Ivan Konstantinovich Aivazovsky (Russian 29 July 1817 – 2 May 1900) was a Russian painter of late Romanticism who is considered one of the greatest masters of marine art. Baptized as Hovhannes Aivazian, he was born into an Armenian family in the Black Sea port of Feodosia in Crimea and was mostly based there.
Following his education at the Imperial Academy of Arts in Saint Petersburg, Aivazovsky traveled to Europe and lived briefly in Italy in the early 1840s. He then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and often attended military maneuvers. He was sponsored by the state and was well-regarded during his lifetime. The saying "worthy of Aivazovsky's brush", popularized by Anton Chekhov, was used in Russia for describing something lovely. He remains highly popular in Russia in the 21st century.[3]
One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russian Empire. He held numerous solo exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time.[4][5] The vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums as well as private collections.
RUSSIAN MARINE PAINTING SIGNED AIVAZOVSKY Attributed to Ivan Konstantinovich Aivazovsky (Russian 1817-1900) Ships in Harbor -1896 Oil on canvas laid down Signed lower left in Cyrillic Aivazovsky and dated 1896 10.75 x 9.25 inches (27 x 23.5cm). Overall, including gilt frame,16.25 x 15 inches (41 x 38cm)
AIVAZOVSKY ATTRIBUTED SEASCAPE OIL PAINTING Attributed to Ivan Konstantinovich Aivazovsky (Russian 1817-1900) Sailing ship at Sunset Oil on canvas laid down Initialed lower right ‘A' verso of frame inscribed in Russian I.K Aivazovsky 4.5 x 8.1 inches (11.5 x 20.5cm). Contained in a vintage gilt frame 11.5 x 15 inches (29.2 x 38cm) Provenance: The lifetime estate collection of the late Dr. Boris Frid (1930-2017) and Dr. Germaine Frid (1932-2025) Palm Springs, California. See introduction to catalog.
Russian painting Attributed to: Ivan Aivazovsky (1817-1900), Coastal Marine Scene with Sailing Ship, oil on canvas, Dimensions: 33 x 45 in. with frame; 24 x 36 in. without frame. Provenance: Private collection. Additional Information: Signed "Aivazovsky" lower right
Attributed to: Ivan Aivazovsky, Russian (1817-1900) oil on canvas "Sailing The Seas". Signed lower right. Some minor wear on frame, otherwise in good condition. Frame measures 33" x 45" Work measures 24" x 36" 16A
Attributed to: Ivan Aivazovsky, Russian (1817-1900) oil on canvas "Sailing The Seas". Signed lower right. Some minor wear on frame, otherwise in good condition. Frame measures 33" x 45" Work measures 24" x 36"
Attributed to: Ivan Aivazovsky, Russian (1817-1900) Oil/Canvas "The Ninth Wave". No apparent signature. Wear on frame and craquelure present, otherwise in good condition. Frame measures 28 1/2" x 36 1/2" Work measures 23 1/2" x 31 1/2" 15A
Attributed to: Ivan Aivazovsky, Russian (1817-1900) oil on canvas "Sailing The Seas". Signed lower right. Some minor wear on frame, otherwise in good condition. Frame measures 33" x 45" Work measures 24" x 36" 16A
This monumental marine painting, attributed to the greatest Russian seascape master Ivan Konstantinovich Aivazovsky, belongs to the mature period of his artistic career, when the image of the sea acquired philosophical depth and symbolic intensity. The element is depicted in a state of heightened tension: heavy clouds gather above the horizon, and waves, shimmering in cold silvery and steel tones, crash forcefully against the coastal rocks.The compositional centre is occupied by the tall lighthouse, whose strict verticality stands in contrast to the dynamic mass of water. The lighthouse functions not only as a navigational landmark, but also as a metaphor for stability, reason, and spiritual resilience. Light breaking through the clouds illuminates the crests of the waves, creating a dramatic contrast between darkness and radiance. The beam of light becomes the semantic core of the painting, expressing the idea of salvation and hope.The spatial structure is built through the diagonal movement of the waves, directing the viewer’s gaze toward the illuminated tower. The foreground retains a denser tonal structure, while the distant light accent enhances the sensation of depth and atmospheric perspective. The sky actively participates in shaping the emotional atmosphere, intensifying the tension and the sense of an approaching storm.The water is rendered in multilayered glazes characteristic of Aivazovsky’s late manner. Transparent paint layers create the effect of inner luminosity and plastic movement. Light appears to emerge from the very substance of the sea. The artist achieves harmony between material reality and metaphysical meaning, a quality that distinguishes his works of the 1880-1890s.In this painting, the