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Lot 127
Artist: Carol Ann Duffy & Stephen RawTitle: Pestle & MortarSize: 58 x 27 x 1.5cmMedium: Acrylic & VarnishCarol Ann DuffyBorn in Glasgow in 1955, Carol was brought up in Staffordshire and studied philosophy at the University of Liverpool, where she was active in the city's underground poetry scene in the 1970's. Her output has also included a formidable amount of writing for children.Currently reigning as Britain's first female Poet Laureate, Carol Ann Duffy is also queen of the dramatic monologue. Her poetry gives voice to society's alienated and ignored in an unstuffy but compelling manner, wrestling with ideas about language and identity. As she says herself: "I like to use simple words but in a complicated way."Stephen RawStephen was born in London in 1950 but has lived in Manchester for the last thirty-five years. He has been a textual artist and designer since returning to Britain from two years teaching at the National Arts School in Papua New Guinea.Stephen's work is varied, from paintings in exhibitions, to cover designs and his commercial lettering for a variety of clients, including leading publishers, architects and design groups throughout Europe. 'Fundamental to all my artwork,' he says, 'is a love of language and how that language is given a visual dimension through signs we simply call letters: never-failing sources of inspiration. Letters are images in themselves and, for me, that's more than enough to be getting on with.' DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.
Lot 161
Artist: Sarah J BrownTitle: Pilchards & PitchSize: 35 x 28.5 x 1.5cmMedium: OilSarah J BrownSarah J Brown was born in 1971 in Solihull, Birmingham. She moved with her family to Cadgwith Cove on the Lizard Peninsula in the late 70's. She studied fine art at Falmouth and Birmingham Schools of Art and has worked as an artist ever since. Predominantly working in mixed media and collage, her work reflects her surroundings in Cornwall and her experience of living in a small fishing community. She is married to a fisherman, has two children and lives and works in Cadgwith. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.
Lot 21
Artist: John PiperTitle: Winter CottageSize: 30 x 42 x 2.5cmMedium: OilJohn PiperJohn has been exhibiting his paintings since 1960's and his work has been shown throughout England, the USA and Continental Europe.The landscape of Cornwall has been a constant source of inspiration for him with rocky outcrops, granite hedges and isolated farm buildings being the themes which dominate his work. Oil paint is his preferred medium. Sometimes thin layers of paint are applied with a brush whilst at other times thick impasto colour is used and then scratched through, revealing underlying paint and giving a highly textured surface.John is past chairman of the Newlyn Society of Artists and a present chairman of the Penwith Society of Artists in St Ives. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.
Lot 2
XU YANZHOU (CHINESE B. 1961)Seated Nude, 1988oil on canvas79 x 58.5 cm (31 1/8 x 23 in.)signed and dated lower rightPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New York LOT NOTESBorn in Qingdao, Xu Yanzhou is a visual artist and master of contemporary realism who became well known as a professional artist at his early twenties, establishing himself within the Chinese National Society of Artists and the National Society of Artists in Beijing. Xu Yanzhou is considered a major figure in the school of rural realistic painting in China, although, the topics of his paintings are very diverse, ranging from rural scenes and captivating female portraits to imaginative paintings which are close to science fiction. The present lot is one of the artist`s early works, created, most likely, at the time he was conducting research in oil painting at the Beijing Central Academy of Fine Arts. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.
Lot 32
PIERRE-EUGENE MONTEZIN (FRENCH 1874-1946)Le pont sur la riviere, oil on board65.5 x 91 cm (25 3/4 x 35 3/4 in.)signed lower rightPROVENANCESotheby`s, New York, March 16, 2011, lot 80Acquired at the above sale by the present ownerEXPERTISEAccompanied by a Certificate of Authenticity by Jean-Pierre Klein-Montezin, grandson of the artist (copy available upon request). This painting will be included in the forthcoming catalogue raisonne.
Lot 141
NIKOLAY STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Country Road, 1931gouache on paper63 x 44 cm (24 3/4 x 17 1/4 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 Museum, and many other museums in Russia.Viktor 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.
