David Davidovich Burliuk

In the family of the present owner since the mid-1980s

This canvas is unlined and has a somewhat heavy weave. The picture surface is in generally good condition aside from a slight bump in the canvas along the lower edge and some minor abrasions across the canvas, which may have caused some very small pieces of impasto to break off. Under UV, there are no signs of inpainting.
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.

According to Katherine S. Dreier in her biography of David Burliuk that she wrote with his son Nicholas Burliuk (Burliuk, New York, 1944, Société Anonyme, Inc.  and Color and Rhyme publishers), Burliuk arrived in Japan on October 1, 1920 and was immediately successful at selling paintings. This enabled him to spend the winter of 1920-21 in the Bonin Islands,  a collection of barely inhabited tropical islands in the Philippine Sea.  He remained in Japan through the first half of 1922 leaving for New York in August and arriving on September 2 with more than 150 oil paintings (Dreier, p. 86-88).  The present lot was most probably painted during this period, accompanying him on the voyage to the United States where it would have been signed by the artist and subsequently sold.