master’s philosophy is clearly expressed: the sea appears as a spiritualised force of nature, while the lighthouse becomes an image of human steadfastness amidst worldly chaos. The painting is presented in a richly decorated gilded frame, corresponding to the scale and representative character of the work.Dimensions: 136.5 × 212 cm sight size; 184 × 261 cm framedMedium: Oil on canvasCondition: The condition of the work is assessed as good and structurally stable.Provenance: Kunstsalon bei Mozarts Geburtshaus, Salzburg; letter of attestation dated 28 June 1970, authored by Dr. Franz Menzel and addressed to Mr. Hellmut Kaelin. Old paper labels and the inscription Middelfart appear on the reverse, likely referring to an early European collection of the painting.Expert Certificate: Dr. Franz Menzel 1903-1983, Doctor of the University of Vienna, art historian and consultant to museums in Salzburg, Vienna, and Munich, was a recognised specialist in 18th-19th century painting. His certificates, Gutachten, issued for Kunstsalon bei Mozarts Geburtshaus, were distinguished by academic precision, detailed documentation of provenance, and profound knowledge of European artistic schools. Width: 261cm, Height: 184cm, Depth: 20cm, Weight: 100kg, Condition: Exc., Usual restorations, Material: Canvas, oil, ID: ID-ANTQ-16046
1887 Oil on canvas Signed and dated 1887 lower right Dimensions:60.5 x 46.5 cm Provenance:Private collection of Joseph Katzenberg, acquired from Paul Yakov. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please email: info@hammersite.com
After Ivan Konstantinovich Aivazovsky Paysage marin porte la signature 'Aivazovsky' et la date '1891' (en bas à droite) ; porte également une signature (au verso) huile sur toile 43 x 56.8cm (16 15/16 x 22 3/8in). bears signature 'Aivazovsky' and date '1891'(lower right); further bears signature (verso)
Ivan Konstantinovich Aivazovsky (Feodosia 1817-1900) Vue de Capri signé en latin et daté '1899' (en bas à gauche); signé au verso 'Aivazovsky' huile sur toile signed in Latin and dated '1899' (lower left); further signed 'Aivazovsky' (verso) oil on canvas 65 x 97.8cm (25 9/16 x 38 1/2in).
IVAN KONSTANTINOVICH AIVAZOVSKY (AFTER) 1817 Feodossia - 1900 ibid. 'VIEW OF THE SUDAK BAY' (COPY) V.D. Zhiryakov (1938-2012), dated 1989 Oil on canvas laid down on board. 26 x 32 cm (F. 34,5 x 40 cm). Verso: inscr. and titled in Cyrillic, dated. IWAN KONSTANTINOWITSCH AIWASOWSKI (NACH) 1817 Feodossija - 1900 ebenda 'ANSICHT DER SUDAK-BUCHT' (KOPIE) W. D. Schirjakow (1938-2012), datiert 1989 Öl auf Leinwand maroufliert auf Platte. 26 x 32 cm (R. 34,5 x 40 cm). Verso: auf Kyrillisch bez., betitelt sowie datiert.
IVAN KONSTANTINOVICH AIVAZOVSKY (WORKSHOP/SCHOOL) 1817 Feodosia - 1900 ibid. STORM AT THE BLACK SEA Oil on canvas (relined). 71 x 100cm (F. 94 x 122 cm). Inscr. lower right 'Aivasovsky 1895'. Stylistically, the painting follows the tradition of art of Aivazovsky's circle. The famous marine painter and his followers devoted themselves in particular to the elemental force of nature at sea, the interplay of light and atmosphere, and the dramatic movement of water and clouds. Here, too, the horizon is positioned almost in the center, so that sea and sky share equally in the depiction of the threatening storm. High, foaming waves crash against the jagged rocks on the right side of the painting, while behind them, murky, shimmering clouds pile up. The deep blue of the sea and sky intensifies toward the horizon line, where a steamer appears indistinctly. This reduced human presence, along with the barely perceptible seagulls above the rocks, powerfully underscores the overwhelming force of nature. Part. rest. IWAN KONSTANTINOWITSCH AIWASOWSKI (WERKSTATT/SCHULE) 1817 Feodossija - 1900 ebenda UNWETTER AM SCHWARZEN MEER Öl auf Leinwand (doubl.). 71 x 100 cm (R. 94 x 122 cm). Unten rechts bez. 'Aivasovsky 1895'. Das Gemälde steht stilistisch in der Tradition der Kunst aus Aiwasowskys Umkreis. Der berühmte Marinemaler und seine Nachfolger widmeten sich insbesondere der elementaren Naturgewalt des Meeres, dem Spiel von Licht und Atmosphäre sowie der dramatischen Bewegung von Wasser und Wolken. Auch hier ist der Horizont liegt nahezu mittig, sodass Meer und Himmel gleichermaßen Anteil an der Darstellung des bedrohlichen Unwetters haben. Hohe, schäumende Wellen branden gegen die scharfkantigen Felsen der rechten Bildhälfte, während sich dahinter dämmerige, vibrierende Wolken auftürmen. Das tiefe Blau von Meer und Himmel verdichtet sich zur Horizontlinie hin, wo schemenhaft ein Dampfer erscheint. Diese reduzierte menschliche Präsenz sowie die kaum wahrnehmbaren Möwen über den Felsen unterstreichen eindrucksvoll die überwältigende Macht der Natur. Part. rest.
