Alexander Nikolaevich Benois, 1870-1960

Acquired in Russia circa 1924 by Oluf Razmusen (1900-1980), an electrical engineer for the reconstruction firm 'Grandes Nordiques'; Private European Collection (by descent from the above)

For a version from 1903 see M. Etkind, Alexander Nikolaevich Benois, 'Iskusstvo' Press, Leningrad-Moscow, 1965

The board appears sound, but is slightly discoloured, with a little wear to the corners. There are small spots of foxing and staining in places and a few media marks to the central window. Held in agold painted moulded plaster frame and behind glass.
"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."

Alexander Benois was the first of the World of Art movement to state the importance of eighteenth and early nineteenth century art in rescuing Russia's 'living history' from oblivion. The eighteenth century promenade is an important motif in Benois' artistic legacy, recurring in other works such as The King's Promenade, Catherine II's Winter Journey with her Court and Grand Duke Nikolai Pavlovich's Procession.

The artist's fascination with the history of Russian culture had its roots in his youth: "... my childhood impressions of three engravings of Tsarskoe Selo in the 'Makhaev album' remained with me throughout my life. The huge, spreading pages of the folio with an image of the Empress' coach drawn by twenty horses passing in front of the palace façade impressed me" (fig.1). These very memories inspired Benois' series entitled 'Elizaveta Petrovna deigns to walk in St Peterburg's streets'. The offered work is one of only four from the series known to exist.

The first two were executed in 1903 in a mixed media technique using watercolour, white-wash, ivory and pencil (fig.2). One of these versions is unfinished and hangs in the Museum of Private collections at the State Pushkin Museum (fig.3). Later, in 1906, while he was working in Paris on the well-known series 'The King's Promenade', Benois returned to the theme of Elizaveta's promenade and produced two more versions: one of which was formerly in the collection of Ambassador Charles R. Crane and the other is offered here.
 
This fourth version stands out from its precursors because of its highly polished composition and radiant palette. The image of Elizaveta processing solemnly and sedately along the wooden bridges, acknowledging the bows of the urban bourgeoisie, has a magnificent artistic unity and totality of composition, fulfilling Benois' idea of resurrecting history through art. It is a shining example of Benois' 'living art' and without doubt an artistic treasure of Russian culture's Silver Age.