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)
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Magnificent holidays with a passionate row, an annual menaion and a two-row cycle of icons of the Mother of God - a kind of encyclopedia of the Mother of God images. A majestic monument to Christianity and late Russian icon painting, where in one image the annual and Mother of God universe of Orthodoxy is revealed, full of sacrifice. With the epicenter of suffering and resurrection, the testimony of all the upcoming saints and with hope in the miraculous images of the intercessor. The Virgin Mary series is interrupted by the marks of Unexpected Joy, Joy of All Who Sorrow, the Sign and Coronation of Mary - milestones of the communion and growth of spiritual truths. The Passion Series is composed of: the Ascension of Mary, the Old Testament Trinity, the Entry into Jerusalem, the Raising of Lazarus, the Washing of the Feet, the Last Supper, the Flagellation of Christ, the Imposition of the Crown of Thorns, the Carrying of the Cross, the Crucifixion, the Descent from the Cross and the Entombment. Particularly attractive is the rare completeness of the lists of icons of the Mother of God, which can serve as an encyclopedia of the Mother of God images. The bright decorative painting on a golden background sounds excitingly solemn and life-affirming. Cypress board, gesso, tempera, gilding. Russia. Second half of the 19th century. Dimensions: 53x44 cm. Width: 44cm, Height: 53cm, Depth: 3cm, Weight: 10kg, Condition: Signs of wear commensurate with age, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-11192
This majestic and romantic work by Russian artist Yuli Yulievich Klever takes the viewer into the mysterious world of a winter sunset, saturated with a poetic atmosphere. The painting created by the author enchants with its expressiveness and richness, conveying the magic of a pre-sunset snowy evening.The central element of the composition is the golden-orange glow of the setting sun, which envelops the winter landscape and fills it with magic. Magnificent golden distances and fiery reflections of the sunset contrast with the silhouette of a lonely hut and the delicate lace of purple snow. Light, symbolizing life and hope, breaks through the clouds, penetrates the winter forest and is reflected on the surface of a thawed stream. Orange-golden rays gently envelop the forest space, warming the silent distance and snowy branches of the fir trees. The warm glow of the sunset illuminates the tree trunks, creating piercing reflections on the water and giving the whole scene a picturesque trepidation. Every detail of the landscape, from the gray snow to the majestic fir trees, is depicted with a deep sense of love and attention to nature, forming a unique poetic image. The gloomy forest is filled with light, giving the viewer a feeling of hope and confidence in the future, emphasizing the philosophical thought of the fleetingness of time and the inevitability of change. Oil on canvas measuring 122.5 x 96.5 cm is enclosed in a wide gilded frame, emphasizing its magnificence. In the lower right corner, the author`s signature of Y. Klever and the date 1912 are visible, testifying to the high skill and talent of the artist. Width: 131cm, Height: 158cm, Depth: 15cm, Weight: 30kg, Condition: Good, Material: Canvas, oil, ID: ID-ANTQ-11174
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 painting, executed in the manner of Marinus van Reymerswaele, depicts two tax collectors with grotesque faces, sitting at a table in clothes typical of the 15th century. The character closest to the viewer, dressed in a black turban and pince-nez, with a concentrated expression on his face, writes text in a book reminding tax evaders of their obligations before the law. The second collector, in a dark blue turban and red caftan, looking meaningfully at the viewer, points his hand to this text, clutching an empty coin purse in the other hand, emphasizing the need to replenish the treasury. The collectors` clothes stand out against the background of the interior, indicating the status and class of the characters . The faces depicted by the author emphasize the satirical meaning of the picture, hinting at human greed and stinginess. In this plot, the master created a grandiose satirical image of predatory financial capitalism, which arose in the light of the economic and cultural boom in Antwerp in the 16th century, which actually turned the once small Flemish city into the financial center of the world. According to experts, the recognizable scene of two misers was borrowed and recreated in many variations by the artist Marinus van Reimerswaele from the great Flemish author Quentin Massys. This plot was one of the most popular and recognizable in Europe during the period of the 16th - 17th centuries. Similar works adorned royal collections as well as collections of aristocrats and nobility of the time. Nowadays, Marinus van Reimerswaele`s works on the theme of Tax Collectors are part of the exhibition of museums around the world, including the Louvre in Paris, the National Gallery in London and the Prado Museum in Madrid. The recognizable plot is located in Windsor Castle, in the king’s personal chambers, as well as in the Royal Collection of Liechtenstein. One of the paintings of Tax Collector attributed to Marinus van Reimerswaal is included in the collection of the State Hermitage Museum in St. Petersburg, acquired from the heirs of the first Prime Minister of England Sir Robert Walpole at the end of the 18th century by the Russian Empress Catherine II. Follower of Marinus van Reymerswaele (Marinus van Reymerswaele) 1493-1567 Period: Turn of the 17th-18th century. Material: Canvas, oil, duplicated canvas. Canvas dimensions: 117 x 97 cm. Width: 116cm, Height: 136.5cm, Depth: 10cm, Weight: 12kg, Condition: Signs of wear commensurate with age, Material: Canvas, oil, ID: ID-ANTQ-11145
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
Sam Morse Brown ARWA, British 1903-2001 - The Crucifixion of Humanity, 1961; oil on canvas, signed and dated lower left 'S.Morse Brown 1961', 203 x 152 cm (unframed) (ARR)Provenance:Christies, London, British, Continental and Russian Pictures, 23rd August 2006, Lot 655 (part lot);private collection, UK Exhibited: Southwark Cathedral (according to a previous cataloguing of the work)Note:this painting was also paraded in London in the 1960s by Ban the Bomb activists.