Attributed to: Ivan Aivazovsky, Russian (1817-1900) oil on canvas "Sailing The Seas". Signed lower right. Some minor wear on frame, otherwise in good condition. Frame measures 33" x 45" Work measures 24" x 36" 16A
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Ship on the high seas. 1888. Pencil, gouache and wash on paper. Signed and dated lower right: Aïvasovsky 1888. 20 × 30 cm. Certificate: Gianni Caffiero, 3 February 2026. Provenance: - Auction Bonhams, London, 28 November 2018, lot 19. - European private collection. ------------------------------------------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Schiff auf hoher See. 1888. Bleistift, Gouache und Tusche auf Papier. Unten rechts signiert und datiert: Aïvasovsky 1888. 20 × 30 cm. Gutachten: Gianni Caffiero, 3.2.2026. Provenienz: - Auktion Bonhams, London, 28.11.2018, Los 19. - Europäische Privatsammlung.
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Sailing Ships off a Coast. Circa 1880. Oil on canvas. Lower right with remains of a later signature. 28 × 37 cm. Certificate: Ivan Samarine and Gianni Caffiero, October 2025. Provenance: European private collection. This striking composition by Aivazovsky, in which the master of marine painting depicts a fleet formation of sailing ships aligned one behind the other as a salute is fired, is exceedingly rare within the artist’s overall oeuvre and accordingly represents an absolute rarity on the art market. The painting was most likely executed in the 1880s, a period during which Aivazovsky produced works of particularly high quality – a fact clearly evident in the refined painterly execution of the vessels and the exceptionally precise rendering of the rigging. Equally masterful is Aivazovsky’s use of the vanishing point to stage the convoy of ships with great monumentality and to emphasise the sheer scale of the fleet depicted, underscoring the artist’s consummate command of composition and perspective. The present work revisits the composition of a painting from 1839, now held in the Samara Art Museum. The painting also illustrates a central aspect of Aivazovsky’s artistic identity, closely bound up with the Imperial Russian Navy. In recognition of his outstanding contributions to marine painting, Tsar Nicholas I (1796–1855) appointed him official painter to the Imperial Navy – a position that also entitled him to wear the uniform of the Tsarist naval forces. ------------------------------------------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Segelschiffe vor einer Küste. Um 1880. Öl auf Leinwand. Unten rechts mit Resten einer späteren Signatur. 28 × 37 cm. Gutachten: Ivan Samarine und Gianni Caffiero, Oktober 2025. Provenienz: Europäische Privatsammlung. Die vorliegende eindrückliche Komposition Aivazovskys, in der uns dieser Meister der Marinemalerei eine Flottenformation mit hintereinander aufgereihten Segelschiffen beim Salutschuss zeigt, findet sich nur sehr selten im Gesamtwerk Aivazovskys und stellt dementsprechend eine absolute Rarität auf dem Kunstmarkt dar. Das Gemälde entstand wohl in den 1880er-Jahren, einer Zeit, in der Aivazovsky besonders qualitätsvolle Gemälde schuf, was in der feinen malerischen Ausführung der Schiffe mit der äusserst präzise gemalten Takelage gut ersichtlich ist. Auch die Weise, auf die Aivazovsky den Fluchtpunkt einsetzt, um den Schiffskonvoi imposant in Szene zu setzten und die Grösse der dargestellten Flotte zu betonen, zeigt die Meisterschaft des Künstlers im Umgang mit Bildaufbau und Perspektive. Unser Werk greift dabei die Komposition eines Gemäldes von 1839 auf, das sich heute im Kunstmuseum in Samara befindet. Das Bild veranschaulicht zudem einen zentralen Aspekt der Künstlerpersönlichkeit Aivazovsky, der mit der Kaiserlich Russischen Marine eng verbunden war. So wurde er aufgrund seiner grossen Verdienste in der Marinemalerei von Zar Nikolaus I. (1796–1855) zum offiziellen Maler der kaiserlichen Marine ernannt, was ihm auch das Recht einräumte, die Uniform der zaristischen Kriegsmarine zu tragen. For the English translation see online: www.kollerauktionen.ch.
