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OLGA KONSTANTINOVNA DEINEKO (RUSSIAN 1897-1970)Sukhumi, 1930gouache on paper36 x 27 cm (14 1/8 x 10 5/8 in.)signed with initials and dated lower right; titled, signed and further dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESOlga Deineko was born in Ukraine and studied at VKhUTEMAS under Ilya Mashkov. She worked as a graphic artist and designer, and was a member of Society of Revolutionary Poster Designers. The wife of Nikolai Troshin, she was also well known as childrens book illustrator in the late 1920s and early 1930s.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Book Cover Design with Roosters, mixed media on wooden boardsoverall, when open: 21.8 x 37.4 cm (8 5/8 x 14 1/2 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Floral Motif, gouache on paper43 x 29.6 cm (16 7/8 x 11 3/4 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Monochrome Composition, mixed media on paper23 x 30.5 cm (9 x 12 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

SOLOMON SAMSONOVICH BOIM (RUSSIAN 1899-1978)A Young Sailor Marshalling the Ships. Design for a Cover of Barvinok Magazine, 1952watercolor on paper25.8 x 22 cm (10 1/8 x 8 5/8 in.)signed with initials and dated lower left; signed and inscribed Barvinok No 7 on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESSolomon Boim is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, and posters (Agitplakat). From 1926 on he participated in hundreds of exhibitions at home and abroad. Boim studied at Vkhutemas (the famous school of Russian Avant-garde art which later became Vkhutein) from 1922 through 1929, under such prominent Russian artists as Nikolay Kupreyanov and Piotr Lvov. In later years, Boim was an illustrator of childrens' and other books for "Detgiz" and other publishers, and became the Official Artist of the Soviet Baltic Fleet, often painting Nahimovtsy (Nahimov cadets) and other young people. Boim's paintings of cities, Soviet life, children and students, are exemplary works of Socialist realism, and capture an especially optimistic period in Soviet art.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)The Runs of Ruins II, gouache on paper30 x 42.5 cm (11 7/8 x 16 3/4 in.)titled and inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

NIKOLAI STEPANOVICH TROSHIN (RUSSIAN 1897-1990)At the Factory, 1930India ink on paper70 x 52 cm (27 1/2 x 20 1/2 in.)signed with initials and dated lower rightPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Troshin was an important painter, theatre director, poster designer, and Chief Artist and designer for influential avant-garde journals such as "USSR under Construction". Having studied at Penza Art Insitute under Ivan Goryushkin-Sorokopudov and N. Petrov from 1913-1918, Troshin later moved to Moscow where he studied with Ilya Mashkov from 1918-1920. He actively exhibited since 1918, and personal exhibitions of Troshin's works were held in Moscow and other cities in Russia through the time of his passing. Troshin's paintings can be found in the permanent collections of the Tretyakov Museum, State Russian Musuem, and many other museums in Russia.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

IGOR IVANOVICH YERSHOV (RUSSIAN 1916-1985)The Roofs of Saint Petersburg, 1929India ink and watercolor on paper28.2 x 36 cm (11 1/8 x 14 1/8 in.)signed and dated lower rightPROVENANCECollection of Viktor Kholodkov LOT NOTESIgor Yershov was a Russian painter and graphic designer. He was born into an artistic family; his father Ivan Yershov was an opera singer with the Imperial Marinskiy Theatre and his mother was both a singer and a professor at the St. Petersburg Conservatory. In 1932, Yershov began his studies at the academy of Painting, Sculpture and Architecture. Amongst his professors were I. Brodsky and I. Bilibin. His studies were interrupted by the Second World War when he was evacuated to Tashkent. Yershov graduated from the Academy in 1947, presenting lithographs for A. Pushkin`s Bronze Horseman. In 1949, a jubilee edition of Pushkin`s works was published with illustrations by the artist. From the 1950s onwards, he worked mainly as an illustrator of children`s books. At least two generations of Russian children grew up reading Khorovod with Yershov`s illustrations. His illustrations for the Russian folk tales by Charles Perrault and Aleksandr Pushkin were very popular: The tale of the Golden Cockerel (1957-1960), A tale of the Fisherman and his wife (1956-57), Russian fairy-tales (1957-1960). Yershov`s works can be found in the collections of a number of Russian museums including the State Russian Museum and Museum of A.S. Pushkin and in museums and private collections in both France and England.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MEYER MOISEYEVICH AKSELROD (RUSSIAN 1902-1970)Concert, 1954gouache on board37 x 54.5 cm (14 1/2 x 21 1/2 in.)signed, titled and dated on verso; an authenticating inscription by artist`s daughter, Yelena Akselrod, on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Ostankino Park, 1927gouache on paper25.5 x 38.5 cm (9 7/8 x 15 1/8 in.)signed with monogram and dated lower right; titled, signed and dated on mountPROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

