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Dame Laura KNIGHT (1877-1970) Dancers of the Ballet Russe Limoges enamel plaque, 5.3 x 4.9cmProvenance - From the Estate of Ella Naper, thence by family descent, the estate of Maryella Pigott, niece of Ella Naper, Trewoofe House, Lamorna. Catalogue note: This is one from a series of enamels that Knight made depicting the dancers of Diagalev's 'Ballet Russe'. The Russian ballet troupe had first performed in Paris in 1909 to rapt audiences. Their exoticism was unlike anything Western Europe had seen before; culturally, they influenced everything from dance, music and fashion to interior design. This plaque is likely to depict The Polovtsian Dance from Prince Igor, which Knight would have seen when the Ballet Russe performed in London in 1911.In 1958 Knight gave one of her enamels to her friend and patron Marjorie Averill (sold Bonhams 2017). It depicted Pavlova and her partner Mikhail Mordkin. It is a very similar work to lot 16 in this sale. In an accompanying letter to Mrs Averill, dated 7 April, Knight writes 'At Last! I do hope you will like it. The enamel is Limoges, it is one of about eight I did in the year 1914 with the help of the jeweller, Mrs Ella Naper.'Ella Naper was Laura's friend and near neighbour at Trewoofe, just above the Lamorna Valley in Cornwall. As well as modelling for Laura (she was the model in Knight's seminal 1913 work 'Self Portrait with Model') she was a talented jeweller who had studied under Frank Partridge. Naper and Knight collaborated on a very small number of these enamels, all themed with dancers and the ballet. Knight adored the spectacle of the ballet and particularly the ballerina Pavlova, who she wrote about extensively about her in her autobiography:'I first saw Pavlova dancing with Mordkin. During another season, at the Palace Theatre, when her partner was Novikov, so thrilled was I, I never missed a show; she held me to such a degree that I became almost completely absorbed in her art. I knew her every step and gesture in every dance she did.' They made such a strong impression upon Laura it is not surprising that in 1914 when draconian rules prevented artists particularly in coastal areas from sketching or painting outdoors, she used them as inspiration for creativity in a new medium. These gorgeously jewel-like little works are a testament to Knight’s versatility. Enamel is a notoriously difficult medium to master and yet under Naper’s skilful guidance, Laura has created these beautifully expressive pieces, which fully capture the elegant grace of Pavlova’s lithe figure and the exuberant movement and fluidity of both dancers.Naper made a particularly fine, stone-set piece, the central jewel of which was one of Naper and Knight's enamels depicting a ballerina, which is most likely to represent Pavlova in her most famous role Le cygne (The Swan). This enamel has been bequeathed to Penlee House Museum & Gallery. This historic enamel has multiple fine cracks. These are likely to be part of the creative process. The frame is likely to date from the date of the plaque. It is of three-ply and wormed to the back.

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

Russian Painting, painted on canvas on wood, 19th century, 32 x 24 cm

* * A Russian lacquer rectangular box, by Fedoskino, painted with the scene ‘Morning in the wood’ , based on the original painting by Shishkin, 25.5 cm widePlease note this lot attracts an additional import tax of 5% on the hammer price

A circa 16th - 17th century ecclesiastical oil on canvas painting. The painting likely continental in original, possibly Eastern European / Russian. Featuring Jesus having been taken down from the cross, with others on the crucifix in the background, and weeping followers around his body. The painting with significant historic damage to the centre, with three tears from a point of impact, and four other small perforations to the canvas - in need of sympathetic restoration. Circa 18th century inscription to verso reads 1456 Capt. Cosck (?). Measures approx. 53cm x 43cm.

A naive 18th century continental, likely Eastern or Russian, orthodox oil on board painting. The painting depicting a nun & a young maiden in the doors of an almshouse, likely ecclesiastical. With naive painted frame around the central scene. Painted cartouche to verso with illegible writing, seeming in foreign alphabet. Wall hanging to verso. Measures approx. 25.5cm x 22cm. 

Russisches Kaiserreich - Deckeldose "Zur Auszeichnung im Türkenkrieg 1877 und 1878" (1880-1890). Oval geformte und adrett verzierte Deckeldose, vierfüßiger Stand mit vegetabilem Dekor, Verschlussknopf mit braunem Farbstein. Innenseitig am Boden und im Deckel punziert. 875er Silber mit Teilvergoldung. Deckelkopf mit Porträt aus Emaillemalerei. Diverse Applikationen mit Bezugnahme auf die Widmung in kyrillischer Schrift. Übersetzung: "Zur Auszeichnung im Türkenkrieg 1877 und 1878" und "Finnisches Rettungsschwimmerregiment". Maße: BxTxH: 10 x 8,5 x 4 cm, Gewicht ca. 180 Gramm. Alters- und Abriebspuren.| Russian Empire - Lidded Box "For Distinction in the Turkish War of 1877 and 1878" (1880-1890). Oval shaped and neatly decorated lidded box, four-legged stand with vegetal decoration, locking knob with brown colored stone. Hallmarked inside on the bottom and lid. Silver 875 with partial gilding. Lid head with enamel painting portrait. Various applications with reference to the dedication in Cyrillic script. Translation: "For distinction in the Turkish War 1877 and 1878" and "Finnish Lifeguard Regiment". Dimensions: WxDxH: 10 x 8.5 x 4 cm, weight approx. 180 grams. Signs of age and wear.

The Thyssen-Bornemisza Collection. Renaissance jewels, gold boxes and objets de vertu, by Anna Somers Cocks and Charles Truman, 1984, European silver, by Hanneklore Müller, 1986, Nineteenth-century American painting, by Barbara Novak, 1986, Medieval sculpture and works of art, by Paul Williamson, 1987, Seventeenth-century Dutch and Flemish painting, by Ivan Gaskell, 1989, Early Netherlandish painting, by Colin Eisler, 1989, Early Italian painting 1290-1470, by Miklós Boskovits, 1990, Early German painting 1350-1550, Isolade Lübbeke, 1991, Renaissance and later sculpture, by Anthony Radcliffe et al, 1992, Twentieth-century German Painting, by Peter Vergo, 1992, Twentieth-century Russian and East European painting, by John E. Bowlt & Nicoletta Misler, 1993, The European Avant-gardes, by Christopher Green, 1995, Carpets and Textiles, by Friedrich Spuhler, 1998Seventeenth and eighteenth century Italian painting, by Roberto Contini, 2002, 14 volumes in total, all 1st editions, all original cloth in dust jackets, some covers lightly rubbed to head & foot, large 4to, together with other modern antiques & art reference, mostly original cloth in dust jackets, some 'as new' in original plastic wrap, G/VG, 8vo/4toQTY: (3 shelves)