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Shipwreck on a rocky coast. 1872. Oil on canvas. Signed and dated lower right: I. Aïvasovsky. 1872. 46.5 × 72 cm. Certificate: Gianni Caffiero, 3 February 2026. Provenance: - Private collection, Hartford, Connecticut, USA. - Auction Bonhams, London, 28 November 2018, lot 13 (verso with label). - European private collection. Exhibited: Probably Philadelphia 1876, International Exhibition of 1876, as "Storm in Black Sea, near the Crimean coast". Literature: Probably John R. Nagle and Company: International Exhibition. 1876. Official Catalogue. Part II, Cambridge, Massachusetts 1876, p. 134, no. 1. As a leading representative of European Romanticism, Ivan Aivazovsky devoted himself in particular to dramatic seascapes featuring storms and shipwrecks, in which the elemental power of the sea is strikingly set against the fragility of human existence. The powerful painting offered here clearly demonstrates Aivazovsky’s mastery of this subject matter, unequalled as he was in his ability to capture on canvas the raging sea and dramatic effects of light. Especially during the 1870s, Aivazovsky repeatedly turned to the motif of the shipwreck, producing a series of variations on this theme. The present painting, dated 1872, represents a particularly fine example within this group of works in Aivazovsky’s oeuvre. All the characteristic elements of a shipwreck painting by Aivazovsky are present: a lifeboat is tossed by storm-driven waves crashing against a rocky cliff. In it is the crew of the sailing ship, which has been shattered on the rocks, and can only be recognised dimly in the shadow of the menacing cliffs in the background. Above all, the dynamism of the composition and the handling of light – accentuated by the virtuoso gradation between light and dark blue tones in the water – elevate this painting to a first-rate masterpiece by Aivazovsky. His shipwreck scenes not only captivated his contemporaries but continue to rank among his most celebrated works today. The work was probably exhibited in 1876 at the International Exhibition in Philadelphia under the title ‘Storm in Black Sea, near the Crimean coast’, from where it came into the possession of American tobacco manufacturers before ultimately finding its way back to Europe in more recent years. ------------------------------------------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Schiffbruch an der Felsküste. 1872. Öl auf Leinwand. Unten rechts signiert und datiert: I. Aïvasovsky. 1872. 46,5 × 72 cm. Gutachten: Gianni Caffiero, 3.2.2026. Provenienz: - Amerikanische Privatsammlung, Hartford, Connecticut. - Auktion Bonhams, London, 28.11.2018, Los 13 (verso mit Etikett). - Europäische Privatsammlung. Ausstellung: Wohl Philadelphia 1876, Internatonal Exhibition of 1876, als "Storm in Black Sea, near the Crimean coast". Literatur: Wohl John R. Nagle and Company: International Exhibition. 1876. Official Catalogue. Part II, Cambridge, Massachusetts 1876, S. 134, Nr. 1. Als führender Vertreter der europäischen Romantik verschrieb sich Ivan Aivazovsky besonders dem Malen von dramatischen Meeresdarstellungen mit Stürmen und Schiffbrüchen, bei denen die Naturgewalt der See der Zerbrechlichkeit des menschlichen Daseins eindrücklich gegenübergestellt wird. Das hier angebotene wirkmächtige Gemälde verdeutlicht, dass Aivazovsky ein Meister dieser Darstellungen war und das aufbrausende Meer und die spannungsgeladenen Lichtverhältnisse wie kein anderer auf die Leinwand bringen konnte. Aivazovsky widmete sich insbesondere in den 1870er-Jahren dem Motiv des Schiffbruchs und malte eine Reihe an Variationen zu diesem Thema, wobei unser Gemälde, das auf 1872 datiert ist, ein besonders schönes Beispiel dieser Werkgruppe im Oeuvre Aivazovskys darstellt. So lassen sich im vorliegenden Werk alle typischen Elemente wiederfinden, die ein Schiffbruch-Gemälde von Aivazovsky ausmachen: In den Wellen, die vom Sturm aufgewühlt an eine felsige Steilküste peitschen, treibt ein Rettungsboot. In ihm befindet sich die Besatzung des Segelschiffes, das im Sturm an den Felsen zerschellt ist und nur noch schemenhaft im Schatten der bedrohlichen Steilküste im Hintergrund zu erkennen ist. Besonders die Dynamik der Komposition und die Lichtführung, betont durch den virtuos ausgeführten Farbverlauf zwischen hellen und dunklen Blautönen im Wasser, machen dieses Gemälde zu einem erstklassigen Meisterwerk Aivazovskys, dessen Bilder mit Schiffbrüchen nicht nur seine Zeitgenossen faszinierten, sondern auch heute noch zu seinen bekanntesten Werken zählen. Das Werk war wohl 1876 mit dem Titel "Storm in Black Sea, near the Crimean coast" auf der International Exhibition in Philadelphia ausgestellt, von wo aus es in den Besitz von amerikanischen Tabakfabrikanten gelangte, ehe es in der jüngeren Vergangenheit schliesslich seinen Weg zurück nach Europa fand. IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosia 1900) Shipwreck off a Rocky Coast. 1872. Oil on canvas. Signed and dated lower right: I. Aïvasovsky. 1872. 46.5 × 72 cm. Provenance: – Private collection, Hartford, Connecticut. – Auction Bonhams London, 28 November 2018, lot 13 (verso with label). – European private collection. Exhibited: Probably Philadelphia 1876, International Exhibition of 1876, exhibited as ‘Storm in Black Sea, near the Crimean coast’. Literature: Probably John R. Nagle and Company, International Exhibition. 1876. Official Catalogue. Part II, Cambridge, Massachusetts 1876, p. 134, no. 1. As a leading representative of European Romanticism, Ivan Aivazovsky devoted himself in particular to dramatic seascapes featuring storms and shipwrecks, in which the elemental power of the sea is strikingly set against the fragility of human existence. The powerful painting offered here clearly demonstrates Aivazovsky’s mastery of this subject matter, unequalled as he was in his ability to capture on canvas the raging sea and dramatic effects of light. Especially during the 1870s, Aivazovsky repeatedly turned to the motif of the shipwreck, producing a series of variations on this theme. The present painting, dated 1872, represents a particularly fine example within this group of works in Aivazovsky’s oeuvre. All the characteristic elements of a shipwreck painting by Aivazovsky are present: a lifeboat is tossed by storm-driven waves crashing against a rocky cliff. In it is the crew of the sailing ship, which has been shattered on the rocks, and can only be recognised dimly in the shadow of the menacing cliffs in the background. Above all, the dynamism of the composition and the handling of light – accentuated by the virtuoso gradation between light and dark blue tones in the water – elevate this painting to a first-rate masterpiece by Aivazovsky. His shipwreck scenes not only captivated his contemporaries but continue to rank among his most celebrated works today. The work was probably exhibited in 1876 at the International Exhibition in Philadelphia under the title ‘Storm in Black Sea, near the Crimean coast’, from where it came into the possession of American tobacco manufacturers before ultimately finding its way back to Europe in more recent years.
