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A quantity of Renoir Matisse and other copper and jewellery of various patterns and designs

A quantity of Renoir Matisse and other copper and enamel jewellery to include patterns such as a three piece 'Nefertiti' suite, two 'Guinevere' bracelets and others

A quantity of Renoir Matisse and other, copper and enamel jewellery to include, an 'Interplay' cuff, a 'Palette' brooch and ear clips, a 'California Dreaming' necklace in turquoise enamel, a 'Honeybear' necklace a 'Laurel' brooch and ear clips etc

A quantity of Renoir Matisse and other, copper and enamel jewellery to include, a 'Polaris' brooch, a 'Harvest' necklace and ear clips in pink, a 'Leaf' brooch and ear clips in orange, 'Hearts' bracelet and others

A quantity of Renoir Matisse and other, copper and enamel jewellery to include patterns such as 'Artist Palette' clip earrings, 'Apple', 'Starburst', 'Leaflet', 'Maple Leaf', 'Theatrical Mask' in black and red, and others

A quantity of art books, including: Cezanne, Tissot, Renoir, Gauguin, etc. in a box.

Pierre Renoir (1841-1919) 'Sur La Plage' Etching, signed 'Renoir' in the plate, late re-strike, 11 x 7cm

After Pierre-Auguste Renoir, French 1841-1919- "The Judgement of Paris"; heliogravure, 26.5x35cm., (unframed) CONDITION REPORT: After Renoir: sheet hinge mounted in three places on top edge top edge of sheet trimmed unevenly creasing along the top edge patches of brown staining on the reverse of the sheet prominent tape marks top edge overall fair condition

ART. 7 hardback Paragon publications showcasing Renoir, Degas(2),Modigliani, Lautrec, Klimt and Munch. Klimt-Gilles Neret, Hogarth-David Bindman, Classic Painting, Romney, Wren by Margaret Whinney. Over 15 books in total.

A 20th century oil on canvas - R Donaldson - La Loge after Renoir - 30" x 24" verso

Autograph letter signed "Renoir" to the art-collector Arsene Alexandre, 1p (Auguste, French painter, 1841-1919) Autograph letter signed "Renoir" to the art-collector Arsene Alexandre, 1p., in French, 8vo, [?Paris], 30th May 1894, criticizing the tendency to over-varnish paintings, ("The industrial and disagreeable look which the miss-use of varnish gives to paintings is extremely regrettable and if your article could put a stop to this new rush to 'do up like new' I myself could only congratulate you"), folds, slightly browned, framed and glazed, overall 355 x 585mm. Renoir s distaste was probably provoked by the great disparity between varnishing and his own painting style of layering small multi-coloured strokes that illuminated the luminosity of a woman's skin or the sparkle of foliage.

Autograph letter signed "Renoir" to Julie Manet, 1p (Auguste, French painter, 1841-1919) Autograph letter signed "Renoir" to Julie Manet, 1p., in French, in pencil, 8vo, Paris, Saturday, 12th June 1896, ("Dear Mademoiselle, Next Monday at 9:30 in the morning, I will come with Durand Ruel, it's impossible for me to tell you more. I know that you have lunch at Louvecienne's, so you will have time to catch the 11:15 at St. Lazare, or take the tramway"), on verso, Renoir notes, ( "If you wish, I will inform Madame Baudos that you will not be arriving until 12:15"), folds, browned. Julia Manet (1878-1966), daughter of the artist, Berthe Morisot (1841-1895).

Autograph letter signed "Renoir" to an unnamed correspondent, 2pp (Auguste, French painter, 1841-1919) Autograph letter signed "Renoir" to an unnamed correspondent, 2pp., in French, 8vo, [?Paris], 27th May 1909, making arrangements for him to visit his studio with his daughters, ( Dear friend, I think I ve decided I d be crazy not to see you. If your daughters would like to come before you, if that would be more practical for you or for them, and if they wouldn t mind, or if they want to stay longer"), directing his correspondent to the appropriate train, suggesting that they stop at Cannes to wait for the omnibus train, and noting that he has asked Mrs. Lestringuez s permission for her daughter to travel with his correspondent, but he doesn t yet know what she will say, and ending, ( I think that I have said all that is necessary. If. you have anything else to tell me, write and I will reply ), light adhesion marks to the reverse from former mounting, framed and glazed, overall 350 x 600mm. Renoir completed a portrait of Marie Lestringuez in 1912.

