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Screenprint poster entitled Athena by Art Deco artist Erte. It depicts the Greek goddess wearing a pale yellow dress with a peacock feather fan in one hand as she stands in front of a black orb on silver background. On lower left: Sevenart, Ltd exclusively published by Impress Graphics, Ct. Housed in a black lacquered frame. Sight size: 19.50"L x 29.50"H. Frame size: 23.75"L x 33.75"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: 1982Country of Origin: United StatesCondition: Age related wear.

Screenprint entitled Kiss of Fire (Love & Passion) after an original by Art Deco artist Erte. Housed in a gilded frame with black and burnt orange tiered matting. Sight size: 5"L x 5.75"H. Frame size: 10.25"L x 12.25"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.

Screenprint entitled Angel with the Harp after the original by Art Deco artist Erte. Housed in a gilded frame with black and gold accent tiered matting. Sight size: 5.75"L x 5"H. Frame size: 12.25"L x 10.25"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.

Screenprint entitled Surprises of the Sea after an original by Art Deco artist Erte. Housed in a gilded frame with black and yellow gold tiered matting. Sight size: 5"L x 5.75"H. Frame size: 10.25"L x 12.25"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1990Country of Origin: United StatesCondition: Age related wear.

Original color lithograph on paper entitled Le Coq au Croissant attributed to Marc Chagall who used regularly the symbol of the rooster as an allegorical symbol. This lithograph is pulled from the publication Chagall by French art historian and chief curator of the Musee d'Art Moderne de la Ville de Paris, Jacques Lassaigne, published by Maeght Editeur, Paris. Signature in graphite on lower right: Chagall. Housed in silver brushed frame with a black mat. Sight size: 7"W x 5.50"H. Frame size: 13.25"W x 11.50"H x 1.25"D. Artist: Marc Chagall (Russian/French 1887-1985)Issued: c. 1957Country of Origin: Russia/FranceCondition: Age related wear.

Offset lithograph poster entitled Symphony in Black by Art Deco artist Erte. It depicts a woman dressed in a gorgeous black evening dress and a fan-shaped headwear that matches the fur shawl wraps that fall from her bare arm as she holds a black whippet. Signed in plate on center right: Erte. Housed in a black lacquered frame. Sight size: 19.75"L x 26.50"H. Frame size: 23.75"L x 30.50"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1983Country of Origin: Russia/FranceCondition: Age related wear. Minor color loss on body.

Joe Rush (born 1960): 'Homeless Blues'2020,plastic bones from anatomical models, valves from Marshall amplifiers and Fender Stratocaster mounted on wood, signed, 41 3/4in x 4 3/4in x 15in (106cm x 12cm x 38cm)Footnotes:Provenance:Generously donated by Fender in collaboration with artists associated with Creative Giants. All proceeds from the sale of this Lot will go to The Big Issue.'This piece to me deals with the sense of hopelessness that arises from homelessness. With no home a person has no base to build on their life and their dreams this is why the guitar representing life and creativity morphs into a vertebrae and finally a skull. To me the spirit of life is the spirit of rock 'n' roll and this is why I've included the pieces from the Marshall amplifier.' - Joe Rush, 2020.Joe Rush is a London-born artist who has made his art form and reputation from working with waste materials and found objects, quickly rejecting the idea of showing work in galleries he has shown his art in huge interactive parties, Festivals and Street parades. In the early 80s he created the Mutoid Waste co, a travelling body of like-minded people and set off on an Odyssey to teach the world his vision of mutation and creation and use of waste.His works have ranged in scale from the enormous like building Stonehenge from Russian army tanks on the Berlin Nomansland, and building with aeroplanes and trains, to the small and sublime characters that he is known for. These are collected by the likes of Vivienne Westwood, Damien Hirst and Ronnie Wood. He has also worked on a series of exhibitions with Banksy plus running his own shows under the name MuTate Britain. He is also the Art director of the Glastonbury Festival.Joe Rush was chosen to build the vehicles and stages for the closing ceremony of the London Paralympic games in 2012, here he worked with Rhianna, Coldplay. At Glastonbury festival he built the giant hydraulic fire breathing Phoenix that emerged on top of the pyramid stage during the Rolling Stones live concert. He has worked in a creative partnership with Vivienne Westwood supporting her project climate revolution.He is responsible for the development of the night areas in Glastonbury festival and also creates the imagery on the pyramid stage and the other stage plus running his own fields namely, Cineramageddon, a bizarre drive-in cinema with Joe's strange and mutated vehicles which was inaugurated by Johnny Depp, and most recently Glastonbury on the sea, a 60m long Victorian pier that juts out into the field and brings the spirit of the seaside to the festival.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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

12 russische Mokkalöffel in Schatulle. Vollständige Punzierung. Ende 19. Jh. Moskau. Silber, teilvergoldet. L 11,5 cm. 213 g. In Niello-Technik verzierte Löffelchen mit gedrehtem Stiel. In grauer Jugendstil-Schatulle. Aufrufzeit 12. | Juni 2024 | voraussichtlich 18:35 Uhr (CET)12 Russian demitasse spoons in casket. Fully hallmarked. Late 19th century Moscow. Silver, partially gilt. L 11.5 cm. 213 g. Spoon decorated in niello technique with twisted handle. In a gray Art Nouveau casket. Call time 12 | June 2024 | presumably 18:35 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

KALAEFF, Alexis(1902 Woronesch - 1981 Paris) Szene aus dem Leben ChristiÖl/Papier/Leinwand. Links unten signiert mit Zusatz Paris, rechts unten monogrammiert, verso vom Künstler signiert/monogrammiert. 1 - 1955. 100 x 73 cm. Russischer Maler, studierte in Odessa, seit den 1930er Jahren aktives Mitglied der Pariser Künstlerszene. Aufrufzeit 15. | Juni 2024 | voraussichtlich 20:18 Uhr (CET) KALAEFF, Alexis(1902 Voronezh - 1981 Paris) Scene from the Life of ChristOil/paper/canvas. Signed lower left with the addition Paris, monogrammed lower right, signed/monogrammed by the artist verso. 1 - 1955. 100 x 73 cm. Russian painter, studied in Odessa, active member of the Parisian art scene since the 1930s. Call time 15 | June 2024 | probably 20:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

⊕ LYNN CHADWICK (BRITISH 1914-2003)RAD LAD IIIsigned and numbered Chadwick 2/3 363bronzeheight: 43cm; 17inProperty from a Private Collection, West London Executed in 1961. Sarah Chadwick, the artist's daughter, has confirmed that the present work is recorded in the Chadwick archive as Chadwick 2/3 363 and was cast in an edition of four. ProvenanceMarlborough Fine Art Ltd, LondonPurchased from the above by the mother of the present owner 13th August 1965ExhibitedLondon, Marlborough Fine Art, Summer Exhibition, 1965, no.13LiteratureDennis Farr and Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, London, 2014, p. 199, no. 363In Rad Lad III a rugged and ridged head and body sit on three angular, tapering legs, the rough geometric form half human, half robot. Chadwick's light-hearted title - an abbreviation for 'radiator man' or plumber - refers to the work's corrugated surfaces, but belies the more insidious presence the bronze's spectre-like form suggests. Other more prescient titles he gave to similar sculptures of single figures he completed in the early 1960s included Watcher, Detector and Inquisitor. Such labels of monitoring and surveillance reference the perceived existential threats present in the geo-politics of the day, when the Russian-American Cold War was entrenched, the Cuban Missile crisis was threatening, the Berlin Wall under construction and the horrors of the Vietnam War were unfolding. Chadwick's developing interest in casting in bronze followed a formidably successful decade of development, beginning with his first solo show at Gimpel Fils in Mayfair in 1950, three separate large scale commissions for the Festival of Britain in 1951 and inclusion both in the Battersea Park Open Air Sculpture Exhibition, and the exhibition American Abstraction in New York the same year. In 1952 he was featured as one of eight young emerging British sculptors in the Venice Biennale, others included Kenneth Armitage, Reg Butler, Eduardo Paolozzi and William Turnbull. His meteoric rise continued when in 1956 he represented Britain at the Venice Biennale, winning the International Sculpture Prize against the favourite Alberto Giacometti.

