We found 5055 price guide item(s) matching your search

Vienna: Palestine Art Publishing Company, 1926. A large hardcover book containing over 150 colored prints of Abel Pann (Russian, 1883-1963) religious paintings followed by biblically scrips. Artist: Abel PannIssued: 1926Dimensions: 12.5"W x 14.5"H x 1"DEdition Number: 1st edition Manufacturer: Palestine Art Publishing CompanyCountry of Origin: AustriaCondition Fair.

Leningrad: Aurora Art Publishers, 1978. The Faceted Chamber In the Moscow Kremlin. Hardcover book with original dust cover has 101 pages originally written in Russian and translated for this printing is a written description with photographs of the oldest surviving monument of the secular architecture of Moscow. Artist: Aida NasibovaIssued: 1978Dimensions: 9"W x 1"D x 13"HManufacturer: Aurora Art PublishersCountry of Origin: RussiaCondition Age related wear.

A rare pair of Russian gilt bronze and cobalt blue porcelain pot pourri vases, incorporating elements of design from the coat-of-arms of Paul 1st, Tsar of Russia (1754-1801)St Petersburg, late 18th centuryThe pedestal urn bodies with double-headed winged eagle handles, the pierced girdles above medallion order mounts, the domed covers with fruiting stiff leaf and crown and cross finials, the lobed leafy socles raised on re-entrant cut corner square bases, the porcelain with internal underglaze marks (one lid fully restored, the other lid with minute restoration), 12.5cm wide, 9.5cm deep, 24.5cm high (4 1/2in wide, 3 1/2in deep, 9 1/2in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.This pair of pots pourris, apparently unique examples in Russia, are directly inspired from Sèvres porcelain vases. The ormolu mounts clearly display all of the attributes of Paul 1st while highlighting the Maltese Order Cross. The celebrated Order of Malta, created during the 12th century, installed itself in Malta in 1530. It is in 1798, after Napoleon's siege of the island that most of the members of the Order fled to Russia. Paul 1st soon became the protector of the Maltese Cross Order and, just after being crowned, he returned to St Petersburg wearing the crown of the Grand Master of the Order of the Chevaliers de Saint-Jean de Jérusalem. From that moment onwards, the Maltese Cross was always present alongside his Imperial Coat-of-Arms. It is likely that this pair of pots pourris is a commission from the Emperor himself, but no supporting archival documents have yet been able to reveal the precise destination of these works of art. It is conceivable that they would have been planned to decorate the chapel of the Order of Malta in the Palace Vorontsov in St Petersburg.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Russian cast iron model of a hound. Indistinct signature to base, raised marks to underside 1974 date, height 15.5cm, together with an Art Nouveau chrome letter opener stamped M M A, cast iron Sphinx door stop and five various door knockers.

Splendid color serigraph on paper entitled The French Rooster by Neo-Art Deco artist Erte. It depicts a woman dressed with rows of red beads that partially cover her nudity and a transparent purple veil that flows in controlled curves. She looks into a black void where deep yellow and orange flames emanate near an erect rooster crowing at her. Pencil signature on lower right: Erte. Numbered on lower left: AP 12/50. Housed in an incised gold tone and black frame and a cream color mat. Sight size: 21.15"L x 29.50"H. Frame size: 29"L x 38"H x 1.50"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Edition Number: Artist Proof 12of 50 Country of Origin: Russia/FranceCondition: Age related wear.

Loge de Theatre is a marvelous framed scarf of three women dressed in extravagantly ornate evening wear. Art Deco artist and designer Erte used a palette of pinks, reds, blue, grey and gold that are highlighted by the ultra blacks in the composition and the border. Housed in a thick gilded frame with an ecru linen mat. Sight size: 33.50"L x 33.50"H. Frame size: 43"L x 43"H x 1"W. This item can be shipped with or without the frame for ease of transport. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.

Splendid serigraph entitled Loge de Theatre from Neo-Art Deco artist and designer Erte's Folies Bergere series. It depicts three women in extravagantly ornate evening wear. Erte used a palette of soft pinks, reds, blue, grey and gold that are highlighted by the ultra black in the composition and the border. Housed in a thick gilded frame with a black linen mat. Sight size: 23"L x 29"H. Frame size: 31"L x 37"H x 1.50"W. Signed in pencil on lower right: Erte. Numbered on lower left: LXXI/CL. Certificate of Authenticity included. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Edition Number: 71 of 150 Country of Origin: Russia/FranceCondition: Age related wear.

Artist hand signed lower right in pencil on arches paper.A large serigraph print on arches paper, a limited unnumbered edition of an original Modernist work by Russian born artist Igor Galanin (b. 1937) whose work has been featured in Vanity Fair, The Christian Science Monitor, Penthouse Magazine, and The New York Times, and been exhibited at the Rose Art Museum in Boston, the London Gallery in Montreal, and Museum of Contemporary Art, La Jolla, CA. Artist signed in pencil lower right. Artist: Igor GalaninIssued: 1985Dimensions: 42.5"H x 35.25"WCountry of Origin: United StatesCondition: Few minor tears to edges otherwise good.

Autumn is a splendid framed scarf that depicts a beautiful anthropomorphic creature, part female, part feline, set amongst curvilinear branches that are losing their leaves. Art Deco artist and designer Erte created this design with oranges, golden tones and soft yellows that he placed on top of a blue-grey, cobalt and black background with a border that follows the central motifs. Housed in a thick gilded frame with an ecru linen mat. Sight size: 34.50"L x 34"H. Frame size: 43"L x 43"H x 1"W. This item can be shipped with or without the frame for ease of transport. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear. Minor discoloration on the lower right

Informative and colorful book on the life and art of the famous Russian-French artist Marc Chagall (1887-1985). ISBN 0847806243. 128 pages. Artist: Francois Le TargatIssued: 1985Dimensions: 12""L x 8.75""W x 0.75""HManufacturer: Rizzoli International PublicationsCountry of Origin: SpainCondition: Age related wear.

Color serigraph on paper entitled Beauty and Beast from The Twenties Remembered series by Neo-Art Deco artist Erte. It depicts an elongated woman with an extravagant feather headdress and wrapped in an outfit resembling a black panther made with curvilinear lines covered with silvery dots. Erte placed the Beauty on a set of horizontal blue lines that recede in the bare background. Pencil signature on lower right: Erte. Numbered on lower left: 206/300. Housed in a splendid incised silver tone and black frame and a white mat with a silver border. Sight size: 15.50"L x 20.50"H. Frame size: 23"L x 28"H x 1.50"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: 1977Edition Number: 206 of 300 Country of Origin: Russia/FranceCondition: Age related wear.

Russell (Judith, editor). The Wood-Engravings of Gertrude Hermes, 1st edition, Aldershot: Scolar Press, 1993, numerous monochrome illustrations, original cloth in dust jacket, covers very lightly marked, folio, together with:Sidey (Tessa), The Prints of Michael Rothenstein, 1st edition, Aldershot: Scolar Press, 1993, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusWolff (Paul), My First Ten Years with the Leica, 1st edition, New York: B. Westermann Co., 1930, numerous monochrome illustrations, some light marginal toning, original cloth in dust jacket, covers toned & worn some some small tears & loss to head & foot, large 4to, andKhan-Magomedov (Selim Omarovich), Alexandr Vesnin and Russian Constructivism, 1st edition, London: Lund Humphries, 1986, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other art, crafts, print, & photography reference, including some exhibition catalogues, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves & a carton)

Anna Molka Ahmed (1917-1994)Untitled (Landscape) signed 'Anna Molka' lower rightoil on canvas, framed66.1 x 51cm (26 x 20 1/16in).Footnotes:ProvenanceProperty from a private collection, USA.Acquired in Karachi in the mid 1980s.Anna Molka Ahmed was of Russian and Polish descent and arrived in Lahore, from England in 1939 having married Sheikh Ahmed. She received her formal training in art at St. Martin's School of Art and then at the Royal Academy of Art, which is where she met Sheikh Ahmed, a painter and draughtman. They moved to Lahore in 1940, and she was approached by the University of Punjab to set up the Department of Fine Arts, which she successfully ran until 1978. She was the recipient of the Tamgha-i-Imtiaz in 1963, one of Pakistan's highest civilian awards. She was a prolific artist whose 'work spans a broad vista ranging from landscapes (as is the case with the present lot), homesteads, portraits, figurative compositions, festivals, to symbolic and allegorical pieces. She is among the few Pakistani painters who draws inspiration from common life and events.' (Ijaz Ul Hassan, Painting in Pakistan, Karachi, 1996, p. 49). The landscape depicted in Untitled (Landscape) bears the hallmarks of her signature style, which include unblended colours and thick gestural strokes of paint. This impasto technique highlights the richness of the landscape and coupled with the swings and bicycle that hint at the proximity of children, helps elevate an ordinary scene to the extraordinary.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

TURGENEV -- REMIZOV, A. Tourguéniev, poète du rêve. Trad. du russe p. H. Pernot-Feldmann. Paris, Hippocrate, 1933. (2), 61 pp. W. 12 in text illustr. by the author. Owrps., uncut. NOTE: Aleksey Mikhailovich Remizov (1877-1957), Russian modernist writer whose creative imagination veered to the fantastic and bizarre. Apart from his literary work, Remizov was an expert calligrapher who sought to revive this medieval art in Russia. He developed a keen interest in dreams and wrote a few works on the subject that involved prominent figures of Russian literature such as Turgenev. He was acquainted with Aleksandr Blok, Anna Akhmatova, Ivan Bunin and Mikhail Kuzmin, and later James Joyce. - Rare, limited to 300 numb. copies.

