Russian school, in the taste of Untitled, composition with workers, hammer, sickle and Cyrillic letters. Oil on canvas, signed lower right, 91.5 x 136 cm. By way of context, part of this collection was presented in 2017 as part of an exhibition devoted to Russian modernism, and was at the heart of an international controversy over its attribution and provenance. Withdrawn from the museum in 2018 following expert debate, it remains today a witness to a dual history: that of Western enthusiasm for the Russian avant-garde and, more critically, that of the construction of its memory. The ensemble presented here was not exhibited in Ghent, but is part of the Toporovski / Pevzner collection. It does not attempt to settle the disputed question of authenticity; rather, it explores its symbolic, decorative and aesthetic dimensions. Through the interplay of influences, filiations and reinterpretations, these works serve as a reminder of the extent to which the Constructivist language of line, tension, geometry and formal utopia has inspired generations of artists far beyond its original context. Between homage and questioning, this collection bears witness to a fascinating dialogue between myth, history and creation. Stanley's auction cannot, therefore, give any guarantee as to the authenticity of the work presented, which is why we mention that the works are "in the taste of" or "Russian school". Provenance documents linking the paintings presented for sale to the Toporovski / Pevzner Collection as a whole may be consulted in our offices on prior request. Important reminder and lexicon: When a work of art bears a signature and is described as "d'après", this means that it is a copy or imitation made by another artist, but which takes on the style, subject or model of a famous master (for example, "D'après Rembrandt"), without guaranteeing the authenticity of the original author, unlike a work signed by the artist himself, which engages the responsibility of the expert. Attributed to" indicates that the work is considered to be very probably by this artist, but without absolute certainty, while "After" is a term that offers no guarantee as to the author, and is often used for inspired works or copies. These works are therefore considered to be copies of decorative interest. The history of their provenance is an element of context that adds interest to these works.