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signed 'Wilhelm Kotarbinsky.' (lower left) oil on canvas 25.5 x 37.5 cm

signed with initials 'L.C.T.' (lower left); sketch in pencil (on the reverse) oil on artist's board 46.5 x 34 cm

signed and indistinctly dated 'Bakalowic… 19/2 81 (?)' pencil, gouache on paper 31 x 23.5 cm

signed and dated 'Bakalowicz 1896' (lower left) pastel on paper 74 x 39 cm paint in 1896

old label with written inscription 'Kotarbinsky' (on the reverse) oil on panel 19 x 31.7 cm

signed in Cyrillic and dated ' F. Moller 1854' oil on panel, oval 29.2 x 32.4 cm (à vue) painted in 1854 Fyodor Antonovich Moller's fame began with his work 'The Kiss'. This work earned him the title of academician of painting at the Imperial Academy of Arts. The first original (whose whereabouts are unknown today) was bought by Emperor Nicholas I for his wife's private flats in the Winter Palace. The unprecedented success of the painting contributed to its widespread popularization. Throughout his life, Moller repeated the painting many times. One version is in the Russian National Museum in St. Petersburg.

oil on canvas 41 х 33 cm

signed and dated 'Neff 1851' (center left) oil on canvas, oval 77.5 x 61 cm painted in 1851

signed and dated 'E. Isabey 68' (lower right) oil on canvas laid on panel 83.2 x 57.5 cm painted in 1868 Provenance: A. Liebermann de Wahlenhorf, Hôtel Drouot, Paris, 8-9 May 1876, lot 45. S. Von Derwies, Galeries Georges Petit, Paris, 15 November 1906, lot 20. Colonel C. Michael Paul, Palm Beach, Florida. Sale Sotheby's, New York, 23 May 1990, lot 163. Sale Sotheby's London, 16 November 1994, lot 67. Sale Christie's New York, 22 April 2004, lot 157. Sale Stair Galleries Hudson NY, 15 October 2011, lot 371. Private collection Literature: Pierre Miquel, Eugène Isabey: La Marine au XIXe Siècle, Maurs la Jolie, p. 220, no. 1258D (illustrated) This painting belonged to the collection of the well-known patron Sergey Pavlovich von Derwies (1863-1943). Derwies acquired it at the auction of the famous Berlin collection of Adolf Lieberman von Wahlenhorf (1829-1893) at Hôtel Drouot in Paris on May 8-9, 1876 (lot 45). The painting was kept in Derwies 's mansion in St. Petersburg (Angliyskaya Naberezhnaya 34 [English Embankment 34]) and was published in the catalogue 'Galerie Serge Von Derwies' in 1904. In 1906, Sergey Pavlovich left Russia and placed his collection up for sale. this present painting was auctioned at the Galeries Georges Petit in Paris (Galeries Georges Petit, 15 November 1906, lot 20). The present painting holds distinct museum significance. Sergey Pavlovich Derwies (1863-1943) was an entrepreneur and patron. He was the son of P.G. Derwies, a prominent concessionaire and railway builder. His childhood was spent at his father's villa, 'Valrose,' in Nice. He studied at the legal and historical-philological faculties of St. Petersburg University. From 1888, he served as the chairman of the board of the Russian Musical Society. He was one of the founders of the Russian Trade and Industrial Bank (1889). From 1895 to 1900, he held special assignments in the Ministry of Justice and, in 1901, moved to the Ministry of Finance. After the 1905 revolution, he decided to leave Russia, sold off his Russian possessions and settled in the Villa Mediterranee in Cannes. We thank Sergei Podstanitsky for confirming the authenticity of this painting and providing authenticity expertise

signed with initials 'N. F.' (lower left); old label (on the reevrse) charcoal on paper 41 x 35.8 cm

signed 'N. Fechin' (lower right) pencil on paper 29.5 x 42 cm

signed, inscribed and dated 'P. Tchelitchew 32' (lower left) ink on board 25.5 x 20.5 cm executed in 1932 Provenance: Collection Georges Bemberg (1915-2011)

signed and dated 'P. Tchelitchew 1937' (upper left) gouache on paper 71 x 56.3 cm (à vue) Provenance: Christie's East, New York, 16.12.1987, lot 71 DC Moore Gallery, New York Sotheby's, New York, The Collection of Geoffrey Beene, 23-24.09.2005, lot 277 The estate of J.D. McClatchy, American poet, librettist, literary critic, and former president of The American Academy of Arts and Letters, New York, NY Butterscotch, Pound Ridge NY, 29.03.2020 Private collection

