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A collection of six books relating to Fabergé, including 'Carl Fabergé' by A Kenneth Snowman, signed on a piece of paper enclosed in the book, in original slipcase, 'Carl Fabergé: Goldsmith to the Imperial Court of Russia' by A Kenneth Snowman, 'The Art of Carl Fabergé' by A Kenneth Snowman, 'Peter Carl Fabergé: His Life and Works' by Henry Charles Bainbridge, a further of copy of 'Carl Fabergé: Goldsmith to the Imperial Court of Russia' by A Kenneth Snowman etc, also 'Georg Jensen Silver & Design' by Thomas C Thulsturp, 'Art Nouveau Jewellery & Fans', a further book on jewellery, 'Russian Decorative Arts' by Cynthia Coleman Sparke and two further books (11).

Collection of 19th bone teethers and other works of art including a toy bear, Russian doll and sundries

Six Art reference volumes including John Crome the Elder by Norman L. Goldberg volumes I and II published by New York University Press 1978. Wallace Collection catalogue published 1960, Views of Medieval Bhutan, A Dictionary of Russian & Soviet Artists 1420-1970 by John Milner and Concise Catalogue of Oil Paintings in the National Maritime Museum (6)

BALKAN -- HONVED, A. Sketches of the Hungarian emigration into Turkey. 1853. - Bound with: V. KRASINSKI. Montenegro, and the Slavonians of Turkey. 1853. - And: L. LÉOUZON LE DUC. The Russian question; or the crisis in the East. Transl. by J.H. Urquhart. (1853). - 3 in 1 vol. Cont. red h. mor. extra. (A bit stained and browned in places). -- (A. AVRIL). La Bulgarie chrétienne. Étude historique. 1861. Owrps. (Spine a bit dam./rep., w. stamps). -- A. HAJEK. Bulgarien unter der Türkenherrschaft. 1925. Cont. hcl. (Spine loose and clumsily rep.). -- M. KIEL. Art and society of Bulgaria in the Turkish period. 1985. Ocl. W. author's autograph dedication. -- And 1 o. (5).NOTE: Books from the library of Prof. Dr. A.H. de Groot may contain some annotations in pencil.

"Untitled" - Nicholas Roerich (1874–1947), Oil on Canvas.Painted in bold ochres and deep twilight blues, this oil on canvas captures a vision of sacred mountains bathed in golden light beneath an enveloping dusk sky. The dramatic ridges and flowing valley forms are stylized with Roerich’s signature monumental serenity, evoking themes of transcendence, inner stillness, and spiritual ascent. Signed with the artist’s monogram at the lower right.Nicholas Roerich (1874–1947) was a Russian painter, philosopher, archaeologist, writer, and mystic whose life and work transcended national and disciplinary boundaries. Born in Saint Petersburg, he studied art at the Imperial Academy of Arts and law at Saint Petersburg University, later gaining fame for his evocative paintings rooted in spiritual symbolism, Eastern philosophy, and nature—especially the Himalayas, which became a recurring motif in his work. Roerich was a key figure in the Russian Symbolist movement and later turned toward a more theosophical worldview, blending Eastern mysticism with Western artistic traditions.Roerich’s accomplishments were extraordinary and global in scope. He created over 7,000 works of art and was nominated for the Nobel Peace Prize multiple times due to his efforts in cultural preservation. He initiated the Roerich Pact—an international treaty signed in 1935 in the presence of President Franklin D. Roosevelt—that called for the protection of cultural monuments during times of war. Roerich also led the famed Central Asian Expedition (1925–1929), a spiritual and scholarly journey through India, Tibet, Mongolia, and China, documenting ancient cultures and sacred sites.He spent his later years in India, where he founded the Himalayan Research Institute (Urusvati) in the Kullu Valley and became a revered figure in Indian spiritual and artistic circles. Roerich’s legacy bridges art, mysticism, and diplomacy—his Himalayan landscapes remain iconic for their mystical light and transcendent serenity, capturing not just physical terrain but a spiritual dimension that continues to inspire globally.Approximately 59 x 45cmProvenance: Private collection from a distinguished USA collector.

RUSSIAN SCHOOL, 19TH CENTURY, Icon of Virgin and Child Housed within silvered oklad and kyot Overall 36 x 31cmRussian icons, central to Orthodox worship, developed after the Christianisation of Rus’ in 988, drawing on Byzantine models. The earliest surviving works include 11th-century mosaics and frescoes in St. Sophia Cathedral, Kiev. By the 12th century, regional schools in Novgorod and Vladimir produced panel icons alongside monumental painting.The Mongol invasion (1237–1480) disrupted production, but revival followed in the late 14th century with Theophanes the Greek (c.1340–c.1410), whose dynamic style is seen in his 1378 frescoes in Novgorod. The Moscow school dominated the 15th century under Andrei Rublev (c.1360–1430), creator of the Trinity (c.1410–25, Tretyakov Gallery), and later Dionisius (c.1440–1502), whose refined manner is exemplified at Ferapontov Monastery.In the late 16th and early 17th centuries, the Godunov and Stroganov workshops, supported by elite patrons, advanced intricate miniature styles. By the mid-1600s, Simon Ushakov (1626–1686), working at the Kremlin Armoury, introduced Western elements, marking the close of the medieval tradition under Peter the Great. The Temple Gallery, London, founded in 1959 by Richard Temple—described by Byzantinist Kurt Weitzmann as “the foremost dealer in icons”—has supplied works to institutions including the British Museum, the Louvre, and the Menil Collection, and remains a leading authority in Byzantine and Russian icon art.

A brass and enamel French crucifix stamped Piechard, 6" long, a horn photograph frame, 19th century boxwood needle case, a lacquered Russian folk art ladle and a carved rosewood owl.

Russische Kinderbücher - - Iwan J Bilibin. Skaski Puschkina. Skaska o carie Saltanie, o synie jego ... i o prekrasnoj carevne Lebedi. (Das Märchen vom Zaren Saltan, von seinem Sohn ... und von der wunderschönen Schwanen-Zarewna). Mit farblithogr. Umschlagill., farblithogr. Titelbl., 9 farblithogr. Illustrationen, wovon 5 ganzs., 3 farblithogr. Vign. (wovon 1 auf Umschl. verso), sowie Titelvign. u. Zieleisten im Blaudruck, allesamt vom Künstler i. d. Platte signiert. St. Petersburg, Eksped. zagotovlenija gosudarst. bumag (Staatsdruckerei für Wertpapiere), 1905. 20 S. Quer-4°. Illustr. OBrosch. in Klammerheftung. Schug 2734. - Bilibins seltenes Puschkin-Märchen vom Zaren Saltan in bestechend schönen Motiven und Farben, gut erhalten wie hier selten. Schug erwähnt die Hommage an Hokusai im Zitat von dessen "Woge" und den Einfluß Boutet de Monvels. Auch der Einfluss russischer Volkskunst und von Holzschnittmotiven der Renaissance sind erkennbar. - Umschlag gering berieben und minimal fleckig, Ecken u. Kanten minimal bestoßen, Kopfschnitt von Bl. 6 (S. 11/12) mit kleinem Ausriss, dieser liegt bei, Klammern angerostet. - Dabei: A. Puschkin: Das goldene Fischlein. Der König Soltan. Das goldene Hähnchen. Illustriert von G. Schlicht. Übersetzt von Ervin Walter. Berlin: Diakow, o. J. (1923. (2), 69 (1) S. Gr.-4°. OHlwd. mit farblithogr., goldgehöhtem Deckeltitel, im Or.-Umschlag aus Pergamin. Russia. - Pushkin's "Tale of Tsar Saltan", here a well preserved copy of the 1st edition with Bilibin's gorgeous illustrations in striking chromolithography. - Schug mentions the homage to Hokusai in the quotation from his 'Wave' and the influence of Boutet de Monvel. Bilibin's appreciation of Russian folk art and Renaissance woodcut motifs are also recognisable. - Cover slightly worn and minimally stained, corners and edges minimally bumped, top edge of leaf 6 (pp. 11/12) with small fault (enclosed), staples somewhat rusty. - And: A. Puschkin: Das goldene Fischlein. Der König Soltan. Das goldene Hähnchen. Illustrated by G. Schlicht. Translated by Ervin Walter. Berlin: Diakow, s.a.(1923.) (2), 69 (1) p. Gr.-4°. Original half-cloth with colour lithographed and gilt cover title on cover and glassine wrapper.