A QUANTITY OF SILVER AND SILVER PLATE, including an Art Nouveau style silver picture frame, Sheffield 1995, a posy vase, sugar shaker, and a pair of Russian silver enamel spoons with makers mark and stamped 84. (Qty)

Set of two original vintage advertising poster for Wassily Kandinsky. 1. 44 Works / 44 Oeuvres from Solomon R. Guggenheim Museum of New York exhibited at the National Museum of Modern Art from 15 November to 5 January 1958, featuring artist's abstract work Extended, with triangular and circular shapes set over a green background. Printed by Mourlot. Good condition, creasing, tears on edges. Country of issue: France, designer: Wassily Kandinsky, size (cm): 73x51, year of printing: 1957; 2. Curva Dominante by Russian abstract and expressionism artist Wassily Kandinsky (1866-1944), presented in colourful round, rectangle and triangular shapes set over a light background. Horizontal. Excellent condition. Country of issue: Italy, designer: Wassily Kandinsky, size (cm): 60x80, year of printing: 1994.

Wassily Kandinsky (1866-1944), Oil on Canvas. Image Size: 39 1/4 by 31 3/8 inches (100 by 80 cm) All measurements are approximate. Signed (lower left and reverse). Wassily Kandinsky (1866-1944) was a Russian painter and a pioneering figure in abstract art. He is renowned for his role in founding the Blue Rider movement and for his innovative use of color and form to convey emotion and spirituality. Kandinsky's work transitioned from representational to purely abstract, exploring the intrinsic power of shapes and colors. His art often conveyed a sense of synesthesia, where colors and forms generated a sensory experience. Kandinsky's profound influence on modern art and his belief in the spiritual dimension of creativity remain significant, making him a trailblazer in the world of abstract expressionism. Please read our policy carefully:. 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

JAMES BOND: GOLDENEYE (1995) - Hand-drawn Syd Cain Taffy Gun and Weapon DesignsFive sets of hand-drawn Syd Cain designs from the production of Martin Campbell's Bond film GoldenEye. Eminent art director and production designer Cain worked on many Bond films, including Dr. No and On Her Majesty's Secret Service, and he is credited as a storyboard artist on GoldenEye. Cain also worked with Alfred Hitchcock as production designer on Frenzy. These sketches originally came from Cain's personal archives.The first set features different designs for utility vests and the "Taffy Gun", a concept weapon creation of Q's (Desmond Llewelyn). One of the taffy guns is depicted firing at a soldier with its flames painted yellow and black. The second set features various designs for a rocket launcher, and the third set features designs for other devices in the film. The final two sets are smaller, and each depicts a Russian rocket launcher. All the designs are hand-drawn, cut out and adhered to panels of black cardboard. The three larger sets of designs are marked with Cain's name, a reference number and annotations relevant to the specific design. Dimensions (largest sketch): 42.5 cm x 30 cm (16 3/4" x 11 3/4")Estimate: £1,000 - 2,000 Ω View all lots from JAMES BOND: GOLDENEYE (1995)View all lots from JAMES BOND - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

2 Large 20th century hand painted buttons from Russia.This lot has two hand painted examples of Russian art in lacquer. One shows 2 male figures in chef hats, baking, and the other shows two figural animals with their behinds. These were hand made and imported for the Weiser's. From the collection of Nikki Deal. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.

2 Large 20th century hand painted buttons from Russia.Here is another lot of two hand painted examples of Russian art in lacquer. One is a large oval depicting the Kremlin architectural building, and the other shows two a plethora of fruit. These were hand made and imported for the Weiser's. From the collection of Nikki Deal. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.

NO RESERVE Klyukin (Vasily) Civilization. The Island of the Day Before, Vienna, 2021; In Dante Veritas, Venice, 2019; Live Sculptures, Milan, 2018 § Radish Tordia: Painting Graphics, 2010 § Temo Japaridze: Painting, Graphics, Collage, Sculpture, 2010; Irakli Parjiani: Painting, Graphic Illustration, n.d. § Polish! Contemporary Art from Poland, Ostfildern, 2011 § Amirsadeghi (Hossein, editor) Frozen Dreams: Contemporary Art from Russia, 2011, illustrations, many colour, original cloth or boards, the first two and last with dust-jackets; and c.35 others, contemporary Russian, Polish, Georgian and Eastern European art, some duplicates, particularly of the first, 4to (2 boxes)

Theater - Tanz - - Hoppé, Emil Otto. Studies from the Russian Ballet. Mit 15 montierten Kupfertiefdrucken nach Photographien auf Karton. London, Fine Art Society, 1913. 35,5 x 24,5 cm. Original-Kartonmappe mit Deckeltitel (stärker berieben und bestoßen, Rücken defekt, Flügel lose).Erste Ausgabe. - Derra de Moroda - Magriel 123. - Ohne das Titelblatt. - Eindrucksvolle Photographien zum Russischen Ballet von einem der bedeutendsten Porträtphotographen seiner Zeit Emil Otto Hoppé (1878-1972). - Vorderer Innendeckel mit Tafelverzeichnis. - Kartons teils etwas gebräunt.

CHEN YIFEI (1946-2005)The young cellist, circa 1986Oil on canvas, framed. 153cm (60 1/4in) x 154cm (60 5/8in).Footnotes:This work is registered in the Hammer Gallery archives under no. C25282-1. 本拍品在the Hammer Gallery的檔案編號為no. C25282-1陳逸飛 (1946-2005) 年輕的大提琴手 布面油畫 有框 約作於1986年Provenance: Dr. Maury P. Leibovitz Collection, Connecticut, commissioned from the artist and acquired through Hammer Gallery in 1986, and thence by descent.來源：Maury P. Leibovitz 博士委託藝術家繪製並在1986年購於Hammer Gallery，美國康涅狄格州，並由後人保存迄今Chen Yifei was born in 1946 in Ningbo of the coastal Zhejiang Province. When he was a child, he moved with his family to Shanghai where he studied Russian art and Socialist Realism. He graduated from the Shanghai College of Art in 1965. During the Cultural Revolution, he was initially denounced for 'capitalist behaviour', but later gained recognition from the authorities for his mastery of oil painting. He was famous for portraying grand images of Chairman Mao and the People Liberation Army. After the Cultural Revolution, he fused realistic techniques with romanticism to depict Chinese subject matters. He later became one of the first artists from the PRC permitted to study in the United States and gained his master's degree at Hunter in 1983. After achieving great success for his solo exhibition, Chen became a contract artist for the Hammer Galleries. In 1990, Chen returned to China and settled in Shanghai. Chen Yifei's artistic creation successfully pushed Chinese realist oil painting in the West, bridging East and West with its powerful emotional content and refined technique.The present lot portrays a young cellist whose face is highlighted by a shaft of light from the upper right candles. The elegant facial expression and the graceful body lines grant the painting the solemnity and mystique of religious portraits. It is a classic example of his characteristic 'Romantic Realism' using dense and dark colours to create a sense of richness, refinement, and romantic atmosphere.Compare with a related painting of The Cellist, signed by Chen Yifei and dated 1983.6, which was sold at Sotheby's New York, 20 September 2007, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Russian Art. Cafe scene. In a gilt decorated frame. Signed bottom right and again on the back. Dated 1989. H.70 W.58 cm.

Art Deco Charlotte Rhead Bursley Ware bowl together with a Russian USSR folk art jug and a retro leatherbound car tray. Bowl measures 18cm.

Serge Chermayeff (Russian / British 1900-1996) Pair of 'Plan' Chairs, designed 1933 laminated beech plywood and upholstery Dimensions:77cm (30 1/4in) high, 66cm (26in) wide, 75cm (29 1/2in) deep Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

Russia.- A Pageant of Youth, frontispiece, illustrations, many full-page, original cloth, a little rubbed, slight bumping to corners and spine extremities ,4to, Moscow & Leningrad, State Art Publishers, 1939.⁂ An interesting piece of Russian propaganda.

