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Lot 9

Russia: Art & History 12 Books, comprising Tolstoi, I. - N. Kondakov Russkiya Drevnosti. Vypusk Vtoroi (-chetvertyi) [Russian antiquities. Part two (-four)]. St Petersburg, 1889-1891. 3 volumes, 4to, illustrations, contemporary vellum gilt, without parts 1 and 5-6; Carburi, M. Monument Élevé a la Gloire de Pierre-le-Grand. Paris: Nyon & Stouppe, 1777. Folio, 12 folding engraved plates, later vellum; Gagarine, G. Sujets Tirés des Saints Évangiles. Paris: Lemercier, [n.d.] Folio, 40 chromolithographed plates (including title), in portfolio, occasional light marginal foxing, a few plate edges creased; Czartoryski, A. Mémoires... et Correspondence avec Alexandre Ier. Paris: Plon, 1887. 2 volumes, 8vo, half green cloth; Tikhorimov, L. La Russie Politique et Sociale. Paris: Giraud, 1886. 8vo, half purple calf; Moltke, H. von. Briefe aus Russland. Berlin: Paetel, 1877. 8vo, half calf; Stourdza, A. de Oeuvres Posthumes Religieuses, Historiques, Philosophiques et Littéraires. Paris: Dentu, 1858-1859. 2 volumes, 8vo, half calf; Viollet le Duc, E. L'art Russe. Paris: Morel, 1877. 8vo, coloured plates, half red morocco (12)

Lot 1340

A collection of weapon and armour reference books, including: Richard F. Burton, 'The Book of the Sword', 1972; Bruno Thomas, Ortwin Gamber, Hans Schedelmann, 'Arms and Armour, Masterpeices by European Craftsman from the Thirteenth to the Nineteenth Century', 1964; Frederick Wilkinson, 'Antique Guns and Gun Collecting', 1985; Ian Hogg, John Batchelor, 'Handguns 1300-1870', 1979; Irina Aleksandrovna Rodimtseva (Foreword), Guy Wilson (Foreword), 'Treasures of the Moscow Kremlin, Arsenal of the Russian Tsars', 1998; Peter Krenn, Walter J. Karcheski, Jr. 'Imperial Australia, Treasures of Art, Arms & Armour from the State of Styria', 1998; J. R. Partington, 'A History of Greek Fire and Gunpowder', 1960; Yuri Miller (edited by), 'Russian Arms and Armour', 1982; Alexandra Alekseevna Goncharova, Nikolai Vassilievich Gordeev, 'State Armoury in the Moscow Kremlin', 1969; and a small selection of pamphlets from 'The Journal of The Arms & Armour Society' dated between 1965-1968; [20]

Lot 526

8 art reference books to include, Dictionary of Russian & Soviet artists, Portuguese 20thC artists, A breif history of tasmainian artists (limited edition, number 432/1000), Concise Dictionary of Australian Artists etc

Lot 349

This is a painting by Vladimir Kush (b. 1965) signed in the lower left and dated (1988). It is depicting a Moscow street scene. Vladimir Kush (born 1965) is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Sight: 20 3/4 x 30 3/4 in. Overall: 23 x 32 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances. Please note that all sales are final. No refunds will be given under any circumstances.

Lot 473

This is a painting by Vladimir Kush (b. 1965) and it is signed in the lower left. This piece is titled "Butterfly on the Window". Inscribed verso. Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. sight: 13 1/2 x 9 in. overall: 14 x 9 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

Lot 647

This is a painting by Vladimir Kush (b. 1965) and it is signed in the lower left. This piece is titled "Church of Ilja." Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Overall size: about 16 1/2 x 12 1/2 in. Sight size: 12 7/8 x 8 7/8 in. Please note that all sales are final. No refunds will be given under any circumstances.

Lot 648

Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Overall size: 17 1/8 x 13 1/8 in. Sight size: 15 1/2 x 11 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Lot 75

MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his cubist phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. A substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu Allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).