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
Airfix - Attack Force HO/OO Ready-Made Vehicles, 1960's/1970's issues, comprising: 6 x 6 Truck, 6 x Patton Tank, 4 x Centurion Tank, 2 x Troop Carrier [M113] , 2 x Landing Craft, 4 x SP Guns & 25LB Field Gun with Tractor. Some embellishment [painting], minor damages & missing accessories otherwise generally Very Good overall Near Mint overall. Together with, Airfix HO/OO Scale Figures, First Issue Sets - Type 1 [1959 -1965] box: S17 - Russian Infantry [1964 - EMPTY BOX ONLY], Type 2 "Blue Box" [1966 -1971] box - S47 - RAF Personnel, Type 13 "Hornby Box" [2008] Factory Sealed boxes - S20 - Robin Hood, S21 - Sheriff of Nottingham. Generally near Mint to Mint overall [RAF detached from sprues - contents unchecked] contained in generally Good to Mint [minor storage wear] Type 1 / 2 / 13 set boxes. Together with a Large Quantity of Loose Figures from Various Sets, Mostly Excellent [some with embellishments & minor damages] overall. [Qty]
Russia, 19th century A.D. Painted on a wooden board with mounting slots and panels to the reverse, gessoed surface with painting of Christ entering Jerusalem on Palm Sunday riding a donkey; crowd within the city wall waiting with palm fronds, two figures laying down cloaks for the donkey to walk on; followers of Christ in gateway, each with golden nimbus; Christ with similar and letters 'ω', 'C' reversed and 'Н'; Cyrillic script title above reciting: 'Entrance of the Lord in Jerusalem'; bands of gilt ornament to the borders and corners. See Turtsova, N.M., The Entry of the Lord into Jerusalem. Series 'Russian icon. Images and symbols' (in Russian), St. Petersburg, 2014. 1.7 kg, 31 x 36 cm (12 1/8 x 14 1/8 in.).Ed Jackson Auctions USA. From an important collection of icons.The scene, painted in the style of 19th-century romantic painters, represents a well-known part of the Gospels that describe the entry of Jesus into Jerusalem. He makes a grand entrance into the city on a donkey to fulfil the prophesy of Zechariah, “Tell the city of Zion, look, your king is coming to you! He is humble and rides on a donkey and on a colt, the foal of a donkey.” Christ is followed by his disciples and in the background citizens wave palm branches.
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..'
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.
Lackdose "Rast bei der Heuernte", Russland, Ostaschkowo, Werkstatt Osip F. Wischnjakow mit Söhnen, nach 1882 Papiermaché, Schwarzlack, innen silberlackiert. Auf dem Scharnierdeckel polychrome Ölmalerei. Darstellung nach einem Gemälde von Lawr Kusmitsch Plachow. Innen Reste einer Ausstellungsmedaille von 1872. Die Seiten mit Ähren und Blüten verziert. Leichte Kratzer. Maße 9 x 15,7 x 9,8 cm. Motiv vgl. Hirmer, Russische Lackdosen, Ab. 31/32, Marke vgl. Museum für Lackkunst, Marke XXVII. A Russian papier mâché and lacquer box after the painting "Rest at the Hay Harvest" by L. K. Plachow, Ostashkovo, Osip Vishyakov and Sons factory, after 1882 A Russian papier mâché and lacquer box after the painting "Rest at the Hay Harvest" by L. K. Plachow, Ostashkovo, Osip Vishyakov and Sons factory, after 1882 Papiermaché, Schwarzlack, innen silberlackiert. Auf dem Scharnierdeckel polychrome Ölmalerei. Darstellung nach einem Gemälde von Lawr Kusmitsch Plachow. Innen Reste einer Ausstellungsmedaille von 1872. Die Seiten mit Ähren und Blüten verziert. Leichte Kratzer. Maße 9 x 15,7 x 9,8 cm. Motiv vgl. Hirmer, Russische Lackdosen, Ab. 31/32, Marke vgl. Museum für Lackkunst, Marke XXVII. Condition: II +
Großer Lack-Handschuhkasten, Russland, Ostaschkowo, Werkstatt Osip F. Wischnjakow mit Söhnen, 1882 - 1888 Papiermaché, Schwarzlack, innen rot lackiert. Auf dem Scharnierdeckel polychrome Ölmalerei nach einem Gemälde von Yelizaveta Merkuryevna Byom, entouriert von kyrillischen Sprüchen. Im Deckel Ausstellungsmedaillen. Ohne Schlüssel. Maße 8,5 x 33,5 x 10 cm. A large Russian papier mâché and lacquer casket after a painting by Y. M. Byom, Ostashkovo, Osip Vishyakov and Sons factory, 1882 - 1888 A large Russian papier mâché and lacquer casket after a painting by Y. M. Byom, Ostashkovo, Osip Vishyakov and Sons factory, 1882 - 1888 Papiermaché, Schwarzlack, innen rot lackiert. Auf dem Scharnierdeckel polychrome Ölmalerei nach einem Gemälde von Yelizaveta Merkuryevna Byom, entouriert von kyrillischen Sprüchen. Im Deckel Ausstellungsmedaillen. Ohne Schlüssel. Maße 8,5 x 33,5 x 10 cm. Condition: II
