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Kasimir Malevitch (After) - Supremus N56, 1992

€2,900.00Price
Technique: Lithography


Support: Arches paper


Numbering: /1400


Signature: Unsigned


Dimensions: 93x78cm


Condition: Excellent




Authentication: Sold with gallery certificate of authenticity & gallery invoice. Mourlot Paris, Galerie Gérard Piltzer and State Russian Museum embossed stamps

  • Artwork informations

    The lithograph presented here, printed by the Mourlot studio in 1992, is the only original and officially recognized lithographic edition resulting from a direct collaboration with the Russian State Museum. It is authenticated by the seals of Mourlot, the Gérard Piltzer Gallery, and the Russian State Museum, which collectively confirm its status as a museum-sanctioned, institutional edition.
     

     Important Note Regarding the Date “1936”
     

     It is important to clarify that the date “1936” found on certain works by Kazimir Malevich does not refer to the year of creation, but most likely to the year the piece entered the official Soviet museum collections. This was a common archival practice in Soviet (and Russian) institutions, where the dates inscribed on the backs of works or in catalogues often marked the moment of their integration into public collections, or the occasion of a major retrospective exhibition.
     

     In this case, the State Russian Museum in Leningrad (now Saint Petersburg) received a group of 94 works by Malevich in 1936, following his death in 1935, through a transfer from his heirs. Some of these works are still held in the museum’s permanent collection, with “Post. 1936” explicitly indicated in their official inventory records—such as item Ж-9452, which can be found in the museum’s public database.
     

     It is therefore highly plausible that the date “1936” was inscribed to denote this institutional transfer, not the moment of artistic execution. This corresponds to a well-documented archival protocol in Soviet-era museum practices.
     

     This clarification is essential for collectors, as it repositions the date “1936” within its historical context: not as the creation date, but as the date of official state recognition and accession. The work offered here thus belongs to this important moment of Malevich’s posthumous institutional reception in the Soviet Union.
     
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