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Denise Arokas (French, b.1931) Study of a young lady oil pastel, signed in pencil lower centre right 13¼ x 10in (33.75 x 25.5cm), distressed, carved wooden frame (48.5 x 40.5cm) * Denise Arokas became Henri Matisse's last muse late in his life. Discovered aged 19 in Paris in 1950 by Matisse's great muse, the Russian refugee Ludia Delectorskya, Arokas was initially recruited as Matisse's night nurse, but commenced modelling for him soon afterwards. They became close companions and she soon moved with him to his studio in the Hotel Regina in Nice, resulting in important works such as the painting for the Pavillion de Marsan and large cut-out gouache works such as 'La Tristesse du Roi'. Matisse also gave Arokas drawing lessons during this period.

A Russian Socialist Realist School painting, after Pavel Sokolov-Skalya (Russian, 1826—1905), 'The Bolsheviks Storming of the Winter Palace' oil on canvas, unsigned, with inscription in Russian and diagram verso, 137 x 166 cm, mounted in a black wooden frame.Surface wear and marks with indentations and scratches to the painting as well as small areas of loss to paint. there is a horizontal line in the canvas visible across the middle of the painting as well as stains/dirt on canvas.Bearing an inscription in Russian verso describing where this painting will hang within an room.

An 18thC or earlier portrait of an bearded old man, possibly Russian, wearing robes with a fur collar and a fur hat, in the manner of Rembrandt, apparently unsigned, the back with inked inscription reading 'Restored by John Hay Jr. (?), Aberdeen, May 1856', framed in a decoratively moulded gilt frame, with an undated Sotheby's card lot label for Lot 923 in 'Country House Sales' with an estimate of £300-400, canvas 42.5cm high, 35cm wide, frame 56.5cm high, 48.5cm wide.FOOTNOTE: John Hay Jr (1825-96) was the son of John Hay Sr (1789-1857), a carver and gilder who co-founded the business that became known as Hay and Lyall in 1811. They were a frame-maker, looking glass maker, and picture and print dealer in Market Street & Union Street, Aberdeen. John Jr and his brother James took over their father's business in 1847 and also offered to clean & repair old paintings & prints. The firm became known as Hay & Lyall in 1856 and provided frames for most Aberdonian artists in the second half of the nineteenth century.Condition: The painting has been restored, as evidenced by the inked inscription on the back. The surface is craquelured and crazed all over, and there are some small losses to the original paint, notably two areas in the middle of his beard. There are numerous small dents and scratches, with the deepest and longest running across the red part of the hat and into the fur of the hat. A wooden insert slotted in between the canvas and the corner of the bottom left of the painting has tightened the canvas, but also caused a low, wide bulge. Frame is intact and solid, but has signs of wear and the deposits of ages.Shipping We are sorry but this lot cannot be shipped by our in-house packing and shipping department. Therefore, it must be collected from our premises in Royal Tunbridge Wells, or you can nominate a third party packer and shipper of your choice. We recommend Mail Boxes Etc in Tunbridge Wells. To obtain a quote and engage their services, please contact Greg or Kim on +44 (0) 1892 510 155 or via info@mbetunbridgewells.co.uk.Please note that you must inform us in writing by email using the email account that you registered to bid with that you are giving your permission for any third party to collect your items. You must include the name of the third party collecting, the date and time they will be collecting and send them an email which they can use as proof of ID. Lots must be paid for in full before they will be released.

W.H. Yorke: a rosewood framed late Victorian oil on canvas study of the Finnish sailing barque 'Palme' (of Mariehamn), flying the Russian flag on choppy seas off a coast - signed and dated 1896, also titled in the image with mention of Captain A.L. Wiren (the painting being done a year after the Kingstown (Ireland) Lifeboat Disaster in 1895 when fifteen souls were lost trying to rescue the crew of the Palme) - old overpainted patches and two small tears to canvas - 49.5cm X 75.5cm

Marc Chagall's vivid color offset lithograph poster was originally created in 1966 for the Metropolitan Opera's production of Carmen, that he based on his painting The Triumph of Music. This limited edition is numbered 16 of 375, is signed in the plate on the lower right margin. The composition features a dynamic array of musicians, dancers, and mythical figures rendered in Chagall's signature dreamlike style, floating above a stylized New York City skyline. Derived from his larger painting The Triumph of Music, this piece celebrates Chagall's vision of music as a transcendent and unifying force. The expressive use of color, surreal figures, and theatrical setting exemplify his poetic approach to visual storytelling. Elegantly presented in a gold frame with a double mat, this offset lithograph embodies the enduring appeal of Chagall's artistry and his celebrated collaborations with the arts. Chagall's whimsical, poetic vision shines through with surreal forms, floating perspectives, and emotional vibrancy. The city skyline beneath the figures hints at a theatrical or urban narrative, a common theme in Chagall's later work.Artist: After Marc Chagall (Russian/French, 1887-1985)Issued: 20th centuryDimensions: 44.50"L x 58"HCountry of Origin: Russia-FranceEdition Number and/or Size:16 of 375Condition: Age related wear.

A painted Russian lacquer plaque in the Fedoskino style, depicting a traditional winter troika scene. The artwork features a trio of galloping horses pulling a sleigh through a snow-covered landscape, with figures clad in colorful winter attire. The composition captures dynamic movement, rich detailing, and the characteristic shading of Fedoskino miniature painting. Signed by the artist. The reverse side bears a factory label indicating its origin. Accompanied by its original presentation box.Artist: PalemovaIssued: 20th centuryDimensions: 13.25"L x 6.5"HCountry of Origin: RussiaCondition: Age related wear.

Framed maritime print after an 1897 painting by Christian Blache, depicting the Russian imperial yacht Standart. Commissioned by Czar Alexander III, the yacht was built by Burmeister & Wain as their largest contract at the time, successfully outbidding several British shipyards. Standart was the world's largest steam yacht, built with opulent saloons for the Czar and Russian court, and spanned three decks. The reverse includes a printed label detailing its legacy and continued existence as a converted mine vessel named Marty.Issued: 20th centuryDimensions: 15.75"L x 12.75"HCondition: Age related wear.

7 Large 19th-20th century examples including Asian pictorial. Here we have a selection of buttons in Earth tone colors including a large Bob Benson VI with a petrified stone center, a wonderful rich tones wood background of a boy and a sailing boat, a Russian painting on wood fish, a leather background Buddha, a tea dyed natural material background with ma steel and brass of Christopher and more. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.

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

Grigory Gluckmann (California, Russian, 1898 - 1973)Painting of an elegant woman. Oil on Panel. Signed lower right. From the Frank and Nancy Sinatra collection. This painting can be seen hanging in the living room in archival photos taken in the late 1940s/early 50s in Frank & Nancy Sinatra’s Holmby Hills estate at 320 N. Carolwood Dr. Provenance:- From the Estate of Mrs. Nancy Sinatra- Julien's Auctions Dec 17, 2019Sight Size: 12.5 x 14 in.Overall Framed Size: 22.5 x 23.75 x 3.25 in.The painting is also seen in the background of personal family snapshots including a photo from 1967 that shows the painting behind Frank Sr. and Frank Jr. on the wall of Mrs. Sinatra?s Bel-Air home on Nimes Road. A third photograph depicts Mrs. Sinatra seated on her sofa with her Yorkshire terrier, the Gluckmann hanging behind her.It is very likely that Frank and Nancy Sinatra acquired this painting from Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles. Gluckmann came to Los Angeles for his first exhibition at Dalzell Hatfield Galleries in December 1941. He had a second exhibition there in 1944, and he moved his residence to Los Angeles in 1945.He continued to have regular, very successful exhibitions at Dalzell Hatfield Galleries, so much so that the gallery published numerous exhibition catalogues and books of the artist's work. Frank and Nancy Sinatra acquired a number of works from Dalzell Hatfield Galleries during the 1940s.