Rupprecht Geiger 1908 München - 2009 München 446/66. 1966. Öl auf Leinwand. Verso signiert und datiert. Auf dem Keilrahmen betitelt. 82 x 90,5 cm (32,2 x 35,6 in). [JS]. • Rupprecht Geiger ist einer der bedeutendsten Vertreter der deutschen Farbfeldmalerei. • Fein durchmoduliertes, frühes Farbfeld, das durch sein sanftes Oszillieren roter Farbwerte begeistert. • Besonders frühes Beispiel für Geigers um 1965 einsetzende Verwendung der Spritzpistole. • Die leuchtenden Kompositionen des Frühwerkes gelten als Geigers gefragteste Arbeiten. • Geiger ist mit seinen berühmten Farbmodulationen von 1959 bis 1977 mehrfach auf der documenta vertreten. • Rote Farbfelder der 1960er Jahre befinden sich in bedeutenden Sammlungen, wie u. a. dem Städel Museum, Frankfurt a. Main, der Städtischen Galerie im Lenbachhaus, München, der Neuen Nationalgalerie, Berlin, und der Pinakothek der Moderne, München. PROVENIENZ: Galleria Peccolo, Livorno (auf dem Keilrahmen mit dem Etikett). Privatsammlung Norddeutschland. AUSSTELLUNG: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, S. 61, Kat.-Nr. 42 (auf dem Keilrahmen mit dem Etikett). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, S. 32, Kat.-Nr. 41 (o. Abb.). LITERATUR: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Werkverzeichnis 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, München 2003, WVZ-Nr. 429 (m. Abb.). 'Der Himmel ist von beispielloser Farbenpracht und von unglaublicher Weite. Die Möglichkeiten sind unbegrenzt', hatte Rupprecht Geiger bereits 1941 in seinem russischen Kriegstagebuch festgehalten (Rupprecht Geiger, zit. nach: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, S. 31). Es sind die sanften Farbmodulationen des Himmels, die Geiger reizen und die in der Nacht durch brennende Städte in eindrucksvolle Farbszenarien verwandelt werden, die für Geiger zu Gegenbildern der bedrückenden Realität des Krieges werden. Rot und Blau sind schließlich ab den 1950er Jahren die Farben, die das beeindruckende künstlerische Schaffen des deutschen Farbfeldmalers Rupprecht Geiger in entscheidender Weise prägen und bis Ende der 1950er Jahre zunächst noch in Kombination auftreten. Anfang der 1960er Jahre dann erfolgt schließlich eine klare Trennung beider Farbwerte. Während Rot als die Farbe des Blutes und des Feuers für extreme Energie und emotionale Aufgeladenheit steht, ist das kühlere Blau der rationalere, stärker in sich ruhende Farbwert. Das sich von oben scheinbar ins Format schiebende rote Rechteck hat Geiger durch den Einsatz von gespritzter Farbe sanft nach oben hin von einem satten Dunkelrot zu einem glühenden Orange hin durchmoduliert und vom strahlenden Weiß umfangen in eine geradezu schwebende Balance gebracht. Geiger beginnt um 1965 seinen bis dahin manuellen Farbauftrag durch den Auftrag mit der Spritzpistole abzulösen, der fortan feinere Farbmodulationen zulässt. Die vorliegende Arbeit ist ein besonders frühes Beispiel für die Anwendung dieser neuen Technik. Rupprecht Geiger hat nicht nur mit seinen Farbmodulationen, sondern auch mit seinen shaped canvases kunsthistorisch Bedeutendes geschaffen, das ihm innerhalb Deutschlands eine progressive Sonderstellung zuweist, die, wie von Helmut Friedel im Vorwort zum Werkverzeichnis nahegelegt, viel mehr den Vergleich mit seinen Zeitgenossen in Amerika, wie etwa Mark Rothko, Ellsworth Kelly und Barnett Newman, fordert. In den USA werden Geigers Gemälde bereits ab den 1950er Jahren in unterschiedlichen Ausstellungen gezeigt und 1959 wird der Künstler mit dem Solomon-Guggenheim-Preis, New York, ausgezeichnet. [JS] Aufrufzeit: 08.12.2023 - ca. 13.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRupprecht Geiger 1908 München - 2009 München 446/66. 1966. Oil on canvas. Signed and dated on the reverse. Titled on the stretcher. 82 x 90.5 cm (32.2 x 35.6 in). [JS]. • Rupprecht Geiger is one of the most important representatives of German Color Field painting. • Finely modulated, early color field that impresses with its gentle oscillation of red hues. • A particularly early example of Geiger's use of the spray gun, which began around 1965. • The early luminous compositions are considered Geiger's most sought-after works. • Geiger's famous color modulations were exhibited several times at documenta between 1959 and 1977. • Red Color Fields from the 1960s can be found in important collections such as the Städel Museum, Frankfurt am Main, the Städtische Galerie im Lenbachhaus, Munich, the Neue Nationalgalerie, Berlin, and the Pinakothek der Moderne, Munich. PROVENANCE: Galleria Peccolo, Livorno (label on the stretcher. Private collection Northern Germany. EXHIBITION: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, p. 61, cat. no. 42 label on the stretcher). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, p. 32, cat. no. 41 (no. fig.). LITERATURE: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Catalogue raisonné 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, Munich 2003, no. 429 (fig.). 'The sky is unprecedentedly colorful and incredibly vast. The possibilities are unlimited', Rupprecht Geiger noted in his Russian war diary in 1941 (Rupprecht Geiger, quoted from: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, p. 31). It is the soft color modulations of the sky that appeal to Geiger and which are transformed at night by burning cities into impressive color scenarios that become counter-images to the oppressive reality of war for Geiger. From the 1950s onward, red and blue are the colors that decisively shape the impressive artistic work of the German color field painter Rupprecht Geiger and initially appeared in combination until the end of the 1950s. At the beginning of the 1960s, the two color values were finally clearly separated. While red, as the color of blood and fire, stands for extreme energy and emotional charge, the cooler blue is the more rational, more self-composed color. By using sprayed paint, Geiger gently modulated the red rectangle, which appears to push itself into the format from above, upwards from a rich dark red to a glowing orange and, surrounded by radiant white, has brought it into an almost floating balance. Around 1965, Geiger began to replace his hitherto manual application of paint with that of the spray gun, which henceforth allowed for finer color modulations. The present work is a particularly early example in this new technique. Rupprecht Geiger not only created art-historically significant works with his color modulations, but also with his shaped canvases, which earned him a special progressive position within German post-war art, as Helmut Friedel suggested in the foreword to the catalogue raisonné, demanding stronger comparison with American contemporaries like Mark Rothko, Ellsworth Kelly and Barnett Newman. In the USA, Geiger's paintings were shown in various exhibitions from the 1950s onward and the artist was awarded the Solomon Guggenheim Prize in New York in 1959 . [JS] Called up: December 8, 2023 - ca. 13.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Franz Roubaud 1856 Odessa - 1928 München Kaukasische Reiter. um 1890/1900. Öl auf Leinwand. Links unten signiert. 62 x 39,5 cm (24,4 x 15,5 in). • Roubaud gehört zu den bedeutendsten Malern im Austausch zwischen Russland und Europa am Ende des 19. Jahrhunderts • Ein bedeutender Mäzen seines Schaffens ist der russische Zar Alexander III. • Seine Reiterfiguren faszinieren durch ihren folkloristischen, ethnografisch-dokumentarischen Charakter. PROVENIENZ: Privatsammlung Hessen. Bereits 1865 mit neun Jahren besucht Franz Roubaud die Zeichenklasse der Kunstschule in Odessa, die dort im selben Jahr unter der Patronage wohlhabender Mäzene gegründet worden war. Sein vielversprechendes Talent lässt ihn schließlich seine Studien ab 1877 in München weiterverfolgen, wo er an der Akademie der Bildenden Künste vom Direktor und großen Historienmaler Carl von Piloty wertgeschätzt wird. Im privaten Atelier des Schlachtenmalers Josef von Brandt spezialisiert er sich weiter in der Figurendarstellung, der Komposition vielfiguriger Szenen und ihrem Arrangement in der Landschaft. Zar Alexander III. wird auf ihn aufmerksam und finanziert ihm jährliche Sommeraufenthalte im Kaukasus und der Ukraine, sowie seine Reisen in die damalige russische Provinz und die Landstriche um das Schwarze und Kaspische Meer in Jerewan, Tiflis, Baku, Taschkent und Samarkand. Eine erste Goldmedaille erhält er auf der Ausstellung der Akademie der Schönen Künste in Sankt Petersburg 1883. Sein großer Bewunderer, der Zar Alexander III. gibt 19 große Gemälde in Auftrag, die die militärischen Erfolge des Zarenreiches abbilden sollen, wofür Roubaud erneut lange Reisen in die Türkei, Persien und Zentralasien unternimmt. Seine Werke stellt er mit großem Erfolg in Paris, München und Sankt Petersburg aus. In den letzteren beiden Städten residiert er im Wechsel, zwischen 1908-1913 lehrt er als Professor für Schlachten- und Pferdemalerei an der Akademie in Sankt Petersburg. Die Ausstellung 1914 im Münchner Glaspalast, bei der er 34 Werke in einem Saal präsentiert, markiert einen Höhepunkt seiner malerischen Reputation. Bei seinen zahlreichen Reisen entstanden Zeichnungen, Fotografien und Gemälde, die für die entlegenen Gebiete, in denen er sich aufhielt, in ihrer Gesamtheit fast dokumentarischen Charakter haben. Die einsamen Reiter in der Steppe zeigen das Bild einer Begegnung mit den Menschen und der Natur, die für die Besucher der städtischen Ausstellungshallen gewissermaßen exotischen Charakter gehabt haben müssen. Insbesondere die Unmittelbarkeit der auf die Betrachtenden zukommenden Reiter intensiviert den Eindruck und lässt die Szenerie erlebbar werden. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz Roubaud 1856 Odessa - 1928 München Kaukasische Reiter. um 1890/1900. Oil on canvas. Lower left signed. 62 x 39.5 cm (24.4 x 15.5 in). • Roubaud was one of the most important painters in the exchange between Russia and Europe at the end of the 19th century • The Russian Tsar Alexander III was an important patron of his work. • His equestrian figures fascinate with their folkloristic, ethnographic-documentary character. PROVENANCE: Private collection Hesse. In 1865, at the age of nine, Franz Roubaud attended the drawing class at the art school in Odessa, which had been founded there in the same year by wealthy patrons. His promising talent eventually led him to pursue his studies in Munich from 1877, where he was appreciated by the director and great history painter Carl von Piloty at the Academy of Fine Arts. In the private studio of the battle painter Josef von Brandt, he specialized further in the depiction of figures, the composition of multi-figure scenes and their arrangement in the landscape. Tsar Alexander III became aware of him and financed his annual summer sojourns in the Caucasus and the Ukraine, as well as his travels to the then Russian province and the regions around the Black and Caspian Seas in Yerevan, Tbilisi, Baku, Tashkent and Samarkand. He received his first gold medal at the exhibition of the Academy of Fine Arts in St. Petersburg in 1883. His great admirer, Tsar Alexander III, commissioned 19 large paintings depicting the military successes of the Tsarist Empire, for which Roubaud again went on long journeys to Turkey, Persia and Central Asia. He exhibited his works with great success in Paris, Munich and St. Petersburg. He alternated between the latter two cities, and between 1908 and 1913, he taught as a professor of battle and horse painting at the Academy in St. Petersburg. The 1914 exhibition at Munich’s Glaspalast, in which he presented 34 works in one room, marked a high point of his career. During his numerous travels, he produced drawings, photographs and paintings which, in their entirety, are almost of documentary character for the places he visited. The lonely riders in the steppe depict an encounter with people and nature that must have had a somewhat exotic character for visitors to the urban exhibition halls. In particular, the immediacy of the riders approaching the viewer intensifies the impression and allows observers to immerse into the scenery. This lot can be purchased subject to differential or regular taxation.

