Eduards Kalnins (1904-1988) Piestätne 20.gs.60.g. Kartons, ella. 47x70 cm. Autors Laika periods Zanrs Tehnika Izmèrs Atrasanas vieta Cena Artikuls Eduards Kalnins 20.gs. otra puse Klusa daba Kartons, ella 47×70 cm Noliktava € 1800

Paintings(1874) from the Genius Mikhail Zadornov personal collection and office, every day watching additionally consecrated. If you buy it, you will be as smart as Mikhail Zadornov. Зарубин - 26×16 Зарубин, (1866— 1928) — русский и украинский художник, график, сценограф, академик Императорской Академии художеств Картины академика Императорской Академии художеств Виктора Ивановича Зарубина (1866–1928) на классических и антикварных аукционах стоят от 3 000 до 150 000 долларов США (около 300 000 – 14 000 000 рублей) в зависимости от размера, сюжета и сохранности. Небольшие этюды или парные миниатюры могут продаваться на торгах за 400 000 – 500 000 рублей.Факторы формирования цен на работы ЗарубинаСтатус автора: Ученик А. И. Куинджи, академик живописи (с 1909 года), участник выставок передвижников.Техника и формат: Полноформатные масляные пейзажи оцениваются выше всего. Графика, рисунки тушью или небольшие картонные этюды стоят значительно дешевле.Провенанс и экспертиза: Наличие подтвержденного заключения (например, НИНЭ им. Третьякова) существенно повышает итоговую аукционную стоимость Кисилев - 32×22 (1874) Работа художника Александра Киселёва (мастера пейзажа, получившего звание академика позже, в 1899 году) 1875 года, относящаяся к периоду его жизни в Харькове и вхождения в круги передвижников, на аукционах графики и живописи оценивается в среднем от в зависимости от техники (рисунок карандашом или полноценное масло) и размера. [1, 2, 3] https://sovcom.ru/avtory/k/kiselev-a-a/ https://share.google/5EQM4edLVUYrrikP0 Факторы формирования аукционной стоимости * Техника исполнения: Графические работы (карандаш, бумага) 1875 года имеют эстимейт в пределах 30 000 – 45 000 рублей, в то время как крупные живописные работы маслом этого периода могут стоить значительно дороже. [] * * Значение в творчестве: 1875 год — переломный момент для Киселёва, когда его работы впервые получили признание передвижников, что повышает исторический интерес коллекционеров. [1] * * Экспертиза: Наличие подтвержденного заключения (например, ВХНРЦ им. Грабаря) обязательно для достижения максимальной цены на торгах Viktor Zarubin and Alexander Kiselyov — two remarkable artists, two captivating works, and a truly fascinating story for art collectors. Today to introduce you to two important figures of the Russian and Ukrainian artistic tradition: Viktor Ivanovich Zarubin and Alexander B Alexandrovich Kiselyov. Let us begin with Viktor Zarubin. Born in 1866 and passing away in 1928, Zarubin was a versatile painter, graphic artist, and stage designer. His journey started in Kharkiv, but his education took him further—first to Paris, where he studied at the prestigious Académie Julian, and later to Saint Petersburg, entering the studio of the legendary landscape master Arkhip Kuindzhi. By 1909, his immense talent earned him the official title of Academician. Zarubin’s heart truly belonged to the landscape. In his works, light, atmosphere, and delicate, breathing shifts of color are paramount. The specific piece we are looking at today measures twenty-six by sixteen centimeters. Now, despite its relatively small format, several vital factors dictate its true market value. First, the technique. Second, the physical condition. And finally, the subject matter, the artist's signature, and its documented provenance. When looking at auction records, prices for Zarubin’s classical works vary widely. While small studies and intimate miniatures command more modest figures, important and fully developed oil paintings can easily reach high five-figure or even six-figure amounts. For any serious collector, professional authentication is an absolute necessity. A solid, documented provenance builds unshakeable confidence in the piece and elevates its market potential significantly. Now, let us turn our attention to the second master: Alexander Alexandrovich Kiselyov. Born in 1838, Kiselyov lived until 1911, establishing himself