KOTARBINSKY VASILY ALEKSANDROVICH (1849 - 1921) ook Wilhelm genoemd olieverfschilderij op doek : "Dagdromen" - 62 x 108 gemonogrammeerd 19th/20th Cent. oil on canvas- with the monogram of Vasily Aleksandrovich Kotarbinsky
Vasily Alexandrovich KOTARBINSKY (1849-1921) Femme allongée Huile sur toile Signé en bas à droite 62 x 36,5 cm (deux légers accros) Василий Александрович КОТАРБИНСКИЙ (1849-1921) Лежащая женщина Холст, масло Подпись внизу справа 62 х 36,5 см Небольшие повреждения
old label with written inscription 'Kotarbinsky' (on the reverse) oil on panel 19 x 31.7 cm | ancienne étiquette avec inscription 'Kotarbinsky' (au verso) huile sur bois 19 x 31,7 cm
signed and located 'Kotarbinsky Roma' (lower right) oil on canvas 67 х 43 cm / signé et localisé 'Kotarbinsky Roma' (en bas à droite) huile sur toile 67 х 43 cm
(Nieborów near Lodz 1849–1921 Kiev) Roses for Eternity, signed Kotarbinski, oil on canvas, 138 x 79 cm, framed Provenance: Auction, Desa Unicum, Warsaw, 21 June 2018, lot 123; European Private Collection. We are grateful to Dr. Olga Sugrobova-Roth for her scholarly advice. Wilhelm Aleksandrovich Kotarbinski came from a Polish noble family and devoted most of his works to classical, historical, mythological and religious themes. He was born in 1849 in the Polish village of Nieborow in the province of Warsaw. He received his early artistic training in Warsaw and, at his parents’ request, enrolled briefly at university before deciding to devote himself definitively to his artistic career. He then moved to Italy where, with the help of a scholarship, he was able to continue his studies at the Accademia di San Luca in Rome. In 1875 he graduated with a gold medal and then established his own studio in Rome. Despite his success, he left Italy in 1888 to work on the monumental project for St Vladimir’s Cathedral in Kiev. He received numerous commissions from members of the local aristocracy.
Vasily KOTARBINSKY (1849-1921) ; Sketch to the female portrait ; early 20th century ; watercolor on paper / framed ; dimensions 24 x 19 cm (9 1/2 x 7 1/2 in.) ; frame size 36 x 30 cm (14 x 12 in.) ; signed lower left corner W.K. ; Shipping to USA - DHL $160 , National post with tracking service $80 / Shipping to EU, Russia, Middle Assia - DHL $100 , National post with tracking service $40
KOTARBINSKY Vasily Alexandrovich (1849-1921). La Méduse (circa 1903). Huile sur toile, signée en bas à droite « Wilhem Kotarbinsky ». H. 238 x L. 129,5 cm. Œuvres en rapport : - Medusa, 1903, 211 x 112,5 cm, Vente « Russian paintings » Sotheby’s Londres, 27 novembre 2012, lot n°151, adjugé 73 250 £ (ill. 1). - Méduse, version représentée sur une carte postale de l’époque pré-révolutionnaire (ill. 2). - Le baiser de la Méduse, version représentée sur une carte postale de l’époque pré-révolutionnaire (ill. 3). Historique : Kotarbinsky est un peintre polonais qui après s’être formé à Rome s’installe à Kiev où il participe à un projet des plus ambitieux : les fresques de la cathédrale Saint-Vladimir à Kiev aux côtés des fameux peintres russes Viktor Vasnetsov, Mikhail Vroubel et Mikhail Nesterov. Peintre prolifique, il s’épanouit à travers des sujets fantastiques, mythologiques et même mystiques, à l’instar de notre œuvre, qui trouvent un écho favorable auprès du public. À ce titre, Kotarbinsky décline un même sujet à plusieurs reprises et ses œuvres deviennent des symboles incarnant une nouvelle forme de modernité. Ces dernières font ainsi l’objet d’éditions sous formes de cartes postales, légendées en russe et en français, et qui participeront à la reconnaissance de Kotarbinsky de son vivant. Ses grandes qualités de coloriste lui valent d’être apprécié de Nicolas II et certains de ses grands formats se trouvent aujourd'hui au Musée Russe de Saint-Pétersbourg. Вильгельм (Василий) Александрович Котарбинский (1848-1921) Медуза Холст, масло, подпись внизу справа "Вильгельм Котарбинский" 238 х 129,5 см. Связанные работы: - Медуза, 1903, 211 х 112,5 см. Продажа « Russian paintings» Sotheby's London, 27 ноября 2012 года, лот № 151, проданно за £ 73,250 (рис. 1). - Медуза, версия изображена на открытке дореволюционной эпохи (рис. 2). - «Поцелуй медузы», версия, изображенная на открытке дореволюционной эпохи (рис.3).
