Alexander Nikolaevich Benois

Sale: Christie's London, December 18, 1996, lot 91, illustrated
Acquired directly from the above sale by the present owner

M. Ghosn, Collection William Kazan: Objets de Vertu par Fabergé, Paris, 1996, p. 63, illustrated

Watercolor, gouache and pencil on paper. The surface is dirty. There are minor tears and paint loss around the edges. There is a small tear in the upper right corner. In overall fine condition. Held in a gold painted wood frame with matte and under 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.
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 plot of land where the Palace at Tsarskoe Selo was eventually built was a gift from Peter the Great to his wife Catherine in 1710. However it was her daughter Elizabeth who was responsible for commissioning Bartholomeo Rastrelli to convert the estate into the magnificent palace which we know today. The Great Chapel was completed in 1756, and with its sumptuous décor of gilt columns and richly carved reliefs against striking Prussian blue walls, the structure stands as a striking example of Rastrelli's brilliance.

Fearful of the destruction to Russia's cultural heritage which the Revolution would bring in its wake, Alexander Benois willingly accepted the Bolsheviks' invitation in 1917 to develop a policy for the preservation of the treasures of the former Imperial residences. He also continued to work tirelessly as a designer and illustrator, and towards the late 1910s he began a series of sun-suffused watercolors of the grounds and interiors of St. Petersburg's palaces including Peterhof and Tsarskoe Selo. Benois looked to the beauty and spirit of the past, admiring a world which had long since vanished. His watercolors became a vital contribution to the re-evaluation of Russian classical and Baroque architecture. By 1926, the cultural climate had altered significantly and Benois was forced to leave Russia. He returned to these subjects for inspiration in exile, reproducing them in the 1940s with an effortless virtuosity.