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Öl auf Malpappe. Links unten monogrammiert sowie rechts unten datiert. Verso mit einer Ölstudie zu einem Bauernschrank sowie der Bezeichnung '12'. 22 x 15,5 cm (8,6 x 6,1 in). • Ein besonders farbstarkes Exemplar aus der wichtigen Serie der 'Abstrakten Köpfe'. • Radikal überwindet Jawlensky hier die klassische Porträtmalerei. • Harmonische Komposition in reizvoller, geometrisch-inspirierter Symmetrie. • 1933 als Geschenk von Jawlensky an die Kunsthistorikerin und Freundin Mela Escherich. PROVENIENZ: Sammlung Mela Escherich, Wiesbaden (1933 als Geschenk vom Künstler erhalten). Nachlass Mela Escherich, Wiesbaden (seit 1956). Sammlung Hanna Bekker vom Rath, Hofheim im Taunus. Privatsammlung. Privatsammlung (1989 vom Vorgenannten erworben). Privatsammlung Süddeutschland (1992 vom Vorgenannten erworben). LITERATUR: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, Bd. II (1914-1933), München 1992, S. 481, WVZ-Nr. 1417 (m. Farbabb. S. 493). Sotheby's, London, 29.11.1989, Los 199 (m. Farbabb.). Grisebach, Berlin, 24. Auktion, 29.5.1992, Los 63 (m. Farbabb.). Mela Escherich, in: Der Cicerone, Jg. XVIII, 1926, zit. nach: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, S. 129. Von Beginn an verfolgt Alexej von Jawlensky konsequent lediglich drei Bildsujets: Das Stillleben, die Landschaft und das Porträt. Zunehmend wendet er sich der Thematik des Porträts zu, das er in den 'Meditationen', 'Variationen' und später in Serien bis zu seinem Tod 1941 in Wiesbaden immer wieder aufgreift. Schon 1914 im Exil in der Schweiz entstehen erste 'Heilandsgesichter' und 'mystische Köpfe', die den Porträtcharakter der bisherigen Köpfe bereits fast vollständig hinter sich lassen. In logischer Konsequenz geht er einen weiteren Schritt in Richtung Abstrahierung sowie Entwicklung der Farbfeldmalerei und wendet sich von 1918 bis 1933 den 'Abstrakten Köpfen' zu. Unser 'Abstrakter Kopf' von 1933 verbindet ein besonders spannendes Spiel von fröhlicher Farbigkeit einerseits und einem geschlossenen Blick voll innerer Einkehr andererseits. Das den traditionellen russischen Ikonendarstellungen entnommene Schema entrückt Jawlensky restlos einer naturalistischen Darstellung. Auf der Suche nach einer Tiefe im Ausdruck werden die Gesichtsmerkmale aufgelöst in geometrische Formen und in einer beinahe architektonischen Symmetrie neu angeordnet. Mit einer Komposition aus scharfen Linien und fein abgestimmten Farbfeldern dringt Jawlensky mit seiner Kunst auf eine mythische Ebene vor und macht das Unsichtbare fühlbar. Diese Thematik beschäftigt auch die Kunsthistorikerin, Schriftstellerin und Freundin Jawlenskys Mela Escherich, aus deren Besitz das Gemälde stammt. Nach ersten Kontakten zu Beginn der 1920er Jahre entwickelt sich eine enge Freundschaft zwischen diesen beiden Gleichgesinnten. Escherich versorgt ihn sowohl mit Lektüre als auch mit finanzieller Unterstützung und wird mit Jawlenskys zunehmender Bewegungseinschränkung eine seiner sog. 'Nothelferinnen'. Der Künstler dankt es ihr mit Bildgeschenken wie dem 'Abstrakten Kopf' von 1933. Auch nach seinem Tod agiert sie als unermüdliche Befürworterin und unternimmt sogar erste Anstrengungen hinsichtlich eines Werkverzeichnisses. Es ist also nicht nur die besondere Ausdruckskraft des Werkes, was dieses mit einem so geistvollen Charakter kennzeichnet, sondern auch die spannende Provenienz und einzigartige Hintergrundgeschichte. [AW] Aufrufzeit: 09.12.2023 - ca. 17.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Oil on cardboard. Lower left monogrammed and lower right dated. With an oil study of a rustic wardrobe and the inscription '12' on the reverse. 22 x 15.5 cm (8.6 x 6.1 in). • A particularly color-intense copy from the important series of the 'Abstract Heads'. • Jawlensky left classic portraiture behind him in a radical manner. • Harmonious composition in an appealing symmetry informed by geometry. • In 1933 present from Jawlensky to the art historian and friend Mela Escherich. PROVENANCE: Mela Escherich Collection, Wiesbaden (gifted from the artist in 1933). Estate of Mela Escherich, Wiesbaden (since 1956). Hanna Bekker vom Rath Collection, Hofheim im Taunus. Private collection. Private collection (acquired from the above in 1989). Private collection Southern Germany (acquired from the above in 1992). LITERATURE: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. II (1914-1933), Munich 1992, p. 481, no. 1417 (color illu. p. 493). Sotheby's, London, November 29, 1989, lot 199 (color illu.). Grisebach, Berlin, 24th auction, May 29, 1992, lot 63 (color illu.). Mela Escherich, in: Der Cicerone, year XVIII, 1926, quoted from: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, p. 129. From the beginning on, Alexej von Jawlensky consistently pursued only three subjects: the still life, the landscape and the portrait. He increasingly turned to portraits, which he revisited in meditations, variations and in serial works, until his death in Wiesbaden in 1941. As early as in 1914 while in exile in Switzerland, he made first “Savior Faces” and “Mystical Heads” in which he would almost completely overcome the portrait character of previous heads. As a logical consequence, he made another step towards abstraction and the development of color field painting with the “Abstract Heads” made between 1918 and 1933. Our 'Abstract Head' from 1933 combines a particularly exciting play of cheerful colors on the one hand, and inner contemplation on the other. Jawlensky entirely removed the scheme, taken from traditional Russian icons, from all naturalistic representation. In search of depth of expression, he broke facial features into geometric shapes and rearranged in an almost architectural symmetry. With a composition of sharp lines and finely coordinated color fields, Jawlensky's art reached a mythical level at which he made the invisible tangible. This topic also concerned the art historian Mela Escherich, writer and friend of Jawlensky, who was among the work’s early owners. After they had met in the early 1920s, the two like-minded people became close friends. Escherich provided him with reading material as well as with financial support and, as Jawlensky became increasingly ill, she was one of his so-called 'emergency helpers'. In return for her help, the artist gave her pictures such as the present 'Abstract Head' from 1933. Even after his death, she acted as a tireless supporter and even made first efforts to compile a catalogue raisonné. So it's not just the special expressiveness of the work that gives it such a spirited character, but also the exciting provenance and the unique background story. [AW] Called up: December 9, 2023 - ca. 17.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

An important Coalport dessert centre dish, from the Nicholas I Service, circa 1845 made by command of Queen Victoria for presentation to Czar Nicolas I of Russia, painted in enamel colours and decorated with gilding, painted with the badge of the Russian Order of St. Andrew with panels to the rim with Orders of St. George, St. Alexander of Nevsky, St. Vladimir, St. Stanislaus and St. Anne, printed retailer's mark for A B and R P Daniell, 129 New Bond Street and 18 Wigmore Street, London, 40cm wide (restored) Provenance: Ivor Southorn Collection. Notes: This dessert dish originates from a service commissioned by Queen Victoria for Tsar Nicholas I during his official visit to England in 1844. This set, referred to as the 'Coalport Service' in Russia, consisted of 62 plates and was presented to St. Petersburg the following year. The design of the plates closely imitates the William IV service crafted by Flight, Barr, and Barr, which was initially designed to commemorate the Coronation of King William IV in 1831. However, the British emblems on the original design were substituted with Russian Orders to suit the occasion.The Tsar was so captivated by the elegance of the service that he decided to order an additional 124 matching plates from the Imperial Porcelain Factory. These plates were intended for use during official state banquets. Subsequently, in 1849, a coordinating dinner service was commissioned from Coalport. In 1934, a selection of plates from the original service was sold by the Narkomat for Foreign Trade. Nonetheless, a substantial number of the surviving pieces can be found in the State Hermitage Museum. Condition:Both handle areas restored with obvious re-gilding and over-painting. Two cracks to foot.