Lot 243

Ivan Kozlov (Russian, B. 1937) "1990 USSR Duck Conservation Stamp Art" Original Watercolor / Gouache painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.Image Size: 6.25 x 8.75 in. Overall Size: 16 x 15.5 in. Framed behind plexiglass. (B12549)

Lot 418

Ivan Kozlov (Russian, B. 1937) "Red-Crested Pochard" Signed and dated ('90) lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on a First Day Cover for a Russia Duck stamp issued July 1, 1990. The Red-crested Pochard is a good-looking European duck, about the same size as the Mallard. Like all diving ducks, the Red-crested Pochard prefers to be out in the middle of its home waters and therefore is very easy to observe, though sometimes only through field glasses at great distances. In fact, this duck is now found solely on large, open expanses of water and will approach the banks only at nesting time, when it searches for the camouflaging thickets of reeds where it hides its nest. The handsome drake can be recognized by its vivid orangish-red bill and big red head, black chest and brown wings with orange and white markings. The plump brown hen sports crisp white cheek patches. This waterfowl breeds extensively in Eurasia and its playful courtship antics delight duck enthusiasts in the USSR, making this bird the perfect choice to grace a Soviet postage stamp. Ivan Koslov's beautiful stamp design and handsome cachet art faithfully record the essence of this lively bird. The cachet features a mated pair of Red-crested Pochards descending toward the marshy banks of their Soviet lake habitat. These birds' powerful wings are a focal point of the picture and the hen's legs, extended for a landing, are clearly set far back on her body, attesting to the fact that the Red-crest is a diving duck. The position of the legs makes the duck awkward on land, but contributes greatly to its maneuverability under the water. Image Size: 6.75 x 5.75 in. Overall Size: 9.75 x 7.75 in. Unframed. (B12461)

Lot 502

Grygory Shyshko (1923-1994) Russian. 'Kryvij Rig 1979' A Quarry Scene with Machinery and Figures, a Processing Plant in the Distance, Signed and Dated '80, 36" x 49".Provenance: Saatchi Art

Lot 429

A collection of art reference books: Understanding Watercolours, H Mallalieu, ACC 1985Rowland Hilder, John Lewis, ACC 1987Dictionary of 16th and 17 Century Painters, Ellis Waterhouse, ACC 1988Dog Painting, William Secord, ACC 1992Jacob van Ruisdael, Seymour Sine & H R Hoelink, Abbeville 198119th Century European Painting, Willem Rau, ACC 2012Goncharova, Antony Parton, ACC 2012Dictionary of Russian and Soviet Artists, John Milner, ACC 1997Queluz, Maria Ines Ferro, Scala,1997Edwardian Portraits,Kenneth McConkey, ACC 1987Dictionary of Scottish Art & Architects, Peter J M McEwan, ACC 1994Dictionary of Victorian Painters Vol 4, Christopher Wood,ACC 1995 (12)

Lot 204

LARGE COLLECTION OF MAINLY MIXED ART POSTCARDS TOGETHER WITH THEMED POSTCARDS ON ARCHITECTURE, BUILDINGS, INTERIORS, SCULPTURE AND TEXTILES, INCLUDING A RUSSIAN POSTCARD DATED 1915, 1000 -1500 APPROX.

Lot 83

A pair of Russian decorated folk art pottery figures, one depicting a Cossack on horseback and the other a family eating a meal, signed AET - HBAHOB, 6" an 3.5" high

Lot 879

Saint Basil the Great standing with his right hand raised, his left holding a jewel encrusted bible, dressed in a blue robe with richly embroidered alizarin cloak, Saint Irene standing to his right holding a golden cross against a gilded ground surmounted by Christus Pantokrator seated upon clouds, all contained within a scrolling cartouche, age wear, gilt loss 31cm by 26cm Religious icons are sacred images venerated by Orthodox believers as representations of the splendour of the divine, and are also believed to offer a direct conduit between the worshipper and saint or holy person depicted. Deriving from the art of the Byzantine Empire, with influences from the Ancient Egyptian and Greek traditions, the painting of Russian icons remained true to these old traditions, without the influence the Renaissance had on Western counterparts. Whilst a certain freedom exists when representing biographical saints, allowing for truly unique images, when it comes to details such as the clothes, or even the form of a beard, Russian icons are subject to the canon of the Byzantium. Full of symbolism, nothing is without meaning - even the colours used have particular significance. Gold signifies the radiance of Heaven, and white the resurrection of Christ. Red represents divine life whilst blue the human, with figures of Christ or Mary often depicted wearing both to signify the divine in earthly form. The only colour never used is grey, as it signifies the mixing of good and evil. It is also common to include Greek calligraphic text to name the saint or event depicted. The Byzantine practice of using a metal cover, or oklad, to protect religious icons was adapted in Russia to indicate the light and beauty of God’s world, and so these covers are often of silvered or gilt metal, sometimes even decorated with precious and semi-precious stones. Icons are believed to have an inherent sanctity which imparts the experience of divine beauty and holiness. russianicon.com/

Lot 438

* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).