signed in Cyrillic and Armenian and dated 'M Saryan 1951' (lower left); signed, titled in Cyrillic and Armenian and dated (on the reverse) gouache on paper 53 X 81 cm (à vue) Executed in 1951 Provenance: Private collection, Europe Martiros Saryan was an Armenian painter, born in Nakhichevan-on-Don, Russia (now part of Rostov-on-Don). Saryan studied at the Moscow School of Painting, Sculpture, and Architecture under renowned artists such as Konstantin Korovin and Valentin Serov. Saryan depicted the landscapes, culture, and people of Armenia. In 1921, Saryan moved to Yerevan, where he organized and became director of the museum of archaeology, ethnography, and fine arts, now called the National Gallery of Armenia. Painted in 1951, 'Ashtarak Bridge in the Morning' is a serene and picturesque portrayal of a historic landmark in Armenia. The 17th-century bridge of Ashtarak spans the Kasagh River and is among the notable sites of the town. Located in the gorge just below the church of Saint Sarkis, the bridge was built in 1664 through the efforts of Mahdesi Khoja Grigor, a wealthy merchant from Kanaker. The bridge features three arches of unequal size. Saryan was greatly influenced by Impressionism and artists like Matisse in his use of areas of flat, simplified colour. In the present painting, Saryan's depiction showcases his masterful use of colour and light. 'Ashtarak Bridge in the Morning' is a masterpiece by one of Armenia's greatest artists.

signed 'Burliuk' (lower left) oil on canvas laid on board 50 x 40 cm Provenance: Private Collection

signed 'G Gluckmann' (lower right) oil on panel 44.4 x 24.1 cm

signed ‘P Troubetzkoy’ (lower right) oil on canvas 40 х 50 cm

signed in Cyrillic ‘S. Kolesnikov’ (lower right); old label from the exhibition in Moscow in 1989 oil on canvas 36 х 46.5 cm painted circa 1915-1920 Provenance: The M. P. Patiniotti collection (according to a label on the reverse)Exhibited: Tsentralniy Vystavochniy Zal, Moscow, February – March 1989

gouache and charcoal on board 46 x 61 cm Executed in 1931

signed, dedicated in Cyrillic and dated 'Divnoi Cecilii Hansen – K Westchiloff 1914' (lower left) watercolour on paper 46 x 61.9 cm Executed in 1914 Provenance: Cecilia Hansen (artist' s dedicatory inscription to Cecilia) Private collection Cecilia Hansen (1897–1989) was a celebrated Russian violin virtuoso and music teacher, captured in portraits by renowned artist Ilya Repin. Constantin Westschikoff gifted her the present drawing when she was 17 years old and already renowned violinist.

oil on canvas, a pair 74 х 29.5 cm (each

oil on canvas 60 x 74 cm painted in 1934 Provenance: Private collection, Europe Literature: D. Sarabianov, Yu. Didenko (eds), Zhivopis Roberta Falka. Polnyi katalog proizvedenii, Moscow, Galereia Elizium, 2006, p. 588, No. 832, illustrated and listed. Exhibited: Robert Falk, Tsentralnyi dom rabotnikov iskusstv, Moscow, Autumn 1939, No. 27; Posthumous exhibition, Robert Falk, Erevan, Armenia, 1965 Authenticity of the work has been confirmed by the expert Yu. Chaikina. Authenticity of the work has also been confirmed by the expert I. Shibanova.

signed 'LEMPICKA.' (lower right) gouache and watercolor over pencil on paper 22.9 x 29.2 cm Painted circa 1960 Provenance: By descent from the artist Private collection Christie's, New York, IMPRESSIONIST & MODERN ART, 20.09.2011, lot 66 Private collection

inscribed on the reverse with an authentication note by the artist’s son, Andrew Styka ' I, Andrew Styka Certify that this Painting is the Original Work of my Father Adam Styka Representing Nude Young Woman' / Andew Styka 1980' oil on canvas 64.5 x 77.3 cm

inscribed by the artist's daughter 'Wlasnoreczny rysunek / p. P. ojca mego Henryka / Siemiradzkiego / z Siemiradzkich /Wanda Przyjemska / Warsaw 20 Marca 1941 ' (on the reverse) pastel on paper 53 x 37 cm Provenance: The artist's daughter Wanda Przyjemska Private collection Desa Unicum Poland, ART OUTLET, 19.05.2015, lot 116 Private collection Literature: Henryk Siemiradzki: Catalogue Raisonné of the Paintings, Vol. 2, (illustrated in colour, N 19/2, p.458) Karpova 2008: 114 ill.

lithograph and screenprint with embossing on BFK Rives paper signed, numbered, and dated in pencil 'PP 4/5 rf Lichtenstein 75' (lower right) published by Multiples Inc., and Castelli Graphics, New York. printed by Styra Studio, New York. Image: 89.5 x 63.5 cm, Sheet: 108.5 x 81 cm Literature: Corlett, Mary Lee. The Prints of Roy Lichtenstein. A Catalogue Raisonné. Published by New York: Hudson Hills, 2002. N 135.

