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Antique chromolithograph printed by Manhattan Art Co, New York. This large color print is based on the painting "Russian Wedding Feast" (or A Boyar Wedding Feast) by K. E. Makowsky (Russian, 1839-1915), originally painted in 1883. Sight size: 27.65"L x 15"H. Frame size: 39.65"L x 25.75"H x 0.75"W. Artist: Konstantin. E. MakowskyIssued: c. 1890Country of Origin: RussiaCondition: Age related wear.

Claudia Bonney Mother, 2023 Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Claudia Bonney takes her subjects from myths and legends, with the heroine archetype a recurring theme. Claudia is drawn to the heroine's journey - their challenges, defiance and fight for survival. Saints and goddesses are re-imagined from a modern perspective. She works primarily in oil and influences range from Magritte, David Inshaw, Alan Aldridge, Stanley Spencer and William Blake to medieval art, religious icons and Russian art. Claudia has painted since her childhood; growing up with artist parents and a household filled with art. She went on to train at Lancaster University. For the last twenty years Claudia has painted in parallel to her work in education and therapy which strongly informs her painting. Her work has been bought by private collectors in the UK & US.   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.  

Sargis Muradyan (Armenian, 1927-2007)Persian Motif signed in Armenian and dated '75' (lower right); further signed, titled and dated in Armenian and Cyrillic (verso)oil on canvas (unframed)65.2 x 50.4cm (25 11/16 x 19 13/16in).Footnotes:ProvenanceFamily of the artist.ExhibitedYerevan, The National Gallery of Armenia, Sargis Muradyan, Spring 2007Yerevan, Artist's Union of Armenia, Sargis Muradyan. My contemporaries, Spring 2012Yerevan, Sargis Muradyan Gallery, Sargis Muradyan, 2014Yerevan, Sargis Muradyan Gallery, Sargis Muradyan. It was spring... (dedicated to the 95th anniversary of the artist's birth), April 2022Sargis Muradyan was born in Yerevan in 1927. Having graduated from the Yerevan Institute of Fine Art and Theatre, he quickly became one of the most prominent figures on the thriving Armenian art scene in the 1960s and 1970s. Depicted a wide range of genres, from historical painting dedicated to the fate of Armenian people, to iconic Yerevan cityscapes, Muradyan created a simple, clarified artistic language which reveals the beautiful complexity and versatility of the artist's perception. The artist's distinctive language, defined by the simplicity of form, has gained him wide recognition and numerous national awards in the Soviet Union during his lifetime. Works by Muradyan are in the collections of the National Gallery of Armenia, Ludwig Museum (Germany), A.Kasteev State Art Museum (Kazakhstan), over 15 Russian art museums as well as private collections worldwide. Muradyan's paintings are regularly showcased in international exhibitions, including the recent The Cool and the Cold. Painting in the USA and the USSR 1960–1990 from Ludwig Collection at The Gropius-Bau in Berlin (September 2021 – January 2022).We are grateful to Zaruhi Muradyan, the daughter of the artist, for assistance in cataloguing the present lot.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

Large framed signed Russian oil on canvas painting of a seated lady - frame 93.5cm x 112cm

Fedor Stepanovich Rokotov, 1735 Woronzowo – 1808 Moskau, zug.PORTRAIT DES GROSSHERZOGS KONSTANTIN ALEXANDROWITSCH ALS JUNGER MANNÖl auf Leinwand. Doubliert.65 x 49,5 cm.Verso auf Plakette und Aufkleber betitelt „Grand Duke Constantine“.In vergoldetem Prunkrahmen.Im Hochoval das Halbportrait des jungen Großfürsten (1779-1831) in weißem Gewand mit gelber und blauer Schärpe sowie mit den Orden des heiligen Andreas und der heiligen Anna mit rotem Kreuz. Seinen Kopf mit dem zarten Gesicht und den blauen Augen hat er leicht nach rechts gewandt und seine rechte Hand halb erhoben. Feine Malerei in der typischen Art des russischen Rokoko-Malers, der sich auf Portraitmalerei spezialisiert hatte. Literatur:M. Lapschina, Fedor Stepanovich Rokotov, Moskau 1959, S. 212, Abb.118.Vgl. Portraits der Romanow-Dynastie 1613-1855, Aus russischen und ausländischen Museums- und Privatsammlungen. (1362139) (18)Fedor Stepanovich Rokotov,1735 Woronzowo – 1808 Moscow, attributedPORTRAIT OF THE YOUNG GRAND DUKE CONSTANTIN ALEXANDROVICHOil on canvas. Relined.65 x 49.5 cm.Label and plaque with title “Grand Duke Constantine” on the back.Fine painting typical for this Russian Rococo painter, who specialised in painting portraits.

Sehr große Lackdose (Schatulle) mit Troika, Russland, Werkstatt Osip F. Wischnjakow mit Söhnen, 1887 - 1896 Papiermaché, Schwarzlack, innen rot lackiert. Scharnierdeckel mit feiner Ölmalerei auf Silberfolie: Troika in Schneelandschaft. Innen sechs Ausstellungsmedaillen. Schlüssel fehlt. Maße 24 x 7,5 x 16 cm. A large Russian lacquer and papier-mâché box with troika, workshop Osip Vishnjakov and Sons, 1887 - 1896 A large Russian lacquer and papier-mâché box with troika, workshop Osip Vishnjakov and Sons, 1887 - 1896Red lacquer inside. Lid with polychrome painting showing a troika in snow landscape. Stamped with six medals inside. Key lost. Dimensions 24 x 7.5 x 16 cm.Condition: I - II

antique Russian painting with a quite special representation (painting with Mary and Child adorned by a kneeling man) and with its original rizza || Antieke Russische ikoon met de aparte voorstelling van een schilderij met Madoona en kind' aanbeden door een geknielde man - met originele rizza - 31,5 x 26,5

RUSSISCHER MALER 20. JAHRHUNDERT, Baumgruppe am WiesenhangÖl auf Karton. Kyrillisch signiert. 36 x 45 cm. Gerahmt64 x 74 cm. Dekorative Landschaftskomposition in realistischer Malweise mit Wirklichkeitsnähe der Naturwiedergabe in hellem Kolorit. Schwerer breiter vergoldeter Stuckrahmen mit Eichenlaub- und Lorbeerblattdekor * Partnerauktion Bergmann. RUSSIAN PAINTER 20th CENTURY, Tree group on the meadow slopeOil on cardboard. Signed in Cyrillic. 36 x 45 cm. Framed64 x 74 cm. Decorative landscape composition in realistic painting style with reality of nature rendering in bright coloration. Heavy wide gilt stucco frame with oak leaf and laurel leaf decor * Partner auction Bergmann. *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: 6 ArbeitenJe Öl/Malkarton. Dreimal monogrammiert, dreimal unsginiert. (19)80.Von 49 x 34 cm bis 70 x 37 cm.Einmal Löcher am Rand, sonst leichte Altersspuren. Russian painter: 6 worksEach oil/painting board. Three times monogrammed, three times unsigned. (19)80.From 49 x 34 cm to 70 x 37 cm.Once holes on the edge, otherwise slight signs of age.*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.

