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Olga Novokhatska (b. 1979) Boats, Balaklava, 2007
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Details
Signed in Cyrillic (lower right); titled ‘Lodki. Balaklava’ (Boats. Balaklava), dated 2007 and signed on the reverse.
Sizes:
Frame: 40.5 × 55.5 cm | 15.9 × 21.9 in
Artwork: 30 × 45 cm | 11.8 × 17.7 in
Four boats are moored side by side in the narrow bay of Balaklava, the old fishing port south of Sevastopol: a red hull in the foreground, a green one behind, a blue one with a yellow flag, and the pale rocks of the far shore caught in the sun above a sheet of lilac-blue water. The paint is thick and quick, every plank and reflection a separate loaded stroke, in the Russian plein-air manner of the Crimean painters.
Olga Novokhatska, born in Ukraine in 1979 and trained at a state academy of design and fine arts, has lived and worked in Paris for some years and is known there for her café and street scenes; this early canvas, titled and dated on the reverse, was painted on the Crimean coast in 2007, before her move to France.
Provenance
Acquired in France.
Private Collection, Spain.
Condition Report
Oil on canvas, unlined, on its original stretcher. The impasto is stable and clean, with no losses observed. Presented in a black painted frame with a pale slip. Please contact us to request a detailed Condition Report.
Shipping
Packed as size S (up to 60 × 50 cm) · 55.5 × 40.5 cm framed
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- Made-to-measure wooden crate (works over 20,000 €)
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€ (the low estimate to start)
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We coordinate packing and shipping on your behalf, with insurance available if you’d like it — or you’re welcome to arrange your own. Please see our Shipping Information page for full details before completing your purchase.
Authenticity & Buyer Information
This lot is catalogued under the artist’s name without qualification. Provenance, dating and condition are described to the best of our knowledge; the sale is governed by our Conditions of Sale.
Buyers should review the catalogue carefully and raise any questions before bidding; additional information is not ordinarily provided after the auction.
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What it costs
Bidding on this site, the buyer’s premium is 25%, Spanish IVA included. There is no VAT on the hammer price and no card fee.
| Starting price | Low estimate | High estimate | |
|---|---|---|---|
| Hammer price | €200 | €200 | €300 |
| Buyer’s premium 25% (IVA included) | €50 | €50 | €75 |
| Total on auroraathena.com | €250 | €250 | €375 |
| Total through a bidding platform (30%) | €260 | €260 | €390 |
Through LiveAuctioneers, Invaluable, Drouot or Bidspirit the premium is 30%: the same hammer of €300 costs €390 there against €375 here. Shipping and insurance are quoted separately; the estimator below gives the figure for your country. Buyers outside the EU pay no Spanish tax on the lot; the destination’s import rules apply (United States: original paintings and drawings enter duty-free; United Kingdom: 5% import VAT on art). Card payments are accepted up to €10,000; larger amounts by bank transfer.
Questions about this lot
How does the estimate compare with the artist’s recent auction results?
The estimate of €200–€300 is our opinion of the range this work should reach; the starting price of €200 is the lowest bid we accept. We have not published comparable results for this lot; ask us before the sale and we will send the results we based the estimate on.
What will this lot cost in total?
Bidding on this site, the buyer’s premium is 25%, Spanish IVA included, and there is no VAT on the hammer price and no card fee: at the starting price of €200 the total is €250; at the low estimate of €200 the total is €250; at the high estimate of €300 the total is €375.
Through LiveAuctioneers, Invaluable, Drouot or Bidspirit the premium is 30%, so the same hammer of €300 costs €390 there. Shipping and insurance are quoted separately; the estimator on this page gives the figure for your country. Buyers outside the EU pay no Spanish tax on the lot; the destination’s import rules apply (United States: original paintings and drawings enter duty-free; United Kingdom: 5% import VAT on art). Card payments are accepted up to €10,000; larger amounts by bank transfer.
How is this lot catalogued?
Under the artist’s name without qualification. Provenance, dating, condition and value are described to the best of our knowledge; the sale is governed by the Conditions of Sale.
Can I see the condition report, more photographs or the work itself?
A condition report with ultraviolet photographs is prepared on request, normally within two working days; the condition summary on this page is examined in-house and is not a conservator’s report. Further photographs of any detail, the reverse or the frame are sent on request. The work can be examined in our Barcelona showroom by appointment before the sale, and you are welcome to send your own conservator or specialist.
How does bidding work, and can a maximum bid make me overpay?
You can leave a maximum bid before the sale (the sale is on Saturday, November 28th - 17:00 (CET)) or bid live in our online room. A maximum bid is executed by the auctioneer only as much as is needed to stay ahead of other bidders, in the sale’s increments, never above your maximum.
Where a reserve exists it never exceeds the low estimate; a lot without a reserve sells to the highest bid at or above the starting price of €200.
Is there a limit on how much I can bid?
Every account is approved for bidding as soon as the e-mail address is confirmed, with a limit of €5,000 per bid until the identity is verified. The limit applies everywhere: in the live room, on the lot page and to maximum bids. To bid without a limit, verify your identity in your account on this site: it takes about three minutes on a phone, is done once, and the limit is lifted automatically as soon as the check is complete. Please do it at least an hour before the sale.
Olga Novokhatska
Olga Novokhatska was born in Ukraine in 1979. She decided on painting early, entering a specialised art school at sixteen and then a state academy of design and fine arts, where she received the classical Russian and Ukrainian training in drawing and plein-air painting. Her early work, like the Crimean harbour scenes she painted in the 2000s, is in that tradition: thick, quick oil, every stroke a plank or a reflection.
She has lived and worked in Paris for some years, where her subjects are the city’s cafés, terraces, bridges and streets, treated in a looser manner between figuration and abstraction in which, as she says, the painting is the subject: colour and the play of textures rather than the motif.
Her work is shown by galleries in Paris and Nice and through international platforms, and is held in private collections in Europe and America.
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