Emma 'Emily' Mary WILKINSON (1864-1943) Cannon Corner, Ramsgate, 1933 Oil on canvas board, signed and dated, artist label to verso, 41 x 60cm, framed 48 x 66cm.Emily Wilkinson 'was a member of the Birmingham Art Circle but she was dogged by ill-health. Her obituary writer comments, "She studied in Paris and this influenced her work, which was decidedly impressionistic, but had the linear and narrative qualities of her own country." Her Cornish connections are unknown. She first exhibited with the St Ives Society of Artists in the 1930 summer exhibition and was elected a member in 1932 but she did not participate in the principal touring shows only the 1937 show at Bath, where her exhibits were two oils Young Russian and Cookery Book. She exhibited at the RA between 1931 and 1938' - David Tovey, Creating a Splash, page 285

KANDINSKY, Wassily(1866 Moskau - 1944 Neuilly-sur-Seine) "Kleine Welten"Offsetdruck auf Japanpapier. Exemplar: 19/230. Blatt: 36 x 27,7 cm, im Passepartout: 50 x 40 cm. Verso typografische Angaben: "Dieser Druck wurde im Jahre 1922 für den Propyläen-Verlag zu Berlin im Staatlichen Bauhaus zu Weimar nach den Angaben des Künstlers hergestellt. Die Auflage beträgt 230 numerierte Exemplare.". Russischer Maler, Grafiker und Kunsttheoretiker, der auch in Deutschland und Frankreich wirkte und lebte; Wegbereiter der abstrakten Kunst, Mitbegründer der Künstlergruppe Phalanx und mit Franz Marc Begründer des Künstlernetzes "Der Blaue Reiter", Lehrer am Bauhaus in Weimar, Dessau und Berlin; gilt als einer der bedeutendsten Künstler des 20. Jh. Aufrufzeit 26. | Okt 2023 | voraussichtlich 18:59 Uhr (CET) KANDINSKY, Wassily(1866 Moscow - 1944 Neuilly-sur-Seine) "Small Worlds"Offset print on Japan paper. Copy: 19/230. Sheet: 36 x 27.7 cm, in mount: 50 x 40 cm. Verso typographical information: "This print was produced in 1922 for the Propyläen-Verlag zu Berlin in the Staatliches Bauhaus zu Weimar according to the artist's specifications. The edition is 230 numbered copies.". Russian painter, graphic artist and art theorist, who also worked and lived in Germany and France; pioneer of abstract art, co-founder of the artist group Phalanx and with Franz Marc founder of the artist network "The Blue Rider", teacher at the Bauhaus in Weimar, Dessau and Berlin; is considered one of the most important artists of the 20th century. Jh. Call time 26. | Oct 2023 | probably 18:59 clock (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

GUSEV, Sergei Michailowitsch(1927 Orechowo-Sujewo bei Moskau - 2011) WinterlandschaftÖl/Leinwand. Rechts unten kyrillisch signiert, verso kyrillisch bezeichnet/betitelt. 49 x 69 cm. Gerahmt : 60 x 80,5 cm. Weite verschneite Waldlandschaft unter bewölktem Himmel. Leichte Altersspuren. Russischer Maler, studierte am Staatlichen Moskauer Kunstinstitut Surikow. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:34 Uhr (CET) GUSEV, Sergei Mikhailovich(1927 Orechovo-Suyevo near Moscow - 2011) Winter LandscapeOil / canvas. Signed in Cyrillic lower right, inscribed/titled in Cyrillic on verso. 49 x 69 cm. Framed : 60 x 80.5 cm. Wide snowy forest landscape under cloudy sky. Slight signs of age. Russian painter, studied at the Moscow State Art Institute Surikov. Call time 28th | Oct 2023 | expected 11:34 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

JANECEK-BATIZKAJA, Tatjana(* 1923 Anapa) "An der Jagst"Öl/Leinwand. Links unten monogrammiert, verso bezeichnet/betitelt. 63 x 116 cm. Gerahmt : 80 x 133 cm. Schneeschmelze im Gebirge an einem Fluss. Leichte Altersspuren. Russische Malerin und Bildhauerin, kam früh nach Deutschland. Tätig als Bühnenbildnerin am Theater Würzburg, Schülerin von Friedrich Heuler. Literatur : https://www.infranken.de/lk/kitzingen/glueckwunsch-zum-95-geburtstag-tatjana-janecek-batizkaja-art-3437817. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:41 Uhr (CET) JANECEK-BATIZKAJA, Tatjana(* 1923 Anapa) "An der Jagst"Oil / canvas. Monogrammed lower left, inscribed/titled on verso. 63 x 116 cm. Framed : 80 x 133 cm. Snow melting in the mountains on a river. Slight signs of age. Russian painter and sculptor, came early to Germany. Active as a stage designer at the theater Würzburg, student of Friedrich Heuler. Literature : https://www.infranken.de/lk/kitzingen/glueckwunsch-zum-95-geburtstag-tatjana-janecek-batizkaja-art-3437817 Call time 28 | Oct 2023 | expected 11:41 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SOTZKOV,  Alexis Nikolayevich (Соцков, Алексей Николаевич)(1915 - 2003) WinterlandschaftÖl/Leinwand. Rechts unten kyrillisch signiert, verso kyrillisch bezeichnet/betitelt. 1992. 51 x 58 cm. Gerahmt : 60 x 67 cm. Staffagefiguren bei einer Hütte im Sonnenschein zwischen Bäumen oberhalb des Flusses. Russischer Maler, studierte an der Moskauer Surikow-Kunsthochschule. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:42 Uhr (CET) SOTZKOV, Alexis Nikolayevich (Соцков, Алексей Николаевич)(1915 - 2003) Winter LandscapeOil/canvas. Signed in Cyrillic lower right, inscribed/titled in Cyrillic on verso. 1992. 51 x 58 cm. Framed : 60 x 67 cm. Staffage figures at a hut in the sunshine between trees above the river. Russian painter, studied at the Moscow Surikov Art School. Call time 28th | Oct 2023 | expected 11:42 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SOTZKOV, Alexis Nikolayevich (Соцков, Алексей Николаевич)(1915 - 2003) Im BaikalÖl/Malkarton. Rechts unten kyrillisch signiert. 69 x 78 cm. Gerahmt : 73 x 82 cm. Russische Stadt mit Kirche und schmalem Bach zwischen kahlen Birken unter blauem Himmel. Russischer Maler, studierte an der Moskauer Surikow-Kunsthochschule. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:43 Uhr (CET) SOTZKOV, Alexis Nikolayevich (Соцков, Алексей Николаевич)(1915 - 2003) In BaikalOil/painting cardboard. Signed in Cyrillic on the lower right. 69 x 78 cm. Framed : 73 x 82 cm. Russian town with church and narrow stream between bare birch trees under blue sky. Russian painter, studied at the Moscow Surikov Art School. Call time 28th | Oct 2023 | expected 11:43 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

ULJANOV, Nikolai (Ульянов, Николай)(1922 Poluchkino/Kalinin - 1990) WinterlandschaftÖl/Malkarton. Unsigniert, verso bezeichnet. 38 x 54 cm. Gerahmt : 57 x 72 cm. Der Maler mit Staffelei im Schnee nahe den Dorfhäusern. Minimale Altersspuren. Russischer Maler, studierte im Stadtkunstatelier in Moskau. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:45 Uhr (CET) ULJANOV, Nikolai (Ульянов, Николай)(1922 Poluchkino/Kalinin - 1990) Winter LandscapeOil/painted cardboard. Unsigned, inscribed on verso. 38 x 54 cm. Framed : 57 x 72 cm. The painter with easel in the snow near the village houses. Minimal signs of age. Russian painter, studied in the city art studio in Moscow. Call time 28th | Oct 2023 | expected 11:45 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

λ&nbspPAVEL TCHELITCHEW (RUSSIAN 1898-1957) GROUP OF EASTERN FIGURES Ink, watercolour and gouache Signed and dated 39 (lower right) 32 x 40cm (12½ x 15½ in.) UnframedProvenance: Private Collection, Edward James, West Dean Sale, Christie's, London, A Surreal Legacy: Selected works of art from The Edward James Foundation, 15 December 2016, lot 46 (part lot)Together with a further similar study of the same subject, 27.5 x 37.5cm, also unframed. (2)Edward James came into his significant inheritance of the West Dean estate in Chichester in his twenties. He used much of his wealth to support the arts and was a key patron of Surrealism, in particular of Salvador Dali, Rene Magritte, Leonora Carrington and Pavel Tchelitchew. In 1964, he established the Edward James Foundation, a charitable educational trust for the promotion of music, craft and the fine arts. Condition Report: Work signed and dated 39 - Unframed. Glue residue to lower edge. A small stain to the upper left corner. Fading to the sheet throughout. A couple of small stain marks to the lower left quadrant.  Unframed. Sheet stuck down to brown paper. Water damage down the left side of the sheet and another patch to the lower right quadrant covering the majority of the lower edge. A tear with associated loss to the upper edge. Numerous small tears and losses to the edges. The largest tear to the centre of right edge. Upper right and left corner missing. Lower right corner is stuck underneath brown paper.  Condition Report Disclaimer

λ&nbspPAVEL TCHELITCHEW (RUSSIAN 1898-1957) BIRDS IN FLIGHT Ink and wash Signed and dated 42 (lower right) 27.5 x 21.5cm (10¾ x 8¼ in.) UnframedProvenance: Private Collection, Edward James, West Dean Sale, Christie's, London, A Surreal Legacy: Selected works of art from The Edward James Foundation, 15 December 2016, lot 40Edward James came into his significant inheritance of the West Dean estate in Chichester in his twenties. He used much of his wealth to support the arts and was a key patron of Surrealism, in particular of Salvador Dali, Rene Magritte, Leonora Carrington and Pavel Tchelitchew. In 1964, he established the Edward James Foundation, a charitable educational trust for the promotion of music, craft and the fine arts. Condition Report: Unframed. Very slightly rounded corners to upper right and lower right corner. Overall appears to be in good original condition.   Condition Report Disclaimer

λ&nbspPAVEL TCHELITCHEW (RUSSIAN 1898-1957) THEATRE DESIGN FOR THE FIRST ACT OF 'L'ANNONCE FAITE A MARIE' BY PAUL CLAUDEL Ink, wash and coloured pencil Signed and dated 1947 (lower left); titled and inscribed à mon cher Edward pour Noël 1947 (lower right) 29.5 x 33cm (11½ x 12 in.)Provenance: Private Collection, Edward James, West Dean Sale, Christie's, London, A Surreal Legacy: Selected works of art from The Edward James Foundation, 15 December 2016, lot 46 (part lot)Edward James came into his significant inheritance of the West Dean estate in Chichester in his twenties. He used much of his wealth to support the arts and was a key patron of Surrealism, in particular of Salvador Dali, Rene Magritte, Leonora Carrington and Pavel Tchelitchew. In 1964, he established the Edward James Foundation, a charitable educational trust for the promotion of music, craft and the fine arts.

