Fine Russian Art & Antiques from the Renowned London Gallery И зящное искусство и антиквариат Р оссии из прославленной лондонской галереи
Wednesday 1 December 2021
Fine Russian Art & Antiques from the Renowned London Gallery И зящное Искусство И антИкварИат р оссИИ Из прославленной лондонской галереИ
Wednesday 1 December 2021 at 2pm
ORDER OF SALE Lots 1-37 | Icons and Works of Art Lots 38-50 | Icons from The Personal Collection of the late Chris Martin-Zakheim, Owner of Iconastas Lots 51-107 Icons and Works of Art
VIEWING We will be offering viewing by appointment only, to be held at our London Gallery, 15 Cecil Court, London, WC2N 4EZ. You can book an appointment on our website. One hour time slots will be available from: Thursday 25 November | 10am - 7pm
Sunday 28 November | 12pm - 4pm
Friday 26 November | 10am - 5pm
Monday 29 November | 10am - 5pm
Saturday 27 November | 12pm - 4pm
Tuesday 30 November | 10am - 5pm
BIDDING ATTEND THE LIVE AUCTION To book your place to be at the saleroom in person, please visit www.sworder.co.uk/appointments ONLINE Bid live at www.sworder.co.uk (0% surcharge)
COLLECTIONS We continue to operate a booking system for collections in accordance with government guidelines. Please see our website for the latest advice and further information.
SWORDERS’ DELIVERY SERVICE We are able to provide a bespoke shipping cost based on the lot and delivery destination, anywhere in the world. Should you be successful in buying larger items, a specific shipping estimate will need to be requested after the sale using the link in your invoice email; this also includes all requests for international delivery. We are unable to deliver purchased items to private residential addresses in Russia; all personal effects are banned from import to Russia from the UK. However, business and commercial imports are currently allowed; when sending business or commercial items to Russia, note that some products are strictly prohibited, where you’ll need special permission.
SALE CONTACTS
Alexander Hallett
Charlotte Lee-Finglas
T 01279 817778 E russianart@sworder.co.uk We are very proud to be able to present this sale as part of Russian Art Week: Autumn 2021
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INTRODUCTION We are extremely proud to present this catalogue for ICONASTAS: Fine Russian Art & Antiques from the Renowned London Gallery. The Piccadilly Arcade gallery was established by Chris Martin-Zakheim and John Gaze in 1974, specialising in Russian icons, works of art and antiquities, until it closed its doors in 2018, having cemented a reputation as one of the industry’s leading specialists. The first of several sales of Iconastas stock comprises just over one hundred lots, including icons dating from 14th-20th centuries, soviet porcelain, works of art and propaganda, and also features icons from the personal collection of the late Chris Martin-Zakheim, whose premature passing after a brain-tumour diagnosis prompted the gallery’s closure. Many of the lots in the sale have been photographed alongside a selection of textiles inspired by Russian, Central Asian and Eastern designs, which have been kindly provided by Nathalie Farman-Farma of the design studio Décors Barbares. As well as lending vibrant accents to the catalogue, the colours and designs echo those in the pieces themselves, showing not only that the decorative techniques are still in use today, but also that works of such distinguished heritage can be blended seamlessly into a modern decorative setting. We are extremely grateful to Cynthia Coleman-Sparke for her invaluable assistance in cataloguing the collection.
Scan the QR code to view extra photos, condition reports and additional information.
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Lot 1 A PAIR OF CARVED AND PIERCED GILTWOOD ROYAL DOORS Пара резных и проколотых позолоченных королевских дверей
late 16th/early 17th century, Macedonia, each of the domed upper sections decorated with dragons above four inset panels painted with the Annunciation and two saints, within dense scrolling foliate motifs and laurel borders, 137 x 80cm (2)
Конец XVI/начало XVII вв., Македония Каждая закруглённая верхняя часть украшена драконами над четырьмя вставленными досками, на которых написаны Благовещение и два святых, между плотными лиственными орнаментами и лавровыми полями 137 х 80см (2)
£5,000-7,000
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Lot 2 AN ICON OF CHRIST EMMANUEL Икона «Спас Эммануил»
16th century, Russia, tempera on wood, 34 x 27cm
XVI в., Россия Дерево, темпера 34 х 27см
£2,000-3,000
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Lot 3 A MONUMENTAL ICON OF THE MOTHER OF GOD OF SMOLENSK Монументальная икона «Смоленская Богоматерь»
c.1700, Russia, with Saints Parmen and Nicanor and two further on the borders, tempera on wooden panel, 88.5 x 72cm
Около 1700г., Россия, Святые Пармен и Никанор и ещё два святых на полях Деревянная доска, темпера 88,5 х 72см
£8,000-12,000
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Lot 4 A LARGE ICON OF A PROPHET Большая икона «Пророк»
17th century, Russia, possibly Isaiah, from an iconostasis, tempera on wood 71 x 45cm
XVII в., Россия Возможно Исаия, из иконостаса Дерево, темпера 71 х 45см
£5,000-7,000
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Lot 5 AN ICON OF TWO FEMALE SAINTS Икона «Две святые женщины»
18th century, Ushakov School, Russia, Saint Simeon and possibly Paraskeva Piatnitsa, tempera on wood with a later silver basma, struck with Cyrillic initials ‘GSB’, further marks obscured, 31 x 26cm Provenance: Sotheby’s, New York, ‘Russian Works of Art’, 10 December 1976, lot 164.