[SPANISH CIVIL WAR]The Spanish Civil War archive of Jan Winter (1907-1991), a Polish-born Jewish journalist who worked as a war correspondent for the Spanish Republic's press agency and as a reporter for various communist and anti-fascist French, Polish, and German-language publications throughout the conflict. Spain: circa 1936-1939. This large, compelling, and, until now, unseen journalistic archive includes contemporary photographs, typed dispatches for news articles, a notebook, various documents, correspondence, and more. It provides a fascinating eyewitness account of the Spanish Republican war effort, the war's atrocities, and civilian life in wartime, as well as a view into the important role that reporters, armed with the powerful and relatively new medium of photo-journalism, played in the fight against fascist propaganda, furthering anti-fascist sentiment among their international audiences. The archive comprises:Photographs of the Spanish Civil War. A group of approximately 306 contemporary photographs, consisting of originals, some likely unpublished and taken by Winter, as well as press photos, and a small group of related photographic postcards. Many have captions and official press agency or news publication ink stamps on their versos. The photographs show wartime atrocities, urban destruction, battles, protests, and celebrations; also pictured are soldiers at the front, in training, and at rest, officers, politicians, public figures, and civilians, as well as Jan Winter himself in various settings, and more. Of special note are the photographs of the aftermath of a particularly bloody and destructive bombardment in Barcelona, as well as bombardments in Madrid (showing the destroyed Hospital de San Carlos), Guernica, and San Sebastian, urban fighting during the siege of Madrid, the front lines of the Battles of Irun and Ebro, images of the various battalions, including the skiing "Fuerzas alpinas," protests Madrid, Valencia, and Barcelona after the February 16, 1936 general election, as well as public figures such as Gabriel Garcia Lorca. The largest print measures 9 3/4 x 9 3/4 inches, though most are around 4 1/4 x 6 1/4 inches. The condition varies, the prints curling, minor edgewear from handling, a few with stains, creases, tears, or small losses, some remnants of adhesives, labels, and album leaves. Jan Winter's dispatches from the Spanish Civil War. Housed in a contemporary store-bought stiff card folder, marked "Winter" on the front cover in red crayon. Sheet sizes vary but are generally around 10 3/4 x 8 1/2 inches; Approximately 99 leaves of typewritten journalistic dispatches, written in Spanish, German, Polish, and French, mostly dated and with the name of the intended publication, typed on one side only of onionskin paper, a few on thicker stock, or smaller-sized paper for telegraphs, occasionally with manuscript annotations or corrections, some of the multi-page texts with staples or paperclips in corners, some with official ink stamps from censors or press agencies. The articles cover the siege of Madrid, bombings in Almeria, reports from a hospital in Valencia, the Battle of Malaga, interviews with Republican soldiers and partisans, transcripts of soldiers' letters to and from home, reports of prison life in Valencia, the siege of the Santuario de Nuestra Señora de la Cabeza, and more. Together with a copy of the newspaper "Diari Official de la Generalitat de Catalunya," dated November 22, 1938. Varying amounts of wear from handling, some leaves with stains, tears, folds, losses, toning, and some of the leaves are insect-damaged to varying degrees. Notebook from the Spanish Civil War years. Orange card covers with two metal rings through hole punches.8 1/4 x 5 1/4 inches; 44 leaves of notes in Polish, mostly handwritten in ink, but with two typewritten leaves. The boards are lightly soiled, the rings oxidizing, the contents generally fine but with light toning, a few short marginal tears, and some minor staining.A group of correspondence, documents, pamphlets, ephemera, and more. The correspondence comprises about 20 letters to Jan Winter, many from various left-wing news publications regarding his work as a journalist, some from the Spanish Ministry of State providing press authorization, and a few personal letters. The publications include El Socialista, Barcelona, Naje Folkscatjung, Warsaw, Federation Syndicale Internationale, Paris, and more. Together with a group of Winter's official documents and passports, including his Spanish Passport, his Portuguese and his French identity cards, various press passes, a Russian bank book, and a $10 check from Esquire-Coronet, Inc. marked for "Faked Spanish War Pix." And with, a group of four left-wing pamphlets; a folding regional map of Spain; a group of postcards with Republican propagandist illustrations; a later copy of "The Atlantic" magazine featuring a painting belonging to Winter on the cover; an extensive group of official U.S. documents and correspondence recording Winter's 1940 emigration and eventual naturalization as a U.S. citizen; and a 106 pp. photocopied transcript of a memoir by Winter mostly about his youth in Poland. Varying degrees of wear, letters with old folds, some separating or detached along the folds, the documents and pamphlets with general soiling and wear from handling. No condition report? Click below to request one. *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 Doyle New York 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

Pair of icons. From: Royal Doors. Annuciation: Message of the Angel Gabriel to Mary. Russian. First half of the 17th century. Vretska (old painting on linen, on renewed panel). Ex collection de Weijnenburg Echteld. Dimensions: H 53 x W 34 cm.

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.

Fabergé: an early 20th century Russian silver-gilt, cloisonné and en plain enamel cigarette case by Fabergé, probably by work master Feodor Rückert, of rectangular shape with rounded corners, polychrome cloisonné enamel throughout with stylised floral pattern in multicolours of greens, blues, purple, brown and white, the hinged front cover with en plein enamel image, after Mikhail Ivanovich Avilov's (1882-1954) painting of 1913, Tsarevich Ivan Ivanovich on a walk (the son of Ivan the Terrible), the hinged rear cover centring a sapphire cabochon thumb-piece, hinge opening to reveal gilt interior, both covers hallmarked 88 standard for Moscow 1908-1917, K. Fabergé in Cyrillic with Imperial Warrant, and presentation inscription dating to 1915, dimensions approx. 11.2cm long x 8.7cm wide, portrait part approx. 4.5cm wide x 5.2cm longest point, total weight approx. 268.7 grams (8.6ozt). Condition: generally very good for age, with some scratches to enamel to very small parts but generally good; some tarnishing and wear to inside rims / borders and gilding; tarnishing to exterior border where there is no enamel;  Note: engraved presentation inscription in Cyrillic "Dear Gennynog Zmaloevych Gorneman, In memory of the 10th anniversary from the kindness of the staff of the Russian State, General Electricity Company, January 1, 1915", or something very similar (using translate). ***Selling On Behalf of The Wildlife Trusts Charity***

Konstantin Vysotsky (Russian, 1864-1938). Oil on board painting titled "Tillage" depicting two horses pulling a till in a field. Initialed along the lower right.Sight; height: 9 1/2 in x width: 13 in. Framed; height: 14 3/4 x width: 18 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no chips, losses, or restorations when viewed under UV light. Light craquelure throughout. Light wear visible along the extreme edges. There are two minute pinholes along the upper corners. Light wear to the frame. Not inspected out of frame.

After Marc Chagall (Russian/French, 1887-1985). Brass mezuzah with lithograph depicting figures receiving the Ten Commandments under a burning Menorah, adapted from Chagall's painting titled "I am the Lord thy God" painting. With facsimile signature along the lower center of the print. Designed by Menahem Berman and produced by Arta Gallery in a limited edition. The mezuzah incised "Chagall" along the lower edge. Impressed "Menahem Berman," "Arta Gallery Jerusalem," and "Leon Amiel Publisher" with inscription in Hebrew along the verso. With grey felt case.Height: 5 1/2 in x width: 1 1/2 in x depth: 1 in.Condition: Some light wear including light scuffs to the verso.

Abraham Walkowitz (Russian/American, 1878-1965). Watercolor and pencil on paper painting depicting an abstract composition, 1915. Signed and dated along the lower right. With a label from Martin Diamond Fine Arts Inc., New York affixed to the verso.Sight; height: 17 3/4 in x width: 11 3/4 in. Framed; height: 23 1/2 in x width: 17 1/2 in x depth: 1 in.Condition: The colors are slightly faded and the sheet is toned. There are no major visible tears, losses, or signs of restoration. There are some faint creases and handling marks throughout. The work has slipped its hinges. Floated in frame on a mat. Framed under glass. Light wear to the frame. Not inspected out of frame.

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".

Two russian school watercolours signed indistinctly and a small oil painting signed adam.