![YULIY YULIEVICH KLEVER (RUSSIAN 1850-1924) Spätherbst [Late Autumn], 1912 oil on canvas 124.5 x 110.5 cm (49 x 43 1/2 in.) si](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/ca67e1b8-3c30-4e15-9b5f-a731012e1096/468x382.jpg)
Lot 62A
YULIY YULIEVICH KLEVER (RUSSIAN 1850-1924) Spätherbst [Late Autumn], 1912 oil on canvas 124.5 x 110.5 cm (49 x 43 1/2 in.) signed and dated lower right inscribed by the artist on verso in German Dieses Bild ‘Spätherbst’ ist bei mir gemalt auf Bestellung des Ca[naus] Begemann. Professor Julius Klever. Riga, den 20 December, 1912 PROVENANCE Collection of C. Begemann, Riga (Commissioned directly from the artist in 1912) LOT NOTES The breathtaking wild forest depicted in the present lot by Yuliy Yulievich Klever first entered the artist`s oeuvre after a trip to Naissaar, and island off the coast of Estonia, in the Gulf of Finland, in 1879. Klever`s work can be classified as quintessential Russian Romanticism, and already by the mid 1870s, owning a work by the artist was deemed an earmark of good taste. This might have initially come as a surprise, since just a few years earlier, in 1871, the artist withdrew from the Imperial Academy of Fine Arts in St. Petersburg, as he found his style to be fundamentally at odds with the approach of his revered instructors. Despite not having officially completed his formal training at the Academy, the artist was awarded the rank of Artist of the First Order and became an Academician in 1878. Shortly thereafter, in 1880, Klever received the rank and post of Professor at the Academy of Fine Art. Klever`s works were acquired for the collections of Count Pavel Stroganov, Grand Duchess Maria Nikolaevna, Pavel Tretyakov, and even Alexander III. By the 1880s and 1890s, Klever`s popularity had reached such a frenzy that patrons and hopeful clients were vying literally for any sketch by the master. The ever-growing demand for his work led Klever to establish a workshop in which pieces were created jointly with a professional staff. Unlike the richly painted present lot, which was commissioned from the artist by Canaus Begemann in 1912, the workshop paintings tend to be formulaic, frequently relying on a series of compositional devices employed in different configurations, and which were often completed in just one day. Given the artist`s unwaning popularity, it is increasingly rare to find works of the caliber seen in Spätherbst on the art market.
Lot 129
MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)Birch Leaves, 1940swatercolor and graphite on paper32 x 44 cm (12 1/2 x 17 1/4 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.Mikhail 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.
Lot 140
NIKOLAY STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Harnessing a Mare, 1931gouache on paper62 x 44 cm (24 1/2 x 17 1/4 in.)signed with initials 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 Museum, and many other museums in Russia.Viktor 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.
Lot 207
AN EARLY SOVIET AGITLAK KEEPSAKE BOX OF YOUNG NATURALISTS EXCURSION, A. BARANOV, PALEKH, 1932 of rectangular shape with rounded corners, the fitted cover depicting an intricately illustrated humorous scene of a lesson at the young naturalists` camp, featuring a misbehaving pupil climbing a tree while the teacher is focused on introducing the miracles of the surrounding nature to the other Yunnaty in the group, a delicate ornate gilded vegetative garland runs around the body of the box, red lacquered interior, length: 13.8 cm (5 7/8 in.), height: 6 cm (2 3/8 in.), signed in Cyrillic A. Baranov, s. Palekh, 1932 lower center, inscribed Made in Russia on the bottom
![A GROUP OF 10 EARLY SOVIET CHILDRENS BOOKS comprising:a) Lesnoy razvedchik [Forest Scout]. Moscow-Leningrad: OGIZ - Molodaya](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/60dba5a4-0e3f-49ce-9d2e-e74df1215c66/468x382.jpg)
Lot 202
A GROUP OF 10 EARLY SOVIET CHILDRENS BOOKS comprising:a) Lesnoy razvedchik [Forest Scout]. Moscow-Leningrad: OGIZ - Molodaya Gvardiya, 1931. 12mo (176 x 129 mm)b) Shutki-pribautki [Jokes]. Moscow-Leningrad: Raduga, 1929. 12mo (180 x 145 mm)c) Nashy vragi [Our Enemies]. Moscow-Leningrad: Raduga, 1928. 12mo (180 x 143 mm)d) Negramotnyi [Illiterate]. Moscow-Leningrad: Raduga, 1928. 12mo (180 x 145 mm)e) Raskraska No 3 [Coloring Book No 3]. Moscow-Leningrad: Raduga, 1920s. 12mo (190 x 148 mm)f) Nebylitsy [Fish Story]. Moscow-Leningrad: Raduga, 1920s. 12mo (192 x 145 mm)g) Fedorino Gore [Fedora`s Sorrow]. Leningrad: OGIZ, 1935. 12mo (197 x 150 mm)h) Inostranka [Foreigner]. Moscow-Leningrad: DETIZDAT, 1937. 12mo (193 x 138 mm) i) Pyat Kolets [Five Rings]. Moscow: OGIZ, 1931. 8vo (220 x 173 mm) j) Tchasy i karta Oktyabrya [Clock and Map of October]. Moscow-Leningrad: GIZ, 1930. 12mo (210 x 172 mm)