19th-20th century A.D. Painted on a wooden board with mounting slots and panels to the reverse, gessoed surface with painting of the Virgin of Kazan, head of Mary with gilded nimbus and russet-coloured veil, standing infant Jesus similarly nimbate with right hand raised in the pax gesture; gilt monograms to the upper corners and title to the lower left corner. See Preobrazhensky, A., ‘The icon of the Virgin of Kazan: new data on the early history of its veneration and the most ancient copies (in Russian)’ in ??????????? ????????? ????? ?????????? ? ??????? ?????? ? ??????? ???????????. ??????? ???????? ?????????? ??????-???????????????? ??????, (Miraculous Kazan image of the Mother of God in the fate of Russia and world civilization. Collection of reports of participants of scientific and educational readings, in Russian), ??????, 2018, pp.295-429. 968 grams, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection.The original icon, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.

Alfred von Wierusz-Kowalski (Poland, Russian Federation, Germany, 1849 - 1915) Oil on panel painting. Signed lower right. Sight Size: 12.5 x 22.5 in.

"Skiing". An oil on board. Signed on the front in Cyrillic "IA-1994". Signed in Cyrillic at the back  I Arestov "Skiing". Presented in frame. Ivan Nikolaevich Aristov (1917-1994) Russian painter. His works are in several museums in Russia, in private collections in Europe and the USA. Russian painting of the 20th century.Height: 56cm; Width: 46cm;

Pierre DMITRIENKO (1925-1974) "Before sleep" 1946, oil on cardboard, signature of the author, date and title on the front, sketch of a nude man and woman on the back. Pierre Dmitrienko was a French artist who belongs to the generation of the artist who founded the so-called Lyrical Abstraction. Of Russian and Greek parentage, he moved to Paris where he became the famous and successful abstractionist of the Parisian school. Hovering between Informal Art and Lyrical Abstraction, his work was the expression of the erring of an era. French painting of the 20th century.Height: 18cm; Width: 18cm;

Winter landscape The beginning of winter. M. Yaffe. 1930s. Canvas, oil. 95x110 cm Moscow artist Mikhail Yaffe (1894-?). Graduated from the Odessa Art College. Lived and worked in Moscow in the 1930s. The landscape is executed in a realistic style (socialist realism). The name of the work The beginning of winter and the size of the canvas 95x110 are indicated on the reverse side of the painting (the correct size is 85x110 cm). The painting is framed in a gilded relief frame from the first half of the 20th century. On the stretcher there is a sign of the Moscow Art Salon of the Moscow Association of Artists, which was located in Moscow at 11 Kuznetsky Most Street. The registration number of the painting in the salon is N4447 and the sale price is 3900 rubles. Historical note: The Moscow Association of Artists is a private art association of artists that existed from 1893 to 1924. The basis of the partnership were graduates of the Moscow School of Painting, Sculpture and Architecture. It included many famous Moscow Russian artists - Arkhipov A.E., Baksheev V.N., Borisov-Musatov V.E., Vinogradov S.A., Vrubel M.A., Zhukovsky S.Yu., Kandinsky V. .V., Korovin K.A., Kuznetsov P.V., Polenov V.D., Saryan M.S., Yuon K.F. and others. The Association organized exhibitions of works by members of the association not only in Moscow, but also in other cities of Russia. At the first stages of the work of the Association, the works of landscape painters and everyday genre dominated. In 1917, the Association had 35 active members. Width: 85cm, Height: 110cm, Depth: 15cm, Weight: 35kg, Condition: Good, Material: Canvas, oil

A romantic image of a young and sad naiad bather, close to the aesthetics of T.A. von Neff. Depicts a beautiful, half-naked girl, in a moment of thought by the stream. A bright light snatches a seated figure from the captivity of the night and the surrounding thickets. Opens her pale scarlet, light clothes, lowered to her knees, as a sign of a pure, untouched soul. The modest charm of the heroine illuminates and fills the picture. An unknown artist managed to breathe life into the staff of academic painting, which is what the Russian Romantic School of the mid-19th century was so famous for. Canvas, oil. Painting size: 66x45 cm. Width: 74cm, Height: 97cm, Depth: 11cm, Weight: 20kg, Condition: Good, Material: Canvas, oil

A large porcelain decorative plate with a genre scene made in the technique of polychrome painting, located in the mirror of the plate and a stylized Russian-style leaf ornament along the flat side of the dish. The picturesque painting of the plate is made by hand. On the relief edge of the side of the plate, gold and blue decorative stripes are applied. Such decorative decoration and a flat side give the plate the appearance of a genre picture, framed in a beautiful painted frame. The reverse side of the plate is decorated along its side with a golden cover and an inscription with the name of the painting plot. The genre scene in the center of the plate is made to the motive of the Russian epic Mikula Selyaninovich, as evidenced by the inscription on the bottom of the dish - the epic Mikula Selyaninovich. The episode of the summoning of Mikula Selyaninovich by the bogatyr Volga Svyatoslavich to collect taxes is depicted. Typical is the image of the epic hero not in elegant boots, but in simple peasant bast shoes. Some researchers of the Russian epic interpret this scene as a meeting of the hunter god with the plowman god. This interpretation is due to the fact that Mikula Selyaninovich in Russian culture personified the god of agriculture. In the lower left part of the genre picture is the signature of the artist-ceramist, presented in the form of a monogram consisting of Latin and Russian capital block letters DB (unknown artist of the Kuznetsov factory). The plate is part of a series of several similar plates decorated on the theme of the Russian folk epic (at least 9 pieces), made in the Russian style in the second half of the 19th century (1870-1880s) at the Tver faience factory of M.S. Kuznetsov. The Tver faience factory was acquired by M.S. Kuznetsov in 1870, which already under the first owner and founder of the factory (the Auerbach family) became famous in Russia for products in the pseudo-Russian style. A series of epic plates from the Tver factory may have been exhibited at the Polytechnic Exhibition of 1889. Production mark of the factory M.S. Kuznetsov in Tver in the form of a small state emblem - a double-headed eagle and the inscription M.S. Kuznetsov Tver province located on the tape. The printed stamp is filled with gold, which testifies to the special purpose of the subject. Russian Empire, Tver province. Factory of M.S. Kuznetsov. 1870-1889 years.Porcelain, hand-painted polychrome, gilding, golden cover. Collection safety. Diameter - 25.5 cm, weight - 668 gr. Width: 24.5cm, Height: 24.5cm, Depth: 10cm, Weight: 0.668kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding

A large, standard canvas about the native land from Karl Rosen. The landscape of the Baltic Sea is captured, where, against the background of a moving, changeable sky, gray, quiet waters of the Gulf of Riga and a fishing boat are depicted. In the distance of the horizon, sails and a premonition of a low, mournful coast are visible. The changeability of light, rain, floating clouds accurately conveys the atmosphere of the Baltic coast. Large-format paintings with views of the Baltic Sea are a rarity in the work of Karl Rosen. Large format seascapes are of high artistic and collection value. 20th century beginning.Canvas, oil. 112x106 cm. Authors signature in the lower right corner of the painting.Karl Rosen (1864-1934) received his art education in the landscape workshop of the St. Petersburg Academy of Arts from the outstanding Russian landscape painter of his time - Ivan Ivanovich Shishkin. At the same time, he studied with Julius Klever and worked in his workshop. Since 1918, Rosen has been living and working in Latvia, participating in several exhibitions of the Union of Independent Artists, and in 1927 held the only solo exhibition known during his lifetime. Karl Rosen is one of the representatives of conservative academic painting. Consistently focusing only on the landscape, he depicts natural scenes of different seasons, paying special attention to the light and emotional mood of the works. The artist drew inspiration for his works from the traditions of Russian realistic art of the second half of the 19th century. The nature landscapes sensitively conveyed by the author with dramatic and romantic lighting effects were already popular with contemporaries and are highly valued by art lovers. Width: 106cm, Height: 111.5cm, Depth: 6cm, Weight: 20kg, Condition: Good, Material: Canvas, oil

