We found 19747 price guide item(s) matching your search

Small collection of art reference books, mostly modern hardbacks dealing with Victorian paintings, also Graham Ovenden, Leighton, Toulouse-Lautrec, to include 'Illuminated Manuscripts in the British Museum', George F. Warner, First Series, second edition, London: 1904, in original folder.

A modern Art Deco style 9ct white gold and diamond cluster dress ring, 1.7g and size M / N

An Art Deco period Bulova gold plated gentleman's wristwatch, appears to run, together with a Hilton and two modern watches (4)

A limited Edition Modern Futurist Movement Art Watch with black strap. Signed by the artist, No 162/199.

Pictures to include modern art posters, Roth - portrait, oil on canvas, Jacques M G Ounover - a lane through trees, oil on canvas, signed and others

Two silver mounted photograph frames, One Art Nouveau, Chester, 1906 and one modern hallmarked Sheffield, 1991

Sculpture: ▲ Audrey Blackman (1907-1990), The Dove Bronze Signed and dated on base, 1934 84cm high by 22cm by 31cm, Blackman was an established female sculptor with affinities to both Aristide Maillol and Charles Despiau. Her sculpture appears classical at first glance but is intensely modern in its rejection of anatomical academicism in favour of the expression of emotion. The classical pose is here re-interpreted through a sensitive portrayal of the intimate focus of the figure dwelling on the dove that sits in her hand. The texture of the surface makes no pretension to naturalism, and the treatment of the figure’s hair is further stylized in a manner that relates to the Art Deco aesthetic prevalent in Europe at that time., Born in London, née Seligman, Blackman studied at Goldsmith’s College of Art, 1926-1930, and Reading University Art School 1931-1935. She exhibited regularly at Royal Academy; National Society of Painters, Sculptors, and Engravers; Society of Women Artists; as well as participating in various national and international exhibitions. She also became renowned for her work in pottery and ceramic and developed a fine type of porcelain known today as Audrey Blackman Porcelain., The artist’s work is now represented in several public collections., Literature: Dictionary of Western Sculptors in Bronze, James Mackay, 1977; Dictionary of British Artists Working 1900-1950, Grant Waters, 1975; Dictionary of British Artists 1880-1940, J. Johnson and A. Greutzner, 1976.

A POSTCARD ALBUM, featuring cards dating from the early 20th Century to the 1960's, subjects include topographical scenes from Britain and Europe, family portraits and Art Nouveau, the lot also includes a box of modern British and Continental postcards and a box of IPM postcard yearbooks

two 9ct. gold chain bracelets, both as found, (total gold approx. 6g), together with a an ovoid form silver hallmarked brooch, with pierced 'stork' design, by Amanda Birkett, London 1996, a modern design sterling silver and amethyst set ring, stamped ".925", an Art Nouveau style sterling silver brooch, in the form of a naturalistic flower set dark blue cabochon stone, stamped ".925", and a quantity of sterling silver and other jewellery..(qty) 

Seitz, William C. Abstract Expressionist Painting in America, first edition, plates, original cloth, dust-jacket, 4to, Cambridge: Harvard University Press, 1983; Polcari, Stephen. Abstract Expressionism and the Modern Experience, original cloth, dust-jacket, 4to, New York: Camrbridge University Press, 1991; Caws, Mary Ann. Robert Motherwell, What Art Holds, original cloth, dust-jacket, 8vo, New York: Columbia University Press, 1996; and 21 others, artists, v.s. (24)

[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) SELF PORTRAIT Oil on board 25.5cm x 18cm (10in x 7in) Provenance:Cyril Gerber Fine Art, Glasgow Note: Alison Watt is today best known for her crisp, elegant explorations of swathes of fabric in a palette severely limited to a spectrum of whites, off-whites and greys. With many high profile exhibitions and commissions surrounding this latter direction of her career, it is easy to forget that her origin, and indeed the area in which she initially found fame, was exclusively based in figuration and portraiture. Born in Greenock in 1965, Watt went on to study at the Glasgow School of Art, graduating in the late 1980s as part of a remarkable wave of neo-figurative painters; her peers including Stephen Conroy and Ken Currie. In 1987 Watt won the National Portrait Gallery's annual award, which secured her the representation of some of the country's leading galleries including Marlborough Fine Art in London. In 1997, a decade on, Watt began to introduce her now famous folds of fabric to the backdrops of her portraiture, an angle she continued to cultivate and evolve until she had moved away from the figure altogether. This has made her earlier figurative output all the more desirable, being, as it is, scarce to the open market. Though not strictly self-portraiture, Watt frequently drew upon her own appearance in her work, deliberately lending her figures a homogenised and androgynous look; the elongated oval heads distinguished by a long straight nose and full mouth with a pronounced cleft to the upper lip. The distinctive look of her figures is at once classical and entirely modern, and one can trace the influence of artists from Ingres in the painstaking finish of the works, to Freud in the restraint of the palette and the deliberate focus away from typical ideals of beauty.

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA - BEN MORE Signed, signed and inscribed verso 'Property of G.W. Service', oil on board 38cm x 46cm (15in x 18in) Provenance:G.W. Service Esq, Myrtle Park, Cove Exhibited:Fine Art Society Ltd, Edinburgh and London, Three Scottish Colourists 1977, no.69 Note: Cadell's distinctive artistic talents were recognised at an early age, most notably by the artist Arthur Melville, who upon observing the younger artist's drawings, stated that he appeared 'to know instinctively what most people had to go to art school to learn'. At the age of sixteen Cadell travelled to Paris, where he studied at the Academie Julien. Living and training in Paris exposed the precocious young artist to the dynamic, avant-garde movements and developments in modern art that were occurring in the city at that time. As was to be expected, the time spent in Paris had a considerable influence on Cadell, and signs of this resonate throughout his career. Despite exploring and absorbing elements from these current trends and movements occurring in the vibrant, bustling streets and studios of Paris, Cadell developed a distinctively individual approach, reflecting his own character and interests. A man interested in all aspects of taste, elegance and style, he brought a sense of this to all his artworks. The isle of Iona, off the west coast of Scotland, became an inexhaustible source of artistic inspiration, as well as a place of solace and peace. Cadell returned every summer from around 1912 to 1933, and encouraged fellow Scottish Colourist, S.J. Peploe to join him, evidence of his deep and long-standing infatuation with the stunning light and landscape of this special, spiritual place. The offered painting Iona: Ben More, is not only a beautiful example of his depictions of this 'painter's paradise,' but has an important provenance, coming from the impressive collection of G.W. Service, one of Cadell's earliest and longest standing patrons. Most likely to have been painted from Cows Rock, the piece depicts the distinctive rocky shore, white sands, and clear shallow turquoise waters that so captivated the artist. The painting reflects the artist's talent of capturing the beauty of the island, and ability to impeccably transfer its jewel tones, wonderful light and distinct texture onto the canvas, instantly transporting the viewer to the peace and tranquillity of this sun-drenched scene.