AN ILLUSTRATION FOR ZELITE, A LATVIAN CHILDREN`S MAGAZINEThe Opposites, gouache on paper30.5 x 45.5 cm (12 x 17 7/8 in.)inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

NIKOLAI STEPANOVICH TROSHIN (RUSSIAN 1897-1990)The Railways, 1930gouache on paper36 x 54 cm (14 1/8 x 21 1/4 in.)signed and dated lower leftPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Troshin was an important painter, theatre director, poster designer, and Chief Artist and designer for influential avant-garde journals such as "USSR under Construction". Having studied at Penza Art Insitute under Ivan Goryushkin-Sorokopudov and N. Petrov from 1913-1918, Troshin later moved to Moscow where he studied with Ilya Mashkov from 1918-1920. He actively exhibited since 1918, and personal exhibitions of Troshin's works were held in Moscow and other cities in Russia through the time of his passing. Troshin's paintings can be found in the permanent collections of the Tretyakov Museum, State Russian Musuem, and many other museums in Russia.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

ISMAIL HUSEIN AKHUNDOV (AZERBAIJANI 1907-1969)Designs for a Demonstration, mixed media on paperoverall: 27.5 x 57.5 cm (14 3/4 x 22 5/8 in.)inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

A PAIR OF WORKS BY MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Linear Compositions, a) Red, 1932gouache on paper36.8 x 52 cm (14 1/2 x 20 1/2 in.)dated on versob) Black, 1933gouache on paper29.5 x 52 cm (11 5/8 x 20 1/2 in.)signed and dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

IGOR IVANOVICH YERSHOV (RUSSIAN 1916-1985)The Mine, 1931India ink on paper35 x 49 cm (13 3/4 x 19 1/4 in.)signed twice and dated lower right; titled and inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESIgor Yershov was a Russian painter and graphic designer. He was born into an artistic family; his father Ivan Yershov was an opera singer with the Imperial Marinskiy Theatre and his mother was both a singer and a professor at the St. Petersburg Conservatory. In 1932, Yershov began his studies at the academy of Painting, Sculpture and Architecture. Amongst his professors were I. Brodsky and I. Bilibin. His studies were interrupted by the Second World War when he was evacuated to Tashkent. Yershov graduated from the Academy in 1947, presenting lithographs for A. Pushkin`s Bronze Horseman. In 1949, a jubilee edition of Pushkin`s works was published with illustrations by the artist. From the 1950s onwards, he worked mainly as an illustrator of children`s books. At least two generations of Russian children grew up reading Khorovod with Yershov`s illustrations. His illustrations for the Russian folk tales by Charles Perrault and Aleksandr Pushkin were very popular: The tale of the Golden Cockerel (1957-1960), A tale of the Fisherman and his wife (1956-57), Russian fairy-tales (1957-1960). Yershov`s works can be found in the collections of a number of Russian museums including the State Russian Museum and Museum of A.S. Pushkin and in museums and private collections in both France and England.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MARIA VYACHESLAVOVNA RAUBE-GORCHILINA (RUSSIAN 1900-1979)Under the Palm Trees, watercolor and gouache on paper44 x 30 cm (17 1/4 x 11 7/8 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

GEORGIY SEMYONOVICH VEREISKIY (RUSSIAN 1886-1962)Haying Time, oil on board27 x 36 cm (10 5/8 x 14 1/8 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

NIKOLAI ANTONOVICH MATSEDONSKY (RUSSIAN 1911-1981)Fete galante, 1936gouache on paper32 x 44 cm (12 5/8 x 17 1/4 in.)inscribed and dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Matsedonsky was a Soviet Avant-garde painter, graphic artist and sculptor known primarily for his stage and costume designs. After graduating from VKhUTEMAS in 1932, he was employed as a stage manager by the Kamerny Theater in Moscow.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

RASPOPOV GENNADIY DMITRIYEVICH (RUSSIAN 1930-1989)Five Costume Designs, watercolor and pencil on paper21.5 x 41.5 cm (8 1/2 x 16 3/8 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

