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A finely executed Russian lacquer box of circular form, decorated with a vibrant hand-painted scene inspired by the fairy tale of the Prince and the Frog. The lid features a seated young man dressed in traditional folk costume, gazing curiously at a crowned green frog perched in his hand, surrounded by a glowing, enchanted woodland setting. The imagery is rendered in vivid tones of orange, green, and gold, with delicate shading and fine brushwork typical of Palekh or Fedoskino-style artistry. The box is finished in deep black lacquer with a striking red interior, and its smooth, high-gloss surface enhances the richness of the painted scene. The base is plain and unsigned. Measuring 2.75 inches in diameter and about 1 inch high, this compact form is ideal for trinkets, jewelry, or display. This piece captures the charm and magical realism that defines Russian lacquer miniature art, with a theme rooted in Slavic folklore and executed with traditional materials and techniques.Issued: 20th centuryDimensions: 2.5" dia. Country of Origin: RussiaCondition: Age related wear.

A collection of USSR Soviet Russian military themed propaganda, Moscow State Circus & art posters seven in all very good used condition

Romain de Tirtoff "Erté" (1892-1990) Russian-FrenchArt Deco stylised dancerSigned, colour reproduction, 74cm by 49cm

Tolla Inbar (German/Israeli b.1958) A large bronze sculpture, Aspiration Trio, from the Enlarging Rope series, 216cm high, the base 43cm x 46cm Provenance: deceased collector estate believed purchased from the artist. Tolla is considered one of the top Israeli artists working today. Born in Germany in 1958, Tolla attended the Merz school in Stuttgart until 1971. There she specialized in the art of ceramics and sculpture, developing her skill in an art form that would become a lifelong love story. Between 1977 - 1984 she studied at Bustan Institute and at Avni Institute of Arts, where she worked in stone and wood with well-known Russian sculptors. During these years of experimentation with varying materials, she transformed her style from realistic and figurative to more expressive and semi-abstract. Tolla describes her artistic process as a “relentless drive to keep creating different expressions of the ancient human spiritual quest for the divine.” This is evident in her rope sculptures which are both unique and naturalistic, balanced and fluid. In combining contrasting materials such as wood, metal, and bronze she is able to reflect tension or what she refers to as “spiritual optimism.” Tolla’s conviction is that, “our world is mostly composed of light and energy so that theoretically the victory of energy (spirit) over matter is only a question of time.” Tolla's works can be found in numerous private collections throughout Germany, France and the United States.ARR apply to this lot.

Three pieces of Russian folk art painted woodenware comprising two lidded pots and a bowl

MONET CLAUDE: (1840-1926) French Impressionist painter. An excellent, small series of three A.Ls.S. by Claude Monet to members of the Bernheim family, owners of one of the oldest art galleries in Paris, the Bernheim-Jeune gallery. Monet makes reference to his friend Sacha Guitry in each of the letters, and the correspondence comprises -(i) A.L.S., Claude Monet, two pages, 8vo, Giverney par Vernon, Eure, n.d. (c.1912/14), to a lady (most likely Mathilde Adler, the wife of Josse Bernheim), on black-bordered mourning stationery, in French. Monet writes in his characteristic bold purple ink and states, in full, ´Mille fois merci de votre si aimable invitation à laquelle malgré la sauvagerie que vous me connaissez, je ne manquerai pas de me rendre et ce me sera un double plaisir de revoir et d’applaudir Monsieur et Madame Sacha Guitry.Merci encore à vous quatre et recevez chère Madame mes affectueux hommages´ (Translation: ´A thousand thanks for your kind invitation, which, despite my well-known savagery, I will not fail to accept. It will be a double pleasure for me to see and applaud Mr. and Mrs. Sacha Guitry again. Thank you again to all four of you. Please accept, dear Madam, my affectionate regards´). With blank integral leaf.(ii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, 6th April n.y. (´Lundi´; c. 1912/14), to Josse [Bernheim] (´Cher Monsieur Josse´), on black-bordered mourning stationery, in French. Monet thanks Bernheim for having kept him informed each day with news about Sacha Guitry, remarking ´Je suis confus de vous donner cette peine mais vous comprendrez mon désir d’être tenu au c[ouran]t. Pauvre Sacha et pauvre Lysès que je le plains et comme je pense à elle, mais que je serai donc heureux lorsque vous m’annoncerez un mieux sensible´ (Translation: ´I am sorry to cause you so much trouble, but you will understand my desire to be kept informed. Poor Sacha and poor Lysès, I feel so sorry for her, and how I think of her, but I will be so happy when you tell me that he is feeling better´) and also informing his correspondent ´Après demain mercredi je me rendrai à Joinville pour y faire des plantations afin que lors de la convalescence de Sacha ils trouvent un peu de plaisir dans leur nouveau jardin´ (Translation: ´The day after tomorrow, Wednesday, I will go to Joinville to do some planting so that when Sacha recovers, they will find some pleasure in their new garden´). Monet conclues by sending his best regards to Bernheim´s brother and their wives, and in a postscript makes a reference to his paintings, ´Savez-vous si Monsieur Leprieur a décidé de prendre mes [tableaux], au cas contraire je serai bien aise à ne pas les voir s’égarer dans les greniers du Louvre´ (Translation: ´Do you know if Monsieur Leprieur has decided to take my [paintings]. If not, I would be very glad not to see them lost in the attics of the Louvre´).(iii) A.L.S., Claude Monet, two pages (written to the first and third sides of the bifolium), Giverny par Vernon, Eure, n.d. (´Vendredi 10´; c.1912/14), to ´Messieurs et chers amis´ [Josse and Gaston Bernheim], on black-bordered mourning stationery, in French. Monet writes in response to having been informed of some positive news concerning Sacha Guitry, ´Je n'ai pas besoin de vous dire comme j'étais heureux hier matin en recevant votre bonne dépêche et plus heureux encore aujourd'hui de savoir qu'enfin qu'il n'y a plus d'inquiétude à avoir, je m'en réjouis comme vous pour ces bons amis et vous remercie mille fois d'avoir bien voulu me tenir au courant´ (Translation: ´I don't need to tell you how happy I was yesterday morning when I received your kind dispatch, and even happier today to know that there is finally no more cause for concern. I rejoice with you for these good friends and thank you a thousand times for keeping me informed´) further adding ´Je compte venir voir Sacha la semaine prochaine. Je ne viendrai que pour quelques heures, ainsi m'arrangerai pour aller vous dire bonjour´ (Translation: ´. I plan to come and see Sacha next week. I will only be there for a few hours, so I will arrange to drop in and say hello´) and concluding by sending his warmest regards to his correspondent´s wives.A fine series of letters, each with good content and associations, VG, 3The brothers Josse (1870-1941) and Gaston (1870-1953) Bernheim-Jeune were two of the most prominent contemporary art dealers in Paris during the early 20th century. Working for the gallery their father, Alexandre Bernheim (1839-1915), had established in 1863, together they organised the first major exhibition of paintings by Vincent van Gogh in Paris in 1901. Earlier in the gallery´s history, Bernheim had promoted the first Impressionist and Post-Impressionist artists with exhibitions in 1874.Josse married his cousin, Mathilde Adler (1882-1963) in 1901, while Josse´s brother, Gaston, would marry Mathilde´s sister, Suzanne (1883-1961). In September 1901 Pierre-Auguste Renoir was commissioned by the Bernheim-Jeune brothers to paint a portrait of their young fiancées, and in 1910 the artist would again paint a portrait of Mathilde accompanied by her young son, Henry Dauberville (1907-1988).The Russian-born French stage actor, film actor, director, screenwriter, and playwright Sacha Guitry (1885-1957) had first met Claude Monet in the summer of 1911 when they were introduced to each other by the Bernheim-Jeune brothers at their villa ´Bois Lurette´ in Villers-sur-Mer. The two men developed a close friendship and in 1915 Monet was one of the subjects of Guitry´s first cinematic film Ceux de chez nous (´Those of our home´). The twenty-two minute silent movie was first shown at the Théatre des Variétés on 22nd November 1915 and is often heralded as the first film about the process of art-making itself and thus the first true artist documentary. The film includes two- to three-minute-long appearances by Claude Monet and Pierre-Auguste Renoir (both then around seventy-five years old), among other greats of the late nineteenth- and early twentieth-century French art scene, including the sculptor Auguste Rodin, the actors Sarah Bernhardt, André Antoine, and Lucien Guitry, the composer Camille Saint-Saëns, and the writers Anatole France, Octave Mirbeau, and Edmond Rostand. Guitry’s film helped immortalise Monet at a time when cinema was still in its infancy, and the footage gives modern viewers a rare glimpse of Monet in motion, painting in his beloved garden at Giverny. Guitry was married five times, firstly to the actress Charlotte Lysès (1877-1956) whom Monet also mentions in the present letters. Guitry and Lysès were married in 1907 and later divorced in 1915. Paul Leprieur (1860-1918) was a curator of the Louvre Museum in Paris.Monet´s reference to not wishing to have his paintings ´lost in the attics of the Louvre´ was perhaps made a little playfully. The artist´s works were first exhibited at the museum in 1883 as part of the Exposition des impressionnistes (Exhibition of the Impressionists). As a result Monet achieved the respect of more established museums almost a decade after his works had been shown in the first Impressionist exhibition of 1874. OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.

