Russian Art, Works of Art, Icons and Fabergé Wednesday 04 June 2014 10:30

MacDougall's Fine Art Auctions 30A Charles II St London SW1Y 4AE MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

Lot: 1 the most significant landscape works of their time." *DUBOVSKOY, NIKOLAI (1859-1918) River Running through a Estimate: £200,000.00 - £300,000.00 Wintry Forest , signed. Oil on canvas, 71 by 53 cm. "
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the Lot: 4 expert T. Goryacheva." *KUPRIN, ALEXANDER (1880-1960) Twilight Landscape. Estimate: £40,000.00 - £60,000.00 Churuk-Su River, Bakhchisarai , signed. Oil on canvas, 89 by 125 cm. "
Executed c. 1927–1928.

Provenance: Private collection, Turkey.

Authenticity Lot: 2 of the work has been confirmed by the expert V. *DUBOVSKOY, NIKOLAI (1859-1918) Winter Scene , signed Petrov.

Exhibited:Vystavka kartin i skulptury and numbered "N 25" on the reverse. Oil on canvas, 56.5 by 98 obschestva moskovskikh khudozhnikov OMKh, Central Park of cm. "
The present lot is a version of the painting Winter Culture and Leisure, Moscow, June 1929, No. 149.
(1884), now in the collection of the State Tretyakov Shestaya vystavka “Krym i Kavkaz–zdravnitsy Rossii―, Gallery.

Provenance: Private collection, Exhibition Hall of the Moscow Union of Artists, Moscow, Europe.

Authenticity of the work has been confirmed 1931.
Khudozhniki RSFSR za XV let (1917–1932), State by the expert V. Petrov.
Authenticity has also been Historical Museum, Moscow, 1933, No. 412 or 414.
XIXa confirmed by the experts S. Krivondenchenkov and P. Klimov." Esposizione Biennale Internazionale d’Arte, La Biennale di Estimate: £80,000.00 - £120,000.00 Venezia, Venice, 1934, No. 30 (label on the reverse).

Literature: Exhibition catalogue, Vystavka kartin i skulptury obschestva moskovskikh khudozhnikov OMKh, Moscow, 1929, p. 16, No. 149, listed as Semerechnyi [sic] peizazh.
Lot: 3 Khudozhniki RSFSR za XV let (1917–1932) Zhivopis’, SAVRASOV, ALEKSEI (1830-1897) Evening Light , signed and Moscow, Vsekokhudozhnik, 1933, p. 20, No. 412 or 414.
dated 1872. Oil on canvas, 73 by 58.5 cm. "
Provenance: Exhibition catalogue, XIXa Esposizione Biennale Internazionale Important private collection, Italy.

Authenticity of the d’Arte, Venice, Carlo Ferrari, 1934, p. 320, No. 30, listed.
work has been confirmed by the expert V. Petrov.

V. Nikolsky, Aleksandr Vasilievich Kuprin, Moscow, The great Russian landscapist Alexei Savrasov painted Vsekokhudozhnik, 1935, p. 43, illustrated; p. 104, listed under Evening Light in 1872 when his soaring artistic genius was at its works from 1928.

Alexander Kuprin was a founding peak. It belongs in a thematic strand developed at the outset of member of the Jack of Diamonds group at the start of the 20th the 1870s with the works Moonlit Night. A Marsh (1870), Sunset century and one of the most prominent Soviet painters. He is over a Marsh (1871) and Sunset (early 1870s).

In represented here by this landmark canvas from his Crimean turning his attention towards the most outwardly unremarkable period, Twilight Landscape. Churuk-Su River, Bakhchisarai, and decidedly inelegant of subjects – a marsh – Savrasov which dates from late 1920s.

Kuprin was a graduate reveals in the everyday landscape of Central Russia an of the Moscow School of Painting, Sculpture and Architecture, a inherent aesthetic richness that entirely holds its own against student of Konstantins Yuon and Korovin, and one of the most more “picturesque― scenery.

The intrinsic value ofpassionate adepts of French avant-garde experiments. The Savrasov’s swamps at dusk, as distinct from his romantic artist paid his first visit to the Crimea in 1907, whence he wrote sunsets of the 1850s, comes not from the scenic beauty of the in a letter to his wife, Anastasia Polozantseva, that there is landscape as such but from an affection for every little corner of sufficient material here to last an artist for not one, but several creation as a perfectly crafted piece of handiwork which it is the lifetimes.

However, it was not until the late 1920s, artist’s greatest delight to experience. This vision is based not that Kuprin produced his best Crimean landscapes, on simple contemplation, but an acute personal sensation of characteristic for their inner harmony and expressive form. As man’s connection with nature and the unseen presence of her the art critic Viktor Nikolsky wrote in his 1935 monograph on mood in the world of human experiences thoughts and Kuprin, the artist made annual pilgrimages to Bakhchisarai from feelings.

In Evening Light, Savrasov stresses how 1926 to 1930 and never tired of his artistic love-affair with this true the painting is to nature by occupying the foreground with neglected corner of the Crimea.

Kuprin’s deliberately prosaic details: a waterlogged marsh overgrown landscapes of the time are remarkable for their expressiveness with sedge, and seemingly unprepossessing tussocks and and freedom of brushwork. They show to best effect the scrub. The only token of human presence is the curling plume artist’s skill in conveying a sense of volume and the rhythm of of smoke in the distance (this, along with birds flying high in the architectural forms. But while formalist experiments had sky, was always one of Savrasov’s favourite minor motifs), previously taken centre stage in Kuprin’s work, the which creates the sense that the landscape is lived in. It Bakhchisarai landscapes of the late 1920s reveal a deeply communicates the feeling that human life is there, its warmth lyrical approach to their subject. Here, as never before, we can enlivening the image of nature.

The diagonal see how Kuprin was bewitched by the carefree atmosphere of movement of the stream flowing like a ribbon into the distance what Nikolsky called this lazy, sleepy southern town.

is balanced on both sides by the line of the horizon at sunset Twilight Landscape. Churuk-Su River. Bakhchisarai is the only and the motionless tranquillity of the glassy water on the cusp work of Kuprin’s Bakhchisarai cycle to remain in private of nightfall.

Not only is the illumination arranged with hands. The others have long been the pride of Russian great skill, the sky and water lit with subtly nuanced tints from museum collections: Bakhchisarai. Churuk-Su. Evening (1930) the setting sun, but the artist attracts one’s attention to the in the collection of the Tretyakov Gallery in Moscow, and middle ground and distance as a whole, rather than detail by Bakhchisarai. Churuk-Su. Noon (1927) hangs in the Russian detail, which endows the seemingly prosaic subject matter with Museum in St Petersburg.

" romance and lyricism.

Savrasov was one of the first Estimate: £150,000.00 - £200,000.00 Russian artists to shape an essentially new figurative interpretation of nature. The marshes he painted in the early 1870s – with their inner naturalness, originality of conception and expressive artistic execution – deserve their place among Lot: 5

1 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

ZICHY, MIKHAIL (1827-1906) An Oriental Bazaar , signed and Tolstoy’s Tsar Fyodor Ioannovich, took several roles in dated 1867. Pencil, watercolour and gouache, heightened with Gorky’s Lower Depths, played Yasha in The Cherry Orchard white, on paper, laid on cardboard, 36.5 by 59.5 cm. and Artemyev in Turgenev’s Living Corpse.

As a "
Provenance: Private collection, Hungary.

highly-skilled character actor, Alexandrov could fashion a tour Authenticity of the work has been confirmed by the expert V. de force from the most minor part. Boris Grigoriev captured this Petrov.
Authenticity certificate from Borbély László, an art ability in his pictures of Alexandrov: a small drawing, published historian and senior research associate from the Hungarian in the first edition of Visages de Russie in 1923 shows National Gallery." Alexandrov in the role of the Actor from The Lower Depths, and Estimate: £50,000.00 - £70,000.00 the large portrait, offered here for auction, shows Alexandrov as the merchant Krasilnikov in Tsar Fyodor Ioannovich.

The portrait of Alexandrov, like all the portraits of MKhAT artists Lot: 6 in 1923, is not a staged composition, but an impressionistic §STELLETSKY, DMITRI (1875-1947) Boyar Couple , two work of art. Only a few of these works – painted for the most works, one signed, each titled on the stretcher. Each oil on part backstage after performances – are against backgrounds canvas, each measuring 55.5 by 46 cm. "
Provenance: that resemble stage scenery. In most of the pictures Grigoriev Acquired directly from the artist by the family of the previous creates an expressive image with nothing but the enlarged face owner.
Private collection, UK." of the actor in the role. Grigoriev remains true to the theme of Estimate: £80,000.00 - £120,000.00 the artist and artistry, which he had already marked out in his portraits of Meyerhold and Chaliapin from the 1910s, but here the theme is developed not through the outer trappings, but by capturing how the actor’s personality manifests a “face of Lot: 7 Russia―. What interests Grigoriev is not any expressive mise- §STELLETSKY, DMITRI (1875-1947) Crossing the River , en-scène, but the psychological portrayal of character, captured signed. Pencil, watercolour and gouache on cardboard, 60 by at a particular moment of the theatrical play.

The 39 cm. start of the MKhAT tour in New York (spring 1923) coincided Estimate: £40,000.00 - £60,000.00 with a large exhibition of Russian emigre artists at the Brooklyn Museum, including Grigoriev’s Raseya, which brought the artist international fame. He was acclaimed “the great Lot: 8 Grigoriev―, his peasant faces were considered to be an §STELLETSKY, DMITRI (1875-1947) Fairy Tale , signed. Oil on outstanding representation of Russian village life and his canvas, 81 by 65.5 cm. "
Provenance: Acquired directly portraits of MKhAT actors were acclaimed as the finest from the estate of the artist by the family of the present representation of the Russian intelligentsia. The popularity of owner.
Thence by descent.
Private collection, Moskvin, Stanislavsky, Kachalov, Knipper and other famous France." exponents of Russian “psychological― theatre rubbed off onto Estimate: £25,000.00 - £40,000.00 their “iconography―, securing international fame for Grigoriev’s portraits. The painter seized the opportunity and sold several of the works in America, whose whereabouts is still Lot: 9 unknown. The portrait of Nikolai Alexandrov has only recently §VASSILIEFF, MARIE (1884-1957) L'Amour , signed, inscribed surfaced to resume its place in the heritage of Russian art and "Paris" and dated 1930, also further signed, titled and inscribed theatre." with the artist's address on the reverse. Pencil and tempera on Estimate: £350,000.00 - £500,000.00 canvas, 65.5 by 50.5 cm. Estimate: £15,000.00 - £20,000.00 Lot: 11 SOMOV, KONSTANTIN (1869-1939) Dame voilée (Manon Lot: 10 Lescaut) , signed and dated 1928, further inscribed with an *GRIGORIEV, BORIS (1886-1939) Portrait of a Man, Said to be extract from Abbe Prevost's L'Histoire du chevalier des Grieux the Actor Nikolai Aleksandrov , signed and dated twice et de Manon Lescaut on the reverse, also further signed and "923/23".• Oil on cardboard, 70.5 by 50 cm. "
Provenance: titled on the backing board. Pencil and watercolour, heightened Russian Art, Sotheby’s London, 5 November 2000, lot with white, on card, 12.5 by 9.5 cm. "
Provenance: Private 78.
Acquired at the above sale by the present owner.
collection, UK.

Exhibited:Exposition d’art russe Private collection, Europe.

Authenticity of the work ancien et moderne, Palais des Beaux-Arts, Brussels, has been confirmed by the experts A. Nizamutdinova, T. May–June 1928 (label on the backing board).

Chudinovskaya and O. Golubeva.

Portrait of a Man, Literature: Exhibition catalogue, Exposition d’art russe ancien Said to be the Actor Nikolai Alexandrov by Boris Grigoriev et moderne, Brussels, Palais des Beaux-Arts, 1928, p. 80, No. belongs to the famous cycle Visages de Russie, dedicated to 882, listed.

Konstantin Somov, one of the most the Moscow Arts Theatre (MKhAT).

Nikolai important members of the Mir iskusstva group, is represented Alexandrov (1870–1930), dubbed by his colleagues “the here by the outstandingly refined and subtle miniature Dame valiant defender of the ethics and traditions of the Arts voilée. Created in 1928, several years after the artist settled in Theatre―, joined MKhAT when it was founded and devoted the Paris, this work is one of the finest products of Somov’s rest of his creative life to it. Konstantin Stanislavsky valued him passionate affair with the miniature genre – a period of his as one of the most important members of the Theatre. work, which the artist himself referred to as his “intoxication Alexandrov acted, helped Stanislavsky with artistic direction, with miniature―.

The somewhat languid expression served on the Theatre’s management board, and led the of the young woman, fixed on the viewer through the black lace design and costume department.

Alexandrov veil, her bare shoulders and the elegant and coquettish bend of performed in several of the productions shown by MKhAT on its her hand generate an atmosphere of refined sensuality, which tour to Paris and the USA in 1923. He acted in Alexei is so characteristic of the artist’s best works. The masterfully

2 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com placed colour accents give the work its harmony and 2009, p. 239, No. 1112, illustrated.

Nikolai cohesion.

The reverse of the miniature bears a Krymov’s Landscape with Cows is representative of this fragment of a playful quotation in the author’s hand from remarkable painter’s best creative period, a time when he L’Histoire du chevalier des Grieux et de Manon Lescaut, the worked with members of the Blue Rose group. Subtle, “delightful― (in Somov’s words) 18th century French novelpoignantly by lyrical artist and creator of a unique style, Krymov Abbé Prévost, which remained banned for 20 years after its entered the history of Russian art as one of its most original publication due to numerous scandalous passages. Somov landscapists. When capturing the state of nature in landscape worked intensively with this literary material during his period, he is without parallel in Russian 20th century figurative art. The painting more than 20 watercolour illustrations to the novel in state of silence that is Krymov’s alone, with its special 1926 for Editions du Trianon. A number of films based on the crystalline tenor and exquisite interplay of areas of colour, lends novel also came out in in 1926 and 1927, and must have been to the artist’s work a unique atmosphere of ‘associations’. a further source of inspiration for Somov in the creation of this In her monograph on the artist Valentina Byalik wrote: “Of the work, which most probably depicts the heroine of the story, the Blue Rose artists Krymov seemed the most lyrical and the most lovely and sinful Manon.

Dame voilée was shown at realist. The tranquil, balanced harmony and silence that reign in one of the most important exhibitions of the time, the Exposition his pictures are not mere observation of natural conditions. d’art russe ancien et moderne in in 1928, which was the Perhaps the thought was creeping into the artist’s mind that largest display of Russian émigré art during the inter-war this kind of idyll is to be short-lived, that a long life is not period." destined to be this serene. Then again, the Blue Rose artists Estimate: £150,000.00 - £200,000.00 were also inspired by the genius of Mikhail Vrubel and the creative work of Viktor Borisov-Musatov, who had made an early departure.―

This intimate piece may be placed Lot: 12 with confidence alongside the artist’s best creations. The *BOGDANOV-BELSKY, NIKOLAI (1868-1945) Female Portrait perfection of the composition, the accents of colour, and the , signed. Oil on canvas, 133 by 100 cm (oval). extraordinary beauty of the way Krymov uses paint all serve as "
Authenticity of the work has been confirmed by the expert clear confirmation of this judgement." I. Geraschenko.

The work will be included in the Estimate: £200,000.00 - £300,000.00 monograph on the artist being prepared by A. Kouznetsoff.

The renowned Russian painter Nikolai Bogdanov-Belsky is represented here by his magnificent Lot: 14 Female Portrait. Continuing in the democratic tradition of his KOROVIN, KONSTANTIN (1861-1939) Boulogne , signed, teacher, the Itinerant painter Vladimir Makovsky, Bogdanov- inscribed "Boulogne" and dated 1935. Oil on canvas, 50.5 by Belsky enriched the genre painting of his homeland with the 61 cm. "
Provenance: Private collection, Italy, until the late new textures discovered by the Impressionists, introducing 1990s.
Private collection, Croatia.

" genuine freshness and visual immediacy into his Estimate: £120,000.00 - £180,000.00 painting.

At the end of the 1910s and beginning of the 1920s the artist freed his palette of the dark, umbrous quality that typified the old academic school. His canvasses are Lot: 15 saturated with pure colour, his brushwork becomes freer and *FALK, ROBERT (1886-1958) Boy with a Cap, Sitting on a broader, and his many nuances of colour enriched by bright Chair, double-sided composition with two oil paintings natural light enable him to create a distinctive, uplifting Fisherman Smoking and Wild Flowers on the reverse. Oil on mood.

At this time the artist painted a large number canvas, 122.5 by 75 cm. "
Boy with a Cap, Sitting on a of masterful portraits distinguished by their accurate portrayal of Chair executed c. 1910–1911.
Fisherman Smoking life and penetrating psychological insight. As a rule his models executed in 1938.
Wild Flowers executed in are from high society: the Russian and European intelligentsia, 1945.

Provenance: Private collection, Europe.
highly-placed gentry, prominent public servants and people Fisherman Smoking: Previously in the collection of Professor N. from the world of art.

This portrait of a young woman Gershovich, Leningrad, until 1988.

Authenticity comes from a transitional phase when the artist was moving certificate from the expert Yu. Didenko.

Exhibited: from an academic tradition to his first experiments with Fisherman Smoking: Robert Fal’k, Tsentral’nyi dom impressionism. The commissioned, salon nature of the work rabotnikov iskusstv, Moscow, Autumn 1939.

does not detract from its magnificent artistic virtues, with which Literature: Fisherman Smoking: Exhibition catalogue, Robert Bogdanov-Belsky sets the very highest standard in terms of Fal’k, Moscow, 1939, No. 142, listed as Rybak iz Simeiza. painterly skill, fine draughtsmanship, immaculate composition Krym.
Yu. Didenko, compiler of Polnyi katalog and a stunningly subtle sense of colour. The work contains zhivopisnykh proizvedenii R.R. Fal’ka// D. Sarabianov, Yu. obvious echoes of the Mir iskusstva painters, of the manner of Didenko, Zhivopis' Roberta Fal'ka. Polnyi katalog proizvedenii, portraying a model by which Somov or Kustodiev could convey Moscow, Elizium, 2006, p. 656, No. 952, listed.

Boy a poetic luxuriousness or air of courtly elegance." with a Cap, Sitting on a Chair and Wild Flowers will be included Estimate: £200,000.00 - £300,000.00 in the forthcoming supplement to the catalogue raisonné of the artist’s work being prepared by Yu. Didenko and D. Sarabianov.

Robert Falk’s sensational canvas Boy Lot: 13 with a Cap, Sitting on a Chair dates from 1910–1911 and the *KRYMOV, NIKOLAI (1884-1958) Landscape with Cows , time of the first exhibition by the Jack of Diamonds group, of signed and dated 1909. Oil on canvas, 52 by 63 cm. which Falk was a founding member.

The work "
Authenticity of the work has been confirmed by the expert belongs to a series of portraits of children that Falk created V. Petrov.
Authenticity has also been confirmed by the between 1908 and 1911. These number several depictions of expert I. Geraschenko.

Related literature: For a children in armchairs and sitting on chairs: Goga (1908), Little pencil study for the present lot, see the catalogue raisonné Girl in an Armchair (1909), Portrait of a Girl (1909), Girl in a Nikolai Krymov, zhivopis’, grafika, teatr, Moscow, Isskustvo, Chair (1909) etc. To judge by a number of stylistic criteria, Boy

3 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com with a Cap may be dated to the artist’s early Jack of stretcher).

Literature: Exhibition catalogue, Art Diamonds period. The portrait undoubtedly contains features of Russe, Ancien et Moderne, Brussels, Palais des Beaux-Arts, Primitivism, a style to which Falk was drawn for a short while in 1928, p. 76, No. 782 or 783, listed.

Mikhail the years 1910–1911: the black outline round the figure, the Larionov’s Still Life with Flowers from the 1920s is one of the generalised modelling of forms, and a certain flattening of the most poetic compositions of his Parisian period. Here, as in silhouette. The work that most resembles this painting is the other works of this time, the artist moves away from the 1911 portrait Boy in Blue against a Green Background. Many physical quality of his still lifes from the previous decade. Bright similarities can be discerned: the subject itself – a barefoot colours are replaced by a spare, almost monochrome palette child, the sculptural rendering of the soles of the feet, the way and all the diversity of the objective world is reduced to a set of both boys’ hands are placed on their knee, and the outlining of three or four choice constituents, used with striking aesthetic the figure. It is interesting that Boy in Blue is also painted on the impact. Most of his still life compositions from this time are a other side of a later work and is of a similar size (92.5 by 82 restrained brown, yellow or pale blue, featuring time and again cm) to Boy with a Cap, which is larger than his other canvasses the lineaments of a simple wooden table, the white of a napkin, of children.

There is a clearly discernible tone in this a glass goblet, and a twig in bloom in a transparent painting, and this is typical of Falk’s work at the start of the jug.

The eye is drawn especially to the nude that 1910s. The predominant blue-grey in this case is thematically hovers above the table, in picturesquely narrowed perspective. connected with the whitewashed wall and the towel hanging on This nude is one of Larionov’s gouaches, placed within the still it, interwoven as it is with other tones (pink, lilac, green and life as a joint backdrop with the striped wallpaper familiar from ochre) whose interaction creates a subtle surface vibrancy of so much of the artist’s work from these years. The device of a hue. Boy with a Cap also marks Falk’s first testing of the picture within a picture, where the artist’s own work is used as principle he had developed as early as 1912–1913 of complex essential background detail and constitutes a figurative entity structuring of the painted surface through interplay between the integrated with the overall composition, became a trademark shadows cast by a figure and the unique aura around it, but feature of his still lifes of the 1920s.

In these also the responding interplay of highlights and reflections on the paintings Larionov reproduces his large works on paper, with surface of the figure.

Double-sided oil paintings were their laconic lines, as objects actually present in the still life, characteristic of Falk’s creative process from the 1900s. When whereas by contrast the real things – jug, glass, table – he needed a clean canvas he often showed no sympathy for a become almost ethereal, taking on incorporeal forms rendered previous work and turned canvasses over to paint on the blank in a diaphanous and fragile texture. According to a vivid side.

The upper part of the reverse side of Boy with description by G. Pospelov, who dedicated an entire section of a Cap is the portrait Fisherman Smoking. This work was his book on Larionov to these works, “the draughtsmanship – created in 1938, after Falk’s return to Russia from Paris, light as air – reinforces the impression of a tracery of bare during a trip to Alupka with his friend and pupil A.B. Yumashev, twigs reaching upward from the translucent jug―.

aviator and Hero of the Soviet Union. The portrait is painted in The elegiac mood of this exquisite monochrome painting and an easy, loose, almost sketchy manner in the smoky colours the technical virtuosity of the delicate, almost ephemeral, touch typical of Falk’s Parisian work, based on the most subtly of the brush place Still Life with Flowers on a par with such nuanced grey, pale blue, lilac and light-ochre tones.

expressive compositions as Still Life with Standing Figure and For a long time this work was in the collection of the famous Still Life with Twigs in a Glass Jug from the collection of the Leningrad collector Professor N.G. Gershovich and his family. It State Tretyakov Gallery.

" is also known to have been exhibited in 1939 at Falk’s one- Estimate: £400,000.00 - £600,000.00 man exhibition in Moscow.

Lastly, the lower part of the reverse side is the still life Wild Flowers. This work dates to Falk’s late period (the 1940s and 1950s), which was the time Lot: 17 of his greatest artistic achievements. The canvas was painted *§LARIONOV, MIKHAIL (1881-1964) Une journée de mai. Oil in the village of Sofrino near Zagorsk, not far from Moscow, at on canvas, laid on board, 51.5 by 53.5 cm. "
Provenance: the dacha of Falk’s female pupil A.M. Tsuzmer, where he The Everest Collection, Lausanne (label on the reverse).
spent the summer of 1945 with his wife, Angelina Shchekin- Private collection, Europe.

Exhibited: Michel Krotova, who gathered flowers in the surrounding fields and Larionov, Musée des Beaux-Arts, Lyon, 17 March–15 May knew how to arrange bouquets for her husband’s still lifes. 1967, No. 25 (label on the reverse).
Michel Larionov, Later she recalled: “For Falk it was no simple matter to gather Acquavella Galleries, New York, 22 April–24 May 1969, No. 11 a bunch of flowers and paint it. He needed some particular idea (label on the reverse).
Rétrospective that perhaps even he did not fully understand. He was looking Larionov–Goncharova, Musée d’Ixelles, Brussels, 29 April–6 for music in colour, an essential tonality―.

We are June 1976, No. 13 (label on the reverse).

grateful to Yulia Didenko, art historian and author of the Literature: Exhibition catalogue, Michel Larionov, Lyon, Musée catalogue raisonné on the artist, for providing additional des Beaux-Arts, 1967, No. 25, listed.
Exhibition catalogue, catalogue information." Michel Larionov, New York, Acquavella Galleries, 1969, No. Estimate: £800,000.00 - £1,200,000.00 11, illustrated and listed.
Exhibition catalogue, Rétrospective Larionov–Goncharova, Brussels, Musée d’Ixelles, 1976, No. 13, illustrated.

Une journée de Lot: 16 mai is one of the masterpieces from Mikhail Larionov’s early *§LARIONOV, MIKHAIL (1881-1964) Still Life with Flowers , period. Painted with amazing purity and clarity of manner, it signed, also further signed on the reverse. Tempera on canvas, belongs to the artist’s best canvasses from the middle of the 92 by 65 cm. "
Provenance: Leonard Clayton Gallery, first decade of the 20th century, which are rare even in New York, before 1977 (label on the stretcher).

museums. Few of his paintings from this period, as distinct from Authenticity of the work has been confirmed by the experts A. his pastels and gouaches, have been preserved. Accordingly, Kiseleva and Yu. Rybakova.

Exhibited: Art Russe, each of them is especially valuable.

The artist Ancien et Moderne, Palais des Beaux-Arts, Brussels, painted Une journée de mai in 1904 after being sent down for a May–June 1928, No. 782 or 783 (label on the year from the Moscow School of Painting, Sculpture and

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Architecture for showing works in the pupils’ exhibition that towards a generalised colour impression and decorative were “indecent in content―. Over this time spent away from resolution of the whole, is that of Larionov – both one of the classroom study Larionov, enthralled by the Impressionists he founders of the Russian avant-garde and greatest artists of the saw in the Moscow collection of I. Shchukin, really began to feel 20th century, significantly in advance of his contemporaries." his independence as a painter, and free of academic Estimate: £650,000.00 - £900,000.00 didacticism. Each summer he set off from Moscow to Tiraspol, to the house of his maternal grandmother where he had spent his childhood. There he would devote himself entirely to works Lot: 18 drawn from nature. It is truly impossible to overestimate the *VINOGRADOV, SERGEI (1869-1938) The Mamontovs' Estate importance of these to the story of the artist’s , signed and indistinctly dated "1…". Oil on canvas, 76.5 by 99.5 career.

Taking over a wing of his grandmother’s cm. "
Executed in the 1910s.

Authenticity of the house, with its extensive orchard of apricot trees, and work has been confirmed by the expert V. Petrov.
converting it into his studio, Larionov created a series of Authenticity has also been confirmed by the expert I. canvasses extolling the everyday life that was going on outside Geraschenko.

Literature: N. Lapidus, Sergei his window. Flowers in pots, lilac bushes, geese and turkeys Vinogradov, Moscow, Zolotoi vek, 2010, pl. 96, illustrated; pp. strutting round the yard became the motifs in his best work of 474 and 484, listed.

Sergei Vinogradov, brilliant the first five years of the century. His conservatories, acacias, painter and illustrious exponent of Russian Impressionism, is roses wet with rain, and even his pigs literally grow out of a represented in this catalogue by The Mamontovs’ Estate. This study into a self-sufficient composition, even preserving the work from the 1910s typically reflects all the principles of the typically small dimensions of a study and the spontaneous elan artist’s style and his determination to convey the effects of with which the paint is applied.

It is difficult to find a colour and light, a determination shared with other better example than Une journée de mai of how genres were representatives of the Union of Russian Artists, especially deliberately mixed. This device became a special characteristic Turzhansky, Zhukovsky and Yuon.

Vinogradov of Larionov’s painting in the first decade of the 20th century. mainly painted en plein air. His pictures are literally drenched in At this time he crosses over from painting still lifes to depicting sunshine; the air in them is transparent, creating an illusion of interiors. These, in turn, are united through open doors and naturalness in all elements of the landscape. The rays of windows with the landscape of garden and street. In its sunlight seem to be moving, but realism is achieved without the compositional structure, Une journée de mai harks back to tawdry detail typical of the Academic style. Vinogradov is not at Velazquez’s Las Meninas, in which the optical centre of the all concerned with the picturesque elements of landscape, but picture is a mirror reflecting the royal couple Philip IV and is drawn by sincere affection for the simple, odd corners of the Mariana of Austria and in the doorway next to them the figure of native landscape that the Russian heart holds dear – their Chancellor Olivares. But if in Velazquez this motif is only part of natural, organic appearance and unpretentiousness. The a composition that is, as a whole, much more complex, then in artist’s Russian period is marked out by special warmth and Larionov’s case the borders of window, mirror and real space lyricism, and this is felt both in the euphoric mood of his in combination become sufficient on their own. Their pictures and in his gentle handling of paint, which avoids sharp, fragmentary nature and juxtaposition generate expression. The abrupt accents. The warm colours that predominate in his work, feeling is engendered of a wholeness about the world, parts of like the happy juxtaposition of shades in his palette, are so which are represented by the branches of trees outside the recognisable that they unerringly identify the hand of the window, the flowers in a vase on the window-sill, the furniture in artist.

The Mamontovs’ Estate is one of Sergei the room reflected in the mirror, and the things actually present Vinogradov’s undisputed masterpieces, serving as an artistic in the picture – a figurine on the mantel and the chair-back calling card, which set the highest benchmark for the whole which invariably creeps into Larionov’s Tiraspol canvasses. Russian landscape school of the first quarter of the 20th Larionov breaks with the hierarchy of main and subordinate century." subject. In the composition of Une journée de mai there is no Estimate: £350,000.00 - £500,000.00 definite centre or, rather, it is constantly shifting, depending on what arrests the attention of the viewer. The world which surrounds the artist within and without is, as it were, flung open on all sides “for a broader outlook―. At the same time the Lot: 19 *KUZNETSOV, PAVEL (1878-1968) Eastern City. Bukhara , directions in which there is spatial breakthrough are different: signed, also further signed, inscribed "Moskou" and in Cyrillic the window opening leads the eye into the distance, but the "V Bukhare" and dated 1912. Oil on canvas, 103 by 80 cm. mirror extends the space behind the artist and moves him "
Provenance: Acquired directly from the artists’s studio forward.

This fluidity and oscillation of ideas by Tatiana Kozyreva in 1956.
Private collection, immediately unsettles the mind and imparts to the picture an Europe.

Authenticity of the work has been confirmed element of surprise. In this canvas the images of mirror and by the expert V. Petrov.
Authenticity has also been window – critical in art history – take on the significance of confirmed by the expert I. Geraschenko.

Exhibited: spatial and figurative modulations.

The motion of Mir iskusstva, Moscow, 1915.
Mir iskusstva, Moscow, trunks and branches, rendered in long brushstrokes of brown 1917.
Vystavka kartin khudozhnikov Pavla Kuznetsova i pigment, is extended in undifferentiated, multidirectional Eleny Bebutovoi, Russian Academy of Artistic Sciences, brushstrokes of light green that convey the inimitable fuzziness Moscow, May 1923.
Peredvizhnaya vystavka sovetskogo of their appearance in spring. This unstoppable movement of iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927.
the brush “outside the window― is counteracted by the Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 stillness of the objects depicted behind the looking glass. But all let tvorcheskoi deyatel’nosti, Central House of Art Workers, of them – even the twigs in the orchard and the antique Moscow, April 1956.
Pavel Varfolomeevich Kuznetsov, furniture in its covers – seem dissolved in a single stream of Moscow, 1964.
Pavel Kuznetsov. K stoletiyu so dnya pearly, diffuse, golden light.

The obvious formative rozhdeniya, Moscow, 1978.

Literature: Exhibition hand in Une journée de mai, with its apparently accidental catalogue, Mir iskusstva, Moscow, 1915, p. 11, No. 147, listed articulation, intellectually conceived composition and inclination as V Bukhare.
Exhibition catalogue, Mir iskusstva,

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Moscow, 1917, p. 7, No. 97, listed as V Bukhare.
Katalog stereometric protoforms. Kuznetsov on the one hand vystavki kartin khudozhnikov Pavla Kuznetsova i Eleny analytically decomposes inanimate objects in the image, but on Bebutovoy, Moscow, 1923, p. 5, No. 53, listed as V the other hand achieves their organic unity and easy mergence Bukhare.
Exhibition catalogue, Peredvizhnaya vystavka with nature. He looks at objects sometimes from above and sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, sometimes from below, and compacts the space of the picture 1926–1927.
Exhibition catalogue, Pavel Varfolomeevich without sacrificing its architectonic quality. Rectangular planes Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoy intersect and are deformed, volumes are fragmented, broken deyatel’nosti, Moscow, Sovetskii khudozhnik, 1956, p. 12, lines reach upwards in a repeating, rhythmic drawing pattern. listed as V Bukhare under works from 1912.
Exhibition The buildings, rising ledge by ledge, are akin to the icon catalogue, Pavel Varfolomeevich Kuznetsov, Moscow, 1964, p. representation of hills in Novgorod wall paintings.

14, listed as Bukhara under works from 1912.
M. Alpatov, The colouration of the background is in an unexpected Pavel Kuznetsov, Moscow, Izobrazitel’noe iskusstvo, 1969, relationship with its complex constructivist treatment – a range illustrated; p. 113, No. 19, listed as Bukhara, incorrectly dated of light yellow, pinkish-orange, ochre tones, subtly tinged with 1911.
L. Budkova, D. Sarabianov, Pavel Kuznetsov, the crimson, blue, and glowing red surfaces of the Moscow, Sovetskii khudozhnik, 1975, pl. 44, illustrated; p. 332, buildings.

In this portrait of Bukhara, which the artist No. 225, listed as Vostochnyi gorod. Bukhara under works from loved above all eastern cities, Kuznetsov brought together his 1915–1916.
A. Rusakova, Pavel Kuznetsov, Leningrad, principal impressions of the region, achieving a composite unity Iskusstvo, 1977, p. 123, illustrated; p. 281, listed as Vostochnyi of mountains, buildings clinging together, solitary trees, a shred gorod, incorrectly dated 1913–1914; pp. 125–126, mentioned of sky and the women with peacocks, united by the rhythmic in the text.
Exhibition catalogue, Pavel Kuznetsov. K organization of the picture as a whole and the colour harmony stoletiyu so dnya rozhdeniya, Moscow, Sovetskii khudozhnik, of golden-yellow and sky-blue tones. All of these elements 1978, illustrated and listed as Vostochnyi gorod. Bukhara under make Bukhara into one of the most valuable and important works from 1915–1916.

Related literature: For the examples of the artist’s work.

In the 1970s reproduction of the present lot as a postcard, see E. Butorina, Budkova and Sarabianov suggested that the picture, from the Pavel Kuznetsov. Komplekt otkrytok, Leningrad, collection of Tatiana Kozyreva, was in fact painted in 1915 1970.

Eastern City. Bukhara is one of the principal when the artist was revisiting his memories of Central Asia, and best-known masterpieces of Pavel Kuznetsov’s Central synthesising what he had discovered there and on his Asian series. Kuznetsov spent several years in the East before wanderings on the Kirghiz steppes.

" the First World War, travelling first across the steppes of Estimate: £1,900,000.00 - £3,000,000.00 Kirghizia and then visiting Central Asia in 1912–1913. “Wishing to continue the theme of the East, which has an affinity for me,― he wrote in his notes, “I decided to delve Lot: 20 deeper into Asia: Tashkent, Samarkand and Bukhara. For two *KUZNETSOV, PAVEL (1878-1968) Still Life on a Grand Piano consecutive summers I reflected the landscapes and life of this with a Portrait of E. Bebutova , titled in Cyrillic and numbered region in my works. The colouration of everything I saw there, "341" on the reverse. Oil on canvas, 99 by 78 cm. so unfamiliar to us Russians, inspired me with new emotions "
Provenance: Collection of the artist’s family.
and a new approach to painting, which sprang from the reality Acquired from the above by the present owner.
around me.―

Bukhara, the most harmonious of the Authenticity of the work has been confirmed by the expert V. works in Kuznetsov’s Central Asian cycle, offers a certain Petrov.

Pavel Kuznetsov is one of the finest and quintessence of the eastern city. Alongside the best of the most sensitive Russian painters of the first half of the 20th steppe pictures from 1911–1912, it represents the summit of century. The colours in Still Life on a Grand Piano with a Kuznetsov’s creative achievement. Motifs from other Bukhara Portrait of E. Bebutova are rich and deep and are based on an works reappear in the picture recast, abstracted and purified to astonishingly beautiful interplay of cool tones with warmer a full clarity and simplicity of primary forms.

In highlights. Kuznetsov’s efforts to explore and understand Bukhara we find the clearest manifestation of the search for colour provided inspiration for several generations of Russian new structural solutions in harmony with the time, a search artists. His name was connected with the legendary Blue Rose which is also present, in a milder, veiled form, in Kuznetsov’s and Mir iskusstva groups which became symbols of Russian other Bukhara works. The artist’s “course towards Derain figurative art’s Silver Age.

Kuznetsov’s work is and Picasso― (in the apt phrase of the art critic, Abram Efros) often characterised by the masterly way he conveys reflected led Kuznetsov in this picture to a tangible geometrization of light to create a special, captivating atmosphere. The narrative forms. And yet Cubism as a world view or even as an of the objects depicted is no accident. The exercise book on the intellectual analysis of visible structures remained alien to the lid of the grand piano containing a score by Scriabin, a artist. While accepting many features of Gauguin’s synthetism,composer Kuznetsov loved and revered, the familiar vase that Braque’s decorative qualities, and some of Derain’s paintingis in much of his work and the reproduction of Portrait of techniques, Kuznetsov remained sensitive to other important Bebutova on the wall are all indoor trappings from the world of artistic trends of the Russian avant-garde – the influence of the the artist. The whole tenor of the painting is extraordinarily old iconographic tradition and a passion for different variants of musical. The essence of the mood conveyed in Still Life on a Oriental art.

Kuznetsov, in his Bukhara works, Grand Piano with a Portrait of E. Bebutova defines the general limited cubist treatment to those phenomena, which seemed to character of the artist’s work: deep and philosophically him to come to meet a type of geometrisation that was more considered." visual than methodological – the architecture of the buildings Estimate: £200,000.00 - £300,000.00 made from stone or pressed earth, and the jagged outcrops of the mountains around Bukhara. This selectiveness, with which objects are chosen or not chosen for cubist treatment within a single picture, produces a vibrant duality, lending an inner Lot: 21 *FALK, ROBERT (1886-1958) View of a Village. Oil on canvas, tension to the composition. This duality is present in Bukhara, 55.5 by 81 cm. where only the background of the picture fragments into Estimate: £90,000.00 - £150,000.00

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Lot: 22 with its distinguished half-century exhibition history, is a definite *§LARIONOV, MIKHAIL (1881-1964) Sapins et bouleaux. Oil stroke of luck." on canvas, 78 by 56.5 cm. "
Executed in 1906.

Estimate: £700,000.00 - £1,200,000.00 Provenance: Collection of the artist.
Collection of Alexandra Tomilina-Larionov, the artist’s second wife, Paris.
The Everest collection, Lausanne (label on the Lot: 23 stretcher).
The Russian Sale, Sotheby’s London, 28 BARANOFF-ROSSINÉ, VLADIMIR (1888-1944) Winter in St November 2006, lot 92.
Private collection, Petersburg. Oil on canvas, 49 by 72.5 cm. "
Executed c. Europe.

Exhibited: Michel Larionov, Acquavella 1907–1909.

Provenance: Collection of the artist’s Galleries, New York, 22 April–24 May 1969, No. 21 (label on family.
Acquired from the above by the present the reverse).
Rétrospective Larionov–Goncharova, Muséeowner.
Private collection, UK.

d’Ixelles, Brussels, 29 April–6 June 1976, No. 23 (label on theExhibited:Vladimir Baranoff-Rossiné 1888–1942, Rutland reverse).

Literature: Exhibition catalogue, Michel Gallery, London, 1970, No. 14 (label on the reverse).

Larionov, New York, Acquavella Galleries, 1969, No. 21, Literature: Exhibition catalogue, Vladimir Baranoff-Rossiné illustrated and listed.
Exhibition catalogue, Rétrospective 1888–1942, London, 1970, No. 14, listed as Petrograd, Larionov–Goncharova, Brussels, Musée d’Ixelles, 1976, No.l’Hiver with incorrect dimensions." 23, illustrated.