OVCHINNIKOV, A RUSSIAN SILVER GILT, SEED PEARL AND CLOISONNE ENAMEL ICON OF CHRIST PANTOCRATOR MOSCOW POST 1880 The oklad and Christ's halo with polychrome geometric motifs, with Christ on a turquoise enamel ground, clothed in robes set with seed pearls, 84 standard, AO workmaster's initials and Ovchinnikov mark in Cyrillic with Imperial warrant Size/dimensions: 7.6 x 6.8cm Gross weight: 120.4 grams Condition Report: Scratches to top of frame, some deeper marks that have removed the gilding. Crazing to light blue enamel with a few losses. Seed pearls in good overall condition,. painting in good conditionCondition Report Disclaimer

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.

George Dawe,  British 1781-1829- A pair of portraits: Ebenezer Fuller Maitland; Bethia Fuller Maitland (née Ellis) and their son William; oils on canvas, each 238 x 147.5 cm., a pair (2). Provenance:  The sitters, and thence by descent. Exhibited:  London, Royal Academy of Art, 1817, no.247 (Mrs Fuller Maitland and her son). Note:  Ebenezer Fuller Maitland FRS (1780-1858) was an English landowner and politician. He was the only son of Ebenezer Maitland, a London businessman and Bank of England director, and his wife Mary. In 1807, he changed his name to Ebenezer Fuller Maitland in accordance with the bequest of his wife's unmarried aunt, Sarah Fuller, who left him her fortune in 1810. In 1804, Maitland served as a lieutenant-colonel in the Reading Volunteers. He was elected Member of Parliament for Lostwithiel in 1807, for Wallingford in 1812, and for Chippenham in 1826, holding the latter seat until 1830. He was Sheriff of Berkshire in 1825–26, Sheriff of Breconshire in 1831-32, a director of the South Sea Company from 1815 until his death, and in 1829 was elected a Fellow of the Royal Society. Ebenezer's wife Bethia (1781-1865) was heiress to the banker William Fuller, said to be one of the richest men in England. They had twelve children, of whom four sons and four daughters married. His eldest surviving son and heir was William Fuller Maitland (1813-1876), shown here as the little boy. William was an avid picture collector who journeyed frequently to Italy, where he encountered the works of the early Italian masters, whose paintings, alongside English landscapes, formed the basis of a major part of his collection. From the time of his first marriage in 1842 until his death, he lived at Stansted Hall in Essex. He was father to the MP and cricketer William Fuller-Maitland (1813-1876). As well as two large London houses, Ebenezer and Bethia owned country estates at Shinfield Park and Park Place in Berkshire, Stansted Hall at Stansted Mountfichet in Essex, Garth near Builth Wells in Breconshire, and High Barcaple in Kirkcudbrightshire. The portrait of Bethia and William shows Park Place in the left background. At the time of painting in c.1816, Park Place in fact belonged to Ebenezer's cousin Henry Piper Sperling, who had recently purchased the property at auction, and who in 1824 swapped it for Ebenezer's estate Norbury Park in Surrey. When Fuller Maitland died in 1858, Queen Victoria visited Park Place with the intention of purchasing the estate for the Prince of Wales. Ebenezer's wife in fact remained in the house until her death when their son William took over ownership. An attempt to sell by auction was made in 1866, but the eventual sale took place in 1867, to Charles Easton of Whiteknights, Reading – a speculator, purchased with the intention of dividing the then 800-acre estate. In 2012, it was sold to Russian businessman Andrey Borodin for a record £140 million, making it the hitherto most expensive house sale in the United Kingdom. 

20th century Russian school, abstract painting, mixed media, inscribed verso, 45 x 49.5cm, framed

MIKHAIL LARIONOV (FRENCH/RUSSIAN 1881-1964) PORTRAIT DE GUILLAUME APOLLINAIRE Ink and watercolour Signed (upper right), dated 6 Juillet 1917 (lower right) and variously inscribed 27 x 21cm (10½ x 8¼ in.) UnframedProvenance: Private Collection, Guillaume Apollinaire, Paris Christie's, Geneva, 14 May 2001, lot 129 Born in Tiraspol in the former Russian Empire (now Moldova), Larionov studied at the Moscow School of Painting where he met his lifelong partner, Natalia Goncharova. He was known for his radical views and was inspired firstly by the international avant-garde and artists such as Matisse and Van Gogh and then by the Cubo-Futurist movement. In 1913, alongside Goncharova, he founded Rayonism, one of the first abstract art movements in Russia. However, he was inexorably was drawn to intellectual and creative hub of Paris and in 1914 he and Natalia left Russia to work for Sergei Diaghilev and Ballets Russes. Upon arrival, they were welcomed by poet Guillaume Apollinaire who organised an exhibition of their work and threw a party attended by many of the notable names of the day, including Picasso, Brancusi, Duchamp and the Delaunays. Condition Report: Mounted under perspex, the work is executed on a sheet which has then been stuck down to the larger sheet with the writing. The base sheet is thin and has fine creasing throughout. The sheet is also slightly discoloured in places, but other in overall good condition.Condition Report Disclaimer

