ࡱ> 9 )bjbj5tl$$$$$$$8BABABABAlA8BBBBBBBB$ D$BBBBB&$$BB&&&BnJ$B$B&B&J&p.H$$BB )r8 @BA "]@0T . &88$$$$1. 2500-3500 --- 4200 Karl Ivanovich Kollman, 1788-1848 a group of four drawings, comprising: an officer visiting the country; street vendors; offering a ride; the ice vendors signed and dated 1842 watercolour heightened with white on paper (4) size of smallest: 15.5 by 20.5 cm., size of largest: 20.5 by 17.5 cm., 2. 4000-6000 --- =5 ?@>40= Stepan Filippovich Galaktionov, 1779-1854 a pair of watercolours: view of the palace of ostankino and peasant women gleaning both watercolour on paper (2) 13.5 by 22.5 cm., 5 1/4 by 8 3/4 in. 14.5 by 25.5 cm., 5 3/4 by 10 in. 3. 4000-6000 --- =5 ?@>40= Russian School, c. 1854 an album of nine watercolour views of siberia, including interiors and local landscapes, dated from 1854-55 the majority inscribed in Russian pencil and watercolour, some pen and ink, liad on the pages of the album including interiors of a Drawing Room; Living Room in the Company House in Eniseisk 1854; Living Room with Bedroom on the right at Holy Spirit Mine, 1855; Room of Alexandr Ivanovich Barkov, Holy Spirit Mine, 1855; as well as views of Holy Spirit Mine, Disagreeable Mine, George Mine, and the Basil Mine belonging to the Barkov Trading Company, and a group of portrait drawings The group of portraits is inscribed Drawn by Nikolai Bestuzhev. The famous Decembrist (1791-1855), was a naval officer, writer and painter, who together with his wife Elena, spent most of his life in exile in Siberia where he spent this time painting views of his surroundings and portraits of his fellow exiles. For two similar albums containing work by Bestuzhev see The Russian Sale, Sotheby's, London, 14/15 December 1995, lots 114 and 117. 29 by 41.5 cm., 11 1/2 by 16 1/2 in. 4. 1500-2000 --- 3840 E*** Gilbertson English, fl. 1830s a group of nine (mounted as eight) topographical watercolours comprising: in the gardens of tsarskoe selo; korbiakoff's church, shoomsha, near rezan; the cathedral of the annunciation in the moscow kremlin; the trinity gate, moscow; the troitsko-ismailoffsky church, st. petersburg; the moscow kremlin from the moskvoretsky bridge; the chinese temple and the chinese bridge, tsarskoe selo; moscow from mr schulz's house in the varvarka one dated 10th August 1838 all watercolour over pencil on paper (8) size of largest: 18 by21.5 cm., 7 by 8 1/4 in. size of smallest: 13.5 by 12 cm., 5 1/4 by 4 3/4 in. 7000-10000 --- 7200 Pierre Alexandrovich Parisot (Ludoviki), 1750-1820 village fete in the environs of tsarskoe selo signed on reverse: P.Ludowick oil on canvas 70.5 by 89 cm., 27 3/4 by 35 in. Parisot was born in Paris and although without formal education he went on to study at Montauban, and from 1785 was director of the Grenoble art school. With the Revolution, he left France for Russia, arriving in Moscow in 1792 where he was to live for thirty-two years. He came to the attention of Prince Vasili Dolgoruky who bought a painting from the artist entitled Selski Prazdnik for 400 roubles. Upon arrival in Russia Parisot adopted the name Ludovic and registered himself as Swiss. He was a teacher of art to the children of Prince Cherkassky. One of the few foreign artists to work in Russia at the end of the 18th century, works by him are very rare as many were destroyed in the 1812 fire of Moscow, but he is represented in museums in Russia, in Montauban, and in the Louvre, Paris. A painting of similar subject was in the collection of Mme J. Claverie, Montauban. (For an illustration of this and for further information about the artist see Stary Gody, 1914, pp. 8-19). 40000-60000 --- =5 ?@>40= Stepan Semenovich Shchukin, 1758/62-1828 portrait of count nikolai alexandrovich zubov oil on canvas 69.5 by 58.5 cm., 27 1/4 by 23 in. Count Nikolai Alexandrovich Zoubov (1763-1805) was the eldest brother of Platon Zoubov, favourite of Empress Catherine II. It has been recorded that until 1917, this portrait was in the collection of L. A. Talisina, Moscow Guberniya. It was published in Grand Duke Nikolai Mikhailovich's Portraits Russes, St. Petersburg, 1905, vol I, no.116. 50000-60000 --- =5 ?@>40= Alexander Molinari, 1772-1831 portrait of natalia alexandrovna zubova oil on canvas 72 by 58.5 cm., 28 1/4 by 23 in. Countess Natalia Alexandrovna Zoubova (1775-1844) was the daughter of A. Suvorov and the wife of Nikolai Alexandrovich Zoubov (see lot 6). As with the partner portrait, it has been recorded that until 1917, this portrait was in the collection of L. A. Talisina, Moscow Guberniya. It was published in Grand Duke Nikolai Mikhailovich's Portraits Russes, St. Petersburg, 1905, vol I, no.116. 2500-3500 --- =5 ?@>40= Dmitri Nikiforovich Martinov, 1826-1889 charity signed l.r. and dated 1879 oil on canvas laid on card 15 by 22 cm., 6 by 8 3/4 in. 2000-3000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1839-1915 the faun signed in Latin l.l. watercolour and gouache on paper 26.5 by 18.5 cm., 10 1/2 by 7 1/4 in. Provenance: Collection of the grand-daughter of the artist 18000-22000 --- 21200 Feodor Feodorovich Buchholz, 1857-1942 daedalus and icarus signed in Latin l.l. oil on canvas 220 by 150 cm., 86 by 59 in. Provenance: The President of the Estonian Board of Private Collectors, Vilnius Private Collection Vilnius Born in the province of Warsaw, Buchholz studied at the Imperial Academy of Art, St.Petersburg under Pavel Chistyakov and Valeri Yakobi. In 1880 and 1884 he was awarded silver medals for his sketch of Ivan II and for his study of Nature. In 1885 he won a gold medal for his painting Daedalus Attaching the Wings onto Icarus. He graduated from the Academy in 1885. He exhibited in Munich (1901), the United States (1904) and in Rome (1911). Buchholz is noted for his Russian historical portraits, genre scenes and landscapes, in particular Roman Galitzsky with Pope Innocent III and I.E.Repin Among Friends (1900), in the Russian Museum. The inspiration for the offered work is a painting by A. V. Lebediev (1755-1842) Daedalus and Icarus from the Tretyakov Gallery, Moscow. 5000-7000 --- =5 ?@>40= Vladimir Ivanovich Hau, 1816-1895 portrait of grand duchess maria nicholaevna signed in Latin l.r. and dated 1855 watercolour heightened with white on card, set in engraved oval silver mount and within a velvet lined blue tooled leather case 16 by 13 cm., 6 1/4 by 5 1/4 in. Provenance: Paris, Hotel Drouot, 1st December 1972, Souvenir Historiques ayant appartenu au Prince Eugene et a la Grande Duchesse Marie Nicolaiewna, lot 6, Private Collection 5000-7000 --- =5 ?@>40= After Virgilius Erikson, 1722-1782 portrait of grand duke pavel petrovich as a young boy oil on canvas 57 by 45.5 cm., 22 1/2 by 18 in. The original portrait, located in the State Hermitage Museum, St. Petersburg, was painted in 1766 (see Gosudarsvenni Ermitazh Zapodnoevropeiskaya Zhivopis'' kat II, Leningrad, 1981, p.268, no.9909). A contemporary engraving was made of this painting by L.M. Bonnet and the offered portrait is a copy made from this engraving. Another similar copy is in the Louvre, 55 by 38.7 cm., RF2116. 20000-30000 --- 38850 Nikolai Egorovich Sverchkov, 1817-1898 portrait of an officer of the life-guards hussars regiment signed l.l. and dated 1878 oil on canvas 61.5 by 48.5 cm., 24 1/4 by 19 in. =5B 80000-120000 --- 91500 Josef Andreas Weiss, 1814-1887 a view of the moskvoretsky bridge and the moscow kremlin dated l.l. 18-63, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen oil on canvas 83.5 by 107.5 cm., 33 by 42 1/4 in. Provenance: Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I The Grand Dukes and Margraves of Baden Schloss Eberstein 80000-120000 --- =5 ?@>40= Josef Andreas Weiss, 1814-1887 panoramic view of the river neva from the troitsky bridge with views of the peter paul fortress, the stock exchange and rostral columns, and the winter palace initialed l.r. and dated 18-67, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen oil on canvas 75 by 122 cm., 29 1/2 by 48 in. Provenance: Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I The Grand Dukes and Margraves of Baden Schloss Eberstein 80000-120000 --- =5 ?@>40= Josef Andreas Weiss, 1814-1887 the ice road on the neva before st isaac's cathedral and senate square dated l.r. 18-62, the reverse of the canvas with manufacturer's stamp, Malerleinwand Fabrik von A. Schutzman, in Munchen oil on canvas 82.5 by 108 cm., 32 by 42 1/2 in. Provenance: Princess Marie von Baden, (1841-1914), granddaughter of Nicholas I The Grand Dukes and Margraves of Baden Schloss Eberstein Literature: Compare with a painting by Weiss of the same subject in the collection of the State Museum of History of the City of St. Petersburg, (See ex. cat. Saint Petersbourg, Ville de Granit de Gloire et de Malheur, Galerie CGER, Brussels, 1995, p. 41, cat. no. 106) 15000-20000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1839-1915 irrigation in an egyptian palm grove signed in latin l.r. oil on canvas 54 by 65 cm., 21 1/4 by 25 1/2 in. Provenance: Collection of the grand-daughter of the artist Makovsky visited Cairo in 1875 (See footnote to lot 21). 1500-2000 --- =5 ?@>40= Attributed to Egor Ivanovich Makovsky, 1800-1866 the troubador signed with initials l.l. and further inscribed ink on paper 59 by 44 cm., 23 1/4 by 17 1/4 in. Provenance: Collection of the great grand-daughter of the artist 1500-2000 --- =5 ?@>40= Attributed to Egor Ivanovich Makovsky, 1800-1866 the brigand signed with initials l.l. and inscribed N.253 ink on paper 58 by 43 cm., 22 3/4 by 17 in. Provenance: Collection of the great grand-daughter of the artist 25000-35000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1839-1915 young arab boy with orange signed in Latin t.l. and inscribed Cairo oil on canvas 80 by 58 cm., 31 1/2 by 22 3/4 in. Like many 19th century European artists, Makovsky was drawn to the oriental world with its wealth of colourful and exotic subjects and picturesque views. In 1876 he travelled to Egypt and Serbia looking for inspiration. The result was a large oil composition which he exhibited at the annual Academy Exhibition in St. Petersburg, Carrying the Holy Carpet from Mekka to Cairo, 1877. This would have been pieced together from the sketches and observations he made on his trip, from vignettes of local woman carrying baskets of fruit to street urchins, such as the little arab boy in the offered lot, which was painted while the artist was in Cairo. His vision fired by the local sun, Makovsky has bathed the whole canvas in a warm orange glow shining from underneath the thick cream impasto against which the boy is placed. 2500-3500 --- 6240 Konstantin Egorovich Makovsky, 1839-1915 view of the bosphorous signed on reverse with initials watercolour on paper 17.5 by 23.5 cm., 7 by 9 1/4 in. Provenance: Collection of the grand-daughter of the artist 3500-6000 --- 6600 Genrikh Genrikhovich Schmidt, 1861-1922 outside the mosque oil on cardboard 45 by 67.5 cm., 17 3/4 by 26 1/2 in. 1000-1500 --- =5 ?@>40= Lev Felixovich Lagorio, 1827-1905 sailing barge on the river signed l.r. and dated 1862 oil on board 11 by 14 cm., 4 1/4 by 5 1/2 in. 800-1200 --- =5 ?@>40= Vasili Vasilievich Vereschagin, 1842-1904 genre scene with arabs at rest signed l.l. pencil and watercolour on paper 14 by 22.5 cm., 5 1/2 by 8 3/4 in. 10000-15000 --- 48800 Rufin Gavrilovich Sudkovsky, 1850-1885 sunset on the bay signed l.l. and dated 1878 oil on canvas 87 by 119 cm., 34 by 47 in. 7000-9000 --- 11400 Ilya Nikolaevich Zankovsky, 1843-1917 caravan halt in the caucasus signed l.l. oil on canvas 46 by 83 cm., 18 by 32 1/2 in. 60000-80000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1839-1915 the pretty boyarina signed in Latin m.r. oil on canvas 60.5 by 50 cm., 23 3/4 by 19 3/4 in. By the 1880s Konstantin Makovsky, was a highly successful society portraitist. Early in his career he had been a founding member of the peredvizhniki, and he now turned to Russian history, in particular the lives of the 16th and 17th century nobility for inspiration. His slick brush and love of luxurious materials and fabrics produced some of the best-loved images of Boyar life in Russia and earned him the admiration of Alexander II, who called him my painter (Anne Odom, Hillwood Studies: Konstantin Makovsky "A First-Rate Boyar"' Spring 1996, Vol.3 No.1, p.8). Where his peredvizhnik contemporaries, such as Ilya Repin, may have been more interested in depicting tragic events from mediaeval Russian history, focussing on the psychology of the characters involved, Makovsky revelled in the celebration of Boyar life. The Boyar wedding ceremony presented the perfect theme, with its close gathering of the sumptuously-clad rich and famous, dramatic tension being provided by a demure young bride as she prepares for married life. Makovsky produced several large compositions on this theme, A Boyar Wedding Feast, 1883, (Hillwood Collection, Washington); The Choosing of the Bride, 1887 (Museo de Arte de Ponce, Puerto Rico); and The Russian Bride's Attire, 1887 (Fine Arts Museum of San Francisco). These ambitious works were built up from smaller studies of Boyars and Boyarinas, such as Girl in a Boyar Costume, (sold Sotheby's, February 1998, lot 34; see fig1) which is a sketch for one of the brides in The Choosing of the Bride, 1887; and sketches of the props in his studio. These studies depicting the head and shoulders of the subject are referred to as golovki or "little heads". The Boyar paintings found their warmest reception outside Russia, and this accounts for the numerous examples which are today located in American collections. A Boyar Wedding Feast was exhibited in Antwerp in 1885 where it was purchased by the American Jewellery merchant Charles William Schumann (1845-1912). It was to hang in his shop on Broadway, the painting becoming so popular that Schumann started to charge an entrance fee to view it (Anne Odom, Hillwood Studies: Konstantin Makovsky "A First-Rate Boyar"' Spring 1996, Vol.3 No.1, p.10). He went on to commission another painting directly from the artist, The Choosing of the Bride, 1887. The Pretty Boyarina, being offered for sale from an American collection, may be the product of the immense rise in Makovsky's popularity in the USA as a result of the exhibition of his Boyar wedding compositions. It was not uncommon for the artist to be commissioned to paint a sitter in medieval dress and kokoshnik, a collection of which the artist kept in his studio. 