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THBRUSSIAN OIL PAINTING, IVAN SHISHKIN, LANDSCAPE
About Seller
2229 Lincoln Street
Cedar Falls, IA 50613
United States
Founded in 1969, Jackson’s International Auctioneers and Appraisers has grown to become one of the nation’s premier service providers for the sale and appraisal of antiques and fine art. Our regularly scheduled auctions bring to market a broad array of objects, including Russian icons, Old Master pa...Read more
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About Auction
LiveNov 29, 2016 - Nov 30, 2016
Jackson's International Auctioneers and Appraisers accounting@jacksonsauction.com
View Full Catalog (690)
- Lot Description
IVAN IVANOVICH SHISHKIN (Russian 1832-1898)
A Sunlit Landscape with Train
Oil on canvas laid down on board
Partial signature lower left
13.75 inches x 23.6 inches (34.9 x 59.9 cm)
Provenance:
The painting comes down through a Russian émigré family collection where it has been held since circa 1890 (having come to the United States in 1959) and is now being sold by the great great grandson of the original owner. According to the family, the lineage of ownership is as follows:
Owned by Arkadiy Andreyevich Bogolubov, Taganrog, Russia up until 1890
When gifted to his son Boris Arkadyevich Bogolubov (see photo) and his wife Maria Gregorievna (Orlova) Bogolubov until 1910
When gifted to Alexander Nikolaevich Kutepov and his wife Kseniya Arkadievna (Bogolubov) Kutepov (see photo) until 1919
When gifted to Vera Arkadievna Bogolubov who immigrated to Paris, France after the revolution until 1959
When gifted to her niece Irina Alexandrovna (Kutepov) Jankowsky and her husband Lev Evgenievich Jankowsy until 2001, Irina Alexandrovna (née Kutepov) Jankowsky, was the granddaughter of Lieutenant general Nikolai Ivanovich Kutepov (1851-1907), Chief of the Imperial Hunting Preserve
When gifted to their son the consignor and present owner
In 1885/6, Shishkin published his third collection of etchings. Although he had worked in this technique as early as the 1850s while still a student at the Moscow School of Painting, Sculpture and Architecture, it was not until the 1870s that he came back to it more seriously, and that he began to publish albums of etchings. The first two had come out in 1873 and 1878 to great critical acclaim, not only for Shishkin’s extraordinary ability to express his forestscapes in monotone line and on paper, but also because they allowed his works to be seen and collected by a much larger public. Some critics even considered his etchings to be amongst his masterpieces: the painter Bogolubov, in a letter of 1885 sent from Paris, urgently beseeched Shishkin to send his etchings for sale there, because “what you are doing, believe me, is purer than anything …in the shops here: you should punch the fly off their noses with your Russian fist”. Amongst the 1885/6 collection was the etching Marshes (??????), inscribed in the plate Marshes on the Warsaw Railway Line (?????? ?? ?? ?). The offered painting, which has been in a private Russian émigré collection since the 1890s, is a mirror image version in oil, made from the same original sketch (see illustration following page).
There are a number of known examples of the same composition being treated in etching and in oil; “Ferns in the Forest”, from the same 1885/6 collection of etchings, exists as an oil painting of the same name in the Tretyakov Gallery in Moscow; the painting “On the Outskirts of Gurzuf” now in the Russian Museum, St. Petersburg, was made as an etching named “Crimea”; and there are other examples, as well.
Our painting depicts a swampy flooded marsh between the railway embankment and the edge of a wooded verge on a clear, still, summer’s day. The blue of the sky is perfectly reflected in the water, and around it grasses, reeds, bushes and trees allow Shishkin to give full rein to his loving and painstaking depiction of growing things, in all their infinite shades of green. What makes the composition so unusual however is for him to have allowed the inclusion of such an obviously man-made element as a locomotive; it is rare for Shishkin even to include people or animals in his pictures. Indeed this painting, and the etching made from the same drawing, is the only known instance of a train in his entire oeuvre. It is interesting to speculate as to why the locomotive has been included; Shishkin was in no way a political painter, and it is unlikely to have any threatening or prophetic meaning. More likely it is a true reflection of Shishkin’s honesty as a painter: in the vastness of the Russian landscape, railway lines are unusual, and so they are unusual in Shishkin’s painting.
Further study is needed to establish exactly where the drawing was made, but Shishkin spent some summers near the town of Luga, on the Warsaw railway line between St. Petersburg and Pskov. He first came here, to a small estate belonging to a lady by the name of Snarskaya, in 1872 in the company of his fellow artists and friends Ivan Kramskoy and Konstantin Savitsky; and indeed it was during that summer of 1872 near Luga that Kramskoy painted his masterpiece, Christ in the Wilderness. By the end of the 19th century the area around Luga had become a favorite holiday destination for St. Petersburgers, and in the last year of his life Shishkin himself bought a dacha there.
Lot is accompanied by copies of various family vintage photographs, a family tree (in Russian) as well as a written family history.
Jackson’s is most grateful to Mr. Ivan Samarine of Russian Art Consultancy, London, England, for his assistance in researching and cataloging this lot.
SHIPPING NOTICE:
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