In the story of Mikhail Larionov’s Estimate: £40,000.00 - £60,000.00 artistic development, his landscape Sapins et bouleaux belongs on a very special page. Most of his orchards and trees were painted in the garden of his grandmother’s house in Tiraspol, Lot: 24 where he spent his childhood. These detailed studies of nature *FALK, ROBERT (1886-1958) Portrait of the Aritst•s Daughter, in her various states represent one of Larionov’s first creative Cyrilla Falk. Oil on canvas, 83 by 65 cm. "
Executed in experiments in which he manages to rise to that superlative 1946.

Provenance: Collection of the sitter.
height with which we associate his best work.

In this Private collection, Europe.
Authenticity certificate from the painting, as with most compositions from the 1904–1906 expert Yu. Didenko.

Exhibited: Robert Falk, The Tiraspol cycle, Larionov is most concerned with rejecting State Russian Museum, St Petersburg, 1993 (label on the “staged― landscape, where nature is first subjected to stretcher).

Literature: Lettres soviétiques, No. 334, direction and harmonisation. He breaks with the tradition of 1986, colour insert between pp. 48–49. A. Shchekin-Krotova, knitting a subject to the horizon, the customary division into Moi Fal’k, Moscow, HGS, 2005, p. 178, illustrated.
Yu. earth and sky. Somewhere, though, beyond the trunk and Didenko, compiler of Polnyi katalog zhivopisnykh proizvedenii branches of the birch tree a boundary can just be discerned R.R. Fal’ka// D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta between the yellow of the flowering field and a light Fal’ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. background, but he deliberately removes even this vague visual 707, No. 1048, illustrated.

For the related drawing to reference by introducing the regular structure of a rustic paling this work, see lot 236.

" fence as the main horizontal feature of the Estimate: £260,000.00 - £350,000.00 composition.

In this plein-air work Larionov consciously avoids discriminating between major and minor, directing his gaze on nothing in particular and reinforcing the Lot: 25 accidental sense of the composition, further enhancing the very *AIVAZOVSKY, IVAN (1817-1900) Survivors , signed twice and vital energy of his subject. The compositional centre falls on a dated twice 1876. Oil on canvas, 47.5 by 64 cm. chink of light among the needles and foliage that quilt the sky in "
Authenticity of the work has been confirmed by the expert an overlay of supple brushstrokes. This generates a sensation V. Petrov.

The present lot has been examined by of the freedom of the world of vegetation – herbage, scrub, Gianni Caffiero and Ivan Samarine and has been entered under trees breaking through the spatial limits of the painting, and the number CS-1876-010 in their catalogue raisonné of the artist’s yellow haze of blossom reaching the other side of the fence. work.

The Russian painter Ivan Aivazovsky became But Larionov’s aim is not merely to demonstrate spontaneity famous for his paintings of stormy seas and shipwrecks, which and immediacy in his choice of subject. Sapins et bouleaux are particularly distinguished by the masterfully conveyed represents another step on his path towards a completely new beauty and might of the sea.

Having achieved understanding of light. Despite his infatuation with the widespread recognition by the 1870s, and holding a Impressionists, especially Monet, to whom he paid particular professorship in the academies of art in Rome, Paris, tribute in these years, he not only fails to capture changing light, Amsterdam and St Petersburg, Aivazovsky adhered to the of the utmost importance to the Impressionists, but he also principles of classical composition, with its relatively restrained, shows no interest in specific light effects. Here the tree trunks realistic palette. He was equally skilful in depicting the raging cast practically no shadows and therefore the question of their storm or the calm, placid sea; the shimmer of sun rays reflected colour simply does not arise. He was much more interested in on its surface or the ripple created by the rain; the clarity of the the modulations within his chosen palette of green and yellow. deep blue sea or the pristine white foam atop the Thus, the yellow in the treetops and the background does not waves.

Aivazovsky’s unique manner of painting the simply enliven and supplement the muted greens that sea and the translucent waves crashing into cliffs, as well as his predominate in the central part of the painting: in essence it impressive visual memory, enabled him to depict on his signifies and is a substitute for the sunlight the picture lacks. canvasses the various states of nature that he had encountered Larinov continued this manner of combining green and yellow on his naval voyages. He would often forsake the accuracy of throughout his career and in this respect these early works may his compositions, recreating the landscapes from memory in a be regarded as precursors of a kind to his radiant avant-garde generalised form, adding imaginary genre scenes and striving landscapes of the 1910s.

Most of the artist’s to convey the effects of light and the states of nature.

canvasses from the beginning of the century have long been in Aivazovsky completed the present lot, The Survivors, in 1876, great collections – both of museums and private individuals. when he was experimenting with the subject of dynamic waves, Accordingly, the appearance of Sapins et bouleaux at auction, permeated with sunlight. Although the composition of this

7 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com painting with its turbulent sea and a capsized ship is typical for 1914 put forward his own idea of building a Saint Olga Museum Aivazovsky, its colouristic centre is peculiar: the focus is on the of Art, to be based on the collection of F.M. Plyushkin, a Pskov group of survivors desperately clinging on for their lives. Devoid merchant. This was one of the largest private collections in the of dramatic colour effects and rendered in a range of subdued Russian Empire. On this subject Roerich wrote: “They have bluegrey tones, the painting directs the viewer’s gaze towards got together to set up a memorial in Pskov to Princess Olga. these survivors by picking them out in contrasting yellows and Conversations are going on. Most important of all – the money whites." is available. The matter has been formalised and one may say Estimate: £180,000.00 - £250,000.00 of it... Can the breadth of Princess Olga’s thinking really be answered by a memorial figure that will, of course, be quite unlike the original person? Only a memorial museum, which in Lot: 26 the future would record the entire life of her native province, can *ROERICH, NICHOLAS (1874-1947) St Olga , with a pencil be worthy of the memory of St Olga. A memorial museum is sketch of rocks and trees on the reverse. Pencil, ink, tempera fitting for St Olga, who united lands. A museum is difficult to put and collage on paper, laid on paper, 31 by 24 cm. together, and we have to think time itself has done the "
Executed in 1915.

Provenance: Private preparation for such a memorial in Pskov. Think and collection, Europe.

Authenticity certificate from the decide!―

Owing to the outbreak of war, and then expert O. Glebova.

Literature: Yu. Baltrushaitis et revolution, neither the memorial, approved at the highest level al., Roerikh, Petrograd, Svobodnoe iskusstvo, 1916, p. 225, in August 1914, nor the Vybuty project ever came about. listed as Sv. Ol’ga (eskiz rospisi).
S. Ernst, Russkie Apparently, the painting for which this design has survived was khudozhniki. N.K. Rerikh, Petrograd, Izdanie Obshchiny Sv. intended for the church at Vybuty, together with Roerich’s Evgenii, 1918, p. 126, listed as ris. Sv. Ol’ga (esk. design for a mosaic.

In creating his own image of rospisi).
F. Grant et al., Roerich. Himalaya. A Monograph, Princess Olga, the first woman in Rus to be recorded in history New York, Brentano’s, 1926, p. 194, listed as Saint Olga, and first Christian woman in the family of a Grand Prince, Sketch for Church (Drawing).
A. Yaremenko, Nicholai Roerich rejects loving-kindness and tender emotion. In this Konstantinovich Roerich. His Life and Creations During the regard the artist undoubtedly follows Vasnetsov’s Past Forty Years, 1889–1929, New York, Central Book Trading interpretation of the saint in his paintings for St Volodymyr’s Co., 1931, p. 33, listed as Saint Olga, Sketch for Church Cathedral in Kiev, where she is portrayed with a blazing, furious (Drawing).
Vs. Ivanov and E. Gollerbakh, Rerikh. Chast’ glance, a cross gripped firmly in her hand. This entirely I, Riga, Rericha Muzejs, 1939, p. 155, listed as Svyataya conforms to her description in the chronicle as a severe and Ol’ga. Eskiz rospisi dlya tserkvi. Risunok.
V. Sokolovskii, ascetic ruler who took vengeance on the Drevlians for N.K. Rerikh. Zhizn’ i tvorchestvo. Sbornik Statei, Moscow, murdering her husband.

In Vasnetsov’s depiction Izobrazitel’noe iskusstvo, 1978, p. 275, listed as Svyataya Olga holds a church in her hand signifying that she built the first Ol’ga. Eskiz rospisi. Risunok.
E. Matochkin, Nikolai church in Rus. Keeping to the traditional iconography, Roerich Rerikh. Mozaiki, ikony, rospisi, proekty tserkvei, Samara, Agni also gives Olga a cross and a church to hold. In Roerich’s Publishing House, 2005, p. 171, illustrated.
Nicholas case, however, this is no abstract church but a model of the Roerich. In 2 volumes, Vol. 2, Samara, Agni Publishing House, Trinity Cathedral the princess built at the confluence of the Moscow, Fine Arts Academy Gallery, Zurich, Kunstberatung, rivers Pskov and Velika after a vision she had of three rays of 2011, p. 235, No. 272, illustrated; p. 688, listed.

The light pointing to where the building should stand. In his drawing on the reverse of the present lot is believed to be a preparatory sketch for the Pskov memorial painting, the artist sketch for the painting Werewolf, created the same portrays St Olga surrounded by the walls of her native Pskov. In year.

Nicholas Roerich’s St Olga is a rare view of the painting’s intended technique and cult purpose, depiction of the founder of the Russian state, executed as part Roerich gave much careful thought to the language of his of the design for the church of St Olga at Vybuty.

In imagery. He is not interested in spatial and volumetric 1908 Roerich was inspired to turn to the image of the Blessed resolution or the effects of illumination. The composition is built Princess Equal-of-the-Apostles by the 950th anniversary of exclusively on graphic elements – outline, the flat rightness of Princess Olga’s baptism, widely honoured in Russia, and by a the ground colour, the lineaments. Space is conveyed through whole series of celebrative initiatives and events. In particular, the distinct, rhythmic articulation of line. In striving to reproduce on the eve of the celebrations came the foundation of the All- the style of the early Middle Ages, Roerich uses elements of Russian Society of St Olga chaired by S.V. Voyeikov. A major 11th century fresco painting from the cathedrals of St Sophia in part of the society’s remit was to raise funds for the building of Kiev and Novgorod. The sketch portrays Olga full length, a memorial church at the village of Vybuty near Pskov, where stretching from earth to heaven, in gold raiment that shines legend has it the princess was born, but also to concern itself under the rays of light cast on her as a sign of the coming with erecting a memorial to the saint in Pskov itself. The idea of christening of Rus, against the oundless expanse of a building the church and memorial received support from the background containing towns and future churches.

Queen of Greece, Olga Konstantinovna, and also from the Though Roerich’s painting was destined never to see the light Imperial family. Nevertheless, time was needed to gather of day, this exquisite work allows the scale of his concept to be sufficient funds and it was only in July 1914 that the founding fully appreciated, as well as his masterly ability to think ceremony took place. Among those attending were the Queen monumentally in small forms." of the Hellenes, her brother the Grand Duke Konstantin Estimate: £350,000.00 - £400,000.00 Konstantinivich, his son Igor Konstantinovich, Baron N.N. Medem, Governor of Pskov, and Bishop Eusebius of Pskov. It was then that discussion turned to the projected memorial, for Lot: 27 which the Municipal Assembly had allocated space in a square *VOLKOV, ALEKSANDR (1886-1957) Uzbek Children in a Yurt by the fortress wall on the riverbank.

Roerich saw , signed, further with a study of a classical bust on the reverse. Princess Olga as one of the key figures in the conversion of the Oil on canvas, 33.5 by 52.5 cm (image size). "
Executed c. Russian lands to Christianity and bringing them together. He 1928–1929.

Provenance: Collection of Iosif was involved in planning the memorial project and in summer Ezrakh, Leningrad.
Private collection, UK.

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Exhibited: A Time to Gather... Russian Art from Foreign have decided to paint a large historical study, but what it is shall Private Collections, The State Russian Museum, St Petersburg, be my secret―. Nevertheless, after a while the artist decided to 14 February–12 May 2008.

Literature:Paintings lift the curtain somewhat and in July wrote to his friend again: from Private Collections, 18th to 20th Century, Leningrad/St “...this is more of an historical and archaeological portrait, ... I Petersburg, St Petersburg, Aurora, 1993, p. 203, No. 262, want to show the joy, amid the suffering from wounds, that the illustrated.
Exhibition catalogue, A Time to Gather... city which is home has been saved, but what comes through is Russian Art from Foreign Private Collections, St Petersburg, only the suffering. It will be called Knight of Pskov. 1581. I shall Palace Editions, 2007, p. 243, pl. 177, illustrated.

tell you the overall concept when we speak.―

In all Aleksandr Volkov is one of the most outstanding probability the subject of the painting was taken from Russian representatives of the “Eastern avant-garde―. His Uzbek history and reflects the siege of Pskov in 1581, the central images have entered art history for their bold application of episode in the Livonian War. After his setback under the walls Cubism, Futurism and Suprematism to traditional ethnic genre of that city, Stefan Batory, King of Poland and Grand Prince of scenes.

Uzbek Children in a Yurt represents a new Lithuania, was forced to enter into negotiations with the phase in the artist’s development – the exploration of Russian Tsar Ivan IV, which ended in the signing of a peace figurative art. Volkov’s works from this period are celebrated treaty. The moment chosen by the artist is the culmination of for their saturated colour, and their stylistic interpretation which the siege, the appearance of the Mother of God to re-inspire combines the traditions of folk primitivism with eastern religious the townsfolk faltering at a breach made by the enemy in the motifs, such as Sufism." fortress wall.

Roerich had a very responsible and Estimate: £180,000.00 - £250,000.00 demanding approach to his work on canvas. In the absence of the opportunity to paint from life, he uses the monumental and decorative techniques of late 19th century painting in this Lot: 28 composition. He positions the figure of the Bogatyr on *ROERICH, NICHOLAS (1874-1947) Warrior. Oil on canvas, horseback in the foreground, frozen solid as it were and sinking 105 by 74.5 cm. "
Executed in 1894.

under the outstretched hand of heaven. The angle of Provenance: Acquired from Tatiana Roerich, the artist’s Roerich’s perspective, from the rear and with the hand thrown sister-in-law, by E. Velichko-Mukhina and S. Mukhin in up sharply above the head, is unexpected.

The 1953.
Collection of E. Velichko-Mukhina and S. Mukhin State Tretyakov Gallery holds a sketch on paper of the initial until the 1990s.
Acquired from the above by the present composition of the Knight of Pskov that shows precisely drawn owner.
Authenticity of the work has been confirmed by the outlines of the steed and rider. In handling the image of the expert O. Glebova.
Authenticity has also been confirmed warrior Roerich keeps close to the folk tales, and in this respect by the expert I. Gofman.
Authenticity has also been he was perhaps the most disciplined successor to the tradition confirmed by the expert O. Rumyantseva.

of Viktor Vasnetsov. Like Vasnetsov, Roerich largely sticks to Exhibited: K 110-letiyu so dnya rozhdeniya N.K. Rerikha i 80- the well-known literary subject matter, striving for accuracy of letiyu S.N. Rerikha, State Museum of Oriental Art, Moscow, historical detail and making a study of armour and harness October 1984.

Literature: Exhibition catalogue, K recovered from archaeological digs, but at the same time 110-letiyu so dnya rozhdeniya N.K. Rerikha i 80-letiyu S.N. creating the image of his own revelation, full of underlying Rerikha, Moscow, State Museum of Oriental Art, 1984, No. symbolism.

The drama he creates is built on the 2.
Perepiska N.K. Rerikha s L.M. Antokol’skim sharp contrast in colour between the grim horseman, the grey (1894–1899 gg.), Moscow, Direkt-Media, 2011, mentioned in stones and thorny, almost monochrome tangle of vegetation at the text under correspondence from 1894.
E. Velichko, his feet and the fieriness of the heavenly vision. This blaze of “O kartine “Voin―, Del’fis, No. 4 (44), 2005, pp. red forming a radiance around the divine messenger 110–111.

Related literature: For studies of the encapsulates the image of celestial intercession saving Rus, as present lot, see the works on paper archive of the State of old. Roerich employed this device for the first time when Tretyakov Gallery, Moscow, file No. 2382.

Within the working on the Pskov warrior but it was taken into his armoury huge legacy that Roerich left, Warrior, from the series and used early in the second decade of the century in the flame- “Beginning of Rus. Slavs― has a special place, as an coloured halo of Last Angel and mandorla of Queen of exceptionally rare example of the artist’s early creativity, Heaven.

Apart from the unique story of the twenty among his works on the heroic epic theme. This large-scale year-old Roerich creating what was really the first full-blown oil canvas, conceived and painted by the 20-year old student at on canvas he had produced, Warrior also possesses the Academy of Arts, became in its way the aspiring artist’s impeccable provenance. Until the end of the 20th century it was creative manifesto, his vehicle for declaring with utter certainty in the collection of S. Mukhin and E. Velichko-Mukhina who had his interest in the early history of the Russian state, which acquired it in 1953, together with another 16 paintings by Roerich remained true to throughout his life.

The Roerich, from Tatiana Grigorievna Roerich, widow of the whole cycle of Bogatyr images, created over a number of years, artist’s brother, Boris Konstantinovich." embodied reverence for history. The subject matter of these Estimate: £800,000.00 - £1,200,000.00 works, inspired by numerous learned articles from the Proceedings of the Russian Archaeological Society (of which Roerich was a devoted reader from a young age) bolstered by Lot: 29 Russian epic and embroidered by imagination, became the GORAVSKY, APOLINARY (1833-1900) Alpine Landscape , main theme of the artist’s pre-revolutionary oeuvre. Moreover, signed and dated 1859. Oil on canvas, 85.5 by 115 cm. Warrior, or, as the artist called it himself, Knight of Pskov, Estimate: £50,000.00 - £70,000.00 qualifies chronologically as the first among these works.

Roerich conceived the idea for this composition in the early summer of 1894 at the Izvara estate Lot: 30 where he had gone for the holidays at the end of the *MAKOVSKY, KONSTANTIN (1839-1915) Children by the Lake Academy’s academic year. He wrote of his brainchild in a , signed. Oil on canvas, 47 by 64 cm. "
Authenticity of the letter to his fellow student L.M. Antokolsky: “...this summer I work has been confirmed by the expert V. Petrov.

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Konstantin Makovsky’s Children by the Lake is a fine example of this renowned artist and portraitist of the mid to late-19th of the artist’s late work from a time when his painting was century, whose works very rarely appear on the market. The influenced by French Impressionist experiments and in biography of its subject is also of particular interest.

particular the palette and stylistic manner of Auguste Renoir. As Makarov, who came from the family of a serf artist in Penza early as the 1880s Makovsky typically applied paint in agile, Province, was acclaimed by his contemporaries as the Russian undulating brushstrokes to imbue all the space in his pictures Winterhalter and finest heir of the traditions of Karl Bryullov. with a special, atmospheric grace. In the last years of his There were many strands to his talent. After studying under his career, the painter practically repudiates umbrous dark namesake, Professor A.T. Makarov, he began a successful undertones, freeing up his palette for pure colour, which had a career in wall painting, including work on frescoes at the beneficial influence on the generally more elevated mood of his Cathedral of Christ the Saviour in Moscow as well as icon pictures. Their delicate pastel colours gave an almost painting. But Makarov made his name with his portraits of weightless feel to the paintings of landscapes, still life and small contemporary society beauties. His models included the genre scenes on which Makovsky lavished such love Empress Maria Alexandrovna, the widow and daughter of throughout his entire life." Pushkin, and female members of prominent noble families Estimate: £150,000.00 - £200,000.00 (Sheremetyev, Kochubeyev, Baryatinsky and Dolgorukov).

Anastasia Ushakova (née Koni, 1824–1902), who looks out at us from this portrait, was an Lot: 31 impressive woman. Given in marriage at a young age to KLEVER, YULI (1850-1924) Winter Landscape , signed and Konstantin Gubin, the owner of iron foundries in the Urals, she dated 1900. Oil on canvas, 80 by 105 cm.
Authenticity of quickly found herself solely responsible for all of her the work has been confirmed by the expert V. Petrov. husband’s factories and villages when he was declared Estimate: £40,000.00 - £60,000.00 incapable by the Russian Senate. She set about transforming the loss-making factories into exemplary businesses, repaid all of her husband’s debts, settled sums owed to the Russian government, rehired workers who had left the factories and Lot: 32 ensured payment of their wages. In just twelve years this KOSTANDI, KYRIYAK (1852-1921) Tea on the Terrace , remarkable woman carried out a complete reconstruction of the signed and dated 1919. Oil on canvas, 65.5 by 92 cm. iron foundries, approved the installation of new equipment and "
Provenance: Private collection, Germany.

new facilities, and built a church in the workers’ settlement of Authenticity of the work has been confirmed by the expert V. Nizhny Ufaley, near Chelyabinsk.

By the time this Petrov." portrait was painted Anastasia Iosifovna had remarried Major- Estimate: £18,000.00 - £25,000.00 General Pavel Ushakov from whose descendants the work comes." Estimate: £120,000.00 - £180,000.00 Lot: 33 GINE, ALEXANDER (1830-1880) Pastoral Landscape , signed. Oil on canvas, 54.5 by 80 cm. "
Executed in the Lot: 37 1870s.

Authenticity of the work has been confirmed *KOROVIN, KONSTANTIN (1861-1939) Nocturne , signed. Oil by the expert V. Petrov." on canvas, 87 by 67 cm. "
Provenance: Collection of Estimate: £50,000.00 - £70,000.00 Lyubov Rakhat, Odessa.
Collection of Augustina Vilen, daughter of the above, Stockholm, from 1938.
Thence by descent to the previous owner.

Authenticity of the Lot: 34 work has been confirmed by the expert V. Petrov.
*KISELEV, ALEXANDER (1838-1911) House by the Road , Authenticity has also been confirmed by the experts S. signed and dated "29 iunya 1904 g". Oil on cardboard, 16.5 by Rimskaya-Korsakova, E. Nesterova, A. Bogdanov, A. Kiseleva 25.5 cm.
Authenticity of the work has been confirmed by and I. Geraschenko.

Nocturne by Konstantin the expert V. Petrov. Korovin is one of a series of nocturnes painted on the artist’s Estimate: £3,000.00 - £5,000.00 customary format of canvas in the late 1910s and early 1920s. Korovin named them Romance, At a Window, In a Room, In an Old House, Nocturne and so on. The many works from this time Lot: 35 shown at Korovin’s jubilee exhibition in Moscow (December *LAGORIO, LEV (1827-1905) Waves Breaking Over Rocks , 1921–January 1922, Salon of K.I. Mikhailova) may have signed and dated 1888. Oil on canvas, 24.5 by 32 cm. included this piece.

Korovin’s unnamed female
Authenticity of the work has been confirmed by the expert subjects feature in his canvasses against a backdrop of the V. Petrov. casement windows typical of the artist’s house at Okhotino, or Estimate: £7,000.00 - £9,000.00 in the house of his friends, the Vysheslavtsevs, at Ostrovno. The sparkling vases of artificial roses by candlelight and the barely noted soft shadows, seemingly shrouding the room, Lot: 36 convey in the artist’s hands a poeticised feel of domestic MAKAROV, IVAN (1822-1897) Portrait of Anastasia Ushakova. comfort in winter. “The series of … semi-genre portraits in Oil on canvas, laid on board, 147 by 107 cm. "
Executed c. evening lighting against a background of dark golden wooden 1866.

Provenance: Collection of the sitter’s walls― wrote V. Rozhdestvensky, who witnessed the family.
Thence by descent.
Private collection, canvasses being painted, “put one in mind of the old Russian Austria.
Acquired from the above by the present romances, with their warm intimate lyricism―. The musical owner.

Authenticity of the work has been confirmed structure of the nocturnes is emphasised by a special harmony by the expert V. Petrov.

Portrait of Anastasia of colour in which scarcely distinguishable shades and Ushakova by Ivan Makarov is an excellent example of the work combinations of tints whisper a heart-warming melody. In the

10 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com manner of one who disregards the niceties of drawing, the Museum as well as local museums in Omsk, Ryazan and painter portrays objects in outlines that almost pulsate under a Serpukhov.

The outstanding Gates of the Rostov coloured cloak woven from spilt tone and shadows.

Kremlin, offered here at auction, is well known from books. Korovin embodies the emotive poetry and spellbinding enigma Painted in 1906, it differs dramatically from Yuon’s other of dusk in a captivating image that is seemingly a painterly works of this period which are based on the interaction between allusion to lines by the artist’s favourite poet – A. Pushkin: “Ia genre element in the foreground and a wide panorama of the love your strange gloom, And your secret colours―.

Kremlin (Fine Day. Rostov the Great, 1906; Spring Evening. Nocturne is an expressive example of the artist’s creativity Rostov the Great, 1906; Winter. Rostov the Great, 1906). from the period of the early 1920s and the end of the previous

Yuon depicts a bright summer’s day but does not decade, when Korovin’s nocturnes were a lyrical echo of the drench the scene in light, instead he makes his sunlit world, painter’s states of mind, varying from delight in conversation and first and foremost the architecture, extremely clear and well- with friends to pensiveness in the evening." defined in terms of its mass, while at the same time conveying Estimate: £450,000.00 - £800,000.00 the tremulousness and transparency of the summer atmosphere. The variety of the colour and light effects, the air and sunshine which pervade the picture, the purity of the Lot: 38 paints, the colour in the shadows, the lively texture of his free *§LAPCHINE, GEORGES (1885-1950) First Signs of Spring , brushwork – all these superlative aspects of Yuon’s technique signed. Oil on canvas, 114 by 146.5 cm. "
Authenticity of are present in Gates of the Rostov Kremlin." the work has been confirmed by the expert V. Petrov.
Estimate: £160,000.00 - £190,000.00 Authenticity has also been confirmed by the experts A. Kiseleva and I. Geraschenko. Exhibited:36e Exposition de la Société des artistes indépendants, Palais de Bois, Paris, 21 March–3 Lot: 41 May 1925 (label on the reverse).

Literature: GUZHAVIN, MIKHAIL (1888-1931) Wild Flowers in a Field , Exhibition catalogue, 36e Exposition de la Société des artistes signed and dated 1927. Oil on panel, 34 by 33.5 cm. indépendants, Paris, 1925, p. 187, No. 1931, listed."
Authenticity of the work has been confirmed by the expert Estimate: £120,000.00 - £150,000.00 V. Petrov. Estimate: £5,000.00 - £7,000.00

Lot: 39 MAKOVSKY, KONSTANTIN (1839-1915) In the Garden , Lot: 42 signed, also further signed and titled in Cyrillic on the reverse. GUZHAVIN, MIKHAIL (1888-1931) Peasant Women in a Field , Oil on panel, 53.5 by 65 cm. "
Authenticity certificate from signed and dated 1927. Oil on panel, 34 by 33.5 cm. the expert V. Petrov.

The work will be included in the
Authenticity of the work has been confirmed by the expert forthcoming monograph on Konstantin Makovsky being V. Petrov. prepared by Dr Elena Nesterova." Estimate: £6,000.00 - £9,000.00 Estimate: £180,000.00 - £200,000.00

Lot: 43 Lot: 40 *SHILDER, ANDREI (1861-1919) Autumn Landscape , signed. *YUON, KONSTANTIN (1875-1958) Gates of the Rostov Oil on canvas, 56 by 68 cm.
Authenticity of the work has Kremlin , signed. Oil on canvas, 63 by 81 cm. "
Executed been confirmed by the expert V. Petrov. in 1906.

Provenance: Collection of I. Isadzhanov, Estimate: £30,000.00 - £40,000.00 Moscow.
Private collection, Europe.

Authenticity of the work has been confirmed by the expert Yu. Rybakova.

Exhibited:Vystavka kartin K.F. Yuona. K Lot: 44 25-letiyu khudozhestvennoi deyatel’nosti, The State Tretyakov BOGDANOV-BELSKY, NIKOLAI (1868-1945) Children Playing Gallery, Moscow, 1926, No. 7.
Sovetskie khudozhniki the Balalaika , signed twice and dated 1929, also further signed starshego pokoleniya, Moscow, June 1958 (label on the twice and titled in Cyrillic on a label on the reverse. Oil on reverse).

Literature: A. Koiranskii, K.F. Yuon, St canvas, 88 by 70.5 cm. "
Provenance: Private collection, Petersburg, A. Kogan, 1918, p. 68, listed under works from Denmark, before the 1960s.
Private collection, Germany, 1906.
Exhibition catalogue, Vystavka kartin K.F. Yuona. K from the 1970s.
Acquired from the above by the present 25-letiyu khudozhestvennoi deyatel’nosti, Moscow, 1926, p. owner.

Exhibited: Possibly, XLIX Vystava Jednoti 30, No. 7, listed.
N. Tretyakov, K.F. Yuon, Moscow, 1957, Umelcu Vytvarnych v Praze. Soubor Augustina Nemejce a p. 103, listed under works from 1906.
Yu. Osmolovskii, Ruskych Umelcu, Municipal House, Prague, February–March Konstantin Fedorovich Yuon, Moscow, Sovetskii khudozhnik, 1928.
Possibly, Russisk Maleriudstilling, Den Frie 1982, p. 226, listed under works from 1906.

The Udstilling, Copenhagen, 7–20 February 1929.

The present lot was published as a postcard by the Community of work will be included in the monograph on the artist being Saint Eugenia before 1926.

Konstantin Yuon’s prepared by A. Kuznetsov." cycle of works dedicated to the ancient Russian town of Rostov Estimate: £60,000.00 - £90,000.00 the Great dates back to 1903, when a record in his handwriting appeared in the visitors’ book of the Rostov Museum: “Konstantin Yuon, artist from Moscow―. From that time on Rostov was for many years a place of pilgrimage for the artist. Lot: 45 *LAKHOVSKY, ARNOLD (1880-1937) Street in Pskov , signed, He came to work here from 1904 to 1906 and again from 1913 also further signed, inscribed with the artist's address, titled and to 1916. The majestic ancient architecture became the subjects numbered "N7" on the reverse. Oil on canvas, 73 by 60 cm. of many of Yuon’s Rostov paintings. The majority of these
Authenticity of the work has been confirmed by the expert works are now held in the State Tretyakov Gallery and Russian

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V. Petrov. inscribed in Cyrillic with a dedication on the reverse. Oil on Estimate: £10,000.00 - £15,000.00 panel, 21 by 12.5 cm. "
Provenance: A gift from the artist to Aleksandr Vsevolozhsky, a collector and friend of Polenov, on 5 January 1901 (inscription on the reverse).
Important Lot: 46 private collection, Italy.

Authenticity of the work has LAKHOVSKY, ARNOLD (1880-1937) A Street in Winter , been confirmed by the expert V. Petrov.

The present signed. Oil on canvas, 50 by 65 cm.
Provenance: Private lot is a study for the painting By the Lake of Tiberias, 1888, now collection, France. in the collection of the State Tretyakov Gallery." Estimate: £4,000.00 - £6,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 47 Lot: 50 LAKHOVSKY, ARNOLD (1880-1937) In a Samovar Shop , *DVORNIKOV, TITUS (1862-1922) By the Sea , signed. Oil on signed. Oil on canvas, 89.5 by 66.5 cm. "
Executed c. canvas, 50 by 61 cm. "
Executed c. 1912.

1912.

Authenticity of the work has been confirmed Authenticity of the work has been confirmed by the expert V. by the expert V. Petrov." Petrov." Estimate: £35,000.00 - £50,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 48 Lot: 51 *LEVITAN, ISAAK (1860-1900) Autumn , signed. Pastel and *HARLAMOFF, ALEXEI (1840-1925) Portrait of a Red-Haired charcoal on paper, laid on cardboard, 50.5 by 73.5 cm. Girl , signed. Oil on canvas, 65.5 by 51 cm. "
Authenticity "
Executed in the early 1890s.

Provenance: of the work has been confirmed by the expert V. Petrov.
Collection of Ivan Tarasov, a prominent art collector, Moscow,
Authenticity has also been confirmed by the expert T. c. 1944 (inscription on the reverse).

Authenticity Goryacheva.

Literature: O. Sugrobova-Roth and E. certificate from the expert V. Petrov.
Authenticity has also Lingenauber, Alexei Harlamoff. Catalogue raisonné, Düsseldorf, been confirmed by the expert L. Torstensen.

Edition A. Harlamoff, 2007, p. 122, No. 45a, listed; p. 124, pl. Exhibited: Possibly, The 13th Periodical Exhibition of the 36a, illustrated.

" Moscow Society of Art Lovers, Moscow, 1893.
Possibly, Estimate: £130,000.00 - £180,000.00 The 23rd Exhibition of the Society for Itinerant Art Exhibitions, Moscow, 1895, No. 103.

Literature: Exhibition catalogue, The 13th Periodical Exhibition of the Moscow Lot: 52 Society of Art Lovers, Moscow, 1893, No. 3, possibly listed as *VLADIMIROV, IVAN (1870-1947) Grandfather's Nameday , Osen’ (Pastel’).
Exhibition catalogue, The 23rd signed and dated 1903. Oil on canvas, 82 by 53 cm. Exhibition of the Society for Itinerant Art Exhibitions, Moscow, "
Exhibited: Universal Exposition, St Louis, 30 April–1 1895, possibly listed as Osen’. Pastel’.

Isaac December 1904 (label on the reverse).

Levitan, the most renowned of Russian landscape artists, is
Literature: Exhibition catalogue, Official Catalogue of represented in this catalogue by the elegiac pastel work, Exhibits. Universal Exposition, Saint Louis, 1904, St Louis, The Autumn Day. Although Levitan is known primarily as a painter, Official Catalogue Company, p. 285, No. 282.
Niva, St the depth of his penetration into the life of nature and ability to Petersburg, No. 36, 1906, illustrated on the cover.

capture its subtle changes are most apparent in his works on
Authenticity of the work has been confirmed by the expert paper.

Levitan started to use pastels in the early V. Petrov." 1890s, producing a whole series of striking and expressive Estimate: £25,000.00 - £50,000.00 works in the medium during the last decade of his life. As the art historian Alexei Fedorov-Davydov wrote in his monograph on Levitan: “The freedom and lightness of the artist’s Lot: 53 figurative techniques are particularly apparent in the crayon WITHDRAWN strokes of these pictures... the intimate quality of pastel, its midway position between oil, on the one hand, and coloured drawing or water colour, on the other hand, give us a clear perception of the artist at work, as if the act of creation was Lot: 54 ORLOVSKY, VLADIMIR (1842-1914) Cows in a Pasture , unfolding before our eyes. We feel Levitan’s artistic signed and dated 1911. Oil on canvas, 21 by 37.5 cm. individuality with a special immediacy, as if witnessing the
Provenance: Important private collection, Italy. movement of his hand.―

The airiness and softness Estimate: £6,000.00 - £9,000.00 of pastel enable the artist to convey the subtlest nuances of colour and to combine a generalised depiction of main masses with the expressiveness of certain details. The present lot demonstrates Levitan’s supreme mastery in a medium that Lot: 55 was unusual for him. The picture captures the indefinable BABADIN, VALERIAN (1867-AFTER 1911) Bidding Farewell , beauty and transient quality of Russian autumn." signed and dated 1911, further bearing the artist's studio label Estimate: £200,000.00 - £300,000.00 on the stretcher. Oil on canvas, 47 by 64.5 cm. "
Provenance: Important private collection, Italy.


Authenticity of the work has been Lot: 49 confirmed by the expert V. Petrov." Estimate: £2,000.00 - £3,000.00 POLENOV, VASILY (1844-1927) Study of Rocks by Lake Tiberias , signed with a monogram and dated 1887, also further

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Lot: 56 *FALK, ROBERT (1886-1958) Poppies , signed. Oil on canvas, KLIMENKO, PHILIP (1862-AFTER 1917) View of St Petersburg 64.5 by 53 cm. "
Executed in 1950.

from the Neva , signed and dated 1915. Pencil and watercolour, Provenance: Collection of Angelina Shchekin-Krotova, the heightened with white, on paper, laid on cardboard, 39.5 by artist’s widow.
Acquired directly from the above by the 88.5 cm. "
Provenance: Important private collection, collector.
M.L. Mints, Moscow, in the early 1960s.
Italy.


Authenticity of the work has been Collection of the above until, possibly, 1993.
Private confirmed by the expert V. Petrov." collection, Europe.


Authenticity certificate from Estimate: £5,000.00 - £7,000.00 the expert Yu. Didenko.

Exhibited: R. Fal’k. Vystavka proizvedenii, Moscow, 1966.

Literature: Exhibition catalogue, R. Fal’k. Vystavka proizvedenii, Moscow, Sovetskii khudozhnik, 1966, listed with incorrect Lot: 57 measurements.
Yu. Didenko, compiler of Polnyi katalog *SHUKHAEV, VASILY (1887-1973) A Tree (Cassis) , signed, zhivopisnykh proizvedenii R.R. Fal’ka// D. Sarabianov, Yu. inscribed "Cassis" and dated 1928. Tempera on canvas, 61 by Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog 50 cm. "
Provenance: Collection of S.K. Odishariya, proizvedenii,Moscow, Elizium, 2006, p. 738, No. 1097, Tbilisi.
Private collection, Europe.

Authenticity listed.

" of the work has been confirmed by the expert E. Estimate: £250,000.00 - £300,000.00 Yakovleva.
Authenticity has been also confirmed by the expert Yu. Rybakova.

Exhibited: Exposition du peintre russe Schoukhaeff, Galeries d’Art Kodak, Brussels, 26 February–8 March 1929, No. 17 (label on the stretcher).
Lot: 59 Paintings and Drawings by Basil Schoukhaeff, Macquarie *KONCHALOVSKY, PETR (1876-1956) Dynamo Ice Rink , Galleries, Sydney, 1–17 August 1929, No. 12 (stamp on the signed, also further signed, numbered "1502" and dated 1948 reverse).
Possibly, Vasilii Ivanovich Shukhaev. K 90-letiyu on the reverse. Oil on canvas, 62.5 by 89.5 cm. so dnya rozhdeniya,The State Museum of Oriental Art, "
Authenticity certificate from the Petr Konchalovsky Moscow, 1977.

Literature: Exhibition catalogue, Foundation.
Authenticity has also been confirmed by the Exposition du peintre russe Schoukhaeff, Brussels, Galeries experts A. Kiseleva and I. Geraschenko.

Literature: d’Art Kodak, 1929, No. 17, listed as Un arbre.
Exhibition Konchalovsky. Khudozhestvennoe nasledie, Moscow, catalogue, Paintings and Drawings by Basil Schoukhaeff, Iskusstvo, 1964, p. 151, listed as “zhi 1210―.
M. Neiman, Sydney, Macquarie Galleries, 1929, No. 12, listed as The P.P. Konchalovsky, Moscow, Sovetskii khudozhnik, 1967, listed Tree.
Possibly, exhibition catalogue, Vasilii Ivanovich under works from 1948.

Petr Konchalovsky’s Shukhaev. K 90-letiyu so dnya rozhdeniya, Moscow, Sovetskii Dynamo Ice Rink addresses one of his favourite themes in the khudozhnik, 1977, listed under works from the 1920s as 1930s and 1940s – Moscow skating rinks. Konchalovsky Kassis.

The painting A Tree is a view of the cliffs created a whole series of works depicting winter sports on the and coves at Cassis on the Côte d’Azur in France. The ice at Patriarch’s Ponds, not far from his studio (Little House location is identified by recognizable landmarks – Cap Canaille by the Ice, On the Ice), and at Dynamo stadium.

and the remarkable combination of white limestone cliffs, Such scenes had been a stock-in-trade of artists for centuries, turquoise water and green pines – and also by the artist’s but they found new life in the work of Soviet artists thanks to the Latin inscription in the lower right corner of the painting, which cult of mass sport and healthy leisure pursuits, which arose in reads “B. Schoukhaeff. Cassis. 1928―.

The the USSR during the 1930s. The invariably upbeat and joyful Russian émigré artist Vasily Shukhaev (1887–1973) travelledmood of Konchalovsky’s paintings offers a romanticized vision from Paris to the plein air – either the Mediterranean or of contemporary Moscow. The painter strikes a balance elsewhere in France – every summer from 1921. He was in between the optimistic depiction of Socialist reality required of Cassis in 1928, where he painted more than ten landscapes, all every artist at the time, and his own artistic and human credo, differing in their subject, composition and graphic structure. while avoiding internal conflict.

The associations What they have in common is their technique, the inscription, evoked by Dynamo Ice Rink, have less to do with the capital’s and the use of a genre element in the landscape. The genre main stadium (Dynamo was the venue for sports parades and element in our picture is the couple sitting under a all the most prestigious sporting contests of the time), and more tree.

In February and March of 1929 the artist to do with yet another corner of the city, beloved of presented all of his Cassis landscapes at a personal exhibition Konchalovsky. The artist does not show the main arena, but the in the Kodak gallery in Brussels. Analysis of the numbered titles so-called “Little Dynamo― in front of Upper Maslovka street of paintings in the exhibition catalogue and their match with the and Petrovsko-Razumovskaya Alley, where the Maslovka Cassis subjects tells us the correct name of our landscape: as artists’ colony was situated.