screenprint in colours on strong vellum signed and dated in pencil 'rf Lichtenstein '73' (lower right), numbered '29/90' (lower left) published by Propyläen Verlag, Berlin/Pantheon Presse, Rome, printed by Gemini G.E.L., Los Angeles, with their blind stamp, copyright stamp of the artist with the number note: RL 73-5066 (on reverse) Image: 72 x 53cm, Sheet 76 x 57cm. Provenance: Private collection, Germany LITERATURE: Corlett, Mary Lee: The Prints of Roy Lichtenstein - A Catalogue Raisonné 1948-1997, New York 2002 (2nd ed.), cat. rais. N. 127 ill. This work is part of the portfolio Hommage à Picasso (Vol. 2), published in 1973. The portfolio features graphic artworks from over 50 artists, celebrating the legacy of Pablo Picasso.

lithograph and screenprint in colours signed, dated and numbered '2/100 rf Lichtenstein '74' (lower right) Image: 81.7 x 78.8 cm, Sheet: 98 x 95 cm Literature: Corlett, Mary Lee: The Prints of Roy Lichtenstein - A Catalogue Raisonné 1948-1997, New York 2002 (2nd ed.), cat. rais. N. 129.

Seascape II, from Collection 65, 1965 Silkscreen in colours, blue Rowlux, in cabinet frame with plexiglass. 'Edition Mat / Collection 65' label on the reverse, signed in ink 'rf Lichtenstein' and numbered '84/100', 'Galerie Bischofberger Zürich' label (on the reverse) 33.5 x 63 x 9.4 cm PROVENANCE: Galerie Bischofberger, Zurich (label) Private Collection, Germany LITERATURE: - Corlett, Mary Lee: The Prints of Roy Lichtenstein, A Catalogue Raisonné 1948-1997, New York 2002 (2nd ed.), cat. rais. N. 40. Édition MAT (Multiplication d'Art Transformable) was founded in 1959 by Daniel Spoerri in Paris. The first collection of multiples published by Édition MAT was fabricated by Spoerri himself. Spoerri joined with Karl Gerstner to publish the second and third collections (in 1964 and 1965 respectively), which were fabricated by Galerie Der Spiegel. Collection 65 includes the works of Arman, Enrico Baj, Davide Boriani, Pol Bury, Christo, Karl Gerstner, Julio Le Parc, Roy Lichtenstein, Man Ray, François Morellet, Jesus Rafael Soto, Daniel Spoerri, and Gabriele De Vecchi. Seascape is composed of screenprinted boards collaged onto a Rowlux background and mounted inside a shallow box, the interior sides of which have been lined with reflective foil. The box has a Plexiglas front, and the exterior is painted white. On the back of the box is a white identification label measuring 4 1/4 x 2 in. (10.8 x 5.1 cm) with (édition MAT) printed at the top and (collection 65) printed at the bottom. The label is signed [rf Lichtenstein] and numbered by hand over the printed number (/100).(source: lichtensteincatalogue.org )

signed 'Arman' (lower right); inscribed 'HC' (on the reverse) paint tubes and book in a plexiglass box edition H.C., publisher Cudemo Editore, Bordighera (Italy) 36.5 x 38 x 17 cm executed in 2003 including the book 'Arman. Inclusions', Reut Tita, edited Bordighera, Cudemo, 2004 This work is recorded in the Archives of Mrs Denyse Durand-Ruel under number DDR 1262 Certificate of authenticity by Cudemo Editore, Bordighera (Italy) dated 30.06.2005

signed 'Arman' (lower right) wood, metal, resin, canvas, panel edition 97/99, Harlen Associated Limited Publisher 81 x 60 x 4 cm executed in 2003 Certificate of authenticity by Harlen Associated Limited Publisher signed by the artist

signed 'Arman' (lower right), numbered '2/4' (lower left) inclusion of coins in a plexiglas edition 2/4, rare 45 x 35.5 cm, 48 x 42.5 (with base)

signed 'Arman' (lower right), numbered '13/100' (on the back) bronze, brown patina, black veined marble base edition 13/100 H. 76 cm executed in 2003 Condition: marble base has been visibly broken and glued

signed and numbered 'Arman 31/50' (lower right) brass 145 x 115 cm edition 31/50 executed in 1984 Certificate of authenticity no. 136369 signed by the artist

Signed 'Arman' (lower right), numbered '85/100' (on the back) paintbrushes, acrylic, plexiglass edition 85/100, publisher Cudemo Editore, Bordighera (Italy) 48 x 37 x 12 cm executed in 2004 This work is recorded in the Archives of Mrs Denyse Durand-Ruel under number 9944 Certificate of authenticity by Cudemo Editore, Bordighera (Italy) dated 30.06.2006

sliced, patinated bronze female statue with welded coat hooks signed and numbered 'Arman 23/30' (on the base) edition 23/30, foundry Bonviccini, Verona (Italy), editor Diego Strazzer 156.2 x 62.2 x 30.4 cm executed in 2004 This lot is registered in the Arman Studio Archives New York, no. APA#8401.04.051 Certificate of authenticity by Arman Studio Archives New York

