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A pair of Russian Imperial Porcelain tea cups and saucers - dark blue printed factory marks, decorated with Art Nouveau style figures from the Russian ballet, probably Sheherazade, the square saucers 14.5 x 14.5cm.* All pieces are in good condition, with no chips, cracks or restoration.

SAINT MITROFAN OF VORONEZH AND SAINT TIKHON OF ZADON | Russia | silver icon. Weight 571.15 grams gross | 22 x 17.5 x 2 cm (height x width x depth) | marked: I. E. | Lot description | This silver icon depicts Saint Mitrofan of Voronezh and Saint Tikhon of Zadonsky, two prominent figures of the Russian Orthodox Church. The icon, decorated with a richly elaborate relief inlay, is an example of excellent craftsmanship, typical of Russian church art of the 19th century. The poultice is made of silver and decorated with delicate ornaments, which gives the icon not only protection, but also dignity and spiritual depth. The relief depiction of the saints is complemented by inscriptions in Cyrillic that identify the figures. This artifact is not only an object of spiritual reverence, but also a valuable work of art, which is an expression of the deep faith and rich tradition of Orthodox Christianity. | Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. | condition report*In case of missing photos, please feel free to contact us.

Courvoisier Cognac, Erté collectionNo.3 distillation design, with presentation box, booklet and certificate, No.G6915, 75cl 40% volume.Footnote:Romain de Tirtoff (1892-1990), known by the pseudonym Erté, was a Russian born artist and designer, one of the most celebrated exponents of the Art Deco style. In addition to graphic design he also created jewellery, fashion, film and theatre sets and costumes as well as interior decor. Two years before his death, Erté created seven limited edition bottle designs for Courvoisier to show the different stages of the cognac-making process, from distillation to maturation.

An American Art Nouveau gold diamond and enamel brooch, designed as a spray of three sweet pea flowers, the central purple and white enamel flower with single old-brilliant-cut diamond and seed pearl accent, flanked by two flowers of pale blue and pink enamel, the stems with engraved naturalistic detail, French ET control mark and spurious Russian marks, circa 1890, length 8.5cm

Russian Prop Art Dish, painted in multicolours on white ground glaze. Several descriptions. 20Th Century. 28 cm diameter.

Russian Prop Art Dish, painted in black and red colours on white ground glaze. Several descriptions. 20Th Century. 28 cm diameter.

Russian Prop Art Dish, painted in multicolours on white ground glaze. Several descriptions. 20Th Century. 28 cm diameter.

A collection of books on The Decorative Arts - European & Russian Faniel, Stephane French Art of the 18th Century, 1956  Prevenier, Walter & Blockmans, Wim The Burgundian Netherlands, 1985  Stephens, George Handbook of the Old-Northern Runic Monuments of Scandinavia and England, 1884  Twining, Lord European Regalia' 1967  Fehrendt, Catharina J. Art for Spaces Spaces for Art: Interior Spaces as Works of Art Discovered in Palaces, Castles and Monasteries in Germany, 2005 Lorentz, Stanislaw & Rottermund, Andrzej Neoclassicism in Poland, 1986  Caroselli, Susan L The Painted Enamels of Limoges: A Catalogue of the Collection of the Los Angeles County Museum of Art, 1993  Thornton, Peter Form and Decoration: Innovation in the Decorative Arts, 1470-1870, 1998 Chernyak, Yakov - a.o. Tobolsk Bone Carvings from Surgut Museum and from private collections. Text in Russian & English (2 volumes in box), 1996 Cerwinske, Laura Russian Imperial Style, 1990  ? (in Russian) Text in Russian [Sculpture in Russia, 18th - 20th century, 1958  Romanelli, Giandomenico Venice: Art and Architecture Hardcover, Volume II, 2007  Muraro, Michelangelo Treasures of Venice, 1963 Barbantini, Nino & Lorenzetti, Giulio Il Settecento Italiano, Volume Secondo, Con 357 Tavole: Mobili, Arazzi e Stoffe, Ceramiche, Presepii, Sculture Ornamentali, Vetri e Argenti, Carrozze e Portantine Volume II only of 2 volumes, 1932  Borsook, Eve Italian Altarpieces 1250-1550 - Function and Design, 1994 Reggiori, Ferdinando Il Santuario di Santa Maria presso San Celso e i suoi Tesori [The Sanctuary of Santa Maria presso San Celso and its Treasures], 1968 Pirovano, Carlo Prezioso Quotidiano Tesori della Vita Russa [Precious Daily. Treasures of Russian Life], 2001 Vignetten Umrahmungen, Dekorative Ornamente, Embleme U.S.W. Des XVII. UND XVIII. Jahrhunderts, 1893  Rettelbusch, Ernst Stilhandbuch : Ornamentik, Möbel, Innenausbau von d. ältesten Zeiten bis zum Biedermeier, 1979  Richter, Detley (Klinkhardt & Bierrmann) Lackdosen [Brunswick lacquerware manufactory Stobwasser, production of lacquer cans and miniature painting, about lacquered gallantry goods from France, England and Germany, Russian lacquer cans and others], 1988  Stahl, Fritz Weg zur Kunst. Einfuhrung in Kunst und Kunstgeschichte [Path to art. Introduction to Art and Art History], c1930  Davanzo Poli, Doretta Angewandte & dekorative Kunst in Venedig, 1999  Jessen, Peter Das Rokoko im Ornamentstich (Meister des Ornamentstichs; Eine Auswahl aus Vier Jahrhunderten, Band 3) [The Rococo in ornamental engraving. 200 Picture Plates, Volume 3], c1920s  Rott, Hans Kunst und Künstler am Baden-Durlacher Hof bis zur Gründung Karlsruhes [Art and Artists at the Baden-Durlacher Hof],1917 Feuchtmuller, Rupert & Mrazek, Wilhelm Biedermeier in Osterreich,1963 Heidrich, Ernst Die Alt-Deutsche Malerei : 200 Nachbildungen mit geschichtl. Einf. u. Erl. Die Kunst in Bildern, 1909  Die Kunstwelt Monatsschrift fur die Bildende Kunst, 2 Volumes, 1913 Hamann, Richard Deutsches Ornament, Auswahl nach Aufnahmen des Kunstgeschichtlichen Seminars der Universitat Marburg, 1924  Hausenstein, Wilhelm und Joachim Wieder Rokoko : Franzosische und deutscher Illustratoren des 18. Jahrhunderts, 1958  Gonzalez-Palacios, Alvar Colnaghi: Objects For A 'Wunderkammer' 10 June To 31 July, 1981  Groer, Leon de Les arts decoratifs de 1790 a 1850, 1985 Humbert, Chantal Les Arts Decoratifs en Lorraine: De la fin du XVIIe Siecle a l'ere Industrielle, 1993  Belloncle, Michel Les objets du fumeur, 1971  Kohler, Arthur Connaissance des Style,s 1947  Verlet, Pierre Objects D'Art Francais de la Collection Calouste Gulbenkian, 1969  Hambly, M Les instruments de dessin : 1580-1980, 1991  Deschamps, Madeleine, Empire, 1994  Faniel, Stephane & Levallois, Pierre Le XVII Siecle Francais, 1958 Wark, Robert R French Decorative Art in the Huntington Collection, 1962  Klamkin, Marian Collector's Book of Boxes, 1972  (42)