The panoramic confirmed by No. 17 on the label, which has been preserved on composition offers a view onto the ice-covered field, seemingly the back of the picture, this is Un Arbre. Konstantin Somov, glowing from within, and across the city at evening, half moon who was among the visitors of Shukhaev’s exhibition in Paris suspended above the silhouettes of houses and warm light in November 1929, commented: “The exhibition by Shukhaev twinkling in the windows. The lively and dynamic figures of the is very good, he has made great advances in terms of simplicity skaters, features of the background houses, even the branches and naturalism―. Shukhaev evidently brought the painting with of the trees through which the artist looks are painted him when he returned to Russia in 1935 and it was later schematically, without detail. “People whirl around the skating acquired by the Odishariya family, Tbilisi friends of the artist. In rink like tea leaves in a saucer― (On the Ice, Vasily Lebedev- 1977 the painting was exhibited at Shukhaev’s one-man Kumach) and this combination of chaotic motion in an exhibition in Moscow.

Elena Yakovleva, Doctor of impressionistically soft landscape with a strong graphic Art History" structure provides the overall mood of the canvas. Estimate: £120,000.00 - £180,000.00 Konchalovsky convincingly transmits the dynamics and the romance of skating by night, but what he most wanted to do in this picture was undoubtedly to convey the light and airy quality Lot: 58 of the environment and the colourful spectacle of a frosty winter

13 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com evening in the city. This is what the picture achieves, creating a reverse).
Acquired directly from the above by the present truly marvelous Moscow landscape, imbued with the spirit of owner.
Important private collection, USA.

the time.

" Authenticity certificate from Nikolai Plastov, the artist’s Estimate: £250,000.00 - £300,000.00 grandson.
Authenticity of the work has also been confirmed by V. Swanson, art historian and author of the book, Soviet Impressionist Painting, Woodbridge, Antique Lot: 60 Collectors’ Club, 2008." *KUZNETSOV, PAVEL (1878-1968) Still Life with Flowers in a Estimate: £15,000.00 - £20,000.00 Clay Pot. Oil on canvas, 65.5 by 54.5 cm. "
Executed in the late 1930s or early 1940s.

Provenance: Collection of the artist (inscription on the reverse).
Lot: 66 Collection of Solomon Shuster, St Petersburg (inscription on *IOGANSON, BORIS (1893-1973) By the Window , signed and the stretcher).

Authenticity of the work has been dated 1964. Oil on canvas, 79.5 by 98.5 cm. confirmed the expert V. Petrov.
Authenticity has also been "
Provenance: Collection of the artist’s family.
confirmed by the expert I. Geraschenko.
Authenticity has Thence by descent.
Acquired from the artist’s son-in-law also been confirmed by the expert T. Ermakova.

" by the present owner.
Important private collection, Estimate: £120,000.00 - £180,000.00 USA.

Authenticity of the work has been confirmed by V. Swanson, art historian and author of the book, Soviet Impressionist Painting, Woodbridge, Antique Collectors’ Club, Lot: 61 2008." *ESALOV, NIKOLAI (1922-2000) Scouts , signed. Oil on Estimate: £15,000.00 - £20,000.00 canvas, 104.5 by 122.5 cm. Estimate: £30,000.00 - £50,000.00 Lot: 67 *GERASIMOV, ALEXANDER (1881-1963) Flowers , signed, Lot: 62 also further signed, titled in Cyrillic and dated 1956 on the *KATZMAN, EVGENY (1890-1976) Seated Nude , signed. reverse. Oil on canvas, 59 by 77 cm "
Provenance: Tempera on canvas, 101.5 by 67.5 cm. "
Executed in the Collection of the artist’s family.
Thence by descent.
1920s.

Provenance: Dr Marina Sandmann Galerie, Acquired from the artist’s son-in-law by the present Berlin.
Private collection, USA." owner.
Important private collection, USA.

Estimate: £50,000.00 - £70,000.00 Authenticity of the work has been confirmed by V. Swanson, art historian and author of the book, Soviet Impressionist Painting, Woodbridge, Antique Collectors’ Club, 2008." Lot: 63 Estimate: £70,000.00 - £120,000.00 *PLASTOV, ARKADY (1893-1972) Sashka the Soldier , stamped with the artist's initials, also further signed, titled in Cyrillic and dated 1968 on the reverse. Oil on canvasboard, 70 Lot: 68 by 49.5 cm. "
Provenance: Collection of Nikolai Plastov, *FALK, ROBERT (1886-1958) Corsica, a Smuggler's House , the artist’s grandson (stamp on the reverse).
Acquired signed with initials and dated 1929, also further indistinctly directly from the above by the present owner.
Important signed, inscribed in Cyrillic “Kor…[sika]― and dated on the private collection, USA.

Authenticity certificate from reverse. Oil on canvas, 60.5 by 73 cm. "
Provenance: A Nikolai Plastov, the artist’s grandson." gift from the artist to the academic Alexander Gabrichevksy in Estimate: £20,000.00 - £30,000.00 the early 1950s.
Thence by descent to the previous owner.
Private collection, Europe.

Authenticity certificate from the expert Yu. Didenko.

Exhibited: Aleksandr Georgievich Gabrichevskii. Mir myslitelya i Lot: 64 khudozhnika, The State Tretyakov Gallery, Moscow, 1992.
*PLASTOV, ARKADY (1893-1972) Botanical Lessons. Portrait Iskusstvo v krugu uchenykh. Sobranie Stankevichei- of the Son , stamped with the artist's initials, also further signed, Gabrichevskikh-Severtsovykh, Museum of Private Collections, titled in Cyrillic and dated "1943-44 gg" on the reverse. Oil on Moscow, 3 February–6 March 2005.

Literature: O. canvas, 65 by 51 cm. "
Provenance: Collection of Nikolai Severtseva, Ya. Bryk and T. Lykova, Aleksandr Georgievich Plastov, the artist’s grandson (stamp on the reverse). Gabrichevskii 1891–1968. K 100-letiyu so dnya rozhdeniya, Acquired directly from the above by the present owner.
Moscow, Sovetskii khudozhnik, 1992, p. 234, No. 230, Important private collection, USA.

Authenticity illustrated; p. 236, listed.
Yu. Didenko, compiler of Polnyi certificate from Nikolai Plastov, the artist’s grandson.
katalog zhivopisnykh proizvedenii R.R. Fal’ka// D. Sarabianov, Authenticity of the work has also been confirmed by V. Yu. Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog Swanson, art historian and author of the book, Soviet proizvedenii, Moscow, Elizium, 2006, p. 522, No. 726, Impressionist Painting, Woodbridge, Antique Collectors’ Club, illustrated and listed.

Robert Falk is rightly regarded 2008." as one of the best Russian colourists of the 20th century. His Estimate: £20,000.00 - £30,000.00 original technique of applying paint in several thick layers to create an unusual shimmering effect imparts a fascinating musical resonance to his pictures. The artist’s sojourn in Lot: 65 France (1928–1937) is one of the most fruitful periods of his *PLASTOV, ARKADY (1893-1972) Study of a Sunset , signed career. It is particularly at this time that Falk makes full use of and titled in Cyrillic on the reverse. Oil on canvas, 71 by 51 cm. the discoveries of the Post-Impressionists, above all Cézanne, "
Executed c. 1939.

Provenance: Collection of by thoroughly exploring the potential of a patch of colour and its Nikolai Plastov, the artist’s grandson (stamp on the interaction with the overall chromatic structure of a picture.

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Robert Falk undertook a short trip to Corsica at the very and inscribed "Russie". Oil on cardboard, 33 by 41 cm. beginning of his working tour in France. “The particular value "
Provenance: Private collection, Italy, until the late of this landscape is that it is a rare example of Falk’s painting 1990s.
Private collection, Croatia." in his brief Corsican period, from which exceedingly few works Estimate: £12,000.00 - £18,000.00 survive: some gouaches, one painted portrait and two landscapes in oil―, writes Yulia Didenko. The present lot is one of two views of Corsica and a painting of the highest quality Lot: 73 from Falk’s French period. Among the legacy left by this KOROVIN, KONSTANTIN (1861-1939) At the River Nerl. Early outstanding artist, this piece can easily hold its own against Spring , signed and inscribed "Russie". Oil on cardboard, 33 by representative examples from museum collections." 41 cm. "
Provenance: Private collection, Italy, until the late Estimate: £250,000.00 - £300,000.00 1990s.
Private collection, Croatia." Estimate: £12,000.00 - £18,000.00 Lot: 69 *ANISFELD, BORIS (1878-1973) Still Life with Flowers and Lot: 74 Apples , signed and dated 1916. Oil on canvas, 69 by 78.5 cm. *§GONCHAROVA, NATALIA (1881-1962) Still Life with "Provenance: Collection of A. Chudnovsky, Leningrad.
Magnolias , signed, also further signed on the reverse. Oil on Private collection, Europe.

Authenticity of the work canvas, 85 by 45 cm. "
Provenance: Leonard Clayton has been confirmed by the expert T. Ermakova.
Gallery, New York, before 1977 (label on the Authenticity has also been confirmed by the artist’s grandson stretcher).

Authenticity of the work has been Charles Chatfield-Taylor.

Exhibited: Russkii i confirmed by the expert I. Vakar.

Still Life with sovetskii naturmort, The State Russian Museum, Leningrad, Magnolias belongs to a series of pictures that Natalia 1969 (label on the stretcher).
Russkoe iskusstvo Goncharova was working on in the late 1920s and 1930s. XVIII–XX vekov. Iz chastnykh sobranii Leningrada,TsVZ Stylisation, geometrical rendering of form, and decorative “Manezh―, Leningrad, 1986.
Avantguarda Russa, conventionality of manner are typical of her output at a time 1900–1935, Centre Cultural La Misericòrdia, Palma, 6 when she was beginning to work more and more from life, October–28 November 1992 (stamp on the stretcher).
moving away from her early avant-garde experiments. Avantgarde 1900–1930. Tsudnovskin Kokoelma Pietarista, Developing new combinations of form and colour unfailingly led Ateneum Art Museum, Helsinki, 14 October 1993–9 January the artist in the direction of “life itself ―, to which she was 1994, No. 5 (label on the stretcher).
Avantgarde 1900- drawn, in her own words, by “unconscious instinct―. The 1930. Tsudnovskin kokoelma Pietarista,Turku Art Museum, decorativeness and sculptural form of magnolia blossom could Turku, 5 February–6 March 1994, No. 5 (label on the never fail to move Goncharova, whose life was forever stretcher).

Literature: Exhibition catalogue, Russkii i intertwined with the grand spectacle of Russian opera and sovetskii naturmort, Leningrad, The State Russian Museum, ballet. She painted magnolias in all their various forms – cut or 1969, p. 9, listed.
Exhibition catalogue, Russkoe iskusstvo flowering on the tree; pink and white or different colours; in XVIII–XX vekov. Iz chastnykh sobranii Leningrada, Leningrad, jugs, cups, vases or simply resting on a table. The magnolia Khudozhnik RSFSR, 1988, p. 21.
Exhibition catalogue, motif was not confined to her still lifes but served as a Avantguarda Russa, 1900–1935, Palma, Enrique Nieto y decorative background to her Espagnole compositions: in 1939 Asociados, 1992, p. 134, illustrated.
Exhibition catalogue, Goncharova put on an exhibition in Paris entitled Espagnoles – Avantgarde 1900–1935. Tsudnovskin Kokoelma Pietarista, Magnolia. The State Tretyakov Gallery has a number of her Helsinki, Ateneum, 1993, pp. 76, 91 and 109, listed.
E. works from this period, including Pink Magnolia and Espagnole Lingenauber, O. Sugrobova-Roth, Boris Anisfeld. Catalogue with Folded Fan.

The tender beauty of the spring Raisonné, Dusseldorf, Edition Libertars, 2011, p. 163, P 452, bouquet is rendered marvellously in Goncharova’s illustrated." harmonious palette, and the living force of nature awakening Estimate: £180,000.00 - £250,000.00 from winter is evoked by the rhythmic juxtaposition of elements contrasting in shape and texture: heavy blooms of magnolia, sculpted in relief, then dainty clusters of frothing cherry Lot: 70 blossom. The stiff dark twigs provide a strong framework to the KOROVIN, KONSTANTIN (1861-1939) Ushakovo-Ostrivno in composition and though the painting is rather elongated – Tver Province , signed, inscribed "Russie" and dated 1912, also common for Goncharova’s canvasses of this time – any further inscribed in Cyrillic on the reverse. Oil on cardboard, 33 oppressiveness is relieved by the translucence of the jug. Her by 41 cm. "
Provenance: Private collection, Italy, until the expressive style, devotion to working from life and undoubted late 1990s.
Private collection, Croatia." gift for decoration are fully reflected in the present lot, which is Estimate: £12,000.00 - £18,000.00 undoubtedly one of the finest still lifes from Goncharova’s brush in her mature period." Estimate: £400,000.00 - £600,000.00 Lot: 71 KOROVIN, KONSTANTIN (1861-1939) Rue de l’Abreuvoir, Montmartre , signed and inscribed "Paris". Oil on cardboard, 33 Lot: 75 by 41 cm. "
Provenance: Private collection, Italy, until the WEREFKIN, MARIANNE (1860-1938) In die Nacht hinein... , late 1990s.
Private collection, Croatia." signed with a monogram. Gouache and tempera on paper, laid Estimate: £20,000.00 - £30,000.00 on cardboard, 75 by 102 cm. "
Executed c. 1910.

Provenance: Galerie Chichio Haller, Zurich.
Acquired from the above by the family of the Lot: 72 previous owner in 1969.
Private collection, Switzerland. KOROVIN, KONSTANTIN (1861-1939) By the Gates , signed
Private collection, Europe.

Exhibited: Neue Kunstlervereinigung Munchen E.V. Turnus 1910–11, Moderne

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Galerie, Munich, 1–14 September 1910, No. 94 (label on the Estimate: £200,000.00 - £250,000.00 reverse).
XIII Jahrgang, VI Ausstellung, Paul Cassirer, Berlin, January–February 1911, No. 50.
Deutscher Kunstlerbund. Große Ausstellung, Kunsthalle Bremen, Bremen, Lot: 76 1 February–31 March 1912, No. 234 (label on the *BURLIUK, DAVID (1882-1967) Fisherman and the Artist's Wife reverse).
Marianne Werefkin. Gemalde und Skizzen, on the Long Island's Shore , signed. Oil on canvas, 92.5 by Museum Wiesbaden, Wiesbaden, 28 September–23 132.5 cm. "
Executed in the 1950s.

The work November 1980, No. 35.
Marianne Werefkin. Leben und will be included in the forthcoming David Burliuk catalogue Werk, Ascona, Munich, Hanover, Berlin, Bad Homburg, raisonné being prepared by the Burliuk Committee in Hamburg, 1988–1990, No. 45.

Literature: collaboration with Mary Burliuk." Exhibition catalogue, Neue Kunstlervereinigung München Estimate: £100,000.00 - £150,000.00 E.V. Turnus 1910–11, Munich, 1911, p. 37, illustrated; p. 36, No. 94, listed.
Exhibition catalogue, Deutscher Kunstlerbund. Große Ausstellung, Bremen, 1912, No. 234, listed.
Exhibition catalogue, Marianne Werefkin. Gemalde Lot: 77 GLUCKMANN, GRIGORY (1898-1973) Reclining Nude , with a und Skizzen, Wiesbaden, 1980, p. 82, No. 35, illustrated.
compostion on the reverse. Oil on canvas, 89.5 by 107 cm. Exhibition catalogue, Marianne Werefkin. Leben und Werk, "
Provenance: Acquired directly from the artist by the Munich, Prestel, 1988, No. 45, illustrated and listed.

father of the previous owner in 1940s.
Thence by Marianne Werefkin’s composition In die Nacht hinein… comes descent.
Private collection, France.
Acquired from from her suite of exceptionally interesting, valuable theatrical the above by the present owner." works painted in 1910. The entire suite comprises no more than Estimate: £100,000.00 - £150,000.00 a few tempera paintings from that milestone period in the history of art when the “Russian baroness― achieved the peak of her influence over the Munich colony of modernist artists, determining to a great extent the visual language and artistic Lot: 78 trends of the 20th century. The two years that Werefkin spent in *TCHELITCHEW, PAVEL (1898-1957) La Dame voilée , signed Murnau with Alexei Jawlensky, Vasily Kandinsky and Gabriele and dated 1954. Oil on canvas, 74 by 51 cm. Münter led to the creation in 1909 of the Neue "
Provenance: Pecci-Blunt collection, Rome (inscription on Künstlervereinigung, precursor to the celebrated Blaue Reiter the reverse).
Private collection, Europe.

group.

Throughout her career Werefkin remained Authenticity of the work has been confirmed by the expert A. true to expressionism, symbolism and every one of their Kuznetsov.

Exhibited: Pavel Tchelitchew, attendant apocalyptic ideas. Any picture by her that depicts real Kournikova Gallery, Moscow, 10 April–17 July 2011.

life, be it a landscape, or genre scene, is essentially just a stage Literature: Exhibition catalogue, Pavel Tchelitchew, St screen, with a different, secret world hidden behind it. The duty Petersburg, Petronius, 2011, p. 179, illustrated; p. 221, of the artist is to capture and portray that world not through any listed.
A. Kuznetsov, Pavel Tchelitchew: Metamorphoses, outward resemblance but through a system of “symbols of Stuttgart, ARNOLDSCHE Art Publishers, 2012, p. 272, No. 247, lines and colours―.

It was inevitable that illustrated; p. 302, listed.

World-renowned artist, Werefkin’s interest in the tragic illusions and travesties of the genius of stage design, distinguished draughtsman and one of human world, voiced constantly in her Letters, would find its the most interesting painters of the 20th century – Pavel reflection in her art too. It is therefore unsurprising that in 1909 Tchelitchew is represented here by a unique work, capable of motifs from theatre – inspired in part by her acquaintance, then intriguing the most exacting aesthete.

At the time of friendship, with the dancer Alexander Sakharoff – found their this work’s creation, Tchelitchew was living in Italy. He settled way into her arsenal of images. In the summer of 1910, initially in Grottaferrata not far from Rome and then in Frascati. however, it was evidently the productions by touring Berlin His Italian works are extremely rare: today only about thirty theatre companies in honour of the Munich Oktoberfest drawings and pastels are known, and no more than fifteen oil centenary that spurred her to create a whole cycle of works in paintings. Essentially, his best-known oils are of this last period tempera depicting outdoor performances. Not far from Munich, and are dated 1953 to 1957. The reason for the very modest and also taking part in this grand festival of theatre, was the number of completed paintings from this time is primarily a little town of Murnau where Werefkin and Jawlensky were often deterioration in the artist’s health and, of course, the guests of Gabriele Münter. The main summer event there prodigious effort he put into producing his “neon― cycle. was to be the staging of several Shakespeare plays, ending on Tchelitchew did not employ the technique of aerography, 28th August in the garden of Emanuel von Seidl’s villa with a instead he worked on the most complex curves with a fine oil performance of A Midsummer Night’s Dream in the presence brush. In the radiating designs of La Dame voilée the artist of the Queen Maria Sophie of Bavaria and Elisabeth of Bavaria, returns as it were to the mannequins roped together in his Queen of Belgium.

In die Nacht hinein… like another famous scene for Ode, finding in the light of an enchanting tempera composition from the same cycle published in Otto luminescence the “universe― he desired.

The Fischer’s 1912 book Das neue Bild, was in all probability “neon― period in the artist’s creative work is his most cryptic inspired by one of the Shakespeare tragedies put on in Murnau and dazzling; the symbolic fulfilment and essence of a and possibly depicts a scene from King Lear.

This philosophical quest. Tchelitchew presents the possible phases work has a fairytale atmosphere and an intelligible symbolic (in his own imagination) of the unseen workings of the Creator, message underlying the scene playing out on stage. These His sacred dispensation for the universe." qualities, together with the strangeness of the bench seats Estimate: £80,000.00 - £120,000.00 bereft of an audience, owe much to the tense, mystical lilac- blue colouring of the painting and convey Werefkin’s dramatic perception of the world and the meaning which she invested in Lot: 79 colour as a means of imbuing her painting with psychological *KOROVIN, KONSTANTIN (1861-1939) Still Life With Fish , animation." signed, inscribed "Paris" and dated 1930. Oil on canvas, 60.5

16 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com by 73.5 cm. "
Provenance: Commissioned for a charity important Russian naval port in the grip of an oil boom and evening in aid of the veterans of the Russian Volunteer Army in growing rapidly, due to the huge increase in navigation and 1930.
Galerie-librairie Sialsky, Paris.
Acquired from trade, the Maiden Tower was converted into a lighthouse to the above by the present owner in 1999.
Private guide in the ships and oil tankers." collection, USA.

Authenticity of the work has been Estimate: £80,000.00 - £120,000.00 confirmed by the expert V. Petrov.

Exhibited: Faces of Russia, Palm Beach Fine Art and Antique Fair, Florida, 3–11 February 2007.

Literature: Exhibition catalogue, Lot: 82 Faces of Russia, Florida, Palm Beach Fine Art and Antique *VERESCHAGIN, PETR (1836-1886) Locomotive , signed. Oil Fair, 2007, p. 23, illustrated." on canvas, 49.5 by 74 cm.
Authenticity of the work has Estimate: £120,000.00 - £150,000.00 been confirmed by the expert V. Petrov. Estimate: £60,000.00 - £90,000.00 Lot: 80 *MALIAVIN, PHILIPPE (1869-1940) Danae , signed. Oil on Lot: 83 canvas, 54.5 by 73 cm. "
Provenance: Art Russe, *KLEVER, YULI (1850-1924) Sunset , signed and dated 1904. Nouveau Drouot, Paris, 11 February 1983.
Hammer Oil on canvas, 63 by 96.5 cm. "
Provenance: Private Gallery, New York.
Acquired from the above by the collection, USA.

Authenticity of the work has been previous owner.
Russian Art Vol. II, Sotheby’s New York, confirmed by the expert V. Petrov." 17 April 2007, lot 398.
Private collection, Estimate: £30,000.00 - £50,000.00 Europe.

Authenticity of the work has been confirmed by the expert V. Petrov.

Danae by Philippe Maliavin is a gem of creativity by this outstanding painter, a work inspired by an archetype of Russian beauty subtly woven into a Lot: 84 MAKOVSKY, KONSTANTIN (1839-1915) Portrait of a Seated tale from ancient mythology. The Greek myth, on which the Lady , signed and dated 1883. Oil on canvas, 121.5 by 74 cm. picture is based, had already been taken up by masters in "
Provenance: Private collection, Germany.

various epochs of the history of art, from Titian and Rembrandt Authenticity of the work has been confirmed by the expert V. to Gustav Klimt, each of whom presented the story in his own Petrov.

The work will be included in the forthcoming way. In the original myth, Danae was the daughter of Acrisius, monograph on Konstantin Makovsky being prepared by Dr king of Argos. Hearing the prophecy that he would perish by the Elena Nesterova.

Konstantin Makovsky, the brilliant hand of his grandson, Acrisius ordered his daughter to be portraitist of the Petersburg nobility, best celebrated for his confined to a copper tower. But Zeus, the ruler of the gods, portraits of beautiful women. Devoting his career to painting drawn by the beauty of the prisoner, penetrated the tower in the invariably beautiful female contemporaries, the artist developed guise of golden rain and Danae gave birth to Perseus. In fury, his own style of portraiture which brought him great success. Acrisius ordered Danae and her son to be thrown into the sea Portrait of a Seated Lady is an excellent example of in a sealed box. But the prophecy proved inexorable. Perseus Makovsky's skill for the 1880s. The pictorial and emotional was saved from destruction, grew to manhood, and accidentally resolution of the picture is not only characteristic of Makovsky's slew his grandfather.

Maliavin’s Danae is a richly trademark style, but perfection in its genre.

The type sensual young woman, buxom and rosy-cheeked. The of southern beauty exhibited by the model in this picture was expressive colour and the lush, broad-gestured application are particularly favoured by Makovsky in the 1880s and 1900s, full of energy. Maliavin, who began his career in the icon- when he painted many portraits of Italian and gypsy women. painting workshop at a monastery, uses red paint as it had not Reproductions of these works were immensely popular in the been used since the time of ancient Russian iconography. The artist's own life time. The subject of this picture is, however, artist portrays the seduction scene with remarkable boldness undoubtedly real and painted from life. The young Caucasian and psychological accuracy, giving a fresh interpretation of the princess or Mediterranean beauty clearly took her role as ancient myth while preserving the distinctively Russian use of artist's model very seriously, as can be seen from her strained colour that is the hallmark of his best work." posture and look of concentration. Makovsky successfully Estimate: £250,000.00 - £300,000.00 associates her figure, sitting in profile, with the vertical format of the canvas. The artist may not aspire to psychological insight, but he skilfully imparts a romantic tone to the entire Lot: 81 composition, and demonstrates an excellent sense for the PAUL VON FRANKEN (1818-1884) View of the Maiden Tower importance of detail and its structural significance. The gauzy in Baku , signed and dated 1880. Oil on canvas, 74.5 by 111 material covering the girl's wide, rose-trimmed neckline cm. "
Provenance: Private collection, Austria.
Private emphasizes the pearl-white of her breast, combining formality collection, Germany.

Authenticity of the work has with intimacy while retaining the immediacy of the image. The been confirmed by the expert V. Petrov.

This burning eyes, dark hair and eyebrows, the colourful upholstery atmospheric late work by the German-born artist Paul von and varied shades of the light-coloured dress and shimmering Franken depicts Baku’s mysterious Maiden Tower which has pearls are all executed with careful attention to the overall long been the subject of romantic legend. The exact date and harmony and the variety of textures.

By using reason for its construction are to this day unknown, but it is at certain stylistic elements of the old masters and the dark least as old as the 12th century. As the story goes, the tower academic tones of the background, Makovsky imbues this was built at the request of the Shirvanshah’s daughter who romanticized image of a contemporary woman with tradition. At then threw herself from the top to escape marrying the man of the same time, the artist enlivens his painting with its animated, her father’s choice.

Over the years the building has relaxed execution, letting the surface of the canvas variously been used as a Zoroastrian temple, a defence tower breathe.

Makovsky painted most of his portraits in a and a mausoleum. By the late 19th century, when Franken single sitting. His son, the prominent art critic, Sergei painted View of the Maiden Tower in Baku, the city was an Makovsky, recalled how his father worked on his portraits at a

17 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com rapid and inspired pace: “...with an immediacy, as if without *LEVCHENKO, PIOTR (1856-1917) The Sculptor in his Studio , thinking, as if the colours mixed themselves on the palette and signed. Oil on canvas, 54.5 by 69.5 cm. "
Executed in the the brushes flew over the canvas under their own volition, 1910s.

Authenticity of the work has been confirmed leaving strokes in just the right places...―" by the expert V. Petrov.
Authenticity has also been Estimate: £200,000.00 - £250,000.00 confirmed by the experts A. Kiseleva and I. Geraschenko." Estimate: £35,000.00 - £50,000.00

Lot: 85 *FRENTZ, RUDOLF (1831-1918) Grand Duke Vladimir Lot: 88 Alexandrovich on a Wolf Hunt , signed. Oil on canvas, 102 by *§SINEZOUBOFF, NIKOLAI (1891-1956) Still Life with Flowers , 181 cm. "
Provenance: Collection of John B. MacDonald, signed and dated 1939. Oil on canvas, 51 by 60.5 cm. Chief of Staff to the New Jersey State Senator, USA.
Estimate: £6,000.00 - £8,000.00 Acquired from the above by the present owner.

Authenticity of the work has been confirmed by the expert V. Petrov.

Exhibited: Possibly, Universal Exposition, Lot: 89 St Louis, 30 April–1 December 1904.

Literature: TARKHOFF, NIKOLAI (1871-1930) La Seine au Pont Possibly, exhibition catalogue, Official Catalogue of Exhibits. d'Austerlitz , signed. Oil on canvas, 46.5 by 61.5 cm. Universal Exposition, Saint Louis, 1904, St Louis, The Official Estimate: £35,000.00 - £50,000.00 Catalogue Company, p. 285, No. 274, listed as Hunting.

Grand Duke Vladimir Alexandrovich on a Wolf Hunt is a most striking and successful example of the work of Rudolf Frentz, a Russian artist of German origin renowned Lot: 90 *BOGDANOV-BELSKY, NIKOLAI (1868-1945) View of a primarily for his work on hunting subjects drawn from the life of Church , signed. Oil on canvas, 79 by 77 cm.
The work the Imperial court.

This monumental, yet energetic will be included in the monograph on Bogdanov-Belsky being canvas brilliantly conveys the dashing exertion of those taken prepared by A. Kuznetsov. up in the chase and the breakneck thrill that consumes them. Estimate: £10,000.00 - £15,000.00 The artist also pays great attention to his depiction of the horses and hounds, showing not only wonderful anatomical knowledge, but also genuine delight in the physique and grace of these noble animals.

Regularly accompanying the Lot: 91 Imperial family on their travels and out hunting, the painter TSEITLIN, GRIGORY (1911-1999) Sleeping Nude , signed and became especially close to the Grand Duke Vladimir dated 1976, also further signed, titled in Cyrillic and dated on Alexandrovich, a well known patron of the arts and avid the reverse. Oil on canvas, 60 by 85 cm. huntsman, whose favourite pursuit Frentz reflected in his cycle Estimate: £5,000.00 - £7,000.00 of work entitled Grand Duke Vladimir Alexandrovich out Hunting which includes the present lot.

The path of Frentz’s half-century artistic career was paved entirely in St Petersburg. Lot: 92 Here he moved to take up permanent residence in 1857, after *YAKOVLEV, ALEXANDER (1887-1938) Mythological graduating from the Academy of Arts in Berlin, and here he was Landscape , signed and dated 1928. Oil on canvas, 168 by later elected an honorary member of the Imperial Academy of 212.5 cm. "
Provenance: Fine 19th Century European Arts. While hard at work on commissions from members of the Paintings and Watercolours, Phillips London, 12 March 1996, Most August family, the artist also took part in exhibitions held lot 125.
Russian Art Evening, Sotheby’s London, 24 by the Itinerants, and his work was acquired by the best known November 2008, lot 33.
Private collection, museums in the world, including the State Russian Museum, Europe.

The work will be included in the forthcoming setting Rudolf Frentz among the most eminent representatives Alexander Yakovlev catalogue raisonné being prepared by of the Russian academic school." Caroline Haardt de La Baume.

Alexander Estimate: £150,000.00 - £200,000.00 Yakovlev’s Mythological Landscape is a clear example of the beginning of technical and stylistic changes in the artist’s painting. An experienced and acknowledged master, he took Lot: 86 many people by surprise at the end of the 1920s by changing DEMYANOV, MIKHAIL (1873-1913) A Monk , signed, inscribed the form of his painting from that of a “documenter and "Roma" and dated 1912. Oil on canvas, 100 by 120 cm. recorder of minutes―, enriching it with a new palette and new "Provenance: Collection of T. Belozerskii, State Counsellor, brushwork.

All these elements are intrinsic to prominent industrialist and philanthropist (inscription on the Mythological Landscape which was painted in 1928 under the reverse).
Private collection, Finland.

influence of Italian landscapes and the frescoes from Pompeii Authenticity of the work has been confirmed by the expert V. at the Museum of Naples. The painting is distinguished by its Petrov.

Exhibited: Possibly, Posmertnaya vystavka extraordinarily organic compositional structure and subtle kartin khudozhnika Mikhaila Aleksandrovicha Dem’yanova, combinations of colour, with Yakovlev giving free rein to his Petrograd, 16 February 1914.

Literature: Possibly, desire to understand the art of the Old Masters, his love of exhibition catalogue, Posmertnaya vystavka kartin khudozhnika ancient mythology and perfected classical form, but also a Mikhaila Aleksandrovicha Dem’yanova, Petrograd, 1914, mature wish to free up his own painting with looser listed as Monakh from the collection of T. brushwork.

The canvas recreates the majestic Belozerskii.

" landscape of the Mediterranean, devoting a large part of the Estimate: £30,000.00 - £50,000.00 composition to the broad sky stretching to the horizon. The sense of immeasurable space emphasises the barely discernible mythical characters in it who are the inhabitants of Lot: 87 the landscape. Judging by their appearance, the three figures

18 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com in the lower right-hand corner are probably Venus, Adonis and, as light and shade, space and depth, and the medium of hovering over them, Cupid – a subject painted repeatedly by atmospheric light. The tints that become dominant are violet, the Old Masters.

Yakovlev’s 1929 one-man various greens, red-brown and orange, and compositional exhibitions at the Renaissance gallery in Paris and the Kodak structure is marked by the crowding together of objects laid out gallery in Brussels included a large number of works with in a buffet and displaying a deliberate abundance of plain fare. subjects and images from ancient mythology, created in a new, Given the painting’s inspiring poetry, placidity and restrained liberated manner. It is entirely possible that Mythological colours, the texture of the painted surface implacably Landscape was also shown at these exhibitions. Regardless of demonstrates the striking mastery of Lentulov’s brush when that, in the work in question the painter not only achieves he creates his dynamic impasto. Even after he had made the graphic resolution of the classical subject, but successfully transition to the everyday, nuts-and-bolts world of still-life accomplishes the painterly tasks involved, leaving no doubt as painting, Lentulov’s work of the 1930s is still distinguished by to its artistic value.

We are grateful to Dr Elena a rich and sonorous quality of image which has such affinity Yakovleva, art historian and expert on the artist, for providing with the Jack of Diamonds aesthetic. This is exemplified additional catalogue information." brilliantly by the still life offered in this catalogue." Estimate: £150,000.00 - £200,000.00 Estimate: £300,000.00 - £400,000.00

Lot: 93 Lot: 97 ALISOV, MIKHAIL (1859-1930) Coastal Landscape in Crimea , ROUBAUD, FRANTS (1856-1928) Circassian Horsemen signed and dated 1917. Oil on canvas, 67 by 115 cm. Fording a River , signed. Oil on canvas, 60 by 83 cm. "
Provenance: Important private collection, "
Provenance: Russian Pictures, Sotheby’s London, 19 France.

Authenticity of the work has been confirmed November 2003, lot 63.
Acquired at the above sale by the by the expert V. Petrov." present owner.

Literature: O. Sugrobova-Roth and Estimate: £12,000.00 - £15,000.00 E. Lingenauber, Franz Roubaud. Catalogue raisonné, Cologne, 2012, p.135, pl. 33, illustrated; p.134, No. 215, listed." Estimate: £25,000.00 - £30,000.00 Lot: 94 ZOMMER, RICHARD (1866-1939) Oriental Scene , signed. Oil on canvas, laid on cardboard, 24 by 33 cm. "
Provenance: Lot: 98 Important private collection, France.

Authenticity of HANZEN, ALEXEI (1876-1937) Boats Moored off the Coast , the work has been confirmed by the expert V. Petrov." signed, also further signed on the reverse. Oil on canvas, 63.5 Estimate: £5,000.00 - £7,000.00 by 76 cm. "
Provenance: Russian Pictures, Sotheby’s London, 19 November 2003, lot 93.
Acquired at the above sale by the present owner.

Authenticity of the work Lot: 95 has been confirmed by the expert V. Petrov." KOTARBINSKY, VASILY (1849-1921) Young Women on a Estimate: £15,000.00 - £20,000.00 Terrace , signed. Oil on canvas, 137.5 by 79.5 cm.
Authenticity of the work has been confirmed by the expert V. Petrov. Lot: 99 Estimate: £50,000.00 - £70,000.00 *BASHINDZHAGYAN, GEVORG (1857-1925) Port of Batumi , signed and dated 1906. Oil on canvas, 70 by 100 cm.
Authenticity of the work has been confirmed by the expert Lot: 96 V. Petrov. *LENTULOV, ARISTARKH (1882-1943) Still Life with Cakes Estimate: £15,000.00 - £20,000.00 and Fruit. Oil on canvas, 78 by 110.5 cm. "
Executed in the late 1930s.

Authenticity of the work has been confirmed by the experts A. Lyubimova, L. Shakirova and O. Lot: 100 Golubeva.
Authenticity certificate from the expert Yu. *BASHINDZHAGYAN, GEVORG (1857-1925) View of Mount Rybakova.

Aristarkh Lentulov’s Still Life with CakesKazbek , signed and dated 1914. Oil on canvas, 65 by 110 cm. and Fruit from the 1930s is from a late period in the artist’s
Authenticity of the work has been confirmed by the expert work characterized by an obvious change in his manner of V. Petrov. painting, known to be prompted by his desire to join the Estimate: £20,000.00 - £30,000.00 officially supported realist movement. Left far behind are the artist’s radical experiments with colour and texture that had brought him fame in the second decade of the century, years Lot: 101 that saw the blossoming of the legendary artistic group the Jack KOROVIN, KONSTANTIN (1861-1939) View of Okhotino , of Diamonds. A particular warmth and refinement marks out the signed, inscribed in Cyrillic “Okhotino― and dated 1917 (?). work of his mature period. Lentulov achieves this by a certain Oil on board, 27.5 by 62.5 cm. restraint in his use of painterly resources and a palette of muted Estimate: £70,000.00 - £90,000.00 hues that provide less contrast. Nonetheless, he keeps his sweeping, almost elemental manner of painting, which remains unchanged.

Still Life with Cakes and Fruit is evidence of a change that began in the 1930s affecting the Lot: 102 *§LAPCHINE, GEORGES (1885-1950) Flowers by the Window , artist’s very view of nature, which now becomes worthy of signed. Oil on cardboard, 45 by 54 cm.
Authenticity of the standing on its own, no longer subject to distortions. In striving work has been confirmed by the expert V. Petrov. to be figurative, Lentulov rehabilitates classic values in art such Estimate: £6,000.00 - £9,000.00

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Lot: 103 *EBERLING, ALFRED (1872-1951) In the Mountains of GRAND DUCHESS OLGA ALEXANDROVNA (1882-1960) Tea Tuscany. Oil on canvas, 44 by 54 cm. "Provenance: Time , signed. Pencil and watercolour on paper, 29.5 by 34.5 Collection of the Columbus Art Museum, USA (label and cm.
Provenance: Private collection, Serbia. inscriptions on the reverse of the frame).
Acquired from Estimate: £2,000.00 - £3,000.00 the above by the present owner.

Authenticity of the work has been confirmed by the expert V. Petrov.

Exhibited: Universal Exposition, St Louis, 30 April–1 December 1904.

Literature: Exhibition catalogue, Lot: 104 Official Catalogue of Exhibits. Universal Exposition, Saint Louis, §LAPCHINE, GEORGES (1885-1950) View of the Grand Canal, 1904, St Louis, The Official Catalogue Company, No. 148, Venice , signed and dated 1926, also further signed and listed." inscribed with a dedication dated "20 juillet 1926" on the Estimate: £5,000.00 - £7,000.00 reverse. Oil on canvas, 60 by 73.5 cm. "
Provenance: Private collection, France.

Authenticity of the work has been confirmed by the expert V. Petrov." Estimate: £25,000.00 - £30,000.00 Lot: 112 STOLITSA, EVGENI (1870-1929) Statue of Hermes in a Garden , signed and dated 1925, further titled in Cyrillic and numbered "N 528" and "N 151" on the reverse. Oil on canvas, Lot: 105 65 by 47 cm. "
Provenance: Important private collection, *KOROVIN, KONSTANTIN (1861-1939) Le Pont Neuf, Paris , Italy.

Authenticity of the work has been confirmed by signed and inscribed "Paris". Oil on canvas, 41 by 51 cm. the expert V. Petrov."
Provenance: Private collection, USA. Estimate: £5,000.00 - £7,000.00 Estimate: £20,000.00 - £25,000.00

Lot: 113 Lot: 106 KUSTODIEV, BORIS (1878-1927) Portrait of a Girl Wearing a §LAPCHINE, GEORGES (1885-1950) Market Scene in Sainte- Scarf , signed and dated 1902. Oil on canvas, laid on Maxime , signed, further titled on the reverse. Oil on panel, 19 cardboard, 39.5 by 32.5 cm. "
Provenance: Important by 24 cm.
Authenticity of the work has been confirmed by private collection, Germany.

Authenticity of the work the expert V. Petrov. has been confirmed by the expert T. Zelyukina." Estimate: £2,000.00 - £3,000.00 Estimate: £80,000.00 - £120,000.00

Lot: 107 Lot: 114 *KOROVIN, KONSTANTIN (1861-1939) La Tour Saint Jacques RAEV, VASILI (1808-1871) Gardens in Rome , signed, , signed and inscribed "Paris". Oil on card, laid on cardboard, inscribed in Cyrillic "Rim" and dated 1854, also further signed, 40 by 32 cm. inscribed "Roma" and dated on the reverse. Oil on canvas, 53 Estimate: £30,000.00 - £40,000.00 by 39.5 cm. "
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts I. Lomize and S. Usacheva." Lot: 108 Estimate: £25,000.00 - £35,000.00 §MILIOTI, NIKOLAI (1874-1962) Bouquet of Flowers , signed twice, indistinctly inscribed in Cyrillic and dayed 1931. Oil on canvas, 46.5 by 33 cm. Lot: 115 Estimate: £9,000.00 - £12,000.00 VILLEVALDE, BOGDAN (1818-1903) Retreat of the Napoloeonic Troops , signed and dated 1884. Oil on canvas, 43.5 by 61 cm. "
Authenticity of the work has been Lot: 109 confirmed by the expert V. Petrov.
Authenticity has also VON FRANKEN, PAUL (1818-1884) Evening by the Kura River been confirmed by the expert S. Podstanitskii." near Tiflis , signed and dated 1865. Oil on canvas, 84.5 by Estimate: £40,000.00 - £50,000.00 116.5 cm. "
Provenance: Important private collection, Italy.