Russian art. A large oil painting on canvas. Bathers in a river landscape dated 1988. Signed bottom right. A label on the back is printed with the artists name and title of the painting. Framed. H.103 W.148 cm.

WASSILY KANDINSKY (1866-1944)Milieu jaune signed with the artist's monogram and dated '34' (lower left); signed with the artist's monogram, inscribed and dated 'No. 597 1934 - 'Milieu jaune'' (on the reverse)oil and tempera on panel64.6 x 81.3cm (25 7/16 x 32in).Painted in Paris in March 1934 Footnotes:ProvenanceNierendorf Gallery, New York, no. 28.Hilla von Rebay Collection, Westport (acquired by 1945).Nina Kandinsky, Paris.Galerie Maeght, Paris, no. 9433 (acquired from the above by 1970).Private collection, Europe (acquired from the above in 1975).A gift from the above to the present owner in 1983.ExhibitedLondon, April 1937. (Possibly) Bern, Kunsthalle Bern, no. 0060.New York, Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 15 March - 15 May 1945, no. 146. Paris, Galerie René Drouin, Kandinsky, Époque parisienne, 1934-1944, 2 June – 2 July 1949, no. 43.Paris, Galerie Maeght, Kandinsky, November 1953, no. 42. Paris, Galerie Maeght, Kandinsky, Période parisienne, 1934-1944, 1969, no. 1 (later travelled to New York).Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky, Gemälde 1900-1944, 10 July – 27 September 1970, no. 129. Humlebaek, Louisiana Museum of Modern Art, Wassily Kandinsky-Paul Klee, 30 October 1971 – 9 January 1972, no. 31. Charleroi, Palais des Beaux-Arts, Wassily Kandinsky rétrospective, 29 January – 12 March 1972, no. 38. Zurich, Galerie Maeght, Kandinsky, April 1972, no. 45. Paris, Musée d'Art Moderne de la Ville de Paris, Hommage de Paris à Kandinsky, La conquête de l'abstraction, l'époque parisienne, 7 June – 30 July 1972, no. 16. LiteratureThe artist's handlist, Vol. IV, no. 597. W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, no. 434 (illustrated p. 385). H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, Vol. II, 1916-1944, London, 1984, no. 1034 (illustrated p. 934).His admirable eye, merging with his faint veil of glass to form perfect crystal lights up with the sudden iridescent glitter of quartz. It is the eye of one of the first and one of the greatest revolutionaries of vision.- André Breton in his preface for the catalogue of the 1938 Kandinsky exhibition organised by Peggy Guggenheim in London, translated by Samuel Beckett.A conjuror of sublime artistic realms, Wassily Kandinsky was limitless in achieving grand and adventurous compositions. But in the harsh grounds of reality – namely, Europe in 1933 – he once again found himself torn between worlds. Kandinsky and his wife Nina's uprooting from Berlin had been sudden, spurred by the Nazi regime's coordinated attack on Modern art, which culminated in the closing of Kandinsky's beloved Bauhaus school. As a Russian-born artist whose fame was then more pronounced in Germany than in France, Kandinsky encountered in Paris a strange hybrid of novelty and familiarity. Cubism was enjoying a fervent resurgence, the Surrealists were transforming the definition of art, and the Abstraction-Création movement was revitalising austerity and constructivism in art. But none of these dogmatic movements, with their rigid formulae and manifestos, wooed Kandinsky. While he extracted certain stylistic and technical innovations from his peers, he ultimately sought freedom and solitude in his wholly individual style. The present work was created at the outset of Kandinsky's richly prolific Paris period, commencing in 1934 after a six-month hiatus due to his and Nina's relocation. In his new studio at Neuilly-sur-Seine, Kandinsky generated a body of work that exploded with vision and colour, introducing a fresh vocabulary of forms grounded in the infinite complexity of the natural world. Despite his being forced to leave Germany at the brink of its demise, these paintings - the first of which was aptly titled Montée gracieuse ('Graceful ascent') - exude optimism, sentimentality and faith in the future. Toiling in relative seclusion, Kandinsky reaffirmed his persona as a painter of worlds, concocting grandiose visions of words, sounds and organisms, distilled by his unique and highly spiritual painterly formula. Milieu jaune presents to the viewer a celestial vision, which at once feels universal and deeply personal. The background throngs with the cosmic force of some omnipotent entity made of glowing yellow starlight, encased in swirling vortexes of lavender and pink. To the lower centre, a purple crescent moon rendered with compass-like exactitude rises like an omen over a conservatory dome bathed in daylight, housed behind a proscenium archway one might access via the floating rungs beneath it. These architectural forms conjure a grand temple in an Arcadian realm, immortalised by their constructive frameworks and yet undulating in a rhythmic trance. Indeed, the central diagonal lines seem to evoke successive chords in a symphony, while the alternating colour planes in the nearby pentagon conjure a tinkling melody, anchored by the steady percussion of the short, staccato lines to the upper centre. These tantalising currents, made tangible through the repeated hints of gateways and ladders, generate an ultimate odyssey of contemplation. The viewer – guided by divine light – is invited to step up into the painterly realm and explore its glimmers of interlinking narratives and settings. The Surreal notion of physically inhabiting an artwork captivated Kandinsky since childhood, as he would later call upon the viewer to 'take a walk' in his paintings, 'to compel him to forget himself, to dissolve himself in the picture' (Kandinsky quoted in W. Grohmann, op. cit., p. 31). Concurrently, the resemblance between Kandinsky's semi-circular and oval forms to eyes invokes a sense of omnipotence, as we the all-seeing viewers take stock of the artist's grand design. This overwhelming sense of gazing upon a primordial universe is a powerful incantation of Kandinsky's abstraction, which was crafted according to 'the totality of natural laws governing the cosmos' (Kandinsky quoted in W. Grohmann, ibid., p. 224). In Paris in the 1930s, Kandinsky's new focus on scientific, biological and cosmic motifs brought that motive to fruition, in the spirit of his friends Paul Klee and Jean (Hans) Arp, as well as Surrealists such as Salvador Dalí and Joan Miró. Indeed, the playful sequence of undulating semicircles to the lower left could convey fairy-tale toadstools, or the interlocking segments of a caterpillar-like entity on the brink of its imminent metamorphosis. 

