This finely crafted Russian lacquer box features a vivid hand-painted scene from the folk tale of Danila the Master, attributed to the renowned Palekh tradition. The central image depicts Danila, a legendary stonecutter, surrounded by glowing green crystals and mythical flora, with a crowned lizard symbolizing the Mistress of the Copper Mountain. Rich colors and radiant highlights animate the dramatic scene on a deep black lacquered background, bordered with traditional gold filigree. The box is signed by the artist and marked "П. ХолnƒÐ¹," indicating it originates from the village of Kholuy, one of the four primary centers of Russian lacquer miniature painting. The interior is finished in striking red lacquer, typical of these collectible narrative boxes. Measures approximately 3"L x 3"W.Dimensions: See DescriptionCondition: Age related wear.
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This highly decorative Russian lacquer box is hand-painted and signed, showcasing a vivid three-dimensional butterfly in vibrant orange, yellow, and brown perched on a softly speckled oval base. The butterfly appears to rest delicately on a flowering branch amid stylized foliage, with a second blue blossom adorned by a rhinestone accent completing the composition. The form is oval with a domed lid, executed in a marbled cream and red surface, which contrasts with the brilliant red lacquer interior. The painting is signed in Cyrillic on the lid below the butterfly's wing and dated 1998, indicating a likely origin from the Fedoskino school, known for its realism and sculptural embellishments. This box merges artistry with sculptural form and would be equally at home in a collection of Russian miniatures or decorative enamel ware.Issued: 1998Dimensions: 2.5"L x 1.5"HCountry of Origin: RussiaCondition: Age related wear.
CIRCLE OF VLADIMIR GRIGORYEVICH TRETCKIKOFF (RUSSIAN 1913 - 2006), PORTRAIT OF A WOMAN oil on boardframed image size 75cm x 50cm, overall size 89cm x 64cm Note: Vladimir Grigoryevich Tretchikoff led a peripatetic life in his early days. While he was born in Petropavlovsk, Russia in 1913, in 1917 he and his parents and siblings, escaped to Harbin, China, at the onset of the Russian Revolution. As a young man, Tretchikoff lived in Shanghai, where he met and married Natalie Telpregoff (a fellow Russian refugee). The couple moved to Singapore after their 1935 wedding and lived there until the Japanese bombed the city in 1942, forcing Natalie and their daughter Mimi to evacuate. Tretchikoff also fled the city soon afterwards but was captured and imprisoned by the Japanese in Java. As a prisoner of war, Tretchikoff was allowed restricted freedom to continue painting and selling his works. It was also in Java that he met his muse and mistress, Lenka (one of many such relationships that he would have throughout his life). At the war’s end, Tretchikoff reunited with his family in South Africa, the country that he would call home for the rest of his life. In 1948, Tretchikoff held his first solo exhibition in Cape Town, to great public acclaim. Following this success, he held a few more local shows before exhibiting his work in the United States, Canada, and England. These shows were so well received that Tretchikoff decided to mass reproduce his works as prints so that they could be enjoyed by all. While he was often derided by critics and his fellow artists as ‘kitsch’, it is clear from his sustained popularity that he is still a relevant and admired artist today.
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.
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.
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-FranceCondition: Age related wear.
Original oil painting by Russian artist Gennadi Valentinovich Bernadski, depicting a tranquil village landscape with rustic charm on the Black Sea. The scene shows several wooden cottages and figures along a dirt path near a calm body of water, where two wooden rowboats are moored beside a simple dock. Painted in a loose, expressive style with rich earthy tones, the work captures the spirit of traditional village life. Gennadi Bernadski is a contemporary Russian painter known for his impressionistic depictions of rural life, village architecture, and the Russian countryside. A graduate of the prestigious St. Petersburg Academy of Arts, Bernadski's work is rooted in the traditions of Russian realism, yet features modern expressionist flair. His paintings are held in collections across Europe and North America and are appreciated for their nostalgic atmosphere and textured brushwork. The painting is signed in Cyrillic on the reverse and is accompanied by provenance materials, including a photograph of the artist holding the original unstretched canvas and biographical documentation mounted to the back. Presented in a substantial gold-toned wood frame.Artist: Gennadi Bernadski (Russian b. 1956)Dimensions: 19.25"L x 24.25"HIssued: 1979Country of Origin: RussiaCondition: Age related wear.