2 russische Vitrinentassen. Russland. Polychrom bemalt, goldstaffiert. 1x prunkvolle Kratertasse (H 10 cm) mit Greifenkopfhenkel und originaler Untertasse (Ø 14,5 cm): zwischen goldradierten Palmen die Darstellung einer orientalischen Landschaft mit Architektur und Personenstaffage. / 1x gefußte Kratertasse (H 11 cm): schauseitig eine goldgerahmte Rechteckkartusche mit der Darstellung einer orientalischen Landschaft mit Moschee. / Dazu 2 verschiedene Untertassen: 1x mit farbig-goldener Floral- und Ornamentmalerei (Ø 14 cm) und 1x mit purpurfarbener Staffage und Goldstaffage (diese Schumann, Berlin; Ø 15,5 cm). Partieller Goldabrieb, Haarriss in 1 Untertasse und an 1 oberen Henkelansatz. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 11:02 Uhr (CET)2 Russian glass cups. Russia. Polychrome painted, decorated in gold. 1x splendid crater cup (H 10 cm) with griffin handle and original saucer (Ø 14.5 cm): between gold-etched palm trees the depiction of an oriental landscape with architecture and staffage / 1x footed crater cup (H 11 cm): on the front a gold-framed rectangular cartouche with the depiction of an oriental landscape with mosque. / Comes with 2 different saucers: 1x with colorful gold floral and ornamental painting (Ø 14 cm) and 1x with purple staffage and gold decoration (this Schumann, Berlin; Ø 15.5 cm). Partial gold abrasion, hairline crack in 1 saucer and on 1 upper handle base. Call time 28 | Feb. 2025 | presumably 11:02 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SOTSKOV, Alexis Nikolayevich(1915 Moskau - 2003) Auf der BrückeÖl/Malkarton. Rechts unten kyrillisch signiert, verso kyrillisch bezeichnet/betitelt. 46 x 70 cm. Gerahmt : 62,5 x 85 cm (moderner heller Rahmen); 3,2 kg. Sonnige Landschaft mit kleiner Brücke über dem Gewässer und Staffagefiguren auf der Straße. Russischer Maler, studierte in Moskau bei Dobroserdov und Cikmazov. Werke im Künstlermuseum Petropavlovsk. Aufrufzeit 01. | März 2025 | voraussichtlich 18:39 Uhr (CET) SOTSKOV, Alexis Nikolayevich(1915 Moscow - 2003) On the bridgeOil/painting card. Signed in Cyrillic lower right, verso inscribed/titled in Cyrillic. 46 x 70 cm. Framed : 62.5 x 85 cm (modern light frame); 3.2 kg. Sunny landscape with a small bridge over the Gewäcser and staffage figures on the street. Russian painter, studied in Moscow under Dobroserdov and Cikmazov. Works in the Petropavlovsk Art Museum. Call time 01 | March 2025 | probably 18:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Andre Lanskoy (Russian 1902 - 1976) Untitled initials A.L. (lower centre) gouache on paper image 13.5 x 17.5 cm, sheet 21 x 27 cm, framed and glazed 28 x 33.5 cm Provenance: With Galerie Jeanne Bucher, Paris. Purchased from the above by Lady Peter Norton in 1945, inventory no. NCP 109 (as oil on paper). Thence by descent to the current owner.Footnote: According to Jeanne Bucher Jaeger’s website "André Lanskoy’s sole monographic exhibition at the gallery took place in May 1944, under the Occupation and its artistic censorship, at a time when abstraction was considered as a “degenerate art”. The paintings and watercolors presented revealed the artist’s decomposition of interior scenes through color and forms. This exhibition marked the first encounter of Lanskoy with his compatriot Nicolas de Staël." https://jeannebucherjaeger.com/artist/lanskoy-andre/ The picture belonged to the art collector and gallerist Lady Peter Norton, who bought it from Jeanne Bucher in 1945. The painting is listed as NCP 109 in Lady Norton’s collection album, now in the Tate archive, which show photos of the two Lanskoy paintings she bought from Bucher that year.Nöel Evelyn Hughes (1891–1972), always known by her nickname Peter, was a daughter of Empire. Her father was a distinguished engineer after whom Hughes Road in her birthplace Mumbai is named. She rebelled against what she described as her "very early Victorian family, every one of whom was of course interested in music, painting and poetry" – her grandfather and great-grandfather had exhibited paintings at the Royal Academy – and she went to work in a leading advertising company, Crawfords.In 1927 she married the diplomat Clifford Norton, and an interest in the Bauhaus art school developed after she met students- turned-teachers Herbert Bayer and Marcel Breuer while skiing.In 1936, the London art world was blown wide open by the International Surrealist Exhibition at the New Burlington Galleries in Cork Street. When it closed, Peter was ready to fill the space and opened her trenchantly named London Gallery with her cousin Marguerita Strettell. The Redfern Gallery and the Mayor Gallery were both nearby and the street became the locus for modern art in London. Peggy Guggenheim’s Guggenheim Jeune opened two years later. The influences on Peter included Roland Penrose, co-organiser of the Surrealist show, and a wide range of émigré artists and designers. Under the guidance of Walter Gropius, her links with the Bauhaus artists - Kandinsky, Klee, Moholy-Nagy, Breuer, Bayer - was particularly strong. She was always a Modernist, determined to support artists as generously as she could, and, to spread the word, she created a lending library within the gallery.In 1938 Peter’s husband was sent to Warsaw as Chargé d’affaires. She sold her gallery to Penrose, and left with her husband for Poland, where she was an eyewitness to Hitler’s invasion on 1 September 1939; the war gave her the chance to use her formidable energies in protecting lives and helping refugees, often at her own risk.Later she became an active and adventurous patron to John Craxton RA as well as Henry Moore (organising a major show for Moore in G|reece), when Clifford became Ambassador in Athens in 1946. Peter had lost much of her own collection during the war, but built it up again with less well- known names. She was an early supporter of the ICA in London and, on retirement to Britain, remained an indefatigable and generous champion of young artists. In good colour. The painted area is in good condition. There are some specks of surface dirt and small area of rubbing to the dark blue shape, upper left. There is acidification to the sheet visible to the unpainted margin. Further staining, dirt and foxing to the margin. There is a 4cm crease in the margin, centre of left edge. Further handling creases visible to margin. Several very small tears and nicks visible to edges of the sheet.

Socialist Realist School - 'The Bolsheviks Storming of the Winter Palace' after Pavel Sokolov-Skalya (Russian, 1826—1905), oil on canvas, unsigned, bearing an inscription in Russian verso describing where this painting will hang within an room, 137 x 166 cm, frame dimensions: 146 x 173 cm

EARLY RUSSIAN ICON PAINTING BY M.V ALPATOV

IVAN KOMOROVSKY (Russian, 1960-2010); oil on canvas, view of Kolomna from the Moskva river, signed lower right, 20.5 x 53.5cm, framed.Footnote: Comes with Russian export certificate No. 032994 bearing Ministry of Culture of the USSR stamp, a further hand written note bearing the same and a photograph of the painting out of the frame.

A captivating abstract portrait painting signed by Alexander Gore showcasing a striking composition of bold black brushstrokes against a textured, multi-colored background. The piece evokes a raw, expressive quality with its use of simplified facial features and gestural marks, characteristic of contemporary abstract expressionism. Presented in a substantial metallic silver frame that complements the artwork's modern aesthetic. Alexander Gore, born in 1958 in St. Petersburg, Russia, is a contemporary artist renowned for his abstract and semi-abstract works. Growing up near the Hermitage Museum, he developed an early fascination with Western art, which significantly influenced his creative direction. In 1980, Gore immigrated to New York City, immersing himself in the vibrant art scene and seeking avenues for full artistic expression. After a decade in New York, he relocated to Miami, Florida, where he established his own gallery. His experiences in Central America and the Caribbean have also left a notable imprint on his work, infusing it with elements inspired by tribal cultures and primitive art forms. Gore's distinctive style, which he terms Agorism, is characterized by the organic movement of color across the canvas, utilizing strong lines that hint at emerging shapes. His paintings often feature intricate, curvilinear forms and gestural marks, creating an atmosphere that invites viewers to engage their imagination. Signature and date on lower left side. Artwork dimensions with frame: 22.50"L x 27"H x 2"W. Artist: Alexander Gore (Russian-American b. 1958)Issued: 2022Dimensions: See DescriptionCountry of Origin: Russia/United StatesCondition: Age related wear.

Russian School (20th century) 'Lenin Addressing a Meeting of Scholars' watercolour on paper, reverse; Modovsky Lenin 1958, other markings on reverse, framed and glazed overall 45 x 55cm., within frame 34 x 44cm.Condition: Good to fair condition, unexamined out of frame, paper torn in parts; where the scholar in glasses is sat down on left hand side and through the bottom of the chair which the lady is leaning on at the front of painting. image remains strong Provenance: reverse; Modovsky Lenin 1958. Purchased by vendor in Kiev, Ukraine 1990.

Circa 1920s Sleeveless Top Possibly by Sarah Lipska, with v-neckline and rever collar in caramel coloured silk crepe mounted with silvered 'paper' to the front, appliquéd with geometric shapes in brown felted wool, fur and linen around the hem line, the edges all hand stitched, bears a stitched hand written label 'Mme Lipska, Fr 1900-31', black handwritten numbers to the side split, with press stud fastenings, '55-96-100-4' (a.f.) Sarah Lipska (1882-1973) was an award-winning Polish artist known for her diverse skill set, from sculpting and painting to interior and costume design. She learnt to sculpt at the Academy of Fine Arts in Warsaw, which she joined in 1904 as one of its first female students. Before moving to Paris just before the outbreak of the First World War. Here, she began designing sets and costumes for the Ballets Russes at the Paris Opera, working alongside renowned artist Léon Bakst. Her works were also exhibited at the Salon d’Automne, and throughout the 1920s she created pieces for fashion houses Myrbor and 4 Rue Belloni. Following her success designing for others, Lipska opened several boutiques showcasing her own works, including one in the Champs Elysées. She also expanded into portrait painting, interior decoration, furniture design and later, produced various busts of key figures. Her textiles were inspired by everything from traditional Polish and Russian artwork to ancient Egyptian and Oriental designs. Cleverly combined with more modern Art Deco and Cubist patterns, these influences led to the creation of numerous abstract and tactile pieces. Recurring features of her designs included metallic or brightly coloured embroidery and whip stitching on silk, cotton and even leather.

Konstantin Vysotsky (Russian, 1864-1938). Oil on board landscape painting depicting horses in a sunny meadow.Sight; height: 6 1/2 in x width: 11 1/2 in. Framed; height: 9 1/2 in x width: 14 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no chips, losses, or restorations when viewed under UV light. Light craquelure throughout. Light wear to the frame. Not inspected out of frame.

Alexander Petrov (Russian, b. 1957). Surreal oil on board painting titled "Stroll with a Dog" depicting a nude woman walking her dog while several men watch from behind trees, 1990. Initialed and dated along the lower right. Several labels affixed to the verso.Unframed; height: 20 1/2 in x width: 26 in. Framed; height: 22 in x width: 27 3/4 in x depth: 2 in.Condition: There are no visible restorations under UV light. No major losses. The colors are bold and deep. There is a scuff to the surface along the lower right quadrant measuring approx. 2 1/2 inches in length. A few small accretions to the right half of the painting. Light wear to the frame.