Zoologie - - A.(lexander) Th.(eodor) Middendorff. Reise in den äusserten Norden und Osten Sibiriens während der Jahre 1843 und 1844. Bd. II. Zoologie. Tl. 1 (Wirbellose Thiere) u. Tl. 2 (Säugethiere, Vögeln und Amphibien). Mit 58 lithograph. Taf. worauf zahlr. Abb., davon 26 handkoloriert, 1 gefalt. u. 1 doppels. St. Petersburg, Druckerei der Kaiserl. Akad. d. Wiss., 1851 u. (1853). 5 Bl. (Leer, Reihentit., Tit., Inhaltsverz., Kapiteltit.), 516 u. 24.956 S. Gr.-4°. Neuer Ln. mit Rgoldtit. u. Kopffarbschnitt. Erste Ausgabe dieses ersten umfassenden Werks über das fernöstliche Sibirien. - Nissen, C. Zoologische Buchillustration, 2813. - Anker, J. Bird Books and Bird Art, 339. - Nicht bei Zimmer, J. T. Catalogue of the Edward E. Ayer Ornithological Library. - Vollständige Abteilung Zoologie des zwischen 1847 und 1875 erschienenen Pionierwerks über Geologie, Geographie, Botanik, Zoologie und teils auch indigenden Sprachen der entlegensten Teile Sibiriens von A. Th. v. Middendorf, deutschbaltischer naturkundlicher Entdecker in russischen Diensten. Das Werk ist heute insbesondere als Meilenstein der wissenschaftlichen Erforschung der Permafrost-Regionen Sibiriens ein Begriff und erschien in 4 Bänden zu je 2 Teilen, dazu ein Atlasband. - Tl. 1 über Annulaten, Echinodermen, Insecten, Krebse, Mollusken und Parasiten. Die Taf. zeigen Käfer, Insekten, Schnecken, Muscheln u.a. - Tl. 2 über Säugetiere, Amphibien und Vögel, wovon 210 verzeichnet und rund 40 auch abgebildet sind, dazu Otter, Frösche u.a. - Provenienz: Geological Society of London, Somerset House, mit Stempel der Institution auf den Tafeln verso. - Von großer Seltenheit, wie alle Bände des Werks, die vorliegenden Abteilung Zoologie für uns im Handel derzeit nicht und auf Auktionen in den letzten 50 Jahren nur zweimal nachweisbar. - Teils gebräunt, einige Seiten und Tafeln gering fingerfleckig, Taf. XXXI und XXXII von Tl. 1 mit kleiner Fehlstelle bzw. mit konsolidierten Einrissen. Zoology. - With 58 lithographed plates depicting numerous illustrations, of which 26 hand-coloured, 1 folding and 1 double-paged. - First edition of this first comprehensive work on Northern and Eastern Siberia. - Complete zoology section of this pioneering work published between 1847 and 1875 on the geology, geography, botany, zoology and partly also indigenous languages of the remotest parts of Siberia, compiled by A. Th. v. Middendorf, a Baltic German explorer in Russian service. Today, present work, published in 4 volumes of 2 parts each, plus an atlas volume, is recognised in particular as a milestone in the scientific exploration of the permafrost regions of Siberia. - Part 1 on annulates, echinoderms, insects, crustaceans, molluscs and parasites. The plates show beetles, insects, snails, mussels, etc. - Part 2 on mammals, amphibians and birds, of which 210 are listed and about 40 are also illustrated, additionally otters, frogs, etc. - Provenance: Geological Society of London, Somerset House, with the institution's stamp on the verso of the plates. - Of great rarity, like all volumes of this work, the present zoology section currently not available for sale and for us only twice traceable at auctions in the last 50 years. - Partly time-stained, some pages and plates slightly finger-stained, plates XXXI and XXXII of vol. 1 with small loss and consolidated tears respectively.

INTERNATIONAL WATCH CO (IWC) - an Art Deco gold plated open-face keyless pocket watch, circa 1920, champagne dial with black Arabic numerals, blued steel leaf hands, subsidiary seconds dial with engine turned case, gold plated dust cover and movement signed IWC Probus Scafusica, serial no. 1083622, case width 48mm, working order with gold plated Albert chain . Condition Report:Movement – currently working Dial - light black surface dots and marks alloverGlass - cleanHands - goodCase - Russian Cyrillic text on caseback otherwise only general surface wear Crown – hands adjust smoothly

Art Reference Books on European & Russian Furniture Alcouffe, Daniel; Dion-Tenenbaum, Anne; Lefebure, Amaury Le Mobilier du Musee du Louvre, leather bound, 2 volumes in slip cases 1993  Deschamps, Madeleine EMPIRE 1994  Verlet, Pierre French Furniture and Interior Decoration of the 18th Century 1967  Grandjean, Serge Empire Furniture: 1800 to 1825 1966  Weisweiler, Maurice Segoura Weisweiler 1983  Janneau,  Guillaume Le Mobilier Francais : Le Meuble d'Ebenisterie 1974 Whitehead, John Mobilier et Arts Décoratifs 1992  Verlet, Pierre Les ebenistes du XVIII siecle francais 1963  Baker, Hollis S Furniture In The Ancient World, Origins & Evolution 3100-475 B.C. 1966  Hunter, George Leland Decorative Furniture 1923  Molesworth, H.D. & Kenworthy-Browne, John Three Centuries of Furniture in Colour 1972  Richter, G.M.A The Furniture of the Greeks, Etruscans and Romans 1966  Feulner, Adolf Kunstgeschichte des Mobels 1927  (14)Lot UpdatesAll lots are subject to 25% Buyer's Premium plus VAT

A pair of 9ct gold and amethyst drop earrings, 2.9g and a vintage amber pendant, with carved detail and Russian silver fittings having Soviet star and 875 marks, likely Art Deco period.

A striking limited edition serigraph on paper by the renowned Art Deco master Erte, entitled Heat. This vibrant composition showcases Erte's signature elegance and stylized forms, depicting a flowing female figure entwined within a richly textured tree, surrounded by cascading grape-like clusters in a circular frame. The warm hues of orange, red, and gold contrast beautifully against a deep purple background, creating an intense visual impact. The intricate detailing and ornamental elements highlight Erte's theatrical and fashion-driven aesthetic, reflecting his influential role in 20th-century design. Hand-signed by the artist in pencil in the lower right and numbered 293/300 in the lower left.Artist: Erte Russian/French, 1892-1990)Issued: 1980Dimensions: 27.50"L x 34"HCountry of Origin: Russia/FranceCondition: Age related wear.

A pair of Soviet-era Russian lacquer boxes, each featuring intricate hand-painted folk art scenes. The larger rectangular box (4"L) displays a vibrant depiction of a fairy tale scene with a lush forest, a man with a bow, and a woman in traditional Russian attire, with Cyrillic script at the bottom. The smaller arched box (2.5"L) features an equestrian figure with a bird soaring above, also adorned with Cyrillic script. Both boxes exhibit classic black lacquer exteriors with finely detailed artwork framed by gold accents. The interiors are painted in a traditional deep red. One box retains its original "Made in USSR" sticker on the underside, indicative of its mid-to-late 20th-century origin.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: RussiaCondition: Age related wear.

