We found 4600 price guide item(s) matching your search

Art Deco style alarm clock with a Russian movement. Wound and set from the rear.

After Joe Descomps, a pair of Art Deco style bronze figures of the "Russian Dancer" mounted on marble base.Hx50cm approx

Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris. Printed on the front of a folded sheet, in which the poem "L'Apocalypse Selon Marc" is printed along the interior.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. There are no tears, creases, or restorations. There is an undulation to the sheet throughout. Along the verso there are two areas of skimming/residual framer's tape. The work has been removed from its hinges and is currently unframed. The paper backing of the frame has been cut along three edges (not pictured). Frame with plexiglass.

Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors appear bold and bright. There are no visible tears or restorations. Light wear to the edges. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Kasli Foundry, Ural, Russiacast after the model of the sculptor Robert Bach created in 1888signed in Cyrillic ‘R. R. Bach’ (on the reverse), stamp of the Foundry in Kasli and dated ‘Kas.Z.1906’, master’s mark (on the underside)cast ironH. 31 cm, base 10 ? 10 cm1906Piotr Ilyich Tchaikovsky (1840–1893) was a Russian composer, symphonies, musical playwright, creator of the highest operas images, ballets, symphonic and chamber worksRobert Bach was a Russian sculptor, working in monumental and easel sculpture, plastic, decorative and applied art. He worked with the Kaslinsky Foundry in Ural for 15 years. Robert Bakh created a series of sculptural portraits of important Russian cultural figures, including the bust of Piotr Tchaikovsky, that the Kaslinsky foundry started to cast in 1896.

Valentine G Taranenko (1933 - 1992) Taranenko was born in 1933 in Lugansk (Ukraine) and died  in 1992.   He finished Lugansk Art School in 1953 and in graduated from Kharkiv Art Institute.   After graduation he taught at Lugansk Art School;  at the same time he produced many paintings and machinery graphics.   Taraneko has been a member of the Ukraine Artist Union since 1966, permanent participant in Ukraine national exhibitions.   Taranenko's paintings are kept in museums, funds and private collections in Ukraine, Russia, America, France and UK. "The set of topics and subjects defined early in Tararenko's art and he was true to its all his life.   These are first of all creative labour and person-creator.  Taranenko always strived to get to know his hero-toiler, his surroundings and different sides of his activity as profound as possible.   A great deal of creative trips is subjected to this purpose. Skillful experience in watercolours technique let Valentin Taranenko create bright, picturesque chronicle of a person's creative labour, of his actions grandeur.    It was no accident that he was awarded with memorable medal ''For Construction of Main Transmission Gas Line'' Soyuz (Union) by the Executive Committee of Council for Mutual Economics Assistance.   During Soviet Union time Mutual Economic Assistance was quite similar to what is now EU but Soviet bloc) All creative work of Valentine Taranenko is penetrated with respect to an ordinary person, admiration with his abilities.   Understanding of a person's hands work beauty lies in the basis of Taranenko art vision, expressing in colour magic when he seemed to embody absolutely ordinary subjects.    Saturated tints, contrasts confrontation of coloured patches help him to show intensive rhythm of working process. Sincerity, ingeniousness of world perception run through picturesque still lives and landscapes';  sensitive soul of artist Valentine Taranenko is reflect Live in their beauty and subtle harmony''  Valentine G Taranenko (1933 - 1992), Locomotive Plant, women going to their shift, watercolour, 52cm x 70cm Provenance: From the private collection of Russian and Soviet Impressionist paintings of Bridgett Pemberton, as shown in additional image.

Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 24.2 x 21.6.

Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 31.4 x 16.6.

Vasily Kandinsky (1866 – 1944) was a Russian painter and art theorist who is widely regarded as one of the pioneers of abstract art. He played a crucial role in the development of non-objective and abstract painting, breaking away from representational art and exploring the emotional and spiritual aspects of color and form.Key aspects of Vasily Kandinsky's life and work include:1. **Early Career and Influences:** Kandinsky initially pursued a career in law and economics before turning to art. He began his artistic training in Munich, Germany, and was exposed to various art movements and ideas that would influence his work, including Symbolism, Fauvism, and the Blue Rider movement.2. **Abstraction and Non-Objectivity:** Kandinsky is often credited with creating some of the earliest purely abstract artworks. He believed that art should evoke emotions and spiritual experiences, transcending the limitations of recognizable forms. His "non-objective" compositions sought to communicate directly through color, shape, and line.3. **The Blue Rider:** Kandinsky was a co-founder of the Blue Rider movement (Der Blaue Reiter) along with Franz Marc. The movement advocated for the spiritual and symbolic potential of art, emphasizing the use of color and form to express inner truths.4. **Synesthesia:** Kandinsky experienced synesthesia, a phenomenon where one sensory experience triggers another. He believed that colors and forms could evoke specific emotions and musical qualities. This belief influenced his use of color and the relationships between shapes in his art.5. **Art Theory:** Kandinsky was not only a painter but also a prolific writer on art theory. His book "Concerning the Spiritual in Art" (1910) is a seminal text that discusses the connections between art, spirituality, and emotion. He also taught at the influential Bauhaus school in Germany.6. **Evolution of Style:** Kandinsky's work evolved over his career. He moved from representational art to increasingly abstract and geometric compositions. His later works often featured more structured forms and a refined use of color.7. **Move to Abstraction:** Kandinsky's move toward abstraction was driven by his desire to convey deeper meanings and experiences through art. His art aimed to express the internal world and the spiritual aspects of human existence.8. **Legacy:** Vasily Kandinsky is considered a pioneer of abstract art and a pivotal figure in the history of 20th-century art. His theories and artworks laid the foundation for the development of abstract expressionism and other modern art movements.Vasily Kandinsky's innovative approach to art, his exploration of color and form, and his commitment to expressing emotional and spiritual truths have left an enduring legacy. His influence is evident in the work of subsequent generations of abstract and non-objective artists.Measures 13 x 16.Signed in the plate.

Andres (Glenn M.), John Hunisak, & A. Richard Turner. The Art of Florence, 2 vol., illustrations, some folding, original blind-stamped cloth, slip-case, large 4to, 1994 § Davies (David) & John H. Elliott. El Greco, original wrappers, lightly creased, 2003 § Carr (Dawson W.) Velazquez, original wrappers, 2006; and c.30 others, pre-20th century art and Russian art, v.s. (c.35).

Ronovska, J.M. (?)Stillleben mit Art Déco Porzellanfiguren. Öl auf Leinwand, 1920er Jahre. Unten rechts nicht vollständig lesbar signiert. 60 x 78 cm. Ungerahmt. Restaurierter Zustand. Ungewöhnliches Figurenensemble aus einer Tänzerin mit Panthern, einer kleinen Ente und einem Elefanten vor stark kontrastierendem Hintergrund. Wohl von einer tschechischen oder russischen Künstlerin oder einem Künstler. Stillife with Art Déco porcelain figures. Oil on canvas, 1920ies. Signed bottom right (not completely readible). Unframed. Restored condition. Unusual composition, pres. by czech or russian artist.

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.

