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Nude boy clutching himself, 1901- 1909. Red chalk on thin off-white wove paper. 17x13”. On verso: graphite sketch of cat with restudy of forehead. Inscribed at lower left in graphite: book 483 and in ink #4. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the next item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 483. Provenance: Shepherd Gallery (has its label on the back). |
$8,000 |
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Nude boy standing hunched, 1901-1909. Red chalk on thin off-white wove paper. 17x13”. On verso: inscribed at lower left in graphite: book 484 and in ink 1. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg
1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the previous item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 484. Provenance: Shepherd Gallery
(has its label on the back) |
$8,000 |
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Book of Ioram. Cover and 3 drawings of letters. Ink on cardboard. [1910]. 20x16".Provenance: Family of the Artist. Exhibited and described in the catalog of the exhibition, Brooklyn Museum, NY 1918, #114 |
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$15,000 |
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Costume design for a Boyar in Sadko. Signed twice in Cyrillic and dated 1910 low right; signed and dated 1910-1919 low left; watercolor, gouache and gold paint on paper laid down on board. 19x8 inches. Provenance: family of the artist. Exhibited: Brooklyn Museum 1919 (last page of the catalog), The Kingore Galleries, New York, 1919 |
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“Snow Maiden” Costumes for five Boyars .Metropolitan Opera Production 1922. Gouache on paper, 11x14”, signed and dated 1921 low right. Exhibitions: Lincoln Center 1959, The William Benton Museum of Art, Storrs, CT, 1979, #52(illustrated). Provenance: Family of the Artist, Paul Stiga |
$25,000 |
$15,000 |
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"Blue Bird". Metropolitan Opera, 1919. Costume of Water, Gouache on cardboard. Inscribed “Water” in Russian. 13x10". Provenance: Family of the Artist. Exhibited: The William Benton Museum of Art,
Storrs, CT, 1979, #43; Adler Fine Art Galleries New York, 1980 #26; Gillman Galleries, Chicago, 1982. In original hand embossed and etched brass art nouveau style frame. |
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“Carnival”, Decor for Mikhail Mordkin's American Tour 1926. Gouache
on cardboard, signed lower right Provenance: Family of the artist. 13x10". In original frame art deco with ormolu mounts and brass inner slip |
$25,000 |
$25,000 |
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"Blue Bird". Metropolitan Opera,1919. The Joy of Seeing What is Beautiful.
Costume design for Act II, Tableau IV, The Palace of Happiness. Tempera on illustration board, signed and dated 1919 lower left 13x12". Provenance: Family of the Artist. Exhibited: Adler Fine Art Galleries New York, 1980 #33; Gillman Galleries, Chicago, 1982. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.23.
In original Italian hand-carved polychrome and parcel gilt frame beginning of XX century with brocaded mat |
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$25,000 |
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“Carnival”, Curtain for Mikhail Mordkin's American Tour 1926. [Pierrot and Colombina]. Gouache on cardboard, signed lower right Provenance: Family of the artist.13x10".
In original art nouveau Austrian hand-carved frame with ormolu mounts and a maker label“ C. Buhlmayer, Wien” on the back. Exhibited: International Exhibition of Watercolors, Pastels, Drawings and Miniatures, 03.31-05.30 1932, #179; Adler Fine Art Galleries New York, 1980 #26 |
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Nativity. Tempera on board. Signed low right [1934]. 11x30”. Label with number 9 circled and also numbers 310, 34/2439 and letter M
circled by artist’s hand on the back. Provenance: Family of the Artist. In original Swedish frame with linen insert probably selected by the artist. |
$25,000 |
$50,000 |
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Goddess of dreams. Unsigned, undated. 60 x 46". Oil on canvas. Provenance:
Family of the artist. Exhibited: Duke University Museum of Art, Durham, NC, 2001-2006 Enclosed: the original study for the painting signed by the artist (see the next item).