Lot 56
ATTRIBUTED TO VLADIMIR LUKICH BOROVIKOVSKY (RUSSIAN 1757-1825)Diana, based on the same composition of the goddess by Borovikovsky`s teacher, Johann Baptist Lampi, oil on canvas47.5 x 38 cm. (18 5/8 x 15 in.)LITERATUREThe nearly identical version of the work by Johann Baptist Lampi is illustrated in "Un ritrattista nell`Europa dell corti" by Fernando Mazzocca, Roberto Pancheri and Alessandro Casagrande, Giovanni Battista Lampi 1751 – 1830, (Trento 2001), p. 232, n. 31Please see Lot Notes below LOT NOTESVladimir Borovikovsky received his earliest art instruction from his father, a limner icon painter, before catching the eye of Empress Catherine II and being engaged by the Empress as a court painter and student under Johann Baptist Lampi. It appears that while Borovikovsky was still Lampi`s student that he painted the figure of Diana forming the present lot. Borovikovsky met the Empress while she was visiting the newly conquered Crimea and staying with Borovikovsky`s friend, Vasyl Kapnist, the Marshal of Nobility of the Kiev Gubernia. To please the Empress, Kapnist commissioned Borovikovsky to paint pair of allegorical works featuring the monarch for her chamber. The paintings had left a great impression on Catherine, and she requested that the artist move to St. Petersburg. Borovikovsky accepted the offer and after establishing himself in the capital in 1787, made the city his permanent residence. Although still a young man by modern standards, at thirty years old Borovikovsky was beyond the acceptable age range for formal academy training, and was set up to study privately under Johann Baptist Lampi in 1792, one of the most fashionable portrait painters of the day. Lampi had exerted an unquestionable influence over the development of Borovikovsky`s style, particularly noticeable in the young artist`s soft palette and compositional devices. It was common practice of the day for students to copy the works of their masters, and given the existence of a strikingly similar work to the present lot by Lampi (now in the Museo Castello del Buonconsiglio in Trento, Italy) it appears likely that the work by Lampi served as a basis for this painting of Diana. The authors of the monograph Giovanni Battista Lampi 1751 - 1830 believe Lampi completed his painting of the goddess (pictured here in the ``additional images``) somewhere between 1789 and 1791, shortly before he took on Borovikovsky as a pupil, making this work a prime candidate for study and copying by the aspiring artist. Although the pose and subject of the two paintings is nearly identical, one cannot help but notice where Borovikovsky deviated from his master`s approach and imbued the subject with his own vision. Stronger, cleaner lines replace his master`s sfumato and cooler mother-of-pearl shade pastels replace the warmer hues. The beauty of the face and figure remain paramount, however, with the folds of the robes, the position of the hands, and other scenic devices primarily used to enhance the allure of the subject, as would become a hallmark of Borovikovsky`s oeuvre. Although unsigned, given the work`s close connection to the painting of Diana by Johann Baptist Lampi, created shortly before Borovikovsky was taken on as a student, and given the slight but notable variations between the two works clearly done by different masters, it is quite likely that the present lot is an early work by Vladimir Borovikovsky, while the artists was still on the cusp of greatness.
Lot 142
NIKOLAY STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Portrait of a Woodworker, 1941graphite on paper44 x 32 cm (17 1/4 x 12 5/8 in.)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 Museum, and many other museums in Russia.Viktor 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.
Lot 134
DMITRY KRAPIVNY (RUSSIAN 1904-1940)Reclining Nude en plein air, oil on canvas35.5 x 57 cm (14 x 22 1/2 in.)authenticating inscription by artist`s wife on versoPROVENANCEAcquired directly from artist`s wife Lidiya Frolova-Bagreyeva by a private collectorCollection 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.
Lot 128
MIKHAIL MIKHAILOVICH TARKHANOV (RUSSIAN 1888-1962)The Types of Mushrooms, 1940watercolor and graphite on paper32 x 44 cm (12 1/2 x 17 1/4 in.)signed, dated and 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.Mikhail 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.
