Important Russian Art

LONDON
Important
Russian Art
Monday 24 November 2014
IFC2
Important Russian Art

PROPERTIES FROM
Property from The Conservatoire Russe

de Paris Serge Rachmaninoff
Property from The Municipality of
Ramat Gan sold to benefit The Ramat
Gan Museums
Property from the Collection of
Anthony Hail and Charles Posey
Property from The Descendants of
Grand Duke George Mikhailovich
Property offered by The Descendants
of Lieutenant-General Alexander
Alexandrovich Leslie
Property from The Royal House of
Saxe-Coburg-Gotha
AUCTION

at 10.30 am (Lots 1-147)
and 2.00 pm (Lots 201-477)
8 King Street, St. Jamess
London SW1Y 6QT
VIEWING
Friday
Saturday
Sunday
21 November 9.ooam - 4.30pm

22 November 12 noon - 5.00pm
23 November 12 noon - 5.00pm
AUCTIONEERS
James Bruce-Gardyne and James Hastie

AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred
to as D O O D L E - 1 5 7 1
This auction is subject to

Important Notices,
Conditions of Sale and
to reserves.
[25]
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Contents
2
Calendar of Auctions
Auction Information
Christies International Russian Department
Specialists and Services for this Auction
10
Property for Sale
320
Important Notices and Explanation of Cataloguing Practice
322
Buying at Christies
324
Storage and Collection
326
Conditions of Sale and Limited Warranty
320
Salerooms and Offices Worldwide
321
Christies Specialist Departments and Services
341
Absentee Bids Form
342
Catalogue Subscriptions
IBC
Index
front cover:
Lot 15 (detail)
inside front cover:
Lot 412
page one:
Lot 38
page two and three:
Lot 373
opposite title page:
Lot 16 (detail)
opposite:
Lots 206-243
inside back cover:
Lot 34 (detail)
back cover:
Lot 205
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InternatIonal russIan art auctIons

24 NOVEMBER 2014
IMPORTANT RUSSIAN ART
LONDON, KING STREET
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13/10/14
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SESSION I: RUSSIAN PICTURES

MONDAY 24 NOVEMBER 2014 AT 10.30 AM (LOTS 1-147)
*1
MARIA IAKUNCHIKOVA (1870-1902)
EXHIBITED:
Moscow, Maria Vasilevna Iakunchikovas posthumous exhibition, 1905,

no. 86.
Geneva, Muse Rath, Lexposition de quelques oeuvres de Marie WeberIakounchikoff et de Vera Woulff, 1910, no. 25.
A gate in Meudon
with date and number 1895/66 (on the reverse)
oil on canvas
20 x 13 in. (53 x 34.9 cm.)
LITERATURE:
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
The family of the artist.

The property of a Lady; Christies, London, 30 November 2005, lot 68.
Acquired at the above sale by the present owner.
Exhibition catalogue, Maria Vasilevna Iakunchikovas posthumous

exhibition, Moscow, 1905, listed p. 8, no. 86.
Exhibition catalogue, Lexposition de quelques oeuvres de Marie WeberIakounchikoff et de Vera Woulff, Geneva, 1910, listed p. [2], no. 25.
M. Kiselev, Maria Iakunchikova, Moscow, 1979, listed p. 166.
M. Kiselev, Maria Iakunchikova, Moscow, 2005, illustrated p. 73,
listed p. 143.
...Meudon - its my favourite place near Paris, particularly in spring. All the fruit trees
are in blossom in this quiet haven with its old houses, a provincial drowsiness, the old
church even the cemetery is cheerful the lilac, greenery, sunshine, sugary garlands...
M. Iakunchikova, Letter written to E. Polenova, 28 May 1892
The present work on view at Iakunchikovas posthumous exhibition, Moscow, 1905
10
Listed in the accompanying exhibition catalogue
PROPERTY OF A PRIVATE ENGLISH COLLECTOR

l2
GEORGY LOUKOMSKI (1884-1954)
Place de la R0publique, Cassis

signed Georges Loukomski (lower right)
pencil, pastel and watercolour on paper
12 x 18 in. (32.4 x 48.2 cm.)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
A gift from the artist to the great-grandmother of the present owner

in London in the circa 1930s.
PROPERTY FROM AN ENGLISH COLLECTION
l3
ALEXANDRE BENOIS (1870-1960)
Two costume designs for Petrushka: The stork and The goat
signed Alexandre Benois (centre left) and inscribed with production
details and costume notes overall
The stork numbered 66 (upper right);
The goat numbered 67 (upper right)
pencil, ink and watercolour on paper
9 x 6 in. (24 x 15.6 cm.)
(2)
3,000-5,000
$4,900-8,000
3,800-6,300
PROVENANCE:

Anonymous sale; Sothebys, London, 17 July 1996, lot 207.
3 (part)
12
PROPERTY OF A PRIVATE NORTHEAST AMERICAN COLLECTOR

l*4
Set design for Faust

signed and dated Alexandre Benois 1948 (lower left)
12 x 18 in. (30.5 x 46.4 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
Princess Sophie Troubetzkoy (1900-1982).

By descent to the present owner.
The present work depicts one of Alexandre Benois set designs for Charles
Gounods Faust. The scene is probably the opening of the second act, in
which Faust and Mephistopheles arrive at a town fair to fnd themselves
surrounded by a crowd of celebrating townspeople. Dated 1948 by the
artist, this work is most likely his design for the 1949 La Scala production
of the opera.
3 (part)
13
5
NIKOLAI DUBOVSKOI (1859-1918)
Winter evening
signed in Cyrillic and dated N. Dubovskoi/1901-06. (lower right)
oil on canvas
20 x 28 in. (53 x 71 cm.)
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
Acquired by the parents of the present owner prior to 1960.
14
*6
KONSTANTIN GORBATOV (1876-1945)
Jerusalem
signed C. Gorbatoff (lower right); further signed and inscribed with title
C. Gorbatoff (on the reverse)
oil on canvas
28 x 31 in. (71.1 x 80 cm.)
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
Acquired from the artist in London in the 1930s by the great uncle of
David Copely (1952-2012) of La Jolla, California, USA.
Acquired from the estate of David Copely by the present owner.
15
(part)
PROPERTY FROM A PRIVATE FRENCH COLLECTION

l7
DMITRY STELLETSKY (1875-1947)
Four sketch-books of 153 pages, 125 pages, 24 pages and 100 pages
one signed and inscribed Stelletsky/Le Toit/La Napoule (on the
inside cover)
each album containing pencil studies, three containing watercolour
and gouache studies
8 x 6 in. (22 x 17.5 cm.) and smaller
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
A gift from the artist to the mother of the present owner in France in
the 1940s.
(part)
PROPERTY FROM A GERMAN COLLECTION

8
SERGEI SUDEIKIN (1882-1946)
Stage design for Sadko:The river Volkhova in food

signed Soudeikine (lower left)
pencil, tempera and gouache on board
20 x 39 in. (52 x 99 cm.)
Painted in 1929-1930
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Anonymous sale; Sothebys, London, 17 July 1996, lot 164.

Roy Miles Gallery, London.
Acquired from the above by the present owner in 1997.
18
PROPERTY FROM THE CONSERVATOIRE RUSSE DE PARIS

SERGE RACHMANINOFF (LOTS 9-11)
The large Russian community that gathered in Paris after the 1917 revolution were
inevitably compelled to recreate the strong cultural context that formed part of their DNA.
With music at the heart of Russian culture, the foundation of the Conservatoire russe
de Paris in 1923, which boasted many teachers formerly of Russias Imperial academies,
seemed an ideal way of realising this instinct. Among its founders were Feodor Chaliapin
(1873-1938), Alexander Glazunov (1865-1936), Alexander Gretchaninov (1864-1956)
and Serge Rachmaninoff (1873-1943). In 1932, the Conservatory became part of the
recently founded Parisian Russian Musical Society, tasked with continuing the work of
its St Petersburg predecessor, which had been founded in 1859 and disbanded in 1917.
The new conservatory was named after its frst honorary chairman, Serge Rachmaninoff,
a powerful symbol of Russian music in exile. Concerts by Vladimir Horowitz (1903-1989),
Nathan Milstein (1904-1992), Gregor Piatigorsky (1903-1976), Alexander Borovsky (18891968) and many others contributed to its lustre and reputation.
Sergei Rachmaninoff
The Conservatory became a symbol that the Russian community was both proud of
and generous towards. Today, Count Pierre Cheremetiev, a fervent promoter of Russian
musical culture, presides over it. New constraints and regulations require the Conservatory
to undergo signifcant renovation. As such, the decision has been made to sell three
masterpieces from the collection to allow the Conservatory to continue in its mission of
musical education and to endure as a symbol of the Russian soul in Paris. Soudbinines
impressive marble bust of Sobinov is a magnifcent portrayal of the famous tenor by an
extraordinary artist, executed at the time of the Diaghilevs frst Russian season in Paris.
The large Stelletsky, Les Radeaux, is a vibrant expression of the vital determination of
the Russians to preserve their culture and territorial unity, while Young girl with doll,
full of freshness and charm, is a master pastel drawing by Zichy without parallel on the
market in recent history. The Conservatory is not a museum and most of its artworks are
not on view to the public; these three magnifcent works will enter a new stage in their
history while remaining a precious testimony to the Russian soul in either the museums or
important private collections they go on to grace.
19

l9
DMITRY STELLETSKY (1875-1947)
Les Radeaux
signed in Cyrillic Stelletskii (lower centre)
oil on canvas
53 x 35 in. (136.2 x 89.4 cm.)
120,000-180,000
$200,000-290,000
160,000-230,000
PROVENANCE:
Donated to the Conservatoire Russe de Paris Serge Rachmaninoff in

the early 1930s.
EXHIBITED:
Paris, Galerie La Renaissance, Exposition dart russe, 1932, no. 250.

LITERATURE:
Exhibition catalogue, Exposition dart russe, Paris, 1932, listed p. 43,

no. 250.
Stelletsky entered the St Petersburg Academy in 1896. He became fascinated

with the iconographic tradition of Russia and developed the theme of Old
Russia throughout his oeuvre. Stelletsky was often found in the library studying
Russian history and was required to copy from early examples of native art as
part of his academic training. He made several visits to cultural and historical
sites and adapted the Russo-Byzantine tradition to modern pictorial evolution.
Visiting monasteries, copying frescoes and icons, Stelletsky built his own
style, drawing on Russian vernacular artistic form. He studied in Paris at the
Acadmie Julian in 1904 and was represented in the Russian art section at the
Salon dAutomne in 1906.
In 1914 he emigrated to France where he collaborated with Diaghilev. While
in Paris he was commissioned to decorate churches and he also continued
with his painting. Among his most important projects were the decoration
of the interior of Saint-Serge in Paris, the interior decoration for the travelling
church of the Society Vitiazi, and large icons for Russian Orthodox Churches
in Paris, Marseilles, Bulgaria and Yugoslavia. Closely linked to the artistic
tradition of Russia, Stelletsky was also inspired by the epic poem The Tale
of Igors Campaign, in which the Grand Prince of Kiev Igor Sviatoslavovich
went into battle against his Polovtsian enemies in 1185. Stelletsky is recorded
to have drawn series of illustrations to this greatest, but also most puzzling
work of medieval Russian literature, in 218 verses. The present work might be
an evocation of The Tale of Igors Campaign or an artistic vision of the 16th
century Russo-Kazan wars as the expression to preserve Russian culture and
territorial unity.
The present work, after its donation to the Conservatoire Russe de Paris
Serge Rachmaninoff, used to hang in Rachmaninoffs offce.
A sketch relating to the present work (part of lot 7)
20
Dmitry Stelletsky in his studio
21

l10
SRAPHIN SOUDBININE(1870-1944)
Bust of Leonid Sobinov (1872-1934)

signed, inscribed and dated Soudbinine Paris 1909 (lower left)
marble
25 x 29 in. (65.5 x 75 cm.)
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
Donated to the Conservatoire Russe de Paris Serge Rachmaninoff

in the 1930s.
EXHIBITED:
Paris, Grand Palais, Salon de la Soci0t0 Nationale des Beaux-Arts,

16 April-30 June 1911, no. 2025.
LITERATURE:
Catalogue des ouvrages de Peinture, Sculpture, Dessin, Gravure, Architecture,

Arts d0coratifs expos0s au Grand Palais, Evreux, 1911, p. 295.
Salon du Grand Palais, Le M0nestrel, Paris, 20 May 1911.
RGALI [Russian state archive of literature and art], 1910s, f. 2741,
op. 1, ed. kh. 3, l. 21, illustrated.
J. M. Lhte, Sraphin Soudbinine, Revue c0ramique et verre,
July-August 1994, p. 28, no. 77.
Sraphin Soudbinine in his studio
22
23
One of the most fascinating fgures of the art world in his time, Sraphin
Soudbinine led an adventurous life determined by his passions. After spending
time as a sailor on the Volga, he became an accomplished actor at the
Moscow Art Theatre. Constantin Stanislavski (1863-1938) became a great
friend to the point that Soudbinines little house became his headquarters.
The company met with great success and Soudbinine became a popular actor
playing important roles in Alexei Tolstoys drama Tsar Feodor Ioannovich and
Maxim Gorkys best known play The Lower Depths.
he began creating statuettes vividly portraying the participants of the 'Saisons

Russes', which brought him much fame. Some of the statuettes are on view
at the State Hermitage Museum, such as Anna Pavlova in the role of Giselle.
Some were later edited in bronze, for example, fve fgurines of Pavlova and
Tamara Karsavina (1885-1978) now in the collection of the San Francisco
Museum of Decorative Arts (Legion of Honor). Leonid Sobinov was also the
subject of another small bronze sculpture by Soudbinine, Sobinov in the role of
Romeo (sold Christies, London, 26 November 2012, lot 429).
On a trip to Paris Soudbinine met Auguste Rodin (1840-1917), whom he

greatly impressed with his charismatic personality and physical strength.
Enthused by Europes cultural mecca and his new acquaintance, Soudbinine
wound up his affairs in Russia and became a practitioner in Rodins studio,
rapidly becoming one of his favourite students. Rodin only sculpted in
terracotta and needed practitioners to realise his creations in marble.
Following the Revolutions of 1917 Leonid Sobinov, the star tenor of the Bolshoi
Theatre (a soloist since 1898) and the Mariinsky Theatre (a soloist since 1901),
requested permission to emigrate, but was refused. He went on to become the
frst elected director of the Bolshoi Theatre. In recognition of his status as the
most famous tenor of his time, both the Svres Manufactory and the Imperial
Porcelain Factory in St Petersburg created smaller variations of Soudbinines
original marble bust in biscuit porcelain. Sobinovs bust was also cast in bronze
by the Rudier foundry, one version of which is located in the Memorial-House
Museum of Leonid V. Sobinov in Yaroslavl.
Soudbinine settled in France in 1904, quickly gaining an international reputation,

exhibiting at the Salon dAutomne from 1905 and the Salon of the Socit
Nationale des Beaux-Arts from 1910. He made portraits of various talented artists
and art patrons including Rodin himself, his master in sculpture, Stanislavski, his
master in theatre, the opera singers Leonid Sobinov (1872-1934), Dmitri Smirnov
(1882-1944), Feodor Chaliapin (1873-1938), the writer Maxim Gorky (18681936), the Russian ballerina Anna Pavlova (1881-1931), the composer and pianist
Alexander Scriabin (1872-1915) and the American art patrons Andrew Mellon
(1855-1937) and Solomon R. Guggenheim (1861-1949).
In 1909 Leonid Sobinov, the celebrated Russian tenor, embarked on a
triumphal tour of Europe which included performances at La Scala in Milan
and the Paris Opera. He participated in the frst 'Saison Russe' presented by
Sergei Diaghilev that same year in Paris, which overwhelmed audiences and
immediately became the symbol of a Russian cultural renaissance.
Soudbinine sculpted the present bust of Sobinov that same year. The bust was
exhibited at the Salon de la Socit Nationale des Beaux-Arts (Grand Palais,
Paris) in 1911 together with his marble portrait of Rodin now held in the Rodin
Museum.
This impressive and monumental sculpture is an expression of life; a strong
muscular body wriggling out of a raw block of marble. With this contrast
of the fnished and unfnished, the tenor looks particularly alive and we can
feel the air infating his broad chest just before he begins to sing. Soudbinine
was clearly infuenced by Michelangelos 'Non fnito' works, particularly the
Florentine master's Slaves, which he was able to admire in the Louvre. These
sculptures also made a deep impression on Rodin, whose life's work owed
much to Michelangelo. The muscular bodies of the Slaves emerge with all of
their might from the marble blocks, growing out of prima materia. In this way,
the sculptor, as a demiurge seems to give life.
Admired for his extraordinary talent, in 1913, Soudbinine modelled the
superstar ballerina Anna Pavlova by order of the Tsar for the Imperial Porcelain
factory. Soudbinine was the frst to introduce Diaghilevs Ballet to the factory;
Detail of signature
24
Sraphin Soudbinines collaborative work with Rodin would continue for a

number of years; it was Soudbinine who was responsible for sculpting in
marble Rodins last monumental piece, The Hand of God (1916-1918), which
now graces the Rodin Museum in Paris.
Later in his career Soudbinine worked with the lacquerer Jean Dunan (18771922) to produce sculptures and decorative panels, including a pair of large
screens made in 1925-1926 for his aforementioned Guggenheim patrons,
which are now held in the collection of the Metropolitan Museum of Art,
New York.
While in New York in 1923, Soudbinine discovered the beauty of oriental
ceramics, fne examples of which he was able to view in the collection of the
Metropolitan Museum of Art. Aged nearly sixty, these works were a revelation
to Soudbinine and prompted him to bravely abandon his successful career as a
sculptor and begin again as a self-taught ceramist, advised by Paul Beyer (18731945) and Emile Decoeur (1876-1953). He built his own oven and learned
how to make both the earthenware materials and enamels he required. Once
again Soudbinines unique combination of strength and poetry, robustness
and fnish, roughness and sophistication resulted in unparalleled creations, to
the extent that he was frequently named the fnest art deco ceramist by major
collectors, such as Karl Lagerfeld.
Major works by Sraphin Soudbinine are extremely rare on the market.
Christie's is honoured to offer the present work, this magnifcent bust of
Leonid Sobinov, the frst large marble to appear at auction.
We are grateful to Dr. Ekaterina Khmelnitskaya, Curator of Russian Porcelain
at The State Hermitage, St Petersburg, for her assistance with researching this
work.
Leonid Sobinov
Cover of The Sketch, 23 July 1913: Anna Pavlova sitting for Sraphin Soudbinine

11
MIKHAIL ZICHY (1827-1906)
Child with doll

signed, inscribed and dated Zichy. Paris 1875 (lower left)
charcoal and watercolour, heightened with white, on paper
43 x 32 in. (110.8 x 81.5 cm.)
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
Donated to the Conservatoire Russe de Paris Serge Rachmaninoff.

The favourite portrait artist of both Nicholas I (1796-1855) and Alexander
II (1818-1881), Mikhail Zichy was born in 1827 in Zala, Hungary. He frst
travelled to Russia in 1847 on the invitation of Grand Duchess Elena
Pavlovna (1807-1873) who engaged the artist to instruct her daughter,
Ekaterina Mikhailovna (1827-1894) in painting and drawing. After
completing a number of studies depicting the coronation of Alexander
II, Zichy was duly awarded the title of Academician by the St Petersburg
Academy in 1856; he was named Court Painter in 1859 and remained
so until 1873. Zichy settled in Paris from 1874 until 1881. Free from the
restrictions of Imperial patronage and portraiture, he became acquainted
with Gustave Dor (1832-1883) who was introduced to him on his frst
visit to Paris in 1862 by Thophile Gautier (1811-1872), one of the most
prominent Romantic French writers.
26
PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

*12
ABRAM ARKHIPOV (1862-1930)
Peasant woman in a green sarafan

signed in Cyrillic A. Arkh... (lower right)
oil on canvas
47 x 31 in. (120 x 79.5 cm.)
350,000-550,000
$570,000-880,000
450,000-690,000
PROVENANCE:
Acquired by the father of the present owner in the 1930s.
Abram Arkhipov
28
Arkhipovs peasant women are spiritual totems; corporeal superheroes of

titanic strength whose racy charm exudes from his canvasses. With arms
thick from physical labour and ruddy, weathered complexions, their bodies
speak of their lives of toil; and yet their formidable strength of spirit is
seemingly irrepressible as they threaten to escape the canvas weave and
stalk into the exhibition space.
In Russian Art, the name Arkhipov is synonymous with compassionate and
evocative portrayals of peasant life devoid of saccharine sentimentality.
The monolithic fgures in his work are undoubtedly largely drawn from
childhood recollections, for Arkhipov was born into a peasant family in
the province of Ryazan. Having shown great artistic promise at a young
age, Arkhipov studied intermittently at the Moscow School of Painting,
Sculpture and Architecture from 1877 to 1888 under the Russian masters
of 19th Century painting: Vasilii Perov, Aleksei Savrasov and Vasilii Polenov.
Although he was also a student at the St Petersburg Academy of the Arts
between 1884 and 1886, Arkhipov soon became dissatisfed with the
Academys system of teaching and returned to Moscow, where he
himself would later teach at the Moscow School of Painting, Sculpture
and Architecture.
fg. 1. A. Arkhipov (1862-1930), The girl with a jug, State Tretyakov

Gallery, Moscow
From 1890, Arkhipov was an active member of the Peredvizhniki [the

Itinerants], an exhibiting society of Russian artists committed to arts
potential to serve a higher social function, and in 1924 exhibited with the
Union of Russian Artists and the Association of Artists of Revolutionary
Russia (AKhRR). Fusing the Russian traditions of genre and lyrical
landscape painting, Arkhipov rarely depicted dynamic scenes of action,
on the contrary, some of his most famous works capture a labourers
moment of rest and refection, emphasising the subjects psychological
and spiritual life. From the early 1900s, Arkhipov embarked on a series of
portraits of peasant women from his native province of Ryazan and the
Nizhny Novgorod region. Wrapped in heavily embroidered folk dress and
resplendent in vibrantly-coloured headscarves, his sitters were animated
by Arkhipovs free and expansive brushstrokes and his saturated palette of
scorching reds and hot pinks (fg. 1); the antithesis of usual critical realist
fare, typically high on poignant social commentary and bleached of colour.
Peasant woman in a green sarafan is an impressive example from this series
and appears on the art market for the frst time in its history. The work
successfully demonstrates a number of Arkhipovs compositional devices,
employed to transform his models into rural deities. The tightly cropped
composition effectively enlarges the subject and propels her forward, giving
the impression that the woman is testing the boundaries of the canvas
and even the strength of the stretcher itself. This lends the work a modern
aspect, recalling Robert Capas photo-journalism in 1940s Ukraine (fg. 2).
The foreshortened perspective forces the viewer to look up to her face,
almost in worship. Light streaming in from the window in the background
further elevates her fgure; effectively leaving the viewer in awe at the
hems of her voluminous underskirts. The familiar peasant garb becomes,
in some ways, multilayered ceremonial dress, deepening the impression that
Arkhipovs archetypal peasant woman is a paean to the heroic qualities of
the Russian peasant, the Daria of Nikolai Nekrasovs famous poem Moroz,
Krasnyi Nos [Grandfather Frost, Red Nose] (1863-1864).
Lot 13 No Lot
fg. 2
30
31
PROPERTY FROM AN AMERICAN COLLECTION

*14
VASILII SURIKOV (1848-1916)
Two studies for Siberias conquest by Yermak

signed in Cyrillic V. Surikov (upper right)
oil on canvas
the frst 14 x 10 cm. (36.2 x 26 cm.);
the second 13 x 10 in. (33 x 27 cm.)
70,000-90,000
$120,000-140,000
89,000-110,000
PROVENANCE:
Acquired by the present owner in the 1980s.
fg. 1 V. Surikov (1848-1916), Yermaks Conquest of Siberia in 1582, 1895, State Russian Museum, St Petersburg
32
(2)
Surikov was familiar with the legend of Yermaks

conquest of Siberia from his youth. His family
were from Krasnoyarsk and traced their genealogy
back to the Don Cossacks who joined Yermak,
allowing Surikov to draw on both folklore and
the recollections of his family to inform his work
Yermaks Conquest of Siberia in 1582 (fg. 1).
33
PROPERTY FROM THE MUNICIPALITY OF RAMAT GAN SOLD TO BENEFIT
THE RAMAT GAN MUSEUMS
*15
VALENTIN SEROV (1865-1911)
LITERATURE:
Portrait of Maria Zetlin (1882-1976)

signed with Cyrillic initials and dated V S/910 (centre left)
tempera and oil on board
41 x 28 in. (107 x 73.4 cm.)
Painted in October-November 1910
1,500,000-2,500,000
$2,500,000-4,000,000
1,900,000-3,200,000
PROVENANCE:
The collection of Maria & Mikhail Zetlin.

Donated by Maria Zetlin to the Municipality of Ramat Gan in 1959.
EXHIBITED:
Rome, Padiglione Russo, Esposizione Internazionale di Belle Arti, 1911,

no. 394.
St Petersburg, Mir iskusstva [The World of Art], 1912, no. 282.
St Petersburg, The Imperial Academy of Fine Arts, Posmertnoi vystavki
proizvedenii V. A. Serova [Posthumous exhibition of the work of V. A.
Serov], 4 January 1914, no. 280.
Moscow, Bolshaya Dmitrovka 11, Posmertnoi vystavki proizvedenii
V. A. Serova [Posthumous exhibition of the work of V. A. Serov],1914,
no. 313.
Malm, The Malm Art Museum, Baltiska utst3llningen [The Baltic
exhibition], 15 May-4 October 1914, no. 3222.
Brussels, Exposition dArt Russe Ancien et Moderne, Le Palais des BeauxArts de Bruxelles, May-June 1928, no. 841.
London, 1 Belgrave Square, Exhibition of Russian Art, 4 June13 July 1935, no. 385.
Prague, Slovansky stav, RetrospektivnE vystavy Rusk0ho malErstvE
XVIII.-XX. stol. [Retrospective exhibition of Russian paintings 18th-20th
centuries], 1935, no. 151 (label on the reverse).
Ramat Gan, The Municipal Library, 1966-1996, loaned by the
Ramat Gan Municipality.
Tel Aviv, The Tel Aviv Museum, 1994, loaned by the Ramat
Gan Municipality.
Moscow, State Tretyakov Gallery, The Maria and Mikhail Zetlin Art
Collection, June-July 2003, no. 59.
Ramat Gan, The Maria and Mikhail Zetlin Museum of Russian Art,
1996-2014.
34
Exhibition catalogue, Esposizione internazionale di Roma, Bergamo,

1911, listed p. 294, no. 394.
Apollon, St Petersburg, 1912, p. [80], illustrated, listed p. 32.
Exhibition catalogue, Baltiska utst3llningen [The Baltic Exhibition],
Malm, 1914, listed p. 231, no. 3222.
I. Grabar, Valentin Aleksandrovich Serov - Zhizn i tvorchestvo
[Serov - Life and Works], Moscow, 1914, pp. 201, 298,
illustrated p. 225, listed p. 294.
Exhibition catalogue, Posmertnaia vystavka proizvedenii V. A. Serova
[Posthumous exhibition of the work of V. A. Serov], St Petersburg, 1914,
listed p. 21, no. 280.
Exhibition catalogue, Posmertnaia vystavka proizvedenii V. A. Serova
[Posthumous exhibition of the work of V. A. Serov], Moscow, 1914,
V. Dmitriev, Valentin Serov, Petrograd, 1917, illustrated.
S. Ernst, V. A. Serov, Petersburg, 1921, p. 73.
Exhibition catalogue, Exposition dArt Russe Ancien et Moderne,
Brussels, 1928, listed p. 79, no. 841, illustrated.
Commemorative catalogue, Art Russe, Brussels, 1930, illustrated
pl. XXVI and listed.
Exhibition catalogue, Exhibition of Russian Art, London, 1935, listed
p. 84, no. 385.
Exhibition catalogue, RetrospektivnE vystavy Rusk0ho malErstvE XVIII.XX. stol. [Retrospective exhibition of 18th-20th century Russian painting],
Prague, 1935, listed p. 35, no. 151.
N. Simonovich-Efmova, Vospominaniia o Valentine Aleksandroviche
Serove [Memories of Valentin Serov], Leningrad, 1964,
pp. 119-121, 172.
I. Grabar, Valentin Aleksandrovich Serov - Zhizn i tvorchestvo 1865-1911
[Serov - Life and Works], Moscow, 1965, p. 224, listed p. 341.
I. Zilbershtein & V. Samkov, Valentin Serov v vospominaniiakh,
dnevnikakh i perepiske sovremennikov [Valentin Serov in the memories,
diaries and correspondence of his contemporaries], vol. I and II, Leningrad,
1971, vol. I pp. 9, 12, 15, 82, 83, 303, 456; vol. II pp. 110, 175, 256,
257, 353-358.
V. Leniashin, Portretnaia zhivopis V. A. Serova 1900-x godov
[V. A. Serovs portraits of the 1900s], Leningrad, 1980, pp. [253, 256],
illustrated pp. [194] and 248.
D. Sarabyanov, Valentin Serov, Paintings, Graphic Works, Scenography,
Leningrad, 1982, listed p. 357, no. 584.
I. Zilbershtein & V. Samkov, Valentin Serov v perepiske, dokumentakh
i interviu [Valentin Serov in the correspondence, documents and interviews],
vol. I and II, Leningrad, 1989, vol. I pp. 7-9, 21, 23; vol. II pp. 238,
240, 246, 253, 254, 256, 265, 266, 270, 271, 274, 275, 277, 278,
282, 303, 306, 307, 309-311, 315-317, 319-321, 323, 325.
V. Lapshin, Valentin Serov - Poslednii god zhizni [Serov - The last year],
Moscow, 1995, p. 51, illustrated p. 50, listed p. 523.
E. Zhukova & S. Shalit, The Maria and Mikhail Zetlin Art Collection,
Israel, 2003, p. 127, no. 59, illustrated pp. 14 & 45.
G. Romanov, Mir iskusstva [The World of Art]1898-1927, St Petersburg,
2010, illustrated p. 909.
A peerless fgure in the history of Russian art, Valentin Serovs

commissioned portraits and independent compositions are characterised
by their vivacity. His subjects are alive, captured in a split second: Vera
Mamontova (Girl with peaches, 1887, State Tretyakov Gallery, Moscow) is
soon to colour under the scrutiny of the artists gaze; Princess Olga Orlova
(1911, State Russian Museum, St Petersburg) about to raise an alreadyscornful eyebrow a fraction higher; Maria Zetlin on the verge of walking
away from the window in the present work.
The most exquisite Serov ever offered at Christies, the sale of Portrait
of Maria Zetlin (1882-1976) to beneft the museums of Ramat Gan is
truly a monumental event. Painted in 1910, in the tense period between
the 1905 revolution and its more notorious 1917 sister, Serovs portraits
of this time poignantly capture moments from a society dancing into
shadow, a Russia about to disappear forever. Theoretically captured for
eternity, viewed through the prism of time, Serovs sitters nevertheless
have a temporal quality. Boris Kustodievs concurrent and slightly later
depictions of village fairs, rotund coachmen and buxom merchants wives
swathed in furs are also affecting in their way scenes suffused with
the lighter side of life, with sheer pleasure yet their excesses (plump
fushed faces, tables laden with goods) can seem indecent in a country
where so many went without. Serovs society beauties may be draped in
silk and accompanied by lapdogs but it is diffcult not to lament the end
of an era encapsulated by Mir Iskusstva [The World of Art] group and
Diaghilevs Ballets Russes; a time when intellectual gatherings shaped the
development of Russian poetry, art, music and literature, when artistic
sensation was privileged and beauty ruled supreme.
The cover of Apollon, 1912
How Serov came to paint Maria Zetlin (ne Tumarkina) is captured for
posterity thanks to Ilya Silbersteins (1905-1988) request that the sitter
recall and record the circumstances. Around 1906 Osip Sergeevich Zetlin,
Marias future father-in-law, encountered the esteemed Russian portrait
painter in the Parisian restaurant Prunier. After learning that Serov, whose
clients included Nicholas II and the cream of Russian society, commanded
5,000 roubles per picture regardless of the number of sitters therein,
Osip Sergeevich offered him three times that amount to paint a family
portrait of himself, his wife and his son Mikhail (1882-1945). Serov duly
agreed to consider his proposal and the two parted company. Three or
four years later Serov and the Zetlins, accompanied on this instance by
the young and beautiful Maria Tumarkina, again coincided at Prunier.
This time it was Serov who approached the table, requesting permission
to paint Maria and promising to paint the entire Zetlin family without
charge if Maria would agree to sit for him, an incident rendered the
more extraordinary by the knowledge of Serovs increasingly straightened
fnancial circumstances. He had stopped teaching and as such was
dependent on portrait commissions to support his family of six. Osip
Sergeevich agreed to put the request to Marias father but warned Serov
that he would likely not consider it appropriate. Four months later Maria
married one Mikhail Osipovich, and wrote to Serov shortly afterwards to
request that the portrait be undertaken.
Serov came to Biarritz in mid-October 1910. On arrival at the Zetlins villa
Les Mouettes, the artist immediately requested his hostess put on each
of her dresses so that one might be chosen for the portrait, before
eventually selecting the plain black dress Maria had worn to greet him at
the train station, accompanied by a single string of pearls. It is unlikely
Maria would have been nave to the impression she would make on Serov
as he arrived, particularly after captivating him so effectively at their
frst meeting. Her success in determining his vision of her is an elegant
illustration of the interaction between artist and subject. The portrait took
four or fve weeks to complete. Maria would pose while her husband
read poetry and prose aloud, much to Serovs delight. The trio would
take long drives together, and the wind-whipped Basque country, with
its vistas of rough seas and craggy rocks, had a signifcant effect on
Serov, informing not only this portrait but much of his work for the
remaining year of his life.
The present work illustrated
36
The present work on view at Serovs posthumous exhibition, Moscow, 1914
fg. 1. V. Serov (18651911), Portrait of Ida Lvovna Rubinstein (18801960),

State Russian Museum, St Petersburg
Maria Zetlin, bright and beautiful, was one of the frst women in Europe to
receive a PhD (she held a doctorate in Philosophy). Together with her second
husband Mikhail Osipovich, she created a gathering place for artists, writers
and poets to meet and discuss the issues of the day wherever she went.
Their home in Paris welcomed the poets Rainer Maria Rilke (1875-1926)
and Ilya Ehrenburg (1891-1967) alongside Picasso, Braque, Goncharova and
Larionov. Erenburg recalled how on their return to Moscow in 1917, a move
powered by enthusiasm for the Revolution, they sought to do the same:
In the winter of 1917/1918 in Moscow the Zetlins gathered poets at their
house, gave them food and drink, it was a diffcult time but everyone came
from Vyachaslav Ivanov to Mayakovsky. (I. Erenburg, Sobranie sochinenii v
9-ti tomakh [A collection of essays in 9 volumes], Moscow, 1966, vol. VII,
p. 119). When the revolution failed to fulfl its promise, the Zetlins left for
Turkey before returning to France and eventually emigrating to America
following the Nazi invasion. Maria remained in close contact with artists
throughout her life and was painted and drawn by Alexandre Iacovleff
(1887-1938), Sergei Chekhonin (1878-1936) and Diego Rivera (1886-1957)
among others. Having published poetry under the pseudonym Amari,
Mikhail Zetlin also edited the poetry section of the magazine Sovremennye
Zapiski [Contemporary notes] in the 1920s and 1930s and later founded
a new literary and political magazine, Novy Zhurnal [The New Review],
dedicated to the writers, poets and philosophers of Russias Silver Age.
By the late 1920s, the Zetlins had formed an important collection of
Russian Art, comprising works by some of the most signifcant Russian
artists including: Natalia Goncharova, Lon Bakst, Boris Grigoriev, Petr
Konchalovsky, Dmitry Stelletsky, Mikhail Larionov, Alexandre Benois as well
as Valentin Serov. In 1941, in the midst of World War II, the Zetlins fed to
New York and were only reunited with their collection after the war. The
majority of the collection remained in the family until 1959 when it was
donated to the Municipality of Ramat Gan.
Quite apart from her indisputable beauty, there is something mesmerising
about Zetlin as captured by Serov, her pensive expression partly in shadow,
her long elegant body framed by the window. With modern portraiture freed
from stark reality in the wake of Manet and the advent of photography, the
signifers of the subjects societal position and mind-set are more subtle. There
is little to help us pinpoint the portraits location. Where Maria understood
the rock in view as a device to unify the colour of the sea and the sky, her
brother Roman Samoilovich interpreted the mass as a malevolent creature,
an unnerving forbearer of woes to come. Maria pushes back a curtain, three
fngers clinging to the material, but has turned her back on the world she has
revealed. Is the rock a land abandoned, the Russia she left in 1908?
The cover of the exhibition catalogue Slovansky stav, Retrospektivn vystavy

Ruskho malirstvi XVIII.-XX. stol. [Retrospective exhibition of Russian paintings
18th20th centuries], 1935
The associated exhibition label on the reverse of the present work
38
Described by Nikolai Benois as an almost monochrome portrait of unique

tonal beauty (quoted in Valentin Serov in the memories, diaries and
correspondence of his contemporaries, Leningrad, 1972, p. 412), Portrait of
Maria Zetlin (1882-1976) confrms a signifcant and important development
in Serovs work, a change already evident in his portrait of Ida Rubinstein
of the same year (fg. 1). Elena Zhukova notes his success in combining the
monumental with decorative, the white spots of foam evoking his The rape
of Europa (1910, The Museum of Avant-Garde Mastery) while a recent
infuential visit to Greece is refected in the classical pose of Marias raised
hand and lowered gaze. By October 1910 Serov was very conscious of his
poor health. Earlier that year he had suffered the premature death of two
close friends: Mikhail Vrubel (1856-1910) and Sergei Botkin (1859-1910).
His decision to stop teaching resulted in an unforgiving travel schedule.
Confronted with his mortality, Serov began to aggressively pursue his new
and distinct style resulting in some of the fnest works of his career including
the present work and the aforementioned Portrait of Ida Rubinstein and The
rape of Europa. Serovs own satisfaction with Portrait of Maria Zetlin (18821976) is testifed to by his subsequent correspondence with the Zetlins; his
letters to them in the short year before his death are littered with requests
to borrow the painting for exhibitions in Europe and in Russia. The Zetlins
magnanimously agreed without hesitation, their obvious fondness and
esteem for Serov expressed by the name they bestowed upon their new son,
born shortly after Serovs tragically early death: Valentin.
PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR

16
ALEKSANDR GOLOVIN (1863-1930)
LITERATURE:
Set design for Elektra: Agamemnons Palace in Mykonos

signed in Cyrillic and dated .A. Golovin/1913 (lower left)
pencil, watercolour and gouache on paper, laid down on board
27 x 39 in. (71 x 100.6 cm.)
200,000-300,000
$330,000-480,000
260,000-380,000
PROVENANCE:
Aleksei Bakhrushin (1865-1929).

Acquired from the above by the grandfather of the present owner.
EXHIBITED:
Malm, The Malm Art Museum, Baltiska utst3llningen

[The Baltic Exhibition], 1914, no. 3133.
Stockholm, Sveriges Allmnna Konstfrening [Swedish General Art
Association], Utst3llning af Rysk Konst [Exhibition of Russian Art],
21 February-9 March 1919, no. 16.
Title page of the exhibition catalogue: The Baltic Exhibition, 1914

Lot 16 listed p. 224
Exhibition catalogue, Baltiska utst3llningen [The Baltic Exhibition],

Malm, 1914, listed p. 224, no. 3133.
Exhibition catalogue, Utst3llning af Rysk Konst [Exhibition of Russian
Art], Stockholm, 1919, listed p. 11, no. 16.
A. Dmitrieva & M. Lipatova, Aleksandr Golovins Work for the
Theatre and Alexei Bakhrushin, The Tretyakov Gallery Magazine, 4.
Golovin designed the set of Agamemnons Palace in Mykonos for Richard
Strauss (1864-1949) one-act opera Elektra based on new archaeological
fndings by Arthur Jones Evans (1851-1941) in Crete. Golovins preparation
for the creation of any new performance always included a search for
new materials and a thorough and comprehensive exploration of their
possibilities. The artist stated: More than anything, knowledge is necessary
to allow oneself complete freedom of fantasy; knowledge of this sort was
critical to Golovin in his work on Elektra.
The operas author, the composer Richard Strauss, took a lively interest in
the staging of Elektra at the Mariinsky Theatre. On 16 January 1913, he
visited the Director of the Imperial Theatres, Vladimir Telyakovskii (18601924) and on 26 January led a rehearsal of the opera himself. As a result,
according to Golovins recollections, the author of Elektra was very
pleased with the staging and said that he would like to take it to Berlin
... (A. Golovin, Vstrechi i vpechatleniia. Pisma. Vospominaniia o Golovine
[Meetings and Impressions. Letters. Memories of Golovin], Leningrad,
1960, p. 127). The staging was sinfully in love with archaeology in
the words of Telyakovskii but the designs were marvellously executed
and very interesting (quoted in M. Pozharskaia, Aleksandr Golovin: Put
khudozhnika. Khudozhnik i vremia [The artists path. The artist and his
time], Moscow, 1990, p. 227).
Golovin wrote in his memoirs: In 1913, Richard Strauss opera Elektra
was staged. My preparatory work on this performance coincided with
Evans archaeological research in Crete, where they found most interesting
monuments of the Minoan era; primary sources of art from this period
are lost in the depths of time; according to some archaeologists, they
are associated with the semi-mythical Atlantis. Evans assistant professor
Bogaevsky [Boris Bogaevsky (1882-1942)] acquainted me with the results
of the excavation and with a plan of the palace. This information proved
useful to me as a source for the production, which has turned out to
be very complex and to many strange and incomprehensible, due to the
archaic form. I think that the majority of the audience simply did not
understand Elektra
Prince Sergei Shcherbatov described Golovin as a Russian at heart, he had
a quality distinct to the Russian people (that spoken of by Dostoevsky):
the ability to comprehend the spirit and culture of other countries to the
point of a spiritual transformation of some kind (Khudozhnik v ushedshei
Rossii [The artist in a forgotten Russia], Moscow, 2000, p. 138). This
transformation is evident in many works by the artist, in his designs for
Carmen by Georges Bizet (1908), Orpheus and Euridice by Gluck (1911),
The Stone Guest by A. Dargomyzhskii (1917), (all for the Mariinsky
Theatre) and in his Portrait of Chaliapin in the role of Holofernes (1908,
State Tretyakov Gallery, Moscow) as well as many others.
This spiritual transformation distinguishes Golovins designs for Elektra.
The present work is marked by the artists deep penetration into the art
and culture of the Mycenaean period of the XII-XIII centuries BC in Ancient
Greece and is at the same time full of the tragic gloomy passions of the
Greek legend referred to by Homer and expressed in Strausss opera with
Hugo von Hofmannsthals libretto based on Sophocles Electra.
We are grateful to Dr Eleonora Paston of the State Tretyakov Gallery,
Moscow for providing this note.
Title page of the exhibition catalogue: Utstllning af Rysk Konst [Exhibition of

Russian Art], 1919
Lot 16 listed p. 11
40
PROPERTY FROM A DISTINGUISHED

COLLECTION, EUROPE
17
VASILII PEREPLETCHIKOV (1863-1918)
On the river
signed in Cyrillic and dated P.
Perepletchikov/97 (lower left)
oil on board
4 x 7 in. (12 x 20 cm.)
Painted in 1897
1,500-2,000
$2,500-3,200
1,900-2,500
PROVENANCE:
The collection of the artist Jacques Milkine

(1877-1944).
By descent in the family to the present owner.
17
PROPERTY FROM A GERMAN COLLECTION

18
PROVENANCE:
ALEKSEI SAVRASOV (1830-1897)
Acquired by the present owner in Moscow in 1994.
Village landscape
The present study appears to relate to Savrasovs 1867 oil Farm view (State
Tretyakov Gallery, Moscow).
signed in Cyrillic A. Savraso... (lower right)

oil on panel
7 x 12 in. (19 x 31 cm.)
30,000-50,000
42
$49,000-80,000
38,000-63,000

*19
ALEKSEI SAVRASOV (1830-1897)
Losiny ostrov
signed in Cyrillic and dated 1881. A. Savrasov (lower right)
oil on canvas
21 x 17 in. (53.2 x 45.4 cm.)
120,000-180,000
$200,000-290,000
160,000-230,000
PROVENANCE:
Acquired by the present owner in the 1990s.

Located in Moscow, Losiny ostrov was one of the frst Russian national parks and is captured in
a number of works by Savrasov, the most famous example of which is Losiny Ostrov in Sokolniki
(1869, State Tretyakov Gallery).
43

*20
NIKOLAI DUBOVSKOI (1859-1918)
The Mediterranean
signed in Cyrillic, dated and numbered N. 741/N. Dubovskoi/95.
(on the reverse)
oil on canvas
10 x 6 in. (26 x 17.6 cm.)
Painted in 1895
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
S. N. Dubovskoi, the son of the artist.

LITERATURE:
Unpublished list of Nikolai Dubovskois works compiled by his heirs,

listed no. 741.
*21
VASILII POLENOV (1844-1927)
Ferry at sunset
signed in Cyrillic and dated VPolenov 89. (lower left)
oil on canvas
7 x 11 in. (17.9 x 28.8 cm.)
Painted in 1889
20,000-30,000
20
21
$33,000-48,000
26,000-38,000
PROPERTY OF A PRIVATE AMERICAN COLLECTOR

*22
VLADIMIR ORLOVSKY (1842-1914)
Preparing the nets

signed in Cyrillic and dated Orlovskii.1892 (lower left)
oil on canvas
33 x 55 in. (85 x 140 cm.)
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired by Ambassador Jan Papanek (1896-1991) circa 1918.

A gift from the above to the present owner in New York in 1990.
45
PROPERTY FROM A PRIVATE AUSTRALIAN COLLECTION

*23
KONSTANTIN KRYZHITSKY (1858-1911)
Early morning in the felds

signed in Cyrillic and dated K. Kryzhitskii./97. (lower right)
oil on canvas
34 x 55 in. (86.5 x 140.5 cm.)
Painted in 1897
100,000-150,000
$170,000-240,000
130,000-190,000
PROVENANCE:
Acquired by Tatiana Brussilowsky (1897-1969).

Born in Kiev in 1858, Konstantin Kryzhitsky perfected his nascent talent at
the Academy of Fine Arts in St Petersburg from 1877 to 1884. Studying
landscape painting under Mikhail Klodt, a founding member of the
Peredvizhniki [Itinerants], Kryzhitsky achieved the rank of Artist of the First
Class. He was subsequently made an Academician in 1889. From 1879
onwards, Kryzhitsky frequently exhibited at the Academy, but also
abroad, most notably at the International Exhibition in Munich in 1909
where he was awarded a gold medal for his composition Frosty morning.
A leading member of a number of societies, including Obshchestvo russkikh

akvarelistov [The Society of Russian Watercolourists] and the Kuindzhi
Society, of which he was also President (1909-1911), Kryzhitsky was later
commemorated by two signifcant solo exhibitions comprising around 600
works; the frst in St Petersburg in 1911 and the second in Moscow in 1913.
Kryzhitsky was famed for his large-scale compositions, skillfully drawing
together the varied land, dramatic skies and expansive vistas of his native
land. Depicting the provinces of Russia, Ukraine and the Baltic States,
Kryzhitskys work is evocative as well as well-observed; in Early morning in
the fields Kryzhitsky captures the beauty of an unbesmirched rural Russia,
far removed from over-crowded cities scarred by industry. Kryzhitsky
uses farm work or here the scythe-wielding labourers themselves to
humanize the terrain, intimating the profound connection between Man
and Nature and, moreover, the harmonious, even spiritual relationship
between the two.
A native of St Petersburg, Tatiana Brussilowsky studied at the Sorbonne
in Paris where she met her future husband, Michel Dubrowsky. Following
their marriage, the couple settled in Kharkov, Ukraine, before eventually
immigrating to France with their young daughter, Irene. Tatiana was active
in the French Resistance during World War II, before embarking on a new
adventure and boarding the Volendam to start a new life in Australia in
1949. According to family lore, this large and impressive Kryzhitsky is
the last remaining work from a collection of fve paintings that Tatiana
Brussilowsky brought with her when she emigrated from France.
*24
ALEXANDER VOLKOV (1886-1957)
Tchaikhana
signed in Cyrillic and dated A. Volkov 1921.
(upper right)
pencil, watercolour and gouache, heightened with
silver, on paper
9 x 9 in. (23 x 23.5 cm.)
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired from the artists family circa 1994.

EXHIBITED:
Moscow, The State Museum of Oriental Art,

Volkov i evo uchenniki [Volkov and his students], 1987.
Washington, Gregory Gallery, The Volkovs Dynasty,
August-September 1994.
New York, Gregory Gallery, The Volkovs Dynasty,
December 1995-January 1996.
LITERATURE:
Exhibition catalogue, Volkov i evo uchenniki [Volkov and

his students], Moscow 1987, illustrated pl. 3, listed p. 45.
Exhibition catalogue, The Volkovs Dynasty,
Washington and New York, 1994, illustrated p. 3,
24
25
48
26
PROPERTY OF A NEW YORK COLLECTOR
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
*25
*26
NICHOLAS ROERICH (1874-1947)
ALEXANDER VOLKOV (1886-1957)
Castles of Gessar Khan
Red tree trunks
signed with artists monogram (lower right); inscribed in Russian

Cas[tles] of Ges[sar] Khan, N. 2, 1928-1929 (on the reverse)
gouache on board
8 x 10 in. (21 x 27.3 cm.)
Painted in Tibet in 1928
oil on canvas
5 x 15 in. (14.4 x 39.6 cm.)
Painted in 1914
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Roerich, Museum, New York.

Louis and Nettie Horch.
Sponder Collection.
Anonymous sale, Christies, New York, 24 October 2002, lot 28.
Anonymous sale, Tajan, Paris, 26 June 2003, lot 104.
LITERATURE:
Roerich Museum catalogue, New York, 1930, numbered between

917-926.
We are grateful to Gvido Trepa, Senior Researcher at the Nicholas Roerich
Museum, New York for his assistance in cataloguing this work.
60,000-90,000
$97,000-140,000
76,000-110,000
PROVENANCE:

EXHIBITED:
Moscow, State Tretyakov Gallery, Alexander Volkov: Sun and Caravan,

March-April 2007, no. 6.
London, Christies, Alexander Volkov: Of Sand and Silk,
4-21 September 2012, no. 9.
LITERATURE:
M. Zemskaia, Alexander Volkov. Master Granatovoi chaikhany

[The Master of the pomegranate teahouse], Moscow, 1975, listed p. 127.
Exhibition catalogue, V. Volkov, A. Volkov and A. Volkov (eds.),
Alexander Volkov: Sun and Caravan, Moscow, 2007, illustrated p. 59,
no. 6.
L. Denisova, Alexander Volkov. Dni kochevia [The Nomad
Days], Decorativnoe iskusstvo [The decorative arts], June 2007,
illustrated p. 107.
Exhibition catalogue, M. Kalieva and A. Volkov (eds.), Alexander
Volkov: Of Sand and Silk, London, 2012, illustrated pp. 38-39,
listed p. 172 and 186, no. 9.
49
PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

*27
NICHOLAS ROERICH (1874-1947)
Confagration
signed with artists monogram and inscribed 1914 (lower left);
further inscribed cultura/pax (upper right)
tempera, pastel, ink and collage on board
10 x 15 in. (25.4 x 38.1 cm.)
Executed in 1931
150,000-200,000
$250,000-320,000
190,000-250,000
PROVENANCE:
Roerich Museum 1931-1935.

Louis and Nettie Horch, New York.
Acquired from the above by Dr and Mrs Carlos Giro, New York.
A gift from the above to the present owner in the 1980s.
EXHIBITED:
Roerich Museum, permanent exhibition, 19311935.