Four 19th century silver gilt fruit dishes. Maison Odiot, Paris, c.1880. Of stylised, foliate form, each shaped dish designed with overlapping layers of textured leaves to realistically modelled branch handles terminating in fruiting buds, raised on shallow triangular feet stamped Odiot à Paris and numbered 2057, 2345, and 3664 (x2), each with Minerva mark for 950 standard silver, 19.2 x 19.5cm, total weight approx. 50.5ozt (4)Footnotes: cf: For similar examples see:Christies (New York), THE ART OF ENTERTAINING: THE COLLECTION OF MR. & MRS. JOHN H. GUTFREUND 834 FIFTH AVENUE, Lot 38, 28th January 2021https://onlineonly.christies.com/s/art-entertaining-collection-mr-mrs-john-h-gutfreund-834-fifth-avenue/pair-french-silver-gilt-figural-sweetmeat-dishes-38/111193 Christies (New York), IMPORTANT SILVER, OBJECTS OF VERTU AND RUSSIAN WORKS OF ART, Property from a noble collection, Lot 251, 27th October 2005: https://www.christies.com/en/lot/lot-4595160 Sotheby's (Paris): Style: Mobilier, Objets d’art et Orfèvrerie, Lot 185: https://www.sothebys.com/en/auctions/ecatalogue/2019/styles-pf1901/lot.185.html Condition Report: The dishes are in good condition commensurate with age. Some general scratching and nicking. Tarnish to the gilding and to the reverse of the dishes - heavy in places. Some solder patches noted at handle joins (it is not known whether these are from the time of manufacture or later repairs. Possibly both. Please see photos via link in this report). No splits noted. Some wear to the gilding in places including scratches, nicks and wear at the high points. Further images can be downloaded via this link: https://we.tl/t-rS7uV8LQYY 

Tamara BEKIER (Ukranian-Russian, 1931) Figure in a landscape acrylic, ink and pen Signed 39cm x 30cm Tamara Bekier, an artist based in Australia, attributes her passion for exploring colour, texture, and the interplay of light and dark to the contrasts between her native country, Russian Ukraine, and her adopted home. Her artistic inspiration also stems from the works of Gustav Klimt, Mark Chagall, and the German Expressionists. Bekier's rich and vibrant artworks serve as a reflection of her extensive and tumultuous life, shaped by experiences during the Second World War and the harrowing challenges she faced as a refugee in war-torn Europe. Grounded in dreamscapes, her creations depict two interconnected worlds — one representing her past and the other encapsulating her present. Embarking on her artistic journey at the age of 48, Bekier's art education not only opened doors to a new career but also ushered in a fresh way of life within a democratic society. In the nearly four decades since then, she has curated numerous exhibitions, and her artwork is prominently featured in collections nationwide in her new home-country. Postage is available on this lot from £32.50 to a UK address.

ROYALTY BOOKS - ROMANOVS COMPRISING: Russian Splendor. Sumptuous Fashions of the Russian Court, In association with the Sate hermitage Museum, Skira Rizzoli 2016 Russia. Art, Royalty and the Romanovs, Edited by Caroline de Guitaut and Stephen Patterson, Royal Collection Trust 2018 Moscow. Splendours of the Romanovs, Skira/Grimaldi Forum Monaco 2009 Twilight of the Romanovs. A Photographic Odyssey Across Imperial Russia, Philip Blom & Veronica Buckley, Thames & Hudson 2013 ETC (18) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A probably Russian Art Deco silver and silver-gilt cigarette case, of rectangular form with rounded sides, having bi-colour sunburst reeded decoration and raised thumbpiece clasp to the hinged cover, engraved to the cover to the wide ends of the rose metal sprays with names which appear to be Estonian, the underside engraved 20 IV 39 MT, not stamped but tests as silver, 7.4ozt, 10 x 7.5cm

PAVEL TCHELITCHEW (RUSSIAN 1898-1957) STUDY OF FLOWERS Pastel and pencil Signed (lower right) 27 x 20cm (10½ x 7¾ in.)Provenance: Sale, Christie's, Russian Art, 25 November 2019, lot 87

λ&nbspDORA GORDINE (ESTONIAN 1895-1991) STANDING FEMALE DANCER Bronze with green patina Signed and numbered 2/6 to the base Height 65cm (25½ in.) 'If people really want to know me, let them look at my sculpture, because words are not my medium at all. It is sculpture that is my medium.' Dora GordineDora Gordine's Standing Dancer captures the movement and elegance of the female form. Gordine explored themes of motherhood and womanhood through her bold, strong and yet feminine sculptures, usually cast in bronze. Gordine was initially influenced by a group of artists in her homeland Estonia coined 'Noor Eesti' who followed the concepts and ideals of the Art Nouveau movement. In 1924, Gordine relocated to Paris and was immediately encapsulated by the rich French culture frequently visiting the multitude of galleries, operas and museums.In 1925, Gordine worked for the British Pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris, as a mural painter. This opportunity provided her with the means to start producing bronze sculptures again and Gordine went on to exhibit her works at the Beaux Arts Society and the Salon Des Tuileries in 1926 where she presented a head and torso sculpture of a Chinese philosopher which was met with great acclaim. Back in London in 1928, the Leicester Galleries held Gordine's first solo show, which proved to be a great success; all of the pieces selling including one to Samuel Courtauld. In 1936, Dora married the Hon. Richard Gilbert Hare and together they built Dorich House in Kingston Vale which doubled up as their home to showcase their personal collection of Russian Art and furniture but also her studio to create and display her sculptures. Through her husband's connections Gordine became immersed within London's fashionable elite. Figures such as Sir Kenneth Clark, Dame Beryl Grey and Professor Frederick Brown, head of the Slade School of Art all jumped at the opportunity to sit for Gordine. The present lot signifies Gordine's approach to sculpture, she felt sculpture was a tool to depict not only identifiable features but capture the vision of a sitter. The figure stands poised, caught in a moment of movement oblivious to the onlooker. 'You have to imagine what they are like inside and bring out their inner feeling and then put it in a form.' Dora Gordine, BBC Interview, 1972   Condition Report: Light surface dirt throughout otherwise appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer

λ&nbspJACOB KRAMER (BRITISH/RUSSIAN 1892-1962) STUDY FOR 'THE JEW' Ink and wash Signed (upper left) 47 x 37cm (18½ x 14½ in.)Provenance: The artist's family Belgrave Gallery, London Exhibited: London, Ben Uri Gallery, Jacob Kramer Reassessed, 1984, no. 16, on tour to Leeds, Leeds City Art Gallery; Bournemouth, Russell Coates Art Gallery; Hull, Ferens Art Gallery (illustrated in the exhibition catalogue p. 25) London, The Sternberg Centre, Pictures of Jewish Interest from Private Collections, 1986, no. 32 (illustrated on the front of exhibition catalogue) Brighton, Brighton Polytechnic Gallery, Jewish Artists in an English Context, 1900-1920, 1986, no. 7 London, Belgrave Gallery, Jacob Kramer Exhibition, 1990, no. 7 Leeds, University Gallery Leeds, Jacob Kramer Centenary Exhibition, 1992, no. 52 London, Boundary Gallery, Jacob Kramer, 2006 (on loan from a private collection)Literature: Agi Katz, Jewish Chronicle, Jacob Kramer, 25 May 1984 (illustrated p. 20) Condition Report: Unexamined out of glazed frame. Some light creasing to the sheet throughout with light surface dirt visible, most notable to the creases. There is an area of surface skinning to the upper left edge approx. 5cm where it appears a sticker or label has been accidentally applied and then removed. There are a number of creases running through the seated figure with some associated loss and a small white dot to the sitter's wrist which appears to be a small mark of mould. The colours are strong and vibrant. Condition Report Disclaimer