A PAIR OF WORKS BY NIKOLAI STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Haymaking, oil on paper boardeach: 18 x 27.5 cm (7 1/8 x 10 7/8 in.)inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Troshin was an important painter, theatre director, poster designer, and Chief Artist and designer for influential avant-garde journals such as "USSR under Construction". Having studied at Penza Art Insitute under Ivan Goryushkin-Sorokopudov and N. Petrov from 1913-1918, Troshin later moved to Moscow where he studied with Ilya Mashkov from 1918-1920. He actively exhibited since 1918, and personal exhibitions of Troshin's works were held in Moscow and other cities in Russia through the time of his passing. Troshin's paintings can be found in the permanent collections of the Tretyakov Museum, State Russian Musuem, and many other museums in Russia.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

OLGA KONSTANTINOVNA DEINEKO (RUSSIAN 1897-1970)The Train Conductor, 1934India ink and pencil on paper53.5 x 39 cm (21 x 15 3/8 in.)signed and dated lower rightPROVENANCECollection of Viktor Kholodkov LOT NOTESOlga Deineko was born in Ukraine and studied at VKhUTEMAS under Ilya Mashkov. She worked as a graphic artist and designer, and was a member of Society of Revolutionary Poster Designers. The wife of Nikolai Troshin, she was also well known as childrens book illustrator in the late 1920s and early 1930s.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Composition in Black and White, gouache on paper24 x 34 cm (9 1/2 x 13 3/8 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESMikhail Tarkhanov (1888-1962) was a Russian avant-garde graphic artist known for his abstract, water-based textured compositions. He graduated from the Stroganov Moscow State University of Arts and Industry in 1915, later enrolling at VKhUTEMAS, where he studied under Vasili Kandinsky and Vladimir Favorsky. From 1932 until his death, the exhibition of abstract art was banned, so he secretly pursued his abstract work while working officially for various Soviet institutions. He was able to exhibit his beautiful, unique compositions only a handful of times from 1919 to 1931, alongside artists such as Natan Altman, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko. Much of his oeuvre has remained unseen until the present. Tarkhanov`s works are included in the permanent collections of the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and at the Getty Center. This is a prime example of one of Tarkhanov`s intricate designs created by a carefully crafted oil-water medium.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

VSEVOLOD SAKHNOVSKIY (RUSSIAN 1903-198?)Stage Design, oil on paper36 x 56 cm (14 1/8 x 22 in.)inscribed on versoPROVENANCEAcquired directly from the family of the artist by Abram ChudnovskiyCollection of Viktor Kholodkov LOT NOTESVsevolod Sakhnovsky actively participated in the Blue Blouse, an influential agitprop thatre troupe. He mainly worked on theatrical stage and costume designs. He also created numerous playbills and posters for the Blue Blouse performances, and extensively worked on designs of group`s printed production. When the Blue Blouse publications were discontinued, they were replaced by a similar magazine called Small Forms, to which Sakhnovsky contributed many of his works.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

ALEKSANDRA IOSIFOVNA LIGACHYOVA (RUSSIAN 1915-1993)At the Factory. From the Series of Industrial Etudes, 1950soil on board34.5 x 48.5 cm (13 1/2 x 19 1/8 in.)signed and titled on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

ALEKSANDRA IOSIFOVNA LIGACHYOVA (RUSSIAN 1915-1993)A Rushing Tip Truck. From the Series of Industrial Etudes, 1950soil on board35 x 47.5 cm (13 3/4 x 18 3/4 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

MEYER MOISEYEVICH AKSELROD (RUSSIAN 1902-1970)Double-sided Landscape with a Windmill en plein air , gouache on paper32 x 43.5 cm (12 5/8 x 17 1/8 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

PORFIRIY MARKOVICH LEBEDEV (RUSSIAN 1882-1974)Knyazevo. Kolka the Stableman, 1942oil on paper37.5 x 23.5 cm (14 3/4 x 9 1/4 in.)signed, dated and titled lower centerPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

NIKOLAI STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Red Square. Lenin`s Mausoleum Covered in Frost, 1946graphite on paper44 x 60.5 cm (17 1/4 x 23 3/4 in.)signed and dated lower rightPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Troshin was an important painter, theatre director, poster designer, and Chief Artist and designer for influential avant-garde journals such as "USSR under Construction". Having studied at Penza Art Insitute under Ivan Goryushkin-Sorokopudov and N. Petrov from 1913-1918, Troshin later moved to Moscow where he studied with Ilya Mashkov from 1918-1920. He actively exhibited since 1918, and personal exhibitions of Troshin's works were held in Moscow and other cities in Russia through the time of his passing. Troshin's paintings can be found in the permanent collections of the Tretyakov Museum, State Russian Musuem, and many other museums in Russia.This work comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