A collection of books on The Decorative Arts - Mixed Janneau, Guillaume Le luminaire par Guillaume Janneau, 3 séries. suivi de Le luminaire moderne par Gabriel Henriot, Art Deco Lampen 1925-1937, 1992 Bulley, Margaret H Art & Everyman: A Basis for Appreciation (Vols I & II), 1951  Anawalt, Patricia Rieff The Worldwide History of Dress, 2009  Gruber, Alain The History of Decorative Arts: Classicism and The Baroque in Europe, in Slipcase, 1996  Piccirillo, Michele The Mosaics of Jordan, 1997 Rossi, Ferdinando Mosaics, A survey of their History and Techniques, 1970 Toscano,Salvador Arte precolombino de Mexico y de la America Central, 1944 Department of Scientific and Industrial Research. The Cleaning And Restoration Of Museum Exhibits. Third Report Upon Investigations Conducted at the British Museum, 1926  Zagorsk History & Art Museum Chukchi and Eskimo Art in the Collection of the Zagorsk History and Art Museum. In Slipcase (Text in Russian), 1981  Papini, Roberto Decorative Arts and Architecture of the 1920s, 2005  Launert, Edmund Perfume and Pomanders: Scent and Scent Bottles Through the Ages, 1987  Battersby, Martin The Decorative Thirties, 1971  Wetzel, J. Voyage Pittoresque Aux Lacs Suisses / Picturesque Journey to Swiss Lakes Limited Edition Copy 356/500 (World Economic Forum), 1987  Fahr-Becker, Gabriele Art Nouveau, 1997  Greenhalgh, P. Art Nouveau 1890-1914, 2000  Honour, Hugh Romanticism, 1979  Buchner, Alexander Musical Instruments Through the Ages, c1960's Praz, Mario, On Neoclassicism, 1969  Menkes, Suzy, The Windsor Style, 1987 Levenson, Jay A. Circa 1492 Art in the Age of Exploration, 1991  Hazlitt Gooden & Fox Design, Drawings for Architecture Costume and the Decorative Arts from 1570, 1989 Various, The Age of Neo-classicism, The Fourteenth Exhibition of the Council of Europe, The Royal Academy and The Victoria and Albert Museum, September-November, 1972  Hobson, Anthony Great Libraries, 1970  Various Period Rooms in The Metropolitan Museum of Art, 1996  Fleming, John & Honour, Hugh The Penguin Dictionary of Decorative Arts (Second Edition), 1989  Meier-Graefe, J Entwicklungs-Geschichte der Modernen Kunst [History of the Development of Modern Art], 2 Volumes, 1904 Poulet, W Kunst und Brille durch funf Jahrhunderte, Band II. [The Glasses Volume II. Art and Glasses through Five Centuries], 1978 Strong, Roy The Spirit of Britain, 1999  Clark, Kenneth Civilisation, A Personal View, 1969 Rome, R C UNION CLUB,  An Historical & Descriptive Record of the oldest Members' Club in London, founded c1799 (limited edition of 750), 1948 (32)

§ § Alexandre Nickolaevich Benois (Russian/French, 1870-1960) Costume designed for Diaghilev's Ballet Russes - Le Rossignol - Chinese Womanpainted silk jacketThis ballet jacket is accompanied with a published book by Alexander Schouvaloff 'The Art of Ballets Russes' where the design for the item is featured within the section for and confirmed as being designed by Benois and used in the production's of Le Rossignol on paragraph 50 page 131 .The design for the costume was given by Benois to Madame Misia Edwards, patron of the Ballets Russes and wife of her then husband the owner of Le MatinThe item also has the benefit of a cotton label sewn into the neck section confirming it was a part of this production106cm long Provenance; purchased at auction after if featured in 'The Antiques Gazette ' and Westmorland publication 'Cumbria Crack 'Prior to that the item was obtained from friends in the wardrobe department at Covent Garden Ballet by the vendor who was a collector of ballet memorabilia and was a dancer/stage producer in his younger years.In good untouched original condition, some dirt marking, light creasing and fraying of the edges, elsewhere some scattered brown stains particularly in the white banding, original inscribed label inside the collar, right hand side of the main body has some tears, a small section missing and loose white stitching holding it in place, further stitched repairs elsewhere. See further photographs at www.gorringes.co.ukPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

André Masson, Féminaire de la rue Saint-Denis VIÖl auf Leinwand. 46,5 x 27,5 cm. Gerahmt. Oben rechts vertikal rot signiert und datiert 'André Masson 57'. Rückseitig auf der Leinwand bezeichnet 'VI'. - In sehr guter Erhaltung.Die Authentizität des Werks wurde bestätigt durch das Comité André Masson, Paris.ProvenienzGalerie Louise Leiris, Paris (Etikett auf dem Keilrahmen); Perls Galleries, New York (Etikett auf dem Keilrahmen); Marlborough Fine Art, London, 1958 (Etikett auf dem Keilrahmen); Royal Marks Gallery, New York, 1960 und 1963 (Etikett auf dem Keilrahmen); Sotheby's New York, Impressionist and Modern Art Including Russian Art, 30. Mai 2014, Lot 89; Privatbesitz Nordrhein-Westfalen

Silver kovsh 20 artels with painted enamel on filigree, in the style of Russian Art Nouveau, with the motif of germinating and blossoming flowers. Moscow, 20 Artel, 1908-1917 Silver; polychrome painted enamel on filigree, gilding. Hallmarks: 84 samples with "a female head in a kokoshnik, facing right” with the code of the Moscow assay department, artels - "20A”. Condition: in good condition, professional restoration of enamel near the side, microslips. Dimensions: height - 3.5 cm, length along the spout and handle - 7.9 cm. Weight 48 g. Width: 7.9cm, Height: 3.5cm, Depth: 5cm, Weight: 0.048kg, Condition: Good, Material: Silver 84, Cloisonne enamel, Gilding, ID: ID-ANTQ-6038