A collection of objects of Vertu A Russian hand painted box small silver box of circular shape trench art coin cap a miniature velvet covered book.

Fabergé, an aventurine quartz model of a pig, circa 1900, carved standing four square, its eyes set with ruby cabochons, apparently unmarked, length 5.1cm, heavily restored from recent breakageProvenance:Wartski, LondonSold, Christie's, New York, Russian Art, 23rd April 2010, Lot 68, $68,500.

Marc Chagall signed Jean Cassou Chagall paperback book. Marc Chagall was a Russian and French artist. An early modernist, he was associated with the École de Paris, as well as several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Mihail Chemiakin (New York, Russia born 1943) "Untitled VIII" Color Lithograph. Numbered (42/225) lower left. Signed lower right. Watermark "Arches France".Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 20 x 17.25 in.Sheet Size: 30 x 21 in.Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color Lithograph. Numbered (44/225) lower left. Pencil Signed lower right. Watermark "Arches France".Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 19 x 16.5 in.Sheet Size: 30 x 21 in.Unframed.

A Russian folk art lubki plaque, decorated with a city scene, stamped made in Soviet Union, 26cm diameter

This framed art print, titled Meditation, is by Boris E. Skvirsky (1887-1941, Russia/Ukraine), an artist and photographer known for his evocative and cinematic imagery. This monochromatic composition presents a mysterious female figure bathed in dramatic light, seated in an ethereal pose that exudes both elegance and intrigue. The artwork is encased in a decorative gold and patterned frame, with a nameplate affixed to the bottom, enhancing its presentation. A compelling piece for collectors of vintage photography, surrealist compositions, and classic European art.Artist: Boris E. Skvirsky (Russian, 1887-1941)Issued: 20th centuryDimensions: 20"L x 24"HCondition: Age related wear.

A striking high quality framed color print reproducing Wassily Kandinsky's St. George I (1911), one of his pivotal works from the Blue Rider (Der Blaue Reiter) period. This composition reinterprets the legendary tale of St. George slaying the dragon, rendered through Kandinsky's abstract and symbolic style. Vivid colors, expressive lines, and gold accents enhance the dynamic movement and spiritual themes characteristic of his early modernist works. The print is mounted behind glass, preserving the luminosity and depth of the original painting's vibrant hues. Encased in an ornate gilded wooden frame, this piece offers an engaging homage to one of the pioneers of abstract art.Artist: After Wassily Kandinsky (Russian 1866-1944)Issued: 20th centuryDimensions: 48"L x 48"HCountry of Origin: RussiaCondition: Age related wear.

Expressive and textured dynamic oil painting on cotton by Alexander Gore, titled The Big Idea Goes Far. Gore, known for his surrealist-inspired approach, employs a technique of intricate black contour lines interwoven with vibrant yellow and earthy hues, creating an abstract yet figurative composition. His signature, visible in the lower right corner, further authenticates the piece. A strong advocate of the Agorism art style, Gore crafts visually immersive scenes with fluid movement and depth, often incorporating subconscious imagery and surreal elements. Presented in a black frame and linen background with an exposed floating mount, emphasizing the organic edges of the painted fabric. Signature on lower edge. Certificate of Authenticity included.Artist: Alexander Gore (Russian-American b. 1958)Issued: c. 2000Dimensions: 23"L x 19"HCountry of Origin: Russia/United StatesCondition: Age related wear.

Finlay (Ian Hamilton). Fish-Sheet One, 1963, single sheet printed in black to one side only, folded, with poems and visual texts by Pete Brown, Spike Hawkins, Ian Hamilton Finlay, J.F. Hendry, Anselm Hollo and Edwin Morgan, sheet size 207 x 333 mm (8.2 x 13.1 ins), together with Stonechats, Edinburgh: Wild Hawthorn Press, 1967, 32pp., printed in black and red, original printed wrappers, stapled as issued, with glassine overwrapper, small 8vo, 13 x 10.75 cm, plus6 small pears for eugen gomringer, Wild Hawthorn Press, Summer 1966, 10 leaves, with text printed in blue and orange, printed at the Sunfish Press, Edinburgh, original white card wrappers, printed in blue to upper wrapper, stapled as issued, small oblong 8vo, limited numbered edition 53/100, 92 x 145 mm (3 1/2 x 5 3/4 ins) and others similar by Ian Hamilton Finlay: Standing Poem 4 (Pole/Night), Opening number 3, edited by John Furnival, Woodchester, Gloucestershire, [1969], single multi-folded sheet, printed in black and blue, printed by Glevum Press, limited edition 493/500, 229 x 114 mm (9 x 4 1/2 ins) when folded, After the Russian, Woodchester, Gloucestershire, Openings Press, June 1969, single folded sheet, printed in black and dark blue, 216 x 153 mm (8 1/2 x 6 ins), Xmas Star, Poem/Print No. 11, Wild Hawthorn Press, Christmas 1969, folded card, printed in black and red, 117 x 165 mm (4 1/2 x 6 1/2 ins), Ian Hamiliton Finlay with photographs by Diane Tammes, Ceolfrith 5, Sunderland: Ceolfrith Press, 1970, printed folder containg 18 seperate inserts inclduing essays, photgraphs, cards, etc., printed in an edition of 350 copies, 24.8 x 20.5 cm, and two larger printed poster-poems: Au Pair Girl, 1966, screenprint in blue on wove paper, printed by Jonathan Willcocks of Bath Academy of Art at the Openings Press, Woodchester, signed by Jonatha Willcocks, numbered 3/10 and dated in pencil to lower left, some scattered spotting, sheet size 38 x 28 cm, and Ian Hamilton Finlay and John Furnival, After the Russian, circa 1969, printed in light blue and pink on wove paper, sheet size 42 x 30 cmQTY: (9)NOTE:The last named item, the poster poem After the Russian not listed in Graeme Murray, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, (1990).

