Attributed to Ivan Konstantinovich Aivazovsky, 1817-1900

A gift from the Soviet government to Ahmet Muhtar, the last Ottoman Ambassador to Russia early 1920s;
Thence by descent to the present owner

The canvas has been lined recently. There is some fine cracking to the paint surface along the edges and some light wear to the corners. The paint surface is slightly thin in places where the artist has not used a great deal of pigment. Otherwise the picture is clean and ready to hang with uv light revealing an uneven layer of varnish and flecks of retouching in places throughout. Held in the original moulded gold painted plaster frame (some losses).
"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 1860s and 70s saw Ivan Aivazovsky turn repeatedly to the theme of the Ukrainian landscape. Characterised by the intense lighting of sunset or moonlight, these compositions underline the vast stillness of the surrounding countryside. Unlike the dramatic seascapes for which Aivazovsky is best known, these compositions are more intimate in feel yet still masterful in their execution. They depict unremarkable scenes from everyday life such as ploughing the fields, a farmer returning home in his ox-drawn cart or, as in a more complex, later variant from 1892, the festivities following a Ukrainian wedding (fig.1).

 

However, even in his 'dry' landscapes, Aivazovsky was able to evoke a certain marine-like quality: instead of ship's masts rising above the watery horizon, here it is the sails of Ukraine's elegant windmills which tower over the expanse of fields.