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Los 172
VLADIMIR YAKOVLEV (RUSSIAN 1934-1998)Portrait of a Medical Worker with a Hat, gouache and silver paint on paper43.3 x 31 cm (17 x 12 1/4 in.)signed lower left and right, inscribed in silver along upper edgePROVENANCESloane Gallery of Art, ColoradoPrivate Collection, Midwest (acquired from the above)
Los 173
VLADIMIR YAKOVLEV (RUSSIAN 1934-1998)Portrait of a Medical Worker, gouache and silver paint on paper43.3 x 31 cm (17 x 12 1/4 in.)signed lower right, inscribed in silver upper-center; another sketch with inscription on versoPROVENANCESloane Gallery of Art, ColoradoPrivate Collection, Midwest (acquired from the above)
Los 277
the so-called Agitkost' album is covered with two black papier-mache lacquered plaques on the front and on the back; the front cover is intricately decorated with carved walrus bone, the back cover is raised on four round feet. The bone carvings feature: the title on the top reading Belomoro-Baltiyskiy vodnyi put' [White Sea Baltic Waterway]; a rectangular plaque with a portrait of Joseph Stalin in an oval frame on the upper left; a plaque depicting a worker erecting grand flags and holding a pick, with water running through a floodgate behind him on the lower left; two plaques seamed in the center featuring a map of the waterway painted in blue and red; a plaque depicting a standard with Stalin's quote: [White Sea Baltic Waterway is the crucial stage in building the new Soviet Person - a powerful creator of his New life, of a new Socialist face of the Earth!] on the upper right; elaborately carved plaque depicting construction in progress, two seagulls soaring in the sky, and a frontier guard with his hound on the lower right. The album includes 158 vintage gelatin silver prints. The photographs illustrate the construction of the waterway, as well as the scenes from the life of the participating people. Some of the individuals were physically cut out from the photographs due to Stalin's repressive regime. Size: 45 x 33 cm (17 1/2 x 13 in.). This album is accompanied by two books: 1) A. S. Insarov, Baltiysko-Belomorskiy vodnyi put', (Moscow: OGIZ - GOSTRANSIZDAT, 1934) 2) M. Gorkiy, L. Averbakh, S. Firin, Belomorsko-Baltiyskiy kanal imeni Stalina, (Moscow: OGIZ - "ISTORIYA FABRIK I ZAVODOV", 1934) Several images from this album correspond to the ones in the accompanying book, Belomorsko-Baltiyskiy kanal imeni Stalina. Alexander Rodchenko was amongst the photographers who provided materials for this book (his name is listed on the last page). Some of the illustrations featured in the book are well-known photographs by Rodchenko from his 1931 trip to the waterway construction site. He had gone there three times, making thousands of shots during his trips. Significant amount of photo prints included in the present lot corresponds to Rodchenko’s signature style of geometrical photography shot with a diagonal point of view. The White Sea-Baltic Canal opened on 2 August 1933. It connects the White Sea with Lake Onega, which is further connected to the Baltic Sea. Until 1961, its original name was Belomorsko–Baltiyskiy Kanal imeni Stalina [the Stalin White Sea-Baltic Sea Canal]. The canal runs partially along several canalised rivers and Lake Vygozero. The total length of the route is 227 kilometres (141 mi), of which 48 kilometres (30 mi) are man-made. The Soviet Union presented the canal as an example of the success of the First Five-Year Plan. Its construction was completed four months ahead of schedule. The entire canal was constructed in twenty months, between 1931 and 1933, almost entirely by manual labour. The canal was the first major project constructed in the Soviet Union using forced labour. The workforce for the Canal of an estimated 100,000 convicts was supplied by the Belbaltlag camp directorate of the OGPU GULAG. Prison labour camp projects were not usually publicised, but the work on the Belomor canal was an exception, as the convicts were thought to not only construct the canal but reforge themselves in the process (Soviet concept of perekovka. The working conditions were brutal, with the prisoners given only primitive hand tools to carry out the massive construction project. The mortality was about 8.7%. Still more became sick and disabled.