29. 6000-8000 --- =5 ?@>40= M*** Rundaltsov, Early 20th Century seated nude with flowers signed in Latin oil on canvas 77 by 62.5 cm., 30 1/4 by 24 1/2 in. 4000-6000 --- 4800 Yuri Yakovlevich Leman, 1834-1901 coquette; portrait of the artist's wife luise signed t.l. and dated 1878 oil on canvas 55.5 by 46 cm., 22 by 18 in. 7000-9000 --- 10800 Konstantin Egorovich Makovsky, 1839-1915 beauty with bonnet and flowers partial signature in Latin t.r oil on canvas oval 40.5 by 33.5 cm., 16 by 13 1/4 in. Provenance: Collection of the grand-daughter of the artist 15000-20000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1839-1915 boyar and boyarina: sketch for the canvas 'minin's appeal' signed l.r.; the stretcher and reverse of canvas stamped Atelier Konstantin Makovsky, c/o Flamant, 2 rue Auguste Vitu, Paris, 15e oil on canvas 55 by 46 cm., 21 3/4 by 18 1/4 in. Minin's Appeal is Makovsky's largest and most ambitions canvas, stretching to a massive 48 square metres. The artist started work on the painting in Paris in the former studio of Vasili Vasilievich Vereschagin, completing it almost five years later in St. Petersburg and assisted by a team of other artists, including Franz Roubaud. The offered lot is a study of a boyar and boyarina who appear in the canvas, with some slight alterations, for example, the boyarina holds an icon in the finished version. For further information on the canvas, see: A. V. Ilevsky, Vozzvaniye Minina Kartina Khudozhnika, K.E. Makovskogo, Gorky, 1962 2000-3000 --- 2280 Konstantin Egorovich Makovsky, 1839-1915 katya and olga makovsky inscribed in Russian t.r. New Year 1894 Katya and Olga Makovsky.... watercolour on paper 22 by 29 cm., 8 3/4 by 11 1/2 in. Provenance: Collection of the grand-daughter of the artist 2500-3500 ---3000 Nikolai Egorovich Makovsky, 1842-1886 the farmyard signed on the reverse oil on panel 19.5 by 33 cm., 7 3/4 by 13 in. 7000-9000 --- 7800 Alexander Alexandrovich Kiselev, 1838-1911 walk by the river signed l.l. and dated 1886 oil on canvas 58 by 76 cm., 22 3/4 by 30 in. 6000-8000 --- 7200 Ilya Efimovich Repin, 1844-1930 the foreigner, c.1881 signed l.r. oil on canvas 43 by 17 cm., 17 by 6 3/4 in. This appears to be a study for the painting Khrestny Khod v dubobom Lesu, 1877-1924, in the Czech Republic. There is an almost idential work listed and illustrated in Ilya Repin, Zhivopis Grafika, Leningrad, cat.115. 10000-15000 --- =5 ?@>40= Ivan Ivanovich Tvorozhnikov, 1848-1919 home after the harvest signed l.l. and dated 1915 oil on canvas 80 by 148 cm., 31 1/2 by 58 1/4 in. 6000-8000 --- =5 ?@>40= Konstantin Egorovich Makovsky, 1938-1915 study for the fortune teller in 'the great adventure' the stretcher inscribed in Russian oil on canvas 61 by 26 cm., 24 by 10 1/4 in. Provenance: Collection of the grand-daughter of the artist 6000-8000 - 10800 Nikolai Egorovich Sverchkov, 1817-1898 horse's head signed l.l. and dated 1859 oil on board 48.5 by 39 cm., 19 by 15 1/4 in. 2500-3500 --- 4560 Sergei Ivanovich Svetoslavsky, 1857-1931 horses at rest signed l.r. oil on canvas 47.5 by 54 cm., 18 3/4 by 21 1/4 in. 1800-2200 --- =5 ?@>40= Ludwig Ossipovich Premazzi, 1814-1891 on the monastery steps signed in Latin l.r. and dated 1864 watercolour on paper 37 by 29 cm., 14 1/2 by 11 1/2 in. 3000-5000 --- =5 ?@>40= Pavel Antonovich Rizzoni, 1823-1913 still life with peaches signed in Latin l.l. oil on canvas 33 by 47.5 cm., 13 by 18 3/4 in. 3000-5000 --- 3000 Property of the late Mr Ziedonis Liegers Janis Rozenthals Latvian, 1866-1916 young girl wearing white headscarf signed l.l. and dated 1913 oil on canvas laid on board 37 by 27.5 cm., 14 1/2 by 10 3/4 in. Trained in St. Petersburg at the Imperial Academy of Arts, Rozenthals spent most of his career in his native Latvia, painting local views and people. One of the earliest Latvian artists to draw subjects from his own land, he is considered to be the founder of the national school of Latvian painting. 44. 8000-10000 --- =5 ?@>40= Other properties Konstantin Egorovich Makovsky, 1839-1915 portrait of the operatic baritone jean-louis lassalle signed l.r. and dated 1886 oil on canvas 61 by 50.5 cm., 24 by 19 3/4 in. Provenance: Collection of the grand-daughter of the artist 5000-7000 ---6000 Andrei Nikolaevich Shilder, 1861-1919 reflections in a woodland lake signed l.r. and dated 1903 oil on canvas 46.5 by 54 cm., 18 1/4 by 21 1/4 in. 7000-9000 --- 7800 Yuli Yulievich Klever, 1850-1924 woodland scene signed l.r. oil on canvas 70 by 48.5 cm., 27 1/2 by 19 in. 20000-30000 --- =5 ?@>40= Alexander Karlovich Beggrov, 1841-1914 the moonlit neva with st. isaac's beyond signed l.l. oil on canvas 41 by 71.5 cm., 16 by 28 in. Alexander Beggrov was the son of the artist Karl Petrovich Beggrov (1799-1875). Born in St. Petersburg he studied under Alexei Petrovich Bogoliubov in his Paris studio from 1871 until 1874 when he returned to Russia. In that year he began exhibiting with the Wanderers becoming a member in 1876. 12000-15000 --- =5 ?@>40= Robert Mols Belgian, 1848-1903 inspection of the russian fleet at la rochelle signed l.l. oil on canvas 78 by 149 cm., 30 3/4 by 58 3/4 in. 800-1200 --- 1320 Alexander Innokentevich Chirkov, 1865-1913 study for the painting 'on the amur' inscribed on the reverse in Russian I confirm that this is a study by the artist A.I. Chirkov for his painting 'On the Amur'' Academician Sergei Vinogradov. oil on card 28.5 by 38.5 cm., 11 1/4 by 15 in. 80000-120000 --- 91500 Ivan Konstantinovich Aivazovsky, 1817-1900 elegant ladies fishing at the water's edge signed m.r. and dated 1870 oil on canvas 56 by 80 cm., 22 by 31 1/2 in. Literature: Illustrated in: Caffiero and Samarine, Seas, Cities and Dreams, The Paintings of Ivan Aivazovsky, London, 2000, p.99, plate 53 Exhibited: Turkiye Is Bankasi A.S. Istanbul, Denizler, Sehirler ve Dusler: Ivan Ayvazovski'nin Resimleri, January/February 2001 Born by the sea in the small Crimean port of Theodosia, the sea in all its variety of moods, at different times of day and in different seasons, imbued the young Aivazovsky with a passion that was to last the length of his highly successful career. During his early education at the Imperial Academy of Arts in St. Petersburg, he was primarily influenced by his contact with the Dutch 17th century seascapes in the Imperial collection that the artist would have seen, but it was the bright, light landscapes of the French painter Claude Lorrain which had the most profound influence on his style. Lorrain was particularly concerned with the effects of light on landscape - and would also greatly influence Aivazovsky's English contemporary William Turner. The natural quality of Southern light Lorrain experienced and depicted in his Roman canvasses, would have also been found similar to the light of the Crimean coast, and Aivazovsky would have considered himself a natural inheritor. Although primarily concerned with the effects of light on water, Aivazovsky was no plein-air painter prepared to suffer outdoors for his art, in the manner of Turner who famously tied himself to a ship's mast during a storm to paint what he saw and felt. He preferred to paint in the comfort of his studio and had a remarkable talent for recreating whole townscapes using his memory and fantasy. In his opinion, this was a higher artistic achievement than the mere copying of nature. Although his canvasses have a highly finished appearance, they were famously created at great speed, resulting in a thin paint surface. X-rays of the artist's work reveal he nominally sketched out a large composition with the horizon line in pencil and a few marks representing waves and clouds; the rest he would paint fluently with no reworking. The offered painting is a delightful study of the sea at its most calm. The pleasant Summer weather is being enjoyed by two fashionable young ladies who are trying their hand at fishing, assisted by a young companion in red. One shades herself from the sun under a white parasol, the other tentatively holds the fishing rod whilst leaning perilously close to the end of the jetty. In the distance is a rowing boat, the white sail of a ship is visible on the horizon, partially obscured by a huge flurry of clouds which provides the central focus to the composition. 51. 60000-90000 --- 69500 Ivan Konstaninovich Aivazovsky, 1817-1900 storm off the coast of feodosia signed l.r., dated 1851 and inscribed Feodosia oil on canvas 55.5 by 75 cm., 21 3/4 by 29 1/2 in. Literature: Illustrated in: Caffiero and Samarine, Seas, Cities and Dreams, The Paintings of Ivan Aivazovsky, London, 2000, pp.236-237, plate 171 Exhibited: Turkiye Is Bankasi A.S. Istanbul, Denizler, Sehirler ve Dusler: Ivan Ayvazovski'nin Resimleri, January/February 2001 Aivazovsky returned home to Theodosia in 1846 at the age of 28 with the intention of setting up a permanent studio. By this time he had established his name and reputation in St. Petersburg, currying favour with the Tsar himself. His reputation had also extended throughout Europe, and he had amassed a considerable personal fortune, much of which he spent on civic improvements in Theodosia and on the foundation of his new studio, which after the artist's death became a public gallery. The offered lot dates to this early period in Theodosia, just before the outbreak of the Crimean War. The subject is a variation on the theme of the Shipwreck, depicting the boat in the midst of a violent storm, being tossed and turned, the masts askew. It touches on the 19th century preoccupation with man's place in the natural world, where he is no longer the master, but struggling to survive in an increasingly hostile natural environment. 52. 5000-7000 ---8400 Vladimir Egorovich Makovsky, 1846-1920 rocky forest signed l.l. and dated 1899 oil on canvas laid on board 26.5 by 40.5 cm., 10 1/2 by 15 3/4 in. 2500-3500 ---5760 Vladimir Donatovich Orlovsky, 1842-1914 on the meadow signed l.l. oil on canvas laid on board 24 by 43 cm., 9 1/2 by 16 3/4 in. 3500-5000 --- =5 ?@>40= mountain landscape oil on canvas laid on board 20 by 32 cm., 8 by 12 1/2 in. Provenance: Acquired by the current owner from the family of the artist, Tblisi 6000-8000 --- =5 ?@>40= Mikhail Vasilievich Nesterov, 1862-1942 a pair of stuides for the painting 'the soul of the people'' 1916 oil on canvas laid on board (2) both: 31.5 by 17.5 cm., 12 1/4 by 7 in. Literature: Listed in A. Mikhailova, M.V. Nesterov, page, 480 The reverse of each board inscribed in Russian, Study for the painting 'The Soul of the People'. I confirm the authenticity, N. Nesterova (2) 6000-8000 --- 6600 Mikhail Vasilievich Nesterov, 1862-1942 hayricks by the river signed l.l. oil on board 23.5 by 33.5 cm., 9 1/4 by 13 1/4 in. 3000-5000 --- 3000 Ivan Pavlovich Pokhitonov, 1850-1923 reaping the harvest signed in Latin l.r. oil on board 13 by 24.5 cm., 5 1/4 by 9 1/2 in. 5000-7000 --- =5 ?@>40= Gavril Pavlovich Kondratenko, 1854-1924 autumn sunset in the forest signed l.l. and dated '85 oil on canvas 73.5 by 126.5 cm., 29 by 50 in. 10000-15000 --- 21200 Narkiz Nikolaevich Bunin, 1856-1912 napoleon accompanied by his generals signed l.r. and dated 1902 oil on canvas 89 by 142 cm., 38 1/2 by 56 in. 4000-6000 --- =5 ?