Boris Izrailevich Anisfeld

The canvas has been lined. There is a layer of light surface dirt and the canvas is slightly rucked in places. There is a faint stretcher marka along the upper edge. UV light reveals horizontal lines of retouching in the upper half, spots of retouching elsewhere and an uneven layer of varnish. Held in a wooden frame. 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."

Biblical imagery occurs frequently in Boris Anisfeld's oeuvre. Old Testament themes in particular were a source of exotic subjects with decorative possibilities. The offered lot depicts the beautiful shepherdess Shulamite, heroine of the Song of Solomon (7:1) who is regarded as the epitome of chastity. Based on an oriental love song which celebrates the beauty of marital love, the Song recounts the tale of Shulamite's meeting with a young shepherd whilst tending her flock. She falls in love with him and he leaves, promising to return with an offer of marriage.  Anisfeld chooses to depict Shulamite after her lover's departure when she is lost in forlorn reverie. She kneels, naked, on a rocky outcrop surrounded by sheep, her eyes closed as if in a dream with her arms lifted in a gesture of lamentation.

This painting demonstrates the artist's technical skill, strong sense of colour and unique pictorial vision. The highly stylised treatment of the subject can be traced back to Anisfeld's earlier pastoral evocations for Ballets Russes set design. Reds and greens create a complementary colour harmony and highlight Anisfeld's debt to the striking palettes of the Fauves.