Nicolai Fechin



https://goo.gl/photos/EGp5kM7pt1WJEZQH7

131 Bent St




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Nicolai Fechin Paintings from +Robert Parsons Galleries


https://goo.gl/photos/xeGYigMEHAUyRnuh9
"Indian Girl with Lean-To" by Nicolai Fechin


Nicolai Fechin 1881-1955 

Nicolai Fechin is the most internationally famous artist of the early Taos Art Colony.
His work is highly sought by collectors worldwide, especially the United States, Russia, and China.
The Taos mountains reminded him of the beauty he had seen in Siberia.
"He painted with fervor."  "He had found an American home."

Click below for more Nicolai Fechin Complete and Original Artworks

https://sites.google.com/site/parsonsfineart/home/nicolai-fechin/fechin-prints

https://sites.google.com/site/parsonsfineart/home/nicolai-fechin/more-fechin-prints

https://sites.google.com/site/parsonsfineart/home/nicolai-fechin/nicolai-fechin

https://sites.google.com/site/parsonsfineart/home/nicolai-fechin/fechin-charcoals

https://sites.google.com/site/parsonsfineart/home/nicolai-fechin/Nicolai-Fechin-Biography




parsons fetchen, 2/15/08, 2:48 PM,  8C, 2808x3996 (2544+3924), 150%, Repro 2.2 v2 l,  1/30 s, R82.8, G76.5, B98.2
https://goo.gl/photos/Gq7NAkBq13nSjXwx5
 
 SOLD  SOLD
"The little Russian Girl"  "Portrait of the artist’s father"
Oil on canvas, 24.7 × 16.2cm Oil on canvas, 64 x 37cm 
   
 
https://goo.gl/photos/TtwFheFQCnm6JeEM8


https://goo.gl/photos/py9F3PGxPFxDVSES6

 SOLD  SOLD
"Portrait of Marucia, a Russian singer" "Portrait of a Young Girl"
 Oil on Canvas,  24.1" x 20" Oil on Canvas,  8.5" x 6"
ca. 1930–1939 
   
 
https://goo.gl/photos/2tpW25YsqVvYojeX7
 
https://goo.gl/photos/n8TqmEPrrTCkJBYi9
   
 SOLD  SOLD
 "Indian Girl" "Florence Wiczus"
ca. 1927 - 1933  Oil on board, 20" x 22" 
   
 
https://goo.gl/photos/txLHG7g2a46LD71Z6
 
https://goo.gl/photos/3oPqYzx1NYqexqgy5
   
 SOLD SOLD
 "Portrait of Shelia Wardell" "Girl in a orange Dress"
20" x 16"
Oil on Canvas
   
   
 
https://goo.gl/photos/DQRgEiWUJx2NDe9T9
 

https://goo.gl/photos/UNn6nAdM57KbMXNPA
   
 SOLD SOLD 
 Watercolor
   
 
https://goo.gl/photos/34jxn8YPTh5cKzpP8
 
   
 SOLD  
 "Native American Necklace"  
 Oil on canvas, 51.5 x 41cm  
 
https://goo.gl/photos/69m1KntnJTHCd8Pi6
 
https://goo.gl/photos/NVac2RdEw7iUieVJ7
 
   SOLD
"Philosopher"  "Old Pueblo Man"
Charcoal, 15" x 10"
 1920  
   

https://goo.gl/photos/zm1XuMVXGNbk2tBc9
 



https://goo.gl/photos/cDBNX2R4XTN9Q8YJA


   SOLD
 "Mexican Grandma"   "Young Woman"
 After 1936  
 
OLYMPUS DIGITAL CAMERA
 
https://goo.gl/photos/QeJvoboR5g4xxZx57

 
 SOLD  SOLD
"Laughing Man with Mustache"

 "Laughing Boy"
 
 
 
https://goo.gl/photos/1KaAnFMn22duHaPdA
 
https://goo.gl/photos/pEFiLNEaJVeYb5Zc6
 
 
 "Mexican Girl"
 
 
https://goo.gl/photos/t2mxC4voKNKhBW1N6
 
   
 SOLD
 "Head, Indian Girl"  "Boy in a Straw Hat" 
  Pencil on paper, 10.5" x 8.25" 
   