LITERATURE:
Roerich Museum Bulletin, March 1932, vol. II, no. 3,

illustrated on the cover.
V. Ivanov and E. Gollerbach, Roerich, Riga, 1939, illustrated p. 36.
The present lot is a variant of Nicholas Roerichs 1914 painting of the same
title (Private collection). The artist explains its iconography in his 1935 article
on King Albert:
In March of 1914 I completed a painting Conflagration. Upon the background
of a Belgian castle, near a sculpture of a Belgian lion, a knight in full armour
stands on guard. The entire sky is fooded with bloody, red fre. Upon the
towers and windows of the old castle, fery hieroglyphics are already faring
up. Yet the noble knight stands vigilant on his unchangeable watch. Of course,
four months later the whole world knew that this noble knight was King
Albert himself, who safeguarded the dignity of the Belgian lion.
Four months later refers to the outbreak of war. King Albert of Belgium
refused to give in to the demands of Germany to surrender, took personal
command of the Belgian army, and spent the next four years defending his
country in the trenches.
The Conflagration of 1914 was part of a series of paintings in which
Roerichs symbolism anticipated the awful scale of World War I. After the
war broke out, critics were unanimous in declaring his work prophetic.
Seventeen years later, the same acute perception of another global
catastrophe compelled Roerich to repeat the subject. This time, he gave it
more graphic, poster-like qualities. The outlines of the clouds, castle and
warrior are distinct and sharp. Roerich put the year 1914 the start of
World War I in the left lower corner as a clear reminder of the tragedy
that brought such destruction on the world. What concerned Roerich
the most was the destruction of culture, whether it be the principles of
peaceful coexistence or humanitys cultural heritage. Already in tsarist
Russia he advocated constantly for the need to preserve artifacts and
monuments of the past. During the 1920s, he started working on a treaty
with the assistance of international legal experts. The treaty came to be
known as the Roerich Pact. The symbol of the Pact The Banner of Peace,
designated by three red dots in a circle together with its motto pax
cultura is pasted onto the upper right-hand corner of the painting. In a
sense, Conflagration of 1931 serves as a reminder of the war and a symbol
of hope. After completing Conflagration, Roerich sent it from Naggar, India,
where he lived, to Paris, where it was reproduced as a postcard. It was used
extensively from 1931-35 to promote the Roerich Pact during international
events and conferences in the USA, Europe and South America. Eventually
the Roerich Pact took the shape of a treaty signed on April 15, 1935 in the
White House, in the presence of President Franklin Delano Roosevelt and all
members of the Pan-American Union.
The Roerich Pact stipulated that, among other things, the historic
monuments, museums, scientifc, artistic, educational and cultural
institutions shall be considered as neutral and as such respected and
protected by belligerents. The same respect and protection shall be due
to the personnel of the institutions mentioned above. The same respect
and protection shall be accorded to the historic monuments, museums,
scientifc, artistic, educational and cultural institutions in time of peace as
well as in war.
During World War II and the years that preceded it, Roerich continued to
promote the ideas of the Roerich Pact. Conflagration was widely used as
part of this initiative. It was produced in both Russian and English editions
of the monograph Roerich. In 1945, he remarked in a letter: the South
Indian publication Krishna Pushkaram has reproduced Oriflamma, Protectrix
and Conflagration thus the sign of the Banner of Peace is repeated three
times. All three of these paintings incorporated the Banner of Peace.
We are grateful to Gvido Trepa, Senior Researcher at the Nicholas Roerich
Museum, New York for providing this catalogue note and for his assistance
in cataloguing this work.
Nicholas Roerich
50
28
PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

*28
*29
MARTIROS SARIAN (1880-1972)
NICOLAS ROERICH (1874-1947)
Lake Sevan
Brahmaputra (Tsang)
signed in Cyrillic and dated M./Sarian/1953 (lower right); further

signed in Cyrillic and Armenian, inscribed in Russian with title, dated
and numbered Martiros Sarian/1953/580 (on the reverse)
oil on canvas
21 x 28 in. (54 x 73 cm.)
signed with artists monogram, inscribed with title, dated and

numbered N 84. 1928 (on the reverse)
tempera on canvas laid down on board
12 x 16 in. (30.5 x 42 cm.)
65,000-85,000
$110,000-140,000
82,000-110,000
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
A gift from the artist to the House of Medical Practitioners, Baku.

A gift to the great-grandfather of the present owner in Baku in the
1960s.
Roerich Museum 1928-1935.

Louis and Nettie Horch, New York.
Acquired from the above by Dr and Mrs Carlos Giro, New York.
A gift from the above to the present owner in the 1980s.
LITERATURE:
EXHIBITED:
Unpublished list of Martiros Sarians works compiled by the artist,

listed no. 580.
Roerich Museum, permanent exhibition, 1929-1935.
We are grateful to Rouzan Sarian, Director of the Martiros Sarian House

Museum, Yerevan for her assistance in cataloguing this work.
Roerich Museum Catalogue, Eight Edition, New York, 1930, listed

p. 35, no. 907.
PROVENANCE:
52
LITERATURE:
29
The present work was executed in Darjeeling, India, where Nicholas Roerich
and his expedition party arrived at the end of May, 1928. He had just
completed the last leg of his Central Asian expedition, which took him
from Urga, then the capital of Mongolia, across the Gobi and the great
Tibetan upland and over the Himalayas. The journey took a whole year to
accomplish. Towards the end of the expedition, he followed the left bank
of the Tsangpo, the name of Brahmaputra in Tibet, for a couple of days
before fnally crossing it on April 30th, 1928.
The artists son, George Roerich, describes this moment:
After four miles we reached the ferry, which belonged to the Nying-ma
Monastery, situated on the river bank. The ferry was manned by eight
lamas from the monastery. It consisted of a large, square, wooden boat,
with a wooden horse head on the prow. Such boats are commonly called
in Tibet shing-ta or wooden horses. The whole traffc across the river
had been closed for others, and the boat was placed at our disposal.
There were several ferries on the Tsang-po but many of them were in bad
condition and we had to use this one. The boat took eight horses and a
considerable amount of baggage piled up on the prow. The current was
swift and the boatmen had a hard time steering. The boat is steered with
the help of two big oars fxed to the fore part, one from each side. Each
oar is worked by two men. One pulls the oar by the handle, the other
helps him by pulling a rope attached to the middle of the oar. The camels
were transported without unloading them. Two camels were taken at a

time and brought safely across the river. They were the frst camels to cross
the Tsang-po at this place. (G. Roerich, Trails to Inmost Asia, New Haven,
1931, p. 462).
In Darjeeling, where he spent half a year resting after the expedition,
Roerich retraced his epic crossing of Mongolia and Tibet in nearly one
hundred paintings. This body of work constitutes a distinct and easily
recognisable period in his artistic career, marked by landscapes devoid of
the grand narratives and spiritual context that dominate his other work.
He depicts the Tsangpo, the legendary river named after the son of Lord
Brahma, as a stream of water fanked by fat earth and mountains. Even
the boat appears to be part of the natural scenery rather than a human
construct. Here, Roerich is a nameless nomad rather than a lofty storyteller, recording what he sees without embellishment or commentary. After
the hardships of the expedition Roerich is able to step back and convey
the complex beauty of what he saw. His approach is detached, almost
Zen-like, and yet he paints his own experiences and memories into every
brushstroke.
We are grateful to Gvido Trep a, Senior Researcher at the Nicholas Roerich

Museum, New York for providing this catalogue note and for his assistance in
cataloguing this work.
53
PROPERTY OF A GEORGIAN COLLECTOR

*30
KIRILL ZDANEVICH (1892-1969)
Portrait of Elena Shengelaia (1900-1983)

signed with Georgian initials K. Z. (lower right)
oil on canvas
40 x 26 in. (102.5 x 67.8 cm.)
Painted between 1918 and 1922
400,000-600,000
$650,000-960,000
510,000-760,000
PROVENANCE:
The family of the sitter.

EXHIBITED:
Tbilisi-Paris, probably The Art Museum of Georgia and

The Fond D'Iliazd, Kirill Zdanevich. Ilia Zdanevich, 1989.
LITERATURE:
Exhibition catalogue, Kirill Zdanevich. Ilia Zdanevich,

1989, listed p. 46 & 54.
Elena Shengelaia
54
Georgian painting has historically been heavily influenced by Eastern culture and
Byzantine traditions due to the countrys geographical location. Set at the crossroads
of Asia and Europe, the country has often been a disputed territory for Arabs, Mongols
and Turks, frequently invaded by tribes eager to impose their culture on the conquered
land. The adoption of Christianity however, in the early 4th century, ensured the
predominance of Byzantine art, which was widely used in frescoes and the exterior
decoration of ancient churches. Simultaneously, the second pillar of Georgian art, that
of the miniature, remained largely under the influence of Persian craftsmanship while
Georgian works of art frequently derive their structure from the dominating floral motifs
commonplace in Arab culture.
The Russian Empires annexation of Georgia at the beginning of the 19th century shifted
the direction of the development of Georgian culture. Georgian literature was enriched
by the influence of the Russian titans such as Pushkin, Dostoevsky and Gogol. The
dominant Russian art movement of the late 19th century however, the Peredvizhniki
movement, did not have such a great impact. Faced with the loss of their national
identity, Georgian artists were compelled to develop their own artistic tradition, distinct
from the Western canon or that of the Russian Peredvizhniki. It was during this period
of transition that the self-taught artist Niko Pirosmani emerged and translated Georgias
artistic heritage into an innovative and distinct national artistic language. He developed
the primitive and nave style in Georgian art, in a similar way to the proclaimed
Muscovites Mikhail Larionov and Natalia Goncharova. Pirosmanis artistic oeuvre
inspired an array of prominent Georgian 20th century artists including Lado Gudiashvili,
David Kakabadze and Kirill Zdanevich among others. All those artists, together with a
generation of young progressive poets, ensured that Tiflis at the end of the 1910s was a
centre for new movements in art and a platform for Futurist experimentation.
Kirill Zdanevich was born in Kojori near Tbilisi and studied at the 1st Tiflis gymnasium
prior to his enrolment into the Imperial Academy of Arts in St Petersburg. The artist
rapidly became acquainted with representatives of the progressive artistic youth
movement: Mikhail Le Dantue, Mikhail Larionov and Natalia Goncharova. Together
with them he participated in the Neoprimitivist exhibition Oslinyi khvost [Donkeys tail]
in 1912 and Mishen [Target] in 1913 as well as many other Avant-Garde exhibitions in
Moscow and Tbilisi.
Kirill Zdanevich, 1921, Tiflio
56
Verses by Ilia Zdanevich (Iliazd) from an album of poems and Cubo-Futurist drawings
belonging to the family of the sitter, sold Christies, London, 22 June 1999, lot 342.
After serving in the army Zdanevich travelled to Paris in 1913 where

he encountered the latest developments in European art. During
his stay he was inspired by his visits to Matisse and Picassos studios
and exhibited his works in Archipenkos atelier. On his return he
re-enlisted in the army, but continued to pursue his artistic career.
On the completion of his service in 1917 Zdanevich returned to
Tbilisi and, together with Aleksei Kruchenykh, Igor Terentiev, Vasily
Kamensky and others, became actively engaged in the Futurists
artistic activities. He organised an exhibition of 122 works from 1912
which immediately brought him recognition as a cubo-futurist artist
and became a member of Sindikat futuristov [The Futurist syndicate],
from which emerged the proclaimed 41 group.
Zdanevich continued to work across various genres; he painted murals
in Tifiss cafes-clubs, worked as a book illustrator and designed
the interior of Ladia argonavtov [The Argonaut], where he staged
his performances. The 1920s were successful years in Zdanevichs
artistic career. He again travelled to Paris where he learned further
diverse styles of artistic expression, namely Cubism, Expressionism
and Abstraction. Here he met his fellow artists Larionov, Goncharova,
Gudiashvili and Kakabadze as well as his brother Ilia, whom he would
only meet again after a gap of 45 years, a period coloured by both
artistic achievements and troubled years of repression.
Zdanevich greeted the installation of the Bolshevik regime in Georgia
in 1921 with great enthusiasm, considering it also to be an artistic
revolution. During this time he began to work as an artist in the
Rustaveli National Theatre and Tbilisi Opera and Ballet Theatre. He
frequented social gatherings of Georgian intellectuals. One of these
events was a salon hosted by Elena Shengelaia, the subject of the
present painting, and her husband.
Elena is depicted against the ornamental background of a richly
weaved traditional Georgian koshma carpet. The simplicity of her
plain white blouse, painted in fuid brushstrokes, intensifes the
exuberant blues and reds of the carpet. At the same time, the three
quarter turn of her head, gracious pose and detached gaze recalls
an image of Tamar the Great, one of the most poeticized queens
of Georgia, whose beauty was captured in a large number of 13th
century Georgian frescoes.
Elena Shengelaia was born in 1900 in an Obudzhi village of the

Kutaisi Governorate. Her parents Ekaterina Dzhordzhikiia and Mikhail
Shengelaia were both of noble origin. Elena had four brothers, one of
which, Nikolai Shengelaia, was a futurist poet in his youth, and later
became a well-known flm director, creating some of the classics of
Soviet cinema.
Thanks to her cheerfulness and beauty, Elena Shengelaia enjoyed the
attention of her peers from an early age. It is known that Konstantin
Balmont, a known poet of the Silver Age, was captivated by her
beauty and grace. During his trip to Georgia, on one of his meetings
with the Kutaisi society, he dedicated a few impromptu lines to her,
writing them straight on to the schoolgirls white uniform: fowers
are blossoming, you blossom as well.
At the age of 17 Elena Shengelaia got married and moved from
Kutaisi to Tbilisi. She became the wife of a well-known lawyer, poet,
translator, writer, public fgure, traveller, collector and philanthropist
Aleksandr (Sandro) Kancheli. Between 1918 and 1925, the so-called
Thursdays hosted by the young and charming wife of Sandro
Kancheli were highly in vogue in Tbilisi society. Their artistic salon was
frequented by the Georgian cultural milieu, including famous writers,
artists, actors and scientists of the 20th century. Elena Shengelaia
enjoyed the admiration of those participating in the Thursdays. Poets
dedicated verses to her and artists painted her portrait, presenting
their creations to their charming hostess.
Among others, the Zdanevich brothers were very close friends of
Sandro Kancheli and Elena Shengelaia. Ilia Zdanevich, known as Iliazd,
dedicated various illustrated futurist poems to the couple while Kirill
Zdanevich painted this striking portrait of Elena as well as a drawing a
few pencil portraits.
In 1999 Christies successfully sold an album of poems and futurist
works dedicated to Elena Shengelaia with text and drawings
provided by Ilia Zdanevich, Kirill Zdanevich, Sandro Kancheli, Shalva
Amiredzhibi, Kolau Cherniavskii, Simon Chikovani and Aleksei
Kruchenykh.
PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR,

UNITED STATES
*31
VLADIMIR BARANOFF-ROSSIN (1888-1944)
Reclining nude
signed Rossin0 (lower right)
oil on canvas
51 x 37 in. (130 x 96 cm.)
Painted circa 1925
250,000-350,000
$410,000-560,000
320,000-440,000
PROVENANCE:

Anonymous sale; Sothebys, London 31 May 2006, lot 155.
EXHIBITED:
Paris, Galerie Verneuil Saints Peres, Retrospective de Baranoff-Rossin0,

1984, no. 40.
Moscow, State Tretyakov Gallery, Vladimir Baranoff-Rossin0, 2002,
no. 103.
LITERATURE:
Exhibition catalogue, Retrospective de Baranoff-Rossin0, Paris, 1984,

illustrated p. 32, no. 40.
Exhibition catalogue, Vladimir Baranoff-Rossin0, Moscow, 2002,
pp. 182-183, no. 103.
Vladimir Baranoff-Rossin received his earliest artistic training at the

Odessan Academy of Art (1903-1908). The academy was well-known for
its liberal atmosphere, and it was where the young artist initially became
acquainted with contemporary innovations in European painting. Between
1907 and 1909 he would take part in important exhibitions of the Russian
Avant-Garde in Moscow, Kiev and St Petersburg, and he briefy studied at
the Academy of Arts in St Petersburg between 1909-1910 before departing
for Paris in search of new inspiration. The artist reached the French capital
in 1910, having changed his Ukrainian birth-name of Shulim Wolf Baranoff
to Daniel Rossin. He participated in the annual Salon des Independents,
exhibiting works such as his momentous The Rhythm (Adam and Eve)
(Christies London, 24 June 2008, lot 64).
Having come in contact with numerous artists and dominating artistic
movements in Europe at the time, he elaborated a unique experimental
style that was infuenced by Cubism and the colour theories of Robert
and Sonia Delaunay, named Orphism by the poet Guillaume Appollinaire.
Baranoff-Rossin followed the principles of Orphism, striving to
communicate meaning with his works through colour harmonies. BaranoffRossin believed in the Orphists theories on the simultaneity of sensations
and insisted not on consecutive but on simultaneous chromatic, geometric
and kinetic perception. Colours should not be used to reproduce the colour
of an object but on a self-contained basis (V. Baranoff-Rossin, quoted in
J. C. Marcad et al., Baranoff-Rossin, Moscow, 2002).
Following the February Revolution of 1917 the artist returned to Russia,
took on the double-barrelled name of Baranoff-Rossin and opened a
studio at Svomas, in the former St Petersburg Academy of Arts. For the
next few years, the artist continued his experimentation with colour,
incorporating synaesthetic theories that were also being championed by
Kandinsky at the time. Baranoff-Rossins dreams of achieving perfect
harmony of sound, light and colour, culminated in the creation of an
instrument known as the optophonic piano, in which the action of
the keys controlled the projection of colours and moving forms. He frst
demonstrated the instrument in Moscow at the Bolshoi Theatre, and then
further developed his theories in Paris, where he would return with his wife
and son in 1925. With the poet Andre Bretons (1896-1966) Manifesto of
Surrealism having been published a year before, Baranoff-Rossins return
to France coincided with the height of the Surrealist movement. This allpervasive movement decidedly infuenced the work of Baranoff-Rossin for
the remainder of his career, which he would attempt to combine with his
deep commitment to chromatic research.
Vladimir Baranoff-Rossin
58
Reclining Nude is a studied composition of blended and overlapping colour

felds, accented with continuous, curving lines drawn by a seemingly
uninhibited mind that result in an uncanny image of a languorous nude.
Refecting Cubist roots and the lyrical abstraction that Baranoff-Rossin
had been developing since his early years, coupled with stylised Surrealist
techniques, this impressive painting is paradigmatic of the artists work in
the latter half of the 1920s.
*32
KUZMA PETROV-VODKIN (1878-1939)
Head studies
signed with the artists monogram (lower right); further signed in
Cyrillic, inscribed in Russian with title, further inscribed, dated and
numbered Album/1924-25-26/drawing No. 13/Shuvalovo (on the
reverse)
ink on paper
9 x 13 in. (25.2 x 33 cm.)
Executed in 1926
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:

Acquired from the above by Sergei Lipshits, Leningrad (1905-1983).
By descent to the previous owners.
LITERATURE:
Unpublished list of Kuzma Petrov-Vodkins works compiled by the

artists widow, listed.
V. Kostin, Petrov-Vodkin, Moscow, 1966, illustrated p. 134.
Head studies was drawn in Shuvalovo, not far from St Petersburg where
the Petrov-Vodkin family rented a dacha from the end of summer 1925
until December 1927. The inscription on the reverse is in the artists hand;
the title indicates that the drawing was in an album the artist began while
still in France in 1924 and continued in Shuvalovo after returning from his
annual visit to Paris in August 1925. The size of drawings executed in Paris
is very close to Head studies. The present work was held in the collection
of the artists family after his death in 1939 and appears on the typewritten
list of the artists works compiled by his wife and held at the Petrov-Vodkin
Memorial Museum. The list records the works remaining in the apartment
on Kirov Avenue after Petrov-Vodkins death and is organised by year with
stated medium and size. In V. I. Kostins frst monograph (Moscow, 1966),
the drawing is reproduced on p. 134 but Kostin has mistakenly dated the
work to 1928, probably mistaking the 6 on the reverse for an 8; PetrovVodkin left Shuvalovo for Tsarskoe Selo at the end of 1927. The artists
wife correctly lists the work under 1926. The work is listed in Kostins book
as being held in a private collection in Leningrad.
Young man looking out of the window harmoniously combines
formal compositional and colouristic aspects with the unique physical
characteristics and emotional state of his model in a manner typical of
the artist. The artist began working with diluted ink and brush in 1913,
periodically returning to this technique, particularly in the 1920s when he
produced a large number of works. In January 1922 Petrov-Vodkin painted
several self-portraits in ink on coloured paper of a very similar size to lot 33.
It is not known whether Petrov-Vodkin drew this work from nature or from
his imagination as with the pencil drawing Night Fantasy (State Russian
Museum, St Petersburg) which was executed in December 1921 shortly
before this work. In the Russian Archives of Literature and Art there is also
a sketch of the same young boys head (pencil on paper, 21 x 17 cm.).
Unfortunately, it has not been possible to establish the identity of the boy,
although he may have been one of Petrov-Vodkins pupils. However he is
also depicted in both lot 33 and Night Fantasy.
THE COLLECTION OF ANTHONY HAIL AND CHARLES POSEY
Petrov-Vodkins emphasis on the vertical aspect of the window frame

and the architectural landscape outside the window creates a feeling of
suspense, anxiety and alarm. The work was executed on 16 January; at
this time, ffteen years after getting married, Petrov-Vodkin was awaiting
the birth of his frst child. It is possible that Young man looking out of the
window left Russia with Petrov-Vodkin in the summer of 1924 when the
family went to Paris for a year so that the artist might study in France and
his wife could recover from the trials of childbirth. He did not manage to
generate as much income as he had hoped in the frst half of the year and
sold 28 drawings on the theme of the gospel to a French publisher the
autumn after his arrival. It is also possible that Christian Brinton acquired
Young man looking out of the window when he visited Petrov-Vodkin at
Tsarskoe Selo in the spring of 1928.
Young man looking out of the window
We would like to thank Valentina Borodina, Director of the Petrov-Vodkin

Memorial Museum, for providing this note and for her assistance in
cataloguing lots 32 and 33. For extended versions of the catalogue notes
for lots 32 and 33, visit christies.com.
*33
KUZMA PETROV-VODKIN (1878-1939)
signed with Cyrillic initials and dated 16/1 1922/KPV (lower right)
ink on paper
15 x 12 in. (38.1 x 31.4 cm).
50,000-70,000
PROVENANCE:
Acquired by Anthony Hail in the 1970s.
$81,000-110,000
64,000-88,000

*34
BORIS GRIGORIEV (1886-1939)
Rasseia
signed and dated Boris Grigoriew 920 (lower right)
oil on canvas
16 x 36 in. (41.4 x 92 cm.)
Painted in 1920
600,000-900,000
$970,000-1,400,000
760,000-1,100,000
PROVENANCE:
Mr Citron, Berlin.
Acquired by the present owner in the late 1990s.
LITERATURE:
B. Grigoriev, The artists unpublished archive, illustrated.

B. Grigoriev, Rasseja, Potsdam, 1921, illustrated.
B. Grigoriev, Rasseia, St Petersburg, 1922, illustrated.
Photograph of the present work from the artists unpublished archive
62
The painting Rasseia relates to Boris Grigorievs short but remarkable

period in Berlin, where he settled in October 1919 after leaving Finland.
It is part of a series of paintings and drawings known by this title which
he began in Russia in 1917 and completed in 1920 in emigration.
Appearing in the wake of Revolution, this cycle largely determined
the artists subsequent development, resulting in thirty years or so of
signifcant renown in Russia and the West.
The watercolour Harvest (Private collection) executed in the summer

of 1916 provides the basis for the present work as do numerous
pencil sketches of peasant fgures, astutely and incredibly accurately
drawn in 1917 and 1918 in the surrounding environs of Petrograd.
While working on Rasseia, these studies from life were utilised to
create an aggregate image, depicting real people, free from any
artifcial elements.
The paintings and drawings from this cycle published by Iasnii in St

Petersburg in 1918 in a dedicated work entitled Rasseia provoked a
storm of controversy. In the depiction of the calm, severe, reticent
peasants, people saw Scythian barbarity, archaic rudeness, beastly,
deep cruelty, the ancient, eternal peasant underground. They
simultaneously noted the miraculous essence of art, [...] the colours of
ripened wheat, northern greens rendered with transparency, with lots
of scarlet, lightness, gentleness (A. Tolstoy).
A brilliant draftsman, Grigoriev uses here a narrow, elongated

horizontal format, common to other works including Rasseia (1917,
Dnepropetrovsk Art Museum) and Peasant land (1918, State Russian
Museum, St Petersburg). This allows him to present all the characters
simultaneously in a state of silent anticipation. Frozen, the cubistic,
highly developed faces of the men, women and children recall the
severe iconography of saints. The background meanwhile is dominated
by the mesmerising rhythm of peasant life, laborious work executed
with the steady confdence of the peasants who have been thus
occupied for centuries. In the eternal cycle of life, people, animals,
plants are all included, with the earth itself serving as the foundation
for it all. The shapes of the bodies, objects, buildings, their volume and
structure, recall, as the German critic O. Bi aptly put it, the multifaceted
crystals of the earth. In this painting, real and symbolic aspects are
paradoxically combined, the concrete aspect of a specifc historical
moment versus the eternity of human life.
Grigoriev depicted remote corners of the Petrograd and Olonetsk

provinces, places where ancient traditions were still preserved, where
the air was saturated with the poetry of patriarchal antiquity. He was
not interested in genre scenes or the ethnographic features of the
Russian village; his concern was the modern Russian man and all its
different types and characters.
Boris Grigoriev
The six months Grigoriev spent in Germanys capital are a distinct

stage in his biography. By November he was participating in the 37th
exhibition of the Berlin Secession, of which he was subsequently made
a permanent member.
In February 1920, the Berlin gallery Neumann put on a solo exhibition of
Grigorievs works. 23 paintings were shown and 150 drawings, including
works from the Rasseia series. It is possible that the present work, the 1920
Rasseia was also included in this exhibition, which served as an introduction
for this famous Russian artist so recently arrived from Soviet Russia. German
critics who were sympathetic to the new Russian art, such as Pavel Barkhan
who had lived in St Petersburg for a long time and was familiar with it,
perceived Grigorievs work as an expression of Russias young creative
force and an insight into the true and tempestuous face of Mother Russia.
The expressive character of Grigorievs work was analogous to that of
German art at this time.
Grigoriev was among the Russian artists who managed to attract the
attention of the Berlin public and its critics. In a short time he managed
to establish lively contact with Russian and German colleagues, galleries,
magazines and publishing houses.
In the spring of 1920 Grigoriev moved to Paris but remained an active
participant in Berlins art scene for the following decade. He often visited
the city on publishing business and kept in touch with the friends he had
made there. He also had pupils in Berlin, most notably Max Band (19011974), in whose landscapes and portraits the strong influence of his
teachers expressionism are evident.
The 1920 painting and the drawings on which it is based are published
in B. Grigoriew, Rasseja, Potsdam, 1921 and B. Grigoriev, Rasseia,
St Petersburg, 1922.
We are grateful to Dr Tamara Galeeva, Senior Lecturer at the Ural State
University, Ekaterinburg, for providing this catalogue note.
The cover of Rasseja, 1921
B. Grigoriev (1886-1939), End of the Harvest (Faces of Russia), 1923, Philadelphia Museum of Art, Philadelphia
65
35
AFTER JEAN-MARC NATTIER
Portrait of Peter the Great (1672-1725), three-quarter-length,

in armour, his right hand holding a baton and resting on a helmet,
his left hand resting on the hilt of a sword
oil on canvas
58 x 45 in. (148.5 x 115 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Possibly a gift from Emperor Paul I of Russia (1754-1801) to Baron

Ludwig Heinrich Nicolay, Monrepos, Vyborg, circa 1801 to 1820.
By descent in the Nicolay family until 1920.
Count Nicolas von der Pahlen, Monrepos, Vyborg, 1920-1943.
Count Nicolas von der Pahlen, Helsinki, 1943-63.
For the catalogue note for lot 35, visit christies.com.
66
The present work in situ circa 1935
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

*36
PAVEL FILONOV (1883-1941)
Untitled
ink and collage on paper
7 x 8 in. (17.7 x 20.3 cm.)
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
The artists sister, Evdokia Glebova (1888-1980).

Galerie Gmurzynska, Cologne (label on the backboard).
Acquired from the above by the previous owner in the 1990s.
Anonymous sale; Sothebys, London, 12 June 2007, lot 123.
EXHIBITED:
Cologne, Galerie Gmurzynska, Die Physiologie der Malerei; Pawel

Filonow in den 1920er Jahren, April-May 1992, no. 6.
Zurich, Art Focus, Russische Kunst, 28 May-31 October 2003, no. 15
(label on the frame).
LITERATURE:
Exhibition catalogue, Die Physiologie der Malerei; Pawel Filonow in den

1920er Jahren, Cologne, 1992, illustrated p. 51, listed p. 50, no. 6.
Exhibition catalogue, Russische Kunst, Zurich, 2003, illustrated p. 52,
Pavel Filonov actively rejected the tenets of Picasso and Braques Cubism on
the basis that these artists and those who followed them saw the world in
the all too limited terms of colour and form with an overemphasis on the
mechanical. Strongly opposed to Urbanisation, Filonov consistently placed
Nature, and by extension Man, at the centre of his work. This distinct
approach explains to a large extent the pervasive presence of the human
form in his compositions (heads in the case of the present work and in that
of Filonovs frst serious painting completed in the winter of 19101911)
even as his work became progressively more abstract.
Born in Moscow, a precocious child who drew from the age of three or
four, Filonov gained admission into the St Petersburg Academy of Arts on
his fourth attempt in 1908, only to be expelled two years into his studies
for his refusal to accept the establishments conservative approach. From
19101913 Filonov developed his theory of sdelannost, a neologism
meaning handcrafted or madeness, which placed emphasis on
craftsmanship and the composition of every item. The meticulous detail and
blocky, carving-like outline of the heads in Untitled exemplify this approach.
On the basis of comparison to similar compositions, it has been suggested
that the present work likely dates to between 19221925. The combination
of Filonovs premature death on 3 December 1941 during the blockade of
Leningrad and his determination to retain his works in order to establish a
Museum of Analytical Art makes the appearance of Untitled on the market
a rare and signifcant event.
68

37
Russkii portret. Iz sobraniia SBS-Agro [The Russian portrait. From the

collection of SBS-Agro], Moscow, 1997, p. 25, illustrated p. 55.
T. Galeeva, Boris Dmitrievich Grigoriev, St Petersburg, 2007, illustrated
no. 174, listed pp. 467 and 478.
Exhibition catalogue, A. Nizamutdinova, Boris Grigoriev,
St Petersburg, 2011, illustrated p. 165, no. 155.
Mon jardinier
signed Boris Grigoriev (upper left)
oil on canvas
25 x 21 in. (64.3 x 53.5 cm.)
Painted in 1934
180,000-220,000
$290,000-350,000
230,000-280,000
PROVENANCE:
Gaston Neuhut, Long Island in 1935.

EXHIBITED:
Milan, Galleria Pesaro, Mostra Individuale dei pittori Boris Grigorieff &
Gaston Balande, 1926, no. 16.
New York, Academy of Allied Arts, Boris Grigoriev 1920-1935, 1935,
no. 19.
Nizhny Novgorod, Chelyabinsk, Yekaterinburg, Russkaia zhivopis
i grafka iz sobraniia Stolichnogo banka sberezhenii [Russian paintings from
the collection of Stolichnyi bank sberezhenii], 1996-1997.
St Petersburg, The State Russian Museum, Boris Grigoriev, 2011,
no. 155.
LITERATURE:

Exhibition catalogue, Mostra Individuale dei pittori Boris Grigorieff &
Gaston Balande, Milan, 1926, p. [22].
Exhibition catalogue, Boris Grigoriev 1920-1935, New York, 1935, no. 19.
15 Years of Grigorievs Art Is on View, The Art Digest, 1 December
1935, p. 12.
Photograph of the present work from the artists unpublished archive
70
During the summers of 19211926 Grigoriev frequently escaped Paris for

the distant villages of Normandy and Brittany. His Breton cycle encompasses
different genres; however, it is best exemplifed by the portraits of distinct
national types. Brittany, with its strict adherence to tradition and a careful
preservation of national identity, enchanted the artist. The province,
irrigated by the ocean and enriched by picturesque landscapes, served
the artist as a summer getaway from bustling Paris in the 1920s. In the
summer of 1923 he wrote to A. K. Shervashidze from Brittany: There is
much antiquity in the villages. And some historic quality in their residents
fascinates me. In the summer I worked relentlessly, producing seven
portraits and 40 drawings (quoted in T. Galeeva, Boris Grigoriev,
St Petersburg, 2007, p. 138).
The artist skilfully captured the essence of local types in his portraits of
fshermen and Breton girls in their national costumes. In this cycle, Grigoriev
conveys his compassion for the hard-working local people, living in such
austere weather conditions and draws some parallels to the hardship of
the Russian peasantry, so vividly captured in his memories. Mon jardinier
is one of the fnest examples of the Breton portrait series to appear on the
market. This local character, with his grizzled beard, steady wistful gaze
and a hat, so casually protecting his head during daily labour, recalls that
of Van Goghs portrait of Patience Escalier (fg. 1). Where the latter appears
on a background lit by the fery rays of the Arles sun, Grigoriev retains a
restrained palette, which perfectly conveys the Breton mood. Despite their
humble origins, both gardeners are depicted in a pensive pose, full of
inherent dignity beftting their age.
fg. 1. V. van Gogh (1853-1890), Portrait of Patience Escalier,

1888, Private collection

l*38
YURI ANNENKOV (1889-1974)
Portrait of Aleksandr Tikhonov (1880-1956)

signed in Cyrillic and dated Iu. Annenkov./1922. (lower left)
oil, collage, glass, bell-push and plaster on canvas
26 x 22 in. (67 x 58 cm.)
2,500,000-4,500,000
$4,100,000-7,200,000
3,200,000-5,700,000
PROVENANCE:
The sitter.
By descent to his daughter, Nina Tikhonova (1910-1995).
By repute, Drouot Auction House, Paris, circa 1980s.
The Property of a Gentleman; Christies, London, 5 October 1989,
lot 424.
Acquired at the above sale by the previous owner.
The property of an important European collector; Christies,
London, 28 November 2007, lot 379.
EXHIBITED:
Petrograd, The Anichkov Palace, Mir Iskusstva [The World of Art], 8

May-2 June 1922, no. 12.
Venice, USSR Pavilion, XIV International Biennale Exhibition, 1924.
LITERATURE:
Exhibition catalogue, Mir Iskusstva [The World of Art], 1922, no. 12,
E. Zamyatin, M. Kuzmin and M. Babenchikov, Iurii Annenkov.
Portrety [Portraits], St Petersburg, 1922, listed p. 153.
U. Nebbia, La Quattordicesima esposizione darte a Venezia-1924,
Bergamo, 1924, visible in the photograph p. 160, p. 163.
A. Lunacharskii (ed.), Krasnaia [Red] Niva, Moscow, 17 August 1924,
no. 33, p. 790, illustrated p. 790, no. 33.
V. Endicott Barnett, The Russian Presence in the 1924 Venice
Biennale, The Great Utopia. The Russian and Soviet Avant-Garde,
19151932, New York, 1992, visible in a photograph p. 471, p. 469.
G. Romanov, Mir Iskusstva [The World of Art], St PetersburgMoscow, 2010, listed p. 47.
Aleksandr Tikhonov (18801956) (centre)
72
Yuri Annenkovs Portrait of Aleksandr Tikhonov (18801956) is an audacious

paradigm of the Russian Avant-Garde that melds textures, patterns and
perspectives, absorbing the jostling infuences of Russian folk art, CuboFuturism and Expressionism to embody the artists New Synthetism.
Painter, graphic artist and designer for stage and screen, Annenkov was
both creator and chronicler. His career ran parallel to the seismic events of
the 20th century, spanning almost 70 years, traversing two continents and
creating links between the Silver Age, post-revolutionary Russia and postwar Europe. Throughout the 1920s he participated in some of the decades
most signifcant international exhibitions, including those in Berlin (1922),
Venice (1924) and Paris (1925), and capped his scenographic career in 1954
with an Academy Award nomination for best costume design for his work
on Max Ophlss (19021957), The Earrings of Madame de....
Born in Petropavlovsk-Kamchatsky where his father had been exiled for
anti-tsarist activities, Annenkov returned to St Petersburg with his family in
the early 1890s where he later attempted to complete a law degree while
simultaneously pursuing his artistic education. Unsurprisingly, Annenkovs
pretensions to a legal career were swiftly superseded by his nascent talent
and artistic ambition.
The present work on view at the 1924 XIV International Biennale Exhibition in Venice
74
Although the infuence of Ilya Repin (18441930) still loomed large in

Russian artistic life, Annenkov was drawn to the new and experimental, the
Avant-Garde. Following an initial period of study at the studios of Savely
Zeidenberg (19081909) with fellow pupil Marc Chagall (18871985), and
Jan Tsionglinsky (19091911), Annenkov embarked on a new and exciting
stage of his development when he moved to Paris to study at L Acadmie
de la Grande Chaumire and La Palette in 1911.
With a studio on rue Campagne-Premire in Montparnasse, Annenkov found
himself at the centre of artistic life in Paris. His training was completed as
much under Maurice Denis (18701943) and Flix Vallotton (18651925) as it
was alongside the artists who frequented La Rotonde and La Coupole, where
he imbibed the infuences of Czanne, Braque and Picasso.
Like many of his Russian contemporaries who also worked in Paris during
this dynamic period in art history, including Natan Altman (18891970),
Varvara Stepanova (18941958), Lyubov Popova (18891924) and
Nadezhda Udaltsova (18861961), Annenkov was profoundly infuenced
by Parisian Cubism, with its geometric stylisation, emphasis on line
and fractured planes. Following his debut at the Socit des Artistes
Indpendants in 1913, when he exhibited alongside Robert Delauney
(18851941), Albert Gleizes
Title page of the 1922 Mir Iskusstvo [The World of Art] catalogue
(18811953), Jean Metzinger (18831956) and Francis Picabia (18791953)

among others, Annenkov returned to Russia full of enthusiasm for the
latest developments in art and eager to explore his own permutations
across a broad range of artistic disciplines.
Back in St Petersburg against the stormy backdrop of World War I and
revolution, Annenkov became heavily involved in theatre, experimenting
with directing and scenography, as shown by his early collaboration with
Nikolai Evreinov (18791953) on the production of Homo Sapiens at the
Krivoe zerkalo [Curved mirror] theatre. Annenkov also concentrated on
graphic work, his sharp line equally matched to his acute political sense,
providing illustrations for books and satirical journals, such as Satirikon,
Solntse Rossii [Russias sun], Lukomore [The Cove] and Argus. With the
advent of revolution, Annenkovs creative energies were mirrored by the
radical fervour of the time, symbolised by his illustrations for Alexander
Bloks (18801921) 1918 publication of his Dvenadtsat [The Twelve],
a hugely controversial poetic rumination on the October Revolution.
His signifcant contribution to the realisation of Evreinovs 1920 Vziatie
Zimnego Dvortsa [The Taking of the Winter Palace], the last and most
ambitious of the mass spectacles conceived along
The present work listed p. 1, no. 12
Marxist-Leninist lines to educate the masses, showcased Annenkovs

propensity to capture the spirit of the time through aesthetic means,
mythologising the subject while popularising it. A cast of approximately
8,000, the vast majority of whom were amateurs, were masterfully
choreographed to reenact the frst moments of revolution, in front of a
reported audience of 100,000 that at times was interspersed with the
cast. Annenkovs role in creating the visual impact of this embryonic and
politicised example of immersive theatre, simultaneously creating whilst
recording history, echoes the import of his momentous series of portraits
completed during the period 19161923.
Annenkov was the only Russian artist to complete a portrait gallery of
the most powerful and infuential political fgures of the time, including
Vladimir Lenin (18701924), Leon Trotsky (18791940), Anatoly
Lunacharsky (18751933), Vladimir Antonov-Ovseyenko (18831938)
and Grigory Zinoviev (18831936), as well as a visual line-up of the
brightest literary and artistic talents, including Maxim Gorky (18681936),
Vsevolod Meyerhold (18741940), Anna Akhmatova (18891966), Boris
Pasternak (18901960), Alexandre Benois (18701960) and Miron Sherling
(18801958). In his introduction to Portrety [Portraits], published in 1922,
Annenkov reveals that although he did not conceive of his portraits as a
75
These portraits are extracts from faces, from people, from every one of us;
each is the biography of a person and an epoch
Evgeny Zamyatin, 1922
Yuri Annenkow, 1924
76
cycle, assembled they held an unexpected greater signifcance, that of

a historical record: While some of my subjects impressed themselves on
the bedrock of our eras history and others are lost to anonymity, they
are all without exception marked with one and the same symbol that
of Revolution. Each will act as living remembrances to me of those
tragedies and hopes, falls and upsurges, according to which we were
fated to march onwards together, side by side, friends and enemies
alike... (Y. Annenkov, Portrety [Portraits], Petrograd, 1922, p. 11).
If Annenkov captured the most signifcant personalities in the Arts,
Aleksandr Tikhonov was undoubtedly the convener, the person
who drew the illustrious characters together. An author and literary
personage, Tikhonov dedicated his life to literature; frst, as a writer
under the pseudonym A. Serebrov, then as a critic, editor and publisher.
Among his numerous credits, Tikhonov edited the journal Letopis [The
chronicle] published in Paris 191517 and the newspaper Novaia Zhizn
[The New Life] in 191718, managed the publishing house Vsemirnaia
Literatura [World Literature] between 1918 and 1924 and later edited
Soviet publications Vostok [The East], Russkii Sovremenik [Russian
Contemporary] and Sovremennyi Zapad [The Contemporary West].
However, Tikhonovs most important contribution to the intellectual
artistic life of Petrograd was his role, along with Gorky and Korney
Chukovsky (1882-1969), as a founder of the famous literary society Dom
Iskusstv [The House of Arts], a gathering place for writers and artists
active during the chaos and social dislocation of the years 19191922.
Annenkov was a regular and met there many of the people who
inspired him to create the gallery of his contemporaries, such as Anna
Akhmatova, Boris Pasternak, H. G. Wells (18861946) and Vladimir
Pyast (18861940).
and by extent, his personality in relief. This effect is heightened by the

inclusion of the print after Johann Georg Meyer von Bremens (1813
1886) Schicksalsgenossen (roughly translated as Partners in Destiny),
painted in 1855, perhaps an allusion to Tikhonovs solidarity with his
peers and resilience during the turbulence of civil war, famine and social
and political upheaval.
Annenkovs Portrait of Aleksandr Tikhonov (18801956), a work of
immense cultural import, is without question one of the most important
Russian paintings ever to appear at Christies. In the same way that
Annenkovs Dnevnik moikh vstrech [Journal of my meetings] published in
1966 served as a collective memoir of the period, his portraits are historical
artefacts that were hailed as such at the time of their execution. To quote
Kuzmin once more: If the atmosphere of modernity is made from the
breath of living people, then perhaps more than anyone it is Annenkov
who has been granted the ability to convey the spirit of our days. Aside
from their artistic value, his series of portraits will forever serve as a
refection of the contradictory and hostile undercurrents, the brutality and
heroism, the soaring fights and incurable simplicity of domestic life, which
came to a head at the end of the frst quarter of the 20th century.
(M. Kuzmin, Ibid. p. 51).
We would like to thank Ren Guerra for his assistance in cataloguing the
present work.
Painted in 1922, Portrait of Aleksandr Tikhonov (18801956) was

selected for exhibition at the 1924 XIVth International Biennale in
Venice together with portraits of Leon Trotsky and the journalist and
historian, Vyacheslav Polonskii (18861932). An extraordinary example
of Annenkovs unique ability to capture a likeness with gravitas and
wit, Portrait of Aleksandr Tikhonov (18801956) combines exceptional
draughtsmanship with artisanal spirit, suggested by the sculptural
additions that reference early Cubist experiments with collage as well
as folk art, championed by Russian Primitivists. The bold palette and
multifaceted treatment of the subject is reminiscent of Natan Altmans
unforgettable depiction of Akhmatova from 1914, yet Annenkovs
portrait is more complex, combining Constructivist and even Dadaist
elements, such as the bell-push, to enliven the surface and further
integrate the two- and three-dimensional planes.
Remarkably, despite the range of infuences, there are no jarring
elements; Portrait of Aleksandr Tikhonov (18801956) demonstrates
Annenkovs overarching aesthetic sense and ability to synthesise isms
into an original, harmonious whole. While some of his contemporaries
moved towards abstraction, Annenkov honed his distinctive neo-realist
approach, an elegant confection of line and ornament.
None of Annenkovs calligraphic line is lost in oil, nor is the effectiveness
of his technique to create energy and movement by contrasting
textures with patterns. The stiff stray lock of hair that creates a shadow
over Tikhonovs forehead is juxtaposed with the spiky bristles of his
manicured moustache; the vibrant blue tie, trapped by a stiff white collar
and framed by a fecked jacket, is perforated by neat rows of white
dots; and the smooth, angular pocket square juts out from the canvas
in stark contrast to the crumpled sleeves and lapels of the jacket. The
overall effect creates an oscillating atmosphere, Mikhail Kuzmin (1872
1936) wrote, that stream of life which emanates from static matter
(both animate and inanimate). This is the main secret of [Annenkovs]
portraits. (M. Kuzmin, Kolebanie zhiznennykh tokov [The oscillations of
lifes current] in Portrety [Portraits], Petrograd, 1922, p. 48).
Above all, however, the work is a striking and successful portrait that
conveys the status and quality of the sitter. The character of Tikhonov
is silhouetted against a background of artistic play; his serious, stoic
expression is accentuated by the worked surfaces that reveal his features,
fg. 1 Y. Annenkov (1889-1974), Portrait of M.A. Sherling, Artist and

Photographer, 1918
State Russian Museum, St Petersburg
77

*39
Portrait of the actor Nikolai Podgorny as Peter Trofmov

in The Cherry Orchard by Anton Chekov
oil on canvas
23 x 28 in. (60.3 x 72.8 cm.)
Painted in 1923
250,000-350,000
$410,000-560,000
320,000-440,000
PROVENANCE:
Grosvenor Gallery (label on the stretcher).

EXHIBITED:
New York, The New Gallery, Paintings & Drawings by Boris Grigoriev,
19 November-15 December 1923, no. 6.
Worcester, Worcester Art Museum, Exhibition of paintings by
Boris Grigoriev, 4 January-3 February 1924, no. 21.
Prague, Manes, Boris D. Grigorjev, 29 May-20 June 1926, no. 9.
Milan, Galleria Pesaro, Mostra Individuale dei pittori Boris Grigorieff
& Gaston Balande, 1926, no. 21.
Philadelphia, Gimbel Galleries, Boris Grigories. Paintings,
16 March-4 April, 1927, no. 22.
St Petersburg, The Russian Museum, Boris Grigoriev, 2011, no. 28.
LITERATURE:

L. Reau, A. Levinson, A. Antoine, C. Sheridan, and B. Grigorieff,
Visages de Russie, Paris, 1923, illustrated.
Exhibition catalogue, Paintings & Drawings by Boris Grigoriev, New
York, 1923, listed p. [3], no. 6.
Exhibition catalogue, Exhibition of paintings by Boris Grigoriev,
Worcester, 1924, listed p. [5], no. 21.
Exhibition catalogue, Boris D. Grigorjev, Prague, 1926, listed no. 9.
Exhibition catalogue, Mostra Individuale dei pittori Boris Grigorieff
& Gaston Balande, Milan, 1926, listed p. [22], no. 21.
Exhibition catalogue, Boris Grigories. Paintings, Philadelphia, 1927,
listed p. [1], no. 22.
G. Pospelov, Liki Rossii Borisa Grigorieva [Boris Grigorievs
Faces of Russia], Moscow, 1999, illustrated p. 145, no. 123,
listed pp. 187 and 190.
T. Galeeva, Boris Dmitrievich Grigoriev, St Petersburg, 2007, illustrated
no. 155, listed pp. 466 and 478, no. 155.
Exhibition catalogue, A. Nizamutdinova, Boris Grigoriev,
St Petersburg, 2011, illustrated p. 33, no. 28.
the Acadmie de la Grande Chaumire, Grigoriev was exposed to the most

progressive artistic movements in existence. The following year he undertook
further travel abroad, visiting Italy, Switzerland and other countries. These
journeys undoubtedly broadened the artists horizons and increased his
familiarity with Western pictorial language.
In October 1919 Grigoriev and his family left Petrograd, frst for Berlin and
then for Paris, the undisputed capital of the artistic world, heaving with
young ambitious artists longing to break free from the strict regulations
of classical art. The Russian artistic diaspora in Paris was diverse, its
artists often exploring radically different movements. Grigoriev remained
indifferent to the doctrines of the Russian Avant-Garde and chose instead
to join Mir Iskusstva [The World of Art] group which had recently reformed
in France. Alongside Vasily Shukhaev (18871972) and Alexander Iacovleff
(18871938), Grigoriev was soon regarded as one of the new generation
of Mir Iskusstva.
Despite the hardship of his early migr years in Paris, the 1920s brought
Grigoriev international recognition which stretched far beyond Europe
to the USA. This success rapidly translated into tremendous commercial
prosperity as Grigoriev began to exhibit his paintings frequently; his works
were accepted for high-profle exhibitions such as the Venice Biennale
and the Parisian Salon dAutomne. While in Paris, as a continuation of the
Raseya series which had been inspired by the artists visits to the villages
of the Petrograd and Olonests provinces, Grigoriev began work on his
Visages de Russie series. In this series the artist does not concentrate
exclusively on a depiction of rural life, rather, his interests also encompass
the lives of the cultural milieu in contemporary Russia. From 1922 onwards
Grigoriev painted a number of portraits depicting actors from the Moscow
Art Theatre touring in Paris, choosing to portray them in character in
renowned pre-revolutionary productions. One such canvass is the portrait
of an actor, Nikolai Podgorny, also known for his roles in Soviet cinema in
the later stage of his career. Grigoriev depicts Podgorny as Peter Trofmov
in Chekhovs The Cherry Orchard. An eternal student, Trofmov is shown
fully immersed in his philosophical musings on the future of Russia and the
new type of people this land could produce if it were only liberated from
the tsarist regime. Trofmov offers no practical solutions but is happy to
delight his audience with his utopian vision.
Enchanted by Grigorievs Visages de Russie series, N. Mogilianskii wrote
Boris Grigoriev is a thoughtful, talented artist. It is essential to look at his
series Faces of Russia slowly and attentively and if possible to study it even
more carefully... Here is a painter of vibrant reality, not only in his themes
but also in his technical approach... It is hard to turn away from his faces.
(quoted in T. Galeeva, Boris Grigoriev, St Petersburg, 2007, p. 123).
A Muscovite by birth, Boris Grigoriev spent most of his life abroad. Having
conceived one of his major cycles, Rasseia, as revolution surged through the
country, Grigoriev went on to develop and explore its theme of the Russian
peasantry in many other series throughout his artistic career. The artists
distance from his motherland resulted in a preoccupation with this theme.
While he enjoyed signifcant recognition abroad, his paintings were seen
by his contemporaries in the Soviet Union as a grotesque parody of Russian
village life. As such, from the 1930s to the 1960s Grigorievs works were
removed from display in Soviet museums and reproduction of his works
banned. It was only in 1989 that Grigorievs frst solo show took place in
Russia and the signifcance of this artists contribution to the development
of Russian art was acknowledged.
Grigoriev received his early artistic training at the Stroganov College of Art
and Design (19031907) followed by the Imperial Academy of Art in St
Petersburg, which he attended until his expulsion in 1913. A four-month
sojourn in Paris that year proved to be a critical moment; while studying at
78
Nikolai Podgorny and Maria Zhdanova playing the roles of Anya and Peter Trofmov
in Chekhovs The Cherry Orchard, 1912

l40
ALEXANDRA EXTER (1882-1949)
Stage design for Romeo and Juliet

pencil and gouache, heightened with gold, on two joined sheets
of paper
24 x 17 in. (61.3 x 44 cm.)
Executed in 1921
100,000-120,000
$170,000-190,000
130,000-150,000
PROVENANCE:
Anonymous sale; Drouot-Richelieu, Paris, 30 May 2001, lot 36

(stamp on the reverse).
LITERATURE:
J. Chauvelin and N. Filatoff, Alexandra Exter, Paris, 2003, illustrated

p. 182, no. 158.
Romeo and Juliet was Alexandra Exters third and last collaborative project
with Aleksandr Tairovs Kamerny theatre in Moscow. The Kamerny was the
centre of Tairovs experimental synthetic theatre, which differed from the
naturalist theatre championed by Konstantin Stanislavsky. Tairov founded
the Kamerny in 1914, its intimate setting allowed for a more intense and
all-encompassing theatrical experience, which was essential to Tairovs
vision. He advocated an emotionally charged, dynamic theatre in which all
elements involving the stage and the audience were unifed in the action
of the performance. He was particularly interested in deconstructing the
traditional methods of stage design, where the sets and costumes were
not separate entities but inherent parts of the actors characters and
movements, as well as direct emotional communicators.
In 1916 Tairov invited Alexandra Exter to work together with him on
the production of Famira Kifared, the bacchic drama by Russian poet
Innokentii Annensky (18551909). This was Exters frst experience working
with the theatre. Having recently developed her own unique aesthetic
synthesising Cubist, Futurist and Constructivist styles, Exters innovations
with the stage corresponded to Tairovs goals. Exters designs allowed for
a break from conventional visual perceptions of the stage, which relied on
a vanishing point and where forms were distinct from their surrounding
space. She did this by creating an overall feld of interacting forms, which
distinguished themselves only in their relationship with one another.
In the revolutionary fervour of its day, Famira Kifared was received with
great enthusiasm by critics and audiences, given its radical innovations,
who were impressed with the organic connection between the moving
actors and objects at rest, as noted by the critic Yakov Tugenkhold
(J. Bowlt, The Construction of Caprice: The Russian Avant-Garde
Onstage in Theatre in revolution: Russian Avant-Garde Stage Design
19131935, New York, 1991, p. 64), and continues to be considered
as the birth of a new kind of theatricality.
Exter continued to work successfully with Tairov, producing celebrated
productions of Salome (1917), and Romeo and Juliet, which premiered at
the Kamerny on May 17, 1921. For Romeo and Juliet Exter built a vertical
set that flled the entire space of the stage, with multilevel platforms that
defed spatial limitations and created a monumental environment capable
of shifting in shape and colour. Similarly Exter constructed the actors
costumes with a variety of bright colours and shapes that interacted with
the architectural surroundings. Exters designs for Romeo and Juliet are a
culmination of her earlier remarkable experiments with the stage, and are
wonderfully represented in this particular stage design.
This fne work is a comprehensive summary of Exters concepts for the stage
in Romeo and Juliet, as well as a good representation of the artists style at
the height of her career. As in her paintings, here Exter constructed a scene
of intersecting geometric planes and vivid colours. Exter thus transformed the
structure and space of the stage into a system of rhythmic forms, remaining
aware of key motifs in Shakespeares story, yet still managing to circumvent
overtly literal interpretations. Exters towering, staggered structures and
selected colour scheme of blues, deep reds and velvety blacks, heightened
with white and gold conveyed the beauty of Verona and its architecture
and the opulence of the Capulets and Montagues, but these mechanisms
were also meant to work as vehicles to transmit the varied and tumultuous
emotions felt throughout the drama. Alexandra Exters techniques
contributed signifcantly to the evolution of theatre design, and continue
to be very infuential among contemporary scenographers. This beautiful
work is a perfect representation of those contributions.
Scene from Romeo and Juliet, The Kamerny Theatre, Moscow, 1921
80

41
SERGEI SUDEIKIN (1882-1946)
Costume design for muzhiki

signed S Soudeikine (lower right)
pencil, watercolour and gouache on paper
8 x 10 in. (21.8 x 26.2 cm.)
7,000-9,000
$12,000-14,000
8,900-11,000
The present work was likely executed in the 1940s and may relate to an
unrealised Chauve-Souris production at the Royale Theatre, New York in 1943.
82

42
Upper Savoy
signed Boris Grigoriev (lower left)
oil on canvas
21 x 29 in. (53.6 x 74 cm.)
Painted circa 1927
40,000-60,000
$65,000-96,000
51,000-76,000
83

43
PETR KONCHALOVSKY (1876-1956)
At the barn
signed, dated and numbered 1921/Kontchalovsky/396
(on the reverse)
oil on canvas
24 x 28 in. (61.6 x 72.5 cm.)
150,000-200,000
$250,000-320,000
190,000-250,000
PROVENANCE:

Acquired from the above by the present owner.
LITERATURE:
K. Frolova, Konchalovskii. Khudozhestvennoe nasledie [Artistic legacy],

Moscow, 1964, listed p. 105.
The most popular artist in Russia during his lifetime, the signifcance of
Petr Konchalovskys work was widely recognised both by his peers and
subsequent generations: his frst solo exhibition was held at the State
Tretyakov Gallery, Moscow, in 1922; by 1923 his biography had been
published; while more recently, in 2010, a seminal exhibition of the artists
work was held frst at the State Russian Museum, St Petersburg, and
subsequently at the State Tretyakov Gallery. While undeniably a central
fgure of the Russian Avant-Garde (he was a founding member of Bubnovyi
valet [The Jack of Diamonds] and from 1909 onwards exhibited regularly
with Zolotoe runo [The Golden Fleece], Mir iskusstva [The World of Art]
and Novoe soobshchestvo khudozhnikov [The New Society of Artists]),
Konchalovskys reverence for the Old Masters and of course for Czanne
imbues his work with a timeless beauty.
Passionately interested in the work of his contemporaries, Konchalovsky
frst visited Paris in 1896 and remained there until 1898 studying at the
Acadmie Julian. Konchalovsky exchanged letters with Matisse and met
with Picasso but it was Czanne, above all others, who was his most
important inspiration. In his memoirs, Konchalovsky recalls how Czannes
methods of understanding nature were dear to me. I followed in his
footsteps even later, in my more mature years, because it was Czannes
methods which allowed me to see nature in a new way and I wish always
to be true to it. Even in those years I felt instinctively that without new
methods there would be no salvation, no way to fnd a path to true art.
Thats why I grasped at Czanne like a drowning man at a straw. (quoted
in V. Nikolsky, Petr Petrovich Konchalovsky, Moscow, 1936, p. 38). Emile
Bernard, Czannes great friend and champion, described Konchalovsky as
one of the few artists who didnt merely imitate Czanne but developed
his principles on Russian soil. We are reminded of Czannes instruction to
Emile Bernard to treat nature by the cylinder, the sphere, the cone by The
Aquaduct (fg. 1) where Czanne expresses the forces of nature in a vibrant
example of his art. Konchalovskys present work clearly heeds Czannes
words with its vivid colours, the geometrical design of the trees, and
famboyant brush strokes.
The present composition reveals the mastery of Konchalovskys sweeping
strokes of pure colour, building the perspective only with tone, without
the help of design to create the illusion of depth. During the period
19191922, Konchalovsky focused his attention on landscape painting,
often returning to Abramtsevo to capture its green spaces. This period is
often associated with a national style focusing on folk art. The present
work, painted in 1921, is an interesting mix of Konchalovskys research into
Russian nature and an homage to one of the artists who inspired him the
most, Paul Czanne.
fg. 1. P. Czanne (18391906), The Aqueduct, circa 1885-1887,

The Pushkin Museum of Fine Arts, Moscow
84

44
Self-portrait
signed Boris Grigoriev (lower right) and dated 1931 (lower left)
gouache, with scratching out, on paper
16 x 11 in. (42.9 x 29 cm.)
40,000-60,000
$65,000-96,000
51,000-76,000
Self-portraits appear in Grigorievs oeuvre from an early stage. As early as 1907 the artist drew
a number of self-portraits. As Tamara Galeeva mentions in her monograph (Boris Grigoriev, St
Petersburg, 2007, p. 83), the well-known 1914 pencil self-portrait, drawn in Brittany, displays the
openness and disturbing tensions of the author. Possibly, that is how Grigorievs contemporaries
conceived of the artist. The present portrait was painted in 1931 and appears to relate to a
photograph (fg. 1) taken almost a decade earlier. In 1931 Grigoriev had already permanently settled
in Cagnes-sur-Mer and opened a school of drawing and painting in his own studio. Perhaps the artist
missed his time in Paris, the city where he achieved international recognition and created a visual
reference of himself in memory.
fg. 1. Boris Grigoriev in Paris, 1922
86

45
Peasant boy and a cow

signed and dated Boris Grigoriev 35 (lower left)
17 x 12 in. (45.4 x 30.8 cm.)
Executed in 1935
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
The artists son, Kirill Grigoriev (1915-2001), Cagnes-sur-Mer.