Authenticity of the work has been confirmed by the expert V. Petrov." Lot: 116 Estimate: £18,000.00 - £20,000.00 §KLESTOVA, IRENE (1908-1989) Bouquet of Roses , signed. Oil on board, 55 by 46 cm. Estimate: £6,000.00 - £9,000.00 Lot: 110 ORLOVSKY, VLADIMIR (1842-1914) View of Mount Vesuvius from the Bay of Naples , signed. Oil on canvas, 37 by 58 cm. Lot: 117 "Executed in the 1870s.

Provenance: Important §KLESTOVA, IRENE (1908-1989) Three Roses in a Vase. Oil private collection, Italy.

Authenticity of the work has on board, 41 by 33 cm. been confirmed by the expert V. Petrov." Estimate: £4,000.00 - £6,000.00 Estimate: £25,000.00 - £30,000.00

Lot: 118 Lot: 111 §KLESTOVA, IRENE (1908-1989) Three Roses , signed. Oil on

20 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com board, 24 by 19 cm.
Provenance: Unicorn Gallery, UK descent to the previous owner.

The work will be (label on the reverse of the frame). included in the forthcoming David Burliuk catalogue raisonné Estimate: £2,000.00 - £3,000.00 being prepared by the Burliuk Committee in collaboration with Mary Burliuk." Estimate: £6,000.00 - £9,000.00 Lot: 119 *KLEVER, YULI (1850-1924) Winter Lanscape , signed, inscribed in Cyrillic "St Peterburg" and dated 1871. Oil on Lot: 126 canvas, 39 by 55 cm.
Authenticity of the work has been *SHUKHAEV, VASILY (1887-1973) View of Argentat , signed confirmed by the expert V. Petrov. and indistinctly dated, further bearing the artist’s studio label Estimate: £12,000.00 - £18,000.00 on the stretcher. Tempera on canvas, 65 by 81 cm. "
Executed in 1929.

Provenance: Collection of the Kulakov family, Leningrad.
Collection of A. Lot: 120 Chudnovsky, Leningrad.
Private collection, *ROSEN, KARL (1864-1934) Winter Forest , signed. Oil on Europe.

Authenticity of the work has been confirmed canvas, 56 by 70 cm. "
Executed in 1910.

by the expert Yu. Rybakova.

Exhibited: Possibly, Provenance: Imperial and Post-Revolutionary Russian Art, Vystavka proizvedenii V.I. Shukhaeva, Moscow, Leningrad, Christie’s London, 6 October 1988, lot 466.
Collection of 1936.

Literature: Possibly, exhibition catalogue, Frank Rickwood OBE, the distinguished geologist and oil Vystavka proizvedenii V.I. Shukhaeva, Moscow, Izdatelstvo explorer.
Thence by descent.
Private collection, VAKh, 1936, p. 8, No. 30, listed as Argentat (pravyi Barbados." bereg).
Possibly, I. Myamlin, Vasilii Ivanovich Shukhaev, Estimate: £9,000.00 - £12,000.00 Leningrad, Khudozhnik RSFSR, 1972, p. 163, listed as Arzhanta. Pravyi bereg under works from 1929.

Vasili Shukhaev’s painting View of Argentat belongs to a series of canvasses that the artist painted during his trip in the Lot: 121 summer of 1929 round the old French towns along the banks of *§MANE-KATZ, IMMANUIL (1894-1962) Portrait of Woman , the Dordogne River. One of the most beautiful places in France signed. Oil on canvas, 51 by 31 cm. – a land without roads, fashionable hotels or golden beaches Estimate: £8,000.00 - £12,000.00 – the Tulle district and the Auvergne attracted the artist with their untouched picturesque beauty. The wide upland expanse with its huge number of extinct volcanoes, its many short Lot: 122 mountain ranges, narrow river valleys, green woodlands and *BURLIUK, DAVID (1882-1967) Riverscape with Mountains , pastoral villages still held the spirit of La vieille France with signed. Oil on canvas, 41 by 66 cm. "
Executed in 1910. which Shukhaev’s landscapes are imbued.

In View

Provenance: Imperial and Post-Revolutionary of Argentat Shukhaev’s attention is drawn to the old paved Russian Art, Christie’s London, 6 October 1988, lot 466.
embankment, overgrown with greenery, of the Dordogne River Collection of Frank Rickwood OBE, the distinguished geologist skirting the town where a whole row of houses has grown up and oil explorer.
Thence by descent.
Private with neatly whitewashed walls and tall roofs tiled in grey slate. collection, Barbados." The landscape was in all probability painted by the artist from Estimate: £12,000.00 - £18,000.00 Le Pont de la République, as the bridge that crosses the Dordogne downstream from the scene is called. The palette is silvery olive and the landscape immersed in the slumber of a Lot: 123 summer’s afternoon, but despite its emptiness it breathes a *BURLIUK, DAVID (1882-1967) Two Fishermen , signed and deep tranquility.

Shukhaev painted his beloved dated 1948. Oil on board, 29.5 by 39.5 cm
The work will provincial Argentat in at least two other works. One of which, be included in the forthcoming David Burliuk catalogue raisonné also of the embankment, is in the collection of the I.V. Savitsky being prepared by the Burliuk Committee in collaboration with Museum of Arts of the Republic of Karakalpakstan in Nukus, Mary Burliuk. and the second is in the V.V. Vereshchagin Art Museum in Estimate: £8,000.00 - £12,000.00 Nikolayev." Estimate: £300,000.00 - £350,000.00

Lot: 124 CARAN D'ACHE (1858-1909) A Poster “Exposition russe― , Lot: 127 signed in the plate. Lithograph on paper, laid on canvas, 135 by KONCHALOVSKY, PETR (1876-1956) Ray of Sun in the 85.5 cm (image size).
The present lot was executed by Forest , signed, also further signed, numbered “862― and Caran d’Ache (Emmanuel Poiré) to promote the Exposition dated 1930 on the reverse. Oil on canvas, 63.5 by 72.5 cm. russe hippique et ethnographique held in 1895 in the Champs- "
Provenance: Collection of Ekaterina Semenova, the de-Mars, Paris. artist’s granddaughter.
Private collection, UK.

Estimate: £800.00 - £1,200.00 Exhibited: P.P. Konchalovsky.Vos’maya personal’naya vystavka. 1930–1932, Vsekokhudozhnik, Moscow, 1932.
P.P. Konchalovsky. Desyataya personal’naya vystavka. XXXV Lot: 125 let tvorcheskoi deyatel’nosti, Moscow Association of Artists, *BURLIUK, DAVID (1882-1967) Podebrady, Czechoslovakia , Moscow, 1941.
P.P. Konchalovsky. Chetyrnadzataya signed, inscribed “Podebrady― and “Czechoslovakia― andpersonal’naya vystavka proizvedenii. K 40-letiyu tvorcheskoi dated 1957. Oil on canvas, laid on board, 27 by 35 cm. deyatel’nosti, Moscow Association of Artists, Moscow, "
Provenance: Vera Lazuk Gallery, Long Island, New 1947.
Petr Petrovich Konchalovsky. Pyatnadzataya York.
Private collection, Long Island.
Thence by personal’naya vystavka proizvedenii. K 75-letiyu so dnya

21 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com rozhdeniya, Academy of Fine Arts of the USSR, Moscow, Hollyhocks and Peaches , signed and dated 1966, also further 1951.
P.P. Konchalovsky. Shestnadzataya signed, inscribed with a dedication, titled and dated “22.7.66― personal’naya vystavka proizvedenii, Moscow–Leningrad, on the artist’s studio label on the reverse. Oil on board, 41 by 1956.
P.P. Konchalovsky, K stoletiyu so dnya rozhdeniya, 33 cm. Moscow, 1976.

Literature: V. Nikolsky, Petr Estimate: £3,500.00 - £5,000.00 Petrovich Konchalovsky, Moscow, Vsekokhudozhnik, 1936, p. 57, illustrated as Osen’; p. 17, listed as Luch solntsa v lesu.
Exhibition catalogue, P.P. Konchalovsky. Desyataya Lot: 132 personal’naya vystavka. XXXV let tvorcheskoi deyatel’nostiYAKOVLEV,, ALEXANDER (1887-1938) Man Carrying a Basket Moscow–Leningrad, Iskusstvo, 1941, p. 18, listed under works , signed and dated 1937. Oil on canvasboard, 87 by 56 cm. from 1930.
Exhibition catalogue, Vystavka proizvedenii "
Provenance: Vose Galleries, Boston, No. 11543 (label Narodnogo khudozhnika RSFSR i laureata Stalinskoi premii on the stretcher).
Russian Pictures, Sotheby’s London, P.P. Konchalovskogo, Moscow, 1947, p. 14, listed under works 19 November 2003, lot 152.
Acquired at the above sale by from 1930.
K. Kravchenko, Petr Petrovich Konchalovsky, the present owner.

Authenticity of the work has Moscow–Leningrad, Isskustvo, 1949, p. 26, mentioned in the been confirmed by the expert E. Yakovleva.

text.
Exhibition catalogue, Petr Petrovich Konchalovsky. Exhibited: Paintings and Drawings by the Late Alexandre Pyatnadzataya personal’naya vystavka proizvedenii. K 75- Iacovleff Just Received from his Paris Estate, The Vose letiyu so dnya rozhdeniya, Moscow, 1951, listed under works Galleries, Boston, 5–24 January 1948.

Literature: from 1930.
Exhibition catalogue, Vystavka proizvedeniy Exhibition catalogue, Paintings and Drawings by the Late P.P. Konchalovskogo, Moscow, 1956, p. 21, listed under works Alexandre Iacovleff Just Received from his Paris Estate, from 1930.
Konchalovsky. Khudozhestvennoe nasledie, Boston, The Vose Galleries, No. 19." Moscow, Iskusstvo, 1964, pl. 87, illustrated; p. 125, listed as Estimate: £12,000.00 - £18,000.00 “zhi 715―.
M. Neiman, P.P. Konchalovsky, Moscow, Sovetskii khudozhnik, 1967, listed under works from 1930.
A. Korzukhin, P. Konchalovsky. Kraski zemli, Moscow, Sovetskii khudozhnik, 1974, p. 24.
Exhibition catalogue, Lot: 133 *RUDNEV, LEONID (B. 1938) Autumn in Maryino, Kursk , P.P. Konchalovsky, K stoletiyu so dnya rozhdeniya, Moscow, signed, also further signed, inscribed in Cyrillic “g. Kursk―, Sovetskii khudozhnik, 1976, listed under works from 1930." titled and dated 1999 on the reverse. Oil on canvas, 90 by 115 Estimate: £85,000.00 - £120,000.00 cm. "
Provenance: Private collection, USA.

Exhibited: Russian Impressionism. Soviet Era to Present, Greenhouse Gallery, San Antonio, USA, 12–30 March, 2002, Lot: 128 No. 32." *GERASIMOV, ALEXANDER (1881-1963) Corn Field and Estimate: £3,000.00 - £5,000.00 Ploughed Field, double-sided , one side signed. Oil on canvas, 50 by 124 cm. "
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the experts E. Burtseva and I. Lot: 134 §POGEDAIEFF, GEORGES (1894-1977) View of a Harbour , Geraschenko.

Exhibited: Palitra oseni: liricheskii signed. Oil on cardboard, laid on board, 33 by 24 cm. peizazh v tvorchestve russkikh khudoznikov XIX–XX vekov,
Provenance: Private collection, France. Gallery Daev 33, Moscow, October–November Estimate: £2,000.00 - £3,000.00 2009.

Literature: Exhibition catalogue, Palitra oseni: liricheskii peizazh v tvorchestve russkikh khudoznikov XIX–XX vekov, Moscow, Gallery Daev 33, 2009, illustrated." Estimate: £150,000.00 - £250,000.00 Lot: 135 *KONDRATENKO, GAVRIIL (1854-1924) View of Santa Maria della Salute , signed. Oil on canvas, 32 by 53.5 cm. Lot: 129 "
Authenticity of the work has been confirmed by the expert V. Petrov.
Authenticity has also been confirmed by the §POGEDAIEFF, GEORGES (1894-1977) Still Life with Lilacs expert N. Ignatova.

Exhibited: Possibly, Exhibition and an Orange , signed and dated 1964, also further signed, of the Union of Russian Artists, St Petersburg, 1897.

inscribed with a dedication, titled and dated “9.5.64― on the Literature: Possibly, exhibition catalogue, Exhibition of the artist’s studio label on the stretcher. Oil on canvas, 61 by 38 Union of Russian Artists, St Petersburg, No. 151, listed as cm. Venetsiya." Estimate: £4,000.00 - £6,000.00 Estimate: £35,000.00 - £50,000.00

Lot: 130 §POGEDAIEFF, GEORGES (1894-1977) Still Life with Melon Lot: 136 *ORLOVSKY, VLADIMIR (1842-1914) Mending Fishing Nets by and Figs , signed and dated 1960, also further signed, the Crimean Coast , signed and dated 1870. Oil on canvas, inscribed with a dedication, titled and dated “29.8.60― on the 32.5 by 63 cm.
Authenticity of the work has been artist’s studio label on the reverse. Oil on canvas, laid on confirmed by the expert V. Petrov. board, 41 by 26.5 cm. Estimate: £70,000.00 - £90,000.00 Estimate: £3,000.00 - £5,000.00

Lot: 131 Lot: 137 *PETROVICHEV, PIOTR (1874-1947) Still Life with Flowers , §POGEDAIEFF, GEORGES (1894-1977) Still Life with signed and dated “1915 g.―. Oil on cardboard, 50 by 34.5 cm.

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"
Provenance: Collection of the academician Ivan Latvia.

Authenticity of the work has been confirmed Artobolevskii, Moscow (inscription on the reverse).
Private by the expert V. Petrov.
Authenticity has also been collection, Europe.

Authenticity of the work has been confirmed by the expert D. Temerova." confirmed by the expert V. Petrov." Estimate: £12,000.00 - £18,000.00 Estimate: £60,000.00 - £90,000.00

Lot: 146 Lot: 138 SYCHKOV, FEDOT (1870-1958) Village Beauty , signed and ISSUPOFF, ALESSIO (1889-1957) Girl with a Vase , signed. dated 1927. Oil on canvas, 67.5 by 47 cm. "
Provenance: Oil on canvas, 100 by 69.5 cm. "
Executed in the Acquired by the aunt of the present owner in Moscow in the 1930s.

Authenticity certificate from the expert I. 1960s.
Thence by descent.
Private collection, Geraschenko." Finland.

Authenticity of the work has been confirmed Estimate: £25,000.00 - £30,000.00 by the expert V. Petrov." Estimate: £15,000.00 - £20,000.00

Lot: 139 *BRAZ, OSIP (1872-1936) Still Life with Bread and Wine , Lot: 147 signed, further bearing the artist’s estate stamp on the IVANOFF, SERGE (1893-1983) Flamenco Dancer , signed, reverse. Oil on canvas, 54.5 by 69 cm. "
Authenticity of the inscribed "New York" and dated 1963. Oil on canvas, 221 by work has been confirmed by G. Braz, the artist’s niece.
127 cm.
Authenticity of the work has been confirmed by Authenticity has also been confirmed by the expert V. Petrov." the artist's grandson. Estimate: £4,000.00 - £7,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 140 Lot: 148 KELIN, PETR (1874-1946) Portrait of a Girl , signed and dated KRACHKOVSKY, IOSIF (1854-1914) Haymaking , signed and 1922. Tempera on canvas, 75.5 by 61 cm. dated 1898. Oil on canvas, 23 by 36 cm. "
Provenance: Estimate: £5,000.00 - £7,000.00 Important private collection, France.

Authenticity of the work has been confirmed by the expert V. Petrov." Estimate: £10,000.00 - £15,000.00 Lot: 141 §KLESTOVA, IRENE (1908-1989) Bouquet , signed. Oil on board, 24.5 by 19 cm.
Provenance: Frost and Reed Lot: 149 Gallery, London, No. 33163 (label on the reverse). VLADIMIROV, IVAN (1870-1947) Night Patrol , signed and Estimate: £1,500.00 - £2,000.00 dated 1904. Oil on canvas, 53.5 by 93.5 cm. "
Provenance: Private collection, Europe.

Authenticity of the work has been confirmed by the expert V. Lot: 142 Petrov." *BURLIUK, DAVID (1882-1967) Mother and Child , signed and Estimate: £15,000.00 - £20,000.00 dated 1946. Oil on canvas, 61 by 38.5 cm.
The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in collaboration with Lot: 150 Mary Burliuk. PRYANISHNIKOV, ILLARION (1840-1894) Portrait of a Boy , Estimate: £15,000.00 - £20,000.00 signed. Oil on canvas, 42 by 29 cm. "
Provenance: Important private collection, France.

Authenticity of the work has been confirmed by the expert V. Petrov." Lot: 143 Estimate: £4,000.00 - £6,000.00 VERESCHAGIN, VASILY PETROVICH (1835-1909) Still Life in a Jug , signed twice. Oil on board, 31 by 24 cm. "
Authenticity of the work has been confirmed by the expert Lot: 151 V. Petrov.
Authenticity has also been confirmed by the PCHELIN, VLADIMIR (1869-1941) Landscapes, five works , experts N. Bolshakova, E. Shilova and E. Nesterova." three signed and dated 1892, others signed with initials. Each Estimate: £10,000.00 - £12,000.00 oil on canvas, the largest measuring 22 by 32.5 cm and the smallest 21 by 28.5 cm (image sizes).
Provenance: Important private collection, France. Lot: 144 Estimate: £5,000.00 - £7,000.00 *TRUSZ, IWAN (1869-1941) Seascape , signed. Oil on canvas, 80 by 94 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Lot: 152 Estimate: £8,000.00 - £12,000.00 RUSSIAN SCHOOL (FIRST HALF OF THE 19TH CENTURY) Portrait of a Noblewoman. Oil on canvas, 59 by 43 cm.
Provenance: Important private collection, France. Lot: 145 Estimate: £3,000.00 - £5,000.00 FEDOROV, SIMEON (1867-1910) Country Road , signed. Oil on canvas, 72 by 54 cm. "
Provenance: Private collection,

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Lot: 153 Exhibition catalogue, Katalog vystavki proizvedenii P.P. SMUKROVICH, PETR (1878-1941) Series of Russian Folk Konchalovskogo, Leningrad, Izdanie Gosudarstvennogo Lubok, four works , signed in the stencil and variously inscribed Russkogo muzeya, 1929, p. 24, No. 113, listed.
Exhibition in Cyrillic with Russian proverbs. Each oil screen print on catalogue, Petr Petrovich Konchalovskii. K 75-letiyu so dnya canvas, laid on paper, three measuring 89.5 by 58.5 cm and rozhdeniya, Moscow, Izdatel’stvo Akademii khudozhestv the other 89.5 by 57.5 cm.
Provenance: Important private SSSR, 1951, listed under works from 1927.
Konchalovsky. collection, France. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 115, Estimate: £2,000.00 - £3,000.00 listed as “zhi 518―.
Exhibition catalogue, Unknown Konchalovsky, Moscow, Pushkin Museum of Fine Arts, 2002, p. 118, the present lot can be seen on the wall in a photograph of the fifth personal exhibition of Konchalovsky’s work." Lot: 154 Estimate: £200,000.00 - £300,000.00 *BAKST, LÉON (1866-1924) Winter Landscape , signed. Pencil and watercolour on cardboard, 25.5 by 34 cm. "
Provenance: Private collection, Europe.

Authenticity of the work has been confirmed by the expert E. Lot: 160 Burtseva." RIZZONI, ALEKSANDR (1836-1902) Monk Collecting Alms , Estimate: £25,000.00 - £30,000.00 signed, inscribed “Roma― and dated 1865, also further signed, inscribed in Cyrillic “Rim―, numbered “XX― and dated on the reverse. Oil on panel, 24 by 18.5 cm.
Authenticity of the work has been confirmed by the expert Lot: 155 V. Petrov. SVERCHKOV, NIKOLAI (1817-1898) Horse's Head , signed. Estimate: £8,000.00 - £12,000.00 Pencil and watercolour on paper, 20 by 28 cm. "
Provenance: Private collection, Germany.

Authenticity certificate from the expert V. Tsitovich." Estimate: £5,000.00 - £7,000.00 Lot: 161 RIZZONI, ALEKSANDR (1836-1902) Cardinal Receiving Guests , signed, inscribed in Cyrillic “Rim― and dated 1883. Oil on panel, 28 by 42 cm.
Authenticity certificate from the Lot: 156 expert V. Petrov. §ZHUKOVSKY, STANISLAV (1875-1944) Autumn Landscape , Estimate: £12,000.00 - £18,000.00 signed and dated 1933. Oil on canvas, 60 by 74 cm.
Authenticity of the work has been confirmed by the expert V. Petrov. Estimate: £30,000.00 - £50,000.00 Lot: 162 ZARUBIN, VICTOR (1866-1928) Breton Women on their Way to Mass , signed and dated 1921. Oil on canvas, 57.5 by 89.5 cm. "
Provenance: Private collection, UK.

Lot: 157 Authenticity of the work has been confirmed by the expert V. §ZHUKOVSKY, STANISLAV (1875-1944) Early Spring , signed, Petrov." inscribed “Pobojka― and dated 1934, also further signed and Estimate: £35,000.00 - £50,000.00 inscribed “Puszcza Swislocka― on the reverse. Oil on canvas, 56 by 66 cm.
Authenticity of the work has been confirmed by the expert V. Petrov. Estimate: £16,000.00 - £20,000.00 Lot: 163 *MAKOVSKY, KONSTANTIN (1839-1915) Portrait of a Young Girl , signed. Oil on canvas, 46.5 by 37.5 cm. "
Provenance: Important Russian Pictures Including The Lot: 158 Somov Collection, Christie’s London, 28 November 2007, lot KOLESNIKOV, STEPAN (1879-1955) Farmstead , signed. 355.

Authenticity of the work has been confirmed by Gouache on card, 18 by 22.5 cm. the expert V. Petrov.
Authenticity has also been confirmed Estimate: £4,000.00 - £6,000.00 by the expert N. Ignatova." Estimate: £70,000.00 - £90,000.00 Lot: 159 *KONCHALOVSKY, PETR (1876-1956) Portrait of Anna Lot: 164 Reikhshtadt in a Blue Shawl , signed and dated 1927, also *KOROVIN, KONSTANTIN (1861-1939) Paris at Night , signed further signed, titled in Cyrillic, numbered “633― and dated onand inscribed "Paris", also further signed and inscribed on the the reverse. Oil on canvas, 80.5 by 65 cm. "
Provenance: reverse. Oil on canvas, laid on cardboard, 34.5 by 40.5 cm. Acquired directly from the artist’s family by the present Estimate: £35,000.00 - £50,000.00 owner.
Private collection, Europe.

Exhibited: Pyataya personal’naya vystavka kartin P.P. Konchalovskogo, State Chamber Theatre, Moscow, April 1928.
Shestaya personal’naya vystavka proizvedenii P.P. Konchalovskogo, Lot: 165 The State Russian Museum, Leningrad, March–June LANCERAY, EVGENY (1875-1946) Temir Khan Choura, 1929.
Petr Petrovich Konchalovskii. Pyatnadzataya Dagestan , signed and dated "mart 1918". Oil on panel, 32.5 by personal’naya vystavka. K 75-letiyu so dnya rozhdeniya, 44.5 cm.
Authenticity of the work has been confirmed by Academy of Arts of the USSR, Moscow, March 1951.

Ekaterina and Pavel Lanceray. Literature: Exhibition catalogue, Pyataya personal’naya Estimate: £15,000.00 - £20,000.00 vystavka kartin P.P. Konchalovskogo, Moscow, 1928.
Lot: 166

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§SINEZOUBOFF, NIKOLAI (1891-1956) Flowers , signed and on canvas, 60 by 70.5 cm.
Authenticity of the work has dated 1956. Oil on board, 38 by 45.5 cm. been confirmed by the expert V. Petrov. Estimate: £4,000.00 - £6,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 167 Lot: 174 §MILIOTI, NIKOLAI (1874-1962) Waiting for Better Times , GLOUSCHENKO, NIKOLAI (1901-1977) In the Park , signed signed and dated 1932, further inscribed in Cyrillic with a and dated "letom 67 g" by the artist's widow on the reverse. Oil signed dedication, titled and dated “12 Nov. 35/Paris― on the on cardboard, 60.5 by 82.5 cm.
Provenance: Private reverse. Oil on cardboard, 38 by 44 cm.
Provenance: collection, France. Important private collection, France. Estimate: £12,000.00 - £15,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 175 Lot: 168 §MAREVNA, MARIE (1892-1984) Summer Bouquet , signed. BURLIUK, DAVID (1882-1967) Bouquet in Positano , signed Oil on canvas, 62 by 40 cm. "
Provenance: Collection of and dated 1962. Oil on canvas, 127 by 96.5 cm.
The work Mariska Albers van Smirren, Amsterdam (label on the will be included in the forthcoming David Burliuk catalogue reverse).
Twentieth Century Art, Christie’s Amsterdam, 4 raisonné being prepared by the Burliuk Committee in December 2007, lot 41.
Acquired at the above sale by the collaboration with Mary Burliuk. previous owner.
Private collection, Europe." Estimate: £30,000.00 - £50,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 169 Lot: 176 KUZNETSOV, PAVEL (1878-1968) Three Roses , titled in KHMELUK, VASILI (1903-1986) On the Banks of the Loire , Cyrillic and numbered "151" on the reverse. Oil on canvas, 45.5 signed. Gouache on cardboard, 50 by 65 cm. "
Executed in by 57.5 cm. "
Provenance: Collection of Solomon Shuster, 1970.

Provenance: Estate of the artist.
St Petersburg (inscription on the reverse).
Private Acquired from the above by the present owner.
Private collection, Europe.

Literature: L. Budkova, D. collection, France." Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, Estimate: £4,000.00 - £6,000.00 1975, p. 382, No. 902, listed." Estimate: £25,000.00 - £30,000.00 Lot: 177 KHMELUK, VASILI (1903-1986) Thistles. Oil on cardboard, 50 Lot: 170 by 65 cm. "
Executed in 1966.

Provenance: §ISSAEV, NIKOLAY (1891-1977) Still Life with Pumpkin and Estate of the artist.
Acquired from the above by the Fish. Oil on canvas, 81 by 107.5 cm. "
Provenance: present owner.
Private collection, France." Atelier Nicolas Issaïev, Drouot-Richelieu Paris, 9 October 1991, Estimate: £4,000.00 - £6,000.00 lot 43 (inscription on the stretcher).
Important private collection, France." Estimate: £3,000.00 - £4,000.00 Lot: 178 TURZHANSKY, LEONARD (1875-1945) Feast Day in Ancient Russia , signed, also further signed, inscribed in Cyrillic Lot: 171 "Moskva", titled and dated 1910 on the reverse. Oil on BURLIUK, DAVID (1882-1967) Fisherman , signed and dated cardboard, 35.5 by 30 cm. "
Provenance: Collection of a 1951. Oil on board, 25.5 by 36 cm. "
Provenance: French Ambassador to the USSR.
Thence by American Paintings, Drawing and Sculpture, Sotheby’s descent.
Acquired from the above by the present Arcade, New York, 17 December 1990, lot 369.

The owner.
Private collection, France.

Authenticity work will be included in the forthcoming David Burliuk catalogue of the work has been confirmed by the expert V. Petrov." raisonné being prepared by the Burliuk Committee in Estimate: £10,000.00 - £15,000.00 collaboration with Mary Burliuk." Estimate: £3,000.00 - £5,000.00 Lot: 179 §TERECHKOVITCH, CONSTANTIN (1902-1978) Portrait of the Lot: 172 Artist's Wife , signed twice. Oil on canvas, 33 by 24.5 cm. *BURLIUK, DAVID (1882-1967) Portrait of Frank Banker in an
Executed in 1945. Interior , signed and dated 1950. Oil on canvasboard, 15 by Estimate: £5,000.00 - £7,000.00 14.5 cm. "
Provenance: Private collection, USA.

The work will be included in the forthcoming David Burliuk catalogue raisonné being prepared by the Burliuk Committee in Lot: 180 collaboration with Mary Burliuk." §KIKOINE, MICHEL (1892-1968) Still Life with Fruit and a Pot , Estimate: £2,000.00 - £4,000.00 signed. Oil on canvas, 50 by 61 cm. "
Provenance: Acquired by Jonas Netter, Paris, before 1946.

Jonas Netter was an art lover of limited means. He focused his Lot: 173 attention on works by little-known young painters whose *TRUSZ, IWAN (1869-1941) Summer Landscape , signed. Oil canvasses he purchased through the art dealer Leopold

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Zborowski. His collection included nearly hundred artworks by 100-letiyu so dnya rozhdeniya, Moscow, The State Tretyakov Soutine, over thirty by Modigliani, and others by Kisling and Gallery, 2006, p. 426, No. 89, illustrated." Kikoine." Estimate: £50,000.00 - £70,000.00 Estimate: £7,000.00 - £9,000.00

Lot: 187 Lot: 181 §PRAX-ZADKINE, VALENTINA (1899-1981) Ramasseuses de GLUCKMANN, GRIGORY (1898-1973) The Bathers , signed. bois mort , signed. Oil on canvas, 116.5 by 100 cm. Oil on canvas, 79 by 57.5 cm. "
Executed c. 1925.

Provenance: Collection of Estimate: £15,000.00 - £20,000.00 P.A. Regnault, The Netherlands.
Collection of the Stedelijk Museum, Amsterdam (label on the stretcher).
Collection de Tableaux Modernes de feu P.A. Regnault, Paul Brandt Lot: 182 Amsterdam, 22 and 23 October, 1958, lot 99 (label on the §ZACK, LÉON (1892-1980) Landscape with Caravans , signed stretcher).
Private collection, USA.
Private collection, and dated 1932. Oil on canvas, 81.5 by 100 cm. UK.

Exhibited: Batavia Museum, Jakarta, 1935, No. "
Provenance: Collection of the President of the Brussels 21 (label on the stretcher).
Stedelijk Van Abbe-Museum, Bar association, Brussels.
Galerie Louis Manteau, Eindhoven, 1947–1948, No. 66.

Literature: Brussels (label on the stretcher).
Private collection, Collection de Tableaux Modernes de feu P.A. Regnault, Germany.

Literature: P. Cabanne, Leon Zack. Amsterdam, Paul Brandt, 1958, p. 96, No. 99, listed." Catalogue de l’oeuvre peint, Paris, Les éditions de l’amateur,Estimate: £15,000.00 - £20,000.00 1993, p. 90, No. 61, illustrated and listed." Estimate: £3,000.00 - £5,000.00 Lot: 188 VITMAN, IRINA (1916-2012) After the Shift , signed with initials. Lot: 183 Oil on canvas, 139 by 240 cm. "
Executed in *STOZHAROV, VLADIMIR (1926-1973) Self-Portrait with a 1961.

Provenance: Acquired directly from the Palette. Oil on canvas, laid on board, 68.5 by 45 cm. artist’s estate by the previous owner.
Private collection, "
Executed in 1948.

Provenance: Private UK.

Exhibited:Vsesoyuznaya khudozhestvennaya collection, USA.

Authenticity of the work has been vystavka, Moscow, 1961 (label on the stretcher).

confirmed by the artist’s grandson, Vladimir Stozharov." Literature: Exhibition catalogue, Vsesoyuznaya Estimate: £2,000.00 - £3,000.00 khudozhestvennaya vystavka, Moscow, Sovetskii khudozhnik, 1961, p. 6, listed." Estimate: £15,000.00 - £20,000.00 Lot: 184 BYALYNITSKY-BIRULYA, VITOLD (1872-1957) Spring Thaw , signed. Oil on canvas, 51 by 61 cm. "
Provenance: Lot: 189 Important private collection, Italy.

Authenticity of the TITOV, KONSTANTIN (1913-1997) Bathtime , signed and work has been confirmed by the expert V. Petrov." dated 1947. Oil on canvas, 100 by 129 cm. Estimate: £4,000.00 - £6,000.00 Estimate: £3,000.00 - £5,000.00

Lot: 185 Lot: 190 *SAMOKHVALOV, ALEXANDER (1894-1971) Café Gurzuf , SAMOKHVALOV, ALEXANDER (1894-1971) Sand Extraction signed. Oil on board, 50 by 53 cm. "
Exhibited: Vystavka Pit in Leschinovka , inscribed with the artist's name, titled in proizvedenii leningradskikh khudozhnikov 1960 goda, Cyrillic, dated 1936 and further inscribed with an authentication Leningrad, 1960.

Literature: Exhibition catalogue, by V. Proshkin on the reverse. Oil on canvas, 58 by 89 cm. Vystavka proizvedenii leningradskikh khudozhnikov 1960 goda,
Authenticity of the work has been confirmed by the Leningrad, Khudozhnik RSFSR, 1963, p. 16, listed.
S. experts O. Shikhireva and A. Lyubimova. Ivanov, Unknown Socialist Realism. The Leningrad School, St Estimate: £40,000.00 - £60,000.00 Petersburg, NP Print Edition, 2007, pp. 2–3, illustrated; p. 346, listed." Estimate: £65,000.00 - £90,000.00 Lot: 191 GRIGORIEV, SERGEI (1910-1988) Young Women by the Lake , signed and dated 1988, also further signed, titled in Cyrillic Lot: 186 and dated on the reverse. Oil on canvas, 40 by 50 cm. " *ROZHDESTVENSKI, KONSTANTIN (1906-1997) Self-Portrait
Provenance: Acquired at the Salon of the Ukrainian SSR with a Model , signed and titled in Cyrillic on the reverse. Oil on Art Fund, Kiev, by the present owner in 1988.
Private cardboard, 46.5 by 50 cm. "
Executed in the late collection, France.

Sergei Grigoriev was a leading 1930s.

Provenance: Estate of the artist, Ukrainian painter of the Soviet period. He became member of Moscow.
Collection of the Molchanov family, the Academy of Arts of the USSR in 1958 and People’s Artist Moscow.
Private collection, Europe.

of the USSR in 1974." Authenticity certificate from the expert V. Silaev.

Estimate: £2,000.00 - £3,000.00 Exhibited: Konstantin Rozhdestvenskii. K 100-letiyu so dnya rozhdeniya, The State Tretyakov Gallery, Moscow, 29 November 2006–28 January 2007, No. 89.

Lot: 192 Literature: Exhibition catalogue, Konstantin Rozhdestvenskii. K *KOUZNETSOV, NIKOLAI (1850-1930) Portrait of Galochka

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Brailovskaya , signed and dated 1921, also further signed and laid on cardboard, 17.5 by 28 cm.
Provenance: Important titled in Cyrillic on the reverse. Oil on canvas, 55.5 by 44.5 cm. private collection, France. "
Provenance: Private collection, USA.

Estimate: £1,500.00 - £2,000.00 Authenticity of the work has been confirmed by the expert V. Petrov." Estimate: £3,000.00 - £5,000.00 Lot: 200 §LUKOMSKI, GEORGI (1884-1952) Place de la Concorde and Russian Town, two works , each signed. Each charcoal and Lot: 193 pastel on paper, one measuring 32 by 47 cm and the other 30 BOGAEVSKY, KONSTANTIN (1872-1943) Boran-Eli, Crimea , by 46.5 cm.
Provenance: Important private collection, signed twice, inscribed in Cyrillic "Boran Eli" and dated 1935 France. and 1937. Pencil and watercolour on paper, 35 by 51 cm. Estimate: £1,500.00 - £2,000.00 "
Provenance: Acquired by the father of the present owner in the USSR in the 1950s or 1960s.
Thence by descent.
Private collection, Czech Republic." Lot: 201 Estimate: £3,000.00 - £5,000.00 NILUS, PETR (1869-1943) Park , inscribed “Paris― and dated 1926. Pencil and gouache on paper, 24.5 by 27 cm. "
Provenance: Estate of the artist (stamp on the Lot: 194 reverse).
Important private collection, France." KRICHEVSKY, VASILY (1872-1952) Crimean Landscape , Estimate: £1,200.00 - £1,800.00 signed and dated 1951, also further signed, titled and dated on the reverse. Oil on board, 49.5 by 74.5 cm.
Authenticity of the work has been confirmed by the expert V. Petrov. Lot: 202 Estimate: £15,000.00 - £20,000.00 NILUS, PETR (1869-1943) Self-Portrait and A Collection of Sketches, 13 works , one inscribed with an authentication by the artist’s widow dated 1953 and another bearing a stamp Lot: 195 from the artist’s estate sale on the reverse. Nine pencil, two BALTZ, VLADIMIR (1864-1939) View of Cape Fiolent, Crimea , coloured pencil and two gouache on paper, laid on card, some inscribed in Cyrillic "Eskiz V Bal'tsa". Oil on canvas, 36.5 by double-sided, the largest measuring 62.5 by 48 cm and the 46.5 cm. "
Authenticity of the work has been confirmed by smallest 13 by 15 cm.
Provenance: Important private the expert V. Petrov.

The present lot is a study for collection, France. the eponymous painting currently in the collection of the Estimate: £3,000.00 - £5,000.00 Odessa Fine Arts Museum." Estimate: £4,000.00 - £6,000.00 Lot: 203 NILUS, PETR (1869-1943) By the Fountain, triptych , signed Lot: 196 twice, once with initials. Oil on panel, the central panel §STELLETSKY, DMITRI (1875-1947) Hunting Scene , signed. measuring 31.5 by 28 cm and the side panels 31.5 by 15.5 cm Oil on canvas, 54 by 81 cm "
Provenance: Collection of each.
Authenticity of the work has been confirmed by the Clorinde Torelli, France, a friend of the artist.
Acquired expert V. Petrov. from the above by the present owner." Estimate: £25,000.00 - £30,000.00 Estimate: £40,000.00 - £60,000.00

Lot: 204 Lot: 197 *FONVISIN, ARTUR (1882-1973) Elegant Lady with a White ERMILOV, VASILY (1894-1968) Fabric Designs, five works. Horse , signed. Watercolour on paper, 34.5 by 31 cm (image Each gouache on paper, laid on panel, measuring 42 by 32 cm. size).
Provenance: Important private collection, France. Estimate: £3,000.00 - £5,000.00 Estimate: £5,000.00 - £7,000.00

Lot: 205 Lot: 198 *TCHELITCHEW, PAVEL (1898-1957) Interior Landscape , RUBTSOV, ALEKSANDR (1884-1949) Island of Djerba, Tunisia signed and dated 1946. Ink and watercolour on paper, 36 by and Nudes, two works , each signed, one with initials, one 28.5 cm. "
Provenance: Michael Rosenfeld Gallery, New inscribed “Isle de Djerba― and other “Paris―, one datedYork.
Private collection, Europe.

Authenticity of 1929 and the other “12 janvier 1933―, one also further the work has been confirmed by the expert A. stamped with the artist’s studio stamp on the reverse. One oil Kuznetsov.

Exhibited: Pavel Tchelitchew. Nature on canvas, laid on cardboard and the other charcoal on paper, Transformed, Michael Rosenfeld Gallery, New York, 3 April–29 one measuring 20.5 by 29 cm and the other 50 by 33 cm. May 1993.
Pavel Tchelitchew, Kournikova Gallery,
Provenance: Important private collection, France. Moscow, 20 November 2006–31 January 2007.

Estimate: £1,200.00 - £1,800.00 Literature: Exhibition catalogue, Pavel Tchelitchew. Nature Transformed, New York, Michael Rosenfeld Gallery, 1993, p. 16, illustrated; p. 32, listed.
Exhibition catalogue, Pavel Lot: 199 Tchelitchew, St Petersburg, Petronius, 2006, pp. 126–127, RUBTSOV, ALEKSANDR (1884-1949) Hammamat, Tunisia , illustrated.
A. Kuznetsov, Pavel Tchelitchew: signed, inscribed "Hammamat" and dated 1929. Oil on canvas, Metamorphoses, Stuttgart, ARNOLDSCHE Art Publishers,

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2012, p. 254, No. 228, illustrated; p. 301, listed." "
Provenance: Collection of Irina Sologub, the artist's Estimate: £10,000.00 - £15,000.00 daughter.
Acquired from the above by the present owner."

