View full screen - View 1 of Lot 48. KONSTANTIN IVANOVICH ROZHDESTVENSKY | GIRL WITHOUT A PASSPORT.
48

KONSTANTIN IVANOVICH ROZHDESTVENSKY | GIRL WITHOUT A PASSPORT

Estimate:

70,000

to
- 90,000 GBP

KONSTANTIN IVANOVICH ROZHDESTVENSKY | GIRL WITHOUT A PASSPORT

KONSTANTIN IVANOVICH ROZHDESTVENSKY | GIRL WITHOUT A PASSPORT

Estimate:

70,000

to
- 90,000 GBP

Lot sold:

112,500

GBP

KONSTANTIN IVANOVICH ROZHDESTVENSKY

1906-1997

GIRL WITHOUT A PASSPORT


signed in Cyrillic, titled Devushka bez pasporta / ili 'Garmoniya' and dated 1933 on the reverse

oil on plywood

Sheet: 68 by 41cm, 26¾ by 16¼in.

Framed: 84.5 by 57.5cm, 33¼ by 22½in.


Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.


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The sheet of plywood is slightly bowed and the edges are uneven. There are minor losses to the top layer of the sheet along the edges, most notably to the lower right edge. These losses were possibly already present when the work was executed. There are small vertical cracks to the top edge, with some minor associated losses. Remnants of old adhesive are visible in places along the right edge as well as the bottom of the left edge. There are minor cracks throughout and the surface is covered with a light layer of dirt. Inspection under UV light does not reveal any obvious signs of retouching. The support has been glued onto a cardboard mount. Framed.


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.

In the 1930s Rozhdestvensky, along with other avant-garde artists such as Anna Leporskaya and Nikolai Suetin, frequently turned to semi-abstract geometric compositions influenced by Malevich’s Post-suprematist works from the late 1920s and early 1930s. It was a time of stylistic exploration as these artists attempted to adapt their Suprematist methods and find a new artistic language suitable to describe the new Soviet reality. Despite the influence of Malevich, Rozhdestvensky was, nevertheless, in search of his own new compositional resolutions and colour schemes. The intense yellow, orange and blue tones, typical of Rozhdestvensky’s work from this period, were used to enhance the emotional and psychological atmosphere of his paintings. According to the artist himself, his new palette was inspired by the beauty of the Siberian landscape and its people, which he had a chance to explore during his many trips to the region: ‘It is the grandiose and luminous Siberian sunsets; it is the red-haired Siberian peasants… It is the golden domes of churches against the background of dense Siberian forests’ – he recalled.