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Click here to subscribePrima metà del Secolo IV d.C. - Collezione di 15 bronzi del periodo in vari moduli Con riferimento al Cohen, sono presenti: M assimiano Ercole, 64 - Galerio Massimiano, 188 - Massenzio, cinque esemplari: 29, 34, 43, 50 e 51 - Licinio I, due esemplari: 67 e 123 - Costantino, cinque esemplari: 77, 309, 312, 557 e Anonime 21 - Costanzo Starting Price / Prezzo di partenza: €150
Luchino e Giovanni Visconti (1339-1349) o Giovanni Visconti solo (1349-1354) - Mezzo Ambrosino d`oro Zecca: Milano - Fronte: grande M gotica entro una cornica a sei archi - Retro: effigie di Sant`Ambrogio di fronte - Per l`attribuzione di questa moneta, v. documentatissima nota in Crippa (Monete di Milano - Vol. I pagg. 38-40) - Non comune e di buona qua Starting Price / Prezzo di partenza: €500
Fermo - Francesco Sforza (1434-1446) - Bolognino Fronte: le lettere O M E S in caratteri gotici disposte a croce intorno ad un globetto al centro - Retro: grande A gotica accostata da quattro anellatti - gr. 0,99 - Non comune e di qualità molto buona per la tipologia monetale - In lotto con un Grosso "p Starting Price / Prezzo di partenza: €200
Napoleone I Re d`Italia (1805-1814) - 10 Soldi 1812 Zecca: Venezia - Fronte: effigie di Napoleone a destra - Retro: corona ferrea con valore sottostante - Esemplare con segno di secca "V" ribattuto su "M" - Di buona qualità, con patina di medagliere - (Gig. n. 182a (Mont. n. 42 (Pag. n. 26a Starting Price / Prezzo di partenza: €100
20 Lire Quadriga 1936 Zecca: Roma - Fronte: effigie del Re a sinistra - Retro: l`Italia seduta con fascio e vittoriola su quadriga al passo verso destra - Alcuni graffi sul rovescio, ma di generale buona qualità - Sigillata Cesare Bobba 1981 "Fdc" - (Bol. n. R80 (Gig. n. 45 (M Starting Price / Prezzo di partenza: €1000
Model Railway-Hornby 0 Gauge-Various items comprising: Castrol Wakefield Motor Oil tank wagon, (in odd box), Rotary Tipping Wagon, (boxed), Fyffes Bananas van, (boxed), No.1 Level Crossing, (boxed), M Station Set (boxed) and a small quantity of various station figures and accessories Condition Report: All items show light wear from light play. Boxes have got damp at some point - ** General condition consistent with age
Diamond single stone ring, the brilliant cut of approximately 0.65 carats, between shoulders set with a trio of single cuts to each, the yellow shank stamped ‘18ct’, ‘Plat’ and numbered ‘2662’, size M Condition Report: Central diamond approximately 6mm diameter, visible inclusions, fairly white to slightly tinted in colour - ** General condition consistent with age
Diamond and emerald ring, the emeralds arranged as three pairs of step cuts alternating with four bands of channel set diamonds, the twelve brilliant cuts totalling approximately 0.36 carats, stamped ‘750’, size M Condition Report: Slight chip to the corner of one emerald - ** General condition consistent with age
Late Victorian sapphire and diamond cluster ring, London 1880, the sapphire enclosed by eight old cut brilliants totalling approximately 0.55 carats, size M Condition Report: Some facet wear to the sapphire and wear to the claws, re-sizing join visible - ** General condition consistent with age
Mado JOLAIN (née en 1921) Important pichet biconique en faïence, large prise tronconique latérale montée de biais allégée d’une ouverture circulaire à l’extrémité, décor émaillé de plages géométriques grises animées de scarifications, fond blanc. Signature incisée "M. Jolain - 33/50". Haut. 46 cm - Larg. max. 34 cm Mado JOLAIN (née en 1921) A spectacular biconical enamelled earthenware jug with geometrical patterns. Incised signature, numbered. Height. 18 1⁄8 IN. - Width. max. 13 3⁄8 IN. Haut. 46 cm - Larg. max. 34 cm
ƒ George NAKASHIMA (1905-1990) "Double sliders door cabinet" Enfilade en noyer, circa 1970, piètement formé de deux panneaux renforcés de deux longs tasseaux soutenant le corps parallélépipédique principal, plateau ondé en façade. Elle ouvre par deux vantaux coulissants sur un intérieur pouvant être aménagé d’étagères à hauteur réglable à droite, et à gauche, par une succession de quatre tiroirs façon dressing. Divers systèmes de montages tenons-mortaises apparents au niveau de la structure et du plateau. Haut. 70 cm - Long. 183 cm - Prof. 53 cm Provenance : Ancienne collection de M. & Mrs Raanan Mallet, Chicago. Bibliographie : Mira Nakashima, Jeffrey Vance, "Nature form and spirit, the life and legacy of George Nakashima", Harry N. Abrams, Inc, 2003, reproduit en croquis p. 83. ƒ George NAKASHIMA (1905-1990) "Double sliders door cabinet" A walnut low sideboard with two front sliding panels, circa 1970. Height. 27 1⁄2 IN. - Length. 72 IN. - Depth. 20 7⁄8 IN. Haut. 70 cm - Long. 183 cm - Prof. 53 cm Provenance : Ancienne collection de M. & Mrs Raanan Mallet, Chicago. Bibliographie : Mira Nakashima, Jeffrey Vance, "Nature form and spirit, the life and legacy of George Nakashima", Harry N. Abrams, Inc, 2003, reproduit en croquis p. 83.