BRANCUSI CONSTANTIN: (1876-1957) Romanian Sculptor whose art emphasizes clean geometrical lines that balance forms. Often referred to as the Patriarch of modern sculpture. Very rare A.L.S., `Brancusi´, one page, to the verso of a postcard, [Marseille], n.d., to Marinitza, in French. Brancusi writes to his correspondent, in poor French, stating in part `..since this morning I travel up to the Pyrenees in an electric train…I write this letter to you laying on the grass…close to the cows in front of the train station, waiting for the one which will take me to Pau.´ further concluding `This country is really poor..´ To the front, the postcard shows an image of the Marseille coasts. Folded, otherwise G £2000-3000

A MONUMENTAL CHAM STONE HEAD OF A DVARAPALA, DA NANG REGION, VIETNAM, 10TH CENTURYgrey sandstone, with bulging eyes and raised eyebrows, his long hair arranged in plaits gathered in a bun, wearing tiara and pendent earrings, mounted53cm highProvenance: Private Collection, London. Formerly collection of Yves Prunier, Paris until 1990s.The Hindu kingdom of Champa, which occupied most of the Southern half of modern Vietnam, reached its greatest power and prosperity between 8th-10th centuries before their territory was gradually reduced from the North by the Vietnamese. Little remains of the great riches of this civilisation, a great deal of which was lost in relatively recent times. For a related head of a ‘ferocious dvarapala’ in the Da Nang Museum, see Emmanuel Guillon, Cham Art, London 2001, no.104, p.118f

GOLD, TURQUOISE, PEARL AND ENAMEL NECKLACE, NORTH INDIA, PROBABLY JAIPUR OR DEHLI, CIRCA 1860designed to one side as a series of stylised blossoms ‘kundan’ set with turquoises, each motif with seed pearl and enamel bead surmount and articulated pendant, a central larger pendant featuring facing birds similarly set, the other side decorated with ‘meenakari’ enamelling in red, green, blue and white, on a golden cord with tassel terminals, two seed pearls deficient, in its contemporary leather case with cream velvet and silk lining, underside gilt stamped ‘HOWELL / JAMES & CO. / REGENT STREET’length approximately 440mm to later bale clasp, 770mm to the start of the tassel terminalsProvenance: the Cecil family of Hatfield House, Marquesses of Salisbury. Within the Cecil family this piece was always called ‘The Palmerston Necklace’ since it was reputedly given by the 3rd Viscount Palmerston (1784-1865) to a member of the Cecil family; thence by descent until given by Lady David Cecil (née Rachel McCarthy, 1909-1982) to the present vendor in the mid sixties.While most Indian jewellery favoured colourful stone combinations, the elegant and rare restraint of just turquoise and pearl to one side of this necklace probably indicates outside influence on the jeweller, perhaps a commission specifically for the British market. Although the use of the probably Persian mined turquoise to one side is unusual, the colourfully rich enamelling of the other side is typical of Mughal ornamentation. Comparable work is found on a hair ornament attributed to Delhi, circa 1850, published in S. Stronge, N. Smith and J.C. Harle, A Golden Treasury: Jewellery from the Indian Subcontinent, Exh. cat., Cartwright Hall, Bradford Art Galleries and Museums, 24 Sept.-27 Nov. 1988; Zamana Gallery, London, 13 April-25 June 1989, p.57.Howell, James & Co. was a successful and innovative Victorian luxury goods retailer, dealing in a broad range of goods including haberdashery, jewellery and clocks. As well as showing at the International Exhibitions of the period, they mounted variously themed ‘Exhibitions’ at their premises. These exhibitions were perhaps forerunners of those held rather later by another famous retailer, Liberty’s. It is possible Lord Palmerston may have purchased this necklace at an Indian themed exhibition held by Howell, James & Co. Located in Lower Regent Street, a visitor in 1865 described their main room as ‘arranged in the best style of modern shop-building: the carpeted floor soft to the tread and pleasing to the eye; and around the room are arranged time-pieces of every variety and design, and counters glazed like ferneries, but containing white velvet cases in which repose jewels of every kind and value’ (John Culme, The Directory of Gold & Silversmiths, Woodbridge, 1987, pp.241/2).

‡ Sir Terry Frost RA (1915-2003) Walk along the quay Signed Pastel over pencil 18 x 13cm Provenance: Bonham’s Knightsbridge, Modern British and Irish Art, 2nd June 2015, lot 51 ++Slight creasing to lower margin, good condition

SHABLAVIN, SERGEY(B. 1944)Memories of the Sea, signed, titled in Cyrillic and dated 1980 on the reverse, also further signed, titled and dated on the stretcher.Oil on canvas, 90.5 by 200.5 cm.Provenance: Acquired directly from the artist by the present owner in Moscow in 2004. Private collection, Europe. Exhibited: Sergey Shablavin. Nonconformist. Between Emptiness and Hope, Maastricht, 2004. Literature: Exhibition catalogue, B. Quaedvlieg, R. Wedewer and P. van Rooy, Sergey Shablavin. Nonconformist. Between Emptiness and Hope, Maastricht, Quaedvlieg Modern Fine Art, 2004.

