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![A RUSSIAN ICON OF THE VIRGIN OF TENDERNESS [ELEUSA], LATE 16TH CENTURYdepicting the Virgin and the Child Christ nestled again](https://cdn.globalauctionplatform.com/1f70f806-e8a1-4995-b1e9-a88a000b3c7b/49b6142c-b2f1-4bb5-f3e4-0adc5ede8a0f/468x382.jpg)
Lot 165
A RUSSIAN ICON OF THE ARCHANGEL MICHAEL, MOSCOW REGION, 19TH CENTURYdepicting Archangel Michael as a warlord and an angel of the Apocalypse on a winged horse, defeating Satan with a spear and receiving blessing from Christ Emmanuel in the upper right. Egg tempera, gold leaf, and gesso on wood panel with kovcheg. Two insert splints on the back. 30 x 25.5 cm (11 7/8 x 10 in.)
Lot 170
A RUSSIAN PORTABLE ICONOSTASIS, MOSCOW SCHOOL, EARLY 19TH CENTURYEgg tempera, gold leaf, and gesso on wood panel.Extended size: 139.7 x 46.4 cm (55 x 18 1/4 in).PROVENANCEAcquired through inheritance by the descendants of Alexander Ivanovich Nelidov (1835-1910), Russian Ambassador to Turkey, Italy and FranceCollection of the Nelidov family to the present dayEXHIBITED Russian Icons, Loan Exhibition, The Century Club, 7 West Forty-third St., New York, December 4 - January 4, 1941A Survey of Russian Painting - Fifteenth Century to the Present, The Gallery of Modern Art, Columbus Circle, New York, June 14 - Septermber 17, 1967LOT NOTESSold with a typed letter from the noted icon collector George Riabov [see additional images], stating that the icon is from the second half of the 16th Century. Also sold with a signed hand-written letter on monogrammed paper [see additional images] by the icon historian Pavel Muratoff, in French, dated July 4, 1925, stating that the icon belonging to Prince W. Golitsyn of the Transfiguration is a Byzantine work of art from the 16th Century. consisting of 15 panels arranged in four rows and depicting in the center of the first row Christ the Almighty flanked by the Virgin, John the Forerunner (the Baptist), and the archangels Michael and Gabriel in a composition known as Deesis. Next to them, from left to right, are Archdeacon Stephen, St. Zosima, St. John Chrysostom, St. Basil the Great, St. Peter, St. Paul, St. Gregory, St. Nicholas the Wonderworker, St. Savatiy, and St. Thecla. The second row features feasts of the Orthodox church, including from left to right: The Virgin Nativity, Presentation of the Virgin, The Annunciation, The Nativity of Christ, The Presentation of Christ, The Baptism of Christ, The Entry into Jerusalem, The Crucifixion, The Harrowing of Hell (The Resurrection), The Transfiguration, The Ascension, The Pentecost, The Dormition of the Virgin, The Raising of the Two Cross, The Intercession of the Virgin, and the Good Samaritan. In the third row, the prophets arranged in groups of two pay homage to the Virgin of Znamenie (Sign), and, in the fourth row, the Old Testament forefathers Mafusal, Abel, Joseph, Benjamin, Isaac, Abraham, Adam, Noah, Asir, Lot, Jacob, Seth, Joseph and Enoch flank the image of Christ. Egg tempera, gold leaf, and gesso on wood panel. Extended size: 139.7 x 46.4 cm (55 x 18 1/4 in).This lot is being sold without reserve.
Lot 175
A RUSSIAN ICON OF ST. GEORGE BATTLING THE DRAGON, CENTRAL RUSSIA, MID-19 CENTURYdepicting St. George on his white steed trampling a winged red dragon coiled underfoot and precariously leaning over the cavernous blackness of Hell, as the princess Elisaba of Atalia watches him from the entrance of the castle, her parents observe them from the castle`s roof and Christ Pantocrator from heaven directs Angel to crown hero for his merits. The center of the icon flanked by the figures of St. John and Guardian Archangel. Egg tempera, gold leaf, and gesso on wood panel. Two insert splints on the back (both missing). 45 x 37.5 cm (17 3/4 x 14 3/4 in.)
