Thursday 8 December 2022

Lot 71

Andrei Yakovlevich Beloborodoff, Russian 1886-1965 -   A Design for an...

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Lot 71

Andrei Yakovlevich Beloborodoff,
Russian 1886-1965 -
 
A Design for an...

Price Realised: £910

Estimate: £800 - £1,200

Price realised is hammer price plus fees (30% Buyers Premium inclusive of VAT).

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Lot 71

Description

Andrei Yakovlevich Beloborodoff,

Russian 1886-1965 -

 

A Design for an Open-Air theatre at Ivy House, Golders Green, Home Of Anna Pavlova;

watercolour on card, heightened with bodycolour and pen & sepia ink, signed lower right 'A Beloborodoff', signed and inscribed on the reverse '...[?] Beloborodoff /...z[?]iante per il Balletto di Anna Pavlova,gallo... / N. 16', 19 x 23.5 cm

 

Note: Beloborodov began his career as an architect and designer at the very end of Russia's "Silver Age". He studied at the Academy of Arts in St Petersburg. Early on in his studies he developed a particular affinity for Italian architecture, in particular the Italian expatriate Quarenghi, whose buildings could be seen all around the old capital. He gave a speech in 1912 where he spoke of protecting the architect's Zavadovskii Palace, he began work on a project to issue a book with

architectural plans and sketches of the Palace. Although global circumstances prevented this from coming to fruition, it established Beloborodov's reputation among St Petersburg high society. He received commissions from clients such as the Count & Countess Bobrinski, the Obolenskiis and Prince Felix Iusopov. His career in Russia reached its zenith with a commission from Tsar Nicholas II to design the public halls at the Cabinet of His Royal Highness at Anichkov Palace in 1913-14. During this period, he also came to know the leading figures of the arts in Russia, including Benois, Stravinsky, Nijinski and Anna Pavlova.

His time in Russia was cut short by the Great War and subsequent revolution, and he moved to London in 1920. Here he designed sets for the Royal Albert Hall, including for his former client and friend Prince Iusopov's 'Blue Ball', held in support of refugees from Soviet Russia. It was while he was in London that this design for Anna Pavlova's ballet was executed (1). Pavlova was iving in Ivy House, in Golder's Green, where she kept a small ornamental pond for her pet swans, with which she became associated in the popular conception:

"I stayed on in England for several months (executing a project for an open-air theatre for the great ballerina in "Swan" park...)" (2)

The so-called 'Swan Park' at Ivy House was already well-known as the setting for many press photographs of Pavlova. Her performance of The Dying Swan, her posing as a Swan for The Sketch in a window of Selfridges and numerous other deliberate associations had solidified her image as this elegant creature in the mind of the public (3). Ivy House itself was built in the 18th century and is said to have been home to J.M.W. Turner at one point prior to Pavlova's purchase of it in 1913 (4).

Beloborov went on to have a glittering career in Italy after his short stay in England. This was a place where he could fully indulge the innate Italophilia which he had already admitted to in 1911-1912: "The world of painting was always linked for me to my dream of Italy..." and he developed an "...'Italian backbone' which fuses all of my art" (5). In 1924 he held his first solo exhibition at the Galerie Charpentier in Paris and would continue to exhibit at other galleries across Europe. In Italy he became a close friend of the artist Giorgio de Chirico, and his architectural designs and interiors were critically acclaimed by collectors and the cognoscenti in that country. He is best remembered for his later fantastical views of Rome and other grand Italian cities: these are generally devoid of people and often sparkling in an otherworldly glow (de Chirico rightly perceptively saw it as a 'Platonic' light (6)) which have a surreal element to them and show off his fantastic architectural draughtsmanship. Later in life he also excelled in designing costumes and sets for opera and cinema in Italy.

Buyer's Premium

The buyer shall pay the hammer price together with a premium thereon of 26% up to £20,000 (31.2% inclusive of VAT), 25% from £20,001 - £500,000 (30% inclusive of VAT), 20% from £500,001 thereafter (24% inclusive of VAT). The premium price is subject to VAT at the standard rate.

VAT
VAT is not charged on the hammer price unless it is stated that there is 'VAT applicable on the hammer price at the end of the description. Buyer's premium is subject to VAT.
(ARR) - ARTIST'S RESALE RIGHT

Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over £1,000 as follows:
0 to £50,000 - 4%
£50,000.01 to £200,000 - 3%
£200,000.01 to £350,000 - 1%
£350,000.01 to £500,000 - 0.5%
Exceeding £500,000 - 0.25%
ARR is capped at £12,500

Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.

Export of goods

Buyers intending to export goods should ascertain whether an export licence is required before bidding. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

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