Ivan Milev (1897 - 1927), Bulgarian Two works on paper [a] A portrait of Sergei Yesenin, one of the most famous Russian lyrical poets of the 20th century and founder of the literary movement of Russian imaginism, whose work was influenced by ruralism and religion and later turned more political; monogrammed lower left, ink on paper [b] A print of a folkloric composition of two figures playing the flute, monogrammed lower left and dated 1926 Ivan Milev was considered as the founder of the Bulgarian Secession movement. He studied at the National Academy of Arts in Sofia. His works are described as Bulgarian modernist, symbolist, and expressionist. He drew inspiration from Bulgarian folk art and icon painting. Property of Pierre Rouve

A 9ct gold thimble set with agate (2.7g), Russian Fabergé style silver and enamel spoon, silver scarf ring and a silver gilt Art Deco bracelet set with shagreen 

A silk needlework panel, late 19th/early 20th century, worked in lime-green threads in cross-stitch on a canvas ground, of a border pattern design, with a label to the reverse inscribed in Russian 'Russian Folk Art, 19th century, Natalia Goncharova',10.5 x 43.5cm, framed and glazedCondition ReportFrame size 14.5 x 47.5cm.

Anna Razumovskaya (Russian, Contemporary), ‘Flamenco Solea’ limited edition hand-embellished print, 86/195. Framed, signed and numbered. With affixed DeMontfort Fine Art Certificate of Authenticity.60cm x 46cm, frame measures 83cm x 66cm.

Anna Razumovskaya (Russian, Contemporary), ‘Spanish Heat’ limited edition hand-embellished print, 129/195. Framed, signed and numbered. With affixed DeMontfort Fine Art Certificate of Authenticity. 60cm x 46cm, frame measures 83cm x 66cm.

Anna Razumovskaya (Russian, Contemporary), ‘Blue Flamenco’ limited edition hand-embellished print, 5/50. Framed, signed and numbered. With affixed Anna Art Certificate of Authenticity. 81cm x 40cm, frame measures 105cm x 62cm.

James Bond - Tomorrow Never Dies (1997), Russian fighter jet reference manual hired to Ron Quelch, EON film production art department. In the film, Chinese MIG 23s fly over a British warship. Carver's stealth ship sinks the British warship and shoots down one of the planes triggering an international incident; with accompanying Eon Productions COA.

The Last Flowering of Court Art: A Russian private collection of Fabergé. By Wartski, paperback book, 152 pages. Sold for Michael Sobell Cancer charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Berlin: Propylaen Verlag, 1990. A German hardcover art book with original dustcover featuring Erte's Beauty & the Beast. Over 200 colorful pages of Art Deco graphic prints designed by Romain de Tirtoff (Russian-French, 1892-1990), also known as Erte. His works have capture the elegant fashion of the Art Deco period. Artist: Marshall LeeIssued: 1990Dimensions: 10.75"Lx 1.25"W x 14"HManufacturer: Propylaen VerlagCountry of Origin: GermanyCondition: Very good to good,

5 wooden Folk Art wall plaques. Russian and Irish. 32cm

6th-5th century B.C. Two panels from a scale armour coat composed of more than two hundred overlapping bronze scales, each mounted onto a custom-made leather panel for purposes of display; the scales formed in different series, some having holes only in the upper part, some with three holes in the upper part and two holes to the left, and others showing three upper holes and one side hole. Cf. similar scales from Egypt, dated circa 590 B.C., in the Metropolitan Museum, discovered in the palace of Apries, accession no. 09.183.7a–v; Cernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998, pp.7ff., pl.D & E; for identical scales see ?????, ?.?. & ????????, ?.?., ‘A Scythian Burial in a mound near the S.Nadezhda in Crimea’ and ????????, ?.?., ‘Elements of Scythian tradition in the complex of armament of the Altai forest-steppes population, in the 6th -3rd centuries B.C.’, in Russian Academy of science, The war and the military in the Scythian-Sarmatian world, Proceedings of International Scientific Conference in tribute to the memory of A.I. Melyukova (Kagal’nik, 26–29 April 2014), pp.119-126 and pp.162-171, pl.3 p.126, fig.2 p.165. 255 grams total, 15.2-16.5 cm (6 - 6 1/2 in.). From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12044-216404.The favourite armour of the Scythian noblemen was composed of scales, usually protecting the torso, sometimes the entire body (kataphraktoi). The Scythians found that the most efficient method was to arrange the overlapping ‘fish-scales’ as a corselet made of a number of bronze and iron plates, which then protected the wearer against sword and spear thrusts. Our scales correspond well to bronze scales found in May 1961 in an accidentally destroyed burial in a barrow, near the village of Nadezhda Sovetsky district. They were discovered together with iron scales, a Greek Corinthian helmet, fragments of an amphora, five arrowheads and fragments of an iron sword. Most of these bronze scales were oblong in shape, with a sub-rectangular upper end and a rounded lower end, but slightly bigger than our scales. [2]

DOWNHILL, Margaret. Impressions on a Visit to Copenhagen, Thesis 1951, typed manuscript with title in pencil, illustrated with three original watercolours and numerous printed photographs, 4to (33 x 27.5cm), 93pp., quarter-cloth with woven boards and colour block-printed endpapers. Together with an archive of material relating to the thesis and Margaret's travels during this time, comprising: 27 "love letters" and six postcards addressed to Margaret while residing in Edgbaston and Pontefract, from Olle Tandberg of Böste in Sweden [named within the Acknowledgements and discussed within the text, see footnote of provenance below], the envelopes postmarked 1950 to 1953 and sent from various locations including Sweden, Switzerland and USA, some containing photographs of the sender; 16 ink & watercolour sketches [by Margaret Downhill and/or Olle Tandberg], unsigned, mostly theatrical costume designs, one on the back of an envelope addressed to Margaret and postmarked 16 August 1954; 21 b&w photographs depicting theatrical performances & sculpture, two inscribed verso, "Me as a Russian mother" and "Me as a count", one taken on board SS Borodino while crossing the North Sea; a Swedish brass Yule bell, "Fridfull Jul" [Peaceful Christmas], a gift from Olle and referred to within his correspondence; a Danish pottery owl, something purchased by Olle and described in the thesis; a Danish slipware tray with six bowls in blue-glazed terracotta, pictured and described as a purchase made with Olle within the text; a novelty cinnamon shaker and travelling cup set; an album of oversized colour postcards depicting views of Stockholm, plus a quantity of smaller loose postcards; a group of 13 art/design brochures & programmes to include British Painters 1939 to 1945 (Arts Council 1946), Picasso & Matisse Exhibition (V&A 1945), and Exhibition Danish Architecture (RIBA 1950)    Provenance: By descent of Margaret Oakes, née Downhill (1925-2018). Margaret was a professional artist and honorary member of Ludlow Arts Society (who staged a retrospective exhibition of her work towards the end of her life). She was based in Sweden during the war and into the 1950s where she developed her fondness for Scandinavian art. During this time, Margaret had a series of gay "boyfriends", including Olle Tandberg - to whom she became engaged in order to protect him from prosecution or persecution