Acquired from the above by the previous owner in 1970.
Anonymous sale; Artcurial-Briest, Poulain, F. Tajan, Paris, 8 June 2006, lot 254.
87
PROPERTY FROM A DISTINGUISHED PRIVATE AMERICAN

COLLECTION
*46
NICOLAI FECHIN (1881-1955)
PROVENANCE:
Portrait of Mademoiselle Kitaeva

signed in Cyrillic and dated N. Feshin/1912. (upper left)
oil on canvas
35 x 30 in. (90.2 x 76.2 cm.)
400,000-600,000
$650,000-960,000
510,000-760,000
Mrs Charles Cranston Bovey, Minneapolis (1874-1964).

Mitchell Brown Fine Art, Inc., Santa Fe (label on the reverse).
Acquired from the above by Gerald Peters Gallery, Santa Fe circa 2000
(label on the reverse).
The Dr and Mrs Charles R. Briggs Collection.
EXHIBITED:
Moscow, 41 vystavka kartin Tovarishchestva Peredvizhnykh

Khudozhestvennykh Vystavok [41st Exhibition of paintings of the Society
for Traveling Art Exhibitions], 1912, no. 262.
Pittsburgh, Carnegie Institute, The Seventeenth Annual Exhibition,
April 24June 30, 1913 no. 87.
Minneapolis, Institute of Arts, on extended loan 1914-1919,
inventory no. L14.207 (partial label on the reverse).
Minneapolis, Institute of Arts, Inaugural Exhibition, January-February
1915, no. 182.
Seattle, Frye Art Museum, Nicolai Fechin, February 9-May 19, 2013.
LITERATURE:
Title page of the exhibition catalogue: Catalogue of the Inaugural Exhibition, 1915
Lot 46 listed p. 37
88
Exhibition catalogue, Katalog XLI-i Peredvizhnoi Vystavki Kartin

[Catalogue of the XlI Itinerant Exhibition of Paintings], Moscow, 1913,
no. 262.
Exhibition catalogue, The Catalogue of the Seventeenth Annual
Exhibition at the Carnegie Institute, Pittsburgh, 1913, no. 87.
Works sold at Pittsburg, American Art News, Vol. 11 no. 35, 19 July
1913, p. 7.
Exhibition catalogue, Catalogue of the Inaugural Exhibition,
Minneapolis, 1915, no. 182, p. 37.
P. Dulsky, N. Feshin, Kazan, 1921, pp. 17 and 30.
G. Burova and O. Rumiantseva, Tovarishchestvo Peredvizhnykh
Khudozhestvennykh Vystavok [Exhibitions of the Society of Itinerant
Artists], Moscow, 1952, vol. I, p. 363.
S. Kaplanova, Ocherki po istorii russkogo portreta kontsa XIX-nachala
[Observations on the history of the Russian Portrait at the end of the 19th/
start of the 20th century], Moscow, 1964, p. 455.
E. Kluchevskaya and V. Tsoy, N. Feshin. Katalog proizvedeniy do 1923
goda [Catalogue of works prior to 1923], Kazan, 1992, listed p. 49,
no. 28.
G. Romanov, Tovarishchestvo Peredvizhnykh Khudozhestvennykj
Vystavok [Exhibitions of the Society of Itinerant Artists] 1871-1923,
St Petersburg, 2003, listed p. 211, no. 3-144.
G. Tuluzakova, Nikolay Feshin, St. Petersburg, 2007, no. 29,
listed p. 474.
G. Tuluzakova, Nicolai Fechin, the art and the life, San Cristobal, 2012,
p. 59, illustrated p. 191.
Exhibition catalogue, Nicolai Fechin, Seattle, 2013, pp. 18-19,
illustrated p. 30.
G. Toulouzakova, Nicolai Fechin, London, 2013, p. 96,
illustrated p. [97].
G. Tuluzakova, Fechin, London, 2014, illustrated p. 97.
Nicolai Fechin in Kazan, 1910s
The works Nicolai Fechin produced in Russia between 1901 and 1923
are considered to be the most signifcant of his oeuvre. Portrait of
Mademoiselle Kitaeva was executed in 1912, two years after the artist
returned to his native Kazan to teach at the citys eponymous Art School.
This was a crucial period in Fechins artistic development. He had
graduated from the Imperial Academy of Arts in 1909 and that same year
achieved international success at the International Exhibition of the Munich
Knstlergenossenschaft. In Kazan he found himself in a vibrant academic
environment, where he enjoyed the freedom to explore and experiment
with new techniques in his own work.
Fechin continued to show his works at important exhibitions in Russia
and abroad, notably the annual Munich International Exhibition, the
International Exhibitions in Rome, Venice and Amsterdam, and the
Carnegie Institute International Exhibition in Pittsburgh. The last of these
formed a strong link to the painters subsequent career in the United
States, which developed largely owing to W. S. Stimmel (1864-1930),
an infuential American businessman who was instrumental in facilitating
the artists arrival to the United States with his family in the early 1920s.
Stimmel, who regularly bought Fechins works at the Carnegie Exhibitions
encouraged others to do the same. Fechins works were so greatly admired
that collectors would purchase the artists paintings on the basis of the
photographs he sent to them.
90
At the Seventeenth Annual Exhibition at the Carnegie Institute in 1913,

Nicolai Fechin made a splash with two sumptuous portraits, Lady in Pink
(Natalia Podbelskaya) (fg. 1), which was purchased at the exhibition by
Stimmel and is currently in the collection the Frye Art Museum in Seattle,
and the present lot, Portrait of Mademoiselle Kitaeva, which would go
on to be exhibited for an extended period at the newly inaugurated
Minneapolis Institute of Arts. The museum was formally opened in January
of 1915 by The Minneapolis Society of Fine Arts, which itself was formed
in 1883 by a group of twenty-fve business and professional leaders with
the goal to introduce and encourage the arts in the Midwestern city. The
Society developed a school of fne arts, organised exhibitions that showed
a broad range of works of art acquired by some of the most important
American collectors of the time and formed a collection of its own. The
new galleries of the Minneapolis Institute opened in February of 1915
with a generous endowment as well as the Societys impressive collection
together with additional donated, bequeathed and loaned works, including
the present lot.
Portrait of Mademoiselle Kitaeva exemplifes the height of Fechins
experimentation with brushwork and tonal felds. The range of colour is
generally centred on the warm whites of the young womans dress and the
surrounding thin curtains, with subtle traces of pinks, lavender and grays
within. The softness of the womans face and hands emanate from an
overall, pale gauziness. These muted tones are punctuated by sudden shifts
and bursts of colour, as seen in the dark red, green and near-black felds in
the background, the slick curve of the chair arm, in the sitters dark curls,
hazy eyes and deep red lips, and of course the tantalising orange that she is
holding in her delicate hands.
Mademoiselle Kitaeva was most likely one of Fechins students at the
Kazan Art School. From the time Fechin settled in Kazan in 1910 until
his departure for the United States in 1923, portraiture was the central
focus of his work. He generally painted people he was close to; his closest
family; his father, his wife and daughter, his friends, female students at the
Kazan Art school as well as a few commissioned portraits (G. Tuluzakova,
Nicolai Fechin, the art and the life, San Cristobal, 2012, p. 55). As an heir
to the Peredvizhniki and to Ilya Repin (1844-1930), who was his teacher
at the Imperial Academy of Arts, Fechin strove to make portraits that were
realistic representations rather than idealised portrayals of his sitters. This
notwithstanding, although imbued with this realist tradition, Fechin was not
interested in creating replicas of people and their surroundings.
Ever since his years at the Academy, Fechin continuously strove to break
away from tradition in order to experiment with his own technique and
style, which reached perfection during the Kazan period. An excellent
draughtsman, Fechin produced many sketches that were direct extensions
of his observations and thoughts. Fechin would apply the expressiveness

and spontaneity of those sketches to the canvas using a variety of perfected
techniques; quick brush strokes combined with a measured, thick impasto,
fattening and blending wet paint with a palette knife and leaving
certain parts of the canvas to reveal the underdrawing. This uninhibited,
expressionistic execution resulted in a painting in which all the elements are
equally important. Although identifable by differences in line or colour, the
contour of a face, the curve of a fruit and the billow of fabric hold equal
weight in the composition. In Fechins portraits there is no clear hierarchy
between the sitter and his or her surroundings. The background is an
essential part of the whole. Thus Fechin emphasised the importance of the
painting in and of itself, a thoroughly modern notion.
Nicolai Fechin was clearly pleased with Portrait of Mademoiselle Kitaeva,
as it was one of the two paintings he selected for the Carnegie Institute
exhibition in 1913. Having impressed the American audience at the time,
the work instantly entered one of the most important museum collections
in the country, and remained with the family of one of the founding
members of the Minneapolis Institute of Arts for nearly one hundred years.
We are grateful to Dr Galina Tuluzakova for her assistance in cataloguing
the present work.
N. Fechin, Portrait of a young woman, 1912, Frye Art Museum, Seattle
fg. 1. N. Fechin, Lady in Pink (Portrait of Natalia Podbelskaya), 1912,

Frye Art Museum, Seattle
91

*47
ALEKSEI PISEMSKY (1859-1913)
The forest
signed in Cyrillic A. Pisemskii (lower left)
ink on paper
8 x 5 in. (20.6 x 15 cm.)
2,500-3,000
$4,100-4,800
3,200-3,800
PROPERTY OF A PRIVATE ITALIAN COLLECTOR

48
IVAN AIVAZOVSKY (1817-1900)
A lifeboat at sea
signed in Cyrillic Aivazov. (lower right) and further signed
Avazovsky (lower left)
pencil and ink on paper
8 x 11 in. (20.8 x 29.1 cm.)
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:
Anonymous sale; Bonhams, London, 7 June 2010, lot 15.

47
48
92
49
ALEXANDER ORLOVSKY (1777-1832)
A young boy
signed with artists monogram and dated 1818 (lower left)
pencil and watercolour on paper
9 x 6 in. (24.2 x 16.9 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Acquired by the parents of the previous owner prior to 1920.

*50
RUSSIAN SCHOOL
The Russian brides attire

oil on panel
3 x 5 in. (10 x 14.2 cm.)
2,000-3,000
$3,300-4,800
2,600-3,800
The present work appears to relate to Konstantin Makovsky's epic

masterpiece of the same title painted in 1889 and held in the
Legion of Honor, San Francisco. Lot 50 bears a label on the reverse
inscribed Makowsky.
49
50
93
PROPERTY OF A PRIVATE NEW JERSEY COLLECTOR

*51
ALEXANDRE IACOVLEFF (1887-1938)
Portrait of a man wearing a telpek

with artists stamp (lower right) and inscribed in Russian with colour
notes overall
sanguine and charcoal on paper
30 x 24 in. (76.2 x 61 cm).
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
By repute, Tretyakov Art Gallery, New York.

Acquired from the above by the previous owner in 1959.
A gift from the above to the family of the present owner circa 1961.
51
52
ALEXANDRE IACOVLEFF (1887-1938)
Portrait of a Chinese man

signed, inscribed and dated A. Iacovleff/Pkin 1918 (lower left)
and with artists stamp (lower left)
sanguine on paper
23 x 13 in. (59.6 x 46.7 cm.)
7,000-9,000
52
94
$12,000-14,000
8,900-11,000
53
FRANTS ROUBAUD (1856-1928)
Meeting in the Caucasus

signed F. Roubaud. (lower left)
oil on canvas
23 x 32 in. (58.9 x 83 cm.)
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
Acquired by the uncle of the previous owner in the circa 1930s.
95
PROPERTY OF A PRIVATE COLLECTOR, SPAIN

54
KONSTANTIN KRYZHITSKY (1858-1911)
The road
signed in Cyrillic and dated Kryzhitskii 1908 (lower left)
oil on canvas
42 x 56 in. (108 x 143 cm.)
350,000-450,000
$570,000-720,000
450,000-570,000
PROVENANCE:
Alfred Blohm, Hamburg.

By descent to the previous owner, South America.
Anonymous sale, Sothebys, London, 8 June 2009, lot 3.
The development of Kryzhitskys landscape painting is inextricably linked

to the social, political and cultural context of 19th Century Russia. The
1850s had seen a growth in the demand for national subject-matter
in literature, music and art, which stemmed from the desire to assert
cultural independence and defne national identity. This identity, formerly
suppressed by the programme of westernization implemented by Peter
the Great, was now being rediscovered and to a certain extent created by
literary giants such as Ivan Turgenev and Leo Tolstoy whose pan-Slavism
refected the rise in nationalistic feeling.
Inevitably, these cultural changes profoundly affected the genre of
landscape painting. The popularity of idealised arrangements of nature
provided by Nicolas Poussin (1594-1665) and Claude Lorrain (1604-1682)
favoured by the Imperial Academy of Fine Arts in St Petersburg dwindled,
and appreciation of the more modest views of rural Russia such as those
provided by Aleksei Venetsianov (1780-1847) began to grow. The advent
of the Peredvizhniki [Itinerants] an exhibiting society formed in 1871
dedicated to promoting Russian art and themes - further signalled the
stagnation of Russian academic art characterised by the mimicry of its
western counterparts, heralding the emergence of a truly Russian school.
Kryzhitskys 1908 masterpiece, The road, exemplifes the artists synthesis
of Romanticism and Realism, perching a vulnerable mother and child on
the edge of what appears to be a bucolic abyss. Here the vast sweep of
Russian landscape is without end, the homogenous forest almost too large
for the human eye to comprehend. A road is a familiar device used to imply
a journey, often in Russian Art of the period a melancholic one, typifed
by Isaak Levitans The Vladimirka Road (fg. 1); yet Kryzhitskys The road
trumps fear and foreboding with an overwhelming awe and excitement. In
direct contrast to Levitans Vladimirka, The road conveys a sense of escape,
hinting at the limitless possibilities of the unknown. Counter to Nikolai
Berdyaevs opinion that the Russian soul was oppressed by the boundless
Russian felds and the boundless Russian snows which envelop and smother
her (N. Berdyaev, Sudby Rossii, Moscow, 1990, pp. 62-63), Kryzhitskys
The road suggests that the Russian soul can be freed by it.
fg. 1. I. Levitan (1860-1900), The Vladimirka Road, 1892,

State Tretyakov Gallery, Moscow
96
For a brief biography of Kryzhitsky, please see lot 23.
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR

55
ISAAK LEVITAN (1860-1900)
Summer day
signed in Cyrillic I. Levitan (lower left)
oil on canvas
22 x 36 in. (56 x 91 cm.)
1,000,000-1,500,000
$1,700,000-2,400,000
1,300,000-1,900,000
PROVENANCE:
LITERATURE:
Acquired by the previous owners grandparents who left Russia for

France in the 1920s.
Anonymous sale; Christies, London, 29 November 2010, lot 29.
Exhibition catalogue, Dvenadtsataia moskovskogo obshchestva

liubitilei khudozhestv [The twelfth exhibition of the Moscow society of art
appreciators], Moscow, 1892, p. 5, no. 49.
S. Glagol and I. Grabar, Isaak Ilich Levitan. Zhizh i tvorchestvo
[Life and works], Moscow, 1913, listed p. 106.
A. Fedorov-Davydov, Isaak Ilich Levitan. Documenty, materialy,
bibliografia [Documents, materials, bibliography], Moscow, 1966, listed
p. 106, no. 375.
G. Churak, Isaac Levitans Summer day rediscovered, The Tretyakov
Gallery magazine, 1, 2014 (42), pp. 110-123, illustrated p. 110-111,
117 and back cover, visible in a photograph pp. 112 and 118.
EXHIBITED:
Moscow, Dvenadtsataia vystavka moskovskogo obshchestva liubitilei

khudozhestv [The twelfth exhibition of the Moscow society of art appreciators ],
1892-1893, no. 49.
Moscow, State Tretyakov Gallery, on loan December 2012April 2014.
The Peksha river today
98
He managed to teach us something about nature that we, with our Russian eyes, were
unable to see or appreciate; the endless pleasure of ranging emotions, which each of us
has experienced on a chilly morning or in the rays of a warm evening in a poor northern
village, something that no one before him knew how to convey on canvas
S. Diaghilev, Pamiati Levitana [In memory of Leviatan], Mir Iskusstva [The World of Art], 1900
1892 was a fruitful year in Levitans artistic

career despite certain hardship in the artists
private life. In 1891, after presenting A
peaceful monastery and The old yard. Plyos
at the XIX Peredvizhniki [Itinerants] exhibition,
Levitan was accepted as a fully-fedged
member (as opposed to simply an exhibitor).
The artist considered this an important step in
his career. A peaceful monastery had been well
received by the public and lauded a success
by art critics of the day. Mikhail Nesterov, a
close friend and fellow artist, declared the
appearance of the picture Levitans triumph,
while another close friend, Anton Chekhov
remarked that the painting made a splash,
Levitans success is not simply ordinary
(quoted in Isaak Levitan.
K 150-letiiu so dnia rozhdeniia [To
commemorate 150 years from the day of
birth], Moscow, 2010, p. 19). Levitan was
to create his iconic works: The evening bell
tolls, At the shallow, Wooded shore. Twilight
and Vladimirka (all 1892) the following year,
all of which served to shift the perception
and aesthetic representation of the Russian
landscape.
Following the assassination of Alexander II
in March 1881 and wide-spread anti-Jewish
pogroms, the government introduced a
so-called Temporary Regulation, which
immediately resulted in the expulsion of Jews
from Moscow. Levitan was obliged to leave,
regardless of his widespread recognition as a
landscape artist of great signifcance. However,
by virtue of Pavel Bruillovs efforts, a few
months later Levitan was given temporary
permission to live in Moscow and in 1894 was
granted the right to live outside the Pale of
Settlement.
Title page of the 1893 exhibition catalogue, Moscow
The present work listed p. 5
Cover of the 1913 monograph
The present work listed p. 106
Levitan was also disheartened in 1892 by the publication of Chekhovs

The Grasshopper, in which he clearly recognised his friends thinly veiled
depiction of his relationship with Sofa Kuvshinnikova (1847-1907). The
publication resulted in much gossip among their friends and something akin
to a scandal in society; Sofa was signifcantly older than Levitan and married
to Dmitrii Kuvshinnikov. This incident provoked a great rift between Levitan
and Chekhov, which greatly upset the artist and was only to be resolved in
January 1895. Sofa Kuvshinnikova was of great importance to Levitan and
supported the artist in all his endeavors. In May 1882 Levitan went with Sofa
to Gorodok village near the Boldino rail station in the Vladimir province.
A proponent of painting en plein-air, an approach inherited from both his
teachers: Alexei Savrasov (1830-1897) and Vasily Polenov (1844-1927),
Levitan used the summer months to sketch. Eager to observe and capture
every minute shift at natures hand, from an array of trees in the frosty
morning light, a sandy beach lit by the mid-day sun or water refections at
sunset, by autumn Levitan would return to his Moscow studio with a sizeable
number of studies, drawings and even unfnished paintings, many of which
provided the foundations for subsequent major works.
Gorodok village, or the Gorodok estate as the artist preferred to call it
in his letter to Pavel Tretyakov has today merged with Peksha village. As
Galina Churak mentions in her article devoted to the present work in the
State Treyakov Gallery magazine (014 (42), p. 113), on arrival to this
place in the summer of 1892, Levitan rented two rooms in the house of
a prosperous peasant, A. Popkov. The peasants house was built on a
high riverbank and offered a splendid view of the river, a meadow and a
footpath walked each day by local peasants. While over a hundred years
have passed and things have changed, even today one can still recognise
the beauty of this area which so captivated Levitan that summer.
Summer not only provided Levitan with an opportunity to work outside,
he was also a keen hunter who enjoyed wandering in the forests of the
Vladimir province, a gun under his arm, accompanied by his beloved dog
Vesta (fg. 1). As such, one could perhaps consider the present work a
trophy of sorts from that summer. Summer day was presented at the
Twelfth Exhibition of the Moscow Society of Art Appreciators at which it
was acquired by a private collector and disappeared from public view for
over a hundred years.
Isaak Levitan
Summer day depicts the Peksha river just as the sun has started to
set. Violet shadows cover the sandy riverbank of the foreground while
the undisturbed surface of the water refects the surroundings and a
sky imbued with the orange and yellow tones of sunset. As our eyes
wander along the river footpath, we meet the swaying eternal forest, so
characteristic of Levitans work and are mesmerised by the simple and
tranquil atmosphere conveyed by the artists muted and nuanced palette.
As Sergei Diaghilev notes Levitans oeuvre is extraordinary in its modesty.
He did not produce sensational paintings; his unpretentious views of nature
fashed in front of our eyes, many of them we even forgot, as if they
merged with the nature. But there is one thing which certainly will not be
forgotten. If we only escape the stiffng fumes of our dusty cities even for
a minute and come closer to nature, just to recollect with gratitude the
great lessons of the artist of the Russian land. Should it be a ringing bell of
a village church, a rugged wicker fence or a bluish lake, we will now see
nature though his eyes, though himself, the same way he saw and showed
it to others. He explained a lot, showed us a lot and above all, brought
people together with nature by the strength of his love (S. Diaghilev,
Pamiati Levitana [In memory of Levitan], Mir Iskusstva [The World of Art],
no. 15-16, 1900, p. 32).
The present work on view at the State Tretyakov Gallery
We are grateful to Dr Galina Churak of the State Tretyakov Gallery,

Moscow for her assistance in cataloguing the present work.
101
PROPERTY OF A PRIVATE GERMAN COLLECTOR

56
VASILII POLENOV (1844-1927)
Cavalryman from the squadron of General Cherniaev

signed in Cyrillic VPolenov (lower left), indistinctly inscribed in
Russian A private ... grenadier... (lower centre) and dated 1876
(lower right)
oil on canvas
12 x 8 in. (31 x 21.7 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
Inherited by the father of the present owner prior to 2000.

The present work depicts a cavalryman in the squadron of General Mikhail
Cherniaev (1828-1898). General Cherniaev, a crucial fgure in the Russian
conquest of Central Asia under Alexander II, also took part in the liberation
of the Serbs from the Ottoman Empire after Russia entered the war in April
1877. In February 1878 the Preliminary Treaty of San Stefano was signed by
Russia and the Ottoman Empire; the treaty essentially secured the sovereignty
of the Balkan nations and strengthened the power of Russia in the Near East.
In September 1876 Polenov joined the army as a volunteer. The artist
experienced the realities of war, which he brilliantly captured in his sketches.
Some of these sketches were later used to illustrate Diary of a Russian
Volunteer - a chronicle of the war published in Pchela [The bee] magazine.
In recognition of Polenovs military prowess, the artist was awarded a
Montenegrin medal For Bravery and the Serbian Order of the Cross of Takovo.
57
FRANTS ROUBAUD (1856-1928)
56
Cape Fiolent, Crimea

oil on canvas
14 x 10 in. (36.8 x 27.3 cm.)
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION
58
NIKOLAI SAMOKISH (1860-1944)
The Russo-Japanese War: a detachment of Zabaikal Cossacks

signed in Cyrillic N. Samokish. (lower left)
pencil, watercolour and ink on paper
10 x 15 in. (27.4 x 39.2 cm.)
Executed in 1904
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
A gift from the artist to Jan Birzgal (1898-1968).

Acquired by the present owner in Riga in the early 2000s.
LITERATURE:
N. Lapidus, Nikolai Samokish, Moscow, 2006, p. 28.

N. Lapidus, Prizvanie khudozhnika [The calling of the artist],
Baltfort, September 2012, no. 3, (20), p. 59.
57
102
58
59
PROPERTY FROM A PRIVATE BELGIAN COLLECTION

59
STEPAN KOLESNIKOFF (1879-1955)
In the felds
signed and dated S. Kolesnikoff/1945. (lower right)
oil on canvas
44 x 57 in. (113.2 x 144.8 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Acquired by the present owners in Belgrade prior to 1955.

103
60
PROPERTY FROM A PRIVATE BELGIAN COLLECTION

60
Mending the nets

signed S. Kolesnikoff (lower left)
oil on canvas
28 x 39 in. (73 x 99 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Acquired by the present owners in Belgrade prior to 1955.

*61
N. BOGDANOV
On the beach
signed in Cyrillic and indistinctly dated N. Bogdanov...
(lower right)
oil on board
7 x 9 in. (18.2 x 24 cm.)
2,000-3,000
61
104
$3,300-4,800
2,600-3,800
PROPERTY OF A LADY, FINLAND

62
On the seashore
signed in Cyrillic and dated St. Fed. Kolesnikov/1908 (lower left)
oil on canvas
43 x 72 in. (109.5 x 183.5 cm.)
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
Acquired by Edward Krkkinen, the grandfather of the present owner circa

1910, probably from the 1910 London exhibition.
EXHIBITED:
London, Dore Galleries, Russian Art Exhibition by one hundred leading artists,
November-December 1910, no. 252 (label on the reverse).
LITERATURE:
Exhibition catalogue, Russian Art Exhibition by one hundred leading artists,

London, 1910, listed p. 23, no. 252.
105

*63
BORIS CHALIAPIN (1902-1979)
Portrait of Feodor Chaliapin

signed, inscribed and dated, Boris Chaliapine/Paris 1934
(lower right)
oil on canvas
36 x 28 in. (91.4 x 71 cm.)
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired from the artists widow by the present owner.

EXHIBITED:
St Petersburg, State Russian Museum, A Time to Gather... Russian Art

from Foreign Private Collections, 2007, no. 88.
LITERATURE:
Exhibition catalogue, A Time to Gather... Russian Art from Foreign

Private Collections, St Petersburg, 2007, illustrated p. 134, listed p. 135,
no. 88.
63
PROPERTY FROM A PRIVATE

COLLECTION, CONNECTICUT
*64
KONSTANTIN KOROVIN (1861-1939)
A night in Paris
signed C. Korovine. (lower left)
oil on board
12 x 16 in. (30.8 x 40.6 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Boris Chaliapin (1904-1979).

64
106
PROPERTY OF A NEW YORK

COLLECTOR
l*65
YURI ANNENKOV (1889-1974)
Optical birth
signed G. Annenkov (lower left)
wood, oil, and rope on panel
36 x 23 in. (91.4 x 58.4 cm.)
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
The artists studio.

Sold from the above; Sothebys, Olympia,
20 November 2003, lot 283.
Acquired at the above sale by the
present owner.
EXHIBITED:
St Petersburg, State Russian Museum,

A Time to Gather... Russian Art from Foreign
Private Collections, 2007, no. 144.
LITERATURE:
Exhibition catalogue, A Time to Gather...

Russian Art from Foreign Private Collections,
St Petersburg, 2007, illustrated p. 205,
listed p. 204, no. 144.
107
PROPERTY OF A PRIVATE CANADIAN COLLECTOR

*66
ALEKSEI HARLAMOFF (1840-1925)
The young model

signed A. Harlamoff (lower left)
oil on canvas
22 x 17 in. (56.1 x 44.9 cm.)
The present work can be classifed as an example of the
Perm type per O. Sugrobova-Roth & E. Lingenaubers
categorisation (Catalogue Raisonn0: Alexei Harlamoff,
Dsseldorf, 2007).
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Acquired in Montreal in the 1930s.

By descent to the present owner, Toronto.
67
DMITRI NALBANDIAN (1906-1993)
Still life with jasmine

signed in Cyrillic D. Nalbandian (lower right)
oil on canvas
27 x 38 in. (98.6 x 69 cm.)
30,000-50,000
PROVENANCE:
Acquired by the present owner in 2010.
66
67
108
$49,000-80,000
38,000-63,000
PROPERTY OF A PRIVATE CALIFORNIA COLLECTOR

*68
ROBERT FALK (1886-1958)
A street in Paris
signed, inscribed and dated, R. Falk./Paris 1933 (lower left)
oil on canvas
31 x 24 in. (80 x 62.2 cm.)
70,000-90,000
$120,000-140,000
89,000-110,000
PROVENANCE:
Acquired from the artist by Boris Ingster (c.1898-1978).

109
I was far away;

I remembered a time,
When I was rich with hope,
A carefree poet, I wrote
From inspiration, not for reward.
I saw again the shelter of the rocks
And a dark place of solitude,
Where to the feast of the imagination
I would summon the muse.
Alexander Pushkin, 1824
PROPERTY OF A PRIVATE COLLECTOR

*69
KONSTANTIN KOROVIN (1861-1939)
Pushkin and the muse

signed, inscribed and dated Constant Korovine/Paris 1930
(lower left) and further inscribed in Russian And to the feast of the
imagination/I would summon the muse (lower right)
oil on canvas
92 x 67 in. (235.5 x 170.7 cm.)
180,000-300,000
$290,000-480,000
230,000-380,000
PROVENANCE:
Anonymous sale; Christies, London, 28 November 2007, lot 411.

LITERATURE:
L. Liubimov, Pushkin I Muza [Pushkin and the Muse], Vozrozhdenie

[Renaissance], Paris, 19 April 1930, illustrated.
R. Vlasova, Konstantin Korovin, Leningrad, 1969, pp. 184-185.
From his very frst sojourns to Paris in the late 1880s, Korovin was
captivated by the city, which was at the time bustling with Impressionist art.
Enthralled by what he encountered, the artist carefully studied Impressionist
techniques and is now considered by many to be the frst Russian
Impressionist. Korovin returned to Paris repeatedly, the city becoming a
central subject in his oeuvre.
In 1923 Korovin went with his family to Paris once again. It was intended
to be a short trip to organise the logistics of his upcoming solo exhibition
and simultaneously provide a rest cure for his handicapped son. In fact the
exhibition did not come to fruition, Korovin was obliged to remain to make
ends meet and it became clear that the trip was no longer temporary. In
this moment Paris lost its allure. Korovin fercely rejected the classifcation
of migr artist and longed to return to his motherland. This craving found
its expression in the numerous Russian landscapes he painted from memory
as well as a series of portraits dedicated to the monuments of Russian
literature, which included Lermontovs house, The Caucasian mountains
and Lermontov by the house and the present work.
Pushkin and the muse was intended for an exhibition of Russian Art in
Prague, on the occasion of which Vozrozhdenie [Renaissance] magazine
published an interview with the artist. As Liubimov wrote: In Korovins
studio, charming with disorder and sparkling paints from Korovins
landscapes splashed onto the walls, chairs and foor, one can see the
monumental picture Pushkin and the muse, subtle in tone and steeped in
romance. After reciting Pushkins verse to the journalist, Korovin went on
to describe the source of his representation of the poet: I painted Pushkin
the way that my grandmother, Ekaterina Ivanovna Volkova, remembered
him...In the [18]30s she saw him at the Moscow Assembly of Nobles. He
was dressed like a London dandy. He went about in a cape and with a
cane. My grandmother said he was short, with chestnut hair, grey, quick
eyes and curly hair. He was constantly looking at his wife with whom he
danced. As soon as he entered the room everyone whispered, Pushkin
(L. Liubimov, Pushkin i Muza [Pushkin and the muse], Vozrozhdenie
[Renaissance], Paris, 19 April 1930).
The painting evidently served as a connection between the artist and
his native land, allowing him to pay tribute to Russias literature and the
country itself, which ultimately proved an infnite source of inspiration for
Pushkin and Korovin alike.
110

*70
NIKOLAI TARKHOV (1871-1930)
Mother and child

signed Nic. Tarkhov (lower right)
oil on canvas
24 x 19 in. (61 x 50.2 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Private collection, Paris.

Acquired from the above by the present owner circa 2003.
70
PROPERTY OF A GERMAN COLLECTOR

71
BORIS ANISFELD (1878-1973)
Donkeys
signed in Cyrillic and indistinctly dated
B. Anisf.../911 (lower right)
oil on canvas
24 x 31 in. (62.2 x 80.2 cm.)
Painted in 1911
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired by the present owner in Germany

in 1989.
EXHIBITED:
Rome, Seconda esposizione internazionale darte

Della Secessione, 1914, no. 8 (related label
on the stretcher).
LITERATURE:
71
112
Exhibition catalogue, Seconda esposizione

internazionale darte Della Secessione, Rome,
1914, listed p. 55, no. 8.

*72
BORIS ANISFELD (1878-1973)
EXHIBITED:
Dahlias
Possibly: Chicago, The Art Institute, Retrospective Exhibition of Works

by Boris Anisfeld, May-June 1958, no. 3.
signed and dated Boris Anisfeld/1924 (lower left)

oil on canvas
48 x 35 in. (122 x 89 cm.)
60,000-80,000
PROVENANCE:
Acquired by the present owner circa 2003.
$97,000-130,000
76,000-100,000
LITERATURE:
Possibly: Exhibition catalogue, Retrospective Exhibition of Works by

Boris Anisfeld, Chicago, 1958, no. 3
E. Lingenauber, O. Sugrobova-Roth and C. Chatfeld-Taylor,
Boris Anisfeld: catalogue raisonn0, Dsseldorf, 2011, illustrated p. 166.
We are grateful to Charles Chatfeld-Taylor, the grandson of the artist,
for his assistance in cataloguing the present work.
113

*73
IVAN CHOULTS (1874-1939)
Cliffs at sunset
signed and dated Iw. F. Choults 23 (lower left)
oil on canvas
18 x 18 in. (45.7 x 45.7 cm.)
Painted in 1923
7,000-9,000
73
74
114
$12,000-14,000
8,900-11,000
75
PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION
*74
*75
SERGEI VINOGRADOV (1869-1938)
ALESSIO ISSUPOFF (1889-1957)
A calm evening
Working in the felds
signed and dated Serge Vinogradoff/1932 (lower right); with title

inscribed (on a label on the reverse)
oil on canvas
28 x 36 in. (71.2 x 91 cm.)
signed in Cyrillic Aleksei Isupov (lower left)

oil on canvas
31 x 35 in. (81 x 90.2 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Irene Vinogradova, the artists wife.

Acquired from the above in the circa 1950s by the grandfather of the
present owner.
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Private collection, Argentina.

Acquired from the above by the present owner circa 2002.
EXHIBITED:
Montreal, Centre dEtudes Slaves de lUniversite du Montreal, no. 3

115
PROPERTY FORMERLY FROM A PRIVATE NORTH AMERICAN COLLECTION (LOTS 76-96)
76
LON BAKST (1866-1924)
EXHIBITED:
Costume design for Carnaval: L0onide Massine as Eusebius
Vienna, The Belvedere, Silver Age: Russian Art in Vienna Around 1900,
27 June-28 September 2014.
signed and dated Bakst/1915 (lower right); inscribed Carnaval

de Schoumane/Eusebius/Miassine (upper right)
pencil and watercolour, heightened with silver, on paper
11 x 8 in. (29 x 21.5 cm.)
20,000-30,000
PROVENANCE:
David Vyvyan-Robinson, Colares, Portugal.
$33,000-48,000
26,000-38,000
LITERATURE:
Exhibition catalogue, Silver Age: Russian Art in Vienna Around 1900,

Vienna, 2014, illustrated p. 208, pl. 87.
Carnaval, the fantastically popular pantomime-ballet in one act, dbuted
at the Pavlov Hall in St Petersburg in 1910, Michel Fokines choreography
accompanying Schumanns series of short piano pieces composed in 1834
and Bakst set and costume designs. The present work depicts Lonide
Massine (1896-1979) in the romantic role of Eusebius, Chiarinas lover.
Massine had joined Diaghilevs company in 1914, replacing Fokine and
Nijinsky as the associations principle choreographer and lead male dancer
respectively.
77
LON BAKST (1866-1924)
LITERATURE:
Costume design for Sleeping Beauty: La Dame dHonneur with

her page
Exhibition catalogue, Silver Age: Russian Art in Vienna Around

1900, Vienna, 2014, illustrated p. 209, pl. 88.
signed and dated Bakst/1916 (lower right); inscribed Acte 5/Dame

dHonneur/de la Reine/1 page (upper right)
pencil, watercolour and gouache, heightened with silver and gold, on
paper
11 x 18 in. (30 x 46 cm.)
The genesis of Sleeping Beauty, a ballet in three acts with music

by Tchaikovsky, later reorchestrated in part by Stravinsky, lies in the
Mariinsky Theatres 1890 production and was a great source of
inspiration for the young Bakst, who attended a dress rehearsal and
was utterly enthralled. The present work was designed for Anna
Pavlovas 1916 one-act staging in New York, a production revived and
extended by Diaghilev in 1921 in an effort to capitalise on the ballets
historical success and revitalise his companys somewhat straightened
fnances. The extravagance of Baksts miraculous costumes and the
expense of the luxurious materials required seriously undermined
Diaghlievs intentions and are entirely evident in the present notably
lavish design for a relatively minor character. When confrming the
authenticity of this work Alexander Schouvaloff commented that the
designs Bakst executed for the 1916 Pavlova production are fner than
those done in 1921.
40,000-60,000
$65,000-96,000
51,000-76,000
EXHIBITED:
117
78
LON BAKST (1866-1924)
Costume design for an attendant

with studio stamp Bakst (lower centre)
pencil and gouache, heightened with silver and gold,
on paper
11 x 3 in. (29 x 9 cm.)
7,000-9,000
$12,000-14,000
8,900-11,000
PROVENANCE:
Anonymous sale, Parke-Bennet Galleries Inc., New York,

6 May 1970, lot 16.
Parmenia Migel Ekstrom, New York in 1976.
Julian Barran Ltd., London.
EXHIBITED:
New York, Cordier and Ekstrom Gallery,

Stravinsky-Diaghilev, May-June 1973, no. 5.
New York, Emily Lowe Gallery, Diaghilev-Cunningham,
April-May 1974, no. 13.
London and Edinburgh, The Fine Art Society,
L0on Bakst: The Fine Art Society Centenary Exhibition,
August-October 1976, no. 36.
London, Julian Barran Ltd., Designs for the Russian Ballet,
1995.
Vienna, The Belvedere, Silver Age: Russian Art in Vienna
Around 1900, 27 June-28 September 2014.
LITERATURE:
Exhibition catalogue, Stravinsky-Diaghilev,

New York, 1973, illustrated, no. 5.
Exhibition catalogue, Diaghilev-Cunningham,
New York, 1974, listed no. 13.
Exhibition catalogue, L0on Bakst: The Fine Art Society
Centenary Exhibition, 1976, illustrated p. 29, listed p. 28,
pl. 36 as Costume design for a pilgrim.
Exhibition catalogue, Silver Age: Russian Art in Vienna
Around 1900, Vienna, 2014, illustrated p. 206, pl. 85.
While the present work has historically been catalogued as a
design for Le Dieu Bleu, its colour scheme suggests it is more
likely a creation for Le Martre de Saint Sebastien or Helene de
Sparte in both of which Ida Rubinstein performed the lead role.
79
LON BAKST (1866-1924)
EXHIBITED:
Costume design for Papillons:Woman in a mauve dress

signed and dated Bakst/1912 (lower right) and inscribed Papillons/
De Schoumann (upper right)
11 x 8 in. (28.5 x 22 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:

Galleria del Levante, Munich and Milan.
Anonymous sale, Sothebys, London, 9-10 July 1969, lot 32.
Waddington Gallery, London, 1973 (label on the frame).
Christopher Gridley, London, 1974 (label on the frame).
John Neumeier, Hamburg.
The Hague, Gemeentsmuseum, Ballet in Beeld bij Bakst

[Ballet Pictures by Bakst], 17 January-3 March 1968, no. 26.
London, The Fine Art Society, Bakst, 3 December 1973-4
January 1974, no. 53.
Vienna, The Belvedere, Silver Age: Russian Art in Vienna Around
1900, 27 June-28 September 2014.
LITERATURE:
Programme Offciel des Ballets Russes, Ninth Season

May-June 1914, illustrated p. 39.
F. Gadan & R. Maillard, A Dictionary of Modern Ballet,
London 1959, illustrated p. 19.
Exhibition catalogue, Ballet in Beeld bij Bakst
[Ballet Pictures by Bakst], 1968, The Hague, listed no. 26.
C. Spencer, Leon Bakst, London, 1973, illustrated p. 114, listed
p. 232, pl. 90.
Exhibition catalogue, Bakst, London, 1974, listed p. [19], no. 53.
Exhibition catalogue, Silver Age: Russian Art in Vienna Around
1900, Vienna, 2014, illustrated p. 207, pl. 86.
Papillons was frst performed by Diaghilevs Russian ballet in Monte
Carlo, 14 April 1914. The music was Schumanns orchestrated by
Tcherepnine, while Bakst provided distinctly Victorian costume designs
and Fokine the choreography.
119
l*80
NATALIA GONCHAROVA (1881-1962)
Four costumes designs for Le Coq dOr: Prince Guidon, Prince Polkan,
The Sorcerer and The Queen of Chemakhan
Prince Guidon inscribed Le Prince (lower right); further inscribed with production details, title in Russian and numbered 1
Coq dOr (on the reverse); Prince Polkan inscribed with production details and title in Russian (on the reverse); The Sorcerer
inscribed with production details and title in Russian (on the reverse); The Queen of Chemakhan signed, inscribed with
production details and dated Coq dor/Costume de/la Reine de/Chemakhan/Donn la pre/miere fois/a lOpera/National/
de Paris/et/a Drury lane/a Londres./1914/ N. Gontcharova 913 (lower right); further signed and inscribed
N. Gontcharova/43 rue de Seine/Paris 6e/France (on the reverse)
charcoal on paper
30 x 15 in. (77.3 x 39.8 cm.) and slightly smaller
Drawn circa 1913
(4)
50,000-70,000
PROVENANCE:
$81,000-110,000
64,000-88,000
In 1913 Goncharova began work on Le Coq dOr, her source of inspiration the bright visually
arresting artistic creations of the Russian peasantry and the bold outlines of Russian icons. The
production, which took Pushkins 1834 poem of the same name for its subject, premiered in May
1914 at the Thtre National de lOpera in Paris. The present works and other designs for Le Coq
dOr were incorporated into the decorative panels Goncharova painted in the early 1920s for the
Parisian house of Serge Koussevitzky, the well-known double-bass player and conductor.
81
82
l*81
l*82
Two fashion designs for womens outfts
Two fashion designs for womens outfts
pencil on tracing paper

31 x 7 in. (78.5 x 19.5 cm.)
Drawn circa 1925
pencil on tracing paper

31 x 7 in. (78.5 x 19.5 cm.)
Drawn circa 1925
15,000-20,000
(2)
$25,000-32,000
19,000-25,000
15,000-20,000
(2)
$25,000-32,000
19,000-25,000
PROVENANCE:
PROVENANCE:
Acquired from the artist in France.
EXHIBITED:
EXHIBITED:
University of Newcastle-upon-Tyne, The Hatton Gallery,

Gontcharova and the Russian folk art tradition, October-November 1996.

122
l*83
MIKHAIL LARIONOV (1881-1964)
Portrait of Natalia Goncharova (1881-1962) in the atelier

signed and dated M. Larionow/.922; with inscription Nathalie Gontcharova/par M. Larionow
(on the reverse)
pencil on paper
13 x 10 in. (33.2 x 25.7 cm.)
Drawn in 1922
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:

The present work is based on a photograph of Goncharova in her Parisian studio. For a related drawing see A.
Schouvaloff, The Thyssen-Bornemisza Collection, Set and costume designs for ballet and theatre, 1987, p. 257.
123
l*84
Costume design for Liturgie: Archangel Gabriel

signed and dated N. Gontcharova 1915. (lower right) and inscribed
Cherubin (lower left)
pochoir with gouache on card
28 x 19 in. (71.4 x 49.6 cm.)
Executed circa 1914
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
A gift from the artist to John Carr Doughty, London and Leicester.
Inspired by his travels through Northern Italy in 1915-16, Sergei Diaghilev
began working with Lonide Massine shortly after on an idea for a ballet
based on the art and religious rites of the Renaissance and of Byzantium.
Goncharova was commissioned to produce designs based on the music
of Russian Church Plain Chant for a performance which was to comprise
of a series of moving tableaux narrating the life of Christ through music
and dance. While the production did not come to fruition, the pochoirs
subsequent created from some of her fnest designs testify to the visionary
nature of the project.
l*85
Costume design for Liturgie: St Anne

signed in pencil N. Gontcharova. (lower right) and numbered 58
(lower left); further signed, erroneously inscribed and numbered N.
Gontcharova/.N 58 (on the reverse)
pochoir with gouache on paper
24 x 16 in. (61.4 x 40.6 cm.)
Executed circa 1915
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Mme Yvette Moch, Paris.

EXHIBITED:

London, Julian Barran, Natalia Gontcharova and the Russian Ballet, 11
June-8 August 1997, no. 9.
LITERATURE:
Exhibition catalogue, Natalia Gontcharova and the Russian Ballet,

London, 1997, illustrated, no. 9.
l*86
Costume design for Liturgie: St Mark

signed N. Gontcharova. (lower right) and numbered 56
(lower left); further signed, inscribed with title and numbered
N. Gontcharova/N 56 (on the reverse)
pochoir with gouache on paper
29 x 20 in. (73.9 x 53.1 cm.)
Executed circa 1914
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Marina Henderson, London.
l*87
Costume design for Liturgie: St Luke

signed and dated N. Gontcharova 1915. (lower right),
inscribed with title and numbered N. 13 (lower left)
pochoir with gouache on card
24 x 17 in. (61.6 x 43.5 cm.)
Executed circa 1914
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
A gift from the artist to John Carr Doughty, London and Leicester.
125
l*88
PROVENANCE:
Two fashion designs for a white, fur-trimmed evening cloak,

front and rear views
the frst signed twice N. Gontcharova (lower right);

the second signed with initials and further signed N. G./N.
Gontcharova (lower right)
both pencil and watercolour, heightened with white and gold,
on paper
both 20 x 14 in. (53.2 x 37.7 cm.)
Executed circa 1925
(2)

12,000-18,000
$20,000-29,000
16,000-23,000
EXHIBITED:
LITERATURE:
Front view: Exhibition catalogue, Natalia Goncharova: Mezhdu

Vostokom i Zapadam [Between East and West], Moscow, 2013,
illustrated p. 66.
l*89
Fashion design for an evening dress: Pansy

signed N. Gontcharova (lower right) and inscribed Pense
(upper right)
charcoal and gouache, heightened with gold and silver, on paper
25 x 21 in. (64.5 x 53.6 cm.)
Executed circa 1925
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:

EXHIBITED:

Gontcharova and the Russian folk art tradition,
October-November 1996.
LITERATURE:
Exhibition catalogue, Natalia Goncharova: Mezhdu Vostokom i

Zapadam [Between East and West], Moscow, 2013, illustrated p. 82.
l*90
Fashion design: La Phenicienne

signed N. Gontcharova. (lower right) and inscribed with title
(upper right)
charcoal and gouache on paper
36 x 26 in. (92.5 x 67 cm.)
Executed circa 1922
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:

EXHIBITED:

127
l*91
Fashion design for the fashion house Mirbor

signed N. Gontcharova. (lower right), inscribed Mongole (upper right)
and inscribed with pattern notes (lower left)
Executed 1927-1928
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:

EXHIBITED:
University of Newcastle-upon-Tyne, The Hatton Gallery, Gontcharova and the Russian

folk art traditions, October-November 1996.
LITERATURE:
Exhibition catalogue, Natalia Goncharova: Mezhdu Vostokom i Zapadam

[Between East and West], Moscow, 2013, illustrated p. 79.
91
l*92
Fashion design: Hierophant

signed N. Gontcharova. (lower left) and inscribed with title (upper left)
pencil, watercolour and gouache, heightened with gold and silver, on paper
29 x 13 in. (73.8 x 34.2 cm.)
Executed circa 1922-1925
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:

EXHIBITED:

l*93
Four illustrations for Aleksei Kruchenykh s (1886-1968) 1913 Two poems:

The Hermits;The Hermitess
one signed in Cyrillic in the plate Goncharova (lower left); one signed with Cyrillic
initials in the plate NG (lower left);
all with inscriptions in Russian (on the reverse)
lithographs
7 x 5 in. (18.4 x 14.5 cm.)
(4)
3,000-5,000
92
$4,900-8,000
3,800-6,300
The present works were executed by Goncharova in 1913 for Two Poems: The Hermits;
The Hermitess, one of her collaborations with the poet Aleksei Kruchenykh (1886-1968).
Kruchenykh is best known for his Russian Futurist Collaborations with Avant-Garde artists
including Goncharova, Larionov, Malevich and his wife Rozanova, books created between
1912-1916 that are distinguished by their lack of punctuation and deliberate errors. Two
Poems: The Hermits; The Hermitess are characteristically free-flowing while Goncharovas
accompanying illustrations are executed in her distinctive and entirely appropriate primitive style.
93
129
l*94
A church in the countryside

signed, indistinctly inscribed and dated 9. IV. 1935
B..ez/Alexandre Benois (lower right)
10 x 13 in. (25.4 x 33.2 cm.)
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
The estate of the artist, Paris.