Box of books, particularly on art and heraldry, various artists collections to include Rubens and Renoir etc.

AFTER RENOIR BY GERARD BERMANDY, OIL ON CANVAS, H 49" W 63": Signed lower right, framed. Provenance: Purchased from Spencer Gallerie, Palm Beach, Florida, February 1994.

Various Renoir and other modern prints

Manner of Pierre-August Renoir (1841-1919) French. A Semi Naked Reclining Lady, Oil on Canvas, 30” x 24”.

Margaret Lewthwaite, (20th Century) After Auguste Renoir, Portrait of a young girl, together with Study of a The Duke of Windsor's Home, Paris and a large still life (3)

A circa 1930’s diamond necklace by Cartier, composed of two rows of graduated old cushion-cut diamonds to front, to a trio of old pear-shaped diamonds suspended by a graduated cushion-cut diamonds each within a squared collet setting, to a clasp set with a duo of old pear-shaped diamonds, the centre diamond absent, within an 18 carat gold setting, diamonds approx. 47 carat total, French assay marks, indistinct makers mark, signed Cartier, Paris, length approx. 38.5cm Provence: The Cahen d'Anvers Family, Champs, France and thence by decent. The Cahen d’Anvers were the most noteworthy and wealthy Jewish banking family in France during the fin-de-siècle. They were influential and dedicated to collecting art of the French eighteenth century. The family commissioned Pierre Augusta Renoir to paint portraits of three of the Cahen d’Anvers young daughters. The first portrait of the eldest daughter Irene was completed in 1880 to much applause, the second painting of both Alice and Elizabeth, famously known as Pink and Blue was completed in 1881, controversially the portrait of the two young girls did not meet the family’s approval and was banished to the servant’s quarter for them to enjoy.

A pair of oil on canvas landscapes after Renoir in gilt frames 59 x 94 cm

Circle of Pierre-August Renoir (1841-1919) French. A Reclining Nude, Pastel, Unframed, 5” x 7”.

Circle of Pierre-Auguste Renoir (1841-1919) French. Head of a Young Girl dressed in white, with a white hat and black trimming, Oil on Canvas, in a Carved Giltwood Frame, 8” x 6”.

TWO BERGER, PARIS ESSENCE LAMPS, the Goebel, Germany ceramic bodies decorated with famous pictures after Degas and Renoir with gilt metal lantern tops, 7" (17.8cm) high (2)

Pierre-Auguste Renoir, French 1841-1919- "Femme au Cep de Vigne", Stella 45, Roger-Marx 20), 1904; lithograph, signed within the plate, 33x25cm (unframed) CONDITION REPORT: full sheet visible hinged with tape on the underside of right hand side of sheet sheet with brown staining along all edges on the reverse old mount shadow recto black scuff mark lower centre some scattered brown spotting some soft handling creases here and there to the sheet sheet somewhat yellowed generally bears pencil inscription lower left corner otherwise good condition

A colour print - "Wishing Well Lane", limited edition after Violet Schwenig, published by the Franklin Mint; two colour prints - Flower studies, after Joe Anna Arnett, published by the Franklin Mint; a colour reproduction after Renoir; A limited edition colour print - "Newcastle Quayside Post World War II", signed proof after David C. Henshaw; two other various prints; and a pair of prints - "Summer in Provence" and "Springtime in Provence", after Joe Anna Arnett, limited editions, published by The Franklin Mint. (9)

Pierre-Auguste Renoir - Les Dejeuner des Canotiers 1881, reproduction framed print

PIERRE-AUGUSTE RENOIR [FRENCH, 1841-1919], PASTEL ON PAPER, H 14", W 9", BUST OF A WOMAN: Signed "Renoir" lower right; 'ECL' [?] intertwined script embossed chop mark in the paper far LR corner; matted. As is condition.

