Lot 4
  • 4

Konstantin Egorovich Makovsky, 1839-1915

Estimate
500,000 - 700,000 GBP
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Description

  • Konstantin Makovsky
  • From the everyday life of the Russian Boyar in the late XVII century
  • signed in Cyrillic l.l. and dated 1868
  • oil on canvas
  • 93 by 109.5cm., 36½ by 43in.

Exhibited

St. Petersbrug, The Imperial Academy of Arts, 1868

Literature

F.I.Bulgakov, Al'bom russkoi zhivopisi: Kartiny K.E.Makovskogo, St. Petersburg, 1892, mentioned
F.I.Bulgakov, Nashi khudozhniki, St. Petersburg: Tipografiya A.S.Suvorina, 1890, vol. II, p.45

Condition

The following condition report has been supplied by: Hamish Dewar Ltd, Fine Art Conservation, 14 Mason's Yard, Duke Street St James's, London SW1Y 6BU tel + 44 (0)20 7930 4004, fax + 44 (0)20 7930 4100, hamish@hamishdewar.co.uk www.hamishdewar.co.uk Structural Condition The canvas has been lined and this is providing an even and stable structural support . Paint surface The paint surface has an even but very glossy varnish layer. Inspection under ultra-violet light shows a few small retouchings all of which appear to have been carefully applied and are only visible under ultra-violet light and not in natural light. The most significant of these retouchings are: 1) a thin vertical line running down through the centre of the painting, just to the left of the tray being held by the serving girl, which would appear to cover a seam in the canvas, 2) an area approximately 2 x 3 cms in the fold of the seated man's coat and an area measuring approximately 2 x 1 cms on the red pigment of the same man's tunic, and 3) small touches on and around the serving-girl's veil and other small spots and lines. Summary The painting therefore appears to be in good and stable condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

From the Everyday Life of the Russian Boyar in the late XVII Century belongs to Konstantin Makovsky's early period, which is renowned for its large historical canvasses. This painting is one of the artist's first treatments of the boyar theme, produced here as a genre piece. His subjects are not famous historical figures but rather characteristic types which demonstrate the lifestyle, costumes and habits of people in the distant past. It was, in fact, Makovsky's 'period drama' paintings that were most popular during his lifetime. The Russian aristocracy took particular pleasure in 'recognising' their ancestors amongst the handsome and noble boyars depicted by the artist, which somehow was meant to show their close connection to their Russian roots.  

 

Makovsky amassed a personal collection of items from Russia's ancient past: decorative artefacts: goblets, ladles and loving-cups, and costumes: sleeveless jackets, sarafans, and head-dresses. These were all used when working on paintings. Many important people later asked Makovsky for portraits of themselves wearing clothes from his collection. After the artist's death, items from this collection were put up for auction and sold over a period of four days.

 

The offered work depicts the ritual kiss, a ceremony which Russians performed for their guests in the 16th and 17th centuries as a token of great respect and friendship. It was a complex ceremony requiring the exchange of bows and the drinking of wine while toasting each other. After the feast the master of the household would order his opulently attired wife to approach the guest, kiss the cup of wine and then hand it to him herself. Sometimes, as a sign of special favour, the guest was permitted to give the lady of the house a kiss on the lips. This ritual formed the basis for the conflict in Aleksei Tolstoy's Prince Serebryannyi (first published in 1852). In 1895 Makovsky painted The Kissing Rite (fig.1). The canvas presented for this auction is his first handling of this subject and does not draw on Tolstoy's novel but is taken directly from the folk tradition. In this case, the picture probably shows a matchmaking scene or the ceremonial displaying of the bride; the girl shown is likely not to be the master's wife, but his daughter, as suggested by the difference in age. This explains many striking features of the painting: the girl's pale face and embarrassment; the intense interest with which the distinguished guest is examining the young beauty; the gesture of benediction made by the agitated lady of the house; the curiosity of the woman standing in the doorway, who could be the young noblewoman's nanny.  

 

The painting is one of Konstantin Makovsky's best works from the 1860s. The types and characters are varied, expressive and very accurately portrayed. The interior and still-life elements of the picture - the carpets, tablecloth, chair, costumes, staff and books lying on the bench - are all beautifully rendered. These combine to achieve a sense of illusion, and the still-life with the icons in the left-hand corner of the canvas is masterfully executed. This painting shows no sign of the careless brush which one sees in the artist's later works. What is more, the details of Makovsky's signature had taken on a definitive form by the time of this painting, and are entirely recognisable, for instance his characteristic slanting brushstroke. The artist's virtuoso ability to depict the texture of material sets this work apart: the silky down of the fur, the transparency of the veil, the play of light on the satins and silks, the relief of a pattern embroidered with gold thread. One feels the presence of a great master celebrating Russia's noble past with his ornate, decorative and somewhat theatrical canvasses.



We are grateful to Elena Nesterova for providing this note.