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Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection

An Art Nouveau gold and pearl brooch, Russia, late 19th/early 20th century, designed as a stylised flower set with a seed pearl, mounted in gold, length 3.6cm, Russian 56 zolotnik and St Petersburg city marks, assayer or workmaster mark ПT, pearl untested

An Art Nouveau sapphire and diamond ring, Russia, early 20th century, of stylised foliate design, set with circular-cut diamonds and a circular-cut sapphire, mounted in gold, size K, Russian 56 zolotnik assay mark

ATTRIBUTED TO ALEXANDER KUCHARSKI (1741-1819) AFTER ELISABETH-LOUISE VIGEE LE BRUN (1755-1842) 'The Countess Potocka' a bust-length portrait of Zofia (Sophie) Potocka, wearing a blue ribbon in her hair, pastel on paper, 46cm x 37cmNote: Born Zofia Clavone in modern day Turkey in 1760, Zofia was a Greek slave courtesan and a Russian agent, later a Polish noblewoman. She was famous in contemporary Europe for her beauty and adventurous life.A 1943 letter penned by Reginald W.M. Wright, Director of Victoria Art Gallery and Municipal Libraries, Bath, is affixed verso, in which he details his opinion that the sitter is Countess Alexandra (Anna) Potocka (née Tyszkiewicz) the wife of Count Aleksander Stanisław Potocki. A further newspaper clipping housed in an envelope verso refers to the sitter being the Delfina Potocka, the Polish Countess, friend and muse to Frederic Chopin.

Moscow School (20th Century) Study of Fish, signed 'Abetnik' and dated 88 lower right, inscribed to verso 'A Abadzan' to verso, oil on board, 60 x 71 cm, frame 75 x 86 cmPrivate collection, purchased by the vendor from exhibition Russian Contemporary Art, Dinham House, Ludlow, 1990 - leaflet present

Two early 20th century folios of Russian State museum collections - pub. Moscow and Leningrad, State Art Publishers, 1939, one titled 'The Pushkin State Museum of Fine Arts' to the spine of the embossed maroon faux-leather folio, with 17 of the original 20 colour reproductions of significant artifacts and works from the collection, with an explantory booklet of notes; the other titled 'The Tretyakov State Gallery', in tan faux-leather folio, with 19 of the original 24 colour reproductions, plus accompanying booklet, both 37 x 28.5cm.

Sogachev (Russian, 20th Century) 'Quiet Abode' Oil on Canvas Undated, signed in Cyrillic lower right, signed again in Cyrillic and titled verso, a depiction of buildings in snow having moderate impasto, in a painted white gesso on wood frame Property from: a Private Collector, Glen Ellyn, Illinois Height: 13 1/2 inches, Width: 19 1/2 inches (stretcher)Frame Size: 17 1/2 inches by 23 1/2 inches Condition: no damage to artwork noted, frame having a split to wood near right edge of painting Disclaimers: not examined out of the frame Category: Fine Art > Paintings Estimated Sale Time: 10:25 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

Alexej Alexejewitsch Harlamoff (Russian, 1842-1925) 'Girl in White' Oil on Canvas Undated, signed lower right, depicting a portrait of a young girl dressed in white, wearing a veil, in a gilt and gesso on wood frame, acrylic backing, Richard Green gallery label and title verso, including paperwork from Richard Green Gallery and Springfield Fine Arts Limited Property from: a Private Collector, Muncie, Indiana Height: 26 inches, Width: 20 inches (canvas)Frame Size: 24 inches by 28 inches Condition: no damage noted, inspected under UV lighting, frame having minor cracks, canvas relined Disclaimers: not examined out of the frame Category: Fine Art > Paintings Estimated Sale Time: 10:24 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8

AMAZING SPIDER-MAN #129 RUSSIAN EDITION (2019 - COMME IL FAUT LTD) - GRADED 9.8(NM/MINT) by CGC - International variant of the first appearance of the Punisher (Frank Castle) + First appearance of the Jackal - John Romita Sr. & Gil Kane Cover and interior art by Ross Andru - CGC 9.8 (NM/MINT) White Pages - Presented Slabbed and Sealed

Sergei Kuzmich Frolov (Russian USSR 1924-1988) - Unframed oil on board depicting a European river scene. Approx. 40 x 50cms. Sergei Kuzmich Frolov (Russian: Серге́й Кузьми́ч Фроло́в; 26 September 1924 in Baklanka, Vologda Governorate of the USSR – 1998 in Saint Petersburg, Russian Federation) was a Soviet, Russian realist painter, watercolorist, graphic artist, and art teacher, who lived and worked in Saint Petersburg (former Leningrad), a member of the Saint Petersburg Union of Artists (before 1992: the Leningrad branch of Union of Artists of Russian Federation).[1] He was regarded as a representative of the Leningrad school of painting.[2] reasonable used condition

EUGENE GUSTAVOVITCH BERMAN (RUSSIAN/AMERICAN 1899-1972) SKETCH OF A TEMPLE Black and red ink with black wash Signed with monogram and dated '1985' (lower centre) 15.5 x 20.5cm (6 x 8 in.) Provenance: Sale, Rosebery's, London, Impressionist, Modern, Post War & Contemporary Art, 4 December 2019, lot 83 Exhibited: Rome, Eugene Berman, Galleria 88, 1962 This lot to be sold without reserve  

