Onegin and Tatiana

Sculptural Composition "Onegin and Tatiana",
Sculptor V. G. Stamov, LFZ, 1940s.
Height - 153 mm, weight 348 g.
An iconic, timeless story of Love, a symbolic composition, mega-rare, a museum-worthy exhibit, by a highly distinctive sculptor of the Leningrad Porcelain Factory. Created right after the Great Patriotic War - during an extremely difficult time for the USSR!

No chips or restoration (verified, including with UV light)! Rings like a beautiful tuning fork of Love! Collector's condition! There is a pair of tiny (about 1 mm long) inclusions on Onegin's head (on the right, near the temple area) - they are visible in photo No. 1.

There is a pair of tiny (about 1 mm long) nicks, possibly glazed over, edges not sharp, covered in age-old dust, they are minuscule - sheer perfectionism overall)), there is an inclusion on the glaze surface (about 1 mm long) and a tiny fold in the porcelain mass (kiln crack?) - please check the penultimate and last macro photos. There are a couple of insignificant glaze drip marks, only on the base (technological, I assume), noticeable with a magnifying glass, one in front, the other in back, with labeled photos in the cloud. Gilding (thin gold trim) is missing. But that's no longer important))! It may not have survived, depending on its quality, adherence to the technological process, and specific storage conditions (display or open storage, humidity, gases, particulates, UV light, ambient temperature fluctuations, etc.). In the cloud, there are photos of an ashtray in the shape of an eagle, a vase with molded flowers, a painted vase - please take a look at how gilding sometimes wears off not from friction, but from the friction of time)). I am not washing the figure - so you can see traces of its storage over an indefinite period; these are clearly not traces of "cabinet" storage. It waits here, hidden away)), for a lucky, wealthy, self-sufficient, Esteemed Collector, not accustomed to denying themselves the pleasure of owning a true exclusive - the rarest works of art. At your request, before shipping, I will clean the figure of dust, but it is beautiful as is)).

Onegin and the noble-spirited Tatiana - my personal opinion)), based on the novel by Russian poet A. S. Pushkin.

"But there is no belief in the sincerity of Eugene's feelings. Tatiana understands this. The picture is clear: he is an eternal wanderer, without serious pursuits, met a young lady whose love he scornfully rejected. And now, seeing her at the ball, in the brilliant tinsel of society, he suddenly feels emotions for her. Yes, the setting has changed. The village girl, to whom he once taught a lesson, is now worshipped by society. And society's opinion is an unquestionable authority for Onegin. He saw that Tatiana has weight in society, and 'found' a feeling of love within himself. And Tatiana, as a perceptive and intelligent young lady, realizes this. Most likely, Onegin is in love, but in love only with 'his new fantasy'.."

You will own and admire, dispose of it.
The homeland of the future sculptor was the village of Koktebel in Crimea, where he was born in 1914. Understanding what to choose as his life's work did not come to the young man immediately. So, he first obtained a basic technical vocational education, studying at a vocational school in the town of Staryi Krym, and then entered the Kerch Mining and Metallurgical College, which he graduated from in 1934. One of his first jobs was at the P. L. Voinov Metallurgical Plant in Kerch, where Stamov worked as a designer. But the young man was more drawn to creativity and construction. This prompted him, while working at the plant, to simultaneously attend a fine arts circle under the guidance of artist-architect A. V. Shapovalov. Some time later, Stamov decided to master a new profession. In 1935, he was admitted to preparatory classes, and two years later, he was enrolled as a student in the sculpture faculty at the Institute of Painting, Sculpture, and Architecture in Leningrad. One of Stamov's first significant works as a sculptor were the reliefs for the interior and facade of a factory club building, which he executed in concrete.

During the Great Patriotic War, he had to forget about the sculptor's craft and studies. First, Stamov worked on the defensive lines of besieged Leningrad, then on labor assignments in the Arkhangelsk region. After the war, Stamov returned to Leningrad, where he resumed his studies at the institute in the workshop of A. T. Matveyev. This master of Russian and Soviet plastic art had a great influence on the formation of the young sculptor's creative worldview. His graduation diploma work in 1947 was the sculpture "Denis Davydov," and his first professional job was at the famous Leningrad Porcelain Factory, where Stamov worked from 1948 to 1950. For many more years, he was a member of the artistic council of the LFZ.

Gaining experience, Stamov regularly participated in professional union, Russian, and international exhibitions and actively took part as an expert on the council for monumental sculpture of the Leningrad City Executive Committee's Culture Department. From 1959 to 1978, he was the chairman of the artistic council for sculpture of the Leningrad Organization of the Art Fund of the RSFSR. Over the years, success and recognition as a master of his craft came — in 1965, he was awarded the title of Honored Artist of the RSFSR. From 1964, Stamov was a member of the board of the Union of Artists of the RSFSR, and from 1969, of the Union of Artists of the USSR. Also from 1969, he was a member of the expert council for monumental sculpture of the Leningrad City Executive Committee's Culture Department.

Among Stamov's major works, one can highlight such pieces as "The Weaver," "Working Morning," "Postwoman Zhenya Khokhlova," "Lermontov," "Peter I," "Peace," "Anxiety," "Torso," "Bread." The work of Vasily Gavrilovich Stamov was recognized with a gold medal from the Academy of Arts of the USSR, the USSR State Prize, and the honorary title "People's Artist of the RSFSR."

I ask you, friends, to read the article about Vasily Gavrilovich; it turns out he was also a co-author of the monument to V. I. Lenin!