MARIANNE WEREFKIN (1860-1938)Grüner Berg (Kaunas) tempera, chalk and pen and ink on cardboard40.4 x 29.2cm (15 7/8 x 11 1/2in).Executed in Kaunas in 1910Footnotes:ProvenanceAlexander Werefkin Collection (the artist's nephew, a gift from the artist). Anon. sale, Dr Ernst Hauswedell, Hamburg, 19 November 1966, lot 852.Acquired at the above sale by the previous owner; their sale, Hauswedell & Nolte, Hamburg, 17 June 2009, lot 31. Private collection, Switzerland (acquired at the above sale).ExhibitedWiesbaden, Städtisches Museum Wiesbaden, Marianne Werefkin, 1860-1938, Gedächtnisausstellung, 5 October 1958, no. 17 (later travelled to Bonn, Munich, Bremen, Wuppertal, Baden-Baden, Dortmund and Cologne).Wiesbaden, Museum Wiesbaden, Das Geistige in der Kunst, Vom Blauen Reiter zum Abstrakten Expressionismus, 31 October 2010 - 27 February 2011. Bietigheim-Bissingen, Städtische Galerie Bietigheim-Bissingen, Marianne Werefkin, Vom Blauen Reiter zum Großen Bären, 12 April - 6 July 2014, no. 44 (later travelled to Bremen). Melano, Artrust, Marianne Werefkin, I colori di un'anima in viaggio, 10 October - 10 December 2016.LiteratureN. Brögmann, Marianne Von Werefkin, Oeuvres peintes 1907-1936, exh. cat., Gingins, 1996, no. 68 (illustrated p. 96).Marianne Werefkin was one of the few extraordinary women working at the centre of Munich's avant-garde scene at the beginning of the twentieth century. Having grown up in the south of Moscow, receiving a full education, which included music, philosophy, languages, and drawing, she moved to St Petersburg at the age of 25, where she studied painting under Ilya Repin, the most famous of the Russian realist painters. Making connections with the Russian intelligentsia and holding her own salons at her residence, she shared news of the Parisian Impressionists, which she gleaned through her subscriptions of European art magazines. Influenced by her self-initiated exposure to international art, Werefkin diverged from the Russian aesthetic, boldly developing her identity as a cosmopolitan modernist. Indeed, at the age of 28, Werefkin told her father that she 'had never had any of the obsessions of the young society ladies' and was 'not afraid to be judged by society' (T. Malycheva, 'The Cosmopolitan Approach as a Constituent Aspect of Modernist Thought', in Marianne Werefkin and the Women Artists in her circle, Leiden, 2017, p. 71).In 1892, Repin introduced Werefkin to the painter Alexej von Jawlensky and the pair became romantically involved. Albeit an unconventional relationship - which navigated problems such as artistic rivalry and the birth of Jawlensky's son from his affair with his housekeeper, Hélène Nesnakomoff - it was an intense partnership that lasted eighteen years. Following the death of Werefkin's father in 1896, the couple moved to Munich, enabled by the artist receiving a generous pension from the Tsar as an orphaned daughter. A hub for intellectuals and known for artistic experimentation, Munich was the place where Werefkin could make her artistic mark.Werefkin and Jawlensky formed strong friendships with artists such as Wassily Kandinsky and Gabriele Münter and Werefkin continued her role as salon host for artistic friends at her Munich apartment. Aided by her linguistic skills (she spoke Russian, German, English, French, Polish, Lithuanian, and later Italian), she personally encouraged cultural exchange and helped ignite the direction of twentieth century modernism. It was in 1908 when Werefkin, Jawlensky, Münter and Kandinsky spent their first summer in Murnau, painting the Bavarian landscapes in the Expressionist style, which typically involved bold brushstrokes and flat planes of vivid colour. The four artists were founding members of the Neue Künstlervereinigung München or NKVM (New Artist's Association, Munich) in 1909, whose travelling exhibitions made them well known throughout Germany; Werefkin and Jawlensky were then involved and exhibited with the Expressionist group Der Blaue Reiter but were not official members.As the present work shows, Werefkin yielded paintings of captivating graphic power and daring colours. She created a distinctive style by assimilating the 'surface painting' of Paul Gauguin and Louis Anquetin with the ideals of the Expressionist group, which included a desire to convey spiritual truths through their art. Werefkin used planar division to create rhythmic compositions, enhanced by intricate details, which her Expressionist counterparts sought to reduce. In addition to being a prominent exponent of Expressionism therefore, Werefkin's art also belongs to a tradition of figurative symbolism, as she depicted anonymous people to evoke an emotion or mood.Werefkin's paintings often include sweeping landscapes with small figures going about their daily activities, sharing rueful moments of solidarity. The present work depicts the small town of Kaunas in Lithuania, where the artist spent the winter of 1909 and the spring of 1910, visiting her brother Peter who was governor of the town. Similar to Werefkin's powerful work The Black Women (1910), housed at the Sprengel Museum in Hanover, Grüner Berg (Kaunas) is filled with keen observation and sympathy for the local people, who are returning home after a hard day's work, descending the wide road from the hills. The use of tempera and pen and ink reveals Werefkin's close study of works by Paul Gauguin, Henri de Toulouse-Lautrec and Edvard Munch and the influence of Japanese Ukiyo-e prints.Grüner Berg (Kaunas) is a wonderfully meditative painting, one that inspires quietude and reflection. Spiritual and religious sentiments occupy a special place in Werefkin's oeuvre, as she strove to convey human states such as loneliness, suffering, reconciliation, and mortality. By making the local people of Kaunas so small in scale compared to the vast landscape, the viewer is prompted to question humanity's significance in our world. In the artist's diaries, written during the early 1900s, she highlights the frailty of life and her fear of death: 'I see an open skull, filled with limited thoughts. I see a life path common to all and an inevitable end - death. I am afraid of every feeling, every ecstasy, anticipating a terrible, dubious end in them. The great aspirations of mankind end again and again in a fall with broken wings. Oh, then I close my eyes, I don't want to see, hear anything, I don't want to love [...] Only artistic creation is infinite, limitless...' (M. Werefkin, Pis'ma k neizvestnomu, Moscow, 2011, p. 193). While the Expressionist movement had always been defined by a form of social awareness, Werefkin's work expresses the human concerns more clearly. Her writings demonstrate her fascinating insights and critical mind, which she innovatively harnessed to create her unique visual language.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

HISTORICAL IMPERIAL RUSSIAN: a pair of silver-mounted ruby glass dessert tazzas from the dowry of Grand Duchess Olga Nikolaevna Romanovaby Carl Johan Tegelsten, assay master Dmitry Ilyich Tverskoy, St Petersburg 1846, 84 standard, one incuse stamped N:6, scratched beneath N:6 and the other N:13 Shaped circular form, a removable ruby cut-glass bowl featuring diamond patterns and leaf motifs, resting on a plain polished circular silver plate, the ruby cut-glass baluster stem attached via a connecting silver disc to a ruby glass domed spreading foot, mounted within an intricately chased silver acanthus base, terminating in four scroll feet, height 21cm, diameter plate 25cm. (2)Footnotes:A similar pair of silver mounted ruby glass tazzas from the wedding dowry service of Grand Duchess Alexandra Nikolaevna (the sister of Grand Duchess Olga Nikolaevna) by Carl Tegelsten, St Peterburg 1844, were sold at Sotheby's London on 9th June 2010 in the 'Russian Works of Art, Fabergé and Icons' auction, Lot 574.ProvenanceFrom the wedding dowry service ordered by Tsar Nicholas I for his daughter, Grand Duchess Olga Nikolaevna of Russia, the future Queen Olga of Württemberg (1822-1892).HistoryGrand Duchess Olga Nikolaevna (1822-1892) was the second daughter of Tsar Nicholas I (1796-1855) and Tsarina Alexandra Feodorovna (1798-1860), born Charlotte of Prussia. Olga grew up as part of a close family of eight sisters and brothers. She had two elder siblings: Emperor Alexander II of Russia and Grand Duchess Maria of Russia, and five younger siblings: Grand Duchess Alexandra of Russia, Grand Duchess Elizabeth of Russia (died in infancy), Grand Duke Constantine of Russia, Grand Duke Nicholas of Russia and Grand Duke Michael of Russia. Attractive, cultured and intelligent, she was considered to be one of the most eligible princesses in Europe. She spoke several languages, and was fond of music and painting. Olga met Crown Prince Charles of Württemberg in early 1846 in Palermo, and their subsequent marriage was a political and dynastic decision rather than a love match. As an overt indicator of wealth and status, the sumptuous wedding dowry from Olga's father the Tsar included furs, furniture sets, carriages, porcelain, bed linen, glass, jewellery and an expansive silver service. These two dessert tazzas came from what was known as the 'Golden Ruby' dessert service, which included a large suite of Russian ruby glass from the Imperial Russian Glass Manufactory. This bespoke service included dessert plates and glasses, plus various silver mounted serving dishes. The Tsar was so impressed by this striking service that he ordered an almost identical set for his other daughter's wedding dowry, the Grand Duchess Alexandra Nikolaevna, which may be seen today in the Schloss Fasanerie Museum in Eichenzell near Fulda in Germany ('Die Mitgift einer Zarentochter' Exhibition Catalogue 1997/98).Tsar Nicholas I insisted that everything created for Olga's dowry (and also those of his other two daughters) was to be in the 'latest English fashion, particularly beautiful and fine' (M. N. Lopato, 'Iuveliery starogo Peterburga', St Petersburg, 2006, p. 128). The service commissioned by the Emperor for Olga included almost five hundred silver items, and the responsibility to fulfil this order fell to the main supplier of silver and bronzes in St Petersburg, the renowned English retailer 'Nicholls and Plincke'. Charles Nicholls and William Plincke (in Russian: Николс и Плинке) were two English men trading in St Petersburg who were granted Russian citizenship in 1804. They were elevated to Merchants of the 1st Guild in 1808 and began trading to capitalise on an increased interest in English products in the first half of the 19th Century, at first importing things from England, but also retailing items made in the workshops of Russian craftsmen. Around 1815 they took over a business founded by their fellow countryman John Pickersgill (1765-1841), which was renamed 'William Plincke's English Shop'. In 1829 they established 'Messrs. Nicholls and Plincke's Magasin Anglais' which supplied luxury goods to the Russian market. 'Magasin Anglais' subsequently became one of the most celebrated shops in Russia and was considered the leading retailer of luxury goods to the aristocracy, with a virtual monopoly in the supply of artistic silverware to the Imperial Court (before eventually being supplanted by Carl Fabergé).The silversmith Carl Johan Tegelsten, of Finnish descent, moved to St Petersburg in 1817. He built up a prosperous business during the next thirty-five years, supplying work to some of the city's best retail houses. Tegelsten's longtime connection with 'Nicholls and Plincke' is of particular interest as he produced for them a range of pieces in the then fashionable English taste, of which this pair of tazzas are a striking example, characterised by rococo motifs and naturalistic foliage.When Grand Duchess Olga Nikolaevna of Russia married Crown Prince Charles of Württemberg (1823-1891) on 13th July 1846 at the Peterhof Palace near St. Petersburg, a grand celebration was held at the Tsar's summer palace, and the extensive dowry was then taken by the newlyweds to Württemberg in Germany. They resided in both the Villa Berg in Stuttgart and the Kloster Hofen in Friedrichshafen, located on the shore of Lake Constance in southern Germany. In 1864, Karl acceded the throne and became the third King of Württemberg, making Olga its Queen. When her husband died on 6 October 1891, Olga became Queen Dowager of Württemberg. She died one year later, on 30 October 1892 in Friedrichshafen aged 70, and was buried in the crypt of the Old Castle in Stuttgart.At the beginning of the 20th century, with the turbulence in Russia, the Grand Duchess Olga's extravagant service was distributed amongst various museums and private collections. Today, nineteen pieces of the original silver service are kept in the storeroom of the Peterhof State Museum, and other pieces are exhibited in the Fabergé Museum in St Petersburg. Few silver items from the Grand Duchess's dowry are still in private hands, but some pieces have been sold at auction over the years, including an impressive tureen from the Van Cliburn Collection that was previously acquired in Vienna in the 1960s (Christie's New York, 17 May 2012, 'The Van Cliburn Collection', lot 21). As such, this pair of silver mounted ruby glass dessert tazzas, steeped in Imperial Russian history, are a rarity to appear on the open market.LiteratureJohn Culme, 'Marks, Fine Antique Silver', (London: A. M. Marks Limited, 2005), pp.82-85 with photographsM. N. Lopato, 'Iuveliery starogo Peterburga', (St Petersburg: 2006), p.128Schloss Fasanerie Museum in Eichenzell, 'Die Mitgift einer Zarentochter' Exhibition Catalogue 1997/98For further information on this lot please visit Bonhams.com