DELAUNAY SONIA: (1885-1979) Russian-born French artist, a co-founder of the Orphism art movement. Small collection of two A.Ls.S. and an autograph note by the artist, all dating from te 1960s and written in French, comprising (i) A.L.S., Sonia Delaunay, to the verso of a colour picture postcard of one of her artworks, n.p., n.d. (1964), to an unidentified correspondent, stating, in full, ´Meilleurs voeux pour 1964 pour toute la famille! Cet ouvrage a été fait en 1942 à Grane pas le groupe d´amis et édité à Paris après la guerre. Mille merci pour le magnifique "Art de France" 1963. Amitiés´ (Translation: ´Best wishes for 1964 to the entire family! This work was created in 1942 in Grane by a group of friends and published in Paris after the war. Many thanks for the magnificent ‘Art de France’ 1963. Best regards´) (ii) a brief A.L.S., Sonia Delaunay, to the verso of a colour picture postcard of the Ponte Vecchio, n.p. (Florence), n.d. (3rd May 1966), to Pierre Béres and his wife, stating, in full, ´vous embrasse tous les deux, rentre bientôt´ (Translation: ´Love to you both, come home soon´). Immediately beneath Delaunay´s message the French publisher Jacques Damase (1930-2014) has added a brief note of his own (´I am still waiting for you in Florence...´) (iii) the personal printed small oblong 12mo Visiting Card of Delaunay, unsigned, featuring her printed name (´Madame Robert Delaunay´) to the centre, with three lines of text in her hand, ´avec toutes ses amitiés et meilleurs voeux pour 1960´ (Translation: ´with all his love and best wishes for 1960´). VG to EX, 3Pierre Béres (1913-2008) Russian-born French bookseller, antiquarian book collector, publisher and art collector.

RIMSKY-KORSAKOV ANDREY: (1878-1940) Russian musicologist, son of the composer Nikolai Rimsky-Korsakov. A.L.S., A. Rimsky Korsakov, two pages, 4to, Leningrad, 11th September 1937, to Mikhail Dmitrievitch, in Cyrillic. Rimsky-Korsakov writes an informative letter, thanking his correspondent for their letter and a clipping from the Musical Times, observing ´It seems to me that the comparison between Mussorgsky and Tchaikovsky in their relationship with women is incorrect. In my book Mussorgsky: Letters and Documents, Introduction, page 18, I mention three women with whom Mussorgsky, at different times, had affections akin to falling in love: N. P. Opochinina, A. A. Latysheva, and M. B. Shilovskaya´ and further referring to a letter by Vladimir Stasov which he recalls ´mentions some defect of Mussorgsky’s male organ, whereby normal coitus was impeded, or something to that effect´. Rimsky-Korsakov then proceeds to write at length regarding his own current writing projects, ´My small work Rimsky-Korsakov and Tchaikovsky. Their Personal Relations and Artistic Attitudes (based on their correspondence) was considered “unsatisfactory” by the current head of the Muzgiz [State Music Publishing House], Grinberg (who also works at the Art Committee). I have included it in the next five-year plan for the State Public Library, where I hope to publish it in a somewhat modified form. I do not wish to send it abroad for its first publication, however, for reasons of backward patriotism. I have just sent proof corrections of the fourth issue or volume of my book N. A. Rimsky-Korsakov. Life and work. This issue comprises eleven printed sheets. I will send it to you as soon as it is printed. I hope, as usual, for your kind attention to it and informative notes in the English and perhaps also American and French press. For the twentieth anniversary of the October Revolution, the State Public Library is printing my small book (about five printed sheets) Musical Treasures of the Manuscript Department of the State Public Library. A detailed critical review (with quite comprehensive summary in French). Additionally, the first volumes of the so-called academic edition of the complete works of N. A. Rimsky-Korsakov, edited by M. O. Steinberg and myself, are being published. I am currently working on the fifth issue of my “biography” of my father, which will comprise six issues. The last one is devoted to his creative work and various reference materials. By the way, June 8/21, 1938 will mark the 30th anniversary of my father's death. In 1940, the centenary of Tchaikovsky's birth will be celebrated, and in 1944, the centenary of my father’s birth. For these two anniversaries, I have planned a substantial work based on materials from the State Public Library´. A letter of good content for its various references to Russian composers. VG

RIMSKY-KORSAKOV NIKOLAI: (1844-1908) Russian Composer, a member of The Five Group. An excellent A.L.S., N.R. Korsakov, in Cyrillic, two pages, 8vo, St. Petersburg, 23rd April/6th May 1906, to (`Mikhail Ossipovitch´), in Cyrillic. Rimsky-Korsakov refers to the translation of one of his operas and states `I send you a sheet of paper full of Mr. Stasov´s annotations regarding your translation. I´d wish that his accurate and bright work is seriously considered and that as much as possible you use it, as I have full confidence in Mr. Stasov´s knowledge regarding the Russian style and it´s speaking language´ also remarking `I am in agreement with obliging the French to adapt to the Russian poetry features, and not to accommodate the Russian poetry to the French taste´; further adding `...my remarks are our dear Mr. Stasov´s ones´. With blank integral leaf. Accompanied by the original envelope, hand addressed by the composer and signed by him in the return address. A letter of interesting content, possibly referring to the translation of his opera Sadko. EX Mikhail Delin (´Mikhail Ossipovitch´) French Translator of Rimsky-Korsakov´s operas. Vladimir Stasov (1824-1906) the most respected Russian critic during his lifetime. He wanted Russian art to liberate itself and served as an elder advisor to the group of Russian composers known as "The Five". The present letter in which Rimsky-Korsakov refers three times to Stasov was written only a few months before Stasov´s death.

SAUGUET HENRI: (1901-1989) French Composer. Sauguet formed the 'School of Arcueil', named after the location of Satie's home. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev, the flamboyant impresario of the Ballets Russes. In 1927 Diaghilev's company produced the ballet La Chatte ("The Cat") with music by Sauguet, who gained his greatest popularity with his ballets. A good A.L.S., `Henri Sauguet´, four pages, 8vo, Paris, 18th April 1977, to Castor Seibel, in French. Sauguet returns from Eastern holidays in Gironde, and amusingly comments on the weather `Je suis rentré de Gironde vendredi soir. Séjour en Alaska! Gelées, neiges, vents glacials, soleil du Pôle... ciels de plomb. Enfin c´étaient des Pâques aux tisons! Je passias hier la hournée en Champagne, boire du champagne et écouter des musiciensde l´harmonie populaire...´ (Translation: "I returned from Gironde on Friday evening. A trip to Alaska! Frost, snow, icy winds, polar sun... leaden skies. Finally, it was Easter with embers! I spent yesterday afternoon in Champagne, drinking champagne and listening to folk band musicians...") Further Sauguet explains to his correspondent that he will not be able to meet him on the date suggest because he won´t be in Paris but having a tour giving a lecture about the Russian Ballets, saying `Le 22 je ne serai pas à Paris, à 17h je fais une conférence à Poitiers sur le Ballet Russe (que j´ai écouté pendant ces Pâques à Coutras). Je pars le 21 et ne rentrerai que le 24 car je répète cette même conférence le 23 au Mans, ou. en l´honneur des Ballets Russes on a fait une exposition et où l´on donne le 24 un concert au cours duquel sera exécuté La Chatte! A quelques jours près des 50 années de sa création à Monte Carlo (le 30 Avril 1927!)...´ (Translation: "On the 22nd I will not be in Paris, at 5 p.m. I am giving a lecture in Poitiers on the Russian Ballet (which I listened to during Easter in Coutras). I am leaving on the 21st and will not return until the 24th because I am repeating this same lecture on the 23rd in Le Mans, where in honor of the Ballets Russes they have held an exhibition and where they are giving a concert on the 24th during which La Chatte will be performed! A few days before the 50th anniversary of its creation in Monte Carlo (April 30, 1927!)...") Accompanied by the original envelope postmarked and stamped. VGCastor Seibel (1934-2022) German Writer, Poet and art Critic.A collector and expert in painting art.La Chatte ("The Cat") is a ballet by Henri Sauguet, premiered in Montecarlo in 1927, with Serge Lifar. The story is about a young man who falls in love with a cat, which assumes a human form through the intervention of Aphrodite. As they make love, the cat-woman sees a mouse and cannot resist chasing it, whereupon she changes back into a cat. The work was choreographed by the young Georg Balanchine.

