Onegin and Tatyana Sculptural Composition

Sculptural composition "Onegin and Tatyana," sculptor V.G. Stamov, LFZ, 1940s. Height – 153 mm, weight 348 g. An iconic, essentially eternal story about Love, a narrative composition in the style of symbolism, mega-rare, a museum exhibit, from a very original sculptor of the Leningrad Porcelain Factory. Made immediately after the Great Patriotic War – during a very difficult time for the USSR!

No chips or restoration (verified, including under ultraviolet light)! Rings like a beautiful tuning fork of Love! Collectible condition! There are a couple of miniature inclusions (about 1 mm long) on Onegin’s head (on the right, closer to the temple area) – they are visible in photo #1. There are a couple of miniature (about 1 mm long) nicks, possibly under the glaze, the edges are not sharp, covered with centuries-old dust, they are tiny – pure perfectionism overall)), there is an inclusion on the surface of the glaze (about 1 mm long) and a tiny fold in the porcelain mass (a kiln crack?) – please see the penultimate and last macro photos. There are a couple of insignificant glaze underfills, only on the base (I think technological), they are noticeable with a magnifying glass, one in front, one in back, their photos, labeled, are in the cloud. Gilding (thin gold edging) is absent. But that’s not important anymore))! Perhaps it was not preserved, it depends on its quality, adherence to the technological process, and specific storage conditions (display case or open, humidity, gases, suspensions, ultraviolet, ambient temperature and its fluctuations, etc.). In the cloud there are photos of an ashtray in the form of an eagle, a vase with molded flowers, a vase with painting – please see how sometimes gilding disappears not from friction, but from the friction of time)). I do not wash the figure – so you can see the traces of its storage over an indefinite period, these are clearly not traces of “china cabinet” storage. It is waiting here, hidden away)), for a lucky, wealthy, self-sufficient, Respected Collector, not used 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 Tatyana – my personal opinion)), according to the novel by the Russian poet A.S. Pushkin.

“But there is no faith in the sincerity of Eugene’s feelings. Tatyana understands this. The picture is clear: he is an eternal wanderer, without serious occupation, who met a young lady whose love he rejected with a smirk. And now, seeing her at the ball, in the brilliant tinsel of light, he suddenly becomes filled with feelings for her. Yes, the scenery has changed. The village girl, whom he once taught a lesson, is now worshipped by high society. And society’s opinion is an unquestionable authority for Onegin. He saw that Tatyana has weight in society, and ‘found’ in himself a feeling of love. And Tatyana, as a perceptive and intelligent young lady, realizes this. Most likely, Onegin is in love, but only ‘with his new fantasy’…”

You will own, admire, and dispose as you wish. The future sculptor’s homeland was the village of Koktebel in Crimea, where he was born in 1914. The understanding of what to choose as his life’s work did not come to the young man immediately. Therefore, at first he received an initial technical vocational education, studying at a vocational school in the city of Stary 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. Voynov Metallurgical Plant in Kerch, where Stamov worked as a designer. But the young man was more drawn to creativity, to creation. This prompted him, in parallel with his work at the plant, to attend an art club 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 serious works as a sculptor was the reliefs for the interior and facade of the plant club building, which he made from concrete.

During the years of the Great Patriotic War, he had to forget about the sculptor’s craft and his studies. First, Stamov worked on the defensive lines of besieged Leningrad, then on labor projects 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. Matveev. This master of Russian and Soviet plastic arts had a great influence on the formation of the young sculptor’s creative worldview. The student’s graduation thesis in 1947 was the sculpture “Denis Davydov,” and his first job in his profession was at the famous Leningrad Porcelain Factory, where Stamov worked from 1948 to 1950. For many years he was also a member of the LFZ Art Council.

Gaining experience, Stamov regularly participated in professional union, Russian, and international exhibitions and took an active part as an expert in the Council for Monumental Sculpture of the Leningrad City Executive Committee’s Department of Culture. From 1959 to 1978, he was chairman of the Art Council for Sculpture of the Leningrad Organization of the RSFSR Art Fund. Over the years, success and recognition came to him as a master of his craft – in 1965 he was awarded the title of Honored Artist of the RSFSR. Since 1964, Stamov was a board member first of the Union of Artists of the RSFSR, and since 1969 – of the Union of Artists of the USSR. Also since 1969, he was a member of the Expert Council for Monumental Sculpture of the Department of Culture of the Leningrad City Executive Committee.

Among Stamov’s main works are “The Weaver,” “Working Morning,” “Postwoman Zhenya Khokhlova,” “Lermontov,” “Peter I,” “Peace,” “Anxiety,” “Torso,” “Bread.” The work of Vasily Gavrilovich Stamov was marked by the Gold Medal of the USSR Academy of Arts, the USSR State Prize, and the honorary title “People’s Artist of the RSFSR.”

Dear friends, I ask you to also read the article about Vasily Gavrilovich – it turns out he was also a co-author of the monument to V.I. Lenin! https://ru.wikipedia.org/wiki/Стамов,_Василий_Гаврилович