An Important Soviet Agitprop Platter: 25 Oktobrya 1923 After designs by S. G. Vengerovskaya. State Por...

Description

An Important Soviet Agitprop Platter: 25 Oktobrya 1923 After designs by S. G. Vengerovskaya
State Porcelain Factory, Leningrad, circa 1924, with green underglaze mark of Nicholas II (1896-1917) and black overglaze mark of the sickle, hammer, and cog, and dated 1924
17-1/4 x 11-7/8 x 1-3/4 inches (43.8 x 30.2 x 4.4 cm)

PROVENANCE:
Commissioned by the State Porcelain Factory, Leningrad, 1924;
Private Collection, Texas;
Private Collection, New York, acquired from the above.


This exceptional and previously unknown Soviet agitfarfor platter "25 October,1923" is of a design executed by Stella Vengerovskaya to commemorate the sixth anniversary of the October Revolution. Two platters of this design were known to have survived: one, in the collection of the Dagestan Museum of Fine Arts, named for P.S. Gamzatova in Makhachkala, and the other which was sold, Christie's London, June 3, 2019, lot 384.

Vengerovskaya joined the State Porcelain Factory in 1923, where her artistic approach was significantly shaped by the aesthetics of the famed artist Alexandra Shchekotikhina-Pototskaya. During her tenure at the factory from 1923 to 1926, she was frequently requested to render Shchekotikhina-Pototskaya's designs on porcelain. According to Vladimir Levshenkov, the State Porcelain Factory archives reveal that Vengerovskaya executed the two analogous platters in 1923.

Recent research by Dr. Tina Khmelnitskaya has revealed that after the success of the two platters painted in 1923, the offered lot, a third and final platter was commissioned by the State Porcelain Factory. Khmelnitskaya notes that Vladimir Levshenkov recently discovered a notation for the final commission recorded in the archives of the State Porcelain Factory, in April of 1924.

The work was painted on a pre-existing porcelain blank from the Imperial Porcelain Factory and bears the Imperial Crowned cypher for Nicholas II. Khmelnitskaya notes that from 1918 until the 1920s, these marks of the old regime were largely effaced, painted over with green or black rhomboids or ovals. However, in rare cases, especially for export products, the cyphers were left untouched. Factory management justified this to Bolshevik leadership by stating:

"For foreign markets, the visibility of these marks alongside our Soviet ones is of great interest, and prices for products abroad will undoubtedly be considered more valuable if the previous marks are not effaced." (СОВЕТСКОЕ ДЕКОРАТИВНОЕ ИСКУССТВО. МАТЕРИАЛЫ И ДОКУМЕНТЫ 1917-1932 ГГ., Moscow, 1980, pp. 98-99).

Khmelnitskaya proposes that the offered lot, created in April 1924, was likely in preparation for the 1924 Venice Biennale. This exhibition, established in 1895, became a key venue for showcasing Russian art, with a dedicated Russian Pavilion inaugurated in 1914 under the aegis of Grand Duchess Maria Pavlovna who headed the Russian Academy of Fine Art after the death of her husband, Grand Duke Vladimir in 1909. World War I and political turmoil temporarily halted Russia's participation, however.

By 1920, relations between the RSFSR and Italy had improved, leading to a revived but Soviet presence at the 1924 Biennale. Italian organizers, with government support, invited Soviet artists, acknowledging their influence on modern art. People's Commissar of Education A.V. Lunacharsky played a crucial role in curating the Soviet exhibition, ensuring it balanced artistic representation with diplomatic tact.

The exhibition featured 80 of Russia's finest decorative and applied artworks, including porcelain from the State Porcelain Factory. Vengerovskaya's dish aligned with the Soviet artistic vision, reflecting the era's shifting political and economic landscape. By the 1920s, propaganda porcelain, or agitfarfor, had become both an export commodity and a collectible.

Given the recent discovery of information regarding the offered lot's commission, the presence of Imperial and Soviet marks indicating that work was intended for export, and the timing of the Venice biennale which Is known to have exhibited works from the State Porcelain Factory, it may well be inferred that the offered lot may have been part of the group sent from the Soviet Union, though it appears that no inventory or images of the installation survive. The work may have passed into American hands in the 1920's, ending up in the Texas collection from which the current owner acquired it many years ago.

LITERATURE:
АНДРЕЕВА Л.В. СОВЕТСКИЙ ФАРФОР. 1920-1930 ГОДЫ. Мoscow: 1975;
НОСОВИЧ Т.Н., ПОПОВА И.П. ГОСУДАРСТВЕННЫЙ ФАРФОРОВЫЙ ЗАВОД. 1904-1944. St. Petersburg: 2005;
РУССКИЙ ХУДОЖЕСТВЕННЫЙ ФАРФОР. СБОРНИК СТАТЕЙ О ГОСУДАРСТВЕННОМ ФАРФОРОВОМ ЗАВОДЕ./ ПОД.РЕД. Э.Ф. ГОЛЛЕРБАХА И В.М. ФАРМАКОВСКОГО. Л., 1924;
САМЕЦКАЯ Э.Б. СОВЕТСКИЙ АГИТАЦИОННЫЙ ФАРФОР. М., 2004;
СОВЕТСКОЕ ДЕКОРАТИВНОЕ ИСКУССТВО. МАТЕРИАЛЫ И ДОКУМЕНТЫ 1917-1932 ГГ. Мoscow:1980, pp. 98-99;
Khmelnitskaya, E.C., ИСТОРИКО-ИСКУССТВОВЕДЧЕСКОЕ ИССЛЕДОВАНИЕ БЛЮДО «ШЕСТАЯ ГОДОВЩИНА ОКТЯБРЬСКОЙ РЕВОЛЮЦИИ», St. Petersburg, 2024;
КУДРЯВЦЕВА Т.В. ВОКРУГ КВАДРАТА. АВАНГАРДНЫЙ ФАРФОР РЕВОЛЮЦИОННОЙ РОССИИ. 2004;
Lobanov - Rostovsky, N. Revolutionekeramik. Sowjetisches Porzellan 1917-1927, Basel: 1990.

Heritage Auctions thanks Dr. Tina Khmelnitskaya for her assistance in the research of this lot and permission to quote from her unpublished research. Heritage also acknowledges Dr. Khmelnitskaya's credit to Vladimir Levshenkov, who was responsible for the discovery of the April 1924 commission papers.



Note: Due to increasing international regulations regarding tariffs, sanctions, and import restrictions on this lot, additional duties or other restrictions may apply to this lot. Heritage requires all Russian-made items that are shipped internationally to have shipping instructions on file. If you purchase this lot and would like it shipped internationally, you will be emailed our shipping instructions to review and sign after the auction, acknowledging your understanding of the applicable duties, regulations, and responsibilities associated with shipping Russian-made items internationally.

*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.