Box of Sotheby's and Christie's 20th century art catalogues for South African, Russian, Turkish, Greek, Israeli, Swiss, German and Austrian auctions

Art Reference, to include Thornton (Peter), Authentic Decor, London: Weidenfeld & Nicolson, 1984; Cheneviere (Antoine) Russian Furniture; Nicolson (Benedict), Jospeh Wright of Derby, London: Routledge, 1968, Folio, 2 volumes; China: The Three Emperors, Royal Academy, 2006; and various others CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Aleksandr Konstantin Bogomazov (Ukrainian, 1880-1930)Street scenesigned with initials and dated '1914' l.r., pencil21.5 x 18cmProvenance: Collection of Mrs Cassio Horta;Sotheby Parke Bernet, New York, 'Russian and European Avant-Garde Art and Literature: 1905-1930', 6 November 1979, lot 131.Condition ReportFramed: 43 x 37cmLight creases to the upper and lower left corners and the lower right corner. There is a small 3mm tear to the right edge and a very light 2cm scratch to a plain area of the paper in the upper right corner. Light surface dirt. Examined out of the frame there are some small rips and tears to the edges with discolouration where the work has been covered by the mount, please see images. The work is attached to the board behind with a small piece of acid free tape in each corner.

Moscow is the capital and largest city of Russia, as well as one of the most influential and iconic cities in the world. With a rich history, stunning architecture, cultural attractions, and a bustling urban atmosphere, Moscow offers a wide range of experiences. Here are some key points about Moscow:1. **Location**: Moscow is located in the western part of Russia, in the European part of the country. It is situated along the banks of the Moskva River.2. **History**: Moscow has a history that spans over 800 years, and it has played a central role in Russian politics, culture, and society. It served as the capital of the Russian Empire, the Soviet Union, and modern Russia.3. **Red Square**: One of the most iconic landmarks in Moscow, Red Square is surrounded by historic buildings, including the Kremlin, St. Basil's Cathedral, and the State Historical Museum. It is also the site of many important historical events.4. **Kremlin**: The Moscow Kremlin is a fortified complex that houses the official residence of the President of Russia and numerous government buildings. It is also home to several cathedrals, including the Assumption Cathedral and the Annunciation Cathedral.5. **St. Basil's Cathedral**: This visually stunning cathedral with its colorful onion domes is an iconic symbol of Moscow and is located on the southern end of Red Square. It is now a museum.6. **Bolshoi Theatre**: The Bolshoi Theatre is world-famous for its ballet and opera performances. It is one of the leading cultural institutions in Russia.7. **GUM Shopping Mall**: Located on Red Square, GUM is a historic and luxurious shopping mall featuring high-end boutiques and eateries.8. **Tverskaya Street**: Tverskaya Street is one of Moscow's main thoroughfares, lined with shops, restaurants, theaters, and historic buildings.9. **Metro Stations**: Moscow's metro system is not only an efficient means of transportation but also a work of art. Many metro stations are beautifully decorated with mosaics, sculptures, and chandeliers.10. **Cultural Museums**: Moscow is home to a wealth of museums, including the State Tretyakov Gallery (focusing on Russian art), the Pushkin State Museum of Fine Arts, and the Museum of Cosmonautics.11. **Gorky Park**: Named after the famous Russian writer Maxim Gorky, this park offers recreational activities, beautiful gardens, and a relaxed atmosphere.12. **Arbat Street**: Arbat Street is a historic pedestrian street known for its shops, cafes, street performers, and art galleries.13. **Nightlife**: Moscow has a vibrant nightlife scene, with numerous bars, clubs, and theaters offering entertainment into the late hours.14. **Russian Cuisine**: Sample traditional Russian dishes like borscht, pelmeni (dumplings), and blini (pancakes) at local restaurants.15. **Russian Orthodox Churches**: Moscow has many beautiful Russian Orthodox churches, including the Christ the Savior Cathedral, which is the tallest Orthodox Christian church in the world.16. **Weather**: Moscow experiences a continental climate with cold winters and warm summers. Winters can be quite cold, with temperatures well below freezing.17. **Language**: Russian is the official language, and while English is not widely spoken, many tourist areas have signs and information in multiple languages.Moscow's combination of historical grandeur, cultural richness, and modern energy make it a captivating destination for travelers interested in history, art, and urban exploration. Whether you're exploring its iconic landmarks, visiting its museums, or enjoying its vibrant nightlife, Moscow offers a unique and memorable experience.Measures 33 x 24.Mounted to linen.

CYRUS AFSARY (AMERICAN b. 1941), STILL LIFE WITH RED POPPIES oil on canvas, signedframed image size 40cm x 46cm, overall size 65cm x 49cm Note: Cyrus Afsary is an American artist known for works of art that not only capture moments in time, but create moods about people and places as well. With an eclectic range of subjects, Afsary moves from portraits to still lifes to landscapes with a magical grace that reflects his sensitive and emotional study of life. As a child, his love for art was evident. And while his father was concerned for his penchant for art, his mother encouraged his talent. Afsary received commissions for painting portraits, which served him well later in his career when he was invited to paint portraits of John Wayne, Sylvester Stallone, Frank Sinatra, Susan Anton, Dean Martin, and Wayne Newton’s horse, Aramis. In college, Afsary earned two Bachelor of Arts degrees, one in Fine Arts and the other in interior design. His education has led him, through the years, to paint a wide variety of subjects in his preferred medium, oil, and sometimes watercolours and pastels. He has been greatly influenced by the artwork of the masters, especially the great Russian artists, Ilya Repin and Valentin Serov and also European artists.

HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987) Hedwig Pillitz (lots 31-39) Introduction We know frustratingly little of the talented Hedwig Pillitz who excelled as a portraitist, particularly portraits of those in the performing arts, notably leading actors and musicians. Born in Hampstead Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1948), and Josephine Fischer (1876) who had emigrated to England from Hungary. Both she and her younger sister Doris attended South Hampstead High School for girls. There Hedwig excelled at art and Doris in music and drama. The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art; was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. A year on Doris is a cast member in the 1927-28 season at the Old Vic, performing in Hamlet, The Merchant of Venice, King Lear, Romeo and Juliet, and The Two Noble Kinsmen. It may well have been through Doris that Hedwig met ‘Yorkie’, also an actor at the Old Vic, whose portrait she painted whilst living at 28 Abercorn Place, St John’s Wood (lot 39), and at which address she also painted the dashing Michael Lane (lot 35). Hedwig attracted notable female sitters too as the lots in the present sale attest. Among them, the striking Marguerite Kelsey, a professional model in considerable demand among painters of the day (lot 31), and Russian born Shulamith Shafir, a distinguished concert pianist who made her English concerto debut in 1936 aged just thirteen, and first appeared at the Royal Albert Hall in 1941 (lot 33). With many of Pillitz’s sitters being artists and performers, it is not surprising perhaps to find that of her few paintings in public collections, the best is also of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987)PORTRAIT OF MARGUERITE KELSEYoil on canvas 62.3 x 49.5cm; 24 1/2 x 19 1/2in(unframed)With her high cheek bones, fine features and cropped-back hair set off by her striking lime-green necklace, plunging neck line and viridian dress, Pillitz captures Kelsey with the contemporary poise and elegance for which she became noted. Kelsey started modelling at the age of fifteen and quickly became popular amongst artists for her ability to hold poses for a long time. The best-known likeness of her is by Meredith Frampton of 1928 in Tate Britain. Sitting upright on a settee with her legs behind, her gaze averted and wearing a white dress with red shoes she is the epitome of contemporary refinement. Kelsey also sat for Sir William Reid Dick, Sir John Lavery, Augustus John and Dame Ethel Walker amongst many other painters of the day. ARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply

A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A MANCHU OFFICIAL'S BRONZE SEAL, QIANLONG MARK AND PERIOD, DATED 1747 BY INSCRIPTION, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEOf rectangular form with a tapering columnar handle. The top and base of the seal are inscribed in Manchu and Chinese, while the two long sides bear exclusively Chinese script, numbering and dating the seal.Inscriptions: To the top and the seal face, in Manchu and Chinese: 'Zhang jia kou tai zhan you lu jun li bu zao' [The official in charge of] Zhangjiakou, commissioned by the Ministry of Rites.To the first long side, in Chinese 'Number 1336 of Qian'.To the second long side, in Chinese 'On the […] day of the sixth month in the twelfth year of the Qianlong period'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition with expected old wear, some casting irregularities, corrosion, occasional scratches, few minuscule nicks, and small dents. Remnants of red seal paste. The bronze with a fine, naturally grown, dark patina.Weight: 1,082 g Dimensions: Size 8.9 x 8.8 x 6 cm Zhangjiakou, also known as Kalgan and by several other names, is a city in northwestern Hebei province. Since ancient times, it has been a stronghold of military significance and vied for by multiple sides, hence nicknamed the 'Northern Gate of Beijing'. Due to its strategic position on several important transport arteries, it is a critical node for travel between Hebei and Inner Mongolia and connecting northwest China, Mongolia, and Beijing. Dajingmen, an important gate and junction of the Great Wall of China is located here. From 1727 it was a major station for the Kyakhta trade between Russia and China. In early autumn long lines of camels would come in from all quarters for the conveyance of the tea chests from 'Kalgan' (Zhangjiakou) to Kyakhta across the Gobi Desert. Each caravan usually made three journeys in the winter. In the 19th century, some Russian merchants had permanent residences and warehouses just outside the gate.The Ministry of Rites (Libu) was one of the Six Ministries of government in Imperial China. It was first formed during the Tang dynasty in the 7th century and lasted for well over a thousand years, until the 1911 Xinhai Revolution. It was responsible for state ceremonies, rituals, and sacrifices, overseeing the registers for Buddhist and Daoist priesthoods and even the reception of envoys from tributary states. It also managed imperial examinations as well as China's foreign relations prior to the establishment of the Zongli Yamen in 1861.Literature comparison:Compare a closely related bronze Manchu official's seal of Zhongzheng dian Nianjin chu tu Ji (Chanting place of Zhongzheng hall), 9.1 x 5.6 x 5.6 cm, dated 1729, illustrated in Chan Hou Seng, The Life of Emperor Qian Long, Macao Museum of Art, 2002.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 53 Price: EUR 9,480 or approx. EUR 11,000 adjusted for inflation at the time of writing Description: A bronze Manchu official's seal, Guanfang, dated 1796 by inscription, Jiaqing mark and period, the seal face inscribed in Manchu and Chinese Expert remark: Compare the closely related form and inscriptions. Note the gilding, later date, and the size (11.1 x 9.7 x 6.3 cm). 乾隆款及年代1747年清代滿族官員銅印銅質精良，方形，圓柱鈕。印台四周及台面相間鐫刻滿文，漢文。 款識：乾字一千三百三十六號：乾隆十二年六月日；張家口台站右路軍第三臺參領圖記；禮部造 來源：英國西伯克郡，當地貿易，據説來自知名私人遺產。品相：狀況良好，有磨損、一些鑄造不規則、腐蝕、局部劃痕、一些微小的刻痕和小凹痕。紅色印章殘餘。銅印有細膩、自然的包漿。 重量：1,082 克 尺寸：8.9 x 8.8 x 6 厘米 文獻比較： 比較一件非常相近的1729年銅製「中正殿念經處圖記」，9.1 x 5.6 x 5.6 厘米，見Chan Hou Seng，《懷抱古今‧乾隆御筆》，澳門藝術博物館，2002年。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 53 價格：EUR 9,480（相當於今日EUR 11,000） 描述：嘉慶内務府三旗護軍營參領關防 專家評論：比較非常相近的外形和款識。請注意鎏金，年代較晚和尺寸 (11.1 x 9.7 x 6.3 厘米)。

Boxes and Objects - an Art Nouveau pewter mounted hand mirror, decorated in relief with stylised flower, jewelled handle, 26cm long; a 19th century brass letter opener, the handle as a curled leaf; a Victorian/Edwardian skirt lifter; a Continental carved wooden figure; others; vintage spectacles; Russian lacquered boxes; papier mache boxes; a Ruskin type pewter box and cover, etc, qty

EL LISSITZKY (1890–1941) PLATE, CIRCA 1925 painted ceramic, impressed 2864 Dimensions:19cm diameter Note: Literature: El Lissitzky 1890-1941, Retrospektive, Hannover, 1988, cat. no.197 Note: El Lissitzky was a Russian-born artist, designer, typographer, photographer and architect who designed many exhibitions and propaganda for the Soviet Union in the early 20th century. His development of the ideas behind the Suprematist art movement was very influential in the development of the Bauhaus and the Constructivist art movements. His stylistic characteristics and experimentation with production techniques developed in the 1920s and 30s have influenced graphic designers ever since.

LAUSHKIN, SERGEY (Ukrainian, b. 1954), "Feast of the Apple Salvation" , two figures holding a basket full of apples with white dove soaring into the sky,oil on canvas, 65х110 cms Further information on artist:Sergey Laushkin, was born in the city of Kamianske, Dnipropetrovsk region, on December 11, 1954. Graduated from the Ivan Fedorov Lviv Academy of Printing, Participated in many international exhibitions (Toronto, Vienna, Belgrade, Stockholm) and all-Ukrainian exhibitions. Member of the National Union of Artists of Ukraine since 1990. I work in the field of painting, graphics, sculpture and monumental art. My works are in private collections in France, Serbia, Sweden, Germany, Montenegro, and Ukraine. The artist has been living near Kyiv for a long time. During the occupation by Russian troops, Serhiy left his place of residence and moved to a safe place. During this period, occupiers lived in Serhiy's apartment. When the Kyiv region was liberated, Laushkin returned home. Everything was taken out of the apartment, but the paintings survived. Apparently, the occupiers do not understand art, for them the main thing is pots and household appliances.

SERDIUK, OLEKSANDR (Ukrainian, b.1982) 'Sense of the landscape' an abstract re imagination of landscape, Oil on canvas, L 70cms x H 40cms Further information: Oleksandr Serdiuk, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine. He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV. He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999.EXHIBITIONS: 2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany, 2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany, 2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung, 2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and tranquility, Han Art Space, Tainan, faiwan CONDITION: Further information:Oleksandr Serdiuk, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine. He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV. He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999. EXHIBITIONS: 2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany, 2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany, 2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung, 2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and tranquility, Han Art Space, Tainan, faiwan

SERDIUK, OLEKSANDR (Ukrainian, b. 1982), 'Sunny Bunny', an image of young lady with impasto paint application, Oil on canvas,  60 x 80 cms. Further information: Oleksandr Serdiuk, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine. He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV. He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999. EXHIBITIONS: 2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany, 2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany, 2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung, 2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and tranquility, Han Art Space, Tainan, faiwan CONDITION: Further information:Oleksandr Serdiuk, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine. He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV. He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999.EXHIBITIONS:2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and tranquility, Han Art Space, Tainan, faiwan