Russian folk art. A painted wood matryoshka doll, early 20th c, 14cm h and another, second quarter 20th c (2) The outer doll of each with typical wear scratches and in the case of the second example, some flaking of the paint

Y Oleg Zhivetin known as Oleg (Russian, b. 1964)MessengerGiclee print on paperLimited edition No. 155 of 195Signed & dated Mounted, framed & glazed in decorative frameWith certificate & receiptOleg Zhivetin was born on March 18, 1964 in Tashkent, Capitol of the Soviet Republic of Uzbekistan, to a family of Russian painters. While still young, his family resettled in Moscow, where Oleg began his studies at age fifteen at the Moscow Academy of Art. He earned his Fine Art degree with honours, in 1982. After graduation, Oleg grew beyond his academic focus of Dutch, Flemish, Renaissance old masters, and Soviet social-realism to develop a much more individualistic and contemporary style. Oleg decided to hire one of his neighbours to sell his art on the street in order that he could earn some money to live. The artwork began to sell after a few months, and eventually, his neighbour asked him if he wanted to go to America. Oleg was given a phone number to call to arrange for this opportunity. It turns out that the telephone number belonged to a man who was looking for exceptional artists to sponsor. Needless to say, the sponsor liked what he saw in Oleg’s work. This sponsorship allowed Oleg to work in the United States under a three-month visa. He arrived in California and took some of his paintings to a Russian art dealer.Measures approx. 40cm x 40cm (16" x 16")

Artist: Wassily Kandinsky (Russian, 1866 - 1944). Title: "Composition [#1]". Medium: Color crayons drawing on paper. Date: Composed 1944. Dimensions: Overall size: 5 x 8 1/2 in. (127 x 216 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $20,000/25,000Lot Note(s): Signed and dated in pencil, lower right. Drawn on cream wove paper. Fine condition save edge shading left edge of paper, so Very Good to Fine. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from the Francois Sergent Collection of Paris, France, in 1964. A noted Italian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Kandinsky image copyright © Artists Rights Society (ARS), New York. [30632-2-1000-NR]

Artist: Wassily Kandinsky (Russian, 1866 - 1944). Title: "Composition [#2]". Medium: Color crayons drawing on paper. Date: Composed 1944. Dimensions: Overall size: 8 1/2 x 5 1/16 in. (216 x 129 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $20,000/25,000Lot Note(s): Signed and dated in pencil, lower right. Drawn on cream wove paper. Fine condition save edge shading top and left edges of paper, so Very Good to Fine. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from the Francois Sergent Collection of Paris, France, in 1964. A noted Italian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Kandinsky image copyright © Artists Rights Society (ARS), New York. [30633-2-1000-NR]

Artist: Alexander Archipenko (Ukranian-Russian-American, 1887 - 1964). Title: "Kneeling [unrecorded signed lifetime impression]". Medium: Original drypoint. Date: Composed 1920. Dimensions: Overall size: 15 x 10 11/16 in. (381 x 271 mm). Image size: 7 x 5 in. (178 x 127 mm).Pricing:   Starting Price: $3,000  Reserve Price: N.A.  Auction Sale Price Estimate: $4,000/5,000Lot Note(s): Signed in pencil, lower right. Not editioned in Archipenko's lifetime. Cream wove paper. Full margins (deckle edges all four sides). Fine impression; printed in brown ink. Very good condition. Literature/catalogue raisonne: Karshan 4. Provenance: The estate of John and Valere Butterwick, Kewanee, Illinois. Comment(s): Exceedingly rare, perhaps unique, proof. Unknown to Karshan. As he states,"Kneeling is the second drypoint of only three that the artist executed ["Kneeling," "Bending," "Angelica"]. The original copper plates [of these three] were discovered by the artist's widow in 1966 at his atelier in Woodstock, New York. These plates were in sufficiently good condition to permit posthumous editions to be printed, since only one life-time proof was known of "Bending," two of "Angelica," and none of "Kneeling." These three editions were printed in New York by Miss Judith Foster in 1967, under the supervision of the artist's estate." Donald Karshan, "Archipenko: The Sculpture and Graphic Art." Tubingen: Ernst Wasmuth, 1974, pg. 75. Image copyright © Estate of Alexander Archipenko / Artists Rights Society (ARS), New York. [25193-4-3000-NA]

