We found 4623 price guide item(s) matching your search

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

Clocks - an early 20th century school or railway clock, 28cm diameter; a Russian Lantaz rectangular wall clock; another circular; an Art Deco wall clock; a German wall alarm clock; etc, qty

An Interesting Archive Relating to the Kadloubovsky Family, Russia and Tehran c1904-1948. A large group of photographs and ephemera relating to the Kadloubousky family including registration cards, passports, identity certificates and travel documents which document the movements of thefamily after leaving Russia for Tehran and not returning. Vladimir, Eugenie's and Son, Sergei's travel documents from 1919-1920, in Russian, to allow travel to Tehran, then Tehran to Paris and onto London. Ministry of Foreign Affairs Documents. (Russian), Serge Kadleigh's release document from Royal Engineers 1945. Many photographs by an amateur hand documenting, mainly in Tehran, including poppy pickers, Cossacks, various scenes, groups of people, formal and informal. Military images in Tehran. An image of Atabak Park, scene of the Atabak Park incident, which led to the deaths of 300 rebels in July 1910. A photograph of Henry Maurice Nicoll, psychiatrist, A.S.Chernov. A postcard sent to P Kraatz in Helsinki who was a Finnish Senate member. A Lot. Vladimir Mikhailovich Kadloubovsky was born in Russia, 17th February 1878. His wife, Eugenie was born in Reval, Russia on 23rd August 1892. They were living in St. Petersburg when their son, Sergei (George) Kadleigh was born on 6th August, 1915. Vladimir worked for the Russian government in Tehran from 1916, through the Russian revolution and eventually settled in the UK. Kensington News and West LondonTimes 8th July 1932. “NOTICE IS HEREBY GIVEN that VLADIMIR KADLOUBOVSKI, of 85, Talgarth Road W14, has applied to the Home Secretary for naturalisation and that any person who knows of any reason why naturalisation should not be granted should send a written signed statement of the facts to the Under Secretary of State HomeOffice, London”. The census of 1939 shows Vladimir as a shop manager in the fine art trade and his wife Eugenie, as a translator and language teacher. Vladimir's naturalisation did not come through until 4th November 1948, after which he changed the family surname to Kadleigh. He died in July 1950 and is buried in Brompton Cemetary. Eugenie is very well known as she translated the esoteric writer, P.D.Ouspenky's work into English. Sergei, the Son, later became a well known architect in London. The Kensington Post of 7th November 1952 describes his career. Provenance: Directly from a family member. Condition: Mixed but generally very good

Hand painted and ornately decorated in vibrant colors. This intricate scene depicts a folkloric Russian warrior, the style is reminiscent of traditional Eastern European or Slavic folk art. Back stamped. Dimensions: 5.25''L x 4''W x 1.5''HCountry of Origin: RussiaCondition: Age related wear.

Wassily Kandinsky (1866–1944) was a Russian painter and art theorist known for his pioneering role in the development of abstract art. Born in Moscow, Kandinsky initially pursued a career in law and economics before turning to art later in life.Kandinsky's early works were influenced by Russian folk art and the Symbolist movement, but he later developed his own distinctive style characterized by bold colors, geometric shapes, and dynamic compositions. He believed in the power of art to express inner emotions and spiritual truths, and he sought to create paintings that resonated on a deeper, more emotional level.One of Kandinsky's most famous works is "Composition VII" (1913), which exemplifies his mature abstract style. The painting features a complex arrangement of geometric shapes and vibrant colors, evoking a sense of movement, rhythm, and harmony. Kandinsky saw his abstract paintings as a form of visual music, with color and form serving as equivalents to musical elements such as melody and rhythm.In addition to his work as a painter, Kandinsky was also a prolific writer and art theorist. He wrote extensively on the spiritual and philosophical aspects of art, and he played a key role in the development of abstract art theory.Kandinsky's work had a profound influence on the development of modern art, inspiring subsequent generations of abstract artists and helping to establish abstraction as a legitimate artistic style. His bold experimentation with color and form continues to be admired for its innovation and originality, and his legacy as one of the great pioneers of abstract art endures to this day.Measures 38.0 x 53.5.