BG - E. GAROUSTE(Née en 1949) - M. BONETTI (Né en 1952) & SAM LAÏK (Éditeur) "Rêverie" Tapis rectangulaire, 1991, en tuft haute laine, à décor végétal stylisé, teintes bleu marine, bleu roi, bleu clair et blanches. Étiquette. Signé BG dans le tissage. Long. 158 cm - Larg. 223 cm BG - E. GAROUSTE (Née en 1949) - M. BONETTI (Né en 1952) & SAM LAÏK (Éditeur) "Rêverie" A rectangular blue and white tufted wool "Musing" rug, 1991. Stamped. Signed BG in the weaving. Lenght. 62 1⁄4 IN. - Width 87 3⁄4 IN. Long. 158 cm - Larg. 223 cm
* KUZNETSOV, PAVEL (1878-1968) Eastern City. Bukhara, signed, also further signed, inscribed "Moskou" and in Cyrillic "V Bukhare" and dated 1912. Oil on canvas, 103 by 80 cm. Provenance: Acquired directly from the artists’s studio by Tatiana Kozyreva in 1956. Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Geraschenko. Exhibited: Mir iskusstva, Moscow, 1915. Mir iskusstva, Moscow, 1917. Vystavka kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoi, Russian Academy of Artistic Sciences, Moscow, May 1923. Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoi deyatel’nosti, Central House of Art Workers, Moscow, April 1956. Pavel Varfolomeevich Kuznetsov, Moscow, 1964. Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, 1978. Literature: Exhibition catalogue, Mir iskusstva, Moscow, 1915, p. 11, No. 147, listed as V Bukhare. Exhibition catalogue, Mir iskusstva, Moscow, 1917, p. 7, No. 97, listed as V Bukhare. Katalog vystavki kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoy, Moscow, 1923, p. 5, No. 53, listed as V Bukhare. Exhibition catalogue, Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoy deyatel’nosti, Moscow, Sovetskii khudozhnik, 1956, p. 12, listed as V Bukhare under works from 1912. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov, Moscow, 1964, p. 14, listed as Bukhara under works from 1912. M. Alpatov, Pavel Kuznetsov, Moscow, Izobrazitel’noe iskusstvo, 1969, illustrated; p. 113, No. 19, listed as Bukhara, incorrectly dated 1911. L. Budkova, D. Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, 1975, pl. 44, illustrated; p. 332, No. 225, listed as Vostochnyi gorod. Bukhara under works from 1915–1916. A. Rusakova, Pavel Kuznetsov, Leningrad, Iskusstvo, 1977, p. 123, illustrated; p. 281, listed as Vostochnyi gorod, incorrectly dated 1913–1914; pp. 125–126, mentioned in the text. Exhibition catalogue, Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, Sovetskii khudozhnik, 1978, illustrated and listed as Vostochnyi gorod. Bukhara under works from 1915–1916. Related literature: For the reproduction of the present lot as a postcard, see E. Butorina, Pavel Kuznetsov. Komplekt otkrytok, Leningrad, 1970. Eastern City. Bukhara is one of the principal and best-known masterpieces of Pavel Kuznetsov’s Central Asian series. Kuznetsov spent several years in the East before the First World War, travelling first across the steppes of Kirghizia and then visiting Central Asia in 1912–1913. “Wishing to continue the theme of the East, which has an affinity for me,” he wrote in his notes, “I decided to delve deeper into Asia: Tashkent, Samarkand and Bukhara. For two consecutive summers I reflected the landscapes and life of this region in my works. The colouration of everything I saw there, so unfamiliar to us Russians, inspired me with new emotions and a new approach to painting, which sprang from the reality around me.” Bukhara, the most harmonious of the works in Kuznetsov’s Central Asian cycle, offers a certain quintessence of the eastern city. Alongside the best of the steppe pictures from 1911–1912, it represents the summit of Kuznetsov’s creative achievement. Motifs from other Bukhara works reappear in the picture recast, abstracted and purified to a full clarity and simplicity of primary forms. In Bukhara we find the clearest manifestation of the search for new structural solutions in harmony with the time, a search which is also present, in a milder, veiled form, in Kuznetsov’s other Bukhara works. The artist’s “course towards Derain and Picasso” (in the apt phrase of the art critic, Abram Efros) led Kuznetsov in this picture to a tangible geometrization of forms. And yet Cubism as a world view or even as an intellectual analysis of visible structures remained alien to the artist. While accepting many features of Gauguin’s synthetism, Braque’s decorative qualities, and some of Derain’s painting techniques, Kuznetsov remained sensitive to other important artistic trends of the Russian avant-garde – the influence of the old iconographic tradition and a passion for different variants of Oriental art. Kuznetsov, in his Bukhara works, limited cubist treatment to those phenomena, which seemed to him to come to meet a type of geometrisation that was more visual than methodological – the architecture of the buildings made from stone or pressed earth, and