We found 2699 price guide item(s) matching your search
There are 2699 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.Click here to subscribe
Russian Fabric Sample Book, early 20th century Enclosing colourful printed cottons in a variety of designs including floral, checked, striped and abstract 23.5cm by 37cm by 4cm 76 mainly double-sided pages, with three or four samples a page each measuring 16cm by 12cm, each has black ink handwritten notation to the side, 379 samples, approximately 26% missing, some have sold stickers on In a brown marbled paper binding with brown fabric spine and corners Another Similar Russian Album With decorative printed cottons 23.5cm by 37cm by 4cm 76 double sided pages, with three or four samples per page, each again with handwritten notations to each, 520 samples, approximately 2% are missing In the same binding as above Another Similar Russian Fabric Sample Album Enclosing large samples of Art Nouveau style floral prints 23.5cm by 37cm by 4cm 43 mainly single sided pages, with notations in black ink to each, 36 samples and 12 missing In the same binding as above (3)Please click here to view a video of the lot
This lithograph by Marc Chagall is titled “The Tribe of Gad” from his JerusalemWindows series published in 1964.Chagall was a Russian artist from Belarus. He emigrated to France in 1910, just beforeWorld War I. He was a modernist who drew inspiration from dreams. His themesincorporated recollections of his early years in Russia, his native village, flying lovers,mythical creatures of folklore and legend, and a love for his adopted city of Paris. Hewas recognized as one of the foremost color lithographers of the 20th century.The lithographs in this series are some of the most important works in his oeuvre. Theyshowcased the beauty and intricacy of the actual stained glass windows he created forthe Hadassah-Hebrew University Medical Center in Jerusalem. In 1959 Chagall wasapproached by the President of Hadassah and the architect who designed the medicalcenter and they commissioned Chagall to create the stained glass windows for thesynagogue that was to be part of the medical center. Each of the twelve windows wouldrepresent one of the twelve tribes of Israel. Chagall worked on the project for two years,with the windows ultimately exhibited in Paris in June of 1961 and at the Museum ofModern Art in New York in the winter of 1961. In February 1962, they were permanentlyinstalled in the synagogue. The twelve tribes of Israel represented the twelve kin groupsof ancient Israel who descended from Jacob: Reuben, Simeon, Levi, Judah, Dan,Naphtali, Gad, Asher, Issachar, Zebulun, Joseph, and Benjamin. Upon Jacob’s death,the territory of Israel was divided among his twelve sons, becoming the twelve tribes ofIsrael. The complete title for the series is the Twelve Maquettes of Stained GlassWindows for Jerusalem.Signed by Chagall in the margin above the arch on the left. The overall size is28 x 24 3/8 in. wide and the sight size is 12 1/2 x 9 1/4 in. wide.
This is a rare barrel-shaped brass samovar with an Imperial Russian double-headed eagle engraving. It was produced in Tula in 1898, prior to the Russian Revolution. The Batashev brothers opened their factory works in the 1820’s and their samovars are highly prized. They won gold medals at the Chicago World’s Fair in 1893. The samovar has wooden handles and an undertray, and bears numerous exhibition stamps that date from 1870 to 1896. A book entitled Samovars: The Art of The Russian Metalworkers by Mehmet Nabi Israfil, 1990, is included with the lot. The samovar is 29 in. high, 14 1/2 in. wide, has a diameter of 15 1/4 in. and a 7 1/8 in. base. The undertray measures 20 1/4 in. long x 15 in. wide. Please note that all sales are final. No refunds will be given under any circumstances.
Mixed media study. Delicate and detailed watercolor/gouache of a half-woman half-bird figure. The dark haired woman wears highly ornate jewelry on her neck and ears and a crown on her head. Her arms and body are that of a bird, she sits perched on a tree and appears to be singing. Signed lower right and dated 1848. Matted and framed under glass.Viktor Mikhaelovich Vasnetsov grew up in a northern Russian village, his very soul was steeped in the poetry of Russian epic literature. He wasn't only the first artist to use subjects from folklore, but also the first to borrow methods and techniques from national folk art. Thus he became the founder of new style in Russian painting.Overall size: 9 1/2 x 7 1/2 in.Sight size: 3 1/2 x 5 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
Attractive oil on board by David Burliuk, signed Burliuk in the lower left. It is titled "The Blue Horse" a thick impasto on board. Provenance: acquired in '85 at A.C.A. gallery 57th St NYC.David Burliuk was a central figure in the history of the Russian avant-garde movement as an accomplished poet, art critic, and exhibition organizer. He is considered one of the world's first hippies, and is known to have painted the words 'I Burliuk' on his forehead, standing on street corners reciting poetry. His early works were fauve-like, violent in color and heavy with paint. Throughout his life, Burliuk was innovative, energetic and upbeat. Overall size: 18 x 21 1/2 in.Sight size: 91/2 x 13 in.Please note that all sales are final. No refunds will be given under any circumstances.
