Watercolors and Drawings
The Gatchina Museum-Preserve’s watercolor and drawing collection currently contains 501 pieces. The prewar holdings, however, were far more extensive and included over 1,500 items – portraits, landscapes, images of military uniforms, genre, battle and hunting scenes.
Many of these works on paper were produced by renowned artists such as O. Verne, H.F. Viollier, M.N. Vorobyov, E.P. Haw, M. Zichi, I. Mayer, J. J. Mettenleiter, V.D. Polenov, L. Premazzi, V.S. Sadovnikov, A.I. Charlemagne, K.A. Ukhtomsky. The Gatchina palace museum currently holds just 300 artworks from its original collection, while 1,095 drawings and watercolors from the Palace’s prewar collection remain in other museums. In the 1980s and 1990s, works by modern artists were added to the collection. At about the same time, the Palace acquired several portraits and landscapes from the 18th, 19th and the first half of the 20th centuries. These include works by K.E. Makovsky, A. Ya. Golovin, and N.E. Lancere.
Many of these works on paper were produced by renowned artists such as O. Verne, H.F. Viollier, M.N. Vorobyov, E.P. Haw, M. Zichi, I. Mayer, J. J. Mettenleiter, V.D. Polenov, L. Premazzi, V.S. Sadovnikov, A.I. Charlemagne, K.A. Ukhtomsky. The Gatchina palace museum currently holds just 300 artworks from its original collection, while 1,095 drawings and watercolors from the Palace’s prewar collection remain in other museums. In the 1980s and 1990s, works by modern artists were added to the collection. At about the same time, the Palace acquired several portraits and landscapes from the 18th, 19th and the first half of the 20th centuries. These include works by K.E. Makovsky, A. Ya. Golovin, and N.E. Lancere.
View of the Palace Park at Gatchina
View of Sokoa Fort
Poltava
Gates to St. Alexander Nevsky Lavra
View of the Gatchina Palace
The Crimson Drawing Room at the Gatchina Palace
The Chinese Gallery at the Gatchina Palace
The Theater Design for a New Wing of the Gatchina Palace
Façade and Plan of Turkish Tent
View of the Palace from the Long Island
N.Y. Lancere. View of the Palace Park at Gatchina. 1924.
Pencil and gouache on paper, 19,2х26 cm.
Nikolay Yevgenevich Lancere (1879 – 1942) was a renowned St. Petersburg-based architect, graphic artist, architectural historian, and member of the World of Art group. He gave this drawing showing the Gatchina park to Seraphima Nikolaevna Balayeva, a curator at the Gatchina Palace. Inscribed in Cyrillic at lower right: “To lovely Seraphima Nikolaevna as a keepsake from N.Lancere 15/VI 1924”. In the foreground of the drawing at left are the long branches of park trees drooped over the water. Behind them, one can see the Grand terrace and dock that were built in 1792-1795 to the design of Brenna. The monolithic wall of the terrace is faced with slabs of Pudost stone and is made complete with a balustrade decorated with vases and statues. Installed on the balustrade are marble figures - Painting, Sculpture, Architecture and Mathematics by sculptor Bernardi Torretto. There are steps on both sides of the terrace running down to the water. Behind the terrace are lush crowns of park trees. To the left, one can see the stretch of the White Lake.
Pencil and gouache on paper, 19,2х26 cm.
Nikolay Yevgenevich Lancere (1879 – 1942) was a renowned St. Petersburg-based architect, graphic artist, architectural historian, and member of the World of Art group. He gave this drawing showing the Gatchina park to Seraphima Nikolaevna Balayeva, a curator at the Gatchina Palace. Inscribed in Cyrillic at lower right: “To lovely Seraphima Nikolaevna as a keepsake from N.Lancere 15/VI 1924”. In the foreground of the drawing at left are the long branches of park trees drooped over the water. Behind them, one can see the Grand terrace and dock that were built in 1792-1795 to the design of Brenna. The monolithic wall of the terrace is faced with slabs of Pudost stone and is made complete with a balustrade decorated with vases and statues. Installed on the balustrade are marble figures - Painting, Sculpture, Architecture and Mathematics by sculptor Bernardi Torretto. There are steps on both sides of the terrace running down to the water. Behind the terrace are lush crowns of park trees. To the left, one can see the stretch of the White Lake.