 
OLYMPUS DIGITAL CAMERA
 
https://goo.gl/photos/wTL1twR8SoZgdWWx9
   

 SOLD
 "Mexican Man"  "Eya"
   
 


https://goo.gl/photos/GHGFi9V41yqmKNgW9

 
https://goo.gl/photos/9MWF4hWo6T9go8Br7
   
  SOLD  
"Portrait of Florence"  "Portrait of Alene von Harringa"
   Charcoal on paper, 16" x 12"
   
   
Nicolai Fechin's Art and Life in Taos:

Nicolai Fechin's art revealed the creative energy, beauty, unique identity,
morality and dignity of the indigenous Peoples and the very Earth itself.
Fechin teaches us to "see" reality.

https://goo.gl/photos/mLzq7cy8U4JBPswN9

"Taos Pueblo" by Nicolai Fechin

The Importance of the Special Quality of Light in Taos:
The high desert and mountain light is brighter in Taos, enabling artists to better "see" the details and shades of colors.
"The first step for the artist (is) to learn to see these primary colors and to distinguish them separately one from the other."
- Nicolai Fechin
His daughter Eya said  "He loved the place (Taos). He had found an American 'home'. He said the Taos mountains reminded him of the beauty he had seen in Siberia. He painted with fervor."  "New Mexico encouraged him to paint landscapes. Like all the Taos artists, he appreciated the light of Taos."  -Eya Fechin

https://goo.gl/photos/f52rqSNdq44tySwFA
Nicolai Fechin's "Eya"

"Fortunate indeed is the collector or museum that has a painting done during this period of Fechin's continued growth."
- Northridge biography
The Art Works that Fechin created in Taos, are thought to be among his best.
Fechin's Drawing Technique in Taos, his palette, his unique methods of layering colors rather than mixing them, his juxtaposition of colors, his fading from realism to abstraction and back again, all reveal his deep appreciation of both the Native American Indian Peoples and the Life of our planet.

Fechin's portraits from Taos, his renditions of the Native American Indians and his visions of the high desert New Mexico landscape, are believed to be some of his greatest works.

https://goo.gl/photos/p2Mz8uSh7hBX96vN6
Nicolai Fechin Taos Landscape - "Mountain in Winter"

Fechin, the Russian-American Artist, achieved the highest honors and recognition across two continents during his lifetime.
Later, his fame would expand worldwide.
After creating several large historical master pieces in St.Petersburg,
in 1904 portraits became increasingly more important for him.
He was commissioned to paint Lenin (in 1918), Karl Marx, Frieda Lawrence, Willa Cather,
Mabel Dodge Luhan, artist Eleanora Kissel, Duane Van Vechten and Lillian Gish, as well as American Generals, including Douglas MacArthur.

While he lived and worked in Taos, Fechin's palette changed, brightening with his appreciation and growing love.
He used different backgrounds (even cottage cheese and rabbit skin glue) to achieve high gloss or matte to underlie his colors.  He reduced the oil content of his paints. His palette included Lead or Zinc White (which he used with caution to minimize cracking), Yellow Orche, Cadmium Yellow, Vandike Brown, Burnt Sienna, Mineral (Maganese) Violet, Rose Madder, Emerald Green, Ivory Black, Mussini Sunproof Rose, Cerulean Blue and Ultramarine Blue.
He did not varnish his paintings.

"He felt particularly close to the Indians and his greatest American works were of Indians," Fechin's daughter and only child, Eya
said.  "He thought Pueblo Indians possessed the same spirit as well as other qualities of the Tartars of his homeland. He always painted his Indians as they were, never creating artificial scenes with non authentic props."

https://goo.gl/photos/9SPAo2uGkD4Ye9A39
Nicolai Fechin Indian Portrait
"Young Native American Boy"



https://goo.gl/photos/M5adrNWBSad8gTuY6
"Head, Indian Man"  Nicolai Fechin Indian Portrait

Fechin also achieved much deserved, world wide recognition for his landscapes.

https://goo.gl/photos/TB3bXDvRZtwbDrED8
"Cabin in the Woods"  - Nicolai Fechin landscape


“He would begin by looking at an empty canvas.  He would look at it and say, ‘This is a beautiful space and the only job of the artist is to fill that space in with harmony and balance.’  - Eya Fechin

Eya, Fechin's daughter, grew from, “being my mother's little girl... to my father's closest friend."


