Yefim Royak

Collage on board. The board is sound. There are a couple minor scratches to the surface and the collage is slightly lifting at upper right, but otherwise the composition appears in good condition. Held in a modern wood frame and under glass. Unexamined out of rame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The youngest of Kazimir Malevich's students, Yefim Royak was one of the most devoted adherents of Malevich's program, introducing elements of the non-representational style of Suprematism into his graphics, paintings, and collages. Royak initially studied with Marc Chagall at the Vitebsk School of Art (1919), but after Malevich's arrival he soon became a member of Malevich's UNOVIS (Affirmers of the New Art) group. Royak contributed to the 1921 UNOVIS exhibition in Vitebsk, as well as to Die erste russische Kunstausstellung (The First Russian Art Exhibition) in 1922 and the Exhibition of Pictures of Petrograd Artists of All Directions, held in 1923. In 1927, Royak collaborated with El Lissitzky on an entry for a design competition. Influenced by the ideas of the Constructivist movement, Royak was an active contributor to the main architectural projects of the Vesnin brothers between 1934 and 1941.