E.I. Gibert. View of Sokoa Fort. 1889.
Pencil on paper. 23,5х35 сm. From the Album of designs and drawings by E.I. Gibert.
Gatchina Museum-Preserve, ВХ-465.
The drawing was executed by Ernest Ivanovich Gibert, a famous architect and a public figure in the second half of the 19th century. The drawing of Socoa Fort is part of a set of drawings depicting the French resort of Biarritz and its surrounding area, where E. I. Gibert, probably, spent the summer of 1889. Depicted by the architect on one of the sheets from his album, Sokoa Fort lies near the town of Biarritz on the Bay of Biscay, on the Atlantic coast. In the foreground is the shore of the bay with a fragment of the embankment. From the embankment, the road leads to a rock island in the bay. The structures of the walled Sokoa Fort are visible on the island. Building of the Sokoa Fort was begun in 1627 to protect the coast from Spanish troops. It was still under construction when the Spaniards captured the fortress. Once Sokoa was handed back to the French, fortification work continued under S.Vauban, who visited the fortress in 1680.
Under Vauban, the fort acquired its present-day look, which has changed little since then. The romantic image of the old fortress as presented by Gibert is seen against the disturbing sky overcast with clouds.
Pencil on paper. 23,5х35 сm. From the Album of designs and drawings by E.I. Gibert.
Gatchina Museum-Preserve, ВХ-465.
The drawing was executed by Ernest Ivanovich Gibert, a famous architect and a public figure in the second half of the 19th century. The drawing of Socoa Fort is part of a set of drawings depicting the French resort of Biarritz and its surrounding area, where E. I. Gibert, probably, spent the summer of 1889. Depicted by the architect on one of the sheets from his album, Sokoa Fort lies near the town of Biarritz on the Bay of Biscay, on the Atlantic coast. In the foreground is the shore of the bay with a fragment of the embankment. From the embankment, the road leads to a rock island in the bay. The structures of the walled Sokoa Fort are visible on the island. Building of the Sokoa Fort was begun in 1627 to protect the coast from Spanish troops. It was still under construction when the Spaniards captured the fortress. Once Sokoa was handed back to the French, fortification work continued under S.Vauban, who visited the fortress in 1680.
Under Vauban, the fort acquired its present-day look, which has changed little since then. The romantic image of the old fortress as presented by Gibert is seen against the disturbing sky overcast with clouds.
A.I. Charlemagne. Poltava. 1883.
Watercolor on paper, whitewash. Image: 31,4х50 сm.; with original mount: 47,2х65 cm.
Gatchina Museum-Preserve, inv. № ГДМ-177-ХI.
Adolphe Iosifovich Charlemagne (1826-1901) was a painter of battle, historical and genre scenes, academician and professor at the Imperial Academy of Arts. He produced several canvases commemorating important events in Russian military history. The watercolor Poltava depicts the major battle of the Northern War fought between Russian troops under Peter I and the Swedish army under Charles XII. The battle occurred in the morning, on June 27 (July 8), 1709 six versts (an old Russian unit of distance equal to 0.6 mile) away from the town of Poltava. It was a decisive battle that changed the course of the Northern War in favor of Russia. Charlemagne’s watercolor shows a climax of the battle. In the hand-to-hand fighting, the right wing of the Swedish infantry attacked the Russian left flank and as a result, the front line of Russian troops began to retreat. Peter I led the 2nd Battalion of the Novgorodsky Regiment in an attack on the Swedes. The appearance of the tsar restored order to the left flank. In the centre of the sheet is the confident-looking Peter leading fast moving ranks of infantrymen. At the left of the sheet, one can see the soldiers from the front line of the Russian troops as they withdrew disorderly from the battlefield. The dynamic composition, bright color scheme, skilful depiction of military men moving in different directions are characteristic of the artist’s many watercolor works.