Lot 196
A GROUP OF 4 EARLY SOVIET CHILDRENS BOOKS comprising: a) Skazki staruhi-govoruhi o zhivotnyh [Old Woman`s Tales About Animals]. St. Petersburg: A. F. Devrien. 8vo (270 x 214 mm)b) Govoryashaya zhivotnaya [Talking Animals]. St. Petersburg: M. O. Volf, 1859. 8vo (290 x 227 mm)c) Gusi [Geese]. St. Petersburg: A. F. Devrien. 4to (350 x 265 mm)d) Kartiny voiny [Images of War]. St. Petersburg: Glavnaya Uprava Generalnogo Shtaba, 1917. 4to (245 x 334 mm)
Lot 180B
GUSTAV KLUTSIS (LATVIAN-RUSSIAN 1895-1938)Long Live Lenin`s Multimillion Komsomol, 1932lithograph in colors146 x 104 cm (57 1/2 x 41 in.) [sight]signed and dated in platePROVENANCEMimi Ferzt Gallery, New YorkChristie`s New York, January 10, 2012, lot 155Private Collection, New Jersey (acquired at the above sale) DA ZDRAVSTVUYET MNOGOMILLIONNIY LENINSKIY KOMSOMOL [Long Live Lenin`s Multimillion Komsomol]
![VIKTOR VASNETSOV [ILLUSTRATOR], PESN O VESHCHEM OLEGE, 1899 AND 1915 VASNETSOV, Viktor, illustrator, and ZAMIRAYLO, Viktor, c](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/da5a2a1d-726b-4ec3-b55d-ca41c88f4084/468x382.jpg)
Lot 254
VIKTOR VASNETSOV [ILLUSTRATOR], PESN O VESHCHEM OLEGE, 1899 AND 1915 VASNETSOV, Viktor, illustrator, and ZAMIRAYLO, Viktor, calligrapher; text by PUSHKIN, Aleksandr;PESN O VESHCHEM OLEGE [The Song of the Wise Oleg]. Comprising:a) First issue, dedicated to Pushkin`s birth centenary on May 26, 1899. Saint Petersburg: Tipografiya ekspeditsii zagotovleniya gosudarstvennykh bumag, 1899. A fold-out book with chromolithographic illustrations. 6 pages. 4to (330 x 228 mm);b) Second edition. Moscow: A. A. Levenson, 1914. A fold-out book with lithographic tipped-in illustrations. 6 pages. Large folio (484 x 337 mm)
Lot 260
A COLLECTION OF LYUBOV K TRYOM APELSINAM ZHURNAL DOKTORA DAPERTUTTO MAGAZINE, 1914-15PROVENANCECollection of Viktor Kholodkov LYUBOV K TRYOM APELSINAM. ZHURNAL DOKTORA DAPERTUTTO [Love for Three Oranges. Doctor Dapertutto`s Journal]. Editor - Vsevolod Meyerhold. Saint Petersburg/ Petrograd: V. Meyerhold, 1914-15. 8vo (180 x 135 mm [5 books] and 204 x 154 mm [1 book]). Comprising 10 issues in 6 books: Issue 1 (1914), Issue 2 (1914), Issue 3 (1914), Issues 4-5 (1914), Issues 6-7 (1914), Issues 1-2-3 (1915). Original color wrappers designed by Yuriy Bondi (in 1914) and Aleksandr Golovin (in 1915). Important publication on arts lead by Meyerhold featuring Blok, Akhmatova, Benois, Nadezhdin, Zhirmunskiy, Gippius, et. al.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.
Lot 1
LI GUIJUN (CHINESE B. 1964)Standing Nude, 1988oil on canvas101.5 x 62 cm (40 x 24 3/8 in.)signed and dated lower right; titled and signed Li Guijun on versoPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New YorkEXPERTISEWe are grateful to the artist, Li Guijun, for confirming the authenticity of this work. LOT NOTESBeijing artist Li Guijun is known for his exploration of the dynamics of women in a photo realistic fashion. He painted adolescent girls exclusively for almost twenty years, and the one presented at the auction is among the artist`s early works that he created at the time of graduation from the Central Academy of Fine Arts in Beijing in 1988. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.