A large assortment of badges comprising of enamel and gilt metal badges comprising of six various Daily Mail Teddy Tail League badges, made by Fattorini; two by J. R. Gaunt, two by Roden Brothers, one with 1937 tricolour bar and one by Toye, Spencer and Kenning, 25mm long; Famous Artists Kellogg's Pep badge, depicting Mamie wearing red jacket, 18mm diameter; two Persian Nov. Com tin plate badges depicting Dale Arden and Little Annie Rooney, 20mm diameter; Western Theatre Premium Terry Toons, No. 9, 23mm diameter; Bastian Brothers celluoid badge, with portrait of a yellow dog, 15mm diameter; unnamed gilt brass 'Junior G Man' cartouche shaped badge, with outswept wings within star border, 40mm wide; two Russian celluloid Disney badges, depicting Mickey/Minnie Mouse, marked Ll25K verso, 45mm diameter; Kay Kamen Mickey Mouse Globe Trotters badge, depicting Mickey Mouse holding a radio, 30mm diamter; Phildelphia Badge Co. Mickey Mouse Club, depicting standing Mickey Mouse bearing black and red text, 30mm diameter; unnamed Walt Disney Enterprises 'Follow My Adventures, Buy Cote's Master Loaf', Mickey Mouse wearing red outfit and shoes, with black text, 30mm diameter; Kay Kamen Official Mickey Mouse Store badge, red and yellow celluloid badge, 30mm diameter; unnamed Mickey Mouse celluloid badge, Mickey wearing red outfit, with red lettering, 20mm diameter; M. Pudlin Penny's for 'Back to School' Needs, celluloid badge depicting Mickey Mouse wearing black outfit with orange shoes and black and orange lettering, 20mm diameter; celluloid 'Donald Duck' badge, celluloid badge with orange lettering, 20mm diameter; pair of Commercial Beverage Co. five Donald Duck 'Cola' tin plate bottle lids, 30mm diameter; two Mickey orange soda tin plate bottle lids, 30mm diameter; unnamed 'Felix' Orange Dry gilt metal bottle lid, 30mm diameter; unnamed tin plate Minnie Lime soda bottle lid, 30mm diameter; another depicting Clarabelle; Roden chrome plated Mickey Mouse Club badge, with red enamel background, 25mm diameter; Roden Mickey Mouse Weekly, Jungle Club, with blue enamel banner and tiger decoration, 25mm diameter; Reddy Kilowatt red enamel and gilt metal badge, marked M.R. verso, 21mm long; together with an unnamed example; unnamed enamel pendant in the form of a lady wearing a red dress with black shoes, 35mm long; Art Deco Mae West Come Up Sometime chrome plated badge, lady wearing a red dress, 40mm long; Thomas Fattorini clown head badge, with black and white enamel, 25mm long; unnamed standing duck, wearing women's clothing particularly red jacket and orange scarf and umbrella, 30mm long; unnamed chrome plated girl shaped badge wearing a blue dress and blue Scotty dog, 35mm long; Fattorini 'Original Desmond', spotted black and white seated dog, with yellow bow, 20mm high; unnamed chrome plated badge, girl wearing yellow spotted dress, 35mm long; unnamed gilt metal and enamel badge, depicting man riding a donkey, wearing a black jumper and red trousers, 20mm long; unnamed chrome plated black Scotty dog badge, 20mm long; unnamed chrome plated and black enamel 'bird' entertainer holding a walking cane, 32mm long; Western Theatre 'Oswald the Lucky Rabbit' tin plate badge, 25mm diameter; gilt metal thimble with applied enamel Mickey Mouse, 20mm high; silver and yellow enamel 'Goofy' stick pin, 45mm long; unmarked yellow metal and enamel Donald Duck oval shaped pendant, 22mm long; unnamed gilt metal and enamel Mickey Mouse pin badge, 30mm diameter; unnamed Minnie Mouse enamel and gilt metal badge, wearing red dress and yellow shoes, 25mm diameter; unnamed Snow White gilt metal and enamel badge, wearing a yellow dress, 32mm long; with one of the dwarfs wearing a red outfit, 15mm long; unnamed gilt metal and coloured enamel Olive Oil badge wearing black and red dress, 30mm long; unnamed Popeye badge, wearing black top and blue trousers, unnamed Wimpy badge wearing black jacket and orange trousers, 30mm long

Possibly Nathalie Gontcharova (Russian 1881-1962), watercolour on paper. 'The Hot Sun in the Sky'. Circa 1910-15, Avant Garde Art. Initialled 'NG' lower right, 26cm x 32.5cm.The artist is also known as Natalia Sergueievna Gontcharova/Gontcharoff.

Collection of ethnic, tribal (including some hand-made) figures, costume dolls and novelties, including: Masai tribal art Kenya wooden figures; Java rod puppets; Soviet / Ukranian porcelain figures; Cherokee cloth doll; Japanese wooden peace offering doll; Russian matryoshka nesting dolls; Tangaroa Cook Islands New Zealand; Terra-cotta Army soldier; etc; Good to Excellent, (qty).

Russian School (mid-century) Girl with Rose, in the Art Nouveau style copper repoussé, Chekanka, label to verso, 28cm x 18cm

The Soviet Theatrical Poster - a complete set of twenty-four 20th century Russian framed and glazed poster prints. The set of 24 printed by the Aurora Art Publishers - Liningrad. The set features works by Stenberg Brothers, Mayakovsky, Akunin and other artists from the USSR from 1920s-1970s. Damage to one glazing.Each measures approx. 57cm x 41cm.