Compton (Susan, editor) - British Art in the 20th Century The Modern Movement, exhibition catalogue, illustrated card wrappers, Royal Academy of Arts, 1986 § Raeburn (Michael, editor) Renoir, exhibition catalogue, illustrated card wrappers, rubbed, Arts Council of Great Britain , 1985, plus 22 related vol., 4to (24)

Framed tile of Renoir painting, leather box in Arabic style embossing and small aneroid barometer

After Pierre Auguste Renoir (French, 1841-1919): Luncheon of the Boating Party, Le déjeuner des canotiers, oil on board, H 80 x W 110, after the 1881 original in the Phillips Collection, Washington DC

RODIN AUGUSTE: (1840-1917) French Sculptor. A.L.S., A Rodin, one page, 12mo, n.p., n.d., to Frantz Jourdain, in French. Rodin tries to fix an appointment with his correspondent, stating `On Saturday we will be embarrassed. Would you like on Monday afternoon, or in the morning because we will have to talk and study a little bit. Tell me your appointment.´ To the left border Rodin has framed a timing `From 10h to 5h in the evening´. With blank integral leaf. VG. £300-400 Frantz Jourdain (1847-1935) Belgian born French Architect and Art Critic, Founder of the Salon d´Automne, he was close to Rodin, Renoir, Monet and other members of the Naturalists and Impressionists.

A collection of Art reference books to include Monet, Renoir etc ( all with plastic sleeves and hard bound )

JACQUES-FELIX SCHNERB AFTER RENOIR 'La Liseuse', etching, 20 x 15.5cm; and three further various etchings to include Jules Hereau; Jean Francois Raffaelli; and after Frans Hals, all mounted but unframed (4)

AFTER PIERRE AUGUSTE RENOIR, FEMME NUE COUCHEE, TOURNEE A DROITE, NO. 2, etching reprinted post 1945 from the original plate of 1895, on cream laid paper, William Weston Gallery label verso, framed. Plate 13.7cm by 19.6cm

Pierre Auguste Renoir (1841 - 1919) , Sur la Plage, Berneval, drypoint etching, circa 1894, signed in the plate, 13.5cm x 9.5cm

Pierre Auguste Renoir (1841-1919) French “Le Fleuve Scamandre”, Etching, overall 15” x 11”

A quantity of pictures to inc landscape watercolours, portrait studies, Renoir portrait, hunting scene etc

A 1950s Matisse copper and blue enamel necklace with matching clip on earrings, necklace with different sized blue enamel rectangle design on copper chain, earrings similar design with copper semi circle, both stamped 'Matisse', necklace 36cm long (2) Copper jewellery is most usually associated with Jerry Fels, founder of Renoir of California in 1946 and Matisse Ltd in 1952. Taking inspiration from the Arts & Crafts movement metal workers, Fels specialised in geometric abstract forms and his designs were worn by film stars of the day including Lana Turner.

FOLLOWER OF RENOIR BAIGNNEUSE, OIL ON CANVAS

After Auguste Renoir, an impressionist style figural study, oil on canvas. H.50cm W.36cm

Pair of coloured prints after Cecil J Hay of Spring flowers, a Continental oil painting signed G. Schroter and a print after Renoir (4)

Emilia Jackson, Still life, oil, unframed together with painting of Nidd Hall by D.E. Baker, three picture frames, a print of a Spanish bullfighter and large framed print after Auguste Renoir (7)

A collection of pictures and prints including three late 19th century nursery subjects including a shepherd, a swine herd, etc, a coloured print after Renoir, black and white prints of Winnie the Pooh characters, etc, various sizes (all framed)

