Annenkov had worked in film, at least in one film they worked together with Louis Jouvet - Lady Paname (1950). You can ask LCR search for french websites for more information and to view even the list of actors in these films, and then watch movies with Louis Jouvet, possibly in the portrait he is in stage costume:

We recall Diego Rivera in the cubist period (1913 -1918). On numerous portraits that have appeared from under his hand in the future, the figures are composed of structural elements, but the classical color scale Cubism - gray and brown - Rivera replaced the variety of colors.

I looked through his photos, but only one, he in a tuxedo, a photo on the cover of his biography. If this is a frame from a movie or play, it is possible that the artist was somewhere near:) Shot from the movie Educating the Prince.
And in the base Artinvestment photo Portrait de Louis Jouvet dans l'éducation de prince Georges Pozhidaeva watched? or you can still here http://binoche-renaud-giquello.com/s.../encheres.html

Yes, lovers of art, as well as investment in it, we are far advanced in the attribution of this, as Paul rightly said, an outstanding portrait.

Russian eyes involuntarily associate it with the name of Yuri Annenkov. This fact indicated the majority were.

Indeed, the one who painted portraits, of course, knew early work of Yuri Annenkov, and the image monocle samotsitata if not, exactly - a quotation.
Why such an outstanding thing does not have a signature?
I think Frosya hooked the other thread that I can get to the truth.

I also proceed from the hypothesis that the portrait is an element of the scenery staging a movie or theatrical performance. Character in the portrait of acting (perhaps the main character) face of a movie or play. Judging by the style of painting time of 10-20-ies.
As props, not intended for long storage, painting done on the cheap, thin canvas, with a minimum of soil and possibly cheaper paints. Signature is not needed, and even inappropriate.
An indirect argument in favor of this version is the fact that the family Jouvet this portrait is not hung on the wall, and stored in a roll along with other theatrical and movie props.

Assuming that this film and author Y. Annenkov, it begs the assumption that the portrait is made for one of the films, where both attended. Such films - three.
Mademoiselle doctor or a spy nest in Thessaloniki, in 1936, directed by G. Pabst.
The Shanghai Drama ", 1938, the same director.
"Lady of Panama, 1949, directed by G. Jeanson.
The last film could look. Character of the portrait in him.
Two others - imagine! - None at the Paris Cinematheque. Ie on bobbins, they probably have, but in today's media is not available.
But perhaps they are amateurs or professionals from overseas, in particular, French cinema.
See them in the end, perhaps we could, but not the fact that this portrait is found there. First made for the movie props are not always then enters the frame. Second, often, the footage is cut out during editing.
But the main thing is not even that. Suppose we were able to see our picture in the frame of one of the two films. This fact by itself does not mean an equal sign between the portrait and authorship Yuri Annenkov.
The fact is that in all three films Yuri Annenkov serves as the author of costumes, and not set designer. Anyone who saw his sketches for theatrical productions and films, is that this work is very different from the considered pattern. While the French film employed a lot of Russian, including as artistic director. Incidentally, in the picture Pabst in 1936 as a painter decorators in favor SN Pimenov. As movie set designer, he participated in a much larger number of productions than Y. Annenkov and was the acknowledged master. 've Seen his easel works. I would never have admitted that the artist is able to do before us the portrait.

In order to delirium, as they say in the theater, we assume that Yuri Annenkov, working with his compatriot in a single product, from the bounty of his gave him the idea and maybe even made a sketch, which then Pimenov and perform necessary for decoration portrait. And then he will refute himself. Not the man was Yuri Pavlovich, and Sergei Pimenov by 1936 in the French cinema was a more significant figure than Annenkov, it seems, they disliked each other. Anyway, in his two-volume "Diary of my meetings and a book in French" Dressing stars, "where he mentions a lot of characters from fleeting encounters, a word about Pimenov.

Yet I have a stable feeling that this is Annenkov.
Probably work for the theater. Unfortunately, the archives of the French theater, much less systematized and more readily available than the movie archives. At least a year of research is not to no avail, although Russian connection from time to time met. For example, L. Jouvet collaborated with P. Chelishchev.

Once upon a time somewhere near the venerable French critic Georges Woldemar read that Yuri Annenkov made with L. Jouvet two portraits. One found it - it pocherkushki during the filming of "Lady of Panama. And where is the second?
However, perhaps this is lzhepodskazka my friend Alzheimer's.

As in the case of Stelletskii, hoping that someone from the Western Professional theater and cinema tells something sensible. But, apparently, they still do not attend this one, called here by someone, "The site's claim to world leadership."