An early 20th Century German 800 standard silver, diamond and sapphire cigarette case, cushion shaped picked wave like pattern to front and reverse, overlaid with geometric gold wire work with central old cut diamond and a double cabochon sapphire terminals, gilt interior, blue glass set push clasp, measuring approx 80 x 90mm, hallmarked by Louis Kuppenheim of Pforzheim, circa 1900, total gross weight approx 3.36 ozt (104.2 grams)   Further details: slight scratch to lower sapphire; light tarnishing and wear; minor loss to gilding and general wear. Provenance: Paul Georg Glass and thence by descent  Note: Paul Georg Glass was born in Vienna in 1891, he studied Law finishing his degree just before World War I broke out. He enlisted in the Austrian Army and from 1914-1918 fought at the Russian Front with the mounted artillery; he was decorated for his army service, including the Iron Cross. Paul lived and worked in Vienna in the 1920s & 30s. The Nazis revoked Paul's position as a lawyer because he was Jewish and fled to Britain and lived in Hampstead.  Paul lived in London until he was arrested as an "enemy alien" on 2 July 1940 and was deported to Australia on the HMT Dunera.   During his internment Paul produced art mainly portraits of his fellow inmates, many of whom were Austrian.  Paul returned to Britain on 15 October 1941 and married Ena Glanville on 6th September 1943. They later moved to Austria in 1946 where Paul was reinstated as an advocate. 

A Russian enamelled silver box. Maria Semyonova. Moscow, 1899-1908.Of rectangular form, the hinged lid decorated with pansies painted en plein enamel on a blue ground and framed by a white cloisonné enamel border, the sides cloisonné enamelled with polychrome foliate scrolls, 4.8 x 8.4 x 2.4cm, approx. weight 4.2ozt Provenance: Property of the Late Jane Sinclair Morpeth. Footnotes: cf: For a similar example by Maria Semyonova see: Christies, Lot 78, Christie's Interiors, 4 June 2013, https://www.christies.com/en/lot/lot-5688295 ccf: A further similar example by Maria Semyonova was sold at Sothebys, Lot 106, Faberge, Gold Boxes, Vertu & Imperial Works of Art, 28 November 2023,  https://www.sothebys.com/en/buy/auction/2023/faberge-vertu-gold-boxes-vertu-imperial-works-of-art/a-silver-gilt-cloisonne-and-pictorial-enamel Condition Report: Some general surface scratching to silver commensurate with age. Hinge in good condition and box opens cleanly and closes snugly. Some wear and bruising to the corners of the box. Some nicking, abrasion and a ding to the base. Some losses and small fissures to the cloisonné enamel noted on lid and sides. Some very minor nicking, scratching and pinprick dotting noted to the enamelled lid under 10x magnification. Gilding to the interior almost completely worn - only a few remnants visible. Hallmarks to underside clear. Marks to inside of lid worn. A small drop of paint (or other) to the cover, just inside the border. Heavy tarnish to silver ground on sides. Overall an attractive box with bright enamelling. Further images available to download via this link: https://we.tl/t-RkXRAa4aKu 

A group of Antique and Vintage jewellery comprising a Russian hand painted portrait brooch, an Art Deco style gold over silver pink foil paste ring, size V and a 1960's sterling silver smoky quartz cocktail ring, size P

Fabergé. A two colour gold mounted guilloché enamel pencil holder, with the workmaster's mark of Andrei Adler, St Petersburg, 1908-1917, marked on suspension loop and gold mount, 6.5cm long Provenance: Christie's, New York, 20 October 1997, lot 112. Christie’s, New York, 24 April 2009, lot 221. Christie's, London, Russian Art, 30 November 2015, lot 229.Condition Report: The pencil holder is marked 56 and with scratched inventory mark 3761, and the suspension loop 56, both are marked with the initials AA for Andrei Adler. the pencil holder is a little loose in the case and has two tiny spots of grey residue possibly due to minor repair to the cross band (see images . all enamel is complete with no damage or chips. gross weight 7.7g

Original vintage propaganda poster promoting cultural leisure after work. The poster features an illustration of two agricultural workers dressed in blue and red uniforms, getting off work in the field with tractor, wiping hands and taking off head scarf, with vinyl record shape depicting pastime activities - reading books at the library, cycling on bicycles, traditional dancing. Text in Russian in top left corner urges to take Decisions of the 26th Congress of the Communist Party of the Soviet Union - to life. Published by Uzbekistan Republican Scientific Methodological Centre of Folk Art and Cultural Educational Work. Horizontal. Poor condition, staining, creasing, tears. Country of issue: Uzbekistan, designer: B. Maltsev, size (cm): 59x89, year of printing: 1981

Group of four silver cases including:One Russian .875 silver case with pebbled textured and diagonal line motif, with push tab opener and gilt wash interior. Marked on one side 84 with St. Petersburg city mark (c. 1873-1898), the other side with 84, EW, and indistinct mark.One sterling case with push button, double top flap opening mechanism. One side with ornate floral patterns and monogram ADD. The other side plain with inscription, "Presented to Lieut. A.D. Denny U.S.N. by the U.S. Naval Academy Rifle Team, 1915. Marked sterling along the interior lip with unidentified maker's mark.One French .800 silver case with intricate machined detailed and empty cartouche ay the front, gilt washed interior, marked along the interior lip with French Minerva and indistinct other mark.One silver case with ornate, floral Art Nouveau design with push tab opening mechanism. Marked along the interior lip Alpaca Silber, DRP, and horse shoe.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1/8 in to 3/4 in; width ranges from 3 1/2 in to 4 in; depth ranges from 1 1/4 in to 3 in. Gross weight: 357.6 g.Condition: All cases open smoothly and close firmly. Scratching and tarnishing through out, some dents, the elastics either missing or dried out.

