Peter married. 2 Elizabeth Merkuryevna Boehm (Endaurova) (1843-1914)

The drawing presents a group of children gathered near what appears to be a doorway or window frame. The composition is tightly focused on these figures, with minimal background detail beyond the architectural element they are positioned against. A decorative crest or coat-of-arms is visible above them, adding a sense of formality and perhaps indicating a location of significance.
The children vary in age and expression. One figure, standing slightly apart from the others, leans heavily on a walking stick, exhibiting an air of melancholy or contemplation. Their gaze is directed outward, beyond the frame, suggesting a detachment from the groups immediate activity. The other children are clustered together, their faces displaying a range of emotions – curiosity, apprehension, and perhaps even amusement. One child appears to be crying, while another seems absorbed in holding a small bundle or doll.
The artist’s use of light and shadow contributes significantly to the drawings mood. Strong contrasts emphasize the childrens features and create a sense of depth within the limited space. The rough texture of the paper adds to the overall feeling of immediacy and intimacy.
Subtly, the work seems to explore themes of childhood observation and social dynamics. The children are positioned as witnesses or participants in an unseen event – the doorway suggests a threshold, a boundary between what is known and unknown. Their varied expressions hint at differing perspectives on this event. The presence of the crest above them implies that their observations occur within a context of established order and hierarchy.
The drawing’s power lies not in its narrative clarity but in its ability to evoke a sense of quiet drama and psychological complexity, inviting viewers to ponder the unspoken story unfolding behind the doorway.