Watercolor on paper, whitewash. Image: 31,4х50 сm.; with original mount: 47,2х65 cm.
Gatchina Museum-Preserve, inv. № ГДМ-177-ХI.
Adolphe Iosifovich Charlemagne (1826-1901) was a painter of battle, historical and genre scenes, academician and professor at the Imperial Academy of Arts. He produced several canvases commemorating important events in Russian military history. The watercolor Poltava depicts the major battle of the Northern War fought between Russian troops under Peter I and the Swedish army under Charles XII. The battle occurred in the morning, on June 27 (July 8), 1709 six versts (an old Russian unit of distance equal to 0.6 mile) away from the town of Poltava. It was a decisive battle that changed the course of the Northern War in favor of Russia. Charlemagne’s watercolor shows a climax of the battle. In the hand-to-hand fighting, the right wing of the Swedish infantry attacked the Russian left flank and as a result, the front line of Russian troops began to retreat. Peter I led the 2nd Battalion of the Novgorodsky Regiment in an attack on the Swedes. The appearance of the tsar restored order to the left flank. In the centre of the sheet is the confident-looking Peter leading fast moving ranks of infantrymen. At the left of the sheet, one can see the soldiers from the front line of the Russian troops as they withdrew disorderly from the battlefield. The dynamic composition, bright color scheme, skilful depiction of military men moving in different directions are characteristic of the artist’s many watercolor works.
V.S. Sadovnikov. Gates to St. Alexander Nevsky Lavra. 1840.
Watercolor on paper, whitewash. 22,5х18 сm.
Gatchina Museum-Preserve, inv. № ГДМ-266-XI.
Vasily Semyonovich Sadovnikov (1800-1879) was a renowned artist who painted numerous pictures of St. Petersburg and its surrounding areas. Prior to World War II, the Gatchina Palace held 20 works by the artist, while now there is only one watercolor - the rest are located in other museums. The height of Sadovnikov’s artistic career occurred from the mid-1830s to the late 1840s. The sheet from the Gatchina collection showing the Alexander Nevsky lavra dates from this period. The watercolor is remarkable for its meticulous details and balanced color scheme. In the opening of the gate, you can see the railings of the Lazarevsky cemetery, while in the distance the dramatic outlines of the Church of Annunciation are visible. The painter depicts the structures and landscape with great precision, while retaining interest in showing the everyday life of the monastery. There are numerous figures on the sheet, clergymen and parishioners painted in meticulous details.
Watercolor on paper, whitewash. 22,5х18 сm.
Gatchina Museum-Preserve, inv. № ГДМ-266-XI.
Vasily Semyonovich Sadovnikov (1800-1879) was a renowned artist who painted numerous pictures of St. Petersburg and its surrounding areas. Prior to World War II, the Gatchina Palace held 20 works by the artist, while now there is only one watercolor - the rest are located in other museums. The height of Sadovnikov’s artistic career occurred from the mid-1830s to the late 1840s. The sheet from the Gatchina collection showing the Alexander Nevsky lavra dates from this period. The watercolor is remarkable for its meticulous details and balanced color scheme. In the opening of the gate, you can see the railings of the Lazarevsky cemetery, while in the distance the dramatic outlines of the Church of Annunciation are visible. The painter depicts the structures and landscape with great precision, while retaining interest in showing the everyday life of the monastery. There are numerous figures on the sheet, clergymen and parishioners painted in meticulous details.