Large color lithograph exhibition poster for Kandinsky: The Improvisations, held in 1981 at the National Gallery of Art, Washington. It features Kandinsky's Improvisation 31 (Sea Battle) with his name printed in gold letters. Housed in a gold metallic frame. Sight dimensions: 23.50"L x 37"H. Frame size: 25"L x 38.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Wassily Kandinsky (Russian, 1866-1944)Issued: 1981Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Trench Art - a number of brass shell case vases and similar items, together with a Russian forage cap with various Russian military and other badges. (5) (B.P. 21% + VAT)

Attributed to Louise Nevelson (Ukrainian/American, 1899-1988). Abstract collage depicting a harmonious assemblage of various turned wooden forms, which are likely found objects collected by the artist, neatly enclosed within a crafted wooden box or frame. The composition includes a prominent horizontally placed spindle-like structure, a central textured disk, and various pedestal-like components, all with smooth and unvarnished finishes. There is a note affixed to the verso that includes an enlarged photocopy of a stamp commemorating Louise Nevelson released in 2000. The written inscription along the note, dated May 2002, reads: "Every man should have a Louise -- lucky you, lucky me. From one [...] to another. With admiration & love."Lot Essay:Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.She was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.    When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.    Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.    In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.    In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.    She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.Height: 6 3/4 in x width: 6 in x depth: 2 in.Condition: There are no breaks, losses, or repairs. All wooden pieces are firmly attached. There is some light dust gathered throughout.

Valery Nikolaevich Tkachenko (Russian, b. 1946). Large oil on canvas op-art painting titled "Energy of Color" in the style of Victor Vasarely. Signed and dated 1987 along the lower right. Further signed, dated, and titled along the verso.Translated the label reads:V. N. Tkachenko, born 1946Motionform “Energy of Color†200 x 200 cm, oil on canvas1131627, Moscow, Gorodskaia Street 4, ap. 14Phone: 2371045Tkachenko lived in Moscow and participated in the 1970 exhibition at The Moscow City Committee of Graphic Artists on Malaya Gruzinskaya Street in Moscow. The Moscow City Committee of Graphic Artists was a famous artist union and exhibition space that would include non-conformist artists in their shows in the late Soviet era. The official exhibition hall of the Committee was one of the first compromise solutions in search of a "traditional" public space for exhibiting alternative art.Height: 78 in x width: 78 in x depth: 2 in.Condition: The colors are bold and bright and the surface is stable. Some areas of craquelure. There are no major tears, losses or restorations when viewed under UV light. Light wear along the extreme edges of the work. The work is not framed.

Ernst Barlach (1870-1938), an important patinated bronze Expressionist group of a mother and her infant, Russische Bettlerin mit Kind, (Blinde Bettlerin mit Kind); portrayed kneeling, her head draped, the baby across her lap, the integrally cast oval base inscribed E. Barlach; the back edge of the base stamped 1/10 and with the founders H. NOACK BERLIN FRIEDENAU; 34cm high Provenance: The bronze bears two paper labels, stuck with gum, beneath its interior. The first is printed for KUNSTSALON HERM. ABELS, KOLN... It is partially covered by the second, hand written paper, inscribed 12195, Ernest Barlach, Bettlerin und Kind, 1907 Note: Wilhelm Abels (1867-1948) founded a frame factory in Cologne in 1899. Two years later, he added an art store located on Schildergasse. It was not until 1919 though, at the close of the Great War, that the business was re-established, now as Kunstsalon Hermann Abels, on Hohenzollernring. The label suggests that this bronze was offered by Abels at some point after its original sale, which would probably have been through the Flechtheim Gallery Friedrich Schult noted in his 1960 catalogue raisonné of Barlach's bronzes that this model is extremely rare, and that once an edition of ten was announced by the Flechtheim Gallery, only a few models were cast, (Schult I, 74). Schult also published a photograph by Berthold Kegebein from 1935, which shows the artist in his Güstrow workshop in front of the "Frieze of the Listeners"; he is leaning on a rotating work table on which a wooden sculpture of the "Russian Beggar Woman with Child" stands, approx. 60 cm high, but which is not listed in the catalogue raisonné See Kunsthaus Lempertz KG, Cologne, 11th June 2005, lot 624 for another very rare example of this work

A collection of assorted militaria and edged weapons to include; a pair of French WWI First World War binoculars, German DDR Border Troops tally, Military issued whistle with lanyard, WWII Second World War miniature medals, Russian cap badge, Trench art letter opener, tribal daggers and more. If this lot is required to be posted please see sale notes regarding age verification.

KATASTROFARussian Poster (19" x 32")Very Fine+ on Linen Budapest Filmstúdio, 1960This is a Russian poster for a Hungarian film titled Crime at Dawn or Assassination Attempt, and the design is quite striking. It has been professionally linen-backed, with expert touch-ups along the folds and minor touch-ups on the "K" in the film's title, as well as a small tear on the lower edge. The poster is hand-numbered "No.1337" in pencil in the lower left corner.Crime at Dawn or Assassination Attempt (Hungarian: Merenylet) is a 1960 Hungarian drama directed by Zoltan Varkonyi and starring Lajos Basti, Iren Psota and Antal Pager. Filmed at the Hunnia Studios in Budapest, the sets were designed by the art director, Istvan Basthy.This lot will be auctioned on Friday, September 13th. 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 September 12th.