SOLOMON SAMSONOVICH BOIM (RUSSIAN 1899-1978)Sending a Model Ship Afloat. Design for a Cover of Druzhniye Rebyata Magazine, 1953watercolor on paperoverall: 32 x 22 cm (12 5/8 x 8 5/8 in.)signed with initials and dated lower left; signed and inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESSolomon Boim is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, and posters (Agitplakat). From 1926 on he participated in hundreds of exhibitions at home and abroad. Boim studied at Vkhutemas (the famous school of Russian Avant-garde art which later became Vkhutein) from 1922 through 1929, under such prominent Russian artists as Nikolay Kupreyanov and Piotr Lvov. In later years, Boim was an illustrator of childrens' and other books for "Detgiz" and other publishers, and became the Official Artist of the Soviet Baltic Fleet, often painting Nahimovtsy (Nahimov cadets) and other young people. Boim's paintings of cities, Soviet life, children and students, are exemplary works of Socialist realism, and capture an especially optimistic period in Soviet art.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

YEVGENIY VASILYEVICH YEGOROV (RUSSIAN 1901-1942)A Farm under the Mountain [Double-sided drawing], 1924-1925watercolor on paper36 x 42 cm (14 1/8 x 16 1/2 in.)signed, titled and dated lower centerPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

NIKOLAI ANTONOVICH MATSEDONSKY (RUSSIAN 1911-1981)A Young Man, 17th Century , 1933oil on paper43.5 x 21.5 cm (17 1/8 x 8 1/2 in.)inscribed, titled and dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESNikolai Matsedonsky was a Soviet Avant-garde painter, graphic artist and sculptor known primarily for his stage and costume designs. After graduating from VKhUTEMAS in 1932, he was employed as a stage manager by the Kamerny Theater in Moscow.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

SOLOMON SAMSONOVICH BOIM (RUSSIAN 1899-1978)Returning Fishermen, 1961watercolor on paper42 x 60 cm (17 1/8 x 15 3/4 in.)signed with initials and dated lower right; inscribed on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESSolomon Boim is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, and posters (Agitplakat). From 1926 on he participated in hundreds of exhibitions at home and abroad. Boim studied at Vkhutemas (the famous school of Russian Avant-garde art which later became Vkhutein) from 1922 through 1929, under such prominent Russian artists as Nikolay Kupreyanov and Piotr Lvov. In later years, Boim was an illustrator of childrens' and other books for "Detgiz" and other publishers, and became the Official Artist of the Soviet Baltic Fleet, often painting Nahimovtsy (Nahimov cadets) and other young people. Boim's paintings of cities, Soviet life, children and students, are exemplary works of Socialist realism, and capture an especially optimistic period in Soviet art.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

AN ILLUSTRATION FOR ZELITE, A LATVIAN CHILDREN`S MAGAZINEBullfighting, 1966mixed media on paper31 x 45.5 cm (12 1/8 x 17 7/8 in.)inscribed and dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

SOLOMON SAMSONOVICH BOIM (RUSSIAN 1899-1978)Kolkhoz Cattle, 1936watercolor and gouache on paper44 x 53 cm (17 1/4 x 20 7/8 in.)signed with initials lower right; signed, titled and dated on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESSolomon Boim is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, and posters (Agitplakat). From 1926 on he participated in hundreds of exhibitions at home and abroad. Boim studied at Vkhutemas (the famous school of Russian Avant-garde art which later became Vkhutein) from 1922 through 1929, under such prominent Russian artists as Nikolay Kupreyanov and Piotr Lvov. In later years, Boim was an illustrator of childrens' and other books for "Detgiz" and other publishers, and became the Official Artist of the Soviet Baltic Fleet, often painting Nahimovtsy (Nahimov cadets) and other young people. Boim's paintings of cities, Soviet life, children and students, are exemplary works of Socialist realism, and capture an especially optimistic period in Soviet art.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

EARLY 20TH CENTURY RUSSIAN ARTISTDacha Season, oil on canvas laid on masonite38.5 x 47 cm (15 1/8 x 18 1/2 in.)PROVENANCEAcquired directly from the family of the artist by Abram ChudnovskiyCollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

