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Nikolai Efimovich Kuznetsov (Russian, 1876-1970)Dancer signed in Cyrillic and dated '17' (upper left)mixed media on cardboard64 x 48cm (25 3/16 x 18 7/8in).Footnotes:ProvenanceCommission shop of the USSR 'Moscomissiontorg', N15 (label on verso)Acquired from the above a European gentleman in the 1970sThence by descent to an important private collection, EuropeWorks by Nikolai Kuznetsov (1876-1970) are mainly found in museum collections and are almost never offered at auctions. Kuznetsov's Dancer, 1917, is an excellent stylistic example of the art of the Jack of Diamonds group. The artist was a prominent member of the association and his works show the peculiarities of the Russian avant-garde. Kuznetsov was born in 1876 in Moscow and studied painting in the studios of Russian masters Valentin Serov and Konstantin Korovin. In 1906, he participated, for the first time, in the exhibition of the Moscow Association of Artists. A year later he moved to Paris to study at the studios of Henri Matisse (1869-1954) and Colarossi, at the Vitti Academy with the Spanish impressionist Anglada Camaraza (1871-1959) and the post-impressionist Charles Guerin (1875-1939). Undoubtedly, the trip to France determined further development of the artist's style. He began designing for the theatre in 1917, and even organized his own theatre studio.The Dancer may be one of his manifestations for his theatrical designs. Similar to the painting of the Dryads from the Chelyabinsk Museum; the dark haired and bare breasted woman's construction discards traditional forms. During this period, Kuznetsov engaged in the development of the expression of form, using a new stylistic technique. The dancer's body and dress are divided into planes that subtly infuse into a body in motion and dance. The borders of the dancer's body are underlined, typical of the artists of the Jack of Diamond group - such as I. I. Mashkov, P.P. Konchalovsky, A. I. Kuprin and R. R. Falk. Unlike the Dryads, the lack scenic of background departs from narrative, the dance is not concrete in time, we find the woman dancing with no plot, and left to our own imagination and a greater focus on her movement. In the first years of Soviet era, Kuznetsov continued to work actively, and, like some of his associates in the avant-garde society, completely abandoned artistic pursuits and returns to realism in his painting. The Dancer is a unique and rare example of the pre-revolutionary avant-garde period of Kuznetsov, this voyage of stylistic discovery and experiments is very rare to see at auction.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

Petr Ivanovich Petrovichev (Russian, 1874-1947)'The town of Ples' signed in Cyrillic and dated indistinctly (lower right); further signed and titled (verso)oil on board34 x 69.5cm (13 3/8 x 27 3/8in).Footnotes:ProvenanceK.K. Arno (according to label on verso)Acquired by a distinguished European businessman in the 1960s in RussiaThence by descent to an important private collection, EuropeExhibitedPossibly, Moscow, Art Salon (B. Dmitrovka, 11), XII Exhibition of the Union of Russian Artists, 1914-1915, no. 175a (not included in the catalogue)Moscow, Exhibition of Works by Petr Ivanovich Petrovichev, 1917, no. 120LiteratureCatalogue of Exhibition of Works by Petr Ivanovich Petrovichev, Moscow, 1917, p. 7, listed no. 120This 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

Varvara Fedorovna Stepanova (Russian, 1894-1958)Swatch of Original Fabric (1923 - 1924) brushed cotton40 x 17cm (15 3/4 x 6 11/16in).in plexiglassFootnotes:ProvenanceThe estate of the artistEx-collection Modern Art Oxford, deaccessioned in 2013Private collection, UKExhibitedOxford, Museum of Modern Art, 1984 (label on verso)For further information on this lot please visit Bonhams.com

A porcelain cache-pot vaseImperial Porcelain Factory, St. Petersburg, Period of Nicholas II, dated 1911of rounded, tapering form, finely painted in muted pastel hues with a panoramic winter landscape depicting a hilly terrain with random trees and bushes covered with snow, all against cloudy sky at sunset, marked under base with green underglaze factory mark and date '1911' height: 29cm (11 7/16in).Footnotes:ProvenanceThe Winter Palace antiques shop, LondonPurchased from the above c. 1970-1980s by the present owner, a descendant of the Russian writer and publisher, Faddei Bulgarin (1789-1859)Adopted by the Imperial Porcelain Factory in the 19th century from the Danish school, the technique of underglaze painting on porcelain vases reached its peak between the years of 1900 and 1916. The dominating influence of the symbolist aesthetics reflected in a mesmerizing series of hand-painted porcelain vases decorated with landscape, floral and animal motifs which constituted the highlights of the factory production of the time. In the 1910s, the beauty of northern Russian landscape became the central theme of the works by factory artists like A. Lapshin, G. Zimin, A. Bolshakov, N. Daladugin, V. Klenovskaya. The subtle undertones of fleeting seasonal landscapes and pale northern skies barely touched by the shades of sunset and delicate forms of the northern vegetation perfectly complemented the very nature of the underglaze technique free of saturated colours and sharp contrasts. Drawing inspiration from the pristine landscapes of Finland, Karelia and the outskirts of St. Petersburg sketched by the factory artists, each porcelain painting was unique. Examples of vases created by the factory in a variety of simple forms include the notable Deep River vase from the Anichkov Palace, 1910 (Bonhams, Russian art, 28 November 2018, lot 101a), Birch stems, 1913 (State Hermitage, http://collections.hermitage.ru/entity/OBJECT/1006238), Vase with a landscape, 1914 (State Historical Museum, https://catalog.shm.ru/entity/OBJECT/95867), a vase with a lake view (The Peterhof State Museum and Reserve, Imperial Porcelain Factory 1744-1904, St. Peterburg, 2008, p. 633). An example of a vase shaped as cache-pot, such as the present, painted with a winter lake view was at Sotheby's Paris, Vue Sur La Riviera – La Villa D'un Collectionneur, 25 June 2019, lot 9. Shaped as a cache-pot, the offered vase is an exquisite example of these artistic achievements. Beautifully painted in a fine palette of delicate blues, greens, greys, and peach, with an expanding view of cascading hills and valleys covered in snow and rare birch and spruce trees and other vegetation and set against the depth of the sunset skies, it presents an excellent sense of perspective and unity of the porcelain painting and form. The present vase was acquired from the famous Winter Palace Shop at Kensington Church Street. Established by an American art dealer Nicholas Lynn and a former Russian aristocrat, trader and author Margot Tracey, the antiques shop specialized in trading Russian historic artworks, akin to the Paris-based À la Vielle Cité and Popoff & Co. Maintaining close ties with the families of impoverished Russian aristocrats, the gallery offered an outstanding selection of Russian fine art, decorative objects and Imperial porcelain with exceptional provenance which garnered interest from international collectors with an appreciation of Russian art.For further information on this lot please visit Bonhams.com

Boris Bilinsky (Russian, 1900-1948)Three costume designs for the film Casanova, 1927 all signed in Latin and dated (lower right), one is inscribed in French 'Ivan Mosjoukine - Casanova' watercolour, gouache, silver pigment over pencil on artist board73 x 50cm (19 1/4 x 12 1/2in).(3)Footnotes:ProvenanceSotheby's, New York, 24 November 1978, lots 73 and 74Acquired from the above by the present collectorExhibitedKyoto, Japan, The National Museum of Modern Art, 9 June - 16 July 2007; Aomori, Japan, The Aomori Museum of Art, 29 September - 28 October 2007, A World of Stage: Russian Designs for Theatre, Opera and DanceLiterature:A World of Stage: Russian Designs for Theatre, Opera and Dance, exhibition catalogue, 2007, numbers 67, 68, two illustratedCasanova is a 1927 French historical drama film directed by Alexandre Volkoff and starring Ivan Mozzhukhin, Suzanne Bianchetti and Diana Karenne. Boris Bolinsky, a well-known artist and designer of film and theatre costumes, sets, and posters was asked to design all costumes for this popular silent film.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

Boris Solomonovich Aronson (Russian, 1900-1980)Three costume designs for 1924 production of S. Ansky's play Tog un nakht ('Day and Night') all signed in Latin (lower right)pencil, gouache, one with paper collage on paper laid on boardtwo works: 54 x 40.8cm (21 1/4 x 16in); one: 49 x 36.5cm (19 1/4 x 14 1/4in).(3)Footnotes:ProvenanceBy repute acquired by the present collector at Sotheby's, late 1980sExhibitedKyoto, Japan, The National Museum of Modern Art, 9 June - 16 July 2007; Aomori, Japan, The Aomori Museum of Art, 29 September - 28 October 2007, A World of Stage: Russian Designs for Theatre, Opera and DanceLiterature:A World of Stage: Russian Designs for Theatre, Opera and Dance, exhibition catalogue, 2007, numbers 105, 106, 107, pp. 109-110, illustratedIn 1924 the play Day and Night by C. Ansky (1863-1920), a Jewish playwright, novelist, researcher of Jewish folklore, and radical intellectual, was staged at the avant-garde repertory company in Bronx, New York, that became known as Unser Teater (Our Theatre). Aronson was given complete artistic freedom to experiment and to design the entire production from costume designs and stage sets to the stage lighting. Even years later, the artist considered this project to be one of the most experimental and successful in his theatre career. The play was the first production of the experimental theatre to open on 9 December 1924 and ran for 79 performances.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