Estimate: £5,000.00 - £7,000.00 Lot: 206 §POGEDAIEFF, GEORGES (1894-1977) Costume Design , signed and dated 1941. Charcoal and gouache, heightened Lot: 212 with white, on paper, 45 by 59 cm (image size). §SOLOGUB, LEONID (1884-1956) A Collection of Symbolist Estimate: £10,000.00 - £15,000.00 Compositions, Nudes and Landscapes, 28 works , each signed and some dated, further variously numbered on the reverse and on the mounts. Pencil, charcoal and gouache, some with Lot: 207 crayon, watercolour and pastel on paper, the largest measuring PETROV-VODKIN, KUZMA (1878-1939) Village Scene with 68 by 55.5 cm and the smallest 38.5 by 27.5 cm. Five Female Figures , signed with a monogram and dated "
Provenance: Collection of Irina Sologub, the artist's "13/14 I I/1 1924". Watercolour on paper, laid on cardboard, daughter.
Acquired from the above by the present owner." 38.5 by 31 cm.
Provenance: Important private collection, France. Estimate: £5,000.00 - £7,000.00 Estimate: £40,000.00 - £60,000.00 Lot: 213 Lot: 208 *§DOBUZHINSKY, MSTISLAV (1875-1957) Book Illustration , §SOLOGUB, LEONID (1884-1956) Venetian City Views and signed with initials and dated 1912. Ink and gouache, Genre Scenes, 32 works , each signed, some twice, eight heightened with white, on paper, 29 by 22 cm. variously dated, 21 also further signed, some variously "
Provenance: A gift from the artist to Nikolai Zaretsky, inscribed and numbered, and two with drawings on the artist and wartime director of the Russian Cultural Museum in reverse. 31 crayon on paper and the other pencil and Prague, c. 1945.
Thence by descent to the previous watercolour on paper, the largest measuring 51 by 32.5 cm owner.
Private collection, USA." and the smallest 23 by 16 cm. "
Provenance: Collection Estimate: £2,000.00 - £3,000.00 of Irina Sologub, the artist's daughter.
Acquired from the above by the present owner." Estimate: £5,000.00 - £7,000.00 Lot: 214 §ZADKINE, OSSIP (1890-1967) The Flight , signed and dated 1951. Gouache on card, 65 by 49.5 cm. "
Provenance: Lot: 209 Charles E. Slatkin Galleries, New York, c. 1960s.
Private §SOLOGUB, LEONID (1884-1956) Venetian City Views and collection, USA.

Authenticity of the work has been Genre Scenes, 30 works , each signed, some twice, one confirmed by the expert V. Gautherin of the Musée Zadkine, inscribed and six variously dated, also further 22 signed, some Paris." variously inscribed and numbered, and one dated 1926 on the Estimate: £12,000.00 - £18,000.00 reverse; further three signed, inscribed, variously numbered and dated on the mounts. Each crayon, one on card and the others on paper, the largest measuring 44 by 33 cm and the Lot: 215 smallest 23.5 by 16.5 cm. "
Provenance: Collection of RYNDIN, VADIM (1902-1974) Set Design for "The Taming of Irina Sologub, the artist's daughter.
Acquired from the the Shrew" , signed and dated 1946. Pencil, watercolour and above by the present owner." gouache, heightened with white, on paper, 36 by 52 cm (image Estimate: £5,000.00 - £7,000.00 size).
The present lot is a set design for the prologue of William’s Shakespeare’s “The Taming of the Shrew―, staged at the Leningrad Drama Theatre in 1947. Lot: 210 Estimate: £6,000.00 - £9,000.00 §SOLOGUB, LEONID (1884-1956) Nudes, 41 works , each signed, one twice, and some dated, one also further signed, each variously numbered and one with a sketch of a nude on Lot: 216 the reverse. Pencil and gouache, some with crayon, SUDEIKIN, SERGEI (1882-1946) Two Figures in Russian Folk watercolour and oil, on paper, the largest measuring 66.5 by 51 Costumes , signed. Pencil and gouache on paper, 25 by 26.5 cm and the smallest 20 by 27 cm. "
Provenance: cm.
Provenance: Important private collection, France. Collection of Irina Sologub, the artist's daughter.
Acquired Estimate: £2,000.00 - £3,000.00 from the above by the present owner." Estimate: £5,000.00 - £7,000.00 Lot: 217 §BENOIS, ALEXANDER (1870-1960) Set Design for the Fourth Lot: 211 Act of the Opera "Il Trovatore" , signed and dated "18 IX 48", §SOLOGUB, LEONID (1884-1956) Breakthrough at Lutsk, a also further signed, inscribed "Trovatore. IV..pour la Scala" and Collection of Drawings from the First World War Series, 18 dated on the reverse. Pencil and watercolour on paper, 27.5 by works , each signed, two twice, and one dated 1916, 14 further 40 cm (image size). "
Provenance: Russian Pictures, titled in Cyrillic on the labels and each numbered twice on the Sotheby’s London, 19 November 2003, lot 168.
Acquired reverse. Each charcoal and pastel on paper, the largest at the above sale by the present owner.

The present measuring 54 by 67 cm and the smallest 48 by 36.5 cm. lot is a set design for a production of Giuseppe Verdi’s opera

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“Il Trovatore― which was staged at La Scala in Milan in the collection, France." late 1940s and early 1950s." Estimate: £10,000.00 - £15,000.00 Estimate: £9,000.00 - £12,000.00

Lot: 225 Lot: 218 §POUGNY, JEAN (1894-1956) Dining Room. Pencil, coloured *KALMYKOV, IVAN (1865-1925) At the Temple , signed and pencil, ink and collage on paper, with a pencil sketch on the dated 1918. Pencil, pastel and gouache on paper, 50.5 by 65 reverse, 31.5 by 21 cm.
Provenance: Important private cm.
Provenance: Private collection, USA. collection, UK. Estimate: £2,500.00 - £3,000.00 Estimate: £1,200.00 - £1,800.00

Lot: 219 Lot: 226 *KHODASEVICH, VALENTINA (1894-1970) A Group of *MALIAVIN, PHILIPPE (1869-1940) Russian Maiden , signed, Costume Designs for Boris Asafiev's Ballet "The Fountain of with a pencil sketch on the reverse. Pencil and pastel on paper, Bakhchisarai", 22 works , four signed, others variously 27 by 21 cm.
Provenance: Private collection, USA. inscribed in Cyrillic and numbered. Five pencil, the others pencil Estimate: £1,500.00 - £2,000.00 and gouache on paper, heightened with gold or silver, the largest measuring 41.5 by 32.5 cm and the smallest 19.5 by 12 cm. "
Provenance: Acquired directly from the family of the Lot: 227 artist.
Private collection, Europe." MALIAVIN, PHILIPPE (1869-1940) Two Peasants , signed. Estimate: £40,000.00 - £60,000.00 Pencil, coloured pencil and gouache on paper, 65 by 51 cm.
Provenance: Private collection, Serbia. Estimate: £12,000.00 - £18,000.00 Lot: 220 §MILIOTI, NIKOLAI (1874-1962) Woman in Oriental Costume , signed and dated 1929. Oil on cardboard, 32.5 by 25 cm. Lot: 228
Provenance: Important private collection, France. *§APSIT, ALEXANDER (1880-1944) Illustrations for “One Estimate: £3,000.00 - £5,000.00 Thousand and One Nights―, Including the Tales of Hassan al Basri on the Island of Wak Wak, 21 works , each signed, six variously inscribed on the mounts. Each ink on paper, one Lot: 221 heightened with white, each measuring approximately 30 by 25 *KHODASEVICH, VALENTINA (1894-1970) Set Designs for cm. "Wind from the South", two works. Gouache on paper, one Estimate: £70,000.00 - £90,000.00 measuring 25.5 by 38.5 cm and the other 18.5 by 28 cm. "
Provenance: Acquired directly from the family of the artist.
Private collection, Europe." Lot: 229 Estimate: £2,000.00 - £3,000.00 KARACHENTSOV, PETR (1907-1998) Pioneer, A Poster Design , signed and dated 1934. Pencil and gouache on paper, 77 by 68.5 cm. Lot: 222 Estimate: £5,000.00 - £7,000.00 *KHODASEVICH, VALENTINA (1894-1970) Indians, two works , each with a pencil sketch on the reverse. One gouache and oil and the other ink, gouache and oil on paper, each measuring Lot: 230 20.5 by 14 cm. "
Provenance: Acquired directly from the *SHENDEROV, ALEXANDER (1897-1967) Waltz. Lilac Horse. family of the artist.
Private collection, Europe." Oil on canvas, 90 by 95 cm. "
Executed in 1967.

Estimate: £1,500.00 - £2,000.00 The present lot is the last in a series of five canvasses entitled Memories of the Circus painted by Shenderov in the 1960s." Estimate: £10,000.00 - £15,000.00 Lot: 223 MALIAVIN, PHILIPPE (1869-1940) A Group of Six Drawings , each signed, two signed twice, once with initals. Four pencil Lot: 231 and two pencil, pastel and charcoal on paper, the largest RODCHENKO, ALEXANDER (1891-1956) A Runner, from the measuring 44.5 by 31.5 cm and the smallest 34.5 by 33.5 cm. series "Circus Masks" , signed and dated 1947. Pencil, ink and
Provenance: Important private collection, France. gouache on paper, 28.5 by 20.5 cm.
Provenance: Private Estimate: £10,000.00 - £15,000.00 collection, Italy. Estimate: £15,000.00 - £20,000.00 Lot: 224 MALIAVIN, PHILIPPE (1869-1940) A Group of Six Drawings , Lot: 232 each signed and one dated 1933. Three pencil and pastel, one RODCHENKO, ALEXANDER (1891-1956) A Poster “Rabochii pencil, one pencil and charcoal, and another pencil, pastel and odin slab.― Lithograph, 35.5 by 25.5 cm. "
Edition of charcoal on paper, the largest measuring 50 by 33 cm and the 10,000.

Provenance: Mimi Ferzt Gallery, New York smallest 31 by 23 cm. "
Three pencil and pastel, one (label on the backing board).
Acquired from the above by pencil, one pencil and charcoal, and another pencil, pastel and the present owner in 2002.
Private collection, charcoal on paper.

Provenance: Important private

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Netherlands.

Exhibited: 4+4. Two Generations of cm. "
Provenance: Important private collection, Russian Avant-Garde, Mimi Ferzt Gallery, New York, 20 Italy.

Authenticity of the work has been confirmed by September–7 October 2001." the expert V. Petrov.

Related literature: For Estimate: £3,000.00 - £5,000.00 another version of the present lot, see Zhivopisnoe obozrenie, 1902.

The present lot is a study for the painting Bringing a Bell as an Offering to the Sovereign Patrimonial Lot: 233 Monastery, 1901." *YAKOVLEV, ALEXANDER (1887-1938) Portrait of Giselle Estimate: £15,000.00 - £20,000.00 Bunau-Varilla , signed and dated 1921. Sanguine on paper, 55 by 43 cm. "
Authenticity of the work has been confirmed by the expert E. Yakovleva.

The present lot is a sketch Lot: 239 for the painting Une réunion à Port-Cros executed in 1921." PRYANISHNIKOV, IVAN (1841-1909) Charge of the Cavalry , Estimate: £3,000.00 - £5,000.00 signed twice. Pencil and watercolour on paper, 15.5 by 26 cm. "
Provenance: Important private collection, France.

Authenticity of the work has been confirmed Lot: 234 by the expert V. Petrov." *FECHIN, NIKOLAI (1881-1955) Balinese Girl , signed with Estimate: £1,500.00 - £2,000.00 initials. Charcoal on paper, 43 by 33 cm. "
Provenance: Russian Pictures, Sotheby’s London, 19 November 2003, lot 151.
Acquired at the above sale by the present Lot: 240 owner.

Authenticity of the work has been confirmed BOGOLIUBOV, ALEXEI (1824-1896) Forest Path , signed. Ink by the expert E. Yakovleva." and watercolour on paper, laid on paper, 11 by 16.5 cm. Estimate: £4,000.00 - £6,000.00
Provenance: Important private collection, France. Estimate: £4,000.00 - £6,000.00

Lot: 235 YAKOVLEV, ALEXANDER (1887-1938) Female Nude , Lot: 241 stamped with the artist's Chinese stamp. Sanguine on paper, SAMOKISH, NIKOLAY (1860-1944) Portrait of a Cossack 62.5 by 49.5 cm. Officer , signed. Oil on canvas, 52.5 by 35 cm. Estimate: £8,000.00 - £12,000.00 "
Provenance: Icons, Russian Pictures and Works of Art, Sotheby’s London, 18 February 1998, lot 1011.
Important private collection, Italy." Lot: 236 Estimate: £3,000.00 - £5,000.00 *FALK, ROBERT (1886-1958) Study for the Portrait of the Artist’s Daughter, Cyrilla Falk. Pencil and watercolour on paper, 41.5 by 31.5 cm. "
Executed in 1946.

Lot: 242 Provenance: Collection of Angelina Schekin-Krotova, the OPIZ, GEORG EMANUEL (1775-1841) Military Manoeuvres , artist’s widow (label on the reverse).
Acquired from the signed. Pencil, ink and watercolour on paper, 52.5 by 67.5 cm above by the collector Igor Sanovich in the late 1980s, (image size). "
Provenance: Important private collection, Moscow.
Private collection, Europe.

Italy.

Authenticity of the work has been confirmed by Authenticity certificate from the expert Yu. Didenko.

the expert V. Petrov." The work will be included in the forthcoming catalogue raisonné Estimate: £6,000.00 - £9,000.00 of the works on paper by Robert Falk being prepared by Yu. Didenko and D. Sarabianov.

For the larger oil portrait painted in the same year, see lot 24." Lot: 243 Estimate: £15,000.00 - £20,000.00 BAKST, LÉON (1866-1924) Portrait of a Gentleman , signed. Pencil and gouache on paper, laid on card, 29 by 24 cm (sheet size).
Provenance: Private collection, UK. Lot: 237 Estimate: £3,000.00 - £5,000.00 GALADZHEV, PYOTR (1900-1971) Stage Design for “Lake Lyul― by Alexei Faiko , signed with initials. Pencil and ink on paper, 25.5 by 34.5 cm. "
The present lot is a stage design Lot: 244 for the melodrama Lake Lyul, produced by Vsevolod §LUKOMSKI, GEORGI (1884-1954) View of the Palais Meyerkhold and staged at the Moscow Theatre of the Erzherzog Rainer, Vienna , signed and inscribed "Old Vienna". Revolution on 8 November 1923.

Provenance: Pencil, charcoal and pastel, heightened with white, on paper, Private collection, UK.

Literature: J. Bowlt, N. laid on cardboard, 32.5 by 49 cm. "
Executed in the Lobanov-Rostovsky and N. Lobanov-Rostovsky, Encyclopedia 1920s.

Provenance: Private collection, UK." of Russian Stage Design. Volume II, London, Antique Estimate: £2,000.00 - £3,000.00 Collectors’ Club, 2013, p. 191, No. 513, listed; p. 192, illustrated." Estimate: £2,000.00 - £3,000.00 Lot: 245 §POGEDAIEFF, GEORGES (1894-1977) Illustrations for “Viy― by Nikolai Gogol, two works , each signed, one with initials, Lot: 238 one numbered “3― and the other dated “8/8/44―. One PIROGOV, NIKOLAI (1872-1913) Horses Pulling a Bell to a charcoal and crayon and the other charcoal on paper, each Monastery , signed and dated 1901. Oil on canvas, 69 by 113.5 measuring 28 by 21.5 cm.

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Estimate: £2,000.00 - £3,000.00 *§BENOIS, ALEXANDER (1870-1960) View of Cassis , signed, inscribed “Cassis― and indistinctly dated “19 V.. 1931―. Pencil and watercolour on paper, laid on cardboard, 28.5 by Lot: 246 28.5 cm (image size). "
Provenance: Collection of Frank *§POGEDAIEFF, GEORGES (1894-1977) Theatrical Sketch , Rickwood OBE, the distinguished geologist and oil signed. Pencil and watercolour on paper, 31 by 24.5 cm (sheet explorer.
Thence by descent.
Private collection, size).
Provenance: Private collection, USA. Barbados." Estimate: £2,000.00 - £3,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 247 Lot: 255 EGOROV, ANDREI (1878-1954) Winter Scene , signed and *REPIN, ILYA (1844-1930) Portrait of Vladimir Stasov , signed, indistinctly dated. Gouache on cardboard, 25 by 34.5 cm. inscribed in Cyrillic “S fotogr. 1895―, and dated 1916, further Estimate: £2,000.00 - £3,000.00 stamped “Redaktsia Russkoi Muzyk. gaz. Petrograd 2 rota 16― on the reverse. Pencil, ink and wash on paper, 50 by 33 cm. "
Provenance: A gift from the artist to Nikolai Findeizen, publisher and editor of Russkaya muzykal’naya Lot: 248 gazeta (inscription on the work).
Private collection, EGOROV, ANDREI (1878-1954) Russian Winter , signed. Europe.

Authenticity of the work has been confirmed Gouache on paper, 32 by 47 cm. by the expert L. Torstensen.

Literature: Russkaya Estimate: £2,000.00 - £3,000.00 muzykal’naya gazeta, No. 41, 9 October 1916, p. 722, illustrated." Estimate: £15,000.00 - £20,000.00 Lot: 249 LATRI, MIKHAIL (1875-1942) Dancing Couple , signed. Pencil and gouache on paper, 32.5 by 25 cm.
Literature: J. Lot: 256 Bowlt, N. Lobanov-Rostovsky and N. Lobanov-Rostovsky, REPIN, ILYA (1844-1930) Portrait of Prince Vladimir Encyclopedia of Russian Stage Design. Volume II, London, Baryatinsky , signed and dated 1909. Watercolour, gouache Antique Collectors’ Club, 2013, p. 281, No. 735, illustrated and and pastel on cardboard, 39.5 by 34 cm. "
Provenance: A listed. gift from the artist to the sitter.
Thence by descent.
Estimate: £3,000.00 - £5,000.00 Private collection, France.

Prince Vladimir Vladimirovich Baryatinsky (1874–1941) was a naval officer, writer and publisher of the St Petersburg newspaper Severnyi Lot: 250 kurier." *MALIAVIN, PHILIPPE (1869-1940) Girl in a Bright Headscarf , Estimate: £5,000.00 - £7,000.00 signed, also further signed on the reverse. Oil on cardboard, 36.5 by 50 cm. "
Provenance: Private collection, USA.

Authenticity of the work has been confirmed Lot: 257 by the expert V. Petrov." *MAKOVSKY, KONSTANTIN (1839-1915) A Group of Nine Estimate: £8,000.00 - £12,000.00 Works , each signed, three inscribed in Cyrillic “Suzdal― and two “Gurzuf ―, three further stamped with the artist’s studio stamp on the reverse. One coloured pencil, watercolour and Lot: 251 gouache, one watercolour and two gouache on paper, laid on EGOROV, ANDREI (1878-1954) A Winter's Day , signed. cardboard; five pencil on paper, the largest measuring 66 by Gouache on card, 31.5 by 24.5 cm. 49.5 cm and the smallest 17.5 by 33.5 cm. "
Provenance: Estimate: £1,500.00 - £2,000.00 Private collection, USA." Estimate: £8,000.00 - £12,000.00 Lot: 252 *STEPANOV, ALEXEI (1858-1923) Children Playing , signed Lot: 258 and dated 1890. Pencil and watercolour on paper, 21 by 28.5 ZNAMENSKY, MIKHAIL (1833-1892) Works Dedicated to the cm.
Authenticity of the work has been confirmed by the Indigenous People and Settlements of West Siberia, ten works expert V. Petrov. , six signed, nine variously inscribed in German, two titled in Estimate: £1,200.00 - £1,800.00 Russian and two dated 1875, one “1875 goda FEVRALYA 14/MOSKVA―. Each pencil and watercolour on card, six measuring 32 by 47 cm, and four 47 by 31.5 cm. Lot: 253 "
Provenance: Acquired in the 1970s by the present *§BENOIS, ALEXANDER (1870-1960) Sphynx at Fontainebleau owner in Paris.
Private collection, UK." , signed and dated twice, once “7.IX.1935―, also further Estimate: £3,000.00 - £4,000.00 signed, inscribed “Fontainebleau― and dated on the reverse. Pencil and watercolour on paper, 26 by 44 cm. "
Provenance: Collection of Frank Rickwood OBE, the Lot: 259 distinguished geologist and oil explorer.
Thence by AN ALBUM “ZA VERU, TSARYA I OTECHESTVO. descent.
Private collection, Barbados." OTECHESTVENNAYA VOINA 1812 G. V KARTINAKH―, Estimate: £6,000.00 - £9,000.00 PARIS, I.S. LAPIN, 1912. "
51 colour and five black and Lot: 254 white rotogravure prints, each with a vellum cover with printed

31 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com text, accompanied by a 42-page introduction booklet and a six collection, USA.

Exhibited: 4+4. Two Generations page bound insert with title list and maps of the battles and of Russian Avant-Garde, Mimi Ferzt Gallery, New York, 20 troop movements during the 1812 Patriotic War.

The September–7 October 2001.

Literature: Exhibition album is presented in a hard, calico-bound folder, with a gold catalogue, N. Kolodzei, 4+4. Two Generations of Russian embossed front cover, and bearing on the inside cover a Avant-Garde, New York, Mimi Ferzt Gallery, 2001, p. 8, rotogravure portrait of Alexander I and four entry tickets to the illustrated." exhibition celebrating the centenary of the victory over Estimate: £6,000.00 - £9,000.00 Napoleon." Estimate: £2,000.00 - £3,000.00 Lot: 266 *LEBEDEV, VLADIMIR (1891-1967) Illustration for the Letter Lot: 260 “E― of S. Marshak’s “Zhivye bukvy― , signed with initials TYSHLER, ALEXANDER (1898-1980) Seated Woman in a and dated 1941. Pencil on paper, 24 by 19 cm. Costume and Woman in a Headdress, two works , each signed "
Provenance: Private collection, USA.

and dated 1962. Each pencil on paper, measuring 39 by 28.5 Related literature: For the published version of the present lot, cm. "
Provenance: A gift from the artist to the father of the see S. Marshak, Zhivye bukvy, Moscow, Poligraficheskaya present owners in July 1962 (inscription on the reverse).
fabrika Moskvoretskogo rayontresta, 1947, illustrated." Important private collection, France." Estimate: £2,000.00 - £3,000.00 Estimate: £2,000.00 - £3,000.00

Lot: 267 Lot: 261 NOVIKOV, PETR (1899-1943) Coal Miners , inscribed in Cyrillic §FRECHKOP, LEONID (1897-1982) A Group of Six Works , “Ushchel’e― and “MBN―. Pastel on card, 63 by 85 cm. each signed, three with initials, one inscribed and dated 1955, Estimate: £2,500.00 - £3,000.00 one also further signed on the reverse. Four pencil, one pencil and watercolour and one etching on paper, the largest measuring 31 by 24 cm and the smallest 16 by 12.5 cm. Lot: 268 "
Provenance: A gift from the artist to the father of the KUPRIYANOV, MIKHAIL (1903-1991) Goods Train , signed present owners in July 1962 (inscription on the reverse).
with initials and dated 1934. Gouache on paper, 29 by 42 cm. Important private collection, France." Estimate: £2,500.00 - £3,000.00 Estimate: £1,500.00 - £2,000.00

Lot: 269 Lot: 262 KUPRIYANOV, MIKHAIL (1903-1991) Train station , signed GUDIASHVILI, LADO (1896-1980) Two Dancers with a Doe , with initials. Gouache on paper, 31 by 44 cm. signed. Pencil on paper, 50 by 32.5 cm. "
Provenance: A Estimate: £2,500.00 - £3,000.00 gift from the artist to his cousin and the father of the present owner.
Private collection, France." Estimate: £5,000.00 - £7,000.00 Lot: 270 BOBYSHOV, MIKHAIL (1885-1964) Old Samarkand , signed, inscribed in Cyrillic “Samarkand― and dated 1942, also further Lot: 263 signed, inscribed with the artist’s address, titled and dated on SOKOLOV, PAVEL (1826-1905) Autumn Landscape. Oil on the reverse. Pencil and gouache on paper, 64.5 by 65 cm. canvas, laid on panel, 51 by 36 cm.
Provenance: Estimate: £4,000.00 - £7,000.00 Important private collection, France. Estimate: £1,200.00 - £1,800.00 Lot: 271 PETROV-VODKIN, KUZMA (1878-1939) Shakh-i-Zinda, Lot: 264 Samarkand , signed with a monogram, also further signed, SOKOLOV, PAVEL (1826-1905) Kuchuk Lambat, Crimea, and numbered “102― and dated “6/IV―on the reverse. Ink on Road to Kuchuk Lambat, two works , each signed, titled in paper, 10 by 12 cm. "
Executed in 1921.

Cyrillic and dated 1936, each also further titled, one inscribed Provenance: Collection of P.I. Basmanov, St Petersburg.
“s borkami poselka―, and the other dated on the reverse. Important private collection, Germany.

Authenticity Each pencil and watercolour on paper, one measuring 31 by 43 of the work has been confirmed by the expert E. cm and the other 32.5 by 49.5 cm.
Provenance: Zhukova.

Related literature: For similar works, see Important private collection, France. K. Petrov-Vodkin, Samarkandia. Iz putevykh nabroskov 1921, Estimate: £2,000.00 - £3,000.00 Petrograd, Akvilon, 1923." Estimate: £2,000.00 - £4,000.00 Lot: 265 KLUTSIS, GUSTAV (1895-1938) A Poster “Pyatiletku Lot: 272 prevratim v chetyrekhletku― , signed and dated 1930 in the *BOBYSHOV, MIKHAIL (1885-1964) Barrage Balloon, from the plate. Lithograph on paper, laid on canvas, 105 by 73 cm. Series “Moscow during the Days of Victory― , signed and "
Edition of 30,000.

Provenance: Mimi Ferzt dated 1942, also further signed, inscribed in Cyrillic with the Gallery, New York (label on the backboard).
Acquired from artist’s address, titled and dated on the reverse. Pencil, the above by the present owner in 2002.
Private watercolour and gouache on paper, 60 by 57.5 cm.

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Provenance: Private collection, Europe. MILASHEVSKY, VLADIMIR (1893-1976) Kasimov on the Oka , Estimate: £2,500.00 - £3,000.00 signed, inscribed in Cyrillic “Kasimov/Oka― and dated 1929. Ink and watercolour on paper, 22 by 30 cm. "
Provenance: The Lothar Bolz collection, Germany.
Acquired from the Lot: 273 above by the previous owner.
Private collection, *DEINEKA, ALEKSANDR (1899-1969) Marshalling Yard , Europe.

Literature: W. Schmidt, Russische Graphik signed with initials and dated 1945. Pencil and watercolour on des XIX. und XX. Jahrhunderts. Eine Berliner Privatsammlung, paper, 30 by 32 cm. Leipzig, 1967, p. 196, No. I, listed as An der Oka." Estimate: £2,000.00 - £3,000.00 Estimate: £3,500.00 - £5,000.00

Lot: 274 Lot: 279 KUKRYNIKSY (ACTIVE 1924-1980s) Designs for the Posters *ENDER, MARIA (1897-1942) Through the Yellow and Brown “Okno TASS No. 640. Prevrashchenie fritsev― and “OknoLeaves , signed, titled in Cyrillic and dated 1939 on the reverse. TASS No. 1109. Krylovskaya martyshka o Gebbelse―, two Oil on canvas, 27.5 by 35.5 cm. "
Provenance: Raydon works , each signed. Each pencil, charcoal, ink, watercolour Gallery, New York (label on the stretcher).
Private and gouache on paper, laid on cardboard, each measuring 50 collection, USA." by 42.5 cm. "
Related literature: For printed versions of Estimate: £15,000.00 - £20,000.00 the posters, see Okno Tass No. 640. Prevrashchenie “fritsev―, Moscow, TASS, 1942.
Okno Tass No. 1109. Krylovskaya martyshka o Gebbelse, Moscow, TASS, Lot: 280 1944.

Kukryniksy is a conflation of the names of *RUSAKOV, ALEXANDER (1898-1952) Still Life With Flowers three caricaturists, Mikhail Kupriyanov, Porfiri Krylov and and Apples. Oil on cardboard, 53 by 34 cm. "
Executed c. Nikolai Sokolov, who were part of a group of eminent Soviet 1950–1951.

Provenance: Collection of the artist artists and poets, involved between 1941 and 1945 in the work and pupil of Rusakov, A.G. Ender (1926–1977), of the media agency TASS, which led the propaganda Leningrad.

Authenticity certificate from Alexander campaign “Okna TASS―. The works in the present lot are Rusakov, the artist's grandson." sketches for the satirical posters produced for Okna Estimate: £4,000.00 - £6,000.00 TASS.

Krylovskaya martyshka o Gebbelse is a satirical take on Ivan Krylov’s famous fable The Mirror and the Monkey, in which the monkey catches sight of its reflection in a Lot: 281 mirror and cries out “I’d hang myself in great dismay/If I were*VEREISKY, OREST (1915-1993) Still Life with Flowers and a little bit like that monkey there!―." Watermelon , signed and dated 1943. Oil on canvas, laid on Estimate: £3,000.00 - £5,000.00 board, 62 by 51 cm.
Executed in the 1940s. Estimate: £3,000.00 - £5,000.00 Lot: 275 KUKRYNIKSY (ACTIVE 1924-1980s) Designs for the Posters Lot: 282 “Gryaznoe belyo― and “Damskie mody v Germanii. Zimnii*PAKULIN, VIACHESLAV (1900-1951) Coal Miners of the sezon 1941–1942 gg―, two works , each signed. Each pencil, Donbass , signed, inscribed in Cyrillic “Donbass― and dated charcoal, ink, watercolour and gouache on paper, laid on 1932. Tempera on paper, 88 by 63 cm. cardboard, each 50 by 42.5 cm. "
Related literature: For Estimate: £8,000.00 - £12,000.00 printed versions of the posters, see Gryaznoe belyo, Moscow, Isskustvo, 1942.
Damskie mody v Germanii. Zimnii sezon 1941-1942 gg, Moscow, Iskusstvo, 1941." Estimate: £3,000.00 - £5,000.00 Lot: 283 *NIKOLAEV, VASILI (1906-1943) Design for the Poster "Unity of the Military and Home Fronts". Pencil, watercolour and gouache on paper, 61 by 72 cm.
Provenance: Private Lot: 276 collection, Europe. KUSTODIEV, BORIS (1878-1927) Sketch for a Magazine Estimate: £2,000.00 - £3,000.00 Cover , signed and numbered "N 45". Pencil and gouache on paper, 25 by 16 cm. "
Executed in the mid 1920s.

Provenance: Private collection, Italy." Estimate: £4,000.00 - £6,000.00 Lot: 284 *SEROV, VLADIMIR (1910-1968) Design for the Poster "For the Motherland". Charcoal and sanguine on paper, 84 by 64.5 cm. "
Provenance: Acquired directly from the artist's Lot: 277 family by the present owner.
Private collection, Europe." *VEREISKY, GEORGY (1886-1962) Design for the Poster “Da Estimate: £4,000.00 - £6,000.00 zdravstvuet 1e maya― , signed; accompanied by the printed poster. Pencil, ink, charcoal and gouache on paper, 101.5 by 77.5 cm; and the poster 103.5 by 73.5 cm. "
Executed in 1931.

Provenance: Private collection, Lot: 285 *SEROV, VLADIMIR (1910-1968) Poster Design "Long Live the Europe.

Literature: For the printed poster, see Da 24th Anniversary of October". Charcoal, pastel and gouache zdravstvuet 1e maya, Moscow, Izogiz, 1931." on paper, 88.5 by 64 cm. "
Provenance: Acquired directly Estimate: £6,000.00 - £9,000.00 from the artist’s family by the present owner.
Private Lot: 278 collection, Europe.

Literature: For the published

33 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com poster, see V. Serov, Krepche udar’ po vragu!, Lot: 289 Moscow–Leningrad, Iskusstvo, 1941.
Catalogue of the SOKOLOV, MIKHAIL (1885-1947) Man Smoking , signed. Ink Belarusian State Museum of the History of the Great Patriotic and wash on paper, 21 by 17 cm. "
Provenance: Acquired War, Minsk, Asobny Dakh, 1998, pl. 24." directly from Nadezhda Vereshchagina-Rozanova, the artist’s Estimate: £4,000.00 - £6,000.00 widow, by Elena Tannenberg c. 1956.
A gift from E. Tannenberg to A. Zavolokine, in April 1985 (inscription on the reverse).
Collection of Alexander and Alexandra Lot: 286 Zavolokine, France." §POUGNY, JEAN (1894-1956) Cityscape , signed and dated Estimate: £3,000.00 - £5,000.00 1920. Ink and wash on paper, 24.5 by 20 cm. "
Provenance: Collection of Alexander and Alexandra Zavolokine, France.

Exhibited: Pamyati Aleksandra Lot: 290 Zavolokina, Galereya Nashi khudozhniki, Moscow, 30 May–20 SOFRONOVA, ANTONINA (1892-1966) Portrait of a Woman July 2010.

Literature: Exhibition catalogue, Pamyati with a Dog , signed with initials and dated 1935, also further Aleksandra Zavolokina, Moscow, Galereya Nashi khudozhniki, signed, titled in Cyrillic and dated on the reverse. Watercolour 2010, p. 70, illustrated; p. 216, listed as Ulitsa.

The and ink on paper, 39.5 by 32 cm.
Provenance: Collection works offered here were assembled by the Moscow collectors, of Alexander and Alexandra Zavolokine, France. the Zavolokines. The collection is impressive most of all for the Estimate: £3,000.00 - £5,000.00 quality of the pieces chosen, reflecting its owners’ impeccable taste and fine grasp of their subject matter.

As a couple, the Zavolokines devoted years of their life to the acquisition of Russian and Soviet graphic art of the 1920s and Lot: 291 1930s. Though they were not overly biased towards the top SOFRONOVA, ANTONINA (1892-1966) Fruit on a Patterned names, their collection contains magnificent work of great Table Cloth , signed, also further signed and titled in Cyrillic on significance and artistic merit. First and foremost are the works the reverse. Pencil and watercolour on paper, 39.5 by 49 cm. on paper by Mikhail Sokolov, Dmitri Mitrokhin, Antonina "
Executed in the 1950s.

Provenance: Sofronova, Vera Pestel and Yulia Razumovskaya. The work of Collection of Alexander and Alexandra Zavolokine, France." these magnificent artists always caused great excitement Estimate: £2,000.00 - £3,000.00 among collectors because of their sincerity and the masterly way they reflected society around them. Pavel Sokolov- Skalya’s drawing Vagabond is unique. Even in a serious Lot: 292 museum collection it would be difficult to find anything to match KANEVSKY, AMINADAV (1898-1976) Portrait of the Artist's it for accuracy and poignancy. There is an interesting symbolist Wife , dated 1930 on the reverse. Coloured pencil on paper, 32 composition by Mikhail Yezuchevsky, an artist whom the by 44 cm. "
Executed in the 1930s.

experts have yet to rediscover. The composition of Sergei Provenance: Collection of Alexander and Alexandra Gerasimov’s masterly charcoal drawing catches the eye and Zavolokine, France.

Literature: Grafika russkikh its contemporary style is attractive. In terms of Gerasimov’s khudozhnikov ot A do Ya, Moscow, Slovo, 2002, p. 104, career 1922 was a landmark year, when the artist embraced illustrated and listed." new aesthetic principles. Any collector, even the most Estimate: £3,000.00 - £5,000.00 demanding, could find delight in Boris Sukhanov’s striking watercolour and the drawing by Andrei Goncharov.

Apart from its high artistic and cultural value, the body of work Lot: 293 from Alexander and Alexandra Zavolokine’s collection RAZUMOVSKAYA, YULIA (1896-1987) Portrait of Kyrgyz possesses one other rare quality – that for collectors of works Children from the Town of Tokmok and Kyrgyz Woman on paper these pieces quite clearly serve to broaden the scope Nursing a Baby, double-sided , each side signed, one twice, of their connoisseurship." and dated 1927, one side variously inscribed in Cyrillic. Estimate: £7,000.00 - £9,000.00 Charcoal on paper, 45 by 31.5 cm. "
Provenance: Collection of Alexander and Alexandra Zavolokine, France.

Exhibited: Pamyati Aleksandra Zavolokina, Lot: 287 Galereya Nashi khudozhniki, Moscow, 30 May–20 July SUKHANOV, BORIS (1900-1987) Two Boys. Pencil and 2010.

Literature: Exhibition catalogue, Pamyati watercolour on paper, 35 by 27 cm. "
Provenance: Aleksandra Zavolokina, Moscow, Galereya Nashi khudozhniki, Collection of Alexander and Alexandra Zavolokine, 2010, p. 101, illustrated; p. 216, listed as Deti and Zhenshchina France.

Literature: Grafika russkikh khudozhnikov s rebyonkom." ot A do Ya, Moscow, Slovo, 2002, p. 33, illustrated and listed." Estimate: £3,000.00 - £5,000.00 Estimate: £3,000.00 - £5,000.00 Lot: 294 Lot: 288 GONCHAROV, ANDREI (1903-1979) Woman Sleeping on a SOKOLOV-SKALYA, PAVEL (1899-1961) Vagabond. Pencil Sofa , signed, further stamped with the artist’s stamp on the on paper, 34.5 by 43.5 cm. "
Provenance: Collection of reverse. Coloured pencil on paper, 26 by 39.5 cm. Alexander and Alexandra Zavolokine, France.


Provenance: Collection of Alexander and Alexandra Literature: Grafika russkikh khudozhnikov ot A do Ya, Moscow, Zavolokine, France. Slovo, 2002, p. 220, illustrated and listed." Estimate: £2,500.00 - £3,000.00 Estimate: £7,000.00 - £9,000.00 Lot: 295

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KARAKHAN, NIKOLAI (1900-1970) Cotton Picking. Tempera Estimate: £3,000.00 - £5,000.00 on cardboard, 34 by 47.5 cm. "
Provenance: Collection of Alexander and Alexandra Zavolokine, France.

Exhibited: Pamyati Aleksandra Zavolokina, Galereya Nashi Lot: 302 khudozhniki, Moscow, 30 May–20 July 2010.

DREVIN, ALEXANDER (1889-1938) Mother and Child in a Literature: Exhibition catalogue, Pamyati Aleksandra Landscape. Watercolour on paper, 31 by 43 cm. Zavolokina, Moscow, Galereya Nashi khudozhniki, 2010, p.
Provenance: Collection of Alexander and Alexandra 119, illustrated; p. 214, listed." Zavolokine, France. Estimate: £12,000.00 - £15,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 296 Lot: 303 KARAKHAN, NIKOLAI (1900-1970) Uzbek Women Walking in PESTEL, VERA (1887-1952) Sonia at the Easter Table and the Street , signed on the reverse. Tempera on cardboard, 21.5 Portrait of Sonia, two works , stamped with the artist’s estate by 27.5 cm. "
Provenance: Collection of Alexander and stamp on the reverse. Each pencil, watercolour and gouache Alexandra Zavolokine, France.

Literature: on paper, one measuring 19.5 by 24.5 cm and the other 24.5 Exhibition catalogue, Pamyati Aleksandra Zavolokina, Moscow, by 20 cm. "
Executed in the 1920s.

Galereya Nashi khudozhniki, 2010, p. 38, the present lot can be Provenance: Collection of Alexander and Alexandra seen on the wall of Zavolokines’ apartment." Zavolokine, France.

Both works in the present lot Estimate: £3,000.00 - £5,000.00 depict Sofia Pestel, the artist’s daughter." Estimate: £5,000.00 - £7,000.00 Lot: 297 EZUCHEVSKI, MIKHAIL (1880-1928) Symbolist Composition Lot: 304 with Two Figures , stamped with the artist's stamp. Charcoal, PESTEL, VERA (1887-1952) Bathing a Child and At a pastel and gouache on paper, 43 by 35 cm.
Provenance: Dressmaker, two works , each stamped with the artist’s estate Collection of Alexander and Alexandra Zavolokine, France. stamp on the reverse. Each pencil, watercolour and gouache Estimate: £2,500.00 - £3,500.00 on paper, one measuring 20 by 24 cm and the other 24.5 by 19.5 cm.
Provenance: Collection of Alexander and Alexandra Zavolokine, France. Lot: 298 Estimate: £5,000.00 - £7,000.00 LABAS, ALEXANDER (1900-1983) Portrait of a Boy , signed and dated 1930. Pencil and coloured pencil on paper, 43.5 by 32 cm.
Provenance: Collection of Alexander and Lot: 305 Alexandra Zavolokine, France. §CHAGALL, MARC (1887-1985) La Botte rouge , signed. Estimate: £5,000.00 - £7,000.00 Monotype on paper, 40 by 30 cm (image size). "
Executed in 1965.

Provenance: Estate of the artist.

Authenticity certificate from the expert P. Cramer.