"Africa, Marrakesh", oil on board, colorful depiction of Moroccan street scene with figures in the foreground, architecture in the middle ground, all set against mountains and a vivid blue sky. Label verso of painting from Harbor Gallery in Cold Spring Harbor, NY. Provenance: Acquired at Arthur James Gallery in Florida. David Burliuk was a central figure in the history of the Russian avant-garde movement as an accomplished poet, art critic, and exhibition organizer. He is considered one of the world's first hippies, and is known to have painted the words 'I Burliuk' on his forehead, standing on street corners reciting poetry. His early works were fauve-like, violent in color and heavy with paint. Throughout his life, Burliuk was innovative, energetic and upbeat. Titled lower left, and signed and dated lower right.Overall size: 19 1/2 x 15 1/2 in.Sight size: 15 1/2 x 11 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
This lithograph by Mane-Katz is titled “Le Tambour” - the Drum. Mane-Katz was aUkrainian artist best known for his depictions of the shtetl - a small Jewish town orvillage in eastern Europe. He moved to Paris when he was 19 to study art and returnedto Russia during the first World War; he exhibited in Petrograd, then returned to theUkraine after the Russian revolution and taught art. In 1921 he returned to Parisbecause there was so much fighting in his hometown during the Russian Revolution,and in Paris again he became friends with Picasso and other important artists and wasaffiliated with the art movement known as the School of Paris; he was also consideredpart of a group referred to as the Jewish School of Paris. In 1931, his painting TheWailing Wall was awarded a gold medal at the Paris World's Fair. Mane-Katz made hisfirst trip to Palestine in 1928 and visited the country annually thereafter. He said hisactual home was Paris, but his spiritual home was Eretz Yisrael - the Land of Israel. Heleft his paintings and extensive personal collection of Jewish ritual art to the city ofHaifa, and four years before his death, the mayor of Haifa provided him with a buildingon Mt. Carmel to house his work; this became the Mane-Katz Museum in Israel. Thelithograph is numbered 73 / 300 in the lower left margin and signed “Mourlot Lith -Marananche Gray” in the image on the lower right. The overall size is 33 x 26 3/4 in.wide and the sight size is 25 3/4 x 19 1/2 in. wide.
This is a painting by Vladimir Kush (b. 1965) signed in the lower left and dated (1988). It is depicting a Moscow street scene.Vladimir Kush (born 1965) is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii.Sight: 20 3/4 x 30 3/4 in.Overall: 23 x 32 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances. Please note that all sales are final. No refunds will be given under any circumstances. Location P
When both a British and a Russian submarine disappear, Agent 007 (Roger Moore in his third outing as Bond) is called in to investigate in "The Spy Who Loved Me" (1977). Cubby Broccoli wanted this to be "BIGGEST Bond of All" and it certainly lived up to the billing, from the massive purpose built 007 soundstage at Pinewood (still very much in use today) to the marketing campaign which was the first time to feature the talents of movie poster legend Bob Peak. His colourful, detailed imagery followed an art-nouveau style in a futuristic setting and very much set the film's tone, from huge submarines to a Lotus Esprit sports car that converts to a submersible all are on full display with this large format cinema poster.81" x 81" (206 x 206 cm)Additional Information: Issued to cinemas and printed in two sections designed to overlapCondition: Very GoodUnrestored, originally folded (as issued). Minimal fold line wear from being folded.Artist: Bob Peak£200 - 300VAT Status: M
Wilhelmine Schwanck (Russian, 1844-1936)The Scholar signed, inscribed and dated 'W. Schwanck./1876./Düsseldorf' (lower left)oil on canvas 122.5 x 85cm (48 1/4 x 33 7/16in).Footnotes:Wilhelmine Schwank studied in St. Petersburg and later in Dresden. She mostly painted still lives and portraits, exhibiting a small number of paintings at the Riga Art Society in 1880. She also worked in Dusseldorf - where the present lot was painted - Altenburg and Italy, before settling in Latvia, where she worked as a teacher.The sitter in the present lot, wearing North African dress, may be posing as a scholar or high-ranking secretary, suggested by the inclusion of an inkwell and Ottoman divit - a scribe's pen case- sticking out of his belt.For further information on this lot please visit Bonhams.com