Lewes Interest. A group of antique Lewes related unframed prints; Lambert after Basire;North View of Lewes Castle from the Wall Lands, 1785. South view of the Keep of Lewes Castle, 1785.West View of Lewes Priory, 1785.South view of Lewes Castle Gateway, 1785.West view of Lewes Priory Gateway, 1785.East view of Lewes Priory, 1785. x3Sayer & Bennett, A View of a Farm near Lewes in Sussex, 1778.Poynton Lodge (Warren Family) two views c.1785.Trade advert for James Lambert Coach and Sign Painting, c.1780.Delamotte lithograph Russian Prisoners at Lewes from Life,Nibbs, Remains of a Gundrada, 1845 x2largest 36 x 28cm. Condition - varies, foxing and discolouration
A large collection of ephemera and photographs relating to 4127257 Gunner, later Cpl Read of the 29th Field Regiment Royal Artillery, 52nd Lowland Division. To include: some images from WW2, including a German military funeral, a convoy of Russian prisoners of war, a V2 rocket, and British soldiers below a large eagle and swastika. Other items include several regimental Christmas cards, standing orders booklet, 52nd Lowland Division post war activities booklet, numerous snapshots from the immediate post war era, booklets regarding vehicle maintenance, a military gospel book, a small album of photographs showing German bomb damaged buildings and monuments, plus other period ephemera. There is also a 1947 dated oil on board painting of a soldier, but it’s unknown if this is Cpl Read. A small selection is shown in the images. Condition: some normal age related wear to both the photographs and other ephemera.
18 Medium 19th & 20th century examples including pictorial. This partial includes a cool realistic palm tree, a wonderful Abalone shell carved rose, a very cool carved scalloped oval sew thru . Encrusted examples. Gilded examples, a Russian painting on pearl set in silver and much more. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
Six of Clubs. Varvara Zankovich (b.1996). 'Venus', acrylic on paper, unframed. Design size 42cm x 29.7cm, paper size: 44cm x 32cm. Signed verso. Born in St. Petersburg, Russia, Varvara graduated from the Faculty of Graphics at the St. Petersburg Academy of Arts in 2020. She also studied at the École nationale supérieure des Beaux-Arts in Paris from 2018-2019 through a student exchange program. From 2020 to 2022, she was represented by The Russian Ark Gallery in Sydney, Australia. Varvara's artistic focus lies in evoking human emotions through the combination of visual abstract shapes and figurative storylines. in Focuses mainly in linocut and monotype techniques, but also working in a variety of painting techniques such as acrilyic painting, oil painting . The works are kept in private collections in Russia, China, Azerbaijan, the USA, as well as in the Museum of the Academy of Arts and the National Museum of the city Haikou, China. Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.
Russische Vase mit Bronzemontierung und Goldstaffage. Um 1810/20. Russland.H 27 cm. Ovoider Korpus aus farblosem Glas mit Steinelschliff sowie figürlicher und floral-ornamentaler Goldmalerei, Kraterhals und Rundfuß mit Olivenschliffkranz; ausgekugelter Abriss. 2 Bronze-Maskaronhenkel sowie Bronze-Plinthe mit vier Füßen. Gold berieben.Aufrufzeit 24. | Okt. 2024 | voraussichtlich 16:56 Uhr (CET) Russian vase with bronze mounting and gold decoration. Circa 1810/20. Russia.H 27 cm. Ovoid body made of clear glass with stone-cut decoration and figural and floral-ornamental gold painting, crater neck and round foot with olive-cut wreath; pontil mark. 2 bronze mascaron handles and bronze plinth with four feet. Gold rubbed.Call time 24 | Oct. 2024 | presumably 16:56 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Russischer Kobaltglasbecher. St. Petersburg. Werkstatt von K. I. Terebenev und P. P. Semechkina, St. Petersburg, um 1840. Russland.Kobaltglas, Umdruck, Silber- und Goldstaffage. H 8,5 cm. Zylinderbecher mit der schauseitigen Umdruckdarstellung einer Watteau-Szene auf weißem Emailfond, verso florale Gold- und Silbermalerei; ausgekugelter Abriss. Chip und minimale Bestoßungen am Mündungsrand.Der Becher ist ein typisches Beispiel für Produkte der Werkstatt K. I. Terebenev und P. P. Semechkin, die in den späten 1830-1840er Jahren in St. Petersburg tätig war. Die weithin bekannte Werkstatt spezialisierte sich auf die Dekoration von Glas, Porzellan und Steingut mit lithografischen Zeichnungen. Für die Verwendung dieser Technik erhielten Terebenev und Semechkin am 6. Mai 1840 ein Patent für zehn Jahre. Die Motive für die Zeichnungen fanden sie in russischen und ausländischen Druckgrafiken und umfassten Porträts bekannter Personen, allegorische Darstellungen, literarische Bilder und Landschaftsbilder sowie Kopien von berühmten Gemälden. Ähnliche Gläser werden in der Sammlung des Staatlichen Historischen Museums in Moskau aufbewahrt.Literatur : Pressglas-Korrespondenz: PK 2018-1/05, S. 27 ff.; Klesse (1965), S. 64 und 300/Kat.