@>40= Franz Alexeevich Roubaud, 1856-1928 cossacks after the battle signed in Latin l.l. and further inscribed Diamant oil on canvas 180 by 128 cm., 71 by 50 1/2 in. 4000-6000 --- =5 ?@>40= Iosif Evstafievich Krachkovsky, 1854-1914 landscape with birch trees signed l.r. oil on canvas 60.5 by 93 cm., 23 3/4 by 36 1/2 in. 20000-30000 --- 22350 Yuli Yulievich Klever, 1850-1924 hunting wolves signed l.r. and dated 1882 oil on canvas 67 by 108 cm., 26 1/4 by 42 1/2 in. 4000-6000 --- =5 ?@>40= Adolf Baumgartner-Stoiloff, 19th century charging cossack convoy signed in Latin l.l. oil on canvas 81.5 by 130 cm., 32 by 51 in 5000-7000 --- 8400 Vladimir Egorovich Makovsky, 1846-1920 transporting the watermelons signed l.r. and dated 1902 watercolour and gouache heightened with white on paper approx: 35 by 50 cm., 13 3/4 by 19 3/4 in. 6000-8000 --- 12000 Franz Alexeevich Roubaud, 1856-1928 central asian horse market signed in Latin l.l. oil on canvas 70 by 100.5 cm., 27 1/2 by 39 1/2 in. 66. 4000-6000 --- 4320 Richard Karlovich Zommer, 1866-1939 caravan in the desert signed l.r. oil on canvas laid on board 27 by 47 cm., 10 3/4 by 18 1/2 in. 4000-6000 --- =5 ?@>40= Richard Karlovich Zommer, 1866-1939 mount ararat from the plain signed l.r. oil on canvas 42.5 by 76 cm., 16 3/4 by 30 in. 3500-4000 ---4200 Richard Karlovich Zommer, 1866-1939 market day signed l.r. oil on canvas 28.5 by 42 cm., 11 1/4 by 16 1/2 in. 4000-6000 --- =5 ?@>40= Sergei Kolesnikov, 1880-after 1930 traversing the mountain pass signed in Latin l.l. oil on canvas 86.5 by 117 cm., 34 by 46 in. 7000-9000 --- 8400 *** Stojanov, late 19th century winter revelry signed in Latin l.r. oil on canvas 97.5 by 143 cm., 38 1/2 by 56 1/4 in. 3000-5000 --- 3240 Russian School, early 20th century bears in the snow signed indistinctly l.r. oil on canvas 62 by 80 cm., 24 1/4 by 31 1/2 in. 3000-5000 --- =5 ?@>40= N*** Matorin, late 19th century russian symbolist painting signed l.r. and dated 1899 oil on canvas 59 by 30 cm., 23 1/4 by 11 3/4 in. 4000-6000 --- =5 ?@>40= Studio of Yuli Yulievich Klever, 1850-1924 tree by the lake signed l.r. oil on canvas 67.5 by 44 cm., 26 1/2 by 17 1/4 in. 20000-30000 --- 51100 Yuli Yulievich Klever, 1850-1924 avenue of birch trees signed in Latin l.r. and dated 1905 oil on canvas 130.5 by 85.5 cm., 51 1/2 by 33 3/4 in. 10000-15000 --- 20050 Stanislav Yulianovich Zhukovsky, 1873-1944 country dacha at twilight signed in Latin l.l. and dated 1902 oil on canvas 58.5 by 89.5 cm., 23 by 35 1/4 in. The house with it's distinctive porch supported by two pairs of columns, is one depicted in two other paintings of 1902, one in the Simferopol Art Museum, the other in the Odessa Art Museum, both entitled 'Departure: Dawn'. The Simferopol picture was exhibited to great critical acclaim at the 31st Itinerants Exhibition in 1903. (See M.I.Gorelov, Stanislav Iulianovich Zhukovsky:Life and Work, Moscow 1982, pages 60-61.) 10000-15000 --- 15450 Stanislav Yulianovich Zhukovsky, 1873-1944 forgotten past: the ruins signed l.r. and dated 1910 oil on canvas 62 by 97 cm., 24 1/4 by 38 in. Provenance: Private Collection, Sweden Thence by descent to present owner Literature: M.N.Gorelov, Stanislav Yulianovich Zhukovsky, zhizn' i tvorchestvo, 1875-1944, Moscow, 1982, p.247 Exhibitions: 38th Peredvizhnik Exhibition, 1910 From around 1910-20 Zhukovsky turned to the life of the Russian estate for inspiration and, over a decade, developed a group of works around this theme. This interest is echoed in poetry of the period, for example that of A.K.Tolstoy and I.A.Bunin who describe with lyrical sentimentalism the slowly dying tradition of the noble provincial estate. For Zhukovsky it was less about idealising the tradition, more a record of architectual monuments of the past, particularly from the end of the 18th century to the first third of the 19th century. The preservation of buildings of architectual significance was much discussed among the intelligentsia of the day and written about in such journals as Stariye Gody and Stolitsa I Usadba. Zhukovsky was especially inspired by the rather naive and quirky houses designed by provincial peasant architects, their names sometimes unrecorded. Such buildings were modelled after classical town architecture, but were often constructed out of wood, with stone decorative elements like white marble porticos. Often he would paint the same building from several different viewpoints, or repeat a similar view in a different season or time of day, highlighting the importance of nature's role in the artistic whole. The offered lot is one of two recorded, one painted in Spring, this one in Winter. Known only from a pre-revolutionary postcard, illustrated by Gorelov, M.I. Stanislav Ulianovich Zhukovsky, Moscow, 1982, p. 247, and listed by the author as 'whereabouts unknown'' it is to be considered a rediscovery. 77. 3000-5000 --- =5 ?@>40= Ivan Alekseevich Vladimirov, 1869-1947 view of pskov signed l.r., dated 1923 and further inscribed Pskov oil on canvas 36 by 64 cm., 14 by 25 1/4 in. 1000-1500 --- =5 ?@>40= Sergei Arsenievich Vinogradov, 1869-1938 lighting the candle signed l.r. and dated 1925 charcoal & pencil on paper 22 by 16 cm., 8 3/4 by 6 1/4 in. 8000-12000 ---9000 Sergei Arsenevich Vinogradov, 1869-1938 peasant women conversing signed l.l. and dated '12 oil on canvas 97 by 80 cm., 38 by 31 1/2 in. The reverse with partially effaced exhibition label: Vystavka Kartin Soyuz russkikh khudozhnikov 80. 6000-8000 --- =5 ?@>40= Andrei Afanasievich Yegorov, 1878-1954 tea in the market place signed l.l. gouache on paper 48.5 by 64.5 cm., 19 by 25 1/2 in. 10000-15000 --- 12000 Fedot Vasilievich Sychkov, 1870-1958 winter games signed l.r. and dated 1900 oil on canvas laid on board 52.5 by 72 cm., 20 3/4 by 28 1/2 in. 8000-10000 --- =5 ?@>40= Vadim Mikhailovich Shults, 1877-1928 the swing [kacheli] signed l.r. and titled in Russian l.l. oil on canvas 80 by 120 cm., 31 1/2 by 47 1/4 in. 4000-6000 --- 7200 Ivan Fedotovich Choultse, 1874-1939 sunset on the lake signed in Latin l.l. oil on canvas 54.5 by 65 cm., 21 1/2 by 25 1/2 in. 4000-6000 --- 10800 Ivan Fedotovich Choultse, 1874-1939 mountain cabin under snow signed in Latin l.r. oil on canvas 45.5 by 45.5 cm., 17 3/4 by 17 3/4 in. 8000-12000 --- 29250 Fedot Vasilievich Sychkov, 1870-1958 two young beauties at the well signed l.l. and dated 1928 oil on canvas 69 by 58 cm., 27 1/4 by 22 3/4 in. 2800-3500 --- 3360 Vyacheslav Pavlovich Bychkov, 1877-1954 roundabout at the country fair signed l.r. and dated 1916 oil on board 18 by 26 cm., 7 by 10 1/4 in. 8000-12000 --- =5 ?@>40= Nikolai Petrovich Bogdanov-Belsky, 1868-1945 the campfire signed in Latin l.l. and dated 1935 oil on canvas 71 by 88.5 cm., 28 by 34 3/4 in. 1500-2000 --- 1800 Philip Andreevich Maliavin, 1869-1940 centaur with crows mixed media 41.5 by 60.5 cm., 16 1/4 by 23 3/4 in. 4000-6000 --- =5 ?@>40= Alexei Mikhailovich Korin, 1865-1930 leaving the church signed l.l. and dated 1921 oil on board 38 by 39 cm., 15 by 15 1/4 in. 7000-9000 --- =5 ?@>40= Nikolai Petrovich Bogdanov-Belsky, 1868-1945 view of belgrade signed l.r. oil on canvas 59 by 89 cm., 23 by 35 in. 4000-6000 --- =5 ?@>40= Mikhail Markianovich Germanshev, 1869-1930 dusk over the mountain tops signed in latin l.r. oil on canvas 54.5 by 65 cm., 21 1/2 by 25 1/2 in. 3000-5000 --- =5 ?@>40= Nikolai Evgenievich Lanceray, early 20th century a group of three works: our dacha; view of remeslennaya street in borzhom; and village of turakovo in moscow gubernia, 1907 two signed l.l., one l.r. and dated from 1907 to 1937 two watercolours over pencil on paper and one watercolour on paper (3) size of smallest: 46 by 30 cm., 18 by 11 3/4 in. size of largest: 22 by 35 cm., 8 3/4 by 13 3/4 in. 14000-20000 --- 16025 Philip Andreevich Maliavin, 1869-1940 nude with satyr signed l.r. oil on canvas 73 by 90 cm., 28 3/4 by 35 1/2 in. 6000-8000 --- =5 ?@>40= Philip Andreevich Maliavin, 1869-1940 summer fun in the fields signed in Latin l.l. oil on canvas 38 by 61 cm., 15 by 24 in. 30000-40000 --- 23500 Filip Andreevich Maliavin, 1869-1940 portrait of andrei ivanovich maliavin (1848-1921) the artist's father signed in Russian and latin oil on canvas 177 by 134.5 cm.; 69 3/4 by 53 in. Painted in 1894, according to the 1933 Prague exhibition catalogue. There is another version of this work in the Museum of Ashkhabad in Kazakstan. Exhibited: Exhibition of paintings by Maliavin in Prague, 1933 and Nice, 1934. 96. 7000-9000 --- =5 ?@>40= Philip Andreevich Maliavin, 1869-1940 self portrait of the artist with his family signed in Latin l.r. oil on canvas 45 by 63.5 cm., 17 3/4 by 25 in. 1000-1500 --- 600 Philip Andreevich Maliavin, 1869-1940 caricature of king gustav v of sweden on the tennis court signed in Latin l.r. pencil and crayon on paper 42 by 30 cm., 16 1/2 by 11 3/4 in. 7000-9000 --- =5 ?@>40= Nikolai Petrovich Bogdanov-Belsky, 1868-1945 portrait of an english guards officer signed l.r. oil on canvas 130 by 95 cm., 51 by 37 1/2 in. 12000-16000 --- 17750 Boris Mikhailovich Kustodiev, 1878-1927 portrait of emperor nicholas ii alexandrovich signed l.r. and dated 1916 watercolour and gouache over pencil on paper 38.5 by 33.5 cm., 15 1/4 by 13 8000-10000 --- 9600 Nikolai Semenovich Samokish, 1860-1944 trotting buggy signed l.r. oil on canvas 81 by 106 cm., 32 by 41 3/4 in. 8000-10000 12 575 Nikolai Semenovich Samokish, 1860-1944 the grey signed l.l. oil on canvas 88 by 125.5 cm., 34 1/2 by 49 1/2 in. 15000-20000 --- 55700 Konstantin Alexeevich Korovin, 1861-1939 young ladies gathering flowers signed l.l. and dated 1921 oil on canvas 88 by 66 cm., 34 1/2 by 26 in. 15000-20000 --- 55700 Konstantin Alexeevich Korovin, 1861-1939 young girl in an interior signed in Latin l.r and dated 1911 oil on canvas 80 by 65.5 cm., 31 1/2 by 25 3/4 in. 5000-7000 --- =5 ?@>40= Alexander Altmann, 1855-1922 golden autumn signed in Latin l.l. oil on canvas 65 by 81 cm., 25 1/2 by 32 in. 3000-5000 --- =5 ?@>40= Alexei Vasilievich Gritchenko, 1883-1977 la bigouden dans les rochers signed in Latin l.r. oil on board 73 by 100 cm., 29 by 39 1/4 in. 3000-5000 --- 5040 Alexander Altmann, 1885-1922 blue mountains signed in Latin l.l. oil on canvas 60 by 73 cm., 23 3/4 by 28 3/4 in. 3000-5000 --- =5 ?@>40= Alexei Vasilievich Gritchenko, 1883-1977 langoustines signed in Latin l.l. oil on board 49.5 by 65 cm., 19 1/2 by 25 1/2 in. 8000-12000 --- 9600 David Davidovich Burliuk, 1882-1867 by the river signed l.l. oil on canvas 47 by 68 cm., 18 1/2 by 26 3/4 in. 5000-7000 --- =5 ?@>40= Arnold Borisovich Lakhovsky, 1880-1937 the church of st michel, quimperle signed in Latin l.r. and dated 1929 oil on canvas 73 by 60 cm., 28 3/4 by 23 3/4 in. 30000-40000 --- 97000 Robert Rafailovich Falk, 1886-1958 summer time signed l.r. oil on canvas 64 by 91 cm., 25 1/4 by 35 3/4 in. Falk studied in the studios of Yuon, Duddin and Mashkov, and at the Moscow School of Painting, Sculpture and Architecture under Serov and Korovin. A founder member of the Knave of Diamonds group, his early work was strongly influenced by the 'Moscow Impressionism' of his teachers, and is noted for the stability of the compositions and the harmonious, restrained colours. This evolved into a more cubist style with flashes of Fauve colour. He also participated in exhibitions with the Golden Fleece, and Izbedsky's Salons and joined the World of Art. He twice had solo exhibitions at the Tretyakov Gallery (1924 and 1925) but was later to fall foul of the authorities and for many years was unable to exhibit and association with him was a little perilous. Throughout the fifties he was a major influence on the emerging generation of non-conformist artists. 111. 3000-5000 --- 10560 Konstantin Alexeevich Korovin, 1861-1939 corner cafes in paris, c. 1930 signed in Latin l.l. and inscribed Paris oil on board 33 by 41 cm., 13 by 16 in. The reverse stamped K.A.Korovin in Russian. 3000-5000 ---12000 Konstantin Alexeevich Korovin, 1861-1939 selling flowers by the cafe, c. 1930 signed in Latin l.l. and further inscribed Paris oil on board 32.7 cm by 41 cm., 13 by 16 in. The reverse with studio stamp. 3000-5000 ---12 575 Konstantin Alexeevich Korovin, 1861-1939 nocturnal view of paris, c. 1930 signed in Latin l.l. and further inscribed Paris oil on board 33 by 41 cm., 13 by 16 in. 3000-5000 --- 11400 Konstantin Alexeevich Korovin, 1861-1939 view of nightlife on rue venis, paris signed in Latin l.r., inscribed in the artist's hand on the reverse, Paris, 1932, rue Venis oil on board 41 by 33 cm., 16 by 13 in. 3000-5000 --- 13725 Konstantin Alexeevich Korovin, 1861-1939 hotel on a parisian boulevard, c.1930 signed in Latin l.l. oil on board 41 by 33 cm., 16 by 13 in. 4000-6000 --- =5 ?