signed in Latin l.l. and dated 1990 l.r.
print with impressions and gold foil on paper
Sheet: 31 by 22¾in., 78.5 by 57.5cm
Framed: 38¼ by 30¼in., 97 by 77cm
This lot was originally part of a portfolio of five works from an edition of 99 + 10 AP.
The edges of the sheet are uneven. It is rippling slightly where it is adhered to the mount. Very faint handling marks are visible to the top edge. There are a few minor scattered flecks of dirt. Held in a simple wooden frame behind glass. Unexamined out of 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.
Acquired directly from the artist
The introduction of elements of folk art was Leonid Sokov’s major contribution to Sots Art – the Soviet version of Pop Art – ‘with the difference being that the Sots artists reflected in their work not the avalanche of images endlessly reproduced in consumerist society, but the highly hierarchical ritual imagery enforced on its citizens by the ideological state’ (K.Akinsha quoted in 'Moscow Conceptualism in Context', 2011). The movement appropriated and subverted Soviet symbols as a reaction to the official doctrine of Socialist Realism and Soviet cultural myths more generally.
Sokov graduated from the Moscow State Stroganov Academy of Industrial and Applied Arts in 1969. Having established himself as an animal sculptor, in the late 1960s the artist started developing his own style and incorporating social commentary. In 1980 Sokov left the Soviet Union and settled in the United States. Working in a new cultural context, he continued to use the symbols and images of the Soviet Union, but also included references to American culture in his work. The handmade aesthetic of Sokov’s work sets him apart not only from American Pop Art with its emphasis on mechanical reproduction, but also from the highly polished style of his compatriots such as Erik Bulatov.