Kleine Ziervasein der Art von Karl Fabergé. Silber, teilw. vergoldet sowie Bergkristall und Nephrit. Stand in Form einer konischen Vase. Herausnehmbarer Vergissmeinnicht-Zweig mit kleinen hellblauen Glasblüten sowie Blättern. H. 18,5 cm. A Russian rock crystal vase with a small gilt silver forget-me-not blossom-twig with leaves of nephrite in the style of Karl Fabergé.Russland. 20. Jh.

Kleine Ziervasein der Art von Karl Fabergé. Farbloses Glas und Silber, vergoldet. Konischer Glastopf mit einsetzbarem, schmalem Blütenstängel, bekrönt von einer Blüte aus weißen, geschliffenen Steinen sowie Malachit-Blättern. Gest. 88. H. 15 cm. A Russian glass flower vase with a silver gilt flower stem in the style of Karl Fabergé. Standard mark 88. Russland. 20. Jh.

Wassily Kandinsky, Russian 1866-1944, Blatt Fur; woodblock print on Arches wove, from Klänge (second edition, 1911), plate: 21 x 16.5 cm, (framed)Provenance: from the collection of the artist and Professor of Art at Nottingham Trent University, Derek Carruthers.

Attributed to Wassily KANDINSKY (1866-1944) abstract composition, watercolor on paper, signature of the author and date on the front, 1940. Wassily Vasilyevich Kandinsky is a Russian artist and theorist of fine arts, who stood at the origins of abstract art. One of the founders of the "Blue Rider" group. A wonderful abstract painting collectible. Size 24x15.

Attributed Konstantin Somov "Venice", watercolor on paper, not signed, Russian painting of the early 20th C. Konstantin Andreevich Somov (1869 - 1939) - Russian painter and graphic artist, master of portraiture and landscape, illustrator, one of the founders of the World of Art society and the magazine of the same name. Academician of the Imperial Academy of Arts (since 1913). Russian painting for collecting. Size 41x57 cm.

Attributed to Wassily KANDINSKY (1866-1944) abstract composition, watercolor on paper, signature of the author and date on the front, 1931. Wassily Vasilyevich Kandinsky is a Russian artist and theorist of fine arts, who stood at the origins of abstract art. One of the founders of the "Blue Rider" group. A wonderful abstract painting collectible. Size 39x29.

Russian gilded and enamel Easter egg on a silver stand, Russian, 20th century. The egg is embellished with polychrome foliage, floral and scrollwork patterns made in the cloisonne technique. Silver stand in the shape of three dolphins. A wonderful example of Russian jewelry art. Height 14 cm.

Pavel Petrovich TRUBETKOY (1866-1938) ÒFigure SkaterÓ, Bronze, 1933. Signed on the base "Paul Troubetzkoy 1933". Prince Paolo Troubetzkoy (February 15, 1866 - February 12, 1938) Italian - Russian sculptor and painter, a prominent representative of sculptural impressionism, one of the most famous students of Ernesto Bazzaro. Author of monumental statues and portraits. One of them is monument to Emperor Alexander III in St. Petersburg. Professor of the Moscow School of Painting (1898Ð1906), one of the founding members of the "World of Art" society (in 1899). A wonderful collectible item of the famous Italian - Russian sculptor. Height 25 cm.

Dimitri VORONTZOV (1931) Autumn in the village - First snow, oil on canvas, Soviet painting of the 20th century. The author's signature on the front, the author's signature and the title of the painting on the back in Cyrillic letters. Vorontsov Dmitry Andreevich - Russian painter. Honored Artist of Russia. Member of the Union of Artists of Russia. Teaches at the Moscow Art School. The works of Dmitry Andreevich Vorontsov are included in the art collections of the Russian Ministry of Culture, as well as in private collections in Russia, the USA, France, Great Britain, Spain and Poland. Size 99x59 cm.

Original vintage advertising poster for Jacob Kramer Exhibition from 8 September to 9 October at the Leeds City Art Gallery featuring an artist's signature in white set over a black background. Jacob Kramer (1892-1962) was a Russian Empire-born painter who spent all of his working life in England. Printed by Partridge Designer Printers. Good condition, folds, creasing, pinholes, staining. Country of issue: UK, designer: Unknown, size (cm): 50.5x38.5, year of printing: 1960s.