-Nr. 342 und 343.Aufrufzeit 24. | Okt. 2024 | voraussichtlich 16:57 Uhr (CET) Russian cobalt glass cup. St. Petersburg. Workshop of K. I. Terebenev and P. P. Semechkina, St. Petersburg, around 1840. Russia.Cobalt glass, overprint, silver and gold decoration. H 8.5 cm.Cylindrical beaker with an overprint depicting a Watteau scene on a white enamel ground on the front, floral gold and silver painting on the reverse; pontil mark. Chip and minimal chips to the rim.The cup is a typical example of products from the workshop of K. I. Terebenev and P. P. Semechkin workshop, which was active in St. Petersburg in the late 1830s-1840s. The widely known workshop specialized in the decoration of glass, porcelain and earthenware with lithographic drawings. On May 6, 1840, Terebenev and Semechkin were granted a ten-year patent for the use of this technique. They found the motifs for the drawings in Russian and foreign prints and included portraits of famous people, allegorical depictions, literary images and landscapes as well as copies of famous paintings. Similar glasses are kept in the collection of the State Historical Museum in Moscow.Literature : Pressglas-Korrespondenz: PK 2018-1/05, p. 27 ff.; Klesse (1965), p. 64 and 300/Cat. nos. 342 and 343.Aufrufzeit 24 | Oct. 2024 | probably 16:57 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 russische Kobaltglaskrüge und 5 -becher. Überwiegend 19. Jh. Russland. 5x Kobaltglas: Plattkrug mit a jour gearbeiteter Silbermontierung mit allseitig einem russischen Doppeladler (H 19,5 cm), kleines Kännchen mit Juwelenmalerei und dem goldgemalten Buchstaben "E" (H 16 cm), Becher mit beriebener Floralmalerei (H 9,5 cm), 2 Becher mit gold- und silbergemalten Streublümchen (H 8,5 cm). / 1 Becher aus violettem Glas mit beriebener, floraler Silbermalerei (H 9 cm). / 1 Becher aus blauem Alabasterglas mit Umdruck-Puttenmotiv (H 11,5 cm). Silbermontierung mit Lötstellen und kleiner Fehlstelle, Gold- bzw. Silberstaffage überwiegend berieben, 1 Becher mit minimaler Bestoßung am Mündungsrand, 2 Becher mit Chip am Mündungsrand. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 16:59 Uhr (CET)2 Russian cobalt glass jugs and 5 beakers. Predominantly 19th century Russia. 5x cobalt glass: Flat jug with a jour worked silver mount with a Russian double eagle on all sides (h 19.5 cm), small jug with jewel painting and the letter "E" painted in gold (h 16 cm), beaker with rubbed floral painting (h 9.5 cm), 2 beakers with scattered flowers painted in gold and silver (h 8.5 cm). / 1 violet glass beaker with rubbed floral silver painting (H 9 cm). / 1 beaker of blue alabaster glass with transfer-printed turkey motif (H 11.5 cm). Silver mount with solder points and small missing part, gold and silver decoration mainly rubbed, 1 beaker with minimal wear to rim, 2 beakers with chip to rim. Call time 24 | Oct. 2024 | presumably 16:59 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Paar Amphorenvasen mit Blumenmalerei. Ungemarkt, vermutlich russisch, 1. H. 19. Jh.Polychrom bemalt, goldstaffiert. H 28 cm. Ovoider Korpus mit zwei Harpyienhandhaben, Kraterhals, Rundfuß, auf Quadratplinthe. Minimaler Goldabrieb, 1x kleine Bestoßung an 1 Henkel und am Rand der Fußmontierung.Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:38 Uhr (CET) Pair of amphora vases with floral painting. Unmarked, probably Russian, 1st half 19th centuryPolychrome painted, decorated with gold. H 28 cm. Ovoid body with two harpy handles, crater neck, round foot, on a square plinth. Minimal gold abrasion, 1x small knock to 1 handle and to the edge of the foot mount.Call time 25th | Oct. 2024 | probably 11:38 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Russischer Biedermeier-Teller mit Kobaltfond. St. Petersburg. Blaumarke Nikolaus I., 1825-1855. Polychrom bemalt, goldstaffiert. Ø 25,5 cm. Teller mit passiger Fahne, ornamental goldbemaltem Kobaltfond und vier rocaillegerahmten Kartuschen mit Vogel- bzw. Blumenmalerei. 1 Randbestoßung. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:40 Uhr (CET)Russian Biedermeier plate with cobalt base. St. Petersburg. Blue mark of Nicholas I, 1825-1855. Polychrome painted, decorated in gold. Ø 25.5 cm. Plate with matching rim, ornamental gold-painted cobalt ground and four rocaille-framed cartouches with bird and flower painting. 1 rim bump. Call time 25 | Oct. 2024 | probably 11:40 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 russische Vitrinentassen. Russland. Polychrom bemalt, goldstaffiert. 1x prunkvolle Kratertasse (H 10 cm) mit Greifenkopfhenkel und originaler Untertasse (Ø 14,5 cm): zwischen goldradierten Palmen die Darstellung einer orientalischen Landschaft mit Architektur und Personenstaffage. / 1x gefußte Kratertasse (H 11 cm): schauseitig eine goldgerahmte Rechteckkartusche mit der Darstellung einer orientalischen Landschaft mit Moschee. / Dazu 2 verschiedene Untertassen: 1x mit farbig-goldener Floral- und Ornamentmalerei (Ø 14 cm) und 1x mit purpurfarbener Staffage und Goldstaffage (diese Schumann, Berlin; Ø 15,5 cm). Partieller Goldabrieb, Haarriss in 1 Untertasse und an 1 oberen Henkelansatz. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:41 Uhr (CET)2 Russian glass cups. Russia. Polychrome painted, decorated in gold. 1x splendid crater cup (H 10 cm) with griffin handle and original saucer (Ø 14.5 cm): between gold-etched palm trees the depiction of an oriental landscape with architecture and staffage / 1x footed crater cup (H 11 cm): on the front a gold-framed rectangular cartouche with the depiction of an oriental landscape with mosque. / Comes with 2 different saucers: 1x with colorful gold floral and ornamental painting (Ø 14 cm) and 1x with purple staffage and gold decoration (this Schumann, Berlin; Ø 15.5 cm). Partial gold abrasion, hairline crack in 1 saucer and on 1 upper handle base. Call time 25 | Oct. 2024 | presumably 11:41 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 russische Porzellan-Eier. 19. Jh. Polychrom bemalt, 2x goldstaffiert. 1x goldenes Ei mit der Darstellung eines orthodoxen Heiligen (L 8,5 cm). / 1x Ei mit aufgelegten Blüten und vegetabiler Goldmalerei (L 8 cm). / 1x Ei mit dem Bild eines Reihers (L 6,5 cm). Gold berieben, einige Blüten bestoßen. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:41 Uhr (CET)3 Russian porcelain eggs. 19th century Polychrome painted, 2x gold-decorated. 1x golden egg with the depiction of an Orthodox saint (l 8.5 cm). / 1x egg with applied flowers and vegetal gold painting (L 8 cm). / 1x egg with the image of a heron (L 6.5 cm). Gold rubbed, some flowers bumped. Call time 25 | Oct. 2024 | presumably 11:41 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
4 russische Tassen mit Untertassen. Lomonossow. Stempelmarke und teils Datierung, Ende 20. Jh. Alle unterseitig teils kyrilisch bezeichnet. Polychrom bemalt, goldstaffiert. 4 Tassen (H 7,5 cm). 4 Untertassen (Ø 12 cm). Vier verschiedene, konische Tassen, bemalt mit ornamentalen Mustern, 2x mit schauseitiger figürlicher Malerei. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 13:32 Uhr (CET)4 Russian cups with saucers. Lomonosov. Stamp mark and partly dated, late 20th century. All partly inscribed in Cyrillic on the underside. Polychrome painted, decorated in gold. 4 cups (h 7.5 cm). 4 saucers (Ø 12 cm). Four different, conical cups, painted with ornamental patterns, 2x with figural painting on the front. Call time 25 | Oct. 2024 | probably 13:32 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ZHEVAGO, Georgy Semenovich(1911 - 1987) Sonnige ParkansichtÖl/Malkarton. Rechts unten kyrillisch signiert, verso bezeichnet. 1960. 12,5 x 20 cm. Gerahmt : 28 x 36 cm (Goldrahmen). Mehrere Personen auf den Wegen zwischen den blühenden Beeten und Wiesen an einem sommerlichen Tag. Russischer Maler in St. Petersburg, Schüler der Leningrader Repin-Kunsthochschule. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 12:12 Uhr (CET) ZHEVAGO, Georgy Semenovich(1911 - 1987) Sunny park viewOil/painting card. Signed in Cyrillic lower right, inscribed verso. 1960. 12.5 x 20 cm. Framed : 28 x 36 cm (gold frame). Several people on the paths between the flowering beds and meadows on a summer's day. Russian painter in St. Petersburg, pupil of the Leningrad Repin Art Academy. Call time 26 | Oct. 2024 | probably 12:12 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BEGGROW-HARTMANN, Olga(1862 Heidelberg - 1922 München) Russische Landschaft bei St. PetersburgÖl/Malkarton. Links unten signiert. 35 x 27 cm. Gerahmt : 36 x 28,5 cm (silberne Leiste). Weite hügelige Gegend nahe einem Fluss unter bedecktem Himmel. Deutsche Malerin, studierte bei Friedrich Keller und an der Akademie Stuttgart. Literatur : Thieme/Becker. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 14:59 Uhr (CET) BEGGROW-HARTMANN, Olga(1862 Heidelberg - 1922 Munich) Russian landscape near St. PetersburgOil/painting card. Signed lower left. 35 x 27 cm. Framed : 36 x 28.5 cm (silver strip). Wide hilly landscape near a river under a cloudy sky. German painter, studied under Friedrich Keller and at the Stuttgart Academy. Literature : Thieme/Becker. Aufrufzeit 26. | Oct. 2024 | probably 14:59 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A lovely oil painting on canvas board that captures a view from within a home, gazing out over a sunlit, idyllic countryside. Artist signature and date on lower right side. Housed in a wooden gilded frame. Artwork dimensions: 6"L x 9"H. Frame dimensions: 7"L x 0.5"W x 10"H. Artist: Nikolay Kotov (Russian, 1889-1968)Issued: 1958Dimensions: See DescriptionCondition: Age related wear.