Lot 176
A RUSSIAN ICON OF THE NATIVITY OF THE MOTHER OF GOD, 19TH CENTURYalso known as the Nativity of the Theotokos, the central scene depicting Saint Anna in the _enter being attended to by the "undefiled daughters of the Hebrews", the bottom scene showing the Infant Mary being bathed by midwives. Egg tempera, gold leaf, and gesso on wood panel. 30.5 x 25 cm (12 x 9 7/8 in.)This lot is being sold without reserve.
![A RUSSIAN ICON OF THE VIRGIN OF TENDERNESS [ELEUSA] IN A GILT SILVER AND CLOISONNE ENAMEL OKLAD, 1857depicting the Virgin and](https://cdn.globalauctionplatform.com/1f70f806-e8a1-4995-b1e9-a88a000b3c7b/154468ca-5c70-45dd-96a0-426de94690b3/468x382.jpg)
Lot 177
A RUSSIAN ICON OF THE VIRGIN OF TENDERNESS [ELEUSA] IN A GILT SILVER AND CLOISONNE ENAMEL OKLAD, 1857depicting the Virgin and the Child Christ nestled against her cheek. Covered with a gilt silver oklad with cloisonne enamel halos dated 1857, 84 standard, and maker`s initials in Cyrillic A.S., with white enamel appliques at the topmost corners. Egg tempera, and gesso on wood panel. 31.5 x 26.5 cm (12 3/8 x 10 3/8 in.)
Lot 178
A RUSSIAN ICON OF THE KAZANSKAYA MOTHER OF GOD IN A GILT SILVER AND CLOISONNE ENAMEL OKLAD, EMELYAN KUZNETSOV, MOSCOW, 1896-1908depicting chest-length Virgin as a protector of city of Kazan and standing Child with a blessing gesture, the gilt silver oklad chased and repousse witth cloisonne enamel halos, 84 Standard and with workmaster's initials in Cyrillic of E.K for Emelyan Kuznetsov. Egg tempera and gesso on wood panel. 32 x 27.2 cm (12 1/2 x 10 3/4 in.)
Lot 179
A RUSSIAN ICON WITH THE DEESIS IN A GILT SILVER AND ENAMEL OKLAD, CENTRAL RUSSIA, LAST QUARTER OF THE 19TH CENTURYdepicting Christ the Almighty joined by the Virgin and John the Forerunner (the Baptist). Covered with a gilt silver oklad with very finel shaded cloisonne enamel halos, the saints titles in stamped letters on red enamel bases. Egg tempera, and gesso and wood panel. 84 Standard, workmaster initials in Cyrillic of F.M., possibly for Fedor Mishukov. 31 x 26.5 cm (12 1/4 x 10 3/8 in.)
![A RUSSIAN ICON OF THE PRESENTATION OF CHRIST [SRETENIE] IN A GILT SILVER AND ENAMEL OKLAD, MOSCOW, 1908-1917depicting Simeon](https://cdn.globalauctionplatform.com/1f70f806-e8a1-4995-b1e9-a88a000b3c7b/e87b3849-3a36-4810-a09f-4fb452c269a3/468x382.jpg)
Lot 180
A RUSSIAN ICON OF THE PRESENTATION OF CHRIST [SRETENIE] IN A GILT SILVER AND ENAMEL OKLAD, MOSCOW, 1908-1917depicting Simeon Bogopriymets with the Infant Christ in his arms near the Temple at Jerusalem meeting The Virgin, as well as Prophetess Anna and Joseph. The chased and repousse border of the silver oklad ornately decorated with a pattern of interweaving ivy, the main scene presented in an architectural setting, the haloes of the saints and the Christ Child decorated in shaded cloisone enamel, the oklad marked with 84 standard, and Cyrillic maker`s mark of S.G., Egg tempera, gold leaf, and gesso on wood panel with kovcheg. One insert splint on the back. 26.3 x 22.8 cm. (10 3/8 x 9 in.)