A bright and memorable example of late Russian Art Nouveau, a silver cloisonne enamels snuff box - from the 6th Moscow artel. The snuff box has a discreet, octagonal shape and carries an impressive ensemble of geometric belts, floral and natural decorations. On the hinged lid there is a title picture of a fairy-tale flower-tree with fruits and berries that grew on the edge of an epic forest. In the corners it is surrounded by an ambivalent motif of a green wave from a dove-gray field, which, in the upper corners, personifies rainy skies and clouds, and in the lower register - the biosphere of lake and meadow grasses. The spiral pyramids of the central axis, above and below, bear the imprints of the elements of air and fertile earth. The sides of the body, in addition to the geometric belt of rhombuses and spirals, are decorated with alternating fields of fabulous flowering and water origin, the beginning and half a day of life. Corner cuts form dynamic, diagonal compositions on a light background. On the base of the snuff box there are Moscow hallmarks of 84 silver samples from 1908-1917, and mark 6 of the Moscow jewelry artel. On the inner edge of the edging there are a pair of imported French stamps. Swans in an oval. Dimensions: 2.5 x 8 x 6.6 cm. Total weight: 130.0 g. Width: 7.5cm, Height: 2.5cm, Depth: 6.3cm, Weight: 0.130kg, Condition: Good, Material: Silver 84, Cloisonne enamel, Gilding, ID: ID-ANTQ-8500

Rare for Russian art erotic plot from Ivan Sokolov - MORNING AFTER THE WEDDING. Depicts a scene of voyeurism behind a lad and a maiden in the hayloft. Their chaste discoveries captivate the longed-for curiosity of a passing boy. The figures of lovers, underlined by light, are given in Little Russian clothes. Bright blue harem pants, a red sash, a colorful skirt. With matching cap, hat and hairdo. Their figures of knowledge of erotic mechanics occupy a middle position between light and dark spots of clothes, symbolizing the masculine and feminine principles. Oil on canvas, on a new stretcher, after restoration. Dated 1876 and signed by I. Sokolov in the lower right corner of the picture. 45x63 cm. Ivan Ivanovich SOKOLOV (1823-1918). Width: 85cm, Height: 65cm, Depth: 10cm, Weight: 10kg, Condition: Earlier restoration, Material: Canvas, oil, ID: ID-ANTQ-7612

Exquisite and extremely rare snuffbox is a magnificent example of Russian decorative and applied art of the mid-19th century. Made of silver and gold, it has a rectangular shape with rounded corners. Particular attention is drawn to the lid, made in the technique of painted enamel with the image of the mythological scene of the Offering of Gifts to Venus. The central drawing is framed by a gold edging, adding elegance and sophistication to the item. The sides and the bottom of the snuffbox are decorated with a geometric pattern made in the gelosh technique. The snuffbox button is made of gold, harmoniously giving the product a contrast with the case. Hallmarks: the hallmark of an unknown master with the initials in Cyrillic ФБ, the full hallmark of the Moscow District Assay Office with the initials A.K and the numbers 1852 corresponding to the hallmark of the quality master Andrey Antonovich Kovalsky, the numbers 84 corresponding to the silver sample, the city hallmark of the city of Moscow St. George the Victorious on a horse. Material: Silver 84 assay value, 14K gold, polychrome enamel, gilding. Dimensions 8.2 x 6.3 cm. Total weight: 153 g. Width: 8.2cm, Height: 6.3cm, Depth: cm, Weight: kg, Condition: Good, Material: Gold, ID: ID-ANTQ-11526

An impressive gold pocket watch, Swiss-made Le Phare made at the turn of the 19th -20th centuries for Imperial Russia, with a stopwatch, minute repeater, lunar calendar, chronograph, date, day of the week in Cyrillic. 14K gold, Russian hallmark of 56 assay value. Swiss mark, No. 73332, embossed on the dust jacket: minute repeater Chronographe Triple Quantième Phases de Lune, LE PHARE N. 73332, 8 awards medals. A precious example of mechanical and jewelry art of Swiss masters combines the volume of a complex mechanism and the majestic design of the case, with a classic guilloche mesh. Diameter: 57.7 mm. Weight approx. 164 g. Movement: bridge caliber made of nickel-plated brass, anchor escapement, balanced balance, Breguet balance spring, bow winding, manual adjustment by lever, Swiss patent, cross and 334. The mechanism has been revised. At the time of cataloguing, the mechanism is in good condition. Width: 5.7cm, Height: 5.7cm, Depth: 1cm, Weight: 0.164kg, Condition: Good, Material: Gold 14K, ID: ID-ANTQ-11177

Silver match holder, made in the Russian Art Nouveau style, with the image of Leshy. The front side is decorated with a chest-to-chest relief of the spirit of the forests - the goblin. A shaggy, tangled beard, a winter hat, a high collar of a fur coat, a frightening grimace of an unkind face personify the character and way of his life. A womans face appears through the mirage of the figure - the devils favorite way of spending time is to scare girls. The back side of the matchbox is decorated with a relief image of a bar of gifts-amulets that people offer to the devil before going into the forest. The misty shadows of the faces of children and girls emerging from the silver evoke mystery and otherworldly mystery in relationships with forest spirits; affirm the metaphysical, sacred image of the forest. The matchbox promises its owner the key to parallel spaces, participation in the sacraments, and power over the elements of fire. Russia, approx. 1900 Silver with semi-precious stones and glass. Height: 6 cm. Weight: 50 g. Width: 4cm, Height: 6cm, Depth: 2cm, Weight: 0.05kg, Condition: Good, with traces of use, Material: Glass, ID: ID-ANTQ-8473

Exquisite silver teapot-samovar, St. Petersburg, early 20th centuryMasters of the First Silver ArtelAn exquisite teapot-samovar, made in the workshops of the First Silver Artel in St. Petersburg at the beginning of the 20th century, is an exceptional example of Russian classicism. This samovar, which was an invariable attribute of table setting, stands out with its complex relief decoration and three-dimensional pattern, reflecting the highest skill of jewelers of that time.The body of the samovar, made in a hemispherical shape, is installed on a rectangular stand resting on legs made in the form of lion`s paws. These elements emphasize the monumentality of the item and its connection with the traditions of European silver art, especially popular in Russia in the first half of the 19th century.The central part is decorated with a relief palmette and spiral decor, giving the samovar a special decorative richness. The low tap, designed in the form of a lion`s head, emphasizes the richness and symbolism of the product. The shoulder of the samovar, smoothly turning into a hinged lid, is also decorated with a geometric pattern, and its top is a stylized pine cone - a popular motif in the decorative arts of that era. Curved side handles, decorated with sculptural decor in the form of lion heads, enhance the overall monumentality of the composition. The samovar embodies the experiments of the masters of the First Silver Artel with forms and motifs inspired by the famous products of English masters of the 19th century, in particular, the works of the great Paul Storr (London, 1771-1844). This item embodies the fusion of Russian and European styles, which was characteristic of the jewelry traditions of the workshop of Julius Rappoport, and later of the First Silver Artel. Their craftsmen created a wide range of items: from small desk items to vases, candelabra and even large formal decorative elements for dining tables, known as surtout de table.Hallmarks: Hallmark of the Moscow District Assay Office with the initials of the manager Ivan Sergeevich Lebedkin (appointed in 1899); Hallmark with an image of a woman`s head in a kokoshnik, facing left, with the initials IL and the hallmark 84, dating from the period 1899-1908; Hallmark of the First Silver Artel (ICA), active in the early 20th century in St. Petersburg.Dimensions: Height 33 cm. Weight of the item: 2620 grams. Width: 32cm, Height: 33cm, Depth: 32cm, Weight: 2.620kg, Condition: Good, Material: Silver 84, ID: ID-ANTQ-11585