A Royal Dux figure of an Art Deco figure, no 3451, incised signature by Elly Strobach, another Dux figure, no 3637, assorted other Art Deco style figures and three Russian lacquer boxes Condition Report:Available upon request

Roger Hilton CBE,  British 1911-1975 -  Untitled; pencil on paper, 20.7 x 13.5 cm ( ARR) Provenance:  Waddington Gallery, London;  Alistair McAlpine Esq., McAlpine Collection No. 61 (according to the label and stamp on the reverse of the mount);  Monika Kinley;  Erhard Stern (known as Edward) and thence by descent  Note:  Lord Alistair McAlpine (1942-2014) was a politician, major art collection and occasional dealer. He donated his collection of Modern British sculpture, which he amassed over his lifetime, to the Tate, Russian Futurist books to the British Library and antiquities the British Museum. 

An emerald and diamond obi sash clasp by Mikimoto, circa 1950, the rectangular step-cut emerald collet-set within a pierced and tapered geometric surround, set throughout with brilliant and baguette-cut diamonds, maker’s mark, stamped ‘K9’ and ‘WG’, total diamond weight approximately 1.70 carats, length 45mm. . £3,000-£4,000 --- According to a verbal report from GCS, the emerald is of Russian origin, with indications of moderate clarity enhancement. Verbal report number 5784-0505. An obi (sash) is a belt of varying size and shape worn with both traditional Japanese clothing and uniforms for Japanese martial art styles. Condition Report Emerald dimensions 16 x 12.7 x 10mm. The emerald transparent, of pale/mid green hue, typical internal inclusions, one linear surface reaching fissure visible under 10x magnification. Chip to one corner visible within setting. Gross weight 14.0gm.

GORKY MAXIM: (1868-1936) Alexei Maximovich Peshkov, Russian Writer and political socialist Activist & CHALIAPIN FEODOR (1873-1938) Russian Opera Singer. An excellent vintage signed postcard photograph by Gorky and Chaliapin, the image showing both artists in a half length pose, Gorky seated alongside Chaliapin standing close. Individually signed by Gorky and Chaliapin, in bold black fountain pen ink, to clear areas of the image. Poststamped and addressed to the verso, to Argentina, with annotations in Cyrillic. Very small overall age wear, otherwise VG Gorky wrote Chaliapin's autobiography in 1916. He would write to Chaliapin in 1909 `I myself will write your life as you dictate it… I hasten, my friend, to tell you the following, You're undertaking a serious business, an important and widely significant matter, that is, something interesting not only to us Russians but to the whole world of culture and especially of art! Do you understand this?... A symbolic life, which attests indisputably to the great strength and power of our land… Watch out, Feodor, don't toss your soul into the hands of word peddlers!… I am terribly afraid you won't understand the national, the Russian significance of your autobiography! Listen, my dear, shut your eyes and think a minute..´.

CUI CESAR: (1835-1918) Russian Composer, a member of The Five group. Professor, Engineer and General. A very fine and clean A.L.S., `C. Cui´, one page, 8vo, Fontanka, 22nd April 1894, to Georges Loiseau, in French. The letter is a tribute to French Composer Ambroise Thomas and to his work Mignon (1866), Cui stating `Je suis très honoré par Votre lettre, très flatté et en même temps très confus. Que pourrais-je en effet dire de la fine grâce, du charme délicat, de l´éternelle jeunesse de Mignon, qui n´eut été mille fois dit par d´autres et bien mieux dit, que je ne saurais le faire?´ (Translation: "I am very honoured by your letter, very flattered and at the same time very confused. Indeed, what could I say about the fine grace, delicate charm and eternal youth of Mignon that was not said a thousand times by others and in a much better way than I would myself?") Further, Cui refers to Thomas´s musical career, stating `Que pourrais-je dire du Maitre - grand musicien-poète-, dont la longue carrière a été si noblement consacrée au service de l´art? Je ne puis que m´associer modestement, mais de tout coeur, au triomphe de l´oeuvre et du Maitre...´ (Translation: "What could I say about the Maestro - great maestro-poet -, whose long career has been so nobly devoted to Arts? All I can do is support modestly but wholeheartedly the Maestro´s triumphant work...") Accompanied by the original envelope in Cui´s hand, bearing several Russian and French postmarks and stamped. VG to EXAmbroise Thomas (1811-1896) French Composer. He composed Mignon, a romantic Opera-comique in three acts, premiered in Paris in November 1866.Georges Loiseau (1864-1949) French Paywright, Novelist and Critic.

KANDINSKY WASSILY: (1866-1944) Russian painter, one of the pioneers of abstraction in western art. T.L.S., Kandinsky, one page, 4to, Berlin, 22nd May 1933, to [Andre] de Ridder, in French. Kandinsky informs his correspondent that he has just received a tribute from Christian Zervos and continues to remark 'Je vous prie bien de trouver le moyen de trouver une bonne place pour cet hommage. Vous vouliez me faire parvenir toutes les correctures vers le 15 mai. Je suppose que vous attendiez l'hommage de M. Zervos. J'espere encore toujours que le Cahier parraitra la fin de ce mois!' (Translation: 'Please find a way to find a good place for this tribute. You wanted to send me all the corrections around 15th May. I suppose you were waiting for the tribute from Mr. Zervos. I still hope that the Cahier will appear at the end of this month!'). In a postscript Kandinsky further writes 'Si vous n'avez plus besoin des photos, je vous prie bien de me les rendre: on me demande souvent des photos et je n'ai pas des dupplicats' (Translation: 'If you no longer need the photos, please return them to me: I am often asked for photos and I do not have duplicates'). Some very light, extremely minimal age wear and a very small tear to the right edge, VGAndre de Ridder (1888-1961) Belgian art historian and editor-in chief of Cahier, a chronicle of artistic life in Brussels. A special edition of the periodical devoted to Kandinsky was published in July 1933 under the title 'Selection Chronique de la Vie Artisque XIV Wassily Kandinsky - Editions Selection Anvers 1933'Christian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'Art in 1926.

