Lot 103
  • 103

Ilya Ivanovich Mashkov

Estimate
60,000 - 80,000 GBP
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Description

  • Ilya Ivanovich Mashkov
  • Still Life with Roses and Carnations in a Glass Jar
  • signed in Cyrillic, inscribed Abramtsevo and dated 1939 l.r.; further titled in Cyrillic on the stretcher
  • oil on canvas
  • 62 by 46cm, 24 1/2 by 18 in.

Provenance

A gift from M.Mashkova to L.Oginska in 1973
Acquired from the above by the mother of the present owner in 1979

Literature

I.Bolotina, Ilya Mashkov, Moscow: Sovetskii khudozhnik, 1977, p.348, no.500 illustrated in b/w

Condition

Original canvas. There is a layer of surface dirt and small flecks of dirt to the pink rose. There is a small hole with some associated paint loss to the right of the small yellow flower at the top the composition. There is an area of paint loss to the red carnation above the pink rose and the red flower to the left of this. There are faint stretcher bar marks along all edges, as well as frame abrasions. There are pin holes in each corner. Inspection under UV does not reveal any obvious signs of restoration. Unframed.
"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

This delicate still life belongs to Mashkov’s so-called ‘Abramtsevo series’ of small-scale, intimate works he painted towards the end of the 1930s. ‘These are not literal fragments of everyday life’ notes Bolotina in the monograph, ‘…but lightly modernised variations on the classical theme of a still life. They fall into the tradition of ‘museum art’ alongside his works from the 1920s… Mashkov was master of the still life, a recognised genius of this genre’ (quoted in I.Bolotina, Ilya Mashkov, 1977, pp.103-104). A revival of interest in Mashkov’s work from the 1920s and 1930s took place during his 1956 Moscow exhibition in which these later canvases were centre stage, despite the inclusion of a considerable number of his early works, and the show was accompanied by a small volume on his work by Perelman reassessing the artist's late period. The present work is an exceptionally rare, published and beautiful example of a period of Mashkov’s oeuvre more commonly represented in Russian museums.