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signed in Cyrillic 'A Deineka' (lower right) oil on canvas 90 x 166 cm painted circa 1960s Literature: V.P.Sysoev, Aleksander Deineka, M.: Art Rodnik, 2010, ill. p.60 Expertise certificates: 1. Expertise by prof. Vladimir Sysoev, member of the Russian Academy of Fine Arts, 23.11.2007 2. Expertise by Irina Vakar

oil on board 50 x 35 cm executed circa 1950s LITERATURE: V.P.Sysoev, Aleksander Deineka, M.: Art Rodnik, 2010, ill. p.83 Created after the Great Patriotic War, Kolkhoznitsa embodies Alexander Deineka’s return to the themes of health, labour, and the heroic vitality of Soviet life. A leading figure of Socialist Realism, Deineka here presents the archetype of the positive hero of the era. Depicted with sculptural clarity, sunlit, wind-burnished cheeks and a bold posture, the subject conveys both physical strength and inner calm. This portrait of a collective farmer radiates moral integrity and robust health — hallmarks of Deineka’s mature style. In Kolkhoznitsa, the artist creates a typical image that encapsulates the ‘spirit of the era’, and the enduring optimism of the post-war years.

patinated bronze 37.5 x 16.5 x 22.6 cm numbered on the pedestal 6/12 molded in bronze in 2009 after original plaster cast of 1920 (in quantity of 12)

patinated bronze H. 75 cm numbered on the pedestal 3/12 molded in bronze in 2009 after original plaster cast of 1920 (in quantity of 12)

signed in Cyrillic ‘V. Chuikov’ (lower right) oil on canvas 70 x 90 cm painted in 2014 Valery Chuikov is a Ukrainian painter, master of still life, landscape and genre painting. He studied at the Republican Art School named after T. Shevchenko, Kyiv State Art Institute, he is a member of the Union of Artists of the USSR, laureate of republican, all-Union and international competitions. Since 1990 he has been exhibiting in Great Britain, in 2011 he was awarded the International Order of Queen Anne 'Honour of the Motherland' on the diamond star of the Ist degree, the insignia of the Knight's Legion of Ukraine. His artworks are exhibited in museums in Ukraine, Russia and private collections.

signed in Cyrillic ‘V. Chuikov’ (lower right) oil on canvas 51 x 90 cm painted in 2016 Valery Chuikov is a Ukrainian painter, master of still life, landscape and genre painting. He studied at the Republican Art School named after T. Shevchenko, Kyiv State Art Institute, he is a member of the Union of Artists of the USSR, laureate of republican, all-Union and international competitions. Since 1990 he has been exhibiting in Great Britain, in 2011 he was awarded the International Order of Queen Anne 'Honour of the Motherland' on the diamond star of the Ist degree, the insignia of the Knight's Legion of Ukraine. His artworks are exhibited in museums in Ukraine, Russia and private collections.

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 ‘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.

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 '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 '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

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.

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 '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

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

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

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 right) oil on canvas 100 x 100 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.

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 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

подпись и дата ‘Айвазовскiй 1858’ (справа внизу) холст, масло 41 х 33 см 1858 год Провенанс: Из коллекции потомков русского торговца и коллекционера в России, приобретена до 1905 г. Ýта картина включена в архив Аéвазовского, составленного Джанни Каффьеро и Иваном Самариным

подпись ‘N. Gontcharowa’ (вдоль верхнего края центральной панели) картон, акварель, гуашь и карандаш 54 x 18,5 см (каждая) 1914 г. Провенанс: Анонимная продажа; Сотбис, Лондон, 5 апреля 1990 года, лот 162; с Thos. Agnew and Sons Ltd., Лондон, № 32153-5 (этикетки на обороте); Собственность европейской титулованной дамы; Кристис, Лондон, 3 декабря 2009 года, лот 20; Приобретено на вышеуказанной распродаже настоящим владельцем. Перед Первой мировой войной, Наталья Гончарова была приглашена Сергеем Дягилевым для создания декораций и костюмов для оперы-балета «Золотой петушок» (постановка Михаила Фокина для труппы Русский балет Дягилева по опере Николая Римского-Корсакова). Премьера оперы-балета состоялась в Париже и Лондоне в 1914 году. Свежий подход Гончаровой к популярному русскому искусству, ее знакомство с современной французской живописью и её чувство юмора позволили художнице стать посредником между русским авангардом и западным искусством. Опера Николая Римского-Корсакова, основанная на сказке и политической сатире Александра Пушкина «Золотой петушок», вдохновила Гончарову на создание красочных декораций, которые утвердили её в качестве ведущего художника и сценографа. Её успех проложил путь для дальнейшего сотрудничества Русского балета с такими художниками, как Михаил Ларионов, Пабло Пикассо и Анри Матисс.