* KRYMOV, NIKOLAI(1884-1958)*Before the Rain, signed and dated 1911, also further signed and dated on the stretcher.Oil on canvas, 60 by 82 cm.Provenance: Collection of Kh. Kagan in the 1960s. Important private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert Yu. Rybakova. Exhibited: Vystavka proizvedenii Nikolaia Petrovicha Krymova, Akademiia khudozhestv SSSR, Moscow, 1967. Literature: Exhibition catalogue, T. Rottert (ed.), Vystavka Nikolaia Petrovicha Krymova. Katalog, Moscow, Iskusstvo, 1966, p. 18, listed under the year 1911. Reproduced on a postcard, Moscow, Sovetskii khudozhnik, 1968. M. Sitnina (ed.), Nikolai Petrovich Krymov. Albom reproduktsii, Moscow, Sovetskii khudozhnik, 1970, p. 40, illustrated; p. 99, listed. Exhibition catalogue, I. Porto (ed.), Nikolai Petrovich Krymov. Zhivopis. Grafika. Teatralno-dekoratsionnoe iskusstvo, Moscow, Sovetskii khudozhnik, 1984, No. 39, listed. I. Porto, N. Krymov. Izbrannye proizvedeniia, 1984, No. 29, illustrated and listed. I. Porto, Nikolai Krymov. Katalog-rezone. Zhivopis, grafika, teatr, Moscow, Iskusstvo-XXI vek, 2009, p. 69, No. 111, illustrated and listed. Nikolai Krymov’s landscape Before the Rain, now offered for auction, marks one of the most important stages in the artist’s oeuvre. The work was painted in 1911, when his studies at the School of Painting, Sculpture and Architecture had come to an end, and Krymov, already a fully-fledged painter, widely known and enjoying public recognition, was selected to represent the achievements of contemporary Russian art at an international exhibition in Rome alongside Alexander Benois, Mstislav Dobuzhinsky, Evgeny Lanceray, Kuzma Petrov-Vodkin, Igor Grabar and others. Krymov was himself something of a “Roman” by then, fascinated as he was by the classical landscapes of the 17th century. His ideal, somewhat theatrical landscapes, with their symmetrical wide-branching treetops, are inspired by the classical tradition and call to mind the outstanding masters of the early 17th century who worked in Rome — Nicolas Poussin, Claude Lorrain and Gaspard Dughet. By making use of this stylistic canon and synthesising it with the decorativeness of a tapestry, the naivete of primitive art and the conventions of a theatrical scene, Krymov achieves a surprisingly modern effect in the composition of Before the Rain. He is no longer in the least dependent on the Russian school of landscape painting, spurning all literal adherence to nature, and reinvents his landscape afresh, combining his observations from real life with distinctly ornamental principles. This will subsequently come to be the hallmark of an artist who instructed his pupils: “Never paint a picture from studies. Paint the studies, examine nature so as to get to know it, but, when starting on the painting, put them right away and paint from inside yourself.” It comes as no surprise that, after seeing Krymov’s works, the eminent Russian art historian Pavel Muratov wrote in 1910: “Particular attention should be paid to this young artist by those who have an interest in the future of Russian landscapes. His works definitely belong to a new era in our landscape painting already.” Before the Rain shows a kind of “Russian Arcadia”, in which to the ideal harmony of a natural scene is reflected by the clear, balanced, classical structure of the composition, the spatial construction of which is based on an alternation of light and dark masses of landscape, the sharpness of the outlines of the trees, the applique like quality of the colour planes and the use of a particular colour effect to convey a sky before a rainfall whereby it looks “condensed”. Mighty trees, like the side scenes of a theatre, hem in a humble country bridge. Depth in the canvas is achieved by a luminous sky that shines through the crowns of the trees and by the sunny glade in the far distance. It seems like the canvas of a theatre backdrop, with remote expanses painted on it, has been stretched behind the foreground, with its stage-prop bridge and timber side-scenes. The sunlight falling abruptly from above not only lights up the glade and the treetops, but also sculpts their dimensions. Hence there is a natural contrast between the brightly-lit trees and the shaded ones, while the long shadows that cut across the bridge, and the dark foreground further intensify the theatrically classical nature of the composition. Very typical too is the artist’s use of the staffage female figure standing motionless on the bridge: her bright skirt prevents her from blending in with the shade. Krymov’s human characters — random wayfarers, hunters with dogs, and peasants — are just as conventional in his pictures as the classical landscape figures, which are meant to demonstrate visually the universal harmony of man’s indissoluble link with nature.