XVIII в., Россия, Святой Симеон и возможно Параскева Пятница Дерево, темпера с серебряной басмой, добавленной позже; инициалы в кириллице «ГСБ», другие неясные марки 31 х 26см
£2,000-3,000
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Lot 6 AN ICON OF THE DORMITION OF THE MOTHER OF GOD Икона «Успение Пресвятой Богородицы»
c.1900, in 16th century Moscow School style, Russia, tempera and gold on wood, with Tretyakov painted inventory number ‘5666/’ and Cyrillic ‘GTG’ partly legible, Okhran paper label and further paper labels verso, 35.3 x 29.2cm
Около 1900г., в стиле XVI в., Московская школа, Россия Дерево, темпера и золото; на обороте инвентаризационный номер Третьяковской галереи: 5666/ГТГ (частично видимо), бумажная наклейка «Охран» и другие бумажные пометки 35,3 х 29,2см
£10,000-15,000
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Provenance Alexei Vikulevitch Morozov Collection; Tretyakov Gallery; presumably sold by Antikvariat in 1936; ‘The George R Hann Collection’, sold Christie’s, New York, 17 April 1980, lot 6; Iconastas, Piccadilly Arcade, St James’s, London, W1. George Hann (1890-1979) was a pioneer of American aviation who assembled one of the world’s finest private collections of icons, mostly in the 1930s when the Soviet government released Russian treasures for sale abroad. Hann was committed to the study of the historical and religious significance of his collection which was offered in a sale at Christie’s the year after he died. The provenance of this icon is particularly distinguished having once belonged to the famous collector Alexei Vikulevitch Morozov, who bequeathed it to the Tretyakov Gallery in Moscow. It can be traced to a sale by the Moscow Antikvariat directly to George Hann from whom it was acquired in the landmark Christie’s sale. We are extremely grateful to Ivan Samarine and Richard Temple for their assistance with this catalogue entry.
Происхождение Коллекция Морозова Алексея Викулевича, Третьяковская галерея Наверное проданная Антиквариатом в 1936г. Коллекция Джорджа Р. Ханна, проданная Кристиз, Нью Йорк, 17й Апреля. 1980г., лот 6й Иконастас, Аркада Пикадилли, Сент-Джеймс, Лондон, W1 Джордж Ханн (1890-1979) был пионером американской авиации, который собирал одну из самых прекрасных в мире коллекций икон, особенно в 1930х годах, когда советское государство разрешал продажу русских сокровищ за границей. Ханн был приверженный изучению исторической и религиозной значимости своей коллекции, который выставили в торгах в Кристиз в году после его смерти. Происхождение этой иконы – исключительно выдающееся, так как она однажды была у известного коллекционера Алексея Викулевича Морозова, который завещал её Третьяковской галерее в Москве. Московский Антиквариат продал её прямо Джордж Ханн, от которого её приобрели в исторических торгах Кристиз. Мы чрезвычайно благодарны Ивану Самарине и Ричарду Темплу за помощь с этой каталогизацией.
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The exhibition halls of Antikvariat c.1934, GTG Photo Archive via Semyonova, N. and Iljine, N. V. (2013) Selling Russia’s Treasures
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Exhibition History Pittsburgh, Carnegie Institute, Collection of George R Hann, 12 January - 22 February 1944, no. 27. Syracuse, Syracuse Museum of Fine Arts, Collection of George R Hann, December 1944 - January 1945, no 14 Columbus, Columbus Gallery of Fine Arts, Collection of George R Hann, 10 February - 10 March 1945, no. 14. Indianapolis, John Herron Art Museum, Collection of George R Hann, 25 March - 29 April 1945, no. 14. Oberlin, Allen Memorial Art Museum, Exhibition of Russian Icons from the Collection of George R. Hann, 29 April - 21 May 1945. St. Louis, The St. Louis Art Museum, Russian Icons and Objects of Ecclesiastical and Decorative Arts, 15 September - 15 October 1945.
По данным Коллекции Ханна, её выставили Сиракьюс, Музей изобразительного искусства Сиракьюса, Коллекция Джордж Р. Ханн, Декабр 1944г. – Январь 1945г., номер 27 Колумбус, Галерея изобразительного искусства Колумбуса, 10й Февраля – 10й Марта, 1945г., номер 14 Индианаполис, Музей искусства Джона Херрона, Выставка русских икон из Коллекции Джордж Р. Ханн, 29й Апреля – 21й Мая, 1945г. Сент-Луис, Сент-Луисский художественный музей, Русские иконы и предметы духовных и декоративных искусств, 15й Сентября – 15й Октября, 1945г.
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Lot 7 A LARGE ICON OF THE ANNUNCIATION Большая икона «Благовещение»
18th century, Russia, tempera on wood, 45 x 36cm
XVIII в., Россия Дерево, темпера 45 х 36см
£2,500-3,500
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Lot 8 A PAIR OF ICONS Пара икон
c.1700, Greece, The Doubting of Thomas and The Presentation of Christ in the Temple, on wood, each 36.5 x 27cm (2)
Около 1700г., Греция, «Неверие Фома и Принесение Христа во Храм» Дерево 36,5 х 27см (2)
£4,000-6,000
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Lot 9 A FESTIVAL ICON Фестивальная икона
early 19th century, Russia, The Resurrection and Descent and twenty-five selected feasts, tempera on wood, 104.5 x 79cm
Начало XIX в., Россия «Воскресение и Сошествие во ад и двадцать пять избранных праздников» Дерево, темпера 104,5 х 79см
£3,000-5,000
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Lot 10 AN ICON OF THE FOUR SAINTED METROPOLITANS OF MOSCOW Икона «Четыре святых митрополита Москвы»
18th century, Russia, Saints Ionas, Peter, Alexius and Philip, depicted below an icon of the Mother of God, tempera on wood, 33 x 28cm
XVIII в., Россия Святые Иона, Пётр, Алексий, Филипп, под иконой Богородицы Дерево, темпера 33 х 28см
£2,000-3,000
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Lot 11 AN ICON OF THE EVANGELIST LUKE Икона «Лука Евангелист»
c.1700, Russia, from an iconostasis, tempera on an asymmetrical wooden panel, 55 x 31cm
Около 1700г., Россия, из иконостаса Темпера на ассиметричной деревянной доске 55 х 31см
£2,000-3,000
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Lot 12 AN ICON OF THE PRESENTATION OF CHRIST IN THE TEMPLE Икона «Принесение Христа во храм»
c.1800, Russia, tempera on wood, 57 x 40cm
Около 1800г., Россия Дерево, темпера 57 х 40см
£2,000-3,000
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Lot 13 AN ICON OF THE PRESENTATION OF THE MOTHER OF GOD IN THE TEMPLE Икона «Введение во храм Пресвятой Богородицы»
c.1800, Russia, tempera on wood, 57 x 40cm
Около 1800г., Россия Дерево, темпера 57 х 40см
£2,000-3,000
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Lot 14 AN ICON OF THE MOTHER OF GOD Икона «Богородица»
17th century, Russia, from an iconostasis, tempera on wood 45 x 22cm
XVII в., Россия, из иконостаса Дерево, темпера 45 х 22см
£3,000-5,000
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Lot 15 AN ICON OF ST JOHN CHRYSOSTOM Икона «Святой Иоанн Златоуст»
