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Boris Dimitrevich Grigoriev

Russian Federation (1886 -  1939 ) Wikipedia® : Boris Dimitrevich Grigoriev
GRIGORIEV Boris Dimitrevich The Embrace

Christie's
Jun 6, 2016
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Artworks in Arcadja
272

Some works of Boris Dimitrevich Grigoriev

Extracted between 272 works in the catalog of Arcadja
Boris Dimitrevich Grigoriev - At The Ball

Boris Dimitrevich Grigoriev - At The Ball

Original 1912
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Lot number: 31
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Description:
*31. GRIGORIEV, BORIS (1886–1939) At the Ball Gouache and tempera on cardboard, 45.5 by 52.5 cm. Executed in 1912. Provenance: Collection of Alexander Burtsev, St Petersburg. Collection of Abram Krimmer, St Petersburg, c. 1917. Thence by descent. Acquired from the above by a previous owner. Important Russian Art, Sotheby\’s New York, 4 November 2010, lot 15. Acquired at the above sale by the present owner. Private collection, Europe. Literature: A. Burtsev, \“Khudozhnik Boris Dimitrievich Grigoriev i ego tvorchestvo\”, Moi zhurnal dlia nemnogikh, No. 1, St. Petersburg, 1913, illustrated as Igra v zhmurki. A. Burtsev, Khudozhnik Boris Dmitrievich Grigoriev i ego tvorchestvo, iz kollektsii Aleksandra Evgenievicha Burtseva, St. Petersburg, 1913, vol. IV, illustrated as Igra v zhmurki. A. Burtsev, Khudozhnik Boris Dmitrievich Grigoriev i ego tvorchestvo, iz kollektsii Aleksandra Evgenievicha Burtseva, St. Petersburg, 1914, vol. V, illustrated as Igra v zhmurki.
Boris Dimitrevich Grigoriev - Children's Masquerade

Boris Dimitrevich Grigoriev - Children's Masquerade

Original 1912
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Lot number: 129
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Description:
Description: GRIGORIEV, BORIS Children's Masquerade signed and dated 1912, also further signed, inscribed in Cyrillic "(Teatr.")", titled and dated on the reverse. Pencil, watercolour, gouache and ink on cardboard, 35 by 47 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert E. Zhukova. Exhibited: Treffpunkt Paris! Russlands Kunstler zwischen Cezannismus und Lyrischer Abstraktion, Ludwig Museum, Koblenz, 5 September-23 November 2003. Boris Grigoriev, The State Russian Museum, St Petersburg, 21 April-29 August 2011, No. 44. Literature: A. Burtsev, \“Khudozhnik Boris Dimitrievich Grigoriev i ego tvorchestvo\”, Moi zhurnal dlia nemnogikh, No. 1, 1913, illustrated in black and white. Exhibition catalogue, Treffpunkt Paris! Russlands Kunstler zwischen Cezannismus und Lyrischer Abstraktion, Koblenz, Ludwig Museum, 2003, p. 103, illustrated. T. Galeeva, Boris Dmitrievich Grigoriev, St Petersburg, Zolotoi Vek, 2007, No. 34, illustrated. Exhibition catalogue, Boris Grigoriev, St Petersburg, Palace Editions, 2011, p. 54, No. 44, illustrated. R. Antipova, Pskovskaia vystavka Borisa Grigorieva, Moscow, Astreiatsentr, 2015, vol. 2, p. 78, llustrated. Iu. Rybakova, \“Proizvedeniia B. D. Grigorieva\”, Antikvarnyi mir, April 2017, p. 119, illustrated. Children\’s Masquerade is one of Boris Grigoriev\’s early works, nowadays rarely encountered outside museum collections. From 1910 to 1913 this talented draughtsman worked as a book illustrator for the well-known journalist and publisher Alexander Burtsev, the artist was then responsible for the design of many publications on ethnography and folklore. Grigoriev was closely connected with Russia\’s artistic life and maintained creative and social links with the members of the World of Art movement, with whom he exhibited from 1914, as well as with the Futurists. In this work, the characters who fill the stage for the children\’s masquerade reference those from Russian folktales, and are reminiscent of the protagonists in the works of Sergei Sudeikin and Konstantin Somov, both of whom had had a considerable influence on Grigoriev. The fantasmagorical, merry atmosphere is emphasised by the decorative forms and colourful embellishments of the protagonists' costumes, and the enchanting combination of rounded and fragile forms underlines the fairytale atmosphere of the subject. This rare work will be of particular interest to collectors as a superb example of the early, very expressive and poetic period of Grigoriev\’s career.
Boris Dimitrevich Grigoriev - La Mère Agathe

Boris Dimitrevich Grigoriev - La Mère Agathe

Original 1924
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Gross Price
Lot number: 43
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Boris Grigoriev (1886-1939) La Mère Agathe signed and dated 'Boris Grigoriew 924.' (lower right) oil on canvas 36 3/8 x 29 in. (92.2 x 73.7 cm.) Painted in 1924 Provenance Acquired by Edgar J. Kaufmann (1885-1955) at the Carnegie Institute's 24th annual international exhibition of paintings in 1925. Freda T. (1904-1993) and Oliver M. Kaufmann (1898-1980), Pittsburgh. The Collection of Freda T. and Oliver M. Kaufmann; Northeast Auctions, Portsmouth, 6 November 1993, lot 61. Acquired at the above sale by the late owner.
Boris Dimitrevich Grigoriev - Portrait Of Selma Alexander

Boris Dimitrevich Grigoriev - Portrait Of Selma Alexander

Original
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Lot number: 32
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Description: *GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander, signed. Oil on canvas, 91.5 by 71.5 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 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 and 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 eightyear 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 another 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 to France, 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 repeatedly 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.
Boris Dimitrevich Grigoriev - The Embrace

Boris Dimitrevich Grigoriev - The Embrace

Original 1920
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Gross Price
Lot number: 3
Other WORKS AT AUCTION
Description:
Lot Description

Boris Grigoriev (1886-1939)

The embrace

signed and dated 'Boris Grigoriew/20' (lower left)

pencil on paper

14 1/8 x 11 7/8 in. (36.5 x 29.8 cm.)

Drawn in 1920

Provenance

Obelisk Gallery, London (label on the backboard).
Acquired from the above by the present owner in the 1970s.
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