Unknown Author (Russian Painters School), Oil Painting on Panel Image Size: 11 1/8 by 9 1/8 in. (28 by 23 cm.) All measurements are approximate. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

18TH-CENTURY OVAL PAINTING OF RUSSIAN ROYAL A/FThe painting measures 78cm  x  70cm

(Vjatka, Russia 1889 - Roma 1957)Cm 80x64 | In 31.50x25.20Oil on canvasAleksej Vladimirovic Isupov, known by the Italianized name Alessio Issupoff, was born in Vyatka (present-day Kirov) on March 10, 1889. The son of an icon carver and gilder, he learned to paint from the artisan painters who worked with his father. Wanting to give expression to his artistic creativity, young Alexis did not take up his father's trade but left Vyatka for Moscow, where he attended the School of Painting, Sculpture and Architecture. He was mentored by painter Apollinarij Michajlovic Vasnetsov, Viktor's brother, who introduced him to the Moscow art milieu and helped him find work. Studying and visiting museums, Issupoff formed his own aesthetic "taste" by modulating it to contemporary Russian and French art. In addition to Vasnetsov, he had Valentin Serov and Konstantin Korovin as his teachers, who educated him in genre, landscape and portrait painting. Obtaining his diploma in 1912, he took up traveling in the Ural region. Assigned to the Tashkent garrison, he avoided the raw experience of World War I. After finishing his military service, he traveled around Turkestan immersing himself in a colorful and "magical" environment that would strongly mark his painting. Indeed, many of his best-known works offer evocative visions of the remotest moors of Central Asia. Settling in Samarkand with his wife Tamara Nikolaevna, he served here as director of the local Committee for Restoration and Conservation of Works of Art and City Monuments. He then perfected himself in the technique of tempera on wooden panel, creating works that, in style, were reminiscent of traditional icon painting. His return to Moscow in 1921 marked the beginning of the most painful period of his private life. Finding himself in financial straits, Issupoff was reduced to being a "regime" artist, that is, painting portraits of senior Soviet leaders and scenes inspired by the Russian Revolution and Red Army exploits. Once again it was Vasnetsov who helped him, finding him a salaried job within one of the many Moscow Committees. Plagued by health problems, he traveled to Italy in 1926 for treatment. His life then took a radical turn. Italy was the place of his rebirth, both personal and artistic. Issupoff immediately found there a benevolent and flattering welcome. He had, since his arrival, occasion to be appreciated by critics and the public. As early as 1926 his first solo exhibition was held in Rome. Numerous other exhibitions followed in the most important cities of the Peninsula and, in 1930, the 17th Venice Biennale "consecrated" the work of the Russian painter. Enjoying esteem, affluence and freedom of expression, the artist decided not to repatriate. How painful that decision had been is shown by Issupoff's own production. Painting "from memory," he recreated the Russia he had left behind. Not the Soviet one, but the pre-revolutionary one he had known in childhood and youth. "The impressions he retains of his country return in the new pictures with greater richness of motif and breadth of unfolding: misty moors, the rivers that furrow, frosty and gloomy, the snow-white countryside, birch trees embroidering their silvery frappe amid veils of mist, and horses grazing, sledding, troika, and plow." Nostalgia, combined with failing health, exacerbated depression, which struck him in old age causing him to hole up in his own home and isolate himself from the world. In his last years, says his wife Tamara, he painted very little and was never present at the opening of exhibitions dedicated to him. He died in Rome on July 17, 1957, and was buried at Testaccio Cemetery. Nine years later, Tamara returned to Russia, taking with her the paintings she inherited from her husband. Many of these works were donated by her to the art museum in Vyatka, Issupoff's hometown.

AN ICON OF CHRIST 'THE FEARSOME EYE', RUSSIAN, 17TH CENTURY with metal riza, tempera and gesso on wood panel, 32 x 27cmProvenance: Dr Philip Shand Collection, LancashireLots 80-108: From the estate of the late Dr Philip Shand (d.2019), a passionate icon collector, who later took to icon painting himself.

Art & Design interest - The Age of Vemier, Impressionist painting, The Russian House, Treasures of the Egyptian museum

James Ward after John Hoppner, mezzotint, 'Portrait of Admiral of the Fleet Adam Duncan, 1st Viscount Duncan (1731-1804)', visible sheet 67.5 x 47cm State before letters. A full-length portrait of Adam Duncan (1731–1804) in admiral’s full-dress uniform, 1795–1812, with a flag officer’s gold medal for the Battle of Camperdown and the sash and star of the Russian Imperial Order of Saint Alexander Nevsky. Duncan leans on a telescope with his right hand and stands on a rocky beach. Behind him there is a distant view of a naval engagement.Following the death of his older brother on 31 August 1796, Duncan had succeeded to his family’s estate at Lundie in Forfarshire and was therefore a local landowner. The Corporation voted unanimously on 13 November 1797 to present him with a gift of plate and to commission his portrait for Forfar Town and County Hall in order to mark ‘the pride and satisfaction they feel that a native of this county has distinguished himself so gloriously and rendered such essential service to his King and country’. Duncan was given the freedom to choose his own artist and selected Hoppner, a leading London-based portrait painter and Royal Academician. Hoppner exhibited the finished painting at the Royal Academy in 1798.Adam Duncan entered the navy in 1746 under the care of his maternal uncle, Captain Robert Haldane. He then served under the Honourable Augustus Keppel until promoted to the rank of commander on 21 September 1759, being present at the expedition to Basque Roads in 1757, the reduction of Gorée in 1758 and the blockade of Brest in 1759. While in command of the 'Valiant', he played an important part in the reduction of Belle Isle in June 1761 and Havana in August 1762. After 1763 he was on half pay for fifteen years until 1778. After his return to employment he sat on the court-martials of Keppel and Palliser. In the 'Monarch', he was part of the squadron sent to relieve Gibraltar and took part in the action off St Vincent on 16 January 1780. In the 'Blenheim' he again relieved Gibraltar in 1782 and took part in the action off Cape Spartel. He was promoted to flag rank on 24 September 1787. In February 1795, he was appointed commander-in-chief in the North Sea and charged with blockading the Dutch in the Texel. His fleet was joined by an allied Russian squadron in spring 1797, leading Emperor Paul I to appoint Duncan to the Russian Imperial Order of Saint Alexander Nevsky, the ribbon and sash of which he wears in Hoppner’s portrait. In October 1797, Duncan’s fleet achieved a crushing over the Dutch at the Battle of Camperdown, after which the admiral came ashore for several months and sat for a number of portraits. He continued in command of the North Sea fleet until 1800, which marked the end of his active career. He died suddenly in August 1804.

A black and white photograph of Russian ballerina Anna Pavlova in her performance of the Dying Swan, by Ernst Schneider in Berlin, Ross Verlag card, approx 15 x 19.5 cms, framed and glazed. This lot includes a print after a painting by Sir John Lavery of Anna Pavlova in her performance of the Dying Swan, approx 31 x 41 cms. Note: Property of the late Dame Beryl Grey CH DBE FRSA Prima Ballerina.

Georgui Koventchouk (Russian 1933-2015), painting on glass 'Musician', 28cm x 28cm, framed and glazed.

