Mikhail Alexandrovich Vrubel

Acquired in Paris by a Russian émigré collector in the interwar years 
Sotheby's London, Icons, Russian Pictures and Works of Art, 24 November 1992, lot 37

There are several minor chips to the glaze along the base. Otherwise in overall good condition.
"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 present work was executed circa 1897.

Vrubel created two versions of his ceramic bust for the legendary hero of the Sadko cycle. In the first, Sadko appears almost doll-like in an ornate kaftan playing his gusli, not unlike his depiction on the Sadko plate. In this second version he is an entirely different character, a more 'spiritually complex and poetic figure' dressed simply with a satchel over one shoulder, such that 'at first glance he looks like a wanderer who has just left home' (P.Suzdalev, Vrubel, 1995, p.240). The glazes on the present lot are the most enigmatic of the present group: surprisingly deep green in places, with flashes of marine-silver on his textured back and the occasional turquoise, purple and scarlet tones found in Vrubel's smaller ceramic, The Assyrian (sold at Sotheby's London in November 2010).

Rimsky-Korsakov was first inspired by the bylina of Sadko as a young composer in 1867, but decided to turn it into a dramatic work in the 1890s. The opera was completed in 1896 and premiered in Moscow two years later with set designs by Korovin and Malyutin. Vrubel felt the affinity of his own colouring to the timbre of Rimsky-Korsakov's music. 'Thanks to your good influence, I decided to dedicate myself to the legacy of Russian fairy tales... Not to repeat muses for the millionth time, but make something Russian'.

We are grateful to Eleanora Paston of The State Tretyakov Gallery and Vil Nevsky of the Abramtsevo Museum for providing additional cataloguing information.