Hobby box - Wood

Based on a Russian fairy tale The of the Frog Princess.
Dimensions: 155 mm x 110 mm x 40 mm
lacquer miniature


Work artisan Михеев (Cyrillic).
perfect condition
papier-mâché

Will be shipped registered and packaged carefully.
at the bottom -left in the Russian plot in Cyrillic - right signature of the master
Photos - of precisely those that are for sale.
the inscription on the back reads "Russian Souvenir" - Cyrillic


The small white dots are traces of the packaging that can be removed with a wet hand.
Plot.
The Tsar commanded his three sons to marry and to choose their brides this way: stand in an open field and shoot one arrow at random from a bow. The woman whose house the arrow landed on was the one he would marry. The older brothers' arrows landed on wealthy houses, but the arrow of the youngest, Ivan Tsarevich, landed in a swamp. He found his arrow near a frog, whom he was destined to marry. Unlike the wives of Ivan Tsarevich's brothers, the frog performs the Tsar's tasks for his daughters-in-law (weaving a carpet and baking Easter cake) perfectly, using witchcraft, either on her own (in one version of the tale) or with the help of "nurses" (in another). When the Tsar invites Ivan and his wife to a feast, she arrives in the guise of a beautiful maiden. Ivan Tsarevich secretly burns her frog skin, which brings on a cruel curse—the Frog disappears. Ivan sets out to find his wife, finds her with Koschei the Deathless, and frees his beloved from captivity, killing Koschei with the help of Baba Yaga.
Palekh since the pre-Petrine times was famous for its icon painters. The greatest flourishing of Palekh iconography reached the XVIII - early XIX century. Local style was formed under the influence of Moscow, Novgorod, Stroganov and Yaroslavl schools. In addition to icon painting, the Paleshans were engaged in monumental painting, participating in the painting and restoration of churches and cathedrals, including the Faceted Chamber of the Moscow Kremlin, the temples of the Trinity-Sergius Lavra, the Novodevichy Monastery.

After the revolution of 1917 the painters of Palekh were forced to look for new forms of realizing their creative potential. In 1918 the artists created the Palekh Artistic Decorative Artel, which was engaged in painting on wood. The ancestors of the Palekh style are Ivan Golikov and Alexander Glazunov, in whose Moscow workshop Ivan Golikov wrote the first work in the so-called Palekh style. The Palesans got acquainted with the new material papier-mache, which for a century was the basis for the lacquer miniature Fedoskina. The masters mastered the new material, transferring to it the traditional for the ancient Russian icon-painting technology and conventional image stylistics. For the first time Palekh miniatures on papier-mache made at the request of the Handicraft Museum were presented at the All-Russian Agricultural and Artisanal Exhibition in 1923, where they were awarded diplomas of the 2 nd degree.

On December 5, 1924, the seven Palekh artists Ivan Golikov, Ivan Markichev, Ivan Bakanov, Ivan Zubkov, Alexander Zubkov, Alexander Kotukhin, and VV Kotukhin united in the Artel of Ancient Painting. Later they were joined by artists Ivan Vakurov, Dmitry Butorin, Nikolai Zinoviev. In 1925 Palekh miniatures were exhibited at the World Exhibition in Paris.
Typical plots of Palekh miniatures are borrowed from everyday life, literary works of classics, fairy tales, epics and songs. A number of compositions are based on the traditions of classical art [1]. Works are usually performed with tempera paints on a