4 screenprints in colours on Essex offset kid finish paper each signed and numbered 'Andy Warhol 248/250' (lower left) printed by Rupert Jasen Smith, New York. published by Frank Braun, Düsseldorf. 76.2 x 55.9 cm Provenance: Private Collection, Germany Literature: Freyda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2015, II. 330-333, p.141 Saint Apollonia 1984 In the early 1980s, Andy Warhol drew inspiration from Renaissance masters, as seen in his Saint Apollonia series. The series of four screenprints 'Saint Apollonia' is based on a 15th-century panel painting attributed to Piero della Francesca, now held in the National Gallery of Art, Washington, D.C. Saint Apollonia, the patron saint of dentistry, is depicted holding a pair of pliers gripping a tooth—a striking symbol retained in both the original painting and Warhol's screenprints. Warhol's appropriation preserves not only the figure's depiction but also the craquelure of the old master's panel. Metaphors of Catholic faith often appear in Warhol's works, influence stemming from his Byzantine Catholic upbringing. Warhol attended church throughout his life, maintaining a quiet but enduring devotion to his religion, which likely inspired works like Saint Apollonia. However, the connection between Warhol's Catholicism and his art was not deeply examined until after his death in 1987. In 1984, alongside the Saint Apollonia series, Warhol created a collection of Renaissance-inspired works, drawing on masterpieces by Leonardo da Vinci, Botticelli, and Paolo Uccello. While the Renaissance Paintings series often featured bold cropping and reimagined sections of famous masterpieces, exploring the concept of the icon across centuries, Saint Apollonia stays remarkably faithful to della Francesca's painting. The composition remains largely intact, with minimal cropping—unlike the more interpretative approach seen in the Renaissance Paintings series. Through his mechanically reproducible silkscreen process, Warhol transformed Saint Apollonia into an object of Pop aesthetic, reimagining it as a commodity.

lithograph on Rives paper signed in pencil and numbered PP 2/3. a printer's proof, aside from the edition of 26. published by International Images, New York. printed by Derriere L'Etoile Studios, New York, the full sheet. Sheet: 108.5 x 94.6 cm

lithograph on Rives paper signed in pencil and numbered PP 2/3. a printer's proof, aside from the edition of 26. published by International Images, New York. printed by Derriere L'Etoile Studios, New York, the full sheet. Sheet: 89.5 x 128.5 cm.

lithograph on Rives paper signed in pencil and numbered PP 2/3 a printer's proof, aside from the edition of 26 published by International Images, New York. printed by Derriere L'Etoile Studios, New York.. Sheet: 121.6 x 94.2 cm.

acrylic on Japanese paper over silk. Kite Kaku, N. Yoshizumi, O. Okawauchi. 182 x 182 cm PROVENANCE: Commissioned by Dr. Paul Jubel, director of the Goethe-Institut in Osaka, in 1987 (The artist made two Kites for the commission). LITERATURE: Kartiny dlya neba: Art Kites. Katalog vystavki. Prestel Pub, 1992 g. Kartiny dlya neba. Moskva, TsDKh, 1990 L'Art prend l'air. Cerfs-volants d'artistes. Art Kites: Pictures for the Sky The Montreal Museum of Fine Arts, Montreal, Canada. 17 June 1993 – 26 September 1993 Art Kites: Pictures for the Sky. Expo Sevilla, Pabellón de Bellas Artes, Sevilla, Spain. 04 June 1992 – 23 June 1992 Art Kites: Pictures for the Sky. Galleria nazionale d'arte moderna e contemporanea, Rome, Italy. 05 March 1992 – 17 May 1992 Art Kites: Pictures for the Sky. Promotrice delle Belle Arti, Turin, Italy. 19 October 1991 – 08 December 1991 Art Kites: Pictures for the Sky. Charlottenborg, Copenhagen, Denmark. 24 August 1991 – 29 September 1991 Kunstdrachen. Bilder für den Himmel. Art Kites: Pictures for the Sky. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany. 28 June 1991 – 11 August 1991 L'art prend l'air. Cerfs-volants d'artistes. Art Kites: Pictures for the Sky Musées royaux des Beaux-Arts de Belgique, Brussels, Belgium. 15 February 1991 – 21 April 1991 Papagaios. Pinturas para o Céu. Art Kites: Pictures for the Sky. Centro de Arte Moderna (CAM), Fundação Calouste Gulbenkian, Lisbon, Portugal. 04 January 1991 – 03 February 1991 Art Kites: Pictures for the Sky. Deichtorhallen Hamburg, Hamburg, Germany. 03 November 1990 – 07 December 1990 Art Kites: Pictures for the Sky. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. 13 July 1990 – 06 September 1990 L'Art prend l'air. Cerfs-volants d'artistes. Art Kites: Pictures for the Sky. Grande Halle de la Villette, Paris, France. 24 April 1990 – 01 July 1990 Kunstdrachen. Bilder für den Himmel Art Kites: Pictures for the Sky. Haus der Kunst, Munich, Germany. 16 December 1989 – 18 February 1990 Art Kites: Pictures for the Sky. Hiroshima City Museum of Contemporary Art, Hiroshima, Japan. 10 October 1989 – 12 November 1989 Art Kites: Pictures for the Sky. Nagoya City Art Museum, Nagoya, Japan. 05 September 1989 – 01 October 1989 Art Kites: Pictures for the Sky. Shizuoka Prefectural Museum of Art, Shizuoka City, Japan. 23 July 1989 – 27 August 1989 Art Kites: Pictures for the Sky. Hara Museum ARC, Shibukawa, Japan. 15 April 1989 – 04 June 1989 Art Kites: Pictures for the Sky. Himeji City Museum of Art, Himeji, Japan. 03 March 1989 – 28 March 1989 Art Kites: Pictures for the Sky. The Museum of Modern Art, Shiga, Japan. 22 October 1988 – 11 December 1988 Art Kites: Pictures for the Sky. Mie Prefectural Museum, Tsu, Japan. 30 July 1988 – 04 September 1988 Art Kites: Pictures for the Sky. The Miyagi Museum of Art, Sendai, Japan. 11 June 1988 – 10 July 1988