Nicola Benois (1901-1988), son of the artist, Milan.
l*95
Versailles
94
signed, inscribed with title and dated Versailles/

Alexandre Benois/1924... (lower right) and further
indistinctly inscribed and dated 19/IX 1924...
(lower left)
12 x 19 in. (32 x 49.7 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:

95
l*96
Notre Dame de Paris and the statue of Charlemagne

signed Alexandre Benois (lower left) and dated 25.II/1943. (lower right)
pencil and watercolour, heightened with white, on paper
11 x 12 in. (28.5 x 31 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:

131
(part)
PROPERTY OF A GENTLEMAN
97
LON BAKST (1866-1924)
Eighteen costume designs for The Sleeping Beauty, Phaedre, Boris Godunov,The Marvelous Night, Art0mis Troubl0e, Le Die Blue, Sadko,
Mantle,The Fantastic Shop and Le Martyre de Saint S0bastian
fourteen signed in the plate, fve dated in the plate, four inscribed with production details in the plate, all with number
hand-coloured lithographs, four heightened with gold and silver, six heightened with gold and six heightened with silver
13 x 10 in. (33.4 x 25.6 cm.)
(18)
7,000-9,000
$12,000-14,000
8,900-11,000
PROVENANCE:
Acquired by the present owner in London circa 1970.
98
LON BAKST (1866-1924)
Costume for Thamar: A Lezgian

composed of a sleeveless silk dress, a blue satin coat embroidered with
silver braid and an embroidered cap
Executed in 1912
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
Anonymous sale, Sothebys, 3 March 1973, lot 114 (part).

Acquired at the above sale by the previous owner.
EXHIBITED:
LITERATURE:
Exhibition catalogue, Silver Age: Russian Art in Vienna Around 1900,

Vienna, 2014, illustrated p. 187, pl. 76.
Thamar, a choreographed Ballets Russes drama in one act premiered at
the Thtre du Chtelet in Paris 20 May 1912. Bakst designed the sets
and costumes to accompany Fokines choreography set to music by Mily
Balakirev. The ballet is based on Balakirevs symphonic poem Tamara and
Lermontovs 1841 work of the same name which fctionalised the life of
Thamar, Queen of Georgia from 1184 to 1213. The womens costumes,
almost certainly made by Baksts preferred costume maker Madame Muelle
in Paris, are inspired by traditional southern Russian poneva ensembles
enhanced by braids and metallic appliqus.
132

*99
LON BAKST (1866-1924)
Costume design for Aladdin

signed Bakst (lower right)
pencil, watercolour and gouache, heightened with silver and gold,
on paper
10 x 6 in. (26.5 x 16 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
Anonymous sale; Sothebys, Monaco, 26 June 1976, lot 774.

Acquired at the above sale by Dr Anton C.R. Dreesmann
(inventory no. C-66).
The Dr Anton C.R. Dreesmann Collection; Christies, London,
9 April 2002, lot 5.
Anonymous sale; Sothebys, 27 November 2007, lot 240.
EXHIBITED:
Milan and elsewhere, Galleria del Levante, L0on Bakst,

May-November 1967, no. 36.
Spoleto, Palazzo Ancaiani, Decimo Festival dei due Mondi,
Mostra Commemorativa per il Centenario di L0on Bakst, July 1967, no. 36.
The Hague, Gemeentemuseum, Ballet in Beeld bij Bakst,
17 January-3 March 1968, no. 31.
London, Fine Art Society, Bakst, 3 December 1973-4 January 1974,
no. 73.
LITERATURE:
Exhibition catalogue, L0on Bakst, Rome, 1967, listed p. [17], no. 36.
Exhibition catalogue, Ballet in beeld bij Bakst, 1968, listed, no. 31.
Exhibition catalogue, Bakst, London, 1974, listed p. [19], no. 73.
99
100
LON BAKST (1866-1924)
A series of twelve postcards published by the St Evgenii Society

depicting costume designs from La F0e des Poup0es
each postcard 5 x 3 in. (14 x 9 cm.), mounted as one
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
Acquired by the present owner in Germany in the 1990s.
100
133
101
PAVEL TCHELITCHEW (1898-1957)
Portrait of Glenway Wescott (1901-1987)

signed and dated P. Tchelitchew/33 (lower right)
ink on card
Executed in 1933
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:
Acquired by the previous owner by 1957.
102
Study for Hide and Seek

101
signed, inscribed and dated To dear Mrs. Gorer and Geoffrey/with

love/from/Pavlik/P. Tchelitchew/1941 (lower right)
ink and watercolour, heightened with white, on paper
14 x 10 in. (37 x 26.7 cm.)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Geoffrey Gorer (1905-1985) (label on the reverse).

Anonymous sale; Sothebys, London, 26 June 1985, lot 455.
The present work is a study for one of Tchelitchews greatest paintings,
Hide and Seek, which was completed in 1942 and is now held in the
collection of New Yorks Museum of Modern Art.
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

103
Portrait of Allen Tanner (1898-1987)

signed P. Tchelitcheff (lower right)
gouache on card
25 x 19 in. (64.6 x 50 cm.)
6,000-8,000
102
134
$9,700-13,000
7,600-10,000
PROPERTY FROM A PRIVATE NORTHEAST

AMERICAN COLLECTOR
l*104
Set design for Falstaff

signed in Cyrillic and dated Aleksandr Benois/1948
(lower left), inscribed in Russian Falstaff (lower centre),
and further signed in pencil Falstaff Benois [...] (lower left)
11 x 16 in. (28 x 42.6 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
Princess Sophie Troubetzkoy (1900-1982).

Falstaff, the last of Giuseppe Verdis twenty-eight operas,
is considered to be one of the composers greatest dramatic
masterpieces.
Having frst premiered at La Scala in 1893, the opera continues to
be at the core of todays repertoire. Alexandre Benois was engaged
by Arturo Toscanini to work on the costume and set designs for
Falstaff in 1946 in a historic production that marked the reopening
of La Scala following the Second World War. The present work,
executed in late summer of 1948, is most likely a preparatory design
for the theatres 1949 production of the opera.
103
104
135
105
View of Piazza San Marco

signed in the plate C. Gorbatoff.
(lower right)
hand-coloured lithograph
13 x 16 in. (33 x 41.5 cm.)
1,000-1,500
$1,700-2,400
1,300-1,900
PROVENANCE:
Acquired by the grandparents of the present

owner in 1942 in Oldenburg, Germany.
106
Riva dei Sette Martiri,Venice

signed in the plate C. Gorbatoff.
(lower right)
hand-coloured lithograph
13 x 15 in. (34.2 x 38 cm.)
1,000-1,500
$1,700-2,400
1,300-1,900
PROVENANCE:
Acquired by the great aunt of the present

owner, probably in Europe in the late 1930s.
136
l107
LEV TCHISTOVSKY (1902-1969)
Reclining nude
signed and inscribed LTchistovsky/Paris (lower right)
12 x 19 in. (31.3 x 48.6 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Acquired by the previous owners prior to 1980.
137
PROPERTY FROM A DUTCH ESTATE (LOTS 108-110)

l108
SERGE CHARCHOUNE (1888-1976)
Laterne
signed Charchoune (lower right)
oil on canvas
25 x 19 in. (65.5 x 50.2 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Galerie dEendt N. V., Amsterdam

Acquired by the father of the present owner
circa 1980.
l109
Hutte blanche
signed and dated Charchoune 31 II...
(incised), further signed and dated
Charchoune 31 II (lower right)
oil on board
14 x 17 in. (37 x 45 cm.)
Painted in 1931
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
108
Galerie dEendt N. V., Amsterdam

circa 1980.
l110
Self-portrait
signed Charchoune (lower left)
oil on board
10 x 8 in. (26.9 x 21 cm.)
Painted in 1945
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:

circa 1980.
EXHIBITED:
Paris, Galerie de Seine, Serge Charchoune,

6 February-2 March 1974.
LITERATURE:
109
Exhibition catalogue, Serge Charchoune,

1974, Paris, illustrated p. 40.
110
*111
PAUL MAK (1891-1967)
Portrait of Elena Kourbskaia, the artists wife

signed, inscribed and dated MAK/1927/Teheran. (lower left)
15 x 8 in. (38 x 20.7 cm.)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Acquired by the previous owner, Alva Gimbel, prior to 1983.

Alva Gimbel (1893-1983) was a board member of the International Council
of the Museum of Modern Art and an early supporter of the Dance Theatre
of Harlem. Her husband, Bernard Gimbel (1885-1966), was board chairman
of Gimbel Brothers, the American department store chain. Art exhibitions
were occasionally staged in its galleries, including a solo exhibition of Boris
Grigoriev in 1927.
111
112
140
PROPERTY OF A PRIVATE COLLECTOR, SOUTH AMERICA

*112
Chilean village at the foot of the mountains

signed Boris Grigoriev (lower right)
pencil and gouache on paper
13 x 18 in. (33.4 x 48 cm.)
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:
Acquired from the artist by the grandfather of the present owner in

Chile circa 1937.
113
PAUL MAK (1891-1967)
Genghis Khan
signed and dated Mak.1959. (lower right)
pencil, watercolour and gouache, heightened with gold, on paper
13 x 9 in. (33.3 x 24.2 cm.)
together with a copy of the 1960 Brussels exhibition catalogue in
which this lot and lot 114 are listed
4,000-6,000
113
$6,500-9,600
5,100-7,600
EXHIBITED:
Brussels, Galerie Rubens, Paul Mak, 1-13 October 1960, no. 2.

LITERATURE:
Exhibition catalogue, Paul Mak, Brussels, 1960, listed p. [1], no. 2.
114
PAUL MAK (1891-1967)
Scne de village
signed and dated Mak./1960. (lower right)
pencil and gouache, heightened with gold, on paper
11 x 8 in. (30.2 x 20.3 cm.)
4,000-6,000
$6,500-9,600
5,100-7,600
EXHIBITED:
Brussels, Galerie Rubens, Paul Mak, 1-13 October 1960, no. 26.
LITERATURE:
Exhibition catalogue, Paul Mak, Brussels, 1960, listed p. [2], no. 26.
114
141
l115
SERGE ESSAIAN (1939-2007)
Hand of a sinner from the Birds series

signed with initials, dated and numbered on base SE 97
and stamped with foundry mark Chapon Paris
bronze with green patina and painted wood
27 in. (70.6 cm.) high
Executed in 1997
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Acquired from the artist by the present owner prior to 2000.

We are grateful to the Association Serge Essaian, Paris for their assistance in
cataloguing the present work.
PROPERTY FROM THE FAMILY OF LON INDENBAUM

l116
LON INDENBAUM (1890-1980)
Reclining man
signed, numbered and with foundry stamp Inden 2/8 Cire Perdue
Landowski Fondeur (lower right)
bronze
15 in. (39 cm.) wide excluding base
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
The artists studio.

115
116
PROPERTY FROM THE FAMILY OF LON INDENBAUM

l117
LON INDENBAUM (1890-1980)
Head of a young girl

signed and numbered Inden (on the back)
bronze
9 in. (23.5 cm.) high excluding base
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
The artists studio.

Born in 1890 in Tcherikov, Belorussia, Lon Indenbaum frst began to working in wood as an
adolescent, subsequently receiving a grant to study at the Fine Art School in Odessa. He moved to
Paris in 1911 where he took a studio in La Ruche and became acquainted with Soutine, Kremgne,
Chagall and Modigliani with whom he shared a fat and who painted his portrait. He frst exhibited at
the Salon des Indpendants in 1912 and was later one of the founders of the Groupe de Neuf, which
exhibited its work at the Vendme Gallery in 1963. In 1968 Indenbaum was granted the Wildenstein
Prize by LInstitut de France.
Lon Indenbaum
143
PROPERTY OF A DISTINGUISHED
EUROPEAN COLLECTOR
118
UNKNOWN ARTIST,
TEXT BY VLADIMIR MAYAKOVSKY (1893-1930)
In the glorious Avgustov forest

lithograph in colours, 1914, printed by
Segodniashnii lubok [The Contemporary
Lubok], Moscow
14 x 22 in. (37.5 x 56 cm.)
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
Acquired by the present owner in Moscow

in 1987.
EUROPEAN COLLECTOR
119
UNKNOWN ARTIST,
An Austrian went to Vilnius

Lubok], Moscow
14 x 22 in. (37.7 x 56.2 cm.)
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:

in 1997.
EUROPEAN COLLECTOR
120
UNKNOWN ARTIST,
Germans! Although you are strong, you

will not see Warsaw
Lubok], Moscow
14 x 21 in. (37.8 x 56 cm.)
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:

in 1987.
144
121
VASILII SHUKHAEV (1887-1973)
Illustration for Alexander Pushkins The Queen of Spades

signed and dated V. Choukhaeff. 1922. (lower right); further signed, inscribed with
title and numbered Choukhaeff/N165 (on labels attached to the reverse of the mount)
ink, heightened with gouache, on paper laid down on board
13 x 10 in. (34.7 x 25.8 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
EXHIBITED:
The Hague, Noordeinde, Tentoonstelling van Russische Kunstschilders,

January-February 1924, no. 165.
LITERATURE:
Exhibition catalogue, Catalogus der Tentoonstelling van Russische Kunstschilders,

The Hague, 1924, listed p. 17, no. 165 (number on the board).
The present work was created to illustrate Pushkins La Dame de Pique. Paris,
Editions de la Pliade, J. Schiffrin & Cie, 1923.
145
122
D. KOMAR (FL. 1917)
At the blast furnace

signed in Cyrillic, inscribed in Russian and dated D. Komar/1917. XII. Petrograd (lower left)
oil on canvas
54 x 70 in. (137.3 x 177.7 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
A gift from General Consul M. A. Langenberg in 1947 (plaque on the reverse).

It has been suggested that this work is by Dmitri Ivanovich Komarov (1883-1970), who studied at the
Academy of Arts in St Petersburg from 1909 under V. Savinsky and achieved the title of artist for his
1916 composition At the blast furnace. Bryansk factory [U domny. Brianskii zavod] (see V. Vanslov
et al., Khudozhniki narodov SSSR XI-XX vv., Biobibliograficheskii slovar [XI-XX century artists of the
USSR: A biographical dictionary], vol. V, St Petersburg, 2002, p. 243). Komarov, who was also known
as Komar, lived in St Petersburg, Vitebsk and Minsk, exhibited from 1911 and was a member of the
Tovarishchestvo Nezavisimykh [Association of Independents].
146

*123
MAXIM KANTOR (B. 1957)
PROVENANCE:
Poor people
Anonymous sale; Sothebys, London, 27 November 2007, lot 366.

signed in Cyrillic Maksim (lower left); signed, further signed in

Cyrillic, dated twice, inscribed with title and further inscribed with
title in Russian Maksim Kantor/97/Maxim/97 (on the reverse)
oil on canvas
90 x 70 in. (230 x 180 cm.)
Painted in 1997
50,000-70,000
$81,000-110,000
64,000-88,000
EXHIBITED:
Frankfurt and elsewhere, Maxin Kantor, Paintings and Etching 19951998: From Red to Grey,
26 February 1998-14 February 2000.
LITERATURE:
Exhibition catalogue, Maxim Kantor. Tableaux et eaux-fortes,

Frankfurt, 1999,
illustrated p. 151, listed pp. 150 and 214, no. 65.
147
EUROPEAN COLLECTOR
l124
OSCAR RABIN (B. 1928)
Ouest-Est-30m (2)
signed and dated Oscar Rabine 1997
(lower left); inscribed with title, dated and
numbered 1997/N1209 (on the reverse)
pencil and oil on canvas
34 x 51 in. (88.7 x 130.2 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Acquired from the artist by the present

owner in Paris in 1997.
124
125
148
126
PROPERTY OF A DISTINGUISHED EUROPEAN COLLECTOR
PROPERTY OF A NORWEGIAN COLLECTOR
125
l*126
SERGEI SHABLAVIN (B. 1944)
Evening
Tomb of the Mother of God
signed in Cyrillic, inscribed in Russian and dated S. Shablavin/1976

(on the reverse)
39 x 70 in. (99 x 179.3 cm.)
signed in Cyrillic and dated Rabin 69 (lower left);

inscribed in Russian with title, further dated and numbered
1969 N429 (on the reverse)
oil and diamante on canvas
27 x 35 in. (69.8 x 89.5 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
15,000-20,000
PROVENANCE:
Acquired from the artist by the present owner in Moscow in 1998.
$25,000-32,000
19,000-25,000
PROVENANCE:
Acquired from the artist by the present owner in 1970.
149
*127
DMITRI KRASNOPEVTSEV (1925-1995)
Broken vase
signed with Cyrillic initial and dated K.67
(upper right)
oil on board
17 x 15 in. (43.1 x 38.5 cm.)
Painted in 1967
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Acquired from the artist by Alexander

Bragisky and Tanya Remenikova.
127
*128
DMITRI KRASNOPEVTSEV (1925-1995)
Still life with a jug

signed with Cyrillic initial and dated K-61
(lower left; incised)
oil on board
22 x 25 in. (56 x 65 cm.)
Painted in 1961
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Acquired from the artist by Alexander

Bragisky and Tanya Remenikova.
128
150
PROPERTY FROM A NEW YORK COLLECTION

*129
DMITRI PLAVINSKY (1937-2012)
Mayans sacred tortoise

signed, inscribed with the title and dated D. Plavinsky-98
(on the reverse)
Painted in 1998
oil on canvas
39 x 39 in. (99 x 99 cm.)
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired from the artist by the present owner in 1998.

Inspired by the ideas of the philosopher and priest Pavel Florensky (1882-1937),
Dmitri Plavinsky saw the creative process as a means of constructing a system
of symbols that would perceive reality in the truest possible way. Plavinsky
would fuse recognisable images such as archaeological fragments, prehistoric
creatures and fossils in his compositions that were meant to symbolically
transmit enlightening information about life. In order to achieve this, the artist
would organise these compositions in unexpected ways, creating, in his words,
'unknown spiritual landscapes'. (D. Plavinsky, et. al, Dmitri Plavinsky, New York,
2000, p. 225). In his work Plavinsky also attempted to surpass conventional
notions of time, with the desire to minimise, if not erase differences between
past, present and future. Incorporating archaeological fragments and prehistoric
creatures was a means of showing a reality that had disappeared yet traces
of which were still present, thereby underscoring, ironically, an undeniable
permanence of that which is ephemeral. As in many cultures, the tortoise
played an important role in the creation myths of the ancient Maya. Renowned
for its durability, the tortoise was associated with major deities and it was
believed to have been the foundation on which the earth rested. Temples that
were built upon the earth were sacred places where the human realm could
meet the realm of the gods. Each of these entities is distinct yet interdependent
thus resulting in a certain cosmic unity. This kind of imagery represents the
structural symbolism central to the work of Dmitri Plavinsky, aptly described
in the words of John E. Bowlt, 'appearance becomes apparition... and what
seemed to symbolise temporal and aesthetic permanence suddenly yields to the
greater energy of the circular passage of time Plavinskys disturbing imagery
is actually reassuring, for he compels us to heed a higher harmony and the
resonant voice of silence.' (Ibid., p. 8).
151

*130
VLADIMIR NEMUKHIN (B. 1925)
Joker
signed in Cyrillic and dated Vl. Nemukhin 78 (lower centre),
further signed in Cyrillic, inscribed in Russian with title, further
inscribed in Russian and dated 1978/Vl. Nemukhin.-/Moscow (on
the reverse)
mixed media on paper
39 x 28 in. (100 x 71 cm.)
10,000-12,000
$17,000-19,000
13,000-15,000
PROVENANCE:
Collection of the artist.

Private collection, Germany.
Acquired from the above circa 1998.
EXHIBITED:
New York, Mimi Ferzt Gallery, Vladimir Nemukhin: Paintings and

Drawings, 1999.
130
131
152
132
l*131
l*132
The village
House and cheese in Normandy
signed in Cyrillic and dated Rabin 59 (lower right)

ink, watercolour and gouache on paper
11 x 16 in (29 x 41 cm.)
Executed in 1959
signed and dated, Oscar Rabine 2000 (lower left), inscribed in

Russian with title, further dated and numbered N 1241 2000
(on the reverse)
oil on canvas
18 x 21 in. (46 x 55 cm.)
5,000-7,000
$8,100-11,000
6,400-8,800
10,000-12,000
PROVENANCE:
$17,000-19,000
13,000-15,000
Collection of the artist.

Private collection, Argentina.
Acquired from the above by the present owner in 1997.
PROVENANCE:
EXHIBITED:
New York, Mimi Ferzt Gallery, Oscar Rabine, 2001.
New York, Mimi Ferzt Gallery, Rare Works, 2011.
Acquired from the artist by the present owner.

EXHIBITED:
LITERATURE:
Exhibition catalogue, Oscar Rabine, 2001, Mimi Ferzt Gallery,

New York, illustrated p. 27.
153

133
OLEG VASSILIEV (1931-2013)
The lost road. Early spring.

signed with artists monogram and dated 96.-05. (lower right); with
inscription on the reverse O. Vassiliev. The Lost Road 19962005/It is not indifferent to us which way we walk/Henry David
Thoreau Walking 1862 (on the reverse)
pencil and coloured pencil on paper, unframed
15 x 11 in. (38 x 28 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Acquired from the artist by the present owner in New York in 2003.
133

134
OLEG VASSILIEV (1931-2013)
The lost road. Early spring.

signed with artists monogram and dated 03. (lower left); further
signed, signed with artists monogram, inscribed with title,
erroneously inscribed and further dated O. Vassiliev/03.-04./
unfnished painting (on the reverse)
72 x 72 in. (183.6 x 184 cm.)
Painted between 2003-2004
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
EXHIBITED:
Moscow, State Tretyakov Gallery, Oleg Vassiliev: Pamiat govorit/Temy

i variatsii [Memory speakers/Themes and variations], 2004.
LITERATURE:
Exhibition catalogue, Oleg Vassiliev: Pamiat govorit/Temy i variatsii

[Memory speakers/Themes and variations], Moscow, 2004, illustrated
p. 160.
Vassiliev is regarded as a key member of the Non-Conformist Art
movement, confronting and questioning the narrow limits of Offcial
Soviet art throughout the 1960s-1980s. However, he continuously rejected
such a classifcation of his work. Rather than confning himself to the
discussion of immediate political and societal issues, Vassilievs work
encompasses broader concepts that reach beyond questions of social order.
This understanding of his work becomes particularly relevant when studying
his later works, such as the present work, The Lost Road. Early Spring.
154
Despite moving to America in 1990, Russia and Russian art continued to play an
important role in Vassilievs work and, in his later work, we continue to see the
infuence of the long history of landscape painting within Russian art. Rather
than reject past artistic experiments, Vassiliev embraces them and possesses a
unique ability to combine such traditional ideas with infuences from early 20th
Century abstract art and non-conformist ideas, creating something entirely
contemporary. The past and present seem to collide in his work, and this work,
too, appears timeless at once belonging to the past, but yet still present.
Linked to this idea of timelessness, is the idea of transitional space. While this
painting is almost photographic in its portrayal of an exact space, there is still a
sense that we are seeing a non-place, a nowhere space.
The idea of space is explored through the road starting at the bottom edge of
the painting and disappearing into the distance (a common theme in Vassilievs
later works). It gives the audience the idea of an attainable here contrasted with
an inaccessible there, which is often strengthened by the apparent diffculty
to arrive at there. In this case, fallen branches and muddy ground make the
journey seem almost impossible. The fact that the viewer is unable to enter the
painting himself and follow this route, makes there seem even more distant.
The viewer is left with a frustrated sense of desire and longing.
Throughout his works, Vassiliev lays importance on the theme of memory.
Often the starting points for his work, individual specifc memories become
universal explorations of memory and the act of remembering. In an interview
in October 2011, Vassiliev talked of his interest in the process of remembering.
In particular, he discusses his desire to capture the thing which gave him the
initial memory, rather than his feelings about it thus eliminating himself from
the painting in order to see whether this initial representation will evoke the
same feelings in the viewer as it did in himself. This landscape can thus be seen
as a representation of a place which inspired a memory, which we are left to
interpret independently of the artist. Vassiliev says himself that Memory is not
just an imprint, its a construction and it is this idea of constructing memory
that he aims to explore in his art by removing himself from the picture and
allowing the viewer to construct his own memory based on an initial starting
point. Here, in his focus on memory, we can perhaps see the continuation of
non-conformist ideas in his work as he lays vital importance on individual, free
memory, perhaps a response to the constructed memory of the Soviet state he
grew up learning.
134
135
ILYA KABAKOV (B. 1933) AND EMILIA KABAKOV (B. 1945)
The printers mistake

signed with artists initials and dated I. E. K. 10 (centre right);
further signed in Cyrillic, dated and numbered I. Kabakov/E.
Kaba./10/2/2 (on the reverse)
a hand-coloured porcelain plate with Imperial Porcelain Factory,
St Petersburg mark
12 in. (30.5 cm.) diameter
Executed in 2010
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:
The Imperial Porcelain Factory, St Petersburg.

Donation from the above to the London Friends of the Hermitage.
Acquired at a gala to beneft the above by the present owner in 2010.
135
136 (part)
156
136 (part)
l*136
137
ILYA KABAKOV (B. 1933)
GRISHA BRUSKIN (B. 1945)
Two drawings from the Man under the shower series
Modern Archaeology: Butterfly girl, Headless figure, Bandaged boy

and The star
signed in Cyrillic and dated I. Kabakov 74. (lower right)

ink and coloured pencil on paper
7 x 5 in. (19 x 14 cm.)
Drawn in 1974
4,000-6,000
$6,500-9,600
5,100-7,600
signed and numbered Grisha Bruskin 3/3 (on the base) and further
numbered (on the underside of the base)
painted bronze
63.1 cm. high including base; and smaller
(4)
25,000-30,000
PROVENANCE:
Acquired by the present owner in 2006.
$41,000-48,000
32,000-38,000
PROVENANCE:
137
157
PROPERTY OF A NORWEGIAN
COLLECTOR
138
EVGENI RUKHIN (1943-1976)
signed in Cyrillic and dated E Rukhin 70

(lower centre)
mixed media on canvas
26 x 27 in. (66.5 x 70 cm.)
Painted in 1970
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:

owner in 1970.
138
139
158
140
139
140
EDOUARD STEINBERG (1937-2012)
VLADIMIR NEMUKHIN (B. 1925)
Composition
Netto-Brutto
signed with Cyrillic initials and dated E Sh-1989 (lower right);

further signed in Cyrillic, inscribed with title in Russian and further
dated E. Shteinberg (November 1989)/Munich (on the reverse)
pencil, gouache and collage on two joined boards
29 x 42 in. (74 x 109 cm.)
signed in Cyrillic and dated Vl. Nemukhin. 89 (lower centre)

pencil, acrylic, string, wood, playing cards and muslin on board
39 x 38 in. (99 x 98 cm.)
Executed in 1989
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Galerie Alex Lachmann, Cologne (label on the backboard).

50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
Galerie Alex Lachmann, Cologne (label on the reverse).

159

*141
LEONID SOKOV (B. 1941)
Monroe and Stalin

signed and dated Leonid Sokov 1991 (lower right) and inscribed
A/P. (lower left)
mixed media on paper
39 x 34 in. (98.5 x 86.2 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:

PROPERTY FROM A PRIVATE COLLECTION, GERMANY

142
MIKHAIL CHEMIAKIN (B. 1943)
Eskimo Mask
signed and dated M. Chemiakin./82. (lower right);
further signed, inscribed in Russian with title and further dated
M. Chemiakine/1982/N.Y./U.S.A. (on the reverse)
mixed media on canvas
76 x 52 in. (193 x 132.7 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Franklin Bowles Galleries, San Francisco in the 1980s.

Acquired by the grandmother of the present owner circa 1990.
For an earlier, related work on paper entitled The Eskimo God
(1979, 24 x 17 in.) see Chemiakin: Petersburg Period/Paris Period,
1986, p. 423.
160
PROPERTY OF A NEW YO RK CO LLECTOR

*143
OLEG TSELKOV (B. 1934)
Acrobats
signed, further signed in Cyrillic, inscribed
with title, further inscribed in Russian with
title and dated Oleg Tselkov
(Oleg Tselkov)/1978 (on the reverse)
oil on canvas
36 x 24 in. (91.4 x 61 cm.)
50,000-70,000
$81,000-110,000
64,000-88,000
PROVENANCE:
Private collection, New York.

Acquired from the above by the present
owner circa 1996.
161
PROPERTY OF AN ENGLISH COLLECTOR

144
NATALYA NESTEROVA (B. 1944)
Portrait
signed with Cyrillic initial N.
(lower right); further signed in Cyrillic,
inscribed in Russian with title and dated
Nesterova/1997 (on the reverse)
oil on canvas
27 x 23 in. (70 x 58.5 cm.)
6,000-8,000
$9,700-13,000
7,600-10,000
PROVENANCE:

in the late 1990s.
144
EUROPEAN COLLECTOR
145
RICHARD VASMI (1929-1998)
The fight into Egypt

signed with artists monogram (lower right);
inscribed in Russian with title (on a label
attached to the reverse)
oil on board
13 x 16 in (33 x 41 cm.)
Painted in 1975
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:

owner in Leningrad in 1996.
145
146
ALEKSANDR VINOGRADOV (B. 1964)
Portrait in interior no. 1

signed with Cyrillic initials and dated
AV-91 (lower right); further signed in
Cyrillic, inscribed in Russian with title
and dated Vinogradov A. A./1991
(on the reverse)
oil on canvas
70 x 55 in. (180 x 140.5 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:

owner in 1994.
EUROPEAN COLLECTOR
147
ANATOLY SLEPYSHEV (B. 1932)
Winter
oil on canvas
23 x 23 in. (60 x 60 cm.)
Painted in 1997.
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:

owner in Moscow in 1998.
148-200 No Lots
END OF SESSION I
163
SESSION II: FABERG & RUSSIAN

WORKS OF ART
MONDAY 24 NOVEMBER 2014
AT 2.00 PM (LOTS 201-477)
PROPERTY FROM AN IMPORTANT COLLECTION

201
A JEWELLED GOLD-MOUNTED AGATE KOVSH
BY FABERG, WITH THE WORKMASTERS MARK OF ERIK KOLLIN,
ST PETERSBURG, CIRCA 1890, SCRATCHED INVENTORY NUMBER 40157
Hemispherical, applied with a tapering gold reeded handle,

with a ball fnial, set with fve cabochon sapphires, marked on handle;
in a Wartski ftted case
5 in. (13.8 cm.) long
18,000-25,000
$29,000-40,000
23,000-32,000
PROVENANCE:
Anonymous sale; Sothebys, Zurich, 19 November 1976, lot 233.

With Wartski, London.
EXHIBITED:
London, Victoria & Albert Museum, Faberg 1846-1920,

23 June-25 September 1977, no. R22.
LITERATURE:
Exhibition catalogue, Faberg 1846-1920, Victoria & Albert Museum,

London, 1977, listed p. 118, illustrated p. 122.
A. K. Snowman, Carl Faberg Goldsmith to the Imperial Court of Russia,
New York, 1983, illustrated p. 138.
165

202
A RARE SILVER-MOUNTED TIFFANY FAVRILE GLASS SCENT FLASK
THE MOUNTS MARKED FABERG, WITH THE WORKMASTERS MARK OF
VICTOR AARNE, ST PETERSBURG, 1899-1904, SCRATCHED INVENTORY
NUMBER 5333, THE FLASK SIGNED L.C.T. AND NUMBERED B583
Of bulbous form, the raised openwork spreading foot chased with a

band of lilies, the upper mount with two scroll handles, each set with
three pearls, the detachable cork stopper surmounted with a foliate
fnial set with a pearl, marked on base; in the original silk and velvetlined wood case stamped Faberg St Petersburg Moscow beneath
the Imperial warrant
4 in. (10.7 cm.) high
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
The Robert Strauss Collection of Works of Art by Carl Faberg;

Christies, London, 9 March 1976, lot 12.
166
EXHIBITED:

23 June-25 September 1977, no. S3.
LITERATURE:

London, 1977, listed and illustrated p. 127.
New York, 1983, pp. 62-63.
In addition to producing silver mounts for works by Russias native porcelain
and glass factories, Faberg added mounts to works in ceramic and glass
by foreign manufacturers, such as Gall, Doulton, Ltz and Tiffany. These
works in the Art Nouveau style provided Faberg with a showcase for
designs at once highly inventive and sensitive to the original works. So
successful was the outcome that Faberg chose to exhibit a silver-mounted
ceramic vase by Rorstrand at the Exposition Universelle in Paris in 1900.
These works with Faberg silver mounts proved popular with members of
the Imperial family, who had several examples in their private collections.
A 1909 inventory of the rooms of Empress Alexandra Feodorovna in the
Winter Palace records several silver-mounted pieces of Tiffany glass, among
them a small scent fask (S. Harrison, et al., Artistic Luxury: Faberg, Tiffany,
Lalique, New Haven and London, 2008, pp. 202, 204).

203
A RARE SILVER-MOUNTED TIFFANY FAVRILE GLASS VASE
VIKTOR AARNE, ST PETERSBURG, 1899-1904, THE VASE SIGNED LOUIS C.
TIFFANY AND NUMBERED O7233, CIRCA 1900
Of bulbous form, the varicolour favrile glass decorated with peacock

feather motifs, on a spreading foot chased as three peacocks with
upright tails, marked throughout
7 in. (20 cm.) high
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
By repute, the Prince and Princess Cantacuzne.

EXHIBITED:
The present vase, according to Kenneth Snowman, was a wedding gift to

Prince and Princess Cantacuzne (A.K. Snowman, Carl Faberg: Goldsmith
to the Imperial Court of Russia, New York, 1983, pp. 62-63). Julia Dent
Grant, granddaughter of the American President Ulysses S. Grant, married
Prince Mikhail Cantacuzne, a Russian general and diplomat, in Newport,
Rhode Island, in September 1899. The newly wedded couple left Newport
aboard the yacht of family friend Henry Walters, destined for France to
collect some belongings, before travelling on to Russia, where they would
make their home (J. Grant Cantacuzne, My Life Here and There, New
York, 1922, p. 205). While residing in St Petersburg, the Princess was
one of the earliest recorded American clients of Faberg. She introduced
Henry Walters to Fabergs shop during his visit, starting him on his way to
building an important collection. Prince and Princess Cantacuzne remained
in the Russian capital until the Revolution, when they escaped via Finland to
the United States.
Another Tiffany Favrile glass vase with Faberg silver mounts was sold
Christies, New York, 25 October 1988, lot 154.

LITERATURE:

London, 1977, listed p. 127.
New York, 1983, pp. 62-63.
167

204
A RARE AND IMPORTANT SILVER-MOUNTED LTZ GLASS LAMP
VICTOR AARNE, ST PETERSBURG, CIRCA 1901, SCRATCHED INVENTORY
NUMBER 7968
Of shaped rectangular form, on a spreading foot, chased and engraved

with four dolphins with upright tails, the upper mount chased with
scrolls and foliate motifs to imitate sea waves, the mounts pierced for
electric fttings, marked under base and on upper mount
11 in. (29.2 cm.) high (without lamp shade)
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Empress Maria Feodorovna, purchased from the Faberg St

Petersburg branch on 31 December 1901 for 450 roubles.
EXHIBITED:

LITERATURE:

London, 1977, listed p. 127.
New York, 1983, pp. 62-63.
We are grateful to Dr Valentin Skurlov for his assistance with the research
of the present lot.
The invoice from Faberg for the present lamp
168
PROPERTY OF A GENTLEMAN
205
A LARGE AND IMPORTANT NEPHRITE MODEL OF A CARP [KOI]
BY FABERG, CIRCA 1900, THE BASE INSCRIBED 3?544 / F 1500
Stylistically carved, with cabochon moonstone-set eyes within gold bezels, apparently unmarked; in the damaged and restored original silk and
velvet-lined wood case stamped Faberg St Petersburg Moscow beneath the Imperial warrant
9 in. (23 cm.) long
250,000-350,000
$410,000-560,000
320,000-440,000
PROVENANCE:
Acquired in London by the grandfather of the present owner in the 1930s.

The present lot is an exceptionally large and rare example of a Faberg hardstone animal. Carved from a single piece of nephrite, this model of a carp
showcases Fabergs celebrated lapidary work. When designing models of animals, the frms designers often drew inspiration from Japanese netsuke.
Peter Carl Faberg himself was an avid collector and kept over 500 netsuke in his fat on Bolshaya Morskaya street. Just as much of an inspiration were
other animal subjects produced in Japan during the Meiji period (1868-1912). The carp (koi) is a particularly signifcant symbol in Japan; it stands for
perseverance and determination, as it swims upstream. The modeling of the present lot bears a resemblance to Meiji bronzes, which served as inspiration
for other works by the frm. A silver elephant produced by the First Silver Artel (to which Julius Rappoport left his production molds, including those for
animals) was reputedly a direct copy of a Meiji bronze (G. von Hapsburg, Faberg: The Imperial Craftsman and His World, London, 2000, p. 118, no. 183,
illustrated). In addition, a silver and Bowenite table lamp in the form of a dragon (sold Christies, London 8 June 2010, lot 188), produced in Rappoports
workshop and formerly in the collection of the Nobel family, owes a signifcant debt to Meiji bronzes and Japanese design.
For a similar example of large carving of a carp in obsidian by Faberg, see exhibition catalogue, Wartski, Japonisme: from Falize to Faberg, London, 2011,
p. 98, illustrated p. 108, no. 190 and exhibition catalogue, A La Vieille Russie, Faberg, New York, 1983, p. 117, no. 419.
A similar model of a fsh in aventurine quartz was sold Christies, Geneva, 12 May 1981, lot 97.
170170
PROPERTY OF A LADY OF TITLE

206
A JEWELLED AND TWO-COLOUR GOLDMOUNTED SILVER-GILT AND GUILLOCH
ENAMEL CIGARETTE CASE
MARKED BRITSYN, ST PETERSBURG, 1908-1917
Rectangular with rounded corners,

enamelled overall in translucent light blue
over a wavy lozenge guilloch ground, the
sides mounted with green gold laurel bands,
with a rose-cut diamond-set thumb-piece,
marked throughout
4 in. (10.4 cm.) wide
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
With A La Vieille Cit, Paris.

207
A JEWELLED SILVER-GILT AND GUILLOCH
ENAMEL PILL BOX
BY FABERG, WITH THE WORKMASTERS
MARK OF FEODOR AFANASSIEV, ST PETERSBURG,
1908-1917, SCRATCHED INVENTORY
NUMBER 18303
Of compressed circular form, the hinged

cover and body enamelled in translucent
light green over a radiating guilloch
ground, the mount of the cover cast as laurel
band, with thumb-piece set with rose-cut
diamonds, the interior gilt, marked inside cover
and base
5,000-7,000
$8,100-11,000
6,400-8,800
For a comparable pill box, see G. von Habsburg,

Faberg: Imperial Craftsman and His World,
London, 2000, p. 284, no. 741, illustrated.
172

208
A PAIR OF GEM-SET ENAMEL THREE-COLOUR GOLD-MOUNTED
CUT GLASS SCENT-BOTTLES
MARK OF FABERG, MOSCOW, 1899-1908, SCRATCHED INVENTORY
NUMBER 11288
Each cylindrical glass bottle carved with spiral futes and foral sprays,
mounted with two-colour gold ribbon-tied laurel border and applied
with green gold ribbon-tied laurel swags suspended from rose gold
foral crests, the detachable cover enamelled in translucent rose over
a striped guilloch ground, with cabochon emerald fnial within an
acanthus mount, applied with vertical laurel vines and a horizontal
ribbon-tied laurel mount, further decorated with a border champlev
enamelled in white and applied with trails of bellfowers, with a glass
stopper, marked on mounts
5 in. (14 cm.) high
(2)
60,000-80,000
LITERATURE:
A. K. Snowman, The Art of Carl Faberg, London, 1964, pl. 163.

For a comparable pair of scent bottles, see G. Hill, G. G. Smorodina, B. L.
Ulyanova, Faberg and the Russian Master Goldsmiths, New York, 1989,
pl. 259. Another comparable pair of scent bottles from the former
collection of H.R.H. The Princess Margaret, Countess of Snowdon, was
sold Christies, London, 13 June 2006, lot 130.
$97,000-130,000
76,000-100,000
173

209
A JEWELLED TWO-COLOUR
GOLD-MOUNTED, GUILLOCH ENAMEL
AND ROCK CRYSTAL CANE HANDLE
MARK OF MICHAEL PERCHIN, ST PETERSBURG,
1899-1903
Stylistically carved as the head of a hare,

set with cabochon ruby eyes, the mount
enamelled in translucent pearl white enamel
over a wavy guilloch ground, the upper
border set with rose-cut diamonds and
rubies, the lower border cast with green gold
laurel band, marked on mount
2 in. (6.3 cm.) high
8,000-12,000
$13,000-19,000
11,000-15,000

210
A GEM-SET AND GOLD MOUNTED
SILVER-GILT AND GUILLOCH ENAMEL
CIGARETTE CASE
MARKED FABERG, WITH THE WORKMASTERS
MARK OF HENRIK WIGSTRM, ST PETERSBURG,
NUMBER 12396
tui-form, the body enamelled overall in

translucent light blue over a wavy guilloch
ground, the cover and base with seed-pearl
bands, with rose-cut diamond-set pushpiece, marked throughout
3 in. (8 cm.) high
10,000-15,000
174
$17,000-24,000
13,000-19,000

211
A JEWELLED GOLD-MOUNTED GUILLOCH AND CHAMPLEV
ENAMEL NEPHRITE KOVSH
BY FABERG, ST PETERSBURG, CIRCA 1890, SCRATCHED INVENTORY
NUMBER 49208
In the Renaissance style, the oval nephrite bowl with hook handle
applied with a gold phoenix and scrolling foliage, enamelled
champlev in white and with translucent red and blue over a striped
guilloch ground, set with rose-cut diamonds and a cabochon ruby
eye, with a pearl fnial, apparently unmarked; in the original silk and
velvet-lined wood case stamped Faberg St Petersburg Moscow
beneath the Imperial warrant
4 in. (11.5 cm.) long
20,000-30,000
$33,000-48,000
26,000-38,000
During his travels in Western Europe, Faberg became interested in

Renaissance objets de vitrine, and through the work of such craftsmen as
Ratzendorfer and Vasters, he developed an awareness of the infuences
of historicism on nineteenth-century decorative arts (G. von Habsburg,
Faberg, Geneva, 1988, pp. 66-72). In the workshop of Michael Perchin,
Faberg produced a small number of objects in the Renaissance style, to
which the present kovsh is related.
Based on a photograph taken in 1915 and depicting the Faberg collection
of Grand Duchess Anastasia Mikhailovna of Mecklenburg (1860-1920), the
present kovsh may have been in the above collection
Detail from the 1915 photograph of the Faberg collection of Grand

Duchess Anastasia Mikhailovna of Mecklenburg (1860-1922) c. Solodkoff,
Hemmelmark Archives
175

~212
A SILVER-GILT AND GUILLOCH ENAMEL
PHOTOGRAPH FRAME
MARK OF IVAN BRITSYN, ST PETERSBURG,
1908-1917
Circular, centring a circular aperture within

a plain bezel, enamelled in translucent
pearl white over a wavy guilloch ground,
the ivory back with a silver scroll strut and
suspension loop, marked on mount and strut
10,000-12,000
$17,000-19,000
13,000-15,000

213
A JEWELLED THREE-COLOUR
GOLD-MOUNTED AND GUILLOCH
ENAMEL PHOTOGRAPH FRAME
NUMBER 3722
Square, enamelled in translucent lime green

over a sunburst guilloch ground, centring
a pearl-set circular aperture, applied with
cast ribbon-tied laurel swags suspended from
ribbon twists set with seed-pearls and rosecut diamonds, all within reeded border, with
associated wood back and silver-gilt clock
strut, marked on lower edge
15,000-25,000
176
$25,000-40,000
19,000-32,000

214
A JEWELLED TWO-COLOUR GOLD IMPERIAL PRESENTATION
SNUFF-BOX
ENGRAVED FABERG, WITH THE WORKMASTERS MARK OF MICHAEL
PERCHIN, MAKERS MARK OF ALEXANDER VOGT, ST PETERSBURG,
CIRCA 1890
Rectangular with rounded corners, the hinged cover decorated

overall with a reeded sunburst pattern, applied with a rose-cut
diamond-set monogram NA for Tsarevich Nicholas Alexandrovich
beneath the Imperial crown, within two concentric green gold
diagonally reeded borders, the sides similarly reeded, with a scroll
thumb-piece, rose gold interior, marked on lower rim
3 in. (10 cm.) wide
40,000-60,000
$65,000-96,000
51,000-76,000
Snuff-boxes set with the diamond cipher of Tsarevich Nicholas

Alexandrovich are very rare on the market.
According to the research of Ulla Tillander-Godenhielm and Dr Valentin
Skurlov, during his 1890-1891 journey to inaugurate the Far East segment
of the Trans-Siberian Railway, Tsarevich Nicholas took six presentation
snuff-boxes set with his diamond cipher by Faberg and fve boxes set with
his miniature portrait, one by Faberg and four by Koechli. The recipients
of four of the snuff-boxes set with a miniature presented during the
Tsarevichs trip are known. Two of the boxes by Koechli have appeared on
the market: one was sold by Uppsala Auktionskammare, 27-28 May 2005,
lot 112 and another by Christies, London, 29 November 2010, lot 233.
Less is known about the presentation snuff-boxes set with Tsarevich

Nicholass diamond cipher that were taken on the journey. It appears
that these snuff-boxes were returned to the Imperial Cabinet and were
not presented by the young Tsarevich between 1890 and 1891. Rather
Emperor Nicholas II presented some of these snuff-boxes, set with his
earlier cipher, between 1894 and 1895 directly following his coronation.
A related example of an Imperial presentation snuff-box set with the
diamond cipher of Tsarevich Nicholas Alexandrovich was offered Christies,
London, 17 December 1998, lot 245. This gold snuff-box was ordered
by Tsarevich Nicholas Alexandrovich from Koechli on 7 July 1894 with
his initials as Grand Duke. Later that year, on the 10th of December, the
Roman numeral II was added to the cipher. The stones on the box were
then replaced with higher quality diamonds by Hahn and the piece was
presented to the State Councilor Skorobogatyi. It was then returned to
the Imperial Cabinet for its cash value and presented again on the
20 February 1895 to Munir-Pasha, the Chief Minister of Ceremony
of the Sultan.
It is probable that the present snuff-box by Faberg was one of the
diamond cipher-set presentation pieces ordered for Tsarevich Nicholas
Alexandrovichs eastern journey of 1890-1891 and was never presented.
We are most grateful to Dr Valentin Skurlov for his assistance with research
on the above box.
177

215
A JEWELLED AND GUILLOCH ENAMEL GOLD-MOUNTED ROCK CRYSTAL STUDY OF CORNFLOWER
BY FABERG, ST PETERSBURG, CIRCA 1900, APPARENTLY UNMARKED, SCRATCHED INVENTORY NUMBER
PARTIALLY VISIBLE
In a tapering cylindrical rock crystal vase, a fnely textured silver-gilt stem with two branches, each
terminating in a fowerhead, the trumpet-shaped petals enamelled in translucent blue over a striped
guilloch ground, with rose-cut diamond-set stamens and pistils, apparently unmarked
6 in. (17 cm.) high
200,000-300,000
$330,000-480,000
260,000-380,000
PROVENANCE:
Anonymous sale; Christies, Geneva, 11 November 1975, lot 267.