VARVARA ARKADYEVNA RAYEVSKAYA (RUSSIAN 1895-1974)Tatar Woman Carrying a Yoke, 1929mixed media on paper45 x 22.5 cm (17 3/4 x 8 3/4 in.)signed and dated lower right; signed and titled on versoPROVENANCECollection of Viktor Kholodkov LOT NOTESViktor Kholodkov (1948-2015) fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

OLGA KONSTANTINOVNA DEINEKO (RUSSIAN 1897-1970)New Year`s Tree in Moscow, watercolor and charcoal on paper31 x 43.8 cm (12 1/4 x 17 1/4 in.)PROVENANCECollection of Viktor Kholodkov LOT NOTESOlga Deineko was born in Ukraine and studied at VKhUTEMAS under Ilya Mashkov. She worked as a graphic artist and designer, and was a member of Society of Revolutionary Poster Designers. The wife of Nikolai Troshin, she was also well known as childrens book illustrator in the late 1920s and early 1930s.This painting is from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.

CubaIncoming Mail1846, June 27. Ship's register envelope with its corresponding content (the ship's register), belonging to the brigantine "Guadalete" which sailed from Cádiz to Santiago de Cuba. The manuscript "2ø 4" weight on reverse, equivalent to a postage of 38 ¼ reales, was paid on dispatch as denoted by the fancy "Franco" handstamp on front, being accompanied by the 'Baeza' datestamp of Cádiz at left, both struck in red, with signatures of the captain's ship and the maritime postmaster of Cádiz. The content, registered on "Papel Sellado" revenue paper of 32 reales, was filled out indicating the goods embarked, including 17 different types of cargos, with signed acknowledgement of receipt of the administrator of Havana's customs. On reverse of the envelope (one flap and the red wax seal are missing), it is also annotated the time of anchorage on arrival. Of great significance, being the only ship's register cover recorded, in the whole pre-adhesive period of Spain and its Colonies, with its content. Of great interest, as this important feature serves to exhibit and demonstrate what these postal documents contained, which represent a very peculiar and most rare service in worldwide postal-history. This item is further enhanced by the fact of being one of just six transatlantic ship's register covers recorded in 1818-1849.

CubaOutgoing Mail1817, April 15. Ship's register cover (three back flaps lacking) of the Spanish frigate "Santander", sailing from Havana to Santander (Spain), struck on departure with framed "Habana/Franco" oval and two line "Islas De/Barlovento" (P.E. 33) handstamps, the latter with only about five examples known in black. Handwritten "30 rs" marking paying the rate per 3 ounces by the sender. Some usual rust spotting not detracting. The only postal item of this kind bearing both postmarks; furthermore, it is to be considered that very few transatlantic ship's register covers have survived.

Louisiana1803, May 21. Ship's register cover from New Orleans to Bordeaux, bearing fine strikes in red of "Yndias" straight-line and the exceedingly rare "Nueva Orleans" oval handstamps on dispatch, signed by Marín, the postmaster of New Orleans, with accompanying "franco" notation indicating postage paid, being 32 reales handwritten on back following the norm for this postal document. Well preserved on reverse with all four flaps complete, including the red wax used to close the cover and being one of the characteristics which determined the ship's register to be considered as a sealed postal correspondence. Louisiana was under Spanish administration, as part of the Viceroyalty of New Spain, from 1762 to 1802, when it was retroceded to France according to the Third Treaty of San Ildefonso (1800) and the Treaty of Aranjuez (1801). However, Spain agreed to continue administering the territory until 30.11.1803, when the French took possession of the colony, three weeks before being purchased by the United States on 20.12.1803. One of only two items recorded in private hands bearing the Spanish laureated „Nueva Orleans“ postmark, with the added significance of being one of only two ship’s register covers known originating from a colony and sent to a non-Spanish destination (this item had to be submitted to the Spanish consul to Bordeaux, as indicated on front). Additionaly, this is an exceptional postal usage during the short period of Spanish provisional administration after the official transfer to France. Ex Kouri.