18th century, Russia, from an iconostasis, shown full length facing left, tempera on wood, 92.5 x 43cm
XVIII в., Россия Из иконостаса, фигура во весь рост, обращаясь налево Дерево, темпера 92,5 х 43см
£3,000-5,000
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Lot 16 A LARGE ICON OF ST JOHN THE FORERUNNER Большая икона «Иоанн Предтеча»
17th century, Greece, inscribed ‘The supplication of George, Hieromonk and Treasurer of Halkidonas’, tempera and gold on wood, 88 x 76.5cm
XVII в., Греция, с надписью «Прошение святого Георгия, Иеромонаха и Казначея Халкидона» Дерево, темпера и золото 88 х 76,5см
£5,000-7,000
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Lot 17 A QUADRIPARTITE ICON Четырехчастная икона
18th century, Russia, the Holy Wisdom, St Elijah, the Mother of God of the Burning Bush and the Veneration of the Archangels, tempera on wood, 36 x 31cm
XVIII в., Россия Премудрость Божия, Святой Илия, Богоматерь неопалимой купины и Почтение архангелов Дерево, темпера 36 х 31см
£2,000-3,000
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Lot 18 AN ICON OF THE DEISIS MOTHER OF GOD Иконный деисус «Богоматерь»
early 18th century, Russia, shown in a three-quarter turn, her glance directed towards the Saviour, her right hand extended in supplication, and her left holding an inscribed open scroll, 72 x 34.5cm
Начало XVIII в., Россия Она в пол-обороте взглядывает на Спасителя, протягивает правую руку в молитве, и держит открытый свиток с надписью в левой руке 72 х 34,5см
£3,000-5,000
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Lot 19 AN ICON OF ST PAUL Икона «Святой Павел»
17th century, Russia, shown full length facing left, tempera on wood, 68 x 33.5cm
XVII в., Россия Фигура во весь рост, обращаясь налево Дерево, темпера 68 х 33,5см
£3,000-5,000
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Lot 20 AN ICON OF THE ANNUNCIATION Икона «Благовещение Пресвятой Богородицы»
17th century, Russia, tempera and gold on wood, 38.5 x 32cm
XVII в., Россия Дерево, темпера и золото 38,5 х 32см
£4,000-6,000
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Lot 21 AN ICON OF ST FRANCIS OF ASSISI Икона «Святой Франциск Ассизский»
16th century, Veneto-Cretan School, depicted kneeling before a rocky landscape receiving the stigmata, tempera and gold on wooden panel, bearing an impressed crown cypher to the reverse, 53 x 38cm
XVI в., Венето-критская школа Он изображается на коленях в скалистом пейзаже, получая стигматы Деревянная доска, темпера и золото; на обороте отпечатенная королевская монограмма. 53 х 38см
£20,000-30,000
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This image of St Francis of Assisi receiving the stigmata in 1224 is unusual, as it shows the saint as a young man placed centrally in a highly formalised rocky landscape, kneeling and looking upwards at the fiery image with flaming wings of the seraph delivering the stigmata. ‘Then suddenly streams of fire and blood shot from his wounds and pierced the hands and feet of Francis with nails and his heart with a stab of a lance.’ St Francis was popular with the orthodox community of Crete and, by the end of the 14th century, was represented in orthodox churches throughout the island.
Это изображение, в котором Святой Франциск Ассизкий получает стигматы в 1224ом году, необычно потому, что оно показывает святого как молодого человека в центре очень творческом скалистом пейзаже, на коленях и обращаясь вверх к жгучему образу с горящими крылями серафима дающего стигматы. “Затем потоки огня и крови внезапно выплеснулись из Его ран и пронзили руки и ноги Франциска гвоздями, а сердце его — ударом копья.” Святой Франциск пользовался популярностью среди православной общины Крита, и к концу XIV века его изображали в православных церквах по целому острову.
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Lot 22 A PROCESSIONAL ICON OF THE MOTHER OF GOD OF THE SIGN AND ST NICHOLAS Процессионная икона «Богоматерь Знамение и Святой Николай»
18th century, Russia, tempera on wood, 50 x 43cm
XVIII в., Россия Дерево, темпера 50 х 43см
£2,000-3,000
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Lot 23 A RARE SHROUD ICON OF THE BODY OF CHRIST Редкая икона «Плащаница тела Христа»
possibly 17th century, Russia, tempera on wood, 108 x 48.5cm
Возможно XVII в., Россия Дерево, темпера 108 х 48,5см
£3,000-5,000
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Lot 24 AN ICON OF THE MIRACLE OF ST MICHAEL AT CHONAE Икона «Чудо архангела Михаила в Хонех»
17th century, Russia, tempera on wood, within a silver oklad marked for St Petersburg, struck with initials ‘AT’ and ‘NM’, bearing remnants of a wax seal to the reverse, 26.5 x 22cm
Около XVII в., Россия Дерево, темпера, в серебряном окладе с маркой Санкт-Петербурга и инициалиами «АТ, НМ», на обороте остатки сургучной печати 26,5 х 22см
£1,500-2,500
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Lot 25 AN ICON OF ST BARBARA Икона «Святая Варвара»
18th century, Russia, with scenes from her life, tempera on wood, within a silver oklad, 29 x 23.5cm
XVIII в., Россия, житийная икона Дерево, темпера, в серебряном окладе 29 х 23,5см
£1,000-1,500
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Lot 26 AN ICON OF ST HARALAMPIOS Икона «СвятойХаралампий»
19th century, Russia, tempera on wood, within a later silver oklad, 84 standard, marked for 1908-1917, further marks rubbed, 31 x 26.5cm
XIX в., Россия Дерево, темпера, в окладе (добавленном позже) из серебра 84 пробы, с маркой 1908-1917гг., дополнительные стёртые марки 31 х 26,5см
£2,000-3,000
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Lot 27 A LARGE ICON OF THREE SAINTS VENERATING ICONS Большая икона «Три святых, почитая иконы»
18th century, Russia, tempera on wood, 54 x 44cm
XVIII в., Россия Дерево, темпера 54 х 44см
£3,000-5,000
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Lot 28 A LARGE ICON OF CHRIST PANTOCRATOR Большая икона «Господь Вседержитель»
18th century, Russia, tempera on wood, 54 x 43cm
XVIII в., Россия Дерево, темпера 54 х 43см
£3,000-5,000
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Lot 29 AN ICON OF ST JOHN THE THEOLOGIAN Икона «Иоанн Богослов»
18th century, Russia, tempera on wood, set into a pierced giltwood frame panel, 48 x 30cm
XVIII в., Россия Дерево, темпера, на проколотой позолеченной доске 48 х 30см
£2,500-3,500
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Lot 30 AN ICON OF CHRIST PANTOCRATOR Икона «Господь Вседержитель»
17th century, Russia, tempera on wood, 107 x 81cm
XVII в., Россия 107 х 81см
£4,000-6,000
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Lot 31 AN ICON OF ST NICHOLAS Икона «Святой Николай»
18th century, Russia, tempera on wood, 32.5 x 27.5cm
XVIII в., Россия Дерево, темпера 32,5 х 27,5см
£2,000-3,000
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Lot 32 AN ICON OF THE MOTHER OF GOD OF TOLGA Икона «Толгская Богоматерь»
