Konstantin Alexeevich Korovin

Sotheby's London, Russian Pictures, Works of Art and Fabergé, 13 February 1986, Lot 145

The canvas has been lined. The paint surface is quite thin in places with light paint abrasion in places throughout. There is evidence of fine craquelure in places A very tiny part of the original canvas is visible in the lower left hand corner. UV light reveals restoration to the sky and sea in the background. There is in-filling to paint loss associated with creasing to the canvas and some further spots of re-touching scattered around the canvas. Held in a silvered 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."

Stage design was given the dominant role in the interpretation of Russian productions in the early 20^th century, acting as a direct vehicle for investigating and expressing the 'Russian idea', which was projected through atmosphere, symbolism and imaginative use of colour. A decorative, stylised idiom combined with a vibrant, festive palette was Korovin's trademark and the energy and movement of Rimsky-Korsakov's operas inspired some of his best theatrical designs, in particular the composer's romantic, fairy-tale productions, such as Le Coq d'Or and The Tale of Tsar Saltan, which allowed Korovin to experiment with the magical light and colour combinations that best suited his artistic temperament. The present composition is built on according to a rhythm of triangles, with dramatic vaulting bringing the chamber alive. The choice of medium is typical of the miriskustniki, who preferred the light, airy effects of watercolour and gouache to full-scale oil paintings.

Rimsky-Korsakov wrote his three-act opera Le Coq d'Or in 1907, based on Alexander Pushkin eponymous 1834 poem, which itself had been inspired by Washington Irving's The Legend of the Arabian Astrologer. The story unfolds in the magical kingdom of Tsar Dodon, who desperately seeks to protect the borders of his land from an unspecified threat. The present work depicts the pivotal scene in which a sorcerer presents the Tsar with an enchanted golden cockerel to announce the approach of danger, in exchange for a wish. In the final act, the golden cockerel soars in from its spire and pecks the Tsar to death in retribution for murdering the sorcerer.

The story inspired some of the best designs and illustrations produced by Ivan Bilibin, Sergei Sudeikin and Natalia Goncharova. The Neo-primitivist designs by Goncharova for Diaghilev's 1914 Ballet Russes production are among her best known.