- 106
Alexander Mikhailovich Rodchenko
Estimate
50,000 - 70,000 GBP
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Description
- Alexander Mikhailovich Rodchenko
- Study for Construction
- signed in Cyrillic, numbered 7 and dated 1921 X l.r., further bearing various exhibition labels on the backing board
- crayon and pencil on paper
- 47 by 31.5cm, 18 1/2 by 12 1/2 in.
Exhibited
Paris, Galerie Jean Chauvelin; London, Annely Juda Fine Art; Milan, Galleria Milano; Basel, Galerie Liatowitsch, The Non-Objective World 1924-1939, 1971-72, no.147
Literature
Exhibition catalogue The Non-Objective World 1924-39, Milan: Electa, 1971, p.140, no.147 listed; p.141 illustrated b/w
J.Dowling, D.Elliott, A.Lavrentiev, Alexander Rodchenko. Works on Paper, 1914-1920, London: Sotheby's, 1991, p.41 illustrated
J.Dowling, D.Elliott, A.Lavrentiev, Alexander Rodchenko. Works on Paper, 1914-1920, London: Sotheby's, 1991, p.41 illustrated
Condition
The work is executed on a thick sheet. There are a number of professionally repaired tears, notably: a horizontal tear approximately 9cm in length to the centre of the right edge and two further tears to the edge below, and two smaller tears on the bottom edge. All four corners have been restored. The right edge is uneven. The sheet has discoloured and there are handling marks to the edges and in a number of places elsewhere. There are scattered spots foxing, and some areas of smudging to the sheet and pencil lines in the centre. There are some light scratches and abrasions to the surface of the sheet in places. The sheet is hinged to the mount in two places to the top edge. Held in a painted wooden frame behind glass. Unexamined out of frame.
"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."
"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
The present work dates from 1921, the year Rodchenko abandoned painting to focus on design and photography. Two years earlier, he had embarked upon a series of paintings and graphic works based on the concept of the line, which he titled Linearism. In his theoretical writings, he explained that he saw the line as the basis of any construction: ‘By giving primary importance to line… the aesthetic value of colour, faktura and style has been denied' (cited in Alexander Rodchenko. Works on Paper, 1914-1920, p.16).
Other works from this series are published in the catalogue of the 2009 Rodchenko and Popova exhibition at Tate Modern (Rodchenko and Popova: Defining Constructivism, London, 2009, p.82).
We are grateful to Alexander Lavrentiev, grandson of the artist and Professor of the Stroganov Moscow State University, for providing additional cataloguing information.
Other works from this series are published in the catalogue of the 2009 Rodchenko and Popova exhibition at Tate Modern (Rodchenko and Popova: Defining Constructivism, London, 2009, p.82).
We are grateful to Alexander Lavrentiev, grandson of the artist and Professor of the Stroganov Moscow State University, for providing additional cataloguing information.