@>40= Grigori Alexandrovich Lapshin, fl.1915-1925+ gypsy night signed l.r. in Latin G. Lapshine and dated '46 oil on board 71.5 by 77 cm., 28 by 30 1/4 in. The reverse applied with poster: Salle Chopin - Pleyel, Vendredi 4 Mai 1946, Concert et Divertissement Choregraphique Nuit Tzigane, Tableau Musical Mis en Scene en Costumes et Decor G. Lapchine. 12000-18000 --- 12000 Konstantin Alexeevich Korovin, 1861-1939 stage design for le corsair signed l.l., dated 1892 and further inscribed indistinctly oil on board approx 27.5 by 20.5 cm., 10 3/4 by 8 in. Provenance: Collection of Ivan Kraitor, friend of the artist Collection of Mr Pierre Annenkoff, Paris Private Collection, Brussels 200000-300000 --- 443 500 Zinaida Evgenievna Serebriakova, 1884-1967 the russian bathhouse signed in Latin l.l. and dated 1926, the reverse twice marked with ink atelier stamp and with inventory number 2414 oil on canvas 137 by 81 cm., 54 by 32 in. Provenance: The Serebriakova Foundation Coming as she did from a famously talented artistic family - her father was the celebrated 19th century sculptor Evgeny Lanceray and her uncle Alexandre Benois - it was not until 1910 that Zinaida Serebriakova first came to prominence for her own artistic talents. This year saw the exhibition of her most famous painting, Self-Portrait: Woman at the Mirror, which was universally admired and quickly acquired by the Tretyakov Gallery. This strong statement of sexual and artistic self-confidence by the artist in her mid-twenties hints at future essays in the intimate depiction of female sexuality and in the representations of herself, usually as an artist with the tools of her trade (see lot 120). The sunny optimism of her self-portraits hides a background with more than its fair share of personal tragedies: her father Evgeny died when she was only two years old, forcing the family from their country retreat of Neskuchnoye, Kursk Province, to the city life of St. Petersburg. And later, she was to tragically lose her husband to typhus in 1919, leaving her alone with four young children in a troubled time of intense political instability, economic depression and the aftermath of world war and revolution. Serebriakova had first travelled to Paris as a student with her husband Boris, and they enjoyed discovering the city together, she through her paintings and he through his photography of the street-life and architecture. In 1924 she left Russia heading for Paris, a city she knew and where she felt she could earn a living through her painting. This later trip was not without its traumas as she had to leave all her children behind in St. Petersburg. Initially intended as a short trip she decided to settle in Paris, and had her two younger children join her several years later. Lacking immediate artistic contacts and thus unable to sell her work, she earned her living by painting portraits of the Parisian nobility, a necessity she did not entirely enjoy, for it was the depiction of the intimacy and warmth of family life at which she really excelled at. The mark of her individual talent, her style, her canvasses characterised by thick sensual brushstrokes and her pastels, with lively, spontaneous lines of pure colour with few corrections, remained constant throughout her career. The chosen subjects in the 1910s of family life, the female nude, self-portraiture, culinary still-lives and landscapes, remain an on-going preoccupation in emigration. Her daughter Catherine (Katya) regularly modelled for her mother (see lots 119, 121 and 122) producing some of the most erotic and sensuous nudes in Russian art. The Russian Bathhouse, (lot 118) is to be considered one of her most important canvases for complexity of its composition and should be compared with her famous earlier canvas on the same subject in the State Russian Museum, St. Petersburg (fig. 1). The seven offered works are being sold by the artist's daughter Catherine to benefit the Serebriakov Foundation in Paris. The aim of the Foundation is to protect, exhibit and catalogue all of the works of art in the possession of the family - including works by Alexandre Serebriakov, Alexandre Benois, Evegeny Lanceray and Catherine Serebriakova, herself a talented artist. It will also document the history of the family and explore that of Russian emigration in Europe. 20000-30000 --- 75 000 Zinaida Evgenievna Serebriakova, 1884-1967 dreaming nude signed in Latin l.r. and further inscribed Paris 1934, the reverse of the mount with ink atelier stamp and with inventory number 2537 pastel on paper 45.5 by 60.5 cm., 18 by 23 3/4 in. Provenance: The Serebriakova Foundation Exhibited: The Russian Embassy, Paris, 20-25th March 1995, illustrated in ex cat.: Zinaida Serebriakova, Russian Alliance, Paris, 1995, p.27 120. 40000-60000 --- 46500 Zinaida Evgenievna Serebriakova, 1884-1967 self portrait with palette signed in Latin t.l. and dated 1938, the reverse marked with the atelier stamp on the stretcher and canvas, and with the number 2248 oil on canvas 73.5 by 60.5 cm., 28 3/4 by 20 3/4 in. Provenance: The Serebriakova Foundation 50000-70000 --- 212500 Zinaida Evgenieva Serebriakova, 1884-1967 sleeping nude with red shawl signed in Latin l.l. and further inscribed Paris, 1930, the reverse with ink atelier stamp and with inventory number 2367 oil on canvas 65 by 92 cm., 25 1/2 by 36 1/4 in. Provenance: The Serebriakova Foundation 50000-70000 --- 218000 Zinaida Evgenievna Serebriakova, 1884-1967 reclining nude on a blue ground signed in Latin l.l. and dated 1927, reverse with ink atelier stamp, and with inventory number 2331 oil on canvas 65 by 81 cm., 25 1/2 by 32 in. Provenance: The Serebriakova Foundation Exhibited: The Russian Embassy, Paris, 20-25th March 1995, illustrated in ex cat.: Zinaida Serebriakova, Russian Alliance, Paris, 1995, p.9 25000-35000 --- 113500 Zinaida Evgenievna Serebriakova, 1884-1967 the basket of sardines signed in Latin l.r. and dated 1930, the reverse with ink atelier stamp and inventory number 2271 oil on canvas 60 by 73 cm., 23 1/2 by 28 3/4 in. Provenance: The Serebriakova Foundation 20000-30000 --- 46500 Zinaida Evgenievna Serebriakova, 1884-1967 basket with beetroot, artichoke and pears signed in Latin l.l. and dated 1932, marked with ink atelier stamp on the reverse of the canvas and the stretcher, and with the inventory number 2256 oil on canvas 73 by 60 cm., 28 3/4 by 23 1/2 in. Provenance: The Serebriakova Foundation 12000-18000 ---22350 Boris Dmitrievich Grigoriev, 1886-1939 french provincial town signed in Latin l.l. oil on canvas 54.5 by 65 cm., 21 1/4 by 25 1/2 in. 6000-8000 --- =5 ?@>40= Nikolai Ivanovich Vasiliev, 1887-1970 still life with bouquet of flowers and fruit, c.1925 signed l.l. oil on canvas 56.5 by 73.5 cm., 22 1/4 by 28 3/4 in. Provenance: Acquired in 1999 by the present owner from the Doyle Galleries, New York 2500-3500 --- =5 ?@>40= Nikolai Alexandrovich Tarkhov, 1871-1930 black cat on the window rail signed in Latin l.l. pencil and watercolour on paper 63 by 47 cm., 24 3/4 by 18 1/2 in. 8000-12000 --- 30400 Boris Dmitrievich Grigoriev, 1886-1939 still life with apples, vegetables and bread signed in Latin l.l. oil on canvas 61 by 73.5 cm., 24 by 29 in. 3000-4000 --- 4800 Adolf Feder, 1886-1943 culinary still life signed in Latin l.r. oil on canvas 73 by 60.5 cm., 28 3/4 by 23 3/4 in. 6000-8000 --- 7200 Adolf Feder, 1886-1943 the watercarrier signed l.l. oil on canvas 114 by 82 cm., 45 by 32 1/4 in. 7000-10000 --- =5 ?@>40= Boris Solotareff, 1889-1966 pensive nude, c.1930 signed in Latin l.r. watercolour on paper 59 by 48 cm., 23 1/4 by 19 in. Provenance: The Estate of the Artist, New York Private Collection, New York Solotareff trained initially in Odessa, then at the Akademie der Bildenden Kunst in Munich. In the 1920s he moved to Paris where his earlier interest in landscapes gave way to a new preoccupation with the human figure. By the late 20s and early 30s initial forays into the fashionable fauve style were abandoned for more clean, elongated forms where his command of draughtmanship excelled. Solotareff emigrated to New York in 1937. Works by Solotareff can be found in the Musee du Luxembourg, Paris, San Francisco Museum of Art and the Metro-politan Museum of Art, New York. 132. 5000-7000 --- =5 ?@>40= Boris Solotareff, 1889-1966 seated nude with red drape signed in Latin l.l., the reverse inscribed B. Solotareff, 9 rue du Val de Grace, Paris V. watercolour and charcoal on paper 72.5 by 52 cm., 28 1/2 by 20 1/2 in. Provenance: Estate of the Artist, New York Private Collection, New York The work is visible on an easel beside the artist in a contemporary photograph in Solotareff's studio, published in: Boris Solotareff, 1889-1966, A Retrospective, Borghi & Co., New York, 1990 133. 1500-2000 --- 3360 Alexander Evgenievich Yakovlev, 1887-1938 boemi, chef avungura (niangara) haut ouelle signed and indistinctly dated l.r. coloured chalk on paper 74 by 54 cm., 29 by 21 1/4 in. 3000-4000 --- 2400 Boris Solotareff, 1889-1966 self-portrait signed t.r., dated 1922 and further inscribed Paris watercolour on paper 33 by 26 cm., 13 by 10 1/4 in. Provenance: The Estate of the Artist, New York Private collection, New York 135. 3000-5000 --- =5 ?@>40= Boris Solotareff, 1889-1966 the lamentation of christ signed in Latin l.r. watercolour over pencil on paper 40 by 59 cm., 15 3/4 by 23 in. Provenance: The Estate of the Artist, New York Private Collection, New York 1500-2000 --- 720 Alexander Evgenievich Yakovlev, 1887-1938 portrait of maria petrovna bakst signed in Latin l.r. sanguine on paper 42 by 32.5 cm., 16 1/2 by 12 3/4 in Provenance: Sold Drouot-Richelieu, 30th March 1995, lot 205 Private Collection, New York 2000-3000 --- 2160 Artur Vladimirovich Fonvizin, 1882-1973 still life with flowers and lacquer tray signed l.r. watercolour on paper 42 by 31 cm., 16 1/2 by 12 in. 120000-180000 --- 256 500 Vladimir Baranov-Rossine, 1888-1942 l'apocalypse verte, c.1912 oil on canvas 130 by 161.9 cm., 51 by 63.Nin. Exhibited: London, Rutland Gallery, Vladimir Baranoff-Rossine, 1970, no.48 Paris, Galerie Verneuil Saints Peres, Baranoff-Rossine, 1888-1944, 1984, no. 25 Literature: P. Breuillard-Limondin and M.J. Mausset, Baranoff-Rossine, Paris, 1979-80, illustrated p.86 Baranov-Rossine's L'Apocalypse Verte or Green Apocalypse, is an excellent example of an early European Modernist painting by a Russian avant-garde artist whose work is currently in the process of being fully re-discovered. Born in the Ukraine, Rossine trained initially in Odessa alongside Nathan Altman, whom he was to meet again in Paris in the 1910s and in St. Petersburg after the Revolution. He then spent four years at the Imperial Academy of Arts in St. Petersburg, his studies culminating in his participation in two major avant-garde exhibitions, Zveno (The Link) in Kiev, and Venok (The Wreath), in 1909. He left Russia in 1910 for Paris where his love of artistic experimentation meant that he was at home amongst the most forward-looking artists of the day. It was a period when cubism was wrestling with the increasingly out-moded Fauve style, and artists such as Braque and Leger were in ascendance. Rossine's experimentation led him to try his hand at sculpture as well as painting, and he was noted for his use of highly innovative forms and materials, such as eggshells, which were to inspire his contemporary and fellow Ukrainian, Abram Arkhipenko (1862-1930). The artist's concern with sculpture is discernible in L'Apocalypse Verte in the corporeal rendering of the central Venus figure and the dying souls and horses; but the work is most significant for its examination of the roles of colour and light. From 1909 he took a special interest in the properties of colour and light and their problematic representation on canvas, a preoccupation that was central to the modernist movement. Whilst in Paris he became closely acquainted with Robert and Sonya and Delaunay and was inspired by their experiments with colour, especially their disques solaires simultanes. The influence of Francis Kupka can also be seen in the offered lot with the sun disk issuing rays of blue, green, yellow and red, creating further geometric shapes across the full surface of the canvas. 5000-7000 -- 4560 Mikhail Fedorovich Larionov, 1881-1964 reclining nude signed in Latin l.l. oil on board 14 by 18.5 cm., 5 1/2 by 7 1/4 in. 140. 4000-6000 --- 4200 Marie Vassilieff, 1884-1957 young woman by the sea signed in Latin l.r. and further inscribed Paris oil on canvas laid on card 42 by 32 cm., 16 1/2 by 12 1/2 in. 5000-7000 --- =5 ?