Pavel Fedorovich Tchelitchew

The Estate of the Artist
Acquired by the present owner from Richard Nathanson, 1990

 

There are pin holes to the corners of the sheet and above the sitter's head. The paper has discoloured and has slipped slightly in the mount. There is creasing to the lower right hand corner and the paper appears to have folded over onto itself. There are horizontal tears to the edge of the paper either side of the sitter's shoulders.There are small chips of paintloss in places e.g. on the left hand side the sitter's neck, above her left shoulder, and other minor flecks of paintloss in places elsewhere. There is some wear to the edge of the sheet and light scuffs to the paint surface in places e.g. to the top left hand quadrant. Held in gold painted wooden frame 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. 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."

 

The evocative eyes, raised brows and uneven mouth of this young subject are characteristic of the self-immersion and detachment noted in a stream of commissioned portraits by Tchelitchew from the mid-1920s onwards, for example Portrait of Margaret Anderson (1929). Patterned wallpaper and striped backgrounds are also recurring features in his gouache portraits of the period.