An Art Deco style figure of a lady walking her Russian Borzoi Hound together with another Art Deco style figure after M Santini and one other figure

Giclee on canvas by Alexandre Zlotnik titled Still Life with Guitar and Jacket, hand-signed in the lower right and numbered 65/300 in the lower left. This striking composition features a worn classical guitar resting on a simple wooden table with a black jacket casually draped over the back, rendered in a muted palette of earthy tones and soft brushwork. The work is presented in a double wood frame with a floating mount, adding depth and modern sophistication. Alexandre Zlotnik is a contemporary artist known for his evocative still life and figurative works that often blend classical themes with a subdued, expressive aesthetic. His compositions frequently explore the human presence through absence, as seen in garments, instruments, or furniture"imbuing his scenes with emotional resonance and narrative intrigue. His works are held in private collections internationally and are especially recognized in the Latin American art market.Artist: Alexandre Zlotnik (Russian b.1940)Issued: c. 2000Dimensions: 45"W x 55"HCountry of Origin: RussiaCondition: Age related wear.

A Russian folk art painted pine distaff or yarn winder, decorated with a horse, birds and foliate scrolls, 90cm high; together with another similar, decorated with a figure in a troika (2).

A RUSSIAN ART NOUVEAU PENDANT Stamped with the makers mark IP for Julius Rappoport of St Petersburg 1883-1916, stamped with the Kokoshnik mark with the metal value stamp of 56 (equivalent of 14k gold), set with three old cut diamonds with an estimated approximate carat weight total of 0.35cts with further eight cut diamonds and rose cut diamonds throughout to the open work mount. With a new 18ct white gold 42cm figaro chain, weight all together 11.7gms Condition Report:"Dimensions of the pendant;- 5cm x 3.3cmLight general wear throughout, no stones missing. Modern replacement chain."

Vasily Sitnikov (Russian, 1915-1987) Mother and daughter 1961 Crayon or oil on paper on board  Signed, titled and dated verso in Cyrillic Vasily Sitnikov was a legend of the Moscow underground who in 1941 was arrested, declared legally insane, and sent for compulsive psychiatric treatment. He wrote a letter addressed to the 'Ministry of Health. To the boss over all the psychiatric treatment facilities and to the boss of this boss!' which read "I PAINT FUNNY ART. NO ONE CAN COMPLAIN ABOUT ME. / I AM THE HAPPIEST PERSON IN THE WORLD. / FROM MORNING TILL NIGHT I SING SONGS WITH JOY AND EVEN DANCE / I AM DRUNK WITHOUT WINE: JUST FROM HAPPINESS!" Property of a gentleman Dimensions: (Frame) 16.25 in. (H) x 22 in. (W)  (Paper) 14 in. (H) x 20 in. (W)

A 19th century short sword with brass hilt a bayonet possible Russian II world war and a trench art shell case container 1942. (3)

Russian, 1878-1973Storm, circa 1919-1920 Signed and dated Boris Anisfeld/1947 (ll); inscribed as titled and numbered 62 on the reverse Oil on canvas50 x 40 inches (127 x 101.6 cm)Provenance:Sale, Christie's, London, November 29, 2006, lot 198Exhibited:New York, Art Gallery of the Graduate Center, Boris Anisfeld - Paintings and Stage Designs, 1906-1926, 4 December 2003 - 17 January 2004, no. 13.Literature:Dr. Eckart Lingenauber and Dr. Olga Sugrobova-Roth, Boris Anisfeld Catalogue Raisonné, Editions Libertars, Dusseldorf, 2011, no. P 021, p. 101, illustrated. Exhibition catalogue; Boris Anisfeld - Paintings and Stage Designs, 1906-1926, Art Gallery of the Graduate Center, New York, 2003, p. 13, no. 13, illustrated.According to the Christie's catalogue, the artist's estate suggested that the work is painted circa 1919-1920 and dated at a later stage by the artist. According to the artist's grandson, this was a frequent occurence and Anisfeld dated many of his earlier works with dates in the 1940s.(Framed 57 x 47 inches)In overall good condition. A few areas with faint craquelure. Some areas of inpainting visible near the edges. Wear along the canvas edges.In overall good condition. A few areas with faint craquelure. Some areas of inpainting visible near the edges. Wear along the canvas edges.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Imperial Porcelain Manufactory, St. Petersburg, period of Alexander III, dated 1888Baluster form, with elongated neck, painted throughout with flowers and leaves on a blue ground, with flaring rim decorated with gilt and white floral motifs, with underglaze green manufactory mark and date, restored.Height 32 inches (81.3 cm). Provenance:Princess Dagmar Louise Elisabeth of Denmark (1890-1961).By descent to her son, Christian Ludwig Castenskjold (1926-2024).A gift from the above to the present owner.The present vase was a gift from Empress Maria Feodorovna of Russia (née Princess Marie Sophie Frederikke Dagmar of Denmark; 1847-1828) to her niece, Princess Dagmar Louise Elisabeth of Denmark. The Princess was the youngest child and fourth daughter of King Frederick VIII of Denmark (1843-1912) and his wife, Princess Louise of Sweden and Norway (1851-1926). The production date of the vase, 1888, pre-dates the birth of Princess Dagmar, so the exact date the vase was presented is unknown. However, the vase eventually descended in the family to Princess Dagmar's son, Christian Ludwig Castenskjold, who gifted it to the present owner. Given the Empress’s familial ties, the Russian imperial family paid regular visits to the Danish royal family. The Empress and Princess Dagmar can be seen together in a photograph during one such visit circa 1903. Maria Feodorovna is seated in the second row, second from the left. Princess Dagmar is seated in the first row at the far left. Emperor Alexander III (1845-1894), a connoisseur and collector of works of art, took an interest in the work of the Imperial Porcelain Manufactory and porcelain objects were often chosen as royal gifts. For example, another vase by the Imperial Porcelain Manufactory, dated 1891 and comparable in form to the present lot, was given by Alexander III in August 1893 to Phillip Skou, the director of the Royal Copenhagen Porcelain Manufactory. The vase was later sold, Uppsala Auktions, Sweden, December 1, 2006, lot 1335.The vase was cracked in several areas and has been professionally restored. The restoration is visible in areas. It is recommended that prospective buyers examine the vase in person prior to bidding.The vase was cracked in several areas and has been professionally restored. The restoration is visible in areas. It is recommended that prospective buyers examine the vase in person prior to bidding.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Maker's mark indistinct, attributed to Feodor Rückert, Moscow, 1908-1917Rectangular, the base with convex sides, on four bracket feet, the hinged cover centering a reserve painted en plein with Rivals [Соперники], after the original by Sergei Solomko, enameled throughout with stylized shaded vegetal ornament and geometric motifs on blue and brown grounds.Height 1 5/8 inches, width 3 3/4 inches, depth 2 1/2 inches.Feodor Rückert Feodor Rückert (1840-1917) was arguably the most talented of all enamellers working in pre-revolutionary Russia. An exceptional example of the work from his later period, the present lot is decorated with delicately shaded enamel in the Neo-Russian style, inspired by Russian vernacular ornament but expressed in a thoroughly modern style and color palette. Like much of Rückert’s work, it incorporates a faithful reproduction in miniature of the work of a popular Russian painter, in this case Sergei Solomko (1867-1928). Miniatures were incorporated into a range of objects made by Rückert, from boxes to kovshi, which were retailed by Fabergé, Ovchinnikov and other select firms. Sergei Solomko Sergei Solomko participated in regular exhibitions in St. Petersburg before gaining international recognition by winning a prize at the Chicago Columbian Exposition in 1893. He soon found himself in demand as a magazine illustrator for publications such as Niva, an illustrator for stories by Pushkin, Chekhov and Gogol, and a designer of theater posters and a series of postcards depicting old Russia published by Maison Lapine of Paris. After 1900, Solomko created models for the Imperial Porcelain Factory, worked with the House of Fabergé and provided sketches for the historical costumes worn at the famous 1903 ball at the Winter Palace. Another enamel box by Feodor Rückert incorporating a miniature was sold in these rooms January 30, 2019, lot 169 (https://doyle.com/auction/lot/168-russian-silver-gilt-cloisonn-and-en-plein/?lot=1239531&sd=1). Further examples of works by Rückert with miniatures after Solomko include a box, sold Bonham’s, London, November 26, 2014, lot 103; a kovsh, sold Christie’s, July 21, 2020, lot 216; and a cigarette case, sold Christie’s, November 25, 2019, lot 261. A box by Rückert of similar form and with comparable decoration is held in the collection of The Walters Art Museum, Baltimore (accession number 44.925. https://art.thewalters.org/detail/82308/casket-with-a-miniature-of-kuzma-minin-at-nizni-novgorod/).In excellent original condition. No visible restoration under UV light. Minor surface wear and rubbing to gilding.In excellent original condition. No visible restoration under UV light. Minor surface wear and rubbing to gilding.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Russian, 1878-1973Francesca da Rimini (Dante's Inferno, Canto Quinto), circa 1930s Signed Boris Anisfeld (ll); inscribed Franchesko De Rimini / Dante Canto Quinto, 27 and 83 on the reverseTempera on board 33 3/4 x 29 inches (85.7 x 73.7 cm)Exhibited: The Art Institute of Chicago, The Seventeenth International Exhibition: Watercolors, Pastels, Draings and Monotypes, April 28 - May 30, 1938, no. 137The Art Institute of Chicago, Boris Anisfeld Retrospective Exhibition, May 8 - June 8, 1958, no. 18Moscow State Tchaikovsky Conservatory, Boris Anisfeld, September 25 - October 5, 2001 (listed as Dante's Inferno)Literature: Dr. Eckart Lingenauber and Dr. Olga Sugrobova-Roth, Boris Anisfeld Catalogue Raisonné, Editions Libertars, Dusseldorf, 2011, no. P 099, p. 114, illustrated. Boris Anisfeld, ABA Gallery, Palace Editions, 2001, p. 46, illus. (listed as Dante's Inferno)(Framed 41 1/4 x 36 1/4 inches)Several scattered small losses in isolated areas throughout. Wear and abrasions with some losses along the edges from frame rubbing. Some surface soiling, may benefit from a cleaning. Scattered touches of inpainting visible under UV, mostly along the edges.Several scattered small losses in isolated areas throughout. Wear and abrasions with some losses along the edges from frame rubbing. Some surface soiling, may benefit from a cleaning. Scattered touches of inpainting visible under UV, mostly along the edges.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A Starkies cast iron money bank in the form of a Mark I Tank; a ceramic money box in the form of a WWI tank, yellow; a scratch built possibly trench art wooden model of a Russian  WWII tank, missing main gun;  etc.