Follower of Vasily Alexandrovich Kotarbinsky (Russian, 1849-1921), Untitled (Portrait of a Man with Hat and Pipe), oil on canvas, bears signature upper right, canvas: 20.5"h x 16.5"w, overall (with frame): 26.5"h x 22.5"w
Vasily Alexandrovich KOTARBINSKY (1849-1921) Femme alanguie Huile sur toile Signé en bas à droite 62 x 36,5 cm Oil on canvas, signed lower right, 24 7/16 x 14 3/8 in (petit accroc en haut à droite)
After Vasily (Wilhelm) Alexandrovich Kotarbinsky (RUSSIAN FEDERATION / ITALY, 1849 - 1921) oil painting on heavy wooden panel board depicting an Orientalist religous scene. Signed "Kotarbinsky" to lower right. Unframed. Measures approx. 35" height x 48" width (88.9cm x 121.9cm).
Kotarbinsky Vilgelm Aleksandrovich (1849-1922) Leaf with sketches. 1880s. Sepia, pencil on paper. 50 х 45,5 Provenance: from N.A. Prakhov’s archive, Kiiv Котарбинский Вильгельм Александрович (1849-1922) Лист с набросками. 1880-е. Бумага, сепия, карандаш. 50 х 45,5 Провенанс: из архива Н.А. Прахова, Киев
KOTARBINSKY, VASILY (1848-1921) Mermaid signed. Oil on canvas, 62 by 100.5 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Venere Russa. Fascino femminile nell’arte russa del Novecento Foundazione Terruzzi Villa Regina Margherita, Bordighera, 9 July-28 September 2014. Literature: Exhibition catalogue, X. Muratova, Venere Russa. Fascino femminile nell’arte russa del Novecento Milan, Silvana Editoriale, 2014, p. 16, illustrated. Related literature: For similar work, see G. Romanov, A. Muratov, Zhivopis russkogo salona. 1850-1917. Entsiklopediia St Petersburg, Zolotoi vek-Sankt-Peterburg Orkestr, 2004, p. 316, illustrated as Goplana .
Vasili Aleksandrovich Kotarbinsky (Russian, 1849-1921), Nude Sunbathing by a Lake, oil on canvas, initialed lower left, canvas: 22"h x 27.25"w, overall (with frame): 30.5"h x 35.5"w
KOTARBINSKY, VASILY (1848-1921) Morning Dew, signed. Oil on canvas, 124 by 62 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. For another version of the present lot, see the postcard, Kiev, Razsvet, before 1917, published as Rosa. G. Romanov, A. Muratov, Zhivopis russkogo salona (1850–1917 gg.). Entsiklopediya, St Petersburg, Zolotoi Vek/Sankt Peterburg Orkestr, 2004, p. 324, illustrated and listed as Rosa.
KOTARBINSKY, VASILY (1848-1921) Dance of the Leaves, signed. Oil on canvas, 124.5 by 62.5 cm. Provenance: Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Related literature: For another version of the present lot, see the postcard, Kiev, Razsvet, before 1917, published as Tanets Listiev. The postcard, Moscow, Moskovskaya Gubernskaya Komissiya Pomoshchi Golodayuschim, c. 1921–1922, published as Tanets Listiev.