Nikolai Makarov (Russian, b. 1952). Acrylic on board painting depicting two chairs in a room, portrayed as if viewed through a soft diffusion or mist, 2002. Initialed along the lower left. With a label from Mimi Ferzt Gallery, New York, affixed to the verso.Unframed; height: 28 3/4 in x width: 17 in. Framed; height: 34 1/4 in x width: 22 3/4 in x depth: 1 in.Condition: The colors are bold and bright and the surface is stable. There is a light scuff near the seat of the background chair. A light network of accretions along the back of the red chair. Light wear to the frame including one noticeable scuff.

Visually stunning original mixed media on canvas entitled Mr. Dollar Bill by Russian Neo-Pop and Street artist Nastya Rovenskaya. She depicts Mickey Mouse standing on dollar bills in a visual feast of vibrant colors, graffiti, and references to Hollywood, California, and to Keith Haring. Signature on lower right: Rovenskaya. Painting dimensions: 30"L x 24"H. Size including borders: 33.25"L x 27.50"H. Canvas is unstretched. Certificate of Authenticity included. Artist: Nastya Rovenskaya (Russian, b. 1976)Issued: c. 2000Dimensions: See DescriptionCountry of Origin: RussiaCondition: Age related wear.

Dunhuang Bi Hua Xuan - Mural paintings of the Tunhuang Caves - A group of twelve Chinese plates in a portfolio. Volume 3 Third Series. Published 1954. Twelve colour plates with a two page painting list in Russian, English, French and Chinese. In good condition, edges slightly rubbed. Some foxing to plates affecting mainly he edges otherwise a well preserved set. Paper storage envelope slightly worn.

ROGER FRY (BRITISH 1866–1934) THE DANCERS, c.1910 oil on board 71cm x 56cm (28in x 22in) Lady Ottoline Morrell;Christie's New York, 1987;Sandra Lummis Fine Art, London, from whom acquired by Bernard Kelly in November 1987. Roger Fry’s Dancers encapsulates both the artistic vision of the Bloomsbury Group and something too of their real-world attitudes to life, love and sex that set them so apart from most of Edwardian England. This painting is steeped in Bloomsbury influences. There’s a certain Medievalism in its composition, like an illumination in a manuscript, that recalls William Morris, yet a louche sensibility and abstraction in its execution that is pure Post-Impressionism. And it was Fry, after all, who had just brought Modern French painting to London, to shocking effect, in the same year that this work was painted. He may well have known about Matisse’s The Dancers, painted for the Russian collector Sergei Schukin in 1909, with its similar circle of Bacchante, but Fry’s work speaks equally to Cezanne’s painting of bathers, or Gauguin’s Tahitian fantasies – albeit seemingly set  in garden at Garsington Manor, home of society hostess Lady Ottoline Morrell, where all the bright young things of Bloomsbury would gather at weekend, both to dress up and (later) take off their clothes. Indeed, one could easily imagine Fry turning this image into a fire-screen or cabinet door for his Omega Workshops, which he had set up precisely to blur the boundaries between art and life for this new generation of modernists and libertines, in that glorious – but short-lived – moment before the coming of the Great War.

1.Jan Roeland: Dutch painter known for his abstract and minimalist still life works.2.Alphons Freijmuth: Dutch artist associated with figurative and abstract expressionism.3.Freijmuth: Likely another exploration of Alphons Freijmuth’s art, focusing on bold forms and expression.4.Lucassen: Book on Jan van der Pol (also known as Lucassen), a Dutch artist recognized for his avant-garde style and symbolic elements.5.Aaron van Erp: Contemporary Dutch painter with a darkly satirical and surreal aesthetic.6.Lucassen (blue cover): Another perspective on Lucassen’s work, possibly highlighting a specific series or period.7.Rob van Koningsbruggen: Dutch painter known for abstract and geometric styles.8.“Pardes” by Joseph Sassoon: Explores themes of Jewish culture and spirituality through art.9.Frank van Hemert – Birth: Dutch artist whose work often grapples with existential themes.10.Hans van Hoek: A book showcasing the painter’s unique, dreamlike landscapes.11.Henk Visch: Dutch artist known for his conceptual sculptures and poetic approach to form.12.Michael Raedecker – Line-Up: Dutch artist combining embroidery with painting to create textured works.13.Minimal white book: Possibly a monograph or minimalist art publication.14.Cremer: Likely Gerard Cremer, an artist or author engaging with creative writing and visual art.15.Freijmuth (second): Another book focusing on Alphons Freijmuth’s contributions to art.16.Ossip: Likely about Ossip Zadkine, a Russian-French sculptor known for his cubist works.17.Lucassen (gray cover): A further exploration of Lucassen’s experimental style.

This oil on canvas is an exemplary work by the renowned Russian-Israeli contemporary Impressionist artist Leonid Afremov (1955€“2019), whose masterful use of palette knives and vibrant color palettes has garnered acclaim worldwide. Afremov's distinctive style is characterized by his ability to evoke emotion through texture, light, and dynamic compositions. Born in Belarus, Afremov trained at the prestigious Vitebsk Art School, an institution founded by Marc Chagall, whose influence is evident in Afremov's expressive and luminous works. The artwork depicts a serene white horse juxtaposed against an old-world cityscape. Architectural details, such as church spires and rustic buildings, serve as a backdrop to the horse's reflective pose, evoking a sense of tranquility amidst urban bustle. Afremov's signature palette of soft pinks, burnt oranges, and light browns is accentuated by bright whites and subtle highlights, lending depth and vibrancy to the composition. The artist's mastery of thick and thin paint applications creates a tactile, almost sculptural quality to the work. His signature appears on the lower right. The painting is housed in an elaborate gilded wooden frame with intricately carved grape vine motifs and an ecru linen border, providing an elegant presentation that enhances its visual impact. About the Artist: Leonid Afremov was a prolific artist whose works have been celebrated for their ability to convey nostalgia, warmth, and a dreamlike quality. Over his career, Afremov created an extensive body of work that includes cityscapes, landscapes, and intimate portraits. His use of the palette knife to apply bold swathes of color became his signature technique, allowing him to achieve unparalleled texture and depth. Despite initial challenges in his career, including political oppression in the Soviet Union, Afremov found success after immigrating to Israel and later the United States. His paintings are now held in private collections and galleries worldwide, and his legacy continues to inspire collectors and art enthusiasts alike. Dimensions: Artwork: 30" L x 40" H Frame: 43" L x 53" H x 2" WArtist: Leonid Afremov (Russian-Israeli b. 1955)Issued: c. 1990Dimensions: See DescriptionCountry of Origin: Russia-IsraelCondition: Age related wear.

An color print on paper after Nicolas de Stael's original painting titled On The Beach. Signature on lower right corner. Artist: After Nicolas de Stael (Russian/French, 1914-1955)Dimensions: 11.5"L x 14.25"HCondition: Age related wear. Crease on lower right.

WW2 German 1942 Oil Painting of Combat Scene on the Russian Front, fine example showing a German soldier moving forward holding machine gun with burning buildings in the back ground, motorcycle and other troops. Signed to the bottom corner. Mounted into a wooden frame. Measures 74 ½ x 52cms.