Lot 329
A RUSSIAN IMPERIAL PORCELAIN PLATE, RUSSIAN IMPERIAL PORCELAIN FACTORY, ST. PETERSBURG, PERIOD OF NICHOLAS I (1825-1855) the lightly scalloped rim with a robin`s egg blue glaze, the white cavetto with a large, hand-painted Russian two-headed Imperial eagle, diameter: 24.5 cm (9 5/8 in.), blue underglazed Imperial cipher of Nicholas I on base
Lot 180A
GUSTAV KLUTSIS (LATVIAN-RUSSIAN 1895-1938)Victory of Socialism in our Country is Guaranteed, 1932lithograph in colors143 x 100 cm (56 1/2 x 39 1/2 in.) [sight]signed and dated in platePROVENANCEMimi Ferzt Gallery, New YorkChristie`s New York, January 10, 2012, lot 153Private Collection, New Jersey (acquired at the above sale) POBEDA SOTSIALIZMA V NASHEY STRANE OBESPECHENA... [The Victory of Socialism in our Country is Guaranteed...]
Lot 158
PORFIRIY MARKOVICH LEBEDEV (RUSSIAN 1882-1974)At the Kolkhoz Chairman`s, 1958watercolor on paper; additionally mounted on paper27.8 x 40 cm (11 x 15 3/4 in.)signed and dated lower right; 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.
Lot 206
AN EARLY SOVIET AGITLAK DESK SET OF THE GREAT POWERS OF THE STATE, N. ZINOVIEV, PALEKH, 1932-1933 a lacquered papier-mache desk set comprising: a) a rectangular base with beveled edges Gotovnost k oborone strany [Preparedness for the State`s Defense], with two ink stand indents and a pen groove, featuring the great defending forces of the Soviet Union - sophisticated aeromechanics cruising the sky above the Party leaders gathered at the Kremlin Senate in the center, with the Red Army soldiers in the foreground, proudly marching behind a line of self-propelled artillery, all flanked by two of the army`s civilian mainstays: agricultural sector on the left and industrial workers in gasmasks on the right, with four impressive battleships representing the strength of the Red Fleet, placed along the bottom edge; length: 38 cm (15 in.), width: 24.5 cm (9 5/8 in.); signed in Cyrillic N. Zinoviev, Palekh, 1932 along the bottom edge, inscribed with title along the top edge b) an ornate desktop paper holder with two divided compartments Velikiy Oktyabr [The Great October], on a raised base with beveled edges, featuring a demonstration held by Lenin in front of the Grand Kremlin Palace on a rear panel, a group of the common workers raising their red banners against capitalism on a middle panel, the row of marching peasants and the young with red standards on a front panel; length: 22 cm (8 5/8 in.), height: 18cm (7 1/8 in.); each panel signed in Cyrillic on the bottom N. Zinoviev, Palekh, dated 1932 (front panel) and 1933 (middle and rear panels), inscribed with title along the top edge of the rear panel c) a cylindrical pencil holder on a raised base Stroitelstvo tyazholoy industrii [Building-up of Heavy Industry], featuring a landscape with a multitude of Soviet factories, along with a hydroelectric power station, aeromechanics, military and farm machinery; black interior; diameter of base: 9 cm (3 1/2 in.), height: 12.5 cm (4 7/8 in.); signed and inscribed in Cyrillic on the bottom N. Zinoviev, Palekh, dated 1932, inscribed with title along the top edge d) a rocker style ink blotter with a handle Krasnaya gvardiya [The Red Guards], the top rectangular panel featuring the scene of storming of the Winter Palace by the Bolsheviks with help of the sailors of the Baltic Fleet on the 25th of October, 1917 in Petrograd; length: 17 cm (6 3/4 in.); signed in Cyrillic, inscribed and dated along bottom edge of the top panel N. Zinoviev, Palekh, dated 1932, titled along the top edge of the panel; e) a rectangular postage stamp box with five compartments Krasnaya armiya na front [The Red Army to the Front], the hinged cover with rounded corners featuring a strenuous battle between the Red and the White cavalry; crimson interior; length: 14.5 cm (5 3/4 in.), height: 3 cm (1 1/8 in.); signed and inscribed in Cyrillic along the lower edge of the coverN. Zinoviev, Palekh, dated 1932, titled along the top edge of the coverf) a pencil holder Votonovitelniy Period [Restoraiton Period] depicting post-war restoration and a celebration of the union of the country and city life; height: 6.5 cm (2 1/2 in.), diameter: 7.8 cm (3 1/8 in.); signed and inscribed in Cyrillic along the lower edge N. Zinoviev, Palekh, dated 1932, titled along the top edge
![CLOVIS HUGUES, ODE AU VAGIN, CIRCA 1933 HUGUES, Clovis, author;ODE AU VAGIN:POEME INEDIT [Ode to Vagina: An Unpublished Poem]](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/a16b6373-7b6d-4e79-981f-d405dab5f4ea/468x382.jpg)
Lot 270
CLOVIS HUGUES, ODE AU VAGIN, CIRCA 1933 HUGUES, Clovis, author;ODE AU VAGIN:POEME INEDIT [Ode to Vagina: An Unpublished Poem], Aux depens des amis de Clovis Hugues, circa 1933. 8vo (220 x 170 mm). 70 pages with 10 erotic color lithographs. Paperback with paper dust jacket. Copy number 14 out of 300, with author`s facsimile dedication and autograph. Text in French.