Konstantin Yuon (Russian, 1875-1958)Main Entrance, Troitsky Monastery signed in Cyrillic (lower right)watercolour and gouache on paper22.5 x 30cm (8 7/8 x 11 13/16in).Footnotes:ProvenancePresent from the artist to the grandmother of the current owner in 1930-1933Thence by descent to a private collection, UKExhibitedNew York, Grand Central Palace, The Russian Art Exhibition, 1924, no. 263 (label on verso)LiteratureC. Brinton, I. Grabar, The Russian Art Exhibition, New York, Grand Central Palace, 1924, listed no. 263N. Tretyakov, Konstantin Feodorovich Yuon, Moscow, 1957, probably p. 110The present view of the entrance to the Troitsky Monastery (or Trinity Lavra of St. Sergius) was reproduced in Konstantin Yuon's album of lithographs Sergiev Posad, 1923, no. 6.For further information on this lot please visit Bonhams.com

Petr Petrovich Konchalovsky (Russian, 1876-1956)'A street in Ryazan', 1931 signed in Cyrillic (lower right); verso with painting of a river landscape, stretcher bearing labels including the number '899' from the artist's handlistoil on canvas60 x 73cm (23 5/8 x 28 3/4in).unframedFootnotes:ProvenanceThe collection of the artist, handlist number '899' (according to label on verso)Acquired by a noble European family in Russia between 1960-1970Thence by descentExhibitedMoscow, 1933, The 8th Exhibition of the Works of P.P. Konchalovsky, no. 45Academy of Art USSR, Department of Exhibitions (according to label on verso)LiteratureVystavka kartin, zasluzhennogo deyatelya iskusstv P.P. Konchalovskogo, 1930-1932, Vseros, 1932, eds. N. Maslenikov, V. Nikol'skii, p. 36, no. 45Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 170, listed as 'zhi 1690, no. 899'A Street in Ryazan is from the series of of 'Ryazan landscapes' referred to by the artist's wife in (O. Konchalovskaya, 'Nash zhiznennyi put' ['Our Life Path'] (1956), in K. Frolova, Konchalovskii. Khudozhestvennoe nasledie, Moscow, 1964, p. 56. Madame Konchalovskaya recalls the journeys the couple made to and from Ryazan to see their son Misha who had been drafted into military service and was stationed there. '[...] we spent that whole cold winter travelling back and forth ... the carriages were unheated and lit with candles.' (ibid.).With Cezanne ever a towering influence from his days in the Knave of Diamonds, in the 1920s Konchalovsky returned to a more traditional style of painting, his palette tamer, his representation less exuberantly expressionistic. By the 1930s, a preoccupation with winter landscapes was apparent, the complex manifestations of the Russian winter providing material for the artist's creative language.A Street in Ryazan displays Konchalovsky's mastery of colour and homage to the fauve palette; the bold orange of the upper side of the building affording no warmth to the composition, rather suggesting the pale light of the winter sun. The juxtaposition of the cool colours with the warm serves to emphasise the bitter cold of the winter, the blue of the snow drifts ambiguous – the sun could be setting or rising, the viewer cannot know. Nevertheless, the painting resonates with the energy of the men who appear to be engaged in building work, their footprints in the snow rendered with two blue strokes. In the foreground, pigeons bob up and down, foraging for food, unbothered by the men or the weather.A comparable work from the 'Ryazan series' is Pier at Ryazan (private collection), numbered '898' on the verso and hence the one prior to the offered lot (number '899') in the artist's handlist. In Pier at Ryazan, the same creative credo of Konchalovsky can be observed: a preoccupation with the energy which humans bring to a landscape, as evidenced by the men in the foreground carrying logs and the smoke issuing from the little wooden hut on the snow-laden riverbank.In the Ryazan series, Konchalovsky appears to be observing man in his context. He shows the monumentality of landscape, emphasised by free, confident brushwork in wide, artistic strokes of thick paint, and against this he shows man: small, unremarkable and yet busy with life. The laconic nature of his landscapes is undercut by the vibrant colours and it is in colour that he shows the impact man has made on landscape. In Oleg's House in Ryazan, 1931, a huge pink house dominates the composition, evidence of how humans can alter their landscape.A Street in Ryazan is emblematic of Konchalovsky's mode of expression in the 1930s. Its highly complex colour permutations undermine the apparent silence and repose of landscape, speaking as it does of the drama and energy of man within nature.For further information on this lot please visit Bonhams.com

Ivan G. Olinsky (Russian/American, 1878-1962)Red coat (Tosca in red) signed in Latin (upper right)oil on canvas76.5 x 63cm (30 1/8 x 24 13/16in).Footnotes:ProvenancePrivate collection, New Paltz, New YorkShannon Fine Art Auctioneers, Milford, Connecticut, 21 October 2004, lot 86Acquired by a private American collector from the aboveThence by descentExhibitedStorrs, Connecticut, The William Benton Museum of Art, University of Connecticut, Faces of Change: the art of Ivan G. Olinsky, 20 June - 22 August 1995, no. 49, listed with title 'The Red Coat', from the collection of Fred Radl (according to the paper exhibition label on verso)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

 Pair of Russian white metal comports with Russian art glass with blue flash applied later, makers marks in Cyrillic, 22cm H x 21 cm dia.,  Provenance - vendors family provenance;  One leg slightly loose to top on underside

BALLET-RUSSES. - Emil Otto HOPPE. Studies From the Russian Ballet. London: Fine Art Society, [1911.] Signed by Tamara Karsavina, folio (349 x 236mm.) Title, 15 photogravure plates mounted on card. (Browning to title-page, toning to card mounts.) Contemporary brown cloth with mounted tan cloth lettering plate to upper cover (wear to spine ends). Note: with photogravures of, among others, the Diaghilev stars Nijinsky, Bolm, Karsavina and Fedorova. Provenance: Kenneth Lintott (inscribed to by Tamara Karsavina below photogravure of herself).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

A Russian Art Nouveau brooch,of open whiplash form, with graduated mixed cut peridots, claw set between textured and incised leaves, with grain set peridots to the frame. 56 zolotnik, Odessa. Maker's mark unidentified. 44mm long, 4.97gProvenance: Iconastas, Piccadilly Arcade, St. James's, London, W1Condition report: Remnants of the original bloom remaining.One claw slightly high - not touching the peridot.A crack in the framework next to the small leaf.

10th-12th century AD. A broad gold finger ring with flared rims and median rib, two bands of opposed punchmarks, each a triangle with three pellets inside; several singular annulets and pellets by the outer flanges. 12.48 grams, 26.23mm overall, 22.56mm internal diameter (approximate size British Z+1, USA 12 3/4, Europe 29.99, Japan 28) (1"). From the private collection of a Russian gentleman living in London; acquired from a Chelsea collector in the 2000s; the Chelsea collection having been formed from 1970-1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11027-181714. [A video of this lot is available to view on Timeline Auctions Website] Fine condition, worn and polished. A very large wearable size.

Anna Razumovskaya (Russian) Portrait of James Deanoil on canvas, 75 x 75cmsigned lower right Provenance: DeMontfort Fine Art Artist's Resale Right may apply

RUSSIAN ICONS & ART 2 boxes of Russian language books on Russian icons, art, architecture etc.