About the Nicolai Fechin House, Eya said, "The house is the masterpiece of the collection. It really has to be looked at that way.”  But after suffering terribly from his divorce, Fechin stopped building.  The Fechin House in Taos, New Mexico is the only home he ever built.  It was beautifully repaired by Taos Pueblo Indian Joe Martinez.  The Fechin House and studio are open to the public.  The Fechin House and Parsons Galleries are all located within walking distance in the Downtown Taos Historic District.

Nicolai Fechin House photo by Bill Johnson


Nicolai Fechin's Daughter,  Eya Fechin

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One of the greatest influences on Fechin's life was his beautiful wife, Alexandra Belkovitch (1893 - 1983),
the daughter of the director of the Kazan School of Art.  She was buried in Taos, at the Taos Art Museum. In his deep love, Nicolai named her "Tinka".  She managed everything for Nicolai, freeing him to create his Art Works.
Nicolai would suffer tremendously from his divorce, triggered by a public outburst of anger at her.


Nicolai Fechin's Wife
Alexandra Belkovich In Taos, ca. 1928
(from Forrest Fenn Archive)

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Fechin's Original Charcoal Drawings: 

Fechin painted with his charcoals (obtained from J. M. Paillard Co., Paris), sometimes holding them like a brush.  And he spared no effort to obtain the highest quality handmade paper from China.  Fechin's special paper was sometimes delivered by his friend Milan Rupert.  Other times he purchased it from Chinese dealers.  The qualities and uniqueness of each sheet of paper delighted Fechin. His masterworks could only have been created with this special paper. The paper's thinness imposed its own discipline, but the results are magnificent. Fechin's realism is beyond photography. The radiant bright highlights were produced with an eraser or sometimes white chalk, other times the unique paper was left empty. These Art Works must be seen in person to be truly experienced.  Fechin's charcoals were very thin, but he sharpened them even more,  making them so thin he had to make special holders for them.  But the precision, craftsmanship, realism and results are unequaled.

https://goo.gl/photos/ida5MbLJbWiV33Xg8
"Frank Waters"
Nicolai Fechin Portrait in Charcoals

Noted Author Frank Waters said of Fechin's Paintings,
"How they shout and sing! No man... has his intensity of color. Few can equal his masterful draftsmanship.
Whatever his subject, Fechin’s work is stamped with his immediately recognizable style."

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Parsons does not offer Nicolai Fechin reproductions or commercial copies of prints of Nicolai Fechin,
because no print or photograph can compare to the real Art Work.
 Parsons invites you to visit the Galleries in person to see the unmatched beauty of the real Art Works.
Parsons Galleries and the Fechin House are within easy walking distance.
Please call for current inventory or any questions.
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Nicolai Fechin Quotes:
Nicolai Fechin's Technique, Art and Life, and Painting Secrets:

https://goo.gl/photos/d3QbjWePyTxNexT78
Nicolai Fechin "Self Portrait"

Fechin explains the source of lasting value in Art:
"A high degree of expertise in technique has always had, and always will have, a predominate place in art.
 The subject, in itself, has value only according to the mode of the day. Tomorrow it will be superseded by a new fashion or fad. With the passing of time, the subject loses much of its meaning. But the fine execution of that subject retains its value.”
- Nicolai Fechin

Fechin demonstrates the diffence between Technique and Truth:
"Technique should be considered only as a means to an end but never as the end itself. To me, technique should be unlimited, fed by a constant growth in ability and understanding. It must never be mere virtuosity but an endless accumulation of qualities and wisdom."  - Nicolai Fechin

Novelty needs a purpose:
"The appearance of a truly new idea in art is always valuable,
but only when it aims at fulfilling itself in an accomplished piece of work."  - Nicolai Fechin

Fechin worked to encourage beginning artists:
"All creation is personal and belongs to you alone. The teacher must not touch this. His main reason for existence is to see that the work of the student is well thought out and constructively organized."  - Nicolai Fechin

