Boris Mikhailovich Kustodiev

Marina Chaliapina
Sotheby's London, Russian Pictures, Works of Art and Icons, 5 December 1989, lot 125

There is a small hole to the bottom of the sheet and light creases to the upper half of the composition. The colours have faded. There are handling marks to the upper edge and two small spots of foxing to the skirt of the monkey. Held in a gold painted frame under glass. Unexamine dout 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."

Kustodiev and the celebrated bass Fyodor Chaliapin formed a close friendship during the years 1919 to 1921, before the latter left Russia. Chaliapin greatly admired the artist, writing: ‘I have known, in my time, many excellent and gifted men and women, but if ever I met a man of truly noble spiritual stature, it was Kustodiev. Among Russians of culture he is known as an outstanding painter’ (Boris Kustodiev, Aurora Art Publishers, Leningrad, 1983, p.264).

Kustodiev’s famous 1921 portrait of the singer set against a Shrovetide carnival caused a sensation, not least due to its monumental size (fig.1). In the lower left corner, the artist depicted Chaliapin’s daughters Marina and Martha, accompanied by his personal secretary Isay Devorishchin. The girls came to pose for Kustodiev in his studio, and Marina must have brought along her toy monkey, Kino, which never left her side and became quite a celebrity in its own right. Made by the renowned German company Steiff, the toy had been given to Marina at the age of three by her father’s lawyer Yura Valkinstein. In later life, Marina recalled how she took the monkey to one of Chaliapin’s performances at the Marinksy Theatre and, as it was not appropriate for her to clap too loudly, she rebelliously applauded with Kino’s aid, so much so that the toy’s paws had to be repaired.

Kino appears in Marina's arms in the final work (fig.2), and it is presumed the present watercolour was painted by Kustodiev during the family's intimate studio sittings which took place during the summer of 1920. Kustodiev offered the drawing to his young visitor, inscribing it 'To dear Marina, in remembrance of my first acquaintance with her Kino'. A charming depiction of a cherished childhood treasure, the drawing stayed with Marina Chaliapina until 1989 when it was purchased by the present owner.