RUSSIAN ICONS & ART 21 English language titles on Russian icons, art etc. incl. Novgorod Icons 12th. - 17th. Century 1980, Oxford, 4to orig. patterned cl. d/w, PALLAS, P.S. Travels in 18th.Century Russia 1990, London, 4to orig. cl. d/w, LAZAREV, V. Old Russian Murals & Mosaics 1966, London, 4to orig. cl. d/w

An Exceptional Cased Russian Presentation 54-Bore Percussion Double-Action Five-Shot RevolverDated 1860With long blued octagonal sighted rifled barrel inlaid with gold C-scrolls around the muzzle, fitted with a blued fore-sight and folding adjustable back-sight, the top flat inlaid in gold with the arms of Tula and inscribed 'Tula Gunsmiths' in gold-inlaid Cyrillic capitals, blued top-strap with gold-inlaid presentation inscription 'TO CAPTAIN PHILPOTTS IN REMEMBRANCE OF TORQUAY 1860', a gold-inlaid crowned gothic 'M' of the donor beyond, all within slender gold line borders, blued cylinder finely engraved against an etched matted ground with a sportsman shooting chamois in a mountainous landscape, his attendant and hound standing nearby, the nipple recesses numbered '1' to '5' (nipples removed and now kept in a corner compartment), blued frame engraved over each side with scrolling foliage within gold-inlaid line borders and involving two Crimean war scenes, a soldier praying over his wounded comrade on one side, and on the other a contemplative soldier seated in a graveyard, and at the rear of the frame a foliate scroll engraved circular mount with interrupted thread for the attachment of the shoulder-stock, blued trigger-guard engraved with foliage en suite with the action and with a chiselled frond at the front, blued trigger, hammer, arbor pin and spring-catch, case-hardened rammer, highly figured butt carved in low relief with scrolling foliage against a finely punched ground, the pommel carved in the round as a snarling lion's head with glass eyes and bone or staghorn teeth, and in exceptional, probably unfired condition, retaining nearly all its original finish (minor areas of old surface rust): in original mahogany case fitted and lined in navy blue velvet with full accessories comprising brass powder-flask, percussion cap dispenser with suspension ring, blued and case-hardened bullet mould engraved with initials, probably of Johann Normann, combined nipple-key and turnscrew, and skeleton butt covered in red morocco leather (minor damage), the foliate engraved blued mount with interrupted thread and sprung catch, the compartment lid knobs of bone or staghorn, and complete with its original key 23 cm. barrel Footnotes:ProvenanceCaptain Henry Phillpotts Thence by descent to the vendorThe recipient appears to be Henry Phillpotts who was born on 23 February 1809. He was appointed Captain in the 29th (Worcestershire) Regiment on 27 June 1834 and retired to Torquay in 1851 where he became a Magistrate. He died on 9 July 1880 at Hazlemere, Torquay Despite research, the reason for the presentation of this revolver remains obscure however the donor, Grand Duke Michael Nikolayevich, is known to have been visiting Torquay according to a surviving letter written from the town and dated 18/30 September 1860, probably while staying at the Romanov family villa named The Villa Syracusa (now the Headland Hotel). Grand Duke Michael was born in 1832 and served as Governor General of Caucasia between 1862 and 1882. During the Russo-Turkish War (1877-78) he was nominal Commander-in-Chief of the Russian troops in the Caucasus and was appointed Field-Marshal General in April 1778. He died in Cannes, France on 18 December 1909, the last surviving legitimate grandchild of Paul I of Russia The decoration on this revolver can be attributed to Nikolai Goltyakov and can be compared to a revolver of Colt type with very similar shoulder-stock in the Hermitage, Leningrad. See Valentin Mavrodin, Firearms and Edged Weapons in the Hermitage, Leningrad, 1977, figs. 131 and 132; and Yuri Miller, The Art of 18th-19th Century Tula Arms in the Hermitage Collection, 2005, p. 104, No. 82. See also Nos. 87 and 89 for other related firearmsFor a cased pair of related revolvers (in the Moscow Museum of History) of Adams Patent type and with lion-head butts, by Ivan Formin, and dated 1864 and 1865 respectively, see Vladimir Berman (compiler), Masterpieces of Tula Gun-Makers, 1981, p. 90. See also Yuri Miller (Ed.), Russian Arms And Armour, The Armoury of The Moscow Kremlin, The Historical Museum, Moscow, 1982, p. 197, fig. 143For further information on this lot please visit Bonhams.com

A SOUTH RUSSIAN SILVER AND NIELLO LADLEUNMARKED, POST 1893French .800 standard import mark, Caucasus probably Georgia, the circular bowl with a raised parcel gilt flowerhead boss, foliate niello to the exterior, trefoil handle join, the handle with a foliate meander, 43cm (17in) long, 423g (13.6 oz)See Sotheby's, London sale 'Russian Works Of Art, Fabergé & Icons', 28th November 2017, lot 514 for an example from Tbilisi 1856 with the same handle join beads and trefoil.

Quantity of books and catalogues pertaining to film posters, music and entertainment, examples include: Butterfield and Butterfield Vintage Hollywood Movie Posters (1994-1997), bound in two volumes, , uniform cloth binding with gilt lettering on spine. Vol I including October 30th 1994, their inaugural sale of such material June 25th 1995 and October 14th 1995. Vol II including Feb 25th 1996 plus Animation Art and Posters; May 6th 1996 Original Art from Walter Lantz Foundation; November 10th 1996 Animation Art and Posters; June 8th 1997  and May 4th and 5th 1996 from Estate of Gunnard Nelson, great for reference, very well illustrated catalogues in colour and black and white. Other catalogues include B & B Western Costume December 1994, Hollywood Memorabilia Feb 1996, Christies, Sotheby's specialist sales including Film Posters of the Russian Avant-Garde by Susan Park set of books on film posters of the decades. Plus a Take The Money and Run large Woody Allen film poster, poster property of National Screen Service Ltd. Pin holes in corners, otherwise good condition.

A Russian Art Nouveau circular nephrite pot, on three silver gilt foliate feet, each mounted with a cabochon red stone and brown enamel border, with Cyrillic maker's mark and kokoshnik, 6cm wide

ROYAL COURT THEATRE, LIVERPOOL; four bound volumes of theatre programmes dated from 1956 through to 1965, together with a framed painted wood panel of the Liverpool Play House, a costume design for an Art Deco female dancer, a watercolour costume design by Judith Croft, a Russian limited edition print of a wise man and three further items.

SOL LEWITT (United States, 1928 - 2007)."Five pointed star with colorbands", from the Olympic Centennial Suite, 1992.Silkscreen on 270 gr Velin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.The Olympic Suite is composed of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, passing through abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, or the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international projection, widely recognized by critics.An artist linked to several movements, including conceptual and minimal art, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips through Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest in graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

THEO TOBIASSE (Jaffa, 1927 - Cagnes-sur-mer, France 2012)."The old man and the trumpet", 1967.Oil on canvas.Presents old label of the exhibition "Promotion of art Santander".It has a slight restoration located in the upper right corner.Signed, dated and titled.Measurements: 65 x 54 cm; 90 x 78 cm (frame).Théo Tobiasse was a French artist best known for his expressionist paintings and prints. Portraying women, men and symbolic iconography with loose brushstrokes and rich colors, Tobiasse's work evokes a Judeo-Christian mysticism similar to the renowned Franco-Russian painter Marc Chagall. Born in 1927 in Jaffa, Palestine (now Israel) to Lithuanian immigrant parents, he and his family moved to Paris in 1931. Tobiasse spent his adolescence studying at the Ecole Nationale des Arts Décoratifs while avoiding Nazi forces during World War II. After the liberation of Paris, he began his career as a designer, creating tapestries, stage sets and window decorations for the Hermès company. He went on to achieve international attention and critical acclaim, winning awards such as the Dorothy Gould Prize in 1961. In the 1970s, a visit to Jerusalem inspired him to create a stained glass window for the Jewish Community Center in Nice. The artist died in 2012 in Cagnes-sur-Mer, France.