Lot 173

A group of Twelve William & Mary and Queen Anne silver Table-Spoons Dates including: 1700, 1702 four by Lawrence Coles, three by Thomas Sadler and one by Thomas Allen, the remainder with worn marks, eight engraved with a crest and four with various initials, (12)Footnotes:Provenance: Christie's New York, Important English and Continental Silver, Objects of Vertu and Russian Works of Art, 27 October 1986, lot 618This 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

Lot 176

A George I Irish silver basting spoonEdward Barrett, Dublin 1719 Rat-tail Hanoverian pattern, crested, length 37.5cm, weight 7oz.Footnotes:Provenance: Sotheby's New York, The Estate of Arthemise Redpath, 27 April 1990, lot 429Christie's New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, Lot 435This 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

Lot 183

A pair of silver candlesticksEllis Jacob Greenberg, London 1928 Lyre form, with filled oval bases and reeded borders, height 33cm. (2)Footnotes:Provenance: Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, lot 249.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

Lot 184

A set of four George III silver candlesticksEdward Wakelin, London 1756 Corinthian column form, with removable drip-pans, filled square bases, crested, height 33cm. (4)Footnotes:Provenance: Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, lot 411.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

Lot 186

A late 18th / early 19th century German gold and enamel toothpick boxmaker's mark 'FJ', Hanau circa 1800, incuse numbered '254' and 'A 737' Rectangular with canted corners, all sides with blue taille d'épargne enamel within a white frame, the lid with a panel containing the word 'Souvenir', length 8cm.Footnotes:Provenance: Sotheby's, Geneva, Portrait Miniatures, Gold Boxes, Objects of Vertu, Russian Works of Art and Faberge, 16 November 1989, lot 87, erroneously catalogued as Swiss.For a gold box with the same marks see Bonhams, New Bond St, Important Design, 25 April 2018, lot 47.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

Lot 195

An unusual Art-Nouveau enamelled gold and bowenite toadstoolthe bowenite stem surmounted by red guilloché enamel cap applied with gold pellets, 56 standard, 5.7cm high 2 1/4' high) Footnotes:Provenance: Christie's Geneva, Objects of Vertu, Miniatures, Russian Works of Art, Paintings and Fabergé including the Collection of Nicholas, Prince of Russia, 17 November 1993, Lot 307.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

Lot 196

A silver and enamel bell-pushFabergé, workmaster Henrik Wigström, St. Petersburg, 1908 -1917of compressed circular form, enamelled in translucent white enamel over a concentric banded engine-turned ground, the pink chalcedony push piece within seed pearl border, scratched inventory number on base: '22054'; diameter: 5.2cm Footnotes:Provenance: Sotheby's Geneva, Portrait Miniatures, Gold Boxes, Objects of Vertu, Russian Works of Art and Fabergé, 11 May 1989, Lot 274.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

Lot 198

A rare Charles Bruguier silver, parcel gilt and champlevé-enamel fusee singing bird box, Swiss, circa 1840,Signed Charles Bruguier á Géneve, stamped to bottom plate Charles Brugier and serial number 97 The brightly coloured and feathered bird, flapping wings, turning head and body, opening beak and bobbing tailfeather to the synchronised sequential birdsong, rising through finely pierced and chased gilt grille, lid interior with full enamel study of a floral bouquet surrounded by multi-tone enamel inlaid Rococo C-scrolls, the top study of an Alpine lake landscape with sailing boats and dwellings with guilloche sunburst above snow-capped mountains beyond, the main lid mounted with raised gilt bronze Rococo mounts and rose heads with interlacing trails of vari-tone hard and translucent enamel swags, leaves and flowers, the sides with complex geometric and fielded frames with enamelled inlay, and the underside with complimenting wave-line rose-engine turned ground amongst further floral highlights, gilt start/stop slide to front-right and with rear hinged compartment, movement with early pattern cartwheel governor and eight cam-stack, together with the original ratchet winding key and hand-written German operating instructions, 3 1/2in wide x 2in deep x 11 1/4in high.Footnotes:Provenance: Sotheby's, Geneva, Portrait Miniatures, Gold Boxes, Objects of Vertu, Russian Works of Art and Fabergé, 11 May 1989, lot 112This 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