Pierre-Auguste Renoir, French 1841-1919- "Baigneuse debout à mi-jambes", (Delteil&Stella 23); etching on laid, bears pencil inscription on the reverse, 16.6x11.1cm CONDITION REPORT: Framed, glazed and mounted in a wood effect and canvas style frame with intentional spotting decortation Frame has scratches and marks throughout May or may not be stuck, it hasn't been inspected out of frame Mount has a few minor grubby marks The back of the frame is not secure and has come slightly loose Remains of tape present to the back of frame Slight ruckling to paper Overall in good condition

Prints - Renoir, Rembrandt, restrike etchings, framed

PAIR OF FRAMED PRINTS ON BONNARD PAPER BY PIERRE AUGUSTE RENOIR

Pal Fried (1893-1976) - Dancers at rest Oil and charcoal on canvas Signed lower left Hungarian National Gallery (MNG) inkstamp authorising export verso 60 x 80cm (23 5/8 x 31 1/2 in) Provenance: private collection, Hungary, thence by descent. Pal Fried was born in Budapest and studied under Hugo Pohl at the Hungarian Academie, and under Lucien Simone in Paris, where he was influenced by the works of Degas and Renoir. This work dates to before 1947, when he left for the United States and the more commercial style of female figurative work for which he is generally known. Please note this lot may be subject to droit de suite IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

# 19th century school - Bust portrait of a maiden, wearing hat and beaded necklace, oil on canvas, bears signature upper right 'A Renoir' (re-lined and with overpainting), 46 x 36cm

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A good vintage signed 6.5 x 10.5 photograph, being a reproduction of one of the artist's studies of a nude female, standing in a full length profile pose. Signed ('Renoir') in ink with his name alone to the lower border. Also signed by the Mayor of Cagnes beneath a short statement confirming the authenticity of Renoir's signature, dated 10th January 1911. The lower border also features the Mayor's official purple rubber stamp. Neatly mounted to a page removed from a contemporary album. Some extremely minor, light age wear, VG