c.1600, Russia, tempera and gold on wood, 31 x 26cm
Около 1600г., Россия Дерево, темпера, золото 31 х 26см
£2,000-3,000
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Lot 33 A BRASS-CLAD WOODEN BOX Латунная деревянная коробка
c.1900, Russia, possibly designed by Vladimir Chambers for Talashkino, with embossed decoration depicting The Firebird, 25cm wide 17cm deep 9cm high
Около 1900г., Россия Возможно дизайн Владимира Чемберса для Талашкино, с рельефным украшением Жар-птицы Ширина: 25см Глибуна: 17см Высота: 9см
£2,000-3,000
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Lot 34 A CHIP-CARVED WOODEN WALL-HANGING CABINET Резной деревянный настенный шкаф
c.1900, Russia, after a design by Yelena Dimitrievna Polenova (1850-1898) for Abramtsevo with all-over geometric decoration, the central section with a square door above a sliding rectangular example, 40cm wide 15cm deep 47cm high
Конец XIX/начало XX вв., Россия, основанный на дизайне Елены Димитриевны Поленовы (1850-1898) для Абрамцева, полностью покрытый геометрическим украшением. В центральной части квадратная дверца над раздвижной прямоугольной доской Ширина: 40см Глибуна: 15см Высота: 47см
£1,000-1,500
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Lot 35
Lot 36
A CHIP-CARVED WOODEN WALL-HANGING CABINET
A CARVED WOODEN TABLE IN THE RUSSIAN FOLK TASTE
Резной деревянный настенный шкаф
Резной деревянный столик в русском народном стиле
c.1900, Russia, after a design by Yelena Dimitrievna Polenova (1850-1898) for Abramtsevo, with all-over geometric and floral decoration, with a hinged square and sliding rectangular door with polychrome painted detail, 38cm wide 18cm deep 45cm high
c.1900, possibly Talashkino, Russia, the circular top and legs with polychrome painted decoration, 18cm diameter 23cm high
Около 1900г., основанный на дизайне Елены Димитриевны Поленовы (1850-1898) для Абрамцева, покрытый геометрическим и цветистым украшением, с навесной квадратной дверцей и раздвижной прямоугольной дверцей, украшенный полихромной краской Ширина: 38см Глибуна: 18см Высота: 45см
Около 1900г., возможно Талашкино, Россия Круглые ножки и столешница украшены полихромной краской Диаметр: 18см Высота: 23см
£1,500-2,500
£200-300
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Literature: C Coleman-Sparke, ‘Russian Decorative Arts’, pp.274-5.
Литература: С. Коулман-Спарк, Russian Decorative Arts, стр.274-5
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Lot 37 AN ICON OF CHRIST AND THE TRINITY Икона «Христ и Троица»
c.1900, tempera and gold on wooden panel, set into a painted and gilt arch, originally placed above the royal doors of an iconostasis, 98cm wide x 60cm high
Около 1900г. Деревянная доска, темпера и золото, встабвленная в украшенной и позолоченной арке; подлинно над королевскими дверями иконостаса Ширина: 98см Высота: 60см
£3,000-5,000
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Icons from The Personal Collection of the late Chris Martin-Zakheim Owner of Iconastas
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Christopher Martin-Zakheim ended his career as the owner of Iconastas, a highly regarded West End gallery in the Piccadilly Arcade specialising in Russian objects and ended works of but in days, of Christopher Martin-Zakheim hisart, career asearlier the owner Iconastas, highlyhe regarded End gallery in the Piccadilly when, as Chris aMartin, was theWest proprietor of what he proudly Arcadeasspecialising Russian and ,works of art, but in described ‘the junkiestin junk shopobjects in London‘ he was already earlier days, Chris profiting from bothwhen, sides inasthe ColdMartin, War. he was the proprietor of what he proudly described as “the junkiest junk shop in London”, he was alreadythe profiting both sides in the Cold During the 1960s, Patricefrom Lumumba University was War. founded in Moscow to attract students from developing nations in Africa During the 1960s, the Patrice Lumumba University was founded and in Asia, and to thereby a generation of third-world Soviet Moscow attractbuild students from developing nations in Africa sympathisers. On leaving the USSR, these students were not allowed and Asia, and thereby build a generation of third-world Soviet to take cash with them, art andthe other keepsakes unrestricted. sympathisers. On but leaving USSR, these were students were not allowed to take cash with but art and other keepsakes Martin’ s friends wondered why them, he made so many unexplained unrestricted. Martin’s friends why he he made trips were to Heathrow, but there, tipped off bywondered another contact, was so many unexplained Heathrow, but there, tipped off welcoming the graduatestrips withtobundles of currency in exchange forby another contact, he was welcoming the graduates with bundles icons they had bought as ‘souvenirs‘. of currency in exchange for icons they had bought as “souvenirs”. For a time, Martin developed further trade lines with the Soviet Union, For a time, Martin developed further trade lines with the Soviet but some of his please did the authorities. wasauthorities. doing a Union, butmethods some ofdid hisnot methods not please ‘Ithe lot of“Ibusiness importing Russian art and taking things out there like was doing a lot of business importing Russian art and taking shipments of jeans at a time when they weren’t available. They got things out there like shipments of jeans at a time when they a bit what they I was a bit weren’t worried available. about whatThey I wasgot doing andworried banned about me because and banned me because they said I was encouraging said Idoing was encouraging capitalism. ‘ capitalism.” His Russian roots went much deeper. His father, Isidore, was the His Russian roots children went much deeper.who His father, Isidore, was youngest of the seven of refugees had arrived from the youngest of the seven children of refugees who had arrived the Russian Pale of Settlement on alien papers in 1895 and dealt in from the Russian Pale of Settlement on alien papers in 1895 and smoked in Whitechapel, east London.east Later they became dealtsalmon in smoked salmon in Whitechapel, London. Later they jewellers and jewellers moved west, and Isidore father’ s first became and moved west,took and his Isidore took his name, father’ts Martin, place of Zakheim so as toofblend in more readily. It wasinonly firstinname, Martin, in place Zakheim so as to blend more It was onlyMartin in thehyphenated 1990s that the Chris Martin hyphenated in thereadily. 