Artist: Mark Rothko (Latvian/American, 1903-1970). Title: "Untitled No.7 [small-scale]". Medium: Oil on wood panel. Date: Composed 1969. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed and titled, verso. Fine condition; as painted. Comment(s): Rothko, of Jewish descent, was born Markus Yakovlevich Rotkovich in Dvinsk, Vitebsk Governorate, in the Russian Empire (today Daugavpils in Latvia). Although Rothko himself refused to adhere to any particular art movement he is generally identified as an Abstract Expressionist, and with Jackson Pollock and Willem de Kooning is one of the most famous postwar American artists. Image copyright © Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York. [29926-3-16000]
Offered from the estate of the late John Surtees, CBE1957 BMW 503 3.2-Litre CabrioletRegistration no. BEE 46Chassis no. 69141•One of only 138 cabriolets made•One of only three right-hand drive examples•First registered to AFN Ltd for Mrs Aldington•Two owners from new•Restored while in John Surtees' ownership Footnotes:'It was evident that the factory had yet another classic in its own time as they had with the 328 two decades earlier. The wholly individual coupé or convertible was a true follower of the 328 traditions... one of the very few non-Italian body designs to be assured of classic status from the 'fifties...' - Sloniger and Von Fersen on the BMW 503, German High Performance Cars, 1894-1965.At the end of WW2, BMW was in a much worse state than Mercedes- Benz in Stuttgart because one of its major plants – the old Dixi works at Eisenach in Saxony - was within the Russian Zone and would soon be cut off from the West behind the 'Iron Curtain'. Nevertheless, manufacture of what would later be called 'EMW' cars recommenced at Eisenach under Russian control almost as soon as hostilities ceased. BMW's Munich factory though, had been badly damaged by Allied bombing and for the next few years a much-reduced workforce struggled on producing household utensils, agricultural machinery, bicycles and railway brake sets. It would be 1948 before deliveries of BMW motorcycles restarted and another four years before the first true BMW car of the post-war era emerged. BMW recommenced car production in 1952 with the introduction of the 501 luxury saloon, a strange choice for an impoverished country still recovering from the ravages of war. The 501 had been announced in 1951 and first appeared with a development of the company's pre-war six-cylinder engine before gaining a much needed performance boost, in the form of a 2.6-litre V8, in 1954. Designed by Alfred Böning, this new power unit had been inspired by American V8s but was constructed of aluminium alloy rather than cast iron. Towards the end of 1955 a 3.2-litre version was introduced and the big saloon's model designation changed to '502'. Clearly, this new state-of-the-art V8 had considerable potential as a sports car engine. Sales Director Hanns Grewenig had been pressing for a V8-engined sports car for some time but it was not until Mercedes-Benz introduced the 300 SL that the project was given the green light. BMW was encouraged by Austrian-born entrepreneur Max Hoffman, at that time the US importer of various European makes, who knew just the man to style the car: Count Albrecht von Goertz, an independent industrial designer who had worked for the legendary Raymond Loewy on the latter's trend-setting Studebakers. Designer of everything from fountain pens to furniture, Goertz had never before styled an entire car and would not work for BMW again until the 1980s, by which time he had produced another classic of automobile styling: the Datsun 240Z. Goertz was commissioned to produce two different designs, both of which debuted in prototype form at the Frankfurt Auto Show towards the end of 1955. The more conservative of the two – the 503 – retained the 502 saloon's 2,834mm wheelbase chassis, suspension and centrally mounted, column-change gearbox, while the 507 was built on a much shorter wheelbase, which necessitated attaching the gearbox directly to the engine. (The Series II 503 - introduced in 1957 - used the 507-type engine/transmission arrangement complete with floor-mounted change). As installed in the alloy-bodied 503, the 3.2-litre V8 produced 140bhp, which was good enough for a top speed of 118mph (190km/h). With its long bonnet, 2+2 seating and generously sized boot, the 503 looked every inch the elegant Grande Routière. Even Pinin Farina was impressed, declaring it to be the most beautiful car in the show. Had the 507 not debuted at the same time, it would no doubt have also been the most memorable. Expensive and exclusive, the 503 was built both as a closed coupé and a cabriolet, only 206 of the former and 138 of the latter being delivered between 1956 and 1960. BMW's high-performance, V8-engined cars of the 1950s attracted a small