Madame Milstein, London
Private Collection, United Kingdom
Acquired from the above by the present owners

Jean Kisling (ed.), Kisling, Catalogue raisonné, Paris, 1995, vol. III, no. 221, illustrated p. 174

The canvas is not lined and UV examination reveals no signs of retouching. There is a layer of old and milky varnish. There are several small spots of bronze paint towards the lower part of the right edge. There are scattered raised lines of craquelure which appear stable. There is a small area of paint lifting to the red pigment of the violin which should be consolidated. There are faint stretcher bar lines visible. This work is in overall good condition and would benefit from a clean.
"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."

Nathan Milstein (1903-92) was considered one of the leading violin-players of the Twentieth Century, and was renowned for his interpretations of the Romantic repertoire. Born in Odessa, he was a child prodigy, and was admitted into the class of the eminent violinist, Leopold Auer, at the St Petersburg Conservatoire at the age of 12. A distinguished performing career ensued in Russia before Milstein emigrated to Paris in 1926, swiftly becoming well-known and renowned on the international classical circuit. He later settled in the USA, becoming an American citizen in 1942.

Painted in New York in 1945, the present work depicts Milstein in mid-performance, and reveals the virtuoso’s extraordinary command over the violin. Kisling paints faint echoes of the bow within the vivid green background, suggesting rapid movement as well as the dissemination of musical sound to superb effect. In the same year in which the present work was painted, Milstein acquired the celebrated 1716 ‘Goldman’ Stradivari violin, which he re-named the ‘Maria-Teresa’ after his daughter, and it seems highly likely that this is the violin depicted within Portrait du violiniste Milstein.