1990s that Chris original name at the theoforiginal at not the wish behest anout. aunt who did not wish it behest an auntname who did it toofdie to die out. The son of Isidore Claude and Joyce Martin, Christopher was born in son of Isidore Claude and Joyce inMartin, Christopher was a flatThe on Edgware Road, northwest London, 1947 and lived in that born in a flat on Edgware Road, northwest London, in 1947 and vicinity for much of his life, his final home being a converted bank in lived in that vicinity for much of his life, his final home being a Maida Vale. bank in Maida Vale. converted He was collector from his schooldays, startingstarting with stamps, He awas a collector from his schooldays, with which stamps, he enjoyed ‘the colours and colours the engraving the fact and you could which for he enjoyed for “the and theand engraving the fact workyou out could and picture the history of a country through stamps‘ , and work out and picture the history of a its country through its stamps”, and moving on and to scientific instruments and the moving on to scientific instruments the sorts of things that others of things that others were throwing “I just continued weresorts throwing away. ‘I just continued collectingaway. and developing an collecting and developing an interest in a range of objects. Some interest in a range of objects. Some people might call some of it junk, people might call some of it junk, but it is fascinating to see how but it is fascinating to see how differently people value things,‘ he said. differently people value things,” he said. It was not long before he It was notselling long before he was sellingfrom coins and Portobello stamps from a tiny was coins and stamps a tiny Road stall Portobello stall tucked under a staircase, before histhe tuckedRoad under a staircase, before establishing hisestablishing junk shop at junk Olympia shop at the Olympia end ofEnd the North End Road in Fulham. end of the North Road in Fulham
After a few successful years and several particularly lucrative house clearances, he started to deal more seriously in Russian art and porcelain ‘I bought someyears icons,and as several big as aparticularly door, and sold them After a –few successful lucrative housetoclearances, startedand to that deal got more in the Russian quickly an interior he designer, meseriously excited. In early art and porcelain — “I bought asan bigicon as auction a door, 1970s he met the flamboyant dealersome John icons, Gaze at soldsthem quickly to an designer, and lot that gotsale me at and Sotheby’ . ‘He had nodded off interior just as the most awful in the excited. In the early 1970s he met the flamboyant dealer John was about to be knocked down unsold,‘ Martin said. ‘I nudged him, Gaze at an icon auction at Sotheby’s. “He had nodded off just and into air and proud purchaser, as his thehand mostshot awful lotthe in the sale he wasbecame about the to be knocked down to unsold,” great applause from the spectators and staff. ‘ Despite Martin said. “I nudged him, and his hand shotthat, intothey the became friends, the thenproud partners in a small shopapplause in the Chenil air andfirm he became purchaser, to great from the spectators staff.” that, they became firm friends, Galleries antiquesand market onDespite Kings Road. then partners in a small shop in the Chenil Galleries antiques onopened Kings Road. In market 1974 they Iconastas in the Piccadilly Arcade. There Martin applied gentler methods to his buyers, regaling them with an often In 1974 Iconastas Piccadilly Arcade. wicked witthey andopened sitting with them inforthehours as they madeThere their Martin applied gentler methods to his buyers, regaling them choices. Furthermore, as Victoria Wolcough, who encountered him with an often wicked wit and sitting with them for hours as when for Christie’ s, recalls: ‘He was exceptionally kind to us theyworking made their choices. Furthermore, as Victoria Wolcough, oldwho Russians in helping with the valuation and identification of “He the encountered him when working for Christie’s, recalls: icons our cathedralkind in Chiswick. Iconastas was perfect name for wasatexceptionally to us old Russians inahelping with the identification of the icons ouralso cathedral in hisvaluation gallery. In and recent years Soviet Russian objectsatd’art appeared Chiswick. Iconastas was a perfect name his gallery. recent there, and that was appropriate, as they werefor ‘icons’ of thoseIntimes. ‘ years Soviet Russian objects d’art also appeared there, and that was appropriate, they were ‘icons’ of times.” Unfortunately, Gaze’as s brutal kidnapping in those 1992, by a conman who called himself Sacheverell De Houghton, made him afraid of being Unfortunately, Gaze’s brutal kidnapping in 1992, by a conman alone at home, so much of his time was spent at the Carlton Club, who called himself Sacheverell De Houghton, made him afraid where 60 cigarettes a bottle of whisky daywas eventually ledthe to of being alone at and home, so much of his atime spent at endless health problems. He died in 2011 aged 64. Carlton Club, where 60 cigarettes and a bottle of whisky a day eventually led to endless health problems. He died in 2011 aged Martin’ 64. s first two marriages, to Christine Powell in 1968 and Alison Schofield in 1979, each ended in divorce, and he married Alexandra Martin’s first two and marriages, 1968 Silk, a print specialist designer,toinChristine 1997. She Powell survivesinhim withand his Alison Schofield in 1979, each ended in divorce, and he married children, Abigail, Gemma, Xanthe, Monty and Zachary, and three Alexandra Silk, a print specialist and photographer designer, in 1997. She grandchildren. Abigail is an acclaimed who was survives him with his children, Abigail, Gemma, Xanthe, Monty commissioned to take a series of Radio 4 presenters, four of which and Zachary, and three grandchildren. Abigail is an acclaimed arephotographer featured at the National Portrait Gallery London. is who was commissioned to in take a seriesGemma of Radio in 4marketing, Monty are at university, and Zachary is presenters,Xanthe four ofand which are featured at the National Portrait at Gallery school. in London. Gemma is in marketing, Xanthe and Monty are at university, and Zachary is at school. In his final year, old instincts persisted: ‘I love strange old bits of In his final year, old instincts persisted: “I love strange bitsreal of woodwork, ‘ Martin said, ‘very old things, but I don’t haveoldany woodwork,” Martin said, “very old things, but I don’t have any attachments now because my wife is fed up of me collecting real attachments because my wife is fedlucky up ofwith me collecting things and bringingnow them back. But I’m very what I’ve things and bringing them back. But I’m very lucky with what I’ve done and what I’ve got in my life.‘ Christopher Martin-Zakheim, art done and what I’ve got in my life.” Christopher Martin-Zakheim, dealer, was born February 18, 1947.18, He 1947. died ofHe a brain on art dealer, wasonborn on February died tumour of a brain December 25, December 2018, aged25, 71.2018, aged 71 tumour on
taken from Chris Martin-Zakheim’s Obituary by Huon Mallalieu PUBLISHED IN THE TIMES 10TH APRIL 2019