PAVEL TCHELITCHEW (RUSSIAN 1898-1957)BULL FIGHTERS A decorated fanSigned and dedicated To Edith on your birthday (lower right)Overall: 40 x 63.5cm (15½ x 25 in.)Painted in 1934.Provenance: Gifted by the artist to Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Exhibited:London, National Portrait Gallery, The Sitwells, October 1994 - January 1995, no. D19/cat. 4.59Catalogue Note:A number of artworks in this sale by the Russian-born surrealist painter, set designer and costume designer, Pavel Tchelitchew (1898-1957), were in the personal collection of Edith Sitwell (1887-1964), poet and literary critic, known for her exotic dress and dramatic lifestyle. Tchelitchew, described as 'the love of her life', was for Edith 'an unhappy platonic romance that dragged on for a quarter of a century' (D. Seward, Renishaw Hall: The Story of the Sitwells, London, 2015, p. 193). Tchelitchew was openly homosexual but despite this, in 1932, Edith moved to the rue Saint-Dominique, Paris, to be close him, and remained there until 1939 when she was forced to return to Britain at the outbreak of war. Tchelitchew painted six major portraits of Edith during the course of a long and volatile friendship; including a gouache in the National Portrait Gallery, London (NPG 5875), and a gouache at MOMA (173.1978). Some of the drawings and lithographs in this sale were individual gifts by the painter to Edith, with hand-written notes - including lot XX, portrait of Dame Edith Sitwell, seated. However, undoubtedly, Tchelitchew's interest in Edith was purely intellectual, and possibly financial; he describing her as: 'a beautiful sheltered eroticism, the purely passive female sensibility that lives forever, a glass flower under glass, behind the opaque façade so remarkable in itself'. Edith's brother, Osbert (1892-1969), 5th Baronet, was also a great collector of 20th century art - including works by John Piper, Christopher Nevinson, Rex Whistler, and Tchelitchew.Pavel Tchelitchew(1898-1957)Born to an aristocratic family of landowners, who fled Russia after the Bolshevik Revolution in 1917, Tchelitchew studied under Aleksandra Ekster at the Kiev Academy; his early work was abstract in style described as Constructivist and Futurist, and influenced by Ekster. After graduation, he designed and built theatre sets in Odessa and later Berlin from 1920-1923. In 1923, he went to Paris where he became associated with the Neo-romanticism movement. There, he met the Sitwell family through the American novelist and art collector, Gertrude Stein. His interest in uniting painting, film and dance led to collaborations with the ballet impresario Sergei Diaghilev and choreographer George Balanchine. Tchelitchew is known for his experimentation with new styles, which led to combining multiple perspectives and elements of surrealism and fantasy into his painting. In 1930, he was in New York, exhibiting drawings at the Museum of Modern Art; his most significant work is the painting 'Hide and Seek', painted in 1940-42, and now at MOMA. In 1934, having made a permanent move to New York from Paris with his partner, the poet, Charles Henri Ford, he continued his association with Balanchine, and met his greatest patron, Lincoln Kerstein. In addition to his paintings, Tchelitchew designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939).  Condition Report: Unexamined out of glazed frame. Executed on wooden and fabric fan. The upper centre edge of the fan is coming away from the backing mount. Otherwise, appears to be in good original condition. Condition Report Disclaimer

A Russian metal bowl, with pictorial decoration, 17.5cm diameter, together with a similar Art Nouveau decoration pin tray, 11.5 x 12.5cmCondition report: Dish mishapen, minor scuffs to foot and body

Collection of ceramic / decorative animals to include Aynsley African Blue Elephant, vintage Russian panda and an Eskimo Art carving of a seal marked 'Eskimo Art Canada' (5)

A mixed group of Eastern European Film posters - Neproshenn Aya Lyubov (Unbidden Love) (1964) Russian - art by Gregory Perkel together with 3 x Polish posters - Miłość rozkwita w piątek (Love Blooms on Friday)(1972); Przygody Matki Nuki (Adventures of Monkey Nuki) (1979) and Iwan Wasiliewicz Zmienia Zawód (1973) - rolled

Hill, Gerrard, ed by: Fabergé and the Russian Master Goldsmiths, pub New York 1989, col photo illust, Moscow, Monuments of Architecture 18th to the 1st 3rd of 19th Century, circa 1975 2 vols in card slip, and a quantity of other volumes relating to Russian art, architecture etc. 20 vols

Fine and rare 19th Century Russian Popov Factory porcelain cup and saucer, circa 1850, the oversized cup gilded and enamelled, decorated with a view of the Red Square with a gilt edge and deep blue surround, with a gilt to the cup owl three quarters down, the saucer with two finely painted foliate panels and gilt trailing scroll design and deep blue surround and central gilt circular decoration, the underside of the cup with a blue underglaze Cyrillic 'AP', the saucer also with a blue Cyrillic 'AP' above the number 30, also with No1 in pale brown within a rectangular frame, the cup 10cm wide, 9cm high, the saucer 17cm wide. For a similar decorated piece see Christie's Russian Art Auction 2nd December 2009

AFTER QIU YING (1494-1552), 19th centuryBirthday CelebrationHandscroll, ink and colour on silk, bearing signature and seals of Qiu Ying, perspex case. 31cm (12 1/4in) high x 396cm (155 7/8in) long. (2).Footnotes:仇英（款） 瑤池吉慶圖 絹本設色 手卷裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descent來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Qiu Ying 仇英 (c.1494-1552), also known as Shifu 實父, pseudonym Shizhou 十洲, was a famous professional painter based in Suzhou, known for his 'green and blue landscape' style. Although he was not of the scholar-gentry class, his talent allowed him to be invited by many important collectors to make copies and repairs. In this way, he had access to some of the great paintings of the time and learnt to mix the classical style of Song and Yuan painters. Eventually, by sheer talent, he was regarded as one of the Four Masters of the Wu School.For a longer discussion about Qiu Ying and an example of his landscape style, see Z.Hongxing, Masterpieces of Chinese Painting 700-1900, London, 2013, pp.260-261. He was highly regarded and popular within his own lifetime and his signature was used on many paintings sold by his studio. His daughter, Qiu Zhu (仇珠), and son-in-law, You Qiu (尤求), followed him into a career in painting. Qiu Zhu's style is delicate and beautifully refined, while You Qiu also inherited his father-in-law's manner.For further information on this lot please visit Bonhams.com

ANONYMOUS, 19th centuryThe Battle of XiaoInk and watercolour on silk, inscribed with a narration about the battle, mounted on silk and framed. The painting, 80cm (31 1/2in) x 82cm (32 1/4in).Footnotes:十九世紀 晉敗秦師於殽圖Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descent來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.The battle of Xiao (627 BC) was a battle between the states of Qin and Jin during the Spring and Autumn period, in an area between the Yellow and Luo rivers, in modern-day Henan Province. The Jin defeated the Qin and solidified its position as the most powerful state in north China for several decades. The Qin suffered a significant loss of about 30,000 men. In time however, the Qin would eventually build their strength again to unify China. The battle was recorded in the Zuozhuan (The Commentary of Zuo).For further information on this lot please visit Bonhams.com

Manner of XU BEIHONG (1895-1953)Galloping HorseBlack ink and white pigment on fibrous paper, signed Xu Beihong, one seal of the artist, framed and glazed 56.5cm (22 1/2in) high x 50cm (19 6/8in) wide. Footnotes:徐悲鴻（款） 奔馬 紙本水墨 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Xu Beihong is widely recognised as the father of modern Chinese painting, both for his innovative ink works that revitalised the traditional Chinese form, and for his willingness to embrace Western techniques.Winning high acclaim for their bold and lively styles, the horse paintings by Xu Beihong were highly admired amongst collectors and connoisseurs for their strength and vivacity, whilst also expressing Xu's desire to show his own feelings of patriotism.Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he moved to Shanghai, then a melting pot of Chinese and Western cultures, to begin his studies. There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu's thinking about the need to incorporate Western practices and ideas into Chinese art.Throughout his life, Xu Beihong championed the revitalisation of Chinese painting through the integration of Western-style realism and Chinese brush techniques. Here, using sharp tonal contrasts between black ink and white paper, Xu's swift rendition of the noble steed embodies the spirit of traditional 'ink play'. The horse's natural pose is deftly captured in abbreviated brushwork, however, the horse's accurate anatomy and the convincing foreshortening of its body reflect Xu's solid grounding in Western academic art. The powerful demeanour of the unleashed unmounted animal may convey a Western influence, but its mane and tail, blowing unnaturally in opposite directions, testify to the artist's ultimately subjective approach.Xu employed freehand strokes, only outlining the critical parts, such as the nose, the chest and the hooves. Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail; the shape of the large muscles at the neck, breast and back is accentuated with ink washes executed in various tones, giving life to a remarkably robust figure, whilst, at the same time, reinstating Xu Beihong's position as a leader of one of the first generation of innovative artists seeking to reinvigorate the long tradition of Chinese aesthetics.Xu's powerful and passionate images of horses, a traditional symbol of Chinese martial spirit, were intended to inspire patriotic resistance during the Sino-Japanese War (1937–1945).See a related ink on paper depiction of a 'Heavenly Horse' by Xu Beihong, in the Metropolitan Museum of Art, New York, published by Shi-yee Liu, Straddling East and West: Lin Yutang, a Modern Literatus, New York, 2007, p.52.For further information on this lot please visit Bonhams.com