Lot 35
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Les Baigneuses, oil on panel16.3 x 23.5 cm (6 3/8 x 9 1/4 in.)signed with monogram lower rightLOT NOTESArtist dedicated this work to his son Ziem. Inscribed in ink on verso A Ziem et sa fee de ses couleurs [To Ziem and his color muse]. Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.
Lot 39
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1808-1876)In the Forest, oil on panel27.3 x 36.8 cm (10 3/4 x 14 1/2 in.)signed lower rightPROVENANCEChristie`s, London, 2 July 2008, lot 174;Forbes Gallery, London;Kunsthandel Gebroeders Douwes Fine Art, Amsterdam;Sotheby`s, London, 15 December 1987, lot 867LITERATUREP. and R. Miquel, Diaz de la Pena. Monographie et catalogue raisonne de l`oeuvre peint, vol. II, (Paris, 2006) p. 101, no. 643 (illustrated).
Lot 44
ERNEST ANGE DUEZ (FRENCH 1843-1896)Suzanne Hoschede au Jardin, oil on panel41.2 cm x 31.7 cm (16 1/4 x 12 1/2 in.)signed lower rightLOT NOTESSuzanne Hoschede was the stepdaughter and favorite model of Claude Monet, best known as the Woman with the Parasol in one of the Monet`s most recognizable works.
Lot 46
EUGENE ANTOINE SAMUEL LAVIEILLE (FRENCH 1820-1889)Recolte des Pommes a Honfleur, 1848oil on panel35.3 x 59 cm (13 7/8 x 23 1/4 in.)signed and dated lower rightLOT NOTESInscribed on verso Honfleur Eugene Antoine Samuel Lavieille was the younger brother of famous wood engraver, Jacques Adrien Lavieille. He studied under Camille Corot and was one of his best students in landscape painting. Lavieille made his Salon debut in 1844 and received multiple medals in the period from 1849 until 1870. He participated in four world exhibitions in 1855, 1862, 1867, and 1878; and his works are in the collections of many Museums, including New YorkÕs MoMA and Musee du Louvre in Paris.
Lot 50
STANISLAS VICTOR EDOUARD LEPINE (FRENCH 1835-1892)La Mare aux Canards, 1885oil on panel25.4 x 18.5 cm (10 x 7 1/4 in.)signed lower leftLOT NOTESPartial gallery label attached on verso Lepine mare aux canards 1885 Stanislas Lepine trained himself to become a painter by making copies of paintings in the Louvre. In 1860 he became a pupil of Jean Baptiste Camille Corot in Paris and in 1889 he was awarded the First Prize medal at the Exposition. LepineÕs work was imbued with tranquility Ð nature was always his dominant feature and he is considered one of the forerunners of Impressionism.