but discerning clientele, including some very well known names from the motor sporting world. The example offered here belonged to the late John Surtees, four-time motorcycling World Champion in the 500cc class and Formula 1 World Champion in 1964. The car was registered to him on 6th August 1992 and is offered for sale now directly from the Surtees family.In an undated document on file, John states that his car was built specially for Mrs Aldington of the eponymous family that owned AFN Ltd, which had arisen from the old Frazer Nash company in 1926. One of only six right-hand drive BMW 503s made, of which three were cabriolets, chassis number '69141' was first registered to AFN Ltd, Falcon Works, Isleworth on 19th September 1957. This car's rather special registration, 'BEE 46', is a reference to Mrs Aldington's gynaecologist (a Dr Bee) who was allowed to use the car. AFN had been BMW importers since the 1930s and in 1953 began importing Porsches, becoming the official importer for Great Britain in 1956. This arrangement lasted until 1965 when Porsche Cars Great Britain was formed. Aldington family members remained on the board of this company until John Aldington sold out to Porsche in 1987.In John Surtees' own words: 'When Porsche purchased the AFN facilities one of the assets they still had was the 503. A friend of mine, who was well aware of my keen interest in BMWs, phoned me to say they had something that was ideal for me. I purchased the car and fortunately it was in very sound condition having just been stored at the back of the workshop. Working with some people well versed in German car restoration I restored the car to a condition that satisfied me. It looks superb, runs likewise and everything that was original works including the foldaway roof operated by an hydraulic pump.'Additional documentation consists of details of works carried out during John Surtees' ownership and a V5C Registration Certificate in his name recording AFN Ltd as the first owner. A rare right-hand drive example of an exclusive limited edition model, this beautiful BMW 503 Cabriolet has the unique cachet of belonging to the only man to have been World Champion on both two and four wheels. For further information on this lot please visit Bonhams.com
An early 20th century demantoid garnet Russian Art nouveau brooch, the two colour floral whiplash motif brooch set with circular cut demantoid garnets, stamped with Moscow Zolotnik mark 1908-1917 and maker's mark Иr, 5.3cm long, 6.9g grossCondition Report: It has some wear commensurate with age and use, the brooch pins have some bends to it, clear marksCondition Report Disclaimer
Mihail Chemiakin (New York, Russia born 1943) "Untitled VIII" Color Lithograph. Numbered (35/225) lower left. Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 20 x 17.25 in. Sheet Size: 30 x 21 in. Unframed.
Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color Lithograph. Numbered (36/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.
Mihail Chemiakin (New York, Russia born 1943) "Nature Morte w/ Fish" Color Lithograph on Japan paper. Numbered (51/78) lower left. Signed lower right. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 18 x 25.25 in. Sheet Size: 21 x 29.75 in. Unframed.
Russia: Art & History 12 Books, comprising Tolstoi, I. - N. Kondakov Russkiya Drevnosti. Vypusk Vtoroi (-chetvertyi) [Russian antiquities. Part two (-four)]. St Petersburg, 1889-1891. 3 volumes, 4to, illustrations, contemporary vellum gilt, without parts 1 and 5-6; Carburi, M. Monument Élevé a la Gloire de Pierre-le-Grand. Paris: Nyon & Stouppe, 1777. Folio, 12 folding engraved plates, later vellum; Gagarine, G. Sujets Tirés des Saints Évangiles. Paris: Lemercier, [n.d.] Folio, 40 chromolithographed plates (including title), in portfolio, occasional light marginal foxing, a few plate edges creased; Czartoryski, A. Mémoires... et Correspondence avec Alexandre Ier. Paris: Plon, 1887. 2 volumes, 8vo, half green cloth; Tikhorimov, L. La Russie Politique et Sociale. Paris: Giraud, 1886. 8vo, half purple calf; Moltke, H. von. Briefe aus Russland. Berlin: Paetel, 1877. 8vo, half calf; Stourdza, A. de Oeuvres Posthumes Religieuses, Historiques, Philosophiques et Littéraires. Paris: Dentu, 1858-1859. 2 volumes, 8vo, half calf; Viollet le Duc, E. L'art Russe. Paris: Morel, 1877. 8vo, coloured plates, half red morocco (12)