Art Reference Books - Silver, Gold & Jewellery Sitwell, Major-General H.D.W The Crown Jewels and Other Regalia in the Tower of London. 1953  Stopford, Francis The Romance of the Jewel (Printed for Private Circulation),1920  Semyonov, V.B. Malachite: Ural Gems, Two Volume Set in Slipcase: Volume 1: Poetics of Stone; Volume 2: Chronicles, Documents, Commentaries, 1987  Semyonov, V.B. Satin-spar - Ural gems, in slipcase, 1984  Grimaldi, David A. Amber, 1996  Flower, Margaret Victorian Jewellery, 1951  Tait, H Catalogue Of The Waddesdon Bequest In The British Museum 1 The Jewels, 1986  Hayward, J. F. Virtuoso Goldsmiths and the Triumph of Mannerism 1540-1620, 1976  Bapst, Germain Histoire des Joyaux de la Couronne de France, 1889  Christie's, Hong Kong Auction Catalogue: Important Watches. Jewellery and Jadeite Jewellery 1999  Phillips, Philip A. S. Paul de Lamerie. Citizen and Goldsmith of London. A Study of his Life and Work AD 1688-1751, 1968  Hare, Susan, et al Paul De Lamerie, at the Sign of the Golden Ball: An Exhibition of the Work of England's Master Silversmith, 1688-1751, 1990  Culme, John The Directory of Gold & Silversmiths: Jewellers & Allied Trader 1838-1914 from the London Assay Office Registers, 2 Volumes,  2000  Wilkinson, Wynyard R. T. Indian Colonial Silver - European Silversmiths in India (1790-1860) and Their Marks, 1973  Hernmarck, Carl‎ ‎Art of the European Silversmith, 1430-1830, Text & Plates Volumes, 2 volumes‎ in slipcase, 1977 Hartop, Christopher he Huguenot Legacy: English Silver, 1680 - 1760 from The Alan and Simone Hartmann Collection, 1996  Sassoon, Philip (forward by) Catalogue of A Loan Exhibition of Old English Plate and Decorations and Orders at 25 Park Lane, London, 1929 Postnikova-Loseva, M. M. Russkoe iuvelirnoe iskusstvo ego tsentry i mastera. XVI-XIX vv. [Russian jewellery art: its centers and masters, 16-19 centuries] , 1974  Cantz, Hatje VIENNESE SILVER - Modern Design 1780-1918, 2003  Oman, Charles A Catalogue of Plate Belonging to the Bank of England, 1967  Kauffman, Henry J. The Colonial Silversmith: His Techniques and His Products, 1969  C. François Thomas Germain: Orfevre des Rois, 1993  Hackenbroch, Yvonne English and Other Silver in the Irwin Untermyer Collection, 1969  Helft, J. Les Grands Orfevres de Louis XIII a Charles X, 1965  Solodkoff, Alexander von Orfèvrerie russe: du XVII au XIX siecle, 1981  Bernjakowitsch, Z. A./Sokolowa, T. M. Russian Silver Wares of the XVIIth - The Beginning of the XXth Century in the State Hermitage Collection, 1977  Clayton, Michael Collector's Dictionary of the Silver and Gold of Great Britain and North America, 1971  Hayward, J. F., The Courtauld Silver : An Introduction to the Work of the Courtauld Family of Goldsmiths, 1975 Hernmarck, Carl, Die Kunst der europäischen Gold- und Silberschmiede von 1450 bis 1830 (The Art of European Goldsmiths and Silversmiths from 1450 to 1830), 1978 Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 2002 Charles Oman, English Silversmiths Work, Civil And Domestic: An Introduction, 1965 Barr, Elaine, George Wickes: Royal Goldsmith, 1698-1761, 1980 Penzer, N. M., The Last Of The Goldsmiths, 1954 Bainbridge, Henry Charles, Peter Carl Faberge: Goldsmith and Jeweller to the Russian Imperial Court: His Life and Work, 1967 Schroder, Timothy B, The Gilbert Collection of Gold and Silver: Catalogue of Collection at Los Angeles County Museum of Art, 1988 (38)

Imposing original embossed serigraph with foil on black paper entitled Hindu Princess by Art Deco artist Erte. It depicts a woman with a shimmering see-through outfit who wears an extravagant headdress covered with silvery embossed dots. Her luxurious train expands equally to form shapes reminiscent of butterfly wings. Signature on lower right below fold: Erte. Edition number on lower left: AP 17/30. Housed in an imposing gilded frame with a black mat and gilt borders. Sight size: 37"L x 28"H. Frame size: 49"L x 40"H x 2"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: 1987Edition Number: Artist Proof 17/30 Country of Origin: Russia/FranceCondition: Age related wear.

Imposing original embossed serigraph with foil on black paper entitled Starstruck by Art Deco artist Erte. It depicts an elegantly dressed woman with a shimmering silver evening gown and headdress covered with silver dust and gold stars that encircle her body. Housed in a silver brushed frame with a black mat and gilt border. Sight size: 25"L x 35"H. Frame size: 29"L x 39"H x 2"W. Artist: Erte, Romain de Tirtoff (Russian/French, 1892-1990)Issued: c. 1987Country of Origin: Russia/FranceCondition: Age related wear. Areas of slight streaks on lower inside part of glass.