A CASED SILVER GILT RUSSIAN ICON ST PETERSBURG 1881, UNKNOWN ASSAY MASTER, 84 ZOLOTNIKI Depicting the Kazan Mother of God, within a chased floral and beaded guilloche border, the faces painted in oil on wood Icon itself is approximately 30.5cm high by 25.8cm wide as visible to internal aperture. Case is 38.5 by 34.5 by 7cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. With some metal polish/cleaning marks and deposits to surfaces of oil painting. Catch to case not working exactly. Some wear and scuffs to case. Icon itself is approximately 30.5cm high by 25.8cm wide as visible to internal aperture. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
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
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
Oil on canvas, 67.5 x 95 cm (unframed), 82 x 109 cm (framed). This impressive painting from the Russian school, painted around 1880, presents several variants of the work Aivazovsky produced in 1875 (sold by Christie's in 2008). The scene takes place in Feodosia, southern Crimea, by the light of a full moon. Traces of an illegible signature can be seen at the bottom left. Ivan Konstantinovich Aivazovsky, born on 17 July 1817 in Feodosia, was noted from an early age for his talents in languages, music and drawing. At the age of 16 he was admitted to the Russian Academy of Arts in St Petersburg, specialising in seascape painting, a passion that arose after taking part in training with the Russian naval fleet. In 1839 he won his first gold medal, and although he had the opportunity to study in Rome, he preferred to return to Feodosia to perfect his technique. Later, in Rome, his work The Bay of Naples in the Moonlight was praised by J.M.W. Turner. Aivazovsky travelled around Europe, taking part in exhibitions such as the Paris Salon, where he received another gold medal and the Legion of Honour in 1857. Provenance: French private collection.
Artist: Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). Title: "Set Design". Medium: Mixed media (watercolor, gouache, pen, pencil). Date: Composed c1910-20. Dimensions: Image size: 11 x 16 in. (279 x 406 mm).Pricing: Starting Price: $6,000 Reserve Price: N.A. Auction Sale Price Estimate: $8,000/10,000Lot Note(s): Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Painted on supple wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Comment(s): Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris World’s Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-6000-NA]
Nikolai Fechin (Russian, 1881-1955)Portrait of Mademoiselle Ducter signed and dated 'N. Fechin 25' (lower right); further inscribed 'Mlle. Ducter' (on stretcher)oil on canvas76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceWith Fenn Galleries Ltd., Santa Fe, New Mexico.Acquired from the above by the present owner in 1978.ExhibitedDallas, Scottish Rite Cathedral, Exhibition of Paintings and Sculpture by Leading Living American Artists under auspices of Dallas Art Association from Grand Central Art Galleries, February 5 - 25, 1927, no 46, as Madame D.Los Angeles, Stendahl Art Galleries, Exhibition of Paintings. Nicolai Fechin, February, 1930, no. 9.LiteratureExh. cat., Exhibition of Paintings and Sculpture by Leading Living American Artists under auspices of Dallas Art Association from Grand Central Art Galleries, 1927, no. 46.Exh. cat., Exhibition of Paintings. Nicolai Fechin, Stendahl Art Galleries, February, 1930, no. 9.The work is accompanied by a certificate of authenticity issued by Fenn Galleries Ltd., Santa Fe, New Mexico.On the stretcher of the present portrait of a young woman, painted in 1925 by Nikolai Fechin, the name Mlle. Ducter is inscribed. This portrait is recorded as Mlle. Ducter under number 9 in the catalogue of Fechin's personal exhibition, held in February 1930 at the Stendahl Art Galleries in Los Angeles. In the catalogue of a 1927 exhibition in Dallas, which presented leading artists associated with New York's Grand Central Galleries, a portrait of Madame D is listed among Nikolai Fechin's works (no. 46). In the archive of the artist's successors, there is a list titled 'Earl Stendahl', which included the works that the gallery owner collected from different places for his exhibition. It mentions that a portrait of Madame D was delivered from the Grand Central Galleries, indicating dimensions of 30 x 25 inches, which coincides with the dimensions of the portrait of Mlle. Ducter.The present work participated in another exhibition at the Earl Stendahl Gallery in February 1940, which had an amazing story associated with it. The exhibition was announced by the local press: 'For the first time in history, a complete art exhibition was transported by airplane! Nicholai Fechin's exhibit was scheduled to open at the Stendahl Galleries, Ambassador Hotel, Los Angeles, on Thursday, Feb. 8. On Wednesday, Feb. 5, not a single Fechin canvas had arrived. A letter notifying to forward paintings had been sent early in January. No reply. The staff fumed. Earl Stendahl acted. A long-distance call to a friend brought the offer of a privately-owned airplane. In half an hour, Mr. Stendahl was at