Linzeler Marchak: Art Deco enamel, onyx, diamond and pearl fob watch/brooch, circa 1922-1925The brooch terminals decorated with onyx, single-cut diamonds and a 4.0mm bouton pearl, the fob watch suspended from a black cord and decorated with black enamel and courses of single-cut diamonds, the oval dial to the reverse with Arabic numerals and a pearl crown, mounted in platinum, pearls untested, brooch signed Linzeler Marchak, case with Verger Frères workshop mark, movement and dial signed Vacheron Constantin, length 6.8cmFootnotes:Linzeler-Marchak was founded in Paris in 1922 by Robert Linzeler, a master goldsmith and Alexander Marchak, whose father had founded the eponymous Russian jewellery firm, one of the great competitors of Fabergé, known as the 'Cartier of Kiev'. Linzeler-Marchak's partnership was short-lived, ending in 1925, but in their three years of operation, the firm was famed for its superior Art Deco jewels of outstanding technical quality.For further information on this lot please visit Bonhams.com
A collection of weapon and armour reference books, including: Richard F. Burton, 'The Book of the Sword', 1972; Bruno Thomas, Ortwin Gamber, Hans Schedelmann, 'Arms and Armour, Masterpeices by European Craftsman from the Thirteenth to the Nineteenth Century', 1964; Frederick Wilkinson, 'Antique Guns and Gun Collecting', 1985; Ian Hogg, John Batchelor, 'Handguns 1300-1870', 1979; Irina Aleksandrovna Rodimtseva (Foreword), Guy Wilson (Foreword), 'Treasures of the Moscow Kremlin, Arsenal of the Russian Tsars', 1998; Peter Krenn, Walter J. Karcheski, Jr. 'Imperial Australia, Treasures of Art, Arms & Armour from the State of Styria', 1998; J. R. Partington, 'A History of Greek Fire and Gunpowder', 1960; Yuri Miller (edited by), 'Russian Arms and Armour', 1982; Alexandra Alekseevna Goncharova, Nikolai Vassilievich Gordeev, 'State Armoury in the Moscow Kremlin', 1969; and a small selection of pamphlets from 'The Journal of The Arms & Armour Society' dated between 1965-1968; 
FURNITURE. PALLOT (B G B) THE ART OF THE CHAIR IN 18TH-CENTURY FRANCE illustrated, dust jacket, Paris 1989, A Cheneviere, Russian Furniture The Golden Age 1780-1840, J Galea - Naudi and D Micallef, Antique Maltese Furniture, C Packer, Paris Furniture by the Master Ebenistes, H Huth, Lacquer of the West and three others, French and Italian furniture (8)
A CULTURED PEARL NECKLACE WITH AN ART DECO GEM-SET CLASP, BY LACLOCHE FRERES Comprising of seven strands of cultured pearls, measuring approximately 2.77 to 2.83, completed with an art deco element set with rock crystal, single-cut diamonds and green stones, mounted in platinum, signed Lacloche Frères, French assay mark, length approximately 115cm Lacloche Frères was a jewellery house renowned for its stunning Art Deco creations and was at the centre of the design movement in the early 20th century. The Lacloche brothers, Léopold, Jules, and Fernard moved to Paris from Madrid around the turn of the century and established a series of jewellery shops, finally settling in the Maison Lacloche Frères on 15 rue de la Paix in 1901. By 1908 there was a total of seven European store locations including Madrid and London. They produced some beautiful examples of jewellery and timepieces including a pendant watch which was the result of a collaboration between several exceptional craftsmen - Lalique, Verger, Vacheron Constantin and the enameller Paillet. Their customers were amongst the most prestigious, including the Duchess of Westminster, Edward VII, the Rothschilds, Elsa Schiaparelli and Florence Gould, not to mention the King of Siam and the Maharajahs of Jaipur and Kapurthala. During the First World War, Lacloche bought Faberge's London store and remaining stock when the Russian government repatriated the company's staff and assets. They exhibited at the 1925 Paris Exposition des Art Décoratifs to great acclaim, winning a Grand Prix for their display of fabulous jewels including a range of pendants and bracelets inspired by the classic fables of Fontaine. Over the decade, the company produced some of the finest and most creative jewellery, clocks and ladies accessories, in a style which would become synonymous with the Art Deco period. From tiaras, diamond bracelets and colourful gem set jabot pins to mother of pearl inlaid clocks and vanity cases. As with many family-owned businesses, the crash of 1929 had a significant effect on Lacloche Frères. The firm filed for bankruptcy in 1931, and the Lacloche Frères stores closed in 1935. Jacques - son of the fourth Lacloche brother, also named Jacques, who had died tragically in a train crash in 1900 - opened a Lacloche Frères store in the Carlton Hotel in Cannes, and in 1938 he opened a store in Paris under the name SARL Jacques Lacloche. Jacques' ventures proved successful, and his clientele included Prince Rainier, who commissioned a diamond and sapphire brooch as a wedding present for Grace Kelly. The firm officially closed in 1960, yet the Lacloche Frères legacy lives on through their jewellery which continues to delight collectors today.
