Zinaida Evgenievna Serebriakova

Sotheby's London, The Russian Sale, 28 November 2006, lot 102

Original canvas. There are several small pin holes along the bottom and top edges. There is an area of paint loss at the bottom edge to the left of the sitter's knee. There a small area of paint loss to the edge of the white fabric towards the middle of the canvas. There is craquelure in places, notably an area of slightly raised, but stable craquelure on the sitter's knee. There is a layer of surface dirt. There are frame abrasions. Inspection under UV light does not reveal any obvious signs of restoration. Held in a simple gold painted wooden frame. Unexamined out of frame
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The artist’s daughter Katya was a frequent model for Serebriakova, one of Russia’s foremost painters of the female nude. The poise and self-assurance of the model in the present work is characteristic of her large-scale oils. Like the Venus of Urbino or Manet’s Olympia, she lies across the composition while gazing at the viewer with self-confidence. The exotic floral fabrics, combination of white and green cloth and brown foreground may also be references to Manet’s masterpiece.