CHAGALL MARC: (1887-1985) Russian-born French artist. Book signed and inscribed, being a soft cover pocket edition of Marc Chagall by Emily Genauer, published by Flammarion, Paris, as part of their Le Grand Art en Livres de Poche series, n.d. (c.1956), featuring numerous illustrations of Chagall's works, some reproduced in colour. Signed and inscribed by Chagall in bold black fountain pen ink to the front free endpaper, 'Pour Madame Desoz, en bon souvenir, Marc Chagall', and dated at Vence, 1956, in his hand. Chagall has also added an original drawing to the page, the image depicting a vase from which extends a branch, somewhat reminiscent of a pussy willow with catkins. Some light age wear, about VG

GORKY MAXIM: (1868-1936) Russian writer and socialist political thinker and proponent. An excellent A.L.S., A Peshkov (his real name being Alexei Peshkov), two pages, 4to, n.p. (Marianske Lazne), 3rd March 1924, to Emma Woytinsky, in Cyrillic. Gorky informs his correspondent that he shall offer her translation of Stefan Zweig's play to World Literature and other Moscow publishing houses, further remarking 'If you want to know my personal opinion of the play, here it is: I think it is too cumbersome, technically, for staging, requires considerable expenses to be staged and that it hardly can be produced on the stage of a Russian theatre under present conditions. In reading it, one does not gain a very favourable impression: it is heavy, the story is told in detail, in the German manner, it is therefore unnecessarily wordy at the expense of dramatical qualities and quick action. It seems to me that such material requires the form of a novel, not a play' and also enquires 'Is it correct that Zweig has dedicated it to R. Rolland?' Gorky also asks for his thanks to be conveyed to Woytinsky's husband for some books that he had sent, adding 'I shall send him in a few days my new little book' and asking 'Would you not find time to translate for "Conversations" two or three short stories by Edschmid, Zweig or Kaiser, or somebody among the young? I count on your taste to make the choice'. Accompanied by the original envelope hand addressed by Gorky. A letter of fine literary content. A couple of extremely small, minor, neat splits to the edges of a couple of folds, VGEmma Woytinsky (1893-1968) Russian translator and statistician, wife of Vladimir S. Voitinsky (1885-1960) Russian revolutionary, politician and economist.Stefan Zweig (1881-1942) Austrian novelist, playwright, journalist and biographer, himself a passionate collector of autograph manuscripts. Zweig profoundly admired Rolland and published his biography, Romain Rolland: The Man and His Works in 1921. Romain Rolland (1866-1944) French dranatist, novelist, art historian and mystic, Nobel Prize winner for Literature, 1915. Rolland was a leading supporter of Joseph Stalin in France and also a close friend of Stefan Zweig.

COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A good original bold pencil drawing signed by Cocteau, executed on a sheet of heavy tracing paper (approximately 20 x 21 at its widest points), n.p., 1950. The image is a line-drawing depicting a hand extended horizontally with the palm facing upwards and a jacket sleeve visible, holding a pencil between the thumb and the last two fingers and with a cigarette positioned between the middle and index figures. Evidently a representation of his own hand, Cocteau has signed the drawing in pencil, adding his familiar star beneath his signature. Irregularly torn to one edge and with a couple of creases to the upper edge and lower left corner, otherwise VG The drawing was originally created by Cocteau and sent to Pierre Beres in order to illustrate an article by Rene Etiemble which appeared in Art de France (1962). Pierre Beres (1913-2008) Russian-born French bookseller, antiquarian book collector, publisher and art collector. Rene Etiemble (1909-2002) French essayist, scholar and novelist.

George Bergen, Russian/American 1903-1984 - Marseilles; oil on panel, signed lower right 'Bergen', 21 x 34 cmProvenance: with Alex Reid & Lefevre, Ltd., London (according to the label attached to the reverse of the frame); the Collection of Paul Clarke and thence by descent Note:Bergen is associated with the Bloomsbury Group, having met Duncan Grant in 1929 and subsequently building an intense artistic and emotional connection. Several of Bergen’s works are included in the Charleston Art collection. 

Antique Russian Silver footed rjumka silver 84. Beautiful chiseled decoration. Art Nouveau style. Kostroma. Manufacturer mark VZM. There are cracks on the base. Height 15,8 cm and weight 55 gr.

A Russian portfolio of 1930's art prints. 30 cm wide.

A CHARLES II SILVER CYLINDRICAL CASTER MAKER'S MARK NM ABOVE A STAR, LONDON 1683 With a bud finial to the pierced domed bayonet cover, cable twist bands and on a pierced circular foot 13.5cmn (5 1/4in) high 149g (4.8 oz) Provenance:From the Collection of Pablo Bronstein See Christies, Important Silver, Objects of Vertu And Russian Works Of Art, 20th April 2000, Lot 282 for a similar example Condition Report: Marks are partially obscuredSolder repairs to bayonet fittingsNo engravingStands wellCover fits wellRubbing to the top of the coverLight scratches and wear commensurate with age and useCondition Report Disclaimer

Grün, Maurice (Russian, 1869-1947); b. Tallinn, moved to France 1890 FRANCE, Femme à la rose, c. 1930, an Art Déco bronze medal by M. Grün adapted for the Congrès & Trentenaire de la C.I.S.T.A., Paris, 1937, head of a female to right, smelling a rose, rev. sun rays above a cloud, edge impressed bronze and with foundry mark, 41mm, 31.61g. Very fine £20-£30

Circa 10th-11th century A.D.. Sub-rectangular in form with raised rectangular panel to centre, cells forming X-motif inlaid with red glass(?) against a blue field, central nacre(?) roundel engraved with a perched bird with polychrome enamelled detailing; trace remains of gilding to upper and side edges; piercing to each corner. Cf. Romisch-Germanischen Zentralmuseum Mainz (RGZM), Das Reich der Salier, 1024-1125, Sigmaringen, 1992, pp.160-161, fig.10, Vitrine 4, for similar enamel but with human head. 20.6 grams, 38 mm (1 1/2 in.). Acquired in London, early 1980s.Purchased in Europe before 1992.Private collection, Europe.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11811-206495.The small square plaque was possibly part of the decoration of an Evangeliary, such as the enamels covering the binding of Henry II's Perikopenbuch, or the Siena Evangeliary (11th-13th century). Byzantium brought the enamel and cloisonné technique to its most perfect, refined and skilful expression. Between the 10th and 11th centuries it spreads its forms in the East and West and after some infiltration in the Romanesque-Lombard sphere, precious Eastern Roman cloisonnes were found in Russian art, reaching their apex in the Roman Empire during the 10th-12th centuries, in the decoration of icons and other artworks. (For this specific lot, 5% import VAT is applicable on the hammer price.)

Circa 1000 B.C. With eight projecting vertical flanges and a circular shaft hole. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXXI, no.98, for identical spearhead from Armenia (Astkhadzor, beginning of the 1st millennium B.C.). 310 grams, 67 mm (2 5/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.In the Caucasus, the combat mace was very popular throughout the late Bronze Age and the Early Iron Age. The maces could have spiked bronze knobs or often less corrugated, or round, knobs which could also be effectively used. [No Reserve]

Circa 17th century A.D.. Hollow-constructed stepped pedestal with socket to accept a devotional cross; gesso surface with moulded edging and gilt finish; painted scene of the 'descent from the cross' and 'lamentation of the Christ' with Christ laid out on the Holy Shroud surrounded by sorrowful Mary Magdalene, Virgin Mary, Mary of Clopas, St John the Evangelist, St Joseph of Arimathea and Nicodemus holding a ladder in the background; coffin with open cover to the left, cave of Golgotha to the right with skull, landscape with city of Jerusalem in the background. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, figs.109,111; Sinkevi?, I., Windows to the Heaven, treasures from the Museum of Russian Icons, Easton, 2017, no.R2003.12; see Lazarev, V. N., Russian icon painting from the origins to the beginning of the 16th century, Moscow, 2000. 8 kg, 104 cm wide (41 in.). Ex property of a London lady, part of her family's collection.Accompanied by an academic report by Dr Raffaele D’Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 11542-196369.In the Orthodox world, single wooden crosses representing the Stavrosis (Crucifixion) were positioned as icons in their own right, with candles placed in front of them as offering for the dead. It is a tradition that dates back to Byzantium, and was continued in the Slavic Orthodox world with the creation of splendid painted wooden crucifixes placed on equally beautifully painted pedestals. In this case the complex representation includes all the elements of the Gospel that recall the passion, death and resurrection of Christ. Christ has been taken down from the cross and is surrounded by his loved ones. His muscular body highlights the wound in his right side procured by Longinus' spear. The pain of the mother, the piety of Mary, is expressed here with the mute silence of the Madonna, who holds her son's head, which contrasts with the pain manifested by the other bystanders. Saint Joseph of Arimathea, who procured the tomb and the sacred sheet, devoutly holds the feet of Christ. The right side of the scene shows the Golgotha, symbol of the human death of Christ. The left of the scene shows the open tomb, symbol of the human and divine Resurrection of Christ. The sacred sheet, loose inside the sepulchre with open lid, appears as a symbol of the saving grace of the Resurrection. The city in the background represents ancient Jerusalem transformed into its heavenly equivalent through the Resurrection of Christ. [A video of this lot is available to view on Timeline Auctions Website]