The importance of practice and experience:
“No one can teach you how to paint and how to draw except you yourself. You cannot learn how to paint by watching a well-trained master painting, until you yourself, have learned how to paint with some understanding first. Only by the path of much practice and experience can mature results be reached.”  - Nicolai Fechin

"The beginner is always tempted to take the path of least resistance. He usually takes as his model the reproductions of some fashionable painter and copies them, believing that by doing so he acquires knowledge. Such a beginning is unsound, because it starts with the end product of the original work- the finished results of an artist’s long and patient toil. Superficially absorbing the final expression, the student bypasses the process of attaining these results and does not comprehend at all the work of creating."  - Nicolai Fechin

"My way of drawing and painting can be taught only through direct visual perception and it is almost impossible to describe it. An attitude toward painting and a few technical fundamentals can be discussed, however- but always with a warning not to take my observations in an overly literal or rigidly set manner..." -Nicolai Fechin

Value in Art comes from creative ideas:
"Before defining his own field of work, it is essential for the beginner to acquire a great a variety of knowledge as possible. The more consummate his technique, the easier it will be for him to free himself from all dependence upon a subject. What an artist fills his canvas with is not so important. What is important is how he does it. It is sad if an artist becomes a slave to the object he seeks to portray. He must be able to deal with it according to his own point of view. In other words, the portrayed object must serve as nothing more than an excuse to fill his canvas. Only then does his work acquire value for an artist, when it passes through the filter of his creative idea. Therefore, a beginner must always avoid the conventional, whether it is color, line or, above all of course, in the choice of the subject itself." -Nicolai Fechin

Fechin outlines his secrets to creating colors:
"Any standardization is negative in its meaning. If conventional shades and colors are used, the ability to see them in reality is lost. It is essential that the artist should regard every new painting as an entirely special world of color, light, form and line. Every new canvas is a completely new challenge" - Nicolai Fechin

Fechin on the importance of learning to "see":
"As a matter of fact an artist has to deal with only three basic colors: red, blue, yellow (all the rest are combinations of these fundamental colors). Everyone knows this, but few pay attention to the fact. Thus the first step for the artist to learn to see these primary colors and to distinguish them separately one from the other." -Nicolai Fechin

Fechin explains how he builds colors:
"The beginner usually endeavors laboriously and literally to match colors he sees (or those he imagines) by mixing endlessly the paints on his palette, and the results are dirty and dead. Everything which is alive reflects color and every reflection is a vibration. Hence, if one wishes to produce this living vibration one must resort to the use of pure basic colors and “build” with them in such a manner as to give this living effect and vibrancy."  -Nicolai Fechin

"For my own work, I do not like to use medium. This dissolves the paints too much. The pigments mix together and cannot retain their individual distinctiveness and thus again lose much of their fresh intensity."  - Nicolai Fechin


Fechin explains some differences between Novelty and Art:
“Artists and critics compete with each other in their endeavors to destroy the traditional approach to the fundamental principles required for the careful technical execution of any work. In their mad pursuit of novelty, they do not have enough time for a conscientious development of their ideas and, as a result, they have had to make legitimate that which I would call “illiteracy” in the arts."  - Nicolai Fechin

“Concept or rendition: which is more important? That is a basic question in art. In the first case it is frequently said: “Not badly conceived but poorly executed!” Such evaluation is no credit to an artist. On the contrary, fine workmanship makes one forgive even triviality. In such cases it is said: “Stupid, but devilishly well executed!”  - Nicolai Fechin

Fechin shows how all parts work together:
"The artist must never forget that he is dealing with the entire canvas, and not with any one section of it. Regardless of what he sets out to paint , the problem remains one and the same. With his own creative originality, he must fill in his canvas and make of it an organic whole. There must not be any particularly favored spot in the painting..."

