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Lot 130
Collection of tennis brooches, buttons and bracelets: to incl. an ornate and decorative tennis racket brooch with fine wired mesh stringing, filigree of a fine rope twist motif to the head c/w mother of pearl ball and a leather grip - overall 3", plus a small white metal figure of a lady tennis player, a gilt metal lawn tennis racket and ball necklace, another glass necklace embossed with a lady tennis playing figure, 6 various brass and enamel buttons with cross tennis rackets and similar white buttons.
Lot 17
SAINTS ZOSIMAS, SABBATIUS AND ALEXANDER OSHEVENSKY KARGOPOL, CIRCA 1700 23.8 by 57.7 cm. "This unique icon unites three venerable saints and wonderworkers, particularly popular in the Arkhangelsk region. These are the founding fathers of three monasteries of the Russian North: Zosimas and Sabbatius of Solovki who founded the famous Solovetsky Monastery by the White Sea, and Alexander of Oshevensk, the founder of the Oshevensk Trinity Monastery, one of the most significant ecclesiastical institutions in the town of Kargopol and its environs. The half-length figures are unusual for icons and therefore testify to a special, most likely monastic commission of the painting. St Alexander of Oshevensk is singled out through his central position, his figure is slightly larger compared to the images of the other two saints, his halo outlined with pearl-dotted decoration and his head adorned with a schema (a monastic cowl decorated with a Golgotha motif); these all doubtlessly testify to the Kargopolian origin of the icon and suggest that it was produced for a local monastic church, perhaps for the Oshevensk Monastery itself. This rare icon, painted on a horizontally elongated panel, was apparently held in great esteem and veneration, as demonstrated by the burnt marks from an oil lamp, which used to hang in front of the central image. The icon is unlined and further technically characterised by only a thin layer of gesso; one layer of semi-transparent paint; detailed inscriptions (written with mistakes); a combination of earth pigments with red ochre typical of the northern palette, as well as unpretentious naive iconography. All these elements suggest the work of Kargopol masters, only a few examples of which survive today, which makes the icon particularly significant. The image conveys intimate sincerity and devout piety, so characteristic of the ascetics from the north of Russia."
Lot 69
THE MOTHER OF GOD OF KAZAN IN A SILVER AND ENAMELLED OKLAD END OF THE 19TH CENTURY, MIXED MEDIA, MAKER`S MARK OF IVAN TARABROV IN CYRILLIC, MOSCOW, CIRCA 1900 31.8 by 27.2 cm. Related literature: For similar icons, see I. Tarnogradsky and I. Buseva-Davydova,The Holy Images. Russian Icons of the 15th-20th Centuries from Private Collections, Moscow, 2006, cat. no. 213. The oklad is marked by the Moscow Regional Assaying Control with the initials of I. S. Lebedev, the controller of the region from 1899, hallmarked ’84, and stamped by the stamp I.T. of I. F. Tarabrov, the owner of gold- and silver-smith workshops between 1893 and 1913. The icon reproduces the wonder-working image of the Mother of God of Kazan, which was very popular in Russian art in the late 19th to early 20th centuries. It is painted in the style characteristic for that period, combining the technique used in oil paintings with soft modelling of the faces based on dark colours in attempt to imitate ancient icons in the way their production was imagined at that time. The wide embossed margins of the oklad are ornamented with schematic palmettes and a three-dimensional border, wrapped up with a double cord, making a rich and elegant frame for the image. The precious decoration of the icon is enhanced by enamelled haloes and crown. The ornamental enamelled mounts in the corners are reminiscent of clasps of medieval books, beautifully complementing the Russian Art Nouveau style of the main image. The ornaments of white flowers and pearl-lined loops and the outlines of the raised parts of the mounts make the icon particularly attractive. The folds of the embossed and gadrooned silver vestments of the oklad, covering the painted robes completely, are made with particular care and masterly precision. The golden-thread embroidery of the Virgin’s omophorion is rendered with great skill and is reminiscent of other items made by Tarabrov’s firm, such as the oklad of another Kazanskaya icon from the collection of I. Tarnogradsky (Moscow).
Lot 74
* THE OLD TESTAMENT TRINITY PALEKH, LAST QUARTER TO END OF THE 18TH CENTURY 61.5 by 41.2 cm. The complex shape of the icon panel suggests that it was originally intended as part of an iconostasis, perhaps from the Church Feasts Tier. However, it could have been a patronal icon in a small church or private chapel. The artist closely followed the old Rublev scheme in the rendering of the angels’ silhouettes and postures, but he also expanded the composition by introducing the figures of Abraham and Sarah waiting at the table of the divine visitors. This icon is a rare example of a monumental composition by a late 18th century Palekh master. The soft voluminous rendering of the faces and the fine assists of the robes are combined with the deep and tender shades of pure colours typical for Palekh, the pearl-like opalescent draperies and mountains and the saturated chiaroscuro effects all make the painting appear like a jewel and lend the icon a particularly exquisite look.