![A GROUP OF 3 EARLY SOVIET CHILDRENS BOOKS comprising: a) Skazochnaya azbuka [Magical ABCs]. Moscow: Goznak, 1969. 4to (235 x](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/3263c11c-7f54-4abc-9add-3069828d3ea9/468x382.jpg)
Lot 195
A GROUP OF 3 EARLY SOVIET CHILDRENS BOOKS comprising: a) Skazochnaya azbuka [Magical ABCs]. Moscow: Goznak, 1969. 4to (235 x 305 mm). Edition of 100,000b) Rosyanka Komarinaya Smert [Sundew, A Mosquito`s Death]. Leningrad: Nachatkiznaniy, 1925. 8vo (250 x 182 mm)c) Alyonushkiny skazki [Alyonushka`s Tales]. Leningrad: Detiztat, 1935. 8vo (220 x 175 mm).
![OSIP MANDELSTAM, O POEZII, 1929 MANDELSTAM, Osip, author; O POEZII [On the Poetry]. Leningrad: Academia, 1928. 12mo (188 x](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/57634a10-08e0-4063-b69c-e81a528b4b05/468x382.jpg)
Lot 267
OSIP MANDELSTAM, O POEZII, 1929 MANDELSTAM, Osip, author; O POEZII [On the Poetry]. Leningrad: Academia, 1928. 12mo (188 x 131 mm). 97 pages. Publisher`s original wrappers. With ex-libris of Cossack A. V. Leontyev and an autograph on the title page. A collection of critical essays on poetry.
![[FIODOR SHALYAPIN AUTOGRAPHED PHOTO]A PHOTOGRAPH SIGNED AND INSCRIBED TO EUGENE WOLFF-ISRAEL, 1911, depicting a portrait of](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/29bb4543-45ff-4a94-86e9-ecb82e7329fd/468x382.jpg)
Lot 242
[FIODOR SHALYAPIN AUTOGRAPHED PHOTO]A PHOTOGRAPH SIGNED AND INSCRIBED TO EUGENE WOLFF-ISRAEL, 1911, depicting a portrait of a Russian singer in profile, shot from behind, signed and dedicated along the top and the bottom of card mount to Eugene Wolff-Israel Milomu staromu priyatelyu Zhene Wolf-Izraelyu s lyubovyu i vospominaniyami o nashey slavnoy i vesyoloy molodosti [To dear old friend Eugene Wolff-Israel with love and memories about our glorious and cheerful youth], signed and dated November 30, 1911, overall: 22.2 x 18cm (8 3/4 x 7 1/8 in.)
Lot 180C
EL LISSITZKY (RUSSIAN 1890-1941)Who Is Recognized and Famous in the Socialist State, 1938lithograph in colors59 x 85 cm (23 1/4 x 33 1/2 in.) [sight]PROVENANCEMimi Ferzt Gallery, New YorkChristie`s New York, January 10, 2012, lot 155Private Collection, New Jersey (acquired at the above sale) KTO SLAVEN I ZNATEN V STRANE SOTSIALIZMA , 1938, designed by El and Es Lissitzky, with an illustration Staryie Kukly by KUKRYNIKSY, editor B. Yudin, printed by Krasnyi proletariy in Moscow, published by IZOGIZ, edition of 100,000
Lot 132
A PAIR OF WORKS BY NIKOLAY ANTONOVICH MATSEDONSKY (RUSSIAN 1911-1981)a) Stage Illustration for Children`s Theatre for `Black and White` by V. Mayakovsky, 1939gouache and pencil on paperimage: 20 x 11.5 cm (7 7/8 x 4 1/2 in.)inscribed, titled and dated on versob) The Ship. A Mobile Stage Design, 1939gouache and pencil on paperimage: 15 x 24 cm (6 x 9 1/2 in.)inscribed, titled 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.