Fabergs production of fower studies is thought to have begun in the 1880s. The collaborative process involved
many skilled artists and goldsmiths of the frm. It began with designs which, according to H.C. Bainbridge, were
often executed by Carl Faberg himself. The work was then carried out in stages: setting the precious stones,
enamelling the fowers, adding the gold stalks and grasses, and fnally assembling the fowers (see Caroline de
Guitaut, Faberg in the Royal Collection, London, 2003, pp. 103-104). Approximately eighty fower and fruit
studies are known to have survived.
The inspiration for these objets dart came from differewnt sources, such as Russian lapidary art, European jewelled
bouquets of the eighteenth century, and Chinese hardstone carvings. Never-wilting fower studies were popular
among Russian aristocrats, who were known for their love of fowers and knowledge of botany. St Petersburg was
home to countless forists, some of whom supplied Imperial palaces with fresh fowers transported on ice by train
from France. With her purchase in 1895 of a yellow rose, Empress Alexandra Feodorovna was the frst member
of the Imperial family to purchase a fower study. She was soon followed by Empress Maria Feodorovna, Grand
Duchess Maria Pavlovna, wife of Vladimir Alexandrovich, and Queen Alexandra of England.
Fabergs elegant creations were often put in rock-crystal vases, carved in trompe loeil technique so that they
appeared to contain water. The shaped golden stems were delicately engraved with fne lines, and the fowers
were often executed in enamelled gold with diamond-set centres, such as the present study of a cornfower.
Several Faberg cornfower studies are known and include those in the Hermitage (previously in the Yusupov
Collection), in the Royal Collection, purchased at Wartski by Queen Elizabeth II, and in the collection of Virginia
Museum of Fine Arts, formerly part of Lillian Thomas Pratt collection. The latter bears a very close resemblance
to the present lot. Further examples of cornfower studies have appeared at auction in recent years: Sothebys,
New York, 12 April 2011, lot 262; and Sothebys, London, 27 November 2012, lot 560.
178
179

216
A JEWELLED TWO-COLOUR GOLD GUILLOCH ENAMEL
VANITY CASE
MAKERS MARKS JT AND CM, ST PETERSBURG, 1908-1917
Rectangular with rounded corners, the central band enamelled in

light green over a wavy guilloch ground within green gold acanthus
borders, applied with a diamond-set monogram MB, the sides of the
case reeded, with diamond-set thumb-pieces, the interior with three
hinged compartments, the interior of the cover with a mirror, also
with a lipstick-holder, marked inside base; in a silk and velvet-lined
wood case stamped Faberg St Petersburg Moscow London beneath
the Imperial warrant
4 in. (11.4 cm.) long
12,000-18,000

217
A JEWELLED GOLD-MOUNTED AND SILVER AND GUILLOCH
ENAMEL BELT BUCKLE RE-MOUNTED AS A PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF MICHAEL PERCHIN,
ST PETERSBURG, CIRCA 1890
Rectangular with cut corners, enamelled in translucent dark blue over

a wavy guilloch ground, centring a rectangular aperture, enclosing
a later added glass within a gold bezel, the outer mount set with
rose-cut diamonds, with a later added scroll strut, marked on the back
6,000-8,000
180
$9,700-13,000
7,600-10,000
$20,000-29,000
16,000-23,000

218
A SILVER AND GUILLOCH ENAMEL DOUBLE-SIDED PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF KARL (HJALMAR) ARMFELT, ST PETERSBURG,
1908-1917
Rectangular with rounded upper corners, one side enamelled in translucent light green over a
wavy guilloch ground, centring a rectangular aperture with rounded upper corners, within a
reeded ribbon-tied bezel, the other side enamelled in translucent light purple over a sunburst
guilloch ground, centring an oval aperture, within a reeded ribbon-tied bezel, on a hinged
supporting strut, marked on mount and strut, also with import marks
4 in. (10.5 cm.)high
20,000-30,000
$33,000-48,000
26,000-38,000
For a comparable frame, see G. von Habsburg, Faberg: Imperial Craftsman and His World, London,
2000, illustrated p. 283, no. 732.
181

219
A LARGE SILVER-GILT AND GUILLOCH ENAMEL PHOTOGRAPH FRAME
BY FABERG, WITH THE WORKMASTERS MARK OF ANDREI GORIANOV, ST PETERSBURG, 1908-1917,
WITH LATER MARKS AF FOR AGATHON FABERG
Rectangular, enamelled in translucent lavender over a wavy guilloch ground, centring a

beaded oval aperture, all within reeded ribbon-tied border, the wood back with a silver scroll
strut and suspension loop, marked throughout
8 in. (22 cm.) high
12,000-18,000
182
$20,000-29,000
16,000-23,000
220
A JEWELLED FOUR-COLOUR GOLD-MOUNTED GUILLOCH ENAMEL
MINIATURE PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF VIKTOR AARNE,
ST PETERSBURG, 1899-1904
221
A JEWELLED GOLD-MOUNTED GUILLOCH ENAMEL MINIATURE
PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF VIKTOR AARNE,
ST PETERSBURG, 1899-1904, SCRATCHED INVENTORY NUMBER 3352
Of curved triangular form, on shaped baluster feet, enamelled overall

in translucent orange over a sunburst guilloch ground, the oval
aperture fanked by four-colour gold fower sprays, the bottom set
with seed pearls, within plain gold border, surmounted with
a pinecone fnial and ribbon crest, the mother-of-pearl back with a
silver scroll strut, marked on lower border and strut
Of a six-pointed star form, enamelled in translucent orange over a

sunburst guilloch ground, centring a circular aperture within a seedpearl set bezel, within bead and reel gold border, the mother-of-pearl
back with a silver scroll strut, marked on lower border and strut
10,000-15,000
$17,000-24,000
13,000-19,000
8,000-12,000
$13,000-19,000
11,000-15,000

222
A JEWELLED TWO-COLOUR GOLD AND GUILLOCH
ENAMEL RHODONITE KOVSH
ILLEGIBLE MARKS, APPARENTLY ODESSA, 1899-1908
Of traditional form with raised prow and hook

handle, the handle enamelled overall in translucent
pearl white over a striped guilloch ground, applied
with green gold foliate scrolls, set with cabochon
emerald, sapphire, rose-cut diamonds and citrines, the
mount applied with cast laurel band, set with rose-cut
diamonds and emeralds in square mounts at intervals,
marked on mount
4 in. (12 cm.) long
12,000-18,000
$20,000-29,000
16,000-23,000
183

223
A JEWELLED TWO-COLOUR GOLD, SILVER-GILT AND GUILLOCH
ENAMEL VANITY CASE
MARKED FABERG, WITH THE WORKMASTERS MARK OF AUGUST HOLLMING,
Rectangular with rounded corners, with three hinged compartments,

the largest compartment enamelled in grey-blue over a scalloped
guilloch ground, fanked by two rose gold reeded sides, applied with
green gold laurel borders, left compartment with two hinged covers,
central thumb-piece set with rose-cut diamonds, larger compartment
with mirrored interior, gilt interior, marked inside base and on covers
4 in. (11.1 cm.) long
8,000-12,000
$13,000-19,000
11,000-15,000

224
A JEWELLED AND CHAMPLEV ENAMEL GOLD AND PINK AGATE
CIGARETTE CASE
MARKED FABERG, WITH THE WORKMASTERS MARK OF HENRIK WIGSTRM,
Cylindrical, the body champlev enamelled in white, with alternating

gold lines, forming four panels, each centring a reserve, set with a
rose-cut diamond-set bow arrow and quiver on the hinged cover, a
similarly decorated foral wreath on the base, and two fowerheads
on the side panels, each panel fanked by diamond-set fowers, with
two side compartments, one with a match strike, the other enclosing
a jewelled and enamel gold-mounted amber cigarette holder, the
hinged side covers mounted with pink agate within diamond-set
borders, with a diamond-set thumb-piece, marked throughout
3 in. (9.5 cm.) wide
40,000-60,000
$65,000-96,000
51,000-76,000
A nearly identical cigarette case was sold Christies, Geneva, 12 November

2013, lot 247. For the original design, see U. Tillander-Godenhielm, et
al., Golden Years of Faberg: Drawings and Objects from the Wigstrm
Workshop, Paris, 2000, illustrated p. 101 and p. 160, pl. 137.
184

225
A LARGE GEM-SET, GOLD-MOUNTED AND GUILLOCH ENAMEL
NEPHRITE BOX
Circular, the detachable cover mounted with a silver-gilt border

enamelled in translucent pearl white over a moir guilloch ground
within two pink gold reeded mounts, set with cabochon moonstones
at intervals, the body with a plain rose gold border, marked on mounts
150,000-170,000
$250,000-270,000
190,000-210,000
The present large nephrite box is a perfect example of the virtuosity of

Fabergs skilful lapidary work. The frm selected hardstones with the
utmost care, in order to best exploit the intensity and depth of colour
of the natural material. When working on large objects, it was essential
for the frms carvers to fnd a homogeneous block of stone, which was
of even quality throughout. Fabergs hardstone objects were carved to
perfection and polished to the highest degree, so that the fnished stone
was translucent but at the same time displayed a depth of colour.
According to Franz Birbaum, chief workmaster of the frm, Nephrite was
most widely used, because of its noble qualities and beauty... Both hard
and ductile and free from the cracks which make many other stones so
diffcult to work, nephrite can be carved to the limits of perfection (T.
Faberg and V. Skurlov, The History of the House of Faberg, St Petersburg,
1992, p. 39). Faberg used six different types of nephrite, each of different
shade and appearance, varying from dark green with black inclusions to
shades of brown and grey. The stone was usually extracted either from the
Ural Mountains or the Irkutsk region near Lake Baikal.
185

226
A JEWELLED TWO-COLOUR GOLD-MOUNTED GUILLOCH
AND CHAMPLEV ENAMEL BOWENITE BOWL
Heart-shaped, the gold mount champlev enamelled in white, set with

rose-cut diamonds at intervals, surmounted with a gold ribbon tie,
enamelled in translucent red over a dash guilloch ground, marked
on rim
3 in. (7.5 cm.) long
20,000-30,000
$33,000-48,000
26,000-38,000

227
A JEWELLED AND CHAMPLEV ENAMEL GOLD-MOUNTED
ROSE QUARTZ BOX
In the form of a fower, the hinged cover surmounted with a rose-cut

diamond as a pistil, the mount champlev enamelled in white, with
alternating laurel leaves enamelled in translucent green over a striped
guilloch ground, the base carved to simulate a violet, marked on mount
2 in (5.3 cm.) wide
40,000-60,000
227
186
$65,000-96,000
51,000-76,000

228
A SILVER-MOUNTED WOOD AND GUILLOCH ENAMEL PHOTOGRAPH FRAME
MARKED K.FABERG, WITH THE WORKMASTERS MARK OF ANDERS (ANTTI) NEVALAINEN, 1899-1904,
SCRATCHED INVENTORY NUMBER 8154
Rectangular, centring a rectangular aperture within a beaded bezel, enamelled in translucent

mauve over a wavy guilloch ground, fanked by four rosettes at corners, within a rectangular
reeded ribbon-tied border, surmounted with a ribbon crest with suspended laurel ribbon-tied
swags, set into a plain wooden frame, with wood back and strut, marked on lower mount
10 in. (26 cm.) high
10,000-15,000
$17,000-24,000
13,000-19,000
187

229
A JEWELLED FOUR-COLOUR GOLD-MOUNTED AGATE SCENT-BOTTLE
MARKED FABERG, WITH THE WORKMASTERS MARK OF MICHAEL PERCHIN, ST PETERSBURG,
CIRCA 1890, SCRATCHED INVENTORY NUMBER 14310
Of triple-gourd form, the hinged cover mounted with a pink gold meander border, with
a diamond-set thumb-piece, surmounted by a cabochon ruby within rose-cut diamondset mount, decorated with four-gold fower garlands, the base similarly decorated with
four-colour gold foral garlands suspended from four cabochon rubies, the cover and body
applied with eight vertical twisted threads of gold wire set at intervals, with a gold-mounted
cork stopper, marked on the lower rim; in the original silk and velvet-lined wood case stamped
Faberg St Petersburg Moscow London beneath the Imperial warrant
30,000-50,000
188
$49,000-80,000
38,000-63,000

230
A GEM-SET TWO-COLOUR GOLDMOUNTED NEPHRITE KOVSH
NUMBER 8178
Of traditional form, with slightly raised prow

and hook handle, the prow surmounted
with a bud-shaped gold mount set with
cabochon star sapphire, the nephrite body
applied with a bead-chased mount, marked
on the handle; in the original silk and
velvet-lined wood case stamped Faberg
St Petersburg Moscow Odessa beneath the
Imperial warrant
4 in. (10 cm.) long
20,000-30,000
$33,000-48,000
26,000-38,000

231
A JEWELLED AND GUILLOCH ENAMEL
NEPHRITE ASHTRAY
MARK OF HENRIK WIGSTRM, ST PETERSBURG,
CIRCA 1903
Square with elongated corners, the gold

mount enamelled in translucent red over a
striped guilloch ground, decorated with
diamond-set crossed ribbons, the corners set
with pearl fnials, marked on mount
4 in. (10.2 cm.) wide
30,000-50,000
$49,000-80,000
38,000-63,000
189

232
A JEWELLED THREE-COLOUR GOLD,
SILVER-GILT AND GUILLOCH ENAMEL
VANITY CASE
MARK OF IVAN BRITSYN, ST PETERSBURG,
1908-1917
Rectangular with rounded corners, with

two hinged compartments, enamelled
overall in pearl white over a wavy guilloch
ground, applied with a crest depicting two
ribbon-tied torches and a ring, with rosecut diamond-set thumb-pieces, the larger
compartment with mirrored interior, gilt
interior, marked in base
4 in. (10.2 cm.) long
7,000-9,000
$12,000-14,000
8,900-11,000

233
A GUILLOCH ENAMEL SILVER PHOTOGRAPH FRAME
MAKER'S MARK OF AGATHON FABERG, CIRCA 1930
Rectangular, enamelled in translucent pearl white over a moir

guilloch ground, centring an oval aperture within a bead and reel
bezel, surmounted by a ribbon crest, the outer border cast with
acanthus leaf-tips, with silver scroll strut, marked on strut
4 in. (10.8 cm.) high
4,000-6,000
190
$6,500-9,600
5,100-7,600

234
A JEWELLED GOLD-MOUNTED RHODONITE BOX
ENGRAVED FABERG, PROBABLY ST PETERSBURG, CIRCA 1900
Circular, mounted with gold bowknot-shaped clasp set with rose-cut diamonds and emeralds,
with a gold circular hinge, engraved on the hinge
20,000-30,000
$33,000-48,000
26,000-38,000
191

235
A GEM-SET, ENAMELLED GOLD-MOUNTED ROCK CRYSTAL CIGARETTE CASE
Rectangular with rounded corners, the rock crystal cover and base engraved overall with a
foral chequered pattern, the gold mount enamelled with green and white guilloch motif
over a stippled ground, with rose-cut diamond-set push-piece, marked on mount
3 in. (9 cm.) long
25,000-35,000
192
$41,000-56,000
32,000-44,000

236
A GOLD-MOUNTED BOWENITE MINIATURE VASE
Of tapering cylindrical form, the gold cagework mount decorated

with trelliswork and rocaille scrolls in the Louis XV style, the foot
similarly decorated, on six rocaille feet, marked on lower and upper
mounts, with English import marks
2 in. (7 cm.) high
15,000-25,000
$25,000-40,000
19,000-32,000

237
A GEM-SET SILVER AND GUILLOCH ENAMEL BELL-PUSH
Circular, on raised foot, the compressed-spherical body enamelled in

translucent pearl white over a wavy guilloch ground, surmounted by
a cabochon moonstone push-piece within a reeded border, inscribed
in Russian under base In fond memory from E.F. / 1911, marked on
foot; in the original silk and velvet-lined wood case stamped Faberg
St Petersburg Moscow London beneath the Imperial warrant
7,000-9,000
$12,000-14,000
8,900-11,000
193

238
A GEM-SET, GOLD-MOUNTED SILVER-GILT AND GUILLOCH
ENAMEL CIGARETTE CASE
MARKED FABERG, WITH THE WORKMASTERS MARK OF HENRIK
WIGSTRM, ST PETERSBURG, 1908-1917, SCRATCHED INVENTORY
NUMBER 21847
tui-form, the body enamelled overall in translucent grey-blue over

a wavy guilloch ground, with gold laurel borders, the hinged cover
set with a seed-pearl border, with a cabochon moonstone push-piece,
marked inside base, cover and on interior rim
3 in. (9 cm.) high
10,000-15,000

239
A SILVER AND GUILLOCH ENAMEL PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF ANDERS (ANTTI)
NEVALAINEN, ST PETERSBURG, 1899-1904
Circular, centring a circular aperture within a reeded ribbon-tied

bezel, enamelled in translucent lime green over a sunburst guilloch
ground within an outer beaded border, with a silver scroll strut,
marked on mount and strut
3 in. (9 cm.) diameter
7,000-9,000
194
$12,000-14,000
8,900-11,000
$17,000-24,000
13,000-19,000

240
A GOLD-MOUNTED RHODONITE PHOTOGRAPH FRAME
CIRCA 1890
Rectangular with rounded corners, the oval aperture within a gold mount, cast and
chased with rocaille scrolls in the Louis XV style, with a scroll strut, marked on mount
4 in. (11 cm.) high
10,000-15,000
$17,000-24,000
13,000-19,000

241
A JEWELLED TWO-COLOUR GOLD-MOUNTED AND GUILLOCH
ENAMEL THERMOMETER
BY FABERG, WITH THE WORKMASTERS MARK OF HENRIK WIGSTRM,
In a cylindrical case, enamelled overall in translucent light blue

over a wavy guilloch ground, the cover set with seed-pearls within
green gold laurel borders, the glass mercury thermometer in gold
and guilloch enamel mount, set with a cabochon moonstone fnial,
marked inside the case
4 (12.1 cm.) long
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Purchased from Fabergs London branch by Albert de Goldschmidt

Esq (18791941), on 14 December 1908 for 9 10s.

242
A GEM-SET, TWO-COLOUR GOLD-MOUNTED SILVER
AND GUILLOCH ENAMEL PARASOL HANDLE CONVERTED INTO
A PAPER KNIFE
PROBABLY BY FABERG, ST PETERSBURG, CIRCA 1900
Slightly tapering, enamelled overall in translucent light pink over a

wavy guilloch ground, decorated with green gold laurel bands and
a later pink gold meander border, set with a cabochon moonstone,
the later silver-gilt blade in the form of a sword, with a leaf-shaped
cross guard, apparently unmarked
8 in. (21 cm.) long
3,000-5,000
196
$4,900-8,000
3,800-6,300

~243
A TWO-COLOUR GOLD-MOUNTED SILVER-GILT AND GUILLOCH ENAMEL
PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF KARL (HJALMAR) ARMFELT,
Circular, enamelled in translucent pearl white over a wavy guilloch ground, applied
with a circular ribbon-tied laurel wreath, centring a circular aperture, within a laurel
bezel, all within an acanthus leaf border, the ivory back with a scroll strut, marked on
lower rim and strut
40,000-60,000
$65,000-96,000
51,000-76,000
197
PROPERTY OF A LADY
PROPERTY OF A LADY
244
245
A JEWELLED MINIATURE TWO-COLOUR GOLD-MOUNTED
AND GUILLOCH ENAMEL NEPHRITE ASHTRAY
BY FABERG, ST PETERSBURG, 1904-1908
A PINK AGATE MODEL OF AN ELEPHANT

BY FABERG, CIRCA 1900
Realistically carved, standing, with black onyx-set eyes, unmarked

in. (2.4 cm.) long
5,000-7,000
$8,100-11,000
6,400-8,800
Square with rounded corners, applied with a triangular shaped gold

mount (one mount missing), enamelled in translucent salmon pink
over a striped guilloch ground, with laurel bands, set with a pearl
fnial at the far corner, marked under mount
3 in. (8.6 cm.) wide (including mount)
8,000-12,000
$13,000-19,000
11,000-15,000
PROPERTY OF A LADY
246
A JEWELLED TWO-COLOUR GOLD-MOUNTED GUILLOCH ENAMEL
SCENT BOTTLE
BY FABERG, WITH THE WORKMASTERS MARK OF HENRIK WIGSTRM,
The elongated egg-shaped body enamelled overall in translucent

cornfower blue over a chevron guilloch ground, with green gold
ribbon-tied laurel swags, the similarly enamelled hinged cover with
a seed-pearl rim, surmounted by a rose-cut diamond, with a goldmounted cork stopper, marked inside cover; in the original silk and
velvet-lined wood case
4,000-6,000
198
$6,500-9,600
5,100-7,600
PROPERTY OF A COLLECTOR
*247
A JEWELLED GOLD-MOUNTED GUILLOCH AND CHAMPLEV
ENAMEL PHOTOGRAPH FRAME
BY FABERG, WITH THE WORKMASTERS MARK OF MICHAEL PERCHIN,
Oval, the body enamelled in translucent dark blue over a moir

guilloch ground, centring an oval aperture within a diamond-set
mount, the outer gold border enamelled with alternating white
bands, surmounted by a rose gold ribbon twist, the mammoth ivory
back with gold scroll strut and suspension loop, marked on lower mount
and strut
30,000-50,000
$49,000-80,000
38,000-63,000
*248
A SILVER-GILT AND GUILLOCH ENAMEL PHOTOGRAPH FRAME
BY FABERG, WITH THE WORKMASTERS MARK OF ANDERS (ANTTI)
NEVALAINEN, ST PETERSBURG, 1899-1904
Rectangular, enamelled in translucent lime green over a moir

guilloch ground, surmounted by a ribbon crest, suspending an oval
beaded bezel, each corner applied with a cast rosette, the outer border
cast with acanthus leaf-tips, the mammoth ivory back with silver
scroll strut, marked on lower rim and strut
4 in. (12 cm.) high
20,000-30,000
$33,000-48,000
26,000-38,000
199
249
A RARE AND UNUSUAL JEWELLED GOLD-MOUNTED AGATE BOX SHAPED AS AN OYSTER
MARKED FABERG, WITH THE WORKMASTERS MARK OF HENRIK WIGSTRM, ST PETERSBURG,
Shaped as an oyster, mounted with gold scroll hinge and clasp, set with rose-cut diamonds and
cabochon rubies, marked on the interior hinge
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
By repute Grand Duke Paul Alexandrovich of Russia (1860-1919).

Anonymous sale; Christies, Geneva, 1 May 1974, lot 201.

*250
A TWO-COLOUR GOLD AND NEPHRITE MAGNIFYING GLASS
OR 45280
Circular, the rose gold frame applied with a yellow gold laurel-chased
band, the reeded rose gold upper part of the handle above a yellow
gold laurel border and reeded nephrite lower section, marked on
upper handle
6 in. (16.5 cm.) long
5,000-7,000
$8,100-11,000
6,400-8,800
A two-colour gold and nephrite magnifying glass of similar design is held

in the Royal Collection (C. de Guitaut, Faberg in the Royal Collection,
London, 2003, p. 225, no. 312). A comparable silver-gilt mounted nephrite
magnifying glass was sold Christies, London, 2 June 2014, lot 205.
200

*251
A LACQUERED TWO-COLOUR GOLD BONBONNIRE
Circular, the cover and base with cinnabar lacquer within alternating
rose and yellow gold rays, the cover centred with a chased yellow
gold rosette within concentric borders chased with a guilloch
pattern, inscribed inside cover in Russian: 21 July 1918 less than
tomorrow 21 July 1923 more than yesterday, marked inside cover
and base
25,000-30,000
$41,000-48,000
32,000-38,000
PROVENANCE:
The Josiane Woolf Collection (Part II); Christies, Geneva,

12 May 1981, lot 103.
LITERATURE:
G. von Habsburg, Du: Europxisches Kunstzeitschrift, vol. XXXVII,

1977, p. 70, no. 442.
The present lot is a typical example of Fabergs adaptation of the Louis XVI
idiom to a contemporary object of function. The infuence of gold objects
of the Louis XVI period on Faberg is well documented; the celebrated
copy of a snuff-box by J. E. Blrzy by head workmaster Michael Perchin
is a particularly illustrative example (C. Forbes & R. Tromeur-Brenner,
Faberg: The Forbes Collection, New York, 1999, pp. 144-145). In addition
to enamelled gold objects, Faberg also produced lacquered gold objects
in the Louis XVI idiom, such as the present lot. Another example of a
lacquered gold bonbonnire by Faberg was sold Christies, London,

*252
A GOLD AND LABRADORITE BOX
Oval, the hinged cover mounted with a labradorite panel, the sides
reeded, marked inside cover and base
15,000-20,000
$25,000-32,000
19,000-25,000
201
PROPERTY OF A GERMAN COLLECTOR (LOTS 253-258)
253
A GEM-SET SILVER CIGARETTE LIGHTER IN THE FORM OF A FROG
MARKED FABERG WITH THE IMPERIAL WARRANT, WITH THE MARK OF
THE FIRST SILVER ARTEL, MOSCOW, 1908-1917, SCRATCHED INVENTORY
NUMBER 18662
Humorously cast and chased, the frog holding its head up, with
forelegs on its belly, the eyes set with cabochon garnets, the
detachable tongue designed as a lighter, marked on the lower edge and
under base
2 in. (7 cm.) high
4.48 oz. (139.1 gr.) gross
30,000-40,000
$49,000-64,000
38,000-50,000
256
A SILVER BELL-PUSH IN THE FORM OF A SITTING BEAR
MARKED FABERG WITH THE IMPERIAL WARRANT, WITH THE MARK OF THE
FIRST SILVER ARTEL, ST PETERSBURG, 1908-1917
Realistically cast and chased as a sitting bear, with its foreleg raised, its
jaw designed as a push-piece, marked on the lower edge and under base
4 in. (10.2 cm.) high
14.83 oz. (461.4 gr.) gross
20,000-30,000
$33,000-48,000
26,000-38,000
See footnote for lot 253.
PROVENANCE:
Anonymous sale; Christies, New York, 23 October 2000, lot 79.

For the relationship between the First Silver Artel and the Faberg frm in
producing silver animals, see G. von Habsburg, Faberg Imperial Craftsman
and His World, London, 2000, pp. 102-109.
For a similar cigarette lighter shaped as a frog see H. C. Brainbridge, Peter
Carl Faberg, London, 1949, pl. 73, now in the Royal Collection.
254
A GEM-SET BELL-PUSH IN THE FORM OF A RABBIT
MARKED K. FABERG WITH THE IMPERIAL WARRANT, MOSCOW, 1899-1908
Realistically cast, chased and engraved standing on its hind legs, with
its ears down, the cabochon garnet eyes designed as push-pieces,
marked near the tail and under base
4 in. (11.4 cm.) high
11.61 oz. (361.1 gr.) gross
35,000-45,000
$57,000-72,000
45,000-57,000
257
A GEM-SET SILVER BELL-PUSH IN THE FORM OF A SITTING BEAR
MARKED FABERG WITH THE IMPERIAL WARRANT, MOSCOW, 1899-1908
Realistically cast, chased and engraved as a sitting bear, holding its

hind paw, set with a cabochon garnet designed as a push-piece,
marked on the lower edge
10.64 oz. (330.9 gr.) gross
20,000-30,000
$33,000-48,000
26,000-38,000
For a comparable model from the Baronne Henri de Rothschild collection,

see G. von Habsburg, Faberg Imperial Craftsman and His World,
London, 2000, p. 102, fg. 1; and A. von Solodkoff, Faberg, Juwelier
des Zarenhofes: [eine Ausstellung des Museums fur Kunst und Gewerbe
Hamburg], Heidelberg, 1995, no. 1, illustrated.
PROVENANCE:
Anonymous sale; Christies, New York, 20 April 2000, lot 40.

For a comparable model from the Baronne Henri de Rothschild collection,
see G. von Habsburg, Faberg Imperial Craftsman and His World,
London, 2000, p. 102, fg. 1; and A. von Solodkoff, Faberg, Juwelier
des Zarenhofes: [eine Ausstellung des Museums fur Kunst und Gewerbe
Hamburg], Heidelberg, 1995, no. 2. A similar bell-push in the form of a
rabbit was sold Christies, London, 17 December 1998, lot 244.
255
A GEM-SET SILVER BELL-PUSH IN THE FORM OF A PIG
MARKED K. FABERG WITH THE IMPERIAL WARRANT, MOSCOW, 1899-1908
Humorously cast, chased and engraved lying down with its tongue
hanging out, the cabochon garnet snout designed as a push-piece,
marked under base
6 in. (15.2 cm.) long
17.74 oz. (551.9 gr.) gross
35,000-45,000
$57,000-72,000
45,000-57,000
PROVENANCE:
258
A GEM-SET SILVER BELL-PUSH IN THE FORM OF A LYING BEAR
MARKED FABERG, WITH THE WORKMASTERS MARK OF VICTOR AARNE,
Realistically cast, chased and engraved as a bear lying on a back and

holding its hind paw, set with a cabochon garnet designed as a pushpiece, marked near the tail
4 in. (12 cm.) long
8.33 oz. (259.2 gr.) gross
20,000-30,000
$33,000-48,000
26,000-38,000
For a similar silver bell-push see Unknown Treasures of Russia from the
Collection of the State Treasury of Russia, Berlin, 1998, illustrated p. 63,
no. 69.
254
257
256
255
253
258
W259
A TWO-COLOUR GOLD-MOUNTED AND GUILLOCH ENAMEL DOUBLE PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF KARL (HJALMAR) ARMFELT, ST PETERSBURG,
1908-1917
Comprising two circular frames, with a pink gold ribbon twist between, each enamelled in
translucent pearl white over a wavy guilloch ground, centring a circular rose gold beaded
bezel, applied with a two-colour gold ribbon tied laurel wreath, the outer mount cast with
green gold laurel band, the mammoth ivory back with silver-gilt scroll strut, marked on lower
rims and strut
6 in. (15.2 cm.) wide
30,000-50,000
$49,000-80,000
38,000-63,000
*260
A JEWELLED GOLD-MOUNTED AND GUILLOCH ENAMEL
PHOTOGRAPH FRAME
Circular, the body enamelled in translucent pale blue over a wavy

guilloch ground, centring a heart-shaped aperture within a seedpearl mount, surmounted by a gold ribbon twist, the outer gold
border beaded, the mammoth ivory back with gold scroll strut,
marked on lower mount and strut
15,000-20,000
204
$25,000-32,000
19,000-25,000

*261
A JEWELLED TWO-COLOUR GOLD-MOUNTED AND GUILLOCH
ENAMEL CARNET-DE-BAL
MARKED FABERG, WITH THE WORKMASTERS MARK OF HENRIK
WIGSTRM, ST PETERSBURG, 1904-1908
Rectangular, the hinged cover enamelled in translucent pale peach

over a wavy guilloch ground and mounted with diamond-set
ribbon-tied laurel-chased swags, centring an oval panel enamelled
in translucent white over a sunburst guilloch ground centring
a diamond, the back cover with conforming gold mounts and
enamelled in translucent pale peach, centring a shaped panel
enamelled in translucent white, one side ftted with a reeded gold
pencil with hardstone fnial, with velvet-lined interior, marked on
upper edges
3 in. (8.7 cm.) long, excluding pencil
80,000-100,000
$130,000-160,000
110,000-130,000
EXHIBITED:
New York, A La Vieille Russie, Faberg, a Loan Exhibition for the

Beneft of the Cooper-Hewitt Museum, the Smithsonians National Museum
of Design, 22 April-21 May, 1983, no. 152.
LITERATURE:
Exhibition catalogue, Faberg, a Loan Exhibition for the Beneft of the

Cooper-Hewitt Museum, the Smithsonians National Museum of Design,
A La Vieille Russie, New York, 1983, listed and illustrated
p. 65, no. 152.
~262
A FOUR-COLOUR GOLD AND GUILLOCH ENAMEL SILVER
PHOTOGRAPH FRAME
Circular, enamelled in translucent salmon pink over a sunburst

guilloch ground, centring a circular aperture within a bezel
enamelled in translucent white over a dash guilloch ground, applied
with acanthus leaves enamelled in translucent green over a guilloch
ground, within an outer beaded border, surmounted by a four-colour
gold ribbon crest set with fowers, the ivory back with a silver scroll
strut and suspension loop, marked on mount and strut
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Princess Olga Alexandrovna Dolgorukov (1873-1946).

205
*263
A JEWELLED SILVER-GILT AND GUILLOCH ENAMEL DESK
CLOCK
Rectangular, enamelled in translucent purple over a wavy

guilloch ground, centring a white enamel dial within seed-pearl
bezel, black Arabic chapters and pierced gold hands, applied with a
ribbon-tied laurel swag suspended from rosettes, all within laurelchased border, fanked with rosettes at corners, the mammoth
ivory back with scroll strut, the back-plate with hand-set, marked
on lower edge, back and strut
5 in. (12.8 cm.) high
60,000-90,000
$97,000-140,000
76,000-110,000
*264
A JEWELLED GUILLOCH ENAMEL SILVER DESK CLOCK
MARKED FABERG, WITH THE WORKMASTERS MARK OF
HENRIK WIGSTRM, ST PETERSBURG, 1904-1908, SCRATCHED
INVENTORY NUMBER 15494
Rectangular, enamelled in translucent dark blue over a

striped guilloch ground, further engraved with a foral
wreath centring a basket and two ribbon-tied foliate
garlands, centring a white enamel dial within seed-pearl
bezel, black Arabic chapters and pierced gold hands, all
within acanthus-chased border, the mammoth ivory back
with silver-gilt scroll strut, the back-plate with hand-set,
marked on lower edge, back and strut; in the original silk and
velvet-lined wood case stamped Faberg St Petersburg
Moscow London beneath the Imperial warrant
5 in. (13.5 cm.) high
60,000-90,000
206
$97,000-140,000
76,000-110,000
PROPERTY OF A DECEASED ESTATE

265
A JEWELLED GOLD-MOUNTED AND CHAMPLEV ENAMEL
JASPER BOX
Oval, the hinged cover and body gold-mounted, the upper rim
reeded and enamelled in white, the lower rim chased with a bead
and reel border, with a diamond-set thumb-piece, marked on mount;
in the original silk and velvet-lined wood case stamped Faberg
St Petersburg Moscow Odessa beneath the Imperial warrant
12,000-18,000
$20,000-29,000
16,000-23,000
PROPERTY OF A EUROPEAN PRIVATE COLLECTOR

~266
A JEWELLED TWO-COLOUR GOLD AND GUILLOCH ENAMEL
PHOTOGRAPH FRAME
MARKED FABERG, WITH THE WORKMASTERS MARK OF
HENRIK WIGSTRM, ST PETERSBURG, 1904-1908
Oval, the body enamelled overall in translucent salmon pink over

a chevron guilloch ground, centering an oval aperture within a
seed-pearl bezel, the outer border chased with yellow gold laurel
band, the ivory back with a scroll strut and suspension loop, marked
on lower rim, strut and loop
5 in. (12.6 cm.) high
15,000-20,000
$25,000-32,000
19,000-25,000
207

*267
A JEWELLED GOLD-MOUNTED MOSS AGATE KOVSH
PROBABLY BY FABERG, WITH THE WORKMASTERS MARK OF
MICHAEL PERCHIN, ST PETERSBURG, CIRCA 1890, SCRATCHED INVENTORY
NUMBER 38623
The hemispherical carved hardstone bowl with a raised prow,

mounted with a matte gold scroll handle set with rubies and
diamonds, marked under handle, with partial workmasters mark M...,
in a ftted Hammer Galleries wood case
4 in. (10.8 cm.) long
8,000-12,000
$13,000-19,000
11,000-15,000
PROPERTY OF AN IMPORTANT VIENNESE COLLECTOR

268
A GEM-SET SILVER-GILT AND GUILLOCH ENAMEL CIGARETTE-CASE
MARKED FABERG, WITH THE WORKMASTERS MARK OF AUGUST HOLLMING,
Rectangular with rounded corners, enamelled overall in translucent

pale blue over a wavy guilloch ground, with a cabochon moonstone
push-piece, marked inside covers
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
Anonymous sale; Christies, Geneva, 15-16 May 1984, lot 305.

*269
A TWO-COLOUR GOLD-MOUNTED NEPHRITE DISH
Oval, on a raised foot, with a laurel-chased gold rim mount,

marked on mount
5 in. (13.3 cm.) wide
3,000-5,000
208
$4,900-8,000
3,800-6,300
270
271

270
A GEM-SET SILVER HARDSTONE BELL-PUSH IN THE FORM OF
A TURTLE
Stylistically carved as a turtle with jasper shell, on an oval nephrite

base, with silver cast articulated head, the burnished silver feet with
chased gold claws, the head with rose-cut diamond-set eyes, designed
as a push-piece, marked on the head and under the tail, also further
scratched on the underside of the turtle
3 in. (9 cm.) long
20,000-30,000
$33,000-48,000
26,000-38,000

271
A GEM-SET SILVER AND NEPHRITE BELL-PUSH
The nephrite circular ball entwined with a realistically cast and

chased silver serpent, the head set with a cabochon ruby, designed
as a push-piece, marked under base
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
PROVENANCE:
Anonymous sale; Christies, New York, 20 April 2000, lot 107.
For a similarly designed bell-push, see Henry Hawley, Faberg and His
Comtemporaries, The Indian Early Minshall Collection of The Cleveland
Museum of Art, Ohio, 1967, p. 85, no. 41. The form of the hardstone
turtle is, furthermore, almost identical to a gold-mounted bloodstone model
of a turtle, formerly in the collection of Grand Duchess Xenia Alexandrovna
(1875-1960) and sold Sothebys, London 12 June 2007, lot 507.
PROPERTY OF A EUROPEAN ROYAL FAMILY

272
A TWO-COLOUR GOLD-MOUNTED NEPHRITE BONBONNIRE
RUSSIA, CIRCA 1900
Circular, the cover mounted with a ribbon-tied reeded rim,

apparently unmarked
3,000-5,000
$4,900-8,000
3,800-6,300
272
209
273
A RARE SILVER-GILT ICON
MARKED SAZIKOV WITH THE IMPERIAL WARRANT, MOSCOW, 1862 AND 1866
Rectangular, realistically cast, embossed and fnely chased with the scene
depicting Abraham welcoming the Holy Trinity, the upright fgure
of Sarah standing by the oaks of Mamre, the seated angels with silver
wings, all within a stepped border, marked on the plaque and border
12 x 10 in. (30.6 x 26.3 cm.)
39.05 oz. (1,214.4 gr.) gross
15,000-20,000
$25,000-32,000
19,000-25,000
~274
A SILVER TABLE LIGHTER IN THE FORM OF A MINIATURE SAMOVAR
ENGRAVED K. FABERG, ST PETERSBURG, 1904-1908,
SCRATCHED INVENTORY NUMBER 16976
Realistically modelled, on four ball feet, the square base rising to

a bulbous body, with upright handles applied with ivory, with
two detachable lighters designed as samovar knobs, the teapot base
enclosing a well for lighter fuid, rising to a wick, marked on base,
inscribed Court jeweller K. Faberg / St Petersburg with the Imperial
Warrant on cover, also with import marks
5 in. (12.7 cm.) high, excluding wick
4.87 oz. (151.4 gr.) gross
15,000-20,000
210
$25,000-32,000
19,000-25,000

*275
A JEWELLED SILVER-GILT AND ENAMEL ICON OF THE MOTHER OF GOD OF KAZAN
MARKED P. OVCHINNIKOV WITH THE IMPERIAL WARRANT, MOSCOW, 1896
Rectangular, the fgures realistically painted, the garments of the Mother of God and Christ
Child applied overall with seed pearls, the head and shoulder of the Virgin applied with
diamond, sapphire and ruby stars, the haloes and corners enamelled with stylised foliage and
beads in shades of blue, white, black and translucent red, green and purple, with blue champlev
enamelled name plaque, on a gilt ground with foliate and geometric patterns, marked on lower
edge, in a later glazed wood kyot
10 x 8 in. (26.7 x 22.2 cm.)
90,000-120,000
$150,000-190,000
120,000-150,000
211
276
A SILVER-GILT, CLOISONN AND CHAMPLEV ENAMEL ICON
OF THE MOTHER OF GOD OF KAZAN
MARK OF IVAN ALEXEYEV, MOSCOW, 1899-1908
Rectangular, the fgures realistically painted, the Christ child with his
right hand raised in benediction, the Mother of God behind him, the
garments repouss and chased, the halo cloisonn enamelled in shades
of pink and blue on white ground, the text champlev enamelled, the
border engraved with scrolling foliage, in a wood kyot, marked on
lower edge and garments
9 x 11 in. (23.2 x 27.8 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
277
A CLOISONN ENAMEL AND FILIGREE ICON OF THE MOTHER
OF GOD OF KAZAN
RUSSIA, LATE 18TH/EARLY 19TH CENTURY
276
Rectangular, the fgures realistically painted, the Christ child with

his right hand raised in benediction, the Mother of God behind him,
the oklad, openwork halos and detachable tsata cloisson enamelled
in white, green, dark and light blue, with fne fligree scrollwork on
border, apparently unmarked
10 x 9 in. (27.4 x 22.9 cm)
8,000-12,000
$13,000-19,000
11,000-15,000
PROPERTY OF AN AMERICAN COLLECTOR

*278
A LARGE PARCEL-GILT SILVER AND CLOISONN ENAMEL ICON
OF THE MANDYLION [SPAS NERUKOTVORENNYI]
Rectangular, the face of Christ and the angels realistically painted,

the central parcel-silver panel repouss and chased to simulate an
embroidered cloth lifted by two angels in the upper corners, against
an blue enamelled fligree ground, the halo, corners and borders
enamelled in shades of blue, green, red, pink, white and black with
elaborate stylised foliage and geometric motifs on a gilt ground,
marked throughout, in a later glazed wood kyot
14 x 12 in. (35.6 x 31.8 cm)
180,000-240,000
LITERATURE:
277
212
J. Stuart, Icons, London, 1975, pl. 72.
$290,000-390,000
230,000-300,000
278
279
A DIAMOND AND EMERALD-SET GOLD BROOCH
BY FABERG, WITH THE WORKMASTERS MARK OF AUGUST HOLMSTRM,
Shaped rectangular, the centre set with an emerald, within a

concentric openwork border set with rose-cut diamonds, the reverse
with mounted pin, marked on pin guard, mount and pin
10,000-15,000
$17,000-24,000
13,000-19,000
(enlarged)
PROPERTY OFFERED BY THE DESCENDANTS OF

LIEUTENANT-GENERAL ALEXANDER ALEXANDROVICH LESLIE
*280
A PASTE-SET SILVER AND GOLD MAID OF HONOUR CYPHER
BY HAHN, ST PETERSBURG, CIRCA 1910, NUMBER 281
In the form of the Cyrillic initials MA, for Dowager Empress Maria
Feodorovna and Empress Alexandra Feodorovna, set with rose-cut
pastes mounted on silver-topped gold, surmounted by a hinged
rose-cut paste-set crown, apparently unmarked, numbered 281
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Presented to Alexandra Leslie (b. 1885) in 1910.

Lieutenant-General Alexander Leslie (1844-1899) was born into a noble
Russian family of Scottish descent. The Russian branch of the Leslie Clan
was founded by Alexander Leslie of Auchintoul (d. 1663), a mercenary
soldier in the Russian army and the frst foreigner to achieve the rank
of general. Leslie was a seminal fgure in the second and third sieges
of Smolensk (1632-33, 1654) and in the army reforms of Tsar Aleksey
Mikhailovich (1629-1676).
Alexander Leslie was educated at the Zimmerman Pension in Moscow
and entered the Chevalier Gardes Regiment in 1863. Advancing rapidly,
he served as a commander of the Leib Squadron, which brought him into
the circle of court life, and later served as a member of the St Petersburg
Military District Tribunal. He then served in the Russo-Turkish War of 18771879. Promoted to major-general, Leslie was posted to Volniya in Western
Ukraine and subsequently promoted to lieutenant-general, commanding
the 9th Cavalry Division. Leslie was married to Elizabeth Ermolova (d.
1916), a maid of honour to Empress Maria Feodorovna. The couple had
three daughters, Elizabeth (b. 1877), Alexandra (b. 1885) and Barbara
(b. 1887), the two eldest of whom were maids of honour to Empress
Alexandra Feodorovna. The present maid of honour badge was presented
to Alexandra Leslie in 1910.
214

*281
A RARE JEWELLED SILVER AND GOLD MAID OF HONOUR CYPHER
ST PETERSBURG, CIRCA 1770-1780
In the form of the Cyrillic initial E for the Empress Catherine II, set
with rose-cut diamonds mounted in silver-topped gold, surmounted
by a diamond-set crown, the reverse applied with a later gold hinged
double pin and pin guard, apparently unmarked
80,000-120,000
$130,000-190,000
110,000-150,000
PROVENANCE:
Anonymous sale, Sothebys, New York, 23-24 June 1980, lot 434.
The rank of maid of honor (freilina) was instituted by Catherine II (17291796), who reigned as empress from 1762 to 1796. The exact year the title
was instituted is not known; however, it is thought to have been nearer
the end of the empresss reign. The confguration of the award, which
was introduced by Catherine and remained the same through the reign of
Nicholas II, consisted of the reigning empresss initials surmounted by the
imperial crown. When a new empress ascended to the throne, or upon
the death of a dowager empress, the initials were changed. The present
badge is in the form of the Cyrillic initial E and the numerals II, which
stand for Ekaterina II. Examples of maid of honour badges from the reign
of Catherine II are exceedingly rare. One example is held in the collection
of the State Hermitage Museum in St Petersburg and another was sold
Christies, Geneva, 17 November 1981, lot 179.
Young ladies who were appointed as maids of honour to the empress came
from the most illustrious families of the Russian Empire. Their fathers served
with distinction in either the civil service, the military, or at court. The
nomination was thus an honour for her father and her family at large, as
much as it was for the young lady. (U. Tillander-Godenhielm, The Russian
Imperial Award System 1894-1917, Helsinki, 2005, p. 35). Prior to being
appointed a maid of honour, a young ladys character, and her family and
social circle, were carefully scrutinised. The position afforded a young lady
many privileges, the foremost of which was access to the Imperial court.
Such access allowed her to form an infuential network, which could be
benefcial to her future.
For a further discussion of the subject of maids of honour and ladies of the
Russian Imperial court, see U. Tillander-Godenhielm, op. cit., pp. 31-45.
We are grateful to Ulla Tillander-Godenhielm for her assistance with
cataloguing the present lot.
Portrait of Countess Sofa V. Panina wearing a similar maid of

honour cypher by Jean-Louis Voille, State Tretyakov Gallery, Moscow
215
PROPERTY OF A COLLECTOR (LOTS 282-291)
283
282
W282
A SILVER AND COPPER SAMORODOK CIGARETTE CASE
PROBABLY RUSSIA, 20TH CENTURY
*283
A PARCEL-GILT AND ENAMEL SILVER CIGARETTE CASE
MAKERS MARK PROBABLY CYRILLIC GA, ST PETERSBURG, CIRCA 1890
Rectangular, with rounded corners, the cover inlaid with one side of
an Imperial medal, gilt interior, with a gold push-piece and a thumbpiece, apparently unmarked
5 in. (12.5 cm.) wide
7.3 oz. (227.1 gr.) gross
Rectangular, applied with a variety of charms, including enamelled

pansies, initials and champagne bottle, the sides also applied with a
Russian signature Shura Neklyudova and engraved with dates, with
integral vesta compartment with match strike, and cord attachment
with tinder cord, with a gold-mounted cabochon thumb-piece, gilt
interior, marked inside covers
4 in. (10.8 cm.) wide
8.71 oz. (271 gr.) gross
1,000-1,500
$1,700-2,400
1,300-1,900
800-1,200
216
$1,300-1,900
1,100-1,500
285
286
284
*284
A SILVER TROMPE LOEIL CIGAR CASE
MARK OF PETR ABROSIMOV, MOSCOW, 1882
*286
A SILVER AND LACQUER TROMPE LOEIL CIGAR BOX
MAKERS MARK AE, MOSCOW, 1892
Rectangular, the hinged cover and sides chased and engraved to

simulate tobacco tax bands and brand name with seals, marked inside
cover and base
6.67 oz. (207.6 gr.) gross

simulate tax bands and lacquered in red to imitate a paper pattern
with interlaced circles, gilt interior, marked inside cover and base
6 in. (15.7 cm.) wide
11.39 oz. (354.2 gr.) gross
3,000-5,000
4,500-6,500
$4,900-8,000
3,800-6,300
$7,300-10,000
5,700-8,200
PROVENANCE:
PROVENANCE:
*285
A SILVER TROMPE LOEIL CIGAR BOX
MAKERS MARK CYRILLIC MN, ST PETERSBURG, 1891

simulate woodgrain and tobacco tax bands, with a thumb-piece,
marked inside cover and base
4 in. (12.2 cm.) wide
16.95 oz. (527.3 gr.) gross
3,000-5,000
$4,900-8,000
3,800-6,300
W287
A GUILLOCH ENAMEL PRESENTATION GOLD CIGARETTE CASE
MARKED MARSHAK, KIEV, 1908-1917
Rectangular, with rounded corners, the cover applied with a

guilloch enamelled colonel shoulder board of the 11th East Siberian
Rife Regiment of Her Majesty the Dowager Maria Feodorovna, the
reverse inscribed with a Russian dedicatory inscription To a dear /
friend / Colonel / Prince / Anatolii / Vladimirovich / Bariatinski /
from his regimental / friends / in memory / 6 July 1906 / 8 January
1910, the interior further applied with two gold plaques shaped as
shoulder boards with the names of the offcers of the regiment, with
an integrated gold push-piece, marked inside covers
5.15 oz. (160.3 gr.) gross
8,000-12,000
$13,000-19,000
11,000-15,000
Prince Anatolii Vladimirovich Bariatinski was born in 1871 and started his
military career at the Guard 4th Rife of the Imperial Family Battalion in
1890 after being promoted from the Corps of Pages. He fought during the
Russo-Japanese War in 1904 and was awarded a golden sword as well as
the Order of St George.
In October 1915, during the First World War, he delivered the newly
awarded Order of St George, Fourth Class, to the Emperor Nicholas II on
behalf of the St George Knights Duma, which met at the General Staff
quarters of the Southwest Front.
Prince Anatolii Vladimirovich Bariatinski
218
(reverse)
(enlarged)
219
289
291
290
288
W288
A PARCEL-GILT AND ENAMEL SILVER SAMORODOK CIGARETTE CASE
MAKERS MARK A.K., ST PETERSBURG, 1908-1917
Rectangular, with rounded corners, the cover centred with the

miniature badge of the Life Guard Moskovski Infantry Regiment, the
reverse applied with a variety of partly enamelled charms, monograms
and inscriptions, the interior inscribed with a dedicatory inscription
V.N. Dzubenko / 2nd prize from revolvers / sum 147 / 3rd prize
from rifes / sum 90 / 1911, with a gold-mounted cabochon
thumb-piece, gilt interior, marked inside covers
4 in. (10 cm.) wide
7.18 oz. (223.2 gr.) gross
2,000-3,000
$3,300-4,800
2,600-3,800
In 1910, Vladimir Nikolaevich Dzubenko was a Second Lieutenant in the

Guard Moskovski Infantry Regiment.
W289
AN ENAMEL AND SILVER CIGARETTE CASE
BEARING RUSSIAN MARKS, 2OTH CENTURY
W290
A GEM-SET SILVER AND ENAMEL CIGARETTE CASE
MARKED K. FABERG WITH THE IMPERIAL WARRANT, WITH THE
WORKMASTERS MARK OF ANDERS NEVALAINEN, ST PETERSBURG,
1908-1917, SCRATCHED INVENTORY NUMBER 17288
Rectangular, with rounded corners, the horizontally reeded body

slightly curved and applied with enamelled nautical fags, gilt interior
with a Russian inscription In memory of Kotya and Marusya, with a
cabochon push-piece, marked inside covers
3 in. (9 cm.) wide
3.82 oz. (118.8 gr.) gross
1,000-1,500
$1,700-2,400
1,300-1,900
*291
A PARCEL-GILT SILVER CIGARETTE CASE
MARKED KHLEBNIKOV WITH THE IMPERIAL WARRANT, ST PETERSBURG,
CIRCA 1890
Rectangular, with rounded corners, the cover of the reeded silver

body applied with the offcer and soldier badges of the Life Guard
Semenovsky Regiment, with a cabochon gold-mounted thumbpiece, gilt interior, marked inside covers
4 in. (10 cm.) wide
6.43 oz. (200.1 gr.) gross
Rectangular, applied with gilt cypher EC below a coronet, engraved

on a cover and inside with a dedicatory inscription to Emil Karlovich
von Sticht from his comrades at the 7th Kinburn Dragoons Regiment
[Kinburntsi] dated 1889, the reverse inscribed with the names of the
regiment offcers, with integral vesta compartment with match strike,
and attachment with tinder cord in colours of the order of St George,
gilt interior, with a silver thumb-piece, marked inside covers
5 in. (12.5 cm.) wide
11.07 oz. (344.4 gr.) gross
2,000-3,000
650-850
220
$3,300-4,800
2,600-3,800
$1,100-1,400
820-1,100
292
A SILVER AND ENAMEL VODKA CUP IN THE
FORM OF A KHIVER
MAKERS MARK OF E.E. PARKINEN,
Shaped as a khiver of an offcer from the

General Staff attached to Guard units, the top,
lower rim and cap of the khiver enamelled in
black within borders enamelled in translucent
red, the central part with blue enamel,
applied with a silver double-headed Imperial
eagle surmounted by a star of the order of St
Andrew, with a detachable cone-shaped fnial
imitating feathers, marked on base
2 in. (7 cm.) wide
10,000-15,000
$17,000-24,000
13,000-19,000
293
A JEWELLED GOLD AND SILVER
CIGARETTE CASE AND A JEWELLED
GOLD LIGHTER HOLDER
THE CIGARETTE CASE MARKED SUMIN,
WITH THE WORKMASTERS MARK CYRILLIC IA,
ST PETERSBURG, 1908-1911; THE LIGHTER
HOLDER WITH THE MAKERS MARK AW,
The cigarette case rectangular, reeded

overall, the gold thumb-piece set with a
cabochon sapphire, the interior of the cover
inscribed in Russian Congratulations! / July
1911, marked inside cover and base; together
with a lighter holder, one side reeded and
set with a cabochon sapphire at corner, the
other side engraved with the monogram JV,
marked on side
The cigarette case: 3 in. (10 cm.) wide (2)
2,000-3,000
$3,300-4,800
2,600-3,800
221
294
A RUSSIAN NAVY OFFICER SWORD, PATTERN 1855
Together with its original belt, three Rear-Admiral shoulder boards, two silver cape naval
offcer plaques in original Faberg ftted case, and twenty Russian, British, Italian, French
sailor caps
The sword 37 in. (94.5 cm.) long
(26)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Rear-Admiral of the Imperial Suite Nikolai Aleksandrovich Volkov (1870-1954).

Nikolai Aleksandrovich Volkov graduated from the Naval school in 1891 and started his naval career as
an offcer on the battleship Piotr Velikii.
A.D.C. to the General Admiral Grand Duke Aleksei Aleksandrovich, he served on the Yacht Strela of
the General-Admiral (1900-1905).
First offcer of the gunboat Khivinets (1908-1909). He was appointed A.D.C. to the Sovereign in 1909.
Commander of the Yacht Neva (1909-1910) and of the gunboat Khivinets (1910-1912). Appointed as
Naval Attach in England on 25 July 1913. He was promoted to Rear-Admiral of the Imperial Suite in
July 1916.
In 1920 he participated at the London Conference dealing with the use of the Russian feet by the
Allied powers.
Rear-Admirial Nikolai Aleksandrovich Volkov
222
Yacht Neva
295
A PHOTOGRAPH ALBUM OF TWENTY FOUR PORTRAIT
PHOTOGRAPHS OF THE IMPERIAL FAMILY AND FOREIGN ROYALTY
RUSSIA, LATE 19TH/EARLY 20TH CENTURY
The brown morocco album containing twenty four photographs of

the Imperial family and foreign royalty, including Alexander III and
his wife, Maria Feodorovna and Tsarevich Nicholas (later Nicholas
II), Grand Duke Vladimir Alexandrovich, Grand Duke Aleksei
Alexandrovich, Grand Duke Pavel Alexandrovich, Grand Duke
Nicholas Nikolaevich, Grand Duke Sergei Alexandrovich, Grand
Duke Michael Nikolaevich, Grand Duchess Maria Pavlovna, Grand
Duchess Anastasia Mikhailovna, and others, most on card mounts,
the cover applied with a brass clasp and vacant escutcheon-shaped
plaque, gilt edges, variously stamped, most inscribed on reverse
Album 8 x 7 in. (22 x 19 cm.);
photographs 4 x 6 in. (11 x 17 cm.)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
Anonymous sale; Christies, London, 27 April 1990, lot 282 (one

photo replaced).