* SOUTINE, CHAÏM(1893-1943)*La liseuse endormie, Madeleine Castaing.Oil on canvas, 57 by 41.5 cm.Executed c. 1937. Provenance: Acquired directly from the artist by Marcellin and Madeleine Castaing. Collection of Madeleine Castaing. Impressionist and Modern Art Day, Sotheby’s London, 20 June 2006, lot 340. Important private collection, Europe. Exhibited: L’Or des années folles, 1918–1930, Grand Palais, Paris, 8 February–5 March 1979. Chaim Soutine, 1893–1943, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster; Kunsthalle, Tübingen; Hayward Gallery, London; Kunstmuseum, Lucerne, 1981–1982. Soutine, 1893–1943, Galleri Bellman, New York, 6 December 1983–28 January 1984. C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Centre Culturel et Artistique, Montrouge, 1986. Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Galleria Bergamini, Milan, March–April 1987. Soutine, Musée de Chartres, Chartres, 29 June–30 October 1989, No. 69. Chaim Soutine, Galerie Thomas, Munich, 1 April–30 May 2009. Literature: M. Ochse, “Retour de Soutine”, Jardin des Arts, Paris, No. 218, May–June 1973, p. 9, illustrated. Exhibition catalogue, J. Monneret (ed.), L’Or des années folles, 1918–1930, Paris, Société des artistes indépendants, 1979, p. 28, No. 19, illustrated. Exhibition catalogue, Chaim Soutine, 1893–1943, London, Arts Council of Great Britain, 1982, No. 90, illustrated with incorrect orientation. Exhibition catalogue, Soutine, 1893–1943, New York, Galleri Bellman, 1983, No. 19, illustrated with incorrect orientation and size. Exhibition catalogue, C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Montrouge, Centre Culturel et Artistique, 1986, No. 27. Exhibition catalogue, F. Porzio, Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Milan, Galleria Bergamini, 1987, No. 15, illustrated and listed. Exhibition catalogue, Soutine, Chartres, 1989, p. 303, illustrated; p. 302, No. 69, listed with the date 1940. M. Tuchman, E. Dunow, K. Perls (eds), Chaim Soutine. Catalogue Raisonné, Cologne, Benedikt Taschen, 1993, p. 760, listed; p. 763, illustrated. Chaim Soutine. The Passion of Painting, Munich, Galerie Thomas, 2009, p. 134, illustrated and listed. M. German, Khaim Sutin. 1893–1943, Moscow, Iskusstvo–XXI vek, 2009, p. 309, illustrated and mentioned in the text; p. 357, listed. K. Carl, Chaim Soutine, London, Parkstone International, 2015, illustrated. Chaïm Soutine’s La liseuse endormie, Madeleine Castaing, now offered for auction, the portrait of a close friend, the collector and the artist’s patron, Madame Madeleine Castaing (1894–1992), is one of the artist’s most expressive portraits. It was painted in the second half of the 1930s, when the relationship between Soutine and his model — who was to become a wellknown bohemian antique dealer, interior designer and was, according to Picasso, “the most alluring” woman in Paris — was already so friendly and enduring that it did not presuppose the traditional official distance between the artist and his patron. They first met in the 1920s, when a wealthy couple Madeleine and Marcellin Castaing — lovers of painting and passionate collectors, who had already a collection, which included works by Modigliani, Rouault, Picasso, Gris and Léger — saw some of Soutine’s works and began to track them down. The Castaings’ support, which remained with Soutine until his dying day, gradually brought them closer together, and after the death of Léopold Zborowski, the artist’s long-time dealer, Madeleine Castaing personally looked after Soutine’s affairs. From 1930 to 1935, the artist spent his summers at the Castaings’ home on their Lèves estate near Chartres. It was here that he painted his masterpieces Woman Entering the Water (1931; after Rembrandt’s Woman Bathing), Siesta (1934), Child in Blue and Chartres Cathedral (1934). Madeleine Castaing posed repeatedly for Soutine both in his workshop near the Parc Montsouris and on her estate. Soutine trusted her implicitly, and she alone was allowed to observe his work in progress. As she once put it, “I am the only person he could bear when he was painting and even when he was pondering the idea for a picture. I was the only person whom he asked for advice about a model or subject.” It comes as no surprise that it is one of the portraits of Madeleine Castaing, dating from 1928 (The Metropolitan Museum of Art), that marked the pinnacle of the artist’s portrait painting. She was later to recall: “I would often sit for him. I could not let slip a single unnecessary word or say anything that disturbed his thinking. A simple phrase might infuriate him. I remember his reaction when, without having the slightest wish to belittle his talent, my husband was trying to find some spiritual connection between one of his latest works and Renoir. Was Soutine aggrieved, or did he sense some affinity himself? But in his anger, he tore up his work anyway.” The main feature of the artist’s interpretation of the image of Madeleine Castaing in this portrait is her almost grotesque appearance. Having dozed off while reading a book, she has let her head fall onto the cushioned edge of the couch, possibly in the blue sitting room at her Lèves estate, which was commandeered by the Nazis in 1940, and has pressed the book to her face on an unconscious impulse. We can see neither the female figure nor the couch as a whole, but only this strange viewing angle in a very narrow vertical section. The upward motion of the disproportionate arms and the pointed nose make the face of the sleeping woman resemble a frightened bird. A large nose, eyebrows raised in surprise, wide, red, half-parted lips and huge eyes covered by bulging eyelids stand out on her thin, highly expressive and temperamental face, seen in profile with taut, smooth cheekbones. Hidden drama and nervous tension are also encapsulated in the canvas’s colour scheme: they cry out from the striking juxtaposition of the intense dark-blue, white, pink and yellow colours. The fair, straw-coloured turmoil of Madeleine’s hair, tossed back beyond the couch, is echoed by the yellowness of her left arm with its dark-blue ropelike veins. The deliberately distorted proportions of the vaguely delineated real-life features, the bright blotches on the face, the grimace of a troubled sleep and the actual angular nature of the composition give rise to a feeling of overabundant expressiveness. One can sense a poignancy and insecurity in the model. The spontaneity of execution, the outward passionate improvisation and the chromatic colouristic movement of the background, all augmented by the vividly expressed individuality of the lady’s appearance, make the portrait so memorable and significant. La liseuse endormie, Madeleine Castaing provides a clear illustration of why the art-loving Madeleine Castaing, who had an extravagant taste, her own inimitable style and artistic flair, particularly cherished the portraits of her that were painted by Soutine. It is precisely when looking at this canvas that one can appreciate the accuracy of Élie Faure’s judgment of the artist, when he spoke of his “supernatural expressiveness of visible life”.

