Impressionist and Modern Art

We wish to thank Galina Tuluzakova for her assistance with the cataloguing of this lot.

Provenance:

The artist.

A gift from the above.

Collection of Ksenia Pankratova, New York, New York; and California.

By descent in the family.

Private Collection, Ohio.

Lot Essay:

This captivating portrait by Russian-born artist Nicolai Fechin marks its debut at auction, having remained within the sitter’s family for generations. Painted between 1923 and 1927, the work is a small but powerful depiction of Ksenia (Xenia) Pankratova, a young woman whom Fechin met in New York and taught at the Grand Central School of Art before his move to Taos in 1927.

Fechin, classically trained at the Imperial Academy of Arts in Saint Petersburg, developed a singular style that distinguished him after immigrating to the United States in 1923. Rooted in academic and realistic rigor, yet infused with the spirit of Impressionism and Art Nouveau, his approach marries classical technique with dynamic composition, expressive abstraction, and a love of vibrant colors. This sketch exemplifies his extraordinary ability to capture not just a likeness, but an energy, an emotional state crystallized in paint.

In the present portrait, Fechin utilizes a half-length, diagonally oriented composition—one which the artist used often, seen in works like Portrait of Vera Artsybysheva (1914). The sitter’s elegant, elongated fingers form a slightly mannered gesture, imbuing the piece with movement and psychological depth I think there is no psychology at all. Fechin’s command of anatomy and proportion is evident in the expressive yet economical rendering of such hands, which directly echo his masterful treatment in works such as Manicure Lady (1917), Lady with a Cigarette (1917) and many others.

The brushwork throughout is bold, spontaneous, and layered, as the artist worked alla prima, particularly in the background, where energetic impasto strokes sculpt a dynamic, almost abstract space. Yet Fechin exercises restraint in shaping the face, allowing it to emerge gently from the expressive field, radiating presence and vitality. This balance of emotional spontaneity and formal control mirrors his portrait of Ekaterina Alekseeva (1920), where similar techniques are at play.

Despite its modest size, the portrait pulses with life. The model’s direct gaze and vibrant presence reflect both her fiery temperament and the deep bond she shared with the artist. Both Xenia and Fechin indeed hailed from Kazan, Russia, and their shared cultural roots and artistic sensibilities are palpable in the work. Their connection endured beyond the studio, as seen in archival photos of Xenia’s family visiting Fechin’s studio in Santa Monica, where he also painted her dashing son. As a result, the portrait stands as a striking artistic achievement: it serves as a visual testament to friendship, cultural kinship, and the enduring resonance between artist and muse.