*296
AN AUTOGRAPH LETTER, TSARSKOE SELO, 1 MAY 1905
GRAND DUCHESS TATIANA NIKOLAEVNA (1897-1918)
Letter signed Tatiana to a friend Mary, in Russian, describing

Tatianas and her siblings life in Tsarskoe Selo, 4 pages, 8vo;
with a photograph of Nicolas II and his children in Petrograd, 1907
The frame 12 x 20 in. (29.5 x 52 cm.)
1,500-2,500
224
$2,500-4,000
1,900-3,200

*297
A GOLD AND SILVER-GILT MOUNTED BOUND 1907 MEMORIAL
BOOK [PAMYATNAYA KNIZHKA]
ST PETERSBURG: MILITARY TYPOGRAPHY, 1907
Within a white binding, the cover applied with a gold enamelled

Imperial double-headed eagle amidst silver-gilt scrolling foliage,
within gilt silver borders, in a silk case, the book and the case clasps
with initial A surmounted by a crown on blue enamel ground,
apparently unmarked
5 x 3 in. (14 x 9.5 cm.)
2,000-3,000
$3,300-4,800
2,600-3,800
PROPERTY OFFERED BY THE DESCENDANTS OF LIEUTENANTGENERAL ALEXANDER ALEXANDROVICH LESLIE

*298
A SILVER-GILT AND ENAMEL COMMEMORATIVE CROSS TO THE
CLERGY FOR THE TERCENTENARY OF THE ROMANOV DYNASTY,
A GROUP OF FIVE MEDALS AND A PARCEL-GILT SILVER SPOON
THE CROSS, MAKERS MARK CYRILLIC VS, ST PETERSBURG, CIRCA 1913;
THE SPOON, MARKED LINDHOLM, ST PETERSBURG, CIRCA 1890; THE
MEDALS, RUSSIA, LATE 19TH CENTURY
Comprising one champlev enamelled silver commemorative cross to

the clergy for the Tercentenary of the Romanov dynasty; a parcelgilt silver badge for the Tercentenary Anniversary of the Romanov
dynasty; one silver medal for zeal, period of Nicholas II; one gold
and enamel order of St Anne Fourth Class, with swords, makers
mark of AK, St Petersburg, 1904-1908; one brass St George cross;
one silver medal centring the crowned Cyrillic cypher MP, possibly
for Grand Duchess Maria Pavlovna; one silver spoon, surmounted
by the Imperial double-headed eagle and inscribed in Russian with
dedication on the reverse A.A. Leslie, marked throughout
Medals: 2 in. (6.3 cm.) high and smaller;
the spoon: 6 in. (15.2 cm.) long
(7)
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
225
299
PROPERTY OF AN IMPORTANT SWISS COLLECTOR

~299
A RUSSIAN HUNTING KINDJAL
TULA FACTORY, LATE 19TH CENTURY
*300
A SILVER SPOON
INDISTINCT MAKERS MARK, ST PETERSBURG, CIRCA 1890
Of traditional form, the leather scabbard and reeded ivory handle

with steel mounts, fnely enchased with gold foliate scrolls, the
scabbard with a suspension mount and fnial, the blade with a
monogram MH under the crown, apparently unmarked, the blade by
the Zlatoust Factory
The dagger 16 in. (41.2 cm.) long, with scabbard
The circular bowl set with a 1720 silver rouble of Peter the Great, the
spiral twist stem with a mounted fnial of a 1747 silver grivennik of
Elizabeth Petrovna, marked on handle
5 in. (14.5 cm.) long
1.87 oz. (58 gr.) gross
7,000-9,000
$12,000-14,000
8,900-11,000
300-500
$490-800
380-630
PROVENANCE:
The Provatoroff Collection; Christies, London, 20 November 1997,

lot 401.
Acquired at the above sale by the father of the present owner.
301
W301
A SILVER CIGARETTE CASE
MARKED FABERG WITH THE IMPERIAL WARRANT, MOSCOW,
CIRCA 1915-1916
Rectangular with rounded corners, the cover repouss with a circular

reserve centring the Imperial double-headed eagle, above the Russian
inscription War / 1914*1915 / K. Faberg, gilt interior, with two
thumb-pieces, the reverse inscribed For good remembrance / from
Count Zamoyski / February 1916, marked inside cover and base
4.12 oz. (128.2 gr.) gross
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:
With A La Vieille Cit, Paris, 1985.

Acquired from the above by the father of the present owner.
A similar cigarette case dated 1914-1915-1916-1917 was sold Christies,
London, 25 November 2013, lot 259.
300
226
302
*302
A PORCELAIN DISH FROM THE SERVICE OF THE ORDER
OF ST ANDREW FIRST CALLED
BY THE GARDNER PORCELAIN FACTORY, MOSCOW,
PERIOD OF CATHERINE II, 1778-1780
*303
A PORCELAIN BASKET FROM THE SERVICE OF THE ORDER
OF ST ALEXANDER NEVSKII
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, 1778-1780
Leaf form, the centre painted with the badge of the Order,
surrounded by the collar and cross of the Order, on a ground of green
leaves, with shaped gilt rim and leaf-form handle, marked under base
with blue underglaze factory mark G and incised circle
11 in. (29.2 cm.) long
45,000-55,000
$73,000-88,000
57,000-69,000
Circular, with tapering pierced sides and undulating gilt rim, the
exterior decorated with the moulded red ribbon and cross of the
Order and intertwined with a trailing laurel-leaf branch, the centre
of the interior painted with the star of the Order, the brown handles
simulating twisted branches with small moulded fowers and leaves,
the moulded base with gilt borders, marked under base with blue
underglaze factory mark G and red painted inventory number 7288 of the
Housekeeping Department of the Winter Palace
12 in. (30.5 cm.) wide across the handles
45,000-55,000
303
$73,000-88,000
57,000-69,000
*304
A PORCELAIN PLATE FROM THE CORONATION SERVICE OF EMPEROR NICHOLAS I
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, CIRCA 1826
Circular, the center painting with the Imperial double-headed eagle within the chain of the
Order of St Andrew on an ermine-lined mantle surmounted by the Imperial crown, the
border with gilt cisel trophies of arms and lion masks on a royal blue ground, marked under base
with blue underglaze factory mark
20,000-30,000
228
$33,000-48,000
26,000-38,000
306
305
*305
A PORCELAIN BOWL FROM THE PRIVATE SERVICE
OF HER MAJESTY ELIZABETH I
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG,
PERIOD OF ELIZABETH I, 1756-EARLY 1760s
*306
TWO PORCELAIN PLATES FROM THE PRIVATE SERVICE
OF HER MAJESTY ELIZABETH I
PERIOD OF ELIZABETH I, 1756-EARLY 1760s
Circular, with a scalloped border, the white ground decorated with a

moulded, gilt trellis pattern, painted at intervals with pink blossoms,
marked under base with black overglaze Imperial double-headed eagle and
red painted inventory number 2309 of the Housekeeping Department of the
Winter Palace
11 in. (27.9 cm.)
Each circular, with a scalloped border, the white ground decorated with
a moulded, gilt trellis pattern, painted at intervals with pink blossoms,
both marked under base with black overglaze Imperial double-headed eagle
and overglaze black numerals 8 and 10 respectively, with red painted inventory
numbers 2508 and 2370, respectively, of the Housekeeping Department of the
Winter Palace, the larger plate further incised with numerals
10 in. (25 cm.) diameter and smaller
(2)
12,000-16,000
$20,000-26,000
16,000-20,000
12,000-16,000
$20,000-26,000
16,000-20,000
229
*307
A GLASS VODKA SET
RUSSIAN, CIRCA 1880
Comprising a decanter, nine glasses and a tray; in the Old Russian style, enamelled overall in
the blue, red, green and gold with geometric borders and various drinking proverbs, the tray
centring a stylised fowerhead within fligree and strapwork borders, the bulbous decanter and
glasses further enamelled with drinking adages, unmarked
The tray 12 in. (30.2 cm.) diameter, the decanter 6 in. (15.5 cm.) high
(11)
6,000-8,000
$9,700-13,000
7,600-10,000
For a comparable design by the Imperial Glass Works, see exhibition catalogue, Russian Style: The
Collection of the State Historical Museum, The State Historical Museum, Moscow, 1998, illustrated
and listed p. 151, nos. 347-348.
230
PROPERTY FROM AN
AMERICAN COLLECTION
*308
A PORCELAIN PLATTER
BY THE IMPERIAL PORCELAIN FACTORY,
ST PETERSBURG, PERIOD OF NICHOLAS I
Oval, with gilt-heightened rocaille border, the

center painted with two exotic birds perched
on leafy branches, within a border of applied
fower-encrusted vines, marked under base with
blue overglaze factory mark and painters initials
Cyrillic FK, possibly for Feodor Krasovskii
17 in. (44.8 cm.) long
4,000-6,000
$6,500-9,600
5,100-7,600
LITERATURE:
R. Hare, The Art and Artists of Russia, London,

1965, illustrated opposite p. 140.

*309
A PORCELAIN TEA SET
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS I
Comprising a teapot, six tea cups and saucers, a cream jug and a waste bowl; each
painted with polychrome foral bouquets and birds in rocaille panels on a white
ground, beneath blue bands, the rims and handles gilt, in a later ftted wood case,
marked under bases with blue underglaze factory marks
The waste bowl 7 in. (18.1 cm.) diameter
(9)
3,000-4,000
$4,900-6,400
3,800-5,000
231

*310
A PART SET OF PORCELAIN TABLEWARES
PERIODS OF NICHOLAS I AND ALEXANDER II
Comprising four circular plates with reticulated borders, three dinner

plates of silver shape, one circular dinner plate, one circular soup
plate; each painted in reserve with a polychrome foral bouquet on
a white ground within cobalt blue borders heightened with a gilt
caillout pattern; marked under bases with blue underglaze factory marks
10 in. (26 cm.) diameter and smaller
(9)
4,000-6,000
The present lot is part of a service designed after the original Svres service,
which was presented by Louis XV to King Christian of Denmark on the
occasion of his state visit to France in 1768. For more pieces from this service,
see A La Vieille Russie, An Imperial Fascination: Porcelain - Dining with the
Czars at Peterhof, New York, 1991, pp. 110-111, nos. 242 and 243.
$6,500-9,600
5,100-7,600

*311
A PORCELAIN PLATTER FROM THE GATCHINA PALACE SERVICE
BY THE KORNILOV FACTORY, ST PETERSBURG, CIRCA 1884
Oval, on a white ground, the border decorated with an interlaced

gilt braided pattern on a cobalt blue ground, within gilt borders,
surmounted by a gilt cypher of Alexander III beneath the Imperial
crown, marked under base with gilt overglaze factory mark
17 in. (44.8 cm.) long
8,000-12,000
232
$13,000-19,000
11,000-15,000
For further examples of this model, see exhibition catalogue, Porcelain of

the Brothers Kornilov, St Petersburg, 2003, p. 91. A set of plates from this
service was sold Christies, New York, 16 April, 2012, lot 153.

*312
A PORCELAIN FIGURE OF A CHINESE WOMAN
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, 1911
Realistically modelled as a standing fgure of a Chinese woman wearing a traditional dark

blue dress, a turquoise cloak with red sleeves, decorated with butterfies and fowers, on an
naturalistic circular base, after the model by P. Kamenskii, inscribed on base P. Kamenskii /
1911, also further inscribed Exec.[uted by] P.Shmakov, marked inside the base with green factory
mark and date 1908; inscribed under base in Russian Kitayanka
12,000-18,000
$20,000-29,000
16,000-23,000
Beginning in the late 18th century, the Imperial Porcelain Factory produced several series of fgures
depicting the peoples of the Russian Empire in their native costume. The present lot belongs to the
last such series, begun in 1907 by the sculptor Pavel Kamenskii (1858-1923). Working from models in
the Museum of Anthropology and Ethnography and the Department of Ethnography of the Russian
Museum, Kamenskii strove to depict his subjects with the utmost accuracy. For another example of
this model, see T. Nosovich and N. Popova, The State Porcelain Factory 1904-1944, St Petersburg,
2005, illustrated p. 147.
233
PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR, PART III

(LOTS 313-322, 324-347, 350-352, 356-377)
The following porcelain lots provide a rare view of the most signifcant works executed by the Imperial Porcelain Factory and other major Russian
private porcelain factories. Spanning a range of genres and time periods, with works from the reign of Empress Catherine II to the early 20th
Century, the rarity of these plaques, plates, fgures and eggs is exceptional. At the heart of this selection lies a comprehensive group of porcelain
depicting Russian regiments and military scenes, highlighted by extremely rare porcelain plaques. These plaques, created during the reign of
Nicholas I, demonstrate the virtuoso skill of factory painters of the period. Painted after Adolphe Ladurners celebrated designs for military
paintings and included in the seminal Exposition de Cramiques Russes Anciennes at the Muse Ceramique de Svres in 1929, they are rare
Imperial works that relate both to the military services ordered by Nicholas I and to monumental palace vases. A group of porcelain works of this
range and rarity, with exquisite fgures and eggs alongside the highest quality military porcelain, is rarely seen outside of museum collections.
313
AN IMPORTANT PORCELAIN MILITARY PLAQUE
PERIOD OF NICHOLAS I, 1841
Rectangular, painted with lancers from the 1st, 2nd, 3rd,

4th Light Cavalry Divisions, signed in Cyrillic and dated stud[ent].
S. Spiridonov, 1841 (lower right corner), framed, unmarked, reverse
with impressed signature in Russian Reverse M. Baz[..].
10 x 13 in. (25.9 x 34.5 cm.)
40,000-50,000
$65,000-80,000
51,000-63,000
PROVENANCE:
Collection of M. Pierre Hayet, circa 1929.

Anonymous sale; Christies, Geneva, 30 November 1982, lot 22 (part).
EXHIBITED:
Svres, Muse Cramiques de Svres, LExposition de Cramiques

Russes Anciennes, April-October 1929, no. 140 (part).
LITERATURE:
The cover of the exhibition catalogue Catalogue de

lExposition de Cramiques Russes Anciennes, Paris, 1929
234
Exhibition catalogue, Catalogue de lExposition de Cramiques Russes

Anciennes, Paris, 1929, listed and illustrated p. 6, no. 140 (part).
235

314
A PORCELAIN MILITARY PLATE
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS I, 1844
Circular, the centre painted with soldiers of King of Prussia Grenadiers Regiment, within a gilt
border, with gilt cisel Imperial eagles and military trophies, inscribed in French, signed in Cyrillic
and dated under base S. Doladugin, 1844, marked under base with blue underglaze factory mark
18,000-22,000
236
$29,000-35,000
23,000-28,000

315
Circular, the centre painted with offcers and soldiers of the

Finnish Line Battalions from the 21st Infantry Division, within
a border decorated with gilt cisel military trophies and Imperial
double-headed eagles on a green ground, inscribed in Russian
under base, signed in Cyrillic and dated N: Yakovlev. 1842,
marked under base with blue underglaze factory mark and gilt
numeral 19.
12,000-15,000
$20,000-24,000
16,000-19,000
PROVENANCE:
With Galerie Popoff, Paris, 1973 (label under base).

316
Circular, the centre painted with offcers and soldiers of

Battalions of the Line from the Caucasian Corps, within a
border decorated with gilt cisel military trophies and Imperial
under base, signed in Cyrillic and dated N. Voronin 1841,
numerals 2.6.
12,000-15,000
$20,000-24,000
16,000-19,000
PROVENANCE:
Anonymous sale; Christies, Geneva, 19 November 1974,

lot 32 (part).
237
PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR,

PART III

PART III
317
A PORCELAIN FIGURE OF A SHOE-SELLER
FIRST QUARTER OF THE 19TH CENTURY
320
A PORCELAIN FIGURE OF A LADY WITH A WALKING STICK
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, CIRCA 1820-1830s
Realistically modelled and painted, a standing fgure of a man,

wearing an unglazed blue coat, with a black top hat and holding
black shoes in his right hand, carrying a large basket on his back,
standing on a rectangular naturalistic base, marked under base with
underglaze blue mark
8 in. (20.5 cm.) high
Realistically modelled and painted, a standing fgure of a woman,

wearing an unglazed pale blue sarafan over a glazed rubashka and
a gilt kokoshnik with a tartan patterned scarf, holding a wooden
walking stick in her right hand and a bundle in her left, standing on a
naturalistic circular base, marked under base with blue underglaze factory
mark, also with impressed letters P Sh A
7in. (18 cm.) high
3,000-5,000
3,000-5,000
$4,900-8,000
3,800-6,300
$4,900-8,000
3,800-6,300

PART III

PART III
318
A PORCELAIN FIGURE OF A PILGRIM
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, 1818-1820
321
A PORCELAIN FIGURE OF A YOUNG LADY WITH A BASKET
OF BERRIES
Realistically modelled and painted, a standing fgure of a man,

wearing an unglazed blue cloak, with a black hat, bast shoes and a
cloth attached to his pink belt, and a black sack on his back, on a
rectangular naturalistic base, marked under base with underglaze blue
mark, impressed with a numeral 6
7 in. (18.5 cm.) high
Realistically modelled and painted, the standing fgure of a woman

wearing an unglazed blue sarafan over a glazed rubashka, carrying a
basket of berries on her left arm, standing on a circular naturalistic
base, marked under base with underglaze blue mark
8 in. (20.5 cm.) high
2,000-3,000
3,000-5,000
$3,300-4,800
2,600-3,800
PROVENANCE:
PROVENANCE:
With Galerie Popoff, Paris, 1975.
$4,900-8,000
3,800-6,300
For a similar model of a pilgrim, see V.A. Popov, Russian Porcelain: Private
Factories, Leningrad, 1980, no. 61.

PART III

PART III
319
A PORCELAIN FIGURE OF A WATER CARRIER [VODONOSKA]
BY THE GARDNER FACTORY, MOSCOW, CIRCA 1810-1820s
322
A PORCELAIN FIGURE OF A YOUNG LADY WITH A BASKET OF
BERRIES
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, CIRCA 1820s
Realistically modelled and painted, wearing an unglazed blue sarafan

over a glazed rubashka, with gilt cisel kokoshnik, carrying a simulated
wood yoke suspending two later wooden water barrels, on a circular
naturalistic base, marked under base with underglaze blue mark
8,000-10,000
$13,000-16,000
11,000-13,000
For a similar model of a water carrier, see E. Ivanova, Russkii Muzei, Farfor v
Rossii XVIII-XIX vekov, St Petersburg, 2003, p. 97, listed p. 106, no. 228.
Realistically modelled and painted, the standing fgure of a lady

carrying a basket across her shoulder and a yellow cup in her hand,
wearing an unglazed blue sarafan, white shirt and foral head scarf, on
a naturalistic rectangular base, marked under base with blue underglaze
factory mark, also incised with a letter
7 in. (19.5 cm.) high
3,000-5,000
$4,900-8,000
3,800-6,300
For a nearly identical model of a young lady with a basket of berries, see E.
Ivanova, Russkii Muzei, Farfor v Rossii XVIII-XIX vekov, St Petersburg, 2003,
pp. 107, listed p. 126, no. 208. For other similar models, also see V.A.
Popov, Russian Porcelain: Private Factories, Leningrad, 1980, no. 61 and L.
Nikiforova, Russian Porcelain in the Hermitage Collection, St. Petersburg,
1973, pl. 100.
238
317
319
321
322
318
320
239
(reverse)
*323
A PORCELAIN EASTER EGG
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, CIRCA 1880-1890s
Ovoid, centring an oval reserve depicting Saint Nicholas, within a gilt and varicolour foliate
border, the reverse painted with a mauve cross on light yellow and purple chequered ground,
within a red border with gilt foliate bands, the front reserve inscribed in Russian Sv. Nikolai
Chudotvorets, unmarked
4 in (11.5 cm.) high
3,500-4,500
$5,700-7,200
4,500-5,700

PART III
324
MID-19TH CENTURY
Ovoid, centring an oval panel depicting Saint George, holding a spear

and a garland of leaves in his right hand and a sword in his left hand,
within a gilt cisel border, inscribed in black in Russian above the
miniature Sv: Georgii., the reverse painted dark magenta, unmarked
4 in (11 cm.) high
3,000-4,000
240
$4,900-6,400
3,800-5,000
(reverse)
325
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, CIRCA 1880-1890s
Ovoid, centring an oval reserve depicting Saint Michael of Kiev in a landscape, depicted fulllength, probably after a design by I. Bilibin, within a gilt border with varicolour foliate bands,
the reverse painted with a brown cross on light blue ground, the front reserve inscribed in
Russian Sv. Mitrop. Mikhail, unmarked
4 in (11 cm.) high
3,500-4,500
$5,700-7,200
4,500-5,700

PART III
326
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, 1870-1880s
Ovoid, centring an oval panel depicting Saint Catherine of Siena,

wearing a red gown and holding a palm frond in her left hand,
within a gilt cisel border, the emerald reverse painted with gilt foral
branches, unmarked
4 in (11 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
For a nearly identical egg, see T. Kudriavtseva and H. Whitbeck, Russian

Imperial Easter Eggs, London, 2001, p. 173, no. 135.
241

327
Circular, the centre painted with offcers of the Life Guard Cuirassier of His Majesty the Heir
Regiment, within a gilt border, with gilt cisel Imperial eagles and military trophies, inscribed in
French, signed in Cyrillic and dated under base V. Elashevskii, 1836, marked under base with blue
overglaze factory mark, also marked with impressed factory mark and gilt numerals x 2 4 under base
18,000-22,000
242
$29,000-35,000
23,000-28,000

328
Rectangular, painted with Litovski Guards Infantry Regiment, signed in Cyrillic and dated
Ilya Artemiev, 1841 (centre of bottom border), framed, unmarked, inscribed with impressed
letters on reverse
10 x 13 in. (25.5 x 34.5 cm.)
40,000-50,000
$65,000-80,000
51,000-63,000
PROVENANCE:

EXHIBITED:
Svres, Muse Cramiques de Svres, LExposition de Cramiques Russes Anciennes,

April-October 1929, no. 140 (part).
LITERATURE:
Exhibition catalogue, Catalogue de lExposition de Cramiques Russes Anciennes, Paris, 1929,

listed and illustrated p. 6, no. 140 (part).
243

PART III

PART III
329
A PORCELAIN FIGURE OF A SHEPHERD
PROBABLY RUSSIA, EARLY 19TH CENTURY
332
A PORCELAIN FIGURE OF A LADY WITH PIGEONS
PROBABLY RUSSIA, EARLY 19TH CENTURY
Realistically modelled and painted as a seated shepherd, wearing a

light brown hat, foral vest, brown jacket with blue collar and striped
breeches, holding a fute, with a lamb at his feet, on a rectangular
base, apparently unmarked
7 in. (19 cm.) high
Realistically modelled and painted, wearing a brown hat, varicolour

striped jacket with a lace collar, green skirt and pink shoes, carrying
birds on the lapel of her jacket, on a rectangular naturalistic base,
apparently unmarked
8 in. (21.5 cm.) high
2,000-3,000
2,000-3,000
$3,300-4,800
2,600-3,800
$3,300-4,800
2,600-3,800

PART III

PART III
330
A PORCELAIN FIGURE OF A BUDDHA
BY THE IMPERIAL PORCELAIN PORCELAIN FACTORY, ST PETERSBURG, PERIOD
OF NICHOLAS I
333
TWO PORCELAIN FIGURES
THE GIRL, BY THE POPOV PORCELAIN FACTORY, MOSCOW,
MID-19TH CENTURY; THE BOY, BY THE MIKLASHEVSKY PORCELAIN
FACTORY, CHERNIGOV, 1840-1850s
Realistically modelled and painted, a sitting fgure of the

contemplating Buddha wearing a pale yellow gown with foral
motifs, on an oval base, marked under base with blue factory mark
5 in. (13.5 cm.) high
3,000-5,000
$4,900-8,000
3,800-6,300
The girl realistically modelled and painted, half-turned and feeding

birds, wearing a white foral dress, red waistcoat and white hat with
gilt scrolls, on a circular base, marked under base with blue underglaze
factory mark; the boy standing by a pitcher, wearing eighteenthcentury costume, on a rectangular base, marked under base with red
overglaze factory mark
5 in. (12.5 cm.) high and smaller
(2)
4,000-6,000

PART III
331
A PORCELAIN FIGURE OF A HARLEQUIN DRESSED AS COLUMBINE
Realistically modelled and painted as a dancing harlequin, wearing

varicolour chequered jacket, beige, pink and green skirt and a pink
feathered hat, on a rectangular naturalistic base, apparently unmarked
6 in. (17 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
The present fgure is part of a pair of a Harlequin dressed as Colombine and

a Harlequin (sold Christies, London, 2 June 2014, lot 306) by the Gardner
Factory, circa 17701780s. A similar fgure of a harlequin is held in the
collection of the Metropolitan Museum of Art, New York (1982.60.158).
244
$6,500-9,600
5,100-7,600
332
329
331
330
333

PART III

PART III
334
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, CIRCA 1850s
335
Ovoid, centring an oval reserve depicting Saint Alexandra, wearing

a yellow gown and a lilac cloak, reading a Bible, within a gilt cisel
border, inscribed in black in Russian above the miniature Sv.-aya
Tsaritsa Alexandra, the reverse with gilt cisel starburst, unmarked
4 in (10 cm.) high
Ovoid, centring an oval panel depicting Saint Nicholas holding a

gospel, within a gilt cisel border, the reverse with gilt cisel starburst,
unmarked
3 in (9.5 cm.) high
3,000-4,000
$4,900-6,400
3,800-5,000
For a nearly identical egg, see T. Kudriavtseva and H. Whitbeck, Russian

Imperial Easter Eggs, London, 2001, p. 121, no. 87.
3,000-4,000
$4,900-6,400
3,800-5,000
For a similar egg, see T. Kudriavtseva and H. Whitbeck, Russian Imperial

Easter Eggs, London, 2001, p. 101, no. 63. For another similar egg,
see Imperial Easter Eggs: a Collection of Porcelain Easter Eggs from the
Collection of Her Majesty Queen Margrethe II, the Royal Danish Collections
at Amalienborg Palace and the State Hermitage Museum in St. Petersburg,
Copenhagen, 1994, p. 129, no. 110.

PART III
336
MID-19TH CENTURY
Ovoid, centring an oval reserve depicting a female saint holding a

Bible, within a gilt cisel border, the reverse with gilt cisel starburst,
unmarked
3 in (9.5 cm.) high
2,000-3,000
246
$3,300-4,800
2,600-3,800

PART III

PART III
337
MID-19TH CENTURY
338
Ovoid, centring a panel depicting the Madonna with Child after

Bartolom Estebn Murillo, within a gilt cisel border, the olive
green reverse painted with cisel scrolling foliate band and cartouche,
inscribed with Cyrillic initials Kh.V. and dated 1907, unmarked
4 in (10 cm.) high
Ovoid, centring an oval panel depicting Saint Olga, wearing a

yellow robe and a dark blue mantle, holding a cross, within a gilt
cisel border, the reverse with gilt cisel starburst, inscribed in black in
Russian above the miniature Sv. Tsaritsa Olga., signed with initials
M.K., unmarked
4 in (12 cm.) high
4,000-5,000
3,000-4,000
$6,500-8,000
5,100-6,300
$4,900-6,400
3,800-5,000

Easter Eggs, London, 2001, p. 147, no. 112.

PART III
339
MID-19TH CENTURY
Ovoid, centring a panel depicting the Mother of God with the Christ
Child and St John the Baptist, within a gilt cisel border, the gilt
reverse with cisel starburst medallion, unmarked
4 in (12 cm.) high
3,000-4,000
$4,900-6,400
3,800-5,000
247

340
Circular, the centre painted with the soldier of the Austrian Emperor Grenadier Regiment,
within a gilt border, with gilt cisel Imperial eagles and military trophies, inscribed in French,
signed in Cyrillic and dated under base N. Yakovlev, 1835, marked under base with blue
overglaze factory mark; also marked with gilt numerals x 2 4 under base
18,000-22,000
PROVENANCE:
With A La Vieille Russie, New York, 1991.

248
$29,000-35,000
23,000-28,000

341
Circular, the centre painted with offcers and soldiers of the 1st
Dragoon Division from the 3rd Cavalry Corps, within a border
decorated with gilt cisel military trophies and Imperial doubleheaded eagles on a green ground, inscribed in Russian under
base, signed in Cyrillic and dated N: Morozov. 1842, marked
under base with blue underglaze factory mark
12,000-15,000
$20,000-24,000
16,000-19,000

342
Circular, the centre painted with offcers and soldiers of the

13th Field Army Brigades from the 5th Infantry Corps, within
a border decorated with gilt cisel military trophies and Imperial
under base, signed in Cyrillic and dated F. Daladugin 1840,
numeral 29.
12,000-15,000
$20,000-24,000
16,000-19,000
PROVENANCE:
Anonymous sale; Christies, Geneva, 19 November 1974,

lot 29 (part).
249

PART III

PART III
343
A PORCELAIN FIGURE OF A QUAINTRELLE (FRANTIKHA)
346
A PORCELAIN FIGURE OF A BAST SHOE MAKER
BY THE POPOV PORCELAIN FACTORY, MOSCOW, 1820-1830s

wearing a blue striped dress with a yellow hat decorated with roses,
holding a green parasol in her left hand, standing on a circular
naturalistic base, marked under base with blue underglaze factory mark
8 in. (20.5 cm.) high
Realistically modelled and painted, the seated fgure of a man wearing

a traditional Russian belted rubakha, blue trousers, making a bast
shoe, on a rectangular base painted with foor boards, marked under
base with blue underglaze factory mark
1,500-2,000
1,000-2,000
$2,500-3,200
1,900-2,500
PROVENANCE:
$1,700-3,200
1,300-2,500
For a similar model of a bast shoe maker, see V.A. Popov, Russian Porcelain:
Private Factories, Leningrad, 1980, no. 121.

PART III

PART III
344
A PORCELAIN FIGURE OF AN OLD WOMAN SPINNING
347
A PORCELAIN FIGURE OF A BARREL VENDOR
Realistically modelled and painted, a seated fgure of an old woman,

wearing a blue sarafan with a white head scarf, sitting on a wooden
chest, on a rectangular base painted with foor boards, marked under
base with blue underglaze factory mark, impressed with a Cyrillic letter D
Realistically modelled and painted, the standing fgure of a man with

barrels at his feet, wearing a green coat and a black top hat, holding
wooden tankards in each hand, on a naturalistic rectangular base with
gilt border, marked under base with blue underglaze factory mark, also
impressed with letters P Sh A
7 in. (19 cm.) high
1,000-2,000
$1,700-3,200
1,300-2,500
For a similar model of an old woman spinning, see V.A. Popov, Russian
Porcelain: Private Factories, Leningrad, 1980, no. 121.
2,000-3,000
PROVENANCE:

PART III
345
A PORCELAIN FIGURE OF A QUAINTRELLE (FRANTIKHA)

wearing a yellow dress with a large yellow feathered hat, a white scarf
draped over her right hand, standing on a circular naturalistic base,
marked under base, also with inscribed numeral 8
8 in. (20.5 cm.) high
1,500-2,000
$2,500-3,200
1,900-2,500
PROVENANCE:

For a similar model, see V.A. Popov, Russian Porcelain: Private Factories,
Leningrad, 1980, no. 58.
250
$3,300-4,800
2,600-3,800
343
347
345
344
346
251
349
348
*348
THREE PAPIER-MACH AND LACQUER EASTER EGGS
RUSSIA, SECOND HALF 19TH CENTURY
*349
A PAPIER-MACH AND LACQUER EASTER EGG
BY THE LUKUTIN FACTORY, MOSCOW, LATE 19TH CENTURY
Each ovoid, on a red ground, the largest egg depicting the

Resurrection of Christ on the front and the Ivan the Great Bell
Tower and Assumption Belfry in the Moscow Kremlin on the
reverse, the interior inscribed in Russian: From Moscow Bezpopovtsy
Old Believers 1870, marked inside with the coat-of-arms of the Lukutin
factory, the two small eggs depicting the Resurrection of Christ,
unmarked; together with a glass egg depicting the Resurrection of
Christ, unmarked
4 pieces total
(4)
The front depicting the Resurrection of Christ, the reverse the Holy
Martyr St Tatiana, on a blue ground within gilt foliate borders, the
interior inscribed in Russian: From St Petersburg Old Believers
accepting the Priesthood, marked inside
4 in. (10.5 cm.) high, excluding suspension rings
1,000-2,000
2,000-3,000
$3,300-4,800
2,600-3,800
$1,700-3,200
1,300-2,500

PART III
350
MID-19TH CENTURY
Ovoid, centring an oval panel depicting Jesus Christ as Salvator

Mundi, holding an orb in his left hand, within a gilt cisel border,
the dark olive green reverse painted with Cyrillic initials Kh.V.,
unmarked
4 in (10 cm.) high
2,000-3,000
252
$3,300-4,800
2,600-3,800

351
SIX PAPIER-MACH EASTER EGGS
All ovoid, three depicting the Resurrection of Christ, the reverses painted with the Ivan the
Great Bell Tower, two on red and one on gilt grounds, all with gilt interiors; one depicting
Saint Nicholas, the reverse painted with the Cathedral of Christ the Saviour, on gilt and
magenta background; one depicting the statue of the Bronze Horseman, the reverse with
Cyrillic initials Kh.V. on red background; one depicting Resurrection, the reverse depicting
Saint Paul, within gilt foral frame on magenta ground, with gilt interior inscribed in Russian
From Moscow Old Believers accepting the Priesthood, the interior of one egg marked with the
coat-of-arms of the Lukutin factory
(6)
3,500-4,500
$5,700-7,200
4,500-5,700

PART III
352
MID-19TH CENTURY
Ovoid, centring an oval reserve depicting Christ wearing a Crown of

Thorns, within a gilt cisel border, the Bordeaux red reverse painted
with cisel scrolling foliate band on green ground and cartouche,
inscribed with Cyrillic initials Kh.V., signed Knoeller, unmarked
3 in (8 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
253
353
355
354
*353
A PORCELAIN FIGURE OF A BAST SHOE MAKER
BY THE MIKLASHEVSKY FACTORY, CHERNIGOV, MID-19TH CENTURY
*354
A PORCELAIN MATCH-HOLDER IN A FORM OF A MAN HOLDING A BOTTLE
BY THE PEREVALOV PORCELAIN FACTORY, IRKUTSK, SECOND HALF 19TH CENTURY
Realistically modelled and painted, the seated fgure of a man wearing

a traditional Russian belted rubakha, blue trousers, making a bast
shoe, with a knife and an axe by his feet, on a rectangular base painted
with foor boards, marked under base with an impressed factory mark and
a red overglaze mark
6 in. (16.5 cm.) high
Realistically modelled and painted, holding a bottle, standing by

a barrel, wearing a black cloak, grey vest and brown trousers, on a
half oval shaped base painted with foor boards, with a match strike,
marked under base with blue factory mark, also with impressed letters Ab
5 in (14 cm.) high
3,000-5,000
$4,900-8,000
3,800-6,300
*355
A PORCELAIN FIGURE OF AN ORIENTAL MAN SMOKING A HOOKAH
PROBABLY BY THE NOVII BROTHERS FACTORY, MOSCOW, CIRCA 1820-1830s
Realistically modelled and painted, wearing a traditional costume and

a yellow turban, standing by the palm tree trunk, with two tied sacks
by his feet, on a square shaped naturalistic base with gilt sides, the
interior of the palm tree trunk designed as a candle holder, the mans
mouth modelled as an aperture for smoke, apparently unmarked, with
an inscribed numeral 9 inside the trunk
6 in. (17.1 cm.) high
2,500-3,500
$4,100-5,600
3,200-4,400
2,500-3,500
$4,100-5,600
3,200-4,400
PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR, PART

III
356
A PORCELAIN FIGURE OF AN ESTLAND WOMAN FROM THE
PEOPLES OF RUSSIA SERIES

wearing a salmon pink gilt hat, and holding berries in her apron on a
circular naturalistic base, marked under base with blue underglaze factory mark
8 in. (22 cm.) high
18,000-22,000
$29,000-35,000
23,000-28,000
PROVENANCE:

For a similar model of a native Estland woman, see N.B. von Wolf (ed.
V.V. Znamenov), Imperatorskii farforovyi zavod, 1744-1904, St Petersburg,
2008, p. 136. For other similar models, see T.V. Kudriavtseva, Russkii
Imperatorskiy Farfor, St Petersburg, 2003, p. 71.
254
357
358
356

PART III

PART III
357
A PORCELAIN FIGURE OF A KYRGYZ WOMAN FROM THE
PEOPLES OF RUSSIA SERIES
358
A PORCELAIN FIGURE OF AN ICE CREAM VENDOR FROM THE
VENDORS AND CRAFTSMEN SERIES

wearing a yellow dress, a blue cloak and a traditional purple hat,
on a circular naturalistic base, moulded with Russian inscription
Kyrgyska, apparently unmarked
8 in. (21.6 cm.) high
Realistically modelled and painted, the standing fgure of a man

wearing a green jacket and white apron, holding a basket in his
right hand and a black top hat in his left hand, standing on a circular
naturalistic base, apparently unmarked
8 in. (20.5 cm.) high
18,000-22,000
3,000-5,000
PROVENANCE:
$29,000-35,000
23,000-28,000
$4,900-8,000
3,800-6,300
For similar models of an ice cream vendor, see T.V. Kudriavtseva, Russkii
Imperatorskiy Farfor, St Petersburg, 2003, p. 70, and A.K. Lanceray, Russian
Porcelain, The Art of the First Russian Porcelain Factory, Leningrad, 1968,
pl. 41.
255

359
TWO PORCELAIN EASTER EGGS
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, MID-19TH CENTURY
Ovoid, both depicting the Resurrection, one within a gilt cisel and white frame, the reverse
painted with gilt cisel image of a Bible within foral branches, unmarked; another within a cisel
foliate frame, the reverse with gilt cisel cartouche with Russian inscription Christ is Risen,
unmarked
4 in (11 cm.) high and smaller
(2)
3,500-4,500
$5,700-7,200
4,500-5,700

PART III
360
MID-19TH CENTURY
Ovoid, centring an oval reserve depicting the Descent from the Cross
on a gilt ground, the dark blue reverse painted with gilt cisel rocaille
motifs, unmarked
3 in (8 cm.) high
1,000-1,500
256
$1,700-2,400
1,300-1,900

361
A GROUP OF THREE PORCELAIN EASTER EGGS
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, 1913-1917
All ovoid, three white eggs, one painted with the gilt cisel cypher of Tsarevich Alexei Nikolaevich, one painted and impressed with the gilt
cisel cypher of Tsarevich Alexei Nikolaevich, one painted with the gilt cisel cypher of Empress Alexandra Feodorovna; all cyphers beneath the
Imperial crown, unmarked
(3)
3,500-4,500
$5,700-7,200
4,500-5,700
For nearly identical eggs, see T. Kudriavtseva and H. Whitbeck, Russian Imperial Easter Eggs, London, 2001, pp. 58-61, 67-68, no. 24, 26, 27, 35, 36. For
other similar models, see G. Oistrakh and A. Tishchenko, Imperatorskie Farforovye Paskhalnye Iajtsa, Moscow, 2008, pp. 71-[72], 80, no. 17, 26.

PART III
362
Ovoid, the front of the sang de boeuf glazed body painted and
impressed with the gilt cisel cypher of the Dowager Empress Maria
Feodorovna beneath an Imperial crown, unmarked
3 in (9 cm.) high
1,000-1,500
$1,700-2,400
1,300-1,900

Easter Eggs, London, 2001, p. 46, no. 12, and G. Oistrakh and A.
Tishchenko, Imperatorskie Farforovye Paskhalnye Iajtsa, Moscow, 2008,
pp. 62-63, no. 8, 9. For another similar egg, also see Imperial Easter Eggs:
a Collection of Porcelain Easter Eggs from the Collection of Her Majesty
Queen Margrethe II, the Royal Danish Collections at Amalienborg Palace
and the State Hermitage Museum in St. Petersburg, Copenhagen, 1994,
p. 115, no. 90.
257

PART III

PART III
363
A PORCELAIN FIGURE OF A JEWISH MAN
366
A PORCELAIN FIGURE OF A SBITEN VENDOR
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, 1810-1830s
Modelled and painted holding a watch, wearing an olive green cloak,

brown coat and black hat, on a rectangular naturalistic base, marked
under base with underglaze blue mark and gilt numeral 2
7 in. (19 cm.) high
Realistically modelled and painted as a sbiten vendor, wearing a white

short, light beige smock, white waist apron, black boots and black
top hat, holding a kettle and cup, on a circular base moulded with gilt
scrolls, marked with impressed factory mark and numeral 5
7 in. (19 cm.) high
3,000-5,000
$4,900-8,000
3,800-6,300
For a nearly identical model of a Jewish man, see E. Ivanova, Russkii Muzei,
Farfor v Rossii XVIII-XIX vekov, St Petersburg, 2003, pp. 102, listed p. 115,
no. 212. For another similar model, also see V.A. Popov, Russian Porcelain:
Private Factories, Leningrad, 1980, no. 62.
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:

PART III

PART III
364
A PORCELAIN INKWELL IN THE FORM OF A PEASANT
PROBABLY BY THE GARDNER PORCELAIN FACTORY, MOSCOW,
MID-19TH CENTURY
367
A PORCELAIN FIGURE OF A PANCAKE VENDOR
Realistically modelled and painted as a peasant in a white coat, green

trousers, black boots and black hat, pushing a wheelbarrow loaded
with a bundle of frewood formed as an inkwell with cover, on a
green rectangular naturalistic base, apparently unmarked
6 in. (17 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
Realistically modelled and painted, the fgure of a pancake vendor

wearing a black hat, purple chequered smock, white apron and
striped trousers, holding a pancake box in one hand, on rectangular
gilt-lined base, apparently unmarked
7 in. (18.5 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:

PART III
365
A PORCELAIN FIGURE OF A PEASANT MAN PLAYING THE BALALAIKA
Realistically modelled and painted as a peasant playing the balalaika,

wearing a traditional Russian belted rubakha, blue trousers, black
boots and brown hat, on an oval base moulded with gilt scrolls,
marked under base with blue underglaze factory mark and impressed letter A
6 in. (17 cm.) high
1,500-2,000
$2,500-3,200
1,900-2,500
PROVENANCE:

For a similar model, see V.A. Popov, Russian Porcelain: Private Factories,
Leningrad, 1980, no. 137.
258
For a similar model of a pancake vendor, see E. Ivanova, Russkii Muzei,

Farfor v Rossii XVIII-XIX vekov, St Petersburg, 2003, p. 102, listed p. 116,
no. 214. For other similar models, see V.A. Popov, Russian Porcelain: Private
Factories, Leningrad, 1980, no. 62, and L. Nikiforova, Russian Porcelain in
the Hermitage Collection, St. Petersburg, 1973, pl. 99.
363
365
367
364
366
259

PART III
368
PERIOD OF ALEXANDER III, 1884
Circular, the centre painted with offcers of the 21st, 22nd, 23rd, 24th
Infantry Regiments and 6th Artillery Brigade from the 6th Infantry
Division, within gilt border impressed with gilt cisel Imperial
double-headed eagle and laurel and oak leaf wreath, inscribed in
Russian under base After the pain[ting] by Charlemagn, signed in
Cyrillic and dated N. Semenov 1884, marked under base with green
underglaze factory mark
12,000-15,000
$20,000-24,000
16,000-19,000
PROVENANCE:

PART III
369
PERIOD OF ALEXANDER III, 1884
Circular, the centre painted with offcers and soldiers of 9th,

10th, 11th, 12th, Infantry Regiments and 3rd Artillery Brigade
from the 3rd Infantry Division, within gilt border impressed with
gilt cisel Imperial double-headed eagle and laurel and oak leaf
wreath, inscribed in Russian under base After the pain[ting] by
Charlemagn, signed in Cyrillic and dated I. Holgievnikov. 1884,
marked under base with green underglaze factory mark
12,000-15,000
$20,000-24,000
16,000-19,000
PROVENANCE:
260
PROPERTY OF AN IMPORTANT EUROPEAN

COLLECTOR, PART III
370
BY THE IMPERIAL PORCELAIN FACTORY,
ST PETERSBURG, PERIOD OF ALEXANDER II
Circular, the centre painted with offcers and soldiers

of Guard Lancers of His Majesty Regiment, within a
border decorated with Imperial double-headed eagle and
laurel and oak leaf wreath on a lilac ground, inscribed
in Russian under base After the pain[ting] by Piratskii,
signed in Cyrillic A. Mironov, marked under base with green
underglaze factory mark and blue overglaze factory mark
10,000-12,000
$17,000-19,000
13,000-15,000
For a similar plate, see T.V. Kudriavtseva, Russkii Imperatorskiy

Farfor, St Petersburg, 2003, p. 174.

371
TWO PORCELAIN MILITARY PLATES
ONE BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS II, 1908; THE OTHER PROBABLY BY THE IMPERIAL PORCELAIN FACTORY,
ST PETERSBURG, PERIOD OF NICHOLAS II
Each circular, the centres painted with an offcer and a soldier of the Guard Semenovski Regiment circa 1893, an offcer and a soldier of the
Guard Horse Grenadier Regiment circa 1893, within a gilt border with gilt cisel Imperial double-headed eagles and sprigs of laurel leaves, all
inscribed in Russian under base, one inscribed After the pain[ting] by V.V. Mazurovskii, signed in Cyrillic and dated N. Kirsanov 1909, one
marked under base with green underglaze factory mark
9 in. (24.5 cm.) diameter each
(2)
3,000-5,000
$4,900-8,000
3,800-6,300
261

372
Circular, the centre painted with offcers and soldiers of the Guard Dragoon Regiment, within
a gilt border, with gilt cisel Imperial eagles and military trophies, inscribed in French, signed
in Cyrillic and dated under base V. Stoletov, 1838, marked under base with blue overglaze factory
mark and red numerals
18,000-22,000
262
$29,000-35,000
23,000-28,000

373
Rectangular, painted with Moskovski Guards Infantry Regiment, signed in Cyrillic and dated I: Savelev, 1841 (lower right corner), framed,
unmarked, inscribed with impressed letters on reverse
10 x 13 in. (26 x 34 cm.)
40,000-50,000
$65,000-80,000
51,000-63,000
PROVENANCE:

EXHIBITED:
Svres, Muse Cramiques de Svres, LExposition de Cramiques Russes Anciennes, April-October 1929, no. 140 (part).
LITERATURE:
Exhibition catalogue, Catalogue de lExposition de Cramiques Russes Anciennes, Paris, 1929, listed and illustrated p. 6, no. 140 (part).
263

PART III

PART III
374
A PORCELAIN FIGURE OF A PEASANT
BY THE KISELEV PORCELAIN FACTORY, MOSCOW, MID-19TH CENTURY
377
A PORCELAIN FIGURE OF A FISH VENDOR
RUSSIA, 19TH CENTURY
Realistically modelled and painted as a dancing peasant, wearing a

brown coat, striped trousers and lapti, holding a magenta hat in his
left hand, on a rectangular naturalistic base with gilt sides, marked with
impressed factory mark under base
7 in. (18 cm.) high
Realistically modelled and painted, wearing a brown hat, a blue

belted coat, striped trousers and black boots, holding a tray with fsh
on his head, on a circular naturalistic base, apparently unmarked
6 in. (17 cm.) high
1,500-2,000
1,500-2,000
$2,500-3,200
1,900-2,500
$2,500-3,200
1,900-2,500
For a nearly identical fgure, see V.A. Popov, Russian Porcelain: Private
Factories, Leningrad, 1980, no. 164.

PART III

PART III
375
A PORCELAIN FIGURE OF A MOWER
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, MID-19TH CENTURY
378
TWO PORCELAIN FIGURES OF A SHOE SELLER AND ANOTHER
STREET VENDOR
BY THE GARDNER PORCELAIN FACTORY, MOSCOW, 19TH CENTURY
Realistically modelled and painted as a mower, wearing a black hat,

traditional Russian belted rubakha, blue striped trousers and black
shoes, sharpening a scythe, on a circular shaped naturalistic base,
marked under base with blue underglaze factory mark
7 in. (19 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
Realistically modelled as street vendors, both wearing unglazed

blue coats and blue striped trousers, black boots and green hats, one
carrying a pair of black shoes, another carrying a vessel and a sack on
his back, both on circular bases moulded with gilt scrolls, both marked
under bases with impressed factory marks and numerals 8 and 4; the fgure
of a shoe vendor also with a blue underglaze factory mark; the other fgure
with an inscribed numeral 10
4 in. (12 cm.) high
(2)
6,000-8,000
For a similar model, see L. Nikiforova, Russian Porcelain in the Hermitage

Collection, St. Petersburg, 1973, pl. 78.
$9,700-13,000
7,600-10,000
PROVENANCE:
With Galerie Popoff, Paris, 1973 and 1974, respectively.

For a similar model of a shoe seller, see O. Sosnina, Gardner: Porcelain
Plastic Arts from Private Collections and Moscow Museums, Moscow, 2002,
p. 106, no. 14.
PART III
376
A PORCELAIN FIGURE OF A FISH VENDOR
FIRST HALF 19TH CENTURY
Realistically modelled and painted, wearing a white dress with foral

motifs, a mint coat with a fur-collar, a magenta scarf on her neck and
a light green hand-scarf, holding a fsh on her left arm and a vessel
in her right hand, on a rectangular naturalistic base with gilt border,
marked under base with blue underglaze factory mark
7 in. (19 cm.) high
2,000-3,000
PROVENANCE:
264
$3,300-4,800
2,600-3,800
377
375
376
374
378
265
379
A SOVIET PORCELAIN PROPAGANDA PLATE
BY THE STATE PORCELAIN FACTORY, ST PETERSBURG, MID-1920S
Circular, the centre painted with red star, intertwined with hammers
and sickles and sheaves of wheat, within a gilt cavetto band, marked
under base with underglaze blue hammer, sickle and cog
3,000-5,000
$4,900-8,000
3,800-6,300
PROVENANCE:
Anonymous Sale; Christies, New York, 18 April 2008, lot 244.

LITERATURE:
For a similar plate see, T. Kudriavtseva, Circling the Square, London, 2004,
p. 99, no. 37.
380
A SOVIET PORCELAIN PROPAGANDA PLATE
BY THE STATE PORCELAIN FACTORY, ST PETERSBURG, 1921
Circular, with scalloped rim, the center painted with an open book
titled History of The October Revolution 1917, the opposite page
inscribed Petersburg 1921, atop a pile of books and a newspaper,
amidst sprays of leaves and a gilt hammer and sickle, within a gilt
cavetto band, marked under base with overglaze blue hammer and sickle and
masked Imperial Porcelain Factory mark
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
Anonymous Sale; Christies, New York, 18 April 2008, lot 246.