Lot 213

A pair of diamond-set rose-gold and enamel guilloché cufflinksFabergé, workmaster August Hollming, St. Petersburgeach circular terminal with sunburst engine-turned background, set off-centre with a rose-cut diamond, all within a rose-cut diamond-set border, joined by a chain to a reeded bar terminal set with cabochon stones at either end, 56 standard, marked on links diameter of each terminal: 1.3cmFootnotes:Provenance: Christie's Geneva, Objects of Vertu, Miniatures, Important Silver, Russian Works of Art and Fabergé, 26 May 1993, Lot 498 (a pair)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 215

A pair of gold and guilloché enamel cufflinksbearing marks for Faberge, Moscow, 1899-1908each circular terminal enamelled translucent white over engine-turned ground, radiating from a central gold cross and surrounded by a gold border, diameter of each terminal: 1cmFootnotes:Provenance: Christie's Geneva, Objects of Vertu, Miniatures, Russian Works of Art and Fabergé, 19 May 1992, Lot 283This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 218

A Russian jewelled gold-mounted broochmaker's initials unreadableThe gold body fashioned as a torc centrally set with three rose-cut diamonds leading to two diamond-set terminals flanking a blue stone, 56 standard, marked on pin, with associated box, fitted box applied with an Imperial Eagle length: 3.4cmFootnotes:Provenance: Christie's New York, Important Silver, Objects of Vertu, Russian Works of Art and Judaica, 22 April 1993, Lot 562This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 100

VLADIMIR ARALOV (RUSSIAN 1893-1972)Old Moscow in Winter with view of St. Basil's Cathedral from the back oil on board 61 x 70.5 cm (24 x 27 3/4 in.) signed lower left PROVENANCEAmsler & Ruthardt, Kunsthandlung , Berlin (label on verso) CONDITIONObserved in frame, the painting is in overall good condition. Overall surface dirt; would benefit from a light cleaning. Board bowed. Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 118

JEAN PESKE (POLISH-FRENCH 1870-1949)L'Ile de Saint Brice Cagner oil on canvas 73 x 53.5 cm (28 3/4 x 21 in.) signed lower left; titled on verso, possibly in another handPROVENANCE Sotheby's, New York, October 7, 2010, lot 77Acquired at the above by the present ownerLOT NOTESJean Peske was born in Kherson, Russian Empire, to parents of Polish origin. He studied art at the Academies in Kiev, Odessa, and Warsaw before emigrating to France at 21, where he studied at the Academie Julian. There he developed friendships with numerous other Polish emigres, including Marie Curie, with whom he was closely associated throughout his life, as well as Guillaume Apollinaire. Peske was also close to other notable artists of the day, including Signac, Pissarro, Bonnard, and Vuillard, and under the influence of Signac experimented with pointillism. Peske also exhibited with the Nabis, including at Le Barc de Boutteville along with Serusier, Bonnard, and Vuillard. CONDITIONObserved out of the frame, the work appears in very good original condition. Minor surface dirt; would benefit from a light cleaning. Small chip, 1 cm (3/8 in.) long, at the upper left, as apparent in photographs. Miniscule loss to an impasto stroke at an a purple reflect in the water lower right. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 130

ALEXANDRE ALTMANN (RUSSIAN 1885-1950)White and Violet Chrysanthemums oil on board 54.3 x 43.7 cm (21 3/8 x 17 1/4 in.) signed lower left CONDITIONObserved in frame, the work appears in very good original condition. Minor discoloration around the perimeter, as apparent in photographs. Otherwise crisp and bright image. Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 131

MSTISLAV DOBUZHINSKY (RUSSIAN-LITHUANIAN 1875-1957)Interior with Blue Walls pencil, watercolor and gouache on paper 37.2 x 47.2 cm (14 5/8 x 18 5/8 in.) monogrammed lower left PROVENANCEEstate of Mstislav Dobuzhinsky (estate stamp on verso) CONDITIONObserved in frame, the work appears in overall very good original condition. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 132