Impressive Geometric Composition    Oil on canvas    Signed in Cyrillic with monogram (lower right)    Dimensions: 70 × 55 cm    Notes: Accompanied by a scientific analysis dated 06/07/2006 by Prof. Dr. Elisabeth Jägers, Dipl.Chem. and Dr. Erhard Jägers, Dipl.Chem.    Also includes an official certificate of authenticity issued by the Malevich Foundation, signed by:  G.L. Demosfenova – President of the K.S. Malevich Foundation,   I.A. Azizyan – Professor of Art, Expert of the Foundation,   S.G. Dzhafarova – Researcher at the Russian Institute of Cultural Studies, Foundation Expert.  Dated: 28/11/2006, Moscow.    Condition: For a detailed condition report, please email info@hammersite.com.

ASSORTMENT OF COLLECTIBLESincluding a Canadian Burr Walnut turned bowl, pair of brass candlesticks, a Celtic wooden cross, carved oak monk, Russian traditional paper mache spoon, Black forest ceramic and wood pipe, five onyx goblets, trench art shell case, fire side items including bellows, etc.

3rd-2nd millennium B.C. Comprising a leaf-shaped blade with raised midrib extending to the round-section long shank, raised collar above a rectangular section tang, fastened by bending to a right-angle. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXXIII, no.82, from Tepe Hissar; Gernez, G., L’armament en métal au Proche et Moyen-Orient: des origines a 1750 av. J.C., Paris, 2007, p.301, fig.2.88, subtype L2.B.b. 300 grams, 46 cm (18 1/8 in.). Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The specimen belongs to the category of tripartite spears with long pointed biconvex blade and single bevelled tang. They seem to be a Mesopotamian and Susian (Elamite) variant, and this type also includes decorated blades, like the spear from Tello with the inscription 'King of Kish'.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

18th-3rd century B.C. Comprising triangular types with thick midrib, heater-shaped, leaf-shaped, barbed-and-tanged, paddle-shaped with a flat, comparatively wide mid-rib, and other types. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93). 190 grams, 24-76 mm (1 - 3 in.). [43] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Some of the represented arrowheads (paddle-shaped) were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and are comparatively common finds in the Holy Land.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

1800-1600 B.C. Tapering blade with raised midrib developing to a short tang pierced at the finial. Cf. for the type Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.IV, no.40, from Western Iran. 218 grams, 32.5 cm (12 3/4 in.). Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Around the 17th century BC, Hyksos craftsmen apparently invented daggers with an elongated, narrow blade of a subtriangular shape, sometimes with a mid-rib, but more often flat, and a handle cast together with the blade, flat, fairly wide, with a pronounced, sometimes sharply, more often smoothly, pommel and crossguard. Such daggers very quickly gained popularity in Mesopotamia and further to the east and northeast, as well as to the northwest, in the Aegean, and became almost the most widespread type of dagger in these regions up until the middle of the 1st millennium B.C.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

3rd-2nd millennium B.C. Piriform with vertical socket expanding towards the narrower end. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXXI, no.30, from Armenia, for similar. 517 grams, 91 mm (3 1/2 in.). From a West London, UK, collection, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

7th-6th century B.C. Raised from a single sheet with rounded skull and semi-circular cut-outs for the eyes with raised rims, raised bar to the front extending to the top with a loop; ten circular perforations to the lower edge; accompanied by a custom-made display stand. Cf. Cernenko, E.V., The Scythians, 700-300 BC, London, 1983, p.11, pl.A1; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, colour plate 15, fig.3; plate XLII, nos.figs.29-30, 33-34, for identical types. 1.47 kg, 23.5 cm wide (9 1/4 in.). [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]Private collection formed in Europe in the 1980s. Westminster collection, central London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12616-235608. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.This war helmet, typical of the Caucasian Scythians, belongs to the so-called Kuban type according to B. Z. Rabinovich, named after the north Caucasian region where the majority of this type of helmets were found. The helmet is almost identical to the helmet found in the 6th century barrow at Kelermes (Stanitsa Kelermeskaya), and in fact many of such helmets have been found in the Northern Caucasus. The helmets were typical of the noblemen fighting on horseback with spear, javelins and especially with bow and arrows.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

3rd-2nd millennium B.C. Foliate blade, rhomboidal in section, raised mid-rib, medium length stem widening at the base and forming a small stop, rectangular-section tang with bent terminal. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXXIII, no.82, from Tepe Hissar; Gernez, G., L’armament en métal au Proche et Moyen-Orient: des origines a 1750 av. J.C., Paris, 2007, p.301, fig.2.88, subtype L2.B.b. 187 grams, 45 cm (17 3/4 in.). Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The specimen belongs to the category of tripartite spears with long pointed biconvex blade and single bevelled tang. They seem to be a Mesopotamian and Susian (Elamite) variant, and this type also includes decorated blades, like the spear from Tello with the inscription 'King of Kish'.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

3rd-2nd millennium B.C. Piriform with vertical socket expanding towards the narrower end. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXX, no.89, from Megiddo, for similar. 446 grams, 7 cm (2 3/4 in.). From the collection of a London, UK, gentleman, 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

14th-10th century B.C. Triangular blade with raised midrib flanked by shallow grooves extending from the integral lower-guard to the tip; the lower guard with raised coffee bean-shaped bosses to both sides; grooved handle with raised ribs and a large openwork crescentic pommel bearing a similar decoration to the blade at the top; accompanied by a custom-made display stand. Cf. for similar examples, Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 1, London, 2002, p.14, no.14; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg (2003) in Russian, pl.VI, no.34, from Luristan; Christie's, The Axel Guttmann Collection of Ancient Arms and Armour, part 2, London, 2004, pp.23-24, no.23; Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figs.43-44, for similar, from Marlik. 1.31 kg total, sword: 47 cm long (18 1/2 in.). [A video of this lot is available to view on Timeline Auctions Website]Ex Rabi Gallery, London, UK, 1980s. From a private Surrey, UK, collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12606-234422. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The now empty cavities of the handle were once filled with organic material.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