Set of 8 propaganda and Second World War reproduction posters. 1.Careless Talk Costs Lives wartime propaganda series issued by the Ministry of Information - You never know who's listening! - featuring a great design depicting two ladies chatting on public transport with Adolf Hitler and Hermann Goering in uniform sitting in the bus behind them and the stylised warning text in black lettering below. The text at the bottom reads: Reproduced from an original poster, held by the Imperial War Museum, by Johnson, Riddle & Co Ltd. The caption on the reverse reads: One of the best known British artists of the war was Cyril Kenneth Bird, whose pseudonym Fougasse appeared on an immense variety of propaganda posters, advertisements, pamphlets and books. His distinctive, simple style and humorous approach were in demand by most wartime Ministries and voluntary groups. Art Editor of Punch and 51 when war was declared (he had served in World War I and was wounded at Gallipoli) Bird gave all his work free. 'Careless Talk Costs Lives' is reproduced by courtesy of the Imperial War Museum, in association with whom The World At War is being made. The World at War is a 26-episode British documentary television series that chronicles the events of the Second World War. Fair condition, folds, creasing, tears, staining, pinholes, discolouration, information printed on reverse. Country of issue: UK, designer: Fougasse (Cyril Kenneth Bird; 1887-1965), size (cm): 75x49, year of printing: 1973; 2. Okno TASS No.993 featuring an illustration by Kukryniksy depicting Adolf Hitler aiming a gun at a stylised number 3 doubling as plyers squishing his head set over a black background. Kukryniksy was the collective name formed from the combined names of three caricaturists - Mikhail Kupriyanov (1903-1991), Porfiri Krylov (1902-1990) and Nikolai Sokolov (1903-2000). The text on the reverse lists the artists' names, the title of the poster and the publishing house Aurora, Leningrad. Horizontal. Fair condition, creasing, staining, folds, tape on corners, pencil on image, information printed on reverse. Country of issue: Russia, designer: Kukryniksy, size (cm): 58x84, year of printing: 1980; 3. Bruder, meldet euch zur Reichswehr / Brother, join the Reichswehr - featuring an image of a man cast in shadow, wearing a helmet, with his right arm extended and his left hand holding a plough handle, with a cornfield with flowers in the background. Reichswehr was the official name of the German armed forces during the Weimar Republic and the first two years of Nazi Germany. Fair condition, creasing, tears, staining, folds, paper loss on bottom left corner. Country of issue: Unknown, designer: Unknown, size (cm): 84x58, year of printing: Unknown; 4. Cover Your Hair for Safety. Your Russian Sisted Does! - featuring an image of a lady in a headdress with the hammer and sickle above on a red background. Issued by the Ministry of Labour and National Service and produced by the Royal Society for the Prevention of Accidents, Terminal House, London. Printed by Loxley Bros Ltd. Fair condition, folds, creasing, tears, staining. Country of issue: UK, designer: F. Kenwood Giles, size (cm): 76x51, year of printing: Unknown; 5. The Popular Front of Madrid to the Popular Front of the World / Homenaje a las brigadas internacionales - El Frente popular de Madrid al Frente Popular del Mundo, featuring a dramatic image of a soldier with a Popular Front flag sitting on the globe. The Popular Front (Frente Popular) was a left-wing electoral alliance formed in January 1936 to contest that year's general election in the Second Spanish Republic. Led by Manuel Azana, it was known as the Front of the Lefts in Catalonia and the modern Valencian Community. Good condition, creasing, tears, staining. Country of issue: Unknown, designer: Bardasano, size (cm): 87x61, year of printing: Unknown; 6. Mao Zedong's formal proclamation of the establishment of the People's Republic of China, the caption below in Chinese reads - On October 1, 1949, Chairman Mao solemnly declared the founding of the PRC from the Tiananmen Gate Tower. Good condition, creasing, small tears, folds. Country of issue: China, designer: Unknown, size (cm): 76x52, year of printing: unknown; 7. Mao Zedong (1893-1976), founder of the People's Republic of China (PRC) and the chairman of the Chinese Communist Party, the quote below in Chinese reads - The unity of the country, the solidarity of the people and the unity of all nationalities in the country are the basic guarantee for the victory of our cause. Fair condition, paper loss on right edge, creasing, tears, staining. Country of issue: China, designer: Unknown, size (cm): 76x52, year of printing: unknown; 8. Free Holland Welcomes the Soldiers of the Allies / Welkom in het vrije Nederland! Dynamic design by the notable British artist Pat Keely (Patrick Cokayne Keely; 1901-1970) depicting a soldier indicating on the hilt of a white sword on the ground between two rows of flags including the US, UK Union Jack, German and Soviet flags with a lightly cloudy blue sky above and the text below in bold black, red and blue lettering. Good condition, folds, creasing. Country of issue: Unknown, designer: Pat Keely, size (cm): 41x29, year of printing: Unknown.

BOOKS, ART. An eclectic collection. 'Kunsthaus Zurich', 'Street Art', 'Beyeler Collection', Russian Avant-Garde, Giacometti, Buddhism in Art and others.

(ARR) Leon Kossoff (British b. 1926-20109)Mother, 1982 Etching on woven paperLimited edition numbered 56/60 bottom leftTitled, dated and signed by artistPublished by Studio PrintsFrom the Bernard Jacobson Gallery CollectionLeon Kossoff (British, b.1926-2919) had spent most of his early life living there with his Russian Jewish parents. In 1938, he attended the Hackney Downs School in London. In 1939, he was evacuated with the school to King's Lynn, Norfolk, where he lived with Mr and Mrs R.C. Bishop, who encouraged his interest in art. During this time, Kossoff made his first paintings. When he returned to London in 1943, Kossoff went to Saint Martin's School of Art, and studied commercial art. He also attended life drawing classes in the evenings at Toynbee Hall.He spent three years in military service with the Royal Fusiliers, attached to the 2nd Battalion Jewish Brigade, and served in Italy, Holland, Belgium and Germany. After his military service, he returned to the Saint Martin's School of Art in 1949, and at Borough Polytechnic, took special classes under David Bomberg from 1950 to 1952. He was also influenced by another one of his teacher's students, Frank Auerbach. Both young artists dealt with similar emotions and subject matter in their work, and employed heavy impasto in their paintings. Kossoff chose his subject matter mostly from the area of London where he was born. From 1950 to 1953, Kossoff's studio was located at Mornington Crescent; he then moved to Bethnal Green, where he lived until 1961. Kossoff studied at the Royal College of Art from 1953 to 1956.This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.Measures approx. 30cm x 24cm (12" x 9.5")

TRAY CONTAINING ROYAL DOULTON FIGURINE, GOLDSCHEIDER RUSSIAN STYLE FIGURINE DANCER, ART POTTERY SINGING FIGURE, 10 PIECES OF WILLOW PATTERNED VICTORIAN CHINA COFFEE WARE, GIFT WARE PERFECT HEAD DISH, ROYAL WINTON TARTANS DISH, NORITAKE BOWL & SILVER CHARM BRACELET & HAT PIN

Ilya Shenker (1922-2013): On the road, oil on canvasWork: 105,5 x 76,5 cmFrame: 115 x 90,5 cm New York resident Ilya Shenker left Russia over twenty years ago; however, Russia has never left the artist's mind. As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, he felt abandoned and alone. He studied Art and Architecture in Odessa but left for America when the opportunity arose when a number of Russian Jewish artists where allowed to emigrate. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as 'On the Eve of the Assault' in which he portrayed the last night before the destruction of Jerusalem. His use of imagination also applies to the figures in his paintings - fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." On many levels, Shenker saw himself as a people's artist as well. In fact, he contributed to an exhibition intended to commemorate the six-month anniversary of September 11th, 2001 in New York City. Ilya Shenker has exhibited works all over the World, and held numerous shows in the United States. He also has permanent works in several Russian museums.

OLGA LEONARDOVNA KNIPPER-CHEKHOVA (1868-1959) | TWO ORIGINAL PHOTOGRAPHS WITH AUTOGRAPHS (RUSSIA / RUSSIAN) | 1921 | Olga Leonardovna Knipper-Chekhova (Ольга Леонардовна Книппер-Чехова) | profession: Actress | country: Russia | signature: Original signatures | size: 310 x 260 mm (size of the pad) | technique: Original photo with handwritten signatures | Lot information |Two signed period photographs of Russian actress Olga Knipper-Chekhova, renowned as a member of the Moscow Art Theatre and the wife of playwright Anton Pavlovich Chekhov. Left photograph: The actress in the role of Gertrude from the play Hamlet. Handwritten signature dated October 19, 1929. Right photograph: An informal portrait of the actress in an elegant summer outfit, taken on the coastline. Handwritten signature with a dedication.