MANNER OF QI BAISHI (1864-1957)Apples and LycheesInk and colour on paper, bearing signature Qi Baishi and with three seals of the artist, framed and glazed. 103cm (40 1/2in) long x 35cm (13 3/4in) wide.Footnotes:齊白石（款） 太平多利圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Qi Baishi is perhaps the most famous Chinese artist of the 20th century. He is noted for his whimsical, playful, and seemingly simple style of painting. Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. When he came across the 'Mustard Seed Garden Manual of Painting', that sparked his interest to paint. He did not start learning painting and calligraphy until he was 27. After he turned 40, he travelled, visiting various scenic spots in China. After 1917 he settled in Beijing. Some of Qi's major influences include the early Qing dynasty painter Bada Shanren (八大山人) and the Ming dynasty artist Xu Wei (徐渭). What is unique about Qi however, is that his works show no western influences, unlike most other contemporary artists in his time. Other artists praised Qi for the freshness and spontaneity that he brought to the familiar genres of birds and flowers, insects and grasses, hermit-scholars and landscapes.For further information on this lot please visit Bonhams.com

MANNER OF LI KERAN (1907-1989)Buffalo and BoyInk on paper, signed, one seal of the artist, framed and glazed. 70cm (27 1/2in) x 41cm (16 1/8in).Footnotes:李可染（款） 童子牧牛圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Li Keran painted the subject of a herd boy and buffalo on countless occasions over the course of his long career, becoming a signature subject in his oeuvre. On the surface, the depiction of water buffalo or oxen with a herd boy companion appears as a benign depiction of the rural lifestyle. However, the subject is tied to the cultural milieu of 20th century China, as the artist's depiction is an implicit reference to Lu Xun's (1881-1936) writings in the 1930's when he compares himself to a buffalo: 'willingly I become a buffalo for the sake of the children' (俯首甘為孺子牛), as well as Guo Moruo's (1892-1978) essay 'In Praise of Water Buffalo' (水牛贊), where Guo suggests that the water buffalo should be embraced as a national emblem of strength and humble, yet hard work. See a related painting by Li Keran of a water buffalo and boy, illustrated by S.Little and J.M.L.Barrett, New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu, 2007, pp.592-593.For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND VERY RARE PAIR OF ZITAN-FRAMED KINGFISHER FEATHER-INLAID 'LANDSCAPE' SCREENSQianlongEach exquisitely decorated with lavish use of turquoise-blue kingfisher feathers and other materials reserved against a luxurious velvet ground, depicting rugged mountain and lake landscapes dotted with pavilions and pagodas, the leaves, tree trunks and rocks all made from kingfisher feathers, one screen depicting a boy-attendant carrying a guqin to a seated sage below pine trees, with swirling clouds amidst the tall craggy peaks, the other screen with figures in a house gazing out to the lake with a sampan, all set in a shaped skillfully carved zitan frame carved with archaistic scrolls in low relief and stand pierced with floral sprays. 111.2cm (43 3/4in) high x 56.7cm (22 1/4in) wide x 31.2cm (12 1/4in) deep (2).Footnotes:清乾隆 紫檀邊座點翠山水人物圖插屏一對Provenance:H.E. Monsieur Aleksander Vlangali (1823-1908), Russian Ambassador Extraordinary and Minister Plenipotentiary in China (1863-1873)Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 31 July 1926, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, pp.215-216, nos.2500 and 2511.來源：俄駐華公使亞歷山大·弗蘭加利（1823-1908）旧藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1926年7月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁215-216，編號2500与2511Aleksander Vlangali descended from nobility of St. Petersburg. He participated as an officer in the Crimean War of 1853-1856. In the late 1850s he entered the Imperial Russian diplomatic service and was promoted in July 1863 to the position of the Russian Ambassador Extraordinary and Minister Plenipotentiary in China, a position which he held until November 1873. In 1865 he was made Major General. 亞歷山大·弗蘭加利（Aleksander Vlangali）為出身於聖彼得堡的俄國貴族。曾作為軍官參加了 1853-1856年的克里米亞戰爭。十九世紀五十年代後期，任職俄羅斯帝國外交部門，並於1863年7月任命為俄駐華公使，直至1873年11月。1865年，亞歷山大被擢升為少將。This important pair of screens was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet, S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The remarkable screens demonstrate the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in variety of materials and in the case of the present pair, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. Kingfisher feathers were admired and prized in ancient China, and as early as the Spring and Autumn period (770-475 BC) they adorned clothes and accessories. A Tang dynasty poem by Chen Zi'ang, 661-702 AD) reads: The halcyon kingfisher nests in the South Sea realm;Cock and hen in groves of jewelled trees; How could they know that the thoughts of lovely women; Covet them as highly as yellow gold?' The popularity of the use of the prized feathers in appliqué technique continued into the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial-tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial-tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.The remarkable screens showing idyllic mountain landscapes and an attendant carrying a wrapped guqin to a scholar, were inspired by literati paintings and ideals. Images of the private retreat proliferated among the scholar-officials from the early Song dynasty, when visions of the natural hierarchy became metaphors for the well-regulated state. The scholars extolled the virtues of self-cultivation and asserted their identity as literati through poetry, calligraphy, and painting. The images of old trees, bamboo, rocks, and retirement retreats created by these scholar-artists became emblems of their character and spirit. Pine trees, for example, remaining green even during the winter, came to represent the sturdy and morally upright scholar. The conquering Manchu Emperors desired very much to show themselves as the custodians of Han Chinese culture and adopted it fully, including the ideals of literati from the Yangzi delta region. In addition to literati landscape paintings, the Qianlong Emperor also showed himself as a custodian and connoisseur of China's ancient heritage by championing archaism as both an aesthetic and intellectual movement. The superbly carved and prized zitan frames and stands follow the Qianlong Emperor's taste for archaism, utilising motifs seen on early ritual bronze vessels, such as taotie masks and S-shaped scrolls.With its smooth and silk-like texture, fine and dense grain and ... For further information on this lot please visit Bonhams.com

pencil and oil on board7.5cm x 30.1cm (3in x 11.9in)Provenance:In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin.This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis. Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6. Footnote: Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.

oil, pencil and chalk on cardboard18.5cm x 26.5cm (7.25in x 10.5in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson. Exhibited: 1950: Possibly shown with title 'Houses', Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25;1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020. Footnote: Literature:Possibly published with title 'Houses,' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII;Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25;Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.

signed in pencil (upper left), oil and chalk on card26.5cm x 35.5cm (10.5in x 14in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’. Literature:Published with title 'Portsmouth and the Victory' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17.The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39. Footnote: The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.

signed, titled and dated (to reverse), oil and pencil on board29.5cm x 35cm (11.6in x 13.75in)Provenance: In Barns-Graham's notes about her collection she notes she purchased two oils by John Wells. Footnote: Exhibited: 1949: Paris, Salon des Réalités Nouvelles, 1949.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020. John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the War, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place.This impact was seen in the pair's artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.

A Collection of Books Relating to Art and History to Include Art Nouveau, Wood Engraving, Victoria and Albert Museum, Baroque Art, Sevilla, Russian Style etc

A Georgian niello gilt-silver wine ladle (hazarpesche) Tbilisi, dated 1843the handle surmounted by an openwork palmette, engraved and decorated in niello with a floral vine with a perching bird, the handle base with openwork joint with cherubs face, the bowl of rounded form, decorated in repoussé with quadrupeds and a bird, applied silver deer with rotating head set with turquoise, the interior of the bowl and handle base gilded, date and maker's stamps to top of handle 38 cm. long; 270g.Footnotes:This large spoon would have been used at a feast such as a wedding at which wine would be ladled from a large communal bowl. For a similar example sold at Sotheby's see Russian Works Of Art, Fabergé & Icons, 28 November 2017, lot 514. Further examples can be found in The Caucasian Peoples, ex. cat., Hessenhuis, Antwerp and the Russian Museum of Ethnography, St Petersburg, 2001, p. 161.For further information on this lot please visit Bonhams.com