9th century A.D.. A single-edged hand-forged sabre with a gently curving blade, an iron band welded beneath the cross guard, together with a tongue along the side of the blade; the separate gilt cross guard with spherical ornamented finials to the quillons, the central panel with a stylised face flanked by a pair of leaping lions biting the top of the head, the other side with a lozenge within a ropework frame. Cf. similar specimens in Zakharow, A., Arendt, W., Studia Levedica, Archaeologischer Beitrag zur Geschichte der Altungarn im IX JH., Budapest, 1935, fig.21, p.54, fig.22, p.56 (guards), pls. III,VI nos. 3,5; Lebedinsky, I., De l’epée scythe au sabre mongol, Paris, 2008, pp.172ff.; Gorelik, M., ‘The image of the men-warrior in Kabaria-Ugria-Russia (in Russian)’ in Archaeology of the Eurasian Steppes, no.5, Kazan, 2017, pp.257-267, fig.1, nos.1,5; Fodor, I., Revesz, L., Wolf, M., Nepper, I.M., Morigi Govi, C., Gli Antichi Ungari, nascita di una nazione, Bologna, 1998, p.132, no.117 (cat.515); Bashir, M., The Arts of the Muslim Knight, The Furusiyya Art Foundation Collection, Milano, 2008, p.34. 610 grams, 80.5 cm (31 5/8 in.). Acquired 1971-1972.From the collection of the vendor's father.Property of a London, UK, collector.Accompanied by an academic report by military specialist Dr Raffaele D'Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114437-196034.This exceptional sabre shows similarity with examples from the Caucasus and Kuban regions. The blade could be Khazar-Magyar, and certainly its best parallels are the specimens from Verchne-Szaltovo area. According to M. Gorelik, some of these sabres were produced by the Kabarians, a breakaway tribe from the Khazar State, who formed an alliance with the Magyars. The extra band welded beneath the quillons, together with the side tongue, not only protected the scabbard from being cut by the blade but, more importantly, defended the warrior’s fingers which were wrapped around the quillons when fighting. [No Reserve]

1876-1901 A.D.. Series of Art Handbooks comprising: The Industrial Arts of Spain (Riaño); Industrial Arts - Historical Sketches (various); Scandinavian Arts (Hildebrand); Danish Arts I & II (Worsaae) [2 vols]; Russian Art (Maskell); Persian Art (Murdoch Smith); Precious Stones (Church); English Earthenware (Church); Bronzes (Drury & Fortnum); Ironwork 1 & II (Starkie Gardner) [3 vols]; Gold & Silver (Hungerford Pollen) - all hardback with cloth covers, gold titling to spine and cover, black blocking. 4 kg total, 20 x 13.5 cm each (8 x 5 3/8 in.). Property of a Kent, UK, collector. [14, No Reserve]

Han Dynasty, 2nd century B.C.-1st century A.D.. Comprising a discoid body and cylindrical socket pierced twice for attachment (one piercing occluded); a circumferential zoomorphic frieze in high-relief to the exterior, displaying a procession of vegetal forms alternating with real and mythical creatures, each with stylised anatomical detailing: a monkey; a fenghuang; a leopard (or other feline); a tiger; set with a moonstone-quality khotain jade roundel, carved in high-relief with two sinuous fantastical beasts, swirling clouds in the field; minor restoration. Cf. James, C.S.Lin, The search for immortality – tomb treasures of the Han China, New Haven, 2012, fig.147, p.270, for similar jade pommel; fig. 20, for jade sword fittings; Chu A. and G., The collector’s book of Jade, New York, 1978, fig.20 a-f, for jade fittings and pommel of a sword; for similar types see also Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XIII, nos.41,56. 387 grams, 76 mm (3 in.). Acquired from Dandelion Fine Arts, Hollywood Road, Hong Kong, 1970s.Ex Prof. David Anderson collection.UK private collection, circa 2010.Accompanied by a copy of metallurgic analytical results, written by metallurgist Dr Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford).Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12036-211774.The Khotain jade was the best 'moonstone' quality used for gilded-bronzes, and came from the White Jade River, available after the signature of a military treaty in about 69BC to 101AD. This object is believed to have been produced for a notable client, likely even for a royal given the item's similarity to a finial excavated from the tomb of a Prince of Zhongshan.

Circa 19th century B.C. With foliate blade and tapering socket. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, see pl.XXXIV, no.1, for identical spearhead from Kanesh (Nesa or Kultepe). 183 grams, 25.6 cm (10 1/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.The bronze spearhead developed considerably during the period of the Assyrian colonies in Anatolia and even during the period Karum III-IV, maintaining consistently its southern shape. Conical points are also known from Bogazkoy's Karum levels. While spearheads from the first half of the 2nd millennium B.C. were hafted by means of a tang, with two slots in the blade providing additional support, most of the Late Bronze Age spearheads were socketted. [No Reserve]

Books. Two shelves of art history reference and general stock, 20th c, including Russian visual and decorative arts, some antiques, etc., mixed bindings and sizes

19th Century Russian School Naïve Folk-Art Painting, An equestrian portrait of Tsar Nicholas I (1796-1855) on horseback in a landscape with a monumental urn and a church in the distance. The image seemingly derived from an 1822 painting by George Dawe RA (1781-1829) whilst Nicholas was Grand Duke. Oil on Canvas 63 cm x 83 cm. A 19th Century St Petersburg gallery label to the back may relate to ownership of the military historian G S Gabaer (1877-1956) indistinct inscription on the stretcher

Soviet interest, art, history, architecture & biography to include Nicholas & Alexandra, Stalin, S Petersburg & Russian Icons (19)

Thomas Cooper GOTCH (1854-1931) The Lantern Parade Oil on canvas,Inscribed in pencil to verso ‘Painted by my grandfather, T. C. Gotch, and I was one of the children who held a lantern. P. D. McClellan’51 x 76 cm, 20 x 30 inEx collection Alec Walker, then Polly WalkerExhibited Artists of the Newlyn School 1880 – 1900, Newlyn Orion Gallery, City Art Gallery, Plymouth and Bristol Museum and Art Gallery, 1979, catalogue no 62Model Citizens, Penlee House Art Gallery, Penzance, 2014LiteratureIllustrated The Shining Sands, Tom Cross, Lutterworth Press, 1994, p139 in reverse imageIllustrated The Golden Dream, Pam Lomax, Sansom & Company, 2004, p164Collector's Note"Deidre (Patsy) McClellan, the daughter of Phyllis Gotch, was born in 1915; author and Gotch archivist Pam Lomax believes that The Lantern Parade was painted before 1910 and therefore McClellan couldn’t have been in the procession. Gotch was fascinated by light in darkness and explored this in several paintings with Chinese lanterns culminating in The Russian Tea Party of 1910." This oil is in excellent conserved condition. Overpainting is minimal and restricted mostly to the extreme right margin. Our catalogue speaks of the verso inscription being in pencil, although indistinct it is thought more likely that the writing is in ink.