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) The sea in the evening light. Oil on canvas laid on panel. Signed lower left in Cyrillic: Aivazovsky. 20 × 24 cm. Certificate: Gianni Caffiero, 25 November 2025. Provenance: European private collection. This painting is exhibited with a frame on loan. Interested buyers please contact the department responsible. ------------------------------------------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Abendstimmung am Meer. Öl auf Leinwand auf Holz. Unten links kyrillisch signiert: Aivazovsky. 20 × 24 cm. Gutachten: Gianni Caffiero, 25.11.2025. Provenienz: Europäischer Privatbesitz. Mit seinem wunderbar atmosphärischen Farbverlauf zwischen den zarten Blau- und Rottönen des diffusen Sonnenlichts im dunstigen Himmel sowie den Reflexionen im Wasser des Meeres ist dieses Gemälde sofort als ein Werk aus der Hand von Ivan Aivazovsky erkennbar. Das Meer in all seinen Zuständen, die Darstellung seiner Bewegung und das Spiel des Lichts auf dem Wasser sind die zentralen Motive in Aivazovskys Oeuvre. Aivazovsky, der im Laufe seines langen künstlerischen Schaffens auch Reisen in den Süden Italiens unternahm, könnte in diesem Gemälde seine Erinnerungen an das warme südliche Licht, welches er dort erlebte, eingefangen haben. Die Darstellung geografisch eindeutiger Details war für ihn jedoch zweitrangig, sodass die dargestellte Küstenlandschaft gleichwohl von seiner Heimat, der Krim, inspiriert worden sein könnte. Dieses Gemälde wird mit einem Leihrahmen ausgestellt. Bei Kaufinteresse bitte bei der zuständigen Abteilung melden.
Ivan Konstantinovich Aivazovsky (1817-1900) Seascape signed in Cyrillic and dated 'Aivazovsky 1888' (lower left); further signed and dated (verso) oil on canvas 34.2 x 27.5cm (13 7/16 x 10 13/16in).
Ivan Konstantinovich Aivazovsky, zugeschrieben 1817 Feodosija - 1900 ebenda Moonlit night Signature or inscription (restored) lower left. Oil on canvas. 30.5 x 39 cm. Relined. Restored. Minor damage. Das vorliegende Gemälde entspricht stilistisch den frühen Arbeiten des Künstlers aus den 1840er Jahren. Ein klassisches Kompositionsschema wird mit romantischer Naturinterpretation gepaart. Das Interesse Aivazovskys (alternative Schreibweise Ajvazovskij) an dramatischen Lichteffekten wird bereits sichtbar. Seine frühen Werke, insbesondere jene, die er 1840-1844 während seines Italienaufenthalts schuf, fanden bereits Beachtung bei anderen Künstlern, so auch William Turner. Aivazovsky sollte später zum Begründer und bedeutendsten Vertreter der realistischen Marinemalerei in Russland werden.
Attributed to: Ivan Aivazovsky, Russian (1817-1900) oil on canvas "Sailing The Seas". Signed lower right. Some minor wear on frame, otherwise in good condition. Frame measures 33" x 45" Work measures 24" x 36"
Signed LL Lower Left with initial A. Oil on paper, laid down on canvas, view of Crimea Coast by Ivan Konstantinovich Aivazovsky (1817-1900) measures 7.25" x 11.5" (18.5 x 28.5cm) framed 10.25" x 14.25" oil on canvas About the artist: In 1851, traveling with the Russian emperor Nicholas I, Aivazovsky sailed to Sevastopol to participate in military maneuvers. His archaeological excavations near Feodosia lead to his election as a full member of the Russian Geographical Society in 1853. In that year, the Crimean War erupted between Russia and the Ottoman Empire, and he was evacuated to Kharkiv. While safe, he returned to the besieged fortress of Sevastopol to paint battle scenes.[25] His work was exhibited in Sevastopol while it was under Ottoman siege.[25] Between 1856 and 1857, Aivazovsky worked in Paris and became the first Russian (and the first non-French) artist to receive the Legion of Honour. In 1857, Aivazovsky visited Constantinople and was awarded the Order of the Medjidie. In the same year, he was elected an honorary member of the Moscow Art Society. He was awarded the Greek Order of the Redeemer in 1859 and the Russian Order of St. Vladimir in 1865.Provenance: from the estate of Ruben Mamoulian, famous Broadway - Hollywood producer. Rouben Mamoulian was born on October 8, 1897 in Tiflis, Russian Empire as Rouben Zachary Mamoulian. He was a director and writer, known for movies like Cleopatra, Coin on the fountain, Ninochka, etc. He died on December 4, 1987 in Woodland Hills, Los Angeles, California, USA. Then passed to the current owner and personal friend of Mamoulian.