Louis Valtat 1869 Dieppe - 1952 ChoiselL`Enfant dans la baignoire (Madame Valtat et son fils dans la baignoire). 1909.Öl auf Leinwand. Valtat 2868. Rechts unten monogrammiert. 81 x 100 cm (31,8 x 39,3 in). Der Kunstsammler und Mäzen Oscar Ghez de Castelnuovo (1905-1998) baute nach dem Zweiten Weltkrieg seine umfassende Kunstsammlung auf und war Mitbegründer des Musée du Petit Palais in Genf.PROVENIENZ: Galerie Romanet, Paris.Oscar Ghez de Castelnuovo, Genf (erworben 1957).Petit Palais, Genf (veräußert nach 1995).Privatsammlung.Privatsammlung (erworben 2001). AUSSTELLUNG: Valtat et ses amis: Albert André, Comoin, Magnin, Puy, Musée des Beaux-Arts et d`Archeologie, Besançon, August-September 1964, Nr. 24 mit Abb.Autour du Fauvisme: Valtat et ses amis, Palais des Beaux-Arts, Charleroi, 25.11.1967-1.1.1968, Nr. 76 (verso auf dem Keilrahmen mit den Resten eines Etiketts).L`Enfance vue par les grands maîtres, Musée du Petit Palais, Genf, 1979.Die gesellschaftliche Wirklichkeit der Kinder in der Bildenden Kunst, Staatliche Kunsthalle, Berlin, 16.12.1979-10.2.1980, Nr. 364.XXXIIe Salon de Montrouge, Centre Culturel et Artistique de Montrouge, Montrouge 6.5.-9.6.1987, mit Katalogabb. Valtat et les Fauves, Musée du Petit Palais, Genf,1992.Louis Valtat. Retrospective, Musée des Beaux-Arts, Bordeaux, 19.5-27.8.1995, Nr. 70 (verso auf dem Keilrahmen mit einem Etikett).Valtat: Indépendant et précurseur, Musée Paul Valéry, Sète, 29.1.-7.5.2011, Nr. 38, mit Farbabb. im Kat. LITERATUR: Raymond Cogniat, Louis Valtat, Neuchatel, 1963, Nr. 63, Abb. S. 187. Louis Valtat, der zu den Wegbereitern des Fauvismus zählt, wird im Sommer des Jahres 1869 in Dieppe in der Normandie geboren. 1880 übersiedelt die Familie nach Versailles, wo der junge Louis Valtat am Lycée Hoche geschult wird. 17-jährig zieht es ihn 1887 ins nahe Paris. Dort schreibt er sich an der École des Beaux-Arts ein und lernt im Atelier von Gustave Moreau. An der Académie Julian, wo Louis Valtat ebenfalls Kurse belegt, wird Jules Dupré sein Lehrmeister. Hier begegnet der junge Maler Pierre Bonnard und Albert André und nähert sich dem Stil der Nabis an. 1890 bezieht Louis Valtat, der im selben Jahr mit dem Prix Jauvin d`Attainville geehrt wird, sein erstes eigenes Atelier. Ab 1893 beginnt er auch, seine Werke auf den Salons des Indépendants zu zeigen. Nach einigen kleineren Reisen entdeckt Louis Valtat 1898 schließlich die Côte d`Azur. Die Landschaft inspiriert ihn zu wichtigen Bildern und Studien, sie fasziniert ihn so sehr, dass Louis Valtat bis 1914 die Wintermonate im milden Küstenklima verlebt. Hier verbessert sich der Gesundheitszustand des tuberkulösen Malers, und er kann einige seiner Künstlerfreunde treffen: Paul Signac lebt in Saint-Tropez, Auguste Renoir in Cagnes-sur-Mer. In seinen frühen Werken steht Louis Valtat dem Neo-Impressionismus und den Nabis nahe. Doch schon früh zeigt sich eine außergewöhnliche, ganz neuartige Kraftentfaltung in Pinselstrich und Farbigkeit, durch diese erweist er sich als ein wichtiger Wegbereiter des Fauvismus.Dies stellt unser Bild eindrucksvoll unter Beweis: Die reizende Badeszene, in der Valtat den 1908 geborenen Jean verewigt, sein geliebtes einziges Kind, ist weit mehr als ein intimes Stimmungsbild. Durch den innovativen Einsatz von Anschnitt und Perspektive, Muster und Farbe entsteht ein virtuoses Spiel mit autonom gewordenen Farbflächen, das Valtat im Schulterschluss neben die Fauvisten stellt.Louis Valtat zeigt seine Werke auch auf dem berühmten Salon d`Automne von 1905, wo der Fauvismus aus der Taufe gehoben wird; 1951 werden sechs seiner Gemälde auf der bedeutenden Schau `The Fauvism` im New Yorker Museum of Modern Art präsentiert. Ambroise Vollard erkennt früh die Besonderheit dieses Oeuvres: Der berühmte Kunsthändler und Förderer der Avantgarde erwirbt nahezu all

A VINTAGE DRESS BY `PAULA RENOIR` OF MAYFAIR, red ground with embroidered detail to the fitted bodice and edge of sleeves, chiffon fabric to sleeve and overlay of skirt Cost of shipping to UK address £17.95 inc.vat.

PIERRE AUGUSTE RENOIR. Baigneuse Debout, etching, Pl. 6 1/2 x 4 in (Possibly from the Duret edition,1919); a further etching by Renoir depicting ‘Le Chapeau Epingle’ (a later impression, 2nd quarter, 20th century); and an etching by A. H. Farrer depicting a landscape with cart under a shelter; three (3)

RENOIR/MATISSE A COLLECTION OF 1950`s/60`s DESIGNER COSTUME COPPER JEWELLERY to include bracelets, necklets, earrings, etc

RENOIR/MATISSE A COLLECTION OF 1950`s/60`s DESIGNER COSTUME COPPER JEWELLERY to include bracelets, necklets, earrings, etc