@>40= Alexander Grigorievich Tyshler, 1889-1980 the old birch tree signed l.r. and dated '58, and signed twice on reverse with title oil on panel 27.5 by 32 cm., 10 3/4 by 11 1/2 in. 40000-60000 --- 71 700 Alexander Grigorievich Tyshler, 1898-1980 from the series 'world of all worlds' [blagoveshcheniye] signed l.l. and dated '76 oil on canvas 100.5 by 100 cm., 39 1/2 by 39 1/4 in. 6000-8000 --- 9000 Sergei Yurievich Sudeikin, 1882-1946 the cotton club, harlem signed l.r., the reverse with estate stamp and authentication by the artist's widow, Mrs Jeanne Soudeikine, New York, 1975 oil on card, 46 by 61 cm., 18 by 24 in. Provenance: The Estate of the Artist Private Collection, Germany 4000-6000 --- 4560 David Davidovich Burliuk, 1882-1967 conversation piece with horse signed in Latin l.l. oil on canvas on board 30 by 40 cm., 12 by 15 3/4 in. 2500-3500 --- 3000 David Davidovich Burliuk, 1882-1967 little sleigh scene signed in Latin l.r., dated 1966 and numbered 84 oil on canvas laid on panel 20.5 by 25.5 cm., 8 1/4 by 10 in. 2500-3500 --- =5 ?@>40= Alexander Grigorievich Tyshler, 1809-1980 vase of flowers signed l.r. and dated 1963 gouache on paper 63 by 47 cm., 25 by 18 3/4 in. 100000-130000 --- 52250 Alexander Grigorievich Tyshler, 1898-1980 from the series 'world of all worlds' [blagoveshcheniye] signed l.r. and dated '77 oil on canvas 100 by 130 cm., 39 1/4 by 51 1/4 in. 7000-9000 --- =5 ?@>40= Alexander Grigorievich Tyshler, 1898-1980 seated angel signed l.l. and dated '60 oil on board 33 by 22.5 cm., 13 by 8 3/4 in. 4500-6500 --- 10200 Alexander Nikolaevich Benois, 1870-1960 a group of seven drawings comprising views of lugano and sorrento four signed, five dated from 1908-1913 five watercolour, four of them heightened with gouache on paper, one with charcoal and two ink on paper (7) size of smallest: 19 by 26.5 cm., 7 1/2 by 10 1/2 in. size of largest: 27 by 39.5 cm., 10 1/2 by 15 1/2 in. 3000-4000 --- 6600 Natalia Sergeevna Goncharova, 1881-1962 saint luke, from the series liturgy signed t.r. and in pencil l.r. and titled l.l. pochoir on paper 61 by 43.5 cm., 24 by 17 in. 50000-70000 --- 71700 Natalia Sergeevna Goncharova, 1881-1962 still life with acanthus signed t.r. and dated 1920 oil on canvas 92 by 65 cm., 36 1/4 by 25 1/2 in. 6000-8000 --- 8400 Anatoly Afanasievich Arapov, 1876-1949 a design for the yellow kaftan signed with initials l.l. oil and tempera on canvas 48 by 66.5 cm., 19 by 26 in. Arapov designed for several theatres including the Moscow Arts Theatre and the V.F.Komissarzhevsky Theatre. He exhibited at Diaghilev's Salon d'Automne show in Paris in 1906, and as a member of the Blue Rose group ehxibited with them in 1907, as well as with the World of Art in between 1911-1913, and 1917. His designs include the 1916 production of Tairov's Pierrette's Veil and A.K.Tolstoy's The Mayor at the Maly Theatre, Moscow. A naive and sentimental fairy tale about a little prince the Yellow Kaftan was a 1913 production at the Free Theatre by Tairov who wished to capture the nature of the Chinese theatre without copying Chinese methods. The sets and costumes were designed by Arapov who had already been introduced to the Chinese theatre when visiting Vladivostok as a student. 153. 800-1200 --- =5 ?@>40= Natalia Sergeevna Goncharova, 1881-1962 kokoshnik made for the coq d'or embroidered with glass pastes, rhinestones, sed pearls and mother-of-pearl sequins on a fabric base over a wire frame height: 23.5 cm., 9 1/4 in. Serge Diaghilev's Ballet Russes production of Le Coq D'Or was first performed at the Theatre National de L'Opera in Paris on 24th May 1914. The costumes and decor were by Natalia Goncharova, choreography by Fokine, and the music by Rimsky-Korsakov. In his memoires, Fokine recalls 'Goncharova, together with Larionov love Le Coq D'or so much that they decorated and painted the sets themselves and every element of the stage. It was a work of art!' The designs for Le Coq D'or proved a spectacular success and were instumental in establishing Goncharova's reputation. Similar kokoshniks are depicted in a design for the curtain of Le Coq D'or by Goncharova reproduced in R.Buckle In Search of Diaghilev, London 1955, pp. 40-41. 154. 4000-6000 --- 6000 Ivan Yakovlevich Bilibin, 1876-1942 illustration for russian skazka signed l.l. and dated 1900 watercolour and ink on paper 23 by 17.5 cm., 9 by 6 3/4 in. 156. 2000-3000 --- =5 ?@>40= Mstislav Valerianovich Dobuzhinsky, 1875-1957 a group of three costume designs for manon all signed with device l.r., dated 1938, and further inscribed Paris watercolour over pencil on paper (3) each approx: 31.5 by 24 cm., 12 1/4 by 9 1/2 in. Provenance: Estate of the Artist, USA 2000-3000 --- =5 ?@>40= Mstislav Valerianovich Dobuzhinsky, 1875-1957 a group of three costume designs for boris godunov each signed with device l.r. and dated 1952/3 watercolour over pencil on paper each approx: 35 by 24.5 cm., 13 3/4 by 9 1/2 in. Provenance: The Estate of the Artist, USA The designs relate to the Metropolitan Opera Production of Boris Godunov. 800-1200 - 1080 Alexander Nikolaevich Benois, 1870-1960 costume design for the old sheik signed in full in Latin l.r., and dated 1938 and further inscribed with instructions pencil and watercolour heightened with silver on paper 37.3 by 26 cm., 14 1/2 by 10 1/4 in. Exhibited: Hazlitt, Gooden & Fox: Alexandre Benois 1870-1960-Drawings for the Ballet 2nd to 30th May 1980 2000-2500 --- =5 ?@>40= Adolf Zardinsh Latvian, 1890-1967 two watercolour designs with harlem scenes one signed l.m. and dated 1939, the other signed l.l. and dated 1936 watercolour over pencil on paper (2) 32.5 by 24 cm., 12 3/4 by 9 1/4 in. 35.5 by 28 cm., 14 by 11 in. 1500-2000 --- =5 ?@>40= Elena Lyudvigovna Korovai, 1900-1974 collage: casino-theatre, 1932 signed with initial l.r. mixed media 29 by 22.5 cm., 11 1/4 by 8 3/4 in. 4000-6000 --- =5 ?@>40= Alexander Grigorievich Tyshler, 1898-1980 crash landing watercolour and pencil on paper 23.5 by 19.5 cm., 9 1/4 by 7 1/2 in. 2000-3000 --- =5 ?@>40= Irina Valerianova Steinberg, 1905-1985 two watercolours: chaikhaniya and descending from the automobile both signed l.r. and one dated 1929 watercolour over pencil on paper (2) 30 by 25.5 cm., 11 3/4 by 10 in. 32 by 19.5 cm., 12 1/2 by 7 3/4 in. 2000-3000 --- 1800 Pavel Fedorovich Tchelichev, 1898-1957 my champion signed l.r. and dated 24 pencil and ink on paper 47.5 by 37 cm., 18 3/4 by 14 1/2 in. 3500-5000 --- =5 ?@>40= Alexander Grigorievich Tyshler, 1898-1980 female head signed l.r. and dated 1969 felt tip on paper approx: 53.5 by 42 cm., 21 by 16 1/4 in. 4000-6000 --- =5 ?@>40= Ossip Zadkine, 1890-1967 the guitar player signed in Latin l.l. and dated '57 pencil and ink on paper 62 by 47 cm., 24 1/4 by 18 1/2 in. 5000-7000 --- 9000 Solomon Benediktovich Telingater, 1903-1969 collage, c.1927 signed l.r. mixed media on paper 34.5 by 21 cm., 13 1/2 by 8 1/4 in. Exhibited: The Jewish Museum, New York, Russian Jewish Artists in a Century of Change, 1890-1900, September 1995-January 1996 Elvehjem Museum of Art, University of Wisconsin, Madison, March 16-May 19, 1996 2500-3500 --- 2880 Nikolai Fedorovich Denisovsky, 1901-1979 vladimir mayakovsky and ossip brik signed l.r. collage, pencil and ink on paper 33 by 23 cm., 13 by 9 in. 2000-3000 --- =5 ?@>40= Kirill Mikhailovich Zdanevich, 1892-1969 cubo-futurist figure pencil and india ink on paper 31.5 by 25 cm., 12 1/4 by 9 3/4 in. Provenance: Acquired by the present owner from Rachel Adler Fine Art, New York, 1995 10000-15000 --- =5 ?@>40= Mikhail Vasilievich Matiushin, 1861-1934 still life with flowers watercolour on paper 27 by 36 cm., 10 1/2 by 14 1/4 in. Provenance: Acquired from the widow of the artist, O. Gromosova-Matiushina by Gallery Gmurzynska, Cologne Private Collection, New York 12000-18000 --- =5 ?@>40= Ivan Kliun, 1873-1942 still life, c. 1926 signed l.r. pencil on paper 29.5 by 35 cm., 11 3/4 by 13 3/4 in. Provenance: Collection of George Costakis Private Collection, New York 5000-7000 --- =5 ?@>40= Alexander Konstantinovich Bogomazov, 1880-1930 samovar signed in ink l.r., dated 1916, and titled in Russian charcoal on paper 29 by 19.5 cm., 11 1/2 by 7 1/2 in. 10000-15000 --- =5 ?@>40= Iakov Chernikhov, 1889-1951 architectural design, no.56 with inscriptions t.l. and l.l. ink and pencil on paper 30 by 24.2 cm., 12 by 9 1/2 in. Provenance: Acquired by the present owner directly from the grandson of the artist. The work is sold with a written authentication by the artist's grandson, dated 8th August 1990. 173. 8000-12000 --- =5 ?@>40= Anatoli Adrianovich Lebedev-Shusky, 1896-1978 still life with black shoe and yellow hat box, c.1920 oil on canvas 52.5 by 79 cm., 20 3/4 by 31 in. 25000-35000 --- 26950 Vyacheslav Vladimirovich Pakulin, 1900-1951 still-life with lamp and mirror signed l.l. and dated 14/9/1920 oil on canvas 88.5 by 72 cm., 35 by 28 1/4 in. 25000-35000 --- 64900 Dmitri Krapivny, 1904-1940 filonov's horse, c.1926 oil on canvas 162 by 132 cm., 63 3/4 by 52 in. Provenance: Acquired by the present owner from Victor Kholodkov in 1992. The work is illustrated in a Soviet Publication, Panorama Iskusstv 13, p.121 2000-3000 --- =5 ?@>40= Alexei Alexeevich Morgunov, 1884-1935 bathing a beauty signed on reverse watercolour on paper 21.5 by 17.5 cm., 8 1/2 by 7 in. 3000-5000 --- =5 ?@>40= Valeri Sergeevich Alfeevsky, 20th century two parkland landscapes each signed l.l. and dated '60 and '77 watercolour and ink on paper (2) 33.5 by 48 cm., 13 1/2 by 19 in. 33.5 by 43.5 cm., 13 1/4 by 17 1/4 in. 3500-4000 --- =5 ?@>40= Boris Dmitrievich Grigoriev, 1886-1939 west indian street scene signed in Latin l.l. gouache on paper 37 by 51 cm., 14 1/2 by 20 in. 6000-8000 --- 14300 Boris Dmitrievich Grigoriev, 1886-1939 skomorokhi [the buffoons] signed l.r. and dated 1916 mixed media on card 40.5 by 53.5 cm., 15 3/4 by 21 in. 3000-4000 --- 3360 Mikhail Fedorovich Andreenko, 1894-1892 abstract composition signed in Latin l.l. mixed media on board 26 by 34 cm., 10 1/4 by 13 1/4 in. 4000-6000 --- 4800 Anatoly Timofeevich Zverev, 1931-1986 still-life with bottles signed t.r. and dated '58 mixed media on paper 56 by 39 cm., 22 by 15 in. Provenance: Collection of George Costakis Collection of Alexander Glezer Private Collection, New York Exhibited: Exhibition of the Collection of Alexander Glezer, The Pushkin State Museum, Moscow, 1995, illstrated in ex. cat. published by Tretya Volna, Moscow, Paris, New York, p.39 182. 10000-15000 ---9600 Leopold Lvovich Survage, 1879-1968 rythme colore signed l.r. and dated '13 watercolour and gouache on paper 29.8 by 26 cm., 11 3/4 by 10 1/4 in. Provenance: Sotheby's, Russian 20th Century and Avant-garde Art, London, 23rd May, 1990, lot 210 Lord's Gallery, London Executed as part of a series for the first abstract colour film, never realised, by Gaumont in 1913. 5000-7000 --- 4800 Alexander Zakharov, b. 1960 flying pike, 1989 oil on canvas 120 by 157 cm., 47 by 61 3/4 in. 7000-10000 --- =5 ?@>40= Anatoly Tikhonovich Krynsky, b.1937 love triangle signed in Latin l.r., dated 1978 and further inscribed NY oil on canvas 99.5 by 80 cm., 39 1/4 by 31 1/2 in. Provenance: Acquired by the present owner directly from the artist, New York Literature: Ukrainian-born Krynsky trained at the Kharkov Institute of Fine Art. He emigrated to the US during the Soviet period where he continued to work and exhibit regularly in New York and Washington. He also mounted solo exhibitions in Europe and Russia. 185. 3000-5000 --- =5 ?@>40= Vladimir Igorevich Yakovlev, b.1934 'all for glezer' signed u.r. gouache on paper 63.5 by 48 cm., 25 by 19 in. Provenance: Alexander Glezer Collection Private Collection, New York The portrait was painted by Yakovlev when Glezer returned from Paris and provided him with art materials whilst he was in a mental institution. 186. 5000-7000 --- =5 ?@>40= Lev Evgenevich Kropivnitsky, 1922-1994 person of distinction signed on the reverse, titled in Russian and dated 1988 oil on canvas 124.5 by 124.5 cm., 49 by 49 in. Provenance: Acquired by the present owner from the Margo Collection, New York 5000-7000 --- 4800 Lev Leonidovich Mezhberg, b.1933 bokhara signed in Latin l.r. and dated 1977 oil on canvas 88.5 by 101.5 cm., 35 by 40 in. Provenance: The Collection of Alexander Glezer Private Collection, New York See: ed. Alla Rosenfeld and Norton Dodge, Gulag to Glasnost, Non-conformist Art from the Soviet Union, London, p. 151, for a comparable painting by Mezhberg, Old City, in the Norton-Dodge Collection displayed in the Jane Voorhees, Zimmerli Museum, New Jersey. Mezhberg worked in Central Asia in the 1960s and found inspiration there for many later paintings. 188. 1800-2500 ---1800 Grigori Davidovich Bruskin, b.1945 alphabetical composition signed l.r and numbered 65/90 lithograph 61.5 by 47 cm., 24 1/4 by 18 1/2 in. 5000-7000 --- =5 ?