Frank Stella (B. 1936)La prima spada e l'ultima scopa 1983 synthetic polymer paint on aluminium honeycomb panels and acrylic panel 379.7 by 346.1 by 86.4 cm. 149 1/2 by 136 1/4 by 34 in. This work was executed in 1983. Footnotes:ProvenancePrivate Collection, USSale: Phillips, New York, Contemporary Art Evening Sale, 14 May 2015, Lot 41Private Collection, TurkeyAcquired directly from the above by the present ownerThere is but a handful of artists whose careers capture, define, and redefine the art of an era – thought leaders and virtuosos whose work rewrites the terms of engagement. It could be said of Picasso's cubist leap, Le Corbusier's architecture, Pollock's drips on floor-strewn canvas, The Beatles Please Please Me. For Frank Stella, since his arrival in New York in 1958, his work has steered the course of contemporary art practice through sequential breakthroughs, with his greatest evolution emerging in 1983 after his residency at the American Academy in Rome. Presented here is one of Stella's first and most magnificent works of this period, La prima spada e l'ultima scopa from 1983. A monumental feat of sculpture and painting, the present work draws upon a plethora of references, sources, and historical allusions that culminate in a complex work of sheer brilliance. As part of Stella's Cones and Pillars series (1984-1987) – examples of which reside in the Tate Collection, London (Salta nel mio Sacco, 1984), the National Gallery of Art, Washington (La scienza della fiacca, 1984), and the Centre Pompidou, Paris (La vecchia dell'orto, 1986) – La prima spada e l'ultima scopa is one of the finest, museum-quality examples to come to market. It embodies Stella at his most confident and unhindered, weaving passages of expressive brushstrokes into a lattice of polygonal supports that conjures Romanesque architecture, Russian Constructivism, the swirling strokes of De Kooning, as well as Stella's own shaped canvases of the 1960s. Born in 1936, Stella's ascendancy to the New York avant-garde was swift and prodigious. After majoring in history at Princeton – where he befriended art critic Michael Fried – his practice emerged seemingly fully-formed, producing his pioneering Black Paintings throughout 1959. Such was the impact of his arrival and this debut sequence of works, made freehand in household paint, curator Dorothy Miller included the 23-year-old Stella's works in 16 Americans at MoMA, opening in December of 1959. It was a ground-breaking exhibition that flexed American art and its youthful talent as the pinnacle of global creative freedom and endeavour. Stella's inclusion alongside the likes of Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, and Louise Nevelson, sealed the artist's place amongst this burgeoning generation who inherited the mantle from a diminishing group of Abstract Expressionists. Whilst Stella's earliest works were significant and impactful for their searing simplicity, devoid of colour and composition, his paintings remained tacitly in-step with the critical recourse of the time. Visual art had emerged from the Greenbergian school prizing the painting qua painting, believing that the nature of a work of art is bound in its constituent parts: paint and support. Stella took this to its limit with his very first step, which, in many people's eyes, signalled the end of Abstract Expressionism and the birth of American Minimalism. As Donald Judd remarked of Stella's influence on his own practice: 'the order is not rationalistic and underlying but is simply order, like that of continuity, one thing after another. A painting isn't an image. The shapes, the unity, the projection, order, and colour are specific, aggressive, and powerful' (Donald Judd, Donald Judd: Writings, New York: 2016, p.141).Marking a hugely critical step away from academic painting and out of the shadow of Minimalism, what Stella's work achieved in the 1980s is a grand synthesis of his experience, ambition, and ceaseless curiosity that culminates in the true maturation of Stella's ultimate style and method. In residence at the American Academy in Rome between 1982-1983, the artist used this opportunity to delve deep into the legacy of the Baroque period and the lives and careers of Caravaggio, Rubens, and Velázquez. Studying their use of light, colour and hue, picture planes and sequential, overlapping passages of a painting's composition, Stella suffused a maximalism and grandeur that can only be described as monumental in La prima spada e l'ultima scopa. Considering the influence of Caravaggio on his practice and what he considered to be a crisis in abstract painting, Stella would go on to deliver a series of lectures at Harvard on the 16th century Milanese painter in 1983-1984, before publishing both an eponymous book, Caravaggio, and Working Space, in 1986, taking aim at contemporary painting's need to develop a pictorial space as potent as Caravaggio's – allowing a painting more 'real' space to suggest extension and unrestricted motion. La prima spada e l'ultima scopa captures this newfound verve with consummate mastery. Through arching projections and intersecting facets, the present work is an operatic display of how a painting can stitch, not only illusionistic space together, but the real space of multiple, sculptural planes. Few painters have attempted such a break from the canon – fewer still have succeeded. Stella remains painting's greatest originator of the postmodern period. As his friend and prominent critic, Michael Fried, commented: 'the visual illusionism in Stella's new pictures goes beyond advanced sculpture in the direction of [...] opticality and illusiveness. [...] Because sculpture is literal it can, in the end, be known; whereas the shapes that constitute Stella's new paintings, and the new paintings as experienced wholes, cannot' (Michael Fried, Art and Objecthood: Essays and Reviews, Chicago: 1998, p.96). This unbounded creativity marks one of the most significant passages of Stella's career, and indeed of twentieth century art. One of the earliest works from his Cones and Pillars series (1984-1987) – often cited as a reference to Paul Cézanne's assertion that a painter should organise nature into cylinders, spheres, and cones – in La prima spada e l'ultima scopa, Stella investigated the potentialities of abstract painting still further through their descriptive function. In 1983, the artist was working on a series of prints entitled Illustrations after El Lissitzky's 'Had Gadya'. In Lissitzky's artistic implementation of the traditions of Jewish Passover, Stella recognised that he had 'attempted something few abstract painters have ever tried to do: address a narrative' (the artist in: Michael Auping, Frank Stella: A Retrospective, New York: 2015, p.32). Upon meeting Italo Calvino at one of his Harvard addresses in 1984, Stella found the Italian fables of Calvino the perfect narrative vehicle for his Cones and Pillars works, titling all of them post-production after the short stories in the Italian's 1956 collection. La prima spada e l'ultima scopa (here meaning 'the first sword and the last broom') tells the story of a wager between two merchants, who send their eldest son (the first sw... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Larry Rivers (1923-2002)Last Veteran of the Civil War 1970 oil on canvas, painted wood, plastic, cloth and mixed media188 by 244 by 122 cm. 74 by 96 1/16 by 48 1/16 in. This work was executed in 1970.Footnotes:ProvenanceMarlborough Fine Art, New YorkThe Commemorative Art Collection of the Florists' Transworld Delivery Association, Michigan Bo Alveryd Collection, Sweden Private Collection, Sweden Thence by descent to the present owner ExhibitedNew York, Marlborough Fine Art, Larry Rivers: 1965 - 1970, 1970-1971 Chicago, Museum of Science and Industry, Each in His Own Way: the Commemorative Art Collection of the Florists' Transworld Delivery Association, 1971 Seattle, The Art Museum, American Art, 1973, p. 44, no. 55, illustrated in colourParis, Palais Galliera, 100 Tableaux Contemporains, 1974, n.p., no. 100, illustrated in colourSweden, Lunds Konsthall, Americans, 1977, n.p., illustrated in black and whiteLiteratureSam Hunter, Larry Rivers, New York 1969, n.p., pl. 245, illustrated in colourArt Media, LLC, 'What's the Flower Business doing in the Art World' in Art News, February 1972, n.p., illustrated in colourAmerican artist, Larry Rivers, created an innovative body of work during his oeuvre whose distinctive style formed a bridge between Abstract Expressionism and the beginnings of Pop Art. Coming of age during the rise of Abstract Expressionism in the 1940s and 1950s, and having initially studied under Hans Hoffman, the artist inherited the gesture, spontaneity, and extravagant painterly style of the New York School. Yet, he worked from a distinctively informed, if not postmodern, sensibility. Rivers began a lifelong fascination with reinterpreting the iconic imagery of American culture, throwing long-established clichés into question as he chose instead to render them in bold displays of richly textured paint. In some respects, Rivers's work foreshadowed Pop Art, his work has been labelled as 'proto-Pop', forming a link between Abstract Expressionism and the younger Pop artists such as Jasper Johns and Robert Rauschenberg, whom Rivers knew. This present work, Last Veteran of the Civil War, executed in 1970, was originally created for a floral messaging service for the 'The Commemorative Art Collection of the Florists' Transworld Delivery Association' which was a floral wire service, retailer and wholesaler formed in 1910 for the purpose of helping its customers to send flowers remotely on the same day. Here, Rivers presents to us a three-dimensional construction depicting a Civil War Veteran laid to rest in his coffin, overlooked by a stoic figure dressed in Confederate uniform alongside the Confederate flag and a panel illustrating a delicate floristry design. He seeks to call into question our understanding of the past and encourages the viewer to reflect upon their own interpretation of historic events. Upon its execution the work was proudly executed in an exhibition organised by the Museum of Science and Industry titled Each in His Own Way: the Commemorative Art Collection of the Florists' Transworld Delivery Association. The work initially received some criticism, with audiences believing that in comparison to his paintings of the subject, that this installation piece focused too heavily on the reality of morbidity. However, today we might praise Rivers for his progressive and bold interpretation of a subject in history, that remains a hallmark of his body of work. 'The Last Civil War Veteran' is a subject matter Rivers repeated many times throughout his career, albeit perhaps more recognised in his monumental painted canvases. He reportedly became interested in the subject of a lost generation of soldiers having seen a photograph in a 1959 issue of Life magazine of Walter Williams, who was believed to be the last surviving Veteran of the Civil War. It was reported that the artist Ray Parker sent this issue of Life to Rivers, accompanied by the word: 'Go!'. This set the stage for Rivers and began one of the artist's most significant, politically charged series for which he is widely recognised. Rivers was intrigued by mass-circulation imagery and contemporary perspectives on historical events. He was not so much a storyteller but an observer of the ways that stories are told, and this present work encourages the viewer to engage in the boldest demonstration of experience. An artist whose career defied traditional categorisation, Larry Rivers wanted his works to provoke and question. He would have known the political and social implications of featuring the Confederate flag, in his works, which underwent a divisive resurgence in the early 1960s. Yet, he instead depicts the Confederate flag, and here crated in faux flowers, as a piece of Americana, an emblem of history, or perhaps as a Pop icon. A retrospective of Larry River's work toured five American museums in 1965 and that same year he created a 76-panel multimedia work titled The History of the Russian Revolution. In 2002 the Corcoran Gallery of Art in Washington, D.C. held a major and most comprehensive retrospective of the artist; timely, as Larry Rivers was to pass away that same year. This present work has been widely exhibited since its execution and it is an absolutely signature piece to come to the market.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