STAR WARS: A NEW HOPE (1977) - Russian 'Puma Head' Poster, 1990 (First Release)Bidding for this lot will end on Thursday 30th May. The auction will begin at 2:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. George Lucas' "Star Wars" saga was a global phenomenon when originally released, but it wasn't until 1990 that the world's favourite space opera was released in Russia. There are four styles of Russian Star Wars movie posters, each with a 'head' theme, this being the Advance design, affectionately referred to as the "Puma Head" with art by Igor Majstrovsky. Very much a favourite among Star Wars collectors. All of the Russian posters are much harder to find than virtually any of the U.S. or other international posters because they were printed in such limited quantities and have been awarded the highest rarity rating by the industry bible for Star Wars posters...Stephen Sansweet's aptly named "Star Wars Poster Book".21.5" x 33.5" (55 x 85 cm)Condition: Very Fine+Single horizontal fold line and one light additional diagonal fold. Some minor handling wear and a 2 cm tear in the bottom left corner.Artist: Igor Majstrovsky£600 - 1200VAT Status: M

FABERGE, A JEWELLED AND GOLD MOUNTED AGATE MODEL OF A DUCKLING, ST PETERSBURG, CIRCA 1900 naturalistically carved to depict a standing duckling, its head tilted to one side, the eyes set with rose cut diamonds, standing on chased gold feet, apparently unsigned, within its original Faberge wooden case. Height 4.0cm (1 5/8 inches).Provenance- The property of Emily Yznaga del Valle (1859-1944), sister of the Duchess of Manchester.- Anonymous sale, Christie's Geneva, 28 April 1976, lot 192.- The property of Harry Woolf. - Acquired by the present owners from Christie's London, 29 November 2021, lot 15 (GBP £75,000).Literature - Exhibition catalogue, Exhibition of Russian Art, London, 1935, p. 112, no. 588H (listed).- G. von Habsburg and A. von Solodkoff, Fabergé: Court Jeweller to the Tsars, London, 1979, pl. 104.- Exhibition catalogue, Carl Fabergé. Kostbarkeiten Russischer Goldschmiedekunst der Jahrkunderwende, Zurich, 1989, p. 60, no. 157 (illustrated).- Exhibition catalogue, Fabergé: Imperial Jeweller, St Petersburg, 1993, p. 291, no. 159 (illustrated).- G. von Habsburg, Fabergé: Imperial Craftsman and His World, London, 2000, p. 306, no. 813 (illustrated).- Exhibition catalogue, Carl Fabergé. A Private Collection, London, 2012, p. 51, no. 40 (illustrated).Exhibited- London, 1 Belgrave Square, Exhibition of Russian Art, 4 June - 13 July 1935, no. 588H.- New York, Habsburg, Feldman, The Josiane Woolf Fabergé Collection, 3 - 9 November 1988, no. 40.- Zurich, Museum Bellerive, Carl Fabergé. Kostbarkeiten Russischer Goldschmiedekunst der Jahrkunderwende, 31 May - September 1989, no. 157.- St Petersburg, Hermitage State Museum; Paris, Musée des Arts Décoratifs; London, Victoria and Albert Museum, Fabergé: Imperial Jeweller, June 1993 - April 1994, no. 159.- Wilmington, Riverfront Arts Centre, Fabergé, Imperial Craftsman and his World, 14 August 2000 - 28 February 2001, no. 813.- London, Wartski, Carl Fabergé. A Private Collection, 15 - 25 May 2012, no. 40.

FABERGE, AN IMPORTANT IMPERIAL JEWELLED GOLD MOUNTED BOWENITE MODEL OF A FROG, ST PETERSBURG, CIRCA 1900 humoristically carved in the Japanese taste, modelled as a frog doing a handstand with its rear feet clasped together, its eyes set with large cabochon rubies and its mouth gold mounted and set with diamonds, modelled after a netsuke, apparently unmarked.Height 5.2cm (2 1/16 inches).Provenance- The property of The Russian Imperial Family.- With Popoff, Paris.- With Wartski by 1936.- Private UK Collection.- Acquired by the present owner.Literature - A. von Solodkoff, Faberge Juwelier des Zarenhofes, 1995, p. 23 (illustrated).- G. Munn, Wartski: The First Hundred and Fifty Years, 2015, p. 72 (illustrated).- Exhibition catalogue, Wilmington,Fabergé: Imperial Craftsmen and his World, 2000, p. 305 (illustrated).- Exhibition catalogue, Wartski, Japonisme: From Falize to Fabergé, 2011, p. 103 (listed), p. 107 (illustrated).Exhibited- London, 1 Belgrave Square, Exhibition of Russian Art, 4 June - 13 July 1935 (apparently)- Wilmington, Riverfront Arts Centre, Fabergé, Imperial Craftsman and his World, 14 August 2000 - 28 February 2001, no. 806.- London, Wartski, Japonisme: From Falize to Fabergé, 10 - 20 May 2011, no. 201.FootnotesFor the only other similar model of a frog known, formerly in the collection of King George I of the Hellenes, see Christies, 24th & 25th January 2007, lot 372 - sold for £114,000

FABERGE, A JEWELLED AVENTURINE MODEL OF A LION CUB, ST PETERSBURG CIRCA 1900 naturalistically carved to depict a recumbent lion cup, looking backwards over itself, the eyes set with rose cut diamonds, likely modelled after a netsuke in the Japanese taste, apparently unsigned.Length 5.0cm (2 inches).Provenance- Anonymous sale, Sotheby's, London, Russian Works of Art, 19 June 1978, lot 166.- The property of Count R. L. Sangorski and John Mariott.- With Wartski.- Acquired by the present owner from Wartski, June 2020.

FABERGE, AN EXTREMELY RARE AND HIGHLY IMPORTANT JEWELLED, SILVER AND GOLD MOUNTED LIFE-SIZE AGATE MODEL OF A DORMOUSE, ST PETERSBURG CIRCA 1900 naturalistically modelled and carved in detail to depict a seated dormouse, relieved in honey coloured striated agate, accented with silver whiskers and chewing on threads of straw made from gold, held in its hands, the eyes set with cabochon blue sapphires, scratched inventory number 21714, apparently unsigned.Height 6.5cm (2 5/8 inches).Provenance- Gifted from Emmanual Nobel (1859-1932) to Karl Wilhelm Hagelin (1860-1955).- By descent to his son Wolodja Hagelin (1897-1970), godson of Emmanuel Nobel.- Thence by descent.- Christie's, London, Russian Art, 29 November 2021 (GBP £234,000).- Acquired by the current owners from Christie's.FootnoteThis Faberge dormouse is almost identical to that bought by Queen Alexandra from Faberge's London branch on 5 November 1912, also with gold straws and cabochon sapphires - see RCIN 40261. Another agate dormouse with a similar inventory number is listed in the ledgers of Faberge London, where it was acquired by the famous banker Ernest Cassel in December 1911 for £33. It was later returned by Lady Brougham and Vaux, who presumably received it as a gift.  Its current location is unknown.

FABERGE, AN EXCEPTIONAL JEWELLED AGATE MODEL OF A SHE GOAT, ST PETERSBURG, CIRCA 1900 naturalistically carved in striated agate to depict a goat, its head tilted to the side and its tail uplifted, the eyes set with rose cut diamonds, apparently unmarked, within its original Faberge wooden case.Length 5.7cm (2 1/4 inches).Provenance- With A La Vieille Russie- Private US collection.- Sotheby's, New York, Russian Art, 21 April 2010, lot 137 (USD $182,500).- Acquired by the present owner from Andre Ruzhnikov, September 2022.Literature- A. Kenneth Snowman, The Art of Carl Fabergé, London, 1953, p. 64-65, no. 210 (illustrated).

Romain De Tirtoff, 'Erte', (1892-1990) Russian, 'Danseuse', a bronze art deco style figure of a dancer, circa 1985, stamped '436/500 Fine Art Acquisitions' to the base, with 'Erte' signature, 35 cm high. Some light surface marks in places, visible on close inspection, but no damage or repair.

