Boris Dmitrievich Grigoriev

Original canvas. There is a layer of surface dirt and evidence of slight frame abrasion and very minor paint loss to the edges. UV light reveals an uneven layer of discoloured varnish but no apparent signs of retouching. Held in a bronze and black painted 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."

Isidor Polivnick, a benefactor and businessman of Russian-Jewish origin, made his fortune in the construction of apartment houses in Brooklyn. In 1914 he co-founded the Beth-El Hospital, now called the Brookdale hospital, and was its honorary president until his death.

 

The offered lot is one of several portraits which Grigoriev painted during his stay in the United States from 1923-8, where he experienced 'a type of spiritual renaissance' (T.Galeeva, Boris Grigoriev, Zolotoi Vek 2007).  The mid-1920s witnessed huge commercial success for Grigoriev, thanks to his popularity in American circles where he quickly became one of the most exhibited and sought-after Russian artist in New York. His works also acquired a newfound maturity that amalgamated the Russian and European modernist traditions and honed them to suit American tastes. 

 

Grigoriev's predilection for subjects with marked expressive features is evident in the figure of Polivnick.  The use of formal and stylistic contrast in his compositions is seen in the sculptural, almost Neo-Classical representation of Polivnick's face and hands, set against the flatness of the bookshelf, the chair, and the sitter's jacket and tie.  The crossed hands, full lips, glistening eyes, and prominent features are all finely rendered with minute brushstrokes and emphasised contours.  The distortion characteristic of his earlier works has been toned down and instead Grigoriev presents the sitter in a statuesque pose and eternalizes his calm, distant gaze, recalling Sergei Konenkov's remark that Grigoriev was able to demonstrate 'that which is the human soul'.