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

[Otto Dettmer] ottoGraphic: 'The Modern Constructivist', Bath, Marshfield Screen Print, 2013, limited edition, number 7 of 20 copies only, pencil numbered and signed by Otto Dettmer, the 'original' pochoir stencilled edition, [24]pp, pochoir colour illustrations/printing throughout, plus loose folding pochoir poster at end, 58 x 41cm unfolded, 4to (29 x 21cm), original pochoir stencilled pictorial wraps, together with the two other smaller screenprinted 'copies' forming the complete 3 parts of the set, each limited editions of 100 copies, version 1 number 69 of 100, pencil numbered and signed by Otoo Dettmer, version 2 slightly varying from the first, some of the stencils reversed "and the result is more dreamlike", each 15 x 11cm, original pictorial wraps (3). Otto Dettmer is a Graphic Artist who practices as book artist, screen printer and illustrator. Twenty years ago Otto began creating and publishing screen printed books. His first participation at an artists’ book fair was at the Barbican in 1996 where he showed his conceptual visual narrative ‘Helping you back to work’. Since then he has been presenting books at major artists’ book fairs around the world and has now published in excess of 80 titles. Otto's image-making is derived from screen-printing which is digitalised since 1997. His technique is particularly affected by polish poster art and psychedelic designs of the sixties. The image composition is largely influenced by Russian Constructivist Designers, with their montage of photos, type and flat design elements. Baroque painting and sculpture has to a large degree informed Otto's treatment of the human figure.

[Otto Dettmer] ottoGraphic, a set of 5 screen-printing manuals published 2016-2018, comprising 'Screen Printing Manual', 'Screen Printing in Photoshop', 'Multichannel for Screen Printing', 'Image Making for Screen Printing', this a limited edition, number 30 of 45 copies, numbered and signed in pencil by the author, 'Advanced Screen Printing', all published otooBooks 2016-2018, all 26pp, screenprinted ills./text throughout, 22 x 15cm, original pictorial wraps, plus others by the graphic artist Otto Dettmer, including 'Dark Matter', Bath, 2018, limited edition, number 2 of 100 copies, pencil numbered and signed, [24] panel screen printed folded book, folded: 21 x 19 cm. unfolded: 38 x 84 cm. “Some years ago I made the book Dot Screen Print and the associated print "Molecules”. Dark Matter picks up the subject and explores the issue of super-imposing patterns further, touching on issues relating to quantum physics and astronomy.“ - Otto Dettmer is a Graphic Artist who practices as book artist, screen printer and illustrator. Twenty years ago Otto began creating and publishing screen printed books. His first participation at an artists’ book fair was at the Barbican in 1996 where he showed his conceptual visual narrative ‘Helping you back to work’. Since then he has been presenting books at major artists’ book fairs around the world and has now published in excess of 80 titles. Otto's image-making is derived from screen-printing which is digitalised since 1997. His technique is particularly affected by polish poster art and psychedelic designs of the sixties. The image composition is largely influenced by Russian Constructivist Designers, with their montage of photos, type and flat design elements. Baroque painting and sculpture has to a large degree informed Otto's treatment of the human figure.

After Vladimir Tretchikoff (Russian, 1913-2006) "The Chinese Girl", a vibrant portrait of a woman with red lipstick constrated against her blue tinted skin, print, in moulded frame, 56 cm x 66 cm overall[Tretchikoff was a self-taught artist who painted realistic figures, portraits, still life and animals, with subjects often inspired by his life in China, Singapore, Indonesia and South Africa. This print in particular was one of the best selling art prints of the twentieth century.]

Two albums containing a collection of Wills's cigarette cards circa 1900-1910 including Arms of the Bishopric 1907(full set), School Arms (incomplete), various Borough and City Arms (incomplete), Borough Arms 3rd Series 1905 (full set red), Borough Arms 3rd Series 1905 (full set grey) , Borough / City Arms 4th Series 1905 (full set), Nelson Series 1905 (missing 1, 10, 11, 12, 14, 17, 19, 20, 40 and 45), Town / City Arms 1904 (full set), another similar 1904 (full set), another 1903 (46/50), Vanity Fair 2nd Series (missing No. 29). Locomotives 1901 (28/50), Animals and Birds 1900 (x 9), Time and Money in Different Countries 1908 (full set), Royal Families of Europe 1908 (full set) (x 2), Naval Dress and Badges 1909 (full set), Billiards by John Roberts 1909 (x 17), Old English Garden Flowers 1910 (full set), Fish and Bait 1910 (full set), Arms of the British Empire 1910 (full set), The World's Dreadnoughts 1910 (full set) (25), Aviation 1910 (full set), The Coronation Series 1911 (full set), Signalling Series 1911 (full set), Celebrated Ships 1911 (full set), together with two albums of Wills's cigarette cards circa 1910-20 including A Series of 50 Roses, A Series 1912 (full set), Arms of Foreign Cities 1912 (full set), Musical Celebrities 1912 (full set), Historic Events 1912 (full set), Second Series of 50 Roses 1913 (full set), Old English Garden Flowers 1913 (full set), First Aid Series of 50 1913 (full set), Riders of the World Australian Issue 1913 (full set), A Series of 50 Alpine Flowers 1913 (full set), Arms of Companies A Series of 50 1913 (full set), Overseas Dominions (Canada) 1914 (full set), A Series of 50 Garden Life 1914 (full set), Musical Celebrities Second Series 1914 (missing No. 5, 15, 23 and 29), Physical Culture 1914 (Exercises) (full set), A Series of 12 Reproductions of Recruiting Posters 1915 (full set), Famous Inventions 1915 (full set), Famous Inventions New Zealand Issue 1915 (missing 15 Electric Tram), Overseas Dominions (Australia) 1915 (full set), Gems of Belgian Architecture 1915 (full set), British Birds 1915 (full set), Mining 1916 (full set), Military Motors 1916 (no Censor) (full set), Military Motors 1916 (Censor) (full set), Gems of French Architecture 1916 (full set), Gems of Russian Architecture 1917 (full set), Allied Army Leaders 1917 (full set), Britain's Part in the War 1917 (full set) (24) and three albums of Wills's cigarette cards circa 1920-30 including Did You Know 1922 A Series (full set), Wild Flowers 1923 (full set), Lucky Charms 1923 (full set), Gardening Hints 1923 (full set), Merchant Ships of the World 1924 (full set), Did You Know 1924 Second Series (full set), Railway Engines 1924 (full set), Flowering Trees and Shrubs 1924 (full set), Flower Culture in Pots 1925 (full set) and Ships Badges 1925 (full set), New Zealand Butterflies, Moths and Beetles 1925 (New Zealand Issue), Life in the Treetops 1925 (full set), Do You Know Third Series 1926 (full set), Roses 1926 (full set), Flags of the Empire 1926 (full set) (25), Wonders of the Past 1926 (full set), Roses 1926 (full set), Lighthouses 1926 (full set), Zoo 1926 (New Zealand Issue) (full set), Household Hints 1927 (full set), Engineering Wonders 1927 (full set), British Butterflies 1927 (full set), Homeland Events 1927 (New Zealand Issue) (missing 12 and 49), Units of the British Army and RAF 1928 (New Zealand Issue) (full set), Ships and Shipping 1928 (New Zealand Issue) (full set), Cricketers 1928 (full set), Wonders of the Sea 1928 (full set), Cinema Stars First Series 1928 (full set) (25), Cinema Stars Second Series 1928 (full set) (25), Romance of the Heavens 1928 (full set), English Period Costumes 1929 (full set), Rugby Internationals 1929 (full set), Flags of the Empire Second Series 1929 (full set) (25), Cricketers 1929 (full set), Famous Picture in 48 Sections "Between Two Fires by FD MILLETT" (x 1), together with another set (missing No. 5, 20, 21, 28, 29, 33), Railway Locomotives 1930 (No. 6, 11 and 50 of 50), Household Hints 1930 (full set) and three albums of Will's cigarette cards, full sets, large, including Old Silver 1924, Flowering Shrubs 1934, Trees 1937, Celebrated Pictures by British Artists 1916 2nd series, Arms of Universities 1923, Old Furniture 1st Series 1923, Old Furniture 2nd Series 1924, Heraldic Signs & their origin 1925, British Castles 1925, English Period Costumes 1927, Public Schools 1927, British School of Painting 1927, Modern British Sculpture 1928, Old Sundials 1928, Animals and their furs 1929, Rigs of Ships 1929, Cathedrals 1933, Arms of the British Empire 1st Series 1933, Arms of the British Empire 2nd Series 1933, Arms of Public Schools 1st Series 1933, Arms of Public Schools 2nd Series 1934, Famous British Liners 1934, Old Pottery & Porcelain 1934, Famous British Liners 2nd Series 1935, Round Europe 1936, Old Inns A Series 1936, Roses 1936, Famous British Authors 1937, Butterfles & Moths 1938, The King's Art Treasures 1938, Garden Wild Flowers New Varieties A Series 1938, Garden Flowers New Varieties 2nd Series 1939, Racehorses & Jockeys 1938 - 1939, Old Inns 2nd Series 1939