A PAIR OF COSTUME DESIGNS BY MSTISLAV DOBUZHINSKY (RUSSIAN-LITHUANIAN 1875-1957)comprising:a) Ukrainian Jewelry Vendor, charcoal, watercolor and gouache on paper, 28.3 x 21 cm (11 1/8 x 8 1/4 in.) [sight], monogrammed lower right, inscribed Selesnien (?) upper rightb) Baker, charcoal, watercolor and gouache on paper, 28.5 x 21 cm (11 1/4 x 8 1/4 in.) [sight], monogrammed lower right CONDITIONObserved in frame, the pair appears in very good original condition with light age-appropriate toning, minor waviness to the sheet, some staining at the perimeter (as apparent in photographs). Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 145

ATTRIBUTED TO MIKHAIL MATIUSHIN (RUSSIAN 1861-1934)Abstract Composition with Crystalline Forms, circa 1920 oil on canvas 69.3 x 50 cm (27 1/4 x 19 3/4 in.)PROVENANCEBarry Friedman, Ltd., New York (label on backing board)CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 153

VLADIMIR LEBEDEV (RUSSIAN 1891-1967) Postman with Striped Shirt, circa 1925 watercolor and ink on paper full sheet measuring 29.7 x 16.5 cm (11 3/4 x 6 1/2 in.) PROVENANCEBarry Friedman, Ltd., New York (label on backing board) CONDITIONObserved in frame, the work appers in excellent original condition. Hinged at the corners. Even and light toning overall. Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 155

NIKOLAI EVGRAFOV (RUSSIAN 1904-1941)Portrait of a Woman oil on canvas 76.2 x 55.9 cm (30 x 22 in.) CONDITIONObserved in frame, the painting is in very good original condition with some fine and stable craquelure throughout. Otherwise, no issues apparent to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 159

A PAIR OF DRAWINGS BY CONSTANTIN TERECHKOVITCH (RUSSIAN 1902-1978)comprising:a) Beach Scene, watercolor on paper, 20 x 24 cm (7 7/8 x 9 1/2 in.), signed lower leftb) Landscapegouache and watercolor on paper, 38 x 28 cm (15 x 11 in.), signed lower rightCONDITIONa) Unframed, the work is in overall very good condition. The sheet is not laid down, hinged at corners verso to back mat. Some toning to the paper. Some creasing and waving throughout.b) Unframed, the work is in overall very good condition. Small holes on the upper and lower corners from hanging. No other issues to report.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 160

CONSTANTIN TERECHKOVITCH (RUSSIAN 1902-1978)Bull gouache and pencil on paper 26.7 x 18.4 cm (10 1/2 x 7 1/4 in.) signed lower right CONDITIONUnframed, the work is in vey good condition consistent with age. The sheet is not laid down, hinged at corners verso to back mat. Some toning to the paper. Some creasing and waving throughout.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 181

DAVID BURLIUK (RUSSIAN 1882-1967)The Fish and the Boat, 1928 oil on burlap 36 x 46.2 cm (14 1/8 x 18 1/4 in.) signed and dated lower right PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the familyEXHIBITEDParrish Art Museum, Southampton, NY, David Burliuk, June 23-July 23, 1978 (label on frame) CONDITIONObserved in frame, the work is in very good original condition. Minor warping to the burlap. Fine, stable and age-appropriate craquelure to some areas of heavy impasto, such as underneath the blue fish in the lower right. Inspection under UV light reveals and even layer of varnish. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 182

DAVID BURLIUK (RUSSIAN 1882-1967)Carousel oil on burlap 51 x 77 cm (20 1/8 x 30 1/4 in.) signed and dated 1917 lower left PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the familyLOT NOTESThis painting exemplifies one of Burliuk's most interesting tendencies as a mature artist: his re-imagining of his futurist compositions of the 1910s, for which he was so well known in Russia. Burliuk, ever the humorist, would purposefully date his new futurist compositions with an earlier date. The present work is closely related to an eponymous painting in the The National Art Museum of Ukraine, Kyiv. CONDITIONObserved in frame, the work is in overall excellent original condition. Canvas slightly loose on the stetcher. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 183

DAVID BURLIUK (RUSSIAN 1882-1967)Three Women at Teatime, 1947 oil on canvas 33 x 43 cm (13 x 16 7/8 in.) signed lower left, dated lower right PROVENANCEChristie's, New York, March 20, 1987, lot 319Collection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in very good original condition. Overall surface dust and darkening. Fine, stable and age-appropriate craquelure apparent along the top edge, and in areas of thicker impasto, such as the dresses of the leftmost and central figures. Inspection under UV light reveals some variation in the thickness of the varnish (in a spot at the lower left, along the leftmost edge and the leftmost half of the upper edge); no apparent signs of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 184