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Lot 38 AN ICON OF THE MOTHER OF GOD OF TENDERNESS Икона «Богоматерь Умиление»
14th/15th century, Russia, tempera on wood, 31 x 27.5cm This is a very rare depiction of the Christ Child tightly holding His mother, with her finger pointing towards him. Lazarev contains a similar example showing the pointing index finger, which is dated to 1314. This icon has been radiocarbon-dated to 1302-1367/1382-1420. Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas. Literature: V N Lazarev, ‘The Russian Icon: From its Origin to the Sixteenth Century’, Liturgical Press, 1997, p.26.
XIV/XV в., Россия Дерево, темпера 31 х 27,5см Это очень редкое изображение Младенца Иисуса, нежно обнимая мать, которая указывает пальцем к нему. По Лазареву похожий предмет, с датировкой 1314г., показывает такой образ пальца. Радиоуглеродное датирование этой иконы: 1302-1367/1382-1420 гг. Литература: В.Н. Лазарев, The Russian Icon: from its Origin to the Sixteenth Century, Liturgical Press, 1997 г., стр.26 Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£15,000-20,000
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Lot 39 AN ICON OF THE ANNUNCIATION Икона «Благовещение Пресвятой Богородицы»
15th century, Russia, from an iconostasis, tempera on a shaped panel, 47.5 x 44.5cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XV в., Россия, из иконостаса Темпера на куполообразной доске 47,5 х 44,5см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£7,000-9,000
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Lot 40 AN ICON OF THE MOTHER OF GOD OF THE SIGN Икона «Богоматерь Знамение»
16th century, Russia, flanked by angels, tempera on a round wooden panel, 59 x 54cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVI в., Россия Образ между ангелами Темпера на круглой деревянной доске 59 х 54см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£5,000-7,000
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‘He wasn’t a team player; instead the one-man band who danced to his own tune. He never wanted to have to depend on anyone other than himself.’
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‘He taught me to look and see things differently – whether it was a piece of art or simply the world we lived in.’
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Lot 41 AN ICON OF THE DORMITION OF THE MOTHER OF GOD Икона «Успение Богородицы»
late 14th/early 15th century, Russia, tempera on wooden panel, 54 x 42.5cm Radiocarbon-dated to between 1386-1431. Depicting the Dormition of the Mother of God with Christ behind holding the Soul in the form of a swaddled child with the Angels waiting to take the Soul to heaven. The non-believer who dared to touch the bier is having his hands chopped off by the Archangel Michael. Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
Конец XIV/начало XV вв., Россия Доска, темпера 54 х 42,5см Радиоуглеродное датирование: между 1386-1431гг. Изображение Успения Пресвятой Богородицы; позади Христ держит Душу в форме запеленутого ребёнка; ангелы ждут, чтобы принести Душу в рай. Архангел Михаил отрубает руки того неверного, который смел тронуть катафалк. Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£20,000-30,000
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Lot 42 A LARGE ICON OF ST DANIEL Большая икона «Святой Даниил»
17th century, Russia, tempera on wood, 59.5 x 35cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVII в., Россия Дерево, темпера 59,5 х 35см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£4,000-6,000
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Lot 43 A LARGE ICON OF THE RENOVATION OF THE CHURCH OF THE RESURRECTION OF CHRIST Большая икона «Обновление храма Воскресения Христова»
18th century, Russia, with the Bishops, Clergy and Saints shown in the foreground blessing the Icon of the Anastasis, tempera on wood, 122 x 68.5cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVIII в., Россия На переднем плане епископы, дужовенство и святые, благословляя икону Анастасии Узорешительницы Дерево, темпера 122 х 68,5см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£10,000-15,000
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I have often wondered when seeing a large gathering of pigeons on a rooftop, “what attracts them to that particular place when so many equally inviting places are never visited?” So it seems to have been with Chris. He built it and they came. In the late 1960s, he inherited a shop in North End Road opposite Olympia Exhibition centre from his in laws. Its window was soon painted in large letters with 'WE BUY". Smaller displays offered a chance to get paid for cigarette coupons, get a pound for 100 postcards, or even get a cash payout for S & H green stamps. In a murky, patchouli oil-scented setting, Chris generated a huge spectrum of buyers and sellers who flocked there in search of bargains or a pay out, attracted by his personality, persuasive buying and inventive marketing skills. A chance meeting at an auction with the dealer John Gaze led to a joint venture in the Chenil Galleries in Chelsea and later to Chris taking a lease on a shop in the Piccadilly Arcade. Here the business took a more Russian focus, partly from a cache of icons brought back from Russia by African students, who, hampered by strict Soviet currency restrictions, were able to recoup some hard currency via Chris as a reliable buyer. The purchase of an astounding pair of iconostasis doors at a sale for an eye-watering amount helped to establish him in this market. A visit to the shop was always entertaining, as all kinds of people were bringing all kinds of items to sell, from propaganda flags to cigarette cases to plastic rocket lamps. His teasing and jovial manner with his customers no doubt oiled the wheels of commerce. If you were an old friend, valued client, or needed a quick slash, you could risk climbing the tiny staircase at the rear of the shop which was stacked with an overspill of icons and pictures to his cluttered office and a view from the tiny iron railed balcony once used by courtesans to attract custom from passing Regency dandies. Chris had a kind of magic manner, and he never gave customers the ‘hard sell’; with such a laid back and relaxed approach, one couldn't pass his shop without wanting to go in have a look at his stock or just soak up the good atmosphere he dispensed. In such a way, and with his huge network of suppliers, Chris gathered his amazing stock. Tragically, a brain tumour cut short an amazing life and the visitors book at St Mary's hospice resembled a pre-iPhone London phonebook, as so many came to spend time with him, sharing so much laughter at memories of the early days and some extraordinary deals! Later his remembrance service at St James's Piccadilly had attendance figures akin to that of a Christmas Eve. How I do miss him!