Oil on canvas Vasily Alexandrovich Kotarbinsky (1849-1921) Polish-Russian painter Signiert 'Kotarbinsky' lower righ Dimensions: 78.5 x 120.3 cm Gilt stucco frame: 105 x 150.5 cm Vivid scenic depiction of the Capernaum-story in front of a magnificent Far Eastern backdrop This beautiful and epic interpretation of the Sermon at Capernaum belongs to the highlights of the auction and is a typical work of the artist concerning scale, subject and way of painting of the Russian-Polish painter Vasily Alexandrovich Kotarbinsky who favored the depiction of biblical motives. The alternation of dark and bright parts brings vitality to the painting and can be seen in the color of the clothes of the figures as well as on houses and plants, were light and shadow change. Condition: The painting is in good condition consistent with the age. The varnish is slightly darkened and tiny craquelé can be seen overall on the canvas. There are areas with scuffing due to the frame along the upper edges and corners of the canvas and scattered marks can be seen. The painting has been skillfully repaired. Several retouched spots can be seen mainly affecting the part of the figures as well as the sky and the house. On the reverse the canvas shows relined spots. The frame shows traces of usage such as tears, scratches, marks and spots with loss of color, resp. loss of material. Vasily Alexandrovich Kotarbinsky (1849-1921) Vasily Alexandrovich Kotarbinsky was a Polish painter of the 19th and early 20th century. Kotarbinsky started his artistical career at the Warsaw School of Drawing in the 1870s, later he studied at the art academy in St. Petersburg. Very important for his development were several longer stays in Rome, which had a deep impact on his way of painting and his choice of subjects. He borrowed money from his family for his first trip to Rome during his education and stayed there for three years. Characteristic for his oeuvre are the depictions of biblical subjects as well as classical Roman themes and fantastic-mythical images. One of his main works are the frescos in the St. Vladimir Cathedral in Kiev. Works of the artist are in collections in St. Petersburg and Moscow. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on canvas Poland, 19th century Vasily Alexandrovich Kotarbinsky (1849-1921) – Polish-Russian painter Signiert 'Kotarbinsky' lower righ Dimensions: 78.5 x 120.3 cm Gilt stucco frame: 105 x 150.5 cm Good condition Vivid scenic depiction of the Capernaum-story in front of a magnificent Far Eastern backdrop This beautiful and epic interpretation of the Sermon at Capernaum belongs to the highlights of the auction and is a typical work of the artist concerning scale, subject and way of painting of the Russian-Polish painter Vasily Alexandrovich Kotarbinsky who favored the depiction of biblical motives. The alternation of dark and bright parts brings vitality to the painting and can be seen in the color of the clothes of the figures as well as on houses and plants, were light and shadow change. Condition: The painting is in good condition consistent with the age. The varnish is slightly darkened and tiny craquelé can be seen overall on the canvas. There are areas with scuffing due to the frame along the upper edges and corners of the canvas and scattered marks can be seen. The painting has been skillfully repaired. Several retouched spots can be seen mainly affecting the part of the figures as well as the sky and the house. On the reverse the canvas shows relined spots. The frame shows traces of usage such as tears, scratches, marks and spots with loss of color, resp. loss of material. The dimensions are 78.5 x 120.3 cm and the frame measures 105 x 150.5 cm. Vasily Alexandrovich Kotarbinsky (1849-1921) Vasily Alexandrovich Kotarbinsky was a Polish painter of the 19th and early 20th century. Kotarbinsky started his artistical career at the Warsaw School of Drawing in the 1870s, later he studied at the art academy in St. Petersburg. Very important for his development were several longer stays in Rome, which had a deep impact on his way of painting and his choice of subjects. He borrowed money from his family for his first trip to Rome during his education and stayed there for three years. Characteristic for his oeuvre are the depictions of biblical subjects as well as classical Roman themes and fantastic-mythical images. One of his main works are the frescos in the St. Vladimir Cathedral in Kiev. Works of the artist are in collections in St. Petersburg and Moscow. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
VASILIY [WILHELM] KOTARBINSKY (POLISH-RUSSIAN 1849-1921) Columbarium, oil on canvas 63 x 123 cm (24 3/4 x 48 3/8 in.) signed lower left EXPERTISE The authenticity of this painting has been confirmed by Mikhail Krasilin. A copy is available upon request. LITERATURE A version of this painting was printed on a postcard no 48, published by Rassvet in Kiev in early 1900s LOT NOTES Focusing on fantastical, biblical and otherwise ancient-inspired subjects, Wilhelm Kotarbinsky`s work exists at the nexus of academism, Art Nouveau, and Symbolism. The aestheticism, and at times sentimentalized exoticism of Kotarbinsky`s paintings has been attributed to such widely different origins as his Polish heritage, and the artist`s extended stay in Rome during the early part of his career. Despite his inclination towards large-scale canvases, Kotarbinsky was an incredibly prolific artist- showcasing over 100 works in a variety of media at the 1898 Imperial Academy of Art exhibition, where he was elected as an academic in 1905. As his works were in high-demand, following the established procedure of the time, Kotarbinsky would sometimes repeat his compositions, often with slight adjustments. The present lot appears to have been one such work, as postcards featuring a close variant of this particular painting were printed in the early years of the 20th century.