Paar Louis XVI-Potpourri VasenHöhe: 35 cm. Breite: 21 cm.Paris, um 1780.Dieses seltene Deckelvasenpaar ist aus einem Block Jaspis gearbeitet, einer Varietät des Chalzedons von lehmbrauner Farbe mit großen orangefarbenen Flecken, der wahrscheinlich aus den ehemaligen Steinbrüchen in Sibirien stammt. Sie weisen einen fein ziselierten, vergoldeten Bronzedekor auf, der aus stilisierten Blättern an der unteren Wandung, aus Henkeln mit jeweils zwei ineinander verschlungenen Schlangen, aus Gliederketten, aus durchbrochenen Friesen mit geometrischen Motiven, durch welche die beiden Deckelvasen die Funktion von Potpourris erhalten, sowie aus einem Deckelknauf mit Blattmotiv und einer Samenkapsel als Bekrönung besteht. Der Standfuß aus vergoldeter Bronze ist mit Kanneluren verziert und ruht auf einem viereckigen Sockel aus Jaspis, der wiederum auf einer schwarzen Marmorplinthe steht. Diese Vasen sind ein perfektes Beispiel für die Begeisterung der großen Pariser Kunstsammler im letzten Viertel des 18. Jahrhunderts für Gefäße aus seltenen Marmorsorten oder Halbedelsteinen, die sie mit einem hohen Kostenaufwand aus ganz Europa importierten. Der Jaspis gehörte, genau wie der ägyptische Porphyr, der grüne Antikmarmor, der Serpentin, der gelbe Kalkstein Giallo Siena oder der Achat, zu den von den Sammlern begehrtesten Steinsorten. Deswegen erhielten die schönsten Stücke in der großen Tradition der Marchand-Merciers Montierungen aus ziselierter und vergoldeter Bronze, die von den fähigsten Pariser Bronzegießern der Zeit gefertigt wurden. Die Verkaufskataloge des 18. Jahrhunderts klassifizierten den Jaspis in verschiedene Kategorien, vor allem in gesprenkelt oder gebändert. Die Erwähnungen in diesen Auktionskatalogen offenbaren auch den Reichtum und die Kostbarkeit der klassizistischen Montierungen, die häufig mit dem Werk von Pierre Gouthière oder mit dem von Pierre- Philippe Thomire in Verbindung gebracht werden. Aus den Verkaufskatalogen der Auktion der Sammlungen Randon de Boisset im Jahre 1777 ist zu entnehmen, dass vergleichbare Vasenpaare bereits zu einer außergewöhnlichen hohe Summe von 634 Pfund verkauft wurde. „Jaspe sanguin. Deux jolis vases, forme de coquetier; leurs pieds pris dans la masse, garnis de très légères anses à deux serpents entrelacés, de petits tores et plinthe de bronze doré en or mat avec double plinthe de même jaspe. Hauteur 3 pouces 4 lignes“ (dt.: Blutjaspis. Zwei schöne Vasen in Form von Eierbechern; ihre Füße sind zusammen mit dem Korpus aus dem Block gearbeitet; sie sind mit sehr leichten Henkeln aus zwei ineinander verschlungenen Schlangen, mit kleinen Wülsten und einer Plinthe aus matt vergoldeter Bronze und einer doppelten Plinthe aus dem gleichen Jaspis versehen. 3 Zoll 4 Linien hoch) Außerdem seien zwei Vasen erwähnt, die in der Auktion des berühmten Händlers Lebrun im April 1791 aufgeführt sind und die die Verwendung von sibirischem Jaspis im damaligen Pariser Kunstgewerbe bestätigen: „Jaspe de Sibérie, sculpté par Glachan. Deux vases de jaspe rubané, vert et rouge; ils sont à anses de serpents prises dans la masse: on a tiré le meilleur parti des accidents de cette pierre pour les décorer.“ (dt.: Jaspis aus Sibirien, bearbeitet von Glachan. Zwei Vasen aus grün und rot gebändertem Jaspis; sie besitzen aus einem Stück gearbeitete Schlangenhenkel: Man hat für ihren Dekor den besten Teil dieses Steins genommen.). Zur Verzierung der hier angebotenen Vasen, insbesondere der ineinander verschlungenen Schlangen, hat sich der Bronzeplastiker von Entwürfen damaliger Pariser Künstler inspirieren lassen, vor allem von einem Entwurf des Bronzegießers Jean-Louis Prieur, der für den polnischen Markt bestimmt war, sich heute in der Bibliothek von Warschau befindet und eine vergleichbare Behandlung der Henkel aufweist. Ähnliche Kompositionen mit Schlangenhenkeln kehren bei einigen anderen seltenen bekannten Exemplaren wieder, die in Frankreich oder Russland gefertigt wurden, insbesondere bei einem Vasenpaar aus versteinertem Holz, das sich im Musée Nissim de Camondo in Paris befindet; außerdem bei einem zweiten Vasenpaar aus Jaspis aus dem Ural, das aus den Sammlungen des russischen Zarenhauses stammt und in Schloss Pawlowsk ausgestellt ist und schließlich bei einem Pokalpaar aus Jaspis, das sich ehemals in der Sammlung der Baronin Edouard de Rothschild befand , welches bei Christie‘s Paris am 21. Juni 2006 unter Lot 129 angeboten wurde. Rest.Literatur:Vgl. P. Kjellberg, Objets montés, Paris 2000, S. 145.Vgl. Pavlovsk, Palace & Park, Leningrad 1975, S. 204. (1420342) (13)A pair of Louis XVI potpourri vasesHeight: 35 cm. Width: 21 cm.Paris, ca. 1780.This rare pair of lidded vases carved from a block of jasper, a variety of chalcedony with a clay-brown colouration and large orange spots. It probably originates from the former quarries in Siberia. The vases feature finely chased, gilt-bronze décor. They are a perfect example of the enthusiasm of the great Parisian art collectors in the last quarter of the 18th century for vessels made of rare marble or semi-precious stones, which they imported at great expense from all over Europe. Jasper was one of the most sought-after types of stone by collectors. In the great tradition of the “marchands merciers”, the most beautiful pieces were therefore mounted in chased gilt-bronze, made by the most skilled Parisian bronze founders of the time. To decorate the vases on offer for sale in this lot, especially the intertwined snakes, the bronze sculptor was inspired by designs by Parisian artists of the time, especially by a design by the bronze founder Jean-Louis Prieur. Similar compositions with snake handles are particularly evident in a pair of vases made of petrified wood held at the Musée Nissim de Camondo in Paris (illustrated in: P. Kjellberg, Objets montés, Paris 2000, p. 145); also in a second pair of vases made of jasper from the Urals held in the collections of the Russian Imperial family and exhibited in Pavlovsk Palace (illustrated in: Pavlovsk, Palace & Park, Leningrad 1975, p. 204); and finally in a pair of jasper goblets formerly held in the collection of Baroness Edouard de Rothschild (Christie’s Paris auction, 21 June 2006, lot 129). Restored.

Registration No: Unregistered Frame No: L 207 14860 MOT: ExemptOffered from a deceased estate and long term ownershipPerfect project for someoneFitted with the V-twin engineThe first Royal Enfield motorcycle was built in 1901 by the Enfield Cycle Company of Redditch having previously manufactured bicycles, lawnmowers and stationary engines. Under various ownership, the name has continued through to the present day making it one of the longest-lasting names in the two-wheeled world. Initially called Enfield, in 1911 they added Royal to the company name and in 1912 the Model 180 sidecar combination was introduced, fitted with a 770cc V-twin JAP engine, and the bike was raced successfully in the Isle of Man TT and at Brooklands. During WWI they supplied large numbers of motorcycles to the British War Department and also to the Imperial Russian Government. Royal Enfield fitted their own 225cc two-stroke single and 425cc engines in the smaller capacity bikes and JAP engines for bigger bikes but in 1921 they developed their own 976cc V-twin engine. These were marketed together with Enfield’s own range of sidecars and could be ordered from the factory as an outfit with options such as the new state of the art Lucas Magdyno lighting.Offered from a deceased estate and from long-term ownership, this 1926 Royal Enfield 180 from the inter-war years, presents the perfect project for someone to get back to both road and event use. Unfortunately, we don't expect there to be any paperwork with this machine, however, the frame number is visible and we can say the engine number is E5967 on the block and the gearbox number is 70023. For more information, please contact: Oliver Fernyhough-Martin oliver.fernyhough-martin@handh.co.uk 07483 361000

Elisheva Nesis (Russian/Israeli, b.1962), "Life Train", acrylic on canvas, signed lower right "Eliz", painted in 2018, framed, 49.5 x 69.8cm. An open edition print of this painting is available through Saatchi Art, London. The artist said about this painting "If you think that the train goes from right to left, you are an optimist, if you see that it goes from left to right, you are a pessimist". She also said that the painting is from the series "Thin Connections" which is "dedicated to unusual interactions between different objects, even if they exist only in my and your mind. The sides are panted so you don't need to frame it, but can if you like".