Silver glass holder with openwork handle and plant decoration, late 19th century Made in: Helsinki, 1884 Maker: Hjalmar Fagerroos This exquisite silver glass holder, created by master goldsmith Hjalmar Fagerroos in 1884 in Helsinki, is a striking example of decorative art of the late 19th century, the period when Finland was part of the Russian Empire. The product is decorated with a refined plant decoration along the edges, which emphasizes its elegance. The openwork handle, topped with dolphin-shaped elements, gives the glass holder a special uniqueness and elegance. A special feature of the product is the unengraved cartouche on the front, ideal for a dedication, which makes this glass holder an excellent memorable gift. Dimensions: height 7 cm, length 12 cm, hole diameter 7 cm. Weight: 135 g. Hallmarks: Finnish silversmith Hjalmar Fagerroos, 830 corresponding to the silver sample, 13 L corresponding to use simultaneously with the Russian system of samples in the period 1853-1891, C 4 corresponding to 1884, crown Finnish hallmark of the late 19th century. Width: 12cm, Height: 7cm, Depth: 7cm, Weight: 0.135kg, Condition: Good, Material: Silver, ID: ID-ANTQ-11581

Crystal jug with silver, 13th artel. An excellent example of understanding Western historicism in Russian decorative and applied art. An example of stylish classical reflection on the theme of the early French Renaissance. The proportional expansion and emphasized functionality, the shape of the handle, the modern character of its decor, the belt of the Renaissance decor at the neck are complemented by the strict and majestic laconicism of a silver drum with classic garlands suspended from the bottom. A subtle note about flowering and reviving functionality is the garnet button on top of the lid. It will anticipate and perfectly complement the ensemble with cherry juice, a punch for red wine - at the time of celebrations.84 standard silver. Stamp for minor details and decorations of the Moscow Assay Office from 1908-1926. Brand of the manufacturer: 13Ð. (13 artel). On the inside, on the lid, the brand of secondary parts of the Moscow Assay Office from 1908-1926 and the brand of the manufacturer: 13A.Height: 29 cm Width: 16cm, Height: 29cm, Depth: 13cm, Weight: 2kg, Condition: Good, Material: Gilding, ID: ID-ANTQ-3734

A set of 6 Grachev`s teaspoons in its own case. St. Petersburg, last quarter of the 19th century. Cloisonne enamel on sterling silver 88. Master AP. A distinctive feature of Russian Art Nouveau and the aesthetics of the Grachevs is the full-bodied, original shape of the handle, which is square in cross section. What gives her a sense of genuine weight, functional justification and organic decor. The ability to give weight to life to laconic restrained things, to raise them to the revelations of the era - that`s what we appreciate in the products of the Grachevs. The total weight of the spoons is 174 gr. Width: 3cm, Height: 14.5cm, Depth: 30cm, Weight: 0.5kg, Condition: Good, Material: Silver 88, ID: ID-ANTQ-4856

The icon of Our Lady of Vladimir in a silver frame, created in 1888 in Moscow, is a magnificent example of an analogion icon filled with deep spiritual meaning. The central composition depicts the Mother of God with the infant Christ, from whom a sacred radiance emanates. The faces of the Mother of God and the infant express both solemnity and tenderness, conveying the emotional connection between mother and child. The icon is distinguished by its refined finish: the silver frame is decorated with chased, relief and engraved patterns along the fields and corners, which emphasizes the skill of the master. The crowns are decorated with an exquisite guilloche pattern, and the combination of silver with remnants of gilding gives the icon a special decorative value. Hallmark: Moscow hallmarks of 84 silver assay value and the initials of an unknown shaved master A.R., as well as the hallmark of the jeweler IIO, master of silver and goldsmith Ivan Ovchinnikov, whose workshop operated from 1875 to 1896. Dimensions of the icon: 31.5 x 27 cm. Historical background: Icon of Our Lady of Vladimir The icon of Our Lady of Vladimir occupies a special place in Russian Orthodox culture. Its origins go back to early Christian art, but it became especially widespread in the 11th century. In the 12th century, this icon became the main shrine of the city of Vladimir and the entire Vladimir-Suzdal Rus, the patroness of Prince Andrei Bogolyubsky. It was believed that the Mother of God through her icon protects not only the inhabitants of Vladimir, but also the entire Russian land. Over the centuries, the icon retained its status as the main shrine of Rus. She is considered the patroness of the Russian people, the protector of family and marriage, symbolizing unity and harmony in family life, maintaining mutual understanding between husband and wife. Width: 27cm, Height: 31.5cm, Depth: 4cm, Weight: 3kg, Condition: Good, with traces of use, Material: Wood, ID: ID-ANTQ-11583

Desktop notebook. On an onyx pedestal. The top hinged cover is made of silver in the form of a notebook cover with elegant slotted silver hinges in the Art Nouveau style. in a rectangular box. Assay mark in an oval shield in the form of the letter of the Greek alphabet alpha, the head of a girl, in a kokoshnik, oriented to the right and the Russian assay of silver 84 - (Petersburg Assay Office, 1908-1926). Dimensions: 19x10x2.5 cm; weight - 300 gr. Russian Empire, St. Petersburg, after 1908. Unknown master. Silver, casting, engraving, perforation. Onyx. In good condition. Traces of existence Width: 10cm, Height: 19cm, Depth: 2.5cm, Weight: 0.3kg, Condition: Signs of wear commensurate with age, Material: Silver 84, ID: ID-ANTQ-8192