18th-7th century B.C. Including triangular, leaf-shaped, barbed, paddle-shaped with a flat, comparatively wide mid-rib, and others. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93). 176 grams total, 33-77 mm (1 1/2 - 3 in.). [28] Ex London art market, 1980-1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Some of the represented arrowheads (paddle-shaped) were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and are comparatively common finds in the Holy Land.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

19 century B.C.-6th century A.D. Including triangular, leaf-shaped, barbed, paddle-shaped arrowheads with a flat, comparatively wide mid-rib, and others. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93); cf. Bavant, B., Ivanišević, V., Caricin Grad IV, Catalogue des objets des fouilles anciennes et autres etudes, Rome-Belgrade, 2019, figs.1687-1688, for similar Eastern Roman arrowheads. 176 grams total, 3.4-10.2 cm (1 3/8 - 4 in.). [26] Ex London art market, 1980-1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Some of the represented arrowheads (paddle-shaped) were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and are comparatively common finds in the Holy Land. The collection includes a rare Eastern Roman iron type with triangular blade having rhomboid section and short tang.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

3rd-2nd millennium B.C. Piriform with vertical socket expanding towards the narrower end. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXX, no.89, from Megiddo, for similar. 283 grams, 7 cm (2 3/4 in.). From the collection of a London, UK, gentleman, 1990s. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Léon Zack, Russian/French 1892-1980 - Untitled, no.1616, 1959; signed and dated lower right 'Leon Zack 59', 92 x 65 (ARR) Provenance: with The Waddington Galleries, London (according to the partial label attached to the reverse of the frame); Mr Norman B. Katz, purchased from the above (according to the partial label attached to the reverse of the frame); Sotheby's, New York, 'Contemporary Art', 12th September 2007, lot 327; a Private Collection of Post-War Art Note: the artist exhibited with The Waddington Galleries in December 1959 and 1961. This work is possibly catalogue no.3 from his December 1959 exhibition at The Waddington Galleries. A similar work from the 1959 exhibition, 'Peinture, 1952', is now in the collection of the Tate. 

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.

Alfred Roller Wiener Secession Plakat zur XII. Ausstellung der Vereinigung Bildender Künstler Österreichs. Secession. November-December '01. Orig.-Farblithographie. Wien, A. Berger 1901. Plakatpapier. 95 : 31,5 cm. • Gesuchtes Plakat zur 12. Ausstellung der Wiener Secession • Gekonnt vereint Roller ornamentale Form, Schrift und Farbe zu einem harmonischen Ganzen Der österreichische Bühnenbildner, Maler und Graphiker Alfred Roller (1864-1935) war 1887 Mitbegründer der Wiener Secession und ab 1902 deren Präsident. Sämtliche seiner Secessions-Plakate sind selten und gesucht. Die 12. Secessionsausstellung von November 1901 bis Januar 1902 war überwiegend der skandinavischen und der russischen Kunst gewidmet. Einige bereits fertiggestellte Wandfriese für die übernächste Schau, die berühmte Beethovenausstellung , wurden von Hoffmann mit großen, von der Decke hängenden Stoffbahnen verdeckt. - PROVENIENZ: Verso und recto mit dem Stempel des Werbe-Archivs und handschriftlichen Numerierungen in Blei und Tinte. - Seit über 30 Jahren in süddeutschem Privatbesitz. Sought-after poster for the 12th exhibition of the Vienna Secession, primarily dedicated to Scandinavian and Russian art. Roller skillfully combines ornamental form, lettering, and color into a harmonious whole. Original color lithograph. Poster paper. 95 : 31.5 cm. - With a center fold, slight handling creases, and five small marginal tears. Mounted on cardboard in a mat along the upper edge. Verso and recto with the 'Werbe-Archiv' stamp and handwritten numbers in pencil and ink. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000099 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000099 This lot can be purchased subject to differential or regular taxation.

This signed and numbered limited edition serigraph by Erte (Romain de Tirtoff), titled Autumn, is part of his celebrated "Four Seasons" series, showcasing his iconic Art Deco elegance. The artwork features a graceful woman surrounded by vibrant autumn leaves, rendered in Erte's signature ornamental style with intricate patterns and bold colors. Hand-signed "Erte" in the lower right and numbered 88/260, this serigraph is professionally framed in a gold-tone metal frame with a brown mat and gold inner trim, enhancing its refined presentation. A sought-after piece for collectors of Erte's timeless Art Deco works.Artist: Erte, Romain de Tirtoff (Russian/French, 1892-1990)Issued: 20th centuryDimensions: 20"L x 24"HCountry of Origin: FranceCondition: Age related wear.

This signed and numbered limited edition serigraph by Erte (Romain de Tirtoff) exemplifies his signature Art Deco elegance with a delicate interplay of geometric patterns, floral motifs, and intricate detailing. The artwork features a stylized feminine figure partially obscured by lace-like patterns in green, lilac, and orange, demonstrating Erte's mastery of ornamental design and composition. Hand-signed "Erte" in the lower right and numbered 88/260 in the lower left, this serigraph is elegantly presented in a gold-tone frame with a dark brown mat, enhancing its refined aesthetic. A striking addition for collectors of Erte's iconic fashion and Art Deco works.Artist: Erte, Romain de Tirtoff (Russian/French, 1892-1990)Issued: 20th centuryDimensions: 20"L x 24"HCountry of Origin: Russia/FranceCondition: Age related wear.

This elegant kovsh, created in the workshop of Fyodor Rückert for the House of Fabergé, is a magnificent example of Russian decorative and applied art of the Art Nouveau era. The round bowl is decorated with polychrome cloisonné enamel with blue stylized flowers and white leaves, executed in the Pan-Slavic style, on a sky-blue background. An elegant pen decorated with geometric motifs in the form of triangles and circles, made using the technique of stained glass and cloisonné enamel, completes the exquisite composition, emphasizing the aesthetics of Russian Art Nouveau. Hallmarks: poorly legible mark of the Moscow Assay Office of 1908-1917, the numbers 88, poorly legible letters FR in Latin, partially covered by the inscription K. Fabergé under the double-headed eagle, confirming the status of the official supplier of the imperial court. Dimensions: length 3.4 cm, width 2.3 cm, height 2.7 cm, Weight: 10.12 grams. Width: 3.4cm, Height: 2.7cm, Depth: 2.3cm, Weight: 0.011kg, Condition: Good, Material: Silver 88, Cloisonné enamel, Gilding

The Russian icon St. Simeon the Stylite was created at the turn of the 19th and 20th centuries in Moscow. The image depicts the saint in monastic attire, offering a prayer to God. In the upper left corner is God the Father, sending down a blessing. The background of the composition is decorated with architectural elements in the traditional Orthodox style.The image is made in the academic style typical of Moscow icon-painting workshops of the late 19th century. The icon is enclosed in a gilded silver frame made by the workshop of the Semyon Galkin factory. The frame is an example of high jewelry art: it is decorated with relief chasing, hand engraving and enamels. The crown of the saint, inlaid with colored enamel, creating a shining effect, deserves special attention. Materials and technique: Board, gesso, egg tempera, silver of the 84 assay value, gilding, enamel, casting, chasing, sawing, hand engraving with a graver, chiselling, grinding, polishing, finishing, mounting, velvet.Hallmarks: Master`s name SG - Semyon Grigorievich Galkin. Silver assay mark 84 with an image of a woman`s head in a kokoshnik, facing left with the initials of the assay master IL (Ivan Sergeevich Lebedkin, Moscow, appointed in 1899).Dimensions: Height: 22 cm. Width: 18 cm.Condition: The icon is in excellent collectible condition. Historical background:Semyon Galkin and Pyotr Grigorievich Galkin are brothers, owners of a trading house and a gold and silver goods factory founded in 1890. The factory operated until 1917 and was famous for its craftsmanship. In 1898, 48 workers and 12 teenagers worked in production. In 1895-1897, the brothers owned a jewelry store on Pokrovka Street, and the factory itself was located in Maryina Roshcha. In 1897, production volume was 50 thousand rubles.By 1904, 116 people worked at the enterprise, and in 1909 - 79 workers, with an annual turnover of 175 thousand rubles. In 1913-1917, the trading house was located on Sheremetyevskaya Street, building 11, in Maryina Roshcha. The products of the Galkin factory were distinguished by their high quality, complexity of execution and rich decoration, which makes them popular among collectors and connoisseurs of Russian jewelry art. Width: 18cm, Height: 22cm, Depth: 2cm, Weight: 0.550kg, Condition: Good, Material: Wood