Lot: 299 Exhibited: Marc Chagall. Monotypes, Bouquinerie de GOLUBYATNIKOV, PAVEL (1892-1942) Bathing Horses. l’Institut, Paris, 20 October 2010–23 December 2011.
Pencil and watercolour on paper, 27 by 33.5 cm. Marc Chagall. Monotypes, Galerie Patrick Cramer, Geneva, 19
Provenance: Collection of Alexander and Alexandra November 2010–21 January 2011.

Literature: G. Zavolokine, France. Cramer, Marc Chagall. Monotypes 1961–1965, Vol. 1, Geneva, Estimate: £2,500.00 - £3,500.00 Editions Gerald Cramer, p. 49, No. 143, illustrated." Estimate: £40,000.00 - £60,000.00

Lot: 300 MITROKHIN, DMITRI (1883-1973) Apple, Pear and Orange , Lot: 401 signed with initials and dated 1965. Pencil and watercolour on KHARITONOV, ALEXANDER (1932-1993) Peacefulness or Big paper, 16 by 11.5 cm.
Provenance: Collection of Angel over the World , signed, titled in Cyrillic, dated 1986-1988 Alexander and Alexandra Zavolokine, France. and with a drawing of a flower on the reverse. Oil on canvas, 46 Estimate: £2,000.00 - £3,000.00 by 55.5 cm. "
Provenance: Private collection, Europe.

Related literature: For another version of the present lot, see Alexander Kharitonov, Lot: 301 Paris–Moscow–New–York, The Third Wave Publishers, GERASIMOV, SERGEI (1885-1964) Woman Ironing , signed 1992– 1993, p. 162, illustrated and listed." with initials and dated 1922. Charcoal on paper, 32.5 by 22.5 Estimate: £35,000.00 - £50,000.00 cm. "
Provenance: Collection of Alexander and Alexandra Zavolokine, France.

Authenticity of the work has been confirmed by Lyudmila Gerasimova, the artist’s Lot: 402 granddaughter (inscription on the reverse).

WEISBERG, VLADIMIR (1924-1985) Portrait of Two Children , Exhibited: Pamyati Aleksandra Zavolokina, Galereya Nashi signed and dated 1961. Oil on canvas, 76 by 63 cm. khudozhniki, Moscow, 30 May–20 July 2010.

"
Provenance: Acquired directly from the artist by the Literature: Exhibition catalogue, Pamyati Aleksandra father of the present owners in Moscow.
Important private Zavolokina, Moscow, Galereya Nashi khudozhniki, 2010, p. 90, collection of non-conformist art, France." illustrated; p. 216, listed." Estimate: £50,000.00 - £70,000.00

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Lot: 403 Lot: 410 WEISBERG, VLADIMIR (1924-1985) Composition with KRASNOPEVTSEV, DMITRY (1925-1995) Composition with Cylinders , signed and dated 1970. Oil on canvas, 51 by 100 Three Vessels ", signed with an initial and dated 1978." Oil on cm. "
Provenance: Acquired directly from the artist by the board, 49.5 by 33.5 cm. "
Provenance: Acquired directly father of the present owners in Moscow.
Important private from the artist by the father of the present owners in collection of non-conformist art, France." Moscow.
Important private collection of non-conformist art, Estimate: £50,000.00 - £70,000.00 France.

Related literature: For the sketch for the present lot, see Dmitrii Krasnopevtsev. Kniga pervaya. Dnevniki 1952–1993, Moscow, BONFI, 2006, p. 77." Lot: 404 Estimate: £25,000.00 - £30,000.00 KHARITONOV, ALEXANDER (1932-1993) Linden Tree , signed, titled in Cyrillic and dated 1977. Oil on canvas, 33.5 by 22 cm. "
Provenance: Acquired directly from the artist by Lot: 411 the father of the present owners in Moscow.
Important RUKHIN, EVGENY (1943-1976) Purple Sky , signed, titled and private collection of non-conformist art, France." dated 1967. Watercolour on paper, 61 by 58 cm. Estimate: £5,000.00 - £7,000.00 "
Provenance: Acquired directly from the artist by the father of the present owners in Moscow.
Important private collection of non-conformist art, France." Lot: 405 Estimate: £1,000.00 - £2,000.00 KHARITONOV, ALEXANDER (1932-1993) Hoarfrost , signed, titled in Cyrillic and dated 1976 on the reverse. Oil on canvas, 29 by 37 cm. "
Provenance: Acquired directly from the Lot: 412 artist by the father of the present owners in Moscow.
VECHTOMOV, NIKOLAI (1923-2007) System 1 , signed and Important private collection of non-conformist art, France." dated 1978, also further signed, inscribed in Cyrillic with a Estimate: £6,000.00 - £9,000.00 dedication, titled and dated on the reverse. Oil on board, 35.5 by 40.5 cm. "
Provenance: A gift from the artist to the mother of the present owners (inscription on the reverse).
Lot: 406 Important private collection of non-conformist art, France." KHARITONOV, ALEXANDER (1932-1993) Flying Gospels , Estimate: £2,000.00 - £3,000.00 signed, titled in Cyrillic and dated 1967. Pencil on paper, 41 by 31 cm. "
Provenance: Acquired directly from the artist by the father of the present owners in Moscow.
Important Lot: 413 private collection of non-conformist art, France." TSELKOV, OLEG (B. 1934) Face , signed, also further signed Estimate: £1,000.00 - £1,500.00 twice, titled in Cyrillic and Latin and dated 1979. Oil on canvas, 27.5 by 22.5 cm. "
Provenance: Acquired directly from the artist by the father of the present owners.
Important Lot: 407 private collection of non-conformist art, France.

KHARITONOV, ALEXANDER (1932-1993) Church Amongst Authenticity of the work has been confirmed by the artist." Trees , signed twice, titled in Cyrillic and dated twice 1968. Estimate: £3,000.00 - £5,000.00 Pencil on paper, 42 by 30.5 cm. "
Provenance: Acquired directly from the artist by the father of the present owners in Moscow.
Important private collection of non-conformist art, Lot: 414 France." PURYGIN, LEONID (1951-1995) Artists. Oil on oilcloth, 28.5 Estimate: £800.00 - £1,200.00 by 37.5 cm. "
Provenance: Acquired directly from the artist by the father of the present owners in Moscow.
Important private collection of non-conformist art, France." Lot: 408 Estimate: £2,000.00 - £3,000.00 KRASNOPEVTSEV, DMITRY (1925-1995) Objects in Compartments , signed with an initial and dated 1965. Oil on board, 34.5 by 33.5 cm. "
Provenance: Acquired directly Lot: 415 from the artist by the father of the present owners in PURYGIN, LEONID (1951-1995) The USSR , signed and dated Moscow.
Important private collection of non-conformist art, 1975. Oil on canvas, laid on board, 40 by 34.5 cm. France." "
Provenance: Acquired directly from the artist by the Estimate: £8,000.00 - £12,000.00 father of the present owners in Moscow.
Important private collection of non-conformist art, France." Estimate: £3,000.00 - £5,000.00 Lot: 409 WEISBERG, VLADIMIR (1924-1985) Reclining Nude , signed with a monogram and dated 1976, also further signed twice, Lot: 416 inscribed in Cyrillic "Moskva"• and dated "12/I 76"• on the YAKOVLEV, VLADIMIR (1934-1998) Tulips by a River , signed reverse. Pencil and watercolour on paper, 26.5 by 46 cm. and dated 1969. Charcoal and gouache on paper, 42.5 by 54.5 "
Provenance: Acquired directly from the artist by the cm. "
Provenance: Acquired directly from the artist by the father of the present owners in Moscow.
Important private father of the present owners in Moscow.
Important private collection of non-conformist art, France." collection of non-conformist art, France." Estimate: £5,000.00 - £7,000.00 Estimate: £1,500.00 - £2,000.00

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Lot: 417 by A&C Projects, Michèle and Marc Ivasilevitch." AREFIEV, ALEXANDR (1931-1978) Women with a Child on the Estimate: £15,000.00 - £20,000.00 Way to the Dacha , signed twice, once with an initial, titled in Cyrillic, numbered "80" and dated twice 1953, also further signed twice and dated on the backing board. Pencil and Lot: 423 gouache on paper, 31 by 43.5 cm (sheet size). §RABIN, OSCAR (B. 1928) Still Life with Paint and Parizhskaya "
Provenance: Acquired directly from the artist by the Vodka , signed and dated 1997, also further titled in Cyrillic, father of the present owners in Moscow.
Important private numbered "1201" and dated on the reverse. Oil and collage on collection of non-conformist art, France." canvas, 73.5 by 100 cm. "
Provenance: Mimi Ferzt Estimate: £1,200.00 - £1,800.00 Gallery, New York.
Acquired from the above by the present owner in 1998.
Private collection, USA.

Authenticity of the work has been confirmed by the Lot: 418 artist.


Exhibited: Oscar Rabin, Mimi Ferzt AREFIEV, ALEXANDR (1931-1978) Tram Stop in Peterhof , Gallery, New York, 1998.

Literature: Oskar Rabin, signed with an initial and dated 1973, also further signed twice, St Petersburg, Palace Editions, 2007, p. 212, illustrated, inscribed in Cyrillic "Petergof " and dated on the reverse. incorrectly dated 1999.

The work will be included in Pencil, coloured pencil and gouache on paper, 43 by 30.5 cm. the forthcoming Oscar Rabin catalogue raisonné being prepared "
Provenance: Acquired directly from the artist by the by A&C Projects, Michèle and Marc Ivasilevitch." father of the present owners in Moscow.
Important private Estimate: £7,000.00 - £9,000.00 collection of non-conformist art, France." Estimate: £1,200.00 - £1,800.00 Lot: 424 NESTEROVA, NATALIA (B. 1944) Feast in the Time of Plague, Lot: 419 diptych , each work signed with initials, also further signed, *SITNIKOV, VASILY (1915-1987) Nude , signed and dated titled in Cyrillic and dated 1993 on the reverse. Each oil on 1985 on the reverse. Oil on canvas, 178 by 84 cm. canvas, measuring 180 by 160 cm.
Provenance: Private "
Provenance: Private collection, USA.

collection, Monaco. Authenticity certificate from Alexander Shnurov, Sitnikov's Estimate: £35,000.00 - £50,000.00 friend and student." Estimate: £40,000.00 - £60,000.00 Lot: 425 §KOSHLYAKOV, VALERY (B. 1962) Colosseum , signed, titled Lot: 420 in Cyrillic and dated 2006 on the reverse. Oil on canvas, 149.5 §RABIN, OSCAR (B. 1928) Ambulance in Pryluky , signed and by 198 cm.
Provenance: Private collection, Monaco. dated 1967, also further titled in Cyrillic, numbered "N 377" and Estimate: £20,000.00 - £30,000.00 dated on the reverse. Oil on canvas, 90 by 109 cm. "
Authenticity of the work has been confirmed by the artist.

The work will be included in the forthcoming Lot: 426 Oscar Rabin catalogue raisonné being prepared by A&C *§KOMAR, VITALY and MELAMID, ALEXANDER (B.1943 and Projects, Michèle and Marc Ivasilevitch." B. 1945) Lenin Hails a Cab in New York, from the Series Estimate: £30,000.00 - £50,000.00 "Monumental Propaganda/Lenin's Tomb" , signed, inscribed with the artists' names, titled and dated 1993 on the reverse. Oil and tempera on canvas, 102 by 76 cm. "
Provenance: Lot: 421 Private collection, USA.

Authenticity of the work has DOU, OLEG (B. 1983) Black, from the Series "Papers and been confirmed by Vitaly Komar.

Related literature: Paints"• , signed "Duryagin" on the artist's studio label on the For the other version of the present lot, see The New Yorker, backing board. Lambda C-Type photo print on paper, diasec New York, 12 July 1993, reproduced on the cover.
mounted on acrylic glass, 100 by 100 cm. "
Executed in Exhibition catalogue, It’s the Real Thing: Soviet and Post- 2007.

No. 1 from an edition of 6.

Soviet Sots Art and American Pop Art, Minneapolis, Frederick Provenance: Aidan Gallery, Moscow, from 2007.
R. Weisman Art Museum, 1998, reproduced on the cover.
Acquired from the above by the present owner.
Private Athanor XXIII, Tallahassee, Florida State University, collection, Monaco.

Exhibited: Paper and Paints, Department of Art History, 2005, reproduced on the Aidan Gallery, Moscow, 2006–2007." cover.

Lenin Hails a Cab in New York is an iconic Estimate: £5,000.00 - £7,000.00 piece by Komar and Melamid painted in 1993, a period of political unrest and popularized destruction of the past in Russia. With the dissolution of the Soviet Union in 1991 and the October Putsch in 1993, Russia embarked on the path to its Lot: 422 newest history, taking down and destroying Soviet monuments, §RABIN, OSCAR (B. 1928) Self-Portrait No. 4 , signed with a symbols and signs. Together with Independent Curators, monogram and dated 1962, also further titled in Cyrillic, Komar and Melamid, by that time already living in New York, numbered "138" and dated on the reverse. Oil on canvas, 89 by began the Monumental Propaganda project in an attempt to 112 cm. "
Provenance: Acquired directly from the artist by preserve the historical lessons of the Soviet past for future Grosvenor Gallery, London, in the 1960s.
Acquired from generations. More than 200 Russian and Western artists the above by the present owner in 1998.
Private participated in the project, creating artwork on theme of the collection, USA.

Authenticity of the work has been preservation of monuments, which received extensive press confirmed by the artist.

The work will be included in coverage and subsequent public resonance in the forthcoming Oscar Rabin catalogue raisonné being prepared

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Russia.

The present lot is the first, original version of corresponds to a symbolic image of each year, with each this composition. Despite its relatively small size, the canvas canvas following one another in chronological order, starting possesses monumental, almost mural-like qualities. The tall with 1917. Each canvas is painted with three colours only: red, figure of Lenin, as if defying the streets of New York, is echoed black, white and mixtures thereof. The years of revolution are by the Chrysler Building and the red flag of the fast-food eatery associated with the abstract expressionist style; the years of in the background – the new symbols of the capitalist world industrialisation are associated with the constructivist style and dressed in communist symbols: the red of the MacDonald’s the years of the Great Terror are associated with abstract flag and red Kremlin star on top of the Chrysler building. This surrealist styles. Gradually, the primary colours lose their juxtaposition is what creates a strong and powerful image of its brightness and turn into different shades, of grey and brown time, so much so that another version of this canvas was etc.―

Vitaly Komar

The History of the published on the cover of the New Yorker Magazine in USSR, by V. Komar and A. Melamid, is a key work of early Sots 1993.

Addressing the issue of iconoclasm, the Art; it is of particular interest as it represents the movement in present work depicts Lenin in a pose familiar from multiple its initial Muscovite, pre-emigration guise. From the very outset monuments across the major public spaces in Russia. Taking the Sots artists, and especially Komar and Melamid as the the iconic image out of its usual context and placing Lenin on founding fathers of the movement, assiduously manipulated the streets of New York transforms him from a leader of Soviet mythology and ideology, reconstructing them, dissecting revolution to a regular passer-by engaged in the simple, them, and turning them inside out. There was no “sacred calf humdrum act of hailing a cab. The narrative of the picture is ― which was immune to the attentions of the movement: Lenin developed though the collision of a real character with his and Stalin, the Aurora and the Lenin mausoleum, emblems and utopian surroundings, addressing nostalgia and banality decorations, the pioneer tie and the roll of honour… it appeared through mockery and humor. Through this unique everything was aimed at laughingly casting off Soviet history, interpretation, Komar and Melamid reveal all that stands behind with a nod to Marx.

Playing with Soviet mythology Moscow Conceptualism of the 20th century.

To became the movement’s trademark, all the more so since it quote Professor A. Leigh-Perlman of Montclair State University enjoyed an eager market in the West where Soviet motifs were in Future Ruins: Time, Memory and History in the Work of readily consumed when reduced to commonly accessible Komar and Melamid: “Komar and Melamid’s art from the pastciphers and particularly when combined with iconic images from three decades has been characterized by many important American popular culture: from the second half of the 1970s themes and has utilized a wide variety of media and subject onwards almost all Sots artists headed to New York where they matter. As vanguards of Moscow’s particular brand of industriously worked at cross-fertilising solidly Soviet elements Conceptualism, they have helped close this dramatic century with dyed in the wool American.

The History of the with a temporal concern for the past as it colors our present and USSR, as was the case with The History of Russia which guides us into the future. The two-fold process of remembering preceded it, is distinguished by its monumental scale: and repeating acted out in much of their work serves to solidify consisting of 58 panels, each panel represents a year of Soviet the chance of recognizing oppression when it arises in the history. Each panel is twelve inches wide, corresponding to the future. This process of nostalgic repetition may be number of months in a year. There is a paradox in this, referring uncomfortable, we may be confused as to whether we should to the USSR’s endless anniversaries for the party, state and laugh or cry, but we are left with the monumental sense that we individual leaders. Indeed, the work also parodies the Soviet must never forget. Embarking on the future, we need not fear mania for ranking, control and hierarchy, which if one considers how coming generations will interpret us, as long as we know for example that an inch is a western unit of measurement, then that the memories of history have taught us the lessons of the a Dadaist automatism motif comes into play, founded upon the past.―" Soviet mythology of total accountability.

However, Estimate: £120,000.00 - £180,000.00 the most important aspect arises later on. In Soviet culture the concept of “chronicling―, along with its many lofty and zealous connotations, featured in all such anniversaries. In visual terms Lot: 427 the concept of chronicling involved assembling what were in a *§KOMAR, VITALY and MELAMID, ALEXANDER (B.1943 and sense pictograms (media pictures which were based on B. 1945) The History of the USSR, 58 works , some stamped cinematic and photographic documents): a man with a with the artists'• studio stamp on the reverse. Each tempera wheelbarrow, a sentry with a rifle, a political instructor with a and oil on canvas, measuring 80 by 30.5 cm. "
Panels revolver and so on, all of whom symbolised specific points in 46–50 executed in 1962–1966, the others in 1976.

the life of the state. Komar and Melamid selected, in place of Provenance: Ronald Feldman Fine Arts, New York.
this, a non-mimetic language, the language of abstract painting. Collection of Mr and Mrs Goldberger, Puerto Rico.
The underground re-invigorated abstract art from the mid Collection of the Israel Museum, Jerusalem, 1986–2006.
1950s, but the question remained how abstract art could be Acquired from the above by the present owner.
Private applied in the context of a chronicle of the USSR, especially as collection, USA.

Authenticity of the work has been officialdom was staunchly rejecting even the conventional confirmed by V. Komar.

Exhibited: Apartment version of abstract art, perceiving it primarily as an ideological exhibition, Komar & Melamid, Leninsky Prospekt, Moscow, challenge and an attempt to undermine the “Leninist theory of 1975.
Color is a Mighty Power, Ronald Feldman Gallery, reflection―!

Again, however, there is here yet New York, 7 February–20 March 1976.
Israel Museum, another layer, which lies deeper than the layer of political Jerusalem, on permanent display from 1986 to 2006.
The parody. The history of the avant-garde included a period where History of the USSR, MacDougall’s, London, April–May, it allowed itself to be utilised for profoundly ideological 2008.

Literature: M. Nathanson, Komar/Melamid. purposes. We need only recall the formally suprematist yet Two Soviet Dissident Artists, Carbondale, Southern Illinois thematically politically aggressive poster by El Lissitzky, Beat University Press, 1979, pp. 32–34, illustrated.
C. Ratcliff, the Whites with the Red Blade!. I think Komar and Melamid also Komar and Melamid, New York, Abbeville Press, 1988, No. 55, thought of this as they created this non-figurative canvas p. 81, illustrated.

“We can imagine time as a chain infused with diverse types of energy. However, they were of abstract images. In The History of the USSR each canvas principally calling on contemporary art forms outside of

38 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com figurative representation.

In terms of correlations Petya that I painted in the summer of 1971 at our Podreskovo with realism they only used reminiscences of early Soviet dacha, outside Moscow. After Petya’s mother, Irina engaged suprematism and strange, threatening biological Degtyareva, and I separated I gave this canvas to my forms…so the problems of selection of “language― in this son.

I painted no more than five of these works with large-scale and profound work of museum significance is a no red and white lettering over realistic images. With hindsight, less pressing one than the problem of a political one could potentially classify paintings of this sort as “proto- stance.

Aleksandr Borovsky, Head of the sots art―. Although it should be said that it was only in 1972 Contemporary Art Department of the State Russian Museum" that we made the decision to sign works with both our names Estimate: £250,000.00 - £500,000.00 and called the joint effort “Sots art―.

Vitaly Komar" Estimate: £30,000.00 - £40,000.00

Lot: 428 MAMYSHEV-MONROE, VLADISLAV (1969-2013) Cover the Lot: 433 Icons , signed and dated 2006, also further signed and titled in §DUBOSSARSKY, VLADIMIR (B. 1964) Disliked Colours. Cyrillic on the reverse. Oil on canvas, 195 by 145.5 cm. Chromium Oxide and Caput Mortuum (Dark) , signed with a "
Provenance: Acquired directly from the artist by the monogram and dated 1989, also further signed, inscribed in previous owner.
Private collection, Europe." Cyrillic "Moskva", titled and dated on the reverse. Oil on Estimate: £9,000.00 - £12,000.00 canvas, 97.5 by 81.5 cm.
Provenance: Private collection, Germany. Estimate: £8,000.00 - £12,000.00 Lot: 429 NOVIKOV, TIMUR (1958-2002) Winter , signed, titled in Cyrillic and dated 1990. Oil screen printing on fabric, 137 by 119.5 cm. Lot: 434 "
Provenance: A gift from the artist to the Stichting Circ §DUBOSSARSKY, VLADIMIR (B. 1964) Disliked Colours. Atelier, Amsterdam, in the 1990s.
Corporate collection, the Chromium Oxide and Green FC , signed with a monogram and Netherlands." dated 1989, also further signed, inscribed in Cyrillic "Moskva", Estimate: £15,000.00 - £20,000.00 titled and dated on the reverse. Oil on canvas, 75 by 120 cm.
Provenance: Private collection, Germany. Estimate: £10,000.00 - £15,000.00 Lot: 430 SAVKO, ALEXANDER (B. 1957) Kustodiev Russian Beauty under the Emblem of the Soviet Union , signed and dated 2007 Lot: 435 on the reverse. Acrylic on canvas, 150 by 200.5 cm. TSELKOV, OLEG (B. 1934) Self-Portrait , signed, also further
Provenance: Private collection, Monaco. signed, titled in Cyrillic and dated 2006 on the reverse. Oil on Estimate: £5,000.00 - £7,000.00 canvas, 81 by 130 cm. "
Authenticity of the work has been confirmed by the artist.

Exhibited: Oleg Tselkov, Galerie le Minotaure, Paris, April–May 2008.

Lot: 431 Literature: Oleg Tselkov, Paris, Galerie le Minotaure, 2008, pp. SAVKO, ALEXANDER (B. 1957) Reclining Venus with 18–19, illustrated." Cosmonaut Putti , signed and dated 2007 on the reverse. Estimate: £30,000.00 - £50,000.00 Acrylic on canvas, 130 by 200.5 cm.
Provenance: Private collection, Monaco. Estimate: £6,000.00 - £9,000.00 Lot: 436 TSELKOV, OLEG (B. 1934) Hanging Face and Dragon Fly , signed, also further signed, titled and dated 1988 on the Lot: 432 stretcher. Oil on canvas, 100 by 100 cm. "
Provenance: *§KOMAR, VITALY (B. 1943) Portrait of the Artist's Son , Important private collection, USA.

Authenticity of the signed, also further signed, titled in Cyrillic and dated 1971; work has been confirmed by the artist." also inscribed with an authentication by the artist's son, Petr Estimate: £25,000.00 - £30,000.00 Degtyarev. Oil on canvas, 99.5 by 118 cm. "
Provenance: A gift from the artist to his son, Petr Degtyarev.
Private collection, Europe.

Authenticity of the work has been Lot: 437 confirmed by the artist.

Portrait of the Artist’s Son PLAVINSKY, DMITRY (1937-2012) Venetian Spirit I , signed, is a rare early work by Vitaly Komar. Dating to 1971, this is one titled, inscribed "Venice. Relief on the cathedral" and dated of the five canvasses painted in a “protosots art― style, as the1997 on the reverse. Oil, sand and acrylic on canvas, 107 by 92 artist himself called it. This is a personal work depicting cm. "
Provenance: Mimi Ferzt Gallery (label on the Komar’s son, Petya, at the family’s country house in reverse).
Acquired from the above by the present owner in Podreskovo.

Vitaly Komar was born in Moscow in 1999.

Authenticity of the work has been confirmed 1943, graduated from the Stroganov School of Art and Design by Maria Plavinskaya, the artist’s widow.

in 1967, and has been living in New York since 1978. He was Exhibited: Dmitri Plavinsky. In Search of Italy, Mimi Ferzt one of the founders of the Sots Art movement (soviet Gallery, New York, 19 November–13 December Pop/Conceptual art) and a pioneer of multistylistic post- 1998.

Literature: Exhibition catalogue, Dmitri modernism (1972–73). Vitaly Komar worked in collaboration Plavinsky. In Search of Italy, New York, Mimi Ferzt Gallery, with Alexander Melamid between 1973 and 2003, which makes 1998, p. 24, illustrated.
Dmitri Plavinsky, New York, the present canvas an extremely collectable pre-collaborative Rizzoli, 2000, p. 143, illustrated; p. 263, listed." work.

This is the only stand-alone portrait of my son Estimate: £6,000.00 - £9,000.00

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Lot: 438 *KOPYSTIANSKY, IGOR (B. 1954) Restored Painting 10 , *KRASNOPEVTSEV, DMITRY (1925-1995) Three Vessels , signed, titled in Cyrillic and dated 1988 on the reverse. Oil and signed and dated 1962, also further signed with initials and collage on canvas, 87 by 109 cm. "
Provenance: Private inscribed in Cyrillic with a dedication on the reverse. Oil on collection, USA.

Exhibited: Pollstudio – Szene cardboard, 31.5 by 42.5 cm. "
Provenance: A gift from the Moskva. 1977–1991, Galerie Eva Poll, Berlin, 7 November artist to Margarita Prokofieva, art historian and friend of 2003–31 March 2004, as Restauriertes Bild Nr. 10 (stamps Krasnopevtsev (inscription on the reverse).
A gift from the and labels on the stretcher)." above to the present owner in 2007." Estimate: £10,000.00 - £15,000.00 Estimate: £15,000.00 - £20,000.00 Lot: 445 Lot: 439 *CHUIKOV, IVAN (B. 1935) Window LXII , signed, titled in *PLAVINSKY, DMITRY (1937-2012) Sanctuary of the Palace at Cyrillic and dated 2002 on the reverse. Oil and collage on Knossos , signed twice, titled in Russian and English and dated board, 150 by 100 cm. "
The present lot was later altered twice 1995 on the reverse. Oil and acrylic on canvas, 107 by by the artist with the addition of two more red dots representing 152.5 cm. "
Provenance: Mimi Ferzt Gallery, New laser sights.

Provenance: Collection of Victor York.
Acquired from the above by the present owner in Chunin, Russia.
Private collection, USA.

1995.
Private collection, Australia.

Authenticity Authenticity of the work has been confirmed by the of the work has been confirmed by Maria Plavinsky, the artist.

Exhibited: Ivan Chujkov, Kunstmuseum artist’s widow.

Exhibited: Dmitri Plavinsky. Echo Mülheim an der Ruhr, Mülheim an der Ruhr, 14 August–14 Ancient Ruins, Mimi Ferzt Gallery, New York, 16 November–8 September 2003, as Fenster LXII.
Ivan Chujkov. Arbeiter December 1995.

Literature: Exhibition catalogue, der letzten 15 Jahre, Galerie Inge Baecker, Cologne, 29 Dmitri Plavinsky. Echo Ancient Ruins, New York, Mimi Ferzt October 2003–26 January 2004, as Fenster LXII.

Gallery, 1995.
Dmitri Plavinsky, New York, Rizzoli, 2000, Literature: Ivan Chuikov. Katalog, Moscow, Regina Gallery, p. 110, illustrated; p. 262, listed, incorrectly dated 1994." 2010, p. 381, illustrated." Estimate: £25,000.00 - £35,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 440 Lot: 446 *FAIBISOVICH, SEMION (B. 1949) Landing Stage, from the *CHUIKOV, IVAN (B. 1935) Green Field V, from the Series Series "At the Train Station"• , signed with initials and dated "Greenfield"• , signed, titled in Cyrillic and dated 1990. Pencil, 1986, also further signed, titled in Cyrillic and dated on the acrylic, oil and collage on canvas, 71 by 100.5 cm. reverse. Oil on board, 74.5 by 138.5 cm. "
Provenance: "
Provenance: Galerie Inge Baecker, Cologne, until Collection of Phyllis Kind, USA, from the 1980s.
Ronald 2006.
Private collection, USA.

Authenticity of Feldman Fine Arts, New York. until 2006.
Collection of the work has been confirmed by the artist.

Victor Chunin, Russia.
Private collection, USA.

Literature: Ivan Chuikov. Katalog, Moscow, Regina Gallery, Authenticity of the work has been confirmed by the artist." 2010, p. 174, illustrated." Estimate: £40,000.00 - £60,000.00 Estimate: £10,000.00 - £15,000.00

Lot: 441 Lot: 447 *TABENKIN, LEV (B. 1952) Bulls , signed, titled in Cyrillic and KABAKOV, ILYA (B. 1933) Album "Bazaar"• , with 17 colour dated 1998 on the reverse. Oil on canvas, 100.5 by 151 cm. lithographs, introductory page and page with French translation "
Provenance: Galerie Inge Baecker, Cologne, until of the Russian hors-texte, in a hard folder with the artist•s 2006.
Private collection, USA." name embossed in gold on the cover. All lithographs printed on Estimate: £10,000.00 - £15,000.00 monogrammed gallery paper, signed and dated 1979 in the plate, 11 sheets measuring 34 by 24 cm, and the others 29 by 36 cm. "
No. I from an edition of 120 and one of ten hors de commerce copies, reserved for organizers of the 1985 Lot: 442 Kabakov exhibition at Galerie Dina Vierny, Paris (inscription on NESTEROVA, NATALIA (B. 1944) Volare , signed with initials, the introduction page).

Provenance: A gift from also further signed, titled and dated 2005 on the reverse. Oil on Galerie Dina Vierny, Paris, to the present owner in 1985.
canvas, 130.5 by 97 cm. "
Provenance: Acquired directly Private collection, France." from the artist by the present owner.
Private collection, Estimate: £7,000.00 - £9,000.00 France." Estimate: £8,000.00 - £12,000.00 Lot: 448 KABAKOV, ILYA (B. 1933) The Flying Komarov from the Series Lot: 443 "Ten Characters"• , portfolio of 32 offset printed lithographs in a *KOPYSTIANSKY, IGOR (B. 1954) Diptych 5, two works , one silk-covered hard case, each measuring 51.5 by 35 cm (sheet signed and each titled in Cyrillic on the reverse. Each oil on size). Ten mounted on paper, signed and dated 1973 and 1974 canvas, measuring 153 by 193 cm.
Provenance: Private in the plate, 22 mounted on cardboard with printed hors-texte collection, USA. in Cyrillic, signed on the mount, bearing the print copy numbers Estimate: £20,000.00 - £30,000.00 5, 6 and 7 from an edition of 15, and dated 1981. "
Provenance: Acquired directly from the artist by the present owner.
Private collection, France." Lot: 444

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Estimate: £15,000.00 - £20,000.00 KRASNOPEVTSEV, DMITRY (1925-1995) Still Life with a Die , signed with an initial and dated 1973, also further signed and inscribed in Cyrillic with a dedication on the reverse. Oil on Lot: 449 board, 30.5 by 25.5 cm.
Provenance: Important private KALININ, VIATCHESLAV (B. 1939) Moscow , signed and dated collection, Italy. 1990, also further signed on the reverse. Oil, crayon, pastel, Estimate: £20,000.00 - £30,000.00 gold paint and collage on paper, 129 by 99.5 cm. "
Provenance: Private collection, UK.

Authenticity of the work has been confirmed by the artist." Lot: 458 Estimate: £8,000.00 - £12,000.00 SVESHNIKOV, BORIS (1927-1998) Flowerbed on the Snow , signed with a monogram and dated 1973, also further signed and titled in Cyrillic on the reverse. Oil on canvas, 79.5 by 59 Lot: 450 cm.
Provenance: Important private collection, Italy. OKSHTEYN, SHIMON (B. 1951) Female Portrait , signed. Estimate: £30,000.00 - £40,000.00 Pencil, pastel, watercolour and collage on paper, 106 by 81 cm.
Provenance: Private collection, UK. Estimate: £2,000.00 - £3,000.00 Lot: 459 SVESHNIKOV, BORIS (1927-1998) The Sunken City , signed with a monogram, further titled in Cyrillic on the reverse. Oil on Lot: 451 canvas, 79 by 99 cm.
Provenance: Important private BENDER, SERGEI (B. 1955) St Isaac's Square , signed with collection, Italy. initials. Watercolour on paper, 45 by 100 cm. Estimate: £25,000.00 - £30,000.00 Estimate: £1,500.00 - £2,000.00 Lot: 460 Lot: 452 SVESHNIKOV, BORIS (1927-1998) A Long Walk , signed with *RUKHIN, EVGENY (1943-1976) Church , signed with an initial, a monogram, further titled in Cyrillic on the reverse. Oil on also further signed and dated 1966 on the reverse. Oil on canvas, 94 by 52 cm.
Provenance: Important private canvas, 100 by 91.5 cm. collection, Italy. Estimate: £10,000.00 - £15,000.00 Estimate: £25,000.00 - £30,000.00

Lot: 453 Lot: 461 PLAVINSKY, DMITRY (1937-2012) Attic , signed with a SVESHNIKOV, BORIS (1927-1998) A History of Illness , signed monogram and dated 1973. Etching, tempera and oil on paper, and dated 1960, further titled in Cyrillic on the reverse. Oil on laid on board, 25 by 32 cm. "
Provenance: Important canvas, 86.5 by 78 cm.
Provenance: Important private private collection, Italy.

Authenticity of the work has collection, Italy. been confirmed by Maria Plavinskaya, the artist's widow." Estimate: £25,000.00 - £30,000.00 Estimate: £8,000.00 - £12,000.00 Lot: 462 Lot: 454 SVESHNIKOV, BORIS (1927-1998) Prayer , signed with a BELUTIN, ELIY (1925-2012) The Embrace , signed and dated monogram and dated 1974, further titled in Cyrillic on the 1969, further inscribed in Cyrillic with a dedication and dated reverse. Oil on canvas, 70 by 50 cm.
Provenance: "14 aprelya 1970" on the reverse. Oil on canvas, 128.5 by 40.5 Important private collection, Italy. cm.
Provenance: Important private collection, Italy. Estimate: £20,000.00 - £30,000.00 Estimate: £2,000.00 - £3,000.00 Lot: 463 Lot: 455 SVESHNIKOV, BORIS (1927-1998) Black Spring , signed with VECHTOMOV, NIKOLAI (1923-2007) Extraterrestrial a monogram, further titled in Cyrillic on the reverse. Oil on Civilisation , signed and dated 1978, also further signed, titled canvas, 63 by 104 cm.
Provenance: Important private in Cyrillic and dated on the reverse. Ink and gouache on paper, collection, Italy. 44.5 by 51 cm.
Provenance: Important private collection, Estimate: £25,000.00 - £30,000.00 Italy. Estimate: £3,000.00 - £5,000.00 Lot: 501 *A PORCELAIN FIGURINE OF A TEA VENDOR PRIVATE Lot: 456 MANUFACTORY, 19TH CENTURY Height 20.5 cm. VASMI, RICHARD (1929-1998) Untitled , signed with initials.
Realistically modelled, depicted wearing a blue overcoat Oil on canvas, 33 by 45 cm. "
Executed in 1995.

with pink hat and apron, holding a large kettle in his right hand, Provenance: Acquired directly from the artist by the present on a circular base, with impressed manufactory marks. owner in the 1990s.
Private collection, Germany." Estimate: £5,000.00 - £7,000.00 Estimate: £5,000.00 - £7,000.00 Lot: 457

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Lot: 502 *A PORCELAIN FIGURINE OF A GOVERNESS GARDNER *A PORCELAIN FIGURINE OF A CHERRY GATHERER MANUFACTORY, MOSCOW, LATE 1810–1820s Height 17.5 GARDNER MANUFACTORY, MOSCOW, 19TH CENTURY cm. "
Provenance: Anonymous sale; Russian Works of Height 22 cm. "
Provenance: Anonymous sale; Russian Art, Fabergé and Icons, Sotheby’s Olympia London, 22 May Works of Art, Fabergé and Icons, Sotheby’s Olympia London,2003, lot 220.

Realistically modelled, wearing a 22 May 2003, lot 206.

Realistically modelled, purple turban headscarf, and pale pistachio-coloured coat with wearing a white chemise with patterned apron and raspberry- fur neckpiece over a patterned white dress and carrying a coloured sarafan with matching ribbon on gilt kokoshnik and bundle of books in each hand, standing on a square holding a basket of cherries, standing on circular shaped naturalistic base, with stamped and underglaze manufactory naturalistic base, with impressed and under glaze blue mark." manufactory marks." Estimate: £5,000.00 - £7,000.00 Estimate: £5,000.00 - £7,000.00 Lot: 508 Lot: 503 *A PORCELAIN FIGURINE OF A JEWISH MAN CHECKING *A PORCELAIN FIGURINE OF A TEA AND BAGEL VENDOR HIS WATCH GARDNER MANUFACTORY, MOSCOW, GARDNER MANUFACTORY, MOSCOW, 1830–1890s Height 1800–1820s Height 18 cm. "
Provenance: Anonymous 18.5 cm. "
Provenance: Anonymous sale; Russian Works sale; Russian Works of Art, Fabergé and Icons, Sotheby’s of Art, Fabergé and Icons, Sotheby’s Olympia London, 20 Olympia London, 22 May 2003, lot 209.

Related November 2003, lot 136.

Realistically modelled, literature: For similar works, see V.A. Popov, Russkiy Farfor. dressed in a green cap, belted brown jacket and striped blue Chastnye zavody, Leningrad, 1980, ill. no. 62.

trousers tucked into traditional lapti, with a shoulder bag and Realistically modelled, wearing a black overcoat with a full- carrying a kettle, cups, a towel and a bunch of bagels; standing length brown suit jacket underneath, a dark green top hat and on a shaped, scrolled naturalistic base, impressed with holding a gold pocket-watch, the shaped geometrical base manufactory mark." imitating pavement, with underglaze manufactory mark." Estimate: £3,000.00 - £5,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 504 Lot: 509 *A RARE BISCUIT PORCELAIN DOUBLE CANDLESTICK A PAIR OF PORCELAIN COVERED VASES POPOV HOLDER GARDNER MANUFACTORY, MOSCOW, MID 19TH MANUFACTORY, MOSCOW, EARLY 19TH CENTURY Height CENTURY Height 19 cm. "
Provenance: Anonymous 22 cm each.
Urn-shaped, a high spreading foot on a sale; Russian Pictures, Works of Art and Icons, Sotheby’s square base with gilt decoration, dolphin handles, fir-cone Olympia London, 20 May 2005, lot 246.

A finials, the bodies and covers decorated with alternating vertical barefooted girl, wearing a patterned lilac-coloured skirt and gilt bands and flower garlands, the shoulders and covers with white chemise, riding astride a grey horse between two flower cartouches to front and back, with blue manufactory candlestick holders modelled as birch-trees, impressed and marks. stamped with red manufactory marks." Estimate: £6,000.00 - £8,000.00 Estimate: £3,000.00 - £5,000.00 Lot: 510 Lot: 505 *TWO PORCELAIN TAZZI FROM THE PETERHOF PALACE *A PORCELAIN FIGURINE OF THE SCOLDING SERVICE IMPERIAL PORCELAIN MANUFACTORY, PERIOD SEAMSTRESS GARDNER MANUFACTORY, MOSCOW, OF NICHOLAS I (1825–1855) Height 14.5 cm, diameter 22.5 1810–1840s Height 12.5 cm. "
Provenance: Anonymous cm.
Each circular with scalloped rim supported on a raised sale; Russian Works of Art, Fabergé and Icons, Sotheby’s foot and small scroll handles, decorated throughout with blue Olympia London, 23 May 2002, lot 213.

Realistically oyster-form panels painted with floral sprays within moulded modelled, wearing a floral printed white dress with a pink apron edges, with blue Imperial ciphers for Nicholas I. and light blue headscarf, standing argumentatively with hands Estimate: £5,000.00 - £7,000.00 on her hips beside a wicker basket on a circular shaped naturalistic base, with impressed manufactory mark." Estimate: £3,000.00 - £5,000.00 Lot: 511 *TWO PORCELAIN CUSTARD CUPS FROM THE PETERHOF PALACE SERVICE "IMPERIAL PORCELAIN Lot: 506 MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855) " *A PORCELAIN FIGURINE OF A WANDERER GARDNER Height 7 cm.
Tapering cylindrical form with scalloped rim MANUFACTORY, MOSCOW, 1820s Height 20 cm. and two scroll handles, decorated throughout with blue oyster "
Provenance: Anonymous sale; Russian Pictures, Works form panels painted with floral sprays within moulded edges, of Art and Icons, Sotheby’s Olympia London, 2 December with blue Imperial ciphers for Nicholas I. 2004, lot 452.