* NISSKY, GEORGY(1903-1987)*Reclining Nude, signed with a monogram.Oil on canvas, 93.5 by 92.5 cm.Executed c. 1959. Provenance: A gift from Nissky to the artist Max Birstein, Moscow. Important private collection, USA. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Authenticity has also been confirmed by the expert T. Ermakova. Exhibited: Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Academy of Arts of the USSR, Moscow, 1963. Niu v sovetskom izobrazitelnom iskusstve, Exhibition Hall of the Moscow Union of Artists, Moscow, 1995. Literature: Exhibition catalogue, Georgy Grigorievich Nissky. Zhivopis, akvarel, guash, Moscow, Academy of Arts of the USSR, 1963, p. 25, listed under the works from 1959. M. Kiselev, Georgy Nissky, Moscow, Izobrazitelnoe iskusstvo, 1972, p. 154, listed under the works from 1959. The painting Reclining Nude, by the famous Soviet landscape painter Georgiy Nissky’s, now presented for auction, is an extremely rare example of his exploring the genre of nude. Both at the anniversary review exhibition of the artist’s work in 1963 and in the latest inventory of his output, Reclining Nude is the sole example of this genre. Although this work is primarily a study, its artistic qualities and history are most remarkable. Nissky, who hardly ever made sketches and very rarely resorted to studies while working en plein air, preferred to create on the canvas a complete, thought-through image. Therefore, it is safe to assume that the idea behind Reclining Nude was by no means coincidental. Nissky painted the work in his studio at the “Artists’ Colony” in Verkhniaia Maslovka Street, probably in a single sitting. He also invited an old friend who now had his own studio next door, Andrei Goncharov, to paint his “real-life study”. Today Goncharov’s Nude Model. In G. Nissky’s Studio (1958) — which is similar to Nissky’s work — is in the collection of the Moscow Museum of Modern Art. It is quite fascinating to compare these two works. Goncharov’s composition, more traditional and painted from an angle, enables him to convey in full detail the complexity of his arrangement. His viewing angle encompasses not only the nude model, but also a ceramic jug on the floor, a small casting of Rodin’s The Thinker on a stool, and the whole variety of fabrics and drapes surrounding the model. Conversely, Nissky chooses a panoramic view from above, as is typical of his landscapes, an arrangement which allows him to include the whole corner of the studio. The nude model is in the centre of the composition, but the actual depicted space expands, drawing in a bookcase, an entire bed, and even a rug over the bed that cannot be seen at all in Goncharov’s work. Although the colour in Nissky’s picture somewhat reflects colour in real life, it has an ornamental function, rather than being an actual, objective representation. The colour planes contrast with each other, while the objects are juxtaposed, lending the canvas a particular flamboyance and dynamism. Speaking of his method, the artist once confided: “I always... want to paint clearly, concisely, simply. I work and literally fall in love with a picture, and I don’t leave it until I finish it.” It seems like, tackling a genre quite far removed from a landscapist’s home turf whilst competing with an artist friend, Nissky got quite involved and, spurning all unnecessary detail, created a generalised and succinct image, imbued with the spirit of his time.

Cast paper on wood titled 'Spirit F'. Signed 'Cheung Yee'. 93cm x 123cm Cheung Yee (Zhang Yi born 1936) is a pioneer of the modern art movement in Hong Kong. He was born in Guangzhou and graduated at the Fine Art of Taiwan Normal University. The only artist in the history of Hong Kong to have been invited to conduct three solo exhibitions in the prestigious Hong Kong Museum of Art, his creations have also been shown in more than one hundred international exhibitions. His art is characterised by large wooden sculptures, metal high-relief panels and, of course, his famous cast paper murals of which this is a fine example

N Colmore (19thC). Black and tan terrier portrait, oil on board, monogrammed, 18cm x 14cm, possibly Nina Colmore, and a modern photograph frame with easel back in the Art Deco style. (2)

A modern Art Nouveau style necklace and earring set, with blue, green and purple type enamel design, tiny seed pearls, boxed and part of the Museum Collection.

A set of five Modern Art pottery sculptures, of shaped outline, decorated in cream, unsigned, 28cm wide, etc. (5)

A modern Art Nouveau style bronze figure of a dancer, 50cm high

ART NOUVEAU STYLE MODERN TABLE LAMP

A modern Art Deco style bronze dancing lady with arms outstretched, 39cm high

MODERN JAZZ QUARTET LPS. Five titles from the MJQ to include; Modern Jazz Quartet/Milt Jackson Quartet - Concorde (PRES 16-1, RVG stamped, VG/VG with light scuffs/marks to playing surface and age wear to sleeve), The Modern Jazz Quartet - Pyramid (France, Atlantic, 332018, Ex/VG+), The Art of The Modern Jazz Quartet - The Atlantic Years (German, Atlantic, ATL 60 041, Ex+/VG+), Night in Tunisia (UK, 588129, Ex/VG), Stan Getz and J.J. Johnson / The Modern Jazz Quartet at the Opera House (VSP ?– VSP 3/4, Ex/VG),

Modern decorative items including art glassware etc

A quantity of two tone stoneware jugs, a bargeware teapot, a modern art nouveau tile and other items

An Art Deco chrome standard lamp,now with a modern shade,174cm high

Domus: 1928-1999,twelve volumes, Koln, Taschen, 2006, hardback, all with dust jackets and the original publisher's transit boxes (12) For over seventy-five years, Domus has been hailed as the world's most influential architecture and design journal. Founded in 1928 by the great Milanese architect, Gio Ponti, the magazine's central agenda has always remained that of creating a privileged insight toward identifying the style of a particular age, from Art Deco, Modern Movement, Functionalism and Post-war to Pop. The twelve volumes feature a reprint of selected highlights from the years 1928 to 1999, reproducing the pages as they originally appeared.

Sugden, Alan Victor and Edmondson, John Ludlam "The History of English Wallpaper 1509-1914", Batsford (1925), colour plates on card, library stamps top right hand corner of the plates, black and white plates, library lending plate, barcode, rebound blue library cloth, small folio Townsend, W G Paulson "Modern Decorative Art in England...", vol 1 "Woven and Printed Fabrics, Wallpapers, Lace and Embroidery", Batsford (1922), colour frontis, colour and black and white plates, library plates and barcode, original blue decorative cloth, folio (2)

Quantity of books on art and antiques including:-Poidras, Henri "Critical and Documentary Dictionary of Violin Makers, Old and Modern", Rouen 1928, photographic plates, rebound library cloth, library bkplsForster, H R "The Stowe Catalogue Priced and Annotated", David Bogue 1848, rebound library cloth, library stamp to tp and name inscribed, barcodeHoney, W B "Glass, The Victoria and Albert Museum...", London 1946, library stamps, rebound library cloth "Catalogue of the Principal Works of Art at Chequers", rebound library clothChaffers' Marks and Monograms on Pottery and Porcelain", rebound library cloth with library plates and stamps"Collecting Antiques", The British Museum department of prints and drawings, 4 volsLanteri "Modelling", 3 vols, rebound library cloth, library stamps and plates Pope-Hennessy, John "Catalogue of Italian Sculpture in the Victoria and Albert Museum", 3 vols, dj, within original slip case, library stamps and plates and other volumes relating to art and antiques, all with library stamps, numbers, etc (3 boxes)

A modern turquoise art glass vase with orange foot and trailed detail to shoulder, possibly Monart, 5.5ins diameter x 6.5ins high, and two Swedish glass vases with coloured trailed decoration, on a blue ground, 4.25ins diameter x 4ins high and 3ins diameter x 3.25ins high, both with engraved names and dated '94

An item of modern wall art signed Faulke.

