Lot 141
  • 141

Philip Andreevich Maliavin

Estimate
220,000 - 280,000 GBP
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Description

  • Philip Andreevich Maliavin
  • Three Babas
  • signed in Latin l.r.; further signed in Latin and inscribed 73 rue des Vignes, Paris on the reverse
  • oil on canvas
  • 81.5 by 100.5cm, 32 by 39 1/2 in.

Provenance

Collection of Catherine Linton, New York
Thence by descent to the present owner

Condition

Original canvas which is slightly slack on its stretcher. There are frame abrasions with some associated paint loss. The surface is covered in a layer of dirt and uneven varnish. There are very fine cracks throughout. There is an area about 10cm below the figure's hand on the right edge where craquelure is slightly raised, with some associated paint loss. Inspection under UV light reveals a layer of discoloured varnish which is uneven in places, particularly to the areas of impasto, as well as some scattered retouching along the left edge. Held in a 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."

Catalogue Note

Three Babas comes to auction from the family of Catherine Linton, a Russian-born aristocrat who spent much of her life in Paris, deeply involved in the arts.

Maliavin grew up in the village of Kazanka in Samara province. The vivid and intricately patterned textiles seen in Maliavin’s work directly reflect the Kazanka peasants’ traditional clothes, while infusing an infectious cheerfulness. In Three Babas, the women are a jumble of rich colours and patterns; they are larger than life, filling the canvas to the edges and dwarfing the monastery and windmill in the distance. Most likely painted after Maliavin’s emigration in 1922, the work offers a nostalgic glance at the artist’s homeland.