Half-length, ceremonial portrait of the Russian Emperor Alexander I (1777-1825) in full face. In the alcove, near the column and the red curtain, the king is depicted in military uniform, with a sash and epaulettes, with his hand on the book of laws. His gaze is anxious and concerned about the fate of Russia. It is noteworthy that the laws for him are above autocracy. The book closes the crown. This can be interpreted as the constitutional program of the king. Without a signature. The pommel of the imperial crown indicates the presence of the painting. Oil, canvas. 90×72 cm. Width: 94cm, Height: 130cm, Depth: 10cm, Weight: 20kg, Condition: Good, Material: Canvas, oil

A large picture of the Raging Sea, made on canvas in the technique of oil painting. The painting depicts a raging sea and coastal rocks, against which a sinking, listing ship, painted on the right, has crashed, and the crew and passengers of the ship are on a lifeboat trying to approach the rocky shore. In the distance, through dark clouds, you can see the sun and the sun`s rays breaking through, as if they give hope for the end of the storm and the salvation of people. Aivazovsky`s signature in the lower right corner. The signature is dry, corresponds to the time of writing the work. A copy of the famous work of the Russian marine painter I. Aivazovsky (1817-1900) collection of the Russian Museum. Width: 100cm, Height: 80cm, Depth: 15cm, Weight: 20kg, Condition: Good, Material: Canvas, oil

A rare collection flowerpot from the A.M. Miklashevsky Porcelain Factory, is a rectangular vase with an extension upwards, resting on four stucco legs, decorated with gold layering. The front and back surfaces of the pot are decorated with two medallions with a finely painted pastoral scene in the Western European style, as well as an image of an exotic bird sitting on a branch in the Chinoiserie style. Medallions with painting have a quadrangular shape with rounded top corners. On the side surfaces of the flowerpot are fixed stucco relief handles with rock curls and gilded layering on the surface. At the corners, the planter is decorated with embossed vertical columns imitating weaving. The upper convex edge of the pot is made in the form of a monogram of two merged letters A and M and a dot on the right. The mark is underglaze, hand-drawn, red. Russian Empire, Chernigov province, Glukhovsky district, Volokitino village. Factory A.M. Miklashevsky. 1840s. Porcelain, molding, molding, gilding, underglaze polychrome painting. Dimensions - 19.5 cm (at the top, including handles), width - 13.2 cm (at the top), height - 12.4 cm. Historical reference: The factory of porcelain products was founded in the village of Volokitno by the rich and well-born landowner A.M. Miklashevsky (1801-1895) in 1839. The owner of the factory was an admirer of Western European porcelain and invited the famous French ceramists Dart brothers to organize and manage the new enterprise. Francois Dart was a porcelain decorator - porcelain painter and model designer. At the time of the work of this master (until the middle of the 19th century), the heyday of the production of artistic porcelain at the factory falls. Porcelain from the A.M. Miklashevsky factory is distinguished, during this period, by the European level of execution of decor and forms of objects made of porcelain mass of excellent quality, and objects abounded in imitation of plant forms, an abundance of figured compositions, the use of European motifs for painting objects - pastoral and gallant-sentimental scenes , architectural landscapes, flower bouquets and birds, executed in the style of chinoiserie. During this period, the plants products successfully competed with the products of well-known European manufactories and often even with the products of the IPM. In general, the French style and the excellent quality of painting and stucco were the distinguishing features of Francois Darts products, to which the presented planter belongs. Items made at the factory of A.M. Miklashevsky adorn the collections of the Hermitage, the Russian Museum, Kuskovo, museum collections in Ukraine. They are rarely found on the antique market and have a high collectible value. Small chip on the handle. Width: 19.5cm, Height: 12.4cm, Depth: 13.2cm, Weight: 0.886kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding

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. Tretyakovs 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 factorys 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. Kuznetsovs enterprise produced a small batch of S.M. Maslennikovs 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 painting

Silver sugar bowl and creamer 84 samples, 11 Artel, with painted enamel. A significant and visible addition to the portrait of Russian Art Nouveau. Luscious epic painting with motifs of petals, coordinates of inverted worlds and vortex spirals, on an unusual gray background - highlight the work of the masters of the 11th artel. Moscow. 1899-1908 Total weight: 419 g. Width: 12cm, Height: 11cm, Depth: 30cm, Weight: 0.419kg, Condition: Good, Material: Silver 84, Cloisonne enamel, Gilding

Hand painted porcelain hookah. Kuznetsov factory in Dulevo. Russia. 19th centuryA unique Russian porcelain hookah made at the Kuznetsov factory in Dulevo. Hand-painted porcelain hookah with a wooden pipe, consists of a central water chamber, a stem with a mouthpiece and a bowl for flavored tobacco, decorated with medallions and a portrait of a nobleman. Bright colors and careful detailing of the painting demonstrate the artistic skill of the artist from the Kuznetsov factory. Hallmark: Kuznetsov Factory in Dulevo, Arabic script for items made for export. Late 19th century.Condition: Good, with traces of useMaterial: Porcelain, Hand PaintedProduct sizes: Height - 58cmwidth - 12cmLocation: Gallery "Antiqon", Brivibas street 52, Riga, Latvia Warranty: Seller WarrantyCountry: RussiaPeriod: Late 19th centuryChoose Color  

Vladimir Logutov From the 'meeting' series (4), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (2), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (3), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (1), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Griegorov Tretchikoff, Russian 1913-2006,Red-hot pokers;a lithograph in colours after a painting in the collection of G.E Magrath, South Africa, signed in the plate and signed in pen, printed in England by John Swain and Son ltd, image size: 89 x 44.5 cm, (unframed) (ARR)