This is a painting by Vladimir Kush (b. 1965) signed in the lower left and dated (1988). It is depicting a Moscow street scene. Vladimir Kush (born 1965) is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Sight: 20 3/4 x 30 3/4 in. Overall: 23 x 32 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances. Please note that all sales are final. No refunds will be given under any circumstances.
This is a painting by Vladimir Kush (b. 1965) and it is signed in the lower left. This piece is titled "Butterfly on the Window". Inscribed verso. Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. sight: 13 1/2 x 9 in. overall: 14 x 9 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
This is a painting by Vladimir Kush (b. 1965) and it is signed in the lower left. This piece is titled "Church of Ilja." Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Overall size: about 16 1/2 x 12 1/2 in. Sight size: 12 7/8 x 8 7/8 in. Please note that all sales are final. No refunds will be given under any circumstances.
Vladimir Kush is a Russian born surrealist painter and sculptor. He studied at the Surikov Moscow Art Institute, and after several years working as an artist in Moscow, his native city, he emigrated to the United States, eventually establishing his own gallery on the island of Maui in Hawaii. Overall size: 17 1/8 x 13 1/8 in. Sight size: 15 1/2 x 11 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Ducamp (Emmanuel [editor]) . Pavlovsk, The Palce and the Park, The Collections, 2 volumes, Alain de Gourcuff Éditeur, Paris, 1993, numerous colour & monochrome illustrations, publishers original boards in book-box, box spine slightly faded, large 4to, together with; Moncrieff (Elspeth, Stephen & Iona Joseph) , Farm Animal Portraits, 1st edition, Antique Collectors' Club, 1998, signed by Stephen & Iona Joseph to the title page, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, and Timms (Robert) , Nicholas & Alexandra, The Last Imperial Family of Tsarist Russia, 1st edition, Booth-Clibborn Editions, 1998, numerous colour & monochrome illustrations, original cloth in dust jacket, spine lightly faded, large 4to, plus other modern Russia, travel, art & miscellaneous reference, including Russian Furniture, The Golden Age 1780-1840, by Antoine Chenevière, 1st edition, 1988, mostly original cloth in dust jackets, G/VG, 8vo/4toQty: (6 shelves)
Art Deco style wooden fruit bowl, 25cm diameter; together with a collection of hand-painted pottery, consisting of a teapot (slightly af), eight small bowls and six small plates; and a Russian lacquered set; a collection of auction catalogues, including: Sotheby's and Phillips Design; and Sotheby's Beyond Limits Sculpture catalogues.