Lot 69
FERNAND BOILAUGES (FRENCH 1891-1991)Group of Three Primitive Paintings with Family Scenes, each oil on panelPROVENANCERoss L. Peacock Gallery, New YorkPrivate Collection, New York (purchased from the above by the current owner in 1976)Thence by descent in family comprising:a) Au Souvenir de Paris, 33 x 55 cm (13 x 21 5/8 in.), signed lower left; b) Family Portrait in a Forest, 41 x 33 cm (16 1/8 x 13 in.), signed lower left; c) La Promenade, Bois de Boulogne, 33 x 55 cm (13 x 21 5/8 in.), signed lower right
Lot 206
FARNABY (Thomas) Index Rhetoricus et Oratorius, 12mo, calf (cover off), L., 1659; MILTON (John) Joannis Miltoni Opera Omnia Latina, folio, title, pp. 363 (1), panel calf (worn), Amsterdam, 1698; SENAULT (J.-F.) Man Become Guilty, 4to, engr. frontis., calf (worn), L., 1650; and 4 other vols (7)
![[BINDING] GRANATENSIS (L.) Exercita in Septem Meditationes, 12mo, in an elaborately gilt contemporary calf binding with gild](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/be8c5c8e-8279-4afc-c00e-25e38a09e0d4/468x382.jpg)
Lot 156
A 19th century fruit and snake pendant, designed as a cluster of three cabochon pear-shaped garnet fruits with rose cut diamond dew drop highlights, entwined at the top by a green enamel snake with similar diamond eyes and a larger old cushion cut diamond set in its head, suspensory loop on the central coil of its body, all stones in closed back settings, back with a vacant glazed panel, length with loop 4.1cm
Lot 194
A small enamel and seed pearl collection to include a diamond set fob watch, the French 18ct gold lady's fob watch with blue enamel case set with rose cut diamonds in foliate scrolls with bright cut floral decoration, white enamel face with black Arabic numerals, gold minute pips and ornate hands, serial number 11452, French horse's head mark for an 18ct gold watch of provincial make, currently suspended from a pin brooch with pendant lobster clasp stamped '9ct', watch goes when wound, diameter 2.4cm, overall length 7.9cm; together with a locket pendant of circular form, diameter 1.7cm, with blue guilloche enamel front and central 4mm pearl, back with vacant glazed panel, hinged suspensory loop, currently suspended from a barley link chain with barrel clasp, length 39.5cm, both unmarked yellow precious metal; and also a fine belcher link chain set at intervals along the front with eleven seed pearls, length 68cm; offered in a velvet and silk lined box by Asprey (3)
Lot 371
Follower of Pieter Cornelius Verbeeck (Dutch, 1610-1654) A Cavalier on a grey horse quaffing beer proffered by a maidservant outside a roadside tavern oil on panel 42 x 32cm (16 x 12in) Oil on panel. The panel is formed from a single board with a slight vertical warp. The paint layer is in a stable condition. There are areas of wear and abrasion and around the roof of the tavern there are areas of retouching. There is abrasion around the edges of the panel caused by framing, also with some retouching. The varnish is slightly yellowed but glossy and even. There is a light layer of surface dirt. There are small chips and losses to the gilding on the frame.
Lot 379
English School, circa 1600 Portrait of a lady with her small spaniel beside her, an earring in her left ear depicting Cupid, holding a fan, with a writing tablet at her waist oil on panel 88 x 67cm (34 x 26in) Provenance: By family descent in a London private collection Literature: For similar portraits see: Violet A Wilson, Queen Elizabeth's Maids of Honour and Ladies of the Privy Chamber, London: John Lane The Bodley Head Ltd., 1922 - Portrait of Ann Russell, Lady Herbert, p.259 (Collection of the Duke of Beaufort); Portrait of Mary Fytton, Maid of Honour to Queen Elizabeth, frontispiece (from the Collection at Arbury) Sir Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture, The Paul Mellon Foundation for British Art, 1969, Nos. 296-298 - Portraits of Elizabeth Brydges, Lady Kennedy (one at Woburn Abbey, and a full length at Ditchley Park) The sitter is presumably a member of the Court and quite possibly one of the Queen's Maids of Honour, judging by her dress. As a young bride joining the magnificent Court of Elizabeth I, Gloriana, the sitter is wearing pearls which were thought to be the Queen of gems at the time, and she appears to be a girl aged 15 to 20, an heiress of high rank. The present portrait appears to be a marriage portrait - the sitter has her small dog beside her - a symbol of fidelity - and in her left ear hangs an earring depicting Cupid aiming his arrow at a flaming heart. The sitter is wearing some extremely interesting jewellery. The pearl attire on her high padded hair, composed of spiral motifs with peapods, is