Fechin explains the training of a Master Artist:
"An artist should work every day with what is at hand"  ". . . It is necessary to exercise the hand and the eye the same way it is necessary for a musician to exercise every day his hearing and his hands." (Fechin, The Builder, 1982)  - Nicolai Fechin

Fechin reminds us of the powers of creativity:
"I have been asked which of the arts I consider most important. For me, no one particular art is greater than another. I can only say this; when you find yourself in the presence of creativeness…take off your hat."  - Nicolai Fechin

Fechin the Prodigy:

https://goo.gl/photos/V2A4HSRj7phYnMrh7
Nicolai Fechin as a student

Fechin's fame has spread world wide to all continents.
He was a genius from youth, a child prodigy who never stopped growing.
He was enrolled at the Art School of Kazan at the age of 13.
He achieved the highest recognition and art awards while he lived.
For educational purposes and to show the recognition Fechin achieved during his lifetime,
Parsons presents the NORTHRIDGE Biography of Nicolai Fechin © 1946:

"NICOLAI FECHIN is a quiet man, slight…a little below average height, whose physical bearing is distinguished by two very interesting characteristics. His eyes glow in there deep sockets with something of the brilliance one finds in his paintings… and his hands are sensitive and delicate.

Born in Russia in 1881… his life has been full of every kind of experience an artist could desire to give depth and richness to his color… to give sensitiveness and understanding to his drawing.  Fechin has made the most of his heritage in art; today, "his eye is not dimmed, nor his natural force abated."

To those students who have had the rare privilege of studying with him… it is a never ceasing source of wonder that his criticism goes immediately to the inherent weakness in the painting or drawing before him… that he cannot be led astray by surface technique or tricks… that his praise is as slow in coming as it is sincere when merited.

When Nicolai was thirteen years old he embarked on his greatest adventure… his father enrolled him in Kazan's new Art Academy.  For six long years he was grounded in the  fundamentals of his art, his only release being summer vacations.  These he spent drinking in the natural beauties of the country, riding deep into the dark forests, or mingling with the peasants in the primitive Tartar and Cheramis villages.  At nineteen, eager and ambitious… his hope for the future was not denied for he won a scholarship to the great Imperial Art Academy in St. Petersburg.  A sharp transition for an impressionable young man, but Fechin was not daunted by the terrifying magnificence of the capital of all the Russias.  Seven more years were spent in serious study, winning honors as he progressed… yet he was not so much the esthete that he did not enjoy the traditional pleasures of student life.  Then after completing his training with the Russian master Ilya Reptin,  Fechin in his 29th year, won the Prix de Rome,  a traveling scholarship as well as his official degree.  Mark this well, you who study art for three years and feel that you are masters of your craft.  Nicolai Fechin did not consider himself an artist or draughtsman until he had completed 14 years of rigorous training.

With the money from his award Fechin spent the next months in a leisurely trip through Austria, Italy France and Germany, his quick mind retaining the truly great art he saw… and discarding that which found no responsive chord in him.  His paintings were exhibited widely, in Europe and the United States; he won many awards and much critical acclaim.  His fame spread rapidly.

These were busy days for Nicolai Fechin and it was during this time that he married Alexandra Belkovitch, daughter of the founder of the Kazan Academy.  Soon a little daughter, Eya, was born.

Tumultuous years followed, not from any desire on the artists part… rather the whole world was torn apart by the cataclysm of World War 1 and its consequent unrest.  Somehow, Nicolai Fechin fought through and emerged, mature, assured, and very much in need of a place to work quietly and without disturbance.

For many years friends in the United States,particularly Mr. and Mrs. William Stimmel of Pittsburgh, tried to bring the Fechins to America… and finally they were successful in their efforts.  The Stimmels, by the way, should be given credit for introducing Fechin's art to America for they were the first to acquire and exhibit his paintings.

His first exhibits in America were in New York and in Chiago at the Art Institute in 1925.  Since then he has been invited to and has shown in all American Exhibitions of any consequence.

To list all of Fechin's medals and awards, would take too much space in this brief biography.  Suffice it to say that the coveted Thomas Proctor Prize for the best portrait at the National Academy of Design, awards at the Philadelphia Centennial and the World's Fair in San Francisco are typical.  Fechin today is not as prone as he used to be to send paintings to exhibits; perhaps this is due to the steady sale of his paintings and drawings to an appreciative and increasing list of men and women, who not only like the things he does but want to own them as well.