Icon of the Lord Pantocrator, made in 1891 in Moscow. The icon shows a half-length image of the Lord Pantocrator in traditional iconography: with an open book in his left hand and a blessing gesture of his right hand. The image was painted by a professional master in the academic style typical of Moscow workshops of the late 19th century. The silver gilded frame is decorated with shining enamels on the crowns, fields and corners, emphasizing the high artistic level of the icon. The icon is a striking example of the neo-Russian style, combining the features of historicism and modernism in Russian art at the turn of the 19th-20th centuries. Hallmarks: silversmith`s marks in Cyrillic AM, presumably Mukhin Alexander Alekseevich, hallmarks of the Moscow assayer - Oleks Lev Fedorovich - initials L.O - 1891. Dimensions: 27x22.5 cm. Historical background: Mukhin Alexander Alekseevich - owner of a silver products factory in the 2nd half of the 19th century. In 1879 there were 12 workers. He made 100 pounds of various silver items, totaling 112,000 rubles. Including salt shakers, gospel frames, church utensils. Width: 22.5cm, Height: 27cm, Depth: 3cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Silver 84, Cloisonne enamel, Gilding, ID: ID-ANTQ-11173

P. Philippe (1870-1930). Chryselephantine bronze and ivory figure of a Russian dancer circa 1920. It is a luxurious example of Art Deco sculpture. The energetic and impetuous dance froze at its climax. The girl froze on one leg, grabbing the space with her hands. The stormy and extremely truthful plasticity of the fabric is set off by the smooth surface of the bones, open arms and chest. The figure itself is full of expression and twisted in a spiral, where the heavy oriental belt is balanced by the impulse of the body and the tilt of the face. Signed on the foot. CITES certified. Weight: 980 g France Dimensions: H 290 mm X W 140 mm Width: 14cm, Height: 29cm, Depth: 14cm, Weight: 1kg, Condition: Good, with traces of use, Material: Bone, ID: ID-ANTQ-11152

A unique Russian silver kovsh in the Art Nouveau style, made at the beginning of the 20th century by the famous silversmith Alexander Vyakeva for the renowned firm of K. Faberge. The kovsh is distinguished by its exquisite form, reminiscent of an ancient Russian boat descended from the drawings of Ivan Bilibin, which gives it a characteristic historical and cultural shade inherent in the Art Nouveau period. Particular attention is drawn to the decorative elements located along the sides of the product, made in the form of shields, inlaid with natural Jasper cut cabochon, which give the kovsh a unique shine and elegance. The handle of the ladle is made in an intricate form imitating the stern and rudder of an ancient boat. Hallmarks: K. Faberge under a double-headed eagle - a hallmark indicating that the ladle belongs to the St. Petersburg branch of the jewelry firm of Karl Faberge, which was famous for its luxurious and refined products, the hallmark of the St. Petersburg Assay District used in the period from 1908 to 1917, consisting of the letter a, a woman`s head in a kokoshnik, turned to the right with the numbers 84 located in an oval shield. The master`s name with the initials in Latin AW corresponding to the hallmark of the famous silversmith Alexander Vyakev. Inventory number 18458 is an important element for identifying and recording products of the firm of K. Faberge. The presentation ladle is a magnificent example of the Russian jewelry tradition of the early twentieth century, combining art, history and high craftsmanship. It is a rare and valuable exhibit made for the famous Faberge firm. Dimensions: height 11 cm, width 13 cm, length 28 cm, weight - 625 grams. Width: 28cm, Height: 11cm, Depth: 13cm, Weight: 0.625kg, Condition: Very good, Material: Silver 84, ID: ID-ANTQ-11166

A subtle and poetic embodiment of pure Art Nouveau in a gold pendant with diamonds, Russian work, the turn of the 19th-20th centuries. Combines the fragile grace of design and the nature of organic lines; a measure of brilliant brilliance and luxury that does not overshadow the grace and spirituality of the product. Russian hallmarks of 56-carat gold from the turn of the 19th-20th centuries, on pendants and chain links. Masters initials: probably MC. Old cut and rose cut diamonds approximately 1.50 carats. Suspension height: 64 mm. Chain length 41 cm. Total product weight 8.5 g. Width: 5.5cm, Height: 8cm, Depth: 2.5cm, Weight: 0.1kg, Condition: Signs of wear commensurate with age, Material: Diamond, ID: ID-ANTQ-8038

The icon of the Lord Almighty, created in Moscow at the turn of the 19th and 20th centuries, is a half-length image of Christ in the classical iconographic tradition: in his left hand he holds an open book, and blesses with his right hand. The work was made by a professional master in the academic style typical of Moscow workshops of the late 19th century. The silver frame is decorated with a shining enamel crown, and its fields are covered with a relief chased plant ornament. At the bottom of the icon there is a plaque with an inscription made using the technique of pitted enamel. The icon is an example of the neo-Russian style, which combines elements of historicism and Art Nouveau, popular in Russian art at the turn of the 19th and 20th centuries. Hallmarks: silversmith in Cyrillic NG, presumably Nikolai Yegorovich Grachev, Hallmark of the Moscow District Assay Office with the initials of the district manager Ivan Sergeevich Lebedkin, appointed in 1899. Hallmark with the image of a woman`s head in a kokoshnik, facing left, in an oval shield, on the right side are the initials IL, on the left side is the assay value 84. Dimensions: 31x27 cm. Historical background: Nikolai Egorovich Grachev, owner of a gold and silver workshop, 1897-1917, Russian Empire, Moscow. Width: 27cm, Height: 31cm, Depth: 3cm, Weight: 1.5kg, Condition: Good, Material: Champleve enamel, ID: ID-ANTQ-11252

Franz Roubaud&39;s painting "Peasant Troikas in Winter" is a striking example of the artist&39;s mastery in conveying the grandeur and beauty of the Russian winter landscape. In the center of the composition, which personifies traditional Russian life, is a troika of horses harnessed to a sleigh, making their way along a snowy impassable road. The main characters of the canvas are horses, embodying the strength and grace of Russian nature. The central role in the team is occupied by the "root horse" - a powerful and large horse, walking at a confident trot. On the sides, white "jury" horses gallop, their rapid forward gaze gives the scene dynamics and energy. The artist pays special attention to the details of the harness, including the decoration of the gilded arc, which emphasizes the status and beauty of the Russian horse. The decorative elements of the harness, such as the ornamental painting and the bells, add a sonic dimension to the painting, enlivening the scene and enhancing the sense of tradition and cultural richness. The atmosphere of the Russian winter is conveyed with amazing precision and attention to detail, creating a harmonious ensemble with the solemn ceremonial frame, which emphasizes the significance of the subject. Signed in the lower left corner F. Roubaud. On the back is the stamp of the art shop Hans Kellner, Munich. Oil on canvas. Dimensions: 59.5 x 83.5 cm. Hans Kellner art supplies dealer, brother of the author&39;s wife, who supplied stretchers for Franz Roubaud. Expert opinion Ms. Olga Sugrobova-Roth. Width: 110cm, Height: 86cm, Depth: 10cm, Weight: 10kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11189