Warner Dailey ANTIQUES DEALER AND FRIEND
Christopher Martin-Zakheim was a familiar figure on the auction circuit for many years. Originally born into a family of Russian immigrants who’d found their way upstream to Whitechapel, practically on the backs of smoked salmon, he seemed to have dealing in his veins and a knack for spotting opportunities. He was also a natural collector, first of stamps and coins, then of scientific instruments. I don’t think he ever lost that schoolboy enthusiasm as he told me in one of our last conversations that he had boxes of vintage spectacles in his storage. When I began with Christie’s in the 1980s, he and John Gaze were already established nearby at Iconastas in the Piccadilly Arcade. We spent hours in the shop whenever I popped by as one was always assured of a warm welcome and a bit of an industry chinwag. Chris was generous with his knowledge and helpful with attributions and valuations. He was mostly patient with this junior specialist except for the time I was being a ‘stupid girl’, the rebuke delivered with twinkling eyes to soften the message. I must not have totally disgraced myself as he generously loaned pieces to an exhibition I worked on and provided images from his collection for my book. Upon my return to the UK in 1998, I was delighted to see Chris was still based in Piccadilly. Iconastas was filled to the rafters with a dizzying array of porcelains and woodwork, silver and Soviet memorabilia in addition to icons. He was still a tall, elegant, string bean of a man and almost always seen with the softest of apricot sweaters tied around his shoulders. He’d visit previews and was unpredictable in his bidding. From low value objects to exquisite paintings, there seemed no discernible pattern to his methods. We gathered far too soon in 2019 to celebrate his life at St. James’ Piccadilly. His family were joined by a tribe of friends and colleagues who travelled from around the world to pay tribute. Today, the pages of this catalogue at Sworders recall for us the discerning expert, eclectic collector and consummate magpie.
Cynthia Coleman-Sparke RUSSIAN ART SPECIALIST, CONSULTANT AND AUTHOR OF RUSSIAN DECORATIVE ARTS
Chris Martin-Zakheim and I used to meet regularly to act as referees in Antique Fairs. He habitually turned up wearing garish waistcoats which he explained were a sort of currency between shops in his arcade in Piccadilly. We then set to work. My brief was to authenticate icons, and that usually meant giving a broad stroke dating, like “probably (?) 17th century to 19th century”. Whereas he looked at Russian metalwork, and always upstaged me by looking at the silver marks and giving the exact date – “1856”. He really knew his stuff.
Robin Cormack PROFESSOR EMERITUS, COURTAULD INSTITUTE OF ART
Lot 44 AN ICON OF ST GREGORY THE THEOLOGIAN AND THE ARCHANGEL MICHAEL Икона «Святой Григорий Богослов и Архангел Михайл»
16th century, Russia, in an unusually wide double Kovchek panel with Karelian decoration to the outer border, tempera on wood, 43 x 37cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVI в., Россия На необычно широком двойном ковчеге с карельским украшением на наружных полях Дерево, темпера 43 х 37см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£5,000-7,000
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Lot 45 AN ICON OF SAINTS BLASIOS AND MODESTOS Редкая икона «Святые Блазио и Модест»
19th century, Mstera, Russia, depicted in front of a mountainous landscape with a seven-domed cathedral, inscribed to the lower border, ‘this icon was painted in Mstera, Vladimir Governate in 1843’, tempera and gold on wood, 36 x 31cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XIX в., Мстёра, Россия Изображение на фоне гористого пейзажа, собор с семью куполами, надпись на низких полях: «Сия икона писана из села Мстера, Владимир. Губ. 1843 г.» Дерево, темпера и золото 36 x 31см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£5,000-8,000
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Lot 46 AN ICON OF ST ROMAN RYAZANSKY Икона «Святой Роман Рязанский»
c.1900, attributed to Mikhael Ivanovich Dikarev, Mstera School, Russia, tempera and gold on panel, 31 x 26.5cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas. A similar example can be found in the collection of the Hermitage Museum, Saint Petersburg.
Около 1900г., Россия, приписанная Дикареву Михаилу Ивановичу, Мстёрская школа Доска, темпера и золото 31 х 26,5см Похожий предмет находится в Государственном Эрмитаже (Санкт-Петербург). Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£5,000-7,000
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Lot 47 AN ICON OF THE NATIVITY Икона «Рождение Христово»
17th century, Greece, tempera and gold on wood, set with a Venetian coat of arms to the bottom, 49.5 x 40cm Showing the Holy Family outside a cave with the Infant swaddled in a manger looked upon by horses, with Joseph, who is depicted as an old man, talking to a shepherd. Above the cave are six angels holding an unfurled scroll proclaiming the birth. The Trinity above sends down a star and rays of light into the cave. The star is seen by the Magi, who ride towards it. In the corners are painted the attributes of the Evangelists. Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVII в., Греция Дерево, темпера, золото, внизу венецианский герб 49,5 х 40см Изображает святое семейство у пещеры, запеленутого в яслах младенца, на которого смотрят лошади, и старого Иосифа, который говорит с пастухом. Над пещерой шесть ангелов держат свернутый свиток и провозглашают рождение. Сверху Троица посылают звезду и лучи света в пещеру. Звезду видят волхвы, которые едут к ней. В углах написаны атрибуты евангелистов. Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£10,000-15,000
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‘He was still a tall, elegant, string bean of a man and almost always seen with the softest of apricot sweaters tied around his shoulders.’
