Lot 147
  • 147

VASILY VASILIEVICH ROZHDESTVENSKY | Northern Landscape

Estimate
80,000 - 120,000 GBP
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Description

  • Vasily Vasilievich Rozhdestvensky
  • Northern Landscape
  • signed in Cyrillic and dated 34 l.r.; further bearing a Vsekokhudozhnik inventory label on the reverse
  • oil on canvas
  • 101 by 77cm, 37 3/4 by 30 1/4 in.

Condition

The canvas has been strip-lined and is very slightly buckling along the middle right edge. There are frame abrasions along the edges with minor associated cracks and paint loss. There are a fine lines of scattered craquelure and flecks of paint loss to the sky and in a few places elsewhere. Inspection under UV light reveals scattered retouching, predominantly to the sky and to a lesser extent to the foreground, as well as to the left and right edges and upper right corner. Held in a gilt 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

Vasily Rozhdestvensky’s annual trips to Northern Russia throughout the 1930s took him to Karelia, the White Sea and Northern Urals, inspiring a superb series of landscapes such as White Night on the Purnemsky Lake (1932) and By the Pinega River. Grey day (1935), both in the collection of the State Russian Museum. Unlike his fellow ‘Knave of Diamonds’ artists who favoured still lifes and portraiture, Rozhdestvensky had always been drawn to the genre of landscape painting. The present motif of the lake seen through trees and the lush, if subdued, colour-scheme are characteristic of his work from this period.