Duncan Grant (British, 1885-1978)Dancers oil on canvas71.2 x 91.6 cm. (28 x 36 in.)Painted in 1912Footnotes:ProvenanceAcquired from the 1912 exhibition by Hilton Young (later Lord Kennet of the Dene), thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Grafton Galleries, Second Post-Impressionist Exhibition, 5 October-31 December 1912, cat.no.81London, Whitechapel Art Gallery, Twentieth Century Art, 8 May-20 June 1914, cat.no.310London, The Wallace Collection, organised by the British Council Fine Arts Committee for the Venice Biennale, May-June 1940, cat.no.155London, Barbican Art Gallery, Modern Art in Britain 1910-1914, 20 February-26 May 1997, cat.no.103 (as The dancers)LiteratureAnna Gruetzner Robins, Modern Art in Britain 1910-1914, Merrell, London, 1997, pp.173-174, cat.no.103 (col.ill.)Richard Shone, The Art of Bloomsbury, Tate, London, 2002, p.69, fig.67 (ill.b&w)Throughout Duncan Grant's life as a painter, he repeatedly turned to images of dancers. The present work and its companion version (Tate, c.1910-11) are his first major attempts at the theme. Not all his images were by any means as stately as this one. He painted Spanish dancers, classical ballet scenes, figures from the Commedia dell'arte, acrobatic Chinese dancers and even a ragged girl dancing in Fitzroy Street. He himself was an ace performer at parties, even on occasion partnering Lydia Lopokova, the great Russian dancer. And from the early 1920s until the mid-1930s, he designed costumes and sets for ballets in London choreographed by masters such as Léonide Massine and Frederick Ashton. Even in his last years he eagerly attended performances by the dance companies of Martha Graham and of Merce Cunningham on their visits to London. Dance was never far from his thoughts.In 1904-05 and again in mid-1907 Grant visited Siena and was greatly struck by the frescos of Ambrogio Lorenzetti in the Palazzo Pubblico. In particular, the circle of dancing women in flowing skirts in the foreground of the 'Allegory of Good Government' was to remain a touchstone of rhythmical beauty for decades to come. They inform the group of dancers in the mural Grant carried out in 1910 for Maynard Keynes in his study in King's College, Cambridge, but we cannot forget that Grant was also a keen admirer of the work of Burne-Jones; he appears to have known the painting The Mill (Victoria and Albert Museum) showing three young women moving in a slow circle - a reflection of the Three Graces in a dreamlike, Home Counties landscape. That Grant was a highly eclectic painter has long been recognised and we can see in Dancers elements of William Blake, echoes of Raphael and Poussin and, in the Tate version particularly, strong hints of Gauguin whose work Grant was coming to know in 1910. This is especially evident in the painting's heightened colour which, however, is more subdued here than in the Tate's painting. There is a quality of mood in Gauguin - in, for example Three Tahitians (National Galleries of Scotland) - with which Grant's work is imbued. Gauguin described the islanders as having something 'solemn and religious in the rhythm of their pose, in their strange immobility'. This is certainly true of Grant's figures seen against the rising, symphonic green/yellow background. We can see Grant here as a brilliant visitor to the Symbolist movement. Some commentators have denigrated Grant's Dancers when compared to Matisse's La Danse which was also included in the Second Post-Impressionist Exhibition. A version of this was in Matisse's studio when Grant visited the artist in 1911. Although he was greatly impressed by it, it was too soon for so radical a painting to have had an immediate impact on Grant's own work. It should be noted, however, that Grant's six stately figures dance on a hilltop just as the more energetic five figures in the Matisse are seen against a deep blue sky above a section of green earth. But other visitors to the Post-Impressionist Exhibition singled out Dancers for praise, including Rupert Brooke in a rare exhibition review in which he is mostly rather critical of his old friend's work.Grant quite often made two and sometimes three versions of a particular composition. For example, The Queen of Sheba and the Lemon Gatherers (both in the Tate) exist in more than one version, the former from the same year, 1912, the latter from 1910 and, stylistically different, from c.1919. There is no record as to why Dancers was repeated with more than a year between them. It is probable that Grant was satisfied with the image and wished to take it further in a more advanced style (the women are more angular, the brushstrokes more free, the contours broken along the bodies of each figure). Both versions were quickly acquired which would certainly have helped Grant's precarious financial situation.Dancers was purchased from the Second Post-Impressionist Exhibition held in 1912-13 at the Grafton Galleries, London, by Hilton Young, later 1st Baron Kennet (1879-1960). As a child, Young had become friendly with Sir Leslie Stephen's son, Thoby, and through him became intimate with his sisters Vanessa and Virginia. He was enamoured with the latter but his marriage proposal was rejected. He continued, however, as a visitor to the famous early Bloomsbury gatherings in Gordon Square. It was then that he came to know Duncan Grant and to appreciate his work; there was even talk of his sitting to Grant for a portrait but nothing came of it. Young owned a cottage near Marlborough which he rented to Lytton Strachey in 1912. Strachey found peace there to begin work on his Eminent Victorians but complained in letters to friends of the rather dreary conservative taste of the interiors. Perhaps Young got wind of this and purchased the Dancers as an answer to such criticisms. The first version of the painting was owned by Sir Edward Marsh (who bequeathed it to the Tate Gallery in 1953); the present version is much less known and has remained until now with Hilton Young's descendants.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Imperial Russian Painting of a Battle Scene in the Russo-Japanese War, believed to have been painted by Ukrainian artist G A Sokarinski (1900-1980). Picture in watercolour, shows Japanese soldiers being surrounded in battle in the snow. Housed in a modern glazed frame measuring 87 x 71 ½ cms.

Aleksandr Mikhailovich Gerasimov,  Russian 1881-1963- The Artist's Studio, Moscow; pencil on paper, 74.7 x 100.7 cm. Provenance:  The artist's family.  with Roy Miles Fine Paintings, London;  where purchased by the present owner in 1989. Exhibited:  London, Roy Miles Gallery, 'Russian Paintings: The Winter Show', 1-22 December 1988, no.24. Literature:  'Russian Paintings: The Winter Show', exh. cat., London, Roy Miles Fine Paintings, 1988, p.16, no.24. Note:  Gerasimov was a leading proponent of the socialist realism movement which was the dominant artistic approach in the Soviet Union. He was particularly celebrated for his portraits of prominent figures in the Soviet government, including Vladimir Lenin (1870-1924), Joseph Stalin (1878-1953), and Kliment Voroshilov (1881-1969), with his most famous painting undoubtedly his 1938 double portrait of 'Stalin and Voroshilov in the Kremlin'. The present work depicts the artist's own studio, replete with an assortment of antiques as well as the artist's pupils. Gerasimov has included himself in the composition, seated by a canvas on an easel towards the back of the room, undoubtedly giving instruction to his onlookers. 

Pavel Tchelitchew,  Russian 1898-1957- Costume design for Concerto: Le Prince, 1942; pencil, watercolour, and bodycolour on paper, inscribed 'III partie Mozart le Prince' (upper edge), numbered '12' (lower right), with a sheet of handwriting in French and diagrams of clothing verso, 36 x 18.8 cm. Provenance:  Anon. sale, Sotheby's, New York, 12 October 1991, lot 68.  with Michael Rosenfeld Gallery, New York;  where purchased by Robert Bunting, 11 May 1993.  The Robert Bunting Dance Collection sale, Skinner, New York, 20 September 2013, lot 442. Exhibited:  New York, Michael Rosenfeld Gallery, 'Pavel Tchelitchew: Nature Transformed', 3 April-29 May 1993. Literature:  'Pavel Tchelitchew: Nature Transformed', exhibition catalogue, Michael Rosenfeld Gallery, New York,1993, p.28 (illustrated).  Note:  Having fled Russia at the onset of the revolution in 1917, Tchelitchew studied at the Kiev Academy under the artist and designer Aleksandra Ekster (1882-1949). After moving to Paris in 1913, he established friendships with key figures in the contemporary avant-garde movement, such as Gertrude Stein (1874-1946) and Edith Sitwell (1887-1964).  Tchelitchew began his career as a theatre designer, and it was in this capacity that he worked with the ballet impresario Sergei Diaghilev (1872-1929) and the choreographer George Balanchine (1904-1983). The present work is a design for the ballet 'Violin Concerto', set to Mozart's Violin Concerto no.5, and choreographed by Balanchine in 1942 for the Ballet of the Teatro Colon in Buenos Aires. According to Donald Windham, who was a friend of Tchelitchew, this was one of final two productions that the artist worked on before focusing his energies more on his painting. 

Large color lithograph after Wassily Kandinsky's 1919 original painting Picture with Points. It bears the authorizing and authenticating bossed seals of the Russian State Museum in Leningrad (Saint Petersburg) and publisher, Eduard Nakhamkin Ltd. Embossed seal of Atelier Ettinger at bottom left margin. Housed in a black frame with an ecru linen mat. Sight size: 22.30"L x 30"H. Frame size: 35.50"L x 43"H x 1.60"W. Artist: Wassily Kandinsky (Russian, 1866-1944)Issued: 1990Edition Number: 296 of 300 Country of Origin: RussiaCondition: Age related wear.

Vladimir Shagin (Russian, b. 1942). Oil on canvas painting titled "Evening," depicting a city at night, 1977. Painted with bold brushstrokes and thick paint that catches the light to emulate tree park and grasses.Unframed; height: 16 3/4 in x width: 22 1/4 in. Framed; height: 21 1/4 in x width: 27 in. />Condition: The item is in good condition with no visible tears, creases, or major losses. There are minute losses along the extreme edges of the canvas against the frame. The surface is stable, and the color is bold and bright. No visible sign of restoration. Light wear to the frame.

