A Rare Soviet Enamel Suprematist Brooch
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A Rare Soviet Enamel Suprematist Brooch

CIRCA 1920

A Rare Soviet Enamel Suprematist Brooch
circa 1920
Rectangular, with Suprematist composition of black and red squares on white ground, apparently unmarked, mounted within a rectangular black frame
1 5/8 in. (4.3 cm.) high
Collection of Martin Malburet.
Galerie Seroussi, Paris.
Exhibition catalogue, S. Barron, M Tuchman, ed., The Avant-garde in Russia 1910-1930. New Perspectives, Los Angeles, 1980, p. 199, no. 210, illustrated.
Paris, Centre Georges Pompidou, Malevitch, Paris-Moscou, 1978.
Los Angeles, The County Museum of Art, The Avant-Garde in Russia, 1910-1930: New Perspectives, July - September 1980, no. 210.
Tanlay, Centre d'art contemporain de Tanlay - Yonne, Avant-garde russe 1910 - 1921, Peintures - oeuvres sur papier 'la lecon du suprematisme- le constructivisme', Regard d'un collectioneur, June- September 1993.
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Alexis de Tiesenhausen
Alexis de Tiesenhausen

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Lot Essay

Kazimir Severinovich Malevich (1878-1935) was born near Kiev. From 1904-5 he studied at both the Stroganov school and the Moscow School of Arts. By 1915 he had developed a new system of art, explained in his booklet Ot kubizma i futurizma k suprematismu: Novyi zhivopisnyi realism [From Cubism and Futurism to Suprematism: the new realism in painting]. The concept of purely aesthetic form within space was in union with Malevich's spiritual quest for 'pure sensation in creative art'. Following the Revolution of 1917, Malevich was given a prominent teaching post at Vitebsk Popular Art School, where in 1920 he published Suprematism, 34 drawings: 'The most important things in Suprematism - its two foundations - are the energy of black and white which serve to open up the form of action', 'red as the signal of revolution and white as pure action...symbol of purity of human creative life.'
He also founded the student group 'Unovis' (The Affirmers of the New Art). The members of this group, including Chashnik, Suetin, Ermolaeva, Yudin and Lissitsky were interested in utilitarian designs and produced designs in different media. While porcelain proved to be the most popular medium for the Suprematists as white symbolised the 'absolute', students also worked with other media, including enamel as in the present lot.

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