A wedding pair of icons created at the turn of the 19th and 20th centuries in Moscow is an outstanding example of Russian icon painting. The composition features two traditional images: a half-length image of the Lord Almighty with an open book in his left hand and a blessing gesture with his right hand, as well as Our Lady of Kazan with a baby in her arms. The images are executed in the academic style typical of Moscow icon painting workshops of the late 19th century. The icons are enclosed in luxurious silver gilded frames created at the Moscow factory of Yemelyan Alekseevich Kuznetsov in the Art Nouveau style. The finest decorative elements give the works a special sophistication. The icons are placed in original wooden icon cases corresponding to the era of their creation. Materials and technique: Board, gesso, egg tempera, silver 84, gilding, casting, chasing, sawing, hand engraving with a graver, chiselling, grinding, polishing, finishing, mounting Hallmarks: Master`s name EK - Kuznetsov Yemelyan Alekseevich, owner of a silverware factory. Silver assay mark 84 with an image of a woman`s head in a kokoshnik, facing right, with the letter Omega - Moscow Assay Office, period 1908-1917. Dimensions: Icons: Height - 22 cm, width - 17.5 cm. Icon cases: Height - 30 cm, width - 26 cm Historical background: Kuznetsov Yemelyan Alekseevich is the owner of a silverware factory founded in 1886. According to data from 1897, the company produced silver icon frames worth about 5 thousand rubles. The production involved 13 male workers, 6 teenagers and 6 boys learning the craft. The icon cases of his workshop were distinguished by the high quality of their chasing and the sophistication of their gilded decor. A wedding pair of icons: a symbol of blessing and spiritual unity A wedding pair is a special composition consisting of two icons: the Savior and the Holy Mother of God, executed in the same style and manner of painting. These icons are used during the sacrament of marriage and are an integral part of the Orthodox wedding tradition. During the ceremony, the priest blesses the groom with the image of Christ, and the bride with the icon of the Mother of God, thereby symbolizing their spiritual patronage. Wedding icons are presented to the newlyweds by their parents: the icon of the Savior is given to the son, and the image of the Mother of God to the daughter. This gesture is not only a blessing, but also a guarantee of the preservation of family values ​​and traditions. After the wedding ceremony, the icons are placed in the red corner of the house, becoming the basis of the home iconostasis and holding the blessing for a long and happy married life. According to an old custom, wedding icons are passed down from generation to generation, being a priceless family heirloom. Width: 26cm, Height: 30cm, Depth: 7cm, Weight: 2.5kg, Condition: Good, Material: Silver 84, Gilding

The Christ Pantocrator icon features a half-length depiction of Christ in the classical iconographic tradition. The image is adorned with a silver gilt oklad created in the workshop of the renowned Moscow factory of silverware by Ivan Semyonovich Gubkin, known for its top-quality craftsmanship. Christ holds an open book of Holy Scripture in his left hand and blesses with his right hand. The face of Christ is painted in the academic style of the 19th century, characterized by realism and expressiveness.The silver gilt oklad emphasizes the sacred value of the icon. The halo is decorated with an intricate floral motif, which flows into a finely chased vegetal ornament adorning the borders. Gubkin`s factory was celebrated for its refined elegance, flawless execution, and adherence to the aesthetic standards of its time. Marks:Cyrillic initials IG, indicating Ivan Semyonovich Gubkin`s factory.Moscow Assay Office hallmark with the initials AS (Sechin A.) and the date 1865.Silver purity mark 84, confirming the use of high-quality silver.Dimensions:32 × 26.5 cm This icon is not only a sacred object of worship but also a remarkable work of art combining the skill of the iconographer and the silversmith. Its expertly crafted oklad and historical connection to the famous Moscow workshop make it an exceptional example of Russian decorative arts of the 19th century. Width: 26.5cm, Height: 32cm, Depth: 5cm, Weight: 3kg, Condition: Good, Material: Silver 84, Gilding

An elegant ball vase, created in 1915 at the Imperial Porcelain and Glass Factories, is an outstanding example of artistic glass of the early 20th century. Light brown glass, made using the blowing technique, is decorated with the finest carving, grinding and polishing, emphasizing the complexity and sophistication of the execution. The elegance of the form and the mastery of the surface treatment make this vase a true work of art, combining the traditions of the factory`s craftsmen with the new stylistic trends of the era. Hallmark: On the base is a carved mark H under the imperial crown and the date of manufacture 1915. Dimensions: Height: 9 cm. Diameter: 12 cm.A vase similar in execution technique is kept in the collection of the State Historical Museum, as well as in the State Hermitage. A similar product in terms of execution technique is published in the book: T.A. Malinina. Imperial Glass Factory of the 18th – early 20th Century. St. Petersburg, 2009. Historical background: The Imperial Porcelain and Glass Factories were among the leading enterprises of the Russian Empire, specializing in the production of elite porcelain and glass. The factories were founded in the 18th century by decree of the Russian emperors with the aim of developing domestic production of the highest quality products that could compete with the best European samples. In the 19th – early 20th centuries, the workshops of the factories created unique works distinguished by the finest processing, artistic painting and refined decor. Particular attention was paid to experiments with new techniques and materials, which made it possible to achieve exceptional results in the creation of artistic glass. Products of the Imperial factories were delivered to the court, decorated palaces and were in demand among the aristocracy, and today they are part of the largest museum collections in the world. Width: 12cm, Height: 9cm, Depth: 12cm, Weight: 0.5kg, Condition: Good, Material: Glass

An object of home holiness, the icon The Lord Almighty was made at the turn of the 19th and 20th centuries in Moscow. The icon depicts the half-length image of the Lord Almighty in traditional iconography: with an open book in his left hand and a blessing gesture with his right hand. The image was painted by a professional master in the academic style typical of Moscow workshops of the late 19th century. The silver gilded frame, created by the workshop of the Semyon Galkin factory, is an example of the highest jewelry art of the late 19th century. A distinctive feature of the frame is the rich use of shining enamels, casting and complex hand engraving with a graver. The masters of the Galkin factory masterfully combined the techniques of chasing, sawing and canting, which gives the frame an exquisite depth and expressiveness. The icon is a striking example of the neo-Russian style, combining features of the historicism and Art Nouveau styles in Russian art at the turn of the 19th and 20th centuries. Materials: Board, gesso, egg tempera. Frame: silver 84, gilding, enamel, casting, chasing, sawing, hand engraving with a graver, canting, grinding, polishing, finishing, mounting. Reverse side: velvet Hallmarks: Master`s name SG - Semyon Grigorievich Galkin. Silver assay mark 84 with the image of a woman`s head in a kokoshnik, facing left, initials of the assay master IL (Ivan Sergeevich Lebedkin, Moscow, appointed in 1899) Dimensions: Height: 31.5 cm. Width: 27.5 cm. Condition: The icon is in excellent collectible condition.Historical background: Galkin Semyon and Pyotr Grigorievich are brothers, owners of a trading house and a factory of gold and silver products, founded in 1890 and known until 1917. According to information from 1898, the factory had 48 workers and 12 teenagers. In the period 1895-1897, the brothers owned a jewelry store on Pokrovka Street, in the Shishelova house (Yauzskaya part), and the factory itself was located in Maryina Roshcha on Novy Shosse, 41. In 1897, the production volume was 50 thousand rubles. By 1904, the enterprise already employed 116 people, and in 1909 - 79 workers, with an annual turnover of 175 thousand rubles. In 1913-1917, the trading house was located on Sheremetyevskaya Street, building 11, in Maryina Roshcha. Width: 27.5cm, Height: 31.5cm, Depth: 2cm, Weight: 1.5kg, Condition: Good, Material: Enamel

Round, Russian, silver strainer with a handle, for brewing, with a comfortable finger holder, with enamel decor in the spirit of Russian Art Nouveau. Moscow, 11 Artel, 84 silver proof, 1908-1917. Painted with polychrome enamels in a floral pattern. Handle length 12 cm. Weight: 52 gr. Width: 8cm, Height: 12cm, Depth: 2cm, Weight: 0.052kg, Condition: Good, Material: Silver 84, Cloisonné enamel, Gilding

Rare for Russian art erotic plot from Ivan Sokolov - MORNING AFTER THE WEDDING. Depicts a scene of voyeurism behind a lad and a maiden in the hayloft. Their chaste discoveries captivate the longed-for curiosity of a passing boy. The figures of lovers, underlined by light, are given in Little Russian clothes. Bright blue harem pants, a red sash, a colorful skirt. With matching cap, hat and hairdo. Their figures of knowledge of erotic mechanics occupy a middle position between light and dark spots of clothes, symbolizing the masculine and feminine principles. Oil on canvas, on a new stretcher, after restoration. Dated 1876 and signed by I. Sokolov in the lower right corner of the picture. 45x63 cm. Ivan Ivanovich SOKOLOV (1823-1918). Width: 85cm, Height: 65cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil

Russian silver trompe l`oeil box of rectangular shape stylizes bast weaving and is set on 4 legs. The hinged lid with rounded corners imitates a fringed tablecloth covering the box. Hallmarks: master GL Gerasim Loskutov. Hallmarks of the Moscow Mint Administration: 84 assay value; the coat of arms of the city of Moscow St. George the Victorious, the initials of the assay master Artsybashev Anatoly Apollonovich AA above the date 1893. Dimensions: 14.2 x 10.6 cm. Weight: 490 g. Historical background: Gerasim Loskutov was a master chaser and engraver who came from the peasant class. In the 1860s and 1870s, he worked at the Sazikov factory in Moscow, where his art was recognized with numerous awards. In 1865, at an exhibition in Moscow, he received a silver medal For Usefulness to be worn on the ribbon of the Order of St. Stanislav. His famous silver high relief Adoration of the Shepherds received the highest praise at the World Exhibition in Paris in 1867. In 1870, at an exhibition in St. Petersburg, Loskutov received a gold medal For Usefulness. From the early 1880s, he founded his own workshop, fulfilling orders for leading jewelry houses, including the firm of I.P. Khlebnikov. Width: 14cm, Height: 10cm, Depth: 10cm, Weight: 0.5kg, Condition: Good, Material: Silver 84

P. Philippe (1870-1930). Chryselephantine figurine. Bronze and ivory. Russian dancer, circa 1920. A magnificent example of Art Deco sculpture. The energetic and impetuous dance has frozen at its climax. The girl has frozen on one leg, grasping the space with her hands. The stormy and extremely truthful plasticity of the fabric is shaded by the smoothness of the bone, open arms and chest. The figure itself is full of expression and twisted in a spiral, where the heavy oriental belt is balanced by the impulse of the body and the tilt of the face. Signature on the foot. CITES certificate. Weight: 890 g France Dimensions: H 290 mm X W 150 mm Width: 15cm, Height: 29cm, Depth: 15cm, Weight: 1kg, Condition: Good, Material: Bone

A bright and memorable example of late Russian Art Nouveau, a silver cloisonné enamels snuff box - from the 6th Moscow artel. The snuff box has a discreet, octagonal shape and carries an impressive ensemble of geometric belts, floral and natural decorations. On the hinged lid there is a title picture of a fairy-tale flower-tree with fruits and berries that grew on the edge of an epic forest. In the corners it is surrounded by an ambivalent motif of a green wave from a dove-gray field, which, in the upper corners, personifies rainy skies and clouds, and in the lower register - the biosphere of lake and meadow grasses. The spiral pyramids of the central axis, above and below, bear the imprints of the elements of air and fertile earth. The sides of the body, in addition to the geometric belt of rhombuses and spirals, are decorated with alternating fields of fabulous flowering and water origin, the beginning and half a day of life. Corner cuts form dynamic, diagonal compositions on a light background. On the base of the snuff box there are Moscow hallmarks of 84 silver samples from 1908-1917, and mark 6 of the Moscow jewelry artel. On the inner edge of the edging there are a pair of imported French stamps. Swans in an oval. Dimensions: 2.5 x 8 x 6.6 cm. Total weight: 130.0 g. Width: 7.5cm, Height: 2.5cm, Depth: 6.3cm, Weight: 0.130kg, Condition: Good, Material: Silver 84, Cloisonné enamel, Gilding

Crystal jug with silver, 13th artel. An excellent example of understanding Western historicism in Russian decorative and applied art. An example of stylish classical reflection on the theme of the early French Renaissance. The proportional expansion and emphasized functionality, the shape of the handle, the modern character of its decor, the belt of the Renaissance decor at the neck are complemented by the strict and majestic laconicism of a silver drum with classic garlands suspended from the bottom. A subtle note about flowering and reviving functionality is the garnet button on top of the lid. It will anticipate and perfectly complement the ensemble with cherry juice, a punch for red wine - at the time of celebrations.84 standard silver. Stamp for minor details and decorations of the Moscow Assay Office from 1908-1926. Brand of the manufacturer: 13Ð. (13 artel). On the inside, on the lid, the brand of secondary parts of the Moscow Assay Office from 1908-1926 and the brand of the manufacturer: 13A.Height: 29 cm Width: 16cm, Height: 29cm, Depth: 13cm, Weight: 2kg, Condition: Good, Material: Gilding

An elegant Russian gold 14 K rectangular cigarette case with rounded corners, made at the Beilin & Son gold and diamond items factory in St. Petersburg in the early 20th century. The surface of the cigarette case is decorated with an exquisite geometric pattern of two-tone gold in the Art Nouveau style, created using the finest chasing method. The button for opening the lid is inlaid with a natural cabochon-cut sapphire. Hallmarks: Name stamp in a rectangular shield with the letters A.B. Gold and diamond items factory in St. Petersburg, Beilin & Son Trading House; an oval hallmark with the image of a girl`s head turned to the left, the number 56 (gold standard) and the letter a, corresponding to the assay mark of the city of St. Petersburg from the period 1908-1917. Dimensions: 9.8 x 6.5 cm Weight: 129 g Historical background: BEILIN-LEVKOV Abram Solomonovich (Abram Lipov-Sholomov, 1844-1922) - an outstanding Russian jeweler and entrepreneur. Since 1882, the owner of a gold and diamond factory in St. Petersburg. Since 1901, supplier to the court of His Imperial Majesty. Since 1904, a 1st guild merchant. Manufacturing of gold items, snuff boxes, cigarette cases and diamond jewelry for the famous firms K. Faberge, the trading house P. Bure and the Cabinet of His Imperial Majesty. Width: 6.5cm, Height: 9.8cm, Depth: 1.5cm, Weight: 0.129kg, Condition: Good, Material: Sapphire

A rare icon of the Lord Almighty, made in 1866 in Moscow, is a striking example of the academic style typical of Moscow workshops of the mid-19th century. The icon depicts a half-length image of the Lord with an open book in his left hand and a blessing gesture with his right hand. The work was done by a professional craftsman with careful attention to detail. The silver gilded frame, created in the early period of the famous Moscow workshop of Pavel Ovchinnikov, is a standard of 19th-century jewelry art. A distinctive feature of the frame is a complex pattern made using the techniques of engraving with a graver, chasing, canting and gilding. The icon is an example of the neo-Russian style, combining features of historicism and baroque, typical of Russian art of the mid-19th century. Materials: Icon: Board, gesso, egg tempera, velvet (reverse side). Setting: silver 84, gilding, chasing, sawing, hand engraving with a graver, chiselling, grinding, polishing, finishing, mounting. Hallmarks: Full hallmark of the firm of P.A. Ovchinnikov, supplier to the Court of Tsarevich Alexander Alexandrovich, small hallmark with the letters PO in an oval shield, assay mark: letters A.S. Above the numbers 1866, corresponding to the hallmark of the assay master A. Svechin, active in the period 1862-1875, the coat of arms of the city of Moscow with the image of St. George the Victorious on horseback, slaying a dragon, in a rectangular shield with beveled corners. Dimensions: Height: 26.5 cm, Width: 22.5 cm Condition: good collectible condition. Historical background: The firm of Pavel Akimovich Ovchinnikov (1851-1917) was one of the largest jewelry companies in Moscow of the 19th-20th centuries. Founded in 1851, it became famous for its gold and silver products made in the Russian style. Since 1865, the firm was awarded the title of Supplier to the Court of Tsarevich Alexander Alexandrovich. The title was confirmed twice, in 1881 and 1896. Width: 22.5cm, Height: 26.5cm, Depth: 4.5cm, Weight: 1.5kg, Condition: Good, Material: Silver 84, Gilding