as a prominent Russian landscape painter and a full member and Academician of the Imperial Academy of Arts. Much like Zarubin, his early artistic life was deeply rooted in Kharkiv, and he later became closely associated with the Peredvizhniki—the iconic group of Russian traveling artists who revolutionized the local art scene. The Kiselyov work featured here measures thirty-two by twenty-two centimeters. It belongs to a particularly intriguing period of his career, with the year 1875 standing out as a critical milestone for studying his artistic evolution and his connections to the intellectual and creative circles of the era. For pieces from this specific timeline, collectors look closely at the technique, overall condition, subject, and expert certification. While graphic works maintain moderate and approachable estimates, high-quality oil landscapes with strong provenance can achieve remarkable sums on the antique market. So, what truly makes these two works so captivating? It is never just about physical dimensions. It is never just a famous signature. Real value is born from the harmony of many delicate elements: the artist's legacy, the historical period, the mastery of technique, artistic quality, condition, provenance, and professional authentication. Together, these elements weave the history and the market power of an artwork—and that is precisely wh

Кисилев - 32×22 (1874) Работа художника Александра Киселёва (мастера пейзажа, получившего звание академика позже, в 1899 году) 1875 года, относящаяся к периоду его жизни в Харькове и вхождения в круги передвижников, на аукционах графики и живописи оценивается в среднем от в зависимости от техники (рисунок карандашом или полноценное масло) и размера. [1, 2, 3] https://sovcom.ru/avtory/k/kiselev-a-a/ https://share.google/5EQM4edLVUYrrikP0 Факторы формирования аукционной стоимости * Техника исполнения: Графические работы (карандаш, бумага) 1875 года имеют эстимейт в пределах 30 000 – 45 000 рублей, в то время как крупные живописные работы маслом этого периода могут стоить значительно дороже. [] * * Значение в творчестве: 1875 год — переломный момент для Киселёва, когда его работы впервые получили признание передвижников, что повышает исторический интерес коллекционеров. [1] * * Экспертиза: Наличие подтвержденного заключения (например, ВХНРЦ им. Грабаря) обязательно для достижения максимальной цены на торгах. Kiseļovs — 32×22 (1874) Mākslinieka Aleksandra Kiseļova (ainavu meistara, kurš akadēmiķa titulu ieguva vēlāk — 1899. gadā) 1875. gada darbs, kas attiecas uz viņa Harkivas dzīves posmu un iekļaušanos Peredvižņiku aprindās, grafikas un glezniecības izsolēs tiek vērtēts atkarībā no tehnikas (zīmulis vai pilnvērtīga eļļas glezna) un izmēra. https://sovcom.ru/avtory/k/kiselev-a-a/ https://share.google/5EQM4edLVUYrrikP0 Izsoles vērtību veidojošie faktori: * Izpildījuma tehnika: 1875. gada grafikas darbu (zīmulis, papīrs) novērtējums ir 30 000 – 45 000 rubļu robežās, savukārt vērienīgi šī perioda eļļas darbi var maksāt ievērojami dārgāk. * Nozīme daiļradē: 1875. gads ir pagrieziena punkts Kiseļova daiļradē, kad viņa darbi pirmo reizi guva Peredvižņiku atzinību, kas kāpina kolekcionāru vēsturisko interesi. * Ekspertīze: Apstiprināts eksperta slēdziens (piemēram, Grabara vārdā nosauktā VHNRC) ir obligāts priekšnoteikums maksimālas izsoles cenas sasniegšanai. to introduce you to two important figures of the Russian and Ukrainian artistic tradition: Viktor Ivanovich Zarubin and Alexander B Alexandrovich Kiselyov. Let us begin with Viktor Zarubin. Born in 1866 and passing away in 1928, Zarubin was a versatile painter, graphic artist, and stage designer. His journey started in Kharkiv, but his education took him further—first to Paris, where he studied at the prestigious Académie Julian, and later to Saint Petersburg, entering the studio of the legendary landscape master Arkhip Kuindzhi. By 1909, his immense talent earned him the official title of Academician. Zarubin’s heart truly belonged to the landscape. In his works, light, atmosphere, and delicate, breathing shifts of color are paramount. The specific piece we are looking at today measures twenty-six