A.A. Popov. View of the Gatchina Palace. 1859. Watercolor and pencil on paper. 17,7х28,4 сm. Gatchina Museum-Preserve, inv. № ГДМ-172-ХI. The watercolor by Andrey Andreevich Popov shows the Gatchina Palace that was remodeled to the design of P.I. Kuzmin shortly before the artist produced this work. Executed in almost a miniature technique, the watercolor depicts the structure exactly as it appeared in the mid-19th century. Nicholas I commissioned P.I.Kuzmin to dismantle the side wings and build new ones on the old foundations. In rebuilding the palace, Kuzmin strove to match them with the central portion of the palace. He aligned the height of the side wings with the semicircular wings and introduced two ribbed domes (on two corner towers adjacent to the semicircular wings). He decorated the facades of the Arsenal and Kitchen wings with orders on each store, as Rinaldi did in the decoration of the central building with pilasters on each store. The outside of the wings was faced with Pudost slabs, while the basement with granite. The Signal and Clock Towers rising above the central block added one tier each. In Popov’s watercolor, the palace and the square, which underwent reconstruction at the same time, are seen as a single coherent whole.
L. Premazzi. The Crimson Drawing Room at the Gatchina Palace. 1872.
Watercolor on paper, whitewash. 36х44 сm.
Gatchina Museum-Preserve, inv. № ГДМ-490-XI.
Luigi (Ludwig Osipovich) Premazzi (1814 – 1891) was an academician of prospective painting, professor at the Imperial Academy of Arts and one of the founders of the Society of Russian Watercolor Artists. In the 1870s, he painted interiors of two rooms at the Gatchina Palace. The present watercolor shows the Crimson drawing room that appeared at the Gatchina Palace in the 1790s and retained its original appearance without major alterations up until the Great Patriotic War. The interiors were designed by V. Brenna. The Drawing room takes its name after the crimson furniture upholstery and the crimson grounds of the tapestries that were used for its decoration. The tapestries come from the famous Don Quixote series woven in the late 1770s at the Royal Gobelins Manufactory in France. The finely carved and molded gilt ornaments on the walls and ceiling give this room a special solemn atmosphere.
Watercolor on paper, whitewash. 36х44 сm.
Gatchina Museum-Preserve, inv. № ГДМ-490-XI.
Luigi (Ludwig Osipovich) Premazzi (1814 – 1891) was an academician of prospective painting, professor at the Imperial Academy of Arts and one of the founders of the Society of Russian Watercolor Artists. In the 1870s, he painted interiors of two rooms at the Gatchina Palace. The present watercolor shows the Crimson drawing room that appeared at the Gatchina Palace in the 1790s and retained its original appearance without major alterations up until the Great Patriotic War. The interiors were designed by V. Brenna. The Drawing room takes its name after the crimson furniture upholstery and the crimson grounds of the tapestries that were used for its decoration. The tapestries come from the famous Don Quixote series woven in the late 1770s at the Royal Gobelins Manufactory in France. The finely carved and molded gilt ornaments on the walls and ceiling give this room a special solemn atmosphere.
E. P. How. The Chinese Gallery at the Gatchina Palace. 1876.
Watercolor on paper, whitewash. 44,2х29 сm.
Gatchina Museum-Preserve, inv. № ГДМ-409-ХI.
Edward Petrovich How (1807-1887) was a prominent watercolor artist, academician specializing in perspective painting. He produced 59 images depicting interiors of the Gatchina Palace from 1862 to 1880. How’s watercolors are remarkable artworks and also a source of valuable historical information. They were crucial for the palace’s restoration after the War of 1941-1945. The watercolor shows the Chinese Gallery that appeared at the Gatchina Palace in the 1850s following the reconstruction of the building by P.I. Kuzmin. Semicircular in plan and elegantly decorated in the Neogothic style, the gallery occupied the entire width of the Arsenal Wing, with windows overlooking the inner courtyard. The elongated gallery was partitioned by sets of thin Gothic columns that supported the open-work arches. Stained glass windows were installed. The Chinese Gallery was used to display Chinese and Japanese works of art numbering over 4,000 pieces. P.I. Kuzmin was personally involved in the selection of items that were to be used for the decoration of the gallery.