* LEBEDEV, VLADIMIR (1891-1967) Portrait of the Artist`s Wife, Ada Lazo , signed and dated 1958. Oil on canvas, laid on panel, 75 by 50.5 cm. Provenance: Collection of the artist?s wife, A.S. Lazo, Leningrad, until 1993. Thence by descent. Collection of A.A. Saltykova (Lazo), St Petersburg. Acquired directly from the above by the present owner. Private collection, Europe. Authenticity of the work has been confirmed by A.A. Lazo (inscription on the reverse). Authenticity has also been confirmed by the experts T. Levina and T. Mikhienko. Literature: V. Petrov, Vladimir Vasilievich Lebedev, 1891?1967, Leningrad, Khudozhnik RSFSR, 1972, p. 240, illustrated, incorrectly dated 1954; p. 266, listed under works from 1958. Vladimir Lebedev, perhaps one of the most striking painters of the Soviet era, is represented here by a remarkable portrait of his wife, Ada Lazo. Lebedev?s work travelled a long way from Constructivist compositions to Post-Impressionist portraits and sensitively rendered nudes. He was repeatedly accused of formalism, ?alien? bourgeois influences and an unwillingness to create genre paintings on Soviet themes. However, his talent was so great that his contemporaries could marvel at the diversity of his creative pursuits ? from the exploration of formal technique, to his study of female beauty and his work as a children?s book illustrator ? and even willingly overlook the shortcomings, by Soviet standards, of his behaviour. It was while working for the Soviet children?s book publisher, Detgiz, that Lebedev met Ada Lazo, daughter of the revolutionary hero, Sergei Lazo. Ada, the chief editor, had an excellent knowledge of literature and was a specialist in children?s book illustration. She was to become Lebedev?s wife, friend and muse of many years. Lebedev painted this portrait in his usual soft pastel tones. The restraint in the colour and mobility of the brushstrokes are reminiscent of early Renoir, whom the artist idolised and viewed as a source of inspiration. But meticulous respect for drawing is not always characteristic of the French Impressionists, whereas delicate emphasis of form is a particular hallmark of Lebedev?s style. At the same time, the colour accents of the yellow chiffon collar and the book in the sitter?s hand remind us of Lebedev?s refined taste as a colourist, his ability to manage the pictorial spot of colour, which sets the overall tone of a work.

* GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander , signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17?29 April 1933. Literature: A. Klevitsky, ?Amerika? Borisa Grigorieva?, Novyi zhurnal, No. 231, 2003, mentioned in the text. The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920?1930s had a reputation in Europe and the USA as a master of the ?Russian theme? and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of Renoir?s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artist?s style but also with the status of his model ?a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885?1969). Moreover, Selma Alexander sponsored an exhibition of Grigoriev?s paintings and watercolours in New York from the 17?29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was Grigoriev?s first exhibition in the USA after an eight-year hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. In the aftermath of the exhibition, Grigoriev?s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933?1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of Grigoriev?s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia Tomáš Masaryk (1932), Still Life (1932) and others. Upon Grigoriev?s return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirov?s suppor

* GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander , signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17–29 April 1933. Literature: A. Klevitsky, “Amerika” Borisa Grigorieva”, Novyi zhurnal, No. 231, 2003, mentioned in the text. The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920–1930s had a reputation in Europe and the USA as a master of the “Russian theme” and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of Renoir’s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artist’s style but also with the status of his model –a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885–1969). Moreover, Selma Alexander sponsored an exhibition of Grigoriev’s paintings and watercolours in New York from the 17–29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was Grigoriev’s first exhibition in the USA after an eight-year hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. In the aftermath of the exhibition, Grigoriev’s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933–1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of Grigoriev’s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia Tomáš Masaryk (1932), Still Life (1932) and others. Upon Grigoriev’s return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirov’s support, both financial and emotional, was essential to the artist at that time. In one of his letters to Bashkirov, written in his typically emotional manner, Grigoriev confides: “When I think of you, my heart shrinks –you are so far away. Not seeing you has become a great concern for me; honestly, it is hard. I hope you received my letter sent from the ship – as I travelled home, I was thinking more of you than of my home. My gratitude to you has no bounds, and this extends to your charming wife whom I remember fondly, please kiss her hands from me.” In 1933–1934, Grigoriev frequently invited Bashkirov and his wife to visit him in France at Cagnes-sur-Mer, but it seems the meeting never took place. In the mid-1930s, Bashkirov’s family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latter’s death in 1939. The work’s provenance is impeccable. After the 1933 exhibition, the portrait was displayed in Selma’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: “I’ll bequeath it to you when my time comes!” And she kept her promise. In 1982, the Portrait of Selma Alexander made its way to Australia and became part of her close friend and future biographer’s collection and where it has remained until now. Dr Tamara Galeeva, art historian.