Marc Chagall (Russian/French, 1887-1985). Printed by Mourlot, Paris. Published by the French government. Signed and dated 1962 lithograph poster depicting his work "La Baie des Anges" printed for tourism purposes for advertising Nice and Cote d’Azur.Literature: Mourlot 350.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is."Sight; height: 39 in x width: 24 in. Framed; height: 39 3/4 in x width: 24 3/4 in x depth: 1 1/2 in.Condition:There are no visible tears, losses, or restorations. The sheet is lightly toned. Some undulation throughout, especially along the lower edge. There are two dark spots along the upper right and left corners. Some small spots of foxing or soiling throughout. Light wear to the frame; framed under glass. Not inspected out of frame.

Ivan Jakowlewitsch Bilibin Hexen, Prinzen, Wölfe und Feuervögel Skaski (russ.). [Märchen]. 6 Bände. St. Petersburg 1901-1903. • Ein Hauptwerk des russischen Jugendstils • Vollständige Folge sämtlicher 6 Märchenbücher • Ungewöhnlich schönes und wohlerhaltenes Exemplar 'Bilibins Märchenbücher hatten Vorbildcharakter für die Entwicklung des Kinderbuchs' (Bodo Zelinsky) Komplette Reihe von Bilibins 6 russischen Märchenbüchern in der Originalausgabe, entstanden um die Jahrhundertwende und herausgegeben von der 'Expedition zur Herstellung von staatlichen Wertpapieren'. 'Bilibins Gestalten sind der Märchenwelt entnommen: Sphinxe, besenreitende Hexen, wilde Kavaliere, halbmenschliche halbvegetabile Geschöpfe, schöne junge Bäuerinnen und Prinzessinnen, Wölfe, der Feuervogel, Zaren und Prinzen bevölkern die Seiten. Überall herrscht der Wald, der sich nur manchmal öffnet, um Einblicke auf alte Städte, traumhafte Bauernhöfe, Burgen zu bieten .. Die angewandte Technik der Chromo-Lithographie verleiht den Farben eine unvergleichbar tiefe Qualität und Dichte, die die Märchenwelt in ihrem Geheimsten enthüllt .. Obwohl Bilibin aus vielseitigen Quellen geschöpft hat - Lubok, Ikonen, mittelalterliche Handschriften, russische Volkskunst -, ist es ihm gelungen, einheitliche Bilder zu schaffen, in denen der Geist der alten Rus zum Atem dieser Märchen wird. Sie haben jahrzehntelang Kinderträume begleitet' (Bowlt-Hernad). Die Reihe besteht aus folgenden Büchern (Titel in dt. Übersetzung): 1. Das Märchen vom Zarensohn Ivan, dem Feuervogel und dem wilden Wolf. 1901. - 2. Die Froschkönigin. 1901. - 3. Das Federchen von Finist, dem herrlichen Falken. 1902. - 4. Wassilissa, die Wunderschöne. 1902. - 5. Marja Morewna. 1903. - 6. Schwesterchen Aljonuschka und Brüderchen Iwanuschka und das weiße Entlein. 1903. 'Kennzeichnend für Bilibins gesamtes Werk ist die Ausdruckskraft der schwarzen Linien. Sie vor allem bewirken die charakteristische Bewegtheit der Illustrationen. In Verbindung mit den durch die Linien eingerahmten Farbflächen entsteht eine starke Plastizität, obwohl alle Körper flächig dargestellt sind und jegliche Schraffierung fehlt. In den ganzseitigen Landschaftsbildern Bilibins wird der umrißbetonte Flächenstil noch deutlicher .. Der in folkloristische Schmuckleisten eingefaßte Text und die großflächigen Illustrationen ergeben zusammen eine ideale Verbindung von Wort und Bild, die ganz in der Tradition der mittelalterlichen Buchkunst steht.' (B. Zelinsky in: Bilderwelten VI, I-5). EINBAND: Farbig illustrierte Orig.-Umschläge. 32,5 : 25,5 cm. - ILLUSTRATION: Mit zahlreichen, tlw. blattgroßen farblithographischen Illustrationen. - KOLLATION: Jeweils 12 S. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Schweizer Sammlung. LITERATUR: Golynez Tafel 1-17. - Bowlt/Hernad 5. - Schug 2728-2732. - Vgl. Compton S. 67-68 und Langer S. 253ff. Complete set of the famous 6 Russian fairy tale books by Bilibin. A major work of Russian Art Nouveau. Color illustrated original wrappers. - Only 2 vols. partly slightly foxed. Overall unusually beautiful and freshly colored, hardly stained copy; extremely rare in this state of conservation. Dieses Objekt wird regelbesteuert angeboten (R).

Art reference.- Russian Water-colour in the Collection of the Hermitage, Leningrad, full-page colour illustrations, text in Russian and English, original boards, light bumping to spine ends, original card slip-case, little soiled and worn, Moscow, 1988 § Alauzen (André M.) La Peinture en Provence du XIVe siècle à nos jours, full-page colour illustrations, margins very slightly toned, original cloth, spine ends and corners little bumped, dust-jacket, slightly toned, a few small chips and short tears to extremities, Marseille, 1962; and others, art reference, v.s. (c.35)

Art reference.- Lodder (Christina) Russian Constructivism, illustrations, some in colour, original cloth, dust-jacket, small stain to head of lower panel to verso (also affecting lower cover), some creasing and light toning to extremities, New Haven & London, Yale University Press, 1983 § Barnett (Vivian Endicott) Das bunte Leben Wassily Kandinsky im Lenbachhaus, colour illustrations, some full-page, very slight toning to margins, original pictorial wrappers, spine ends and corners rubbed, Dumont, 1995 § Pevsner (Alexei) Naum Gabo and Antoine Pevsner, illustrations in black and white, some full-page, original printed wrappers, dust-soiling, spine slightly toned, Amsterdam, Augustin & Schoonman, 1964; and others art reference, most relating to Russian art, v.s. (c.20)

Ballets Russe at the Royal Opera House, Covent Garden. A collection of 1930s Art Deco ballet programmes, many for the Ballets Russes de Monte-Carlo under Col. W. de Basil. Including 1936 June-September folio programme with tipped in colour plates by Nathalie Gontcharova, Jean Hugo, M. Larionow, Pablo Picasso, J. M. Sert, costume designs by Cecil Beaton, and photographs of Russian ballet dancers such as Tatiana Riabouchinska, Tamara Toumanova, Yurk Shabelevsky and others. Along with programmes for the 1946 Sadler's Wells Ballet, Ballet Rambert, and for various seasons of the Ballets Russes 1936, 1937 & 1939, a programme for a performance at the Theatre Royal, Bath in 1944 of The Green Table starting Kurt Jooss, and a small collection of 1940s tickets for various performances. A charming collection of interwar and post-war theatrical and ballet interest, richly illustrated with Deco advertisements. 