Oil on canvas Poland, 19th century Vasily Alexandrovich Kotarbinsky (1849-1921) – Polish-Russian painter Signiert 'Kotarbinsky' lower righ Dimensions: 78.5 x 120.3 cm Gilt stucco frame: 105 x 150.5 cm Good condition Vivid scenic depiction of the Capernaum-story in front of a magnificent Far Eastern backdrop This beautiful and epic interpretation of the Sermon at Capernaum belongs to the highlights of the auction and is a typical work of the artist concerning scale, subject and way of painting of the Russian-Polish painter Vasily Alexandrovich Kotarbinsky who favored the depiction of biblical motives. The alternation of dark and bright parts brings vitality to the painting and can be seen in the color of the clothes of the figures as well as on houses and plants, were light and shadow change. Condition: The painting is in good condition consistent with the age. The varnish is slightly darkened and tiny craquelé can be seen overall on the canvas. There are areas with scuffing due to the frame along the upper edges and corners of the canvas and scattered marks can be seen. The painting has been skillfully repaired. Several retouched spots can be seen mainly affecting the part of the figures as well as the sky and the house. On the reverse the canvas shows relined spots. The frame shows traces of usage such as tears, scratches, marks and spots with loss of color, resp. loss of material. The dimensions are 78.5 x 120.3 cm and the frame measures 105 x 150.5 cm. Vasily Alexandrovich Kotarbinsky (1849-1921) Vasily Alexandrovich Kotarbinsky was a Polish painter of the 19th and early 20th century. Kotarbinsky started his artistical career at the Warsaw School of Drawing in the 1870s, later he studied at the art academy in St. Petersburg. Very important for his development were several longer stays in Rome, which had a deep impact on his way of painting and his choice of subjects. He borrowed money from his family for his first trip to Rome during his education and stayed there for three years. Characteristic for his oeuvre are the depictions of biblical subjects as well as classical Roman themes and fantastic-mythical images. One of his main works are the frescos in the St. Vladimir Cathedral in Kiev. Works of the artist are in collections in St. Petersburg and Moscow. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on canvas, relined Poland, 1890s Vasily (Wilhelm) Alexandrovich Kotarbinski (1849-1921) – Polish painter and draftsman Signed ‘W Kotarbinski’ on the lower right Dimensions: 80 x 136 cm Gilt Stucco frame: 101 x 158 cm Provenance: Russian private collection Good condition Monumental painting in landscape format with a subject, that is typical for the artist Estimate by Auctionata Expert: 70,000 Euro This is a characteristic symbolic painting of the artist, which imparts the light atmosphere almost impressionistic. Kotarbinski chose for this painting, as often, the Egypt’s pyramids as a curtain for his poetic allegorical depictions. Condition: The painting is in good age-consistent condition. The canvas is relined. Under UV-light some small retouches at the margins and on the figures are to be noticed. The frame is a bit chipped on the rims and edges and also shows small color losses. The picture dimensions are 80 x 136 cm. The frame measures 101 x 158 cm. Vasily (Wilhelm) Alexandrovich Kotarbinski (1849-1921) The in Bieborow born artist studied in Warsaw from 1867-71 and visited there the drawing class of Rafal Hadziwics. Since 1872 he visited the die Accademia di San Luca in Rome. In 1888 Kotarbinski came back to Poland and settled in his house in Kalsk. He often took part at exhibitions of the Kiev’s Art Society and was in a regular exchange with several Russian artists. Together with other painters he participated in the design of the Vladimir Cathedral in Kiev and a lot of other churches. His works are to be found in the exhibitions of some Moscow’s, Cracow’s and Warsaw’s museums. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on canvas, relined Poland, 1890s Vasily Kotarbinsky (1849-1921) – Polish painter and draftsman Dimensions: 66.5 x 139.5 cm Framed: 89.5 x 164 cm Very good condition Provenance: MacDougall’s, auction November 28, 2012, lot 190; private collection, Warsaw Phantasmagoric -symbolical painting in the style of the Art Nouveau with an aura, that seems to be biblical Estimate by Auctionata Expert: 80,000 Euro Two dreamy musing women are depicted on a terrace, that appears to be antique, with a from cedars seamed sea on the background, in which the orange-red sun incandescently sinks. This is a characteristic-symbolic painting of the artist, which imparts the light atmosphere almost impressionistic. Kotarbinsky often composes his poetic, allegoric depictions on terraces, where he intensifies the panorama impression through the wide format of the painting. The bright light atmosphere and the subtle melancholy let the mostly in dark colors made painting to be related to the Fin de Siecle and the Art