Realistically modelled, leaning against Estimate: £2,000.00 - £3,000.00 a tree stump wearing a green tunic and a black hat with navy blue cloak tucked behind him through strap of shoulder-bag, modelled on a square naturalistic base, with incised and blue Lot: 512 underglaze manufactory mark." A PORCELAIN TEA SET GARDNER MANUFACTORY, Estimate: £3,000.00 - £5,000.00 MOSCOW, LATE 19TH CENTURY Height of the teapot 12 cm, Lot: 507 of a cup 6.5 cm, diameter of a saucer 13 cm.
Fifteen

42 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com pieces comprising a lidded teapot, a lidded sugar bowl, a lidded transformed and became characterised by fairly simple, bucolic milk jug, six cups and saucers, all decorated with white, green landscapes, pale flower sprays and garlands, pretty nymphs and purple flowers on a light blue background, with white and cupids. A new generation of porcelain painters, including handles formed as ribbons and bows, white spouts and knot “florists― K. and F. Krasovskiy, T. Spiridonov, F. Lapshin, A. finials, all with gilt rims and white interiors, red manufactory Midin, A. Morozov and G. Pischulin were responsible for marks under bases and numbers “12–10―. executing the Empress’s vision.

Alongside Maria Estimate: £3,000.00 - £5,000.00 Alexandrovna, Grand Duke Alexander Alexandrovich took particular interest in porcelain and understood its unique properties. He is widely credited with outlining the direction of Lot: 513 reforms in porcelain production and the change in artistic A PORCELAIN TAZZA FROM THE KREMLIN SERVICE direction. Porcelain production under Alexander II is full of IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF innovative technical solutions and new artistic promises. It is ALEXANDER II (1855–1881) Diameter 24 cm, height 18.5 considered to be one of the most interesting periods from the cm.
Circular, of spreading foot, the interior of the bowl point of view of experimenting with new shapes, pastes, centred with the Imperial double-headed eagle in black on textures and decorative techniques. It may not be as grand, green, within black, green and gilt borders on white ground, the decorative and expressive as porcelain of the period of exterior, stem and foot of gilt ground decorated with stylized Nicholas I, but it is very pleasing to the eye and better suited to floral motifs and simulated jewels, within blue or white borders, everyday life. The present pair of vases, characterised, by their with green Imperial cipher for Alexander II and with red simple baluster form with no bronze mounts or handles and inventory number “OXP. 23080―. subtly painted views of the Imperial Summer residences, are a Estimate: £4,000.00 - £6,000.00 superlative example of the porcelain production under Alexander II." Estimate: £80,000.00 - £120,000.00 Lot: 514 A PORCELAIN TEA SET KUZNETSOV MANUFACTORY, MOSCOW, EARLY 19TH CENTURY Diameter of a small Lot: 516 saucer 10 cm, of a larger saucer 14 cm, height of a cup 10 A MILITARY PORCELAIN PLAQUE IMPERIAL PORCELAIN cm, height of the teapot 12.5 cm.
Twenty-one pieces MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855), comprising five saucers, five smaller saucers, five plates, five DATED 1837 24 by 28 cm (without frame). "
Provenance: cups and a lidded teapot; each piece with gold borders and red, Anonymous sale; The Russian Sale, Sotheby’s London, 29 gold and green decorative strapwork patterns; the saucers with April 1999, lot 379.

Painted with a group of infantry white cavettos, each cup with a decorative gold motif on the soldiers at rest, dated and signed in Cyrillic on lower right “N. inner rim, all with red ochre coloured factory stamps and Astafiev 1837―, with blue Imperial cipher for Nicholas I and handwritten marks “N=1/23 15―. impressed Imperial eagle." Estimate: £4,000.00 - £6,000.00 Estimate: £30,000.00 - £50,000.00

Lot: 515 Lot: 517 A PAIR OF PORCELAIN VASES WITH VIEWS OF THE A PORCELAIN PLATTER IMPERIAL PORCELAIN IMPERIAL SUMMER RESIDENCES IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855) MANUFACTORY, PERIOD OF ALEXANDER II (1855–1881) Length 42 cm.
Oval, the cavetto finely painted with a Height 53 cm each. "
Baluster form, painted with portrait after Franz Kruger “Nicholas I and his retinue―, sky- picturesque views of the Imperial summer residences and park blue border within gilt bands centred with black Imperial coat of pavilions: the Gatchina Palace and the Tsaritsyn Pavillion in arms, with blue Imperial cipher for Nicholas I and incised Peterhof on one vase; the “Grot― Pavillion in Tsarskoe Selo manufactory marks. and the English Palace in Peterhof on the other; with sky-blue Estimate: £4,000.00 - £6,000.00 stems and gilt rims, with green Imperial ciphers for Alexander II.

Alexander II’s reign was a pivotal period in Russian history; known as the Tsar Liberator he was Lot: 518 responsible for numerous reforms aimed at modernising A MILITARY PORCELAIN PLAQUE IMPERIAL PORCELAIN Russia. This atmosphere of liberal reforms had an effect on MANUFACTORY, PERIOD OF NICHOLAS I (1825–1855), court culture. The number of Imperial commissions of grand DATED 1846 24.5 by 33.5 cm (without frame). gifts made of porcelain were significantly reduced and from "
Provenance: Anonymous sale; The Russian Sale, 1862, the main present for Easter became a porcelain egg, Sotheby’s London, 19 February 1998, lot 275.

which previously would have been presented together with Finely painted with Nicholas I and his entourage reviewing the palace vases, services, sculptures etc. The Cabinet was also Life-Guards of the Ural Regiment, inscribed in Latin lower left striving to reduce the number of Imperial presentation pieces “Ladurner― and further dated and signed in Cyrillic lower right and diplomatic gifts, which lead to very low production of grand, “I. Saveliev 1846―, with blue Imperial cipher for Nicholas I and time-consuming and expensive objects, most of which were gilt signature." made before 1870. During this period, the initiative of managing Estimate: £25,000.00 - £35,000.00 the porcelain production was taken by Empress Maria Alexandrovna. She expressed her discontent at the forms as well as the painted decorations used by the manufactory and Lot: 519 instructed them to follow the lead in fashion taken by the A PORCLELAIN PLATE FROM THE MILITARY SERVICE English porcelain producers. Soon, all raw materials used by IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF the Imperial manufactory were foreign, delivered from London, NICHOLAS I (1825–1855) Diameter 23.5 cm.
Circular, Berlin or Paris. Just like the forms, the designs were also

43 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com the cavetto finely painted with a group of two officers, a private ELIZABETH PETROVNA (1741–1761) Height 22 cm. soldier and a trumpeter resting in camp, within gilt band, the "
Bell-shaped bowl on a stem of three faceted knops and green border gilt and ciselé with alternating Imperial eagles and spreading foot, engraved to one side with the Imperial double- military trophies, the foot also gilded, the reverse inscribed in headed eagle and to the other with the cipher of Elizabeth Cyrillic “Third Infantry Cadets, Eight’s Division, Non- Petrovna beneath the Imperial crown within stylised floral Commissioned Officer of the Count Dibich-Zabalkanskiy sprays." Regiment, Company Officer of Poltava regiment Infantry Estimate: £5,000.00 - £7,000.00 Regiment, Private Soldier of Aleksopolsk Infantry Regiment, Trumpeter of Kremenchug Infantry Regiment. N. Yakovlev, 1838―, with black Imperial cipher for Nicholas I. Lot: 524 Estimate: £12,000.00 - £18,000.00 *A CUT AND ENGRAVED GOBLET PROBABLY IMPERIAL GLASSWORKS, ST. PETERSBURG, PERIOD OF ELIZABETH PETROVNA (1741–1761) Height 21.5 cm.
Bell-shaped Lot: 520 bowl on a baluster stem of three faceted knops and spreading A PORCELAIN PLATE FROM THE MILITARY SERVICE foot, engraved and gilt to one side with the Imperial double- IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF headed eagle and to the other with the cipher of Elizabeth NICHOLAS I (1825–1855) Diameter 24 cm. Petrovna beneath the Imperial crown flanked by flower baskets. "
Provenance: Anonymous sale; The Russian Sale, Sotheby's London, 29 April 1999, lot 385.

Circular, Estimate: £5,000.00 - £7,000.00 the cavetto finely painted with a group of mounted, seated and standing officers and private soldiers gathered by the camp fire, within gilt band, the green border gilt and ciselé with alternating Lot: 525 Imperial eagles and military trophies, the foot also gilded, the A PRESENTATION EQUESTRIAN MANTEL CLOCK WITH reverse inscribed in Cyrillic “Fifth Infantry Corps, Fifth Cavalry MUSICAL CHIME LYUBAVIN, ST. PETERSBURG,1904, 84 Division, Private Soldier of Ulan Regiment, Head Officer of STANDARD Height 45 cm, base 40.5 by 25 cm. "
The Odessa Ulan Regiment, Private Soldier of Akhtyr Hussar green-grey hardstone chiselled to imitate a rocky outcrop, Regiment, Company Officer of Alexander Hussar Regiment. P. centred with a circular white dial with black Roman numerals Saveliev, 1841―, with black Imperial cipher for Nicholas I." within plain silver bezel and applied with dedication plaque Estimate: £12,000.00 - £18,000.00 “For distinguished conduct in Russo-Turkish war of 1877–1878―, Roman and Arabic numerals “XXV― and “1863.1888» and the badge of the Order of St. George and Lot: 521 enamelled epaulettes, mounted with a silver cast and finely A PORCELAIN PLATE FROM THE MILITARY SERVICE chased figure of a horse with mounted artilleryman; the IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF wooden base containing musical movement with a ALEXANDER II (1855-1881) Diameter 24.5 cm.
Circular, commemorative plaque engraved in Cyrillic “From colleagues the cavetto finely painted with a bugler saluting an officer of the and comrades-in-arms of the Life-Guards of the 1st Artillery Guard Dragoon Regiment on foot, further officers and a house Squadron and Field Artillery Battalion― and a list of sixty in the background, the gilt border with moulded and incised with officers.

This fine clock with an equestrian figure ribbon-tied branches of oak and laurel, surmounted by the was presented to an unnamed distinguished officer who served Imperial arms, the foot also gilded, the reverse inscribed in in the Life-Guards of the 1st Artillery Squadron and Field Russian “His Highness’s Life Guards Dragoon Regiment. Artillery Batallion. The red and white colours of the enamel After the painting by Balashov, by A. Mironov, 1878―, with epaulettes on the clock correspond to the colours of the wrist- green Imperial cipher for Alexander II. cuffs and welts of the uniform of this military unit. The clues to Estimate: £12,000.00 - £18,000.00 the identity of the officer can be found in the names of his colleagues listed on the plaque. Among them: General-Major M. Meklenburg-Strelitskii (Commander of the Squadron Lot: 522 1903–1908), Colonels V. Lekhovich, N. Demidov, A PORCELAIN PLATE FROM THE MILITARY SERVICE E.Smyslovskii and N. Il’kevich, Captain G.Veshnyakov and IMPERIAL PORCELAIN MANUFACTORY, PERIOD OF Staff-Commander N. Belyaev. The military register proves that ALEXANDER II (1855–1881) Diameter 24.5 cm. these officers at some point in their military career all served in "
Provenance: Anonymous sale; Russian Works of Art , the Life-Guards of the 1st Artillery Squadron. The majority of Christie’s London, 30 November 2005, lot 5.

them were still serving in that Squadron in 1904 when the clock Circular, the cavetto finely painted with a mounted officer taking was presented.

The Life-Guards unit of the 1st a salute from a standing soldier, with other officers in the Artillery Squadron was founded in 1796 and participated in the background, the gilt border with moulded and incised with Russo-Turkish war (1877–1878) and World War I; the Field ribbon-tied branches of oak and laurel, surmounted by the Artillery Battalion was founded in 1898 and disbanded in 1918. Imperial arms, the foot also gilded, the reverse inscribed in Both units were based in St. Petersburg.

The Cyrillic “His Highness’s Life Guards Ulan Regiment. After thededication plaque “For distinguished conduct in Russo-Turkish paintings by Balashov, by P. Daladugin, 1878―, with green war of 1877–1878― indicates that the officer to whom the Imperial cipher for Alexander II." clock was presented, also participated in that war and was Estimate: £12,000.00 - £18,000.00 awarded the Order of St. George. Research into the Order’s knights who would match these criteria has produced only one name – that of Colonel Alexander Onoprienko.

Alexander Onoprienko (1827 – after 1917) was awarded the Lot: 523 4th Class Order of St. George in 1878. By 1904, he was the *A CUT AND ENGRAVED GLASS GOBLET PROBABLY Commander of the Life-Guards 1st Artillery Squadron for 25 IMPERIAL GLASSWORKS, ST. PETERSBURG, PERIOD OF years (from 1879), and in 1888 he also took command of the

44 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

2nd Artillery Squadron. He participated in the suppression of Georgian culture in his attempt to understand and praise the the Polish rebellion in 1863 and was in charge of the St. various cultural identities of the Russian empire.
These Petersburg military district from 1895. Onoprienko resigned small figures are a spectacular example of the sculptor’s from this post on the 12th August 1904. Therefore, it is exquisite understanding of both the traditional culture, as shown reasonable to assume that the present lot was a leaving by in his lively and realistic casting, and the sense of movement present from his colleagues.

The history of the brilliantly combined with the expressive character of the hero. Russian army and the dramatic events of the first quarter of
After the Circassian was presented at the Universal the 20th century are all reflected in this clock, which makes it Exhibition in Philadelphia, critics in the French newspapers not only a remarkable timepiece and work of art, but above all praised the outstanding quality of the figure and were mutually a historical artifact of particular importance to collectors." agreed that it alone was worth more than dozens of other Estimate: £70,000.00 - £90,000.00 bronzes." Estimate: £4,000.00 - £6,000.00

Lot: 526 *ORDER OF ST STANISLAUS, SECOND CLASS NECK Lot: 529 BADGE MARK OF EDUARD, MAKER’S MARK I.L. IN A GEORGIAN ON HORSEBACK AFTER A MODEL BY CYRILLIC, ST. PETERSBURG, 1908–1917, 56 STANDARD EVGENY LANCERAY, INSCRIBED WITH A SIGNATURE IN 5.5 by 5 cm (including suspension ring).
In gold and CYRILLIC AND DATED 1870, F. CHOPIN FOUNDRY, enamels, held in a fitted case, with an official deed of Nicholas FINANCE MINISTRY STAMP Bronze with mid brown patina, II, with an Order stamp and two signatures. height 26 cm. "
An excellent rider himself and the son of a Estimate: £10,000.00 - £15,000.00 French officer, Lanceray dedicated the majority of his works to depictions of equestrian subjects. At the heart of Lanceray’s inspiration for the Circassian bronze series, lies his fascination Lot: 527 with Caucasian culture and in particular the ‘dgigitovka’ – a A RARE TULA STEEL KINDJAL TULA, CIRCA 1800 Length courageous equestrian sport popular amongst the many in scabbard 53 cm, length of blade 35.5 cm. "
Related nations of the Caucuses – in which a brave and talented literature: For similar work, see Nozhi mira, Mir entsiklopediy master horseman performed various complex and dangerous 'Avanta', Astral, Moscow, 2008, p.62.

The kindjal tricks at full gallop. Similarly, Lanceray became interested in with double fuller steel blade and square formed ivory grip Georgian culture in his attempt to understand and praise the carved with lozenge pattern, the scabbard and grip with shaped various cultural identities of the Russian empire.
These steel mounts inlaid with stylized flowers, leaves and garlands, small figures are a spectacular example of the sculptor’s applied with brass.

Works from the Tula armourers exquisite understanding of both the traditional culture, as shown were always distinguished by the high quality of their by in his lively and realistic casting, and the sense of movement craftsmanship and originality. Masterful metalworking and the brilliantly combined with the expressive character of the hero. use of different techniques to decorate arms laid the
After the Circassian was presented at the Universal foundation for the production of other objects and furniture in Exhibition in Philadelphia, critics in the French newspapers steel.
In the 16–17th centuries Tula masters inherited the praised the outstanding quality of the figure and were mutually traditions of the Moscow Armoury Chamber for decorating agreed that it alone was worth more than dozens of other arms; patterns on steel were applied by engraving or etching bronzes." and plated with gold, silver and copper or damascened. Works Estimate: £5,000.00 - £7,000.00 by Tula “goldsmiths― take a prominent place in the collections of various museums in Russia and the West. One of the most significant collections is that held by the State Hermitage.
Lot: 530 The present lot is a rare and representative example of the A LINE COSSACK WITH A YOUNG GIRL AFTER A MODEL Tula armourers’ creativity; the steel mounts of the scabbard BY EVGENY LANCERAY, INSCRIBED WITH A SIGNATURE and handle are decorated with an elegant, two-colour inlay of IN CYRILLIC, F. CHOPIN FOUNDRY, FINANCE MINISTRY flowers, leaves and garlands. Such high quality pieces are a STAMP Bronze with brown patina, height 38 cm. rarity in the current art market and therefore of particular Estimate: £4,000.00 - £6,000.00 interest to collectors.

A similar kindjal can be found in the collection of the State Historical Museum in Moscow." Estimate: £30,000.00 - £40,000.00 Lot: 531 SUDARUSHKA AFTER A MODEL BY SERGE ZELIKSON, INSCRIBED WITH A SIGNATURE, 20TH CENTURY Bronze Lot: 528 with green patina, height 28 cm, length 29 cm. A CIRCASSIAN ON HORSEBACK AFTER A MODEL BY Estimate: £5,000.00 - £7,000.00 EVGENY LANCERAY, INSCRIBED WITH A SIGNATURE IN CYRILLIC AND DATED 1873, F. CHOPIN FOUNDRY, FINANCE MINISTRY STAMP Bronze with mid brown patina, Lot: 532 height 27 cm. "
An excellent rider himself and the son of a *NUDE AFTER A MODEL BY LÉON INDENBAUM, French officer, Lanceray dedicated the majority of his works to INSCRIBED WITH A SIGNATURE, C. VALSUANI FOUNDRY, depictions of equestrian subjects. At the heart of Lanceray’s 20TH CENTURY Bronze on marble base, height 43.5 cm. inspiration for the Circassian bronze series, lies his fascination Estimate: £5,000.00 - £7,000.00 with Caucasian culture and in particular the ‘dgigitovka’ – a courageous equestrian sport popular amongst the many nations of the Caucuses – in which a brave and talented master horseman performed various complex and dangerous Lot: 533 *LEDA AND SWAN AFTER A MODEL BY VLADIMIR tricks at full gallop. Similarly, Lanceray became interested in

45 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

BEKLEMISHEV, INSCRIBED WITH A SIGNATURE, C. engraved with bands of wave scrolls and centered with VALSUANI FOUNDRY, 20TH CENTURY Bronze on hardstone Imperial double-headed eagles. base, 15.5 by 14 cm, height 13 cm. Estimate: £8,000.00 - £12,000.00 Estimate: £6,000.00 - £8,000.00

Lot: 540 Lot: 534 *A SILVER AND NIELLO VODKA SET MAKER’S MARKS OF *A PARCEL-GILT TRAVELLING PAN ILLEGIBLE MAKER’S VASILY SEMENOV IN CYRILLIC, MOSCOW, 1889, 84 MARK, ASSAY MARK A.R IN CYRILLIC, 1785 Diameter 21.5 STANDARD Height of the flask 26.5 cm, of a vodka cup 5 cm, cm.
Circular, with detachable reeded wooden handle, the diameter of the tray 33.5 cm.
Fourteen pieces comprising domed cover surmounted with a blossomed camellia flower and twelve vodka cups, a tray and a flask; the flask of elongated buds on a branch, gilt interior. tapering form with a cone finial embellished with niello foliate Estimate: £6,000.00 - £8,000.00 motifs; each cup placed on three ball stems, the tray on three rounded stems; all decorated with niello scrolled leaves, stylized flowers and petals, with dotted silver rims; the Lot: 535 engraving on the flask reads “Na pamyat’ Ot fabrichno- A LARGE SILVER GILT CUP AND COVER MAKER’S MARK rabochih Torgovo-promyshlennogo Tovarischestva OF JOSEPH NORDBERG, ST. PETERSBURG, 1858, 84 Yaroslavskoi Bolshoi Manufaktury Direktoru fabriki Elisei STANDARD Height with cover 38.5 cm.
The body cast Eliseevichu G-nu Shokros Maya 14 dnya 1889 g.― in Cyrillic. and chased with alternating stylised foliate lobes, the sides Estimate: £12,000.00 - £18,000.00 engraved with initials “Ya.M― in Cyrillic and dated “1904–1914― supported on tall stem and spreading foot, domed cover similarly decorated, angel-shaped finial. Lot: 541 Estimate: £6,000.00 - £8,000.00 *A PARCEL-GILT AND NIELLO BOWL WITH A LADLE MARK OF SAZIKOV, MOSCOW, 1866, 84 STANDARD Diameter of the bowl 14.5 cm, length of the ladle 15.6 cm. "
Circular on Lot: 536 a raised spreading foot, the sides nielloed with alternating oval A SILVER SAMOVAR MARK OF SAZIKOV WITH THE reserves containing Arabic inscriptions and leaf scroll roundels IMPERIAL WARRANT, MOSCOW, 1846, 84 STANDARD within strapwork borders, the ladle similarly decorated." Height 47.5 cm.
Of rectangular form with canted corners, Estimate: £8,000.00 - £12,000.00 with two applied reeded wooden handles and detachable cover, the right side engraved with Cyrillic initials KN beneath the nobleman’s crown, faceted spout issuing from a rocaille Lot: 542 cartouche with a shell-shaped wooden handle, on four scroll A SILVER-GILT AND NIELLO TEA SET ILLEGIBLE feet; sold together with a silver teapot. MAKER’S MARK AND MARK OF PAVEL OVCHINNIKOV, Estimate: £30,000.00 - £50,000.00 MOSCOW, 1869–1871, 84 STANDARD Diameter of the tray 31 cm, height of the coffee pot 14.5 cm, of the teapot 12 cm, of the milk jug 7.5 cm. "
Provenance: Anonymous sale; Lot: 537 Christie’s Geneva, 13 November 1995, lot 209.

*A LARGE PARCEL-GILT TROMPE L'OEIL CIGAR BOX Comprising: a circular tray, coffee pot, teapot, sugar bowl, milk MAKER’S MARK OF JOHAN OLSONIUS, ST. jug, two tea spoons, sugar tongs and tea strainer; coffee and PETERSBURG, 1885, 84 STANDARD 22.5 by 13 cm. tea pot with hinged covers and ivory insulators, nielloed with the
Rectangular, the hinged cover and sides engraved to views of the Kremlin to one side and blank roundel to the other, emulate wood and tobacco box bands, gilt interior. within band of scrolls and geometric designs on stippled Estimate: £12,000.00 - £18,000.00 ground, the tray with dedication engraving in Cyrillic “To V.A. Marzden /From A. and G., the sons of Ivan Khludov, Moscow, 16 April 1872―, in original fitted box." Lot: 538 Estimate: £15,000.00 - £20,000.00 *A SILVER TEA SET MAKERS’ MARKS N.K. IN CYRILLIC, AND S.W. IN LATIN, ST. PETERSBURG, 1894–1895, 84 STANDARD, RETAILED BY VLADIMIROV Height of the Lot: 543 coffee pot 14.5 cm, of the teapot 11.5 cm, of the milk jug 8 cm, *TWO SILVER-GILT AND NIELLO SERVING SPOONS diameter of the sugar bowl 11.5 cm.
Comprising: a hinge- MAKER’S MARK OF VASILY SEMENOV, MOSCOW, 1869, lidded coffee pot, hinge-lidded teapot, milk jug, swing-handled 84 STANDARD Length 23 cm.
Circular bowls finely sugar bowl with horn insulators and associated sugar scoop, all nielloed with views of the Moscow Kremlin and St. Basil’s engraved with a baronet’s crown with a goat facing left; scoop Cathedral, flat handles centred with a roundel containing the with spurious Faberge marks; held in a fitted case. monogram “NB― in Cyrillic and surrounded by scrolls. Estimate: £4,000.00 - £6,000.00 Estimate: £3,000.00 - £5,000.00

Lot: 539 Lot: 544 TWO SILVER-GILT PLATES FROM THE ORLOFF SERVICE A FABERGÉ SILVER TRAY MARK OF FABERGÉ UNDER THE MAKER’S MARK OF NICHOLLS AND PLINCKE, ST. IMPERIAL WARRANT, MOSCOW, 1908–1917, 84 PETERSBURG, 1859, 84 STANDARD, INVENTORY STANDARD, SCRATCHED INVENTORY NUMBER 40525 NUMBERS 343 AND 339 Diameter 29.5 cm.
Of shaped Length 36.5 cm.
Oval, the borders chased with palmettes, circular form, rims chased with berried laurel band, borders the handles mounted with griffins.

46 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

Estimate: £7,000.00 - £9,000.00 thumbpiece set with a cabochon stone, gilt interior.

Vladimir Sarnavsky was captain of the cruiser Pamyat Merkuriya (1902), the battleship Tri Svyatitelya (1903) and the Lot: 545 cruiser Pallada (1904). He was the chief commander of the *A FABERGÉ SILVER PRESENTATION KOVSH MARK OF Sevastopol port and temporary Governor-General and head of FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, the garrison of Sevastopol (1911–1913)." 1908–1917, 88 STANDARD, SCRATCHED INVENTORY Estimate: £2,500.00 - £3,000.00 NUMBER 23464 Length 32.5 cm.
Of traditional form with raised prow and handle, the bowl repoussé with a circular reserve centering an Imperial double-headed eagle within laurel Lot: 551 border, the sides and the prow set with possibly citrines or A FABERGÉ GOLD-MOUNTED AND GUILLOCHÉ ENAMEL smoky quartz within scrolling foliage, the fleur-de-lys flat handle BELT BUCKLE MARK OF FABERGÉ, MAKER’S MARK OF similarly decorated and centred with a shield-shape cartouche, HENRIK WIGSTRÖM, ST. PETERSBURG, 1908–1917, on four acorn feet. SCRATCHED INVENTORY NUMBER 17131 Height 6.5 cm. Estimate: £25,000.00 - £35,000.00 "
Oval, the surface of translucent salmon-pink over wavy engine- turning within chased borders." Estimate: £4,000.00 - £6,000.00 Lot: 546 A SET OF FABERGÉ SILVER FLATWARE MARK OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, Lot: 552 1908–1917, 84 STANDARD Length of a knife 22 cm, of a *A FABERGÉ GOLD-MOUNTED AND GUILLOCHÉ ENAMEL fork 21 cm.
Comprising eleven fish forks and eleven fish BELT BUCKLE MARK OF FABERGÉ BENEATH THE knives, each handle cast with Trophies of Plenty. IMPERIAL WARRANT, MOSCOW, PRE-1899, 88 STANDARD, Estimate: £6,000.00 - £8,000.00 SCRATCHED INVENTORY NUMBER 6346 (?) Height 7 cm.
Rounded rectangular form, the surface enamelled in sky- blue over wavy engine turning within plain gold borders. Lot: 547 Estimate: £4,000.00 - £6,000.00 A FABERGÉ CUT-GLASS SILVER-MOUNTED VASE MARKS OF FABERGÉ BENEATH THE IMPERIAL WARRANT, MOSCOW, 1908–1917, 84 STANDARD, SCRATCHED Lot: 553 INVENTORY NUMBER 34226 Height 18 cm.
Baluster *A FABERGÉ SILVER-GILT, GOLD, ENAMEL AND PEARL form, the colourless glass body cut with star and diamond BELT BUCKLE MARK OF FABERGÉ, MAKER’S MARK OF patterns, the neck mount chased with ribbon-tied laurel band. HENRICK WIGSTRÖM, ST. PETERSBURG, 1908–1917, 56 Estimate: £7,000.00 - £9,000.00 AND 88 STANDARD, SCRATCHED INVENTORY NUMBER 18971 Height 6 cm.
Of bowed circular form, the surface painted with opaque white enamel with horizontal gold double- Lot: 548 lines, the inner and outer rims bordered with gold-mounted *A GOLD PRESENTATION CIGARETTE CASE MARK OF seed pearls. MOROZOV BENEATH THE IMPERIAL WARRANT, Estimate: £5,000.00 - £7,000.00 MAKER’S MARK NP IN CYRILLIC, ST PETERSBURG, 1908–1917, 56 STANDARD 6 by 9 cm. "
Rounded, rectangular form, reeded surface overall, the lid with a diamond- Lot: 554 set Imperial eagle, thumbpiece with a cabochon sapphire." *A FABERGÉ HARDSTONE, GOLD AND DIAMOND-SET Estimate: £7,000.00 - £10,000.00 CIGARETTE HOLDER MAKER’S MARK OF ERIK KOLLIN, ST. PETERSBURG, CIRCA 1900, 56 STANDARD, SCRATCHED INVENTORY NUMBER 6694 Length 7.5 cm. Lot: 549
Gold ribbed cylindrical barrel decorated with a band of *A FABERGÉ GOLD CIGARETTE CASE MAKER’S MARK diamonds set to a carved nephrite stem. OF AUGUST HOLSTRÖM, ST PETERSBURG, LATE 19TH Estimate: £6,000.00 - £8,000.00 CENTURY, 56 STANDARD 8 by 9 cm.
Rounded rectangular form, plain surface, cabochon sapphire thumbpiece, the interior of the lid with the dedication “Uvazhaemomu Lot: 555 Direktoru-college ot sosluzhivtsev “Parolavalya― 25-I-17 g. *TWO FABERGÉ MINIATURE PURPURINE AND GOLD EGG Petrograd― in Cyrillic inside. PENDANTS MAKER’S MARKS OF ERIK KOLLIN, ST. Estimate: £5,000.00 - £7,000.00 PETERSBURG, CIRCA 1900 Height 1.5 cm each (excluding suspension loops).
First, imitating an acorn with purpurine body surmounted with twisted wire cap; second, surmounted Lot: 550 with a Russian Officer’s Parade helmet in silver with A SILVER PRESENTATION CIGARETTE CASE WITH A translucent red enamel detail. MONOGRAM OF THE ADMIRAL VLADIMIR SARNAVSKY Estimate: £5,000.00 - £7,000.00 MAKER’S MARK OF VASILY KUBAREV IN CYRILLIC, MOSCOW, 1908–1917, 84 STANDARD 11 by 8.5 cm. "
The lid decorated with applied gold anchor and a two- Lot: 556 colour gold monogram VS in Cyrillic for Vladimir Sarnavsky, the *THREE GOLD AND GUILLOCHÉ ENAMEL MINIATURE back of the case decorated with gold Roman numeral X and EASTER EGG PENDANTS RED AND GREEN WITH dates 1904 and 1914, with the engraved four signatures, the MAKER’S MARK OF FEODOR AFANASSIEV, ST.

47 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

PETERSBURG, YELLOW WITH MAKER’S MARK OF Estimate: £6,000.00 - £8,000.00 ANDREI ADLER, ST. PETERSBURG, ALL EARLY 20TH CENTURY, 56 STANDARD Height yellow and red 2 cm each, green 1.5 cm (including suspension loops).
The first Lot: 561 enamelled in translucent strawberry red and applied with a *A PINK QUARTZ BULLDOG PROBABLY FABERGÉ, LATE diamond-set decoration, the other two in translucent yellow- 19TH OR EARLY 20TH CENTURY Height 7 cm. ochre and green.
Realistically carved in a seated position, cropped ears, Estimate: £5,000.00 - £7,000.00 eyes set with diamonds. Estimate: £10,000.00 - £15,000.00 Lot: 557 *A FABERGÉ NEPHRITE AND TWO-COLOUR GOLD PAPER Lot: 562 KNIFE MAKER’S MARK OF THEODOR RINGE, ST. A BOWENITE MODEL OF AN ELEPHANT PROBABLY PETERSBURG, CIRCA 1890, 56 STANDARD, WITH FABERGÉ, LATE 19TH OR EARLY 20TH CENTURY length PARTIALLY ERASED SCRATCHED INVENTORY NUMBER 3.5 cm. "
Provenance: Anonymous sale; Fabergé, Russian 4_ _4 Length 19.5 cm. "
Provenance: Anonymous sale; Works of Art and Objects of Vertu, Sotheby's New York, 21 Imperial and Post-Revolutionary Russian Art and Icons, June 1994, lot 203.

Realistically carved, the eyes set Christie’s London, 17 December 1998, lot 257.

The with cabochon rubies." handle of plain rounded form, the tapering ribbed blade with Estimate: £4,000.00 - £6,000.00 chased laurel leaf and reeded collar." Estimate: £4,000.00 - £6,000.00 Lot: 563 A FABERGÉ WOODEN SILVER-MOUNTED PHOTOGRAPH Lot: 558 FRAME MARK OF FABERGÉ, MAKER’S MARK OF ANDERS *A FABERGÉ GOLD BOOKMARK AND LETTER OPENER NEVALAINEN, ST. PETERSBURG, 1908–1917, 88 MAKER’S MARK OF ERIC KOLLIN, ST PETERSBURG, STANDARD 20.5 by 19 cm.
Upright rectangular form, LATE 19TH CENTURY, 56 STANDARD Length 6 cm. with crossed ribbon-tied, reeded border, applied with a bow-tied
Mounted with a silver coin cast with a profile portrait of ribbon beneath the Imperial crown, wooden strut. Catherine the Great, the terminal set with a large pearl. Estimate: £8,000.00 - £12,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 564 Lot: 559 A FABERGÉ WOODEN PHOTOGRAPH SILVER-MOUNTED A FABERGÉ ROCK CRYSTAL, GOLD, JEWELLED AND PHOTOGRAPH FRAME MAKER’S MARK OF ANDERS GUILLOCHÉ ENAMEL MINIATURE KOVSH MAKER’S MARKNEVALAINEN, ST. PETERSBURG, 1899–1908, 88 OF MIKHAIL PERCHIN, ST. PETERSBURG, 1899–1903 STANDARD, SCRATCHED INVENTORY NUMBER 7218 9.5 Length 6 cm. "
Provenance: Anonymous sale; Imperial by 7 cm.
Oval, the wood frame with conforming silver-gilt and Royal Presents, Sotheby’s London, 24 November 2008, beaded bezel and plain border, mounted with floral swags lot 47.

Exhibited: Fabergé Hofjuwelier de Zaren, issuing from a tied-ribbon surmount, wooden back and silver Kunsthalle der Hypo-Kulturstiftung, Munich, 5 December scroll strut. 1986–22 February 1987.
Fabergé-Cartier Rivalen an Estimate: £6,000.00 - £8,000.00 Zarenhof, Kunsthalle der Hypo-Kulturstiftung, Munich, 28 November 2003–12 April 2004.
Carl Fabergé and Masters of Stone Carving. Russian Gems, Kremlin, Moscow, 2011.

Literature: G. von Habsburg, Fabergé Lot: 565 *A SILVER AND GUILLOCHÉ ENAMEL PHOTO FRAME Hofjuwelier de Zaren, Munich, 1986, pp.162–163, cat. no. 210, MAKER’S MARK OF ANDREI GURIANOV, ST illustrated.
G. von Habsburg, Fabergé-Cartier Rivalen an PETERSBURG, 1908–1917, 84 STANDARD Height 7 cm. Zarenhof, Munich, 2003, p.152, cat. no. 19, illustrated.
"
Oval form enamelled in translucent white over a wave Carl Fabergé and Masters of Stone Carving. Russian Gems, pattern guilloché ground, set in a silver frame with a ribbon-tie Moscow, 2011, cat. no. 088, illustrated.

The surmount, with beaded silver bezel, wooden back with scrolled hardstone body of traditional form with slightly raised prow, the strut.

Andrei Gurianov (Gorianov) specialised in handle enamelled in apple green over engine-turned ground modest circular enamelled silver photograph frames and other and set with red gems." small articles. His initials never appear in conjunction with a Estimate: £20,000.00 - £25,000.00 Fabergé hallmark but it is known that he was an occasional supplier to the firm." Estimate: £5,000.00 - £7,000.00 Lot: 560 *A FABERGÉ SILVER-GILT AND GUILLOCHÉ ENAMEL KOVSH MAKER’S MARK OF ANDERS NEVALAINEN, ST. PETERSBURG, 1899–1908, 88 STANDARD, SCARTCHED Lot: 566 A FABERGÉ SILVER AND GUILLOCHÉ ENAMEL INVENTORY NUMBER 14528 Length 8 cm. PHOTOGRAPH FRAME MAKER’S MARK OF ANDERS "
Provenance: Anonymous sale; The Russian Sale, NEVALAINEN, ST. PETERSBURG, 1899–1908, 88 Sotheby’s London, 19 May 2005, lot 210.

Of STANDARD, SCRATCHED INVENTORY NUMBER 11972 spherical form with scroll handle, the body enamelled in Height 8 cm.
Heart-shaped with beaded bezel, the translucent powder-blue over concentric wavy engine-turning, rounded surface enamelled in translucent salmon-pink over on three ball feet." wavy sunburst engine-turned ground, surmounted with a bow

48 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com and tied ribbons, silver back and strut. A FABERGÉ SILVER-GILT AND GUILLOCHÉ ENAMEL Estimate: £15,000.00 - £20,000.00 THERMOMETER "MARK OF FABERGÉ, MAKER’S MARK OF VICTOR AARNE, ST. PETERSBURG, 88 STANDARD, SCRATCHED INVENTORY NUMBER 3721 " Height 21 cm. Lot: 567
Upright rectangular, with projecting top corners, the *A SILVER-GILT AND ENAMEL PHOTOGRAPH FRAME ST surface enamelled in translucent blue over banded wavy PETERSBURG, 1908–1917, 88 STANDARD Height 8 cm, engine-turning, ribbon-ties surmount suspending laurel diameter 6.5 cm.
Circular form enamelled in translucent garlands, chased pellet and mullet border, the white glass panel pink over a wave-pattern engine-turned ground, with crossed with Réaumur scale in black within beaded bezel, on two ribbon-tied, reeded border, applied with a bow-tied ribbon gadrooned feet, ivory back with scroll strut. surmount, beaded silver bezel, wooden back with silver scroll Estimate: £30,000.00 - £50,000.00 strut. Estimate: £3,000.00 - £5,000.00 Lot: 573 *A SILVER-GILT GUILLOCHÉ ENAMEL CIGARETTE CASE Lot: 568 1908–1917, 88 STANDARD 6 by 9 cm.
Rectangular form A FABERGÉ TWO-COLOURED ENAMEL AND SILVER-GILT enamelled in translucent cerulean blue over engine-turned PHOTOGRAPH FRAME "MARK OF FABERGÉ, MAKER’S wave pattern, the edges silver-gilt, thumbpiece set with a MARK OF MIKHAIL PERCHIN, ST. PETERSBURG, cabochon sapphire, gilt interior. 1899–1903, 88 STANDARD, SCRATCHED INVENTORY Estimate: £5,000.00 - £7,000.00 NUMBER 7728 " 7 by 7 cm. "
Provenance: Anonymous sale; Christie’s Geneva, 16 May 1990, lot 82.
The Kazan Collection, Christie’s New York, 15 April 1997, lot 59.
Lot: 574 Russian Works of Art and Important Silver and Gold, Christie’s*A SILVER-GILT AND GUILLOCHÉ ENAMEL CIGARETTE London, 29 November 2006, lot 113.