Watercolor on paper, whitewash. 44,2х29 сm.
Gatchina Museum-Preserve, inv. № ГДМ-409-ХI.
Edward Petrovich How (1807-1887) was a prominent watercolor artist, academician specializing in perspective painting. He produced 59 images depicting interiors of the Gatchina Palace from 1862 to 1880. How’s watercolors are remarkable artworks and also a source of valuable historical information. They were crucial for the palace’s restoration after the War of 1941-1945. The watercolor shows the Chinese Gallery that appeared at the Gatchina Palace in the 1850s following the reconstruction of the building by P.I. Kuzmin. Semicircular in plan and elegantly decorated in the Neogothic style, the gallery occupied the entire width of the Arsenal Wing, with windows overlooking the inner courtyard. The elongated gallery was partitioned by sets of thin Gothic columns that supported the open-work arches. Stained glass windows were installed. The Chinese Gallery was used to display Chinese and Japanese works of art numbering over 4,000 pieces. P.I. Kuzmin was personally involved in the selection of items that were to be used for the decoration of the gallery.
Unknown architect. The theater design for a new wing of the Gatchina Palace from “Atlas of oberamts of Gatchina and Novoskvorits…”. Late 1790s. Pen and ink, brush and watercolor on paper; 94,5х62,2 cm.
Gatchina Museum-Preserve, inv. № ГДМ-99-XI.
“Atlas of oberamts of Gatchina and Novoskvoritsy with adjacent unteramts, settlements and villages…” is sometimes referred to in literature as “Kushelev’s second album”.
Created during the reign of Paul I, the Atlas contains design drawings related to the development of the palace, park, and the town of Gatchina, all of which were not completed. The scope of sweeping changes that are evident from these drawings is quite amazing. In the 1790s, Paul I had plans to build a variety of new grand buildings in Gatchina, lay out extensive formal gardens, and considerably expand the town’s boundaries. The album includes designs for a picture gallery, a new palace wing with a large theatre, numerous cascades, canals, and pavilions. Most of these projections were never realized. The sheet with the design for the theatre shows the façade and cross-sections of a grand building embellished with numerous moldings and statues. This structure was supposed to be part of a new wing of the Gatchina Palace, which was to be built in place of the Lime Tree Garden.
Gatchina Museum-Preserve, inv. № ГДМ-99-XI.
“Atlas of oberamts of Gatchina and Novoskvoritsy with adjacent unteramts, settlements and villages…” is sometimes referred to in literature as “Kushelev’s second album”.
Created during the reign of Paul I, the Atlas contains design drawings related to the development of the palace, park, and the town of Gatchina, all of which were not completed. The scope of sweeping changes that are evident from these drawings is quite amazing. In the 1790s, Paul I had plans to build a variety of new grand buildings in Gatchina, lay out extensive formal gardens, and considerably expand the town’s boundaries. The album includes designs for a picture gallery, a new palace wing with a large theatre, numerous cascades, canals, and pavilions. Most of these projections were never realized. The sheet with the design for the theatre shows the façade and cross-sections of a grand building embellished with numerous moldings and statues. This structure was supposed to be part of a new wing of the Gatchina Palace, which was to be built in place of the Lime Tree Garden.
Probably by G.S. Sergeev. Façade and Plan of Turkish Tent. 1798.
From “Atlas of Gatchina Palace with its gardens, menageries and other structures, including the town and fields”.
Watercolor on paper, pen, ink, brush. 48 х 62,5 cm
Gatchina Museum-Preserve, inv. № ГДМ-33-XI.
