Lot 53
  • 53

Pavel Varfolomeevich Kuznetsov, 1878-1968

Estimate
200,000 - 300,000 GBP
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Description

  • Pavel Varfolomeevich Kuznetsov
  • Still life with carafe
  • inscribed in Cyrillic on the reverse
  • oil on canvas
  • 86.5 by 75cm., 34 by 29½in.

Provenance

The family of the artist
Thence by decent to the previous owner

Condition

Original canvas. The paint surface is slightly dirty and there are fine lines of craquelure in places. There are small areas of retouching in places and a few spots along the edges. Held in a simple slip frame. 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."

Catalogue Note

In 1910-11 Pavel Kusnetsov began to explore the still life, a genre in which he had previously not shown any interest. The first still lifes have unfortunately not survived and were never reproduced. The most important influence on Kuznetosv's still lifes were those by Matisse in the collection of Sergei Shchukin, which he would have seen on his frequent visits to the collector's house.

 The power of Kusnetsov's still life lies in his ability to order the formal elements to create a theme. In Still life with a Carafe the objects are united by line and colour to create a decorative surface. Executed in oil, Kusznetsov's preferred medium for still lifes, he paid considerable attention to the surface. Applying seemingly carefree strokes of paint, in places thick and rough, in others almost transparent, he creates a richness of texture and construction, a transfigured vision of the observed world.