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 large porcelain decorative plate with a genre scene made in the technique of polychrome painting, located in the mirror of the plate and a stylized Russian-style leaf ornament along the flat side of the dish. The picturesque painting of the plate is made by hand. On the relief edge of the side of the plate, gold and blue decorative stripes are applied. Such decorative decoration and a flat side give the plate the appearance of a genre picture, framed in a beautiful painted frame. The reverse side of the plate is decorated along its side with a golden cover and an inscription with the name of the painting plot. The genre scene in the center of the plate is made to the motive of the Russian epic Mikula Selyaninovich, as evidenced by the inscription on the bottom of the dish - the epic Mikula Selyaninovich. The episode of the summoning of Mikula Selyaninovich by the bogatyr Volga Svyatoslavich to collect taxes is depicted. Typical is the image of the epic hero not in elegant boots, but in simple peasant bast shoes. Some researchers of the Russian epic interpret this scene as a meeting of the hunter god with the plowman god. This interpretation is due to the fact that Mikula Selyaninovich in Russian culture personified the god of agriculture. In the lower left part of the genre picture is the signature of the artist-ceramist, presented in the form of a monogram consisting of Latin and Russian capital block letters DB (unknown artist of the Kuznetsov factory). The plate is part of a series of several similar plates decorated on the theme of the Russian folk epic (at least 9 pieces), made in the Russian style in the second half of the 19th century (1870-1880s) at the Tver faience factory of M.S. Kuznetsov. The Tver faience factory was acquired by M.S. Kuznetsov in 1870, which already under the first owner and founder of the factory (the Auerbach family) became famous in Russia for products in the pseudo-Russian style. A series of epic plates from the Tver factory may have been exhibited at the Polytechnic Exhibition of 1889. Production mark of the factory M.S. Kuznetsov in Tver in the form of a small state emblem - a double-headed eagle and the inscription M.S. Kuznetsov Tver province located on the tape. The printed stamp is filled with gold, which testifies to the special purpose of the subject. Russian Empire, Tver province. Factory of M.S. Kuznetsov. 1870-1889 years.Porcelain, hand-painted polychrome, gilding, golden cover. Collection safety. Diameter - 25.5 cm, weight - 668 gr. Width: 24.5cm, Height: 24.5cm, Depth: 10cm, Weight: 0.668kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding
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
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
A rare Orthodox icon is a work of the Vologda icon painting school, created at the turn of the 18th and 19th centuries. The icon is decorated with a chased silver frame made by the silversmith Klishin Andrian Iakimov in 1802. The composition of the icon depicts the miraculous image of the Holy Mother of God with the Child, surrounded at the edges by the figures of the Lord of hosts and the Old Testament prophets. The frame, made in the classical style with elements of baroque, is distinguished by a high artistic level of chasing, refined gilding and detailed engraving, demonstrating the exceptional skill of the jewelers of the Russian north. Dimensions: Height: 41.5 cm Width: 35 cm Hallmarks: Cyrillic letters AK in a square shield corresponding to the workshop of Klishin Adrian Iakimov (1794-1833). Assay mark of the city of Vologda with the initials ГШ master Shishkin Grigory, active in 1790-1806, under the numbers 1802. Corresponds to the catalog of hallmarks of Postnikova-Loseva No. 310 and 324. Historical information: Klishin Adrian Ioakimov was born in 1768 in Vologda and died in 1833 in Moscow. His father, Ioakim Klishin, was a famous silversmith who created church utensils and icon frames. Andrian Klishin continued the family craft from 1794 to 1828, personally fulfilling orders for church items. In 1804, he was invited to the Kirillo-Belozersky Monastery to create a canopy over the shrine of St. Kirill. The canopy was decorated with chased brands and garlands, demonstrating the master`s skill. The works created by the master are stored in the largest museums of Russia and are an important historical and cultural