signed in Cyrillic and dated 2004 on the reverse
enamel on wood
Height: 84½in., 215cm
There is a layer of surface dust and dirt. Handling marks are visible on the white paint. There is general wear to the base and losses to the corners. There are a few minor losses to the paint layer in places. There is a split in the wood at the top of the ammunition belt on the upper right on the reverse. The object is in two parts, the upper part slots into the plinth.
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.
Boris Orlov graduated from the Stroganov Moscow State Academy of Arts and Industry, where he trained as a sculptor under the famous Soviet monumentalist and creator of the Moscow metro bas-reliefs, Georgy Motovilov. Closely associated with the Moscow-based Sots-art movement, Boris Orlov has described himself as an ‘imperial artist’. Seeing parallels in the imagery of Soviet Imperialism with the imagery of ancient Greece, Rome and the Baroque of St Petersburg, Orlov masterfully interweaves these but his work is always shot through with irony, thus undermining the notion of Soviet power.
'The subject of Soviet state power was forbidden to critique: by portraying its top echelon I crossed out my official career as an artist forever', the artist recalled in an interview. However, unlike most of the Sots-artists, he did not emigrate and lives in Moscow to this day. In 2008 Orlov was one of the finalists for the Kandinsky Prize.