Ivan Konstantinovich Aivazovsky

A gift from the Soviet government to Ahmet Muhtar, the last Ottoman Ambassador to Russia in the early 1920s
Thence by descent
Sotheby's London, Russian Paintings, 12 June 2012, lot 37

G.Caffiero and I.Samarine, Light, Water and Sky: The paintings of Ivan Aivazovsky, London: Alexandria Press, 2012, p.159, pl. 83, illustrated

Structural Condition The canvas has been lined onto what would appear to be the original keyed wooden stretcher and this is ensuring an even and secure structural support. Paint surface Inspection under ultra-violet light shows traces of old, discoloured varnish suggesting that the painting has been selectively and sensitively cleaned and also small, scattered retouchings. The most significant of these retouchings are: 1) a thin vertical line running down from the upper horizontal framing edge which is approximately 3 cm in length, and 2) small, scattered retouchings in the sky which are most concentrated in the upper right above the windmill. There are also small spots of inpainting in the dark shadows in the lower left and lower right of the composition and around the framing edges. These are all of minimal size. Summary The painting would therefore appear to be in very good and stable condition and no further work is required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The 1860s and 1870s saw Ivan Aivazovsky turn repeatedly to the theme of the Ukrainian landscape (fig.1). 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.

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.