35 - Alexander RODCHENKO (1891–1956), in the style of

Alexander RODCHENKO (1891–1956), in the style of Untitled, geometric composition with circles, oil on cardboard, signed lower right, approx. 70.5 x 52 cm Note: To provide context, part of this collection was exhibited in 2017 as part of a show dedicated to Russian modernism; it was at the center of an international controversy regarding its attribution and provenance. Removed from the museum in 2018 following debates among experts, it remains today a testament to a story with two sides: that of Western enthusiasm for the Russian avant-garde and the more critical narrative of how its legacy has been constructed. The group of works presented here was not shown in Ghent but is indeed part of the Toporovski/Pevzner collection on display; this group does not claim to settle the question of authenticity, which remains disputed; rather, it explores the works’ symbolic, decorative, and aesthetic dimensions. Through the interplay of influences, connections, and reinterpretations, these works remind us just how much the Constructivist language—lines, tension, geometry, and formal utopia—has inspired multiple generations of artists, far beyond its original context. Part homage, part inquiry, this collection bears witness to a fascinating dialogue between myth, history, and creation. Consequently, Stanley’s Auction cannot provide any guarantee regarding the authenticity of the work presented; for this reason, we describe the works as “in the style of” or “Russian school.” The documents of provenance linking the paintings offered for sale to the Toporovski/Pevzner Collection may be viewed at our offices upon prior request. Important reminder and glossary: When a work of art bears a signature and is described as “after,” this means it is a copy or imitation created by another artist, but one that echoes the style, subject, or model of a famous master (for example, “After Rembrandt”), without guaranteeing the authenticity of the original artist, unlike a work signed by the artist himself, for which the expert assumes responsibility. The phrase “Attributed to” indicates that the work is considered very likely to be by that artist, but without absolute certainty, whereas “After” is a designation that offers no guarantee regarding the artist and is often used for inspired works or copies. These works are therefore considered copies of decorative interest. Their provenance history serves as contextual information that adds to the interest in these works.