An oval silver plate imitating relief bast weaving and basket weaving, made in the workshops of Andrey Mikhailovich Postnikov factory at the turn of the 19th and 20th centuries. The central decorative element is a skillfully executed trompe l`oeil in the form of a large woven napkin - made in the neo-Russian style, popular in the third quarter of the 19th century, and a rare trompe-l`oeil technique, covering part of the surface. The napkin is decorated with a relief geometric pattern in the traditional Russian style, and its edges are framed with long fringe, giving the product a special sophistication. Two handles are made in the form of twisted rope, which enhances the effect of the woven texture. The entire surface of the plate is gilded, creating an effect of wealth and sophistication. Materials and technique: Silver; stamping, embossing, chasing, engraving, gilding. Hallmarks: Master`s mark with the Cyrillic letters AP in a square shield, corresponding to the workshop of Andrei Mikhailovich Postnikov. Coat of arms of the city of Moscow - St. George the Victorious, slaying a dragon with a spear. Assay mark: 88, girl`s head turned to the left. Hard to read initials of the assay master. Dimensions: Height: 7.5 cm, Width: 30.5 cm, Depth: 19.5 cm. Weight: 454 g Historical background: Andrei Mikhailovich Postnikov is a Moscow merchant of the 2nd guild, the owner of a factory of bronze, silver and gold products. Since 1877 – supplier to the Imperial Court, as well as the Court of Grand Duke Vladimir Alexandrovich and Grand Duchess Maria Pavlovna. In 1886, the enterprise became the basis for the “Partnership of the A. M. Postnikov Metal Products Factoryâ€, which existed until 1917. The products of the Postnikov factory workshops were in demand among the nobility and were among the best examples of Russian jewelry art of the 19th century. Width: 31cm, Height: 6cm, Depth: 19cm, Weight: 1kg, Condition: Good, Material: Silver 84, Gilding

Silver match holder, made in the Russian Art Nouveau style, with the image of Leshy. The front side is decorated with a chest-to-chest relief of the spirit of the forests - the goblin. A shaggy, tangled beard, a winter hat, a high collar of a fur coat, a frightening grimace of an unkind face personify the character and way of his life. A womans face appears through the mirage of the figure - the devils favorite way of spending time is to scare girls. The back side of the matchbox is decorated with a relief image of a bar of gifts-amulets that people offer to the devil before going into the forest. The misty shadows of the faces of children and girls emerging from the silver evoke mystery and otherworldly mystery in relationships with forest spirits; affirm the metaphysical, sacred image of the forest. The matchbox promises its owner the key to parallel spaces, participation in the sacraments, and power over the elements of fire. Russia, approx. 1900 Silver with semi-precious stones and glass. Height: 6 cm. Weight: 50 g. Width: 4cm, Height: 6cm, Depth: 2cm, Weight: 0.05kg, Condition: Good, Material: Glass

Miniature silver samovar is an example of Russian jewelry art of the early 20th century. Its refined proportions, relief base and curved details emphasize the craftsmanship. The elongated chimney and graceful handles add elegance to the composition. Such samovars were created as souvenirs or demonstration samples, reflecting the rich tradition of Russian tea drinking. Hallmarks: French silver hallmark for imported items in the form of a swan in an oval, illegible hallmark. Height: 7.5 cm. Weight: 19 g. Material: silver. Condition: good, with the patina of time Width: 4.5cm, Height: 7.5cm, Depth: 3.8cm, Weight: 0.1kg, Condition: Good, Material: Silver

An exquisite silver vase with a crystal insert, made by the famous Russian jewelry firm of I. Khlebnikov, supplier to the Imperial Court in the early 20th century. The vase combines the richness of decorative elements and the subtlety of jewelry craftsmanship, characteristic of the best works of Moscow masters. The crystal bowl of the vase has a complex cut with a sophisticated pattern that creates a play of light, and its upper edge is decorated with carved fan-shaped elements that give the vessel a refined aesthetic. The base of the vase is decorated with a carved rosette. The silver base is richly decorated with relief wreaths, garlands and classical ornaments. The handles of the vase, made in the form of stylized architectural elements with floral motifs, emphasize the elegance and monumentality of the form. Four exquisite legs with plant decor complete the composition, giving it a balanced and harmonious look. Hallmarks: Full hallmark: KHLEBNIKOV, corresponding to the firm of Khlebnikov, supplier to the Imperial Court. Small hallmark with the letters IKH, Hallmark of the Moscow Assay Office 1908-1917 with the image of a woman`s head facing right, with the number 84 and a letter in an oval, Additional round hallmark with a woman`s head facing right. Dimensions: Height: 12 cm, Width: 32 cm, Depth: 13 cm. Gross weight 1275 grams.Historical background: Ivan Khlebnikov`s firm was founded in the 1860s and quickly gained recognition for its outstanding jewelry, made in the best traditions of Russian and European art. In 1872, the company was awarded the title of official supplier to the Imperial Court, which was recognition of the highest quality of its products. The company participated in many international exhibitions, receiving prestigious awards for craftsmanship and artistic style. In 1917, after the October Revolution, the company ceased to exist. Width: 32cm, Height: 12cm, Depth: 13cm, Weight: 1.275kg, Condition: Good, Material: Silver 84, Crystal

The bronze composition Tatar performing namaz in the steppe, created by the German sculptor Albert Moritz Wolf (1854-1923), is an outstanding example of genre art of the early 20th century. Made at one of the most prestigious European foundries, H. Gladenbeck & Sohn (Gladenbeck and Son), the sculpture combines the highest skill of casting, chasing and polychrome patination. This work is evidence of the strong cultural exchange between Germany and Russia, as well as Wolf`s deep connection with Russian and Slavic themes. Dimensions: height 14.5 cm, length 19 cm. Hallmarks: A. Wolf and the company stamp Akt Gess vorm H. Gladenbeck & Sohn Historical background: Albert Moritz Wolff, a graduate of the Berlin Academy of Arts and a member of the Royal Berlin Academy, is known for his sculptures depicting scenes from the life of the Russian peasantry, the Cossacks and the peoples of the Caucasus. His works are inspired by the work of Russian masters such as Grachev, Lanceray and Posen, who were widely represented at the World Exhibitions of that time. The foundry Gladenbeck & Sohn, founded by Hermann Gladenbeck in Berlin, was famous for its high-quality bronze products. In 1887, the enterprise acquired the status of a company and continued the tradition of artistic casting under the leadership of Hermann`s eldest son, Oskar Gladenbeck. Width: 20cm, Height: 15cm, Depth: 13cm, Weight: 2.600kg, Condition: Good, Material: Patinated bronze

A unique Russian silver kovsh in the Art Nouveau style, made at the beginning of the 20th century by the famous silversmith Alexander Vyakeva for the renowned firm of K. Faberge. The kovsh is distinguished by its exquisite form, reminiscent of an ancient Russian boat descended from the drawings of Ivan Bilibin, which gives it a characteristic historical and cultural shade inherent in the Art Nouveau period. Particular attention is drawn to the decorative elements located along the sides of the product, made in the form of shields, inlaid with natural Jasper cut cabochon, which give the kovsh a unique shine and elegance. The handle of the ladle is made in an intricate form imitating the stern and rudder of an ancient boat. Hallmarks: K. Faberge under a double-headed eagle - a hallmark indicating that the ladle belongs to the St. Petersburg branch of the jewelry firm of Karl Faberge, which was famous for its luxurious and refined products, the hallmark of the St. Petersburg Assay District used in the period from 1908 to 1917, consisting of the letter a, a woman`s head in a kokoshnik, turned to the right with the numbers 84 located in an oval shield. The master`s name with the initials in Latin AW corresponding to the hallmark of the famous silversmith Alexander Vyakev. Inventory number 18458 is an important element for identifying and recording products of the firm of K. Faberge. The presentation ladle is a magnificent example of the Russian jewelry tradition of the early twentieth century, combining art, history and high craftsmanship. It is a rare and valuable exhibit made for the famous Faberge firm. Dimensions: height 11 cm, width 13 cm, length 28 cm, weight - 625 grams. Width: 28cm, Height: 11cm, Depth: 13cm, Weight: 0.625kg, Condition: Good, Material: Silver 84

An exquisite silver Kovsh, made in the shape of a boat, is a magnificent example of decorative and applied art of the late 19th – early 20th centuries, created in the neo-Russian style. This artistic tradition combines elements of ancient Russian architecture and ornamentation, which is clearly evident in the design of the ladle. The inside of the ladle and the curved handle are decorated with an elegant floral ornament made using the cloisonné enamel technique. The central element of the composition is a double-headed eagle, the official symbol of the Russian Empire, skillfully decorated with turquoise enamel and framed by a refined gilded edging. The composition is complemented by a complex floral pattern made in rich and pastel shades, creating a harmonious balance and emphasizing the sophistication of the work. Hallmarks: The master`s name in Cyrillic letters NZ. Assay mark of Saint Petersburg with the image of the city coat of arms and the number 84, in an oval shield, corresponding to the last quarter of the 19th century. Dimensions: Length: 17 cm, Width: 9 cm, Height: 5 cm. Weight: 216 g. Width: 17cm, Height: 9cm, Depth: 5cm, Weight: 0.216kg, Condition: Good, Material: Silver 84, Cloisonné enamel, Gilding