DAVID BURLIUK (RUSSIAN 1882-1967)Woman with Horse oil on canvas board 60.5 x 76 cm (23 7/8 x 29 7/8 in.) signed and titled lower left 'Burliuk/Australia' PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 185

DAVID BURLIUK (RUSSIAN 1882-1967)Woman Leading Green Cow oil on canvas board 25.8 x 30.5 cm (10 1/8 x 12 in.) signed lower right PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in excellent original condition. Beyond overall surface dust, no significant issues to report. Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 186

DAVID BURLIUK (RUSSIAN 1882-1967)Marriage Portrait (I have a horse...) oil on canvas board 45.5 x 38 cm (17 7/8 x 15 in.) signed lower right, inscribed on verso: I have a horse / you have a cow / let us be married / now PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in excellent original condition with no issues to report. Inspection under UV light shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 187

DAVID BURLIUK (RUSSIAN 1882-1967)Futurist Pushkin oil and collage on cardboard 45.5 x 35.5 cm (17 1/2 x 13 1/4 in.)  PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the familyEXHIBITEDTokyo, Russkaya vystavka v Yaponii [Russian Exhibition in Japan], 1920 (label on verso)Palazzo Grassi, Venice (label on verso), probably Futurismo & Futuristi, May 4, 1983 - October 12, 1986 CONDITIONObserved in frame, the work is in very good original condition. Overall surface dust and dirt, with minor warping apparent to the board. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 188

DAVID BURLIUK (RUSSIAN 1882-1967)Driftwood with Marble Head oil on canvas 33 x 45.5 cm (13 x 17 7/8 in.) signed lower left PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in good original condition. Surface dust and darkening to varnish. Fine, stable and age-appropriate craquelure in areas of heavy impasto, such as to the right of the head and along the left edge. Warping to the canvas. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 189

DAVID BURLIUK (RUSSIAN 1882-1967)A Legend of a Green Horse oil on canvas board 36 x 50.3 cm (14 1/8 x 19 1/4 in.) signed lower right, inscribed across lower margin PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in very good original condition. Some bowing to the canvas board. A fine diagonal scratch from the center of the composition (above the arched entrance) toward the upper right, 13 cm (5 1/8 in.) long. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 190

DAVID BURLIUK (RUSSIAN 1882-1967)At the Barber's oil on panel 10.3 x 7.3 cm (4 x 2 7/8 in.) signed lower right PROVENANCECollection of Ella Jaffe Friedus, longtime collector and friend of Burliuk, Cold Spring Harbor, NYThence by descent in the family CONDITIONObserved in frame, the work is in overall excellent original condition. Beyond some overall darkening, no significant issues to report. Inspection under UV light reveals an even layer of varnish, no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 193

ABRAHAM MANIEVICH (RUSSIAN 1883-1942)Autumn Landscape oil on canvas 83 x 93 cm (32 5/8 x 36 5/8 in.) signed lower right PROVENANCEBertram Elkin Collection, CaliforniaPrivate Collection, CaliforniaAcquired from the above by the private collector in the 1970sSotheby's, London, November 26, 2013, lot 401 Acquired at the above by the present owner CONDITIONObserved in frame, the work is overall in good condition. There is some undulation in the canvas and small areas of paint loss to the lower right edge. Areas of craquelure are visible throughout. Tear on the upper right corner.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 194

ABRAHAM MANIEVICH (RUSSIAN 1883-1942)Bouquet of Flowers, circa 1930 oil on canvas 61 x 50.8 cm (24 x 20 in.) signed lower right PROVENANCEEstate of the artistPrivate collection, USASotheby’s, New York, April 17, 2007, lot 401LITERATUREAlan Pensler and Mimi Ginsberg, Abraham Manievich (Seattle: Marquand Books, 2011), p. 141, no. 82. (illustrated) CONDITIONObserved out of the frame, the work is in overall good condition. The canvas has been relined, and the edges of the original canvas uneven, with some chipping at the perimeter. Fine craquelure throughout and limited cracks, such as along the left edge, visible upon inspection. Inspection under UV light shows scattered and small areas of retouching, largely concentrated to the background of the painting. Overall no more than 5% of the canvas is inpainted.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 195