heritage. Kursk Root Icon of the Mother of God Sign - The Kursk Icon of the Mother of God Sign is the most revered icon of the Russian Orthodox Church Abroad. The icon of the Mother of God with the Child, surrounded by images of the Lord of Sabaoth and the Old Testament prophets, is revered as miraculous, belongs to the Oranta (Sign) iconographic type. The original is located in the Synodal Cathedral of the Sign of the Russian Orthodox Church Abroad in New York, USA. The special help of the Mother of God through this icon is associated with important events in the history of Russia: the liberation war of the Russian people during the Polish-Lithuanian invasion of 1612 and the Patriotic War of 1812. The miraculous icon of the Mother of God The Sign of Kursk-Root was on Russian soil for the last time on September 14, 1920 in Crimea, in the troops fighting against the Bolsheviks. Having left Russia in 1920, the holy icon became the Hodegetria (Guide) of the Russian Diaspora, constantly staying with all the first hierarchs of the Russian Orthodox Church Abroad.Отправить отзывБоковые панелиИÑториÑСохраненные Width: 35cm, Height: 41.5cm, Depth: 3cm, Weight: 3kg, Condition: Good, Material: Silver 84
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: Good, Material: Canvas, oil
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: Good, Material: Wood, gesso, gilding, tempera
The icon of the Annunciation is an outstanding work of the Russian icon-painting tradition of the first half of the 19th century. It is decorated with an exquisite silver gilded frame, created at the Ivan Semenovich Gubkin silverware factory in Moscow in the period 1841-1855 by order from the city of Riga (Latvia). The frame, made in the classical style with baroque elements, impresses with its highly artistic chased design, refined gilding and complex engraving, which testifies to the unrivaled skill of Russian jewelers of that time. The central composition of the icon depicts the scene of the Annunciation: Archangel Gabriel, holding a branch of paradise, symbolizing purity, conveys to the Virgin Mary the joyful news of the birth of the Savior. The Mother of God is depicted in gilded clothes with a shining crown decorated with a floral ornament. Its maphorion is decorated with three stars, symbols of eternal purity. Their mutual gestures emphasize Mary`s agreement to fulfill God`s will. In the background are the walls of the temple with majestic domes, directed toward the image of the God of Sabaoth, seated in the clouds. The silver mosaic floor gives the composition solemnity and depth. The fields of the icon depict the saints: on the left is Archangel Michael with an angelic staff and a mirror, symbolizing his divine revelation and role as a protector, on the right is the holy martyr Antipas of Pergamon, patron of the faith and healer, revered by the people as the patron of dentists. The fields of the frame are decorated with a high-relief floral ornament, which emphasizes the sacred significance and aesthetic completeness of the composition. Materials: Cypress wood, gesso, tempera, gilding, silver, chasing, engraving. Dimensions: 31.7 x 25.5 cm. Hallmarks: the hallmark of Ivan Semenovich Gubkin IG, corresponding to the period 1841-1855, the city hallmark of Riga, sample 84, hallmark with the Latin letter i assay master of the city of Riga Haufe Carl Gustav, active in the period 1825-1844. Width: 25.5cm, Height: 31.7cm, Depth: 5cm, Weight: 2.2kg, Condition: Good, Material: Wood
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: Good, Material: Polychrome painting
Painting Spring from the series Alder has blossomed. At the bottom right is the signature in Cyrillic and Latin I. Pokhitonov. I.Pohitonow. Presumably 1890s. The painting depicts early spring with puddles and snow that has not yet melted. In the center of the landscape is a tree that has just blossomed. Together with the grove in the distance, it forms the triangular frame of the work. In it, diagonally, following the puddles to the elevation on the right, a damp field stretches. On the contrary, the snow patch forms a cross line and almost touches the mournful procession of rural work. The state of indefinite sadness and hope, so famous in Russian life, appears in this work. Painting size: 20 x 27 cm. Expert opinion: State Tretyakov Gallery. Provenance: From a private collection, purchased at Russian Auction, Lot No. 77 Stockholms Auktionsverket, October 2, 2008, Stockholm, Sweden. Width: 38cm, Height: 30cm, Depth: 2cm, Weight: 1kg, Condition: Good, Material: Oil on panel