Lot 314
A SILVER JUDAICA INKWELL WITH SCORPION HANDLES, RUSSIAN OR POSSIBLY POLISH, CIRCA 1878 of hexagonal shape, flanked by two realistically cast scorpions, one side with an applied Imperial Russian crest, the verso featuring an applied cast Star of David, the top with a hinged lid revealing the inkwell, height: 9 cm (3 1/2 in.), dated assayer`s mark O.C. 1878, 84 standard
Lot 215
A GROUP OF SEVEN ETCHINGS BY VYACHESLAV KALININ (RUSSIAN B. 1939) a) The Birdsetching on paper plate: 15.5 x 17.5 cm (6 1/8 x 6 7/8 in.); overall: 39.3 x 31.6 cm (15 1/2 x 12 1/2 in.)signed in pencil lower rightb) Three Designs for Playing Cards, 1977 etching on paper each plate: 16 x 12 cm (6 1/4 x 4 3/4 in.); overall: 37 x 60 cm (14 1/4 x 23 5/8 in.)signed and dated in pencil lower right c) The Motherland, 1972etching on paper plate: 41 x 32.5 cm (16 1/4 x 12 5/8 in.); overall: 62 x 40 cm (24 1/2 x 15 3/4 in.)monogrammed and dated in plate; signed in pencil lower rightd) The Rodovo Dream, 1972tinted etching on paperplate: 50 x 65 cm (19 5/8 x 25 5/8 in.); overall: 60 x 75.5 cm (23 5/8 x 29 3/4 in.)inscribed and dated in plate Grav Kalinin V. V. / Okt 1972 / Der. Rodovo; signed in pencil lower right e) Bach`s Prelude, 1975 tinted etching on paper plate: 64.5 x 49.5 cm (25 3/8 x 19 1/2 in.); overall: 75.5 x 60.5 cm (29 3/4 x 23 7/8 in.)signed, titled and dated in plate; signed in pencil lower right; bearing a gifting inscription on versof) Hunters in an Abandoned Village, 1975 tinted etching on paper plate: 65 x 49.5 cm (25 5/8 x 19 1/2 in.); overall: 76.7 x 60 cm (30 1/4 x 23 5/8 in.)signed, titled and dated in plate; signed in pencil lower right; bearing a gifting inscription on versog) The Head of St. John, 1972 tinted etching on paper plate: 65 x 49.5 cm (25 5/8 x 19 1/2 in.); overall: 75.5 x 56 cm (29 3/4 x 22 in.)signed and dated in plate; signed in pencil lower right
Lot 166
PYOTR SERGEYEVICH RODIONOV (RUSSIAN 1914-1981)Lenin`s House in Gorki, 1960oil on board49.5 x 70 cm (19 1/2 x 27 5/8 in.)signed lower right; inscribed, dated 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.
![PARAIN, NATHALIE [ILLUSTRATOR], BABA-YAGA, 1933 PARAIN, Nathalie, illustrator, and TEFFI, Nadezhda, editor. BABA-YAGA [The Wi](https://cdn.globalauctionplatform.com/2d77c086-0bca-421f-83b1-a729016a0190/31ed67f4-8624-4515-94a5-0095d4327cad/468x382.jpg)
Lot 153
A GROUP OF FOUR DRAWINGS BY NIKOLAY ALEKSANDROVICH SHISHLOVSKIY (RUSSIAN 1907-1984)Views of Saint Petersburg, 1950sgraphite on paper24 x 30 cm (9 1/2 x 11 3/4 in.) each;two signed with monogram and dated lower right; inscribed on versoPROVENANCECollection of Viktor KholodkovEXPERTISEEach bearing an authenticating inscription by artist`s wife V. I. Ligachyova on verso 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.
Lot 139
NIKOLAI STEPANOVICH TROSHIN (RUSSIAN 1897-1990)Still Life with Hat, 1930oil on canvas, unstretched71 x 53.5 cm (28 x 21 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 Museum, and many other museums in Russia.Viktor 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.