Los 278
A SOVIET AGITLAK KEEPSAKE BOX, EDUCATING THE MINORITIES, K. KHOKHLOV, PALEKH, 1935of a rectangular shape with rounded corners, the hinged cover depicting an elaborately illustrated scene at Izba Chital'nya [Reading House], where a Soviet activist is educating the members of the Tatar diaspora. Gathered at a table, Muslim man and women are leaning towards their mentor, they appear inspired and challenged by the process. The activist is pointing at a text in a newspaper with his one hand, while his other hand is raised in a didactic gesture emphasizing the importance of the written word. There are numerous bookshelves, a globe, and a bust of Lenin behind them. The interior features a portrait of Andrey Bubnov, People's Commissar for Education, in the upper left corner, and a portrait of Mikhail Kalinin, the nominal head of the Soviet Union, in the upper right corner. The red standard in the center reads The Revolution freed minor nationalities in the old Tatar language. An ornate gilded border runs around the cover of the box; a gilded vegetative garland, presented in the traditional miniature painting style of Palekh, runs around the body of the box, with further writing in old Tatar on the side; a stylized gilded star-shaped sun is painted on the base; red-lacquered interior; length: 18.5 cm (7 1/4 in.), height: 8 cm (3 1/8 in.); signed K. Khokhlov lower right, inscribed s. Palekh, and dated lower left
Los 279
A SOVIET AGITLAK TRAVEL CHESS SET SMENA SMENE IDYOT, N. ZINOVIEV, PALEKH, 1929of a rectangular shape, the hinged cover depicting in detail a rural domestic scene, where young pioneers are winning during a chess game against an adult. The players are gathered around the table in a children's room. An interior around them features a Russian oven with a cat sleeping on it, two draped windows, a shelf with the books of fairy tales, and children's toys, such as: a ball, a teddy bear, a truck. With all these details emphasizing the cosiness of the moment, some elements, such as a portrait of Mikhail Kalinin overlooking the tournament from the wall and a lamp with a bright red bulb, carry a clear message - In with the New, out with the Old!. It also is underlined in the main subject of the painting, where the sharp-minded youth, inspired by the new Communist era, wins the old-fashioned rival, featuring an allegorical plea for the rejection of illiteracy, superstition, and devoutness in the name of progress of the Soviet people. Made of Karelian birch, decorated with a gold floral pattern on the body, the inside of the hinged cover features a motto: Smena-Smene-Idyot [A Change Goes for a Change], and a red flag with a hammer and a sickle below it. Inside of the box, there is a set of red and white chess (some figures missing) and a folding board, decorated with checkered pattern of red stars on a black ground and gilt flowers on an unpainted ground; the unfolded board measures 8 x 8.6 cm (3 1/8 x 3 3/8 in.), the box overall measures 7.5 x 10 cm (3 x 3 7/8 in.), signed on the cover N. Zinoviev lower left, inscribed and dated Palekh 1929 lower rightLITERATURE:For comparable items, see Soviet Agitational Lacquered Miniature from the Collection of Alexander Dobrovinsky, (Moscow: Iskusstvo-XXI Vek, 2011), pages 148 and 325.LOT NOTES:Nikolai Mikhailovich Zinoviev (1888-1979) was a teacher and a director of the Palekh Art School, awarded the title of The People`s Artist of the USSR, as well as the author of several books on art of Palekh. He is particularly well-known