A 17th century or later Russian icon painting on wooden panel 'Madonna and Child'. 18cm x 32.5cm

Twenty boxes of assorted coffee table and other art books to include ROBERT HATFIELD ELLSWORTH "Chinese furniture - hardwood examples of the Ming and early Ch'ing Dynasties", SANDRO BOTTICELLI "La Divine Comedie de Dante" Présentation par André Chastel, FRÉDÉRIC CHAUBIN "Cosmic Communist Constructions Photographed" published Taschen, GEORGE W BELLOWS "His Lithographs" published Alfred A. Knopf 1927, various late 20th/early 21st Century editions of the Art Newspaper bound, AIDAN HART "Techniques of Icon and wall painting - egg tempera, fresco, secco" published Gracewing, JOHN E. BOWLT "Of Peace and War - a Spanish collection of Russian art" published Skira Editore, Italy 2013 and others various, a large amount on Russian artists etc CONDITION REPORTS PLEASE NOTE THAT "The State Hermitage" volumes 1 and 2, published Booth-Clibborn editions in hardback case AND THE OTHER UNMENTIONED BOXED SET OF TWO BOOKS ON THE HERMITAGE HAVE BEEN WITHDRAWN FROM THIS LOT

Peter Paul Rubens, 1577 Siegen – 1640 Antwerpen, und WerkstattJESUS UND JOHANNES IN JUGENDLICHEM ALTERÖl auf Leinwand. Doubliert.125 x 158 cm.Verso auf dem Keilrahmen mit Nummerierung und Etikett.In vergoldetem und reliefverziertem Rahmen.Beigegeben ein Gutachten im Original von Prof. Julius S. Held, 12. März 1982 und ein Technisches Gutachten von Prof. Dr. Franz Mairinger, Wien, 8. November 1991 in Kopie und eine Bestätigung über die Eigenhändigkeit des vorliegenden Gemäldes durch Hugues Le Grand, Saint-Germain-de-Confolens, ohne Datum, der Rubens vollumfänglich als Autor des hier angebotenen Gemäldes anerkennt sowie darüber hinaus eine Provenienzbestätigung durch Fürstin M. Sayn-Wittgenstein, München, 7. Januar 1994.Die Darstellung aus dem Protoevangelium des Jacobus, in der Elisabeth zusammen mit Zacharias und dem jungen Johannes die Heilige Familie besucht, ist faszinierend und vielschichtig interpretierbar. Das scheinbar unbeschwerte Spiel der Kinder, insbesondere die Darstellung des Christuskindes in der Bewegung um das Lamm zu streicheln, ist von gehaltvoller Symbolik geprägt.Das Bild des Christuskindes, das sich von einem Baumstumpf erhebt, um das Lamm zu berühren, kann auf mehreren Ebenen interpretiert werden. Zunächst einmal zeigt es die Menschwerdung Christi und seine Rolle als Erlöser. Indem er das Lamm berührt, nimmt er symbolisch den Opfertod an, der ihm bevorsteht, um die Menschheit von ihren Sünden zu erlösen. Der Baumstumpf könnte jedoch auch eine Verbindung zur biblischen Prophezeiung von Jesaja aufzeigen, die den Messias als Spross aus der Wurzel Isais beschreibt. Indem das Christuskind sich von diesem Baumstumpf erhebt, wird seine Verbindung zur messianischen Linie deutlich. Die Anwesenheit von Johannes dem Täufer in dieser Szene verstärkt die Symbolik weiter. Johannes, der das Lamm Gottes ankündigte, steht bereits in seiner Jugend in enger Verbindung mit dem Erlöser. Seine Anwesenheit bei diesem Ereignis betont die prophetische Natur des Besuchs und die Vorahnung dessen, was kommen wird.Provenienz:Russisches Zarenhaus.Durch Heirat einer Wittelsbacherin in die Russische Zarenfamilie gelangte das vorliegende Werk in die Kunstsammlung von Schloss Seehof. Sammlung Freiherr Franz Joseph von Zandt, Schloss Seehof bei Bamberg, 1951 veräußert an:Kunstsammler, Schweiz.Tiberius Auktion, Wien, 5. Juli 2022, lot 9.Literatur:Vgl. M. Rooses: L’Oeuvre de P.P. Rubens, Antwerpen 1886, S. 250ff.Vgl. W.L. Crowdy: A Connoisseur’s Note book, in: The Playgoer and Society, Nrn. 7-12, London 1910.Vgl. Erik Larsen: Seventeenth Century Flemish Painting, Freren 1985.Vgl. Michael Jaffé: Catalogo completo: Rubens, Mailand 1989. (1400061) (13)Peter Paul Rubens, 1577 Siegen – 1640 Antwerp, and workshopCHRIST AND SAINT JOHN AS YOUTHS Oil on canvas. Relined.125 x 158 cm.Stretcher with numbers and label on the reverse.Accompanied by an original report by Professor Julius S. Held, 12 March 1982, a copy of a technical report by Professor Dr. Franz Mairinger, Vienna, 8 November 1991, and a certificate of authenticity of the present painting by Hugues Le Grand, Saint-Germain-de-Confolens, n.d., who fully recognizes Rubens as the creator of the painting on offer for sale in this lot and a confirmation of provenance by Princess M. Sayn-Wittgenstein, Munich, 7 January 1994.Provenance:Estate of Russian Tsars.Through marriage of a Wittelsbach heiress into the Russian Tsarist family, the present work came into the art collection of Seehof Castle.Baron Franz Joseph von Zandt collection, Seehof Castle near Bamberg, 1951 sold to:Art collector, Switzerland.Tiberius Auction, Vienna, 5 July 2022, lot 9.Literature:cf. M. Rooses, L’oeuvre de P.P. Rubens, Antwerp 1886, p. 250f.cf. W.L. Crowdy, A Connoisseur’s Notebook, in: The Playgoer and Society, nos. 7-12, London 1910.cf. Erik Larsen, Seventeenth Century Flemish Painting, Freren 1985.cf. Michael Jaffé, Rubens: Catalogo completo, Milan 1989.

Fouty-five model toy soldier kits, Prussian and Russian armies including Hat, Napoleonic and Russian Artillery, Dragoons, Prussian Artillary, Uhlans, etc and a quantity of loose toy soldiers for painting (2).

A group of Russian related items comprising a lacquered box depicting a Troika in a landscape, a book 'Russian Lacquer Painting in the 21st Century', four painted metal plates, a lacquered egg with snowscape, a set of nesting dolls of presidents, and a set comprising a glass decanter and six shot glasses on a tray.Condition Report: Smallest nesting doll is missingsome knocks and scratches to the plates

