Welcome to The McCarthey Gallery

The Thomas Kearns McCarthey Gallery is one of the foremost dealers in the United States dealing with Russian Impressionistic art.  The Gallery maintains an extensive inventory of collectible works by Russia's most respected artists during the period of 1930 to 1980.  The Gallery carefully selects paintings that are historically significant, original in composition, interesting in form and beautiful in their depiction of the human spirit.  We have been working in Russia for many years and have developed close personal relationships with many of the artists and their families.  Together with our associated gallery in Russia, Dacha Art, and our Russian partners, we maintain extremely close ties with the arts community in Russia and the former Soviet republics.  In addition to our Russian specialization, the TKM Gallery is proud to work with talented artists from other countries who have the spirit of the Russian art.

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November Silent Auction!

Vladimir P. Krantz, "The Mushroom Places"
19¾'' x 27½'', (50 x 70 cm), 1982, Oil on Board
Estimated at $5,500 to $6,500, Winning Bid $2,750 by N. Nero

Congratulations to L. Williams who placed the winning bid of $2,000 for October's silent auction painting, "Evening is Coming, by Georgy V. Kibardin, estimated at $4,500- $5,500.

For our November silent auction, we are pleased to offer a rare work, "The Mushroom Places" by one of the great Russian landscape painters, Vladimir Pavlovich Krantz.

Krantz painted almost exclusively landscapes and was a true master of the "lyrical landscape", a genre in which the landscape becomes a mirror for human emotions.

Krantz considered Nature as his main teacher and was drawn to the simple beauty of the Northern Russian forests and the seascapes of the Crimea. He preferred painting "ala prima," finishing his landscapes in one day. He painted with a unique eye towards nature's mystery, and his works rivet the eye by their romantic mood and masterful technique. Krantz had a special gift for capturing the special light that filters the Russian wilderness, each season bringing its own distinct glow and drawing the viewer into the landscape.

This is one of the few times we have offered a museum quality work by a highly respected and important artist in the silent auction. This is indeed a rare opportunity not to miss and a great way to start the Holiday Season.

We invite you to participate in this month's auction and thank everyone who placed bids last month. Estimated at $5,500 to $6,500, the current high bid is just 2,750! The next bid is 3,000, followed by minimum bidding increments of $250. Remember, there is no reserve, at the end of the auction the high bid wins!

Bids will be taken via telephone, or e-mail until 7:00 pm MST, Tuesday December 1st. Follow all the bidding updates on the Gallery's website.

Follow all the bidding updates on the Gallery's website.

Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid you will be assured you are not out bid at the last minute.

Vladimir Pavlovich Krantz
(1913-2003) Mozdok, Northern Caucasia

Vladimir Pavlovich Krantz was born February 17, 1913, in Mozdok, North Caucasus. His mother's origin was Cossack, and his father came from nobility. His ancestor, German-born Von Rosen Krantz, was exiled to the Caucasus after the December uprising in Petersburg in 1825.

Krantz showed his talent early when he began studying at the atelier of a local painter, A. Turbin. After finishing secondary school, he worked as a draftsman and received a recommendation to the Academy of Fine Arts in Leningrad (St. Petersburg). Just before the entrance exams, Krantz showed his sketches to the rector of the Academy, Isaak Brodsky, a prominent Soviet artist, who saw his talent and gladly admitted Krantz to the Academy.

Unfortunately, typhoid prevented him from entering that year. However, the next year in 1935 Krantz entered the Architectural department of the Leningrad Civil Engineering Institute and graduated in 1940. After graduating he worked as an artist-decorator and painted on his own.

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Russian & Soviet Impressionism
Russia's Rich Cultural Heritage

Russia's rich cultural heritage represents the best of human creativity. Its literature, music, visual and performing arts and architecture are among the most profound, compelling and beautiful expressions of the human spirit.

Much of this rich heritage is well known in the United States, such as the writing of Leo Tolstoy and Fyodor Dostoevsky, the music of Peter Tchaikovsky, Serge Prokofiev and Igor Stravinsky, the painting of Ilya Repin and Vassily Kadinsky, the architecture of the Kremlin and State Hermitage Museum and the dance of the Bolshoi Ballet.

Less well known in this tradition of creativity is the painting of the Russian Impressionist period, lasting from approximately 1930 to 1980. Russian Impressionism made an important contribution to the cultural heritage of Russia, but until recently, little has been known of its beauty and quality and its leading artists because of Soviet isolationism. During this period much of the cultural life in the Communist Soviet Union was denied Western exposure. The demise of Communism, the lifting of the Iron Curtain and the movement towards freedom and democracy of the newly formed Commonwealth of Independent States has allowed the world the opportunity to experience a unique and important historical past through the art work.

It is now being collected and recognized by art historians, museum directors, curators and collectors as some of the best art produced in the twentieth century. 

"Soviet Impressionism"- Vern G. Swanson

From a unique set of circumstances that would be impossible to duplicate, Soviet Art from 1930 to 1980 was the 20th century's major realist school of painting. It powerfully expresses itself with a simple clarity of pictorial language, consummate adeptness and truthful portrayal of life. The Soviet artist acted as a willing collaborator with and portrayer of the aspirations of society. This contrasted with Western models where artists were typically alienated from their community. Acceptance will come, using the Soviet phrase, because it is "historically inevitable". It is already to a certain extent here with the pictures from the period increasingly passing through the sale rooms of Europe and North America. This book should give wider understanding of this underrated but artistically exciting movement in Soviet art.

Read more about Russian Impressionism...