See how it is written the person who is very similar (with a portrait Sherling). "Mathematically," drawn by the same plane. And not written by oil and tempera likely. Then a good primer is not necessary, tempera strong, it just dries up and very firmly adheres to any base. I think we can assume authorship Annenkov and search of evidence in this direction.

fross, That's missing the whole affair!
By good and now in great demand. Moreover, his work advanced.

No, I think ranzher wanted to see how impressive portrait, and reasons to doubt the authorship is.
Please tell us why the sale of this work appeared Pozhidaeva name? If the work is not signed, then the choice of this name is really strange: the portrait of his work does not resemble the name of the author is unlikely to have helped lift prices. Relatives of the actor is something they know?
It is necessary to define a time period of creation, and if we assume that the correct name of the portrait, it gives the time span from 1937-38 onwards. Who knew, was a friend why the portrait was not held in high esteem?
Annenkov archive seems to be kept by Rene Guerra, then the easiest way to check whether its authorship, turn to him, tried?

Already mentioned that the portrait, along with other property, the daughter of L. Jouvet came up for auction after her death. Regular sale, without a directory, whom the French daily occur dozens if not hundreds. However, the local auctioneers, especially the old batch, experienced people who have a keen eye.
When they launched a crumpled roll of old linen, then immediately saw that they were not trivial scribble theatrical prop, and an extraordinary work of art.

The question came up evaluation. If you sell this picture just as the work of an unknown artist, you have to declare a thousand and a half euros.

Among the assets of the deceased were two landscapes Pozhedaeva and some of his theatrical designs. At this time the French market has already started "Russian Rush. To attract buyers from this sector, etude "appointed" by the author of this picture G. Pozhedaeva and place more spectacular picture in the weekly newspapers Drouot ". Score was now already 3 /5000 euros. This trick worked. At banal bidding escheat property buyers flocked many, many more signed up to purchase by phone, and, for the most part these were not serious players Russian art market.
As you can see, the calculation of Commissioner-winners and the price was justified, compared with the lower estimate has increased by 25 times!

By the way, before selling the portrait auctioneer warned that they do not claim that the author of G. Pozhedaev, but he may be, as in this meeting were signed by the works of this Russian artist. Ie thus, he will secure sketch of the potential buyer later claims about the authorship.

Yes Pozhedaevym with an interesting story emerged. This is something that from his works.

French tricks!
To raise food prices.

In Pozhedaeva believe the least. Even Nathan Altman in my opinion in the 30's lived in Paris and worked for the theater and film, then came back and maybe it could be the cause of forgetting a portrait? If the artist was a famous actor in a circle, it probably would have hung in the living room a place of honor, although perhaps work almost immediately was in poor condition.
Vobschem if you know something, please share a very interesting story and beautiful portrait.

ranzher, look for books Raşit Yangirova, film historian. Perhaps there is something will find useful. In the early 90's we had briefly worked together - a fantastic person and very knowledgeable contact. 5 minutes ago to write a post with a proposal to you to address him, and then she decided to search his address. And the first thing I saw - an obituary ...
But his books will certainly be useful for you in the search.

Comparison with the works of Tamara de Lempicka, led me to think about the possible authorship of Andre Lot. It could be, given that Jouvet as director of the Comedie des Champs-Elysees arranged in the theater room of the exhibition:

Here, found another portrait of Louis Jouvet unknown author. And he is, I think, could be written Pozhedaevym.

Yes, color and style is very, very much like painting Pozhedaeva.

Thank Frosya for a small allowance for some naive and TS, is not yet firmly-established eye lovers of beauty, too inclined to trust in the printed word in general and other people's judgment in particular.

Most likely, this portrait of L. Jouvet in a suit of Don Juan, Moliere's play of the same name, set by them in 1945, where he also played a major role.

But why the unknown author? Right at the bottom of the picture, it seems, is a signature.

As painting Andre Lot, its similarity with the expressive means of the author's portrait seems to me not obvious, and that very far from them, mannered portraits of aniline Lempicka.

In addition, while still proceed from the fact that the portrait - an element of decoration, ie should be written by those who designed the movie or play. Above listed artists are not found in the filmography of Jouvet and his theatrical productions.

I think the search should go on the character. Defining who is depicted in the portrait, you can go to art director. Separate features portrayed like a knock. The play Jean Romain "Knock or a triumph of medicine" L. Jouvet was first staged in 1923. Ten years later, he, together with R. Guppierom, carried out a screen version of the play, and in 1951 directed by G. Lefranc made her remake of the same Jouvet in the title role.
However, maybe it's not Knock.