by sixteen centimeters. Now, despite its relatively small format, several vital factors dictate its true market value. First, the technique. Second, the physical condition. And finally, the subject matter, the artist's signature, and its documented provenance. When looking at auction records, prices for Zarubin’s classical works vary widely. While small studies and intimate miniatures command more modest figures, important and fully developed oil paintings can easily reach high five-figure or even six-figure amounts. For any serious collector, professional authentication is an absolute necessity. A solid, documented provenance builds unshakeable confidence in the piece and elevates its market potential significantly. Now, let us turn our attention to the second master: Alexander Alexandrovich Kiselyov. Born in 1838, Kiselyov lived until 1911, establishing himself as a prominent Russian landscape painter and a full member and Academician of the Imperial Academy of Arts. Much like Zarubin, his early artistic life was deeply rooted in Kharkiv, and he later became closely associated with the Peredvizhniki—the iconic group of Russian traveling artists who revolutionized the local art scene. The Kiselyov work featured here measures thirty-two by twenty-two centimeters. It belongs to a particularly intriguing period of his career, with the year 1875 standing out as a critical milestone for studying his artistic evolution and his connections to the intellectual and creative circles of the era. For pieces from this specific timeline, collectors look closely at the technique, overall condition, subject, and expert certification. While graphic works maintain moderate and approachable estimates, high-quality oil landscapes with strong provenance can achieve remarkable sums on the antique market. So, what truly makes these two works so captivating? It is never just about physical dimensions. It is never just a famous signature. Real value is born from the harmony of many delicate elements: the artist's legacy, the historical period, the mastery of technique, artistic quality, condition, provenance, and professional authentication. Together, these elements weave the history and the market power of an artwork—and that is precisely what makes art collecting such an endlessly fascinating journey.

400Eu "Чистая Мохера" ручная работа в одном екземпляре. www.Dags.lv 400Eu "Свитер Жизели" Чистая Мохера, ручная работа в одном екземпляре, узор сотканный, а не нарисованный. Елена Михайлова с коллегой и Юрмалской командой Спасибо, за элегантность экспозиции, благодаря присутствию Тамары

«MISIS UMBRELLA» FOUR DRAWINGS COLLECTION. ink/ chalk/ watercolour paper 65x50cm Dags Vidulejsⓒ www.Dags.lv  1. MISIS UMBRELLA  ink/ chalk/ watercolour paper 65x50cm Dags Vidulejsⓒ www.Dags.lv  2. BOUQUET OF FLOWERS ink/ chalk/ watercolour paper 65x50cm  Dags Vidulejsⓒ www.Dags.lv 3. THREE GRACES.  ink/ chalk/ watercolour paper 65x50cm Dags Vidulejsⓒ www.Dags.lv  4. GUARD ANGEL. The Vatican. 2005. Workhops in the Sistine Chapel. ink / chalk / watercolour paper 65x50cm   Dags Vidulejs ⓒ www.Dags.lv   In the hall of the Sistine Chapel of the Vatican, due to the large number of tourists, applause is heard for a short time. These are not applause. But the grass bristle is a kind instruction to move on. However, the painter was given the opportunity to sit at the altar and draw the atmosphere all day. Falling asleep for a moment, someone touched his face with his long robe. Someone leaned over the drawing, wondering what to draw here in the Sistine Chapel, and corrected a little. When the Riga artist woke up, Michelangelo was already in the crowd ... Vatikāna Siksta Kapellas zālē, sakarā ar lielo tūristu apmeklējumu, ik pa īsam laiciņam atskan aplausi. Tie nav sajūsmas aplausi. Bet gan zāles saru laipns norādījums doties tālāk. Taču gleznotājam tika dota iespēja apsēsties pie altāra un visu dienu zīmēt atmosfēru. Mirkli iesnaužoties, kāds aizskāra seju ar savu garo talāru. Kāds noliecās pār zīmējumu, brīnīdamies, ko te vairs Siksta Kapellā zīmēt, un mazliet pielaboja. Rīgas māksliniekam pamostoties Mikelandželo staltā ātrā gaitā jau iejuka pūlī...