Carl Baageo (1829-1902). Seascape with a Russian steamer in Øresund. Depicts a ship sailing under steam, in the waves of the fervent Baltic. A fresh wind drives changeable clouds and creates an atmosphere of a romantic challenge to man and technology. Canvas, oil. Signed and dated Carl Baage 1863 in the lower right corner of the painting. Canvas dimensions: 37 x 57 cm. Carl Baage is a famous Danish romantic marenist of the 19th century. Graduate of the Danish Academy of Arts. Popular author of the Scandinavian and British coasts. Width: 75cm, Height: 55cm, Depth: 10cm, Weight: 4kg, Condition: Exc., Usual restorations, Material: Canvas, oil

Drawing by I. Repin Laughing Cossack 1890 Drawing by Taras Bulba. Quote from Repin`s painting Cossacks write a letter to the Turkish Sultan. Paper, on cardboard, pencil. Bottom right: I. Repin. 1890, May 27 Dimensions: drawing: 29x28 cm.Provenance: Christies 07.07.2000 London Russian Painting And Works of Art Lot 61Condition: GoodMaterial: Paper, Сardboard, PencilProduct sizes: Height - 29cmwidth - 28cmLocation: Gallery "Antiqon", Brivibas street 52, Riga, Latvia 

Analogue icon of St. Nicholas, second half of the 19th century. A magnificent example of fine writing, balanced coloring and traditional iconography, where the saint is represented by a frontal half-figure, with the Mother of God and Christ in front. The severity of the darkened face is set off by the gold with a green chord of the saint`s clothes and the red cut of the Bible. The icon is a well-preserved work of the Russian icon-painting school of modern times, without restoration interventions. Dimensions: 31x26 cm. Vuchetich and the German Icon Gallery of 1978 are attached. Width: 26cm, Height: 31cm, Depth: 3cm, Weight: 1kg, Condition: Good, Material: Wood, gesso, gilding, tempera

Kleine Ikone der Gottesmutter "unverbrennbarer Dornbusch" mit Silberoklad, Russland, Moskau, Meister "SG", 1908 - 1917 Tempera auf Kreidegrund. Fein graviertes und guillochiertes Silberoklad. Oklad und Nimbus punziert mit Beschauzeichen mit Feingehalt "84" und unbekannter Meistermarke "SG" in Kyrillisch. Malerei starke Fehlstellen, Rand des Oklads leicht beschädigt. Maße 15,5 x 13 cm. A small Russian icon showing the Mother of God of the burning bush with silver oklad, Moscow, Master "SG", 1908 - 1917 A small Russian icon showing the Mother of God of the burning bush with silver oklad, Moscow, Master "SG", 1908 - 1917Tempera on gesso on wood panel. Finely engraved and guilloched silver oklad. Oklad and halo stamped with assayer's mark with 84-standard and not identified master's mark "SG" in Cyrillic. Painting with losses, border of the oklad with losses. Dimensions 15.5 x 13 cm. Condition: II

Große Lackdose mit Liebespaar, Danilowo, Fabrik Lukutin, 1902 - 1904 Papiermaché, Schwarzlack, innen rot lackiert. Scharnierdeckel mit bunt gemalter Darstellung eines bäuerlichen Paares. Die Innenseite des Deckels mit Manufakturmarke "Fabriki Lukutinoj" mit drei goldenen Adlern. Guter Erhaltungszustand. Maße 4,5 x 10 x 17 cm. A Russian pâpier maché and lacquer box with peasant couple, Danilovo, Lukutin factory, 1902 - 1904 A Russian pâpier maché and lacquer box with peasant couple, Danilovo, Lukutin factory, 1902 - 1904Lid with polychrome oil painting showing a peasant couple. Lid with factory mark "Fabriki Lukutinoj" with three golden double-headed eagles. Dimensions 4.5 x 10 x 17 cm.Condition: I - II

Drei Lackdosen, Russland, Danilowo, Fabrik Aleksandr Lukutin, 1863 - 1876 (eine) bzw. Ostaschkowo, Werkstatt Osip F. Wischnjakow mit Söhnen, 1882 - 1888 (eine) Teedose mit Steckdeckel, innen rot lackiert, Deckel mit polychromer Darstellung eines bäuerlichen Paares, innen Manufakturmarke (Doppeladler mit Initiale "A" für Zar Alexander II. und Inschrift "Fabrik des Aleksandr Lukutin"), minimalste Altersspuren, guter Erhaltungszustand, Maße 10,5 x 10,5 cm. Lackdose auf vier Füßen, innen rot lackiert, Scharnierdeckel mit polychromer Troika-Darstellung, innen Manufakturmarke (Ausstellungsmedaillen 1872, 1878), Schlüssel verloren, minimale Lackabplatzer, Maße 7,5 x 12 x 8,5 cm. Lackdose mit Sommertroika, innen rot-braun lackiert, Vorderseite mit Drücker, ungemarkt (wahrscheinlich Werkstatt Wischnjakow), kleine Fehlstellen, Maße 6,5 x 9 x 12 cm. Three Russian papier mâché and lacquer boxes, Danilovo Aleksandr Lukutin, 1863 - 1876 (one), Ostashkovo, Osip Vishyakov and Sons factory, 1882 - 1888 (one) Three Russian papier mâché and lacquer boxes, Danilovo Aleksandr Lukutin, 1863 - 1876 (one), Ostashkovo, Osip Vishyakov and Sons factory, 1882 - 1888 (one)Tea caddy with red lacquer inside, lid with polychrome-painted peasant couple, manufactory mark inside (double eagle with "A" for Tsar Alexander II and inscription in Cyrillic "company of Aleksandr Lukutin"), tiny losses, good condition, dimensions 10.5 x 10.5 cm. One lacquer box with polychrome troika painting on four feet, red lacquer inside, company mark inside (exhibition medals of 1872, 1878), key lost, tiny losses, dimensions 7.5 x 12 x 8.5 cm. One lacquer box with summer troika, dark red-brown lacquer inside, unmarked (probably Vishyakov company), losses, dimensions 6.5 x 9 x 12 cm.Condition: II

Porzellan-Osterei mit Chiffre der Zarin Alexandra Feodorowna, Russland, wohl Kaiserliche Porzellanmanufaktur, um 1910 Porzellan, farbig und gold staffiert. Stand und oberer Abschluss vergoldet. Schauseite mit bekröntem Monogramm "AF" in Kyrillisch in Gold. Glasurfehler. Maße 11 x 7,5 cm. Alix von Hessen-Darmstadt wurde durch ihre Heirat mit Kaiser Nikolaus II. als Alexandra Fjodorowna die letzte Kaiserin von Russland (1894 - 1918).Keywords: Александра Фёдоровна A Russian porcelain Easter egg with cipher of Tsarina Alexandra Feodorovna, probably Imperial Porcelain Factory, circa 1910 A Russian porcelain Easter egg with cipher of Tsarina Alexandra Feodorovna, probably Imperial Porcelain Factory, circa 1910Gilded stand and border. Painting with losses. Dimensions 11 x 7.5 cm.Condition: II -Keywords: Александра Фёдоровна

