Terechkovitch by J.-P. Crespelle
Book with dedicatory inscription and original drawing. Dated January 4, 1961.
Publisher: Genève Pierre Cailler, 1958
Two double page lithographs, frontispiece, numerous illustrations in text and 61 tipped in plates; plain boards covered by original pictorial wrappers.

32 x 24 cm.
Very good condition.
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Constantin TERECHKOVITCH (1902-1978)
Born in 1902, Kostia Tereshkovitch showed an early interest in drawing, a gift encouraged by his parents who entrusted his hands to the Moscow painter Constantin Youone and his gaze to the collector Sergei Shchukin. Tereshkovitch then entered the School of Painting, Sculpture and Architecture, the Russian equivalent of the French School of Fine Arts. In that same year, 1917, the Russian Revolution broke out, disrupting civil society. Taking this as an opportunity, he decided to leave for Paris, then the capital of the Arts, which he would only reach in 1920 after many adventures and small trades. In Paris, he meets the Russian expatriate community in Montparnasse and where he meets Larionov. He then became friends with other painters of the time, such as Chaim Soutine, Moïse Kisling, Pinchus Kremegne and André Lanskoy, then his friendship with Roland Oudot, Maurice Brianchon and Raymond Legueult.
His career was launched in 1921 when the writer and art critic Serge Romoff took him under his wing, which did not prevent a difficult start. The year 1923 was decisive: after rallying Berlin and its Russian artistic diaspora, Tereshkovitch found himself faced, like his compatriots, with the difficult choice of returning to Russia or returning to Paris.
In 1933, he made the sets and costumes for the Ballets Russes show in Monte-Carlo.
The themes of maturity for Kostia Terechkovitch will mainly be his family and his two daughters France and Nathalie, after having painted numerous dancers, landscapes (marl edges, beaches, seaside, countryside and villages), sports enthusiast, we owe him racehorses, equestrian scenes, but also watercolors on tennis. The art critic André Salmon wrote about him: “The palette of this painter, his treatment of color, affirms his personality. If he could not surpass himself, at least he was happily situated ”.