THE SCARLET EMPRESSFrench Grande (47" x 63")Very Fine+ on Linen; Artwork by Roger Vacher Paramount, 1934This sensational original release French grande features one of the most beautifully rendered drawings of Dietrich and is believed to be the only known copy.There are minor touch-ups after restoration, but overall, it is a very beautiful and clean poster.Marlene Dietrich reigns as the German Princess Sophia Frederica, who became Catherine the Great after her arranged marriage to the mad Russian Grand Duke Peter, played brilliantly by Sam Jaffe. Delightfully seductive, Catherine, unhappy with the restrictions of her aristocratic duties, entertains herself by wooing several members of the Russian army, including the dashing John Lodge, as Count Alexi. Director Josef von Sternberg's elaborate and surreal set designs and lighting make this historical drama a stunning work of art to behold.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.

A rare Chinese rose-grisaille cup and saucer after 'Actors of the Comedie-Francaise' by Watteau, Yongzheng/Qianlong Dia.: 7,3 cm - H.: 3,9 cm (the cup) Dia.: 11,7 cm (the saucer) Provenance: - A Belgian private collection. - Acquired from an American private collection in the region of Portland, Oregon.Ref.: - The State Hermitage Museum, inventory number ГЭ-1131, for the original painting 'Les Acteurs de la Come;die-Française' also known as 'Coquettes qui pour voir' or 'La Mascarade' by the French painter Jean Antoine Watteau (1684-1721), painted in 1711-1712. By the mid-18th C., the work belonged to Louis Antoine Crozat (1699-1770), Baron de Thiers, the younger brother of the Parisian merchant and art collector Pierre Crozat. It was acquired in 1772 for Empress Catherine II of Russia and has since been among the Russian imperial collections in the Hermitage and the Gatchina Palace. Now part of the museum's permanent exhibition, it remains on display in the Winter Palace. (link) (see reference image 7) - The National Library of Spain, inventory number bdh0000144141, for the engraving by Henri Simon Thomassin (1688-1741), which probably served as the example for a smaller version as explained below. (link) (see reference image 8) - The National Academy of Lincei, Italy, inventory number S-FC53606, for a small version by an unknown publisher, which was likely sent to China where it served as the source for the design of this tea service. It was a common practice for European merchants to send small versions of large engravings (mostly after important paintings) to the Chinese workshops, to have them reproduced on porcelain. (link) (see reference image 9) - A single cup of this service is in the Lurie collection. Given the rarity of this design we can assume that only one service was ordered and/or made it back to Europe. It was likely a French command, possibly from the entourage of the brothers Pierre and Louis Antoine Crozat. Pierre was one of the principal advisors to Philippe II, Duke of Orle;ans, and it was only after his death in 1740 that his collection passed to his younger brother, Louis Antoine, Baron de Thiers. After his death in 1770, the work found its permanent home in Russia through a sale brokered by the famous philosopher Denis Diderot, a prominent figure during the Age of Enlightenment. Our sincere thanks to Will Motley and Peter Greendyke for their kind help with the description of this lot.

A RUSSIAN ENAMEL KHODYNKA BEAKER OR 'CUP OF SORROWS'LATE 19TH CENTURY, DATED '1896'produced to commemorate the Coronation of Tsar Nicholas II and Tsarina Alexandra Feodorovna10.5cm highProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A Russian style white metal Niello belt buckle with typical black decoration, oval shaped convex form, fastening with miniature sabre/dagger with loops to reverse for belt, width 8cm, with safety chain and marks stamped; Art Nouveau style convex oval belt buckle with young girl looking at an iris, central enamel decoration, width 8cm

Youry Bondarenko (Russian, born 1952), oil on canvas, 'Regent's Park, Last Sun's Rays', 2004. Signed lower right, Marvel Art Ltd gallery label verso. 49cm x 78.5cm, framed.

Four 19th century Russian Folk Art spoons, three with religious building decoration to bowls, 20cm long and smaller (4)

Coalport lady, NAO ballet dancer, Russian pottery cow, and 4 Art glass figures

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]