THE DECORATIVE ART OF LEON BAKST. Appreciation by Arsene Alexandre. Notes on the Ballets by Jean Cocteau. The Fine Art Society, London, 1913. Original half vellum-backed gilt marbled boards with the binding having suffered from damp , mainly on the back cover. 66 0f 77 plates which Include: Le Dieu Bleu 4 A Negro 5 Bayadere 6 The High Priest 7 An Attendant at the Sacrifice 9 A Pilgrim 11 Bayadere 12 Scenery L'Apres-Midi d'Une Faune 14 Nymph 15 Nymph 17 Negro Boy 18 A Jewish Dancer 19 A Syrian Dancer Cleopatre 20 Scenery 21 Jewess 22 A Jewish Dancer 23 Bacchanale Scheherezade 24 An Odalisque 25 A Young Man 26 A Eunuch 29 An Odalisque 30 Negre d'Or 31 Scenery 32 A Musician 33 Negre Argent Narcisse 34 A Bacchante 35 A Beotian 36 Two Bacchantes 37 A Youth 38 First Bacchante 39 Scenery 40 A Bachante La Peri 41 Peri 42 Iskander Projet d'un Ballet 43 Le Secret du Harem Le Martyre de St Sebastian 44 The Agony of St Sebastian 45 Heralds 46 The Agony of St Sebastian 47 Sketch of the Scenery Act III 48 Scenery Act IV Helene de Sparte 49 Helene 50 Scenery for Act III 51 First sketch,,Scenery for Act IV 52 Scenery for Act IV 53 Seecond Sketch, Scenery for Act IV L'Oiseau de Feu 54 Costume Daphnis et Chloe 56 Scenery for Act II 58 Costume Thamar 59 Scenery Carnaval 61 Scenery Les Papillons 62 Costume 63 Costume 64 Fantaisie sur le Costume Moderne La Secret de Suzanne 65 Scenery Salome 66 Salome Decorative Panel 67 Chloe Abandoned Decorative Panel 68 Elysium L'Averse 69 Illustration 70 Le Nez (by Gogol) Motif Decoratif 71 Versailles Pen Drawing 72 Le Nouveau Chemin An Indian Dancer 73 Terror Antiquus 74 Terror Antiquus Detail 75 76 Vestibule at the Exhibition of Russian Art at the Autumn Salon, 1906. Some of the above are loose. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £19.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.

Margot Fonteyn signed hardback book titled The Art of Margot Fonteyn by Micheal Joseph signature on the inside title page. English ballerina. She spent her entire career as a dancer with the Royal Ballet formerly the Sadlers Wells Theatre Company, eventually being appointed prima ballerina assoluta of the company by Queen Elizabeth II. Beginning ballet lessons at the age of four, she studied in England and China, where her father was transferred for his work. Her training in Shanghai was with George Goncharov, contributing to her continuing interest in Russian ballet. Returning to London at the age of 14, she was invited to join the Vic Wells Ballet School by Ninette de Valois. She succeeded Alicia Markova as prima ballerina of the company in 1935. The Vic Wells choreographer, Sir Frederick Ashton, wrote numerous parts for Fonteyn and her partner, Robert Helpmann, with whom she danced from the 1930s to the 1940s. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Anna Razumovskaya (Russian) Portrait of James Deanoil on canvas, 75 x 75cmsigned lower right Provenance: DeMontfort Fine Art *Artist's Resale Right may apply

A Russian silver-gilt rounded rectangular cigarette case, the hinged cover in relief with a swan amongst water plants, in the Art Nouveau taste, red stone to clasp, 10.5cm long, kokoshnik mark, c.1910, 6.75oz

Russian works of art and ephemera, to include carved and painted wooden bowls, fish badge, postcards and leaflets (qty)

Collection of coloured art glass items to include; Russian design blue drinking vessel, candlesticks, orange ground jug and decanters with stoppers. (6)(B.P. 21% + VAT)

Berthold Lubetkin and Margaret LubetkinUnique sofa, designed for the Penthouse flat, Highpoint Two, Highgate, London, 1936-1938Norwegian yew, sandblasted pine, Cowhide, leather, chromium-plated metal. 77 x 196 x 80 cmFootnotes:ProvenanceBerthold Lubetkin, Penthouse flat, Highpoint Two, Highgate, LondonThence by descentBonhams, London, New Bond Street, 'Important Design', 21 November 2018, lot 169Acquired from the above by the present ownerLiteratureLionel Brett, The Things We See Houses - No. 2, Houses, Middlesex, 1947, p. 49 for the armchairs and daybed'Tall Order', The Architects' Journal, June 1985, illustrated p. 55John Allan, Berthold Lubetkin: Architecture and the tradition of progress, London, 2016, illustrated pp. 303, 305, 307, 562The Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1458096/-armchair-berthold-lubetkin, (accessed September 2021) for the armchairHighpoint by Nick Wright'There are only four kinds of artistic activity: fine art, music, poetry and ornamental pastry cooking, of which architecture is a minor branch.' So began Berthold Lubetkin's speech to the Art Worker's Guild in 1932. Over a fifty-year career he baked many fine pastries.His origins are opaque. A passport showing his birthplace as Warsaw in 1903 was false. He was born in Georgia, a colonial outpost of Tsarist Russia, in 1901. During the Russian revolution he enrolled as a student at the Stroganov School of Applied Art. He studied carpet design in Berlin, architecture in Warsaw, concrete construction in Paris under August Perret, though achieved few if any formal qualifications. Nonetheless, he worked on the Soviet Pavilion in the Paris Exposition of 1925 and, in partnership, with Jean Ginsburg whose bona fide degree facilitated planning permission, had built an apartment block on Rue de Versailles by the age of 30.Arriving in Britain with two passports, no family or verifiable CV, he was free to become the architect of his own identity. His nationality was International, his faith communism, the denomination Modernism. The penguin pool he designed for Regent Park Zoo became instantly emblematic of the movement. More commissions came; suburban houses in Plumstead, a beach house in Aldwyck, a bungalow cut into the chalk hills of Whipsnade. Then, following the Tottenham factory designed for Gestetner Ltd, he designed Highpoint. 'Nothing,' he said, 'is too good for the ordinary person' and Highpoint is the physical embodiment of that ideal. New materials, concrete, glass, and steel were presumed impervious to the elements, the elemental design to fashion. Although undeniably 'an achievement of the first rank' to quote Le Corbusier, Highpoint now appears very much of its time. Rather than housing the workers of an office equipment manufacturer the apartments were sold to private individuals whilst the white-washed concrete appears an homage to white liner modernism, new in Britain but rehearsed the decade prior on the Mediterranean coast and already rust streaked.It is the adjacent Highpoint II which appears the more prescient, bridging as it does the stark modernity of its elder sibling on one side with Georgian Highgate on the other. Indeed, it's startling to realise that what one takes to be a low linear building shares a roofline with its high-rise neighbour and this dual aspect continues throughout. The choice of Staffordshire blue brick nods to the Victorian engineers such as Brunel whom Lubetkin admired. The glass bricks of the stair wells were contemporary. Then there are the caryatids. Classical figures cast at the British Museum support the modernist portico, these draped ladies passed water though pipes cast within but remain a source of debate. Are they 'pastry decoration'? Are they a recreation of the figures on a childhood home? Or are they the earliest post-modern joke, an acknowledgement that a function of architecture is to entertain? In 1951 Lubetkin wrote 'for too long modern architectural solutions were regarded in terms of abstract principles, with formal expression left to itself as a functional resultant. The principles of composition, the emotional impact of the visual, were brushed aside as irrelevant. Yet this is the very material with which the architect operates.' Alessandro Mendini said much the same fifty years after Highpoint's construction.Preeminent among the residents of Highpoint II was Lubetkin himself who had designed the penthouse for his family and the apartment displays the same meld of old and new. A vaulted ceiling recalls the breakfast room at John Soane's Pitzhanger, suspended from it was a mobile made and installed by Alexander Calder. Expansive glass affords views of London, in the free space below was a suite of furniture designed in the vernacular style of Lubetkin's native Georgia.John Allen writes of Lubetkin: 'No longer content merely to revere the grand tradition of architects who design their own furniture – Aalto, Le Corbusier, Mies, Rietveld – he now steps up to join it. The low chairs and sofa were unique pieces of soft sculpture made personally by Lubetkin and his wife Margaret from hand chosen lengths of Norwegian yew and cow hide from Argentina.' Such a quest seems indulgent but careful selection of the timber is necessary to the design. The rear posts all require the same curvature, even the knots are regularly spaced to create symmetrical aprons and, as with the building for which they were designed, the traditional and avant-guard coexist; fitted into the rustic frames are airfoil sections adjusted via engine-turned bosses.These pieces of furniture are of real architectural significance - evidenced by the Victoria and Albert Museum's acquisition of the third chair. They were designed by the architect responsible for much of Britain's post-war social housing and the Finsbury Health Centre, effectively the first hospital for the NHS. They drew on his early life in Georgia yet sit well in his home on top of Britain's preeminent modernist building. Indeed, so attached was Lubetkin to the furniture that on leaving Highpoint in 1955 the suite went with him. Images of the farm cottage to which he relocated show sofa and chair wedged beside the hearth. Then when he retired to a terraced Georgian house in Bristol the pieces again accompanied him. Throughout a transient life it was as though this suite represented home more than any building. Perhaps home had always been Georgia.Bonhams wishes to thank Nick Wright, co-author, Cut and Shut: The History of Creative Salvage, London, 2012.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Postcards, a collection of approx 55 greetings cards incl. Christmas (2 Santa's), chromos, angels, valentine, Art Nouveau style art etc. Sold with approx 48 continental size cards, subjects include Russian art, King of Ethiopia, literary (Hansel & Gretel), silhouette, artist Stenburg, Nazi aircraft (Junkers) etc (mainly gd)