ColombiaClassic Issues1859, 5c. blue, stone A, together with 20c. blue, stone A, both being very fresh and largely margined, on envelope featuring embossed oval of the British Consulate at Cartagena on reverse, matching the endorsement in Spanish at lower left on front by the sender, addressed to Juan Antonio Calvo at Mompós, Governor and first President of the State of Bolívar, both stamps tied by "Cartagena/Franca" oval handstamp, with the 25 centavos paying the triple weight rate from 15 to 20 grams of this large envelope for a distance between 150 and 450 km., carried along the Dique Channel to Calamar, thence along the Magdalena River to destination. Faint vertical fold passing through the 20c. adhesive, and not being apparently impinging on the stamp. Of the only five covers recorded bearing this combination franking, this is unique by exhibiting these different values in this very similar, virtually same shade, this being an exceptional feature which make them come into view as identical denominations in colour; in addition, the only item known from a British consulate in the first issue. Scott 2, 6. Ex Londoño and Frohlich.

VenezuelaOutgoing Mail1813, March 3. Entire letter including printed matter from Puerto Cabello to Veracruz (Mexico), bearing "P.Cavello" straight-line handstamp (first type), transmitted by the "Galga" postal schooner as per endorsement at left, being unpaid on dispatch and with "3" reales due marking for the single rate. Colonial mail originating from Puerto Cabello is rare; this item is further enhanced by being sent abroad.

ChileOutgoing Mail1779 circa. Folded cover from Santiago de Chile to Vitoria (Spain), struck on dispatch by "Chyle" straight-line (P.E. 1), additionally handstamped by boxed "4Rs." rate marking during its transit in Buenos Aires, this rate being amended to "6R" on arrival in manuscript, according to the change of tariff of 1779. The 4 reales postmark of Buenos Aires, produced in May 1768, was obsolete at that time and did not correspond to the 7 reales (1779 tariff for mail from Chile) with which this letter should have been charged on arrival, as a result of being considered, in Cádiz, the origin of the mail to be Buenos Aires. The new rates introduced on 1.9.1779 contemplated, for the first time, the origin of the correspondence, thus resulting in different fees depending on the American region of origin. An exceptional and unique item demonstrating the change of tariffs, being marked with two different rates. Ex Menéndez.

ColombiaClassic Issues1859, 10c. orange brown, stone A, a scarce shade with detailed impression, clear to predominantly huge margins, cancelled by very fine strike of "4" pre-adhesive period numeral handstamp possessing a certain shape which is characteristic of the type used at Cúcuta, used on cover from Cúcuta (manuscript docket inside) to Maracaibo (Venezuela, Swift correspondence), with "10 c." manuscript rate endorsement on dispatch as usually applied by some Colombian post offices before the application of the adhesive. A postal convention, signed on 24.11.1838 by the three countries which previously formed the Gran Colombia: Colombia, Ecuador and Venezuela, established that mail from, and sent to, any of these three countries, was fully prepaid to final destination by only paying the portion of the journey from the locality of dispatch to the border, i.e. the internal tariff; in this instance, 10 centavos covered the double weight from 10 to 15 grams for a distance up to 50 km., this corresponding to the length between Cúcuta and the bordering town of Villa del Rosario in Colombia, the mail being then transferred to the Venezuelan post at San Antonio del Táchira. This theory clarify this special rate which has been a mystery to collectors of Colombian postal history. One of thirteen significant first-issue covers addressed to an external destination, of which six were sent to Venezuela, three bearing the 10c., these belonging to the same correspondence. A desirable item demonstrating the very rare application of the 1838 bordering external rate paying postage to destination. Cert. Bortfeldt (erroneously states the number of items known to Venezuela and does not mention the rate), signed Newbury. Scott 4b. Ex Newbury, Kaplan, Frohlich and Hubbard.

PeruOutgoing Mail1766, Jan. 11. Cover to Cádiz (Spain), endorsed "Por Panama" at lower left, bearing a very fine strike of the extraordinary "Perù" straight-line handstamp, being applied at Lima, and charged in manuscript at single rate with "4" (reales). The regular route followed would have been Lima-Panama-Cartagena-Havana-Cádiz, but it is believed that this letter made the journey Lima-Santa Fe-Valencia (Venezuela)-Caracas-Cádiz in a commercial ship of a Caracas company. The letter is docketed on reverse in transit at Valencia (Venezuela) with "Valencia Rto de la Rocca" on January 11, 1866. Between April 1765 and January 1767, the "PERÙ" type showed in this item was into service, thus becoming the first postmark introduced in South America, as well as the first marking known used in transatlantic mail; other examples of transatlantic correspondence from Peru, dated in 1768 and preserved in the "Archivo de Indias", do not show this handstamp, but the marking "Perú" in manuscript. Of extraordinary significance as the earliest transatlantic mail exhibiting a postmark applied in the Americas, with its rarity being further enhanced by representing one of only three items recorded exhibiting this highly significant handstamp, (of which two are included in this collection; see also the following lot). One of the greatest gems of the pre-adhesive worldwide postal history.