CHAGALL, Marc(1887 Ljosna - 1985 Saint-Paul-de-Vence) "Blaues Pferd mit Paar (2. Zustand)"Farblithografie. Unsigniert. 1982. 1 von 15000 Exemplaren. Blatt: 38 x 28 cm. Gerahmt & hinter Glas : 62,5 x 52 cm. Aus der Kunstzeitschrift "Derrière le miroir", Nr. 250, Hommage des Künstlers an das bekannte französische Verlegerpaar Marguerite und Aimé Maeght; mit Echtheitsbestätigung der Kunsthandlung Springmann, Freiburg. Französischer Maler russisch-jüdischer Herkunft. Er zählt zu den bedeutendsten Künstlern des 20. Jh. Literatur : Vgl. Gauss (1998) WVZ 993, S. 371. Aufrufzeit 24. | Feb 2024 | voraussichtlich 11:09 Uhr (CET) CHAGALL, Marc(1887 Ljosna - 1985 Saint-Paul-de-Vence) "Blue horse with pair (2nd state)"Color lithograph. Unsigned. 1982. 1 of 15000 copies. Sheet: 38 x 28 cm. Framed & behind glass : 62.5 x 52 cm. From the art magazine "Derrière le miroir", no. 250, homage by the artist to the well-known French publishing couple Marguerite and Aimé Maeght; with certificate of authenticity by the art dealer Springmann, Freiburg. French painter of Russian-Jewish origin. He is one of the most important artists of the 20th century Literature : Cf. Gauss (1998) WVZ 993, p. 371. Aufrufzeit 24. | Feb 2024 | voraussichtlich 11:09 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

BENOIS, Alexandre Nikolaevich (Бенуа, Александр Николаевич) (1870 - 1960) Kleine LandschaftÖl/Leinwand/Karton. Links unten signiert. 19,5 x 27,5 cm. Gerahmt : 37 x 43 cm (Goldstuckrahmen). Blick vom See zum Waldgebiet am Ufer im Sonnenschein. Altersspuren. Russischer Maler, Schriftsteller, Kunsthistoriker und Kritiker, studierte in St. Petersburg,Mitbegründer der Mir Iskusstwa. Aufrufzeit 24. | Feb 2024 | voraussichtlich 12:43 Uhr (CET) BENOIS, Alexandre Nikolaevich (Бенуа, Александр Николаевич) (1870 - 1960) Small landscapeOil/canvas/cardboard. Signed lower left. 19.5 x 27.5 cm. Framed : 37 x 43 cm (gold stucco frame). View from the lake to the wooded area on the shore in the sunshine. Traces of age. Russian painter, writer, art historian and critic, studied in St. Petersburg,Co-founder of the Mir Iskusstwa. About 24 Feb 2024 | probably 12:43 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A COLLECTION OF FOLK ART AND SIMILAR ITEMS, twenty pieces, mainly Russian/Eastern European in origin, to include painted wooden and real blown eggs, one large blown egg with signatures around it (broken), trinket boxes, matryoshka, a painted wooden peacock by Tarang Arts, etc. (1 box + loose) (Condition Report: generally good condition, sd and as stated)

JAMES BOND: THE SPY WHO LOVED ME (1977) - UK Quad and Exhibitors Campaign Book, 1977Bidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. When a British and a Russian submarine disappear, Agent 007 (Roger Moore) is called in to investigate in The Spy Who Loved Me (1977). Cubby Broccoli wanted this to be the "BIGGEST Bond of All", and it certainly lived up to the billing, from the massive purpose-built 007 soundstages at Pinewood (still very much in use today) to the marketing campaign, which was the first time to feature the talents of movie poster legend Bob Peak. His colourful, detailed imagery followed an art-nouveau style in a futuristic setting and very much set the film's tone. From huge submarines to a Lotus Esprit sports car that converts to a submersible, all are on full display with this country of origin UK Quad. Completing the lot is an Exhibitors' Campaign Book.40" x 30" (101 x 76 cm) & 15" x 9.75" (38 x 25 cm)Additional Information: Printed in England by Lonsdale & Bartholomew Ltd. Nottingham.Condition: Very Fine+Quad is folded with minor handling wear and a large pinhole in each corner but bright colours and minimal fold line wear. The campaign book has minor handling wear.Artist: Bob Peak£150 - 300VAT Status: MClick here for our Poster Auction Grading Guide