Robert Rafailovich Falk (Russian, 1886-1958)Bouquet with mimosa, 1930s signed in Latin and inscribed 'Paris' (lower left)oil on canvas 50 x 61cm (19 11/16 x 24in).Footnotes:ProvenanceCollection of V.B. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 27 (1235), p. 42 illustratedBoth Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly - with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonne, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Robert Rafailovich Falk (Russian, 1886-1958)Hawthorn branch, 1948 signed in Cyrillic and dated '48' (lower left)oil on canvas 65 x 81cm (25 9/16 x 31 7/8in).Footnotes:ProvenanceCollection of V. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 36 (1244), p. 51 illustratedHawthorn branch, 1948, is a remarkable painting shot through with the vibrant colour of the hawthorn berries. Typical of Falk's later still-lifes, the colour combination of the branch's reds and greens would have been well considered by the artist who was, as noted by his widow Angelina Shchekin-Krotova, 'meticulous when it came to composition'. As with the majority of Falk's still-lifes from the period, the branch of berries is set against a darker background of brown and silvered wood, such that the different hues of green and red stand out, lit by a shaft of gentle light. A comparable still-life from 1947, Рябина осенью [Autumnal rowan] (Abramtsevo Museum-Reserve) is similarly composed around the contrasting colours of the leaves and berries of the rowan. Yulia Didenko elaborates on Falk's artistic methods, noting 'He grouped his objects according to the charge of energy in their colours; he created a 'plastic event''. [Didenko (ed.) The Late Still-Lifes of Robert Falk, Angelina Shchekin-Krotova, 'Tretyakov Gallery Magazine', no. 4 2020 (69)].Both Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly- with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sergei Yur'evich Sudeikin (Russian, 1883-1946)Tea party on a summer's day: design for an unidentified production of Nikita Balieff's Chauve-Souris theatre in Paris, 1922signed and dated '1922', inscribed to Mlle. Spinelli, with partially visible name of the production, inscription 'Chauve-Souris Balieff/Paris/1922', number '46' (verso) oil on composite board, with high relief details 39.5 x 49.8cm (15 5/8 x 19 5/8in).Footnotes:Provenance According to the inscription, the work was presented by the artist to Mlle. Spinelli, an actress at Balieff's theatre 'Chauve-Souris', in Paris, 1922Acquired by a private collector, Scarsdale, New York, USA.A gift from the above to the present collector, 1980.The present work, illustrating a stage design from 1922 for Nikita Balieff's Chauve-Souris theatre production depicting a whimsical array of playful characters in a pastoral Russian landscape, is typical of Sergei Sudeikin's work from the early 1920s. Given the opportunity to work on many productions for the company in Paris and later in the USA, the artist developed his own unique style and his version of the Russian style which he transformed and interpreted through the prism of intense stylisation, combining elements of the traditional peasant culture in its approachable, popular form with his own sophisticated artistic sensibility and modern vision. Throughout his career Sudeikin frequently depicted colourful puppets, mechanical dolls, porcelain figurines and peasant decorations as quintessentially national elements of the Russian culture. They dominated his paintings and graphic works with triumphant joyful abundance and created an unforgettable visual landscape.In the present painting, naive and charming characters populate a static, stage-like lake scene, attending a picnic taking place around a large samovar at the centre of the work. A young maiden dressed in traditional sarafan and holding an enormous sunflower seems to be courted by a male dandy impressively dressed and playing balalayka. A group of ducks seems to be caught between the pair of lovers at centre stage. A bit further, a large man dressed in a scarlet shirt is reclining for his mid-day nap oblivious to the activities around him. On the right, a tall figure of what looks like a scarecrow, dressed like a peasant woman, is casually flopping in the wind. Two boats carrying picnickers and their pets are gliding on the still waters of the lake. And above all of the pastoral bliss with stylised trees and bright rolling hills is an enormous fairy-tale sun beaming its geometric rays, infusing the scene with an additional degree of magic and theatricality. Through his unique and immediately recognisable aesthetics, Sudeikin played an important role in Balieff's enterprise and to a large degree was responsible for the much-admired 'look' of the production both in terms of the stage presence as well as the consistently recognizable branding of all the marketing and promotional material. The artist spent a great deal of time working with the cast and the creative team of the production and knew many actors personally. The present work was presented to Mademoiselle Spinelli, who was one of the leading actresses of Balieff's theatre. A photograph of Mlle. Spinelli and Nikita Balieff was published in Comoedia Illustre, July-August 1921, issue 10.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

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

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

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

19TH CENTURY RUSSIAN SCHOOL; a reverse painting on glass, study of a bearded gentleman, unsigned, 56.5 x 44.5cm, framed and glazed.

A large Qajar painting depicting Persian dignitaries with European diplomats by a follower of Samsan Ibn Zulfiqar Musavvir Al-Mamalik, Iran, circa 1900, oil on canvas, the figures arranged  Inscriptions in white nastaliq script identifying the individuals, from right to left Mirza Zaman Amir-i Divankhanah, Mirza Jafar Khan Mushiruddavla, Mirza Abdallah Mustavfi, Mirza Sadiq Qaim-maqam, Mirza Fathallah Laskarnuvisbashi, Mirza Yusuf , Ayatallah Amin , Mirza Fazlallah Darirnizam, Mirza Muhammad, Hajj Qivamalmulk Shirazi, 99x155 cm.The present painting together with our next lot depicts twelve Persian dignitaries/court officials with Russian, French and Ottoman diplomats (chargé d'affaires), fifteen individuals in total.   Three paintings by Samsam ibn Zulfiqar, dated 1322 AH/ 1904AD., are published in the exhibition catalogue, L’Empire des Roses: Chefs-d’œuvre de l’Art Persan du XIXe Siècle, Snoeck, Louvre Lens, Paris, 2018, pp. 294-295. One of these paintings depicts Fath Ali Shah on his throne. The other two, comparable to the present pair, depict Persian dignitaries and ambassadors visiting the court, standing one next to the other, in two rows.    

A large Qajar painting depicting Persian dignitaries with European diplomats by a follower of Samsan Ibn Zulfiqar Musavvir Al-Mamalik, Iran, circa 1900, oil on canvas, with inscriptions in white nastaliq script identifying the individuals, depicting from right to left Mirza Said Khan Vazir-i Kharijah, Afandi Sharjadafar-i Uthmani (chargé d'affaires Ottoman), Dalarquski Sharjadafar-i Rus (chargé d'affaires Russian), Sharjadafar-i Fransa (chargé d'affaires French), Mushibashi Vazir-i Kharijah, 99x158 cm. The present painting together with our former lot depicts twelve Persian dignitaries/court officials with Russian, French and Ottoman diplomats (chargé d'affaires), fifteen individuals in total.   Three paintings by Samsam ibn Zulfiqar, dated 1322 AH/1904AD, are published in the exhibition catalogue, L’Empire des Roses: Chefs-d’œuvre de l’Art Persan du XIXe Siècle, Snoeck, Louvre Lens, Paris, 2018, pp. 294-295. One of these paintings depicts Fath Ali Shah on his throne. The other two, comparable to the present pair, depict Persian dignitaries and ambassadors visiting the court, standing one next to the other, in two rows.   

KREUZIGUNG CHRISTI Russisches Segenskreuz, Malerei um 1900, mit vergoldeter silberner Einfassung, 18. Jh.36 x 20 x 3,5 cmRUSSIAN BENEDICTION CROSS WITH GILDED SILVER SETTINGpainting around 1900, silver 18th c.36 x 20 x 3.5 cm

HL. PROPHET ELISCHA UND HL. APOSTEL JAKOBUS MIT SZENEN AUS DEM LEBEN DES HL. ELISCHA Sehr fein gemaltes russisches Triptychon (im Stil von Mstera), mit 3 silbernen Nimben in Cloisonné-Emaille, gemäss der Inschrift unten: gemalt in der Werkstatt von Ja. A. Bogatenko in Moskau im April 190428,5 x 35 x 1,75 cm (geöffnet)Jakow Alexejewitsch Bogatenko - ein Altgläubiger der Belokriniza-Richtung, Sohn des späteren altgläubigen Bischofs von Rjasan- ist vor allem als Ikonograph, Restaurator, Leiter einer Ikonenmalereiwerkstatt und auch als Theoretiker der Ikonenmalerei bekannt (er ist Autor eines Artikels über Ikonenmalereistile). Jakow wurde 1881 in Kasan geboren (nach anderen Quellen im Internet 1875 oder 1881). Er absolvierte 1898 die Stroganov-Schule in der Klasse für Malerei. Er studierte unter A.M.Vasnetsov. Am 12. August 1909, als er bereits ein bekannter Ikonenmaler und Restaurator der Fürbittkathedrale auf dem Rogozhsky-Friedhof war, beschloss Jakow, eine zweite höhere Ausbildung am Archäologischen Institut zu absolvieren. Jakow Bogatenkos Werkstatt befand sich in der Nähe des Spaso-Andronikov-Klosters - zunächst in der Durny-Gasse (heute Tovarishchevsky-Gasse) und dann in der Nikolo-Yamsky-Gasse. Seine Ikonen wurden auf den Allrussischen Ausstellungen in St. Petersburg wiederholt mit Bronze- und großen Silbermedaillen ausgezeichnet. Er unterrichtete am Institut für Altgläubige der Rogozhskaya-Gemeinde (gegründet 1911) und war Leiter des Instituts-Chors. Nach 1918: J.A. Bogatenko beteiligte sich an der Restaurierung der Moskauer Kreml-Kathedralen. Er wurde mehrmals verhaftet (1919 und mehrmals 1920), auch zusammen mit seinem Vater. Später war er als Zeichner in verschiedenen Moskauer Institutionen tätig. Im Juli 1941 wurde J.A. Bogatenko wegen antisowjetischer Aktivitäten verhaftet und nach Saratow gebracht, wo er in einem Gefängniskrankenhaus starb. Er wurde 1956 rehabilitiert.VERY FINELY PAINTED RUSSIAN TRIPTYCH SHOWING ST. PROPHET ELISHA AND ST. APOSTLE JAMES WITH SCENES FROM THE LIFE OF ST. ELISHAin the style of Mstera, with 3 silver halos in Cloisonne enamel, according to the inscription below: painted in the workshop of Ja. A. Bogatenko in Moscow in April 190428.5 x 35 x 1.75 cm (opened)Yakov Alexeyevich Bogatenko - an Old Believer of the Belokrinitsa, son of the later Old Believer Bishop of Ryazan - is known primarily as an iconographer, restorer, head of an icon painting workshop and also as a theorist of icon painting (he is the author of an article about icon painting styles). Jakov was born in Kazan in 1881. (according to other sources on the Internet 1875 or 1881). He graduated from the Stroganov School in 1898 in the class of painting. He studied under A.M.Vasnetsov. On August 12, 1909, when he was already a well-known icon painter and restorer of the Intercession Cathedral at the Rogozhsky Cemetery, Yakov decided to receive a second higher education at the Archaeological Institute. Yakov Bogatenko's workshop was located near the Spaso-Andronikov Monastery - first in Durny Lane (now Tovarishchevsky Lane), and then in Nikolo-Yamsky Lane. His icons have repeatedly been awarded bronze and large silver medals at the All-Russian exhibitions in St. Petersburg. He taught at the Institute of Old Believers of the Rogozhskaya community (founded in 1911) and was the director of the institute choir. After 1918: J.A. Bogatenko took part in the restoration of the Moscow Kremlin cathedrals. He was arrested several times (1919 and in 1920). He later worked as a draftsman in various Moscow institutions. In July 1941, J.A. Bogatenko was arrested for anti-Soviet activities and taken to Saratov, where he died in a prison hospital. He was rehabilitated in 1956.