GuatemalaOutgoing Mail1855, Feb 3. Folded cover from Guatemala to El Puerto de Santa María (Spain), with green origination c.d.s. and "4" rate marking, with subsequent application, in Cádiz, of the following postmarks: black "Nueva/España" and blue "Islas De/Barlovento" in two lines (the former indicating provenance from Mexico, the latter struck in Cuba or Puerto Rico, and erroneously applied on this cover). With reference to the rate applied, two markings of 5 and 8 reales were overstruck (8 reales paid the postage from Guatemala, whereas the 5 reales refer to the fee for incoming mail from Cuba and Puerto Rico). An exceptional and most rare example of mail exhibiting the "Nueva España" and "Islas de/Barlovento" postmarks used in conjunction. In addition, this item clearly demonstrates the application of the "Nueva España" handstamp in Cádiz. To be also noted the most unusual three-colour combination of postmarks.

PanamaOutgoing Mail1791, Dec. 4. Entire letter from Portobelo to Azpeitia (Spain), probably carried via Havana-Corunna, rated by hand at "6rs" as per an unpaid single weight letter, bearing fine and clear strike of Italic "Santa Fe." postmark, being handstamped at Portobelo. The Santa Fé postal district (Nueva Granada Viceroyalty) comprised territories in present-day Colombia and Panama. The "Santa Fe" postmark was not only used at Santa Fé de Bogotá, but also in the area of Santa Fé, as stipulated by postal rules of 1st September 1779.The only item recorded exhibiting the "Santa Fe" postmark applied in Panama, as well as one of just two covers known with this handstamp used outside Santa Fé de Bogotá.

BoliviaOutgoing Mail1800 circa. Folded cover from Cotagaita (then belonging to the Virreinato del Perú), with very fine strikes including "Cotagaita" & "Peru" straight-line handstamps in red, initially rated in manuscript at "4½" reales for the portion of the overland journey to Buenos Aires, with the maritime carriage to Corunna corresponding to the "8 RS". Endorsement at lower left denoting the contents of the letter with "Asuntos interesantes de unos Pobres" (interesting matters of poor persons). The only cover recorded bearing the "Peru" postmark of Cotagaita, also being an extremely rare usage of this marking in the territory of present-day Bolivia; the rare "Cotagaita" handstamp further enhances the rarity of this item. Ex Ortiz Patiño.

PeruOutgoing Mail1812 circa. Prepaid cover front from Cuenca to Madrid, attractively handstamped by three postmarks including "Cuenca", "Peru" and "Franca" straight lines, all being applied on departure. This is the only item known, in private hands, demonstrating the usage of the "Peru" postmark of Cuenca.

A silver-mounted glass smelling salts bottle with tortoiseshell top to cover inlaid with silver ribbon-tied foliage, Birmingham, 1921, complete with interior glass stopper; another with engine-turned silver cover, by Walker & Hall, Birmingham,1915, again with interior glass stopper; also a silver-mounted cut-glass scent bottle , London, 1924, with associated stopper, last item 13.5 cm. high.First item has tiny chip to top of rim; second one has stopper stuckinn place and needs soaking to release, also has chip to base and small chips to grip of stopper.

An Old Sheffield Plate wine ewer with silver finial hallmarked for Sheffield, 1844, applied with fruiting vine frieze, neck with laurel girdle, domed cover with fruiting vine finial, monogrammed "TCN" to front, for the Naylor family, stamped 4 times to base "B.S"; a silver-plated baluster hot water jug, circa 1880, with rat-tail down spout and engraved with crest of dragon supporting a tilted shield below a baron's coronet, bead borders and ivory insulators, retailed by Marshall & Sons of Edinburgh; a plated toastrack and a plated pepper mill. First item 33 cm. high (4)Tiny ding to hot water jug below spout and nickel wearing through on crest only; small area of copper showing to one side of ewer.

An American silver three-colour propelling pencil, marked "STERLING", late 19th/early 20th century, the three sliders with an enamelled coloured band indicating colour of respective pencil, dark blue, red and black and initialled at centre "W.P.W.", suspension ring at top; also a silver propelling pencil by Wahl Eversharp Co. Ltd., London, 1935, decorated with vertical chevron bands, pull-out top and clip tp front., first item 9.5 cm. long and 13.2 cm. long respectively.Good condition.

