Nikolai Konstantinovich Roerich

Property from the Louis Horsch Collection

Thence by descent

Stockholm, Exhibition, 1918

New York, The Nicolas Roerich Exhibition, 1920-1922, no. 36

International Art Center, eds. Roerich, New York: Corona Mundi, Inc., 1924, illustrated (titled The Miser)

C. Briton, The Nicolas Roerich Exhibition, 1920-1922, New York: Redfield-Kendrich-Odell Co., c 1920, no. 36, as The Miser, painted in Sortavala, 1918

List of Paintings 1917-1924, (MSS in Roerich's hand), no. 7 as Stingy Lancer (study for set design), 1918

F. Grant, Paintings by Nicolas Roerich, a Monograph, New York: Bretano's, 1926, pp.  185-200, as The Miser, sketch of setting, 1918

The Nicholas Roerich Museum, Roerich Museum Catalogue, 8th Edition, New York, 1930, as Miser, 1919, Finland

The Miser, 1918, is an important early panel by Roerich. Influenced greatly by Eastern religion and spirituality, Nicholas Roerich devoted much of his output to humanity’s eternal search for spiritual truth and beauty. In works such as Confucius (see lot 124) and Lao Tze (see Lot 123) Roerich celebrates this link between humanity and a higher spiritual calling.  In sharp contrast, Roerich’s The Miser, reminiscent of the artist’s more theatrically themed works, explores a darker side of humanity.  The painting itself is clearly influenced by Roerich’s period as a theater design artist in the early 1900s.  With its illustrative style and cinematic frame, the work is a parabolic depiction of humanity’s obsession with tangible wealth and materialism.  Roerich uses the anonymous figure, obscured by shadows and turned away from the viewer, to represent the universality of greed. Despite the cooler colors which frame the painting,  the centered  wealth, with its glowing golds and oranges, exudes a feeling of warmth.  Roerich paints a story in this piece, combining his admiration of theater design with a commitment to exploring the complex psychology and spirtuality of mankind.

We would like to thank Daniel Entin, Director of the Nicholas Roerich Museum, New York and his colleague Gvido Trepsha, for providing the additional catalogue information.