Джеймс Баттервик: прекрасный дебют на TEFAF


«Мы были в восторге от того, как в СМИ осветили наш дебют на выставке», - сказал знаменитый коллекционер и арт-дилер Джеймс Баттервик. «TEFAF» просто кишит раритетами, - писал Скотт Рейнберн в The New York Times, ссылаясь на картину украинского художника кубофутуризма Александра Богомазова.

Самым интересным на выставке стал ансамбль из двенадцати работ Александра Богомазова (1880-1930), среди которых был эскиз к неосуществленной картине из цикла «Труд пильщиков» (бумага, акварель). Богомазов был первооткрывателем новой эстетики, которая частично основана на французском кубизме и итальянском футуризме в предчувствии британского вортицизма, проникнутого сильным ритмом и какой-то угловатой напряженностью. Этот подход, изложенный в его трактате «Живопись и Элементы», изданном в 1914 году, великолепным образом воплощен в его картинах, где он рисовал повседневную жизнь Киева, тогда крупного города царской России. Большинство работ Богомазова находится в частных коллекциях в Москве и на Украине, а на Западе он малоизвестен. «На рынке появляется все меньше и меньше действительно великих картин, - отмечает Джеймс Баттервик, - но за £200,000-300,000 вы можете купить сенсационную работу!». Многие российские и украинские коллекционеры готовы продаваться по более низким ценам, чем год или два назад. И здесь кроются фантастические инвестиционные возможности для новых покупателей!»


We were delighted with the media coverage of our Maastricht debut. ‘TEFAF is bustling with rarities’ wrote Scott Reyburn in The New York Times, before citing a ‘1915 charcoal drawing of an oncoming train by the Ukrainian Futurist Alexander Bogomazov.’ For Blouin Art Info, Judd Tully called Bogomazov a ‘find’ and a ‘definite alternative’ for collectors who ‘cannot afford afford an Italian Futurist Balla or a Severini.’ Anna Brady, writing for Antiques Trade Gazette after TEFAF had finished, reported that the gallery had ‘come to the fair with the aim of starting a European address book’ before citing some of our sales to new West European clients. For The Art Newspaper Russia, Irina Osipova singled out our ‘€1m Popova from the Costakis Collection.’ Maria Savostianova, in Moscow’s Art & Design, stressed that our stand inspired confidence given our membership of the prestigious London Art Dealers Association, adding that ‘James Butterwick is well-known to Russian collectors.’ For Russian Art & Culture, Simon Hewitt wrote of TEFAF’s Russian Re-Set with an ‘Avant-Garde Butterwick enhancing the world’s top fair.’ He also evoked our stand’s ‘understated elegance’ and ‘groundbreaking debut.’

There were other less conspicuous finds of unfamiliar work, such as the Futurist-fueled works on paper by the Russian/Ukraine artist Alexander Bogomazov at London’s James Butterwick, tucked upstairs in the special venue Paper section. If you can’t afford an Italian Futurist Balla or a Severini, Bogomazov is a definite alternative at prices ranging from €20,000 for a work on paper to €650,000 for an oil, Landscape-Locomotive from 1914-15. The barely traveled artist who died in 1930 must have seen Futurist works in foreign publications, according to Butterwick.

Tefaf is bristling with rarities, ranging from the 10th-century “Liesborn Gospels,” exhibited by the Paris dealers Les Enluminures, priced at $6.5 million, to a 1915 charcoal drawing of an oncoming train by the rediscovered Ukrainian Futurist Alexander Bogomazov, marked at €85,000, or about $90,000 with the London exhibitor James Butterwick.

International Editor Simon Hewitt

There is understated elegance to the James Butterwick stand at TEFAF – the principal attraction of the fair’s Works On Paper section. His TEFAF début features 30 works priced from €15,000 up to €2.5 million, united under the grand title Russian & Ukrainian Art 1890-1930 and accompanied by a stylish catalogue.

The highlight: an ensemble of 12 works by Alexander Bogomazov (1880-1930), seven of them attractively paraded along the back wall. Bogomazov pioneered a new aesthetic – based partly on French Cubism and Italian Futurism, and anticipating British Vorticism – imbued with powerful rhythm and angular tension. This approach, outlined in his 1914 treatise Paintings & Elements, is superbly embodied here in magnificent views of transport and daily life in Kiev, then a major city of Tsarist Russia. With most Bogomazovs in museums and private collections in Moscow and Ukraine, the artist remains scandalously little-known in the West.

‘Fewer and fewer great paintings are appearing on the market’ observes Butterwick, ‘but for £200,000-300,000 you can buy a sensational work on paper! Many Russian and Ukrainian collectors are prepared to sell for cheaper prices than a year or two ago. That spells fantastic investment opportunities for new buyers!’

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