De Rudder after A. Soltykoff, Chir Singh [Sher Singh] Maharaja des Siks, Roi de Panjab avec sa suite/Lahore Avril 1842, from Voyages dans L'Inde Auguste Bry, Paris, 1850lithograph on paper, no. 22 from the edition, title in lower border 487 x 690 mm. (to platemark); 620 x 868 mm. (sheet)Footnotes:A striking image from the elephant folio edition of 36 plates.Alexis Soltykoff was born in Saint Petersburg and after a brief stint in the Russian diplomatic service moved to Paris in 1840. He made two trips to India, in 1841-43, and then again in 1844-46. His letters written home to his brother were later published, in the popular success Lettres sur L'Inde (1848), which also included some lithographs based on drawings he had made in India. In 1850 the drawings were engraved by De Rudder and published in Voyages dans L'Inde in a 36-plate elephant folio edition (as in this lot and the one following), as well as subsequent octavo versions.There is a good deal of evidence that Soltykoff drew the scenes after which the lithographs were made, either directly from the life, or very soon after actual encounters. This is suggested by passages from his journals, describing his wide travels in India and the Punjab in particular, gathered in H. L. O. Garrett's The Punjab One Hundred Years Ago, as described by V. Jacquemont and A. Soltykoff (1935). As Garrett observes in his 'Prefatory Note', Soltykoff had his 'sketch book ever in readiness'. There are further passages which are intriguing: his face-to-face encounter with Sher Singh, a 'mass of cavalry' and elephants as an escort in 1842 (Garrett, p. 93); a hunting expedition with Sher Singh and hundreds of outriders and falconers (p. 101); and his daunting meeting with groups of Akali warriors, 'with high black turbans having daggers and plumes fixed in them' (pp. 94, 99-100).For a rare sheet of drawings by Soltykoff, dated 1848, in which appear at least one of the figures who feature in these lithographs, see the sale in these rooms, Bonhams, Islamic and Indian Art, 30th April 2019, lot 209.For further information on this lot please visit Bonhams.com

Ivan Khokhlov (Russian, 20th century) Linocut Winnie the Pooh, signed in pencil lower right, framed and glazed, image size 31cm x 20cm, bears Moscow Branch of Art Foundation label verso, together with a 20th century Russian landscape etching, signed, titled and numbered 6/6 892 in Cyrillic, 22 cm x 19 cm (2)

An Art Deco clock by Pleasance & Harper Ltd on chrome base, height 21cm, and a Russian glass clock on bakelite and chrome base, marked Mahal USSR to face, height 19cm.

Russian Art Nouveau kovsh in elaborate cloisonne enamel by Fyodor Ruckert. Moscow, 1908-1917 It is a cylindrical bowl with a contoured edge and a transverse heart-shaped handle. The body and top side of the handle are decorated with painted, fairy-tale flowers and geometric motifs of blue triangles on the deep, signature brown background of Feodor Ruckert. The stem and sternpost are marked with a geometric motif of spirals, rhombuses and triangles, stylizing jets of water, flowers or solar signs. High pictorial generalization is introduced by applied drops of icicles, crosses and lattices made of pure silver. They give the work endless depth and nostalgia of the Russian north. On the base of the ladle there are Moscow hallmarks of 88 standard silver of 1908-1917 and the initials of the leading Faberge enameller Fyodor Ruckert FR in a square shield. Height 4.5 cm. Diameter: 5 cm. Weight: 83 g. Width: 8.5cm, Height: 4.5cm, Depth: 5cm, Weight: 0.083kg, Condition: Good, Material: Silver 88, Cloisonne enamel, GildingChoose Color  Choose Color  

A bright and memorable example of late Russian Art Nouveau, a silver cloisonne enamels snuff box - from the 6th Moscow artel. The snuff box has a discreet, octagonal shape and carries an impressive ensemble of geometric belts, floral and natural decorations. On the hinged lid there is a title picture of a fairy-tale flower-tree with fruits and berries that grew on the edge of an epic forest. In the corners it is surrounded by an ambivalent motif of a green wave from a dove-gray field, which, in the upper corners, personifies rainy skies and clouds, and in the lower register - the biosphere of lake and meadow grasses. The spiral pyramids of the central axis, above and below, bear the imprints of the elements of air and fertile earth. The sides of the body, in addition to the geometric belt of rhombuses and spirals, are decorated with alternating fields of fabulous flowering and water origin, the beginning and half a day of life. Corner cuts form dynamic, diagonal compositions on a light background. On the base of the snuff box there are Moscow hallmarks of 84 silver samples from 1908-1917, and mark 6 of the Moscow jewelry artel. On the inner edge of the edging there are a pair of imported French stamps. Swans in an oval. Dimensions: 2.5 x 8 x 6.6 cm. Total weight: 130.0 g. Width: 7.5cm, Height: 2.5cm, Depth: 6.3cm, Weight: 0.130kg, Condition: Good, Material: Silver 84, Cloisonne enamel, GildingChoose Color  

Crystal jug with silver, 13th artel. An excellent example of understanding Western historicism in Russian decorative and applied art. An example of stylish classical reflection on the theme of the early French Renaissance. The proportional expansion and emphasized functionality, the shape of the handle, the modern character of its decor, the belt of the Renaissance decor at the neck are complemented by the strict and majestic laconicism of a silver drum with classic garlands suspended from the bottom. A subtle note about flowering and reviving functionality is the garnet button on top of the lid. It will anticipate and perfectly complement the ensemble with cherry juice, a punch for red wine - at the time of celebrations.84 standard silver. Stamp for minor details and decorations of the Moscow Assay Office from 1908-1926. Brand of the manufacturer: 13Ð. (13 artel). On the inside, on the lid, the brand of secondary parts of the Moscow Assay Office from 1908-1926 and the brand of the manufacturer: 13A.Height: 29 cm Width: 16cm, Height: 29cm, Depth: 13cm, Weight: 2kg, Condition: Good, Material: Gilding

Russian silver sugar bowl, 84 karat, conical in shape on three ball-legs with a reversible handle and engraved flower decor in the Art Nouveau style. Moscow. Assay master Ivan Lebedkin 1899-1908. The makers initials are illegible. Diameter: 11 cm. Weight: 192 g. Width: 11cm, Height: 7cm, Depth: 11cm, Weight: 0.192kg, Condition: Good, Material: Silver 84

Nikolay ALEXEEV. Silver cylindrical glass holder with cloisonne enamel in neo-Russian style. Moscow. 1895 With white pearl friezes. Geometric handle with baluster. The original gilding has been preserved inside. Moscow hallmarks of 88 standard silver, assay master Anatoly Artsebashev, 1895. Mark master: NA, Nikolay ALEXEEV. Height 9 cm. Total weight: 212.4 g. Nikolai Vasilyevich Alekseev is a silversmith and owner of a workshop of chased, enamel and other silver products, known in Moscow from 1885 to the beginning of the 20th century. His silver products with enamel were noted at the All-Russian Art and Industrial Exhibition in Nizhny Novgorod (1896). The masters works are presented in the collections of the State Historical Museum and other museums. Width: 11cm, Height: 9cm, Depth: 7cm, Weight: 0.212kg, Condition: Good, Material: Silver 84, Cloisonne enamel, GildingChoose Color  