in the "cosses de pois" style originating in Paris circa 1600, but in use before that. From the central pod hangs a red stone - probably either a spinel or ruby drop attached to a diamond cluster with pearls falling down to her brow. To disguise flaws, diamonds were placed in settings lined with black foil - hence artists painted these stones black with a dot of white paint to convey lustre. Earrings were not necessarily worn in pairs at that time. Unusually this is figurative with Cupid holding his bow to fire an arrow at a flaming heart target. This theme fits with the small dog on the sitter's lap, representing fidelity. Her pearl necklace is standard de luxe for the time but here the swags give emphasis. There is a band of ruby/garnets and pearl clusters at her neckline - with an armlet of similar design composed of clusters linked together, as in a chain. The girdle may be composed of pearl and red stone clusters. The sitter is holding a material bag containing ivory tablets for writing little notes/aide memoires. It would appear to be embroidered inter alia with a pansy meaning 'kind thoughts' (from the French pensée) and showing Prudence looking into her mirror portrayed below a heart. These jewels with fan and book, wired collar, lace cuffs and white satin dress make a statement of wealth, rank and fashion by a newly married English woman circa 1600. Indeed, the choice of white material and pearls (for virginity) and red stones (for love) may well be purposeful. The sitter wears a tightly boned low-neck bodice and farthingale skirt made of richly embroidered Italian silk, trimmed with brocade and ribbons. Similar portraits have appeared at auction in recent years - an early 17th century English School portrait of Lady Parker, which sold for £52,000 at Mitchells of Cockermouth, Cumbria, on 3rd-4th September 2015; and English School, circa 1595-1605, Portrait of Elizabeth Howard, sold from Cowdray Park, West Sussex, at Christie's, London, 13-15 September 2011 for £145,240. We are grateful to Diana Scarisbrick MA, FSA, Jewellery Historian, and to Sir Roy Strong for their assistance with the catalogue entry. A Dendrology report by Ian Tyers is available - Contact Department. On Eastern Baltic oak. Greener and Co. of Liverpool - old framer's label Two small paint losses - tiny - upper right hand corner. Very old panel in three pieces, has wooden rivets. Panels are bowing slightly. 19th Century gilt frame has various chips. Oil on panel. The panel is formed from three boards in vertical alignment. There are butterfly inserts on the reverse of the panel reinforcing the joins. The left hand panel join has a slight concave warp and there is fill and retouching along the length. There is blistering and flaking in the upper right corner. The thin paint layers are worn in some areas such as the hair, but generally in a good condition for the age of the painting. There are scattered retouchings along the joins and other areas. There appears to be some retouching in the face which appears slightly yellow. The varnish is yellowed and semi-matte. The frame has suffered extensively from flaking to the gilding.
Lot 401
After Sir Peter Paul Rubens (Flemish, 1577-1640) Portrait of Michael Ophovius (1570-1637), standing, half-length, in Dominican robes, gesturing with his right hand oil on panel 116 x 84cm (45 x 33in) Literature: Prince Frederick Duleep Singh, Portraits in Norfolk Houses, Westacre High House, Norwich: Jarrold and Sons, 1928, Volume II, p. 380, No. 34 Other Notes: Born in Hertogenbosch, also historically known in French as Bois-le-Duc, Michael Ophovius was a prominent figure of the age, having published two treatises in 1603 and negotiated the handing over of the town of Neusden in 1623. He was notably employed by Archduchess Isabel Clara Eugenia for Dutch affairs and was protected by her husband, Albert VII, Archduke of Austria. He went on to become the Bishop of his hometown in 1626, and later of Antwerp. Ophovius was a close friend and confessor of Peter Paul Rubens. The present portrait is after Rubens' famous original in the Mauritshuis in the Hague (No.252). Unlike the original, the sitter in this version wears a cross. A well-known studio copy is in the Rubenshuis in Antwerp. A 17th century panel. Cleaned in 1958. Oil on a large wooden panel which is formed from three boards in vertical alignment. The panel is in a good condition with little sign of movement along the panel joins. The paint layer is in a good, stable condition. Below the sitter's right hand is an area of raised paint. The varnish is yellowed and matte but even. There is a thick layer of thick surface dirt. The frame is in a good condition.