Art Nouveau style silver faced photograph frame, modern, shaped aperture, 92cm.

A Caesar crystal fruit bowl together with a modern art glass vase.

A modern Art Glass Mdina type vase together with two frosted glass perfume bottles (3)

A modern bulbous art glass vase decorated millefiori type detail.

A mixed lot comprising two Osbourne resin wall plaques, Chester Cathedral and The Rose, Chester, together with modern art glass decanter and vase and three cut throat razors

20th Century Art glass comport and a modern Italian Art glass vase

Modern bronze finished table lamp in Art Deco style in the form of an antelope

Four Museum of Modern Art New York Art Exhibition posters, High and Low Modern Art and Popular Culture 1990 24inch x 25inch, The Drawings of Roy Lichtenstein 1987 36inch x 30inch, Andy Warhol A Retrospective 1989 26inch x 38inch Frank Stella 1970-1987, 1987, 30inch x 36inch, small pinhole in corner some crimping

ALEXANDER OSMERKIN (RUSSIAN 1892-1953)Still Life with a Beer Bottle, 1946oil on canvas65 x 80 cm (25 6/8 x 31 1/2 in.)signed, dated and titled in Cyrillic on verso [initials and date altered in 1975 upon emigration of family from the USSR]PROVENANCEProperty of the Family of Alexander Osmerkin, to the present day.EXPERTISEThe nephew of the artist, son of Rostislav Osmerkin (brother of Alexander Osmerkin), has provided a notarized letter of provenance and identity to be sold with this painting, a copy of which is available upon request. LOT NOTESAleksandr Osmerkin was an avant-garde Soviet artist, best known as one of the members of "The Jack of Diamonds" group along Pyotr Konchalovsky, Mikhail Larionov, and Ilya Mashkov. Born in 1892 in present-day Ukraine, Osmerkin first entered the St. Petersburg Art School at the Society of Encouraging Artists at the age of 18 (where one of his classmates was Nicholas Roerich) and then the Kiev Art School, until traveling to Moscow in 1913 to study under Mashkov. The following year, Osmerkin began exhibiting with "The Jack of Diamonds" and made the acquaintances of Osip Mandelstam, Anna Akhmatova, and Sergei Esenin, among others. In 1918-1947 Osmerkin was active mainly as a professor at various art institutions in St. Petersburg and Moscow (such as VKhUTEMAS and the Imperial Academy of Arts), until forced to resign from his position under accusations of formalism.Osmerkin often referred to Paul Cezanne as a major influence on his work, in addition to the Fauvists and Cubists. Still Life with a Beer Bottle exhibits these influences of Western modern art, but with Osmerkin's own expressive style, bravura brushwork, and Russian character. The table, featuring a vase of blooming roses, is set luxuriously with lobsters, sausages, cheese, a bottle of beer - foodstuffs not easily available to Osmerkin or the general public in 1946 Soviet Russia. In light of Osmerkin`s personal life - who lived through the Revolution, both World Wars, and was devastated by the execution of his friend Osip Mandelstam - this vibrant, textured painting may be seen as a response to the harsh realities of life.

VIOLA PUSHKAROVA (UKRAINIAN B. 1929)Two Ivans and Oksana, 1964oil on canvas108 x 164.5 cm (42 1/2 x 64 3/4 in.)PROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Brooklyn Museum, Russian Modern, 2011-2016New York, Ukrainian Institute of America, December 2016-April 2018.LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 191 (illustrated) LOT NOTESViola Oleksiivna Pushkarova is a genre and still-life painter. In 1958, Pushkarova graduated from the Kharkiv Art Institute, where she studied under Leonid I. Chernov, Oleksandr P. Luibimskiy, Oleksandr A. Khmelnitskiy, et al.Two Ivans and Oksana serves as both a still life study and an authentic genre scene - the exhausted father dozes off at the table while his two children play on the floor. Pushkarova enriches the piece with details such as the milk bottle, placed precariously close to the sleeping man, and the overboiling pot on the stove in the upper right corner. The surface is remarkably textured - from the curving strokes on the walls to the richly patterned carpet, the image seems to pulsate, embodying the spirit of spontaneous verisimilitude. The concise, soft modeling of the children's faces, though mostly hidden from view, is reminiscent of that of Mary Cassatt, particularly in her mother-daughter scenes, and exemplary of Pushkarova's technical prowess.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).

ZOYA LERMAN (UKRAINIAN 1934-2014)Nudes (Eastern Motif), 1957oil on canvas109.2 x 154.4 cm (43 x 60 3/4 in.)signed lower left, as well as signed, titled, and dated on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012. LOT NOTESZoya Naumovna Lerman was a Ukrainian painter and graphic artist best known for her portraits and genre scenes. In 1959, Lerman graduated from the Kiev Art Institute, where she studied under well-known practitioners of Socialist Realism such as Sergei Grigoriev (1910-1988), Volodimir Kostetsky (1905-1968), and Georgiy Melikhov (1908Ñ1985). The following year, Lerman was inaugurated into the Union of Artists of Ukraine, and began exhibiting in 1963.Nudes is a prototypic example of Lerman's early style, with subtle modulations of light on the sitters' bodies, roughened brushwork of the drapery and background, and a limited, earthy palette complicated by primary yellows and reds. Its alternative title, Eastern Motif, likely derives from the chestnut and turquoise-colored headdress of the lounging woman.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

HALINA, ZORYA (UKRAINIAN 1915-2002)Ukrainian Still Life with Cock, 1960oil on canvas115 x 104 cm (45 1/4 x 41 in.) signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012.LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 151 (illustrated) LOT NOTESHalina Grigoryevna Zorya was a Ukrainian still-life painter primarily active in Kiev. A graduate of the Kiev Art Institute (1946), where she studied with influential monumentalist painter Mikhailo Boychuk among others, she is known particularly for her verdant, sensuous flower bouquets.In Ukrainian Still Life With Cock, Zorya presents the viewer with an exquisitely patterned nature morte with blooming pink and red flowers, blue Matisse-esque wallpaper, an ornamental Khokhloma polychrome chair, decorative vessel flutes modeled as roosters, traditional linen red-embroidered tablecloth, and gzhel-like vase. Zorya deftly manipulates the many forms and textures of the setting, modulating her paint opacity from thin washes in the background to the robust impasto on the ceramic flutes. The academic execution of the still life is complemented well by the impressive compilation of folk arts.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

