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534325 Los(e)/Seite
Los 594
A fine French fashionable dolls impressed 4, with socket shoulder-head, blue fixed eyes with dark edge to pupil, closed mouth, light brows, pierced ears, blonde mohair wig, stockinette over a padded articulated metal armature Gesland-type body with bisque limbs and original black frock with lace and eau de Nil ribbon trim, underclothes and brown leather shows - 19in. (48cm.) high
Los 595
A fine Jules Steiner Series C bebe No.3, with fixed brown eyes, light brown feather brows, closed mouth, pierced ears, titian hair wig, jointed papier-mâché body with distinct Steiner fingers, original lavender and cream silk dress, underclothes, bonnet and black leather shoes - 21in. (53.5cm.) high
Los 848
An extremely rare Steiff Begging Bonzo 1927, of cream velvet, clear glass eyes with dark pink and light pink backs, red felt tongue, black velvet right rear, swivel head, jointed limbs, painted and airbrushed facial features and paw pads, inoperative squeaker, original red leather collar with white card tag with metal rim ‘Begging Bonzo Steiff Original’ one side and ‘Germany Copyright G.E. Studdy’ to the reverse, FF button with complete red tag numbered 5417 - 9in. (23cm.) high (very slightly discoloured and stomach seam resewn) - According to Steiff 115 examples of Bonzo was made in eight sizes, all were unsold as G. E. Studdy did not like their samples and the license went with to the Chad Valley version. Seven examples in different sizes are retained in the Steiff archive, but it is not known what happened to the others. Steiff went onto produce a similar looking character dog which they called Cheerio
Los 135
‡ Mervyn Peake (1911-1968) Coastal landscape with a rainbow, probably Alderney or Sark Signed and dated Christmas 1945 and dedicated to Ruth Marshall, wife of Howard, the Voice of Cricket Watercolour 17 x 24.5cm ++Some light creasing, one of two pinprick fox marks, a little light mount-staining
Los 269
‡ Banksy (b.1974) Laugh now but one day we~ll be in charge; Keep it real Four, colour silkscreens on record sleeves with vinyl records by DJ~s shadow and Dangermouse All signed in the print, the records numbered Gold 0460; Silver 0475; Beige 0015 and Green 0488 Each 30.5 x 30.5cm (4) ++One with some light scuffs otherwise good condition
Los 27
Eric Ravilious (1903-1942) A ballad upon a wedding A pair, both signed Both woodcuts Each 5 x 6.5cm With a further unsigned print of But the angel of the Lord ... by the same hand (3) Provenance: Professor Rodney Fitch C.B.E. These are illustrations to the ballad by Sir John Suckling (1609-1642) ++One with a small light fox mark to margin otherwise all good condition
Los 128
A Hasselblad 500 C camera body with a light meter winder knob, Sonnar F5 .6 250mm lens, Planar F2 .880mm lens, two roll film backs, two lens hoods, interchangeable focusing screen with grid in original Hasselblad leather case together with a number of Hasselblad accessories, extension rings, filters, etc, and a handgrip
Los 448
Silver Hare Coursing Trophy Bowl, hallmarked 'FBs LTD, Sheffield 1898', engraved to side 'Sussex County Coursing Club, The Parker Bowl, Won by Mr F. Hammond's rd Streak of Light, by Weather Forecast, What a Flash at Ford, 26th Decr 1903', height 14.3cm, diameter 19.7cm approx., weight 15.2 ounces approx.
Los 421
RODCHENKO, ALEXANDER (1891-1956) Goblet, from the series "Glass and Light", stamped twice with the photographer's stamp on the reverse. Gelatin silver print, 17.5 by 12.5 cm. Photographed in 1928 and printed c. late 1920s-1930s. Provenance:Possibly, with the magazine Sovetskoe foto. Borodulin collection, Europe.