For a similar plate, see N. Lobanov-Rostovsky, Revolutionary Ceramics, New
York, 1990, p. 52, no. 26, and E. Sametskaya, Sovetskii Agitatsionyi Farfor,
Moscow, 2004, p. 198, no. 2.
266
382
383
381
W381
A PORCELAIN BOWL
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF
ALEXANDER III, DATED 1893, AND THE STATE PORCELAIN FACTORY,
LENINGRAD
W382
A PORCELAIN TEAPOT FROM THE ROSE AND CARNATION SERVICE
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF
ALEXANDER II, AND THE STATE PORCELAIN FACTORY, PETROGRAD, 1922
Square with rounded corners, on a conforming foot, the sides and

interior painted with polychrome foral bouquets on a white ground,
after a design by Zinaida Kobyletskaya, marked under foot with green
underglaze Imperial Porcelain Factory mark
9 in. (23.2 cm.) wide
500-600
$810-960
630-760
Ovoid, painted with black foral bouquets on a white ground, after

a design by Sergei Chekhonin, with gilt border, marked under base
with green underglaze Imperial Porcelain Factory mark and blue overglaze
hammer, sickle and cog, and the date 1922; further inscribed 79/37
8 in. (21.9 cm.) wide
6,000-9,000
$9,700-14,000
7,600-11,000
W383
A PORCELAIN TEA CUP AND SAUCER FROM THE ROSE AND CARNATION SERVICE
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS II, AND THE STATE PORCELAIN FACTORY, PETROGRAD, 1921-1922
Of typical form, each painted with black foral bouquets on a white ground, after a design by Sergei Chekhonin, with gilt borders, marked under
base with green underglaze Imperial Porcelain Factory mark and blue overglaze hammer, sickle and cog, and the dates 1921 and 1922; the saucer further
inscribed 79/8; the cup with masked Imperial Porcelain Factory mark
4,000-6,000
$6,500-9,600
5,100-7,600
For a comparative tea cup and saucer, see E. A. Ivanova, I. N. Lipovich, exhibition catalogue, Sergei Chekhonin, The State Russian Museum, Moscow, 1994,
illustrated no. 394.
267
384
A PORCELAIN VASE
BY THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS II, 1916
Slightly tapering cylindrical, painted with an airy landscape with birch trees, marked under base
with green underglaze factory mark
9 in. (23.5 cm.) high
10,000-15,000
$17,000-24,000
13,000-19,000
For a comparable porcelain vase by the Imperial Porcelain Factory, dated 1911, see N. B. von Wolf
(ed. V.V. Znamenov), Imperatorskii Farforovyi Zavod, 1744-1904, St Petersburg, 2008, p. 664.
268
385
A RARE SOVIET PORCELAIN VASE
BY THE STATE PORCELAIN FACTORY, ST PETERSBURG, 1929
Of slightly tapering cylindrical form, the body painted in tones of

yellow, blue, grey, green, mauve, and brown with fgures of Red
Army soldiers in winter, shooting, riding horses, and skiing, within a
stylised snowy landscape, marked under base with overglaze blue hammer
and sickle, masked Imperial Porcelain Factory mark, overglaze red export
mark Made in Russia, impressed numeral 4, and with the painters
signature in Cyrillic and date I. Riznich / 1929
12 in. (32.5 cm.) high
35,000-45,000
PROVENANCE:
Acquired by the grandmother of the present owner in Russia before

the Second World War.
Ivan Ivanovich Riznich (1908-1998) was a porcelain painter and sculptor.
He graduated from the Pavlovsk Art School in 1926 and in the same year
joined the Lomonosov Porcelain Factory. From 1927, Riznich became
known for his designs depicting animals and landscapes. He worked for
the factory as a painter and modeller until 1965 and again from 1975 until
1998. He painted many popular vases, services and fgurines.
$57,000-72,000
45,000-57,000
269

386
A SILVER-GILT TEA GLASS HOLDER
MARK OF ALEKSANDR SOKOLOV, ST PETERSBURG, 1871
The body of hexagonal shape, cast and chased as a traditional izba, applied
with fgures of peasant men and women, the handle shaped as a tree trunk
with scrolling leaves, on three feet shaped as tree roots, marked under base
4 in. (11.5 cm.) high
14.11 oz. (439.7 gr.)
5,000-7,000
$8,100-11,000
6,400-8,800
PROVENANCE:

For a similar tea glass holder, see Russkoe Serebro XVI - nachala XX veka,
St Petersburg, 2004, p.179.
387
A PARCEL-GILT FLATWARE SERVICE
MARKED GRACHEV, MAKERS MARK OF KARL ALBREKHT, ST PETERSBURG, CIRCA 1884
Comprising twelve dinner knives, eleven snail forks, six spoons, a carving
knife and a cheese knife, all chased to simulate basketweave, interiors of
spoons gilt, marked on stems and blade of the carving knife; in the original ftted
silk and velvet-lined wooden box stamped in Russian Grachev and with the
coat-of-arms of the Leslie family
8 in. (21.7 cm.) long and smaller
52.96 oz. (1,647.1 gr.) gross
6,000-8,000
PROVENANCE:
Count Alexandre Leslie de Vergenne-Lavalle (b. 1893).

By descent to his daughter, Olga de Leslie Leigh (d. 2012).
Acquired by present owner from the above.
270
$9,700-13,000
7,600-10,000

388
A PARCEL-GILT TEA GLASS HOLDER
MARK OF ALEKSANDR SOKOLOV, ST PETERSBURG, 1867
Cylindrical, cast and chased with architectural views, applied with

three fgures of ladies holding foral garlands, fruits and a stack of
wheat, with a shaped handle, on a pierced circular shaped foot, marked
under base and on handle
4 in. (12 cm.) high
8.5 oz. (264.5 gr.)
4,000-6,000
$6,500-9,600
5,100-7,600
PROVENANCE:

389
A PARCEL-GILT TROMPE LOEIL SILVER AND GLASS VODKA SET
UNKNOWN MAKERS MARK CYRILLIC PED, ST PETERSBURG, 1884
Comprising a frosted glass fask with silver holder and six vodka cups,
each body chased and engraved to simulate basketweave, the fask
holder of slightly tapering square and cylindrical form, applied with
twisted rope below rim, the fask with glass stopper, surmounted by a
shot glass simulating tied burlap, each vodka cup of cylindrical form,
with gilt interior, marked throughout, also with import marks
9 in. (23 cm.) high and smaller
(7)
6,000-9,000
$9,700-14,000
7,600-11,000
PROVENANCE:
Anonymous sale; Sothebys, Geneva, 17 May 1984, lot 522.

A nearly identical vodka set by Ovchinnikov was sold Christies, New York,
9 April 2014, lot 100.
271
PROPERTY OF AN IMPORTANT SWISS COLLECTOR (Lots 390-397)
*390
A PARCEL-GILT AND CHAMPLEV ENAMEL SALT THRONE
MARK OF YAKOV BORISOV, MOSCOW, 1887
Of traditional form, on four stepped bracket feet, the slightly tapering

base chased with geometric borders, with elaborately pierced back,
applied with a possibly later medallion with a double-headed eagle,
the cover applied with a possibly later champlev enamel coat-ofarms of Oryol, marked under base and cover
5 in. (13 cm.) high
9.06 oz. (281.9 gr.) gross
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:

*391
TWO PARCEL-GILT SILVER SERVING SPOONS AND A SET OF EIGHT
PARCEL-GILT AND CHAMPLEV ENAMEL TEASPOONS
SERVING SPOONS, MARKED P. OVCHINNIKOV, MOSCOW, 1876; SET OF
TEASPOONS, INDISTINCT MAKERS MARK, MOSCOW, 1876
Two serving spoons with circular shaped bowls, the spiral twist stems
with shaped fnials, cast and chased as male and female peasants , both
marked on bowl, also with import marks; the set of teaspoons with ovoid
bowls, enamelled overall with varicoloured geometric motifs in panSlavic style, the spiral twist stems with shaped fnials cast and chased as
dancing peasants, all marked on stems, also with import marks
8 in. (22 cm.) long and smaller
(10)
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
The set of teaspoons: With A La Vieille Cit, Paris, 1981.

(part)
272
*392
FOUR PARCEL-GILT SILVER AND NIELLO SALT THRONES
A PAIR OF SALT THRONES, MARK OF ALEKSANDR MUKHIN, MOSCOW, 1870;
ONE, MARK OF VASILII SEMENOV, MOSCOW, 1859; THE OTHER, INDISTINCT
MAKERS MARK, MOSCOW, 1864
All of traditional form, on four bracket feet, bases reeded, backs of

all four thrones with serrated border, openwork reserves and applied
with circular medallions, the hinged covers nielloed in Russian Bez
soli bez khleba / polovina obeda [Lunch without salt and bread / is
just half a meal], the reverse of the covers of two thrones by Mukhin
engraved with cockerels, all marked under base, cover and on the back, one
additionally marked on base
14.89 oz. (463.2 gr.) gross
(4)
3,000-4,000
$4,900-6,400
3,800-5,000
*393
A SILVER-GILT SALT THRONE
MARK OF ANDREI VEKMAN, MOSCOW, 1869
Of traditional form, on four bracket feet, the slightly tapering base

reeded, the back with serrated border, openwork reserves and applied
with circular medallion, the hinged cover engraved in Russian Bez
soli bez khleba / polovina obeda [Lunch without salt and bread / is
just half a meal], the reverse of the cover engraved with an image of a
cockerel, marked under base, cover and on the back
4 in. (12 cm.) high
12.09 oz. (376 gr.) gross
800-1,200
$1,300-1,900
1,100-1,500
273
*394
A SILVER-GILT AND CLOISONN ENAMEL SALT THRONE
MARKED P. OVCHINNIKOV WITH THE IMPERIAL WARRANT, MOSCOW,
1899-1908
Of traditional form, on four bracket feet, enamelled overall with

stylised scrolling foliage in varicoloured enamel on stippled gilt
ground, the shaped back with a stylised fower-head fnial, marked
under base and on the base
5 in. (13.5 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
Anonymous sale; Sothebys, London, 18 December 1987, lot 200.

*395
THREE SILVER-GILT AND CLOISONN ENAMEL SALT THRONES
ONE, MARK OF VICTOR AKIMOV, MOSCOW, 1880-1890s;
THE OTHER, MAKERS MARK CYRILLIC NS, MOSCOW, 1880-1890s;
THE OTHER, UNKNOWN MAKER, MOSCOW, 1896
All of traditional form, on four stepped bracket feet, enamelled

overall with stylised scrolling foliage in varicoloured enamel on
stippled gilt ground; the throne by unknown maker with cartouches
on the back and cover, engraved with the date 8 / X / 19 / 06 and
Cyrillic monogram P.B.; the throne by Victor Akimov inscribed in
French under cover En souvenir / de Bobinette / St. Petersbourg.;
all marked under base and on the base, two with import marks
(3)
2,000-3,000
274
$3,300-4,800
2,600-3,800
PROVENANCE:
The throne by Victor Akimov: Anonymous sale; Christies, Geneva,

11 May 1983, lot 160.
The throne with makers mark Cyrillic NS: With A La Vieille Cit,
Paris, 1984.
*396
A SILVER-GILT AND CHAMPLEV ENAMEL SALT THRONE
MARKED SAZIKOV WITH THE IMPERIAL WARRANT, ST PETERSBURG, 1881
Of traditional form, on four stepped bracket feet, the back fnely

cast and chased in the form of a traditional izba, with geometric and
pan-Slavic design, enamelled overall in white, red, dark blue, green
and light blue, the hinged cover applied with dates 1858 1883 in
the Old Russian style, the back also applied with Cyrillic monogram
IEP, marked under base
5 in. (15 cm.) high
2,000-3,000
$3,300-4,800
2,600-3,800
*397
THREE SILVER-GILT PLIQUE--JOUR, CHAMPLEV AND CLOISONN
ENAMEL SPOONS
ONE, MARK OF GRIGORII ANDREEV, ST PETERSBURG;
THE OTHER, MARKED KHLEBNIKOV WITH THE IMPERIAL WARRANT,
MOSCOW, 1889; THE OTHER, MARK OF SAMUEL FILANDER, ST PETERSBURG
The spoon marked Grigorii Andreev with circular shaped bowl,

with varicolour plique--jour and champlev enamelled geometric
motifs, the stem shaped as izba logs, with a mounted fnial in the form
of a traditional izba, marked on stem; the spoon marked Khlebnikov
with oval shaped bowl, cloisonn enamelled overall with varicolour
stylised scrolling foliage, with wire borders, the stem similarly
decorated, with a shaped fat fnial cast and chased with radiating
ornament, marked on bowl; the spoon marked Samuel Filander with
oval shaped bowl, champlev enamelled with stylised cockerels
in pan-Slavic style, with spreading stem similarly decorated with
geometric motifs, marked on stem
(3)
2,000-3,000
$3,300-4,800
2,600-3,800
PROVENANCE:
The spoon marked Khlebnikov and Samuel Filander:

Both with A La Vieille Russie, New York, 1981.
275
PROPERTY OF AN IMPORTANT
VIENNESE COLLECTOR
398
A LARGE PARCEL-GILT AND CLOISONN
ENAMEL SILVER KOVSH
MAKERS MARK INDISTINCT, PROBABLY FOR
GRIGORII SBITNEV, MOSCOW, 1908-1917
Of traditional form, with raised prow and

shaped hook handle, the bowl enamelled
overall with scrolling foliage and fowerheads in shades of blue, green, pink and
cream on stippled gilt ground, with corded
rim, the base with turquoise pellet border,
the handle similarly decorated, one side later
engraved with laurel, marked under base
11 in. (29 cm.) long
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Anonymous sale; Christies, Geneva,


399
A SILVER-GILT AND CLOISONN ENAMEL CASKET
MARK OF VASILIY AGAFONOV, MOSCOW, 1899-1908
Rectangular, on four spreading feet, the hinged enamelled cover with a clasp at the front, enamelled with scrolling foliage and fower-heads
around a central circular foliate reserve in shades of blue, green and pink, with corded rims, the gilt interior of the cover engraved with a date
10 November 1912, marked under base and on cover
5 in. (22 cm.) wide
8,000-12,000
PROVENANCE:
Anonymous sale; Sothebys, New York,

15 December 1988, lot 475.
276
$13,000-19,000
11,000-15,000
*400
A SILVER-GILT CLOISONN AND EN PLEIN ENAMEL CARD-CASE
MARK OF IVAN SALTYKOV, MOSCOW, 1899-1908
Rectangular, the body enamelled overall with varicolor scrolling

foliage on a gilt ground, en plein enamelled with the King of Hearts,
with a navy blue chevron border, the hinged cover centring an
enamelled three card hand depicting the Knave of Clubs, opening to
reveal a divider for cards, the interior gilt, marked under base and cover
4 in. (10 cm.) high
12,000-18,000
$20,000-29,000
16,000-23,000
A comparable silver and enamel card case by Ivan Saltykov is in the

collection of Virginia Museum of Fine Arts (98.13), formerly part of Jerome
and Rita Gans Collection of Russian Enamel.
PROPERTY OF AN IMPORTANT VIENNESE

COLLECTOR
401
A SILVER-GILT AND CLOISONN
ENAMEL TANKARD
MARKED OVCHINNIKOV WITH THE IMPERIAL WARRANT,
MOSCOW, 1880
Of tapering cylindrical form, on a spreading foot,

the body enamelled overall with varicoloured
birds and hares within scrolling foliage on a gilt
stippled ground, enclosing three oval reserves
depicting stylised dragons within white beadwork
borders, the hinged cover similarly enamelled,
with a cone-shaped fnial on three scrolling feet
and shaped thumb-piece, with scroll handle, the
interior gilt, marked under base and cover, also with
import marks
8 in. (20.5 cm.) high
7,000-10,000
$12,000-16,000
8,900-13,000
PROVENANCE:
Anonymous sale; Sothebys, New York,

15 December 1989, lot 337.
277

402
A SILVER-GILT AND CLOISONN ENAMEL TEA SERVICE
MARK OF GRIGORIY SBITNEV, MOSCOW, 1908-1917
Comprising a teapot, a sugar-bowl with cover and a milk-jug, the bodies enamelled with
stylised varicoloured scrolling foliage, within turquoise pellet borders, decorated with
bead-ended tassels, the teapot with mother-of-pearl insulators, all marked under base
7,000-10,000
(3)
$12,000-16,000
8,900-13,000
PROVENANCE:
403
A SILVER-GILT AND CLOISONN ENAMEL TEA GLASS HOLDER
MAKERS MARK CYRILLIC AL, MOSCOW, 1893
404
A SILVER-GILT AND CLOISONN ENAMEL TEA GLASS HOLDER
Cylindrical, on a spreading foot, with scalloped rim, the body

enamelled with varicoloured stylised cockerels and scrolling foliage
on a gilt stippled ground, within two beaded borders, the knopped
handle similarly enamelled with scrolling foliage on a dark blue
ground, marked under base, also with import marks
Cylindrical, the lower body of slightly bulbous form, on three ball feet,
enamelled overall with varicoloured scrolling foliage on a gilt stippled
ground, angular handle with trefoil thumbpiece terminating in a
dolphin head, gilt interior, marked under base, also with import marks
3,000-5,000
$4,900-8,000
3,800-6,300
PROVENANCE:
Anonymous sale; Sothebys, New York, 13-14 December 1984, lot 443.
278
3,000-5,000
$4,900-8,000
3,800-6,300
PROVENANCE:
Anonymous sale; Christies, New York, 15 June 1982, lot 75.
405
A SILVER-GILT CLOISONN ENAMEL AND LACQUER GLASS VODKA SET
406
A LARGE PARCEL-GILT SILVER AND CLOISONN ENAMEL KOVSH
MARK OF IVAN SALTYKOV, MOSCOW, 1899-1908
Comprising a globular fask, eight vodka cups and a tray; the red
glass fask with silver-gilt neck enamelled with varicolored fowers
and foliage, within turquoise pellet borders, the handle shaped as a
griffn, with a detachable cork-stopper surmounted by a similarly
enamelled ball fnial; each red glass cup on a circular foot, enamelled
with fower-heads and blue pellet borders; the circular tray on four
scroll feet with red lacquer ground, the border similarly enamelled,
centering a raised fask holder cast and chased with griffns amidst
scrolling foliage enamelled in shades of blue, green and red,
engraved with a Cyrillic monogram MEF, marked throughout; in the
original ftted silk-lined wood case stamped [From] the shop / [of]
manufacturer/ Ovchinnikov beneath the Imperial warrant, applied
with a monogram plaque
The tray 11 in. (28.5 cm.) diameter
(10)
Of traditional form, with raised prow and shaped hook handle, the
bowl enamelled overall with shaded varicoloured stylised scrolling
foliage on ochre, green and pale green ground within corded borders,
set with cabochon moonstones, garnets, chalcedonies, amethysts at
intervals, the handle similarly decorated, with corded rim and turquoise
pellet border, the reverse of the handle engraved with a monogram
EAA and the date 1910, marked under base, also with import marks
10 in. (26.5 cm.) long
30,000-50,000
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
$49,000-80,000
38,000-63,000
A similar glass vodka set from the

Massachusetts Private Collection was sold
Christies, New York, April 9, 2014, lot 100.
279

407
A SILVER-GILT AND CLOISONN ENAMEL SCENT BOTTLE
MARK OF FEODOR RCKERT, MOSCOW, 1899-1908
408
A SILVER-GILT CHAMPLEV AND EN PLEIN ENAMEL PILL-BOX
MARK OF ANTIP KUZMICHEV, MOSCOW, 1887, RETAILED BY TIFFANY & CO.
Ovoid, enamelled overall with stylised scrolling foliage in shades of

pink, blue, green and mauve on a cream ground, the neck decorated
with silver-gilt bead-ended tassels, with a similarly enamelled holder
on a chain, with a mounted cork stopper, marked on the neck and holder
2 in. (7 cm.) high
Circular, the detachable cover enamelled en plein with a portrait of a

young girl in traditional costume, within blue champlev enamelled
border, the body enamelled with geometric ornament in shades of
blue, green, white and translucent red, marked under base and cover
3,000-5,000
3,000-5,000
$4,900-8,000
3,800-6,300
$4,900-8,000
3,800-6,300
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION,

FRANCE PART II
409
A SILVER-GILT AND CLOISONN ENAMEL MINIATURE KOVSH
MARKED K. FABERG OVERSTRIKING THE MARK OF FEODOR RCKERT,
MOSCOW, 1908-1917, SCRATCHED INVENTORY NUMBER 25428
Of traditional form, on a circular foot, with raised prow and shaped

scroll handle, the bowl with sections of shaded varicoloured stylised
fowers, foliate scrolls on pale green and ochre ground, the shaped
handle similarly decorated, marked under base
3 in. (7.7 cm.) long
8,000-12,000
280
$13,000-19,000
11,000-15,000

410
A SILVER-GILT AND CLOISONN ENAMEL THREE-HANDLED CUP
PROBABLY BY FEODOR RCKERT, MOSCOW, 1899-1908
Cylindrical, on a circular foot, the lobed teardrop shaped cartouches

enamelled with shaded varicolor fowers on pale green, pink, light blue,
red, blue and green grounds, within corded borders, the upper section
and scroll handles similarly enamelled on a cream ground, the base
engraved with letter B, apparently unmarked
4 in. (11 cm.) high
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 15 December 1989, lot 392.

411
A SILVER-GILT AND CLOISONN ENAMEL CUP AND COVER
The lobed bowl on conforming pedestal foot, enamelled overall with

varicoloured scrolling foliage within corded borders, with baluster stem,
the conforming detachable cover similarly decorated and with a doubleheaded eagle fnial, marked under foot, cup and cover, also with import marks
14 in. (35.5 cm.) high
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 12 June 1986, lot 264 (illustrated
on cover).
LITERATURE:
G. Hill, G. G. Smorodina, B. L. Ulyanova, Faberg and the Russian Master

Goldsmiths, New York, 1989, illustrated pl. 230.
A similar cup by Feodor Rckert was sold Sothebys, New York, 14 June 1989,
lot 346.
281

412
AN IMPORTANT PASTE-SET SILVER-GILT CLOISONN AND
CHAMPLEV ENAMEL PRESENTATION PUNCH SET
MARKED P. OVCHINNIKOV WITH THE IMPERIAL WARRANT, MOSCOW,
1872-1873
Comprising a tray, a punch bowl, eight charki and a kovsh, all of

traditional form, bearing stylised Old Russian inscriptions champlev
enamelled in blue, with escutcheon shaped reserves cloisonn
enamelled with varicoloured foliage on a white ground, within cast
and chased entwined foliate pattern, set with varicoloured pastes, the
tray and punch bowl with a presentation inscription To Her Imperial
Highness / Grand Duchess Maria / Alexandrovna from the town /
of Kazan 11 January 1874, both engraved with the Imperial doubleheaded eagle and the Kazan coat-of-arms, the charki and kovsh
bearing various traditional drinking proverbs, marked throughout
The tray 20 in. (50.8 cm.) diameter
302.7 oz. (9,416 gr.) gross
120,000-180,000
$200,000-290,000
160,000-230,000
The present lot is a wedding gift from the town of Kazan to H.I.H. Grand
Duchess Marie Alexandrovna (1853-1920), daughter of Emperor Alexander
II (1818-1881), on the occasion of her marriage to Alfred, Duke of
Edinburgh (1844-1900), son of Queen Victoria (1819-1901). The wedding
took place on 23 January 1874, three years after Grand Duchess Maria
was frst introduced to Prince Alfred during a family holiday in Denmark in
1871. Maria was the frst Russian princess to be raised by English nannies
and to speak English fuently. She was also the frst and only member of
the Romanov family to marry into the British royal family.
The wedding was celebrated with great splendour at the Winter Palace in
St Petersburg. The marriage ceremony consisted of both the Orthodox and
Anglican services, and more than 700 guests were invited to celebrate the
Anglo-Russian marriage organised by the Romanov family.
It was traditional for visiting provincial dignitaries to present members
of Imperial family with gifts, which were often produced by the leading
silversmiths and jewellers of Moscow and St Petersburg. The present lot
is a particularly lavish example of a work executed in the Old Russian
style, which dominated the Russian visual arts in the second half of the
nineteenth century.
PROVENANCE:
Anonymous sale; Sothebys, New York, 10-11 June 1985, lot 338.
Grand Duchess Marie Alexandrovna in her wedding dress
282
283
*413
A SILVER-GILT AND CLOISONN ENAMEL KOVSH
MARK OF IVAN BRITSYN, POSSIBLY OVERSTRIKING THE
Of traditional form, on a circular foot, with slightly

raised prow and hook handle, the bowl enamelled
overall with varicolor shaded scrolling foliage on a
cream ground within corded borders, the hook handle
similarly decorated, the base with engraved inscription
in Russian [To] Pokrovskaya M[anufactory], P.N.
Gryaznov from Successor I.A. Treumov, marked under
base and handle
7 in. (19 cm.) long
20,000-30,000
413
$33,000-48,000
26,000-38,000
PROPERTY OF AN IMPORTANT
VIENNESE COLLECTOR
414
A GEM-SET SILVER-GILT AND CLOISONN ENAMEL VASE
MARKED P. OVCHINNIKOV WITH THE IMPERIAL WARRANT,
OVERSTRIKING MAKERS MARK PROBABLY AO, MOSCOW,
1908-1917
Of tapering bulbous form, with scalloped rim,

enamelled overall with shaded varicoloured scrolling
foliage and fower heads on gilt ground, the base
enamelled with geometric design on a nut-brown
ground, with two stylised handles set with cabochon
garnets, marked under base
6 in. (16 cm.) high
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 16 June 1988,

lot 397.
For a pair of nearly identical vases, see G. Hill, G. G.
Smorodina, B. L. Ulyanova, Faberg and the Russian Master
Goldsmiths, New York, 1989, pl. 225.
*415
A SILVER, CHAMPLEV AND EN PLEIN ENAMEL
CIGARETTE CASE
MARKED KHLEBNIKOV WITH THE IMPERIAL WARRANT,
MOSCOW, 1873
414
Rectangular with rounded corners, the cover with

an en plein enamel plaque depicting a young woman
standing by a tree, within a champlev enamel border
of geometric motifs in blue, white and translucent red,
the reverse similarly champlev enamelled with scrolling
foliage, centring a cartouche with a monogram A.H.,
gilt interior, with a push-piece, marked on rim and
inside base
4 in. (11.1 cm.) wide
8,000-10,000
284
$13,000-16,000
11,000-13,000
416
A PARCEL-GILT, SILVER-MOUNTED AND ENAMELLED WOOD PRESENTATION CHARGER
MARKED KHLEBNIKOV WITH THE IMPERIAL WARRANT, ST PETERSBURG, CIRCA 1915
Circular, the silver mounts elaborately repouss and chased with foliage and geometric
motifs in the Neo-Russian style and set with hardstone cabochons, the upper rim
centring an en plein enamel plaque depicting a walled city by a river, fanked by two
silver-gilt bogatyrs, the lower rim centring a cartouche engraved with inscription in
Russian Bryansk Zemstvo is Bowing to His Imperial Highness Emperor Nicholas
Aleksandrovich on 20 April 1915, marked on mounts, inscribed in Cyrillic and numbered
A.D-M 843 n355 (on the reverse)
40,000-60,000
$65,000-96,000
51,000-76,000
415
416
285
PROPERTY OF A LADY
417
A SILVER-GILT AND CLOISONN ENAMEL COFFEE SERVICE
MARKED K. FABERG WITH THE IMPERIAL WARRANT,
WITH THE MAKERS MARK OF FEODOR RCKERT, MOSCOW, 1908-1917
Comprising a coffee-pot, a sugar bowl and a milk-jug, each on

slightly tapering circular foot, enamelled overall with geometric
motifs and stylised cockerels in shades of olive green, grey, brown,
red, and blue, the coffee-pot and sugar bowl with hinged covers,
surmounted with ball fnials, the coffee-pot with mother-of-pearl
insulators, the interior gilt, fully marked, also with import marks
The coffee-pot 9 in. (24 cm.) high
50,000-70,000
286
$81,000-110,000
64,000-88,000
PROVENANCE:
Sir William Seeds, K.C.M.G. (1882-1973), H.M. Ambassador to

Moscow from 1939-40.
By descent to his grand-daughter.
Sir William Seeds KCMG (1882-1973) was a British diplomat from 19041940. Having served in various countries around Europe, South and North
America, his last diplomatic appointment was as Ambassador to the Soviet
Union in 1939-40.
The revival of the Faberg market after the Russian Revolution is closely
associated with the 1930s, when Sir William Seeds, a great connoisseur of
Russian arts and culture, became one of the very frst of a new generation
of great collectors of Faberg. He acquired a collection of ten rare Faberg
hardstone fgures, which he called my little men. Sir William bequeathed
a Nicholas II Imperial Presentation Box to the Victoria and Albert Museum,
where it is currently on display.
PROPERTY OF A LADY
418
A SILVER-GILT CLOISONN AND EN PLEIN ENAMEL KOVSH
MARKED K. FABERG WITH THE IMPERIAL WARRANT, OVERSTRIKING THE
MAKERS MARK OF FEODOR RCKERT, MOSCOW, 1908-1917, SCRATCHED
INVENTORY NUMBER 20189
Of circular form, with slightly raised prow and upright angular

handle shaped as a bird, on a tapering circular foot, the front
centering an en plein enamel plaque depicting The Bogatyrs after
Viktor Vasnetsov, the body enamelled with varicolour fower-heads,
mushrooms, foliage and geometric motifs on a dark blue ground, all
within corded borders, the handle similarly enamelled, marked under
base, also with London import marks for 1911-1912
5 in. (14.5 cm.) high
30,000-40,000
$49,000-64,000
38,000-50,000
PROVENANCE:
Purchased from Fabergs London branch by Sir Edward Green

(1831-1923) for 29.
Purchased from the above by Sir William Seeds, K.C.M.G.
(1882-1973), H.M. Ambassador to Moscow from 1939-40.
By descent to his grand-daughter.
EXHIBITED:
London, Wartski, A Loan Exhibition of the Works of Carl Faberg,

8-25 November 1949, no. 198.
LITERATURE:
Wartski, Exhibition Catalogue, A Loan Exhibition of the Works of

Carl Faberg, London, 1949, p. 18, no. 198.
The Bogatyrs, one of the most famous paintings by Victor Vasnetsov (18481926), depicts mythical Russian heroes Dobrynya Nikitich, Ilya Muromets
and Alyosha Popovich. The artist worked on his masterpiece for over twenty
years, fnally completing it in 1898. The painting is in the collection of the
State Tretyakov Gallery, Moscow.
287
*419
A BRONZE MODEL OF AN ARAB MERCHANT
CAST BY F. CHOPIN AFTER THE MODEL BY EVGENII LANCERAY, 1886
On a naturalistic oval base, realistically cast as a merchant, riding a

horse and holding a rife in his right hand, signed and dated on base in
Cyrillic E. LANCERAY 1886 and with Cyrillic foundry mark
F. CHOPIN.
20,000-30,000
$33,000-48,000
26,000-38,000
For the original wax model, see L.A. Dementieva, Album of Models by the
Sculptor Eugene Lanceray, Moscow, 2011, pp. 260-261, no. 127.
For the same model cast in bronze, see G. Sudbury, et al., Evgueni
Alexandrovich Lanceray: le sculpteur russe du cheval, Paris, 2006, p. 68.
*420
A BRONZE GROUP OF A COSSACK ON HORSEBACK
CAST BY WOERFFEL AFTER THE MODEL BY PETR SAMONOV, 1884
On a naturalistic rectangular base with canted corners, cast as a

Cossack lighting his pipe, astride a horse, signed on base SCULP.
SAMONOF. and with foundry mark C.F. Woerffel and Finance
Ministry stamp, dated 1884
17 in. (45.1 cm.) high
10,000-15,000
$17,000-24,000
13,000-19,000
A similar bronze group was sold Christies, London, 6 June 2011, lot 271.
288
421
A BRONZE GROUP OF A SAMOYED ON A REINDEER-DRAWN
SLEIGH
CAST BY WOERFFEL AFTER THE MODEL BY NIKOLAI LIEBERICH,
LATE 19TH CENTURY
On an octagonal base, realistically cast as a Samoyed aboard a sleigh,

drawn by four reindeer galloping through snow, signed in Cyrillic on
base N. Lieberich, with foundry mark Zav. C.F. Woerffel /
St Petersbourg
36 in. (92 cm.) wide
40,000-60,000
$65,000-96,000
51,000-76,000
PROVENANCE:
Acquired by the previous owner from the artist in St Petersburg

before the revolution.
Acquired by the present owner directly from the above.
For a similar model, see A. Yegorov, K. Zhuromsky, Nicolai Liberich.
Sculpture and Graphics, Moscow, 2011, p. 120, pl. 14.
A comparable bronze group was sold Christies, New York, April 9, 2014,
lot 149.
The tradition of riding reindeer-drawn sleighs dates to the 1820s.
Laplanders and Yupiks from the Russian North used to bring their reindeer,
sleighs and transportable dwellings to St Petersburg for the Maslenitsa day.
The traditional river landscape was transformed as they installed the chums
on the frozen Neva River. One could take a ride on the reindeer-drawn
sleigh, as well as have a look inside the chum for a small fee. This type of
entertainment was popular in St Petersburg until the 1880s.
289

*422
A RARE AND IMPORTANT EQUESTRIAN PORTRAIT OF EMPEROR
ALEXANDER II
PRINCE PAUL TROUBETZKOY (1866-1938)
Signed, dated and stamped with the foundry mark Paul Troubetzkoy
1910 / CIRE C. VALSUANI PERDUE (on the base), painted with
inventory numbers SM2851 and paper label inscribed Comitato
Esecutivo per le Feste Commemorative del 1911 in Roma /
Esposizione Internazionale dArte / Roma 1911 / 817
bronze with dark brown and black patina
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
Grand Duke Nicholas Nikolaevich (1856-1929).

By descent to Prince Nicholas Romanovich Romanoff (1922-2014).
Collection of Nicholas, Prince of Russia; Christies, Geneva,
November 17, 1993, lot 275.
EXHIBITED:
Rome, Esposizione Internazionale dArte, Rome, 1911, no. 817.

LITERATURE:
Exhibition Catalogue, Catalogue of Sculpture by Prince Paul Trubetzkoy,

Exhibited by the American Numismatic Society at the Hispanic Society
of America, New York, 1911, p. 74, fg. 2; depicting the sculptor
model at the Marble Palace in 1910.
J. S. Grioni, Prince Paul Trubetzkoy. The Making of a Monument to
Alexander III, The Antique Collector, London, October 1989, p. 65.
Exhibition catalogue, Paolo Troubetzkoy 1866-1938, Museo del
Paesaggio, Verbania, 29 April-29 July 1990, p. 187, nos. 138-9,
for a similar bronze.
Model of the present lot exhibited at the Marble Palace in 1910
290
Prince Paul Troubetzkoy (1866-1938), celebrated sculptor of Russian and

American parentage and Italian upbringing, moved to Russia in 1898.
He set up a studio in Moscow, where he swiftly established himself as
a fashionable portraitist and took up the post of professor at the Art
Academy in Moscow. Troubetzkoy had arrived in Russia at an opportune
time in the world of sculpture, and his innovative verve and elegance
revitalised the uniform realism of the existing style. He became much
sought after for his bronze portrait statuettes, was particularly favoured
by the Imperial family, and depicted among others Lev Tolstoy, the Grand
Duchess Elisabeth Feodorovna, the Prime Minister Count Sergei Witte,
Prince Gagarin and Prince Lev Golitsyn.
As early as 1893, the sculptor Mark Antokolskii was asked to work on
a monument project commemorating the late Emperor Alexander II, but
the project was later abandoned. The project was reactivated in 1910
with a national competition where no less than sixty models, including
one by Troubetzkoy, were presented and exhibited all together for one
week at the Marble Palace Manege; but again the project was abandoned.
Troubetzkoys projected model was suffciently evolved to be published in a
local magazine, as it was extremely popular with many of his artist friends
and admirers.
Emperor Alexander II reigned from 1855 to 1881 and was known as a
reformer. As soon as he acceded to the throne, he set about making
educational reforms, reducing police surveillance, creating the frst national
bank, and is most celebrated for his 1861 emancipation of the serfs
and consequent reformation of the feudal agricultural system. His reign
introduced considerable progress in the Russian socio-economic system.
In 1881, he was tragically assassinated by a Nihilist bomb.
Troubetzkoy chose to create an idealistic image of the progressive
emperor, whose life and reign were cut short. His original maquette
for the monument, re-exhibited in New York in 1911 at the Hispanic
Society, reveals an elegant image, more vertical and animated than his
earlier Alexander III. The swishing of the horses tail and the lively turn of
the horses head contrast effectively with the upright regal fgure of the
emperor, thus creating an image both of realism and ideology. The emperor
sits on his mount over a steep precipice, symbolic both of his isolated
idealism and of the sudden assassination; he nevertheless holds his cap in
a gesture of accessibility to all his people. The monument to Alexander II
was a more subtle and cerebral image than Troubetzkoys earlier Alexander
III, its poetry and delicate modelling successfully translating into the
small bronze format, as in the present lot. This rare and fne cast bronze
reveals Troubetzkoys mastery of technique in the sure swift strokes of the
modelling, his imagination and his sensitivity to the subject.
Label from Esposizione Internazionale dArte, on the base of the present lot
291
*423
A BRONZE GROUP OF A COUPLE ON HORSEBACK
CAST BY C.F. WOERFFEL AFTER THE MODEL BY VASILII GRACHEV, CIRCA 1877
On a naturalistic oval base, modelled as a rider holding his sweetheart

as their horse descends a rocky slope, signed on the base in Cyrillic LEP.
GRACHEV, with foundry mark FABR. C.F. WOERFFEL. ST.
PETERSBURG. and Finance Ministry stamp dated 1877
13 in. (34.9 cm.) high
5,000-7,000
$8,100-11,000
6,400-8,800
*424
PRINCE PAUL TROUBETZKOY (1866-1938)
Russian Sledge & Driver

signed Paul Troubetzkoy/1898; stamped with the foundry mark
CIRE C. VALSUANI PERDUE (on the base)
bronze with black patina
59.7 cm. (23 in.) long
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
George N. Troubetzkoy (1873-1929), great grandson of the artist,

by inheritance.
By descent in the family.
CATALOGUE NOTES:
For another cast of this bronze by Troubetzkoy, signed, see:

G. Piantoni, P. Venturoli, Paolo Troubetzkoy, Torino, 1990, no. 69,
p. 133, illustrated.
292
425
426
427
428

FRANCE PART II

FRANCE PART II
425
A PARCEL-GILT SILVER CHALICE
MAKERS MARK MK, POSSIBLY FOR MIKHAIL KLUSHIN, MOSCOW,
FIRST HALF 18TH CENTURY
426
A PARCEL-GILT SILVER AND NIELLO CUP AND COVER
MAKERS MARK INDISTINCT, MOSCOW, CIRCA 1780
The ovoid bowl on conforming pedestal foot, the body decorated

with a scrolling foliage fretwork cage around three cast and chased
reserves depicting an allegorical couple and a putto, the foot similarly
decorated with sea creatures and a tree, with a knopped stem, marked
on rim, stem and foot
13.22 oz. (411.1 gr.)
5,000-7,000
$8,100-11,000
6,400-8,800
The ovoid bowl on conforming pedestal foot, nielloed with four

pastoral vignettes emblematic of the seasons of the year, amidst foral
swags and foliate festoons with pendant fower baskets, on a chevron
ground, the foot similarly nielloed, the stem cast as a fgure of a
Roman centurion, the conforming detachable cover with a fnial cast
and chased as an Imperial double-headed eagle, marked on stem, rim,
foot and cover
12 in. (30.5 cm.) high
13.22 oz. (353.8 gr.) gross
12,000-18,000
$20,000-29,000
16,000-23,000

FRANCE PART II

FRANCE PART II
427
A PARCEL-GILT SILVER CUP AND COVER
428
A PARCEL-GILT SILVER CUP AND COVER
THE BASE, MAKERS MARK CYRILLIC PS, MOSCOW,
SECOND HALF 18TH CENTURY
The shaped lobed bowl on conforming pedestal foot, all over repouss
and chased with rocaille motifs, the stem cast as a fgure of a man, the
conforming detachable cover with a fnial shaped as an allegorical
man, apparently unmarked
13 in. (34.5 cm.) high
11.37 oz. (353.7 gr.)
3,000-5,000
$4,900-8,000
3,800-6,300
The shaped lobed bowl on conforming pedestal foot, all over repouss
and chased with rocaille motifs, the stem cast as a fgure of a man,
the associated detachable cover with a ball fnial, marked on rim,
foot and cover
8.85 oz. (275.3 gr.)
3,000-5,000
$4,900-8,000
3,800-6,300
293
429
430

FRANCE PART II

FRANCE PART II
429
TWO PARCEL-GILT SILVER CUPS
BOTH WITH MARK OF PETER MLLER, ST PETERSBURG, 1823 AND 1831
430
TWO PARCEL-GILT SILVER BEAKERS
ONE, MAKERS MARKS CYRILLIC GK AND IV, RUSSIA, 19TH CENTURY;
THE OTHER, UNKNOWN MAKERS MARK FG, ST PETERSBURG, 1856
Each cylindrical body applied with cartouches depicting mythological

scenes, above a continuous frieze of bacchantes and putti, with
everted rim cast with foliage, the scroll handle surmounted by a
helmeted soldiers head, one cup with domed cover with fnial in the
form of a helmeted soldiers head, both marked under bases and lower
rims, the larger tankard also marked on cover and with import marks
19.18 oz. (596.4 gr.)
(2)
3,000-5,000
$4,900-8,000
3,800-6,300
LITERATURE:
For a similar tankard with a cover, see A. Odom, Russian Silver in

America: Surviving the Melting Pot, London, 2011, p. 134.
For another similar model, also see S. Ya. Kovarskaya, Russian Silver
of the Fourteenth to Early Twentieth Cemturies from the Moscow Kremlin
Reserves, Moscow, 1984, p. 149, no. 134.
294
Both of slightly tapering cylindrical form, with gilt interiors, one

applied with classical vignettes within octagonal and oval cartouches,
the rims chased with scrolling foliage borders, both marked under base
8.34 oz. (259.4 gr.)
(2)
2,000-3,000
$3,300-4,800
2,600-3,800
PROPERTY FROM AN IMPORTANT PRIVATE

COLLECTION, FRANCE PART II
431
TWO PARCEL-GILT SILVER AND NIELLO SEALING-WAX
CASES, A PARCEL-GILT SILVER AND NIELLO SCENT BOTTLE
AND A PARCEL-GILT SILVER AND NIELLO HORN MOUNT
THE TUIS, VARIOUS MAKERS, RUSSIA, LATE 18TH CENTURY;
THE SCENT BOTTLE, MARKED AFANASII AND STEPAN POPOV, VELIKII
USTIUG, CIRCA 1760; THE HORN MOUNT, APPARENTLY UNMARKED,
LATE 19TH CENTURY
Two fattened cylindrical tuis, one nielloed with architectural

views on gilt stippled ground, the other nielloed with ribbon
garlands on gilt chevron ground, both with indistinct makers
marks, one also with import marks; the scent bottle oval, the
front and reverse nielloed with pastoral fgures within rocaille
borders, the sides nielloed with foral garlands on gilt stippled
ground, the cover on a chain, marked under base; the horn
mount shaped as a mythological animals head, all over
nielloed with geometric and scrolling foliate motifs on gilt
stippled ground, the eyes of the animal set with turquoise,
apparently unmarked
6.12 oz. (190.3 gr.) gross
(4)
4,000-6,000
$6,500-9,600
5,100-7,600
For a similar scent bottle, see M.M. Postnikova-Loseva, et al.,

Russkoe Chernevoe Iskusstvo, Moscow, 1972, no. 67.

432
A PARCEL-GILT SILVER AND NIELLO DISH
RUSSIA, LATE 17TH CENTURY
Circular, the cavetto engraved with a vacant cartouches amidst

nielloed scrolling foliage in the Turkish style, the border
engraved with four stylised foliate reserves, one with a coat of
arms, on a nielloed ground, with gilt rim, apparently unmarked
8 in. (21. 5 cm.) diameter
5.82 oz. (180.9 gr.) gross
4,000-6,000
$6,500-9,600
5,100-7,600
The subtle use of a black niello background in the form of delicate

lacework, minute scrolls and foliage on the present dish, is typical
of seventeenth-century Russian niello work. The technique, called
Turkish niello [turetskaya chern], was originally used by Turkish
silversmiths in the Kremlin workshops.
For a similarly nielloed dish, made in Moscow during the late
seventeenth century, see S.Ya. Kovarskaya, Russian Silver of the
Fourteenth to Early Twentieth Centuries from the Moscow Kremlin
Reserves, Moscow, 1984, p. 27, no. 15. A similar silver and niello
dish from a Distinguished European Private Collection was sold
Christies, King Street, 25 November 2013, lot 390.
295

*433
A SILVER-GILT AND NIELLO CIRCULAR BOX
WITH THE UNRECORDED WORKMASTERS INITIALS CYRILLIC U:ZH, VELIKII
USTIUG, 1780
Circular, the cover and base centring an oval cartouche on a gilt

stippled ground, the cover depicting a townscape, the base a hunter
with hound in a landscape, within chased ropework borders, marked
inside base and on fange, with later French import mark
5.63 oz. (175.1 gr.) gross
2,000-3,000
$3,300-4,800
2,600-3,800
The Zhilin family of Velikii Ustiug were renowned masters of niello work in
the late eighteenth and early nineteenth centuries. It can be assumed that
the workmaster of the present box was related to the Zhilin family.
A similar box was sold Christies, New York, 23 October 2000, lot 25.

*434
A PARCEL-GILT SILVER AND NIELLO BOX AND ETUI
VELIKII USTIUG, 1808-1810
The box rectangular with hinged cover, the etui of typical form,
each nielloed with stripes within gilt borders chased with geometric
motifs, the box with the makers mark of Ivan Zhilin, dated 1808,
marked inside, the etui indistinctly marked on fange
The box 3 in. (9 cm.) long, the etui 3 in. (9.8 cm.) long
6.89 oz (214.2 gr.) gross
(2)
2,000-3,000
296
$3,300-4,800
2,600-3,800
435
436

FRANCE PART II

FRANCE PART II
435
A SILVER AND NIELLO CHARKA AND A SILVER TWO-HANDLED CUP
THE CHARKA, MARK OF PETR IVANOV, MOSCOW, LATE 17TH CENTURY;
THE CUP, RUSSIA, EARLY 18TH CENTURY
436
TWO SILVER-GILT CHARKAS
ONE, RUSSIA, LATE 17TH CENTURY; THE OTHER, CHINA FOR THE RUSSIAN
MARKET, FIRST HALF OF 19TH CENTURY
One hemispherical on three claw-and-ball feet, with two scrolling

foliate handles, the body and interior fnely nielloed in the Turkish
style with a bird amidst foliage, marked on handles; the other, circular
on a spreading futed foot, with two acanthus leaf-capped handles,
the body with acanthus leaf border, marked with unknown makers mark
Cyrillic NO, also with engraved numeral 107
4 in. (10 cm.) wide each
3.18 oz. (98.7 gr.) gross
(2)
One hemispherical on raised petal-shaped foot, the body chased with

scrolling foliage and birds, the interior decorated with sea monsters
and a mermaid, enclosing a roundel with a dove fnial, the sides
engraved with inscription in Russian This charka is for drinking
braga for health and joy, the kokoshnik-shaped handle depicting
Samsons fght with the Lion, apparently unmarked; the other quatrefoil
ogee shaped on a similarly shaped foot, with two rocaille handles,
the body cast and chased with chinoiserie motifs, marked on the base
possibly with retailers mark of M.S. Popov
3 in. (9 cm.) wide each
6.69 oz. (208 gr.)
(2)
2,500-3,500
$4,100-5,600
3,200-4,400
LITERATURE:
For a similar model of the charka, see A. von Solodkoff, Russian Gold
and Silver, Fribourg, 1981, no. 95-96.
2,500-3,500
$4,100-5,600
3,200-4,400
For a similar example of late seventeenth-century charka, see K. Helenius,

The Russian Charka: The Silver Vodka Cup of the Romanov Era, Helsinki,
2006, p. 21, no. 5.
*437
A SILVER AND NIELLO CARTOGRAPHIC BOX
VELIKII USTIUG, 1772
Circular, the detachable cover and base engraved with lines of

longitude and topographical features and inscribed with the names of
cities, the cover depicting a map of the White Sea and surrounding
territory, including Karelia, Arkhangelsk and the Solovetsky Islands,
the base depicting a map of Velikii Ustiug, the Northern Dvina
River and surrounding territory, the interior gilt, marked inside base,
apparently no makers mark
11.29 oz. (351.2 gr.) gross
45,000-65,000
$72,000-110,000
57,000-83,000
Snuff-boxes engraved with maps of cities and provinces became

increasingly popular at the end of the eighteenth and beginning of the
nineteenth centuries, as engraved maps became more widely disseminated.
Maps of Velikii Ustiug, the centre of niello work in Russia in the eighteenth
century, were a natural choice for niello artists.
297

FRANCE PART II
438
SEVEN SILVER AND SILVER-GILT BEAKERS
VARIOUS MAKERS, RUSSIA, 18TH CENTURY
Comprising a silver beaker with rocaille motifs, makers mark Cyrillic

EV; a silver beaker with rocaille motifs and birds, marked Aleksandr
Gildebrand, aldermans mark of Fedor Petrov; a silver beaker with rocaille
motifs and birds, with later dedication inscription under the base,
unknown makers mark Cyrillic PSI, aldermans mark of Fedor Petrov; a
silver beaker with rocaille motifs, marks indistinct; a silver beaker with
rocaille motifs and birds, makers mark Cyrillic SF, aldermans mark of
Aleksey Kosyrev, Moscow, 1784; a silver beaker with three cartouches
depicting a lion, dog and an allegorical man, marked Petr Semenov; a
silver-gilt beaker with foral festoons, ribboned wreaths and birds,
marked Stepan Saveliev or Savva Semenov, Moscow, 1787
16.54 oz. (514.5 gr.)
(7)
2,000-3,000
$3,300-4,800
2,600-3,800

FRANCE PART II
439
A PARCEL-GILT SILVER TANKARD
MAKERS MARK CYRILLIC AP, MOSCOW, 1853
Tapering cylindrical, with a scroll handle, the sides chased and

engraved with three bands of fowers within raised borders, centring
a cartouche inscribed in Russian [From] Andrey Salov / [in] memory
/ [to] Etoile Lek, the cover similarly decorated with a raised fnial in
form of a foral bouquet, marked under base and inside cover, also with
import marks
5 in. (15 cm.) high
13.41 oz. (417.1 gr.)
3,000-5,000
298
$4,900-8,000
3,800-6,300

*440
A PARCEL-GILT SILVER BRATINA
RUSSIA, 17TH CENTURY
Of bulbous form, the gilt rim engraved: This Bratina [belongs] to

the Troitse Sergiev Monastery, apparently unmarked, the lower section
of the bowl engraved No 8; the base engraved 35 zol / N 111, and further
stamped 75
3 in. (8.26 cm.) high
4.76 oz. (148.2 gr.)
20,000-30,000
$33,000-48,000
26,000-38,000
A similar seventeenth-century bratina, also inscribed Bratina of the Troitse

Sergiev Monastery is held in the collection of the Museum of Fine Arts,
Boston, 53.1041 (A. Odom, Russian Silver in America: Surviving the Melting
Pot, London, 2011, pp. 40-41, 216). Another similar, slightly larger bratina
was sold Christies, London, 2 June 2014, lot 373.
In the seventeenth century, Peter I twice sought shelter within the walls of
the Troitse Sergiev Monastery. The monastery remains the most important in
Russia and is regarded as the spiritual centre of the Russian Orthodox Church.

FRANCE PART II
441
TWO SILVER AND NIELLO SERVING SPOONS
RUSSIA, MID 17TH CENTURY
Both with ovoid bowls, fnely engraved with foral motifs on

scrolling foliate nielloed grounds, the shaped stem of the smaller
spoon nielloed with chevron pattern, with a knopped fnial, the stem
of the larger spoon nielloed with foliate motifs, the interior of the
bowl of the larger spoon gilt, apparently unmarked
3.49 oz. (108.5 gr.) gross
(2)
3,000-5,000
$4,900-8,000
3,800-6,300
For a collection of related seventeenth-century silver and niello spoons, see

exhibition catalogue, J. Kugel, Treasures of the Czars: Russia and Europe
from Peter the Great to Nicholas I, Paris, 1998, nos. 25-34.
299

*442
TWO PARCEL-GILT SILVER AND NIELLO BEAKERS
Tapering cylindrical, each body engraved with three

blossoming fowers amidst elaborate scrolling vines, on a
ground fnely nielloed with scrolling foliage in the Turkish
style, on a raised foot, unmarked, the smaller beaker with touch
mark and inscribed N194 under base
14.41 oz. (448.1 gr.) gross
(2)
40,000-50,000
$65,000-80,000
51,000-63,000
The subtle use of a black niello background in the form of delicate

lacework, minute scrolls, foliage and dots on the present beaker is
typical of seventeenth-century Russian niello work. The technique,
called Turkish niello [turetskaya chern], was originally used by
Turkish silversmiths in the Kremlin workshops. Another example
of a seventeenth-century beaker in the Turkish style was sold
Christies, London, 2 June 2014, lot 329.