Nouveau. Condition: The painting in a landscape format is in very good condition. It shows slight traces of use and age. Some color losses are partially noticeable, especially at the margins. The surface is craqueled in places. Under UV-light some retouches are noticeable. The dimensions of the canvas are 66.5 x 139.5 cm, the frame measures 89.5 x 164 cm. Vasily (Wilhelm) Alexandrovich Kotarbinsky (1849-1921) the born in Bieborow artist studied in Warsaw from 1867-71 and visited there the drawing class of Rafal Hadziwics. Since 1872 he visited the die Accademia di San Luca in Rome. In 1888 Kotarbinsky came back to Poland and settled in his house in Kalsk. He often took part at exhibitions of the Kiev’s Art Society and was in a regular exchange with several Russian artists. Together with other painters he participated in the design of the Vladimir Cathedral in Kiev and a lot of other churches. His works are to be found in the exhibitions of some Moscow’s, Cracow’s and Warsaw’s museums. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
KOTARBINSKY, VASILY (1849-1921) Roman Orgy, signed, inscribed "Roma" and indistinctly dated 189?. Oil on canvas, 166 by 221 cm. Related literature: For another version of the present lot, see G. Romanov,A. Muratov, Zhivopis russkogo salona (1850–1917 gg.). Entsiklopediya , St Petersburg, Zolotoi Vek/Sankt-Peterburg Orkestr, 2004, p. 321, illustrated. The painting offered here at auction, entitled Roman Orgy , is a version by Vasily Kotarbinsky of the best-known historical composition that he created. According to the 1899 catalogue of the State Russian Museum, a variant of this picture of truly monumental proportions (300 by 500 cm) was in the museum’s first collection, having been acquired from the Imperial Academy of Arts in 1898 using funds provided by Nikolai II. There is another, somewhat scaled-down, version in the collection of Donetsk Art Museum. There are other, similar examples in Kotarbinsky’s oeuvre addressing the very same subject matter. These are not rare and, as with Aivazovsky and Semiradsky, they are linked to a desire on the part of patrons in the highest circles of St Petersburg society to have their own versions of their favourite works in the Imperial Museum. Naturally, in addressing a well-known theme and reproducing elements that already existed, the artist introduced certain variations to the composition to give the new canvas individuality and allow particular details to be further developed. So, by comparison with the painting in the Russian Museum, this version has a better portrayal of the old man with the gold coins, and several characters have also been added in the background. There are additional changes to the appearance and pose of the last passenger in the boat, the angle of the cymbals held by the musician and the angle of the girl’s head in the foreground. In the main, however, the painting remains unchanged: it has a captivating variety and interplay of textures – naked bodies, fabrics, feathers, flowers, water, a variety of poses, unique use of tiers in the composition, and masterly depiction of objects. The centre of the composition is a group of sculptural beauty: a patrician Roman in a dark cloak standing by a balustrade (possibly, the Emperor Nero) next to a half-naked Roman woman and a girl with a fan and bowl. The scene is given its theatricality and great artistic expressiveness by the idealised figures draped in classical garb, their classical profiles and sculptural poses. Another protagonist of the picture is the warm light of an impending sunset, which embellishes everything in gentle, peach-coloured tones and envelops the composition in a romantic haze that lends it a certain sense of enigma. This effect of light, conveyed with technical perfection, subtlety and a multitude of nuances, as well as the harmonious way in which tones are combined – from rosy fulvous to deep blue – constitutes one of the main virtues of the work, which comes across as a large decorative panel. It is no secret that the events and the characters of Ancient Greece and Ancient Rome remained a source of inspiration for Kotarbinsky throughout his life. Devoting himself to the study and reproduction of the history and way of life of antiquity, the artist would often portray on canvas the environment, clothing and utensils of that time with archaeological accuracy. Arriving in Italy for the first time in 1868, Kotarbinsky became irrevocably enchanted with the Eternal City. He lived in Rome for many years, and even when he subsequently returned to Russia and worked in St Petersburg and Kiev, he remained, as before, a “captive” to the beauty of the southern Italian sun, and the luxuriance of the landscape and colours that characterised it, providing such abundant material for creativity. Kotarbinsky was one of Nicholas II’s favourite artists. He was admired by his contemporaries, compared to Genrikh Semiradsky and Pavel Svedomsky, called the Russian Alma-Tadema and eulogised for the astonishing