A group of six late Victorian silver-mounted fluted glass dressing table bottles byThomas Ingleton, London, 1894, chased with flowers and foliate scrolls around wavy-edged reserves; also an Edwardian silver-mounted cut-glass pin box by Crisford & Norris, Birmingham, 1905, of elongated oval form, cover embossed with berries; and another of drum shape, Birmingham, 1904, cover embossed with birds, flowers and scrolls, tallest item 17.8 cm.; also a silver-plated 2-handled bowl, weighable silver 74 gm. (9).The six-piece1894 set in good condition but with remains of flooded initials to reserves, pin box has holes and split to cover, last item has splits to rim of cover.

EARLY 20TH CENTURY WALNUT DISPLAY CABINET, having arch glazed centre door flanked by two curved and glazed angles, fitted shelves to the interior, on square moulded legs. 124 x 48 x 196cm.(B.P. 24% incl. VAT) CONDITION REPORT: One section of frieze detached from one side although it is with the item, shrinkage cracks to one side shelf and the side of the centre cabinet section, but basically overall in good condition, a little dry, shelf surfaces are stained and marked.

Very Rare First Editions[O'Brien (Flann)] 'Myles na gCopaleen' An Beal Bocht, 8vo D. (An Press Naisuinta) n.d. [1941] First Edn. First Issue, without the printers name on end page. One of 500 Copies Only. 111pp, pict. end papers, stiff pictorial wrappers, after design by Sean O'Sullivan., very clean. Very Scarce. (1)* An exceptionally good copy of this rare item.

With Autographed Note from Author loosely InsertedO'Brian (Flann) [pseud. Brian O'Nolan] Cruiskeen Lawn, by Myles na gCopeleen. [Text in Irish & English with illustrations 8vo D. [Cahill & Co.] 1943. First Edn. 80pp, orig. colour ptd. wrappers. A very good copy of this scarce item, which was widely read and is now extremely hard to get in such nice condition. One of the author's wittiest work. (1)* With an original manuscript, signed note from the author loosely inserted. (1)

O'Brien (Flann) Stories and Plays, roy 8vo L. (Hart-Davis) 1973, First, English Edn; and First American Edn. of same. N.Y. (Viking) 1976; A Flann O'Brien Reader, roy 8vo N.Y. (Viking Press) 1968. First Edn.; O'Nuallain (Ciaran) Oige an Dearthar i Myles na gCopaleen, D. 1973. First Edn., illus., cloth & pict. d.w.'s; also another pictorial item on Flann. (5)

[Joyce (James)] Contact Collection of Contemporary Writers. Contact Editions, Three Mountains Press, Paris [1925], printed by Maurice Darantiere, Dijon. Qto, orig. wrappers, repaired. Includes a section by Joyce From Work In Progress [i.e. Finnegans Wake], also contribs. by Mina Loy, Robert McAlmon, Ezra Pound. Gertrude Stein, W.C. Williams, Ernest Hemingway (his story Soldier's Home), etc. A rare item. (1)

Brown (Christy) Il Mio Piede Sinistro [Italian translation of My Left Foot]. Edizioni Paoline, Modena, orig. wrs (torn), inscribed shakily on h.t. 'For Dr. Collis - My Socrates / Christy 1960'. Dr. Robert Collis was the doctor who took Christy Brown under his wing and supervised his treatment, enabling him to live a reasonably full life. His introduction is printed here in Italian. A Fine Association Item. (1)

[Moore (George)] An Túr-Ghort. Sgéalta le Seorsa Ó Mórdha; aistrighthe ó'n Sacsbhéarla ag Pádraig Ó Súilleabháin, B.A. Baile-Atha-Cliath, Sealy Bryers & Walker n.d. [1902]. Orig. wrappers, decorated in Celtic style; about an inch of upper cover and first five leaves unevenly torn away, with no loss of text, right-hand upper corner slightly abraded throughout, lacking rear wrapper. (1)Dedicated in English by Moore to his nephews Rory and Ulick Moore, native Irish speakers. 'They may be called to continue a literary tradition into the fourth generation. In this case, they will be able to do it in Irish, and by writing in Irish they will continue the literary tradition of our country'.An exceptionally rare item, dating from Moore's return to Dublin and his brief dalliance with Gaelic affairs under the influence of Yeats and Hyde. According to Macmillan Dict. of Irish Lit., this publication precedes the English version The Untilled Field [1903]. The damage is unsightly, but could probably be significantly improved by skilful repairs.