Ilya Efimovich Repin

Acquired by the aunt of the present owner in the 1940s
Thence by descent

I.Grabar, Repin, Moscow, 1963-1964, vol.II, p.215
O.A., Ilya Efimovich Repin, Zhizn' i tvorchestvo, 1844–1930, Moscow, 1982, p.217
Ilya Repin 1844-1930 catalogue, Retretti, 21 May-3 September 1989, Helsinki 1989, no.47

Original canvas which is undulated in the central section. There is a layer of light surface dirt. There is evidence of craquelure throughout and some small chips to the paint surface in the lower right edge and corner and to a lesser extent elsewhere. UV light reveals spots of retouching in three places to the subject's right sleeve, the neck and in small patches elsewhere, though an uneven layer of opaque varnish prevents a more conclusive examination. Held in a wooden and gold painted 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."

This pensive, sympathetic image of an industrial worker in Repin's mature distinctive impasto style is a relatively rare phenomenon within his oeuvre, but adheres nevertheless to his lifelong fascination with the authentic face of the ordinary Russian. Repin turned his attention to urban subjects late in his career, which is perhaps unsurprising given the late development of industrialisation in tsarist Russia. Such images were potentially contentious since the urban worker, considered politically astute and a burgeoning member of the revolutionary pantheon, carried a greater degree of political charge – a reason perhaps that the offered work was completed in 1919? Apart from rare large canvasses such as The Demonstration of 17 October 1905 he also produced more intimate portraits such as Trudovik (1906; a member of the Labour group in the 1906-17 Duma) and A Worker's Wife (1907).

Such interests filtered into his private life as well. After his resignation from the Academy in 1907 Repin settled permanently on his small estate Penaty on the Finnish Gulf, which became the fulcrum for a variety of artistic and social activities. Amongst these were open air concerts as well as lectures on such diverse subjects as the establishment of co-operatives, vegetarianism, animal rights and the support of orphans, delivered to illustrious guests and local workers alike.

We are grateful to David Jackson, Professor of Russian and Scandinavian Art Histories, University of Leeds, for providing this catalogue note.