Boris Izrailevich Anisfeld

Acquired by the grandfather of the present owners

Petrograd, Mir isskustva, 1917
Brooklyn, The Brooklyn Museum et al., The Boris Anisfeld Exhibition, 1918-1920, no.60

Exhibition catalogue Mir isskustva, Petrograd, 1917, ed.2, no.15a
Exhibition catalogue The Boris Anisfeld Exhibition, New York, 1918, no.60 listed, pl.3 illustrated b/w
F.Chaliapin, Literaturnoe nasledstvo. Pis'ma, vol.I, Moscow, 1976, p.489 mentioned in the text
E.Lingenauber and O.Sugrobova-Roth, Boris Anisfeld Catalogue Raisonné, Düsseldorf: Edition Libertars, 2011, p.154, no.P375 illustrated b/w

The canvas has been strip-lined. There are frame abrasions with minor associated paint losses along all four edges. There is craquelure in places, most notably to the neck of the sitter. Inspection under UV light reveals fine lines and spots of retouching around the fingers of the sitter's left hand and on his right arm. There are further fine lines of retouching to the dark background beneath his forearm and other scattered retouchings elsewhere. Held in a gold painted wooden frame with plaster mouldings. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Feodor Chaliapin was impressive in every sense of the word. At well over six feet tall he was an imposing presence on stage and had what the American opera singer Mary Ellis described as a voice like a church bell that literally shook her with its vibrations. Although not known for his modesty, Chaliapin claimed not to like having his portrait painted. This did not stop him however from sitting for almost every Russian artist of his age. In a letter to his daughter from Petrograd dated 14 April 1916, Chaliapin complains bitterly of how every spare moment is taken up posing for portraits, not only for Anisfeld, but simultaneously for Kharitonov, Bogdanov-Belsky and Bobrovsky.

'Chaliapin's contemporaries all stressed the brilliance, the intense life he gave to his roles, and each pose or gesture cried out to be put on canvas. He was painted in costume and every conceivable attire; he was to remain their most fascinating subject, and not only because of his celebrity.' (M.Gorky, Chaliapin, 1968, p.9).