A large flowerpot with a sculptural image made in an oriental motif is a large bowl with a high cylindrical body, resting on a flat pedestal (four-bladed) and supported by two fairy-tale animals with the head of a dragon and the legs of a bird. Fancy polychrome coloring with geometric and other patterns is made in bright and contrasting colors. The surface of the pot is decorated with multi-colored friezes in relief with stylized cartouches, inlaid with ivy leaf motifs, edged with pearl friezes, the upper edge of the pot is decorated with 8-pointed stars. In general, the ornamental pattern is formed by decorative elements characteristic of similar porcelain paintings of this era. The glaze coating gives the item shine. The author of the sketch of the flowerpot model is A.S. Kaminsky (1829-1897), Moscow architect and artist, professor at the Moscow School of Painting, Sculpture and Architecture, husband of P. M. Tretyakov's sister (founder and owner of the art gallery of the same name). For the first time such a flower pot was made at a factory in the Tver province, which belonged to S.I. Maslennikov in the 1880s (the factory was founded by Auerbach). Maslennikovs factory was famous in Russia for its majolica products used to decorate chapels, as well as mugs made for the coronation of Emperor Alexander III. After a fire occurred at the factory in 1889, it was acquired by M.S. Kuznetsov, and its owner went to work for the new owner, where he worked until 1896. As M.S. Kuznetsov practiced, along with the purchase of the factory he stipulated the right to use and repeat the factory's old models. Sometimes, with such a purchase, he also stipulated the use of an old production mark (for example, the Gardner plant - the use of the last trademark of the enterprise with a double-headed eagle, the use of surviving models of products for the manufacture of repetitions; the Auerbach plant - the image of a double-headed eagle in the trademark). Under the leadership of Kuznetsov, the company began producing majolica products in 1885. Presumably, in the early 1890s, M.S. Kuznetsov's enterprise produced a small batch of S.M. Maslennikov's flowerpots intended for public sale. An identical vase is kept in the collection of the State Historical Museum in Moscow (GIM No. 112833). - A vase of a similar style was presented at the Russian Art'' auction at Sothebys on November 30, 2016, lot 126A Majolica, textured processing, painting with enamel paints. Mark of the M.S. Kuznetsov factory in the Tver province, Vyshnevolotsk district, Chernyatka village (former S.I. Maslennikov factory). The production mark is embossed and made in dough. The model number indicated in the price list of the factorys products is 671 (in the test) and the foundrys index (?) is 26 (in the test). The condition of the item is very good. Slight abrasion of paint along the upper edge of the flowerpot. Height - 33.0 cm. Flowerpot: diameter - 21.0 cm, height - 23.0 cm. Pedestal (flat, four-blade): length - 29.0; width -18.0 cm. Width: 18cm, Height: 33cm, Depth: 18cm, Weight: 5kg, Condition: Good, Material: Polychrome paintingChoose Color  

Silver match holder, made in the Russian Art Nouveau style, with the image of Leshy. The front side is decorated with a chest-to-chest relief of the spirit of the forests - the goblin. A shaggy, tangled beard, a winter hat, a high collar of a fur coat, a frightening grimace of an unkind face personify the character and way of his life. A womans face appears through the mirage of the figure - the devils favorite way of spending time is to scare girls. The back side of the matchbox is decorated with a relief image of a bar of gifts-amulets that people offer to the devil before going into the forest. The misty shadows of the faces of children and girls emerging from the silver evoke mystery and otherworldly mystery in relationships with forest spirits; affirm the metaphysical, sacred image of the forest. The matchbox promises its owner the key to parallel spaces, participation in the sacraments, and power over the elements of fire. Russia, approx. 1900 Silver with semi-precious stones and glass. Height: 6 cm. Weight: 50 g. Width: 4cm, Height: 6cm, Depth: 2cm, Weight: 0.05kg, Condition: Good, Material: Glass

Attributed to Ernst Heinrich Barlach (Germany, 1870-1938) - An early 20th century circa 1907 untinted plaster gesso figure of woman with child (Bettlerin mit Kind) by Expressionist sculptor Ernst Barlach. Signed E. Barlach to right side of base. Measures approx. 35cm x 26cm x 32cm. The sculptures from 1906 -1908 mark the first highlight in the work of the sculptor Ernst Barlach. “Beggar Woman with Child” is the most important work in dealing with the impressions of the trip to Russia. The artist had already sketched figures and scenes of everyday life during his years of study in Hamburg, Dresden and Paris, but it was only a two-month trip through southern Russia in 1906 that led him away from the artistic goals of Art Nouveau, which had strongly influenced his early work. Even without knowledge of the customs and customs as well as the language, in the Russian villages and small towns, which were characterized by a latent revolutionary mood, the mood and intensity of the feelings of the ordinary people, which became familiar to the taciturn North German, were communicated to him. "In Russia I found this amazing unity of inside and outside, this symbolic: That's how we are as humans, all beggars and problematic existences basically. That's why I had to shape what I saw, and of course I grew among the suffering, the simple, the longing "A brotherly feeling arises from people who are longing for themselves and are therefore addicted to drinking, singing and music." (Letter dated October 6, 1920 to brother Karl Barlach, Reemtsma Collection, quoted from Eva Caspars, Ernst Barlach Haus, Reemtsma Collection, Munich n.d., p. 28). In his catalog raisonné, Friedrich Schult published a photograph by Berthold Kegebein from 1935, which shows the artist in his Güstrow workshop in front of the "Frieze der Listenenden"; He leans against a rotating work table on which there is an approx. 60 cm high version of the "Russian Beggar Woman with Child" as a wooden sculpture, which is not listed in the catalog raisonné (see illustration). 

The Thyssen-Bornemisza collection. Renaissance jewels, gold boxes and objets de vertu, by Anna Somers Cocks and Charles Truman, 1984, original cloth, 4toEuropean Silver, by Hannelore Müller, 1st English language edition, 1986, original cloth in dust jacket, 4toMedieval Sculpture and Works fo Art, by Paul Williamson, 1987, original cloth in dust jacket, 4toSeventeenth-century Dutch and Flemish painting, by Ivan Gaskell, 1989, original cloth in dust jacket, 4toEarly Nethlandish Painting, by Colin Eisler, 1989, original cloth in dust jacket, 4toTwentieth-century Russian and East European painting, by John E. Bowlt and Nicoletta Misler, 1993, original cloth in dust jacket, 4toThe European Avant-gardes, by Christopher Green, 1995, original cloth in dust jacket, 4toCarpets and Textiles, by Friedrich Spuhler, 1998, original cloth in dust jacket, 4toSeventeenth and Eighteenth Century Italian Painting, by Roberto Contini, 2002, original cloth in dust jacket, 4to, all with numerous colour & monochrome illustrations, together with other modern art reference & related, mostly original cloth in dust jackets, some 'as new' in original plastic wrap, G/VG, 8vo/4to QTY: (2 shelves)

A 19th century folk art sailor’s woolwork picture. Portraying a fully rigged sailing ship at sea, and at the stern of the ship there is the traditional red ensign or ‘red duster’ that would imply that this is a merchant vessel. Surrounding the vessel are several National flags, including the Union Jck of Great Britain, the United States flag, the Turkish flag, the French tricolour, the Russian Navy’ s St Andrew’s flag, plus some British Royal Navy ensigns. Notes: known as ‘Woolies’ these type of handcrafted woolwork pictures were crafted by sailors in their free time. Many were already adept with a needle and thread after having to make repairs to sails and their own clothing. Many such pieces are documents of their voyages and the nations they would have encountered on their travels. Like the vast majority of woolwork pictures, the piece is unsigned. Housed in a burr walnut veneer frame with glazed front. Approximately 67.7cm x 51cm. Condition: a little fading to the colours, particularly the blue ground, but still quite vibrant to many areas. Some loose threads around the rigging area. The frame and glass are of solid construction, but there are some areas of veneer loss, and a small hole to the frame in one area.

