Yuri Ivanovich Pimenov

The canvas is original and the paint surface is slightly dirty. There are small flecks of paint loss to the lower middle area of the central window. There are lines of craquelure to the lower right corner and the lower middle of the canvas, as well as minor lines of craquelure to the lower section of the painting featured in the composition. UV light reveals small spots of retouching to the curtain in the left section, with a few spots to the upper and lower right corners. Some pigments fluoresce under UV light. An uneven layer of varnish prevents further examination. Held in a black wooden frame. 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."

Pimenov carved an illustrious career in set design from the 1940s onwards, encompassing film, theatre and television, and was awarded the Stalin Prize in 1947 and 1950 for his work in this field. From 1945 until 1972 he taught art to the next generation of set designers at the All-Union Cinematography Institute (VGIK) in Moscow.

The present work is thought to be a set design for the play Under Foreign Skies (Diplomats) by V. Izakov, performed at the Central Red Army Theatre in Moscow in 1951. Although little record of the performance remains, Pimenov’s design instantly whisks the viewer into his vision of a dark dystopian future where power struggles are played against an image of jousting knights, in a vast city submerged by waters. Pimenov’s expert draughtsmanship lends drama and movement with the slightest of brushstrokes, a trademark of his style retained since the 1920s.