Publication presentation. Russian portrait miniatures from the late 18th – 19th centuries. Сatalog of the Sepherot Foundation (Liechtenstein) collection

The catalogue accompanying the exhibition is the first project which presents the history of Russian painting base on the materials of the Sepherot Foundation Collection. The scientific catalogue, including three introductory articles by leading researchers of miniature painting and indicants (names of artists represented in the collection, depicted people, collections and owners who owned the exhibits, orders, medals and uniforms, mentioned in the comments) was printed in the printing house “Graphic Tintoretto S.R.L.”, Italy, and contains more than five hundred semi-gloss pages coated with glossy offset varnish, almost all of which contain illustrations, and cardboard cover coated with two-colored fabric. The catalogue was created thanks to the work of specialists - art historian Sergey Podstanitsky, leading research worker of the State Historical Museum Lyudmila Rudneva, and senior research worker of the State Russian Museum Yuri Epatko.

Speaking at the presentation of the book, which took place on the day of the exhibition’s finissage, Tamara Igumnova, deputy director of the State Historical Museum, said that the event is both joyful and sad. Because a second such collection is unlikely to ever appear. It has absorbed the rare examples of Russian painting dispersed through the collections in Europe, which were brought together by the Sepherot Foundation. The event is joyful because the exhibition project crowns the catalogue edition of the “Sepherot Foundation (Liechtenstein) Russian portrait miniatures of the late 17th-19th centuries. Catalogue of the collection”.

This publication is not just informative; it represents a real artistic value. It shows both life-sized miniatures and enlarged fragments. It can be a training aid for art historians, and a book of reference for collectors.

Alexander Konoplyov, the artist of the publication: “The Art of Miniatures is gone. Yet it carries in it a charge of human relationships, and you can see this, you can feel it.”

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