Goddess of dreams. Study for the previous painting. Tempera on canvas laid on cardboard, signed lower left 12 x 8,5". Provenance: Family of the Artist. |
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PRICE ON REQUEST |
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Fate. Signed and dated 1956-57 lower left Oil on canvas. Inscribed on reverse “Fate”, #189, 82x65". Provenance: Family of the artist. Exhibited and illustrated in the catalog of the exhibition: The Art Institute of
Chicago1958 #1; Duke University Museum of Art, Durham, NC, 2001-2006. Illustrated in “ANISFELD Boris”. Text by S.Bekkerman.95p.p.86 ill.
ABA Gallery, Palace Edition, 2001. p.10. |
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Destiny (The Descent from the Cross). The central scene is surrounded with ten medallions reproducing other paintings by
B. ANISFELD. Signed and dated 1956 lower left Oil on canvas. 71 x 51". Provenance: Family of the Artist. Illustrated in “ANISFELD Boris”. Text by S.Bekkerman.95p.p.86 ill. ABA Gallery, Palace Edition, 200, p.4. Exhibited: Duke University Museum of Art, Durham, NC,
2001-2006, illustrated on p.9 of the
Spring 2002 Exhibitions & Events Calendar. |
PRICE ON REQUEST |
PRICE ON REQUEST |
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The Song of Songs. Signed and dated 1949 lower right 34x27”. Oil on canvas.
Provenance: Family of the Artist. Exhibited: The Art Institute of Chicago1958 #79. |
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Buddha with pomegranates. Dated 1916 and signed lower left in Russian. Oil on
canvas. 28x28". Provenance: Family of the Artist. Exhibited: Mir Iskusstva, Petrograd, 1916; Exhibited and illustrated in the catalog of the exhibition, Brooklyn Museum, NY 1918, #61; Duke University Museum of Art, Durham, NC, 2001-2006 |
PRICE ON REQUEST |
PRICE ON REQUEST |
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Blue Room. Signed and dated 1945 lower right Oil on canvas. 50 x 40".Provenance:
Family of the Artist. Exhibited: The Art Institute of Chicago,1958, #96. |
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Autumn Elegy. Signed and dated lower left 1952. Oil on canvas. 50x40".
Provenance: Family of the Artist. Exhibited: Gillman Galleries, Chicago, 1982; Duke University Museum of Art, Durham, NC, 2001-2006 |
PRICE ON REQUEST |
PRICE ON REQUEST |
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Sodom and Gomorrah. Signed and dated 1963/4 lower right 65 x 39". Oil on canvas. Reproduced in "Christian Art", January
1965, p.8. Provenance: family of the artist. Exhibited: Duke University Museum of Art, Durham, NC, 2001-2006; “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 200 ill 139. Bibliography: AMERICAN ARTISTS FROM THE RUSSIAN EMPIRE The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), Palace Editions 2008, illustrated on p. 27. |
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Thoughts of Maternity, wooden sculpture, cherry wood (tropical mahogany?).
H=24". Reproduced in Christian Art January 1965, p.5. Provenance: Family of the artist. Exhibited: Gillman Galleries, Chicago, 1982. |
PRICE ON REQUEST |
PRICE ON REQUEST |
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Bronze statue of a nude
woman. C.1930. Signed and numbered 1/9 (according to common
considerations copy #1 is accounted to be an original, no other
copies of this sculpture are known to be produced anyway}.
Provenance: Family of the Artist. 35"x16"x12". Exhibited and
illustrated in the catalog: The Art Institute of
Chicago,1958; Gillman Galleries,
Chicago, 1982. ; exhibited: “A Time to Gather… RUSSIANART From
Foreign Private collections”, “A Time to Gather… RUSSIANART
From Foreign Private collections”, State Russian Museum,
Saint-Petersburg, February-June 2008, Moscow - Exhibition Center
"Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated
in the catalog p. 198 ill 138 |
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Lady with a background of a City. Signed and dated 1930 lower left Oil on canvas.
