Property from the Sorine Family Collection
PETR PETROVICH KONCHALOVSKY | GREEN OAK TREES AT TWILIGHT
Estimate: 60,000 - 80,000 GBP
Property from the Sorine Family Collection
PETR PETROVICH KONCHALOVSKY
GREEN OAK TREES AT TWILIGHT
signed in Cyrillic l.r.; further signed in Latin, inscribed Sumerki, numbered 362 and dated 1920 on the reverse
oil on canvas
Canvas: 72.5 by 92cm, 28½ by 36¼in.
Framed: 77 by 96.5cm, 30¼ by 38in.
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Original canvas, which is very slightly buckling in the top left and bottom right corners. The tacking edges are covered with tape. There is craquelure throughout. There is a tiny dent with some minor associated paint loss at the centre of the canvas. There are a few further very small losses in places: below the area with the dent, above the shrub to the left of the thin tree trunk; towards the top of the tree trunk itself; to the foliage in the upper left; a few tiny flecks on either side of the thin tree trunk; as well as elsewhere. A faint horizontal scratch is visible to the left of the thin tree. The surface is covered in a layer of dirt with spots of dirt in places, there is also a discoloured varnish layer. Inspection under UV light reveals no obvious signs of retouching. 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.
Collection of Savely Abramovich Sorine
Thence by descent to Anne Sorine, the artist’s niece
Thence by descent to the present owner
Exhibition catalogue Katalog vystavki proizvedenii P.P. Konchalovskogo, Moscow: Tvorchestvo, 1922, no.119 listed as Sumerki
Exhibition catalogue Exposition Pierre Kontchalovsky, Paris, 1925, no.18 listed as Chênes verts au crépuscule
Konchalovsky. Khudozhestvennoe nasledie, Moscow: Iskusstvo, 1964, p.104 listed as zhi 297 and location Paris
Moscow, State Tretyakov Gallery, Vystavka proizvedenii P.P. Konchalovskogo, April 1922, no.119
Paris, Chambre Syndicale de la Curiosité et des Beaux-Arts, Exposition Pierre Kontchalovsky, 4-19 March 1925, no.18
Konchalovsky spent the summer of 1920 working at the artist's colony of Abramtsevo, a country estate outside Moscow where artists and writers sought to revive a pure, national style through a focus on traditional folk art. The present lot depicting the oak trees at dusk was surely the result of Konchalovsky’s plein air studies executed during his time in the colony. ‘In my Abramtsevo oaks there is, of course, a connection with Cézanne’s technique (…) But my attitude towards nature was now different from Cézanne’s. I passionately sought to create a living landscape in which the trees do not simply stick out from the ground, as is often seen in modern painting, but logically grow out of it, like in the Old Masters, so that the viewer could sense their roots’ – recalled the artist (V.Nikolsky, Petr Petrovich Konchalovsky, Moscow, 1936). Exhibited at his solo exhibitions in Moscow and Paris in 1922 and 1925 respectively the painting is recorded in the exhibition catalogues as well as in the artist’s catalogue raisonné.