Attributed Ivan Aivazovsky, Russian (1817-1900) oil on canvas "The Rainbow". Signed lower right. Well framed and in good condition. Work measures 24" x 36" Frame measures 33 1/2" x 45 1/4"
Property from a Private Collection, Sweden Ivan Konstantinovich Aivazovsky 1817 - 1900 Rest by the Sea on a Moonlit Night signed in Cyrillic Aivazovskii and dated 1880 (lower right); signed in Cyrillic Aivazovskii and dated 1880. (on the reverse) oil on canvas 104 by 148 cm, 40⅞ by 58¼ in. Framed: 145 by 187.5 cm, 57⅛ by 73⅞ in. Executed in 1880. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private European Collection Ivan Konstantinovich Aivazovsky 1817 - 1900 The Survivors signed in Cyrillic Aivazovskii and dated 1878 (lower right); signed in Cyrillic Aivazovsky and dated 1878 (on the reverse) oil on canvas 195 by 266 cm, 76¾ by 104⅝ in. Framed: 238.5 by 309.5 cm, 94 by 121⅞ in. Executed in 1878. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private Collection, Italy Attributed to Ivan Konstantinovich Aivazovsky 1817 - 1900 View of Constantinople by Night bearing signature in Latin Aivazovs (lower right); signed Aïvazovsky, inscribed Paris and dated 1890 (on the reverse) oil on panel 23 by 35 cm, 9 by 13¾ in. framed: 32 by 44.5 cm, 12⅝ by 17½ in. Executed in 1890.
Property from a Private Collection, Italy Attributed to Ivan Konstantinovich Aivazovsky 1817 - 1900 Steamship on a Moonlit Night signed with initial A. (lower right); signed in Cyrillic Aivazovskii (on the reverse) oil on canvas 17 by 25 cm, 6⅝ by 9⅞ in. Framed: 25.5 by 33.5 cm, 10 by 13¼ in.
Property from a Private Collection, Italy Ivan Konstantinovich Aivazovsky 1817 - 1900 Punta della Dogana and Santa Maria della Salute, Venice signed in Cyrillic I. Aivazovskii and dated 1853. (lower right) oil on board 17.8 by 14 cm, 7 by 5½ in. Framed: 29.5 by 26.5 cm, 11½ by 10¼ in. Executed in 1853. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private Collection, Italy Ivan Konstantinovich Aivazovsky 1817 - 1900 Sailing Boat off the Coast of Capri signed in Cyrillic Aivazovskii and dated 1855. (lower right) oil on canvas laid on board 34.5 by 71 cm, 13¾ by 28 in. Framed: 50 by 86 cm, 19¾ by 33¾ in. Executed in 1855. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private Collection, Italy Ivan Konstantinovich Aivazovsky 1817 - 1900 Sinking Ship in Stormy Waters signed in Cyrillic Aivazovskii and dated 23 noyabrya 1867. (lower right) oil on board 27 by 35 cm, 10⅝ by 13¾ in. Framed: 46 by 54.5 cm, 18⅛ by 21½ in. Executed on 23 November 1867. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
Property from a Private Collection, Italy Ivan Konstantinovich Aivazovsky 1817 - 1900 Russian Steamship signed in Latin Aïvazovsky and dated 1875 (lower right) oil on canvas 18 by 23.5 cm, 7 by 9¼ in. Framed: 24½ by 30 cm, 9⅝ by 11¾ in. Executed in 1875. The present work is included in the numbered archive of the artist's work compiled by Gianni Caffiero and Ivan Samarine.
AIVAZOVSKY IVAN CONSTANTINOVICH (1817 - 1900) 19th Cent. Russian oil on canvas - signed Ivan C. Aivazovsky and dated 1843 AIVAZOVSKY IVAN CONSTANTINOVICH (1817 - 1900) olieverfschilderij op doek : "Marine tijdens de nacht" - 33 x 45 getekend en gedateerd 1843
Ecole de Ivan Konstantinovich Aivazovsky (Feodosia 1817-1900) Vue de Yalta porte une signature et une date en cyrillique '1887' (en bas à droite) huile sur toile bears a signature and date '1887' (lower right) oil on canvas 46 x 69cm (18 1/8 x 27 3/16in).
Ivan Konstantinovich Aivazovsky, Ukrainian/Russian (1817 - 1900) Painting Oil on Wood of a Russian Ship. Fully Signed in the Lower Right, Dated 1890. Framed. Condition: Generally Very Good. Dimensions: Sight H- 11" x W- 7.5 Frame H- 13.75 x W- 10". Provenance: From a New York City Home. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
Umkreis Ivan Konstantinovich Aivazovsky (armenisch/russisch, 1817 - 1900), o.T., Brandung mit Leuchtturm, 2. H. 19. Jh., Öl a. Lwd., unsig., verso alter Aufkleber am Rahmen: Middelfart. Mit alter Bestätigung des Kunstsalon bei Mozarts Geburtshaus, Salzburg, Autor: Menzel vom 28.06.1970 per Brief an Hellmut Kaelin. Lichtmaß: 136,5 x 212 cm, gerahmt: 153,5 x 230 cm. Guter, altersbedingter Zustand, partiell restauriert.