A collection of books on The Decorative Arts - European & Russian Faniel, Stephane French Art of the 18th Century, 1956  Prevenier, Walter & Blockmans, Wim The Burgundian Netherlands, 1985  Stephens, George Handbook of the Old-Northern Runic Monuments of Scandinavia and England, 1884  Twining, Lord European Regalia' 1967  Fehrendt, Catharina J. Art for Spaces Spaces for Art: Interior Spaces as Works of Art Discovered in Palaces, Castles and Monasteries in Germany, 2005 Lorentz, Stanislaw & Rottermund, Andrzej Neoclassicism in Poland, 1986  Caroselli, Susan L The Painted Enamels of Limoges: A Catalogue of the Collection of the Los Angeles County Museum of Art, 1993  Thornton, Peter Form and Decoration: Innovation in the Decorative Arts, 1470-1870, 1998 Chernyak, Yakov - a.o. Tobolsk Bone Carvings from Surgut Museum and from private collections. Text in Russian & English (2 volumes in box), 1996 Cerwinske, Laura Russian Imperial Style, 1990  ? (in Russian) Text in Russian [Sculpture in Russia, 18th - 20th century, 1958  Romanelli, Giandomenico Venice: Art and Architecture Hardcover, Volume II, 2007  Muraro, Michelangelo Treasures of Venice, 1963 Barbantini, Nino & Lorenzetti, Giulio Il Settecento Italiano, Volume Secondo, Con 357 Tavole: Mobili, Arazzi e Stoffe, Ceramiche, Presepii, Sculture Ornamentali, Vetri e Argenti, Carrozze e Portantine Volume II only of 2 volumes, 1932  Borsook, Eve Italian Altarpieces 1250-1550 - Function and Design, 1994 Reggiori, Ferdinando Il Santuario di Santa Maria presso San Celso e i suoi Tesori [The Sanctuary of Santa Maria presso San Celso and its Treasures], 1968 Pirovano, Carlo Prezioso Quotidiano Tesori della Vita Russa [Precious Daily. Treasures of Russian Life], 2001 Vignetten Umrahmungen, Dekorative Ornamente, Embleme U.S.W. Des XVII. UND XVIII. Jahrhunderts, 1893  Rettelbusch, Ernst Stilhandbuch : Ornamentik, Möbel, Innenausbau von d. ältesten Zeiten bis zum Biedermeier, 1979  Richter, Detley (Klinkhardt & Bierrmann) Lackdosen [Brunswick lacquerware manufactory Stobwasser, production of lacquer cans and miniature painting, about lacquered gallantry goods from France, England and Germany, Russian lacquer cans and others], 1988  Stahl, Fritz Weg zur Kunst. Einfuhrung in Kunst und Kunstgeschichte [Path to art. Introduction to Art and Art History], c1930  Davanzo Poli, Doretta Angewandte & dekorative Kunst in Venedig, 1999  Jessen, Peter Das Rokoko im Ornamentstich (Meister des Ornamentstichs; Eine Auswahl aus Vier Jahrhunderten, Band 3) [The Rococo in ornamental engraving. 200 Picture Plates, Volume 3], c1920s  Rott, Hans Kunst und Künstler am Baden-Durlacher Hof bis zur Gründung Karlsruhes [Art and Artists at the Baden-Durlacher Hof],1917 Feuchtmuller, Rupert & Mrazek, Wilhelm Biedermeier in Osterreich,1963 Heidrich, Ernst Die Alt-Deutsche Malerei : 200 Nachbildungen mit geschichtl. Einf. u. Erl. Die Kunst in Bildern, 1909  Die Kunstwelt Monatsschrift fur die Bildende Kunst, 2 Volumes, 1913 Hamann, Richard Deutsches Ornament, Auswahl nach Aufnahmen des Kunstgeschichtlichen Seminars der Universitat Marburg, 1924  Hausenstein, Wilhelm und Joachim Wieder Rokoko : Franzosische und deutscher Illustratoren des 18. Jahrhunderts, 1958  Gonzalez-Palacios, Alvar Colnaghi: Objects For A 'Wunderkammer' 10 June To 31 July, 1981  Groer, Leon de Les arts decoratifs de 1790 a 1850, 1985 Humbert, Chantal Les Arts Decoratifs en Lorraine: De la fin du XVIIe Siecle a l'ere Industrielle, 1993  Belloncle, Michel Les objets du fumeur, 1971  Kohler, Arthur Connaissance des Style,s 1947  Verlet, Pierre Objects D'Art Francais de la Collection Calouste Gulbenkian, 1969  Hambly, M Les instruments de dessin : 1580-1980, 1991  Deschamps, Madeleine, Empire, 1994  Faniel, Stephane & Levallois, Pierre Le XVII Siecle Francais, 1958 Wark, Robert R French Decorative Art in the Huntington Collection, 1962  Klamkin, Marian Collector's Book of Boxes, 1972  (42)

A Russian lacquer box of bears in the wood, 1930s hand painted after the original 1889 painting by Ivan Shishkin in the Tretyakov Gallery, hinged lid with red interior —4 ½in. (11.5cm.) wide

Magnificent holidays with a passionate row, an annual menaion and a two-row cycle of icons of the Mother of God - a kind of encyclopedia of the Mother of God images. A majestic monument to Christianity and late Russian icon painting, where in one image the annual and Mother of God universe of Orthodoxy is revealed, full of sacrifice. With the epicenter of suffering and resurrection, the testimony of all the upcoming saints and with hope in the miraculous images of the intercessor. The Virgin Mary series is interrupted by the marks of Unexpected Joy, Joy of All Who Sorrow, the Sign and Coronation of Mary - milestones of the communion and growth of spiritual truths. The Passion Series is composed of: the Ascension of Mary, the Old Testament Trinity, the Entry into Jerusalem, the Raising of Lazarus, the Washing of the Feet, the Last Supper, the Flagellation of Christ, the Imposition of the Crown of Thorns, the Carrying of the Cross, the Crucifixion, the Descent from the Cross and the Entombment. Particularly attractive is the rare completeness of the lists of icons of the Mother of God, which can serve as an encyclopedia of the Mother of God images. The bright decorative painting on a golden background sounds excitingly solemn and life-affirming. Cypress board, gesso, tempera, gilding. Russia. Second half of the 19th century. Dimensions: 53x44 cm. Width: 44cm, Height: 53cm, Depth: 3cm, Weight: 10kg, Condition: Signs of wear commensurate with age, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-11192

This majestic and romantic work by Russian artist Yuli Yulievich Klever takes the viewer into the mysterious world of a winter sunset, saturated with a poetic atmosphere. The painting created by the author enchants with its expressiveness and richness, conveying the magic of a pre-sunset snowy evening.The central element of the composition is the golden-orange glow of the setting sun, which envelops the winter landscape and fills it with magic. Magnificent golden distances and fiery reflections of the sunset contrast with the silhouette of a lonely hut and the delicate lace of purple snow. Light, symbolizing life and hope, breaks through the clouds, penetrates the winter forest and is reflected on the surface of a thawed stream. Orange-golden rays gently envelop the forest space, warming the silent distance and snowy branches of the fir trees. The warm glow of the sunset illuminates the tree trunks, creating piercing reflections on the water and giving the whole scene a picturesque trepidation. Every detail of the landscape, from the gray snow to the majestic fir trees, is depicted with a deep sense of love and attention to nature, forming a unique poetic image. The gloomy forest is filled with light, giving the viewer a feeling of hope and confidence in the future, emphasizing the philosophical thought of the fleetingness of time and the inevitability of change. Oil on canvas measuring 122.5 x 96.5 cm is enclosed in a wide gilded frame, emphasizing its magnificence. In the lower right corner, the author`s signature of Y. Klever and the date 1912 are visible, testifying to the high skill and talent of the artist. Width: 131cm, Height: 158cm, Depth: 15cm, Weight: 30kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11174

Franz Roubaud&39;s painting "Peasant Troikas in Winter" is a striking example of the artist&39;s mastery in conveying the grandeur and beauty of the Russian winter landscape. In the center of the composition, which personifies traditional Russian life, is a troika of horses harnessed to a sleigh, making their way along a snowy impassable road. The main characters of the canvas are horses, embodying the strength and grace of Russian nature. The central role in the team is occupied by the "root horse" - a powerful and large horse, walking at a confident trot. On the sides, white "jury" horses gallop, their rapid forward gaze gives the scene dynamics and energy. The artist pays special attention to the details of the harness, including the decoration of the gilded arc, which emphasizes the status and beauty of the Russian horse. The decorative elements of the harness, such as the ornamental painting and the bells, add a sonic dimension to the painting, enlivening the scene and enhancing the sense of tradition and cultural richness. The atmosphere of the Russian winter is conveyed with amazing precision and attention to detail, creating a harmonious ensemble with the solemn ceremonial frame, which emphasizes the significance of the subject. Signed in the lower left corner F. Roubaud. On the back is the stamp of the art shop Hans Kellner, Munich. Oil on canvas. Dimensions: 59.5 x 83.5 cm. Hans Kellner art supplies dealer, brother of the author&39;s wife, who supplied stretchers for Franz Roubaud. Expert opinion Ms. Olga Sugrobova-Roth. Width: 110cm, Height: 86cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11189