Ausländische Orden & Ehrenzeichen - Persien/Iran : Persien Orden vom Löwen und der aufgehenden Sonne Neshan-e-Schir-o-Khorschid Offizierskreuz mit Brillanten für Ausländer.Es handelt sich hierbei um eine russische Fertigung, um 1900. Silberner fünfstrahliger Stern mit echtem Brillanten und Smaragden besetzt, insgesamt ca. 14 Karat Brillanten. Das Medaillon in der Ausführung für Ausländer mit dem liegenden Löwen vor der aufgehenden Sonne in feiner Emaillemalerei. Rückseitig mit der russischen Punzierung "84" für Silber sowie Meistermarke "N B". Im Verleihungsetui, außen mit dem Aufdruck des Persischen Schah und der arabischen Zahl "4" für die 4. Klasse. Innen im Deckel mit goldenem Aufdruck "Saniol Mamalek Teheran". Der Träger hat den Orden als Halsdekoration getragen, anbei mit dem konfektionierten Halsband in grün für Ausländer. Nur leicht getragen in hervorragendem Zustand. Extrem selten. Aus dem Besitz eines russischen Diplomaten stammend. Der Kaiserliche Sonnen- und Löwenorden wurde 1808 von Fath Ali Schah von Persien unter dem Namen Neshan-e-Schir-o-Khorschid als Militär- und Zivilorden zu Ehren ausländischer Vertreter gestiftet (und später auf Perser ausgedehnt), die eine außergewöhnliche Leistung für Persien erbracht hatten. Der Orden wurde zunächst in zwei Klassen eingerichtet, später auf fünf sowie eine Verdienstmedaille in vier Stufen erweitert. Foreign Orders & Decorations - Persia/Iran : Persia Order of the Lion and the Rising Sun Neshan-e-Shir-o-Khorshid Officer's Cross with Diamonds for Foreigners. This badge is a Russian manufacture, around 1900. Silver five-pointed star set with genuine diamonds and emeralds, a total of about 14 carats of diamonds. The medallion in the version for foreigners with the lying lion in front of the rising sun in fine enamel painting. On the back with the Russian hallmark "84" for silver and master mark "N B". In original case of issue, outside lid with imprint of Persian Shah and Arabic numeral "4" for 4th class. Inside the lid with gold imprint "Saniol Mamalek Tehran". The recipient wore the medal as a neck decoration, enclosed with the ready made neck ribbon in green for foreigners. Only lightly worn in excellent condition. Extremely rare. Coming from the possession of a Russian diplomat.The Imperial Order of the Sun and Lion was established in 1808 by Fath Ali Shah of Persia under the name Neshan-e-Shir-o-Khorshid as a military and civilian order to honor foreign representatives (and later extended to Persians) who had performed exceptional service to Persia.The order was initially established in two grades, later expanded to five, as well as a merit medal in four grades.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : St. Alexander Newski - Orden.Ordenskreuz, Gold und Emaille. Ohne Schärpe. In der Öse Goldpunze "56" sowie die Stadtmarke von St. Petersburg. Unter dem Emaille der rückseitigen Kreuzarme Herstellerzeichen "AK" des Hofjuweliers Albert Keibel, St. Petersburg sowie Stadtmarke. Der Bandring ebenfalls mit St. Petersburger Marke. Die Medaillons in feinster Emaillemalerei. Das transluzide rote Emaille der Kreuzarme mit feiner Guillochierung. Die Kronenbämder im Reversmedaillon tragebedingt etwas berieben. Prachtexemplar in feinster altrussischer Goldschmiedearbeit und hervorragendem Erhaltungszustand. Foreign Orders & Decorations - USSR/Russia : Order of saint Alexander Nevsky. Sash Badge, gold and enamel. Without sash. In the eyelet gold hallmark "56" and the city mark of St. Petersburg. Under the enamel of the back arms of the cross maker's mark "AK" of the court jeweler Albert Keibel, St. Petersburg as well as city mark. The ring also with St. Petersburg mark.The medallions in finest enamel painting. The translucent red enamel of the cross arms with fine guilloché. The crown brads in the lapel medallion somewhat rubbed due to wear.Splendid example of finest old Russian goldsmith workmanship and excellent state of preservation.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Zarenreich Rußland: St. Anna Orden 2. Klasse, altes Modell vor 1816.Gold und Emaille. Die Kreuzarme mit separat eingesetzten, geschliffenen roten Glassteinen. An den Kreuzarmenden und auf den floralen Zierelementen zwischen den Kreuzarmen mit silbergefaßten geschliffenen Simili - Diamanten besetzt. Die Medaillons in feiner Emaillemalerei. Die Kreuzarmauflagen sowie die Fassungen der Steine rückseitig verstiftet. Die floralen Zierelemente zwischen den Kreuzarmen besonders fein ziseliert. Am Originalband. Dieser Typ wurde vornehmlich im 18. Jahrhundert aber auch noch im großen patriotischen Krieg von 1812 verliehen. Gerade die 2. und 3. Klasse sind in dieser frühen Ausführung seltener als die 1. Klasse des Ordens. Prachtexemplar in allerfeinster altrussischer Goldschmiedearbeit. Am Rand des vorderseitigen Medaillons unwesentliche kleine Chips, insgesamt jedoch in sehr schöner Erhaltung. Extrem seltenes Original um 1812. Foreign Orders & Decorations - USSR/Russia : Imperial Russia: Order of Saint Anne 2nd Class, pre 1816 early type. Gold and enamel. The arms of the cross with separately set, cut red glass stones. The ends of the arms of the cross and the floral ornaments between the arms of the cross set with silver-cut simili-diamonds (pastes). The medallions in fine enamel painting. The cross arm rests and the settings of the stones fixed with pins on the reverse. The floral decorative elements between the arms of the cross are especially finely chiselled. On the original ribbon.This type was mainly awarded in the 18th century but also during the great patriotic war of 1812.Especially the 2nd and 3rd class are rarer in this early version than the 1st class of the order.A splendid example of the finest old Russian goldsmith's work. Insignificant small chips on the edge of the front medallion, but overall in very fine condition.Extremely rare original from around 1812.

ANDREI JEGOROV (RUSSIAN 1878-1954) A WINTER LANDSCAPE, a river winds its way past snow clad banks, signed bottom left, watercolour / gouache on paper, approximate size 24cm x 34cm, Condition Report: the painting is in good condition, the mount is stained, frame has been overpainted

NICOLAS TARKHOFF (1871-1930)Trois tournesols stamped with the artist's signature 'N. Tarkhoff' (lower left)oil on paper 42.6 x 26.1cm (16 3/4 x 10 1/4in).Painted circa 1920-1925Footnotes:The authenticity of this work has been confirmed by Dr. Oscar Ghez. This work will be included in the forthcoming Nicolas Tarkhoff catalogue raisonné, currently being prepared by the Nicolas Tarkhoff Committee. We are grateful to Guy Abot, Director of the Nicolas Tarkhoff Committee, for his assistance cataloguing this work.ProvenanceDr. Oscar Ghez Collection, Geneva, no. 14368.Private collection, Geneva (acquired from the above in 1989).Private collection, Geneva (by descent from the above).ExhibitedGeneva, Musée du Petit Palais, 1980 - 2000.San Francisco, Harcourts Gallery, Nicolas Tarkhoff, A retrospective exhibition, September – November 1989, no. 25.Nicolas Tarkhoff moved to Paris in 1899 where he attended the École des Beaux-Arts, and soon after, started exhibiting his paintings at the Salon des Indépendants and the Salon d'Automne. His artwork was regarded as pioneering and extremely desirable, and Tarkhoff was granted solo exhibitions at Galerie Ambroise Vollard (where Cézanne, Gauguin, and Renoir had all exhibited) in 1906 and Galerie Drouet in 1909. As early as 1910, an extraordinary list of collectors had acquired his work, including Sergei Shchukin and Sergei Diaghilev. The artist kept ties with Moscow and participated in several exhibitions in Russia; his pictures were included in the Mir Iskusstva (World of Art) exhibitions of 1899, 1911 and 1913. He also exhibited seventeen paintings in Sergei Diaghilev's landmark exhibition of Russian art, Two Centuries of Russian Painting and Sculpture, in October 1906 at the Grand Palais in Paris.Tarkhoff's distinct style aligned him closely with the Fauves, a style indebted to Impressionistic canons as it often stressed varying qualities of light, visibly broad brushwork and an exploration of pure colour. He was continually influenced by Van Gogh and Post-Impressionism, as evidenced by his oft chosen themes of rural landscapes and floral still-life compositions. In particular, Tarkhoff held a fondness for sunflowers, utilising them as a constant vibrant environment through which to develop his Impressionistic style. In this, Tarkhoff was influenced by the writings of Edmond Duranty, who wrote in his 1876 article 'La Nouvelle Peinture': 'Painters must try to capture the motion... and render the shaking of the leaves, the glistening of the water and the vibration of the sun-soaked air...' (Duranty quoted in N. Tarkhoff, Impressions of a Russian Painter in Paris, Ahlen, 1999, pp. 65-66).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