lambda print in colours laminated to acrylic signed in pencil, inscribed 'AP4/10' in black ball-point pen verso. one of ten artist's proofs aside from the edition of 40. printed by Powerprint Partnership, London. published by Alan Cristea Gallery in the designated artist's frame 74 x 110 cm PROVENANCE: Bonhams, London, Prints and Multiples, 19.06.2020, lot 315 Private collection

signed, titled and dated in black felt-tip pen 'The Dusty Doorknob Patrick Hughes 2000' (on the reverse) oil on panel, relief 64.8 x 160 x 16 cm (82.5 x 176.5 x 16 cm) PROVENANCE: Private Collection, Berlin Patrick Hughes is a British artist working in London. He is the creator of 'reverspective', an optical illusion on a three-dimensional surface where the parts of the picture which seem farthest away are actually physically the nearest.

signed and dated 'Clive Head/2005/7' (lower left) oil on canvas 109.2 x 167.3 cm Painted in 2005-07. PROVENANCE: Marlborough Fine Art Gallery, London, 2007. Persterer Contemporary Arts Gallery, Zurich. Private collection since 2009 LITERATURE: Exhibition catalogue, Clive Head: New Paintings, London, Marlborough Fine Art, 2007, pp. 10-11, no. 4, illustrated. EXHIBITED: London, Marlborough Fine Art, Clive Head: New Paintings, September-October 2007, no. 4.

signed and dated 'H vd S. Bakhuyzen ft' / 1829' (lower left) oil on canvas 76 x 96 cm Painted in 1829 PROVENANCE: Anonymous sale; Sotheby Mak van Waay, Amsterdam, 23.02.1971, lot 520. with W.H. Patterson, London. with Richard Green, London, by 1979. Anonymous sale; Sotheby's, London, 18.06.1980, lot 19.

signed 'A. Schelfhout f.' (lower right) oil on panel 69 x 92.5 cm PROVENANCE: Gemäldegalerie Abels, Cologne Private collection, Germany EXHIBITED: Dordrechts Museum 1955, no. 194 (label on the reverse); Stedelijk Museum, Leiden (label on the reverse, no year). This large-format painting of the Meuse River valley exemplifies Andreas Schelfhout's skill in capturing nature's tranquillity. Andreas Schelfhout, born in The Hague, spent most of his life there, becoming one of the foremost Dutch Romantic painters alongside B. C. Koekkoek. His artistic breakthrough followed a trip to Paris in 1830, after which his works, especially winter scenes depicting icy canals and frozen landscapes, gained widespread acclaim. The artist's summer landscapes are rare, and they also highlight his exceptional talent.