the jagged outcrops of the mountains around Bukhara. This selectiveness, with which objects are chosen or not chosen for cubist treatment within a single picture, produces a vibrant duality, lending an inner tension to the composition. This duality is present in Bukhara, where only the background of the picture fragments into stereometric protoforms. Kuznetsov on the one hand analytically decomposes inanimate objects in the image, but on the other hand achieves their organic unity and easy mergence with nature. He looks at objects sometimes from above and sometimes from below, and compacts the space of the picture without sacrificing its architectonic quality. Rectangular planes intersect and are deformed, volumes are fragmented, broken lines reach upwards in a repeating, rhythmic drawing pattern. The buildings, rising ledge by ledge, are akin to the icon representation of hills in Novgorod wall paintings. The colouration of the background is in an unexpected relationship with its complex constructivist treatment – a range of light yellow, pinkish-orange, ochre tones, subtly tinged with the crimson, blue, and glowing red surfaces of the buildings. In this portrait of Bukhara, which the artist loved above all eastern cities, Kuznetsov brought together his principal impressions of the region, achieving a composite unity of mountains, buildings clinging together, solitary trees, a shred of sky and the women with peacocks, united by the rhythmic organization of the picture as a whole and the colour harmony of golden-yellow and sky-blue tones. All of these elements make Bukhara into one of the most valuable and important examples of the artist’s work. In the 1970s Budkova and Sarabianov suggested that the picture, from the collection of Tatiana Kozyreva, was in fact painted in 1915 when the artist was revisiting his memories of Central Asia, synthesising what he had discovered there and on his wanderings on the Kirghiz steppes.
* KONCHALOVSKY, PETR (1876-1956) Dynamo Ice Rink, signed, also further signed, numbered "1502" and dated 1948 on the reverse. Oil on canvas, 62.5 by 89.5 cm. Authenticity certificate from the Petr Konchalovsky Foundation. Authenticity has also been confirmed by the experts A. Kiseleva and I. Geraschenko. Literature: Konchalovsky. Khudozhestvennoe nasledie, Moscow, Iskusstvo, 1964, p. 151, listed as “zhi 1210”. M. Neiman, P.P. Konchalovsky, Moscow, Sovetskii khudozhnik, 1967, listed under works from 1948. Petr Konchalovsky’s Dynamo Ice Rink addresses one of his favourite themes in the 1930s and 1940s – Moscow skating rinks. Konchalovsky created a whole series of works depicting winter sports on the ice at Patriarch’s Ponds, not far from his studio (Little House by the Ice, On the Ice), and at Dynamo stadium. Such scenes had been a stock-in-trade of artists for centuries, but they found new life in the work of Soviet artists thanks to the cult of mass sport and healthy leisure pursuits, which arose in the USSR during the 1930s. The invariably upbeat and joyful mood of Konchalovsky’s paintings offers a romanticized vision of contemporary Moscow. The painter strikes a balance between the optimistic depiction of Socialist reality required of every artist at the time, and his own artistic and human credo, while avoiding internal conflict. The associations evoked by Dynamo Ice Rink, have less to do with the capital’s main stadium (Dynamo was the venue for sports parades and all the most prestigious sporting contests of the time), and more to do with yet another corner of the city, beloved of Konchalovsky. The artist does not show the main arena, but the so-called “Little Dynamo” in front of Upper Maslovka street and Petrovsko-Razumovskaya Alley, where the Maslovka artists’ colony was situated. The panoramic composition offers a view onto the ice-covered field, seemingly glowing from within, and across the city at evening, half moon suspended above the silhouettes of houses and warm light twinkling in the windows. The lively and dynamic figures of the skaters, features of the background houses, even the branches of the trees through which the artist looks are painted schematically, without detail. “People whirl around the skating rink like tea leaves in a saucer” (On the Ice, Vasily Lebedev-Kumach) and this combination of chaotic motion in an impressionistically soft landscape with a strong graphic structure provides the overall mood of the canvas. Konchalovsky convincingly transmits the dynamics and the romance of skating by night, but what he most wanted to do in this picture was undoubtedly to convey the light and airy quality of the environment and the colourful spectacle of a frosty winter evening in the city. This is what the picture achieves, creating a truly marvelous Moscow landscape, imbued with the spirit of the time.
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