Lot 306
AN ANTIQUE RUSSIAN GILT SILVER CAVIAR STAND IN THE FORM OF A FLOWER URN, POSSIBLY ANDREI ASTRAKHANTSEV, MOSCOW, FIRST QUARTER OF THE 19TH CENTURY in the form of a flower urn, the exterior of the main basin ornately decorated with chased and repousse flowers and foliage, the octagonal base supported by four ball feet, height: 11 cm (4 3/8 in.), partially legible maker`s mark, 84 standard; overall weight: 205.1 grams
Lot 200
A GENTLEMAN'S STAINLESS STEEL OMEGA SEAMASTER DE VILLE AUTOMATIC WRIST WATCH CIRCA 1960s, WITH OMEGA BOX D: Silver dial with black inlaid gilt batons & hands, date aperture. M: Automatic movement, signed Omega Watch Co. & numbered. C: Circular case with Seamaster emblem embossed on case back, signed Omega Watch Co., Omega crown, case diameter measures approx. 35mm. S: Brown leather strap. CONDITION REPORTD: Original dial in excellent condition. M: Working at present. C: In very good condition. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
Lot 288
A GENTLEMAN'S SOLID SILVER ROLEX HALF HUNTER "OFFICERS" WRIST WATCH CIRCA 1918D: White enamel dial with "skeleton" Arabic numerals, subsidiary seconds. M: 15 jewel manual wind movement signed Rolex. C: Circular case with a hinged top and screw back, blue enamel Arabic numerals, signed W&D, hallmarked & numbered, case diameter measures approx. 35mm. S: Brown leather strap. CONDITION REPORTD: Original dial in very good condition. M: Working at present. C: In excellent condition with some scratches due to general use. S: New. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
Lot 147
A VERY RARE GENTLEMAN'S STAINLESS STEEL BRITISH MILITARY ROYAL NAVY CWC AUTOMATIC DIVERS WRIST WATCH DATED 1981 D: Black dial with tritium luminous markers, "big triangle" 12 o'clock marker, 3-6-9 Arabic numerals, tritium luminous "sword" hands. M: Automatic movement, ETA calibre 2872. C: Military case with fixed bars, 60 minute rotating bakelite bezel, crown guards, screw-down crown, signed M.R.P. SA Swiss Made, issue markings 0552/923-7697 ^ 1106/81, case diameter measures approx. 42mm. S: NATO strap. CONDITION REPORTD: Original dial in excellent condition, luminous showing some patina. M: Working at present. C: In excellent condition with some scratches due to general use. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
Lot 247
A RARE GENTLEMAN'S STAINLESS STEEL ROLEX OYSTERDATE PRECISION BRACELET WATCH DATED 1970, REF. 6694 WITH ORIGINAL PURCHASE RECEIPT AND BILL OF SALE FROM THE U.S. ARMY & AIR FORCE EXCHANGE SERVICE "AAFES" WITH ORIGINAL BOX, OPEN PAPERS & TAG D: Silver dial with silver batons & hands, date aperture. M: 17 jewel manual wind movement signed Montres Rolex S.A. & numbered, calibre 1225. C: Oyster case, signed Montres Rolex S.A., numbered, dated I.69, Rolex crown, case diameter measures approx. 35mm. B: Original Rolex Oyster riveted bracelet dated 4.69 & numbered 7205/60. CONDITION REPORTD: Original dial in excellent condition. M: Working at present. C: In excellent condition. B: In excellent condition.Overall the watch appears to have been worn very occasionally from new. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
Lot 66
A GENTLEMAN'S STAINLESS STEEL ROVINA DIVERS CHRONOGRAPH WRIST WATCH CIRCA 1970s D: Black & white dial with luminous markers, triple register recording hours, minutes & continuous seconds, orange chronograph hands. M: 17 jewel manual wind movement, Valjoux calibre 7736. C: Tonneau shaped case with rotating 60 minute bezel, signed 20 ATM, case width measures approx. 43mm. S: Black leather strap.CONDITION REPORTD: Original dial in excellent condition. M: Working at present. C: In very good condition, with some small scratches due to general use. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
Lot 249
A GENTLEMAN'S STAINLESS STEEL ROLEX OYSTER PERPETUAL DATEJUST WRIST WATCH CIRCA 1968, REF. 1600 D: Silver dial with silver batons & hands, date aperture. M: 26 jewel automatic chronometer movement, signed Montres Rolex S.A. & numbered, calibre 1570. C: Oyster case with smooth bezel, signed Montres Rolex S.A., dated II.68, numbered, Rolex crown, case diameter measures approx. 36mm S: Brown leather strap. CONDITION REPORTD: Original dial in excellent condition. M: Working at present. C: In excellent condition, with some light scratches due to general use. S: In excellent condition. D: Dial / M: Movement / C: Case / S: Strap / B: Bracelet
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