signed and dated 'E. Isabey 68' (lower right) oil on canvas laid on panel 83.2 x 57.5 cm painted in 1868 Provenance: A. Liebermann de Wahlenhorf, Hôtel Drouot, Paris, 8-9 May 1876, lot 45. S. Von Derwies, Galeries Georges Petit, Paris, 15 November 1906, lot 20. Colonel C. Michael Paul, Palm Beach, Florida. Sale Sotheby's, New York, 23 May 1990, lot 163. Sale Sotheby's London, 16 November 1994, lot 67. Sale Christie's New York, 22 April 2004, lot 157. Sale Stair Galleries Hudson NY, 15 October 2011, lot 371. Private collection Literature: Pierre Miquel, Eugène Isabey: La Marine au XIXe Siècle, Maurs la Jolie, p. 220, no. 1258D (illustrated) This painting belonged to the collection of the well-known patron Sergey Pavlovich von Derwies (1863-1943). Derwies acquired it at the auction of the famous Berlin collection of Adolf Lieberman von Wahlenhorf (1829-1893) at Hôtel Drouot in Paris on May 8-9, 1876 (lot 45). The painting was kept in Derwies 's mansion in St. Petersburg (Angliyskaya Naberezhnaya 34 [English Embankment 34]) and was published in the catalogue 'Galerie Serge Von Derwies' in 1904. In 1906, Sergey Pavlovich left Russia and placed his collection up for sale. this present painting was auctioned at the Galeries Georges Petit in Paris (Galeries Georges Petit, 15 November 1906, lot 20). The present painting holds distinct museum significance. Sergey Pavlovich Derwies (1863-1943) was an entrepreneur and patron. He was the son of P.G. Derwies, a prominent concessionaire and railway builder. His childhood was spent at his father's villa, 'Valrose,' in Nice. He studied at the legal and historical-philological faculties of St. Petersburg University. From 1888, he served as the chairman of the board of the Russian Musical Society. He was one of the founders of the Russian Trade and Industrial Bank (1889). From 1895 to 1900, he held special assignments in the Ministry of Justice and, in 1901, moved to the Ministry of Finance. After the 1905 revolution, he decided to leave Russia, sold off his Russian possessions and settled in the Villa Mediterranee in Cannes. We thank Sergei Podstanitsky for confirming the authenticity of this painting and providing authenticity expertise

signed in Cyrillic and dated 'G. Villevalde 1875'(lower right) oil on board 35 x 44.5 cm painted in 1875

pencil, coloured pencil and gouache, heightened with gold on paper 46.5 x 59.5 cm Provenance: Private collection, Europe

signed in Cyrillic and dated 'S. Zhukovsky 1908 -1910' (lower right) oil on canvas 89 x 142.5 cm painted circa 1908-1910

signed in Cyrillic 'V. Polenov' (lower right) watercolour, pencil on paper 11.2 x 22 cm

signed 'Bakst' (lower right) watercolor and ink on paper 29.2 х 22.2 cm This lot is one of Bakst's earliest known theatrical sketches: thanks to Diaghilev, Bakst made his debut in the performing arts in St Petersburg, more specifically in ballet, including 'Le Cœur de la Marquise' in 1902

signed and dated 'Ph Maliavine 1930' (lower left) pencil on paper 21 x 28 cm executed in 1930 Provenance: Collection of A. Shlepyanov Cazo Paris, 27.07.2020, RUSSIAN ART - ALEXANDER SHLEPYANOV COLLECTION - ECOLE DE PARIS, LOT 19 Private collection

electric guitar with black body and white pickguard signed by Michael Jackson in front of the hotel Lanesborough in London in March 2009 (on the pickguard) 98 x 34 cm circa designed in 1954 COA by Andrew Holland (London, UK) Literature: ‘Made in USA by Andy Warhol’, exhibition catalogue curated by Graziano Menolascina, Bari (Italy), 2016 - 2017. Black Hat signed and dedicated by Michel Jackson: ‘All my Love/Thank’ (on the inside edge) Provenance: Private collection

signed (lower left) oil on canvas 63 x 116.5 cm 1920s Paul Chmaroff always felt a connection with his homeland upon emigrating from revolutionary Russia to Paris in 1924. He expressed his reminiscences in a series of genre paintings of peasant life. They are unified by a single style, with large and dense strokes, sophisticated colours, and a spirit that affirms the joy of life and celebrates the beauty of a Slavic woman. Paul Chmaroff's “peasants” were popular at Paris exhibitions in the mid-20th century. An impressionist glow of light and colour emantes from this painting. The artist fills the space with the sunshine and the air, creating local spots of colour: light pink and cadmium yellow on the skirts and white on the sleeves of the peasant women. Three shawls on their heads are particularly expressive, like three strokes of colour: cadmium red, golden ochre and grass green. Paul Chmaroff had a particular sense of colour and ability to use oil paints in such a way that the neighbouring colours, though pure and self-sufficient, formed a dazzling symphony in combination with one another. An incredible synthesis is developed by the artist, where a peaceful scene, femininity and the impressionist manner harmoniously complete each other. It is a silent conversation between two cultures. It should be mentioned that the painter used several versions of his signature on the canvases (Chmaroff, P. Chmaroff, Schmarov, Shmarov). On this picture he signed "Schmarov" in the upper right corner.

signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm

signed ‘M. Lindenau’ (lower right) oil on canvas 100 x 100 cm

signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm

Bronze, brown patina Signed and numbered on the base: ‘Rodin 8/8’ Foundry stamp of the Fonderie de Coubertin. Conceived in 1871, the present work is a posthumous casting made in 1992. Edition of 12 copies numbered from 1/8 to 8/8 and from I/IV to IV/IV. 28.5 x 24.5 x 20 cm With a certificate of authenticity from the Comité Auguste Rodin, Paris, 11 July 2007. The work is registered there under the number 2007VII93B and will be included in the Catalogue Critique de l’oeuvre Sculpté d’Auguste Rodin.

