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Yuri Annenkov (1889-1974)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Yuri Annenkov (1889-1974)

Jeune femme à sa toilette

Details
Yuri Annenkov (1889-1974)
Jeune femme à sa toilette
signed 'G. Annenkoff.' (lower left)
pastel and gouache on card
30 1/8 x 22 ¾ in. (76.5 x 57.7 cm.)
Provenance
Acquired from the artist by Georges Crété (1887-1983), a Knight of the Legion of Honour and a son-in-law of the French president Paul Doumer (1857-1932).
A gift from the above to the family of the previous owner.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Brought to you by

Alexis de Tiesenhausen
Alexis de Tiesenhausen Senior Director, International Specialist Head of Dept, Russia

Lot Essay


Yuri Annenkov was one of the most eminent figures of the Russian avant-garde, who, like his fellow émigré artists, such as Boris Grigoriev, Natalia Goncharova and Mikhail Larionov, achieved significant popularity both at home and abroad. Annenkov was a man of many unique and versatile talents making a name for himself as a successful painter, graphic artist, book illustrator, designer for theatre and film and even writer (he often wrote under the pseudonym Boris Temiryazev). In 1924 he left Russia and eventually settled in Paris, where he had previously resided as a student of Maurice Denis and Félix Vallotton in 1911-1913.
During his fruitful Parisian period of the 1920s-1930s, Annenkov produced a substantial number of paintings and drawings. In contrast with the erratic dynamism of the artist’s work from his Russian period, Annenkov’s later work was preoccupied with flat, decorative surface. This was partly due to Annenkov’s interest in theatre design and its conventions of spatial construction. Jeune femme à sa toilette is a characteristic example of the artist’s freer style of his Parisian period, in which he combines large colour planes with bold and distinct outlines and a subdued pastel palette. It appears that the figure of the young woman, who could have been modelled on Annenkov’s second wife, and the interior of the room emerge from or soar into an abstract colourful space. The patterns of flowers and leaves in the upper half of the composition, combined with its unconventional spatial arrangement, emphasise the decorative effect of the surface and clearly represent Annenkov’s ornamental style.

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