signed with initials in Cyrillic and dated 57 l.r.; further bearing a Leonard Hutton Galleries label on the backing board
ink on paper
Sheet: 11 by 8¼in., 28 by 21cm
Framed: 17¼ by 14¼in., 44 by 36cm
The work is executed on the reverse of a 1955 Sokolniki event schedule for Pioneers. The print is visible on the recto. It has discolored unevenly at the edges. There is a crease through the upper left corner and the edges of the sheet are slightly uneven. Hinged to the mount in two places at the top edge and held behind glass in a black wooden frame.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Leonard Hutton Galleries, New York
This early drawing was originally in the collection of George Costakis, the great collector of the Russian avant-garde. Perhaps less well-known outside Russia, Costakis was also an early supporter of young contemporary Soviet artists, who would often meet at his apartment where they had the rare chance to see avant-garde works, otherwise hidden in the vaults of the museums. The obvious influence of early Russian abstraction on non-official post-war art would certainly not have been possible without the Costakis collection.
One of the first of these young artists Costakis met and started to collect was Zverev, whom he came to consider to be one of the most talented in the Soviet Union. Costakis not only helped Zverev financially, he also promoted him in the West: his first-solo exhibition took place in Geneva in 1965, and MoMA acquired a few of his early drawings. Often harassed by the authorities in Russia, Zverev did not have a solo exhibition there until shortly before his death in 1986.