Lot 93
  • 93

Pavel Tchelitchew

Estimate
15,000 - 25,000 GBP
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Description

  • Pavel Tchelitchew
  • The Bathers
  • signed in Latin and dated 35 l.l.; further bearing exhibition label on the backing board
  • gouache and ink on paper laid on board
  • 33.5 by 23.5cm, 13 by 9 1/4 in.

Provenance

Previously in the Georges Bemberg Collection

Exhibited

New York, Midtown Payson Galleries, Pavel Tchelitchew - A Reevaluation, 21 September - 5 November 1994

Condition

The sheet has been laid on board. The edges are slightly worn out. The sheet has discoloured in line with age. There are small losses in places, notably to the head of the bather on the extreme left and to the bathing suit and the right leg of the bather in the foreground. There is a layer of surface dirt. Held in a gold painted wooden frame behind glass. Unexamined out of glass.
"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

Soon after settling in New York, Tchelitchew and Charles Henri Ford travelled to Italy for the first time in the summer of 1935. While staying in Malcesune on Lake Garda, Tchelitchew worked on a series of beach scenes executed in gouache. He would later recall the time spent on Garda as 'diamonds, strung all on one string' (L.Kirstein, Tchelitchew, Santa Fe, 1994, p.69). The figures of the bathers are rendered with triple perspective, a device Tchelitchew used repeatedly throughout 1930s. The silhouettes are visible behind white towels, reflecting his preoccupation with shadows, which was central to his theatre work.