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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 26, 2014 | Bonhams | London | The Russian Sale | 26 | $****** - ****** | The Offerings | |||
Nov 16, 2013 | Shapiro Auctions | New York | Russian and International Fine Art | 131 | $****** - ****** | Dary [Offerings] |
paintings
51.5 x 74.8 cm (20.28 x 29.45 in)
tempera on board
signed with artist's monogram and indistinctly dated (lower centre), inscribed and titled in Cyrillic 'Offerings', with label of Corona Mundi Institute and exhibition label, with later inventory numbers (on verso)
Helena Roerich, 1910.,Roerich Museum, New York, until 1938.,Nettie and Louis Horch, New York, until 1957.,Dr. Carlos Giro, USA.,
Private collection, USA. ,Sale, Gene Shapiro Auctions, 16 November 2013, lot 131.,
Acquired from the above by the present owner
International Baltic Exhibition (Malmo, Sweden), 1914, no. 1085. ,Stockholm., November 1918 (see: Elena Sojni, Northern Images of Nicholas Roerich, page. 156.,Helsinki, Finland. 1919. (see Elena Sojni, ibid. page 160, no. 24).,Spells of Russia, the Goupil Gallery London. May, 1920, no. 18.,Spells of Russia, Poslic Art Gallery. Worthing, England, no. 84, 1920.,Roerich Exhibition, Kiingore Gallery, New York. Dec. 20, 1920 Jan 15, 1921.,N. Roerich Museum, before 1935 (permanent collection).Almost immediately after its execution, The Offerings entered the collection of the artist's wife, Elena Ivanovna. In 1914, the painting was in Malmö, Sweden and was subsequently included in every personal exhibition of Roerich's work throughout Europe and the United States. It then entered the collection of the newly formed Roerich Museum in New York, after which it was sold to a private collector
Baltic Exhibition Catalogue, Baltic Exhibition, Malmo (Sweden), 1914.,Apollon, April May, 1915, no. 4-5, illustrated.,A. Gidoni, N.K. Roerich, St. Petersburg, 1915, illustrated.,Roerich, "Free Art" Publishing, St. Petersburg, 1916, illustrated.,S. Ernst, N. K. Roerich, St. Petersburg, 1918, illustrated.,A. Yaremenko, N. K. Roerich, New York, 1931, illustrated, pl. 10.,Spells of Russia, exhibition catalogue, London, 1919.,Spells of Russia, Worthing, England, 1919.,The Roerich Exhibition, exhibition catalogue, ed. by C.H. Brinton, New York, 1920, illustrated.,The World of Art, The New York Times, 19 December, 1920, illustrated.,Roerich Museum Catalogue, New York, 1930, page 16, no. 147.,Russia through the Eyes, Mary Gardon, Chicago Opera Co., illustrated.,Nicholas Roerich, Himalaya, Brentano's Publishing, New York, 1926, page 204, #147, on page 190 "Offerings" is dated 1909.,Nina Selivanova, The World of Roerich, New York, 1926, page 66.,P. Belikov, V. Kniazeva, N. Roerich, Moscow, 1972, page 83.,E. Yakovleva, Art of Stage Design, Czech Republic, 1996, page 23, 69, 120, illustrated.,N. Roerich. Life and Work, Moscow, 1978, pages 52, 156, 157.,N. Roerich. Life, Work, Mission, Moscow, 2007, pages 194,197,374.,N. K. Roerich, Biographical Materials 1917-1919, St.Petersburg, 2008, page 413, illustrated.,N. Roerich in Russian Press, St.Petersburg, 2007, Vol. 4, page 458.,N. Roerich in Russian Press, St.Petersburg, 2008, Vol.5, pages 432,429.,4th International Conference "Roerich's Heritage," Presentation of Dr. Elena Yakovleva, Russian Museum, St. Petersburg, Oct. 10, 2006, Illustrated.,V. Kniazeva, N. Roerich, Moscow, 1963, page 61.,S. Yarevich, D. N. Popov, At Work Source. Roerich's World, Izobrazitel'noe Iskusstvo, Moscow, 1993, page 444, illustrated.,E.I. Polyakova, N. Roerich, Moscow, Iskusstvo, 1973, pages 154-157.,N. Roerich, Agni Publishing, Gallery of Art Academy, Art Centre "Kunstberatung", Samara-Moscow-Zurich, 2011, Vol 2, page 458, illustrated.Remizov based The Tragedy of Judas on the apocryphal Russian legend of Judas the Traitor, reworking the plot to centre on the tension between the characters' free will and destiny. The 'Silver Age' of Russian art and was so fascinated with the mystical, the grotesque and the stylized, that in order to highlight the mythical nature of the play, Remizov added to his narrative a character worthy of an Indian Epic: the monkey king Asyka. The Offerings focuses on the moment when Asyka visits Pontius Pilate, announcing his arrival with a triumphant procession. Although Remizov did not explicitly describe this in the written play, Roerich unexpectedly chose to portray the violent ancient tradition of bringing a ruler the severed heads of his enemies.For further regarding The Offerings, please see E.P. Yakovleva's article 'Regarding the history of circulation of The Offerings painting by Nikolai Roerich,' The Legacy of Roerich: Conference Proceedings, VI, Saint-Petersburg, 2008, pp. 220-227. For the full text of Remizov's play and the first published illustrations of Roerich's corresponding works, see A.M Remizov, The Tragedy of Judas, the Prince of Iscariot, Zoloie Runo, Moscow, 1909, pl. 11-12