443
A RARE AND IMPORTANT PARCEL-GILT SILVER AND NIELLO
BEAKER
MAKERS MARK CYRILLIC PSH, TOBOLSK, 1775
Cylindrical, slightly tapering, the body repouss and chased

with wave-bands and nielloed with two rocaille cartouches
on a gilt stippled ground, one enclosing the coat-of-arms
of Denis Ivanovich Chicherin, the other his Cyrillic cypher
DCh beneath a crown, the upper and lower parts further
nielloed with rocaille bands, marked under base, also with import
marks on the rim
4 in. (10 cm.) high
5.49 oz. (170.8 gr.) gross
8,000-12,000
$13,000-19,000
11,000-15,000
Denis Ivanovich Chicherin (1720?-1785) was the governor of Siberia

from 1763 to 1781, appointed by Empress Catherine II, who reigned
from 1762 to 1796. Among his many accomplishments, Chicherin
built a highway from Tobolsk to Irkutsk and provided Tobolsk with
hospitals, schools and pharmacies.
Near the end of the eighteenth century, Tobolsk was the centre of
niello work in Siberia, producing items of unparalleled quality that
infuenced production in other Siberian cities (M.M. PostnikovaLoseva, et al., Russkoe Chernevoe Iskusstvo, Moscow, 1972, p. 18).
Examples include a tea-pot, tea caddy, sugar bowl, and boxes with
Siberian landscapes, maps, and plans of cities. A number of works
were commissioned by Governor Chicherin and included his coatof-arms.
For related beakers, see A. von Solodkoff, Russian Gold and Silver,
Fribourg, 1981, no. 112, and S. Ia. Kovarskaia, Russian Silver of the
Fourteenth to Early Twentieth Centuries from the Moscow Kremlin
300

*444
SIX SILVER BEAKERS
VARIOUS MAKERS AND DATES, RUSSIA, 18TH CENTURY
Tapering cylindrical, variously decorated with scrollwork, birds, vegetation or putti,

marked under bases
(6)
3,000-4,000
$4,900-6,400
3,800-5,000

FRANCE PART II
445
TWO SILVER BEAKERS
ONE, MARK OF GAVRIIL SEREBRENIKOV, MOSCOW 1755;
THE OTHER, MARK OF PROKOFII DAVYDOV,
MOSCOW, SECOND HALF 18TH CENTURY
One, cylindrical, slightly tapering, the body repouss and chased with
rocaille motifs, surrounding architectural views, the cover similarly
decorated, applied with a bud fnial, marked under base and on cover,
also with import marks; the other, cylindrical, slightly tapering, the
body repouss and chased with images of two allegorical men, one
holding a bow and an arrow, another carrying a rope and a box,
within foral motifs, marked under base
15.22 oz. (473.2 gr.)
(2)
3,000-5,000
$4,900-8,000
3,800-6,300
301

*446
A PARCEL-GILT SILVER AND NIELLO LARGE ETUI
MARK OF YAKOV MOISEEV, VELIKII USTIUG, 1810
Of typical form, nielloed with stripes and rosettes at intervals, the

front depicting a coat of arms on a gilt stippled ground within an oval
cartouche, the reverse with the monogram AIT on a gilt stippled
ground within an oval cartouche, marked on fange, with later French
import mark
5 in. (14.3 cm.) long
5.12 oz. (159.4 gr.) gross
5,000-7,000
$8,100-11,000
6,400-8,800

FRANCE PART II
447
THREE SILVER-GILT AND NIELLO BEAKERS
VARIOUS MAKERS, MOSCOW, FIRST HALF 19TH CENTURY
Comprising a silver-gilt and niello beaker, decorated with foral

swags and foliate festoons with pendant fower baskets on stippled
ground, makers mark Cyrillic NT and PF, Moscow, 1816; a silvergilt and niello beaker with two cartouches nielloed with hunting
and architectural scenes within scrolling foliage on stippled ground,
makers mark Cyrillic GG, also with import marks, Moscow, 1838;
and a silver-gilt and niello beaker with two cartouches nielloed with
St Petersburg views within scrolling foliage on stippled ground,
makers mark Cyrillic AK, also with import marks, Moscow, 1848
12.07 oz. (375.4 gr.) gross
(3)
2,000-3,000
302
$3,300-4,800
2,600-3,800

FRANCE PART II
448
A SILVER-GILT AND NIELLO TANKARD
MAKERS MARK CYRILLIC EE, MOSCOW, 1847
Cylindrical, with a scroll handle, the body with three shaped

cartouches, two depicting architectural views of Moscow and
St Petersburg, one monogrammed with Cyrillic KG, on a stippled
ground nielloed with scrolling foliage, the cover similarly decorated
with a raised baluster fnial, marked under base, on the rim and inside cover
6 in. (16 cm.) high
10.92 oz. (339.8 gr.) gross
2,500-3,500
$4,100-5,600
3,200-4,400

*449
A PARCEL-GILT SILVER AND NIELLO BOX
MOSCOW, 1808
Circular, the hinged cover depicting a young man serenading a young

woman at work in a feld, the base nielloed with geometric diaper
pattern, centring a gilt rosette, marked on fange and inside base, makers
mark indistinct
2.1 oz. (65.4 gr.) gross
1,000-1,500
$1,700-2,400
1,300-1,900
303

*450
SIX SILVER CHARKI
VARIOUS MAKERS AND DATES, RUSSIA, 18TH CENTURY
Of typical form, with scroll handles, each futed or decorated with

foliate or geometric motifs, marked under bases
(6)
2,000-3,000
$3,300-4,800
2,600-3,800

451
A CLOISONN ENAMEL SILVER CHARKA
The hemispherical bowl on a raised circular foot, the

body and interior enamelled with varicoloured scrolling
foliage on white and dark blue grounds, the kokoshnikshaped pierced handle similarly decorated, apparently
unmarked
3 in. (9 cm.) wide
2,000-3,000
$3,300-4,800
2,600-3,800
For a similar charka, see N. V. Kalyazina, Russian Enamels

of the XII-XX Centuries from the Collection of the State
Hermitage, Leningrad, 1987, pl. 19.
304

*452
A PARCEL-GILT SILVER CUP
Circular, the interior of the bowl centring a repouss and chased rosette, the exterior engraved
with a border of scrolling foliage at the rim and two panels at the sides, applied with a lionmask ring handle at one side, the sides centring roundels with the engraved inscriptions Cup
[belongs to] monk Sergiy Rozhestvenskii and This cup [belongs to] Mark Sheshkov and
was purchased from the previous treasurer monk Sergiy on 7 June 1686, from whom this
cup [which belongs to] Ioann Son of Grogirii Shelepin was purchased from monk Moisey
Sheshkov, unmarked, the base engraved with the weight 42 zolot. count
5.66 oz. (175.9 gr.)
20,000-30,000
$33,000-48,000
26,000-38,000
(details)
305

*453
TWO PARCEL-GILT SILVER AND NIELLO BEAKERS
MOSCOW, LATE 18TH CENTURY
Each tapering cylindrical, the larger beaker depicting classical

fgures within landscapes within two oval cartouches with laurel
borders, fanked by neoclassical urns amidst foral garlands and
drapery swags, marked under base with unknown makers mark
Cyrillic I.PM and dated 1791, also with faint scratch weight; the
smaller beaker depicting neoclassical urns within two oval
cartouches with laurel borders, fanked by eagles amidst foral
garlands and drapery swags, marked under base with the makers
mark Cyrillic I.SM, aldermans mark of Aleksei Kosyrev, dated 1788,
also with a French import mark
The larger beaker 3 in. (8.9 cm.) high
8.76 oz. (272.3 gr.) gross
(2)
453
5,000-6,000
$8,100-9,600
6,400-7,600
For a similar late eighteenth-century beaker, also dated 1791,

see M.M. Postnikova-Loseva, et al., Russkoe Chernevoe Iskusstvo,
Moscow, 1972, no. 48.

FRANCE PART II
454
A SILVER-MOUNTED COCONUT EWER
MAKERS MARK CYRILLIC YA.A, ST PETERSBURG, EARLY 19TH CENTURY
On a raised circular foot, repouss and chased with a foral band,

the coconut body mounted with a tapering stem cast and chased
as laurel leaves, with wood scroll handle and fared rim, marked
on base and upper rim
8 in. (21 cm.) long
3,000-5,000
$4,900-8,000
3,800-6,300

FRANCE PART II
455
A SILVER-GILT MOUNTED COCONUT BRATINA
RUSSIA, MID-17TH CENTURY
The ovoid coconut body mounted in a circular rosette-cast

foot, secured by three hinged straps, decorated with scrolling
foliage on a stippled ground, the upper rim engraved in
Russian [This] bratina [belongs to] Count Lev Aleksandrovich
Shliakhovchevskii, apparently unmarked
5 in. (13.5 cm.) high
454
455
6,000-8,000
$9,700-13,000
7,600-10,000
The so called Count Lev Aleksandrovich Shliakhovskii (Shliakhovcheskii)

was a charlatan. In 1640, he arrived in Denmark presenting himself as
a count who fed Poland due to religious persecution by Catholics. The
Danish king Christian IV recommended him to the Moscow Tsar, who
invited Lev Shliakhovskii to Russia and gave him the title of Prince Schlik.
When the truth eventually came out, the Tsar nonetheless as a gesture
of goodwill allowed him to keep his new title. See Adam Oleariy,
Opisanie puteshestviya v Moskoviyu, Moscow. 2003, pp. 266-267.
306
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION, FRANCE PART II

456
TWO SILVER-GILT AND NIELLO MINIATURE CHALICES AND A SILVER-GILT AND NIELLO CUP
ONE, MARK OF IVAN KALTYKOV, MOSCOW, 1836; THE OTHER, MOSCOW, 1831; THE CUP, UNKNOWN
MAKERS MARK CYRILLIC VA, KALUGA, 1803
The chalice by Ivan Kaltykov, of baluster form, the futed knopped stem on a rectangular
shaped base, the sides nielloed with a pastoral scene, marked under base and on rim, also with
import marks; the other chalice, of cylindrical form, with fared lip, on a circular foot, nielloed
overall with pastoral scenes and foliate ornaments, the underbase nielloed with a medallion
within scrolling foliage, marked on sides and foot; the cup, circular, on fared circular foot, with
a scroll handle, nielloed with architectural views in reserves within foliate wreaths and fne
vases, marked under base
3 in. (8,5 cm.) high and smaller
7.67 oz. (238.6 gr.) gross
(3)
6,000-8,000
$9,700-13,000
7,600-10,000

*457
A PARCEL-GILT SILVER AND NIELLO BOX
VELIKII USTIUG, 1764
Circular with bomb sides, the cover depicting a fte champtre within
a border chased with strapwork and masks at intervals, the sides
repouss, chased and nielloed with fte champtre scenes within shaped
cartouches, marked on fange, apparently no makers mark, with the
assaymasters mark of Mikhail Okonishnikov
3.24 oz. (100.9 gr.) gross
5,000-7,000
$8,100-11,000
6,400-8,800
307
PROPERTY FROM AN IMPORTANT

PRIVATE COLLECTION, FRANCE
PART II
458
TWO PARCEL-GILT SILVER TANKARDS
ONE, MAKERS MARK INDISTINCT, MOSCOW,
SECOND HALF OF THE 18TH CENTURY;
THE OTHER, MAKERS MARK INDISTINCT, 1756
Each cylindrical with scroll handle, on three

ball feet, the bodies repouss and chased with
rocaille motifs on a matte stippled ground, the
hinged covers similarly decorated, one with a
gryphon, the other with a stag within rocaille
scrolls, marked under bases and on covers
22 oz. (684.3 gr.)
(2)
4,000-6,000
$6,500-9,600
5,100-7,600
PROPERTY FROM AN
AMERICAN COLLECTION
*459
A SILVER-GILT BONBONNIRE
WITH PARTIALLY READABLE WORKMASTERS
INITIALS, RUSSIA, LATE 18TH CENTURY
Circular, the detachable cover inset with

a silver-gilt medal depicting Empress
Catherine II in profle, signed J.C.G.
Jaeger, the base inset with a silver-gilt
medal depicting the Empress as Minerva
and commemorating peace with The Treaty
of KIIk Kaynarca between the Russian
Empire and Ottoman Empire in July 1774,
signed J. Gass, the sides reeded, indistinctly
marked inside cover and base
9.28 oz. (288.6 gr.)
5,000-7,000
$8,100-11,000
6,400-8,800
The Treaty of Kk Kaynarca, signed in July

1774, brought an end to the Russo-Turkish War
(1768-1774) and marked a major military triumph
for the Russian Empire. While it did not gain
vast territories from the Ottoman Empire, Russia
assumed control of Southern Ukraine, Northern
Caucasus, and Crimea. The Crimean Khanate,
although it formally gained its independence,
became dependent on Russia. The two key
seaports of Azov and Kinburn came under
Russian control, and thus Russia gained its frst
foothold on the Black Sea coast, allowing its navy
and merchant feet direct access to the Black
Sea. Furthermore, the treaty granted the Russian
Empire offcial status as protector of Orthodox
Christians living in the Ottoman Empire, opening
the door to future Russian expansion.
(reverse)
308

PART II
460
TWO SILVER FOOTED CUPS
ONE, MARKED GRIGORII LAKOMKIN, MOSCOW,
FIRST HALF 18TH CENTURY; THE OTHER, RUSSIA,
CIRCA 1694
One, ovoid, on three ball feet, the body

repouss and chased with two reserves,
centring an allegorical man with a palm
frond and a bird within scrolling foliage,
marked under base, also inscribed with an
inventory number 1572; the other circular
silver-gilt beaker on three claw-and-ball
feet, engraved with suspended fruit festoons,
also inscribed in Russian This cup belongs
to stolnik Ivan Ivanov Kirievskii 1 August
1694, apparently unmarked
9.02 oz. (280.3 gr.)
(2)
2,500-3,500
$4,100-5,600
3,200-4,400

PART II
461
A SILVER CHARKA
RUSSIA, CIRCA 1890
Of traditional form with raised prow, the

polished body with beeded border, the
scroll handle set with a rouble of Emperor
Alexander III dated 1883, apparently
unmarked, with import marks under base and
on handle
4 in. (12 cm.) long
3.12 oz. (97.2 gr.)
1,200-1,800
$2,000-2,900
1,600-2,300
309

462
A SET OF TWELVE PARCEL-GILT SILVER AND
NIELLO SPOONS
MAKERS MARK CYRILLIC AS, MOSCOW,
SECOND HALF 19TH CENTURY
Each with an oval bowl, nielloed with views of

Moscow landmarks, including the Kremlin and
St Basils Cathedral, with spiral stems and knopped
fnials, marked on stems, also with import marks;
with the ftted silk and red velvet-lined leather
case stamped in Russian Sazikov beneath the
Imperial warrant
4 in. (11 cm.) long
7.18 oz. (223.2 gr.) gross
(12)
2,500-3,500

PART II
463
TWO SILVER BOTTLE-HOLDERS
MARKED SAZIKOV WITH THE IMPERIAL
WARRANT, ST PETERSBURG, ONE DATED 1858,
THE OTHER WITH ILLEGIBLE DATE
Each with an adjustable scroll handle and

circular neck ring shaped as a grapevine,
the foot with a leather circular shaped base,
marked on foot, neck ring and handle
(2)
3,000-5,000
310
$4,900-8,000
3,800-6,300
$4,100-5,600
3,200-4,400
PROPERTY FROM THE ROYAL HOUSE OF
SAXE-COBURG-GOTHA
464
A SILVER-GILT AND NIELLO BRATINA
MARKED OVCHINNIKOV WITH THE IMPERIAL WARRANT,
OVERSTRIKING THE MARK OF VASSILI SEMENOV, MOSCOW, 1874
Of bulbous form, on a slightly tapering foot, the body overall

nielloed with scrolling foliage on stippled ground and engraved with
vine scrolls on nielloed ground, with four vacant circular reserves,
the slightly everted rim nielloed with inscription in Russian [This]
bratina [belongs to] Boyar Nikita Ivanovich Romanov drink from it
for health, the ladle with a shaped stem, similarly decorated, the tray
nielloed with inscription in Russian Our grandparents lived a simple
life and lived for hundreds of years, marked throughout; in the original
ftted leather and velvet-lined box
The bratina 6 in. (15.5 cm.) high, the tray 6 in. (16.5 cm.) diameter,
the ladle 10 in. (25.5 cm.) long
41.38 oz. (1,287 gr.) gross
15,000-25,000
The present lot was produced in the late nineteenth century emulating the
style of seventeenth-century silver objects, which explains the inscription
related to Nikita Ivanovich Romanov (1607-1654), a cousin of Tsar Mikhail
Feodorovich (1596-1645).
The nineteenth century saw a rebirth of interest in Russias artistic heritage.
This new phenomenon, based on the Golden Age of Russian applied art of
the seventeenth century, was known as the Pan-Russian style. Jewellers and
silversmiths produced works in a historicist style, which became favoured by
the traditionalistic Boyar families and wealthy merchants of Moscow. The
popularity of this style reached its peak during the festivities celebrating the
tercentenary of Romanov rule in 1913.
$25,000-40,000
19,000-32,000
311
*465
A SET OF FOURTEEN PARCEL-GILT SILVER AND NIELLO SPOONS
MARK OF MARIA SEMENOVA, MOSCOW, CIRCA 1890
Comprising two large and twelve smaller spoons; the exteriors of

the bowls nielloed with views of Moscow landmarks, including
the Kremlin, Christ the Saviour Cathedral and St Basils Cathedral,
within guilloch borders, with spiral stems and shaped fnials
engraved with a monogram possibly HMA, marked on stems; also with
import marks; in the original ftted silk and red velvet-lined wooden
box stamped in Russian The shop / of silver, gold / and diamond
works / O.F. Kurliukov / in Moscow / on Ilinka Khaudov house
22.49 oz. (699.5 gr.) gross
(14)
8,000-12,000
$13,000-19,000
11,000-15,000

466
A PARCEL-GILT SILVER AND NIELLO CIGAR CASE
MAKERS MARK CYRILLIC FL, MOSCOW, 1834
Rectangular, the hinged cover and body nielloed with pearl

guilloche pattern and a Cyrillic monogram SNI, with a
thumb-piece, gilt interior, marked inside cover and base
6 in. (15.5 cm.) long
9.27 oz. (288.5 gr.) gross
2,000-3,000
$3,300-4,800
2,600-3,800

FRANCE PART II
467
A PAIR OF SILVER GLASS HOLDERS
MARKED K. FABERG WITH THE IMPERIAL WARRANT, WITH THE
WORKMASTERS MARK OF ALEXANDER WKEVA (VKEV) ,
Cylindrical, on a slightly tapering circular foot, the sides cast and

chased with palmette band on stippled ground, later glass insert,
marked under base
3 in. (9 cm.) high
3,000-5,000
312
(2)
$4,900-8,000
3,800-6,300

*468
SIX PARCEL-GILT AND NIELLO SERVING SPOONS
MARK OF FEODOR BUSHKOVSKII, VELIKII USTIUG, 1822
Each with ovoid bowl, nielloed with architectural

views within rocaille-shaped medallions, marked on
stem, also with import marks
6 in. (17 cm.) long
7.20 oz. (224.1 gr.) gross
(6)
468 (part)
1,500-2,500
$2,500-4,000
1,900-3,200

469
A GROUP OF SILVER AND NIELLO SPOONS, KNIVES AND FORKS
VARIOUS DATES AND MAKERS, RUSSIA, 18-19TH CENTURY
Comprising a set of twelve silver-gilt teaspoons, marked S.

Stroganov, Moscow, 1847; a set of twelve parcel-gilt silver
teaspoons, makers mark Cyrillic ST, Moscow, 1838; a set of
six parcel-gilt silver and niello dessert spoons, centring the
coat-of-arms of Denis Ivanovich Chicherin, makers mark
Cyrillic PSh, Tobolsk, 1775; a set of six tea spoons, three
dessert spoons and two serving spoons, makers mark AK,
Moscow, 1841; two silver-gilt serving spoons, makers mark
AK, Moscow, 1841; a set of four forks and three knives,
makers mark EE, Moscow, 1846; a silver-gilt serving
spoon, marked Ivan Khlebnikov, also with import marks,
Moscow, 1876
71.68 oz. (2,229.4 gr.) gross
(51)
5,000-7,000
$8,100-11,000
6,400-8,800
469 (part)

*470
TWO PARCEL-GILT SILVER AND NIELLO SERVING SPOONS
AND SIXTEEN PARCEL-GILT SILVER AND NIELLO TEASPOONS
VARIOUS DATES AND MAKERS, RUSSIA, 19TH CENTURY
Comprising a serving spoon, makers mark Cyrillic AK,

Moscow, circa 1822-1855; a serving spoon, marked
P.Ovchinnikov with the Imperial Warrant, Moscow, 1870; a set of
sixteen teaspoons, makers marks of Alexander Zhilin and Mikhail
Koshkov, Velikii Ustiug
13.5 oz. (419.8 gr.) gross
(18)
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
All with A La Vieille Cit, Paris, 1981-1983.

470 (part)
472
471

FRANCE PART II

FRANCE PART II
471
A PARCEL-GILT SILVER TWO-HANDLED CUP
MAKERS MARK INDISTINCT, ST PETERSBURG, FIRST HALF 19TH CENTURY
472
A PARCEL-GILT SILVER TRIPOD DISH AND COVER
MAKERS MARK S.G, MOSCOW, CIRCA 1814
Circular, the handles cast and chased as a phoenix forming a twist

stem, on a circular foot, the front engraved with Cyrillic monogram
MP beneath a crown, marked under base and rim
2 in. (7 cm.) high
3.24 oz. (100.9 gr.)
The circular cup raised on lion monopodiae, the sides inscribed in

Russian From grateful subordinates to their chief within guilloch
patterned reserves, the triangular base with neoclassical decoration,
inscribed in Russian To His Excellency Alexander Mikhailovich
Lunin and dated 1814, centring the Lunin family coat-of-arms, with
an independent parcel-gilt circular bowl and detachable cover, with a
fnial shaped as a bundle of straw, marked throughout
7 in. (17.5 cm.) high
26.26 oz. (816.7 gr.)
2,500-3,000
$4,100-4,800
3,200-3,800
5,000-7,000
$8,100-11,000
6,400-8,800
Alexander Lunin (1745-1816), the original recipient of the present lot, was
descended from the noble Lunin family. During Pugachevs Rebellion, he
was appointed Head of the Secret Services by Catherine II.

FRANCE PART II
473
A SILVER AND GUILLOCH ENAMEL KOVSH AND A SILVER BEAKER
THE KOVSH BY FABERG, WITH THE WORKMASTERS MARK OF ANDERS
(ANTTI) NEVALAINEN, ST PETERSBURG, 1899-1904, SCRATCHED INVENTORY
NUMBER 7254; THE BEAKER MARKED FABERG, MOSCOW, 1891
473
The kovsh of traditional form, on a circular foot, with raised prow

and shaped hook handle, the body enamelled in translucent salmon
pink over wavy guilloch ground, interior set with a 15 kopek coin
of 1785, marked on handle; the beaker of slightly tapering cylindrical
form, with an engraved cypher beneath an Imperial crown, marked
under base
3 in. (9.8 cm.) wide and smaller
(2)
2,000-3,000
314
$3,300-4,800
2,600-3,800

FRANCE PART II
474
A PARCEL-GILT SILVER IMPERIAL PRESENTATION KOVSH
SIGNED ILARION ARTEMEV, RUSSIA, CIRCA 1730
Of traditional form with raised prow and handle, the bowl repouss
with a circular reserve centring an Imperial double-headed eagle with
the orb and sceptre, the exterior sides chased with Russian dedication
inscription By the Grace of God we Empress Anna [Ioannovna],
Autocrat of all Great Russia presented this kovsh to ataman of the
Don Voisko Andrei Lopatin for his true service on 10 March 1730,
within engraved foliate cartouches, the shaped handle surmounted
by an Imperial crown and centring a vacant cartouche within densely
cast and chased foliate scrolls and rocaille, the fnial cast and chased as
an Imperial double-headed eagle, apparently unmarked
11 in. (29.3 cm.) wide
15.75 oz. (489.9 gr.)
25,000-35,000
Andrey Ivanovich Lopatin, the recipient of the present kovsh, was the
Nakaznoi Ataman of the Don Voisko between 1723 and 1735.
For a similar Imperial presentation kovsh by Ilarion Artemev, see Z.Z.
Bernyakovich, Russian Silver Wares of the XVIIth - Beginning of the
XXth Century in the State Hermitage Collection, Leningrad, 1977, pl.
30. For another similar kovsh, see S.Ya. Kovarskaya, Russian Silver of
the Fourteenth to Early Twentieth Centuries from the Moscow Kremlin
$41,000-56,000
32,000-44,000
(detail)
315
PROPERTY FROM THE DESCENDANTS OF
GRAND DUKE GEORGE MIKHAILOVICH

*475
AN IMPORTANT SILVER-GILT IMPERIAL PRESENTATION KOVSH
with a circular reserve centring an Imperial double-headed eagle
with the orb and sceptre, within densely repouss and chased scrolling
foliage, the interior sides engraved with two oval cartouches depicting
the allegory of Jonah and the whale within foliate scrolls, the exterior
sides chased with Old Russian dedication inscription By the Grace
of God we great Lord Tsars and Great Princes Ioann Alekseevich
and Petr Alekseevich of all Great, Little and White Russia, on 10
November 198 [1690] presented this kovsh to Stepan son of Ivan
Kuimov from Yaroslavl for his service to Great Princes and Tsars
that he was serving in Yaroslavl customs in 196 [1688] and collected
18958 rubles, 12 altyn, 14 denga in duties and thus made us a proft
of 2001 rubles, 25 altyn and a half denga, the shaped handle repouss
with lion and unicorn beneath a crown, the fnial cast as an Imperial
double-headed eagle, apparently unmarked
14 in. (35.5 cm.) wide
25.61 oz. (796.6 gr.)
70,000-90,000
$120,000-140,000
89,000-110,000
PROVENANCE:
Grand Duke George Mikhailovich (1863-1919).

Princess Nina Georgievna Chavchavadze (1901-1974).
Prince David Pavlovich Chavchavadze (1924-2014).
The recipient of the present kovsh, Stepan Kuimov, son of Ivan Kuimov
from Velikii Ustiug, belonged to a family of wealthy Russian merchants
of the seventeenth and eighteenth centuries. Stepan was head of the
Yaroslavl tankard yard (kruzhechnii dvor), being responsible for collecting
custom duties on drinks in the city. This type of state service was often
compulsory and had to be performed for the duration of one year. Stepan
Kuimov, however, had been a head of the customs for at least three years
(detail of handle)
316
and was presented with a silver kovsh for his service in 1685 (now in the
State Historical Museum, Moscow), ten yards of crimson damask fabric in
1689, and the present silver kovsh in 1690.
In the seventeenth century, Yaroslavl held a prosperous position as a
commercial hub at the crossing of numerous trading routes between the
East and West. Benefting from its geographical location, the city rapidly
grew as a trading port on the Volga River and soon became the second
largest city in Russia after Moscow. Yaroslavl became a hub for foreign
goods and the distribution platform for the entire region, and as a result it
saw the rise of wealthy merchants. (A.I. Shemiakin, Istoria tamozhennogo
dela v Rossii i Yaroslavskii krai, Yaroslavl, 2000, p. 201).
A nearly identical silver kovsh was presented to Stepan Kuimov in 1685 and
is currently part of the collection of the State Historical Museum, Moscow
(inv. GIM 19sch, OK 895); see Russkoe Serebro XVI - nachala XX veka, St
Petersburg, 2004, illustrated p. 51.
Grand Duke George Mikhailovich (1863-1919) was the third son of Grand
Duke Michael Nikolaevich (1832-1909) and the grandson of Emperor
Nicholas I (1796-1855). In 1900, he married Princess Maria Georgievna
(1876-1940), second daughter of George I, King of the Hellenes
(1845-1913), and Queen Olga (1851-1926), ne Grand Duchess Olga
Konstantinovna of Russia. The couple had two daughters, Nina (19011974) and Xenia (1903-1965). Grand Duchess George and the children
spent much time abroad, and when the First World War broke out, they
remained in Great Britain, never to return to Russia. Grand Duke George,
who had been granted permission to live in Finland in 1917, was later
arrested and brought back to Petrograd. He would lose his life at the hands
of the Bolsheviks in January 1919.
In 1922, Princess Nina married Prince Paul Alexandrovich Chavchavadze
(1899-1971) in London. Prince Paul was descended from the Chavchavadze
family of Georgia and in a direct line from the last King of Georgia, George
XII (1746-1800). The couple had one son, David (1924-2014). In 1927, the
young family moved to the United States, settling frst in New York and
eventually moving to Massachusetts.
Grand Duke George Mikhailovich

(18631919) with his family
(detail)
317

FRANCE PART II
476
A PARCEL-GILT SILVER IMPERIAL PRESENTATION KOVSH
MOSCOW, CIRCA 1736
with a circular reserve centring an Imperial double-headed eagle with
the orb and sceptre, the exterior sides chased with Russian dedication
inscription By the Grace of God we Empress Anna [Ioannovna],
Autocrat of all Great Russia presented this kovsh to ataman of the
Volzhskii Cossacks Voisko Makar Nikitin Son Persidskii for his
true service on 7 January 1736, within engraved foliate cartouches,
the shaped handle surmounted by an Imperial crown and centring
a cartouche with Empress Anna in profle within densely cast and
chased foliate scrolls and rocaille, marked under handle
11 in. (29.3 cm.) wide
17.03 oz. (529.5 gr.)
25,000-35,000
Makar Nikitich Persidskii, the recipient of the present kovsh, was the frst
ataman of the Volzhskii Cossack voisko (later Ural Cossack Voisko) from
1734 and remained ataman until his death in 1772.
In 1762, he was awarded a gold medal by Empress Catherine II for his
services during the Seven Years War (1756-1763). As Ataman of the
Volzhskii Voisko he received a number of presentation kovshi as well as a
few presentation swords for his services.
$41,000-56,000
32,000-44,000
(detail)
318

FRANCE PART II
477
A SILVER-GILT IMPERIAL PRESENTATION KOVSH
MARK OF IVAN FROLOV, MOSCOW, CIRCA 1789
Of traditional form with raised prow and handle, the bowl repoussy
with a circular reserve centring an Imperial double-headed eagle
with the orb and sceptre, centring St George slaying the dragon,
the exterior sides chased with Russian dedication inscription By
the Grace of God we the great Lord Tsars and Grand Princes Ioann
Alekseevich and Petr Alekseevich, Autocrats of all Great, Little and
White Russia on 15 February 196 [1688] presented this kovsh to the
Kazan exchequer chief Sava Shaposhnikov for the increase in taxes
to the treasury for the year 194 [1686] of 51 rouble 5 altyn and 1
denga compared to 940 roubles 32 altyn and 5 denga in the year
193 [1685], within engraved foliate cartouches, the shaped handle
surmounted by an Imperial crown and centring the monogram
of Grand Princes Ioann Alekseevich and Petr Alekseevich within
densely cast and chased rocaille, the front engraved with Grand Princes
Ioann Alekseevich and Petr Alekseevich in profle within a rocaille
cartouche, marked on base
13 in. (34.5 cm.) wide
20.25 oz. (629.8 gr.)
25,000-35,000
The present kovsh belongs to a number of the so-called restored kovshi made
in the second half of the eighteenth century, when descendants of the recipients
were allowed to reproduce their parents lost or damaged Imperial gifts.
Therefore, such kovshi often bear 18th century silversmith makers marks with
the 17th century presentation inscription, which were engraved on the original
presented kovshi.
The above shows how such presentation kovshi were regarded as very important
and highly valuable family relics. A number of such similar kovshi is currently in
the collection of the State Historical Museum, Moscow (M. Postnikova-Loseva,
Russkie Serebrianie i Zolotie Kovshi, Moscow, 1953, pl. 23-24).
$41,000-56,000
32,000-44,000
(detail)
END OF SALE
319
Important Notices and Explanation of

Cataloguing Practice
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
320
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations ). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
NOTICE REGARDING BURMESE STONES

Items which are made of, or contain, rubies or
jadeite originating in Burma (Myanmar) may not
be imported into the U.S. As a convenience to
our bidders, lots which contain rubies or jadeite of
Burmese origin or of indeterminate origin have been
marked with . Please be advised that a purchasers
inability to import any such item into the U.S. or
any other country shall not constitute grounds for
nonpayment or cancellation of the sale.
Please note that with respect to items that contain
any other types of gemstones originating in Burma
(e.g., sapphires), such items may be imported into
the U.S., provided that the gemstones have been
mounted or incorporated into jewellery outside
of Burma and provided that the setting is not of a
temporary nature (e.g., a string).
Explanation of Cataloguing Practice

EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompanying
explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
Makers mark of , 1725
In our opinion either made in the workshop of the
master or struck with his sponsors mark prior to
retailing between 19th May of the year specified
and 18th May of the following year until 1660 and
thereafter between 29th May of the year specified
and 28th May of the following year until 1975 and
thereafter between 2nd January of the year specified
and 1st January of the following year. All other
countries have varying dating systems.
1725, makers mark
In our opinion dated as in the first example and
struck with an unidentified sponsors mark as
described.
1725
In our opinion dated as in the first example struck
with an illegible sponsors mark or no sponsors
mark at all.
Bearing marks for 1725
In our opinion having either spurious or transposed
marks.
( ozs.)
In our opinion weighing not less than the specified
number of ounces Troy.
( grs.)
number of grammes.
(gross ozs.)
number of ounces Troy including any non-silver
additions (e.g. wooden handles).
(gross grs.)
number of grammes including any non-silver
additions (e.g. wooden handles).
Descriptions of the metals conform with the
Hallmarking Act 1973.
Name(s) or Recognised Designation of an Artist
without any Qualification
In Christies opinion a work by the artist:
Attributed to
In our opinion probably a work by the artist in
whole or in part.
Studio of /Workshop of
In our opinion a work apparently executed in the
studio or workshop of the artist, possibly under his
supervision.
Circle of
In our opinion a work of the period of the artist and
showing his influence.
Follower of
In our opinion a work executed in the artists style
but not necessarily by a pupil.
Manner of
In our opinion a work executed in the artists style
but of a later date.
After
In our opinion a copy (of any date) of a work of
the artist.
Signed /Dated /Inscribed
In our opinion the work has been signed/dated/
inscribed by the artist.
With signature /With date /
With inscription
In our opinion the signature/date/inscription
appears to be by a hand other than that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
Marked Faberg, Workmaster
In our opinion a work of the masters workshop
inscribed with his name or initials and his
workmasters initials.
By Faberg
In our opinion, a work of the masters workshop,
but without his mark.
In the style of
In our opinion a work of the period of the master
and closely related to his style.
Bearing marks
In our opinion not a work of the masters workshop
and bearing later marks.
In compliance with the 1973 Hallmarking Act,
silver alloys of a standard of fineness permitted in
Russian but made after 1900 are described as white
metal and gold after 1900 as yellow metal.
FOR PICTURES, DRAWINGS, PRINTS

AND MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all
statements in this catalogue as to authorship are
made subject to the provisions of the Conditions of
Sale and Limited Warranty. Buyers are advised to
inspect the property themselves. Written condition
reports are usually available on request.
Name(s) or Recognised Designation of an Artist
without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
*This term and its definition in this Explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term, and the Limited Warranty shall not
be available with respect to lots described using
this term.
321
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on
no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. The auctioneer may execute absentee bids
directly from the rostrum, clearly identifying these as absentee
bids, book bids, order bids or commission bids.
Absentee Bids Forms are available in this catalogue, at any
Christies location, or online at christies.com.
322
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only
A limit of 25,000 for credit card payments will apply. This
limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be
accepted for London sales. Christies will not accept credit card
payments for purchases made in any other sale site. The fax
number to send completed CNP (Card Member not Present)
authorisation forms to is +44 (0) 20 7389 2821. The number
to call to make a CNP payment over the phone is +44 (0) 20
7752 3388. Alternatively, clients can mail the authorisation form
to the address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be drawn
in GBP on a UK bank, clearance will take 5 to 10 business
days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street Tel: +44 (0) 20 7389
2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel:
+44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme

In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
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24/04/14
Storage and Collection

STORAGE AND COLLECTION
EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Fine Art Logistics
Ltd to their warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
From the day of transfer of sold items to

Cadogan Tate Fine Art Logistics Ltd, all such
lots are automatically insured by Cadogan
Tate Fine Art Logistics Ltd at the sum of the
hammer price plus buyers premium. The
Extended Liability Charge in this respect by
Cadogan Tate Fine Art Logistics Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Fine Art Logistics Ltds storage

charges may be paid in advance or at the time
of collection. Lots may only be released from
Cadogan warehouse on production of the
Collection Order from Christies, 8 King
Street, London SW1Y 6QT. The removal
and/or storage by Cadogan Tate of any lots
will be subject to their standard Conditions of
Business, copies of which are available from
Christies, 8 King Street, London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Fine Art Logistics Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
70.00
5.25
35.00
2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
Cadogan TaTe Fine arT LogisTiCs LTd

Warehouse
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
10/06/14
324

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24/04/14
325
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2.
CATALOGUE DESCRIPTIONS AND

CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and
are likely, due to their nature and age, to show
signs of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition in a
catalogue entry will not amount to a full description
of condition. Condition reports are usually available
on request, and will supplement the catalogue
description. In describing lots, our staff assess the
condition in a manner appropriate to the estimated
value of the item and the nature of the auction
in which it is included. Any statement as to the
physical nature or condition of a lot, in a catalogue,
condition report or otherwise, is given honestly and
with appropriate care. However, Christies staff are
not professional restorers or trained conservators
and accordingly any such statement will not be
exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard of
care reasonably to be expected of an auction house
of Christies standing, due regard having been had
to the estimated value of the item and the nature
of the auction in which it is included. It must be
clearly understood, however, that, due to the nature
of the auction process, we are unable to carry out
exhaustive research of the kind undertaken by
professional historians and scholars, and also that,
as research develops and scholarship and expertise
evolve, opinions on these matters may change. We
therefore recommend that, particularly in the case
of any item of significant value, you seek advice on
such matters from your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
326
(e) Fitness for Purpose

Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
(g) Video or digital images

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or can
come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including 50,000, 20% of the excess of
the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the
hammer price above 1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium and
any applicable taxes or resale royalty) immediately
after the sale. This applies even if the buyer wishes
to export the lot and an export licence is, or may
be, required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
09/08/13
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made a
recommendation for the acts or omissions of the third
party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights and
remedies. These include, but are not limited to, the
following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the total
amount due and to commence legal proceedings
for its recovery together with interest, legal fees
and costs to the fullest extent permitted under
applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
the defaulting buyer;
(vi) to set off against any amounts which we, or
Christies International plc, or any of its affiliates,
subsidiaries or parent companies worldwide,
may owe the buyer in any other transactions, the
outstanding amount remaining unpaid by the
buyer;
(vii) where several amounts are owed by the buyer to
us, or to Christies International plc, or to any
of its affiliates, subsidiaries or parent companies
worldwide, in respect of different transactions, to
apply any amount paid to discharge any amount
owed in respect of any particular transaction,
whether or not the buyer so directs;
(viii) to reject at any future auction any bids made by

or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the buyer, whether by
way of pledge, security interest or in any other
way, to the fullest extent permitted by the law
of the place where such property is located.
The buyer will be deemed to have granted
such security to us and we may retain such
property as collateral security for such buyers
obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv) above,
the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the
seller, however arising, to pursue the buyer for such
amount.
(h) Failure to collect purchases
Where purchases are not collected within two
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to remove the property to a third party warehouse at
the buyers expense, and only release the items after
payment in full has been made of removal, storage,
handling, and any other costs reasonably incurred,
together with payment of all other amounts due
to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out
in clause 2 of these Conditions, but subject to the
terms and conditions of this paragraph, Christies
warrants for a period of five years from the date
of the sale that any property described in headings
printed in UPPER CASE TYPE (i.e. headings
having all capital-letter type) in this catalogue (as
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author
or authorship, is authentic and not a forgery.
The term author or authorship refers to the
creator of the property or to the period, culture,
source or origin, as the case may be, with which
the creation of such property is identified in the
UPPER CASE description of the property in this
catalogue. Only UPPER CASE TYPE headings
of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies is not responsible for any errors or
omissions in such material. The terms used in the
headings are further explained in Important Notices
and Explanation of Cataloguing Practice. The
warranty does not apply to any heading which is
stated to represent a qualified opinion. The warranty
is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with respect
to these Conditions of Sale, the conduct of the
auction and any matters connected with any of the
foregoing shall be governed and interpreted by the
laws of England. By bidding at auction, whether
present in person or by agent, by written bid,
telephone or other means, the buyer shall be deemed
to have submitted, for the benefit of Christies, to
the exclusive jurisdiction of the courts of the United
Kingdom.
05/01/10
327

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24/04/14
329
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212

Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)61 74 20 94 85
Anja Schaller
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
E NQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
04/09/14
330
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
CONTEMPORARY ART
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218

VICTORIAN PICTURES
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
SK: +44 (0)20 7752 3235
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
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27/05/14
331
A HIGHLY IMPORTANT
IMPERIAL EMBROIDERED SILK THANGKA
FROM A PRIVATE AMERICAN COLLECTION
Hong Kong 26 November 2014
Viewing
Enquiries
21-25 November 2014

Hong Kong Convention & Exhibition Centre
No. 1 Expo Drive, Wanchai, Hong Kong
Chi Fan Tsang

chinese@christies.com
+852 2760 1766
A HIGHLY IMPORTANT IMPERIAL EMBROIDERED SILK THANGKA

YONGLE SIX-CHARACTER PRESENTATION MARK
AND OF THE PERIOD (1402-1424)
132 x 84 in. (335.3 x 213.4 cm.)
Estimate on Request
TEN TRINITY SQUARE

LONDON, ENGLAND
Under the expert development of Reignwood Group, Londons historic Ten Trinity Square is
set to become one of the citys most exclusive addresses. Following a meticulous restoration,
the Grade II* listed building will be home to Four Seasons Hotel London at Ten Trinity Square
and 41 residences managed by Four Seasons, boasting panoramic views over London. The
building will also house a private members club as well as a wealth of luxury amenities.
Price upon request
CHRISTIES INTERNATIONAL REAL ESTATE
Giles Hannah +44 (0)20 7389 5142

ghannah@christies.com
www.christiesrealestate.com
HENDRICK BLOEMAERT (UTRECHT 1601-1672)

An Allegory of Winter
signed and dated 1631 oil on canvas 41 x 33 in. (105.9 x 84.8 cm)
300,000-500,000
Old Master & British Paintings Evening Sale

London, King Street 2 December 2014
Viewing
Contact
28 November 2 December
8 King Street
London SW1Y 6QT
Henry Pettifer
hpettifer@christies.com
+44 (0)20 7389 2084
christies.com
SADE, DONATIEN ALPHONSE FRANOIS, MARQUIS DE (1740-1814).

JUSTINE OU LES MALHEURS DE LA VERTU. PARIS: J.V. GIROUARD, 1791.
FIRST EDITION OF SADES MOST INFLUENTIAL AND NOTORIOUS WORK
40,000-60,000
Highlights from the Erotica Library of Tony Fekete

London, King Street 18 November 2014
Viewing
Contact
14-17 November
8 King Street
London SW1Y 6QT
Sven Becker
sbecker@christies.com
+44 (0)20 7389 2255
christies.com
SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941)

The Bathing Hour, Lido,Venice
signed J Lavery (lower right) oil on canvas 18 x 30 in. (45.6 x 76.2 cm.)
400,000-600,000
MODERN BRITISH AND IRISH ART

Evening Sale
London, King Street 19 NOVEMBER 2014
Viewing
Contact
15-19 November 2014

8 King Street
London SW1Y 6QT
Andr Zlattinger
+44(0) 20 7389 2074
azlattinger@christies.com
christies.com
FERNAND LEGER (1881-1955)

FERNAND
LEGER (1881-1955)
Les constructeurs
avec arbre
Les constructeurs
signed F. LEGER (lower right); signed again, dated and titled
F LEGER.avec
49 arbre
Constructeurs avec ARBRE and signed and dated again and
signed F. inscribed
LEGER (lower
right);
again, dated and titled ETUDE,
F LEGER.
49 Constructeurs
ARBRE
signed
andreverse)
dated again and
F LEGER
50signed
LES CONSTRUCTEURS,
FRAGMENT
DENavec
HAUT
avecand
arbre
(on the
inscribed F LEGER 50oilLES
FRAGMENT
DENinHAUT
avec arbre (on the reverse)
on CONSTRUCTEURS,
canvas 42 x 54 in. ETUDE,
(108.2 x 138.2
cm.) Painted
1949-1950
oil on canvas 42 x 54
in. (108.2 x22,000,000
138.2 cm.) Painted in 1949-1950
$16,000,000$16,000,000- 22,000,000
2014 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS
Impressionist and Modern Art Evening Sale

New York 5 November 2014
Impressionist and Modern Art Evening Sale

Viewing
Contact
20 Rockefeller Plaza
New York, NY 10020
blampley@christies.com
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Viewing
Contact
1-5 November
20 Rockefeller Plaza
New York, NY 10020
Brooke Lampley
blampley@christies.com
+1 212 636 2050
1-5 November
Brooke Lampley
New
York 5 November 2014
christies.com
christies.com
Pieter Brueghel II (1564/65-1637/38)
Pieter Brueghel II (1564/65-1637/38)
The Bad Shepherd

oil on oak panel
29 41. in (73.7 104.8 cm)
Sold at Christies, London,
8 July 2008, lot 38, for 2,505,250.
The Good Shepherd

oil on oak panel
15 21 in (40.2 54.5 cm)
Available for private sale in
The Bad Shepherd exhibition

( 1564/65 1637/38 )

( 1564/65 1637/38 )

,
73.7 104.8
Christies ,
8 2008 ., 38, 2,505,250

,
40.2 54.5

The Bad Shepherd

2-3
The Bad Shepherd

Christies Mayfair
christies.com
Viewing
Contact
10th October 2014 - 16th January 2015

103 New Bond Street
London, W1S 1ST
10 o 2014 - 16 2015
103 --
, W1S 1ST
Alexis Ashot
aashot@christies.com
+44 207 389 2248

aashot@christies.com
+44 207 389 2248
340
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Christies London
Important Russian Art

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09/08/13
341
RUSSIAN ART
19th and 20th century paintings, watercolours
and drawings by Russian artists plus Russian
works of art including works by Faberg.
expert knowledge beautifully presented
Code
Subscription Title
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Issues
UKPrice
US$Price
EURPrice
L361
L36
N36
Russian Art
Russian Paintings
Russian Works of Art and Faberge
Russian Paintings and Works of Art
King Street
King Street
New York
2
2
1
48
48
26
76
76
43
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Christie, Manson & Woods Ltd. (2014)
08/08/14
343
Image Credits
Lot 9: Sergei Vasilievich Rachmaninoff (1873-1943) Russian composer, pianist and conductor. Three-quarter image in overcoat,
hat in hand, looking at camera. Music / Universal History Archive/UIG / Bridgeman Images
Lot 9: Photo de Stelletsky dans son atelier - Archive Ass. de VITIAZ / France /
Lot 10: Photo de Soudbinine dans son atelier - Archive Andrei Korliakov / France /
Lot 10: Photo de Leonind Sobinov - Archive Andrei Korliakov / France /
Lot 12: UKRAINE. August 1947. Collective farm, Woman laughing. Robert Capa International Center of Photography
Lot 12: The Girl with a Jug (oil on canvas), Arkhipov, Abram Efimovich (1862-1930) / Tretyakov Gallery, Moscow, Russia /
RIA Novosti / Bridgeman Images
Lot 14: Yermaks Conquest of Siberia in 1582, 1895 (oil on canvas), Surikov, Vasilij Ivanovic (1848-1916) / State Russian
Museum, St. Petersburg, Russia / Bridgeman Images
Lot 15: Portrait of Ida Lvovna Rubinstein (1880-1960) 1910 (tempera & charcoal on canvas), Serov, Valentin Aleksandrovich
(1865-1911) / State Russian Museum, St. Petersburg, Russia / Bridgeman Images
Lot 30: Photo of Kirill Zdanevich, 1921, Tiflis from the collection of Petr Navashin, Moscow
Lot 30: Photo of Elena Shengelaia from the collection of the family
Lot 34: End of the Harvest (Faces of Russia) Boris Dmitryevich Grigoriev/Tempera and oil on canvas on cardboard, 1923 28 5/8
36 inches (72.7 91.4 cm)/Philadelphia Museum of Art: Gift of Christian Brinton, 1941
Lot 37: Portrait of Patience Escalier, 1888 (oil on canvas), Gogh, Vincent van (1853-90) / Private Collection / Photo Lefevre
Fine Art Ltd., London / Bridgeman Images
Lot 38: Portrait of M.A. Sherling, Artist and Photographer, 1918 (oil on canvas), Annenkov, Jurij Pavlovic (1889-1974) / State
Russian Museum, St. Petersburg, Russia / Bridgeman Images
Lot 38: Yuri Annenkov, 1924, photograph from the collection of G. V. Lebedinskaia, Moscow
Lot 43: The Aqueduct (Montagne Sainte-Victoire seen through Trees), c.1885-87 (oil on canvas), Czanne, Paul (1839-1906) /
Pushkin Museum, Moscow, Russia / Bridgeman Images
Lot 46: Photograph of Nicolai Fechin in Kazan, 1910s Courtesy private archive, USA
Lot 34: Nicolai Fechin (1881-1955), Lady in Pink (Portrait of Natalia Podbelskaya), 1912, Frye Art Museum, Seattle, 1990.005
Lot 34: Nicolai Fechin (1881-1955), Portrait of a Young Woman, 1912, Frye Art Museum, Seattle, 1990.006
Lot 54: The Vladimirka Road, 1892 (oil on canvas), Levitan, Isaak Ilyich (1860-1900) / State Tretyakov Gallery, Moscow /
Bridgeman Images
Lot 55: The Peksha River, courtesy of the Tretyakov Gallery Magazine 1/2014 (42)
Lot 55: The present work on view at the State Tretyakov Gallery, courtesy of the Tretyakov Gallery Magazine 1/2014 (42)
Lot 55: Isaak Levitan with his dog, courtesy of the Tretyakov Gallery Magazine 1/2014 (42)
Lot 211: Detail from the 1915 photograph of the Faberg collection of Grand Duchess Anastasia Mikhailovna of Mecklenburg
(1860-1922) Solodkoff, Hemmelmark Archives
Lot 281: Jean-Louis Voille (1744-1803), Portrait of Countess Sofia Panina, 1791, State Tretyakov Gallery, Moscow
344
Index
A
Aivazovsky, I., 48
Anisfeld, B., 71, 72
Annenkov, Yu., 38, 65
Arkhipov, A., 12
Kabakov, E. and I., 135

Kabakov, I., 136
Kantor, M., 123
Kolesnikoff, S., 59, 60, 62
Komar, D., 122
Konchalovsky, P., 43
Korovin, K., 64, 69
Krasnopevtsev, D., 127, 128
Kryzhitsky, K., 23, 54
Rabin, O., 124, 126, 131,

132
Roerich, N., 25, 27, 29
Roubaud, F., 53, 57
Rukhin, E., 138
Russian school, 50
B
Bakst, L., 76, 77, 78, 79, 97,
98, 99, 100
Baranoff-Rossin, V., 31
Benois, A., 3, 4, 94, 95, 96, 104
Bogdanov, N., 61
Bruskin, G., 137
C
Chaliapin, B., 63
Charchoune, S., 108, 109,
110
Chemiakin, M., 142
Choults, I., 73
D
Dubovskoi, N., 5, 20
E
Essaian, S., 115
Exter, A., 40
F
Fechin, N., 46
Filonov, P., 36
G
Golovin, A., 16
Goncharova, N., 80, 81, 82,
84, 85, 86, 87, 88, 89, 90, 91,
92, 93
Gorbatov, K., 6, 105, 106
Grigoriev, B., 34, 37, 39, 42,
44, 45, 112
H
Harlamoff, A., 66
I
Iacovleff, A., 51, 52
Iakunchikova, M., 1
Indenbaum, L., 116, 117
Issupoff, A., 75
L
Larionov, M., 83
Levitan, I., 55
Loukomski, G., 2
M
Mak, P., 111, 113, 114
Mayakovsky, V., 118, 119
N
Nalbandian, D., 67
Nattier, J., 35
Nemukhin, V., 130, 140
Nesterova, N., 144
O
Orlovsky, A., 49
Orlovsky, V., 22
P
Perepletchikov, V., 17
Petrov-Vodkin, K., 32
Pisemsky, A., 47
Plavinsky, D., 129
Polenov, V., 21, 56
S
Samokish, N., 58
Sarian, M., 28
Savrasov, A., 18, 19
Serov, V., 15
Shablavin, S., 125
Shukhaev, V., 121
Slepyshev, A., 147
Sokov, L., 141
Soudbinine, S., 10
Steinberg, E., 139
Stelletsky, D., 7, 9
Sudeikin, S., 8, 41
Surikov, V., 14
T
Tarkhov, N., 70
Tchelitchew, P., 101, 102,
103
Tchistovsky, L., 107
Tselkov, O., 143
V
Vasmi, R., 145
Vassiliev, O., 133, 134
Vinogradov, A., 146
Vinogradov, S., 74
Volkov, A., 24, 26
Z
Zdanevich, K., 30
Zichy, M., 11
8 King Street St. Jamess London SW1Y 6QT
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LONDON

Important Russian Art

Property from The Conservatoire Russe

Monday 24 November 2014

21 November 9.ooam - 4.30pm

James Bruce-Gardyne and James Hastie

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SESSION I: RUSSIAN PICTURES

Moscow, Maria Vasilevna Iakunchikovas posthumous exhibition, 1905,

The family of the artist.

Exhibition catalogue, Maria Vasilevna Iakunchikovas posthumous

The present work on view at Iakunchikovas posthumous exhibition, Moscow, 1905

Listed in the accompanying exhibition catalogue

PROPERTY OF A PRIVATE ENGLISH COLLECTOR

Place de la R0publique, Cassis

A gift from the artist to the great-grandmother of the present owner

The family of the artist.

PROPERTY OF A PRIVATE NORTHEAST AMERICAN COLLECTOR

Set design for Faust

Princess Sophie Troubetzkoy (1900-1982).

Acquired by the parents of the present owner prior to 1960.

PROPERTY FROM A PRIVATE FRENCH COLLECTION

PROPERTY FROM A GERMAN COLLECTION

Stage design for Sadko:The river Volkhova in food

Anonymous sale; Sothebys, London, 17 July 1996, lot 164.

PROPERTY FROM THE CONSERVATOIRE RUSSE DE PARIS

PROPERTY FROM THE CONSERVATOIRE RUSSE DE PARIS

Donated to the Conservatoire Russe de Paris Serge Rachmaninoff in

Paris, Galerie La Renaissance, Exposition dart russe, 1932, no. 250.

Exhibition catalogue, Exposition dart russe, Paris, 1932, listed p. 43,

Stelletsky entered the St Petersburg Academy in 1896. He became fascinated

A sketch relating to the present work (part of lot 7)