Los 29
AIVAZOVSKY, IVAN (1817-1900) The Survivor, signed and dated 1892, also further signed, inscribed "New York" and dated on the reverse. Oil on canvas , 140 by 107 cm. Provenance: Collection of Ekaterina Tretiakoff, Brussels. Thence by descent. Russian Art, Christie’s London, 9 June 2009, lot 18. Acquired at the above sale by the present owner. Private collection, UK. Authenticity of the work has been confirmed by the expert V. Petrov. Ivan Aivazovsky, the unrivalled master in the depiction of shipwrecks and stormy seas, spent his entire life in search of fresh subjects and motifs that would capture both the majesty and the menace of the elements on his canvasses. Prominent among them is the subject of shipwreck survivors, which first appeared in his work in the 1840s – a theme that would become present in the many leading works of the greatest Russian seascape painter. Painted in 1892, The Survivor is a fine example of the mature artist’s interpretation of the subject. As characteristic of Aivazovsky, the main protagonist here is the sea – violent and seething, with its waves receding from the wet coastal rocks, its transparent colour constantly changing in the enchanting moonlight that seems to stream from nowhere. What only remains from this recent tragedy is a fragment of the ship drifting towards the massive rock in the foreground, and the solitary figure of a man, summoning with his last reserves of strength to scramble onto the shore. The man is not only the narrative focus of the picture; he is also the centre of its colour scheme. The moonlight glosses over him, accentuating the warmth and vibrancy of his skin, subtly blending in with the texture of the huge stone, the light-greenish hue of the waves streaming back from the shore, and even with the cold, leaden, dark blue sky. Using these “expressive” details, lighting effects, as well as seagulls sweeping over the waves, Aivazovsky manages to create an image replete with drama and romantic pathos. The picture is not only emotionally charged but also displays true artistry. It was, after all, Aivazovsky’s visual memory, enhanced by his vivid, creative imagination that enabled him to eschew realistic precision and recreate in his pictures the varying moods of nature that he had seen in the past. Aivazovsky acknowledged that “Inspired by the sight of picturesque surroundings, in the presence of spectacular light or some moment in a storm, I retain the memories of them for many years...” The pivotal idea in Aivazovsky’s artistic disposition is that of the boundlessness of nature and its immense power. Aivazovsky’s late work becomes increasingly allegorical, and the might and power of nature are contrasted with the weakness and vulnerability of human life. Light takes on a special conceptual significance. Whenever he paints clouds, water or the sky, in effect he is painting light. For Aivazovsky, light is a symbol of life, hope and faith – a symbol of the eternal. It is purely and simply the idea of light as the creator, reinterpreted in his own particular way, and this was the reason why in the 1890s the artist turns to the topic of the “Birth of Light”. In the painting offered for sale, as in many other works from the same period, light seems to beam down from some invisible source (Among the Waves, The Maria). Accordingly, after meeting with Aivazovsky in Novy Nakhichevan, Martiros Saryan identified the artist’s main principle: “No matter how terrible the storm that we have seen in one of his pictures, at the top of the canvas there will always be a ray of light breaking through the mass of forbidding clouds; it may be tenuous and faint, yet it is the herald of salvation... It is this, the Light, that forms the meaning of all the storms that the artist has painted.” The artist remained true to this principle throughout his life, and The Survivor is the finest declaration of that.
Los 135
* POPKOV, VIKTOR (1932-1974) Three Artists, signed and dated 1962, also further signed, titled in Cyrillic and dated on the reverse. Oil on canvas, 160 by 225.5 cm. Executed in 1962–1963.Provenance: Acquired directly from the artist’s family by the present owner.Private collection, UK. Exhibited: Viktor Popkov (1932–1974). Genius of the Russian Soul, Somerset House, London, 22 May 2014–18 June 2014.Literature: Viktor Popkov. A Russian Painter of Genius, London, Unicorn Press, 2013, pp. 148, 149, illustrated.Exhibition catalogue, Viktor Popkov (1932–1974). Genius of the Russian Soul, London, Unicorn Press, 2014, No. 12, illustrated. Without any exaggeration, one can name the work of Viktor Popkov as the driving force behind the immense breakthrough in Soviet figurative art. The artist was one of the founders of the so-called Severe style that emerged in the early 1960s during the Khrushchev thaw. Popkov’s colleagues and kindred spirits were an entire generation of outstanding artists from Moscow, amongst them notably Geli Korzhev, Nilolay Andronov, Tair Salakhov, Petr Ossovsky and Pavel Nikonov. Their principal ambition was to reveal the truth about mundane life and work of a Soviet man, bereft of any embellishments and far removed from the sterile version propagated by totalitarian academism.There was a perfect match between these artists’ goal and their painterly style: generalised, with restrained colours and brutal plasticity. A perfect example is Popkov’s iconic Builders of the Bratsk Hydro-Electric Power Station (1961) – a painting that is not only the most important in the artist’s oeuvre but crucial to the overall development of the Severe style. By the mid-1960s, Popkov’s work as a whole was changing, with the artist shifting his emphasis from socially relevant topics to more personal, idyllic subject matter. In contrast to the official art of Stalin’s era that reflected state ideology, Popkov’s work expressed the voice of the author as an individual. Popkov’s narrative unfolds from the inside of his protagonists, speaking in the first person. The artist openly expressed his feelings for his nearest and dearest and other ordinary people, their daily life and the world around them. Popkov paints many self-portraits and portraits of other artists, attempting to “distil” his inner world and come to understand the mission of a creative person. One day in the summer of 1962, while in Arkhangel on a trip around the north of Russia, he conceived a monumental self-portrait which would also feature his fellow artists Karl Friedman (on the left) and Aleksandr Sorochkin. The finished painting became one of his most impressive works. Popkov re-interprets the classic “three-point” composition and dynamically modifies it within the enclosed space of a small room, visually expanded through the inclusion of a wardrobe with a built-in mirror. Reflected in the mirror is the artist himself, standing by his easel, lost in his thoughts. The reflection in the mirror considerably enhances the effect the author’s presence has in the picture, as he calmly observes the goings-on. Meanwhile, the intensity of the ochre and carmine palette is pared down by the dim electric light of the hotel room. The painting is flawless in its carefully measured precision and unhurried execution. No tiny detail is fortuitous; every aspect bears out the artist’s urge for solitude and meditative calmness. The three men – three kindred spirits, three personalities, distinct yet close to one another – are next to each other in the physical confines of the room but simultaneously detached. Each is fully immersed in his own thoughts, and the silence that permeates the place seemingly lasts an eternity.