Archipenko (Alexander). Archipenko Fifty Creative Years 1908-1958, 1st edition, New York, 1960, numerous colour & monochrome illustrations, some minor toning, original cloth in dust jacket, covers slightly rubbed with some loss to head & foot, folio, together with:White (Garrett, editor), Forbidden Art, the Postwar Russian Avant-Garde, 1st edition, Loas Angeles: Curatorial Assistance Inc., 1998, numerous colour & monochrome illustrations, original cloth in dust jacket, folio, plusPierre (Arnauld), Bernar Venet Sculptures et Reliefs, Milan: Giampaolo Prearo Editore, 1999, presentation copy inscribed & signed by the artist to the front endpaper, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, andHirst (Damien), I Want To Spend The Rest Of My Life Everywhere, With Everyone, One to One, Always, Forever, Now, 1st edition, Booth-Clibborn Editions, 1997, numerous colour illustrations, including folding plates, pop-ups, glassine overlays, moveable parts, original boards in dust jacket, large 4to, plus other modern art reference & related, mostly original cloth in dust jackets, G/VG, 8vo/folioQTY: (5 shelves)

Sophie Fedorovitch, Russian 1893-1953 - Harbour, South of France; watercolour on paper, signed lower left 'S.Fedorovitch', 17.6 x 22 cm Provenance: with Michael Parkin Fine Art Ltd., London, 'The Seven and Five Society 1920-35', travelling exhibition, 1979-80 (according to the label attached to the reverse); Dr. John Hayes, purchased from the above Note: from 1925, the Seven and Five Society became a vital Modernist group of artist working in inter-war Britain. Other participants included Ben Nicholson, Jessica Dismorr, Barbara Hepworth, Frances Hodgkins and David Jones. 

David Burliuk, Ukrainian 1882-1967 - Hommage à Cezanne 1910; oil on panel, signed lower right 'Burliuk', 18.4 x 13 cm (ARR) Provenance: Eric and Salome Estorick, United Kingdom (according to the label attached to the reverse of the frame); with Aca, New York and Rome (according to the label attached to the reverse of the frame); with Grosvenor Gallery, London (according to the label attached to the reverse of the frame); with Whitford Fine Art, London (according to the label attached to the reverse of the frame); The Collection of Ralph I. Goldenberg Exhibited: London, Grosvenor Gallery, London, 'Russian Geometry', 21st January-27th February 1998, No.3 (according to the label attached to the reverse of the frame) Note: David Burliuk's work is central to the Royal Academy, London's current exhibition, 'In the Eye of the Storm: Modernism in Ukraine, 1900-1930s', organised by Museo Nacional Thyssen-Bornemisza, Madrid. Alongside his brother, Vladimir, Alexander Bogomazov and Aleksandra Ekster, Burliuk was a pioneering artist in the region, developing an avant-garde language that combined folk subject matter and modernist form. From 1922 he settled in the United States, exhibiting widely throughout his life. London-based Goldenberg amassed a wonderful and important collection, with a particular focus on American and European minimalism, owning pieces by Agnes Martin, Robert Ryman and Rachel Whiteread. Goldenberg was on the boards of a number of leading institutions, including the Museum of Contemporary Art in Chicago and The Art Institute of Chicago. 

Pair of late 19th/early 20th century brass storm lanterns with acid-etched glass shades, possibly Russian, with maker's marks to base, 46cm high, an engraved glass domed cloche, engraved with fruiting vine, a 19th century green-tinted small wine-bottle with string neck and an Art Deco flared tapering glass vase engraved with bands of chevrons, 21cm high (5) 

A Russian Art Nouveau silver evening bag marked 875 approx. 6oz, (226gms)

Kleine dekorative 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.

Geneva School Early 19th CenturyPortrait miniature of a lady wearing a brown dress and ribbon chokerEnamel on copper, roundel, in a square wooden frame58mm diameterProvenance:Christie's, South Kensington, Portrait Miniature, Objects of Vertu, Silver & Russian Works of Art, 13 December 2007, lot 1575

9th-7th century B.C.. A broad hammered military belt or cuirass band with plain surface, the terminals shaped as a double spiral ornament, holes in the centre of both ends for fastening. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, for similar belts from Luristan with decorated surfaces (plate LIX, nos.19-20). 330 grams, 22 cm (8 3/4 in.). The rich and noble aristocrats of Luristan, Elamites, Hurrians, Lullubians, Kutians, and Kassites, went to battle splendidly equipped and used magnificent bronze armours. For metal sheets used for quiver plaques and bronze protective belts or shields, they used the hammering technique (?akošk?ri).UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [No Reserve]

Circa 7th-3rd century B.C.. Each with a slender, lozenge-shaped blade and a socket extending near the tip, base of the socket with a side lug. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, for similar arrowheads from Eurasian sites (plate XLIV, nos.19,31,32,36,37,38,39,51,71). 130 grams total, 37-57 mm (1 3/8 - 2 1/4 in.). In Greek warfare archery was mainly employed by Scythians and Cretans for the longer-ranks. Both used composite bows made of wood, horn, bone and sinew. This explains the great range of Scythian arrowheads found on the Greek sites.UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [20, No Reserve]