The bronze composition Tatar performing namaz in the steppe, created by the German sculptor Albert Moritz Wolf (1854-1923), is an outstanding example of genre art of the early 20th century. Made at one of the most prestigious European foundries, H. Gladenbeck & Sohn (Gladenbeck and Son), the sculpture combines the highest skill of casting, chasing and polychrome patination. This work is evidence of the strong cultural exchange between Germany and Russia, as well as Wolf`s deep connection with Russian and Slavic themes. Dimensions: height 14.5 cm, length 19 cm. Hallmarks: A. Wolf and the company stamp Akt Gess vorm H. Gladenbeck & Sohn Historical background: Albert Moritz Wolff, a graduate of the Berlin Academy of Arts and a member of the Royal Berlin Academy, is known for his sculptures depicting scenes from the life of the Russian peasantry, the Cossacks and the peoples of the Caucasus. His works are inspired by the work of Russian masters such as Grachev, Lanceray and Posen, who were widely represented at the World Exhibitions of that time. The foundry Gladenbeck & Sohn, founded by Hermann Gladenbeck in Berlin, was famous for its high-quality bronze products. In 1887, the enterprise acquired the status of a company and continued the tradition of artistic casting under the leadership of Hermann`s eldest son, Oskar Gladenbeck. Width: 20cm, Height: 15cm, Depth: 13cm, Weight: 2.600kg, Condition: Signs of wear commensurate with age, Material: Patinated bronze, ID: ID-ANTQ-11530

The icon The Lord Almighty is a striking example of Russian Art Nouveau in icon painting of the early 20th century. The image of the Savior is made on a smooth silver gilded background, which creates a shining effect and emphasizes the sacredness of the image. The face of the Lord is presented in a waist-length composition, the heavenly kingdom is revealed before Him. Traditional attributes, a scepter and orb - symbolize the power and omnipotence of the Savior. The icon frame is made in the form of a temple with domes, decorated with chased elements and curls symbolizing heavenly clouds. The composition is complemented by two red cabochons located in the lower part of the frame, which emphasizes the solemnity of the icon and its significance. The rounded corners of the frame add harmony, characteristic of Russian Art Nouveau, and the holder for hanging is made in strict geometric forms, which reflects the influence of late Art Nouveau. Hallmarks: The hallmark of the letter MK is presumably the hallmark of Mikhail Yegorovich Karpinsky, a hallmark in an oval shield of the Moscow District Assay Office, consisting of the numbers 84 indicating the sample; a woman`s head in a kokoshnik, facing right, corresponding to the period 1908-1917. The original red velvet is preserved on the reverse side of the icon. Dimensions: height 9 cm, width 6 cm. Thickness 1.5 cm. Product weight: 70 g Width: 6cm, Height: 9cm, Depth: 1.5cm, Weight: 0.070kg, Condition: Signs of wear commensurate with age, Material: Polychrome painting, ID: ID-ANTQ-11253

Kleine Zier-Blumenvase mit Stiefmütterchenin der Art von Karl Fabergé. Silber, teilw. vergoldet sowie Bergkristall und Nephrit. Stand in Form einer konischen Vase aus Bergkristall. Herausnehmbarer Stiefmütterchen-Zweig aus vergoldetem Silberdraht mit Gelbachat-Blüten sowie Jade-Blättern. Gew. zus. ca. 170 g. H. 15 cm. D. 5 cmA Russian rock crystal vase with a small gilt silver pany blossom-twig with leaves of jade in the style of Karl Fabergé.Russland. 20. Jh.

Flanierstock mit Schlangendekorin der Art von Karl Fabergé. Nephrit, Silber, teilw. vergoldet und rot lasiertes Holz. Der zylindrische Griff, umwunden von einer silbernen Schlange. Leicht gerundeter Abschluss verziert mit Blattrosette und Weinlaubfries, zentral besetzt mit Farbsteincabochon. Gest. 88, Meistermarke. L. 93,5 cm. A Russian parcel-gilt silver mounted wooden walking stick with nephrite handle and snake in the style of Karl Fabergé. Standard mark 88, maker's mark. Russland. 20. Jh.

ATTRIBUTED TO ALEKSANDR ALEKSANDROVICH KISELEV (or KISELYOV ) (Russian, 1838-1911), oil on canvas - Anglers in dinghies on a lake, signed in Cyrillic and dated 1886, old oval paper label for 'J. Daziaro (Moscou et St Petersbourg)' verso, 25.5 x 40cmsProvenance: private collection LondonAuctioneers Notes: Born into a military family, Kiselev was schooled in the Arakcheev Cadet Corps and the the 2nd Saint Petersburg Cadet Corps, before entering the Saint Petersburg State University. The school was temporarily closed during a period of student unrest in 1861, so he transferred to the Imperial Acedy of Arts where he was awarded the title of "Artist Third-Class". In 1865, he married and moved to Kharkiv, where he worked for the Kharkiv Land Bank. In 1875, he became a member of the "Association of Travelling Art Exhibitions". Two years later, he relocated to Moscow and taught at a grammar school for girls. For many years, he wandered throughout Russia and the Caucasus, making sketches for paintings that he would complete at his home in Moscow. In 1893, he was named a full member of the Academy and became a Professor in 1897. In 1906, in Vologda, he was one of the founders of the "Northern Circle of Fine Art Lovers", an organization which, among other things, helped young artists to get their work exhibited at the Academy. Later, as part of a team of artists, he helped to design the interior of the Alexander Nevsky Cathedral in Sophia.Joseph Daziaro were a publishing company specialising in photographs and lithographs, active 1827-1900.Comments: very small hole to canvas, canvas loose, inspection advised Condition Report:small restoration to hole

