Ivan Pavlovich Pokhitonov

Acquired by the great-grandfather of the present owner before 1926

O.Bertrand, Ivan Pokhitonov catalogue raisonné, 2015, vol.1, p.242, CQ 14, illustrated

There is some wear to the glaze at the rim. The painted surface of the plate is generally in good order with one surface loss or firing flaw close to the edge at 8 o'clock measuring approximately 3mm by 3mm. The mechanism for hanging has caused wear near the edge at the bottom. Could do with a professional clean.
"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 Paris Ceramics Workshop of Russian Artists was founded in 1875 on the initiative of Alexei Bogoliubov and existed until the early 1880s. Ilya Repin recalls the events of 1875: 'I tested the water with Polyakov [industrialist and art patron], who donated 1,000 francs for the initial expense, we rented a shared workshop and formed a society of painters' (quoted in E.Paston, 'The Paris Ceramics Workshop of Russian Artists', Tretyakov Gallery Magazine, 2012). The workshop attracted many Russian artists living in Paris and provided them with an alternative source of income and new creative opportunities.

'Bogoliubov produced astonishingly good pieces', wrote Repin to Vladimir Stasov, 'we should give him his due, his images embellish the workshop and lift the art of ceramics to a high level'.  Pokhitonov had joined the studio in 1877 upon his arrival in Paris and Bogoliubov distinguished him as one of the strongest members of the group in his memoirs. The workshop was so popular in Paris that its objects were often purchased directly from the kiln with only a handful of pieces ever reaching Russian museums. Six of Pokhitonov's plates were exhibited at the State Tretyakov Gallery exhibition in 2010.

We are grateful to Mr Olivier Bertrand for providing additional cataloguing information.