Lot 252
HARLAMOFF, ALEXEI 1840-1922 Girl with a Pearl Necklace signed and dated 1881 Oil on canvas, 66 by 51 cm. In the 1870s, alongside works of the domestic genre and portraits, Harlamoff began working on his so-called “heads” and their related genre compositions, which became predominant and now represent the bulk of the artist’s creative legacy. This proved to be an astonishingly lucrative enterprise for the artist, which to a large extent explains why he painted so many of these compositions. It is true that Harlamoff struggled financially during the first few years of his sabbatical. The funds sent to him by the Academy were scarcely enough to support even the most modest lifestyle. Ilya Repin wrote that “The Academy’s scholarships were sufficient to enable the recipients to get to some town or other and then sit there doing nothing in some cheap cramped room”, barely making ends meet. So Harlamoff, to quote Repin, “for two or more years could only afford to dine in cheap eating houses; then, after he received fifteen hundred roubles for a copy, he started painting items for sale for the first time and is now selling little heads ...”. Among the buyers of these “little heads” were members of Russian and European nobility and royals, including Empress Maria Fedorovna and Queen Victoria. Harlamoff ’s early “heads” included his Head of a Gypsy Boy, which was painted before the artist’s trip to Belgium. Subsequently, in the 1870s, after returning to France, he created his Mordovian Girl (the Radishchev Saratov Museum), Little Italian Girl and Gypsy Girl (both held by the State Russian Museum), A Head (Penza Picture Gallery), and Portrait of a Girl (Perm Museum of Art), amongst others. These seem to have been painted by Harlamoff so as to invoke associations with the works of Italian artists of the 17th century. What distinguished Harlamoff ’s “heads” genre from the multitude of other portraits of the same period? One of the artist’s contemporaries wrote that “the head and the study [for the head] are nothing other than ‘uncommissioned’ portraits, portraits under which not only do the first name and surname of the original artist not appear, but we do not have even the inevitable X., N. or Z. The artist executes his head and the study from life in exactly the same way as that in which he paints a portrait from life. However, his choices are not diffident ones, and that is the reason all his heads are beautiful ...” To put it succinctly, this approach provided the artist with a rare opportunity to freely juxtapose his ideal of beauty against real life. The unrivalled master of this genre was considered to be Leon Bonnard, Harlamoff ’s teacher in Paris. However, despite the fact that such works were integral elements of the works of the Paris Salon, only a few artists managed to reach the standard of the master’s work. Harlamoff, who in his works provided his own unique interpretations of the achievements of Russian artists of the first half of the 19th century – most notably Bryullov, Kiprenskiy, and Moller, amongst others – was one such artist. Girl with a Pearl Necklace is one of the artist’s best “heads”. In his delicate, thoughtful image of a young girl, Harlamoff attempts to express certain psychological characteristics. The canvas as a whole contains a brownish “museum-like” colour spectrum; at the same time, however, Harlamoff is not afraid of providing a combination of resonant, “pure” white and red colours in the model’s clothing, and this was characteristic of his work in the late 1870s through early 1880s. The style of her simple dress – a blouse and a sarafan [Russian peasant tunic dress] – creates the impression that there is something Russian about the portrait, despite the fact that the painting was executed in France. The model for Girl with a Pearl Necklace was possibly one of the many female pupils of Pauline Viardot, with whom Harlamoff was very friendly in Paris. In any case, she can by no means be described as incidental to the artist’s work, as we certainly know of a number of works which had as their subject the same model as Girl with a Pearl Necklace. Moreover, one of them – The Girl with Brown Eyes – is virtually an exact copy of the composition of Girl with a Pearl Necklace, with the same angle of the head, the same cloak, and the same hands crossed on the chest. Diverse stylistic trends are interwoven in both of these canvases. Here, as in many of Harlamoff ’s other portraits, we have romantic or even sentimental reminiscences (it was not for nothing that his contemporaries remarked upon their “daydream” origins), features of realism, and, finally, allusions to the paintings of the “old masters”. After all, in the majority of his works Harlamoff continues to be a good colourist and a master who has a marvellous command of painting techniques. According to the recollections of the artist E.K. Liphart, who was one of Harlamoff ’s and Bogoliubov’s friends amongst the community of Russian artists in Paris, “everyone considered it to be an honour to pose for Harlamoff. In his strikingly similar portraits, what was important to him was the overall effect of the painting, and the details did not interest him – for example, if – as a result of being lit from above – an eye appeared to be sunken into the deep shadow of the eye socket, Harlamoff would satisfy himself with a half shadow, which would allow the pupil to be seen together with the vivid expression of the model’s gaze”. It was precisely this intense interweaving of light and shadow, as a contemporary artist noted, that created a certain sense of intrigue and mystery in Girl with a Pearl Necklace.
Lot 1040
19TH CENTURY BURR WALNUT VENEERED DESK CHEST FITTED TWO BLIND PANEL DOORS ABOVE ENCLOSING TWO DRAWERS AND A CUPBOARD COMPARTMENT, FITTED ONE DRAWER BELOW 11" TOGETHER WITH A 19TH CENTURY BURR WALNUT VENEERED TRINKET BOX WITH MOTHER OF PEARL INLAY 11.5" AND ONE OTHER SIMILAR BOX WITH BRASS INSCRIPTION PLATE 12"
Lot 305
A WOLFF BROS VIOLIN, the two piece maple back with medium curl, the ribs and peg box and scroll with similar curl, the one piece pine front with treble F holes with wings, ebony chin piece and finger board, with double tram lines front and back, label dated 1871, length of back 14 1/4", length overall 23 1/4", together with two bows each with mother of pearl eyes, both un-named, contained in a rosewood veneered case
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