NÄCHTLICHE MONDSCHEINSZENE MIT BELEUCHTETEN SCHIFFEN Öl auf Leinwand. Doubliert. 24,5 x 32,5 cm. Links unten undeutlich in Rot signiert. In Louis XV-Stilrahmen. Zwischen sich von den Seiten ins Bildzentrum schiebenden Wolkenbänken bahnt sich der Schein des Vollmondes seinen Weg hin zu dem ruhigen Meeresspiegel, dessen Wellen in reizvoller Plastizität wiedergegeben sind. Links des Mondes, ein Zweimaster mit beleuchteter Kapitänskajüte, links davon ein schwimmendes Fass, rechts des Schiffes ein bemanntes Ruderboot sowie weitere Segelschiffe. (14409212) (13)
IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Heavy swell on the high seas. 1898. Oil on canvas. Signed and dated lower right in Cyrillic and again on the reverse: Aivazovsky 1898. 61 × 93.5 cm. Certificate: Gianni Caffiero, 5.8.2025. Provenance: - Private collection, London. - With Galerie Louis Bock & Sohn, Hamburg. - Collection of Prof. Dr Max Nonne (1861–1959), Hamburg. - European private collection. While at the beginning of his artistic career Ivan Aivazovsky's marine paintings predominantly depicted calm waters and a harmonious atmosphere, his later work contains increasingly dramatic compositions that display to impressive effect the natural power of the sea. The striking painting offered here at auction, which shows the roiling swell of a turbulent sea, was created two years before Aivazovsky's death in 1898. The work is an outstanding example from the artist's late phase, in which the vibrancy and use of light, emphasised by the superbly executed gradations of colour between the light and dark blue tones of the water, illustrate Aivazovsky's extraordinary virtuosity as a first-class marine painter. In 1847, at the age of just 30, Aivazovsky was appointed professor of marine painting at the renowned Russian Academy of Fine Arts in St. Petersburg. In the decades that followed, Aivazovsky became one of the most famous painters, not only in the Russian Empire, but also in all parts of Western Europe. International recognition led Aivazovsky to travel extensively to all the cultural centres of Europe, including Berlin, Vienna, Rome, Paris and London. Due to his great accomplishments in marine painting, he was appointed official painter of the Imperial Navy by Tsar Nicholas I (1796–1855), which also granted him the right to wear the uniform of the Tsarist navy. In the present work, Ivan Aivazovsky is particularly successful in capturing the rough seas in a dramatic yet realistic manner. The balanced composition and the reduced colour palette, which consists almost exclusively of various shades of blue, also lend the painting an extremely modern character. It is therefore not surprising that Aivazovsky's paintings not only enjoyed great popularity during the artist's lifetime but continue to do so today. ------------------------------------------------- IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Wellengang auf hoher See. 1898. Öl auf Leinwand. Unten rechts und verso kyrillisch signiert und datiert: Aivazovsky 1898. 61 × 93,5 cm. Gutachten: Gianni Caffiero, 5.8.2025. Provenienz: - Privatbesitz London. - Galerie Louis Bock & Sohn, Hamburg. - Sammlung Prof. Dr. Max Nonne (1861–1959), Hamburg. - Europäischer Privatbesitz. Während Ivan Aivazovsky zu Beginn seiner künstlerischen Schaffensphase vornehmlich Marinedarstellungen mit ruhigem Wasser und harmonischer Stimmung malte, finden sich in seinem Spätwerk zunehmend dramatischere Kompositionen, die die Naturgewalt des Meeres eindrücklich zur Schau stellen. So ist das hier angebotene wirkmächtige Gemälde, das ein aufgewühltes Meer bei starkem Seegang zeigt, 1898 zwei Jahre vor Aivazovskys Tod entstanden. Bei dem Werk handelt es sich um ein hervorragendes Beispiel aus der Spätphase des Künstlers, dessen Dynamik und Lichtführung, betont durch den hervorragend ausgeführten Farbverlauf zwischen hellen und dunklen Blautönen im Wasser, die ausserordentliche Virtuosität Aivazovskys als erstklassiger Marinemaler verdeutlicht. Bereits 1847 wurde der damals erst 30-jährige Aivazovsky zum Professor der Marinemalerei an die renommierte Russische Kunstakademie in St. Petersburg berufen. In den folgenden Jahrzehnten avancierte Aivazovsky zu einem der bekanntesten Maler, nicht nur im russischen Zarenreich, sondern auch in allen Teilen des westeuropäischen Kontinents. Die internationale Anerkennung führte Aivazovsky auf ausgedehnte Reisen in alle kulturellen Zentren Europas, wie unter anderem nach Berlin, Wien, Rom, Paris und London. Zudem wurde er aufgrund seiner grossen Verdienste in der Marinemalerei von Zar Nikolaus I. (1796–1855) zum offiziellen Maler der kaiserlichen Marine ernannt, was ihm auch das Recht einräumte, die Uniform der zaristischen Kriegsmarine zu tragen. In dem vorliegenden Werk gelingt es Ivan Aivazovsky besonders gut, die raue See auf eine dramatische und dennoch realistische Weise einzufangen. Durch die ausgewogene Komposition und die reduzierte Farbpalette, die fast ausschliesslich aus verschiedenen Blautönen besteht, wohnt dem Gemälde zudem ein äusserst moderner Charakter inne. So ist es nicht verwunderlich, dass sich Aivazovskys Gemälde nicht nur zu Lebzeiten des Künstlers, sondern auch heute noch grosser Beliebtheit erfreuen. IVAN KONSTANTINOVICH AIVAZOVSKY (1817 Feodosija 1900) Heavy swell on the high seas. 1898. Oil on canvas. Signed and dated lower right in Cyrillic and again on the reverse: Aivazovsky 1898. 