the Metropolitan Airport and hopped off for Palm Springs, where Mr. Fechin was painting. In three-quarters of an hour, he landed one hill away from Fechin's camping ground. The Russian artist had never received the letter, or if he had, was too busy painting to read it. In an hour, Fechin's studio was denuded of desert, canyon, marine, and Indian paintings; the plane soared neatly away from cacti and smoke trees and deposited the enterprising art dealer and his complete February show smoothly within Los Angeles territory.'1A photograph has been preserved that captures the moment the works were loaded onto the plane, among which is the portrait of Mlle. Ducter. It was painted by Fechin in 1925, in the first years of his emigration and stay in New York, a time full of a sense of freedom, professional relevance, and success. In New York, Fechin often performed commissioned portraits, but to a greater extent, he preferred to maintain the scheme developed in Russia - to paint portraits of models that interested him and present them at exhibitions, from which most of the works were purchased for private collections. This is exactly how this portrait was painted. Perhaps the same girl served as a model for another portrait sketch in 1925.Fechin's brilliant technical virtuosity is also inherent in the present lot. From the splashes and flickering of iridescent colours, a heap of seemingly chaotic, impasto strokes, the image of a living, real girl with a subtly and precisely modelled face appears. The artist's love of balancing on the border of the figurative and the conventional leaves, on the one hand, the texture of the paint itself naked, and on the other, with sweeping, careless strokes, he designates the texture of different materials: the feathers of a fan, the transparency of a collar, the shine of stones in earrings. The captured moment in a portrait does not freeze; it is full of movement, energy, and emotion. This work stands among other portraits of 1924-1925, such as Recent Bride (1924), Portrait of Kate (1925), Portrait (1925), and others.1'Fechin Exhibition First Delivered By Plane', newspaper clipping without imprint. Private archive, USA.We are grateful to Galina Tuluzakova for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ALEXANDER III: (1845-1894) Emperor of Russia 1881-94. Attractive signed printed large folio copy of L´Illustration Journal Universel, French weekly edition, twenty-four pages, 2nd May 1885, signed by Alexander III, as Emperor, with his initial `A´ in red indelible pencil to the upper right corner of the front page. The Parisian journal includes multiple and very attractive large engravings, showing to the front page a drawing of multiple Asian riders, entitled "Russians in Central Asia". To the inside showing multiple engravings including the Anglo-Russian confict in central Asia, or a reproduction of a Vereschagin painting with head cuts as trophy during the war. Also including a lengthy article by Jules Claretie. To a full double page showing the 40 portraits of all the jury members of the painting exhibition of 1885, including Bonnat, Bouguereau, Breton, Constant, Detaille, Puvis de Chavanne, etc... To a further page showing three large ans attractive images of the launch of the French navy battleship "Le Formidable" in 1885, and further again a large engraving showing the concert held at the conservatory by the choral company "La Concordia" on the occasion of the bicentenary of Bach. The present copy was originally bound in a red leather folio volume for the Emperor, alongside other additions of the journal. Left edge very slightly trimmed, otherwise VG
Russian Orthodox tempera on board painting depicting a calendar of saints.Provenance: Kenwood Gallery, Minneapolis, Minnesota; Private Minnesota Collection.Unframed; height: 7 in x width: 5 1/2 in x depth: 1 in.Condition: The colors are darkened and somewhat faded. There is craquelure throughout. The tan and red border is possibly a newer addition. There is a chip along the upper right edge. Some bowing to the wood. Due to an uneven varnish, it is difficult to discern whether there are any restorations under UV light. Several labels affixed to the verso.
Continental School (18th century) Portrait of a lady, seated three-quarter length at a table, in a dress embroidered with floral motifs, her upswept hair decorated with flowers, holding a fan, a landscape beyondinscribed on a label to the reverse 'Princess Daschran / Lady of Honour / to Catherine II / 1778'oil on canvas126 x 95cmThe identification of the sitter as Russian is improbable as the place of origin of the work is probably in the region of Turin.The painting is executed in oil on a canvas support which has been lined. The canvas tension is slightly slack but the picture is in plane. The paint layer is stable overall, there are a few raised cracks around the edges. Overpaint is present in localised areas covering old damages, such as in the sitter’s cheek. The varnish layer has significantly darkened and yellowed with age and is no longer adequately saturating the paint layers below. There is a thick layer of surface dirt present.