1800-1500 B.C. Comprising paddle-shaped arrowheads with a flat, comparatively wide mid-rib. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93). 177 grams total, 57-80 mm (2 1/4 - 3 1/8 in.). These kind of arrowheads were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and show comparative common finds in the Holy Land.UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [20, No Reserve]

1800-1500 B.C.. Comprising paddle-shaped arrowheads with a flat, comparatively wide mid-rib. Cf. for similar arrow-points Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, (plate XLIII, nos.26-27, 92-93). 171 grams total, 53-78 mm (2 1/8 - 3 in.). These kind of arrowheads were typical of the Old Babylonian Empire. The shoulders were pronounced and the arrowhead had a rectangular-section tapering tang. This simple form was popular throughout and show comparative common finds in the Bible Lands.UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [20, No Reserve]

Circa 7th-3rd century B.C.. Comprising: seven arrowheads with a slender, lozenge-shaped blade and a socket extending near the tip, base of the socket with a side lug; eight socketted bronze arrowheads, mainly triangular or foliate in section, trilobate and with short socket. Cf. Sekunda, N., Marathon 490 BC, The first Persian invasion of Greece, Oxford, 2002, p.60; Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, for similar arrowheads from Eurasian sites (plate XLIV, figs.19, 31, 32, 36, 37, 38, 39, 51, 71). 77 grams total, 23-46 mm (7/8 - 1 3/4 in.). The Scythians were famous for their archery abilities, and were often employed as mercenaries. The Athenian tyrant Pisistratus hired them and they participated in battles beside the Athenian phalanx as well as serving as a police corps keeping order within the city of Athens. This explains the great range of Scythian arrowheads found on the Greek sites.UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [15, No Reserve]

Circa 7th-3rd century B.C.. Each with a slender, lozenge-shaped blade and a socket extending near the tip, base of the socket with a side lug. Cf. Gorelik, M., Weapons of Ancient East, IV millennium BC-IV century BC, Saint Petersburg, 2003, in Russian, for similar arrowheads from Eurasian sites (plate XLIV, nos.19,31,32,36,37,38,39,51,71). 126 grams total, 35-62 mm (1 3/8 - 2 3/8 in.). In the Greek warfare archery mainly employed Scythians and Cretans for the longer-ranks. Both used composite bows made of wood, horn, bone and sinew. This explains the great range of Scythian arrowheads also found on the Greek sites.UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman. [20, No Reserve]

5th-7th century A.D.. Comprising a double-edged parallel-sided blade showing battle nicks on both cutting edges, medium length tapering tang; lentoid-shaped lower-guard with inset garnets to one side; accompanied by an amber sword bead with a bronze stud with garnet inlay. Cf. Menghin, W., Das Schwert im Frühen Mittelalter, Stuttgart, 1983; Zasetskaïa, I.P., Kul’tura Kotchovnikov iujnorusskikh stepeï v gunnskuïu epokhu (Culture of the nomads of the southern Russian steppes in the Hun era), Saint Petersburg, 1994; Lebedinski, I., Armes et guerriers Barbares au temps des grandes invasions IVème au Vième siècle après J.C., Paris, 2001, pp.117ff., swords from Loutchistoïé, Novohryhorivka, Bátaszék, Jakuszowice, Szirmabesényo, Ártánd, Horgos; Miks, C., Studien zur Römischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; Kazanski, M.M., Barbarians at the borders of the Eastern Roman Empire (in Russian), Simferopol, 2024, figs.12, p.20, 23, p.31, pl.36, for similar cross-guards. 753 grams total, 1.9-80 cm (3/4 - 31 1/2 in.). This type of swords (cf. Lebedinsky 2001, p.117) usually had stones hanging from the pommel or hilt, like the one preserved here. This typology was widespread in central Europe by the Huns and there are also specimens attested in Gaul in the 5th century.From the private collection of a London gentleman, from his grandfather's collection formed before the early 1970s. 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 a search certificate no. 12063-217911. [4]

12th-14th century A.D.. A flat-section Mordvinian type brooch comprising a penannular band and two trapezoidal plates; the tongue round-section with flat scroll around the band; the plates each with raised pellets and four pierced lugs to the outer edges. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.XLIV, item 11. 12.4 grams, 55 mm (2 1/8 in.). This type of brooch belongs to the typologies of the omega brooches. It was probably used by Ugro-Finnic people to fasten the shirt at the neck or to attach other lighter garments. These brooches evolved to become very elaborate, with dangling springs from the edges, and were often worn in pairs, destined to female garments. In this late Viking period their coins demonstrated Russian and Eastern Roman influences in their art and jewellery.Ex property of an Essex gentleman. Property of a Scottish collector, acquired in 2013. [No Reserve]

Mixed ceramics including Maling, art deco and a Mexican wall plate plus a wooden Russian flask.

Soap avertising cards by Sunlight, Lux, Vinolia and Vim (16) , Art Nouveau glamour menu cards (8), old Chinese and Russian banknotes, 19th century share certificates etc.