A collection of late 20th century and later Russian USSR folk art Matryoshka graduating nest of dolls. With ornate hand painted decoration to each depicting figures . Of wooden construction, tallest measures approx. 26cm tall.

A collection of late 20th century and later Russian USSR folk art Matryoshka graduating nest of dolls. With ornate hand painted decoration to each depicting figures . Of wooden construction, tallest measures approx. 20cm tall.

A collection of late 20th century and later Russian USSR folk art Matryoshka graduating nest of dolls. With ornate hand painted decoration to each depicting figures . Of wooden construction, tallest measures approx. 23cm tall. 

Sahnegießer mit Bogatyr, Russland, Moskau, Michael Tarasow (1905 - 1914), datiert 1909 Silber, innen vergoldet. Quadratischer Stand. Auf der Wandung getriebene Darstellung zweier Bogatyri. Rückseite mit graviertem Monogram ''RVR'' und Datierung ''1909''. Henkel mit abstraktem Jugendstildekor. Rückseite, Unterseite und Henkel punziert mit Bezirksbeschauadministrationsmarke mit Feingehalt "84" und Meistermarke ''MT''. Maße 9 x 12 x 5,5 cm, Gewicht 104,8 g. A Russian silver Art Nouveau creamer with bogatyr, Moscow, M. Tarasov, dated 1909 A Russian silver Art Nouveau creamer with bogatyr, Moscow, M. Tarasov, dated 1909Silber, innen vergoldet. Quadratischer Stand. Auf der Wandung getriebene Darstellung zweier Bogatyri. Rückseite mit graviertem Monogram ''RVR'' und Datierung ''1909''. Henkel mit abstraktem Jugendstildekor. Rückseite, Unterseite und Henkel punziert mit Bezirksbeschauadministrationsmarke mit Feingehalt "84" und Meistermarke ''MT''. Maße 9 x 12 x 5,5 cm, Gewicht 104,8 g.Condition: II

Bedeutendes silbernes Schreibset, Moskau, Pawel Owtschinnikow, 1908 - 1917 Silber, innen vergoldet. Auf vier Silberfüßen. Quadratischer Marmorsockel mit abgerundeten Ecken. Massives silbernes Schreibset. Den unteren Rand ziert eine florale Jugendstil-Bordüre. Der Korpus beidseitig mit reliefierten Lorbeerkränzen und Girlanden mit Schleifen dekoriert. Das erhabene quadratische Tintenfass mit reliefierten Blütengirlanden verziert. Der gewölbte Steckdeckel entsprechend gestaltet und mit Pinienknauf. Die seitlichen zwei Fächer sind jeweils durch einen Steckdeckel mit plastischer geflügelter Sphinx (Sphinx der Naxier) als Bekrönung geschlossen. Der Korpus, alle Deckel sowie das Innere der Fächer punziert mit Bezirksbeschauzeichen mit Feingehalt "84" und Meistermarke "P. OWTSCHNNIKOW" mit Hoflieferantenzeichen bzw. "P.O" in Kyrillisch. Gereinigt. Scharnierdeckel schließt nicht richtig. Maße 29 x 48 x 25 cm, Gesamtgewicht 8,89 kg. A distinguished Russian silver writing set, Moscow, Pavel Ovchinnikov, 1908 - 1917 A distinguished Russian silver writing set, Moscow, Pavel Ovchinnikov, 1908 - 1917Silver, the interior gilt. Mounted on four silver feet. Rectangular marble pedestal with rounded corners. Solid silver writing set. A floral art nouveau leaf border along the lower edge. The body decorated on both sides with raised laurel wreaths and garlands with ribbon bows. The embossed square inkwell embellished with floral garlands in relief. The domed, press-in lid with the same pattern and a pine finial. The two side compartments both closing with a press-in lid featuring a fully sculptured, winged sphinx (Sphinx of Naxos) as a finial. Body, all lids and interiors of the compartments are stamped with Moscow assayer's mark with 84-standard, master's mark "P.OVCHINNIKOV" with imperial warrant or "P.O" in Cyrillic. Cleaned. The hinged lid does not close properly. Dimensions 29 x 48 x 25 cm, total weight 8.89 kg. Condition: II -

A COLLECTION OF RUSSIAN LACQUER ART BOXES AND PLAQUE, comprising a circular plaque, a cigarette box depicting a Village Winter scene, signed in bottom right corner, two trinket boxes and two pill boxes (6) (Condition Report: the cigarette box is chipped on the corners, surface scratches and small knocks and bumps to the lid, other pieces appear o.k)

A good set of six Crown Devon 'Countries of the World' Art Deco wall plaques, including English tennis player, Dutch Girl in clogs, French Girl in beret, Russian cossack dancer, Swiss hiker and Spanish flamenco dancer. Various marks (Russian unmarked). 28 cm high (tallest). All good condition.

A Russian folk art painted corner chair, early 20th century.

Portrait of Colonel Pelmenbach, oil on wood panel, after a painting by the artist Dmitry Levitsky, Russian Empire, late 18th century. The original portrait painted by Levitsky is kept in the Odessa Art Museum, Ukraine. Gustav Heinrich von Palmenbach (1759 - 1792) Colonel of the Russian Imperial Army. He took part in the Russian-Turkish war of 1787-1791, distinguished himself during the assault on the Ochakov fortress. In 1791, he was awarded the rank of colonel and appointed commander of the Elizavetgrad Cavalry Regiment. Participated in the Polish campaign of 1792. June 28, 1792 Awarded the Order of St. George, 3rd degree. A wonderful example of Russian painting of the 18th century. Size 16x12 cm.

'Short snorter' for 12th November 1944, a Romanian 5000 lei banknote from British diplomat, Sir John Helier Le Rougetel KCMG MC (1894 – 1975), signed by Le Rougetel, King Michael I of Romania (1921 - 2017), Brigadier General C.V.R. Schuyler USA (1900 – 1993), Burton Yost Berry (1901 – 1985), First Lieutenant Fred Marchman USA? Together with three other signatures unidentified by us and worthy of research. King Michael of Romania reigned twice, the second reign was between 1940 and 1947 when he was forced to abdicate by the communist party of Romania. From 1944 to 1946 Le Rougetel was Political Representative in Romania, before receiving his first ambassadorial posting to Tehran in 1946. Le Rougetel later served as British Ambassador to Belgium (1950-1) and as a High Commissioner to South Africa (1951-5). He retired in 1955, having been made a Knight Commander of the Order of St Michael and St George. In the autumn of 1944, Schuyler was assigned to Bucharest, Romania, as a U.S. military representative on the Allied (British, U.S. and Russian) Control Commission. The Commission was created to administer the terms of the Romanian Armistice Agreement. Burton Yost Berry (1901 – 1985) was an American diplomat and art collector, he served as Consul to Bucharest in 1944. Provenance: Gifted to the vendor by Lady Mary Le Rougetel.