* LEBEDEV, VLADIMIR (1891-1967) Portrait of the Artist`s Wife, Ada Lazo , signed and dated 1958. Oil on canvas, laid on panel, 75 by 50.5 cm. Provenance: Collection of the artist’s wife, A.S. Lazo, Leningrad, until 1993. Thence by descent. Collection of A.A. Saltykova (Lazo), St Petersburg. Acquired directly from the above by the present owner. Private collection, Europe. Authenticity of the work has been confirmed by A.A. Lazo (inscription on the reverse). Authenticity has also been confirmed by the experts T. Levina and T. Mikhienko. Literature: V. Petrov, Vladimir Vasilievich Lebedev, 1891–1967, Leningrad, Khudozhnik RSFSR, 1972, p. 240, illustrated, incorrectly dated 1954; p. 266, listed under works from 1958. Vladimir Lebedev, perhaps one of the most striking painters of the Soviet era, is represented here by a remarkable portrait of his wife, Ada Lazo. Lebedev’s work travelled a long way from Constructivist compositions to Post-Impressionist portraits and sensitively rendered nudes. He was repeatedly accused of formalism, “alien” bourgeois influences and an unwillingness to create genre paintings on Soviet themes. However, his talent was so great that his contemporaries could marvel at the diversity of his creative pursuits – from the exploration of formal technique, to his study of female beauty and his work as a children’s book illustrator – and even willingly overlook the shortcomings, by Soviet standards, of his behaviour. It was while working for the Soviet children’s book publisher, Detgiz, that Lebedev met Ada Lazo, daughter of the revolutionary hero, Sergei Lazo. Ada, the chief editor, had an excellent knowledge of literature and was a specialist in children’s book illustration. She was to become Lebedev’s wife, friend and muse of many years. Lebedev painted this portrait in his usual soft pastel tones. The restraint in the colour and mobility of the brushstrokes are reminiscent of early Renoir, whom the artist idolised and viewed as a source of inspiration. But meticulous respect for drawing is not always characteristic of the French Impressionists, whereas delicate emphasis of form is a particular hallmark of Lebedev’s style. At the same time, the colour accents of the yellow chiffon collar and the book in the sitter’s hand remind us of Lebedev’s refined taste as a colourist, his ability to manage the pictorial spot of colour, which sets the overall tone of a work.

Duret, Th., Die Impressionisten. Mit 7 Orig.-Radierungen von A. Renoir, C. Pissarro, P. Cézanne u. a. sowie 1 Radierung von P. M. Roy nach Sisley und zahlr. Abbildungen. Berlin, B. Cassirer 1909. OPp. 26 : 20,5 cm.Erste deutsche Ausgabe. - 1 von 1000 num. Exemplaren. - Mit den Orig.-Radierungen von A. Renoir (3 Akte - Delteil 12, 14, 15), C. Pissarro (Faneuses - Delteil 94/XII), A. Guillaumin (Farbradierung), P. Cézanne (Porträt Guillaumin ), B. Moriset und der Radierung von P. M. Roy nach Sisley. - Gebräunt. Bindung defekt, Einband beschädigt, Rücken fehlt.Fromm 8375. - Lang S. 11. - Vgl. Mahé I, 810.

Pierre-Auguste Renoir (French, 1841-1919), Louis Valtat, 1904, lithograph, signed in the stone at lower right, image: 12""h x 9.75""w, overall (framed): 20""h x 17""w