3 embossed Art Nouveau copper plaques; a circular brass wall mirror on adjustable bracket; a pair of 19th century Russian brass photo stands.Good condition.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

Two Russian embossed metal Art Nouveau style plaques, each 46 cm x 27 cm.

Marsha Grimm, Russian 20th century - Floral still life; oil on board, signed with initials lower left 'MG', 50.5 x 40.5 cm Note:Masha Grimm, nee Oulpe, married fellow art student Stanley Grimm in 1913.

Dimitry Merinoff, Russian 1896-1971 - Cheval Blanc, 1930; gouache on card, signed and dated lower right 'D Merinoff.30', 41 x 53 cm: together with another gouache on paper of a still life of similar size (2) (unframed) Provenance: private collection; Roseberys, London, Impressionist, Modern, Post War & Contemporary Art, 15th July 2020, lot 77; private collection, purchased from the above Note: this lot is accompanied with a folio entitled 'Les Gouaches' 

Olga Suvorova (Russian, b.1966) - Music (2023), oil on circular aluminium disc with raised edge, signed lower left, hand-written paper label verso, dia.60cm, with volume titled Renaissance Realm; The Art of Olga Suvorova by Michael Fiishel (2)Outer edge very slightly misshapen in places.Otherwise very good throughout.

This collection of four hardcover books delves into themes of power, legacy, and downfall, offering insights into political history, royal succession, and the impact of authoritarian rule. Lines of Succession explores the lineage of monarchies, while Mussolinis Shadow uncovers the influence of Count Galeazzo Ciano in fascist Italy. Broken Empire presents a compelling visual narrative of the Soviet Unions collapse, and Marc Klionsky showcases the works of a renowned Russian-American artist, reflecting on history through art. A thought-provoking collection for historians and collectors alike. Largest book measures 12.75"H.Dimensions: See DescriptionCondition: Age related wear.

Three First War trench art shell cases including 1917 3.7in shell case engraved with a Royal Artillery badge and "North Russian Relief Force"; 1915 shell case engraved "Palestine 1918" and one other engraved with Chinese fish and "Chinese Engineer/Chinese Making" (3)

FEODOR RÜCKERT, A SILVER AND CLOISONNÉ ENAMEL VESTA CASE MOSCOW 1899 - 1908 The hinged case enamelled with flowers and foliage on a pale ground with blue enamel sides, with a striking rasp on the base, 84 zolotniks, struck with Cyrillic FR mark, assaymaster indistinct Size/dimensions: 4.4cm Gross weight: 34.9 gramsProvenance: Private Collection Sale Sotheby's, 'Russian Pictures, Works of Art And Icons', London Olympia, 14 June 2007, Lot 385 Condition Report: The hinged top is quite loose and does not close well. The pale ground on the enamel top may have been re-enamelled. The rasp on the base is damaged with holes in it. Condition Report Disclaimer

FABERGÉ, A NEPHRITE, ENAMEL AND RUBY PILL BOX WORKMASTER HENRIK WIGSTRÖM, ST. PETERSBURG 1908-1917 The hinged gold mounts with white enamel and cabochon ruby thumb piece, scratched inventory number 21048, 56 standard, workmaster initials HW, and later French ET import marks Size/dimensions: 4.2cm wide Gross weight: 61. gramsProvenance: Private Collection Sale, Christie's 'Russian Art', 8th June 2010, Lot 102, Property Of A European Royal Family Condition Report: Scratched inventory number 21048. Overall very nice condition. Stamped with a possibly later KF in Cyrillic. Some very minor scuffs to the nephrite base, but no apparent chips or cracks. The gold hinges work well and closes tightly. Some chips to the enamel. Ruby a bright purplish red. A slight gap at back of base between nephrite and mount, possibly due to drying of old glue under mount. A thin layer of glue residue or lacquer inside.Condition Report Disclaimer

FABERGÉ, A TWO COLOUR GOLD VESTA CASE WORKMASTER VLADIMIR SOLOVIEV, ST PETERSBURG 1908-1917 The rectangular case with reeded two colour decoration, hinged cover, with a circular cabochon sapphire push button, with suspension loop and detached green silk tassel, struck with workmaster mark VS in Cyrillic, 56 standard Size/dimensions: 4.3 x 3.7cm Gross weight: 30.8 grams Provenance: Private Collection Sale, Christie's New York 'Russian Works Of Art' 15 April 2013 Lot 25 Anonymous sale, Christie's, New York, October 17, 1996, lot 42 Condition Report: Condition Report Disclaimer

A SILVER-GILT AND CLOISONNÉ ENAMEL CIGARETTE CASE AND MATCH BOX WORKMASTER V. AKIMOV, MOSCOW 1899-1908 Each decorated with scrolling foliage and flowers in pale enamels, one side with a central cartouche with painted marine scenes, in original red velvet-line fitted box, struck with workmaster initials VA in Cyrillic, 84 standard Size/dimensions: 9.7cm and 6.3cm longs Gross weight: 260.6 gramsProvenance: Private CollectionSale, Sotheby's Olympia, 'Russian Pictures, Works of Art and Icons', 20 May 2005, Lot 280 Condition Report: Wooden box with water staining, latch deficient. Both cases with water staining more pronounced on one side. some pitting to enamel, more visible in the white enamel dots. One larger chip to pink enamel flower on case under maritime picture.. Some wear to gilding inside caseCondition Report Disclaimer

FABERGÉ, A SILVER AND CLOISONNÉ ENAMEL VESTA CASE WORKMASTER FEODOR RÜCKERT, MOSCOW 1908-1917 The hinged case enamelled with blues, greens and browns, with a striking rasp on the base, struck with Cyrillic Fabergé mark beneath the Imperial Warrant, 88 standard, scratched inventory number 25616 Size/Dimensions: 4.1 x 3.2cm Gross Weight: 41.6 grams Provenance: Private Collection Sale, Sotheby's, 'Russian Sale - Works Of Art And Fabergé', 12th June 2007, Lot 555 Condition Report: Overall nice condition. Some pitting and minor losses to the enamel, with one large chips and areas of enamel damage on the sides and front lid section. Hinge and lid close well and fit snugly. Marks are clear and readable.Condition Report Disclaimer

PAVEL SAMSONOV, A SILVER, GOLD AND ENAMEL VESTA STRIKER MOSCOW 1899-1908 Of book form with pearl grey guilloche enamel over a silver engine turned ground within a laurel wreath border and white enamel outer border, with a striking rasp to the side, the gold striker with cabochon ruby terminal, case 88 standard, striker 56 standard, struck with maker's mark PS in CyrillicSize/dimensions: 4.1 x 3.0cm Gross weight: 32.4 gramsProvenance: Private Collection Sale, Sotheby's, 'Russian Works Of Art', 12th June 2008, Lot 578 Condition Report: Overall nice condition. The base might have been re-enamelled, otherwise no damage to the enamel or gold work.Condition Report Disclaimer