Los 360
A Porcelain Figurine of Nozdrev with One of His Dogs from Gogol's "Dead Souls" AFTER A MODEL BY BORIS VOROBYEV AND A PAINTED DESIGN BY IVAN RIZNICH, LOMONOSOV STATE PORCELAIN MANUFACTORY, LENINGRAD, CIRCA 1953 Height 15.5 cm.Related literature: For a similar work, see Yu.A. Traysman, Ode to Joy, Pinakotheke Moscow, 2008, pp. 360–367.Realistically modelled, depicted standing and frivolously smiling, wearing light beige checked trousers with braces, a white shirt and a raspberry coloured overcoat, a dog lying at his feet, on a circular shaped base, with a blue manufactory mark, further signed ‘77-x’ in black and numbered ’14’ in red.Gogol’s series depict the époque’s take on one of the most cherished Russian author. Created between 1945–1954, these porcelain figurines of favourite characters not only evoke the familiar literary prototypes but also highlight the pathos of the Stalinist era. Gestures and lively mimicry, along with the colourful palette, enhance the theatricality and distinctiveness achieved by the longstanding tradition of craftsmanship and the imaginations of the leading artists of the time.
Los 378
An Art Nouveau Icon of the Pokrov with a Brass Basma AFTER 1911 28 by 37 cm.The icon is a striking example of the Russian Art Nouveau style and reproduces an original which marked the highest artistic achievements of this style. The iconographer took as his original a fresco in the apse of the Church of the Protection of the Mother of God at the Martha and Mary Convent, created by Mikhail Nesterov in 1911. Nesterov, one of the most influential religious artists of the early 20th century, turned frequently to the image of the Protection of the Mother of God (Pokrov), which resonated strongly with Russian consciousness at the time of the First World War. Two of his paintings, dating from 1914 and 1910 are dedicated to this theme and are remarkable for including images of the Martha and Mary Convent, which was founded in 1907 by Grand Duchess Elizaveta Feodorovna (who was canonized in 1992). Faithful to the original, the icon painter achieves expressiveness through a laconic and generalised silhouette, linear rhythm and a combination of pink, blue and light blue which convey the real and spiritual worlds. The architectural motifs — towers, walls and buildings — are copied from the reverse perspective images of 16th and 17th century icons. The Art Nouveau style is apparent in the metal frame with its embossed floral ornaments, setting off the cool colours of the icon with warm golden-yellow tones and enriching the flatness of the paint with relief ornament and the inscription: «Hail our joy, protect us from all evil with your glorious robe” (Incantation for the Protection of the Holy Mother of God). The theme of the Virgin Mary’s intercession for humanity and her receptiveness to prayer are underscored by this choice of text and the intense gaze of the subject, who looks directly at the viewer. This contrasts with Nesterov’s works, where the subject avoids eye contact. The Pokrov is an impressive fusion of various features of the Russian Art Nouveau style in its appeal to national tradition and personal experience, its antique stylisation and the important role of ornamentation in the image. According to tradition, the icon was presented to the mother of the owner by the family of Baron Pyotr Wrangel.
Los 382
Britains Toy Soldier Scottish Regiments Royal Scots 41150 Drums and Pipes, 00126, Highland Light Infantry 00127, Cameronians 00130 Drums and Pipes (four), 8963, and King's Own Scottish Borderers 00129 Drums and Pipes (four) and 8963 in original boxes and outers (E, boxes VG) (78 in 15 boxed sets)
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534325 Los(e)/Seite