MARIE VOROBIEFF MAREVNA (RUSSIAN 1892 - 1984), REVOLUTION oil on board, signed and dated 1970 67cm x 90cm Framed. Provenance: This painting was gifted to Mrs Nina Barnes of Ainsdale Road, Ealing, London by the artist. Mrs Barnes used the professional name of Nina Walker and was Chorus Master, Royal Choral Society, Repetiteuse and Chorus Master at Royal Opera House, Covent Garden and Recitalist with Caballe. Nina Barnes and Morevna became friends through their attendance at Ealing Abbey which they both lived close to. Nina Barnes passed away in November 2018. Notes: Born Marie Bronislava Vorobyeva-Stebelska (????? ????????????? ?????????-???????????) in Cheboksary, Russia. Marevna is internationally known for convincingly combining elements of cubism (called by her "Dimensionalism") with pointillism and – through the use of the Golden Ratio for laying out paintings – structure. She has been accredited with being the first female cubist painter. Though she lived the greater part of her life abroad – her formative years as a cubist painter in France and her mature years in England – she is usually referred to as a "Russian painter". In 1910 she went to Moscow to study at the Stroganov Art Academy, but in the following year left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her "Marevna" (after a Russian fairy sea princess). She adopted the nickname and was widely known as Marevna for the rest of her life. A petite blue-eyed blonde, she was said not to have been a conventional beauty; but an outgoing nature paired with the proverbial depth of the Russian soul seems to have given her a charm which made her "special" to all who knew her. She moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Pablo Picasso, Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani and Chaim Soutine. It was while a resident of La Ruche that Marevna met the gifted Mexican cubist and later muralist artist Diego Rivera. Diego Rivera was nearly 30 at the time and at the zenith of his cubist phase, having already exhibited his works at three exhibitions. Marevna herself discovered cubism as an eminently suited vehicle for her own talent. Rivera was a known womanizer of fiery temper and began a relationship with Marevna while he was still in a common-law marriage with the Russian artist Angelina Beloff who was pregnant with Rivera's son. Despite Diego Rivera's assurances of his love for Marevna, their relationship ended soon after the birth on 13 November 1919 in Paris of their daughter Marika. It's probable that Marevna never fully recovered from the break up of her relationship with Rivera and it's reported that after her death her ashes were laid in the Rivera mausoleum in Mexico. Marevna exhibited widely in France and Europe throughout her career, as well as at the Guggenheim Museum in New York in 1968; and more recently a major retrospective was held at the Russian State Tretyakov Gallery in Moscow, in 2004. A small collection of her work is held at Athelhampton House in Dorset where she lived with her daughter during the 1950’s. Her work is also in several museums including a substantial collection at the Musée Petits Palais in Geneva. When her daughter's marriage ended Marevna moved to the London suburb of Ealing with her daughter and two grandsons. A substantial number of her paintings were bought by international collector Oscar Ghez in 1967. Marevna died in London on 4th May 1984. Her work can command high prices at auction including Nu Allongé (1930), at Aguttes, Paris lot 34 19/6/2009 sold for 266,966 EUR (premium) and Hasidic Dance During Chanukah Celebration (1970), at Sotheby's, New York lot 125 26/4/2006 sold for 228,000 USD (premium).
Ivan Kozlov (Russian, B. 1937) "1990 USSR Duck Conservation Stamp Art" Original Watercolor / Gouache painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.Image Size: 6.25 x 8.75 in. Overall Size: 16 x 15.5 in. Framed behind plexiglass. (B12549)
Ivan Kozlov (Russian, B. 1937) "Red-Crested Pochard" Signed and dated ('90) lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on a First Day Cover for a Russia Duck stamp issued July 1, 1990. The Red-crested Pochard is a good-looking European duck, about the same size as the Mallard. Like all diving ducks, the Red-crested Pochard prefers to be out in the middle of its home waters and therefore is very easy to observe, though sometimes only through field glasses at great distances. In fact, this duck is now found solely on large, open expanses of water and will approach the banks only at nesting time, when it searches for the camouflaging thickets of reeds where it hides its nest. The handsome drake can be recognized by its vivid orangish-red bill and big red head, black chest and brown wings with orange and white markings. The plump brown hen sports crisp white cheek patches. This waterfowl breeds extensively in Eurasia and its playful courtship antics delight duck enthusiasts in the USSR, making this bird the perfect choice to grace a Soviet postage stamp. Ivan Koslov's beautiful stamp design and handsome cachet art faithfully record the essence of this lively bird. The cachet features a mated pair of Red-crested Pochards descending toward the marshy banks of their Soviet lake habitat. These birds' powerful wings are a focal point of the picture and the hen's legs, extended for a landing, are clearly set far back on her body, attesting to the fact that the Red-crest is a diving duck. The position of the legs makes the duck awkward on land, but contributes greatly to its maneuverability under the water. Image Size: 6.75 x 5.75 in. Overall Size: 9.75 x 7.75 in. Unframed. (B12461)