signed, inscribed and dated ‘A Lebourg Paris Dec 79’ (lower left), inscribed ‘Notre Dame Vue prise du Pont de la Tournelle’ (lower right) oil on canvas 64 x 92 cm Painted in Paris in 1879 French impressionist painter Albert Marie LEBOURG (1849-1928) studied at the Ecole des Beaux Arts of Rouen. Lebourg was close friends with Victor Delamare and Gustave Morin, and started drawing with charcoal and painting by the Seine in his hometown – Montfort- sur-Risle. As a professor in Algiers around 1875, he was astonished by his surroundings and focused on the exploration of colour and light. He discovered the white city with its nuances of various shades. With his distinctive brushstroke, he started to paint winter views dominated by the color white, like this snowy view of Notre Dame, signed and dated on the lower left — a good representation of his style, featuring different soft shades of white pastel colors.

oil on canvas 173 x 123 cm Provenance: Private collection, Italy Luca Giordano was an Italian late-Baroque painter. Born in Naples, Luca Giordano studied in Rome, Parma and Venice and developed an elaborate Baroque style fusing Venetian and Roman influences. From 1692 to 1702 Giordano served as court painter to King Charles II of Spain decorating, among other important works, the ceilings of the Escorial, the Cathedral of Toledo, and the Buen Retiro in Madrid.Considered the leading Neapolitan painter of the 17th century, his work influenced many other artists in Italy, and he had many pupils and followers. His paintings express the drama of religious and mytholo- gical subjects in large-scale canvases and frescoes.The present grand scale painting is a representation of a biblical narrative from chapter 13 of the Book of Daniel: two elderly men are shown spying on a young married woman named Susanna. Susanna was taking a bath in her garden when the two elders came in. The elders spied on Susanna and then de-manded sexual favors from her, which she refused. To take revenge, the men decided to ruin Susanna’s reputation and falsely accused her of adultery - a crime which was punishable by stoning. The young Daniel decided to help Susanna, he questioned the elders separately, and observed that details in the two elders’ stories did not match up. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna’s name.The subject was relatively common in European art from the 16th century with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of female nudes, often for the pleasure of their male patrons.

oil on canvas 45,7 x 65,5 cm Painted circa 1615-1616 Provenance: Private collection, Italy Expertise: Professor Maurizio Marini According to Professor Maurizio Marini, the present work is one of four paintings executed by Antonio Carracci depicting four episodes of a famous fable. In this fable, a man and his son are accompanied by their donkey and meet constant criticism from passers-by for how they treat the donkey for leaving the elderly walking by (representing egosim of a child), or the young son walking along, for not riding it, or for overburdening their beast, when they both ride the donkey. The story’s purpose is to show that eve-ryone has their own opinion and there is no way one can satisfy all. The location of three other paintings is now unknown. This painting, as Professor Marini suggested, could be dated 1615-1616, the artist’s most significant period, when he executed the frescoes in the Church of San Bartolomeo in Rome, on the Tiber Island between 1612 and 1614.Born in Venice, Antonio was the son of the artist Agostino Carracci and a Venetian courtesan, Isabella. He first apprenticed with his father. When his father died, Antonio moved to Rome to work under his uncle Annibale from 1602 until 1609, and for whom he may have worked with other studio assistants on the frescoes in the Galleria Farnese. Later, he made a short visit to Bologna to join the workshop of Ludovico Carracci, and returned to Rome in 1610 to work with Guido Reni.In Rome, Antonio executed many important commissions, such as the decoration of three chapels in S. Barolomeo all’Isola and a fresco in one of the rooms of the Pope’s palace at Monte Cavallo commissioned by Cardinal Michelangelo Tonti, the frescoes of the Galleria Farnese.

signed with initials (lower right), label of Max Protetch Gallery (on reverse) screenprints with handcolouring Edition of 250, series of 10 103.2 × 69.2 cm Provenance: Max Protetch, USA Acquired from the above from the present owner, USA-Europe

signed ‘M. Lindenau’ (lower left); inscribed (on the reverse) oil on canvas 81 x 60 cm

signed in Farsi and English ‘JAZEH TABATABAI’ (lower right and left) watercolour, ink and gold paint on paper 49 x 35 cm Born in 1931 in Tehran, Jazeh Tabatabai (Ali Tabatabai) was an Iranian avant-garde painter, sculptor, poet, and writer. He started writing when he was twelve. He wrote folklore stories, novels, poems, art critic and plays. He graduated from the ballet academy in 1950. Ten years later, at the age of twenty-nine, he completed his painting course at the Faculty of Fine Arts at the University of Tehran. The following year he established the Iran’s Modern Art Gallery, the first art gallery in Iran. Jazz Tabatabai’s works are held in many museums and art collections around the world, including the Louvre and Metropolitan Museum of Art, and have been part of the Biennials of Paris, Sao Paulo, Venice.

