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Lot 56
A Victorian mahogany framed sofa, the scrolling top rail with central acanthus decoration above scrolling arms with harebell decoration, stuffed over seat, raised on short reeded tapering square section legs, w. 200 cm CONDITION REPORT: Need re-upholstering, some chips and minor loses but generally good.
Lot 480
A George IV mahogany and inlaid combined sofa and writing table, the rectangular top with two hinged flaps above a frieze drawer fitted with a hinged writing slope above a frieze drawer with divisions raised upon platform ends joined by a turn stretcher and sabre supports with brass paw feet and castors, some damage to the cross stretcher and turned front leg, 70cms high x 79cms extended, 48cms closed x 46cms
Lot 702
A Regency rosewood sofa table, early 19th century inlaid with anthemion and line borders, fItted two short drawers and dummy verso, gilt brass star handles, on brass mounted and carved lyre end supports and brass paw feet with casters 73 x 150 x 67cm (28 x 59 x 26in) Timber shrinkage split to the top and border moulding losses
Lot 17
* 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
Lot 17
* 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, 1729 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 19201930s 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 Renoirs 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 artists 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 (18851969). Moreover, Selma Alexander sponsored an exhibition of Grigorievs paintings and watercolours in New York from the 1729 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 Grigorievs 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, Grigorievs interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 19331934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of Grigorievs 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 Grigorievs return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirovs 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 19331934, 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, Bashkirovs family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latters death in 1939. The works provenance is impeccable. After the 1933 exhibition, the portrait was displayed in Selmas home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: Ill 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 biographers collection and where it has remained until now. Dr Tamara Galeeva, art historian.
Lot 2300
A 19th Century Mahogany Sofa Table, fitted at either end with a drop flap and the frieze fitted on either side with two drawers and dummy drawers, raised on reeded spreading cylindrical supports, joined by a similar stretcher and terminating in splay feet with Brass caps and castors, 38 ½? wide
Lot 2349
A 19th Century Continental gilt framed Chair or small Sofa, the arched back with carved swag and musical instrument detail, raised on swept arms and baluster supports, the back, sides and seats upholstered in pale fabric, the body raised on fluted legs, 33? wide Condition: 1 front leg snapped and repaired where it joins the main frame. Frame has other minor cracks and some signs of woodworm. Appears to be old.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions prepared with due care, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time, cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2441
A large Victorian Rosewood framed, button back Sofa, the arched back, sides and seat upholstered in green floral decorated fabric, the arms with carved scroll wood detail, raised on Brass castors Condition:Damage around one front and one back castor. Other front leg has loss to end where joint with castor. Castors appear original. Upholstery a little worn but generally good condition. No woodworm apparent.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All items are sold strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 256
MARCO ZANUSO (né en 1916)A three seats sofa, model created in.1951, with a wood and metal sitting covered with dark red velvet. Height. 33 7/16 in.- Length. 70 1/16 in.- Depth. 31 1/2 in Bibliographie?: Giuliana Gramigna, ""Repertorio del Design Italiano?: 1950-2000"", Umberto Allemandi & C., Turin, 2003, p.?84.
Lot 382
George NAKASHIMA (1905-1990)A walnut sofa, linen fabric, circa 1970. (One chip to the base of the left right leg). Height. 31 1?8 in. - Width. 77 1?2 in. - Depth. 31 1?2 in. Bibliographie?: Mira Nakashima, Jeffrey Vance, ""Nature form and spirit, the life and legacy of George Nakashima"", Harry N. Abrams, Inc, 2003, reproduit en croquis p.?82.
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58284 item(s)/page