David Burliuk, Russian 1882-1967- Untitled (Harbour scene), 1925; pastel, charcoal, ink, and wash on paper, signed and dated 1925 lower left, 23.5 x 30.5 cm Provenance: Christie's, New York 17 December 2014 lot 58, where purchased by the present owner. Note: The Burliuk Committee confirmed the authenticity of this painting for its sale at Christie's in 2014, and confirmed the piece would be included in their forthcoming catalogue raisonné.  ( VAT charged on Hammer Price)Condition Report: The work is framed and glazed, and has not been examined out of the frame. Minor marks and scuffs to the frame generally. The back is slightly loose within the frame, but otherwise the sheet is secure. Evidence of minor spots of foxing and possible minor abrasions to the sheet in areas. Possible minor marks and creases consistent with handling in areas. No evidence of creases, tears, or water damage. Otherwise in good condition overall. 

Constantin Baumgartner-Stoiloff (Austrian/Russian 1850-1924) Advancing cossack convoys Both signed, a pair, oil on canvas (2).each 66.5cm x 103cm (26.25in x 40.5in)Qty: 2The painting are both in good, restored condition. The paintings have been re-lined. Under UV light there is evidence of cleaning and overpainting. The varnish has yellowed in areas across the paintings. The paintings are both ornately framed but not glazed. The frames have some knocks and losses.

David K Stone (Oregon, 1922 - 2001) "Statue of "Mother Russia"" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 50c Battle of Stalingrad 1942 stamp issued August 23, 1992. Before Stalingrad, Germany ran roughshod over all of Europe. After it, German armies continued to run -- but generally back to the Fatherland. Hitler's massive 6th Army, which had crushed Holland and Belgium, arrived at the fortified city of Stalingrad in August. A five-month siege followed, with Russians fighting Germans street to street, house to house. Then the brutal Russian winter began to take its toll on the Axis forces. In the end, their supply lines cut off, 94,000 surviving Germans surrendered. The rest had fallen victim to biting cold and the equally lethal bite of Russian steel. Image Size: 24.25 x 15.5 in. Overall Size: 27 x 23.75 in. Unframed. (B13912)

Ivan Kozlov (Russian, B. 1937) "Tufted Duck" Signed lower right. Original Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Russian 250 Tufted Duck stamp issued July 1, 1994. Also known as the Tufted Pochard, this creature is considered to be one of the most abundant ducks found across the Palearctic area stretching between the Pacific and Atlantic Oceans. Throughout the year the Tufted Duck inhabits a variety of locations from expanses of tundra to regions of semi-desert. During the winter months, this species frequents seashores and bays such as those found along Russia's Black, Azov and Caspian Seas. Nesting takes place in various locales as well. From late April to July -- the breeding season of Tufted Ducks -- some nests are built on floating mat or islets, and others are hidden in dry reeds among dense vegetation. While the hen begins the task of incubation, males gather together to moult. Shedding all of their feathers, including the distinctive purplish-brown plumes of their heads and necks, the drakes soon acquire eclipse plumage -- a dull covering that exhibits considerably less contrast than the breeding attire. The female's subdued coloration is similar to that of the male's eclipse plumage, however her bill is slightly darker. Although its head and upper parts are lighter brown, the juvenile Tufted Duck closely resembles its mother. During its first fall and winter, this young duck begins to acquire adult plumage, and by the following summer the transformation is complete. Image Size: 13.25 x 11.75 in. Overall Size: 20.75 x 15.25 in. Unframed. (B14761)

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, untitled, image size 15in x 11.5in

Daniel Yakovleivich Cherkes (Russian School 1899-1971)'Medresa Mazari Khan', oil on canvas, unsigned, 17.5cm x 12cmProvenance: Old labels to the reverse, including Century Gallery, Chelsea, catalogue No. 108 Exhibition of Russian paintings Overall display wear, some scuffs, marks and scratches, Frame may be contemporary to the painting.