The painting, executed in the manner of Marinus van Reymerswaele, depicts two tax collectors with grotesque faces, sitting at a table in clothes typical of the 15th century. The character closest to the viewer, dressed in a black turban and pince-nez, with a concentrated expression on his face, writes text in a book reminding tax evaders of their obligations before the law. The second collector, in a dark blue turban and red caftan, looking meaningfully at the viewer, points his hand to this text, clutching an empty coin purse in the other hand, emphasizing the need to replenish the treasury. The collectors` clothes stand out against the background of the interior, indicating the status and class of the characters . The faces depicted by the author emphasize the satirical meaning of the picture, hinting at human greed and stinginess. In this plot, the master created a grandiose satirical image of predatory financial capitalism, which arose in the light of the economic and cultural boom in Antwerp in the 16th century, which actually turned the once small Flemish city into the financial center of the world. According to experts, the recognizable scene of two misers was borrowed and recreated in many variations by the artist Marinus van Reimerswaele from the great Flemish author Quentin Massys. This plot was one of the most popular and recognizable in Europe during the period of the 16th - 17th centuries. Similar works adorned royal collections as well as collections of aristocrats and nobility of the time. Nowadays, Marinus van Reimerswaele`s works on the theme of Tax Collectors are part of the exhibition of museums around the world, including the Louvre in Paris, the National Gallery in London and the Prado Museum in Madrid. The recognizable plot is located in Windsor Castle, in the king’s personal chambers, as well as in the Royal Collection of Liechtenstein. One of the paintings of Tax Collector attributed to Marinus van Reimerswaal is included in the collection of the State Hermitage Museum in St. Petersburg, acquired from the heirs of the first Prime Minister of England Sir Robert Walpole at the end of the 18th century by the Russian Empress Catherine II. Follower of Marinus van Reymerswaele (Marinus van Reymerswaele) 1493-1567 Period: Turn of the 17th-18th century. Material: Canvas, oil, duplicated canvas. Canvas dimensions: 117 x 97 cm. Width: 116cm, Height: 136.5cm, Depth: 10cm, Weight: 12kg, Condition: Signs of wear commensurate with age, Material: Canvas, oil, ID: ID-ANTQ-11145

The icon The Lord Almighty is a striking example of Russian Art Nouveau in icon painting of the early 20th century. The image of the Savior is made on a smooth silver gilded background, which creates a shining effect and emphasizes the sacredness of the image. The face of the Lord is presented in a waist-length composition, the heavenly kingdom is revealed before Him. Traditional attributes, a scepter and orb - symbolize the power and omnipotence of the Savior. The icon frame is made in the form of a temple with domes, decorated with chased elements and curls symbolizing heavenly clouds. The composition is complemented by two red cabochons located in the lower part of the frame, which emphasizes the solemnity of the icon and its significance. The rounded corners of the frame add harmony, characteristic of Russian Art Nouveau, and the holder for hanging is made in strict geometric forms, which reflects the influence of late Art Nouveau. Hallmarks: The hallmark of the letter MK is presumably the hallmark of Mikhail Yegorovich Karpinsky, a hallmark in an oval shield of the Moscow District Assay Office, consisting of the numbers 84 indicating the sample; a woman`s head in a kokoshnik, facing right, corresponding to the period 1908-1917. The original red velvet is preserved on the reverse side of the icon. Dimensions: height 9 cm, width 6 cm. Thickness 1.5 cm. Product weight: 70 g Width: 6cm, Height: 9cm, Depth: 1.5cm, Weight: 0.070kg, Condition: Signs of wear commensurate with age, Material: Polychrome painting, ID: ID-ANTQ-11253

Sam Morse Brown ARWA, British 1903-2001 - The Crucifixion of Humanity, 1961; oil on canvas, signed and dated lower left 'S.Morse Brown 1961', 203 x 152 cm (unframed) (ARR)Provenance:Christies, London, British, Continental and Russian Pictures, 23rd August 2006, Lot 655 (part lot);private collection, UK Exhibited: Southwark Cathedral (according to a previous cataloguing of the work)Note:this painting was also paraded in London in the 1960s by Ban the Bomb activists.

SS Great Eastern; Rare Transatlantic Documentary Telegraph Cables 1866 two pages of handwritten (possibly facsimile produced onboard the SS great eastern) cables signed and certified by Willoughby Smith (1828-1891), Chief Electrician of the Telegraph Construction Company. The cables are headed "The Great Eastern Telegraph Saturday Sept 8 1866" and state "The Following News Has Been Received Through the 1865 Cable Since Its Recovery on 2nd Inst to Present Date." Willoughby Smith then continues to record a number of cables received with the location of the Great Eastern on each day including;2 Sept Cholera abating in LondonCable works splendidly 17 messages received during the hour.Fenian agitation in America. Three regiments shortly leave for Canada and two gunboats for lakes.3 Sept:Cavalry, infantry and artillery are being sent hastily to Canada to prevent threatened outbreak.Telegraph offices now reopened in Frankfurt after the war.St Petersburg, cholera spreading, Emperor left for Moscow 30th August. Deputation of Russian peasants waited on Mr Fox, Amercian Ambassador, to offer congratulations in the name of whole Russian peasantry.Revolution in Cordorba governors driven away.4 SeptLondon papers have leaders on great triumph of raising cable.Emperor Napoleon has been very unwell but betterRussia dissatisfied with recent turn in continental affairs5 SeptGreat bribery disclosures at Lancaster, Totnes, Yarmouth and Reigate.Prussia quitely taking possession of annexed states, Bismark's policy of unity of Germany very popular.Further handwritten cables for 6 Sept to 8 Sept with cetificate from Willoughby Smith " I hereby certify that the above telegrams were sent rhoguh the 1865 Atlantic Cable since its recovery on the 2nd Sept 1866 signed Willoughby Smith, Chief Electrician of the Telegraph Construction Company."With the manuscript is a contemporary sample of undersea telegraph cable.Note; there were several attempts to lay a transatlantic undersea cable from 1857 onwards, in 1865 the cable was lost on the seabed but recovered in 1866 by the SS Great Eastern with Willoughby Smith and other company representatives onboard and present for the re-connection amongst great excitement and expectation, the scene being portrayed in a painting by the British artist Robert Dudley (1826-1900) now in the Metropolitan Museum of Art in New York.IIn this document, Willoughy Smith is clearly anxious to demonstrate that the cable is working well with a variety of telegrams received on board the Great Eastern from various locations in the days immediately after the re-connection. document ina fragile state frayed at edges with some tears and staining

Airfix - Attack Force HO/OO Ready-Made Vehicles, 1960's/1970's issues, comprising: 6 x 6 Truck, 6 x Patton Tank, 4 x Centurion Tank, 2 x Troop Carrier [M113] , 2 x Landing Craft, 4 x SP Guns & 25LB Field Gun with Tractor. Some embellishment [painting], minor damages & missing accessories otherwise generally Very Good overall Near Mint overall. Together with, Airfix HO/OO Scale Figures, First Issue Sets - Type 1 [1959 -1965] box: S17 - Russian Infantry [1964 - EMPTY BOX ONLY], Type 2 "Blue Box" [1966 -1971] box - S47 - RAF Personnel, Type 13 "Hornby Box" [2008] Factory Sealed boxes - S20 - Robin Hood, S21 - Sheriff of Nottingham. Generally near Mint to Mint overall [RAF detached from sprues - contents unchecked] contained in generally Good to Mint [minor storage wear] Type 1 / 2 / 13 set boxes. Together with a Large Quantity of Loose Figures from Various Sets, Mostly Excellent [some with embellishments & minor damages] overall. [Qty]

Russia, 19th century A.D. Painted on a wooden board with mounting slots and panels to the reverse, gessoed surface with painting of Christ entering Jerusalem on Palm Sunday riding a donkey; crowd within the city wall waiting with palm fronds, two figures laying down cloaks for the donkey to walk on; followers of Christ in gateway, each with golden nimbus; Christ with similar and letters 'ω', 'C' reversed and 'Н'; Cyrillic script title above reciting: 'Entrance of the Lord in Jerusalem'; bands of gilt ornament to the borders and corners. See Turtsova, N.M., The Entry of the Lord into Jerusalem. Series 'Russian icon. Images and symbols' (in Russian), St. Petersburg, 2014. 1.7 kg, 31 x 36 cm (12 1/8 x 14 1/8 in.).Ed Jackson Auctions USA. From an important collection of icons.The scene, painted in the style of 19th-century romantic painters, represents a well-known part of the Gospels that describe the entry of Jesus into Jerusalem. He makes a grand entrance into the city on a donkey to fulfil the prophesy of Zechariah, “Tell the city of Zion, look, your king is coming to you! He is humble and rides on a donkey and on a colt, the foal of a donkey.” Christ is followed by his disciples and in the background citizens wave palm branches.

19th century A.D. Comprising a painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. See Zinoviev, N., Art of Palekh, Leningrad, 1968. 1.02 kg, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11546-196366.The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree..'