SS Great Eastern; Rare Transatlantic Documentary Telegraph Cables 1866 two pages of handwritten (possibly facsimile produced onboard the SS great eastern) cables signed and certified by Willoughby Smith (1828-1891), Chief Electrician of the Telegraph Construction Company. The cables are headed "The Great Eastern Telegraph Saturday Sept 8 1866" and state "The Following News Has Been Received Through the 1865 Cable Since Its Recovery on 2nd Inst to Present Date." Willoughby Smith then continues to record a number of cables received with the location of the Great Eastern on each day including;2 Sept Cholera abating in LondonCable works splendidly 17 messages received during the hour.Fenian agitation in America. Three regiments shortly leave for Canada and two gunboats for lakes.3 Sept:Cavalry, infantry and artillery are being sent hastily to Canada to prevent threatened outbreak.Telegraph offices now reopened in Frankfurt after the war.St Petersburg, cholera spreading, Emperor left for Moscow 30th August. Deputation of Russian peasants waited on Mr Fox, Amercian Ambassador, to offer congratulations in the name of whole Russian peasantry.Revolution in Cordorba governors driven away.4 SeptLondon papers have leaders on great triumph of raising cable.Emperor Napoleon has been very unwell but betterRussia dissatisfied with recent turn in continental affairs5 SeptGreat bribery disclosures at Lancaster, Totnes, Yarmouth and Reigate.Prussia quitely taking possession of annexed states, Bismark's policy of unity of Germany very popular.Further handwritten cables for 6 Sept to 8 Sept with cetificate from Willoughby Smith " I hereby certify that the above telegrams were sent rhoguh the 1865 Atlantic Cable since its recovery on the 2nd Sept 1866 signed Willoughby Smith, Chief Electrician of the Telegraph Construction Company."With the manuscript is a contemporary sample of undersea telegraph cable.Note; there were several attempts to lay a transatlantic undersea cable from 1857 onwards, in 1865 the cable was lost on the seabed but recovered in 1866 by the SS Great Eastern with Willoughby Smith and other company representatives onboard and present for the re-connection amongst great excitement and expectation, the scene being portrayed in a painting by the British artist Robert Dudley (1826-1900) now in the Metropolitan Museum of Art in New York.IIn this document, Willoughy Smith is clearly anxious to demonstrate that the cable is working well with a variety of telegrams received on board the Great Eastern from various locations in the days immediately after the re-connection. document ina fragile state frayed at edges with some tears and staining

A Russian miniature gold mounted egg pendant, circa 1900, of horseshoe design, the horseshoe enclosing a rhodochrosite egg within lattice cage, 56 standard, on small loop attached to a suspension loop and further larger ring loop, total length 29mm. £600-£800 --- Provenance: Purchased by the vendor from Christie’s Geneva, Important Works of Art by Carl Fabergé, sale 13 May 1981, lot 180, for SFR £2600. Condition Report Cyrillic maker’s mark, possibly for Pavel Shesterin, circa 1898, of Kostroma - see: Geoffrey Watts: Russian Silversmiths’ Hallmarks 1700 to 1917, page 175. Gross weight 3.6gm.

19th century A.D. Comprising a painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. See Zinoviev, N., Art of Palekh, Leningrad, 1968. 1.02 kg, 31 cm high (12 1/4 in.).Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11546-196366.The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree..'

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). 257 grams, 25.6 cm (10 in.). [No Reserve]UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.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 (Čakoškāri).

12th-14th century A.D. A group of flat-section Mordvinian type brooches. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.XLIV, item 11. 72.7 grams total, 55-59 mm (2 1/8- 2 1/4 in.). [5, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.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, particularly on female garments. In this late Viking period their coins demonstrated Russian and Eastern Roman influences in their art and jewellery.

12th-14th century A.D. A group of flat-section Mordvinian type brooches, decorated to the trapezoidal plates with raised pellets, reserved scroll tendrils, hatching and other ornament. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.XLIV, item 11. 91 grams total, 52-57 mm (2 - 2 1/4 in.). [8, No Reserve]Acquired on the European art market since the early 2000s. From the private Northern Ireland collection of R.M.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, particularly on female garments. In this late Viking period their coins demonstrated Russian and Eastern Roman influences in their art and jewellery.

Alexander Porfirjewitsch Borodin Arzt, Chemieprofessor und Komponist, 1833-1887. Eigenhändiger Brief mit Unterschrift 'A. de Borodine'. O. O. und J. (Lüttich, September 1885). 3 Seiten. 21 : 13,5 cm. Umfangreicher Brief vermutlich an den Freund und Förderer Théodore Jadoul, Komponist und Dirigent aus Lüttich. Unter anderem über eine konzertante Aufführung von Parsifal in Lüttich, 'diablement difficile à monter et à exécute.' Der belgische Dirigent Théodor Jadoul hatte Borodins 1. Symphonie in Belgien erstmals zur Aufffühung gebracht. Borodin widmete ihm sein Scherzo in As-Dur für Klavier. Jadoul gehörte gehörte in den 1880ern zu den Förderern russischer Musik in Belgien und Frankreich. - Im August 1885 war Borodin nach Antwerpen, Paris und Lüttich gereist, um an russischen Konzerten teilzunehmen, und war mit begeisterten Ovationen und Festabenden zu seinen Ehren empfangen worden. Er dankt Jadoul herzlich für die große Wertschätzung und Begeisterung, mit der dieser seiner Musik den Weg bereitet. Wie Borodin allerdings im Postskript des Briefes anmerkt, waren konzertante Aufführungen von Ausschnitten aus Wagners Oper Parsifal , von Jadoul dirigiert, beim Lütticher Publikum auf weniger Verständnis gestoßen; was Borodin auch im Namen des Freundes und Förderers sehr bedauert; u. a. da es so wenig Gelegenheit gebe, diese Art von Musik zu hören (nach Wagners Willen sollte Parsifal eigentlich ausschließlich in Bayreuth gespielt werden). '.. que le public de Liège, n'a pas su assez apprécier la valeur de l'exécution d'une oeuvre comme Parsifal, diablement difficile à monter et à exécuter. C'etait d'autant plus étrange que c'est une musique, qu'on a pas l'occasion d'entendre souvent. Aussi étais-je bien vexé à cause de ce manque d'égard pour vous cher maître.' - Borodin ist als Komponist vor allem für die Polowetzer Tänze aus seiner posthum vollendeten Oper Fürst Igor bekannt. Autograph letter signed by Russian composer, professor for chemistry and physician, Alexander P. Borodin, to his friend and enthusiastic promoter of his music in France and Belgium, the conductor Theodore Jadoul from Liège. Amongst others with warm thanks for all that he has done for him and the promotion of his music, and expressing his astonishment for the little understanding with which the audience of Liège has received concerts in operatic form of Wagner's Parsifal, the opera being rarely performed outside of Bayreuth at that time. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000600 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000600 This lot can only be purchased subject to regular taxation (R).

TSCHECHOJAN, SERGEJ ALEXANDROVICH (ATRIBUTIERT), 1927-?, "Landschaft mit Bauer" Öl auf Leinwand, unsig, Verso: Papieretikett mit Informationen über das Gemälde in russischer Sprache, HxB: 62/62 cm. Rest. und doubliert. Rahmen, HxB: 74/75 cm. Provenienz: Bedeutende Privatsammlung moderner Kunst in Nordrhein-Westfalen.| CHEKHOYAN, SERGEY ALEXANDROVICH (ATRIBUTE), 1927-?, "Landscape with Peasant"Oil on canvas, unsigned, verso: paper label with information about the painting in Russian, hxw: 62/62 cm. Rest. and relined. Frame, hxw: 74/75 cm. Provenance: Important private collection of modern art in North Rhine-Westphalia.