ABRAHAM MANIEVICH (RUSSIAN 1883-1942)Pittsburgh, circa 1925 oil on board 50.5 x 65.4 cm (20 x 25 3/4 in.) signed lower left LITERATUREAlan Pensler and Mimi Ginsberg, Abraham Manievich (Seattle: Marquand Books, 2011), p. 124, no. 65. (illustrated) CONDITIONObserved in frame, the painting is in overall very good age-appropriate condition. Areas of fine craquelure throughout. Otherwise, no other issues apparent to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 196

ABRAHAM MANIEVICH (RUSSIAN 1883-1942)Connecticut Landscape oil on canvas 53.5 x 73.5 cm (21 x 29 in.) signed lower right We are grateful to Alan Pensler for confirming the authenticity of this painting. CONDITIONObserved in frame, the work is in overall very good condition. No issues apparent to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 219

BEN BENN (RUSSIAN-AMERICAN 1884-1983)Comano, Ticino, Switzerland oil on canvas 46 x 55 cm (18 1/8 x 21 5/8 in.) signed lower left, titled on stretcher PROVENANCESkinner, Boston, MA, September, 12, 2008, Lot 690 CONDITIONObserved in frame, the painting is in overall very good age-appropriate condition. Minor paint loss on lower left corner. Canvas slightly loose on the stretcher. Inspection under UV light shows the area of restoration on the lower right corner by the tree.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 239

A RUSSIAN SILVER-MOUNTED TRAVELING ICON, WORKMASTER IVAN ALEKSEEV, MOSCOW, 1876-1912the central panel depicting the Vladimirskaya Mother of God, flanked by a guardian angel and St. George, oil on panel, surmounted with an arch-shaped frame engraved on the verso with interlacing floral motifs, marked twice with kokoshnik mark, three times with maker's mark IAA in Cyrillic for Ivan Alekseev; dimensions of icon not including loop when open: 8.5 x 12.3 cm (3 3/8 x 4 7/8 in.), closed: 8.5 x 6.3 cm (3 3/8 x 2 1/2 in.) CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 241

A RUSSIAN GILT SILVER CENTERPIECE, SIGNED SAZIKOV, ST. PETERSBURG, 1851in Egyptian Revival taste, formed as a tapering obelisk flanked by a pair of sphinx, topped by an oval tray, its rim featuring six gryphons atop posts on a colonnade, supported by four scarab feet, marked under tray and base with apocryphal 84 standard, date and assayer's mark A.M for Alexander Moor, St. Petersburg town mark, maker's mark SAZIKOV in Cyrillic with Imperial warrant; overall height: 53 cm (20 7/8 in.), weight: 7.3 kg (234.7 ozt) CONDITIONThe centerpiece appears in overall very good original condition. Beyond light surface wear and age-appropriate tarnishing in places, no significant issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 242

A RUSSIAN GILT SILVER AND CLOISONNE ENAMEL-MOUNTED GLASS VODKA SET, ST. PETERSBURG, 1895comprising a decanter and five shot glasses in holders, with beveled edges, and tray, decorated overall with floral and foliate motifs with beaded turquoise borders, tray marked with 84 standard, date and assayer's mark A.Sh in Cyrillic for Aleksandr Shevyakov, partly effaced workmaster's mark, likely N.A in Cyrillic; overall weight: 1750 g (3.86 lbs)a) the decanter of baluster form with waisted neck, the cover with ball finial; height: 19 cm (7 1/2 in.)b-g) the glass holders with foliate handles and triangular rim; height of each: 5.3 cm (2 1/8 in.)h) the tray circular, with everted rim and placeholders for decanter and cups; diameter: 28.3 cm (11 1/8 in.) CONDITIONThe set appears in overall very good original condition with no significant issues apparent to the naked eye. Light surface wear, mainly apparent as scuffs and rubbin to the gilt in the placeholders and under the tray. Rubbing to the gilt rim on the glasses. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 249