Vasilii Dmitrievich Polenov (Russian, 1844-1927)'There were also women looking from afar off', 1908 signed in Cyrillic 'Polenov' (lower right); verso applied with label inscribed in Cyrillic by M.V. Polenova, the artist's daughter  'Vasily Polenov', further label on stretcher: 'Russian art exhibition / Grand Central Palace / New York' (verso), with two Cyrillic monograms on stretcher 'VP'oil on canvas105 x 167cm (41 1/2 x 66in).Footnotes:ProvenancePart of the series of paintings The Life of Christ completed by the artist in late 1890-1900s.Acquired by the American industrialist and diplomat Charles R. Crane from the exhibition of nine paintings from the Life of Christ series at the Russian Art Exhibition, Grand Central Palace, New York, 1924.By descent to his daughter, Ellen Douglas Bruce Crane Fisher (1913-2000). Presented by the above to a North American institution, early 1950s.ExhibitedNew York, Grand Central Palace,The Russian Art Exhibition, 1924, no. 632.Moscow, Museum of Russian Impressionism, Other Shores. Russian Art in New York. 1924, 16 September 2021 - 16 January 2022, listed in catalogue only.LiteratureCatalogue for Other Shores. Russian Art in New York. 1924, Museum of Russian Impressionism, Moscow, 2021.In New York, 1924, at the Grand Palace Hotel, from 8th March to 20th April, an exhibition of Russian art was held and was considered a great success, impressing the American public with the achievements of Russian painting. Consisting of about a thousand works by a hundred contemporary artists, the exhibition reflected the diversity of Russian fine art of the late 19th - first quarter of the 20th century and was a commercial venture, with the paintings being available for purchase. V.D. Polenov provided 12 works from the series of paintings From the Life of Christ as well as the canvas Genisaret Lake. One of the exhibition's organisers, I.E. Grabar, wrote: 'The undoubted success that our exhibition has in New York is much more pronounced and notable than the success of the famous Diaghilev exhibition in the Autumn Salon of 1905. I am qualified to say this, because I took a close part in the creation of both.'1Polenov 'left behind' a very significant piece of his work in America. A particular haul of his paintings was acquired at the exhibition by Charles Crane, a well-known patron of the arts, Russian art collector, industrialist, banker and diplomat, who was on the board of trustees of the exhibition. Among them are the paintings He That is Without Sin and He is Guilty of Death, presented by Crane in the same year to a famous North American educational institution, as well as the paintings There Were Also Women Looking From Afar Off and And She Went and Told Them That She Had Been with Him as They Mourned and Wept which were absorbed into the collection of an American institution.  The history of V.D. Polenov's creation of paintings of Gospel scenes spans several decades of his artistic life. Inviting Sofia Andreevna Tolstoy to visit his studio in Moscow, the artist wrote to her in 1908: 'I am very happy to show you my paintings from the life of Christ, my 'Gospel Circle', as I call them. I've been working on them for about forty years... I'll ask you... to look at a job I've devoted almost my entire life to'2 The subject of the Gospel was consistent with Polenov's desire to show the moral power and triumph of those humanistic ideas that Christ brought to people, their beauty and truth. The greatest influence on the artist in his interpretation of the Gospels was Ernest Renan's book The Life of Jesus. As Renan did, Polenov perceived Christ as an historical figure and wanted to 'search for historical truth', believing that it was necessary 'in art to give this living image as it really was.'3To recreate the 'authenticity' of the events related to the life of Christ, Polenov travelled to Egypt, Syria and Palestine in 1881-1882, stopping in Greece on the way. Direct work on the paintings, however, began in 1899 when the artist made a second trip to the East to collect material. The events in the paintings of the first five parts of the series: Dreams (1894), I Went to a Highland Country(1900), Instruction to the Disciples, Rising Early in the Morning, Baptized by Him, The Samaritan Woman (1900s) and others, take place in landscapes flooded with bright sunshine with the sky a clear azure, distant blue mountains and blue rivers set against the background of bright green trees, often illuminated by the purple-pink reflections of the pre-evening sun. Sometimes architecture appears in the landscape, also perfectly beautiful and majestic, as in Matthew the Apostle. In other paintings, the action takes place in a courtyard flooded with bright sun: Full of Wisdom, At the House of Mary and Martha. The peaceful atmosphere in a perfectly beautiful country, the harmony of human relations among the harmony of nature is the theme of almost all of these works. The brightness of the colour in the paintings of the Gospel cycle was indicative not only of the artist's desire to express the true radiance of the oriental landscape, but also to convey the reality, the very atmosphere in which Christ lived and worked. Inspired throughout his life by the need to educate people with art, and the beauty and harmony contained within it, in the cycle of paintings From the Life of Christ, Polenov conjured the 'patriarchal golden age' of Galilee, where people immersed in the beautiful world of nature achieve the acme of the soul: they are wise and not vain. By 1908, work on the paintings of the Gospel series, which Polenov termed 'his life's work', was completed, and 58 paintings were exhibited in 1909 in St. Petersburg, and then 64 paintings exhibited in Moscow and other cities. The exhibitions enjoyed great success with the public and were reported widely in the press. The 'heightened mood' that possessed the artist during the creative process was transferred to the audience.4 Desiring as many people as possible become acquainted with his series From the Life of Christ, in 1908 Polenov published an album with phototypes. (This, the first album of black-and-white photographs, designed by DV Polenov, the artist's son, consisted of 72 reproductions of Polenov's works). He sent one of them to Leo Tolstoy, who wrote in response: 'Your album made a strong impression on me. I imagine how the exhibition itself would have appeared, and I deeply, deeply regret that I cannot see it... Not to mention the beauty of the paintings and your wholly sympathetic attitude to the subject, the monumental work which you have put into this series evokes deep respect for the artist.'5During preparation for the exhibition 

Ivan Konstantinovich Aivazovsky (Russian, 1817-1900)Seascape signed in Cyrillic and dated 'Aivazovsky/1898' (lower right); further signed and inscribed 'To Alfred Fedecki with deep respect from Aivazovsky, 1898' (on the reverse) oil on canvas 38.5 x 30.5cm (15 3/16 x 12in).Footnotes:ProvenancePrivate collection, Greece.We are grateful to Dr. Gianni Caffiero who has inspected the painting and confirmed its authenticity.Alfred Konstantinovich Fedetsky (1857—1902) was a prominent photographer and film-maker of Polish descent, who took numerous portraits of notable Russian people (Aivazovsky, Tchaikovsky and Ioann of Kronstadt, among many others) as well as members of the Imperial family. He was the personal photographer of Duchess Alexandra Petrovna of Oldenburg.Working mostly in Kharkov, Fedetsky was also a pioneering cinematographer. He is mostly praised for his film 'The Grand Transfer of the Ozeryanskaya Icon from the Kuryazh Monastery to Kharkov, on 20 September 1896'.The unmistakable 'transparent wave' for which Aivazovsky is famed greets the viewer in the foreground of the painting, the alluring turquoise of the frothing waters seemingly lit by a shaft of light penetrating the storm clouds. Beyond the illuminated wave, the eye is led to a ship's mast askew and a jolly boat with passengers, oars aloft. The parting of the thunderous clouds and the glimpse of blue sky revealed above heralds the calm after the storm.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

Alexei Alexeevich Harlamoff (Russian, 1840-1925)Young beauty in a scarlet shawl signed and inscribed 'Harlamoff/ à Jules Zébaume' (lower left)oil on canvas27.4 x 22.5cm (10 13/16 x 8 7/8in).Footnotes:ProvenanceJules Zébaume, Paris (dedication on the obverse).Anon. sale, Christie's, London, 4 October 1990, lot 175.Private European collection.Russian Art, Christie's, London, 4 June 2018, lot 78.We are grateful to Eckart Lingenauber and Olga Sugrobova-Roth for confirming the authenticity of the present painting on the basis of photographs.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