SHEVCHUK, MYKOLA (Ukrainian, b. 1965), "poppies" a scene of wild poppies, some in flower and others in bud, signed lower right, 80 x 60 cms, acrylic on canvas.Further information:Mykola Shevchuk, is a Ukrainian artist. sculptor member of the National Union of Artists of Ukraine (1997 ) was born on October 30, 1965, in the village of Smiga, Dubensky district, Rivne region, Ukraine)., Honored Artist of Ukraine (2015), teacher, volunteer, head of the district organization of the Vasyl Stus "Memorial" soclety, "Person of the Year of Ternopil Oblast - 2015" in 1980-1984 he studied at the Kremenets Pedadodical School. After araduation. he worked as a teacher of labor and drawing at an eight-year school in the village of VovchkivtsI, Zboriv district, Ternopil region In 1992, he graduated from the Faculty of Architecture of the Lviv Polytechnic Institute (now Lviv Polytechnic National University). In 1993-199. he worked in the Tereboviva Cit Councias an endineer-architect. Since 1995, he has been a teacher at the Terebovlya Higher School of Culture (TVUK), [now the Terebovlva Vocationa Collece of Culture and Arts) one of the founders of the Department of Decorative and Applied Arts of this institution. Creative activity covers the fields of graphics, monumental, easel and decorative painting, iconography and sculbture. He is a participant in regional, regional, All-Ukrainian and international exhibitions of painting, graphics and sculpture. In 1997 he was the author of the idea and the artist of the mosaic bane "Terebov-900" (34 square meters, enamel), which was created for the 900th anniversary of the city of Terebovli, Ternopil region together with Dmytro Shainoga, Honored Artist of Ukraine, and Bohdan Tkachyk, People's Artist of Ukraine. Personal exhibitions; Organized the first personal exhibition at the Ternopil Regional Art Museum (1995), Terebovlyan Museum of Local Lore (2005), Exhibition of icon painting in the Ternopil "Art Gallery" (2010), A series of personal exhibitions from the 200th anniversary of Taras Shevchenko's birthday, "In our paradise on earth", which highlight the history of Ukraine from ancient times to the present: National University "Ostroh Academy" (2014), Rivne, art gallery of the National Union of Artists of Ukraine [2014), Ternopil, art gallery of the National Union of Artists of Ukraine (2015), Terebovlia. central district library for adults (2015), Kyiv, municipal gallery in Troeshchyna (2018), Zbarazh. National Reserve "Castles of Ternopil" (2019), Berezhany, Bohdan Lepky Museum (2019), Smiga of the Duben District, Center for Culture and Leisure (2019), Historical and Architectural Reserve "Duben Castle" (2019). The author and performer of the first three-dimensional monument of the Heavenly Hundred in Ukraine in 2014 in the city of Terebovli (sandstone 4 m./0.80 m./0.70 m) Author and executor of the monument to the Fighters for the Freedom of Ukraine (Terebovlia) Organizer and leader of a number of art symposia and plein airs:International pictorial plein air "StareNove city. Terebovlya-2012,International pictorial plein air "Stare Nove city. Terebovlya-2013",All-Ukrainian stone symposium "Water from under the stone. Terebovlia 2013".All-Ukrainian charitable plein-air exhibition in support of defenders of Ukraine "To vou. Mother of God.Zarvanvtsia-2015"5. All -Ukrainian charitable plein-air exhibition in support of the defenders of Ukraine "Bayda-SICH. Vyshnivets-2015",b. All-Ukrainian charitable Icon-painting and painting plein air in support ot defenders ot UKraine"WINDOW IN THE SKY. Zarvanytsia-2016",-2017,-2018,Initiator and organizer of the First All-Ukrainian Sculpture Symposium "THE AGE OF GOD. Zarvanvtsia - 2017".Participant in the charity painting of the first military chapel in Ukraine on Mount Lvson to commemorate the 100th anniversary of the battle of the Sich riflemen with the Russian invadersReceived man state awards Mykola Shevchuk's paintings are in private collections in Ukraine, the USA, England, and Europe. 

SERDIUK, OLEKSANDR (Ukrainian, b.1982) 'Enchanted Forest', signed lower right, oil oncanvas, Framed 102 x 123 cms, Image size100 x 121 cms Further information: OLEKSANDR SERDIUK, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999. EXHIBITIONS: 2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany 2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany 2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung 2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and  tranquility, Han Art Space, Tainan, faiwan CONDITION: OLEKSANDR SERDIUK, a well-known Ukrainian painter, Honored Artist of Ukraine, was born in 1982. in the city of Kharkiv. He graduated from the Kharkiv Art School in 2002, graduated from the Kharkiv State Academy of Design and Arts with honors in 2008, majoring in Monumental Art. In 2008, he was invited to teach at the Drawing department. In 2018, he received the honorary title of Honored Artist of Ukraine. He successiully combines exhibition-creative, artistic activity with scientinic and pedagogical work. Since 2010, he has been a member of the National Union ot Artists of Ukraine He constantly participates in International and All-Ukrainian exhibitions, plein-air exhibitions and creative projects. He is a member of the exhibition committee of the Biennale of Ukrainian historical paintings "Ukraine from Trypilly to the present day". In 2006. he received the Certiticate of Honor ot the National Union ot Artists ot Ukraine for the monumental panel "The First Freedmen". 2010 - received a silver medal of the Academy of Arts of Ukraine for the work "Thought about the Kobzars" He was forced to leave Kharkiv in connection with the invasion of Russian troops into Ukraine. Now he is a forced migrant in the city OF LVIV He has been participating in all-Ukrainian and foreign exhibitions and plein-air exhibitions since 1999. EXHIBITIONS: 2022 Einen Schritt vor dem Krieg Ausstellung mit Werken ukrainischer Künstler*innen. Art of Buna e.V. Galerie, Germany 2022 ,Einen Schritt vor dem Krieg" Stadtmuseum Paderborn, Germany 2013 «ART TAICHUNG», Splendor Hotel Taichung, Tainan, Taichung 2014 «ART KAOHSIUNG», Chateau de Chine Hotel Kaohsiung, Tainan, Kaohsiung Pureness and  tranquility, Han Art Space, Tainan, faiwan

Jugendstil-Teeglashalter, Russland, 1908 - 1917 Silber, partiell vergoldet. Zylindrischer, durchbrochen gearbeiteter Korpus mit reliefiertem Blütendekor. Kantiger Henkel mit plastischer Blattzier. Punziert mit Beschauzeichen und Meistermarke. Dazu ein Glas. Maße 11 x 11 x 7 cm, Gewicht: 93,96 g (Teeglashalter). A Russian silver art nouveau tea glass holder with glass, 1908 - 1917 A Russian silver art nouveau tea glass holder with glass, 1908 - 1917 Silber, partiell vergoldet. Zylindrischer, durchbrochen gearbeiteter Korpus mit reliefiertem Blütendekor. Kantiger Henkel mit plastischer Blattzier. Punziert mit Beschauzeichen und Meistermarke. Dazu ein Glas. Maße 11 x 11 x 7 cm, Gewicht: 93,96 g (Teeglashalter). Condition: II

Seltene Lackdose mit Husar, Russland, Fedoskiner Artel ehem. Meister der Lukutiner Fabrik, 1910 - Mitte 1920er Jahre Papiermaché, Schwarzlack, innen Silberfolie. Auf dem Scharnierdeckel polychrome Malerei: Husar zu Pferde. Im Deckel Marke mit kyrillischer Inschrift "Fedoskinskaja Trud. Artel.. Fabriki Lukutina" (Fedoskiner Arbeitsgenossenschaft ehemaliger Arbeiter der Lukutiner Fabrik). Silberfolie mit Fehlstellen. Krakelee. Maße 6,7 x 9,5 x 8 cm. Vgl. Russian Lacquered Papier-Mache Boxes: 200 Years of Hand-Painted Miniature Art, LM Antique Art, Thousand Oaks: 2017, S. 3. A rare Russian papier mâché and lacquer box with hussar on horseback, Fedoskino, Artel of former masters of the Lukutin Workshops, after 1910 - mid-1920s A rare Russian papier mâché and lacquer box with hussar on horseback, Fedoskino, Artel of former masters of the Lukutin Workshops, after 1910 - mid-1920sPapiermaché, Schwarzlack, innen Silberfolie. Auf dem Scharnierdeckel polychrome Malerei: Husar zu Pferde. Im Deckel Marke mit kyrillischer Inschrift "Fedoskinskaja Trud. Artel.. Fabriki Lukutina" (Fedoskiner Arbeitsgenossenschaft ehemaliger Arbeiter der Lukutiner Fabrik). Silberfolie mit Fehlstellen. Krakelee. Maße 6,7 x 9,5 x 8 cm. Vgl. Russian Lacquered Papier-Mache Boxes: 200 Years of Hand-Painted Miniature Art, LM Antique Art, Thousand Oaks: 2017, S. 3.Condition: II -

Große Lackdose mit Reiterstandbild Peters des Großen in St. Petersburg, Russland, Ostaschkowo, Werkstatt Osip F. Wischnjakow mit Söhnen, 1882 - 1888 Papiermaché, Schwarzlack, innen mit Silberfolie ausgelegt. Scharnierdeckel mit polychromer Temperamalerei: Ansicht des ehernen Reiters auf dem St. Petersburger Senatsplatz (Reiterstandbild des Zaren Peter der Große). Im Deckel Ausstellungsmedaillen. Kleine Fehlstellen. Maße 9,5 x 17,5 x 11,5 cm. Vgl. Russian Lacquered Papier-Mâché Boxes: 200 Years of Hand-Painted Miniature Art, LM Antique Art, Thousand Oaks: 2017, S. 75. A large Russian papier mâché and lacquer box with depiction of the horseman statue of Peter the Great in St. Petersburg, Ostrashkovo, Osip Vishyakov and Sons factory, 1882 - 1888 A large Russian papier mâché and lacquer box with depiction of the horseman statue of Peter the Great in St. Petersburg, Ostrashkovo, Osip Vishyakov and Sons factory, 1882 - 1888Papiermaché, Schwarzlack, innen mit Silberfolie ausgelegt. Scharnierdeckel mit polychromer Temperamalerei: Ansicht des ehernen Reiters auf dem St. Petersburger Senatsplatz (Reiterstandbild des Zaren Peter der Große). Im Deckel Ausstellungsmedaillen. Kleine Fehlstellen. Maße 9,5 x 17,5 x 11,5 cm. Vgl. Russian Lacquered Papier-Mâché Boxes: 200 Years of Hand-Painted Miniature Art, LM Antique Art, Thousand Oaks: 2017, S. 75.Condition: II