Ivan Pavlovich Pokhitonov

The panel is sound. There are scratches to the surface throughout and minor frame abrasions to the edges. There are a few fine lines of craquelure mainly in the central section. UV light reveals spots of retouching in places. Unframed.
"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."

In 1922 Pokhitonov moved from the Belgian coast to a house on the Rue du Trône in Brussels so as to be closer to his doctor. However city life in no way diminished his love of the countryside: nature had always been the focus of his work and Pokhitonov now found himself gravitating towards the outskirts of the city, away from the bustling centre. The offered work dates from the spring of 1922, soon after his move to the Belgian capital. Pokhitonov doubtless identified with the artist he depicted in this painting who is similarly enchanted by the rural and picturesque character of this southern suburb of Brussels. The country lane is probably located in an area known as 'The Broom Quarter', possibly on account of the brooms which local women made from the light wood of the nearby forest. Here, blue-collar workers lived side-by-side with the bourgeoisie, whose smart villas Pokhitonov painted often over the course of the year.

At the time, Boitsfort was still bordered by the large Forêt de Soignes, which had attracted painters since the turn of the century. The most famous of these was Rik Wouters (1882-1916), a leading proponent of Brabançon Fauvism who lived in Boitsfort from 1907-1914. Like Wouters, Pokhitonov was entranced by this pocket of countryside at the edge of the city. At the age of 71 Pokhitonov was no less acute as an artist and was still a talented draughtsman and sensitive colourist, but his technique had matured. He no longer tried to depict landscapes with photographic accuracy as had been the case during the 1880s and 1890s. His late works are instead marked by delicate application of colour, though, as ever, the minute details are breathtakingly precise. The picture's impact lies in the overall effect, placing it firmly in the Impressionist tradition. 

We are grateful to Olivier Bertrand of the Belgian Art Research Institute, for providing this note.