Square, the CASE MAKER’S MARK OF 3RD ARTEL IN CYRILLIC, ST circular aperture with a reeded bezel set in oyster white PETERSBURG, 1908–1917, 88 STANDARD 5.5 by 9 cm. guilloché enamel over wavy engine-turned ground within a
Rectangular form, enamelled in translucent green over square border of chased acanthus, the outer frame decorated engine-turned wave pattern, with silver-gilt edges, diamond-set in salmon-pink over a moiré ground within reeded rims, ivory thumbpiece, gilt interior. back and silver-gilt strut." Estimate: £6,000.00 - £8,000.00 Estimate: £10,000.00 - £15,000.00

Lot: 575 Lot: 569 *A SILVER-GILT AND GUILLOCHÉ ENAMEL CIGARETTE *A FABERGÉ GOLD-MOUNTED GUILLOCHÉ ENAMEL CASE MAKER’S MARK OF IVAN BRITZIN, PARASOL HANDLE MAKER’S MARK OF MIKHAIL ST.PETERSBURG, 1908–1917, 88 STANDARD 4 by 8.5 cm. PERKHIN, CIRCA 1900, ST PETERSBURG, 56 STANDARD,
Rectangular, enamelled in pale blue over wavy engine- SCRATCHED INVENTORY NUMBER 6565 Height 4 cm. turning, diamond-set thumbpiece.
Tapering form enamelled in translucent deep blue over a Estimate: £5,000.00 - £7,000.00 wavy guilloché ground, decorated with two gold laurel-chased rims, set with a pearl. Estimate: £6,000.00 - £8,000.00 Lot: 576 *A SILVER-GILT AND CLOISSONÉ ENAMEL CIGARETTE CASE MAKER’S MARK OF 20TH MOSCOW ARTEL, Lot: 570 MOSCOW, 1908–1917 7 by 11 cm.
Rectangular with *A ROCK CRYSTAL TWO-COLOUR GOLD AND ENAMEL rounded corners, the surface decorated with shaded SEAL MAKER’S MARK OF IVAN BRITZIN, ST. polychrome exotic foliage and mythical fish, green thumbpiece. PETERSBURG, 1908–1918, 56 AND 84 STANDARD Height Estimate: £6,000.00 - £8,000.00 5.5 cm.
Tapering cylindrical rock crystal handle mounted with a band of crossed-tied laurel, the spreading foot in blue guilloché enamel over wavy engine-turning within beaded and Lot: 577 acanthus tip borders, the gold matrix engraved with initials *A SILVER-GILT AND CLOISONNÉ ENAMEL BOX MAKER’S ‘EAI’. MARK G.S. IN CYRILLIC, MOSCOW, 1908–1914, 84 Estimate: £3,000.00 - £5,000.00 STANDARD 11 by 9 cm.
Rectangular, the lid and sides enamelled with shaded polychrome floral and foliate motifs on stippled ground within geometric borders, the interior of the lid Lot: 571 with the dedication “Fröhlichen Pfingsten 1914― beneath Latin A FABERGÉ TWO-COLOUR GOLD, SILVER-GILT AND initials “GM―. GUILLOCHÉ ENAMEL PILL BOX MAKER’S MARK OF Estimate: £6,000.00 - £8,000.00 HENRIK WIGSTRÖM, ST. PETERSBURG, AFTER 1903, 56 AND 88 STANDARD Diameter 3.5 cm.
Circular, enamelled in sky-blue over wavy engine-turning, the hinged Lot: 578 cover with laurel surround band inset with a cabochon sapphire. A SILVER AND PICTORIAL ENAMEL CIGARETTE CASE MAKER’S MARK OF NIKOLAI TARABROV, MOSCOW, Estimate: £5,000.00 - £7,000.00 1908–1917, 88 STANDARD 8.5 by 11.5 cm.
The lid cast Lot: 572 with stylised flowers on a blue ground and a band of marching

49 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com polar bears on a pale purple ground, the upper register painted A SILVER AND CHAMPLEVÉ ENAMEL BOWL MARK OF en plein with a scene depicting a fortune-teller with two young IVAN KHLEBNIKOV, ST PETERSBURG, 1870, 88 STANDARD women, with gemstone thumbpiece. Diameter 6 cm.
The bulbous body delicately painted with Estimate: £5,000.00 - £7,000.00 sprigs of pink roses. Estimate: £2,000.00 - £3,000.00

Lot: 579 *A LARGE SILVER-GILT AND CLOISONNÉ ENAMEL KOVSH Lot: 584 MAKER’S MARK OF IVAN SALTYKOV, MOSCOW, CIRCA *A SILVER-GILT AND CLOISONNÉ ENAMEL TEA GLASS 1890, 84 STANDARD, SCRATCHED INVENTORY NUMBER HOLDER MAKER’S MARK OF IVAN KHLEBNIKOV WITH 6783 Length 28.5 cm. "
Of typical form with slightly raised THE IMPERIAL WARRANT, MOSCOW, 1908–1917, 88 and curved prow, the body decorated with stylised foliage in STANDARD Height 10 cm. "
Cylindrical on a raised shaded polychrome enamels on stippled ground, within sky- circular foot, the body decorated with stylised foliage in shaded blue beaded border, the handle engraved “A. Nikisch/ 7 mars/ polychrome enamels and geometric motifs and centred with Moscou―.

Artúr Nikisch (1855–1922) was a cartouche engraved with Latin initials ‘PMJ’, the handle Hungarian conductor, a founder of the modern school of similarly decorated, the foot with a purple pellet border on sea conducting and one of the most well-known and influential foam blue ground." maestros of his time. He became the musical director of the Estimate: £6,000.00 - £8,000.00 Budapest Opera in 1893 and the leading conductor of the Leipzig Gewandhaus Orchestra, and the Berlin Philarmonic Orchestra two years later. He toured Europe with the Berlin Lot: 585 Orchestra and performed in Moscow. Artúr Nikisch was A SILVER AND CHAMPLEVÉ ENAMEL CASKET MAKER’S acquainted with the musicians of the Belyayev circle and visited MARK OF PAVEL OVCHINNIKOV WITH THE IMPERIAL “Belyayev Fridays― in St Petersburg, where, in 1888, he WARRANT, MOSCOW, CIRCA 1876, 91 STANDARD Height performed Tchaikovsky’s Symphony No. 5 with triumph. He 11 cm. "
Rectangular, the body enamelled in the Old became most famous as an outstanding interpreter of Romantic Russian style in red, blue and green, the centre designed as a music." towel, the domed cover with a ball finial, the underside resting Estimate: £15,000.00 - £20,000.00 on four bun feet, with later soviet control marks." Estimate: £10,000.00 - £15,000.00 Lot: 580 A PAIR OF SMALL SILVER AND CLOISONNÉ ENAMEL Lot: 586 KOVSHS MARK OF VASILY GRACHEV, MAKER’S MARK *A VERY FINE AND RARE PRESENTATION SILVER-GILT AP IN CYRILLIC, ST PETERSBURG, LATE 19TH CENTURY, AND PLIQUE-À-JOUR ENAMEL SET PAVEL OVCHINNIKOV, 88 STANDARD length 10 cm each. "
Of typical form, the MOSCOW, CIRCA 1895, HAND ENDGRAVED SIGNATURE body decorated with a band of scrolling foliage in opaque blue, IN CYRILLIC ON A SMALLER KOVSH Height of the beaker 12 green and translucent red enamel on powder blue ground, cm, length of the larger kovsh 20 cm, of a smaller 11.5 cm similarly decorated flat fleur-de-lys handle centred with a each. "
Comprising: a large beaker of tapering form, the roundel." body decorated with panels of stylised foliage on blue ground Estimate: £3,000.00 - £5,000.00 within white beaded borders alternating with panels depicting brightly-coloured tropical birds and a Chinese man dressed in yellow robes, twisted cable rims, supported on domed circular Lot: 581 foot; a large kovsh with shallow bowl on raised foot, raised prow *A SILVER-GILT AND CLOISONNÉ ENAMEL TWO-HANDLED terminating with cone finial with flat shaped fleur-de-lys handle, BOWL MAKER’S MARK OF ANTIP KUZMICHEV, enamelled with panels of birds, butterflies and foliage within MOSCOW, 1885, 84 STANDARD Height 12.5 cm. "
The blue-beaded borders, twisted cable rim; two small kovshi of bulbous body with key-shaped handles divided by a central typical form with circular bowls on raised foot and palmette- band of stylised flower heads and foliage in white, blues, shaped flat handles, one decorated with stylised flower heads greens and red within beaded borders, the upper section and and scrolling foliage, the other with alternating turquoise and domed cover similarly decorated, on spreading foot enamelled blue bean-shaped panels enamelled with stylised foliage within with geometric motifs." blue-beaded border and twisted cable rim, with a hand Estimate: £4,000.00 - £6,000.00 engraved signature in Cyrillic “Rab. P. Ovchinnikova synovia― under base; held in original case.

Plique-à -jour enamel – one of the most elegant and difficult enamelling Lot: 582 techniques – became very popular in Russia towards the end *A SILVER-GILT AND CLOISONNÉ ENAMEL CUP AND of the 19th century. Fine wares and decorative objects SAUCER MAKER’S MARK E.R IN CYRILLIC, MOSCOW, executed in plique-à -jour enamel are considered to be the 1899–1908, 84 STANDARD Height of cup 7 cm, diameter of pinnacle of craftsmanship as only a handful of jewellers in the the saucer 12.5 cm. "
The lobed cup with key-form handle world could work in this technique, amongst them, Pavel and saucer enamelled throughout with polychrome shaded Ovchinnikov.

The report from the All-Russia stylised foliage on alternating light pink, green and blue Exhibition held in Moscow in 1882, credited Pavel Ovchinnikov grounds, within white beaded borders." with the revival of this long-lost technique. The master Estimate: £4,000.00 - £6,000.00 craftsmen from his firm were among the first to start producing objects with plique-Ã -jour enamel. The production of plique-Ã - jour is technically very challenging and time-consuming, even the top masters would need to carry out several experiments Lot: 583 before achieving the desired effect and colour. The enameller

50 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com had to be not only an accomplished painter, but also a superb *A METAL-MOUNTED WOODEN IMPERIAL PRESENTATION technician. Very often due to technical issues, plique-à -jour BREAD PLATE AND SALT CUP EARLY 20TH CENTURY enamel objects were destroyed at the very last stages of Diameter of the plate 52 cm, height of the cup 6.5 cm. production, which makes them even more rare and "
Provenance: A gift to the grandfather of the present desirable.

Although many shapes of types of owner in 1930s.
Thence by descent.

Circular, objects could be executed in plique-à -jour, the Russian masters carved with Neo-Byzantine motifs, the centre applied with a favoured the traditional forms of the kovsh, beakers, spoons monogram of Nicholas II and the Imperial Crown, with the and boxes etc. Plique-à -jour enamels have always been very mounts on the borders reading “Tverskoi Verkh Volzhsk. expensive and were comparable to gems. Notwithstanding their Vagonnyi Zav.― in Cyrillic and dated “21.IV.1915―, with apparent fragility, the enamel objects (which were fired at high yellow handwritten Cyrillic letters and number “A.D-M 784― on temperatures) will keep their rich and vibrant colours for the reverse; cup carved with a crucifix and the inscription centuries.

The variety of forms, richness of colours “Bozhe Tsarya Khrani― in Cyrillic, with handwritten red together with the excellent condition of the set, which has been number “360― and yellow Cyrillic letters and number “A.D.M. kept in its original presentation box, make this a unique and 25608― under base.

This elaborately carved plate rare example of the craftsmanship of the enamellers working and salt were commissioned by the Tver wagon-building factory for Pavel Ovchinnikov." to be presented to Nicholas II on the occasion of his visit to Estimate: £110,000.00 - £130,000.00 Tver on the 21st April, 1915. According to traditional Russian hospitality, a bread and salt plate was used to greet guests, whilst the spectacular quality of the carving, as well as the Lot: 587 dedicatory inscription confirm the Imperial connection. Although *A FABERGÉ SILVER-GILT AND CLOISONNÉ ENAMEL CUPNicholas II does not mention the Tver wagon-building factory in MAKER’S MARK OF FEODOR RÃœCKERT, MOSCOW, his diary, he does describe his visit to an assembly of the 1899–1908, 84 STANDARD, SCRATCHED INVENTORY nobility and it is reasonable to assume that the plate was NUMBER 20466 Height 4.5 cm. "
Tapering form with presented to him there." flaring rim and foot, the upper body decorated in shaded Estimate: £4,000.00 - £6,000.00 polychrome enamels with a continuous band of scrolling flowers on a cream ground, the lower body with alternating panels of stylised foliage on blue and black grounds, pierced Lot: 592 handle with geometric motifs enamelled in blue, green and A RARE CERAMIC CHALICE STROGANOV SCHOOL, black." MOSCOW, LATE 19TH CENTURY Diameter 10.5, height 11 Estimate: £6,000.00 - £8,000.00 cm. "
Related literature: For similar works, see Exhibition catalogue, L’Art russe dans la seconde moitié du XIXe siècle: en quête d’identité, Musée d’Orsay, Paris, 2005, cat. no. 516. Lot: 588

Tapering cylindrical bowl with moulded scrolling *A FABERGÉ SILVER-GILT AND CLOISONNÉ ENAMEL foliage painted in blue, green and yellow enamels with gold KOVSH MARK OF FABERGÉ BENEATH THE IMPERIAL outlines on white ground, circular domed gadrooned foot WARRANT, MOSCOW, 1899–1908, SCRATCHED painted in gold and with a band of moulded saying in Cyrillic INVENTORY NUMBER 23078, PROBABLY FEODOR “Kto p’iet, tomu vo zdravie―.

The history of RÃœCKERT Length 11.5 cm. "
Of typical form, the prow and ceramic production at the Imperial Stroganov Arts School dates pierced handle formed and painted in polychrome enamels as a back to its founding in 1825. Under the artistic guidance of bird’s head and tail, the body with foliate scrolls and Sergey Stroganov, the painting school ran classes specialising varicoloured flower heads on cream and teal- coloured ground, in the modelling and decoration of objects made from clay and with French import marks." later opened porcelain painting classes. Many of the graduates Estimate: £14,000.00 - £16,000.00 of Stroganov Arts School would go on to have careers with the major porcelain factories in Russia.

In 1867, a ceramic workshop was opened and led by the famous academician Mikhail Vasiliev for almost thirty years. During this Lot: 589 period, the masters favoured works in the Russian style, *A SILVER-GILT AND CLOISONNÉ ENAMEL CUP MAKER’S drawing inspiration from tableware of the 12–17th centuries. MARK OF FEODOR RÜCKERT, MOSCOW, 1899–1909, 84 However, the students' work was limited to making drawings STANDARD Height 5.5 cm. "
Of spherical form on raised and designs as the actual production was the prerogative of circular spreading foot, the olive-green body decorated with the professional ceramicists.

The present lot is a rare stylised floral panels in shaded polychrome enamels on a example of this period of Stroganov ceramics. An analogous cream ground within blue borders, the foot with a band of red chalice from the collection of the State Historical Museum was enamel beads, twisted wire rim." exhibited at the Musée d’Orsay in 2005." Estimate: £8,000.00 - £12,000.00 Estimate: £5,000.00 - £7,000.00

Lot: 590 Lot: 593 *A SET OF TWELVE SILVER-GILT AND CLOISONNÉ *A SOVIET PORCELAIN VASE "FLOWERS" "DESIGN BY ENAMEL TEA SPOONS MAKER’S MARK OF FEODOR ALEXEI VOROBIEVSKY, STATE PORCELAIN RÜCKERT, MOSCOW, 1908–1917, 88 STANDARD Length 12 MANUFACTORY,DATED 1937 " Height 40 cm. "
Bulbous cm. "
The bowls decorated in polychrome enamels with body, painted with stylized blue and purple flowers on white stylised flowers on olive green ground, the flat shaped handles background, with gilt rim; signed and dated under base “A. similarly enamelled on both sides; held in a fitted box." Vorobievsky. Dekabr 1937 g.― and titled “Tsvety― in Estimate: £10,000.00 - £15,000.00 Cyrillic.

Alexei Vorobievsky (1906–1992) was a Lot: 591 Soviet painter on porcelain, who was recognized in his own

51 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com lifetime as “a poet on porcelain―.Vorobievsky began his BRASS AND CLOISSONÉ ENAMEL FRAME NORTHERN career in 1926 at the State Porcelain Manufactory, where for RUSSIA, OLD BELIEVERS' WORKSHOP, MID 19TH the first two years he worked under the creative leadership of CENTURY 7 by 5.5 cm. Sergei Chekhonin. Vorobievsky considered Chekhonin and Estimate: £3,000.00 - £5,000.00 Ivan Mikhailov (head of the art school for talented orphans in Pavlovsk) as his two teachers. Vorobievsky was a very talented artist and in the first year at the State Manufactory, two of his Lot: 598 vases were recognised at an International exhibition in Milan. A ROUNDEL OF THE HOLY MARTYR, ST ANDREW OLD His creations were very popular and were acquired by BELIEVERS' WORKSHOP, MID 19TH CENTURY Diameter museums, public institutions and private collections. The 9.5 cm. Hermitage alone has over 1,500 of his works.

Estimate: £2,000.00 - £3,000.00 Interestingly, the artist only represented two seasons – winter and spring – he never painted summer and autumn. His dream was to become a theatre designer, and this desire is reflected in his art: his style can be characterized as vivid, elegant and Lot: 599 THE MOTHER OF GOD "ALL CREATION REJOICES IN highly decorative. Vorobievsky never depicted reality – his THEE" OLD BELIEVERS' WORKSHOP, FIRST HALF OF THE flowers do not have any analogy to nature and he disliked 19TH CENTURY 31 by 26 cm. symmetry, further more his decorations always vary, be it in Estimate: £5,000.00 - £7,000.00 terms of colour or shape. The present lot “Flowers― is a representative example of the artist’s floral designs and which demonstrates a certain naivity and harmony of depiction – the individual style Vorobievsky was famous for." Lot: 600 Estimate: £10,000.00 - £15,000.00 A MINIATURE ICON OF THE DECOLLATION OF ST JOHN THE BAPTIST OLD BELIEVERS' WORKSHOP, LATE 19TH CENTURY 13.5 by 12 cm. Lot: 594 Estimate: £3,000.00 - £5,000.00 *A SOVIET BROOCH "SUPREMATISM" AFTER A DESIGN BY NIKOLAI SUETIN, EXECUTED BY VARVARA RUKAVISHNIKOVA, DATED 1930 1.5 by 4.5 cm. Lot: 601 "
Rectangular form, with black and red Suprematist THE MOTHER OF GOD OF THE BURNING BUSH WITH composition, signed with artist’s monogram “VR― for BORDER SAINTS SERGEI AND TATIANA MSTERA, OLD Varvara Rukavishnikova and dated 1930, further inscribed “ris. BELIEVERS' WORKSHOP, MID 19TH CENTURY 31.5 by Suetin N.M― in Cyrillic.

After the Revolution, Soviet 26.5 cm. porcelain production became an important propaganda weapon Estimate: £15,000.00 - £20,000.00 and from the 1920s, the medium of porcelain attracted attention as never before.The arrival of the Suprematists to the Lomonosov Manufactory brought new trends to agitation Lot: 602 porcelain: the Revolution was now presented by abstract and A RARE ICON OF SOPHIA, HOLY WISDOM WITH THE geometrical figures in bold primary colors. The new approach ARCHANGELS AND APOSTLES MOSCOW, OLD often proved incongruous when used with existing porcelain BELIEVERS’ WORKSHOP, LATE 18TH CENTURY 13.5 by forms and the search for new, more suitable forms began. The 72 cm. "
Exhibited: Ikonen in Belgisch Particulier Bezit, present Suprematist brooch, painted by Varvara Centrum voor Kunst en Cultuur, Stad Gent, 10 June–15 Rukovishnikova after a design by Nikolai Suetin, is a rare August 1978.

Literature: Exhibition catalogue, example of this quest, as well as a fine representation of Ikonen in Belgisch Particulier Bezit, Centrum voor Kunst en Suetin’s sense of composition and the achievement of a Cultuur, Stad Gent, 10 June–15 August 1978, p. 42, no. 39, balanced relationship between practicality and avant-garde." listed" Estimate: £6,000.00 - £8,000.00 Estimate: £8,000.00 - £12,000.00

Lot: 595 Lot: 603 THREE SAINTS IN A CLOISONNÉ ENAMEL CARTOUCHE THE ARCHNAGEL MICHAEL "VOYEVODA" POMORYE, OLD FRAME OLD BELIEVERS' WORKSHOP, MID 19TH BELIEVERS' WORKSHOP, CIRCA 1800 31 by 26 cm. CENTURY 13.5 by 12 cm. Estimate: £6,500.00 - £8,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 604 Lot: 596 A LARGE ICON OF THE PROPHET MOSES YAROSLAVL, A WOODEN CROSS MOUNTED IN A COPPER AND ENAMEL LATE 18TH CENTURY 84.5 by 32.5 cm. FRAME NORTHERN RUSSIA, OLD BELIEVERS' Estimate: £7,500.00 - £10,000.00 WORKSHOP, MID 19TH CENTURY Height 14 cm ( includng loop). Estimate: £3,000.00 - £5,000.00 Lot: 605 A LARGE ICON OF THE PATRIARCH GERMOGEN MOSCOW, EARLY 20TH CENTURY 97 by 46.5 cm. Lot: 597 Estimate: £6,000.00 - £9,000.00 A MINIATURE WOODEN ICON OF ST NICHOLAS WITH A Lot: 606

52 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com

A FINE ICON OF THE "CLOUD" DORMITION PALEKH, God’ iconography).

The archangel’s golden wings CIRCA 1800 72.5 by 55 cm. "
This icon is a work of the and his white and gold raiment, combined with silver-gilt and highest quality by an outstanding master. It represents the most sparkling precious stones on his halo, create an exceptional developed version of a so-called “Cloud― Dormition. The and – in the literal sense – unearthly image of the heavenly apostles are depicted rapt in wonder at the bedside of the warrior." Mother of God and also in the upper part of the composition, Estimate: £20,000.00 - £25,000.00 flying-in on clouds towards Jerusalem from various lands. The first portrayal of this kind in Rus is encountered in an early 13th century icon from the Desyatinny Monastery Church of the Lot: 608 Nativity of the Mother of God near Novgorod (now in the State THE HEALING SAINTS COSMAS AND DAMIAN MOSCOW, Tretyakov Gallery). Following an ancient narrative source, the OLD BELIEVER'S WORKSHOP, LATE 19th CENTURY 27 by artist depicted Thomas with the other apostles, though 22.5 cm. according to a later recension, Thomas only arrived in Estimate: £2,500.00 - £3,000.00 Jerusalem after the Mother of God’s funeral. The Old Believers’ held on to this distinctive feature found in the ancient version, as represented on the icon here (Thomas is shown twice: on the extreme right standing by the bed of the Lot: 609 A STAUROTEK ICON OF THE CRUCIFIXION WITH A BRASS Mother of God and in the top right-hand corner, flying upon a BLESSING CROSS OLD BELIEVERS' WORKSHOP, LATE cloud).

Other depictions on the icon also reflect the 19TH CENTURY 36 by 31 cm. original ancient text: the composition includes Saint James of Estimate: £2,000.00 - £3,000.00 Jerusalem, the Lord’s brother (behind the Mother of God’s bed, holding a censer), Timothy of Edessa, Dionysius the Areopagite and Hierotheos of Athens (in the archways, in the third row), and also the wives and maidens of Jerusalem (in Lot: 610 the archways, right and left). The soul of the Mother of God is A LARGE ICON OF ST VASILY WITH SELECTED SAINTS depicted in the form of a swaddled baby in the arms of Christ; OLD BELIEVERS' WORKSHOP, LATE 19TH CENTURY 71.5 above, in the centre of the composition, is the Mother of God by 53.5 cm. seated on a throne in heavenly glory and being exalted by Estimate: £3,800.00 - £5,000.00 angels.

The energy of the composition is enhanced by miniature painting of the finest quality which conveys the spiritual animation of each character. Thanks to its immaculate Lot: 611 state of preservation, this historic artefact fully reflects the *THE NEW TESTAMENT TRINITY NORTHERN RUSSIA, conception of the artist and may rightfully be considered a CIRCA 1700 34 by 29 cm.
Label: Old label of the Art and genuine masterpiece of late Russian icon painting." Antiques Department of MosGosTorg, 1950s, on the reverse. Estimate: £40,000.00 - £50,000.00 Estimate: £10,000.00 - £15,000.00

Lot: 607 Lot: 612 THE ARCHANGEL MICHAEL WITH A SILVER-GILT FILIGREE CHRIST EMMANUEL CENTRAL RUSSIA, CIRCA 1600 WITH BASMA FRAME EARLY 20TH CENTURY, BASMA FRAME RESTORATION OF THE 19TH AND 20TH CENTURIES 33 by AFTER A DESIGN BY SERGEI VASHKOV, STAMPED WITH 25.5 cm. MAKER’S MARK OF KUZMA KONOV IN CYRILLIC, Estimate: £10,000.00 - £15,000.00 MOSCOW, 1908–1917, 84 STANDARD 13 by 10.5 cm. "
This small, exquisite image is a striking achievement of Russian Art Nouveau, giving full-blown expression to that Lot: 613 special early 20th century decorative art movement founded by *ALL CREATION REJOICES IN THEE WITH A SILVER-GILT the creative talent of Sergei Ivanovich Vashkov (1879–1914), OKLAD MOSCOW, FIRST HALF OF THE 18TH CENTURY artistic director at the illustrious firm of Olovyanishnikov. In this 33 by 27 cm. "
Related literature: For similar works, see icon, stylish design is combined with masterly realisation: the Ikony Yaroslavlya XIII – serediny XVII veka, Moscow, 2009, in open-work filigree oklad is by the leading jeweller, Kuzma 2 vol., p. 90, no. 127.
A. Rybakov, Vologodskaya Ivanovich Konov.

The archangel is depicted in full- icona. Tsentry khudozhestvennoi kultury zemli Vologodskoi face view, in loros garb, with a sceptre in his right hand and orb XIII–XVIII vekov, Moscow, 1995, no. 154, 156.

The in his left. This is the traditional iconography for archangels. icon is an illustration of the opening lines of the troparion of St The plaque on the sceptre is inscribed БГЪ [‘BG’], which John of Damascus in honour of the Mother of God: ‘O Thou helps connect the image to the name of the Archistrategos who art full of grace, the joy of every creature, the host of Michael (meaning in ancient Hebrew ‘Who is like God’). A angels and the race of man. O Holy Temple and Paradise of notable compositional detail is the white omophorion with the Word...’ At the centre of the complex, theologically rich crosses on it, draped across the archangel’s forearms. The composition is the image of the Mother of God and Child on a semantic nuance here lies not so much in the traditional throne, surrounded by the glory of heaven, and behind her the depiction of archangels – the only known example known with angelic host and temple against a background of the Garden of a white omophorion being in the roundels of the early 13th Paradise. In the bottom part of the composition are century icon ‘Great Panagia Mother of God (Yaroslavl Virgin representations of patriarchs, prophets, apostles, saints, Orant)’ at the State Tretyakov Gallery – but in the Art martyrs and holy people. This icon also includes several Nouveau style. For example, as the 19th century gave way to additional depictions that are rarely encountered. In the middle the 20th, there was popular demand for depictions of the single tier, on the same level as the Mother of God, are portrayals in figure of the Mother of God bearing her protecting veil (distinct the archways of King David holding a harp (left) and the Good from the standard ‘Protecting Veil of the Most Holy Mother of Thief with a cross (right). We find a similar addition of this

53 of 56 MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com composition in an icon of the second quarter of the 17th ground, to the left, whereas they usually witness the three century from the Yaroslavl Museum of Art and in an icon of the angels’ miraculous appearance from behind a refectory table early 18th century, from the Vologda Regional Museum. These or in front of it amongst the angels. One further peculiarity of two depictions are associated with the Mother of God being the composition is the contrived balance, i.e., the equal compared to a ‘holy temple’ (a similar prophetic symbolism isimportance of the three features in the middle ground: the found in the psalms of David) and as ‘paradise of the word’architectural ensemble, the vertical lines of the Oak of Mamre (cf. the Good Friday canticle: ‘Thou didst vouchsafe the wise and the high mountain with its yawning cavern. This device thief, O Lord, to be straightway in paradise’). A further – and further underlines the dogmatic meaning of the subject: the this time unique – addition to the composition are the Seven triune quality of the hypostases of the Holy Trinity.

Sleeping Youths of Ephesus. This independent subject The special features of the composition that have been noted replaces the youths (three or one in number) depicted on some are seldom encountered. For example, in the exhibition other icons, also on the bottom in the centre.

Also of catalogue ‘The Blessed Sergius of Radonezh and the image interest is the temple, depicted with Baroque architectural of the Holy Trinity in ancient Russian art’ (Moscow, 2013), this features (a building divided into two tiers, the facade with version of icon is not represented. There is however, a large decorative columns, pilasters, cartouches with swags, and (91 x 72 cm) icon which closely resembles the image cupolas to match ‘Ukrainian Baroque’). The Garden of described, from the Church of the Dormition by the Ferry, Paradise is also more specific than had traditionally been the Pskov, dating from the first half of the 17th century (now in the case: not with depictions of abstract flowers, but with trees of Pskov State Museum of Architectural History and Art, PKM- precise draughtsmanship, bearing paradisiacal apples. The 1416).

This monumental image of the Old Testament Garden of Paradise motif is continued in the artistic rendition of Trinity was made for one of the cathedrals dedicated to the the frame which has plant ornamentation in the form of a vine; Trinity in the Russian North. Its bright, festive colours and rare two of whose branches split from a single stem on the bottom iconographic peculiarities make it a memorable and historic border and climb the side borders to come together again, thus artefact of traditional icon- painting and which reflects a popular embracing the icon’s whole composition.

The icon art aesthetic." is notable for the great professional skill of its painting and the Estimate: £22,000.00 - £28,000.00 bringing together of ancient tradition with certain special, stylistic qualities of the Kremlin Armoury school to provide a splendid example of Muscovite icon painting of the Modern Lot: 619 Era." A MINIATURE ICON OF ST MIKHAIL OF CHERNIGOV WITH Estimate: £30,000.00 - £40,000.00 A SILVER-GILT OKLAD OIL ON ZINC, OKLAD STAMPED WITH MARK OF MIKHAIL OVCHINNIKOV IN CYRILLIC BENEATH THE IMPERIAL WARRANT, ST PETERSBURG, Lot: 614 LATE 19TH CENTURY, 84 STANDARD 9.5 by 6.5 cm ALL CREATION REJOICES IN THEE VOLOGDA (excluding loop). The inscription on the oklad reads: «Spasi i PROVINCES, CIRCA 1600 WITH RESTORATION OF 18TH- Sohrani 7 Dekabrya 1897 g» in Cyrillic. 20TH CENTURIES 37 by 29 cm. Estimate: £4,000.00 - £6,000.00 Estimate: £4,000.00 - £6,000.00

Lot: 620 Lot: 615 *THE "THREE-HANDED MOTHER OF GOD" WITH A SILVER THE APPEARANCE OF THE MOTHER OF GOD TO ST AND ENAMEL OKLAD MIXED MEDIA ON ZINC, LAID ON SERGIUS OF RADONEZH ICON PAINTING WORKSHOP OF PANEL, OKLAD'S EDGE STAMPED WITH MAKER'S MARK THE TRINITY LAVRA OF ST SERGIUS, FIRST THIRD OF OF IVAN ALEXEEV IN CYRILLIC, MOSCOW, 1908-1912, 84 THE 19TH CENTURY 34 by 28.5 cm. STANDARD 21 by 16.5 cm. Estimate: £2,000.00 - £3,000.00 Estimate: £18,000.00 - £25,000.00

Lot: 616 Lot: 621 THE NATIVITY OF CHRIST NORTHERN RUSSIA, CIRCA A PAIR OF WEDDING ICONS WITH SILVER-GILT OKLADS 1600 31 by 25 cm. OIL ON PANEL, OKLADS STAMPED WITH MARKS OF Estimate: £6,500.00 - £8,500.00 SAZIKOV IN CYRILLIC BENEATH THE IMPERIAL WARRANT, 1848, 84 STANDARD 36 by 30.5 cm each. "
This pair of made-to-order Wedding icons of Christ Pantocrator and the Lot: 617 Mother of God of Vladimir are adorned with splendid THE ANNUNCIATION MOSCOW, CIRCA 1800 31 by 27 cm. embossed oklads in a baroque style and were produced in Estimate: £2,500.00 - £3,000.00 1848 at the Moscow branch of the famous jewellery firm of Ignatiy Sazikov, Supplier to the Imperial Court.

The uniqueness of Sazikov’s style and the high quality of his work made his firm renowned throughout Europe. At the Great Lot: 618 Exhibition of the Works of Industry of all Nations in London in *A LARGE ICON OF THE OLD TESTAMENT TRINITY 1851, the firm received the highest award – the gold medal – NORTHERN RUSSIA, CIRCA 1700 82 by 66 cm. "
The and the press hailed Sazikov as the “Russian Benvenuto icon shows the widely popular subject of the Old Testament Cellini― for the outstanding quality of the embossed work and Trinity in its historic version, however a number of iconographic originality of design." details distinguish this image from the numerous artisan Estimate: £20,000.00 - £30,000.00 reproductions of this long-famous composition. Abraham and Sarah are depicted emerging from a building in the middle

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Lot: 622 Lot: 629 CHRIST PANTOCRATOR WITH A SILVER-GILT OKLAD AND THE TIKHVINSKAYA MOTHER OF GOD WITH A SILVER- WOODEN KIOT EARLY 20TH CENTURY, OIL ON PANEL, GILT OKLAD OKLAD STAMPED WITH MAKER'S MARK VZ OKLAD STAMPED WITH MAKER'S MARK SG IN CYRILLIC, IN CYRILLIC, MOSCOW, 1863, 84 STANDARD 31.5 by 26.5 MOSCOW, 1908-1917, 84 STANDARD 33 by 29 cm without cm. kiot, 57 by 33 cm with kiot. Estimate: £4,500.00 - £5,500.00 Estimate: £5,500.00 - £7,000.00

Lot: 630 Lot: 623 *THE MOTHER OF GOD "WHO DELIVERS THE SUFFERING THE MOTHER OF GOD "THREE JOYS" WITH A SILVER- FROM DISTRESS" WITH A SILVER AND EMBROIDERED GILT AND ENAMEL OKLAD OIL ON PANEL, OKLAD OKLAD OKLAD STAMPED WITH MAKER'S MARK AB IN STAMPED WITH MAKER'S MARK NG IN CYRILLIC, CYRILLIC, MOSCOW, 1862, 84 STANDARD 31 by 25 cm. MOSCOW, 1899-1907, 84 STANDARD 36 by 31 cm. Estimate: £2,500.00 - £3,500.00 Estimate: £6,000.00 - £8,000.00

Lot: 631 Lot: 624 *THE MOTHER OF GOD OF VLADIMIR WITH A SILVER-GILT *AN ART NOUVEAU ICON OF CHRIST PANTOCRATOR OKLAD OKLAD STAMPED WITH MAKER'S MARK IZ IN WITH A SILVER OKLAD EARLY 20TH CENTURY, OIL ON CYRILLIC, MOSCOW, 1885, 84 STANDARD 31.5 by 27 cm. PANEL, OKLAD STAMPED WITH MAKER'S MARK OF Estimate: £3,000.00 - £5,000.00 NIKOLAI ZVEREV IN CYRILLIC, MOSCOW, 1908-1917, 84 STANDARD 22.5 by 18 cm. "
The icon offered here at auction is a brilliant and distinctive early 20th century example Lot: 632 of both the national religious school of Russian icon painting THE MOTHER OF GOD "IN SEARCH OF THE PERISHING" and of the jeweller’s art in the Art Nouveau style. The figure of WITH PRINCE VLADIMIR AND EPIPHANIUS OF SUZDAL the Saviour, painted in dark colours, is effectively set against a WITH A SILVER-GILT OKLAD OKLAD STAMPED WITH dignified, gleaming silver background, which lends the image a MAKER'S MARK IP IN CYRILLIC, MOSCOW, 1811, 84 special expressiveness. The smooth surface of the background STANDARD 36 by 30.5 cm. and halo are surrounded by a guilloché frame, the corner Estimate: £3,000.00 - £5,000.00 rosettes are accentuated with rosettes containing the important Christian motif of a cross, green cabochons are fixed to the centre of each rosette. The artefact possesses inner harmony and impeccable form.
The oklad was made at the Moscow Lot: 633 *THE MOTHER OF GOD OF KAZAN WITH A SILVER OKLAD establishment of Nikolai Zverev (1898-1914), a well-known OIL ON PANEL, OKLAD STAMPED WITH MARK OF THE jeweller working in the New Russian style. The portrayal of the FIRST MOSCOW ARTEL, 1908-1917, 84 STANDARD 27 by Saviour bestowing a blessing is unmistakably reminiscent of 22.5 cm.
Plaque: A silver plaque with a dedication on the V.M. Vasnetsov’s famous fresco inside the dome of the reverse. Vladimir Cathedral in Kiev." Estimate: £5,000.00 - £7,000.00 Estimate: £15,000.00 - £20,000.00

Lot: 625 Lot: 634 *THE MOTHER OF GOD OF KAZAN WITH A SILVER-GILT THE GUARDIAN ANGLE WITH SELECTED SAINTS OKLAD AND WOODEN KIOT END OF THE 19TH CENTURY, MOSCOW, OLD BELIEVERS' WORKSHOP, MID 19TH OIL ON PANEL, OKLAD STAMPED WITH MAKER'S MARK CENTURY 31.5 by 27 cm. NG (?) IN CYRILLIC, MOSCOW, 1908-1917, 84 STANDARD Estimate: £4,500.00 - £6,000.00 18 by 14.5 cm without kiot; 26.5 by 23.5 cm with kiot. Estimate: £1,000.00 - £2,000.00 Lot: 626 ST DMITRY SOLUNSKY CIRCA 1700 WITH RESTORATION OF THE LATE 19TH CENTURY 35 by 29 cm. Lot: 635 *A PAIR OF WEDDING ICONS CIRCA 1900, OIL ON PANEL, Estimate: £3,500.00 - £4,500.00 OKLAD STAMPED WITH MARKS OF THE FIRST MOSCOW ARTEL, 1908-1917, 84 STANDARD, STAMPED 'FABERGE' AT A LATER DATE 18 by 14.5 cm each. Lot: 627 Estimate: £7,000.00 - £9,000.00 SAINTS BORIS AND GLEB PALEKH, CIRCA 1800 31 by 27.5 cm. Estimate: £4,500.00 - £6,500.00 Lot: 636 THE MOTHER OF GOD OF THE SIGN WITH A SILVER-GILT AND ENAMEL OKLAD OIL ON PANEL, OKLAD STAMPED Lot: 628 WITH MAKER'S MARK SG IN CYRILLIC, MOSCOW, 1899- *ST NIKITA DEFEATING A DEMON OLD BELIEVERS' 1907, 84 STANDARD 31.5 by 27 cm. WORKSHOP, CIRCA 1800 WITH RESTORATION OF THE Estimate: £6,000.00 - £8,000.00 LATE 19TH CENTURY 34 by 28 cm. Estimate: £4,000.00 - £6,000.00 Lot: 637

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A WOODEN CARVED ICON WITH SELECTED SAINTS Lot: 647 NORTHERN RUSSIA, CIRCA 1600 21 by 15.5 cm. THREE SILVER AND NIELLO DOUBLE-SIDED MEDALLIONS Estimate: £4,000.00 - £6,000.00 AND A MINIATURE WEDDING PAIR MEDALLIONS CIRCA 1800, LARGER DATED 1814, WEDDING ICONS STAMPED WITH MAKER'S MARKS SG IN CYRILLIC, MOSCOW, 1908- Lot: 638 1917, 84 STANDARD 7.5 by 5.5 cm. NO LOT Estimate: £2,000.00 - £3,000.00

Lot: 639 A CARVED ICON OF THE SAINTS OF SOLOVETSK ARCHANGELSK PROVINCES, EARLY 20TH CENTURY 21 by 19 cm. Estimate: £800.00 - £1,200.00

Lot: 640 THE MOTHER OF GOD "THE UNFADING FLOWER" ST PETERSBURG, LATE 18TH CENTURY, MIXED MEDIA ON PANEL 35 by 28.5 cm. Estimate: £1,500.00 - £2,000.00

Lot: 641 AN ICON OF THE GUARDIAN ANGEL WITH SELECTED SAINTS MOSCOW, OLD BELIEVERS' WORKSHOP, LATE 19TH CENTURY 27 by 21.5 cm. Estimate: £3,000.00 - £5,000.00

Lot: 642 THE PROPHETS ISAIAH AND JEREMIAH OLD BELIEVERS' WORKSHOP, LATE 19TH CENTURY 35.5 by 31 cm. Estimate: £1,800.00 - £2,200.00

Lot: 643 AN ICON WITH A BRASS INSERT OLD BELIEVERS' WORKSHOP, LATE 19TH CENTURY 27 by 22 cm. Estimate: £800.00 - £1,200.00

Lot: 644 THREE ICONS FROM AN OLD BELIEVERS' TRAVELLING ICONOSTASIS MOSCOW, OLD BELIEVERS' WORKSHOP, MID 19TH CENTURY 12.5 by 9 cm. Estimate: £1,800.00 - £2,500.00

Lot: 645 *A CARVED TRIPTYCH OF TWELVE FEASTS IN A BRASS AND ENAMEL FRAME KIEV (?), MID 19TH CENTURY Extended 11 by 29.5 cm, closed 11 by 9.5 cm. Estimate: £7,000.00 - £10,000.00

Lot: 646 A MINIATURE TRAVELLING TRIPTYCH WITH TWELVE FEASTS IN A BRASS FRAME AND WITH SILVER OKLADS OIL ON PANEL, OKLADS STAMPED WITH MAKER'S MARKS PU IN CYRILLIC, MOSCOW, 1862, 84 STANDARD Extended 8 by 22 cm, closed 8 by 7.5 cm (excluding loops). Estimate: £2,000.00 - £3,000.00

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