Nikolai Konstantinovich Roerich

The collection of P.A.Pletnev, St Petersburg
Acquired by the grandfather of the present owner in St Petersburg in 1910

Moscow, VII Exhibition of the Union of Russian Artists, 26 December 1909 - 8 February 1910
St Petersburg, VII Exhibition of the Union of Russian Artists, 21 February 1910 - 31 March 1910
Brussels, Palais des Beaux Arts, Exposition d'Art Russe, ancien et moderne, May - June 1928, no.827

Ogonek, 16/26 May 1909, no.20 p.17, illustrated and titled Steny Putivlya - Plach Yaroslavny (Knyaz' Igor)
Exhibition catalogue VII Exhibition of the Union of Russian Artists, 1909, p.20 listed
Yu.Baltrushaitis et al., Rerikh, Petrograd: Svobodnoe iskusstvo, 1916, p.216 listed
S.Ernst, N.K.Rerikh, Petrograd: Obshchina Sv.Evgenii, 1918, pl.50 illustrated, titled Knyaz' Igor / Gorodskaya ograda, 1909
F. Grant et al., Roerich, Himalaya, A Monograph, New York: Brentano Publishers, 1926, p.190 listed
Exhibition catalogue Palais des Beaux Arts, Exposition d'Art Russe, ancien et moderne, Brussels, 1928, p.78, no.827 listed
E.Yakovleva, Teatral'no-dekoratsionnoe iskusstvo N.K.Rerikha, Samara: Agni, 1996, p.116, illustrated (incorrect dimensions and later provenance)

 

The paper has been laid down on board, the corners of which have been cut round. The board is slightly bowed. The paper has become detached from the board in the bottom corners and is undulating in these areas. There is a tear across the signature in the bottom left corner, and a smaller tear in the bottom right corner. There is another small tear to the centre of the bottom edge. Cardboard strips have been glued to the edges in order to protect the surface from the glass. Areas in the foreground and the central tower show signs of minor rubbing, the pigments appear fresh otherwise. Held in a gold painted wooden frame behind 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 1909 production of Prince Igor was among Roerich's very earliest collaborations with Diaghilev and the Ballet Russes. His set designs were a tremendous success. 'This will make you great' predicted the director, Alexander Sanin. 'If you had never been born, we would have needed to create you in order to dream up Prince Igor'. Valentin Serov was equally impressed by Prince Igor and wrote to congratulate Roerich on the success of his Paris set designs. A number of variations for the Polevetsian Camp are known, but the present work is a rare example of his design for Act IV, Yaroslavna's Lament. Acquired in Russia over a century ago, it has remained in the same family collection ever since. It was the only work by Roerich to have been included in the 1928 Brussels exhibition.