A GROUP OF MIXED CERAMICS to include a vintage Carn Pottery fan shaped vase designed by John Beusmans, a Purbeck stoneware vase with designer Eddie Goodall mark to the base, height 28cm, a possible Crown Devon looped handled art deco style pot, a fish shaped souvenir dish from Jersey, a Player's Weights Cigarettes ashtray produced by Denby, a novelty Volgograd Panorama Museum souvenir with Russian inscription to the reverse, a Clews & Co of Tunstall Chameleon Ware 'Persian Art' jug of ovoid form and a Chameleon Ware blue vase, three hand painted Radford bud vases, a novelty pig shaped money box, a West German tankard, etc (qty) (Condition Report: Russian ornament has visible signs of crazing, overall fair condition)

Mixed lot of collectables; antique bookcase, paper mache trinket boxes, Russian folk art ladle, two trays and wooden carved figures

Offset lithograph poster entitled Symphony in Black by Art Deco artist Erte. It depicts a woman dressed in a gorgeous black evening dress and a fan-shaped headwear that matches the fur shawl wraps that fall from her bare arm as she holds a black whippet. Signed in plate on center right: Erte. Housed in a black lacquered frame. Sight size: 19.75"L x 26.50"H. Frame size: 23.75"L x 30.50"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: c. 1983Country of Origin: Russia/FranceCondition: Age related wear. Minor color loss on body.

Large screenprint poster made for Erte Dyansen Gallery 90th Birthday Retrospective held in Soho, NYC that features a glamorous woman set on Art Deco geometric shapes of gold, ecru and black. On lower left: Sevenart, Ltd exclusively published by Impress Graphics, Ct. Housed in a black lacquered frame. Sight size: 19.50"L x 29.50"H. Frame size: 23.50"L x 33.50"H x 1"W. Artist: Erte, Romain de Tirtoff (Russian/French 1892-1990)Issued: 1982Country of Origin: United StatesCondition: Age related wear.

Oil lamp, Russian samovar, LP records, ship's bell, trench art shell, Oriental wares, etc.

Theatre.- Tairoff (Alexander) Das Entfesselte Theater. Aufzeichnungen eines Regisseurs, first German edition, photographic portrait, plates, 2 colour, original cloth-backed boards with striking upper cover in red & black designed by El Lissitsky (not found on Russian edition), slightly rubbed and soiled, faint crease across upper outer corner, neatly rebacked, Potsdam, 1923 § Craig (Edward Gordon, editor) The Mask: A Quarterly Journal of the Art of the Theatre, vol.4 (of 15), photogravure portrait of Craig by Edward Stecihen, plates and illustrations, some woodcuts, some on brown paper (offset on facing leaves), advertisement leaf at end, original limp vellum with yapp edges & ties, uncut, spine titled in manuscript (slightly worn away), a little soiled, upper cover warped, Florence, Arena Goldoni, 1911-12 § Royalty Theatre. Souvenir of the Anniversary Performance of Milestones [by Arnold Bennett & Edward Knoblauch], Wednesday Evening, March 5th, 1913, printed in red & black, 3 tipped-in colour plates by William Nicholson, 2 tipped-in portraits, later ink inscription to Roddy [the architect Rocerick Gradidge] on inside wrapper, original pictorial wrappers by Nicholson, uncut, very slightly soiled, 1913; and 3 others, theatre, 4to & 8vo (6)*** Alexander Tairoff was the leading progressive Moscow theatre director and here he puts forward his views on the current state of Russian drama (acting, production, stage design, etc). Tairoff had been in the forefront of avant-garde theatre in Moscow before and during the 1914-18 war, and for this book, originally published in Russian in 1921 and here in its first foreign language edition, he explains his role in recent Moscow theatre history and expresses his support for the theories of Edward Gordon Craig and other theatre reformers. The second is an important magazine by the great modernist theatre-designer himself. Craig settled in Florence in 1907 and began a very productive period of his life, mainly concerning his magazine The Mask, which continued sporadically for twenty years and contained numerous contributions by Craig on stage design, masks, puppets etc. As Craig's son Teddy later explained, "The format of The Mask was governed by the size of the paper, which was hand-made, cheap and came from near-by Fabriano.The typography was dependent on what founts of type the printers had to hand...The layout was based on an early copy of Vitruvius that he had picked up for a few lire." (Edward Craig. Gordon Craig: The Story of His Life p.231).

A collection of fifteen photogravures 'Studies from the Russian Ballet' by E O Hoppe, published by The Fine Art Society, London, 1913, in original card cover. PLEASE VIEW CONDITION REPORT

A GROUP OF RUSSIAN THEMED COLLECTORS PLATES, comprising seventeen Vinogradoff Porcelain 'Russian Legends plates of which two are boxed, six Kholui Art Studios 'The Legend of the Snowmaiden' plates, and four boxed Byliny Porcelain A Symphony of Birds and Flowers plates, most with certificates (27 + certificates + 6 boxes) (Condition Report: plates appear in good condition with no obvious damage, sd to boxes and certificates, some duplicates)

An Art Nouveau style pewter chamber candle holder by Thomas Williams and a silver plated Russian cup holder