mastery and fineness of his painting, the beauty of his composition and draughtsmanship and the poetic grace of the subjects he painted. His talent for turning any subject into a vision of beauty, for conveying the delight and sweet remembrance of humanity’s “golden times” was in extraordinary demand at the time. The painter recreated not so much the history of antiquity but rather the legends associated with it. It goes without saying that Kotarbinsky was not original in his choice of subject matter. As a rule, he borrowed subjects that had already been interpreted by other artists, but dealt with them in his own way and often with no less success. In Munich, Wilhelm von Kaulbach was acknowledged as the master when it came to scenes from the life of Nero, whereas in London the Dutchman Lawrence Alma-Tadema remained the luminary of the Neo-Greek style, with his painting of a banquet in the time of Augustus entitled Roses of Heliogabalus (1888). The Bacchanalian feasts and orgies of Nero and Tiberius were also an attraction for Kotarbinsky’s fellow countrymen. Henryk Sienkiewicz’s novel Quo Vadis came out in 1896, whereas Semiradsky’s Roman Orgy in the Illustrious Time of the Caesars (1871) and Orgy in the Time of Tiberius on the Island of Capri (1881), and Svedomsky’s Orgy (1883) and Buried in Flowers (1886) appeared even earlier. In all these canvases the world of antiquity is presented as eye-catching spectacle involving many human figures, or as beautifully idyllic scenes and dramas of no less ravishing a nature. The tradition of antiquity is perceived by Kotarbinsky and his contemporaries as the origin and basis of European civilisation, and addressing this subject allows artists and their followers to feel they are not Poles, Russians or Romans, but Europeans in the broad sense of the word – people who are part of a common human history.
Vasili (Wilhelm) Aleksandrovich Kotarbinsky (Russian, 1849-1921) A collection sketches and studies circa 1880-1990 size of the largest: 36.5 x 71cm (14 3/8 x 27 15/16in.) (9)
KOTARBINSKY, VASILY (1849-1921), Dignitaries Boarding a Gondola on a Venetian Backwater, signed. Oil on canvas, 50.5 by 74 cm. Authenticity of the work has been confirmed by the expert V. Petrov.
VASILY KOTARBINSKY (POLISH-RUSSIAN 1849-1921) The Nile Mist, oil on canvas 80 x 136 cm (31 1/2 x 53 1/2 in.) signed lower right PROVENANCE MacDougall's Auctions, London, June 5, 2013, Lot 129 Private Collection, Europe LITERATURE This painting was featured on a postcard, reproduced here, published by Rassvet, Kiev, c. 1905 -1917. Another version of this work was depicted on a postcard published by G. Lazovsky, Kiev, before 1905. EXPERTISE The authenticity of the work has been confirmed by the expert Vladimir Petrov. LOT NOTES Focusing on fantastical, biblical and otherwise ancient-inspired subjects, Wilhelm Kotarbinsky’s work exists at the nexus of academism, Art Nouveau, and Symbolism. The aestheticism, and at times sentimentalized exoticism of Kotarbinsky’s paintings has been attributed to such widely different origins as his Polish heritage, and the artist’s extended stay in Rome during the early part of his career. Kotarbinsky had a rather difficult climb to prominence, with abject poverty being one of the few constants during the early years of his training. Lacking the support of his father, Kotarbinsky was obliged to borrow money from his uncle in order to fund his study in Italy in 1871, where he would remain for the next 16 years. While there, he met the artist brothers Pavel and Alexander Svedomsky, who along with Professor Adrian Prakhov invited Kotarbinsky to participate in the painting of fresco decoration for the St. Vladimir Cathedral in Kiev, alongside such luminaries of Russian art as V. Vasnetsov, M. Vrubel, and M. Nesterov. The project greatly contributed to Kotarbinsky rise to prominence, and brought him into contact with the upper echelons of the Kievan society, resulting in commissions for the decoration of homes belonging to various illustrious families, such as Tereshchenko, Khanenko, and Soldatenkov. Despite his inclination towards large-scale canvases, Kotarbinsky was an incredibly prolific artist- showcasing over 100 works in a variety of media at the 1898 Imperial Academy of Art exhibition, where he was elected as an academic in 1905. As his works were in high-demand, following the established procedure of the time, Kotarbinsky would sometimes repeat particularly successful compositions, often with slight adjustments. The Nile Mist, appears to have been one such work, as postcards featuring this particular painting, as well as a close variant, were printed in the early years of the 20th century. PLEASE NOTE If you will be bidding live on auction day, please note that Session I of the Auction (Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 234. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 2:00 PM New York Time and goes from Lot 500 through Lot 657. We sell approximately 70 lots per hour.