The sheet shows the façade of the Turkish tent and its site plan. The Turkish Tent was built near the Kitchen Wing of the Gatchina palace in the 1790s. It was built of wood to appear as an oriental pavilion. In front of the tent is an area of the park with swings in the formal style. During the reign of Paul I, it was the venue for celebrations and illuminations. Occasionally, in evenings over 1,500 colored lanterns were lit in front of the tent. The Turkish tent retained its original appearance until 1854, when it was dismantled to erect a wooden arbor in its place, similar in plan and outlines to the tent. The structure has not been preserved.
From “Atlas of Gatchina Palace with its gardens, menageries and other structures, including the town and fields”.
Watercolor on paper, pen, ink, brush. 48 х 62,5 cm
Gatchina Museum-Preserve, inv. № ГДМ-33-XI.
The sheet shows the façade of the Turkish tent and its site plan. The Turkish Tent was built near the Kitchen Wing of the Gatchina palace in the 1790s. It was built of wood to appear as an oriental pavilion. In front of the tent is an area of the park with swings in the formal style. During the reign of Paul I, it was the venue for celebrations and illuminations. Occasionally, in evenings over 1,500 colored lanterns were lit in front of the tent. The Turkish tent retained its original appearance until 1854, when it was dismantled to erect a wooden arbor in its place, similar in plan and outlines to the tent. The structure has not been preserved.
G.S. Sergeev. View of the palace from the Long island. 1798.
From “Atlas of Gatchina Palace with its gardens, menageries and other structures, including the town and fields”.
Pen, ink, brush, watercolor on paper; 48х62,5 сm.
Gatchina Museum-Preserve, inv. № ГДМ-7-XI.
“Atlas of Gatchina Palace…” includes 49 sheets with watercolors and design drawings. The Atlas is also referred to in literature as “Kushelev’s first album” as its title page bears the signature “Admiral Kushelev”. Count G.G. Kushelev (1754- 1833), one of the closest associates of Paul I, founded and headed the Mapping Agency of His Imperial Majesty. The agency’s staff was responsible for collecting, unifying and publishing various maps and atlases of the Russian empire and other countries. The Gatchina atlas was probably created under Kushelev’s supervision. The first seven sheets of the atlas depict views of the Palace park at Gatchina. These were created in 1798 by the painter and topographer Gavriil Sergeevich Sergeev, an employee of the Mapping Agency. The artist’s bright and vivid depictions of the Gatchina park are remarkable for precision and attention to detail. In the foreground to the left, the watercolor View of the Palace from the Long Island shows the Eagle Pavilion, known as Temple in the late 18th century. Across from it on the other bank of the White Lake is the Chesma Obelisk, one of the park’s earliest structures.
From “Atlas of Gatchina Palace with its gardens, menageries and other structures, including the town and fields”.
Pen, ink, brush, watercolor on paper; 48х62,5 сm.
Gatchina Museum-Preserve, inv. № ГДМ-7-XI.
“Atlas of Gatchina Palace…” includes 49 sheets with watercolors and design drawings. The Atlas is also referred to in literature as “Kushelev’s first album” as its title page bears the signature “Admiral Kushelev”. Count G.G. Kushelev (1754- 1833), one of the closest associates of Paul I, founded and headed the Mapping Agency of His Imperial Majesty. The agency’s staff was responsible for collecting, unifying and publishing various maps and atlases of the Russian empire and other countries. The Gatchina atlas was probably created under Kushelev’s supervision. The first seven sheets of the atlas depict views of the Palace park at Gatchina. These were created in 1798 by the painter and topographer Gavriil Sergeevich Sergeev, an employee of the Mapping Agency. The artist’s bright and vivid depictions of the Gatchina park are remarkable for precision and attention to detail. In the foreground to the left, the watercolor View of the Palace from the Long Island shows the Eagle Pavilion, known as Temple in the late 18th century. Across from it on the other bank of the White Lake is the Chesma Obelisk, one of the park’s earliest structures.