* Charge of the Light Brigade. The important and well documented Crimea pair to Private Anthony Wilder, 11th Hussars, a confirmed chargerCrimea 1854-56, 4 clasps, Alma, Balaklava, Inkermann, Sebastopol (Pr... ...nthony Wilder . 11th Hussars), plain silver ribbon brooch Turkish Crimea, Sardinian die, pierced with small ring suspension (1445 Anthony Wilder XI P.A.O. Hussars.), with ornate silver palm ribbon brooch stamped 'B Bailey Coventry Regd Oct 10 1856 No 3888', both contemporarily engraved first with heavy edge bruising and some areas of the naming worn, both fine, with souvenir book titled 'Fête and Banquet in Commemoration of the Light Brigade, Alexandra Palace October 25th 1875', Morocco leather with gold tooling, with plate printed and inscribed 'Presented to Anthony Wilder late 11th Hussars Banquet of the Balaklava Charge October 25 1875', 32 printed pages including dried fern (presumably from the "Valley of Death"), 22 x 14 cm, plus a fine oil on canvas painting showing Wilder standing by his horse wearing 11th Hussars shabraque and sabretache, 45 x 61, relined and restored, framed, frame size 54 x 72 cm, a small banquet card to celebrate the 40th anniversary of the Battle of Alma, 20th September 1894, Crimea & Indian Mutiny Veterans' Association held at the Royal Hotel College Green, Bristol, the card features and image of Wilder wearing his medals with a banner beneath titled 'One of the "Six Hundred", memorial card for the death of Anthony Wilder, 14 October 1894, original newspaper cuttings plus extensive research and other related itemsQTY: (2)NOTE:Provenance: Bonham's London, 4 June 1998, lot 54, £3,764 (premium inclusive).'The Property of the Recipient's family and thence by descent' (a copy of the auction catalogue is included with the lot).The medals were featured in the Medal News "Market Scene", June/July 1998 edition.Anthony Wilder was one of only 200 men who survived the famous "Charge of the Light Brigade" on 25 October 1854. The Light Brigade consisted of the 4th and 13th Light Dragoons, the 17th Lancers, and the 8th and 11th Hussars. This was a failed military action against the Russians at Balaclava during the Crimean War. Due to miscommunication, the Light Brigade, 600 strong, were sent into the "Valley of Death" against the full frontal assault of Russian guns, resulting in the loss of 400 men.Anthony Wilder (1830-1894) was born in Bray, Maidenhead, Berkshire. He joined the 11th Hussars in Hounslow in 1849, he served in the Crimean Campaign for a period of 1 year and 10 months. Wilder was discharged "by purchase" in 1860, having served 10 years 256 days with the Colours.Wilder resided in Bristol, living at 97 Weare Street, Bedminster and joined the Great Western Police Force after his military service and retired after 31 years' service with the police.He attended the first Balaclava Banquet in 1875, Member of the Balaclava Commemoration Society in 1879, signed the Loyal Address to the Queen in 1887, and attended the Annual Dinners in 1890-93 (inclusive).Wilder died in 1894. His coffin was pulled on a gun carriage led by a company from the Royal Artillery from Horfield Barracks. According to the Bristol Mercury, 19 October 1894, his funeral was very well attended, with about 120 servicemen from the veteran association at the graveside. Wilder is buried in Arnos Vale Cemetery, Bristol, his headstone reads "One of the Six Hundred".For further information, see Dutton (Roy), Forgotten Heroes, The Charge of the Light Brigade, page 200.
Konstantin Vysotsky (Russian, 1864-1938). Oil on board painting depicting a field with haystacks. Initialed along the lower right.Sight; height: 8 in x width: 13 1/2 in. Framed; height: 13 1/4 in x width: 18 3/4 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.
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 w](https://cdn.globalauctionplatform.com/034cdc41-5223-4edc-9728-b2ae01052634/9f931fad-92e1-4fdc-98ec-b2ae014f11f8/468x382.jpg)
[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
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".
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.
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.
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.
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