Vasily Vasilevich Vereshchagin

Acquired from the Art Institute of Chicago, 1902
The collection of Ambassador Charles R. Crane (1858-1939)
Christie's New York, Property from the Collection of Ambassador Charles R. Crane, 24 April 2006, lot 20
Sotheby's London, Russian Art, 30 November 2010, lot 13

Original canvas, which is slightly slack on the stretcher. The canvas is stretched taut in the lower right corner, resulting in buckling. Faint stretcher bar marks are visible along the edges and vertically across the centre. A small tear in the lower right quadrant has been repaired with a patch which is visible on the reverse. There is a small dent to the canvas in the upper left quadrant. The paint surface is slightly dirty. There are some minor frame abrasions along the edges and very fine craquelure in places. There is a fleck of paint loss to the floor on the left. Inspection under UV light reveals retouching to the aforementioned area of repair as well as scattered areas of retouching, but a opaque layer of discoloured varnish prevents a more conclusive analysis. Held in a gold painted 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."

‘Part of the responsibility of the rest of the world is to conserve such beauty as still exists in Russia, for Russia is fundamentally an artistic nation’ wrote Charles R. Crane in response to the aftermath of the Revolution (The Chicago Tribune, 25 February 1920). A legendary Russophile and collector who visited Russia over 25 times and who was received by Nicholas II and Prince Volkonsky among others, Crane provided support for a number of Russian artists and was well acquainted with Vereshchagin with whom he corresponded often.

Crane acquired the present lot in February 1902, along with six other works sold by the Art Institute of Chicago on the artist's behalf. The canvas is listed as No.53 Portico of church in Russian village in a letter from the Institute to Ambassador Crane (The Bakhmeteff archive, Columbia University, New York); at $1,000, it was one of the most expensive of the works he purchased and is perhaps a reflection of his deep interest in Russian religious art and music. He was a delighted host to Gretchaninoff when the Russian composer of church music visited the States after the Revolution. 

In a letter to V.Tretyakova on 29 February 1896, Vereshchagin describes his series of paintings of wooden churches in northern Russia as some of his most successful works. According to a contemporary historian who met him in Yaroslavl, he would set up his easel in museums, churches and monasteries and paint quickly: 'Once he decided to record his native art in paintings, (he) not only became well acquainted with it but devoted himself entirely to its comprehensive study' (M.Semevsky, 'Putevye ocherki, zametki i nabroski', Russkaya starina, October 1889, p.204).

The rich frescoes and unevenly tiled floor in the present lot are thought to belong to the interior of the Church of St John the Baptist in Tolchkovo, near Yaroslavl, which Vereshchagin is known to have painted in 1888 (Portico of the Church of St John the Baptist in Tolchkovo. Yaroslavl. The State Tretyakov Gallery). The warm glow, illuminated details and shafts of sunlight are characteristic of his finest church interiors.