λ Sam Rabin (British 1903-1991) The Main EventMixed media on paperSigned (lower left)53 x 76cm (20¾ x 29¾ in.)Provenance: From the collection of The Hon. Sir William McAlpineSam Rabin (British 1903-1991) was born in Manchester to Jewish-Russian exiles from Vitebsk. Rabin was truly versatile in his practice: a skilled artist, sculptor, teacher and athlete. He won a scholarship to the Manchester Municipal School of Art in 1914, at age 11 - the youngest person ever to attend the prestigious school under French artist Adolphe Valette. His formal education continued at the Slade School of Fine Art in London, under Henry Tonks. In 1925 he moved to Paris, where he met and was greatly influenced by Charles Despiau. In parallel, he competed as an amateur wrestler and boxer - becoming part of the Great Britain squad for the 1928 Olympic Games in Amsterdam, and winning a bronze medal. Rabin worked as a sculptor in London on the Daily Telegraph building and London Transport headquarters, but despite this early success he was wasn't able to find a stable source of work. He funded his artistic career through professional wrestling during the 1930s. Later, Rabin went on to teach drawing at Goldsmith's College of Art, Bournemouth College of Art, and the Poole Art Centre. His students included Mary Quant, Bridget Riley and Tom Keating.Condition Report: Executed on a number of torn and joined sheets. Some lifting to the joined sheet edges at the right half of the composition. The sheet is undulating slightly in the frame and there are some scattered losses to the paint and some lines of cracking upper right. There is a piece of old yellowed tape visible at the lower right corner. The work would benefit from being glazed.Condition Report Disclaimer

Anatoly Zverev (Russian 1931-1986)Lady wearing a necklace, a study Gouache on paper 14.8 x 16.1cm (5¾ x 6¼ in.)Sold together with a certificate of authenticity from the Zverev Center of Contemporary Art.

λ Sam Rabin (British 1903-1991)Final WarningMixed media on paper laid to boardSigned (upper centre)20 x 24.5cm (7¾ x 9½ in.)Provenance: From the collection of The Hon. Sir William McAlpineSam Rabin (British 1903-1991) was born in Manchester to Jewish-Russian exiles from Vitebsk. Rabin was truly versatile in his practice: a skilled artist, sculptor, teacher and athlete. He won a scholarship to the Manchester Municipal School of Art in 1914, at age 11 - the youngest person ever to attend the prestigious school under French artist Adolphe Valette. His formal education continued at the Slade School of Fine Art in London, under Henry Tonks. In 1925 he moved to Paris, where he met and was greatly influenced by Charles Despiau. In parallel, he competed as an amateur wrestler and boxer - becoming part of the Great Britain squad for the 1928 Olympic Games in Amsterdam, and winning a bronze medal. Rabin worked as a sculptor in London on the Daily Telegraph building and London Transport headquarters, but despite this early success he was wasn't able to find a stable source of work. He funded his artistic career through professional wrestling during the 1930s. Later, Rabin went on to teach drawing at Goldsmith's College of Art, Bournemouth College of Art, and the Poole Art Centre. His students included Mary Quant, Bridget Riley and Tom Keating.Condition Report: There is some cracking and lifting to the paint along the lower edge and some further light scattered paint cracking throughout, particularly to the lower left quadrant. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of frame. Condition Report Disclaimer

A SMALL QUANTITY OF SOVIET-ERA RUSSIAN POSTERS including a portrait of Lenin after Andreev, and propaganda posters after Bairakov and Rodionova (6) (rolled) Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

PETER SNOW (1927-2008) Russian style cityscape with a figure lighting a cigarette to the foreground, signed and dated '90 lower right, oil on board, 91.5cm x 122cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

SERGEI SHUTOV (B. 1955) Stylised landscape with a tree and a blood-red sun signed and dated 1981 verso, oil on canvas, 43cm x 78cmSergei Alekseyevich Shutov (also spelled Sergey; Russian: Сергей Алексеевич Шутов, born 1955) is a Russian artist active in painting, drawing, sculpture, photography, and audio- and video installations. He lives and works in Moscow. He was born in Potsdam, then East Germany. He is a member of numerous arts organisations in Russia, including the Hermitage Association and the Mayakovsky Friends' club. Since 1993 he has served as president of the Institute of Technology of Art, and since 1994 he has been the Practical Work Supervisor at Moscow Arts Laboratory New Media. He has worked in the Pushkin Museum, the Museum of the East, and the Moscow Zoo, and read lectures at the Moscow Planetarium. He has worked as a radio DJ (for Stantsiya 106.8) and was the first VJ in Russia, an artist for the magazine "Ptyuch," and an actor and artist for the film Assa.He is also a musician, and composed a soundtrack to the film "The Cabinet of Dr. Caligari" (with Timur Novikov), and the album "1988." Brian Eno's album The Shutov Assembly is named for him.In 2001 he represented Russia at the 49th Venice Biennale, with the project "Abacus", which consists of forty automated figures, all dressed in black robes. 

Four antique Russian Art Deco porcelain cups and saucers with garlands/gold decor. With bottom mark. Circa 1915. Dimensions: 9 x Ø 12 cm. In good condition.

Three late 19th/early 20th century walking canes, a bamboo blow stick with metal screw-off top with enamelled decoration in the Russian style, an olivewood 'Kefkvpa' walking cane with horse head handle and saddle, and image of a man, an ebonised cane with white metal Art Deco handle, and a military educational pointer (4).

A George III silver and coconut shell snuff box, no apparent maker's mark, London 1798, circular form, the hinged cover engraved with a scene of the Scarborough Cliff Bridge with a beach scene behind with ships, and inscribed 'GEORGE VICKERS Grove House Nr. SHEFFIELD LENGTH 344FT. HEIGHT 67FT. SCARBOROUGH CLIFF BRIDGE. B. 14ft', also engraved with a square and compass and a pair of compasses, possibly for a Masonic connection, the underside of the box formed by a carved coconut shell with a face with engraved teeth, diameter 7.8cm. Provenance: purchased from Christie's New York, Import Silver, Objects of Vertu and Russian Works of Art, 21 October 2003, lot 184. The Cliff Bridge, in Scarborough, North Yorkshire, England spans the valley from St Nicholas Cliff to The Spa, it was completed in 1827. it was built to give easier access to the spa. The bridge has four segmental braced iron arches on plain tapering stone piers with stone abutments, and it is a rare example of a multiple-span cast iron bridge.