WILHELM [VASILY] ALEXANDROVICH KOTARBINSKY (POLISH-RUSSIAN 1849-1921) The Nile Mist, oil on canvas 80 x 136 cm (31 1/2 x 53 1/2 in.) signed lower right PROVENANCE: MacDougall's Auctions, London, June 5, 2013, lot 129 LOT NOTES: Focusing on fantastical, biblical and otherwise ancient-inspired subjects, Wilhelm Kotarbinsky's work exists at the nexus of academism, Art Nouveau, and Symbolism. The aestheticism, and at times sentimentalized exoticism of Kotarbinsky's paintings has been attributed to such widely different origins as his Polish heritage, and the artist's extended stay in Rome during the early part of his career. Kotarbinsky had a rather difficult climb to prominence, with abject poverty being one of the few constants during the early years of his training. Lacking the support of his father, Kotarbinsky was obliged to borrow money from his uncle in order to fund his study in Italy in 1871, where he would remain for the next 16 years. While there, he met the artist brothers Pavel and Alexander Svedomsky, who along with Professor Adrian Prakhov invited Kotarbinsky to participate in the painting of fresco decoration for the St. Vladimir Cathedral in Kiev, alongside such luminaries of Russian art as V. Vasnetsov, M. Vrubel, and M. Nesterov. The project greatly contributed to Kotarbinsky rise to prominence, and brought him into contact with the upper echelons of the Kievan society, resulting in commissions for the decoration of homes belonging to various illustrious families, such as Tereshchenko, Khanenko, and Soldatenkov. Despite his inclination towards large-scale canvases, Kotarbinsky was an incredibly prolific artist - showcasing over 100 works in a variety of media at the 1898 Imperial Academy of Art exhibition, where he was elected as an academic in 1905. As his works were in high-demand, following the established procedure of the time, Kotarbinsky would sometimes repeat particularly successful compositions, often with slight adjustments. The Nile Mist, appears to have been one such work, as postcards featuring this particular painting, as well as a close variant, were printed in the early years of the 20th century. LITERATURE: This painting was featured on a postcard, reproduced here, published by Rassvet, Kiev, c. 1905-1917. Another version of this work was depicted on a postcard published by G. Lazovsky, Kiev, before 1905. EXPERTISE The authenticity of the work has been confirmed by the expert Vladimir Petrov.
![WILHELM KOTARBINSKI (1848-1921). [DISADVANTAGED CHILDREN!] 1916. 27x20 inches, 70x52 cm. SV Kulzhenko, Kiev.](https://image.invaluable.com/housePhotos/Swann/82/637582/H0132-L162469356.jpg)
![VASILIY [WILHELM] KOTARBINSKY (POLISH-RUSSIAN 1849-1921)](https://image.invaluable.com/housePhotos/shapiroauctions/39/587839/H3884-L94616641.jpg)
![WILHELM [VASILY] ALEXANDROVICH KOTARBINSKY (POLISH-RUSSIAN 1849-1921)](https://image.invaluable.com/housePhotos/shapiroauctions/76/561276/H3884-L69461400.jpg)