Renat Ramazanov (Russian, b. 1978). Oil on canvas painting titled "Women" depicting a group gathered around at a sunny table, 2005. Signed along the lower left; further signed, dated, and titled along the verso.Sight; height: 39 in x width: 47 in. Framed; height: 49 1/4 in x width: 57 1/4 in x depth: 3 1/2 in.Condition: There are no major losses. There is patch along the verso (measuring approx. 3.5 in x 3 in) corresponding to a repair along the forearm of the figure in white leaning over the table (second from the left). An area of corresponding length fluoresces under UV light. Light wear to the frame.
Konstantin Vysotsky (Russian, 1864-1938). Oil on canvas painting titled "Seascape" depicting a figure and cow on a hill overlooking an ocean.Sight; height: 9 1/2 in x width: 13 1/4 in. Framed; height: 13 1/2 x width: 17 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no chips, losses, or restorations when viewed under UV light. Light craquelure throughout. Light wear visible along the extreme edges. The paint does not appear to extend to the edges, likely original to the artistic process. Light wear to the frame. Not inspected out of frame.
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.
WW2 German Russian Front Watercolour Picture of a Group of Ukrainian Nationals Performing Local Dance Routine for German Soldiers, interesting framed and glazed watercolour painting by P J Katschenko, 1942. Reverse of the frame with typed translation from a German gallery giving the following history, ‘Brotherhood of a watercolour of the Ukrainian shows German soldiers, student assistants and locals in front of a rustic log house, watching the dance performance of a hiwi, good evidence of the good understanding between the Ukrainian population and the armed forces from the point of view of a Ukrainian at the beginning of the Russian campaign’. Frame measures 56 ½ x 47 ½ cms.
Igor Chevtsov (Russian, Born 1963)Painting of figures on the beach.Oil on board. Signed lower left.Sight Size: 5 x 14.5 in.Overall Framed Size: 11 x 21 in. - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.
Igor Chevtsov (Russian, Born 1963)Oil on board painting of figures on the beach. Signed lower right.Sight Size: 5 x 14.5 in.Overall Framed Size: 11 x 21 in. - Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.
Russian School, Coastal Painting with Figures. Signed indistinctly lower right. Oil on board. Sight Size: 6 x 9 in. Overall Framed Size: 11.5 x 14.5 in.- Provenance: this item comes from the private collection of Lou A. and Barbara B. Pritchett. Lou Pritchett was the ex-Vice President of Procter and Gamble. Lou Pritchett rose through the ranks at Procter & Gamble and was instrumental in the creation of the partnership between Procter & Gamble and Wal-Mart. Pritchett was instrumental in bringing Proctor & Gamble to the Phillipines during his time there. Now retired, Lou is a sought-after public speaker and author of Stop Paddling & Start Rocking the Boat.
Anatoli Nikitovich Turkin (Russian, b. 1938). Oil on canvas painting titled "Nightly Sprat Fishing" depicting a fishing ship dramatically lit, 1975. Signed and dated along the lower right. Further signed, dated, and titled along the verso.Height: 24 3/4 in x width: 28 1/8 in x depth: 1 1/4 in.Condition: The painting is in generally good condition with no visible tears, creases, or major losses. The surface is stable, and the color is bold and bright. When inspected under UV light, there is visible varnish loss along the margins. Along the sides of the canvas, there is visible wear and discoloration. Dust collected to the surface. No visible sign of restoration under UV light.
Follower of Corrado Giaquinto (1703-1766)Study for Lunette: an Allegory of the Old Testament, oil on canvas From the Estate of Francis and Larissa Haskell. Francis Haskell (1928-2000) was an art historian, author and professor of Art History at the University of Oxford. His wife Larissa (1931-2024) was a noted Russian art historian, and was curator of Venetian drawings at the Hermitage.Prov: Hazlitt May. The companion painting was sold at Christies 10 July 2015 (£15,000) Frame measurements - 110cm x 55cmHas been lined. Minor frame abrasions, and has a line/indent running close to the top edge with a slightly downwards incline. Minor scratches and surface dirt.
Narcisse-Virgilio Diaz de la Pena (1807-1876)'Tzigane ecoutant la prediction d 'une Jeune voyante' or 'Le Chant du songe de Deborah', a study of the painting in the Hermitage, inscribed 'Eugene Delacroix la Dance' verso, oil on canvas, 40.5 x 30cm, in carved gilt frameFrom the Estate of Francis and Larissa Haskell. Francis Haskell (1928-2000) was an art historian, author and professor of Art History at the University of Oxford. His wife Larissa (1931-2024) was a noted Russian art historian, and was curator of Venetian drawings at the Hermitage. Prov: Couper Gallery, 15 July 1968 (£250)Lit: cf. Pierre & Rolande Miquel: Narcisse Diaz de la Pena (1807-1876) 2 vols (Paris 2000) Has been lined, cleaned and varnished. The areas of light paint have some ingrained dirt/texture. Minor surface dirt and scratches. New images uploaded - please see the condition report tab via this link - Lot 429 - Narcisse-Virgilio Diaz de la Pena (mallams.co.uk)
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