for featuring children in his lacquer miniature painting. It is entirely possible that Nikolai Zinoviev painted himself as the adult in this scene. It is not only a physical similarity between the character and the artist that hints to this conclusion - there are a pot with paintbrushes and a rack with multiple Palekh keepsake boxes situated in the interior of the room depicted. The present lot also features a great resemblance in the painting style, as well as the subject matter, with the other works by the artist: a famous plaque Pioneers` Trial on Baba Yaga and Evil Spirits (from the Collection of Alexander Dobrovinsky) and numerous scenes featured in a desk set with anti-religious playing cards Pioneers Reforming Baba Yaga and Evil Spirits (sold at Shapiro Auctions, October 25, 2014, lot 70)
Los 319
A RUSSIAN PORCELAIN CUP WITH THE PORTRAIT OF TSAREVICH ALEKSEI, KUZNETSOV PORCELAIN MANUFACTORY, MOSCOW, 19TH CENTURYof tapering cylindrical form, the top and bottom registers with hand-painted with imitation traditional Russian embroidery, the center with a portrait of the young Tsarevich Aleksei, a commemorative inscription runs along the bottom Za lihuyu molodetskuyu rubku/ 1iy Kavkaz, kaz, divizii, height: 10.1 cm (4 in.), Kuznetsov factory mark on base
Los 39
THEO VAN RYSSELBERGHE (BELGIAN 1862-1926)La Dame a L'eventail (Portrait of the Actress Sarah Bernhardt), 1881oil on canvas60 x 51 cm (23 1/2 x 20 in.)signed and dated upper rightPROVENANCESotheby's, New York, June 12, 1980, lot 102Sotheby's, New York, October 24, 1989, lot 292Christie's, New York, November 4, 2004, lot 264Christie's, New York, May 10, 2007, lot 286Private Collection, New York (acquired at the above sale)EXHIBITEDPalais des Beaux-Arts, L'Essor. VI Exposition annuelle, no. 207 (titled La Femme a L'eventail), January-February 1882, Brussels;(possibly) Cercle artistique et litteraire, February 19-27, 1882, Grand, FranceLOT NOTESThis portrait is a rare example of artist's early painting. It represents his transition between the Belgian realistic tradition and impressionism. Born in Ghent in 1862, Theo van Rysselberghe studied first at the Academy of Ghent under Theo Canneel and from 1879 at the Academie Royale des Beaux-Arts in Brussels under the directorship of Jean-François Portaels. Barely 18 years old, he already participated at the Salon of Ghent, showing two artworks. In 1881 he exhibited for the first time at the Salon in Brussels. The artist soon abandoned the glum colours of his native traditional painting of that time and departed from this style to set his first steps towards impressionism. The next year he travelled in Spain and Morocco together with his friend Frantz Charlet and the Asturian painter Dario de Regoyos. From this trip the artist brings back the portraits that are already completely different in style. LITERATURER. Feltkamp, Theo Van Rysselberghe (Brussels, 2003), p. 251, no. 1881-021 (illustrated)EXPERTISE::As per Christie's cataloguing, the authenticity of this painting has been confirmed by Pascal de Sadeleer and Olivier Bertrand.
Los 5
RUSSIAN 18TH CENTURY PORTRAIT OF GOLITSYNGeneral-Admiral Mikhail Mikhailovich Golitsyn, circa 1760oil on canvas111.5 x 85.7 cm (44 x 33 3/4 in.)LOT NOTESIn this extremely rare portrait of Prince Mikhail Mikhailovich Golitsyn (1684-1764), the Prince is in the uniform of General-Admiral (English: Lord High Admiral) bearing the sash, cross and breast star of the Russian Imperial Order of St. Prince Alexander Nevsky of the 1st Class.
