GLAMOROUS EXIT (ENTRANCE)
signed with initials and dated 75 l.r.; further signed in Latin, inscribed Glamorous and dated on the reverse
gouache and watercolor over pencil on paper
Sheet: 9½ by 14½in., 24 by 37cm
Framed: 16¾ by 21¾in., 42.5 by 55.5cm
The sheet is undulating slightly. There are pinholes to the lower corners. The corners are slightly worn and there are nicks to the edges. Some minor surface scratches are visible in places and there is a light layer of surface dirt. Some minor cracks are visible in the area of white impasto. The remnants of an old adhesive are visible in places on the reverse. The sheet is hinged to the mount in the corners and along the edges. Held in a simple black wooden frame behind glass.
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.
Moscow, Central House of Artists, Retrospective, 1978
Durham, Duke University Museum of Art, Birth of an Image, 1998
St Petersburg, The State Russian Museum, Leonid Lamm, From Utopia to Virtuality, 2009
New Brunswick, Zimmerli Art Museum at Rutgers University, Nevermore: Leonid Lamm, Selected Works, 3 March - 30 September 2018
Exhibition catalogue Leonid Lamm, From Utopia to Virtuality, St Petersburg: Palace Editions, 2008, p.76, no.77 illustrated
Lamm originally studied architecture at the Construction Institute of the Moscow City Council where he was taught by the constructivist architect and leading exponent of architectural futurism Yakov Chernikhov. Through Chernikhov, Lamm was fortunate enough to be exposed to the work of Vladimir Tatlin and Kazimir Malevich whose artistic legacy had otherwise been erased from the pages of art history by the Soviet censor. This early training was to have a significant influence on his understanding of form and volume, indeed he was one of the first in post-war Russia artists to turn to abstraction: in 1954.
That same year he graduated in fine art at the Moscow Polygraphic Institute, Lamm pursued a career as an illustrator which enabled him to discretely work on his own projects. After submitting documents for emigration Lamm was arrested (1973-1976), however his work, as previously, was exhibited in the USSR and in the West. In 1982, realizing the impossibility of implementing his projects, the artist immigrated to New York. There he successfully continued his creative career until the end of his life.
Many of his works are in the permanent collections of museums such as Solomon Guggenheim and The Metropolitan Museums, New York, The Stedelijk Museum, Amsterdam, The Centre Pompidou, Paris, The State Russian Museum, St Petersburg, The State Tretyakov Gallery, Moscow and many others.