A collection of art reference books: Understanding Watercolours, H Mallalieu, ACC 1985Rowland Hilder, John Lewis, ACC 1987Dictionary of 16th and 17 Century Painters, Ellis Waterhouse, ACC 1988Dog Painting, William Secord, ACC 1992Jacob van Ruisdael, Seymour Sine & H R Hoelink, Abbeville 198119th Century European Painting, Willem Rau, ACC 2012Goncharova, Antony Parton, ACC 2012Dictionary of Russian and Soviet Artists, John Milner, ACC 1997Queluz, Maria Ines Ferro, Scala,1997Edwardian Portraits,Kenneth McConkey, ACC 1987Dictionary of Scottish Art & Architects, Peter J M McEwan, ACC 1994Dictionary of Victorian Painters Vol 4, Christopher Wood,ACC 1995 (12)
Saint Basil the Great standing with his right hand raised, his left holding a jewel encrusted bible, dressed in a blue robe with richly embroidered alizarin cloak, Saint Irene standing to his right holding a golden cross against a gilded ground surmounted by Christus Pantokrator seated upon clouds, all contained within a scrolling cartouche, age wear, gilt loss 31cm by 26cm Religious icons are sacred images venerated by Orthodox believers as representations of the splendour of the divine, and are also believed to offer a direct conduit between the worshipper and saint or holy person depicted. Deriving from the art of the Byzantine Empire, with influences from the Ancient Egyptian and Greek traditions, the painting of Russian icons remained true to these old traditions, without the influence the Renaissance had on Western counterparts. Whilst a certain freedom exists when representing biographical saints, allowing for truly unique images, when it comes to details such as the clothes, or even the form of a beard, Russian icons are subject to the canon of the Byzantium. Full of symbolism, nothing is without meaning - even the colours used have particular significance. Gold signifies the radiance of Heaven, and white the resurrection of Christ. Red represents divine life whilst blue the human, with figures of Christ or Mary often depicted wearing both to signify the divine in earthly form. The only colour never used is grey, as it signifies the mixing of good and evil. It is also common to include Greek calligraphic text to name the saint or event depicted. The Byzantine practice of using a metal cover, or oklad, to protect religious icons was adapted in Russia to indicate the light and beauty of God’s world, and so these covers are often of silvered or gilt metal, sometimes even decorated with precious and semi-precious stones. Icons are believed to have an inherent sanctity which imparts the experience of divine beauty and holiness. russianicon.com/
* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).
A group of Twelve William & Mary and Queen Anne silver Table-Spoons Dates including: 1700, 1702 four by Lawrence Coles, three by Thomas Sadler and one by Thomas Allen, the remainder with worn marks, eight engraved with a crest and four with various initials, (12)Footnotes:Provenance: Christie's New York, Important English and Continental Silver, Objects of Vertu and Russian Works of Art, 27 October 1986, lot 618This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A George I Irish silver basting spoonEdward Barrett, Dublin 1719 Rat-tail Hanoverian pattern, crested, length 37.5cm, weight 7oz.Footnotes:Provenance: Sotheby's New York, The Estate of Arthemise Redpath, 27 April 1990, lot 429Christie's New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, Lot 435This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of silver candlesticksEllis Jacob Greenberg, London 1928 Lyre form, with filled oval bases and reeded borders, height 33cm. (2)Footnotes:Provenance: Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, lot 249.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A set of four George III silver candlesticksEdward Wakelin, London 1756 Corinthian column form, with removable drip-pans, filled square bases, crested, height 33cm. (4)Footnotes:Provenance: Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 18 October 1994, lot 411.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A late 18th / early 19th century German gold and enamel toothpick boxmaker's mark 'FJ', Hanau circa 1800, incuse numbered '254' and 'A 737' Rectangular with canted corners, all sides with blue taille d'épargne enamel within a white frame, the lid with a panel containing the word 'Souvenir', length 8cm.Footnotes:Provenance: Sotheby's, Geneva, Portrait Miniatures, Gold Boxes, Objects of Vertu, Russian Works of Art and Faberge, 16 November 1989, lot 87, erroneously catalogued as Swiss.For a gold box with the same marks see Bonhams, New Bond St, Important Design, 25 April 2018, lot 47.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An unusual Art-Nouveau enamelled gold and bowenite toadstoolthe bowenite stem surmounted by red guilloché enamel cap applied with gold pellets, 56 standard, 5.7cm high 2 1/4' high) Footnotes:Provenance: Christie's Geneva, Objects of Vertu, Miniatures, Russian Works of Art, Paintings and Fabergé including the Collection of Nicholas, Prince of Russia, 17 November 1993, Lot 307.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A silver and enamel bell-pushFabergé, workmaster Henrik Wigström, St. Petersburg, 1908 -1917of compressed circular form, enamelled in translucent white enamel over a concentric banded engine-turned ground, the pink chalcedony push piece within seed pearl border, scratched inventory number on base: '22054'; diameter: 5.2cm Footnotes:Provenance: Sotheby's Geneva, Portrait Miniatures, Gold Boxes, Objects of Vertu, Russian Works of Art and Fabergé, 11 May 1989, Lot 274.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com