after a 1922 model by Iakov Troupianskii and a painted design by Varvara Rukavishnikova, stamped blue factory mark, numbered 3

Pushkin Museum, no. 72

Oda k Radosti/Ode to Joy, p. 321, cat. no. 242; for comparison, see Nosovich and Popova, pp. 377-381 and N. Lobanov-Rostovsky, Revolutionary Ceramics: Soviet Porcelain 1917-1927, London, 1990, cat. no. 110, p. 103.

some small wear to the matt black glaze, primarily to back
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Feodor Chaliapin (1873-1938) learned his signature role while working with Sergei Rachmaninoff at the Mamontov Private Opera.  After working at the Bolshoi for fifteen years, in 1913 Chaliapin was introduced to Paris and London by Serge Diaghilev.  He left Russia in 1921, but remained a strong advocate for Russian composers in the West.

This model is par🅰ticularly distinguished by Rukavishnikova's design, which combines matt and glazed surfac♔es with ciselé gilt flowers to suggest the unparalleled wealth of the Muscovy court.