B. Sveshnikov, work of reference, Vetlosyan

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FAIv, you kidding?
I am a computer can not learn until the end.
Yesterday learned from the camera to transfer photos to your computer. Yes, and began to photograph the day before, the photographer knew all do. He was tired, I went to the store and bought a camera ...

[ФАИв]

Сообщение от Cyril Syzransky

But at the same auction was a thing of the 56 th, the Lady with a Cat's Skull (with maaaaalenkim such cherepochkom), Lot 508 and it was sold. Hammer price EUR 197,744 - USD 277,899 - GBP 170,000 for Estimé at 60,000-90,000 pounds.
But there was a provenance, participation in the exhibition and the thing itself was previously reproduced in the literature.

  http://www.macdougallauction.com/

 
The work is very well known in the market, one of the best, besides all the characters (except for the skull cats ) known. One of the fishermen - Arkady Sternberg, the father of the artist Edward Sternberg, so I at least told people in the know.

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Сообщение от FAIv

Arkady Sternberg

Izveeeestny fisherman.
He and Edik-infected son fishing.
Boris Kocheyshvili told.

[ФАИв]

Cyril Syzransky,
Here are photos of different years fisherman

[Эрми]

Yes, you are right it thin, really, it is likely pillowcase or sheet.

To Monsieur Syzran Comment on the work "under his arm"
memories from my early childhood and my mother's stories
 about the camp work, the parents in the camp was a close friend of Ludwig Yanovich Seya, cat. sitting under Section 58, like many others, in a past life he was Minister of Foreign Affairs of Latvia and helped BS to forward its work on the will. And thank you for the care and concern for my person.

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Сообщение от Hermie

Ludwig Yanovich Seya, cat. sitting under Section 58, like many others, in a past life he was Minister of Foreign Affairs of Latvia and helped BS to forward its work on the will.

Yes, there is a story about it.
For example:

Ludwig Yanovich Seya was over sixty. Once he served as Minister of Foreign Affairs of Latvia, and before the war was the Latvian ambassador in London. When the Germans occupied Latvia, he made his way to his homeland to take the family, but she has already managed to emigrate to the United States. Throughout the war he spent in a German prison, and after the war is automatically moved to the Soviet, was accused of espionage and sentenced to five years in the camps. Somewhere in 1949, his term ended, but he voluntarily remained in the camp, because, like many then, well understood: in his will almost inevitably awaits a new arrest. LY Seya worked at the factory warehouse and lived among the prisoners. One of the few of its advantages was the right to leave the camp area. Man wider European culture, he obviously understood: what makes Sveshnikov, represents a unique artistic and historical interest. Going for the zone, he took the artist a new batch of drawings and paintings and, using the occasion arises, they sent them to Moscow. Special obstacles to overcome here is not accounted for: the authorities were interested in little things - the case was unprecedented and does not provide instructions.
So - contrary to the logic of the police, contrary to the spirit of the era and the conviction of the artist himself in a hopeless situation - they captured it on paper dreams reality broke free and collected together for the first time presented to the public in this album.

Fragments from the preface Igor Golomshtok.
Boris Sveshnikov. CAMP PICTURES
Moscow, Community Memorial, Publisher "links", 2000

[Маруся]

Сообщение от Cyril Syzransky

And then imagine otbyvshego term z /exiting the gate area with canvases under his arm, you will agree, it is difficult.

Here, I think, would be appropriate memories of the B. Sveshnikov. Here's how they sound in the retelling Dmitry Plavinsky:
"Boris after some time he told me how he got into camp. Denounced by one of the students, he and his fellow artist Leo Kropiwnicki were arrested and exiled for some time together in one of the camps of Ukhta.
There, he was sent to the excessive burden the common work. He was only 19 years of age, physical health quickly exhausted, and he fell into the category of "goners" that is doomed.
Once the camp gates opened and the territory came with two vohrovtsev tall man in an officer's Astrakhan fur hat and wool coat to toe. The thieves opened his mouth. Sight in camp conditions beyond the limits of reality. It was Arkady Akimovich Steinberg. Arkady Akimovich for a couple of nights prepare for the exam at the doctor's assistant, and accurately guided to the camp situation, - he sat for the second time - found that the zone is a talented young artist, someone Sveshnikov, and asked him with drawings of his office.
Boris described the cabinet Schteynberga: a large desk piled high with watercolor paints, brushes, albums. To one side of the table - white cabinets with medicines and medical equipment. At the sound of log walls of beautiful color reproduction of Frans Hals, Italians, Vermeer of Delft.
Arkady Akimovich helped Sveshnikov go with the overall work in the night watchman of a shop. It was warm, and most importantly, no one bothered all night to draw and paint in oils. In this work, Boris remained until liberation.
Over the years, Sveshnikov made a large number of paintings and drawings. "So intently and carefully, you can work only in the camp," - he told me.
All works are gradually being sent to Moscow, his mother, cha ¬ hundred came to see Boria. "

COP, and in Tarusa Sveshnikov increasingly made light watercolor landscapes ...

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Сообщение от Maroussia

the COP, and in Tarusa Sveshnikov increasingly made light watercolor landscapes ...

The conversation was about oil and that's what I wrote:

Сообщение от Cyril Syzransky

this thing is similar to those that he wrote after his release, 55-57-ies. in Tarusa.

Sami can look at taruskie oils to compare.
I see some of the work, now united in the so-called Gulag works.
And A. Steinberg - "Akimych" well-remembered. I am about it, many have read, and this is more about him and about Tarusa told me recently, Boris Kocheyshvili.

[Эрми]

In consideration of the B. Sveshnikov, old watercolors 2
20 h26sm, 20h28sm.
46-50gg., State of preservation is good, but difficult to assess

[Эрми]

Mr. Syzran, prokomentiruyte its 2 watercolors, my little A necessary evaluation of these works, I will be grateful to you for the answer