ANATOLY BRUSILOVSKY | 'Lobster Carousel', 'Parade of Complexes' and 'Two Brides' [Three works]

each signed in Cyrillic and dated '68-69', '70' and '71' respectivelytwo collage and spray-paint on card; one collage, spray-paint, felt and woodcut on cardWhen Brusilovsky moved to Moscow in the early 1960s and joined the non-conformist movement, he was at the height of his successful career as a book and magazine illustrator, having designed the first Russian edition of J.D.Salinger’s 'Catcher in the Rye'. It was at this time that he started experimenting with Surrealist-inspired collages, and is credited with introducing the term to a wide audience in a 1962 newspaper article. His collages and assemblages from the 1960s and 1970s often failed to pass censorship of the puritan Soviet art authorities due to their erotic and absurdist nature and were routinely banned from official exhibitions. He lives and works between Moscow and Cologne.

St Petersburg, The State Russian Museum; Moscow, The State Tretyakov Gallery; Frankfurt am Main, Städel et al., 'Nonkonformisty: vtoroy russkiy avangard 1955-1988', 1996-1997, all three illustrated on pp.106-107 of the catalogue
Bern, Kunstmuseum Bern, 'Avantgarde im Untergrund. Russische Nonkonformisten aus der Sammlung Bar-Gera', 3 February - 24 April 2005, 'Parade of Complexes' and 'Two Brides' illustrated on pp.146-147 and listed on p.165 of the catalogue 
Bratislava, The Slovak National Gallery, 'Nonkonformisti. Druhá ruská avantgarda 1955-1988. Zbierka Bar-Gera', 14 November 2008 - 22 February 2009, 'Two Brides' illustrated on p.119 and listed on p.169 of the catalogue

Two Brides There are creases to the corners, in particular to the lower left corner which shows some associated loss to the pigment. There are other minor creases elsewhere. The top right corner has slightly frayed and the edges are slightly uneven. There are two stains to the center of the right edge, as well as other smaller stains to the top edge as well as elsewhere. Adhesive is visible in places around the cut-outs. The sheet has discolored and is covered in a layer of dirt. It is attached to the mount in the corners and along the edges. Held in a simple wooden frame behind plexiglass. Unexamined out of frame. Lobster Carousel There are creases to the corners, to the right of the bottom edge as well as some minor creases elsewhere. A few nicks are visible at the edges, most noticeably one to the lower right edge. There is a stain to the lower left corner, some adhesive stains around the cut-outs and a finger print to the left of the bottom edge. Some of the cut-outs have become partially detached. The sheet has discolored and is covered in a layer of dirt. It is attached to the mount in the corners and along the edges. Held in a simple wooden frame behind plexiglass. Unexamined out of frame. Parade of Complexes There are creases to the corners with some minor associated loss to the pigment. The edges are slightly uneven and there is a nick to the lower left edge. There is a loss to the red cut-out in the upper left, and some of the other paper and felt cut-outs have become partially detached. Adhesive stains are visible around the cut-outs. The sheet has discolored and is covered in a layer of dirt. It is attached to the mount in the corners and along the edges. Held in a simple wooden frame behind plexiglass. Unexamined out of frame.
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