Crate of collectables: Murano art glass porch lantern shade, African carved sculpture, Studio pottery owl design plate, Villeroy and Boch red enamelled coffee pot, Art deco black glass bowl, Russian doll and other collectables.

RUSSIAN GOLD, SILVER, HARDSTONE AND GEM-SET EASTER EGG PENDANT NECKLACE, 1900s the fancy link necklace designed as S shaped links supporting sixteen miniature Easter egg pendants comprising: a nephrite egg pendant, French assay marks, maker's mark EM, a rose quartz egg pendant, Russian 56 mark, a white guiloché enamel egg pendant, unmarked, a lapis lazuli egg pendant, Russian 56 mark, a carnelian egg pendant, unmarked, a chrysoprase egg pendant with gold Roccoco style scroll work decoration, unmarked, a gold and diamond set hinged locket egg pendant, Russian 56 mark, a gold acorn pendant, Russian 56 mark, maker's mark AH, possibly for August Hollstrom for Fabergé, traces of lilac enamel remaining, a rock crystal and ruby egg pendant, the engraved rock crystal egg encased with a bezel of circular-cut rubies, one ruby deficient, French assay mark to split ring, a silver egg pendant, engraved with a Spiders web, Russian 84 mark, maker's mark B2M, a blue guilloché enamel egg pendant, Russian 56 mark, maker's mark S, an aventurine quartz egg pendant, unmarked metal loop, a tourmaline egg pendant, Russian 56 mark, maker's mark AK, a tigers eye egg pendant, Russian 84 mark, maker's mark indistinct, a nephrite jade egg pendant, metal loop, and a blue glass and paste egg pendant, 53cm longProvenance: The Dickinson family of St Petersburg, thence by descent to the vendor. See the previous lot, a Fabergé egg pendant, for further provenance details.For an Imperial Porcelain Manufactory Easter Egg with the same provenance, see 'European Works of Art, Objects & Silver', Olympia Auctions, 21 November 2024, lot 16

Europa. Russland. Volkskunst. Drei unterschiedlich farbige Schachspiele aus Holz. Die Parteien sind jeweils farblich unterschiedlich gestaltet. Russland, Produktion 2. Hälfte des 20. Jhrdts. Verschiedene Größen und Dimensionen. (54) * Drei komplette Schachspiele mit schlicht gearbeiteten Figuren, in Anlehnung an die russische Volkskunst bemalt. Zustand: Mit geringen altersbedingte Schab- und Kratzspuren und kleinen Defekten. / Europe. Russia. Folk art. Three different colored wooden chess sets. All sets are stained differently. Russia, production from the second half of the 20th century. Various heights and dimensions. Three complete chess sets with simply crafted figures, painted in Russian folk art style. With minor age-related scrapings and minor chips and damages.

A Russian silver rounded rectangular cigarette case, hinged cover engraved in the Art Nouveau taste with flowers on sinuous whiplash stems and applied with gold coloured metal, 10.5cm long, kokoshnik, c.1896 - 1908, 178g

After Ivan Konstantinovich Aivazovsky,  Russian-Armenian 1817-1900- The Bay of Naples by moonlight; oil on board, signed 'L. Seitz' (lower right), 24 x 27.2 cm. Provenance:  Property of a European Private Collection. Note:  The present work is a copy after an original by Aivazovsky (1817-1900) now held in the collection of the Aivazovsky National Art Gallery in Crimea. 

A QUANTITY OF COLLECTOR'S PLATES TO INCLUDE KHOLUL ART STUDION RUSSIAN TALES

A Framed and Glazed Russian Colour Linocut, Basket of Strawberries, Signed, with Moscow City Organisation of the Art Fund of the RSFSR Label, K. N. Sokolova, Subject 40x28cm (Glass Cracked)

Three Framed and Glazed Russian Colour Auto Lithographs, St. Basil's Cathedral, Demko, Frunzenskaya Embankment, T. A. Dekhtereva and Old Arbar, I. A. Prilutsky, all with Moscow City Organisation of the Art Fund of the RSFSR Paper Lables and Signed in Pencil by Artists, Subjects 55x43cm

A Framed and Glazed Russian Colour Linocut, Elephant Sleeping, Signed in Pencil, With Moscow City Organisation of the Art Fund of the RSFSR Label, L. Zh. Yukina S. Marshak, Subject 30x37cm

A Framed and Glazed Russian Colour Linocut, Hippo, Signed in Pencil, with Moscow City Organisation of the Art Fund of the RSFSR Label, L. Zh. Yukina S. Marshak, 30x37cm

A Framed and Glazed Russian Colour Linocut, Twilight - Owl, Signed, with Moscow City Organisation of the Art Fund of the RSFSR Label, I. Khokhlova, 27.5x37cm

A Framed and Glazed Russian Colour Linocut, Moscow Metro, Signed in Pencil, with Moscow City Organisation of the Art Fund of the RSFSR Label, N. N. Blagovolin, Subject 40x28.5cm

A Framed Russian Colour Linocut, Victory Salute, Signed in Pencil, with Moscow City Organisation of the Art Fund of the RSFSR Label, S. V. Miklashevich, Subject 40x53cm

A Framed and Glazed Russian Colour Linocut, Apple Tree Branch, Signed in Pencil, with Moscow City Organisation of the Art Fund of the RSFSR Label, Y. S. Shibanov, 26x31cm

A Framed and Glazed Russian Colour Linocut, Farm Animals Beside Fire, Signed in Pencil, with Moscow City Organisation of the Art Fund of the RSFSR Label, L. N. Sudakova, 41x30cm

Pavel Tchelitchew (Russian, 1898-1937) 'Tilly Losch as The Wanderer 1933', a design for the Errante Ballet created by Balanchine, designed by Pavel Tchelitchew for Le Ballet 1933watercolourMercury Gallery label verso30 x 48cm Watercolour on off white paper, creasing down the left side and two vertical folds running through it, additional invoice from Anthony Hepworth fine art.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A box of collectables - including a Chinese cast metal figure of a fisherman, modern, 17cm high; a cased gilt and chrome plated chess set; a Russian doll; carved wooden figures including two seated teddy bears, the larger 16cm high; a duck decoy, a standing duck and an African hardwood ibex; a wooden gavel; a turned wooden nutcracker; and a small painted folk art wooden doll Christmas tree ornament.

Friedrich August von Kaulbach (1850-1920) German Portrait of a young lady, head and shoulders Portrait of a young lady, head and shoulders, wearing a headpiece with diaphanous material Each signed, oil on panel, 12cm dia. (oval) (2)Contained in decorative, ebonised and gilt Renaissance style framesProvenance: Christie's South Kensington, "19th Century European Art including Russian Pictures", 21st September 2005, lot 137