MIKHAILO WEINSTEIN (UKRAINIAN 1940-1981)Postal Worker, 1966tempera on canvas160 x 89 cm (63 x 35 in.)signed, dated, and inscribed on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 49 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 125 (illustrated) LOT NOTESMikhailo (born Moses) Weinstein was a painter, sculptor, and pedagogue, and one of the foremost figures among 1970s Ukrainian artists. In 1958, Weinstein graduated from the Kiev Republican Art School of Taras Shevchenko and entered the Kiev Art Institute the following year, where he studied with well-known professors Ilya N. Schtillman, Mikhailo N. Khmelko, and Volodymyr M. Kostetsky. He continued his education at the Creative Studios of the Soviet Academy of Arts (1965-1967), and was inducted into the Ukrainian Union of Artists in 1967. Weinstein's works are held in the collections of the National Art Museum of Ukraine, the Kiev Museum of Russian Art, and others. He is considered one of the key developers of the so-called "severe" style in Ukraine. The term, coined by art critic Aleksandr Kamenskiy, refers to monumental works of the 1950s-1960s. Heavily influenced by pre-Stalinist (1920s-1930s) avant-garde depictions of laborers, "severe" paintings focus on daily working life.Postal Worker is a highly compelling example of the "severe" style, evoking and exaggerating the qualities of a modern-day woman: her made-up blue face and purple-pink skin and short skirt, as well as the brash, animated strokes that surround her, indicate a certain kind of freedom (including economic) and self-reliance.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

NATALIA KOROBOVA (UKRAINIAN B. 1949)Noon, 1970oil on canvas138 x 179.5 cm (54 3/8 x 70 5/8 in.)signed and dated lower rightPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on cover and p. 33 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p.162 (illustrated) LOT NOTESNatalia Vladimirovna Korobova is a Ukrainian artist whose repertoire ranges from portraiture and still life to landscape and genre painting. Korobova began exhibiting in 1969, the same year she graduated from the Taras Shevchenko Kiev Art School. Her father, artist Vladimir Korobov (b. 1924), proved a strong influence on her work, though hers is decidedly more symbolic and dreamlike.Noon, reminiscent of Manet's Luncheon on the Grass, depicts a recognisable and feminized space. Korobova treats the painting surface in a manner akin to that of the Post Impressionists, with rough rectangular strokes and vivid, summery pinks, fuschias, and blues. Like the still life within - complete with workers' staples: boiled eggs, bread, milk, potatoes, onion - the figures are positioned to include the viewer in the scene.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

YEVGEN LUCHENKO (UKRAINIAN 1914-1994) On the Balcony, 1970 oil on canvas 148.5 x 99.5 cm (58 1/2 x 39 1/8 in.) signed lower right PROVENANCE Jurii Maniichuk and Rose Brady Collection EXHIBITED New York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 35 of the exhibition catalogue)LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 169 (illustrated) LOT NOTES Yevgen Dmitrovich Luchenko was a Ukrainian painter, known best for his genre scenes, portraits, and landscapes. Luchenko studied under influential Ukrainian artists Karp Trokhymenko (1885-1979) at the Kiev Arts Technicum (1931) and Fedir Krychevsky (1879-1947) at the Kiev Art Institute (1934-1946). Although his education was interrupted by the outbreak of the Second World War, Luchenko returned from the front in 1946, completed his degree, and became a member of the Artists' Union of the USSR the same year. Luchenko made his artistic debut at the All-Union Art Exhibition (Moscow, State Tretyakov Gallery and the Pushkin State Museum of Fine Arts, 1947); and his first personal exhibition opened in Kiev in 1988. The painter's works are held in collections of the National Art Museum of Ukraine, as well as in nearly a dozen regional art and historical museums. On the Balcony bridges two of Luchenko's strengths: portraiture and landscape painting. The balcony door ajar, the viewer is invited to observe the intimate scene in the foreground (the woman in red counters our gaze, further enabling the relationship between the viewer and the viewed): a young boy and two women enjoying tea. The figures, carefully observed from life, are set against an inviting nightscape; a brilliant orange moon illuminating the waters. The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015). This lot is being sold without reserve.

GRIGORY TYSHKEVICH (UKRAINIAN B. 1940)Land to the Peasants, 1970oil on canvas130.5 x 164.8 cm (51 3/8 x 64 7/8 in.)signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 214 (illustrated) LOT NOTESGrigory Tyshkevich, a Distinguished Artist of Ukraine, is a portrait, landscape, and still life painter. In 1961, Tyshkevich graduated from the Odessa Art School, where he studied under well-known Odessite painters Mikhailo M. Bozhiy and N. Pavliuk; and in 1967 from the Kharkiv Art Institute, where his professors were Sergey F. Besedin and Oleksandr A. Khmelnitskiy.Land to the Peasants is as monumental in its themes as it is in its dimensions. Set in richly-textured fields of wheat and grass symbolic of Ukraine, the three foundational archetypes of the revolution - the soldier, the worker, and the farmer - dominate the composition. The red flag, intersecting the white-blue sky, frames the three men. Flanked by a mother and child on the left and a group of protesters on the right, the triad looks to the right, beyond the borders of the picture plane, onward. The stoicism of the three central figures, however, is offset by the expression on the mother's face and the apparent vigor of the revolutionaries. Tyshkevich is particularly attentive to the figure of the peasant: slightly offset to the right, his physiognomy appears more closely observed. (The fields in which the subjects stand, after all, are his domain). Despite the figuresÕ stylized, squared shoulders and faces, the artistÕs abbreviated, energetic strokes and use of brilliant blue-greens imbue the work with a lively, even hopeful character.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