The Thyssen-Bornemisza Collection. Renaissance jewels, gold boxes and objets de vertu, by Anna Somers Cocks and Charles Truman, 1984; European silver, by Hanneklore Müller, 1986; Nineteenth-century American painting, by Barbara Novak, 1986; Twentieth-century American painting, by Gail Levin, 1987; Set and costume designs for ballet and theatre, by Alexander Schouvaloff, 1987; Medieval sculpture and works of art, by Paul Williamson, 1987; Seventeenth-century Dutch and Flemish painting, by Ivan Gaskell, 1989; Early Netherlandish painting, by Colin Eisler, 1989; Early Italian painting 1290-1470, by Miklós Boskovits, 1990; Early German painting 1350-1550, Isolade Lübbeke, 1991; Renaissance and later sculpture, by Anthony Radcliffe et al, 1992; Twentieth-century German painting, by Peter Vergo, 1992; Twentieth-century Russian and East European painting, by John E. Bowlt & Nicoletta Misler, 1993; The European Avant-gardes, by Christopher Green, 1995; Carpets and Textiles, by Friedrich Spuhler, 1998; Seventeenth and eighteenth century Italian painting, by Roberto Contini, 2002, all 1st editions, all original cloth in dust jackets, some covers lightly rubbed to head & foot, large 4to, together with:Lopera (José Alvarez), Modern Masters, Thyssen-Bornemisza Museum, 1st edition, Fundación Colección Thyssen-Bornemisza, 1992, numerous colour illustrations, original cloth in dust jacket, covers lightly rubbed, large 4to, plusHeinemann (Rudolf J.), The Thyssen-Bornemisza Collection, illustrations of the paintings, 1st edition, Ticino: Villa Favorita, 1969, numerous colour & monochrome illustrations, some minor toning, original cloth in dust jacket & slipcase, covers slightly marked & rubbed with a small tear to the foot of the spine, large 8voQTY: (18)

A Russian folk art water colour of a couple flying on a rooster 24cm x 24cm

Late C20th Russian blue ground table cloth 225cm x 150cm, an Art Nouveau pattern table cloth 222cm x 144cm, other white table linen and bed linen

Estate / Collection: Property of a New York Art CollectorPendant signed Lassaw. Length 16 inches. Egyptian-born American artist Ibram Lassaw was an early to mid-century pioneer of abstract sculpture. Born to Russian parents in 1913, Lassaw's family immigrated to Brooklyn in 1921. He was educated in the arts and developed his techniques at the Brooklyn Children's Museum, Clay Club, and New York's Beaux Arts Institute of Design and City College. Lassaw learned his welding technique while serving in the U.S. Army during World War II, which he applied heavily to his art. He was influenced by Pablo Picasso, Joan Miro, Julio Gonzàlez, the Russian Constructivists, among others, as well as his passions and studies of biology, cosmology and Zen Buddhism. His first solo show debuted at Kootz gallery in New York City in 1951. After that, he exhibited widely until his passing in East Hampton, NY in December of 2003.Condition Report:Some silvery patina of another metal on center. 3 1/4 x 2 7/8 inches.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.

A Russian yellow metal ring with folk art hand engraving to the domed shoulders, set with a pink glass gem, finger size S1/2, weight 6.7gms Condition Report:Available upon request

SHEVCHUK, MYKOLA (Ukrainian, b.1965) "Morning", a forest view with morning dappled light, Impasto acrylic on canvas, signed bottom right, 80 x 60 cms (1) Further information:Mykola Shevchuk, is a Ukrainian artist. sculptor member of the National Union of Artists of Ukraine (1997 ) was born on October 30, 1965, in the village of Smiga, Dubensky district, Rivne region, Ukraine)., Honored Artist of Ukraine (2015), teacher, volunteer, head of the district organization of the Vasyl Stus "Memorial" soclety, "Person of the Year of Ternopil Oblast - 2015" in 1980-1984 he studied at the Kremenets Pedadodical School. After araduation. he worked as a teacher of labor and drawing at an eight-year school in the village of VovchkivtsI, Zboriv district, Ternopil region In 1992, he graduated from the Faculty of Architecture of the Lviv Polytechnic Institute (now Lviv Polytechnic National University). In 1993-199. he worked in the Tereboviva Cit Councias an endineer-architect. Since 1995, he has been a teacher at the Terebovlya Higher School of Culture (TVUK), [now the Terebovlva Vocationa Collece of Culture and Arts) one of the founders of the Department of Decorative and Applied Arts of this institution. Creative activity covers the fields of graphics, monumental, easel and decorative painting, iconography and sculbture. He is a participant in regional, regional, All-Ukrainian and international exhibitions of painting, graphics and sculpture. In 1997 he was the author of the idea and the artist of the mosaic bane "Terebov-900" (34 square meters, enamel), which was created for the 900th anniversary of the city of Terebovli, Ternopil region together with Dmytro Shainoga, Honored Artist of Ukraine, and Bohdan Tkachyk, People's Artist of Ukraine. Personal exhibitions; Organized the first personal exhibition at the Ternopil Regional Art Museum (1995), Terebovlyan Museum of Local Lore (2005), Exhibition of icon painting in the Ternopil "Art Gallery" (2010), A series of personal exhibitions from the 200th anniversary of Taras Shevchenko's birthday, "In our paradise on earth", which highlight the history of Ukraine from ancient times to the present: National University "Ostroh Academy" (2014), Rivne, art gallery of the National Union of Artists of Ukraine [2014), Ternopil, art gallery of the National Union of Artists of Ukraine (2015), Terebovlia. central district library for adults (2015), Kyiv, municipal gallery in Troeshchyna (2018), Zbarazh. National Reserve "Castles of Ternopil" (2019), Berezhany, Bohdan Lepky Museum (2019), Smiga of the Duben District, Center for Culture and Leisure (2019), Historical and Architectural Reserve "Duben Castle" (2019). The author and performer of the first three-dimensional monument of the Heavenly Hundred in Ukraine in 2014 in the city of Terebovli (sandstone 4 m./0.80 m./0.70 m) Author and executor of the monument to the Fighters for the Freedom of Ukraine (Terebovlia) Organizer and leader of a number of art symposia and plein airs: 1.International pictorial plein air "StareNove city. Terebovlya-2012, 2.International pictorial plein air "Stare Nove city. Terebovlya-2013" 3.All-Ukrainian stone symposium "Water from under the stone. Terebovlia 2013". 4.All-Ukrainian charitable plein-air exhibition in support of defenders of Ukraine "To vou. Mother of God. Zarvanvtsia-2015" 5. All -Ukrainian charitable plein-air exhibition in support of the defenders of Ukraine "Bayda-SICH. Vyshnivets-2015", 6. All-Ukrainian charitable Icon-painting and painting plein air in support ot defenders ot UKraine "WINDOW IN THE SKY. Zarvanytsia-2016",-2017,-2018, 1.Initiator and organizer of the First All-Ukrainian Sculpture Symposium "THE AGE OF GOD. Zarvanvtsia - 2017". 2.Participant in the charity painting of the first military chapel in Ukraine on Mount Lvson to commemorate the 100th anniversary of the battle of the Sich riflemen with the Russian invaders Received man state awards Mykola Shevchuk's paintings are in private collections in Ukraine, the USA, England, and Europe.

Britains - World War II Series, comprising: Set 17592 - Russian LMG with Crew, Set 17586 - German Kettenkrad with Crew, Set 17455 - U.S. "Big Red One" Mortar Team & Set 25004 [Osprey Art] Canadian Forces Regt' de Maisonneuve, 1944. Mint overall, contained in near Mint set boxes. [4]