@>40= Leonid Anatolievich Purygin, 1951-1995 she butterfly signed with engraved initialed cypher on base, dated 1988 gilt bronze height: 31.5 cm., 12 1/2 in. Provenance: Private Collection, USA Literature: Forbidden Art, The Postwar Russian Avant-garde, 1998, New York, p.220 For a similar sculpture see: Leonid Purygin, Moscow, 1992, p.115 Purygin's style is influenced by Russian folk art, European mythology and his own mysticism. I invent new animals so that our life on Earth should be merry. At the same time I love all living beings that have been around me since childhood: frogs butterflies, dragonflies, worms ... everything whose magic we don't notice but they are all a miracle in reality (Leonid Purygin, Moscow, 1992, p.199) 190. 5000-7000 --- =5 ?@>40= Leonid Anatolievich Purygin, 1951-1995 him: self-portrait signed with engraved initialed cypher on base, dated 1988 silvered bronze height: 35 cm., 13 3/4 in. Provenance: Private Collection, USA Literature: Forbidden Art, The Postwar Russian Avant-garde, 1998, New York, p.223 For a similar sculpture see: Leonid Purygin, Moscow, 1992, p.114 191. 20000-30000 --- =5 ?@>40= Leonid Sokov, b.1941 lenin and calder, 1994 signed on the reverse in Latin, and marked 1/6 bronze and painted metal 46 by 80 by 15 cm., 18 by 31 1/2 by 6 in. Provenance: Private Collection, New York Exhibited: Forsettiarte, Prato, Italy, 21st September 1994-11th February 1995 Literature: Ed. Palace Editions, Leonid Sokov, Greece, 2000, cat. no.377 Born and trained in Russia, Sokov actively participated in the unofficial art scene in Moscow in the 1970s before he emigrated to New York in 1980. There he became a leading exponent of Sots Art, which uses Socialist Realist art ironically to satirize Communist culture. More recently, the artist showed his work in the Russian Pavilion at the Venice Biennale, 2001 to great acclaim. His work is held in the Metropolitan and Guggenheim Museums in New York, the Centre Georges Pompidou, Paris and numerous Russian museums. 4000-6000 --- =5 ?@>40= Grigori Israilovich Tseitlin, 1911-1998 girl in a fur coat signed t.l. and dated 1962 oil on canvas 79 by 64 cm., 31 by 25 1/4 in. 4000-6000 --- =5 ?@>40= Andrei Gavrilovich Lisenko, b.1916 homework signed l.l.; inscribed on the reverse, A Lisenko and dated 1950 and titled oil on canvas 71 by 56.5 cm., 28 by 22 1/4 in. 4000-6000 --- 4800 Boris Ivanovich Tsetkov, 1893-c.1940 the commune mill signed l.l. and dated 1930 oil on canvas 138 by 88 cm., 54 1/4 by 34 1/2 in. 4500-5500 --- =5 ?@>40= Soviet School, mid 20th century kindergarten trip to see the new year celebrations, c.1940 oil on canvas 97 by 146 cm., 38 1/4 by 57 1/2 in. Provenance: Collection of the House of Culture [Dvorets Kultury] Lohvitsa Private Collection, New York 6000-8000 --- =5 ?@>40= David Davidovich Burliuk, 1882-1967 still life with flowers and josef vissarionovich signed in Latin l.l. oil on canvas 66.5 by 55.5 cm., 26 1/4 by 21 3/4 in. 5000-7000 --- =5 ?@>40= Grigori Izrailovich Tseitlin, 1911-1998 accordian interlude signed t.r. and dated 1949 oil on canvas 98.5 by 70 cm., 38 3/4 by 27 1/2 in. 3500-5000 --- =5 ?@>40= Olga Konstantinovna Deineko, 1897-1970 constructing the metro unsigned pencil and watercolour on paper 52 by 62.5 cm., 20 1/2 by 24 1/4 in. 40000-60000 --- =5 ?@>40= Boris Ivanovich Orlovsky (Smirnov), 1792-1837 an important massive marble bust of tsar alexander i pavlovich as a roman emperor, c.1823-29 height: 100 cm., 39 in. Provenance: Princess Zinaida Alexandrovna Volkonskaya, Palazzo Poli and Villa Volkonsky, Rome. Boris Ivanovich Orlovsky, together with Ivan Martos, Ivan Vitali and Baron Petr Klodt, is considered one of the founders of Russian sculpture. He came from less than humble origins, having been born a serf in 1792 in the provinceof Orel and was later given to the Boyarin V. Satilov from Tula. Between 1822-1829 Orlovsky travelled to Rome on an Academy scholarship where he worked under the Danish neo-classical sculptor Berthel Thorvaldsen, who was deeply impressed with his pupil. In 1829 Orlovsky returned to Russia from his period of study in Italy, and in 1831 was elected a member of the Russian Academy and later a professor in 1836. He produced several portraits of Alexander I throughout his career, three of which are in the Russian Museum, St.Petersburg; a terracotta of 1820, and a marble busts of 1822 and 1827, the latter being a large variant of Thorwaldsen's bust of 1820. He was also responsible for the sculptures on the plinth of the Alexander Column, Palace Square, St.Petersburg (1834). A colossal marble bust of Alexander I is recorded as having been commissioned from Thorvaldsen by Count Cappodistrias, the Corfiote nobleman who became Alexander's extraordinary Minister. According to Thorvaldsen himself his pupil Boris Ivanovich Orlovsky executed it in marble under his supervision. In a draft of a letter written by Thorvaldsen in 1827 to an unknown person of rank (possibly the Russian envoy in Rome) he writes: 'In the year 1820 I had the honour to do in Warsaw the bust of his Imperial Majesty Alexander of glorious memory, which I did from life as his majesty sat for me. I also had the commission from His Excellency Count Cappodistrias, Secretary of State, to reproduce this bust in enormous size. I did two actual size, but let the gigantic one to my apprentice Orlovsky who I recommended to His Majesty. This good young man has entirely lived up to my expectations as the gigantic bust carried out under my direction and executed in my studio hascome out so perfectly that I myself would not mind being the author.' This colossal bust is last recorded in 1933 when it was offered to the Thorvvaldsen's Museum. (See Else Kai Sass, Thorvaldens Portraetbuster, Vol II, Copenhage 1963-65, p.36). Boris Orlovsky is shown working on the offered massive bust of Alexander I in a drawing by M.T.Markov, previously in the collection of Sergei Borkin (See Baron N.Vrangel, History of Sculpture, [published in Igor Grabar History of Russian Art, Vol V], Moscow 1905, p.199). The bust referred to by Thorvaldesen as having been produced by Orlovsky for Count Cappodistrias is either the present example or the 1827 bust in the Russian Museum. Princess Zinaida Alexandrovna Volkonskaya (1789-1862) was the daughter of Ambassador Alexander Belozersky-Belozelsky, a noted scholar and art patron. She was attached as Maid of Honour to Queen Louise of Prussia in 1808. In 1810she married Prince Nikita Gregorievich Volkonsky (1781-1844) aide-de-camp of Alexander I. Together with her husband she accompanied Alexander I on his campaigns and his visits to London, Paris and Vienna, where she distinguished herself as an actress and singer. An intimate confidante and admirer of Alexander, she named her son after him when he was born in 1811. She maintained a lifelong friendship with Alexander and continued to correspond with him until his death. With the death of Alexander I and the tragic events of the December uprising on the 14th December 1825, Princess Volkonskaya settled in Rome where she resided during the winter months in the Palazzo Poli. The marble bust of Alexander was first acquired by the Princess for the Palazzo Poli. She later built the Villa Volkonsky (now the British Embassy), in the grounds of which she created a memorial garden in which she had placed the bust of Alexander on a circular plinth cut from the same granite as the Alexander Column. 200. 4000-6000 --- =5 ?@>40= Eugene Louis Lamy French, 1800-1890 a figure of a georgian guard bronze and gilt-bronze signed and dated 1844, with foundry mark of E. Quesnel the underside of the base applied with a paper label inscribed Paradnaya v Kremlevskom Dvortze, K.D.U 52 height: 50 cm., 19 3/4 in. 201. 20000-30000 ---23500 Mark Matveevich (Mordukhai Matysevich) Antokolsky, 1843-1902 the crossroads circa 1883 signed in Latin on the base, the reverse numbered 5 gilt bronze and ivory height: 77.5 cm., 30 1/2 in. The artist's original plaster model and an identical bronze are in the Russian Museum, St. Petersburg. (See, The Russian Museum, Sculpture 18th-Early 20th Century: Catalogue, Leningrad 1988, p.25, cat nos. 48 and 49.) Antokolsky was the first Jewish student to be accepted at the Imperial Academy of Arts, St. Petersburg, and the first Russian Jewish artist to achieve an international reputation. His early works dealt specifically with Jewish subjects but adverse criticism caused him to turn to Russian historical themes. In 1868 he was created an Academician at the specific request of Alexander II for whom he produced his famous Head of Ivan the Terrible. He participated at the first Wanderers exhibition of 1870. He received many awards throughout his life and was created a full member of the Academy in 1893. 202. 2500-3500 --- 3600 Evgeny Alexandrovich Lanceray, 1848-1886 an equestrian bronze: the cossacks' kiss on a shaped oval base, marked modelled by E.Lanceray height: 40 cm., 15 3/4 in. 203. 3000-5000 --- =5 ?@>40= F. Cornik, fl. late 19th century a bronze group: winter sleigh base marked in Latin F. Cornik, with foundry mark in Latin AR, mounted on a green marble stand length: 43 cm., 19 in. 204. 3000-4000 --- 7440 After Evgeni Alexandrovich Lanceray, 1848-1886 the imperial falconer, 1892 a bronze equestrian group, the base with impressed signature and dated '92 and foundry mark N. Schtange height: 48 cm., 19 in. 205. 2000-3000 --- 2400 Hanna Orlov, 1878-1968 the heron realistically modelled, the bird's tail inscribed Ch. Orloff height: 66 cm., 26 in. 206. 2000-3000 --- =5 ?@>40= A three piece gilt-bronze and hardstone desk set last quarter 19th century comprising a centre-piece of a recumbant bear watching over her cub, who is climbing up a hollow tree stump which forms the inkwell, on rectangular pink marble plinth on raised ball feet; a candlestick in the form of a hollowed tree with a mischievous cub, on similar square base, and a composite pen-rest and letter wrack formed as a hollowed trunk and further bearcub playing with a ball, on an elongated rectangular base with recess for pens (3) length of centre-piece: 39.5 cm., 15 1/2 in. 207. 2500-3500 --- =5 ?@>40= An elaborate gilt-bronze and malachite inkwell 19th century the rectangular malachite base supported on a gilt-bronze mount with four scroll feet, with gilt-bronze mounted glass inkwell and pounce pot, pen tray, letter stand, table bell and thermometer (2) 36 by 21 by 28 cm., 14 by 8 by 11 in. 208. 7000-9000 --- =5 ?@>40= A malachite vase c. 1850 the urn shaped vase on baluster support rising from a stepped octagonal base height: 40 cm., 15 3/4 in. 209. 4000-6000 --- =5 ?@>40= A gilt-bronze and malachite desk ornament c. 1820 naturalistically modelled with the sleigh pulled by three galloping horses; on a rectangular veneered malachite base length: 24.5 cm., 9 3/4 in. Compare with an identical model in the Hermitage, St.Petersburg (See V.B.Semenov, Malachite, Sverdlovsk 1987, cat. No.97) 210. 1000-1500 --- =5 ?@>40= A decorative bronze plaque late 19th century realistically cast in relief with a figure of a charging Tcherkess Warrior, galloping through a Caucasian landscape; inset in modern frame 30 by 35 cm., 12 by 13 3/4 in. 211. 2500-3500 --- =5 ?@>40= A Faberge silver cigarette case Moscow, circa 1910 the hinged lid of the rectangular case repousse and chased with elk, the reverse inscribed in German Successful Hunting from a Russian hunting colleague General J. von Miatleff, gilt interior, cabochon sapphire thumbpiece, marked K.Faberge in Cyrillic with Imperial warrant and 91 standard, also with scratched inventory number 17694 and struck with London import marks; within original fitted holly wood case, (2) 8by 6.7 cm., 3 1/4 by 2 3/4 in 212. 800-1200 - 780 Faberge, circa 1915 the circular dish chased with the Imperial Eagle and inscribed in Russian: War 1914 and Faberge height: 3 cm., 1 in.; diameter 11 cm., 4 1/4 in. 2500-3500 --- =5 ?@>40= A silver travelling inkwell Khlebnikov, St.Petersburg, late 19th century cube-shaped with a sprung hinged lid engraved with an E beneath a crown, the gilt interior containing original glass ink bottle within a spring-loaded compartment, sprung thumbpiece and swivelled catch, within original fitted leather case the bottom with stamp gilt manufacturer's mark (2) 6.4 by 6.4 by 6.4 cm; 2 1/2 by 2 1/2 by 2 1/2 in. 2500-3500 --- 5400 A Faberge silver, gold and translucent oyster enamel desk blotter Moscow circa 1900 enamelled translucent oyster over a guilloche ground, the swivelling upper plate with gold Greek key pattern border, applied with vari-coloured gold ribbin-tied laurel wreaths, marked K.Faberge in Russian with Imperial warrant, 88 standard and 56 standard, scratched inventory number 30299 Length: 8.8 cm., 3 1/2 in. 215. 6000-8000 --- 14300 A Faberge silver, gold, enamel and hardstone box Moscow, circa 1900 square, the silver cover enamelled translucent oyster over a guilloche ground and applied with vari-coloured gold swags of ribbon-tied foliage, the sides set with panels of rose quartz (possibly replaced), marked K.Faberge in Cyrillic with Imperial warrant, 84 standard and 56 standard,also with scratched inventory number 25942 Width: 8.8 cm., 3 1/2 in. 216. 