AN EXCEPTIONAL SET OF FOUR RUSSIAN SILVER TROMPE L'OEIL PILGRIM FLASKS FOR TIFFANY & CO., NEMIROV-KOLODKIN, MOSCOW, 1899-1908comprising a set of four flasks imitating leather embroidered with floral motifs, with curved spouts and handles supporting chains to the detachable covers, the smaller of the two with hinged lids, each etched D.G.D. under base, marked with 84 standard and assayer's mark I.L in Cyrillic for Ivan Lebyodkin, maker's mark ANK in Cyrillic for Nemirov-Kolodkin, and designation MADE FOR TIFFANY & CO.; heights including covers: 20.5 cm (8 1/8 in.), 17.5 cm (6 7/8 in.), two measuring 12 cm (4 3/4 in.), overall weight: 1618.7 g (52.042 ozt) CONDITIONThe set appears in overall excellent original condition with attractive age-appropriate toning. Fine scratches, largely apparent under bases. Minor tarnishing in places, as apparent in photographs. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 258

A RUSSIAN GOLD AND GUILLOCHE ENAMEL EGG PENDANT, WORKMASTER HENRIK WINGSTROM, ST. PETERSBURG, 1899-1904the ovoid body enamelled in vivid translucent red over a hatched ground and centered with an enamelled band of laurel, marked with 56 standard and assayer's mark Ya.L for Yakov Lyapunov, twice with workmaster's mark H.W in Latin for Henrik Wingstrom; length including suspension loop: 2.5 cm (1 in.) CONDITIONBeyond some darkening to the enamel band, inspection with a loupe reveals no significant issues. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 261

A RUSSIAN SILVER MONEY PURSE AND CUP, THE LATTER BY KHLEBNIKOV, EARLY 20TH CENTURYcomprising:a) a silk-lined silver purse decorated overall with a geometric arabesque, engraved with the saying KTO DENEZHKI / BEREZHET TOT BEZ / NUZHDY PROZHIVET [He who keeps his money [safe] will live eithout need, marked with 84 standard and St. Petersburg town mark, partly effaced workmaster's mark; length: 7.5 cm (3 in.), width not including pushpiece: 6 cm (2 3/8 in.), weight: 43.6 g (approximately 1.4 ozt)b) a silver cup of tapering cylindrical form, Moscow, 1908-1917, featuring a repoussed bouquet tied with a ribbon, marked with 84 standard, additional kokoshnik mark, and maker's mark KHLEBNIKOV in Cyrillic with Imperial warrant; height: 8 cm (3 1/8 in.), diameter: 6 cm (2 3/8 in.), weight: 96.5 g (3.1 ozt) CONDITIONa) Some staining to the silk lining, which is fragile. Some darkening around the middle. Light overall surface wear and scratches.b) Overall very good condition. Darkening to the rim, upper interior, and around the left side of the bouquet. Light overall surface wear and scratches. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 267

A GROUP OF RUSSIAN AND TWO CONTINENTAL 'HUNTING DOG' SILVER STIRRUP CUPS, THE RUSSIAN 1ST MOSCOW ARTEL, LATE 19TH CENTURYcomprising three drinking cups of variant sizes, formed as a borzoi, spaniel, and pointer head, respectively, each with finely articulated fur, the interiors gilt, the borzoi and spaniel marked STERLING MAS along rim, the pointer marked with 84 standard, additional kokoshnik mark, maker's mark 1YA MA. for 1st Moscow Artel in Cyrillic; height of borzoi: 15 cm (5 7/8 in.), weight: 740.4 g (23.800 ozt), spaniel: 10 cm (4 in.), 368.3 g (11.840 ozt), pointer: 9.5 cm (3 3/4 in.), 256.1 g (8.230 ozt) CONDITIONBeyond some uneven darkening in places (mainly apparent on the rims), the cups are in very good original condition with no apparent repairs to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Lot 268

A RUSSIAN FABERGE-STYLE SILVER AND SHADED CLOISONNE ENAMEL KOVSH, LATE 20TH CENTURYof partly lobed form, with horse head handle, the body mounted with hardstones, decorated overall with floral motifs in shaded cloisonne enamel, marked with apocryphal 84 standard and Faberge mark with Imperial warrant in Cyrillic; height including handle: 20.5 cm (8 1/8 in.), length: 25.5 cm (10 in.), weight: 1342. g (43.145 ozt) CONDITIONThree of the hardstones have dents or visible scratches and inclusions. Beyond some uneven darkening in places (mainly apparent on the rims and tp the handle), the kovsh is in very good original condition with no apparent repairs to report.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

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