination of industrial technology over human life. Annenkov was among organizers of 'Segodnya' publishing house in St. Petersburg. In 1922, he published a book of his original portraits of eighty leading cultural and political figures of Russia of that time, such as Anna Akhmatova, Fedor Sologub, Yevgeni Zamyatin, Maxim Gorky, Boris Pasternak, and Leon Trotsky, V.I. Lenin, and Aleksandr Kerensky among many others. Annenkov's portraits show his mastery of blending several styles for better representation of complex, multi-faceted personalities of his famous sitters. In 1923 Annenkov collaborated with Kornei Chukovsky on the popular children books series, of which "Moidodyr" with illustrations by Yuri Annenkov had over 30 re-printings, and became one of the best known Russian books for children. In the summer of 1924, Annenkov emigrated from the Soviet Union together with his wife, actress and ballerina Elena (Helen) Galperi. He took part in the 1924 Venice art show, then worked in Berlin, Germany, and exhibited his art in several shows across Europe. Eventually he settled in Paris, France. He also made set designs for about 60 stage productions of operas, ballets, and dramas, in collaboration with such directors as George Balanchine, Léonide Massine, Bronislava Njinska, Michael Chekhov and Serge Lifar. He also made numerous portraits of such cultural figures as Maurice Ravel and Jean Cocteau, among others. In the 1930s Annenkov became involved in film productions. He first collaborated with such film directors as F.W. Murnau and Viktor Tourjansky. Georges Annenkov is best known for his costumes for Madame de... (1953), for which he earned an Academy Award-nomination for Best Costume Design, shared with Rosine Delamare. Annenkov's costumes and set designers had won him much critical acclaim, especially his costumes for Gérard Philipe in Amants de Montparnasse (Montparnasse 19), Les (1958) and Chartreuse de Parme, La (1948), among other films. Among his works for television was his lavish design for 'The Cherry Orchard', a 1959 WD production of the eponymous play by Anton Chekhov. From 1945 - 1955 Annenkov was president of the French Syndicate of Cinema Technicians. Annenkov's witty and bitter-sweet memoirs were published in Russian and French and had success among intellectuals in Europe. His book 'Journal of my meetings' (1966) was translated in several languages, albeit the book was banned in the Soviet Union, until the collapse of the USSR in 1991. Georges Annenkov died of natural causes, aged 83, on July 12, 1974, in Paris, France, and was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois, in Paris, France. Georges (Yuri) Annenkov was married to Russian ballerina Elena (Helen) Annenkov (nee Galperi), who was also his Muse and inspirational model for numerous drawings, oil portraits, and design ideas for cinema. Annenkov's works are now in permanent collections of the State Russian Museum in St. Petersburg, the Tretyakov Gallery in Moscow, and in private collections and galleries across the world.   « Less