700-1000 --- =5 ?@>40= A gold and translucent enamel pencil holder St. Petersburg, c.1900 enamelled translucent apple green over a guilloche ground, the border chased with leaf-tips, maker's mark apparently H.W. for Faberge workmaster Henrik Wigstrom length: 7.5 cm., 2 3/4 in. 217. 800-1200 --- 960 A Russian gold and translucent enamel parasol handle St. Petersburg, c.1900 the angular handle enamelled in translucent sky blue over a guilloche ground, with gold borders and rose quartz terminal, maker's initials apparently A.A. length: 7.5 cm., 2 3/4 in. 5000-8000 --- 14300 A Faberge nephrite and gilded silver photograph frame Workmaster Michael Perchin, St. Petersburg, c.1890 of rectangular shape with notched top and bottom, the carved nephrite panel applied with silver swags of ribbon-tied acanthus leaves, with ribbon-bow finial, marked with Cyrillic initials of workmaster, Faberge in cyrillic and 88 standard height: 15.2 cm., 6 in. 219. 10000-15000 --- 10800 Three miniature Easter egg pendants A Faberge jewelled guilloche gold and enamel egg, workmaster Henrik Wigstrom, St.Petersburg, circa 1900, the body of salmon coloured enamel set with four rose-cut diamonds, two flanked by green enamel leaf tips within opaque white enamel crossed bands, and further white double-borders, edged with gold, with gold suspension ring; A Faberge gold and bowenite egg, workmaster Erik Kollin, St.Petersburg, circa 1900, the bowenite body applied with gold flutes and with red stone terminal, gold suspension ring; a gold and translucent pale-blue and white enamelled egg, applied with a gold frieze and set with a cabochon sapphire, gold suspension ring, maker's mark apparently H.W., probably for Henrik Wigstrom (3) 2.5 cm.; 2.7 cm; 2.3 cm. 220. 1000-1500 --- 2400 A Faberge gold and jewelled buckle workmaster Henrik Winstrom, St.Petersburg, circa 1900 the reeded gold sides with diamond-set ribbon ties, marked with initials of workmaster, Faberge in Cyrillic and 54 standard length: 6.5 cm., 2 1/2 in. 221. 12000-15000 --- 13725 A Faberge silver and enamel kovsh Moscow, c.1910 the interior embossed with the Imperial Eagle on a white enamel ground, the front and the handle chased with foliage, also on a white enamel ground, the finial, prow, the handle and sides set with coloured, facetted 'jewels'' marked K.Faberge in Cyrillic with Imperial warrant and 88 standard, also with scratched inventory number 36095, contained in original, fitted holly wood case length: 19 cm., 7 1/2 in. Provenance: By direct descent from the original purchaser 222. 4000-6000 --- 13150 A Porcelain vase probably Imerial Porcelain Manufactory, St.Petersburg, circa 1840 in Empire style, the oviform body reserved with a rectangular panel of children at play dressing in their fathers wig and hat, on a burnished gold ground, the reverse with polychrome cellular ground above a moulded matt gold of upright feathers and leaves, the shoulders with two seated cupids, square gilt base, apparently unmarked height: 37 cm., 14 1/2 in. 223. 1000-1500 --- 1920 A porcelain Easter egg Imperial Porcelain Manufactory, mid 19th century modelled and painted with bouquets of polychrome flowers in relief on a white ground, the reverse in lilac and decorated with crossed gilt processional banners height: 9 cm., 3 1/2 in. 224. 2200-3000 --- 4200 A group of five porcelain Easter eggs Imperial Porcelain Manufactory, late 19th century a topographical view, signed with initials A.M., a sangue-de-boeuf egg together with three others cheerfully painted with flowers and berries (5) height of largest: 11 cm., 4 1/4 in. height of smallest: 10 cm., 4 in. 225. 1300-1800 --- =5 ?@>40= A group of five porcelain Easter eggs Imperial Porcelain Manufactory, late 19th century various pastel colours, four with flowers and one with Japanese design on a pink ground, two bearing the Easter greeting, Khristos Voskres'ye (5) height of largest: 10.5 cm., 4 in. height of smallest: 7.5 cm., 3 in. 226. 2000-2500 ---4800 Two finely painted porcelain Easter eggs Imperial Porcelain Manufactory, c.1890 Saint Sergei, full-length, the background with his monastery, after a design by Ossip Semenovich Chirikov; Saint Vladimir, full-length on a burnished gold ground with scrolls, after a design by Viktor Mikhailovich Vasnetsov (1848-1926), the reverse of each with a cross bound by a burnished gold band decorated with scrolling flowers, after a design by the architect Alexander Stepanovich Kaminsky (1829-1897) (2) height: 10.5 cm., 4 in.; 11 cm., 4 1/4 in. 1800-2200 --- =5 ?@>40= A group of three finely painted porcelain Easter eggs Imperial Porcelain Manufactory, late 19th century Saint Mark with burnished gilt border with bands of laurels, the reverse similarly painted; The Resurrection of the Saviour, burnished gold border and reverse, and a smaller egg with the Resurrection of the Saviour, the burnished gold border engraved with leaves en cisele (3) height of largest: 9 cm., 3 1/2 in. height of smallest: 7 cm., 2 3/4 in. 228. 1000-1500 --- 3120 A porcelain figure of a coachman Gardner Manufactory, c.1825 in a cobalt blue coat, on a square gilt base, underglaze blue manufacturer's mark height: 19.8 cm., 7 3/4 in. 1000-1500 --- 3120 A porcelain figure of a girl with basket Gardner Manufactory, c.1825 in a blue dress with flowered pinafore and kokoshnik headdress, underglaze blue manufacturer's mark, the base further inscribed in green overglaze No.2 93 height: 18.5 cm., 7 1/4 in. 1500-2000 --- 3600 Two porcelain figures of street vendors Gardner Manufactory and Private Manufactory, c.1820 both realistically modelled, the first as a tea vendor, holding a large tea gilt pot and chequered basket, with underglazed blue factory mark; the other as an itinerant kvass trader, apparently unmarked (2) height: 18.5 cm., 7 1/4 in.; 16 cm., 6 1/4 in. 231. 1200-1800 --- 3600 Two porcelain figures of a coachman and a spinner Gardner Manufactory, c.1850 and 2nd half 19th century the coachman in a grey tunic on a circular scrolled base, impressed mark; the seated spinner in a blue dress and black headscarf, impressed and stamped red factory marks (2) height: 18.5 cm., 7 1/4 in.; 13 cm., 5 in. 232. 1500-2000 --- 5400 Two porcelain figures Gardner Manufactory, late 19th century a bearded street vendor with basket on his head and a seated peasant drinking from a wooden kovsch, both with impressed and stamped red manufacturer's mark (3) height: 25.5 cm., 10 in.; 13.5 cm., 5 1/4 in. 1500-2000 --- 2400 Two biscuit porcelain figures, the Accordian Player and Seated Muzhik Gardner Manufactory, Moscow, late 19th century both realistically modelled, both with impressed and red overglaze factory mark (2) height: 18.5 cm., 7 1/4 in.; 17 cm., 6 3/4 in. 234. 1000-1500 --- =5 ?@>40= An unusual painted pine chest of drawers Russian, dated 1847 the moulded top painted with a cartouche on a red and decorated with scrolls and foliage, dated 1847 and inscribed in gilded letters Christos Grigorievich above three similarly decorated long drawers, and also dated and inscribed, on bracket feet height: 92 cm., width: 122 cm., depth: 60 cm. 2500-3500 --- =5 ?@>40= A porcelain inkwell and stand c.1850 elaborate rococo scrolling and with pink and blue flowers, the central well with a domed lid painted with Spring flowers and rocaille scrolling, the side receptacles with inkwell and pounce pot with removable lids (6) width: 36 cm., 14 in. 12000-15000 --- 14300 A porcelain tazza and four sweetmeat dishes from the Kremlin Service Imperial Porcelain Manufactory, mark and period of Alexander II Nicholaevich, (1855-1881) the centres painted with black double-headed Imperial Eagles with crown, orb and sceptre, the burnished gilt exterior with flowerheads and leaves (5) height of tazza: 18.5 cm., 7 1/4 in. height of sweetmeat dishes: 9 cm., 3 1/2 in. 2000-3000 - 3360 A pair of porcelain topographical plates Imperial Porcelain Manufactory, mark and period of Nicholas I Pavlovich, 1825-55 the cavettos finely painted with a view of the harbour in Cadiz and a view of Martigny, within a broad gold band surrouded by laurel leaves, the shaped gilt border with stylised palmettes at intervals (2) diameter: 24 cm., 9 1/2 in. 238. 1800-2200 --- 3840 Natalia Yakovlevna Danko, 1892-1942 and Vasili Vasilievich Kuznetsov, 1881-1923 the red sailor, 1922; the red guard, 1928 the sailor standing in a white shirt and black trousers, holding a bouquet of flowers, State Porcelain Manufactory underglaze green mark and overglaze blue hammer and sickle, dated 1922, numbered 43/7, with applied paper label on base inscribed London Nov 30 1926; the red guard in a jaunty pose resting on his rifle, State Porcelain Manufactory impressed mark, dated 1928, with black overglaze signature of factory artist I. Ivanov, dated 1929 (2) height: 18.5 cm., 7 1/4 in.; 20.5 cm., 8 in. 239. 2000-2500 ---3600 Natalia Yakovlevna Danko, 1892-1942 and Elena Yakovlevna Danko woman sewing a banner, 1923; girl with bonnet, 1923 porcelain figure of a seated woman wearing a pink and lilac patterned blouse with blue shawl draped over her shoulders, sewing a red banner with the propaganda slogan Hail to Soviet Power, underglaze blue State Porcelain Manufactory mark, 5th Narkompros Anniversary mark in black, numbered 217/13 in overglaze black, impressed modeller's initials in Cyrillic I.K.; together with a porcelain figure of a seated lady holding a rose, with elaborate skirts and bodice, underglaze green State Porcelain Manufactory mark, hammer and sickle, 1923, N.446/8 and E. Danko's cypher in overglaze black (2) height: 14.3 cm., 5 1/2 in. height: 18 cm., 7 1/4 in. 1000-1500 --- =5 ?@>40= A group of three later Soviet porcelain figures Lomonosov Porcelain Manufactory, c.1930 the chess players, the board forming the lid of a removable ink well, apparently unmarked; an ashtray with reclining uzbeki reading a newspaper, green manufactory mark; together with a figure of Ivan and the humpbacked horse, after Natalia Danko (5) height of chess players: 14 cm., 5 1/2 in. length of ashtray: 21 cm., 8 1/4 in. height of boyar: 16 cm., 6 1/4 in. 5000-7000 --- =5 ?@>40= A set of forty-two crystal glasses from the Radziwill Service c.1900 comprising five wine glasses, twenty vodka or sherry glasses and seventeen champagne flutes (42) height of champagne flutes: 19 cm., 7 1/2 in. 242. 2500-3500 --- 3000 A four-piece silver tea-set Sazikov, St. Petersburg, 1855 comprising teapot, hotwater jug, sugar basin and milk-jug, the plain pear shaped bodies with scroll handles (4) height of tea-pot: 19.5 cm., 7 3/4 in. 243. 1000-1500 --- =5 ?@>40= A four-piece silver tea-set in the neoclassical style I. Efimov, Moscow, 1808 comprising an urn shaped covered hot water pot, tea pot, another smaller pot, and a two handled sugar bowl, all with plain bodies embellished with a narrow band of stylised palmettes, all pieces with domed, parcel-gilt lids and cone finials emanating from an acanthus calyx (4) height of hot water pot: 20 cm., 8 in. 244. 1200-1800 --- =5 ?@>40= A small silver part tea-set Assaymaster Alexander Yiashinov, St.Petersburg, early 19th century comprising a shaped oval teapot and milk jug, the lower parts repousse with fluting, and a circular slop bowl similarly decorated (3) height of teapot: 15.5 cm., 6 in.; diameter of slop bowl, 14 cm., 5 1/2 in. 3000-5000 --- =5 ?@>40= A silver and champleve enamel tazza maker's mark indistinct, St.Petersburg, 1882 the circular dish with two handles in the form of stylized monsters rising from a baluster support, the engraved flared circular base with four raised rectangular panels each with champleve enamel beasts and decorative borders, on four shaped rectangular feet height: 27.5 cm., 10 3/4 in. 246. 1000-1500 --- =5 ?@>40= A Russian silver and shaded enamel kovsch 11th Artel, Moscow, circa 1910 colourfully enamelled with flowers and stylized foliage, with hook handle length: 13 cm., 5 1/4 in. 5500-7000 --- =5 ?@>40= An unusual silver and cloisonne enamel cake dish Orest Fedorovich Kurlyukov, Moscow, 1896 flower shaped rim, with multi-coloured, shaded enamel repeating pattern in Ottoman style against a pale-blue enamelled ground, the interior of the bowl similarly decorated, the centre with a roundel of stylized flowers and foliage, the swing handle with white flowerheads, supported on a circular foot further embellised with geometric enamelling height: 8 cm., 3 1/4 in. Diameter: 27 cm., 10 1/2 in. 500-700 --- 1320 Sazikov, Moscow 1854 in the form of a large pumpkin, with two tendril handles, the lid with a stock terminal, maker's mark with Imperial warrant (2) height: 13 cm., 5 in. 1600-2400 --- =5 ?