SEBALD (W.G.)An important archive of autograph letters, pictorial postcards, first editions with presentation inscriptions, and other related materials, from the estate of W. G. Sebald's close friend Peter Jordan, comprising:AUTOGRAPH LETTERSEight autograph letters signed ('Max') to Peter, or Peter and Dorothy Jordan, the earliest (22 February 1987) thanking Peter for sending the memoirs of 'your grand-father & your parents [which] make very moving reading' (subsequently used by Sebald as the basis of the Max Ferber/Max Aurach section of The Emigrants), and at length writing about Germany's collective amnesia towards memories of the war and treatment of the Jews, '... most Germans have never wanted to realise what is was that they, collectively, have done or permitted to be done... [and] that there is no way  in which the suffering we caused can ever be made good again...'), and 'They literally could not afford to understand. Had they understood, it would have meant their self-destruction...'; (20 August 1992), 'I have just come back (foot-sore) from a long walk through Suffolk. All the way down the coast from Lowestoft to Aldeburgh...' (on which was based The Rings of Saturn), mentioning a visit to the poet Michael Hamburger, the pressure of work ('... relentless these past few months & my nerves are beginning to get frayed...'), problems with the publication of Die Ausgewanderten and technical difficulties of incorporating text and pictures ('...I am waiting, with some trepidation, the results'), and his thoughts on the title and choice of cover illustration to be used on the Dutch edition; (12 February 1993), signed 'Maks' (Russian spelling), thanking Peter for his 'fascinating tales from Russia... Russia always seems to have been beyond comprehension', noting that during his visit to the GDR in the seventies 'It felt like having travelled backward  in a time machine... I often think it is the very stuff of memory', followed by a lengthy discussion of his recently published Die Ausgewanderten ('The Emigrants'), 'I don't know either what I should think of the book I have written... interest in it seems to be increasing', that for the main characters ... their history determined their outlook & possibly also that of the narrator. There is, I imagine, an element of elective affinity...', and public readings ('... sometimes people in the audience who seem disappointed that I am not on the verge of suicide...'), and confirming that the book's character Ambros Adelwarth was based on a real person, as were the 'outlandish details in his story... related to me by aunts, & uncles in the states', and mentioning Nabokov's 'Speak Memory' on which Sebald drew for the chapter on Max Aurach; (18 December 1994) on the situation of his teaching life ('The University terms seem to use up one's last reserves... We have had a really hard year. Three colleagues... have died, brain tumor, sheer exhaustion & suicide respectively...'), and expectations of the new Vice-Chancellor ('No doubt she will bring her fabled hatchet along & wreak further havoc... Well, we shall see.'), and commenting on his own writing '... progressing at snail's pace... I am having to do almost each page over & over again & have the gravest doubts now about the whole enterprise...' [presumably referring to the writing of Die Ringe des Saturn, published in 1995]; (26 ?September 1995) enclosing a copy of Die Ringe des Saturn, noting 'I was & still am quite unsure about it', that the English edition of The Emigrants is due for release in the following year, and his back is troubling him '... particularly now that the term has started & one races around like a bluebottle in a jar'; (30 September 1998) reporting that progress on work is slow ('... I have been grinding away here to no great avail. But if I persevere, I may get over this bad patch...), and enclosing a list of 11 books (including works by Joseph Roth, Thomas Bernhard, Elias Canetti, Alexander Kluge, Jean Amery, etc.) 'for your forays into the G.I. Library. All rather different things'; (20 December 2000) apologising for not writing sooner, due to 'having to do a great deal of journeying as I have embarked on research for another book.  Mostly... to the area where I grew up, where i have come across some very strange tales..', and mentioning the forthcoming publication of Austerlitz '... associated with the themes of The Emigrants. The title is 'Austerlitz, after the main character!', and that is 'vaguely considering locking myself in the South of France for a while next May...'; (14 April 2001) replying to Peter's comments on Austerlitz, '... I am sorry about the lack of paragraphs. It's an oddity of mine, I know, & I often get taken up about it...', and reminiscing about a dynamiter he had once come across 'blasting out elm stumps (as my grandfather used to do) but was short of this left hand... In lieu he had a steel hook with which he operated very deftly....', 16 pages, ink on paper, 3 on paper headed 'The Old Rectory, Upgate....', 2 headed  'UEA Norwich. School of Modern Languages...', 1987-2001POSTCARDSFive autograph pictorial postcards (a Paul Klee painting, pair of skis, views) signed by Sebald ('Max') to Peter, or Peter and Dorothy Jordan, thanking him for sending 'the postcards. I can probably do something with the Sepia one. Hope the text has arrived!' [presumably relating to pictures to be included in, and proofs of Die Ausgewanderten], publication of Rings of Saturn ('The Saturn book is out now in English but the publishers haven't send me any copies yet...'), mentioning a planned visit to Prague 'for a project I have in mind. Kafka did indeed move around a good deal in Prague...', the reprinting of his article on 'Kafta and the cinema', a visit to Mariánské Lázně in the Czech Republic ('...Part of this town still don't quite seem of this world...', and possibility of taking up skiing again when retired ('... Another four years before I'll be set free'), 8vo, dated 15 October 1991-31 March 2000AUTHOR'S PRESENTATION COPIESNach der Natur [After Nature], inscribed 'For Peter and Dorothy with all best wishes Max, January 1989', Nordlingen, Franz Greno, 1989; Schwindel. Gefühle [Vertigo], inscribed 'For Peter & Dorothy - herzlich - Max', Frankfurt, Eichborn, 1990; Umheimliche Heimat. Essays zur österreichischen Literatur, Salzburg, Residenz, [1991]; Die Ausgewanderten [The Emigrants], inscribed 'For Peter with Gratitude, Max 17 IX 1992', Frankfurt, Eichborn, 1992; Die Ringe der Saturn [Rings of Saturn], inscribed 'For Peter with best wishes & gratefully always Max', Frankfurt, Eichborn, 1995; Logis in einem Landhaus, inscribed 'For Peter always Max', Munich, Carl Hanser, [1998], FIRST EDITIONS, publisher's cloth or boards, the first, third and sixth mentioned in dust-jacketsOTHER BOOKSDie Beschreibung des Unglücks: Zur österreichischen Literatur von Stifter bis Handke, FIRST EDITION OF THE AUTHOR'S FIRST BOOK, Salzburg, Residenz, 1985; The Rings of Saturn, 1998; Austerlitz, 2001; After Nature, 2 copies, 2002; On the Natural History of Destruction, publisher's compliment slip loosely inserted

Georgui Koventchouk (Russian 1933-2015), painting on glass 'Musician', 28cm x 28cm, framed and glazed.

Irene Klestova (French/Russian 1908-1989) - A Still Life of Dark Red, Pink & White Roses in a Sevres Vase. Oil Painting on Board. Image size 9" x 7" (22.5 x 17.5cm) Overall size 15" x 13" (37.5 x 32.5 cm) Irene Klestova was born in Saratov in 1908 and emigrated to France in 1926, her husband Lev Tchistovsky was also a well known artist and they were friends with Andre Breton and Tamara De Lempicka. A superb example of her work. Provenance - Formerly with the Unicorn Gallery Cheshire. Label Verso. Excellent condition.

Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Renat Ramazanov (Russian, b. 1978). Oil on canvas painting titled "Street in the Mountains" depicting an empty rural street with mountains rising in the background, 2004. Signed along the lower right. Further signed, titled, and dated along the verso.Sight; height: 24 in x width: 40 in. Framed; height: 32 1/2 in x width: 48 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Full title: Irina Miro (1971): Fog, oil on canvas, dated 2020Description:Work: 120 x 60,5 cm The Ukrainian artist Irina Miro (°28 July 1971, Glukhiv) studied at NAKKKIM – the National Academy of Culture and Science. She believes the magic of painting is to convey to the eye the possibility of achieving anything through the power of mind and positive thinking. The artist's life goal is to help people to heal through painting and to change lives. She is a member of the Artists Union of France (ALAF) and participated in numerous exhibitions and auctions in Ukraine and abroad. Due to the ongoing Russian aggression in Ukraine, Irina has lost everything: her home, her advice of painting again. She now resides in the UK, where she is trying to pick up painting again. Her work can be found in various private collections (a.o. Germany, England, Sweden, France, Denmark).

Irene Klestova (French/Russian 1908-1989) - A Still Life of Dark Red, Pink & White Roses in a Sevres Vase. Oil Painting on Board. Image size 9'' x 7'' (22.5 x 17.5cm) Overall size 15'' x 13'' (37.5 x 32.5 cm) Irene Klestova was born in Saratov in 1908 and emigrated to France in 1926, her husband Lev Tchistovsky was also a well known artist and they were friends with Andre Breton and Tamara De Lempicka. A superb example of her work. Provenance - Formerly with the Unicorn Gallery Cheshire. Label Verso. Excellent condition.

Constantin Westchiloff (Russian/American, 1877-1945)Monastery on the Volgaoil on canvassigned C. Westchiloff (lower left)44 3/4 x 53 1/4 inches.Provenance:Popoff & Cie., Paris, 25 November 1994 (with invoice)Note:This painting was exhibited at the 1931 Salon in Paris during the 144th Official Exhibition of Fine Arts at the Grand-Palais.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

A quantity of framed and unframed oil paintings to include two Russian ballerina painting, a large alpine river landscape, signed Roy Holsworth, a coastal marine scene with sailing boat signed RL Johansson, oil on canvas of a boy seated reading a newspaper A/F, along with other paintings, Location:

An oil on canvas of Russian peasants on a boat on the Oka River, taken from a painting by Vladimir Fiala, indistinctly signed lower right, 26 1/4'' x 18 1/4''.

