– Живопись, графика (собрание маршала А.А. Гречко, старые мастера XVIII в., масштабные портреты А.С. Пушкина и М.Ф. Казакова - В.Н. Яковлев, «Танго» Б. Мессерера – театрального художника и мужа Бэллы Ахмадулиной, фантазийный ориентализм XIX в., С.А. Лучишкин, М.Ю. Кугач, Х. Зацка, А. Заполянский (Яков Йом Тов), Л.С. Курзенков)
– Иконы и церковная утварь («Богоматерь Иверская», «Святой Патриарх Никифор», «Господь Вседержитель» в серебряных окладах с эмалью, «Господь Вседержитель» в серебряном окладе (А. Щекин, 1856), «Богоматерь Боголюбская», «Богоматерь Казанская» в серебряном окладе (Первая Московская артель), серебряные лампады)
– Серебро (молочник Фаберже, сухарница-обманка в русском стиле в виде плетеной корзинки (Постников), столовые приборы и предметы для сервировки – Хлебников, Овчинников, Фаберже, Братья Грачевы, эмаль – Клингерт, ваза в стиле модерн - 13я Московская артель)
– Русский дореволюционный и европейский фарфор (пасхальные яйца, ИФЗ, Гарднер, Попов, Корниловы, Кузнецов; Мейсенская фарфоровая мануфактура, KPM)
– Агитационный и авторский, советский фарфор (Чайная пара «Цветы в корзине» по рис. С. Чехонина - ГФЗ, 1920 г., чашка с аллегорической сценой "борьбы за новый мир" (ГФЗ, 1923 г.), агитационная ваза «ХХ лет СССР» (Коньков), тарелка в честь III Конгресса Коминтерна (Татевосян, Керфак ВХУТЕМАС, 1921), Блюдо с портретом И.В. Сталина (худ. Прохоров, Дулево, 1951 г.), Малышева (в т.ч. редкий авторский вариант «Девочки с курами»), Бржезицкая, Сотников, Чечулина, Тодорская, Холодная, Кожин, Ясенцов, Пустыгин, Хренов, Воробьевский; предметы из коллекции музея Дулевского фарфорового завода).
– Стекло (графины и другие изделия частных заводов Российской империи XIX-начала ХХ в.; бокал из сервиза парохода «Онега» (ИСЗ), русские бутыли и флаконы XIX в.)
– Ювелирные украшения (золотые изделия с драгоценными камнями времен Российской империи и СССР)
– Подборка деревянных резных изделий в русском стиле, украшенных росписью, басмой или инкрустацией (начало ХХ века).
– Бронза, чугун, литье и прочее (литье Российской империи: Касли, русская бронза и пр., масштабная скульптура "На водопое" (Otto Petrenz, Германия, начало ХХ века), изделия из кости – Чукотка, холмогорская резьба)
Комиссия аукциона 15%
Предпросмотр осуществляется по адресу: г. Москва, улица Садовая-Черногрязская, дом 5/9, м. Красные ворота, м. Курская(кольцевая), вторник-пятница 11.00-19.00.
Доставка лотов СДЭКом, Почтой России (со страховкой). Самовывоз или доставка курьером по Москве.
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LOT 279:
Agitation plate in honor of III Comintern Congress. Author: Hovhannes Tatevosyan (1889-1974), the ceramics faculty ...
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Sold for: 257,000p
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Agitation plate in honor of III Comintern Congress. Author: Hovhannes Tatevosyan (1889-1974), the ceramics faculty of VKHUTEMAS, 1921
Porcelain, polychromic overglaze painting, gilt
Author: Hovhannes Tatevosyan
Height: 25.5 cm
Trademark: a red overglaze mark «ВХУТЕМАС КЕРФАК» around the human figure with a sculpture.
Condition: in a good state of preservation. Insignificant scuff marks.
Russian Soviet Federative Socialist Republic, the ceramics faculty of VKHUTEMAS, 1921
This porcelain plate themed with the agitation was made for III Comintern Congress (from 22 June to 12 July 1921).
In 1921 the faculty of higher art and technical workshops was given the order to do the painting on the porcelain that the III Comintern Congress members were to be presented with. Hovhannes Tatevosyan was the leader of the student creative brigade what was painting. The works were held in Dulyovo porcelain works.
3 out of 51 designs from the competition were awarded, and 12 designs were chosen to work with. In 40 days the students painted 1750 items, each marked with the faculty’s trademark. Some of the works from that line were awarded by the All-Russian Industrial Union of Artists.
One of the most famous and masterfully-made items from that line is a plate in red, black, and green tones painted by Hovhannes Tatevosyan. The imagery represents the liberation of the East. The plate is completed with the inscription "Workers of the world, unite!" in the Arabic language. This plate is a classic example of the soviet agitational porcelain.
A man in the eastern clothes holds an orange scroll with the inscription "Workers of the world, unite!". The scroll goes high to the sky, being an allegory for the sunrise, for the beginning of the new era of proletarians and workers. The imagery is complemented with the piece of wheat, and hammer and sickle, the symbols of the peasants’ and workers’ union.
On the dark-blue background on the side of a plate it’s inscribed in Arab language: “A remembrance from the III Comintern Congress”, and 6 curled cartouches. On the upper cartouche a 1338th year (according to the Muslim calendar), the others represent a fabric; a man in a fez who swings a hammer; a woman from the Middle East who puts off her chadra; a group of sitting men; a smith and a farmer shaking hands.
Tatevosyan Hovhannes Karapetovich (1889–1974) – a painter, an illustrator, an Applied Arts draftsman, a teacher. He studied at Tiflis Art College (1908–1909) and continued his education in Moscow School of Painting, Sculpture, and Architecture (MUZHVZ, 1910-1914) with such teachers as A. M. Vasnetsov, N. A. Kasatkin, and K. A. Korovin. In 1914 as a result of practical training his line of works called “Trebizond” was finished, marking the birth of a unique artist. After his graduation instead of his prescribed trip abroad canceled due to the war Ter-Tatevosyan went to Samarkand (1915) and started an art school "Samarkand commune" (1918-1919) and the Commission for the Protection of Antiquities (1919-1920). He was engaged in painting and graphics. Until 1920, he signed his paintings as Ter-Tatevosyan.
In 1921, Tatevosyan entered VHUTEMAS at the Faculty of Ceramics. He was making agitational panels and completed a task for painting souvenirs for participants of the III Congress of the Comintern (he painted a cup with a saucer and a dish "Awakening East"). The set was replicated three times. In subsequent years, Tatevosyan did not return to porcelain painting.
In 1927 he returned to Samarkand and organized the studio ARIZO (Association of Fine Art Workers), and in 1930 - Isofabrika (experimental-industrial workshops of dimensional arts). In 1932, Tatevosyan moved to Tashkent and worked as a curator of the funds of the Museum of Art. In 1937 Tatevosyan was the chief artist of the pavilion of Uzbekistan at the All-Russian Exhibition Center in Moscow.
He worked as a painter; he painted portraits, landscapes, thematic paintings.
