The Sergo Grigorian Collection, the most extensive and historically significant compilation of Soviet art propaganda in the world, is now officially on the market. The monumental collection, curated over 25 years, offers an unparalleled glimpse into the visual and ideological tapestry of the Soviet era.
It comprises over 2,500 pieces, including posters, paintings, and other forms of visual media from the USSR, currently housed in London. Estimates place the value at over £5,200,000, with no collection comparable in terms of size and scale.
The collection, spanning 1917 to 1991, relates closely to the avant-garde movement, whilst also serving as a historical record of the Soviet Union’s ideological battles. From the optimism of industrialisation to the stark realism of wartime, these works lift the curtain on the Soviet psyche.
The collection is being sold as a whole, but the sellers are considering interest or offers on an ad hoc basis.
Avant-Garde
Although propaganda posters from this era were originally mass-produced in batches of 30,000 to 60,000 for temporary use, older specimens, like those found in the Sergo Grigorian collection, are scarce. Such specimens are particularly coveted for the bold, avant-garde styles, which, despite beginning to lose allure as social realism became more prominent from 1934, left a lasting impression on Western art.
The sale of Soviet art propaganda has seen significant market interest in the past decade. The resurgence in popularity, particularly among younger generations in Russia and the UK, underscores a growing appreciation for the artistic and historical value of these works – with some going as far as to describe it as a nostalgia for communist ideals in an era of late-stage capitalism. The names of prolific artists from the period boost the value significantly, such as Alexandr Deyneka, whose pieces have reached up to £3,000,000 at auction, and pieces from Klutsis and Rodchenko selling for as much as £50,000 apiece.
Highlights from the collection:
The work of Victor Denisov, such as The Capital (1919), damning capitalism as grotesque and avaricious, reveals another facet of Soviet propaganda. Denis, who initially opposed Lenin, became a favourite of the Soviet regime until his death in 1946. His transformation and subsequent works echo the turbulent political shifts of the time and the need to conform or die.
The Union’s stance towards women is captured in the poster Liberated woman – let’s build the socialism (1926). Other posters with similar messages, such as Long live the October, which has freed a woman encourage women to take up manual labour such as farmwork, leaving domestic duties behind to further the aims of the collective. Beyond the propaganda, Soviet Russia was notably progressive for the epoque, as one of the first countries to grant women universal suffrage and offering women the right to maternity leave and abortion.
The collection features iconic pieces like Klutsis’ Politburo, (1935) a powerful reminder of the Stalinist purges in the 1930s. The poster, which features the shaded face of a figure who was arrested and executed shortly after its release, ominously mirrors Klutsis’ own demise.
Ideology
Anti-religion sentiment is a tenant of Soviet rule, seen throughout the collection. Cheremnykh’s Easter Egg exemplifies Bolshevik efforts to replace traditional religions with communist ideology. This anti-religious poster is testament to the regime’s attempts to establish a new cultural and ideological order.
Another significant work is Golub’s We were raised by Stalin, (1948) which bizarrely depicts Stalin with only four fingers on one hand, considered a bad omen. This eerie anomaly, combined with the artist’s tragic death in the same year as Stalin, underscores the pervasive fear and paranoia of the time.
Sergo Grigorian, curator and owner of the collection, says: “This collection is totally unique in its breadth, offering a rare window into the soul of a bygone era. Each piece tells a story of struggle, triumph, and the unyielding spirit of the people living under Soviet rule. There is no black-and-white way of viewing the collection – its significance lies in the many shades of political and social nuance. The moralistic Soviet ideals of equality, work ethic and strength are balanced the stark historic reality of a violent, single-minded and oppressive regime.
“It is my hope that this collection will find a new home where it can continue to educate people on this period of history. The preservation of these historical artefacts is my earnest bid to keep the lessons of yesterday alive, lest we forget them today.”
About Red Avant-Garde
Red Avant-Garde is the premier platform showcasing the Sergo Grigorian Collection. The website offers detailed descriptions and high-resolution images of the artworks, providing a virtual tour of this unparalleled collection. For more information, visit Red Avant Garde.
See also: The Furniture of Ado Chale in Brussels
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