A ceramic figure of a young girl, Dmitri Semenovitch Stelletski, circa 1910

depicted seated wearing a long sarafan with zig-zag pattern, her arms enfolding a scarf, with impressed signature "Stelletski" and N5

There is a firing crack running along the right ankle measuring approx. 6cm long, and further smaller firing cracks in places. The figure appears to be varnished and painted on top of the glaze and there is craquelure to the top coat of varnish.
"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 the State Tretyakov Museum catalogue Sculpture and drawings by sculptors of the end of XIXth - early XXth centuries, Moscow, Sovetskiy Khudozhnik, 1977, the section devoted to Stelletsky lists some of his better known polychrome works including the bust of Leonardo da Vinci, 1906, The Devel Sisters, 1907, the portrait of the artist Alexander Golovin, 1908 and the busts of Kuzma Prutkov, 1900, Ivan the Terrible, 1905 and Marfa Posadnitsa, 1910. Plaster, bronze and wood, seem to have been the artist's favourite mediums. He used plaster frequently when working on sculptures inspired by ancient Rus' as it gave him greater freedom of expression. The photograph of Stelletsky, dated 23 december 1932 (sic) is taken at his home in la Napoule in the south of France, (fig.1). It shows how deeply he was artistically bound to Medieval Russia as visible in the photograph are works by the artist, including painted frescoes and furniture. Also shown just behind the artist is the offered lot, the ceramic figure of a young girl. This figure of a young girl, shown seated with her knees and arms curled together is close to his sculpture of Marfa Posadnitsa.