@>40= An unusual silver gilt plique-a-jour and cloisonne enamel posie vase probably by Antip Kuzmichev, Moscow, circa 1890 in the form of a cornucopia with twist fluting extensively decorated with blue and white cloisonne enamel, rising from a butterfly supported on a stepped circular foot, the flared rim with polychrome plique-a-jour enamel height:11 cm., 4 1/2 in. 1600-2400 --- =5 ?@>40= A silver and cloisonne enamel cup and stand Ovchinnikov, mark beneath Imperial warrant, Moscow 1879 in the form of a bratina supported on a circular flared foot, decorated with panels of stylized flowers within twisted filigree borders, the rim and foot with a repeating geomtric design, the flat handle and stand similarly decorated (2) height: 7 cm., 2 1/2 in. 1500-2000 --- 3600 An icon of the Kazan Mother of God Moscow, c.1900 with gilded silver enamel oklad 27 by 22 cm., 10 1/2 by 8 3/4 in. 2500-3000 --- =5 ?@>40= Saint Anthony of Padua Italo-Cretan, late 17th century shown holding the Infant Saviour, the lower border with an elaborate Italianate church complex 44 by 35.5 cm., 17 1/4 by 14 in. 4000-6000 --- 8160 An icon of Christ Pantocrator Moscow, c.1900 gilded silver oklad, shaded enamel halos and spandrels, Cyrillic maker's mark I.A.A., the reverse applied with an engraved silver plaque bearing a dedicatory inscription for 25 years of service to the church, 1878-1903 31 by 27 cm., 12 1/4 by 10 1/2 in. 1800-2000 --- 2160 A large glass cup and cover mid 18th century, period of Empress Elizabeth Petrovna tapering glass rising from facetted baluster stem, on flared circular support, engraved with the Imperial double-headed Eagle, the obverse with the cypher of Empress Elizabeth I Petrovna within an oval cartouche, surmounted by a crown and flanked by war trophies, the domed cover with pear-shaped knop (2) height: 35 cm., 7000-9000 --- 15450 An icon of the Tikhvin Mother of God Pavel Ovchinnikov, Moscow 1896 the naturalistically painted icon encased in a fine silver-gilt oklad, the garments repousse and engraved, the applied haloes, corner plaques and border panels decorated with cloisonne enamel in white and shades of blue, the full-length figures of St.Liubov and an angel guardian within niches on the border, maker's mark in full beneath Imperial warrant, the reverse applied with a brass plaque inscribed in Russian 6 October 1896; within a heavy brass glazed kiot 31.5 by 27 cm., 12 1/2 by 10 1/2 in. 2500-3500 --- 10200 Russia-A collection of Russian Books and an album, including: [Nicholas II. Tsar of Russia] Feodorovski Gosudarev Sobor v Tsarskom Sele. [St. Petersburg]: Feodorovski Gosudarev Sobor, [n.d.], 4to, rare, from the library of the eldest princesses at tsarskoe selo, [this book was produced with permission of Nicholas II and presumably presented to the Imperial family. It records the history of the Feodorovski Sobor which was built in the grounds of Tsarskoe Selo and was the customary place of worship for the Imperial family], coloured and photographic illustrations, printed within woodcut and gold borders, retaining silk bookmark, original silk-covered boards, silk endpapers, gilt edges, [Kilgour 1350ff; booklabel from Tsarskoe Selo. Alexandrovski Palace. The children's suite, classroom of the eldest princesses. Bookplate of de Savitsch], some pages slightly loose, worn and faded with loss of silk to upper cover and corners-Zhar'Ptitsa. Paris & Berlin: 1921-26, numbers 1-14 in 2 volumes, 4to, numerous plates and illustrations, original advertisements and lithographed wrappers bound in, cloth retaining earlier lettering-pieces, some gatherings slightly loose, wrappers slightly soiled and chipped, hinges splitting, slightly worn and bumped, short tears to spines-[Album of 200 Russian Postcards] [late nineteenth/early twentieth century], oblong folio, late nineteenth-century grey cloth album gilt, [ownership inscription dated 1899], generally very good, some minor wear to cards, binding rubbed at extremities-Evangelie 1056-57. St. Petersburg: A. Vostokov: Imperial Academy of Science, 1843, 4to, plates (some folding), various contemporary and later inscriptions on preliminary blank and title, contemporary half-calf, occasional light spotting, upper joint split, binding rather rubbed-Grand Duke Nicholas Mikhailovich. Emperor Alexander I. 2 volumes, many tipped-in plates, contemporary green half-morocco, joints split or splitting, spines faded and worn with crude repairs, corners slightly rubbed; together with 9 other volumes, 8vo and 4to (16) 9TVbh` 7@AtfP "+d:<Njl %%%&'((Z(@+J+K+r+,,4,H,J,,`/d/|////11122P2566d6<8X8Z88::0:L:N::<4<6<<@AA5\mH sH mH sH `9.UVhZ0`@ : | } ),-Atf<>Ph^h & Fq!"d|:<l * T U e ! & Fh^h!!:!;!K!!!!!""#r#~###$$~%%%%&I&q&&&''/' & Fh^h/''''(Z(((<)>) *p**4+5+K+r++++,,,J,b/d//11 & Fh^h12556(8*8Z8::N:<<6<@@AAAABBBCC$DTEVEEh^h & FA,AAAA"BBBBBB*CCCD"D$DvDlEEEE~FFFFFFGGGGGHSTTZTUU(U:UVHVIVqV!W#W.WXXdX\\\\]]]]/^1^:^C^D^n^^^^^H`L`b`~```aaaaa bbbbc_c`cicrcscccmH sH 5\mH sH `E~FFFGGGTUUp9:M#h^h & FB:>Pnp8:CLMs"#Fđ’Ē Γޓ&Д2 +!R$&8TV%'2<=]ښ2<=gʥ̥ (*z4<=d6`*>mH sH 5\mH sH `#đĒ $&V&'=ΚϚ & Fh^hϚ&'=̥*)*=@\^ܭmn ! & F & Fh^h & F>@\^rجȭڭܭmnw  !Eįůְذ0d$&n$&8TV:>Plnµ)vx^&<>K^TdfV"#J5\mH sH mH sH `!ůذ&$&V<>nwx & Fh^h>@Bf #ijGH & F & Fh^hJhlv~.QN"$t6:L^`BJ\xzrz~wxgr7:CLMu#./W@5\mH sH mH sH `$46`DFztv~wxr89M/ & F  & Fh^h :ghDmnKLca & F h^h & F   -9:dghs~9DnmozWbcabmwxXZc^ (*zdh|gpqZ[eJ$`",U mH sH 5\mH sH `abxYZ*fh]^qZ[`, & F h^hop   j   vx^ & F  & F h^h & F op}      _ j     ftx\]fop!f:NP4+lnw*+6@AhB`u###R$n$p$5\mH sH mH sH `\]p Pmn*+A`#4$^ & F 4$6$p$&&&(((p*r**,,,--./ /:/00001112,3.3 & F^p$$&&&2'((((((n*r*****,,,,, ---- ..`./8/://00000111:122f2@3\3^33B4L4M4x4555566666 7f8h8~8888::::N<j<l<<===>K?@n@8A>ATAhAjAAPBRB]BgBhBBaCcCmH sH 5\mH sH `.3^38494M4555666f8h88::::<<<l<===@:AHVZlluv"RУ3 Kǧ5\mH sH mH sH `PmRmmnnnoop9XZbcv & F & F^v"УĪѫǯd{(*\9:NK_Ӽ.9: & F & F & F^ĪƫѫǯݯذFdr{&*<Z\Ʒ9;DMNvJKT^_ɼӼ$.C8:CMN R$sr%mH sH 5\mH sH `:N$hh^h & F & F^ & F~Jfh!flr$&jtvB 0L)5\mH sH mH sH Jnp&uv & Fh^h & F) & Fh^h. A!"#$% i2@2 1KG=K9_HmHsHtH>@> 03>;>2>: 1$@&5\mH sH F@F 03>;>2>: 2$h@&^h5\mH sH :A@: A=>2=>9 H@8DB 0170F05t  9.UVq=cd- !' Z / A f g  `a{y^wxn4UVn  PQgJijK*67w)X?@RqRSnj!k!!-$.$H$R%S%k%L&M&e&>'?'Y'.+/+B+,,(,,,,8-9-P----}.~..//*/j::::;;;<<<.@/@B@:A;AMAAAA\B]BpBCCC^D_DwDbEcEuEEEF}F~FF/G0GHGGGGIJJKKKKLL.LMMMNNNOOOZh``` aaaaEbFb^bcccodpddeeeeeePfQfjf g g#gggg;hSËċڋjk5DEZ͎̎de{bcwCDYIJdn˭̭uvEF[vw,(ػٻ½ýֽƾǾھklf "tu/0H-.Bhi XYvvw,-Eno,.VWqjk5/0IQRf kLMfx.JRSk%op  +    .]k,  !s"$&&() ++++f-g-z-&/02333478:<=6?@BBBD=E>EREOFcFG2I=J>JRJjKLLLMMNOOO(QSSSVVVXXXYyZ#\T]U]m]^___aaambnbbcc dueveeeeffff hh!hiiilll7t000000000000q0q0q0q0q0q000000000000000 000 0 0 0 0 0 0 0  0 00{0{0{0{0{0{0{0{0{ 0{0000000000 0000000 000n0n0n0n0n0n0n0n 0n00g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g0g 0g00000000000 00000000000 0000000 0  0 00 0 00 0 00 0 00 000 000 000 000 000 000 000 000 000 0000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 00 0 00 0 000 000 000 000 000 000 00000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 00 0 0000 000 000 000 000 000 000 000 000 000 0 000 000 0000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 00 0 00 0 00 0000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 00 0 00 0 000 000 000 000 000 000 000 000 0000 000 000 000 000 000 000 000 000 000 0 00 0 0000 0000 000 000 000 0000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 0000000 000 000 000 000 000 000 000 000 000 0 00 0 00 0 00 0 00 0 00 000 0000 000 000 000 000 000 000 000 0000 000 00000 0000 00000 000 000 000 000 000 000 000 0000000000000000 000 000000 00000000000 0000 00 00000 0000 000 000 0000000 000 000000 0000 000 000 000 000 000 000 000 000 000 0 0AcB>Jp$cC4j)19<?BEHKNQSVX!/'1E^kB#Ϛ!a4$.3QBNPmv:)245678:;=>@ACDFGIJLMOPRTUWYZ)3%&-qwx<G[_"*+45;2;`iVb *357AGMNU_kx ? E   $ . k r  " ) ; B x CHIM{"/06]cdjlu-;FLhkou!()56=ah$-6_m|nxygmnyEMZbgm{-8'(-.7kv IL]`$'ersy@GHQ 6 9 X!_!`!i!!!!!!!!!3"@"A"G"O"X"]"d" #############$$$H$R$S$\$]$e$$$$$$$%!%y%}%~%%%%%%%%s&w&x&&&&&&Y'c'd'm'n'v'''''!()(](f(((`)e)1*5***B+L+M+V+W+_+w++++(,/,0,<,,,,,,,P-V-W-b-c-n--------.....?.B...........*/4/5/>/?/G/^/f/w/z/////80E0111111111111222!2|2222223344Z4_455i5m556<6N7W788)83848<8`8e8f8j888L9V9 ::o:y:;;H;M;U;X;;;;;;; <<<<<<<<<<<<= =B=L=M=U=[=b=j=q=r=v=====>>h>n>o>z>{>>>?,?4?~?????????@@@@@@ @B@L@M@V@W@_@k@p@u@y@z@@@@@@@@@@UA^A_AgAAAAABBpBtBuB~BBBBB CCCCC"C#C'C^CfCCCCCCCCCCCCCCCDDwDDDDDD}EEEEEEF F FFF#FEFHFFFFFFFFGHGMGNGXGYG`GGGGGGGGH HHTHWHHHJJJJJ%JXJ]J^JfJnJqJKKKKKKMKPKKKKKKKKK8LALBLILaLeLkLmLoLvLLLLLLLLL.M4M5M>M?MIMNN*N1N>NFNNNQNNNNNNN9OOEO_OcOrOxOyOOOOOO)P,PPPPPPPQ Q QQQQ$Q,Q.Q6Q7Q9Q:Q@QGQUQVQ_QR$RSSSS:TFTTTUUUUUUZZZ[([0[8[;[W[_[[[[[[\\\2\9\=\D\E\H\T\\\^\f\g\i\j\p\w\\\\\\p]v]q`z`{````a a!a)aJaMa>bDbfbqbrbzbbb*c4c6c9c;cCccccddd7d:ddddddde!e"e+e,e7efeieeeeeeeffpfzf{ffffffff#g(g)g5g6gAgogrgggggggggUhZhghohhhhhhhhi5i8iIiTiiiiiiijjijrjsjyjjjkkkk)k/kFkIkkkkkkklll%ldlglllll~mmmmmmnnxn|n}nnnnnnooooooGoJooooooooppp'q1qqqqqqqqqr r rrrrLrOrrrrrrssssssss's[sgsssXtcthtqttttu!u-uuu3v:v;v?vDvLvOvUvXvavw wxxxxxyyyyyyyyyyyyy zzXz^z_zjzkzuzzz{{{{{{H{K{{{{{{{{{|||||#|N|Q|||||||||F}K}L}X}Y}_}v}}}}}}}}}}~3~6~~~~~~~$%018jmr{|%ЁӁ1:;J^fnqɂʂԂ epqyŃЃ׃"DPny ?B݅#()34<TZ[demXaen@Cƈ̈҈[det 3;?LTWhsՊߊ [efn~ڋ),Ռ،?FpsÍ΍ύٍdk-0 79:@BK\_ʐDHJPU\֒ܒ(r{ՔڔJUwՕؕYcdnov&'.SXZ_ps-5X[Ęޘekmuə̙$%,[^$dklvwT`ޜ *12>/;FOɤ֤-349EMǨȨӨըިߨȩ ,nuvīǫ¬ά >AЮܮ<CDP߯s ϱ۱$*KNij almv´ >A GJLWζض ;IT^2<svɹʺԺ2=>FRW^fhpw} JU035@  14~ھ߾257B!19>FMNVeu $)BG>C{x~ lv,89@fi <LUXCFNX9<R^_f7GPSLWX^%(58:A '(45;_e{~4?FO +5BTXjp 15be29t{| IMQ[jr 'v~ #&9D'(.sv.78> !,O[\c}ORgr",129gj 6@AKW_`jotuy#( {t|qvw5;<DPY$IOPZ[c/2JUlwx )Z]U]v| $*+0sz{fmnyzovJRX^  AI.56@AHqt&, $-*0 QV_dio*,1ykqr}~+45<be$580 > ? F }      ) 2 3 4 5 >                   ! % & +               {        4A&0=CK"O\#1NYZhjmr{ ,5`fMTUabm$+BNOXr}">G;?`h"blnwxkqr/ 5   !!!!!!!!!!""6"<"""""""($/$$$&&''''''''t(}(^)f))) ***&***++++++,,,,--..P.].c.i...I/R/////?0H000/18111111111b2k222P3Z3c3j3B4L4Y4a44445 55555'5H5P5*62686B6H6N6P6]6o6w666n7q777777777777888%8+8m8w8889999;;/;<;<<==q>>??@@@@@@A$A%A/A0A8AAAAAHBSBTB\BCCCC$D*DDEEEEE F)F*F.FFFG!G/G:GQHUHIIuJ~JJJJJK KKK,L4L5LALMMN#NNNNNO O,O7OQOVOPPTP[PsP{PPPPPPP(Q/Q0Q:Q;Q@QPQVQWQbQcQlQRR/R8R#S,SLSRSSSSSSSSSSSTTUUGUPUbUlUUUUUGVNVOVUVYVbVVVWWWXX XXXYYYYZZk[s[t[}[?\J\U\^\`\m\\\z]]]]]]r^{^ _&_,_1_F_Q_R_[______```<`D`````"a-aTa^anaxaaabbbbbbbbbbTc]cccccd d6dAddde!eeeee(f-f.f3fgfnfffg"g]gbgkhshii&i.iiiiiiiijOjTjcjkjjjkkkkllwllllllllllllllllllllmmm mmmmmmmmm+n3nnnnnnnnnnnn o_ogoooppqqrr8r@rerhr=sIs t#t(t+t7tIK!!##$$--.."@'@u@y@BB^JfJaLeL*N1Nhhii#k(kmmoo^f ƈ3;w:@ѐՔڔ-5$*Ķض_h+ (9DW_).KT :!*r{''::ll7t3333333333333333333333333333333333333333333333333333333333333333Vqd a{xVnQgSnk!!.$H$S%k%M&e&?'Y'/+B+,(,,,9-P---~../*/R:j:::;;<</@B@;AMAAA]BpBCC_DwDcEuEEF~FF0GHGGGIIJKKKL.LMMNNOOZZV`h`` aaaFb^bccpddeeeeQfjf g#gggSċڋk5EZ͎e{cwDYJdXṋvF[w,(ٻҼýֽǾھlRf "u0H.Bi Yvw-Eo,.Wqk50IRf WkMf`x.0JSk%p +   .H]Wk ,   !!["s"$$%&&&'(()* +++g-z-/&/001233447788::<<==?6?m@@BBDD>EREOFcFGGI2I>JRJQKjKLLMNOOQ(QSSVVXXvYYaZyZ \#\U]m]^^__aanbbc dveeefffh!hiill7tDmitry3D:\Any-antik\C:F8>=K\!>B18_20_11_2001\?8A0=85.docDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitry3D:\Any-antik\C:F8>=K\!>B18_20_11_2001\?8A0=85.docDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitry3D:\Any-antik\C:F8>=K\!>B18_20_11_2001\?8A0=85.docDmitryAC:\WINDOWS\Application Data\Microsoft\Word\2B>:>?8O ?8A0=85.asdDmitry3D:\Any-antik\C:F8>=K\!>B18_20_11_2001\?8A0=85.doc=c R-H ~em4|onT@zS/!2#,}d(m(:Q**3l.m ."  \5͎H?$jv6@:ctK.+0fOR) Q*0jkXT 0_p>aF 8a,X!fl7Nri6&)>sXqO.u^XLuBTzJ1}H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.-^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.N^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.Q^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.y^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.C^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.5^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.a^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.*>*^*`>o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.H>H^H`>o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.^`o(.^`.L^`L.^ ^ ^^ `...^.`.L^`L.^`.^`.nLn^n`L.p^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.*>*^*`>o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.WW^W`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.kXH?-H .3l.m4#fOLu*1}Nri \5=O.uv6@ 8aS/!z 0_onX!f(m()>s R) Q>azctKX"3rZ.puwA x0Yx z/@fX0Q(;NJ6X@llllgggqq|!|">$>%>&>'>(>,>->.>/`:`;<=CDFGIJ$L$M$Nabdefghjklmnxyz{|}ԇԈԉ******>>>>>>>>>>>}}}}}}}>>>\\nnn $$$$!i"i#$%&()+,01?@BCKLMVWXoZo[o\o]^_abde f g5t@@0@8@@@$L@(T@,.`@2h@68:<|@BDF@T@X@`@d@h@ln@ @ @,@4@P@\@p@x@@@@@@@@ @0@@@$&P@*,`@2h@68:<|@@@DF@N@RT@Z@^`@dhjn@@@ @,@4@<@H@h@p@@@@@@@@UnknownG:Times New Roman5Symbol3& :Arial"1hy[[f$52$20xl 2Q1DmitryDmitry Oh+'0h  $ 0 <HPX`1ssDmitrymitmit Normal.dotDmitryd36tMicrosoft Word 9.0@@@"d.um@XS(r52 ՜.+,0 hp  IStylex 1    !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F`)r1Table\ WordDocumentSummaryInformation(DocumentSummaryInformation8CompObjjObjectPool`)r`)r  F Microsoft Word MSWordDocWord.Document.89q