Lot 414
Petrus van Schendel (Dutch, 1806-1870) An Interior with a maidservant by candlelight signed centre bottom "P van Schendel" oil on panel 23 x 29cm (9 x 11in) Oil on panel with the woodgrain running in a horizontal orientation. The paint layer is in a good condition with a regular pattern of age craquelure. There are small areas of retouching following some of the lines of cracking, they are well matched to the original. The varnish is clear, even and glossy. The frame is in a good condition although there is some staining. The retouching is minimal and carefully follows the drying cracks in the darker areas of the painting, the retouching is well done and matched well to the original.Provenance: Leggatt Bros (label to the reverse); Property of a deceased estate
Lot 415
Spanish School, 17th Century An Angel and Putti holding the Veil of Saint Veronica with Christ's head crowned with thorns oil on panel 37 x 39cm (14 x 15in) Oil on panel. The panel has a panel join or split running horizontally across the panel below the angel's chin. There is retouching running along the length of the split. There is some slightly raised paint running along the join and a raised area of paint in the lower left corner. The paint is thickly applied and the gilding has a network of age cracking. There is a thick layer of varnish which is slightly yellowed but is glossy and even. The frame has areas of bronze paint covering the gilding. The panel is framed with a second wooden board covering the reverse.
Lot 442
W J Shayer (British, 19th Century) A gentleman out hunting on a bay, leading his grey second horse, the Field beyond signed lower right "W Shayer" oil on panel 24 x 29cm (9 x 11in) Oil on panel. The paint layer is in a good condition, there is a vertical scuff to the paint layer above the horse's head. The varnish has yellowed with age and imbibed a lot of dirt. There is a also a layer of surface dirt present. The gilding on the frame is worn and cracked but stable.
Lot 446
Attributed to W J Gilbert (British, 19th Century) A saddled dark bay hunter in a landscape oil on panel, in a gilt frame with floral corners 32 x 42cm (12 x 16in) W J Gilbert was a provincial and travelling painter from Halesworth, Sussex. He exhibited at the Portland Gallery and is recorded as having painted studies of horses, dogs, cattle and other animals in the mid 19th Century. Condition appears fine.
Lot 488
A micromosaic of the Colosseum, possibly by Domenico Moglia (1780-1862), the view taken from slightly north of east against a blue sky with some wispy clouds, the gilt metal easel backed frame with engine turned honeycomb diaper enclosed by bands of leaves, the mosaic 4.75 x 7cm (1.75 x 2.75 in) Literature: For a larger panel of the Colosseum by Domenico Moglia, see the Gilbert Collection Micromosaics plate 16
Lot 586
A 17th century walnut high back armchair, with carved crown, lion and shell cresting, needlepoint panel back and seat, long swept arms and on carved lion legs with ball and claw feet, 140cm (55in) high x 71cm (28in) wide and a similar high back chair carved with c-scroll carved back 138cm (54in) high x 68cm (27in) wide (2) The ornate chair with a replaced column to the back and a broken wormed column, replaced front carved stretcher panel, the second chair is stronger with no obvious restoration.
Lot 599
A George I walnut chest on chest, the upper part with two short and three long drawers between fluted columns, the lower part with brushing slide and three long drawers, the lowest with 'sunburst' marquetry panel, on bracket feet 178 x 105 x 59cm (69 x 41 x 23in) Apart from one handle which is off, the overall condition is considered to be good, with an acceptable degree of fading.
Lot 126
A late Victorian carved walnut mirror back Display Cabinet, the carved and pierced decorated cornice over a central shield shaped mirror above a shelf with frieze drawer and inlaid panel doors, flanked either side by glazed doors on carved cabriole legs, approx. 223cms h x 142cms w (88" x 56"). (1)
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