YURI ZORKO (RUSSIAN B. 1937)Vuktyl Gas Workers, 1978-79oil on canvas149.5 x 164 cm (58 7/8 x 64 5/8 in.)signed, dated, and inscribed on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on p. 53 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 149 (illustrated) LOT NOTESYuri Valentinovich Zorko, born in Russia, is Ukrainian genre and still life painter. After graduating from the Krasnodar Arts School (1961), he studied under V. Gladkiy and B. Stashevskiy at the Donetsk School of Artist-Designers (1962-1966). In 1972, Zorko was accepted to the Artist's Union of Ukraine, and would later go on to become a board member of the Donetsk chapter of the National Artists' Union of Ukraine (1985-1991, 1995-). In addition, Zorko has been the head of the "Donetsk Plein Air" art group since founding it in 1999.In Vuktyl Gas Workers, twisting pipes and yellow- and fuschia-speckled steel cylinders are scaled to a near-miniature size, heightening the worker's stature and role in the industry. The painting, though reminiscent in theme and the use of bright color of Yuri Pimenov's 1927 Give All to Heavy Industry! and other such artistic tributes to burgeoning industrialism, is executed with Seurat-esque chromoluminarism rarely seen in Socialist Realist works.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

ASKHAT SAFARGALIN (TATAR 1922-1975)School Girl, 1958oil on canvas79.8 x 60.2 cm (31 3/8 x 23 3/4 in.)signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on cover and p. 33 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p.194 (illustrated) LOT NOTESAskhat Gazizulinovich Safargalin was a Tatar genre and landscape painter and a Distinguished Artist of the Ukrainian SSR (1968). In 1938-41 and 1945-47 Safargalin was a student at the Kazan Art School (his artistic career interrupted by the outbreak of the Second World War); and in 1947-1953 at the Kharkov Arts Institute under well-known artists Aleksey A. Kockel, Pyotr I. Kotov and Leonid I. Chernov. His works are held at the National Art Museum of Ukraine and at close to a dozen regional art and historical museums.Safargalin's Schoolgirl, youthful and studious, represents a popular type, as common a subject in Soviet Socialist Realist art as the Venus of Urbino in Renaissance Italian painting. The girl's white apron and plush bows in her hair indicate a special occasion, such as the beginning of the school year. She stiffly holds a chalkboard eraser, as if awaiting instruction from the teacher. Scholarly accoutrements - the globus, an illustration of two elephants, and an East Asian painting - abound, in keeping with conventional Socialist Realist representations of schools as vehicles of progress and intellectual modernization.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.

BORIS ABRAMOVICH ZABOROV (RUSSIAN B. 1935)Composition 5, 1990mixed media129 x 82 cm (50 3/4 x 32 1/4 in.)signed and dated lower rightEXHIBITEDGallery Art Point, Tokyo, March 25-April 6, 1991, no. 14;Mallet Japan Inc.,Tokyo, Prints and Multiples by Japanese Artists-19th Modern and Contemporary Art, July 12, 2013, lot 359 This lot is being sold without reserve.

LOUIS WOLCHONOK (AMERICAN 1898-1973)Geometric Composition, ca. 1940-50oil on canvas61 x 46 cm (24 x 18 in.)signed lower left LOT NOTESLouis Wolchonok was an influential modernist painter and teacher, as well as author of numerous books on the subject of modern art theory, studio art, and design. Wolchonok led courses in draughtsmanship at City College of New York, and the Craft Students League, from the 1930s. His published titles included The Art of Three Dimensional Design, Lessons in Pictorial Composition, and Design for Artists and Craftsmen.

MARTIN JOSEPH HOFFMAN (AMERICAN 1935-2015)King of Caribbean Origins, 1959oil on board163 x 122 cm (64 1/4 x 48 in.)signed and dated lower right; signed, titled and dated on versoEXHIBITEDMuseum of Modern Art, New York, Recent American Painting and Sculpture, [1962] (exhibition label on verso) Martin Hoffman was a self-taught artist and illustrator, who moved from Miami to New York City in 1970 looking for a dealer. From 1973 to 1979, Hoffman had five solo shows at the Ivan Karp's OK Harris gallery. Most of these are now in private collections in Germany and France. Throughout his career, Hoffman continued to do commercial work. From the 1960s until 1992, Hoffman was a regular contributor to Playboy; Hugh Heffner said recently that the artist "was always one of my favorites."Hoffman's paintings can be found in many major collections including the Virginia Museum of Fine Arts, Indiana Museum of Art, the Norton Museum of Art (FL), the Smithsonian`s National Air and Space Museum, and the Flint Institute of Arts (MI).

A Quantity of Modern Coloured Glassware, Ceramics and Kitchenalia, to include two trays of assorted drinking glasses, five Wonki Ware Di Marshall Pottery dinner plates, two bowls, ten assorted side plates, two plain white serving platters, an oval platter, a circular bowl and a blue and white oval serving platter, four assorted Art Glass blue swirl effect plates, two multi-coloured pottery bowls stamped The Conran Shop, a John Lewis porcelain bowl, a Le Creuset casserole dish, a Studio Pottery glazed bowl with tubeline decoration, a Hay Designed by Lex pot blue metal divider of recent date, a turquoise Chinese style pottery teapot, a Franke frosted glass twin-handled tray or worktop saver, eight assorted placemats, two rattan bowls, two 1970s style Marimekko circular trays, a Westgo blue enamel breakfast dish or food warmer, four Hay Designed by CVZ metal serving dishes, and a smaller yellow lozenge shaped example (qty)

A Pair of Chrome and Plastic Art Deco Style Table Lamps, modern, with narrow cream shades enclosing two Eddison screw fittings above a tubular support and square platform base, 89cm high

A 9ct gold box link chain looped with both ends fixed to a spring clip marked 9ct, 73cm, 24.4g, a modern silver choker necklace, with hallmarked pendant ingot, 38cm, a silver oval and circular link choker necklace, 42cm, silver weight 2.07toz, 64.5g combined, a white metal woven link loop chain, 70cm, a pair of white metal floral design ear clips, a pair of marcasite set pendant earrings, an Art Deco style base metal clip, a white metal filigree bracelet, and a brass thimble. (11)