Dame Laura Knight, RA, RWS (British, 1877-1970)Riabouchinska from the wings signed 'Laura Knight' (lower left); indistinctly titled (on backing board)watercolour and charcoal with scratching out45.7 x 58.4cm (18 x 23in).Footnotes:ProvenancePrivate collection, UK. Purchased from The Victoria and Albert Museum XIVth Olympiad Sport in Art Exhibition London 1948, 15 July-14 August 1948, thence by descent.ExhibitedLondon, The Victoria and Albert Museum, XIVth Olympiad Sport in Art Exhibition London 1948, 15 July-14 August 1948.Tatiana Riabouchinska (1917-2000) was a Russian American prima ballerina and teacher. Riabouchinska's dancing career spanned her life, and at the young age of 14 she was already famous and known as one of the three 'Baby Ballerinas' of the Ballet Russe de Monte Carlo in the 1930s. By the 1940s Riabouchinska and her husband David Lichine, also a dancer and choreographer, embarked on a joint career as free agents, both dancing and choreographing for numerous companies across the world, including in the United States and Europe. Whilst Riabouchinska and Lichine were known for dancing together and were said to be one of the ballet world's most admired and beloved couples, in this painting, Knight has chosen to solely represent Riabouchinska, putting her in the spotlight, leading a group of dancers on stage whilst the rest of the troupe watch from the wings of the stage. To choose only to paint Riabouchinska may well have been a conscious decision from Knight as a nod to the importance of her dancing career, irrespective of Lichine. This painting offers a candid behind-the-scenes look at the world of performance and it highlights Knight's appreciation for the art of ballet, a subject to which she often returned.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

Amendment: Please note, this work is After Marc Chagall, as it is after an original painting by the artist. Marc Chagall, French/Russian 1887-1985, The Dance, 1951; lithograph in colours on wove, signed and dated in the plate, published by Maeght, visible image: 33.4 x 25.2 cm, (framed) (ARR)

Figural mixed media painting, signed lower right. Tatiana McKinney was a Russian-born American artist who studied art with Sergel Vinogradov in Riga, Latvia. She married U.S. State Department official Samuel McKinney and lived all over the world, until moving to Venice, Florida in 1963. She was one of the founders of the Venice Art League. In 1968, she was instrumental in the construction of the Venice Art Center. What McKinney was known for at the Venice Art Center was the style of painting she developed and taught. Using metallic leaf, canvas and linen with acrylics and oils she created batik like painted tapestries. In 1971, McKinney became the first American to receive the Capa D'Ora Award from Il Domo. Brussels, Belgium. Her painting “The Resurrection,” was presented as an official gift of the Archdiocese of Washington to Pope John Paul II when he visited the U.S.in 1979. Her work can be seen at St. Martha Catholic Church in Sarasota, Florida and St. Raphael Catholic Church in Englewood, Florida, Van Wezel Performing Arts Hall, as well as many other places across the nation. McKinney taught at New College in Sarasota and in North Carolina during the summer. Overall size: 30 1/4 x 42 1/4 in. Sight size: 24 x 36 in.

antique Russian painting with a quite special representation (painting with Mary and Child adorned by a kneeling man) and with its original rizza || Antieke Russische ikoon met de aparte voorstelling van een schilderij met Madonna en kind' aanbeden door een geknielde man - met originele rizza - 31,5 x 26,5

Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) Four portraits of women 'Contadino con fazzoletto rosso'. Coloured crayon and charcoal on paper.'Ritratto di contadina'. Coloured crayon and charcoal on paper.'Ritratto di donna possibilmente la figlia dell'artista'. Coloured crayon and charcoal on paper.'Ritratto di giovane contadina / studio di...'. Coloured crayon and charcoal on paper. Dimensions(Paper) 33 in. (H) x 23.25 in. (W), (Frame) 45 in. (H) x 36 in. (W)(Paper) 22 in. (H) x 16.75 in. (W), (Frame) 35 in. (H) x 28 in. (W)(Paper) 22 in. (H) x 17 in. (W), (Frame) 35 in. (H) x 28 in. (W)(Paper) 17 in. (H) x 12 in. (W), (Frame) 26 in. (H) x 20.5 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) Poster design for Malyavin's 1939 Prague exhibition Pencil and coloured crayon on paper Dimensions: (Paper) 52 in. (H) x 36.5 in. (W) (Frame) 59 in. (H) x 43.75 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

Property of the late Marcello Violante  Filipp Andreevich Malyavin (1869 - 1940) 'Ninfe e Baganate' Pencil and coloured crayon on paper Dimensions: (Paper) 17 in. (H) x 24 in. (W) (Frame) 27 in. (H) x 33 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) 'Adamo e Eva' Pencil and coloured crayon on paper Dimension (Paper) 17 in. (H) x 12 in. (W) (Frame) 25 in. (H) x 20 in. (W)  Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) Portrait of the singer Nadezhda Plevitskaya Pencil and coloured crayon on paper Dimensions: (Paper) 33 in. (H) x 23.5 in. (W) (Frame) 45 in. (H) x 36 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) Self-portrait of the artist with a hat (c. 1900 - 1910) Pencil on paper Dimensions: (Paper) 45 in. (H) x 33 in. (W) (Frame) 51.75 in. (H) x 40 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.

19th century A.D. An icon of Hodegetria with the Virgin wearing a red maphorion embroidered with gold, a dark veil and a dark chiton with double gold embroidery on the cuffs; holding the Child on her left arm and gesturing towards him with the right hand; the Child wearing a yellow brown, gold-woven chiton, holding a scroll in his left hand, while the right one is making the gesture of blessing; the angels Michael and Gabriel to the left and right of the Virgin; on each side of the head of the Virgin inscriptions '??' and '??' (????? (???) ???? = Mother of God), inscription in Greek letters 'IC XC' (IHCOYC XPICTOC = Jesus Christ) above the child, three letters inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ?N' = The Only One who always exists); the names of the angles inscribed next to each figure (Aghios Michail and Aghios Gavriil). Cf. Lidov, A., 'The flying Hodegetria the miraculous icon as bearer of sacred space' in Thunø, E., Wolf, G. (eds.), The miraculous image in the Late Middle Ages and Renaissance. Papers from a conference held at the Accademia di Danimarca in collaboration with the Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte), Rome, 31 May - 2 June 2003, Rome 2004, pp. 273-304 (Analecta Romana Instituti Danici : Supplementum ; 35), fig.10, for a photo of the original icon. 869 grams, 29.8 x 24 cm (11 3/4 x 9 1/2 in.). Property of a London lady, part of her family's collection. The painting is a copy of the famous replica of the Hodegetria of Constantinople, a Byzantine icon of 14th century, repainted by the icon painter Dionisi in 1482, and today preserved in State Tretyakov Gallery, Moscow. The original icon was destroyed by the Turks at the capture of Constantinople in 1453. The replica was venerated as an 'original' real Hodegetria in the Ascension Convent in Kremlin, Moscow. The icon led the liturgical processions on June 23, August 26, May 21 and October 22 in which the Patriarchs and the Russian Tsars took part.

A gilt gesso framed (glazed) painting on board of a rural landscape, signed lower right C.H. Beaeheeb, believed Russian, and depicting a copse, pasture and a track leading to the buildings, 9'' x 15'' approx.