30"x33". Provenance: Family of the artist. In original Urbino or Ferrara circa 1550-1600 hand carved, painted and gilded tabernacle frame that has on each side a column in front of a painted panel flanking a representation of Saint Peter on the left and Saint John the Baptist on the right, above a frieze of carved foliage scrolls and topped by a cornice with dentils ( that frame mimics the façade of a palace doorway and is true to the architecture of the time and the region). Exhibited: The Art Institute of Chicago1958 #81. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.21; Art+Auction, March 2008, illustrated on p. 84. |
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PRICE ON REQUEST |
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Exodus from Egypt. Signed and dated 1931[1928-31 according to the artist’s marks in 1958 catalog] . Oil on board. 33 x 50". Provenance: Family of the Artist. Reproduced in Christian Art January 1965, p.6. Exhibited: The Art Institute of Chicago1958 #20; The William Benton Museum of Art, Storrs, CT, 1979, #24; Gillman Galleries, Chicago, 1982. ; exhibited: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 88 ill 45 |
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Life (The Descent/ Deposition from the Cross). The central scene is surrounded with twelve medallions reproducing other paintings by B.ANISFELD. Tempera on board. Signed and dated 1934 lower right 37 x 29" Reproduced in Christian Art January 1965, cover page. Provenance: Family of the Artist. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.22.
In original hand carved and guild Florentine 17th century frame with brass inner slip |
PRICE ON REQUEST |
PRICE ON REQUEST |
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Lake scene. Signed lower right. Not dated [c.1917]. 38 x 44". Oil on canvas. Provenance: Sotheby's. London, 16.06.1994, lot 99. Exhibited: Paris, Exposition de L’Art Russe ‘Monde Artiste’j a la Galerie “Boetie” 1921 (label on the back). |
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Self portrait. Signed lower right Oil on canvas. 32 x 26". Inscribed on the reverse: Portrait of Artist, num 4, [19]55, 26x32, also numbered 10, # 81(on the stretcher) and 452 (label on the stretcher).
Reproduced in Christian Art January 1965, p.5. Provenance: Family of the Artist. Exhibited: Gillman Galleries, Chicago, 1982; : AMERICAN ARTISTS FROM THE RUSSIAN EMPIRE The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), Palace Editions 2008, illustrated on p. 158 of the catalog.
Provenance: Family of the Artist. In Italian 17th century part carved and gilded tabernacle frame, with scrolling leaf, flowers, theatrical masks and flying eagles to the pediment, predella and entablature, flanking with Milanese decorated columns with cherubim’s on top. |
PRICE ON REQUEST |
PRICE ON REQUEST |
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Adam
and Eve. Oil on canvas. Signed lower left, not dated [1909],
105x125". Bibliography: “A Time to Gather... Russian
Art From Foreign Private collections”, State Russian Museum,
Saint-Petersburg, Palace Editions,2008, illustrated on
p.25.Provenance: Family of the artist. Russian Museum
(Leningrad) certificate is enclosed. Illustrated in
“ANISFELD Boris”. Text by S. Bekkerman.95p.p.86 ill. ABA
Gallery, Palace Edition, 2001. p52. Another (latest) variant
of the painting was exhibited and illustrated in the Catalog
of the exhibition, Brooklyn Museum, NY 1918, #14. The same
latest variant is also discussed in comparison with our
variant in”
Boris Anisfeld in St.Petersburg 1901-1917.” Shepherd
Gallery, Fall 1984, #27, illustrated |
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PRICE ON REQUEST |
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ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.
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Борис Израилевич Анисфельд (Бер Срулевич)
родился в 1978г. в городе Бельцы, Бессарабия.
Живописец, иллюстратор, график, сценограф.
Учился в Одесском художественном училище,
затем в Академии Художеств у И.Е.Репина и
Д.Н.Кардовского в
Санкт-Петербурге.Участвовал в выставке Мир
Искусства в Петербурге, затем в Парижском
Оссенем Салоне 1906, в Салоне В.А Издебского
1909-1910, в Венском Сецессионе 1908. С 1910
член Мира Искусства. Работал как сценограф в
театре Ф.Ф. Комиссаржевского, Русских
балетах С.П.Дягилева. С 1917 жил в США,
обосновался в Нью-Йорке. Оформлял спектакли
для Метрополитен-Опера и Чикагской оперы.
Умер в 1973 в Коннектикут, США. |
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