FABERGÉ, A ROSE GOLD VESTA CASE ST. PETERSBURG, 1899-1903 Engraved with laurel wreaths, both ends hinged with striking rasps on the underside of the lids, the lids with a cabochon ruby and cabochon sapphire thumb piece, signed Faberge in Cyrillic, scratched inventory number 14943, 56 standard, assaymaster A. Ricktera Size/dimensions: 3.9cm long Gross weight: 21 gramsProvenance: Private Collection For vesta cases of this design by Fabergé See Sotheby's New York 'Russian Art' 15 April 2008 Lot 402 Sotheby's London 'Russian Works Of Art, Fabergé And Icons' 9 June 2010 Lot 626 Condition Report: Overall very nice condition. Some slight surface scuffing, but no damage or repairs Condition Report Disclaimer

FEODOR RÜCKERT, A SILVER GILT AND CLOISONNÉ ENAMEL BEAKER WORKMASTER FEODOR RÜCKERT, MOSCOW, 1899-1903 Enamelled with colourful floral and foliate motifs on a cream ground, 88 standard, struck with initials FR in Cyrillic, assaymaster Ivan Lebedkin, later French import mark Size/dimensions: 10.4cm high Gross weight: 209.6 gramsProvenance: Private Collection Sale, Sotheby's New York, 'Russian Art' 16 April 2007, Lot 17 Condition Report: Some scratches and staining to inside. Some tarnish to recessed areas. Minor pitting to enamel and light wear. Good clear marksCondition Report Disclaimer

FABERGÉ, A BOXED SET OF EIGHT NEPHRITE AND GOLD GAMING TOKENS ST. PETERSBURG, CIRCA 1900 Each polished nephrite disc applied with a gold four leaf clover, within a fitted silk and velvet lined holly wood case, tokens appear unmarked Size/dimensions: 2.8cm diameter each Gross weight: tokens 46.8 grams totalProvenance: Private Collection Sale, Sotheby's New York 'Russian Art' 22nd April 2010 Lot 78 Condition Report: The box has general wear as commensurate with age and use. The lining to the lid stamped in Cyrillic beneath the Imperial warrant Fabergé, St. Petersburg, Moscow, OdessaThe gaming tokens have scuffs and scratches particularly to the bases from use, the clovers appear well attached at the time of cataloguing, some very slight rubbing to high relief. Condition Report Disclaimer

FABERGÉ, A GOLD, ENAMEL AND GARNET BUTTON LOOP WORKMASTER ERIK KOLLIN, ST. PETERSBURG, CIRCA 1895 The tapering hexagonal handle enamelled in translucent green over hatched engine turned ground, with a cabochon garnet terminal, struck with workmaster's initials EK, scratched inventory number 59864, 56 standard, in original fitted holly wood case Size/dimensions: 8.5cm long Gross weight: 10.6 gramsProvenance: Private Collection Sale, Sotheby's 'Russian Works Of Art, Fabergé and Icons' 10 June 2009 Lot 553 Condition Report: Evidence of reenamelling under UV, one patch at hook end, lighter patches along middle and most of the top. Chip under reenamelling near hook end still visible. Garnet in good condition. Later French import mark small guarantee. Silk lining of case frayed at hinge and edges and generally wornCondition Report Disclaimer

FABERGÉ, A GOLD AND ENAMEL EGG PENDANT WORKMASTER FEDOR AFANASIEV, CIRCA 1915 The front and back decorated with the Order of Saint George joined with ribbon in black opaque and orange guilloché enamel, struck with workmaster mark FA in Cyrillic, 56 standard Size/dimensions: 2.2cm including bale Gross weight: 3.9 gramsProvenance: Private Collection Sale, Sotheby's London, 'Russian Art, Works of Art and Fabergé', 2007, Lot 253 Condition Report: light pitting to white enamel, some surface scratchesCondition Report Disclaimer

A finely crafted bisque porcelain figurine by the Gardner Factory of Imperial Russia, dating to the late 19th century. This detailed sculpture depicts a bearded man seated on a rustic wooden bench, dressed in traditional Russian attire with a loose white tunic, blue trousers, and tall boots. His contemplative expression and naturalistic pose are characteristic of Gardner's craftsmanship, reflecting the realism and folk influence prominent in Russian porcelain art of the period. Marked on the underside with the Gardner factory's red mark, signifying its production during the Imperial era. No. 6Issued: Late 19th centuryDimensions: 6.25"HCountry of Origin: RussiaCondition: Age related wear.

* JOSEPH WILLIAM (JOE) WINKELMAN PPRE HRWS (USA b. 1941), ORION limited edition etching and aquatint on paper, signed, titled and numbered 11/250 mounted, framed and under glass image size 60cm x 45cm, overall size 82cm x 64cm Exhibition label verso: Royal Academy Summer Exhibition 1991. Note: Public Collections include: Ashmolean Museum, Oxford; National Museum of Wales, Cardiff; Bowes Museum, Barnard Castle; The Royal West of England Academy, Bristol; Hereford; Museum of Art, Hereford; Usher Art Gallery, Lincoln; Graves Art Gallery, Sheffield; Victoria Art Gallery, Bath; Mold Civic Centre, Wales; University College of Wales, Aberystwyth; Central Museum & Art Gallery, Northampton; Iowa City Museum of Art, USA; Fitzwilliam Museum, Cambridge; The Tate Gallery, London; The Museum of London; The Science Museum, London, The Royal Collection , Windsor; The London Guildhall Library; The Victoria and Albert Museum, London; The National Grid, UK; Russian State Collection, Moscow; Lathi Museum, Finland; Musee d’Art Contemporain, Chamaliers, France; The Bodleian Library in Oxford & The British Library - London.

Four 1930s and later Russian compacts, comprising a circular Art Nouveau repousse floral decorated circular 6cm diameter, square dancing ladies 5cm, rectangular purse with purple faux marble style stone central panel 5cm x 6cm, circular swag and floral stamped 875, 6.5cm diameter and a Czechoslovakian 1920s gilt metal circular butterfly mounted example 4cm diameter (5)

* Lace. A collection of handmade lace, 19th-20th century, mostly white and cream, but also several pieces of black lace, various: Brussels, Honiton, Valenciennes, Maltese, Tenerife, Russian, Bucks, Rosaline, Bruges, Point de Gaze, Carrickmacross, Youghal, etc., including collars, lengths, stoles, lappets, aprons, baby bonnets, bonnet veils, berthas, cuffs, modesty panels, straw work, handkerchiefs, mats and doilies, e.g. a Mechlin lace bonnet and length (mid-later 19th century), a Youghal lace collar (circa 1880), a Honiton lace collar with tally ground, and a cream Honiton lace christening robe, together with a small quantity of machine-made lace, mostly in good condition, various sizes, plus: approximately 100 wooden lace making bobbins, mostly later 20th century, 37 with commemorative lettering and/or hand-painted decoration, including Charles and Diana's wedding, Queen Elizabeth II's Silver Jubilee, lace workshops, etc.; a copy of A History of Lace, by Mrs. Bury Palliser, 2nd edition, London: Sampson, Low, Son, and Marston, 1869, numerous plates and letterpress illustrations, contemporary gilt decorated maroon morocco, rebacked, preserving original spine, 8vo; 6 books by Elsie Luxton (2 in Dutch); and 3 framed and glazed prints depicting lace makingQTY: (a quantity)NOTE:Provenance: Collection of Mrs Elsie Luxton (1909-1997), and thence by descent.Full itemised list of lace available on request (approximately 70 items).Devonshire lace maker Elsie Luxton was one of the foremost exponants of the art of Honiton lace making. She taught lace making both in the UK and abroad, as well as demonstrating and exhibiting her own lace. A large Honiton lace veil which she made for her daughter's wedding was shown in several places, including the Women's Institute National Exhibition at the Victoria & Albert Museum in 1960, and exhibitions in Australia and Rennes in France. Elsie made several pieces of lace for members of the Royal Family, one of which was the Honiton Lace Madonna which was presented to Queen Elizabeth II and the Duke of Edinburgh at the Maundy service at Exeter Cathedral in 1983. She wrote five books about lace, and in 1984 was awarded the MBE for her services to lace making.

