Mstislav Valerianovich Dobuzhinsky

Sotheby's London, The Russian Sale, 19 May 2005, lot 89

Brussels, Palais des Beaux-Arts, Exposition d'Art Russe Ancien et Moderne, May - June 1928, no.621, loaned by the artist 
Amsterdam, Stedelijk Museum, M. Dobužinskíj, 1928, no.4

The panel is sound. There are minor abrasions and scuff marks along the edges of the panel. The panel is covered in a layer of surface dirt and a thick layer of varnish. The paint surface has cracked along the grains of the wood. There are minor scratches to the surface of the work. Examination under UV light reveals some possible restoration, but the layer of varnish makes it hard to be certain. 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."

Mstislav Dobuzhinsky and Dmitry Stelletsky were involved in designing the exhibition halls for the inaugural exhibition of Russian Art at the Grand Palais des Beaux-Arts, a newly erected building ‘which is probably without parallel in the world’, as described in the catalogue. Listed under no.621 in the catalogue as La Néva, the present lot is one of only six non-theatrical works which Dobuzhinsky included in the exhibition.

‘Belgium, the land of Painters, can exhibit with pride the master-pieces of her past. It is, therefore, not surprising that with the aftermath of the war, she should make every effort to establish in Brussels a home of Modern Art and to participate in all international artistic activity, thereby claiming her place which is her due.

The opening of the Exhibition Rooms took place on the 4^th May in the presence of Royalty, of official representatives, and of the foremost Belgian and foreign intellectual notabilities.

For this occasion, the Palais des Beaux Arts organised an Exhibition of Russian Art, covering a period from the time of the “icones” to the present phase of modern art, and an Exhibition of Swiss Art’ (Brussels exhibition catalogue, 1928).