In 1927 Fechin moved west.  For several years he lived at Taos, New Mexico, and it was here amid the grandeur of of mountain and desert that some of his greatest works emerged.  He felt an affinity for the simple honesty of the Indian and Mexican… and their inherent dignity and colorful costumes stimulated and excited him.  Fortunate indeed is the collector or museum that has a painting done during this period of Fechin's continued growth.

In 1934 he left his beloved Taos and settled in Los Angeles.  Here he has resided ever since except for the trips during which many of the drawings contained in this portfolio were conceived. During 1936 he traveled through Mexico and in 1938 the magic of his brush caught the splendors of Japan, Bali and Java.

Here in the western United States Nicolai Fechin has been warmly received.  Here he continues to draw, paint and receive awards.

Here, too, he teaches and gives of the knowledge that is his, to a group of eager students who find in this man's mastery of his art an incentive and an inspiration that enriches without dominating… that guides without constriction… that gives to all… an enlarged concept of painting and drawing."

Fechin's Mentors, Teachers and Students:
- Across Two Continents -
His ‎Pedagogy and Career in Russia and America

https://goo.gl/photos/WndEFvwVsNSFjLDn7
Nicolai Fechin Artist Portrait

Fechin trained Peter Kotov (1889-1953), who then went on to teach Sergei Bongart (1918–1985).  Bongart then taught Don Sahli.
Fechin studied under Filipp Malyavin (1896-1940), who showed him use of bold, masculine and wide, nervous brush strokes, and the use of his fingers to enhance the texture the paints.
He was taught by Ilya Repin from 1900 to 1909 at the Imperial Academy of Fine Arts in St. Petersburg.  Fechin said that Repin "valued everything more or less original in the student. ... He not only saw the work of the artist, but his soul as well.”
Repin wanted his students' art to show the unvarnished reality of Russian life and to direct attention to social evils.
Repin taught Fechin to always focus on truth and morality, not novelty and aesthetics.
Fechin's Art teaches us to "see".
Fechin's body of work forever changed the world's perception of the life, culture and dignity of indigenous peoples,
and the very Earth itself.

https://goo.gl/photos/C2YTPFtKsQcxEk7U8
Ilya Repin  Self-Portrait
(State Russian Museum, St. Petersburg)

Filipp Malyavin (1896-1940)  "Self-Portrait"


https://goo.gl/photos/jQ73ATuR5dkw22rX7
Nicolai Fechin "Self-Portrait"

https://goo.gl/photos/5YM3tJf8fPk5kFqq5
Peter Kotov (1889-1953)

https://goo.gl/photos/gNfEXsjHZd5ppNHd7
Sergei Bongart (1918–1985)

Don Sahli


Nicolai Fechin Technique:

Fechin worked with stiff brushes, palette knives and even his fingers (he contracted lead poisoning that way).
His radiant, living effect was created by using multiple layers of paint over different back ground medias.
"Also for myself, I do not like to use medium. This dissolves the paints too much.
The pigments mix up together, do not retain their individual distinctness and thus again lose much of their fresh intensity."
Fechin tried to portray truth. His masterworks teach us to "see".

https://goo.gl/photos/Tf7wYq68mboVjtGY6
"Manuelita - with Intense Gaze"  Nicolai Fechin Portrait


Nicolai Fechin Across Two Continents:

Russia can not forget her prodigal son.
In 1976, Eya returned his ashes for burial in Russia.
Today the largest collection of his Art is at the Fechin Center in Kazan.
The Center honored him with a retrospective in 1881, marking the hundredth anniversary of his birth.
The Kazan Art School, Russia's premiere art school for more than 120 years,
has been renamed The Fechin Art School.
Fechin's great teachers of art and truth, Repin and Malyavin, were Russian.

Fechin Art School in Kazan

Yet, Fechin never returned to his beloved homeland.
But, in his heart, he never left.  He said,
“One comfort is that fate has divided my life between two great people.”
Concerning his love and admiration for America, he said,
“There is peace and freedom in their country. One can work, paint whatever one likes."
Fechin was awarded his American citizenship in 1931.