Framed reproduction oil on canvas after 19th Century Russian Painter Ivan Kramskoi, painting of Mina Moiseyev. Signed to the lower right corner.

Alexandre Benois (1870-1960) La Dame de Pique - The Queen of Spadesink, watercolour and gouache34 x54cmThe painting was acquired by the present vendors mother who collected Russian works. It was acquired sixty years ago and has always been insured as a Benois by both Phillips and Bonhams. We sodl a collecion of works by Pavel Fyodorovich Tchelitchew from the same vendor a number of years ago. Generally, the paint layer appears stable. Pin holes across the composition, notable in the corners, down the sides and along the centre. Most notably in the centre of the composition in the chest of the statue. Paper has some minor warping. Some surface dirt to the glaze and with some thunderflies trapped beneath glass. Framed dimensions 53.5 x 72.5cm

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

VEDUTENMALER ERSTE HÄLFTE 20. JAHRHUNDERT, Vor dem Kloster der Dreifaltigkeit und des Heiligen Sergius in SagorskÖl auf Leinwand. Kyrillisch signiert. 75 x 95 cm. Gerahmt : 88 x 109 cm. Im 18. Jahrhundert wurde die Ortschaft Possad genannt, 1930 bis 1991 in Sagorsk, seit 1992 in Sergijew Possad umbenannt. Das Kloster wurde um 1340 vom Heiligen Sergius von Radonesch gegründet und ist seit Jahrhunderten ein bedeutendes religiöses Zentrum der russisch-orthodoxen Kirche, es gehört seit 1993 zum UNESCO-Weltkulturerbe. Rückseitig auf einem Klebezettel kyrillisch bezeichnet, datiert: (19)52. Profilierter Goldrahmen. * Partnerauktion Bergmann. Aufrufzeit 28. | Okt 2023 | voraussichtlich 11:44 Uhr (CET) VEDUTIVE PAINTING FIRST HALF 20th CENTURY, Before the monastery of the Holy Trinity and St. Sergius in SagorskOil on canvas. Signed in Cyrillic. 75 x 95 cm. Framed : 88 x 109 cm. In the 18th century the village was called Possad, 1930 to 1991 in Sagorsk, since 1992 renamed in Sergiyev Possad. The monastery was founded around 1340 by St. Sergius of Radonezh and has been an important religious center of the Russian Orthodox Church for centuries, it has been a UNESCO World Heritage Site since 1993. Rückseitig on an adhesive label inscribed in Cyrillic, dated: (19)52. Profiled gold frame. * Partner auction Bergmann. Call time 28th | Oct 2023 | expected 11:44 (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.

Russischer Maler: Fünf ArbeitenJe Öl/Malkarton. Je links oder rechts unten monogrammiert, verso einmal russischer Stempel. 20. Jh. Von 22 x 56 cm bis 79 x 50 cm. An den Rändern Knicke, Risse oder Fehlstellen. Aufrufzeit 28. | Okt 2023 | voraussichtlich 20:28 Uhr (CET) Russian painter: Five worksEach oil / painting cardboard. Each monogrammed lower left or right, Russian stamp on verso once. 20th c. From 22 x 56 cm to 79 x 50 cm. At the edges creases, tears or missing parts. Call time 28th | Oct 2023 | probably 20:28 (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.

Sechs russische Lackdosen. Zweite Hälfte 20. Jahrhundert. ø 10 cm, 3 x 9 x 3 - 4 x 16,5 x 10 cm. Pappmaché, außen schwarz, innen rot lackiert. Deckel mit feiner farbiger Bemalung. Palech: Jermolajewa "Prinz Iwan und der graue Wolf", A. Kraskin "Märchen von der toten Prinzessin", Kritow "Der goldene Hahn", T. Krisenkowa "Schneemädchen". Fedoskino: "Troika im Schnee". "Märchenmotiv". Alle Dosen kyrillisch signiert, bezeichnet. * Partnerauktion Bergmann. Aufrufzeit 25. | Okt 2023 | voraussichtlich 16:17 Uhr (CET)Six Russian lacquer cans. Second half 20th century. ø 10 cm, 3 x 9 x 3 - 4 x 16.5 x 10 cm. Papier-mâché, painted black outside, red inside. Lid with fine colored painting. Palekh: Yermolayeva "Prince Ivan and the gray wolf", A. Kraskin "Tale of the dead princess", Kritov "The golden rooster", T. Krisenkova "Snow maiden". Fedoskino: "Troika in the snow". "Fairy Tale Motif." All cans signed in Cyrillic, inscribed. * Partner auction miner. Call time 25 | Oct 2023 | expected 16:17 (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.

Russian Pointillist style painting. Oil on board. With a label on the back with the artists details. Dated 1988. Framed. H.66 W.73 cm.

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

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

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

BORIS SVECHNIKOFF (SVESHNIKOV) (1927-1998) AN INTERESTING COLLECTION OF MATERIAL comprising: an artist painting a church as a figure walks past, pencil, 20.25cm x 28.75cm; six framed lithographs depicting figures in landscapes, some with dates and inscriptions (printed); a folio of unframed prints; a gatefold album containing futher unframed prints and biographical information on the artist; and two unopened volumes of 'The Camp Drawings' (a lot)Boris Sveshnikov was arrested in 1946 while a third-year student at the Moscow Institute of Decorative and Applied Arts. He spent the next eight years in Siberian labor camps working under inhuman conditions in mines and lumber camps before becoming a night watchman in a carpentry workshop, where he was able to create paintings and drawings. Sveshnikov's memories of those years colored his work until the end of his life, but, at the same time, his voluminous output remains a testament to the strength of his spirit and his willingness to confront the horrific experiences he lived through.His early drawings and paintings, however, are not realistic portrayals of the brutality of camp life but fantasies derived from that life. His sources lay in his memories of works or copies he studied during his student years, illustrations in books left behind by previous inmates, or materials his parents were able to send him. Of particular importance was the grotesque imagery of the Netherlandish artists Hieronymus Bosch (ca. 1450-1516) and Pieter Brueghel (ca. 1525-1569) and the carnivalesque frenzies of the French printmaker Jacques Caillot (1592-1635). The works he produced in the camps include multi-figured sketches of wild parties with plenty of food and drink; abrupt juxtapositions of pleasurable, even highly erotic, scenes with those of torture and death; and images depicting the indifference of camp inmates to the misfortunes of others. Whether intentional or not, Sveshnikov attested to the amorality and immorality of camp life, which existed outside of the unrealistic norms of communal behaviour established by the Soviet regime.After his release in 1954, he lived for three years in Tarusa before receiving permission to return to Moscow. There, he joined the Artists' Union and supported himself as a book illustrator, often for Russian translations of Western European Romantic literature. The German writer E.T.A. Hoffmann (1776-1822) was a favourite, and perhaps provided him with subject matter for his later work. Around 1960, Sveshnikov's style began to change. He developed a stipple technique made up of myriad small dot-like strokes in which objects near and far were reproduced with the same degree of detail and intensity of color, thus calling attention to the pictorial surface and the resulting claustrophobic spaces. Faces and entire bodies might be portrayed in close-up while surrounding forms appear in miniature. Sometimes, bodies almost disappear into the welter of small strokes. Subjects ranged from the macabre to scenes evoking his camp memories to seemingly pleasant urban scenes, but many having the uncanny appearance of a nightmare still in progress.

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