Los 9
GEORGE DAWE (ENGLISH 1781-1829) Princess Charlotte, 1818oil on canvas140 x 110 cm (55 x 43 1/4 in.)signed and dated G DAWE R.A PINXIT/1818PROVENANCEAcquired from the summer residence of the King of Hannover, Castle Herrenhauser, with partial inventory label on stretcher, and collection stamp on the canvas verso EAFC [Familien Fideicommiss Seiner Majestaet des hochseligen Koenigs Ernst August von Hannover. 1836.1843]Sotheby's, Munich, Works of Art from the Royal House of Hanover, October 6, 2005, Lot 588EXHIBITEDAnnual Exhibition of the Royal Academy, London, 1818 (No. 42, Her Late Royal Highness Princess Charlotte)This portrait of Princess Charlotte Augusta was painted in 1818, shortly after the tragic death of the young Princess (1796-1817). This portrait of Princess Charlotte Augusta was painted in 1818, shortly after the tragic death of the young Princess (1796-1817). Apart from being an exceptionally visually appealing early 19th century portrait painting with both a Royal sitter and a Royal provenance, the present lot is quite historically significant. It is difficult to overestimate the effect that the untimely death of the Princess Charlotte of Wales had on the people of Great Britain. The closest event in recent memory to which one could compare it, would be the death of Princess Diana in our time. After Charlotte’s death, the entire country went into mourning, with shops closing for two weeks, and even the Exchange and Law Courts closing, amongst other institutions.George Dawe was a favored English portraitist of high society. An Academician at the Royal Academy of the Arts, his patrons included the Duke and Duchess of Kent, as well as Princess Charlotte and Prince Leopold. This painting, which was exhibited at the Royal Academy in 1818, was consequently a reverent and exquisite homage to the Princess by one of her own favorite painters. One can certainly imagine the emotions that this portrait stirred in its viewers, painted as it is with an ethereal but still vital quality, with the beautiful beloved Princess surrounded by the heavens.George Dawe is a very well known artist in Russia. This is thanks to the Duke of Kent, with whom he toured through Europe in 1819 shortly after exhibiting this painting at the Royal Academy. As a result of his tour, he was commissioned by Tsar Alexander I to paint 329 portraits of the Russian officers who defeated Napoleon, which form the Military Gallery of the Winter Palace in St. Petersburg. Indeed, Dawe lived in St. Petersburg from 1822-28, working on the commission, and in 1828 was even appointed First Portrait Painter of the Imperial Court.
Los 267
18k Gold Cameo Brooch Pendant, Austria, Circa 1900.The brooch is made of 18k gold frame decorated with a twisted gold wire.Set with a shell cameo depicting a profile portrait of a woman.The reverse is made with both a pin and a hanger to allow using it as a pendant and as a brooch.Marked - 18ct.Length - 6cm / 2.36in. Width - 4.5cm / 1.77in.36gr / 1.15oz.Starting Price: $500
Los 33
French Gilt Bronze Table Figural Bust Seal, Paris, Circa 1880.The seal is made with a Boy portrait bust.Signed A. Caron for Alexander August Caron (1857-1932), stamped with the foundry mark.Comes in the original fitted box that bears the label of the retailer - Lepeltier Editeur 35-37 Rue Reaumur Paris.Seal height - 6cm / 2.36in. Box - 8.5cm X 5.5cm / 3.35in X 2.16in.Starting Price: $280
Los 45
Commemorative Brass & Bronze President John F Kennedy (JFK) Wall Plaque Plate, 1960s.The center with high relief portrait of president Kennedy surrounded by the inscription John F. Kennedy the 35th president of the United Stated of America and the torch of freedom on one side and ship steering wheel on the other side.Diameter - 34cm / 13.39in.1514gr / 48.67oz.Starting Price: $90
Los 517
Bank of England 10 pound banknote 1971 portrait issue, 10 banknote 1988 portrait issue and two 5 pound banknotes and 25 1 pound banknotes CONDITION REPORT: Bank of England £1 notes:- BZ78226343 BZ78226344 CV78855780 CV78855781 CV78855782 BV47986482 BV47986483 BZ48303119 DX56820005 DX56820006 CR82971780 CR82971779 CR82971778 BV24838969 BV24383968 A20084230 W08M036012 DV03944069 T23K576408 T77J661461 Bank of Scotland £1 notes:- 481378 481377 461833 461832 319570 Bank of England £5 EW69128641 Bank of England £10 DTO8159554 Bank of England £10 B46852257 Bank of Scotland £5 JWN1277469
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283284 Los(e)/Seite