61 × 93.5 cm. Certificate: Gianni Caffiero, 5.8.2025. Provenance: - Private collection, London. - Galerie Louis Bock & Sohn, Hamburg. - Collection of Prof. Dr Max Nonne (1861–1959), Hamburg. - European private collection. While at the beginning of his artistic career Ivan Aivazovsky's marine paintings predominantly depicted calm waters and a harmonious atmosphere, his later work contains increasingly dramatic compositions that display to impressive effect the natural power of the sea. The striking painting offered here at auction, which shows the roiling swell of a turbulent sea, was created two years before Aivazovsky's death in 1898. The work is an outstanding example from the artist's late phase, in which the vibrancy and use of light, emphasised by the superbly executed gradations of colour between the light and dark blue tones of the water, illustrate Aivazovsky's extraordinary virtuosity as a first-class marine painter. In 1847, at the age of just 30, Aivazovsky was appointed professor of marine painting at the renowned Russian Academy of Fine Arts in St. Petersburg. In the decades that followed, Aivazovsky became one of the most famous painters, not only in the Russian Empire, but also in all parts of Western Europe. International recognition led Aivazovsky to travel extensively to all the cultural centres of Europe, including Berlin, Vienna, Rome, Paris and London. Due to his great accomplishments in marine painting, he was appointed official painter of the Imperial Navy by Tsar Nicholas I (1796–1855), which also granted him the right to wear the uniform of the Tsarist navy. In the present work, Ivan Aivazovsky is particularly successful in capturing the rough seas in a dramatic yet realistic manner. The balanced composition and the reduced colour palette, which consists almost exclusively of various shades of blue, also lend the painting an extremely modern character. It is therefore not surprising that Aivazovsky's paintings not only enjoyed great popularity during the artist's lifetime but continue to do so today.
Ivan Konstantinovich Aivazovsky (1817-1900) Attributed. Unsigned Evening at sea (option, last photo) Oil on canvas, size 40,5 x 50,5 cm (16 x 20 inches) Frame dimensions 66 x 76 cm (26 x 30 inches)
Attributed to: Ivan Konstantinovich Aivazovsky, Russian (1917 - 1900) Oil on Canvas "Venice at Dusk". Signed lower right. Well framed and in very good condition. Measures 24" x 36", frame measures 30-1/2" x 42". Keywords: Ivan Aivazovsky, Russian marine painter, Venice painting, sunset seascape, Romanticism, maritime art, 19th-century Russian art, Venetian cityscape, dusk harbor scene, attributed Aivazovsky. 17A
Russian painting Attributed to: Ivan Aivazovsky (Russian 1817 - 1900) Sailing in Stormy Seas, painting size is 24 x 36 inches. Overall framed 32 x 43 inches.
Ivan Konstantinovich Aivazovsky (Russian 1817-1900) Oil on Board "Storm Tossed Ship", signed lower right Aivazovsky, in foliate relief gilt frame 17 in. x 21 in. Framed 25 in. x 28.5 in. Provenance: The Estate of Frank W. Hamilton III
Aivazovsky, Ivan Constantinovitch (attributed) - Waves on a stormy sea (Feodosia 1817-1900 ibid.) Oil on canvas Signed and dated '89' lower right; stamped Keltz & Meiners (art supplies and purveyor to the court in Berlin) on the reverse, handwritten location Sudak in Cyrillic with date ''1898'' and 'N. 32', also a note with the name “Elena Glaser” (mother of the Russian painter and poet Maximilian Voloshin, who was in contact with Aivazovsky). 23.5 x 39.5 cm. - Craquelures. - Lit. Thieme/Becker 1, Saur AKL 1. // Aivazovsky, Ivan Constantinovitch (Attrib.) — Gischt auf stürmischer See — (Feodosija 1817-1900 ebd.) Öl/Lwd. Rechts unten sign. und dat. "98"; verso Stempel Keltz & Meiners (Künstlerbedarf und Hoflieferant in Berlin), handschriftl. Ortsbez. Sudak auf Kyrillisch mit Dat. "1898" sowie "N. 32", weiterhin ein Zettel mit dem Namen "Elena Glaser" (Mutter des russischen Malers und Dichters Maximilian Voloshin, der Kontakt zu Aivazovsky hatte). 23,5 x 39,5 cm. - Krakeluren. - Lit. Thieme/Becker 1, Saur AKL 1.