Nicolai Fechin Signatures:

Fechin began to sign his name in English soon after he arrived in the West.
Although he knew his signature was important, he felt his works of art best expressed himself.
Yet, every Fechin signature is a complete individual work of art in itself.
In Fechin's art, every brush stroke is saturated with his genius.
He said, "With his own creative originality, (the artist) must fill in his canvas and make of it an organic whole.
There must not be any particularly favored spot in the painting..."
For educational purposes, Parsons presents some signature examples.
 
https://goo.gl/photos/rEkK9pJMirsHVdaA6
 
https://goo.gl/photos/AWCJcWgTSWuNQNgn8
 
https://goo.gl/photos/5frFsGFys9CENhdD6
 
https://goo.gl/photos/XiLkPFqLc3fmk6fD7

https://goo.gl/photos/Pi12E1FTVaL2ZWH69

 
 https://goo.gl/photos/Gak1hoWd1cE5DStk7
https://goo.gl/photos/mkKZA2yy11eVVvXr5



 
 
https://goo.gl/photos/KhSJvuUw7QD94LKL9
 https://goo.gl/photos/mAiSxnpwcSDGSgEp8  
 

Nicolai Fechin Museum Collections Online
(Click on links below to view paintings)

Nude. 1916-1917 (?) Oil on canvas. Museum of Fine Arts of the Republic of Tatarstan

Portrait of Varya Adoratskaya, 1914, Oil on Canvas, From the collection of Museum of Fine Arts of Tatarstan

For Hire, 1900, Oil on canvas, From the collection of Museum of Fine Arts of Tatarstan

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Fechin Art and Paintings Recent Sales Prices:


"Tonita" $1,105,000  Oil on canvas 10/24/2007

"Friends"  $993,000  Oil on canvas   05/21/2008

"The Little Cowboy"  Oil on canvas  $10,817,000    12/02/2010

"BEARING AWAY THE BRIDE"  Oil on Canvas  $3,330,500   11/01/2011

"Portrait of Mademoiselle Podbelskaya"   $3,295,714   11/26/2012

"Portrait of Kate"  $587,302  Oil on canvas  06/03/2013

"MRS FECHIN AND DAUGHTER"  Oil on canvas $2,252,360  06/03/2013

Nude  Oil on canvas  $1,947,530  11/25/2013

"REBECCA SALSBURY JAMES"  Oil on canvas $125,000 05/16/2016

"PORTRAIT OF A YOUNG WOMAN"  Oil on Canvas  $100,000   06/09/2016

 "Portrait of a woman"  Charcoal Drawing  $10,980   03/21/2017

 "Portrait of a Woman with Yellow Head Wrap"  Oil on canvas  $46,130  02/19/2017

Nicolai Fechin's art continues to rise in value.

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Nicolai Fechin Original Oil Paintings at Parsons Now

Nicolai Fechin Original Drawings at Parsons Now

Nicolai Fechin Charcoal Drawings at Parsons Now

Parsons Galleries: Nicolai Fechin Painting Buyers, Exhibition Gallery and Museum

Nicolai Fechin Art for Sale

800 613 5091 to talk 



Nicolai Fechin Books, References and further information:
Edan Hughes, "Artists in California, 1786-1940"
Nicolai Fechin: Across Two Continents, Amy Scott, Gerald Peters Gallery. Edition
Fechin: The Builder, Eya Fechin, Santa Fe: Blue Feather Press, 1982 Eya Fechin with Moses Porter
Nicolai Fechin  Harold McCracken, 1961 The Hammer Galleries
Nicolai Fechin  Mary N. Balcomb, 1975 Northland Press
Nicolai Fechin - Persimmon Hill vol. 8 #3 various, 1978 The Cowboy Hall of Fame
SAMUELS' Encyclopedia of ARTISTS of THE AMERICAN WEST,
Peggy and Harold Samuels, 1985, Castle Publishing
The Vadeboncoeur Collection of Knowledge Jim Vadeboncoeur, Jr. 1998
Fechin, Alexandra. March of the Past. Santa Fe: Writers' Editions, Rydal Press, 1937
Waters, Frank. "Nicolai Fechin," Arizona Highways, February, 1952


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131 BENT STREET • TAOS, NEW MEXICO 87571
(575) 751 0159 • (800) 613 5091 • FAX (575) 758 8698

Please call the Gallery at (575) 751-0159 for current inventory or any questions