Geometric Steinberg of the valuable Moscow pre-emigration period. 1970s. And one meter museum size. And the plot is a godsend for collectors. This is not the usual compositional “geometry”, but a suprematic concentrate. In the center — the planetary model, and in the left corner — a picture-in-picture. An experimental piece! Rarity!

The porcelain black sculptures and their white counterparts are Oleg Tselkov's first and only experience of transferring his characters into small sculptural plastic. In other words: he had plates, vase, dishes and even a porcelain egg, but there the technique of transferring flat images was used. Tselkov had volumetric plasticity only in porcelain and bronze.

1971 — Steinberg's Moscow-Tarusian period. A light, airy, luminous piece. Figurative basis dominates in this work. Although if you look closely, the background on which the bird flies is dissected by a geometric element, typical of the artist's Suprematist line.

«Moscow Morandi» Vladimir Weisberg is one of the main and most expensive artists of unofficial post-war art. He was a loner. Weisberg used to say that “the only thing I have in common with my contemporaries is a wall”.

Rare in mood Belenok. The inventor of “panic realism” suddenly turned to a warm, optimistic plot, even if not without a slight melancholy. The author's title is “Sheer Joy”. Where did this come from? One might speculate. The year of 1987 was a time of hope and optimism.

Russian Bosch. Leonid Purygin. Or “Lenya Purygin the Genius”, as he later wrote. In Nara, in Naro-Fominsk, in the local palace of culture there was a drawing circle, which became all Purygin's universities. The artist is loved and appreciated as a creator of amazing fairy-tale worlds, where good magic neighbors with hellish images.

“The Moon with Letters” is an uncommon, conceptual subject in the work of the sixties artist Vladimir Nemukhin. We are used to card tables and jacks. And here the moon, and also strange syllables. We can assume that this is a dialogue with Velimir Khlebnikov, a reference to the poetry of the Russian avant-garde.

One and a half meter Steinberg of amazing beauty and the highest museum level. This is a classic subject for one of the main representatives of the second avant-garde. The laconic language of Suprematism, a dialogue with Malevich, but at the same time a very special aestheticism. No wonder one of his first teachers was “Petrovich” — Boris Petrovich Sveshnikov.

The context is important here. Remember, what is 1979? In the “decaying West”, there is a computer revolution. There is an incredible seething of energies, a passionate explosion. In the U.S., there is a consumption boom. At the same time, in the USSR, the era of stagnation is in full swing. Propaganda on the background of growing scarcity. But at the same time, 1979 was a time of rapid scientific and technological progress and a paradoxical flowering of culture! Such a strange time of disappointments, successes and hopes. And all these fears, doubts and optimism became part of the large-scale work of Petr Belenok — the creator of the unique concept of “panic realism”.

Nemukhin's original super-elephants exist in many designs. There are even exotic pink elephants. I suppose that initially the construction of Suprematist symbols should have been called “SUPRE-elephant”. But in our latitudes, the elephant became Russified and turned into “super”. This program plot without cards was much beloved by collectors. Everyone wanted one of these.