signed in pencil (lower right) and numbered 99/300 (lower left) serigraph in colors 57.5 x 54.5 cm

signed in pencil (lower right) and numbered 86/250 (lower left) serigraph in colors 57.5 x 54.5 cm

signed in pencil ‘Picasso’ (lower right), numbered ‘50/300’ (lower left), inscribed ‘Piquè/Ed. Cercle d’Art Paris 1962’ (on the reverse) original linocut 37.6 x 31.6 cm edition 50/300 1962

signed and dated (lower left) oil on canvas 110 x 53 cm Painted in 1976 Fatima Hassan El Farouj was a Moroccan painter. Classified in the category of naïve art, self-taught with no academic or artistic training, painting was for her a means of expression and a hobby. The expressions are fresh, infantile, naive, simple with a lot of narration like a storyteller and no logic in dimensions, forms, and perspectives. She grew up in a popular setting in the north of Morocco and practiced like other girls and women of her age embroidery, weaving, sewing and henna tattooing. All these moments of traditional learning were a source of inspiration for her. Her paintings are a testimony to the great celebrations and rituals of the women’s world of the 1950s.

signed and dated ‘Olle Hjortzberg 48’ (lower right) oil on board 60 x 73 cm Painted in 1948

signed and dated ‘Olle Hjortzberg 54’ (lower left) oil on canvas 46 x 38 cm Painted in 1954

signed ‘Vera Rockline’ (lower right) oil on canvas 53.5 x 70 cm ⊕ This lot is under temporary importation and is subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘Molinario’ (lower left) oil on panel 46.5 x 64.5 cm

signed in Cyrillic and dated 1858 (lower right) oil on canvas 41 x 33 cm painted in 1858 Provenance: from a private collection of the merchant and art collector in Russia, acquired before 1905 The present work is included in the numbered archive of the artist’s work compiled by Gianni Caffiero and Ivan Samarine.

signed ‘Ph. Maliavine’ (lower right)  oil on canvas 79 x 54 cm circa 1925. Provenance: Private collection, London Exhibited: Russes, Musée de Montmartre, Paris, 2003, Fragments Editions, Paris, 20 June – 21 September 2003, p.11 Literature: Russes, Musée de Montmartre, Paris, 2003, Exh cat. Fragments Editions, Paris, 20 June – 21 September 2003, p.11 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed (lower right) pencil on paper 15.4 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 224 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed with initials in Cyrillic ‘М Л’ (lower left) pencil on paper 15.3 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 225 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed with initials in Cyrillic ‘М Л’ (lower right) pencil on paper 16.5 x 23 cm circa 1910 -1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 223 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘N. Gontcharowa’(along the upper edge of the central panel) watercolour, gouache, and pencil on cardboard 54 x 18.5 cm (each) 1914 Provenance: Anonymous sale; Sotheby’s, London, 5 April 1990, lot 162; with Thos. Agnew and Sons Ltd., London, nos. 32153-5 (labels on the reverse of the backboard); Property of a European Lady of Title; Christie’s, London, 3 December 2009, lot 20; Acquired at the above sale by the present owner Before World War I, Natalia Goncharova was invited by Sergei Diaghilev to create sets and costumes for the opera-ballet The Golden Cockerel (staged by Mikhail Fokin for Diaghilev’s Russian Ballet company based on the opera by Nikolai Rimsky-Korsakov). The opera-ballet premiered in Paris and London in 1914. Goncharova’s fresh approach to popular Russian art, her familiarity with contemporary French painting, and her sense of humor allowed the artist to become an intermediary between the Russian avant-garde and Western art. Nikolai Rimsky-Korsakov’s opera, based on Alexander Pushkin’s fairy tale and political satire The Golden Cockerel, inspired Goncharova to create colorful sets that established her as a leading artist and set designer. Her success paved the way for further collaborations between the Russian Ballet and such artists as Mikhail Larionov, Pablo Picasso and Henri Matisse. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘Pougny’ (upper right) oil on canvas on board 7 x 20 cm 1942-1943 Provenance: Collection of Georges Barany, Paris Private collection, France Auction Art Rémy Le Fur & Associés, Tableaux et sculptures impressionnistes, XIXe et modernes, 2011 Private collection Literature: Pougny, Catalogue raisonné de l’œuvre, Paris - Côte d’Azur, 1924-1956, peintures, tome 2 Herman Berninger, Editions Ernst Wasmuth, Tübingen, 1992, ill. p.198 and 199, n. 763 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

oil on canvas 61 x 61 cm 1897 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow; Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.

oil, charcoal on cardboard 72.2 x 95 cm 1899 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow (painted by the artist for the family of Nata Chachkhiani, one of the sitter); Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.

oil on canvas 110 x 140 cm circa 1930s