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF SIDONIE, THE ARTIST'S WIFEsigned with initials and dated 42 lower rightpencil on paper22 x 13.5cm; 8 1/2 x 5 1/4in36 x 26cm; 14 x 10 1/4in (framed)HANS FEIBUSCH (LOTS 9-32)Introduction To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) IntroductionFeibusch fought for the Kaiser in the First World War, survived the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in the artist becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he would not have another gallery show until the late 1970s. Instead Feibusch devoted himself to large scale mural projects, designing the decorations for the tearoom at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950.A consummate draughtsman, whether sketching his surroundings, or studying the model before him, he captures each scene with a fine eye for detail. And as a colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.Held under glass, not examined out of frame. Despite watermark along lower edge of mount, appears in good original condition.

DALI GALA: (1894-1982) Russian artist´s model and muse, the wife of Paul Eluard and later of Salvador Dali. A good A.L.S., Gala, two pages, 8vo, n.p., n.d. (c.1942?), to Julien [Levy], in French. Gala sends Green the text of a Dali catalogue (no longer present) for him to translate, and continues to inform him ´je viendrai vers la fin de le semaine prochaine ou dimanche au plus tard et si vous trouvez que cela est trop tard pour les cadres et le catalogue télègraphiez moi et j´arriverai avant. J´apporterai tous les photos pour le catalogue et nous deciderons ensemble où le faire. Aussi j´apporterai une partie des tableaux d´ici et aussi nous aurons les mesures a peu pres de la totalité de tableaux avec ceux qui sont a N.Y.´ (Translation: ´ I will come towards the end of next week or Sunday at the latest and if you find that this is too late for the frames and the catalogue telegraph me and I will arrive before. I'll bring all the photos for the catalogue and we'll decide together where to do it. I will also bring some of the paintings from here and we will also have the measurements of almost all the paintings with those in New York´). Gala concludes her letter by stating ´Dali travaille follement et vous envoie les amitiés´ (Translation: ´Dali works madly and sends you his regards´) and in a postscript also remarks ´Nous sommes tres contents pour le succes de Berman. Felicitez le de notre part. Dali a deja tout combiné pour la salle où sera exposé la vie secrète´ (Translation: ´We are very happy for Berman's success. Congratulations from all of us. Dali has already arranged everything for the room where La vie secrète will be exhibited´). A letter of good content for its various references to Salvador Dali. Some light, minor creasing, about VGJulien Levy (1906-1981) American art dealer and owner of the Julien Levy Gallery in New York, which became an important venue for Surrealists, avant.garde artists and American photographers in the 1930s and 1940s. Salvador Dali´s first exhibition in New York was held at Levy´s gallery in late 1933 and, in April-May 1941, Dali announced the death of the Surrealist movement and the return of classicism at an exhibition in Levy´s gallery.Salvador Dali´s autobiography La vie secrète de Salvador Dali (´The Secret Life of Salvador Dali´) was was published simultaneously in New York and London in October 1942.

KANDINSKY WASSILY: (1866-1944) Russian Painter, one of the pioneers of abstraction in western art. T.L.S., Kandinsky, one page, oblong 8vo, Berlin-Sëdende, 17th July 1933, to [Andre] de Ridder, in French. Kandinsky attached the greatest importance to his correspondent and Editor´s publication "Chronique de la Vie Artistique" which special edition of July 1933 was dedicated to his person, and forwards several addresses of important bookstores in London and Berlin which wish to receive copies of the publication, stating `The Mayor Gallery à Londres m´écrit, qu´une librairie prendra ferme 20 exemplaires du Cahier "Kandinsky"... Je ne me souviens plus, si je vous ai communiqué qu´une Galerie de Berlin veut prendre 10 exemplaires ferme...´ (Translation: "The Mayor Gallery in London writes to me that a bookshop will take 20 copies of the publication "Kandinsky" ... I don't remember if I told you that a Berlin Gallery wants to take 10 copies...") Further, Kandinsky refers to the editorials situation, saying `La crise est grave et personne n´a le courage de prendre plus. L´amérique c´est toujours un pays oú on vend encore des tableaux. J´ai prié de de me communiquer des adresses des librairies américaines... Mais ça dure toujours très longtemps avec les réponses sur les lettres qu´on envoie en Amérique!...´ (Translation: "The crisis is serious and no one has the courage to take more. America is still a country where paintings are still sold. I asked for the addresses of American bookstores... But it always takes a long time with the answers to the letters we send to America!...") Further again, and before concluding, Kandinsky asks his correspondent to forward to him the addresses of the people who are sending their tributes. Small area of paper loss to the upper right corner, and small age wear, otherwise GAndre de Ridder (1888-1961) Belgian art historian and editor-in chief of Cahier, a chronicle of artistic life in Brussels. A special edition of the periodical devoted to Kandinsky was published in July 1933 under the title 'Selection Chronique de la Vie Artisque XIV Wassily Kandinsky - Editions Selection Anvers 1933'

KOKOSCHKA OSKAR: (1886-1980) Austrian artist. A.L.S., Oskar Kokoschka, one page, 8vo, Villeneuve, Vaud, Switzerland, 25th July 1967, to Pierre Beres, in French. Kokoschka states that he was delighted to receive his correspondent´s kind letter and adds that he looks forward to seeing Beres during their trip to Switzerland, further remarking ´Mes remerciements pour l´envoi de vos livres de la collection "Miroirs de l´art" ´ (Translation: ´Thank you for sending me your books from the ‘Miroirs de l'art’ collection´). VGPierre Beres (1913-2008) Russian-born French bookseller, antiquarian book collector, publisher and art collector.

DIAGHILEV SERGEI: (1872-1929) Russian ballet Impresario, art Critic and Patron who founded the Ballets Russe. An excellent content and very rare A.N.S. `Serge de Diaghilev´, in the third person, one page, 8vo, Paris, n.d., [December 1927], to the verso of the printed stationery of the Grand Hotel at 12 Boulevard des Capucines, Paris, in French. Diaghilev annotates the lists of the works which will be played at the Opera on two two performances, stating `2 soirées des Ballets russes de M. Serge de Diaghilev à l´Opera. Le mardi 27 Décembre: Le Pas d´acier - La chatte - L´oiseaud e feu. Le jeudi 29 Décembre: L´oiseau de feu - La chatte - L´après-midi d´un faune - Les Danses du Prince Igor´ (Translation: "2 soirées of the Ballets Russes of Mr. Serge de Diaghilev at the Opera. Tuesday, December 27: The Steel Step - The Cat - The Firebird. Thursday, December 29: The Firebird - The Cat - The Afternoon of a Faun - The Dances of Prince Igor") With blank integral leaf. VGThe Steel Step is a 1926 ballet in two scenes containing eleven dances composed by Sergei Prokofiev.La Chatte ("The Cat") is a 1926 work by French composer Henri Sauguet. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev. He wrote his first ballet, Les Roses that year. In 1927 Diaghilev's company produced the ballet La Chatte ("The Cat") with music by Sauguet, which premiered in Monte Carlo on April 1930. L´oiseau de Feu ("The Firebird") is a ballet and orchestral concert work by Igor Stravinsky. It was written for the 1910 Paris season of Diaghilev´s Ballets Russes company.L´Après-midi d´un Faune ("The Afternoon of a Faun") is a ballet choreographed by Nijinsky for the Ballets Russes. The ballet is set to Debussy´s symphonic poem Prélude à l´après-midi d´un Faune (1894)Les Danses du Prince Igor is part of the unfinished opera composed by Alexander Borodin.