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Russian Auctions Week in London

23/11/2016 00:00

Russian Auctions Week in London

ARTinvestment.RU, March 2012, Shishkin Theatre

 

ARTinvestment.RU, March 2012, Shishkin Theatre

http://artinvestment.ru/en/invest/russia/20120328_shishkin_teatr.html

 

March 24 Leonid Shishkin Gallery held an auction. Let's talk briefly about the results of the auction.

It has become a tradition before bidding to ask the organizers about their expectations. This time, the traditional question of what will be particularly right, I asked Leonid Shishkin. This question requires a clear business-like response, for this item, because it is a rare thing, but for this one - because the price is good - and evasive enumeration of the top lots or even care to answer out of superstition, or, conversely, a lot of knowledge. This time the answer was much more interesting: "I do not know an explanation for this response as it requires a small retreat.

The idea of an auction of works of theatrical subjects appeared after the opening of the London branch of the Shishkin Gallery in December 2011. A branch was opened on the principle that if the mountain will not come to Mohammed, then Mohammed goes to the mountain. It's no secret that a large number of our compatriots moved to London, and that among them there are many people who want to see on their walls and in the collections of works of art, that is, potential buyers of the art market. To be closer to their potential customers, the gallery opened its platform in London. We began work slowly and found that the demand in Britain, as in Russia, is the theater schedule. England already has a culture of buying theater schedules and seasons of the Diaghilev and they know the names of our artists of the early twentieth century ( Benoit , etc.) are also at the hearing. It remains to add a range of works by contemporary artists, behind which a Russian school, plus a good range of 1.5-5 thousand pounds, the price offer - and the business went. Our former compatriots, too, have expressed interest, because for a little money you can keep in touch with Russian culture, and literally the whole house becomes a beautiful interior with paintings and graphics.

This positive experience decided to extend in the opposite direction and conduct a thematic auction in Russia. But suddenly an unpleasant surprise: when phoning clients, stumbled upon the answer that yes, they say, they are interested in theatrical sketches, but not at this time moment in time.

Why the auction turned out in every sense of the pilot: on the one hand, we need to understand whether there is an interest of buyers and, if so, how much they are willing to pay for the work recognized in his professional community, but little-known art-market theatre artists, on the other hand - to begin to develop this area of work with the theatre graphics.


While we talked the people pulled upand a total of 30 people had gathered, which is usually two thirds of them. To my surprise, I saw several well-known gallery owners, and this after the story about the weak interest of Leonid regulars was really quite unexpected. As it turned out from questioning, one at the auction resulted in a desire to buy something, the other - just to see. All answered innocently enough, but too little too innocent ... And then to a certain point it looked quite respectable - they each bought several lots, but they were gathered together because of one thing only - the costume sketch of Potiphar's Wife, as reported catalog, the studio Leon Bakst . On what drew this sketch of participants and what was held as a struggle for him, we will talk about below.


Before you begin a story about the auction, I will say that many of the lots in the catalog have lost a huge part of their beauty. Especially in this sense, I note two works. First, sketch the scenery for the play "Monsieur Amelkar" of Alec Szasz (Lot 27) - a complex, multilayered, and at the same time, graphically clear thing. And secondly, sketch the scenery for the opera "La Traviata" (Lot 60), endowed by Yuri Ustinov effect of three-dimensional perception: a canvas stretched over a recorded thin transparent silk, too, carries the image draws together in the back of the stage and makes the image seen in the volume.

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