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‘Chris had a kind of magic manner, and he never gave customers the ”hard sell”; with such a laid back and relaxed approach, one couldn’t pass his shop without wanting to go in, have a look at his stock or just soak up the good atmosphere he dispensed.’
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Lot 48 AN ICON OF THE ADORATION OF THE MAGI Икона «Поклонение волхвов»
16th century, Dalmatia, tempera on panel, 53 x 42.5cm Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
XVI в., Далмация Доска, темпера 53 х 42,5см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£3,000-5,000
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Lot 49 AN ICON OF THE FEEDING MOTHER OF GOD OR GALAKTOTROPHOUSA Икона «Млекопитательница или Галактотрофуса»
c.1600, Veneto-Cretan School, flanked by St Catherine supporting the wheel and holding a palm branch, tempera and gold on wood, 26 x 29cm, in a parcel-gilt frame, 43 x 46cm overall Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas.
Около 1600г., Венето-критская школа Рядом Святая Екатерина Александрийская, поддерживая колесо и держа пальмовую ветвь Дерево, темперо, золото 26 х 29см В частично полозоченной раме В сумме: 43 х 46см Происхождение: из частной коллекции покойного Криса Мартин-Захейма, владелца компании «Иконастас».
£15,000-20,000
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Lot 50 A LARGE ICON OF THE MOTHER OF GOD Большая икона «Богоматерь»
c.1900, but in the earlier Novrogod School style, Russia, from a deisis, tempera on wood, with Tretyakov gallery label and painted inventory numbers verso, 84 x 36cm
Около 1900 г., в более раннем стиле Новгородской школы, Россия, из деисуса На обороте клеймо Третьяковской галереи и рисованные инвентаризационные номера Дерево, темпера 84 х 36см
£10,000-15,000
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Provenance: From the personal collection of the late Chris Martin-Zakheim, owner of Iconastas. Tretyakov Gallery; The George R Hann Collection, sold Christie’s, New York, 17 April 1980, lot 50. This lot formed part of a deisis, which were sold as lots 49-53. According to the Hann entry, it was exhibited: Carnegie Institute 1944, no.52; The Metropolitan Museum of Art, 1944. George Hann (1890-1979) was a pioneer of American aviation who assembled one of the world’s finest private collections of icons, mostly in the 1930s when the Soviet government released Russian treasures for sale abroad. Hann was committed to the study of the historical and religious significance of his collection, which was offered in a sale at Christie’s the year after he died. We are extremely grateful to Ivan Samarine and Richard Temple for their assistance with this catalogue entry.
Происхождение: Третьяковская галерея Коллекция Джордж Р. Хан, проданная Кристис, Нью Йорк, 17 Апрелья, 1980, лот 50й По данным Ханн, её выставили: Институт Карнеги, 1944, номер 52 Метрополитен-музей, 1944 Джордж Ханн (1890-1979) был пионером американской авиации, который собирал одну из самых прекрасных в мире коллекций икон, особенно в 1930х годах, когда советское государство разрешал продажу русских сокровищ за границей. Ханн был приверженный изучению исторической и религиозной значимости своей коллекции, которую выставили в торгах в Кристиз в году после его смерти. Мы чрезвычайно благодарны Ивану Самарине и Ричарду Темплу за помощь с этой каталогизацией.
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MEETING CHRIS Meeting Chris in the early 90s was a pivotal moment for me. He was quite different from any other man I’d met, let alone dated; he was unafraid to stand by his principles and did not mind ruffling feathers as he went. He admired hard graft and quick wit and despised the entitled who blindly followed convention to the letter. He’d worked from the age of 13; cleaning cars, picking up odd jobs at Portobello market and quickly developed a good eye and sharp business sense early on. He started collecting his own favourite pieces in his teens and by the time we married (on his 50th birthday) our first, tiny flat was considered a museum by those who visited. I’d grown up alongside reassuringly ‘old brown furniture’ but he opened my eyes to the possibilities of mixing the styles and ages of pieces together. He worked six days a week and then every Sunday, without fail, we’d view the auction rooms together – not the expensive ones (he didn’t have the earning power for those) but the Bonhams in Lots Road, the Phillips in Bayswater or Christie’s South Ken. He bought pieces that challenged or interested him; even beautifully produced utilitarian tools - decorative in their simplicity - had a space. They weren’t always comfortable, but they certainly raised an eyebrow. He taught me to look and see things differently – whether it was a piece of art or simply the world we lived in. He could be incredibly kind to complete strangers and seemed to know all the shopkeepers and street vendors in the ‘hood’. He was lucky enough to enjoy good health for most of his life and his honed physique was the envy of many. He enjoyed the offerings of the Jermyn Street tailors around his arcade and would often barter for his clothes in order to cut a vibrant dash on Bond Street. His Favourbrook waistcoat collection in particular, was legendary. Brought up in Willesden to a Jewish father and Church of England mother, he enjoyed the company of his local, predominantly Jewish friends until it came to the time for his Bar mitzvah. When his mother refused to convert, he was turned away from the Synagogue School and the parents of his friends were keen to distance their sons and daughters. This was perhaps a formative moment for him. He wasn’t a team player; instead the one-man band who danced to his own tune. He never wanted to have to depend on anyone other than himself. I became his third wife in 1997 and we went on to have three children in quick succession, adding to his two by previous marriages. He was a far more relaxed parent in his later life and thrived on the energy of our young when most parents were on their knees with exhaustion. We would whisk them to exhibitions and galleries every weekend, (despite them often begging us not to); but such was his love of art that he’d always find something to draw them in. The sudden onset of his brain tumour utterly side-swiped us. I’d always thought he’d outlive us all – even our children couldn’t always keep up! But I feel very blessed to have known him as I did; he totally changed my life and I’m lucky enough to have enjoyed a lot of these pieces at home. I hope there are others that will cherish them as we did.
ALEXANDRA MARTIN-ZAKHEIM
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Lot 51 A SOVIET FAIENCE FIGURE BY IOSIF CHAIKOV (RUSSIAN 1888-1979) Российская советская фаянсовая статуэтка Иосифа Чайкова (Россиянин, 1888-1979)
c.1934-1940, ‘The Deep Sea Diver (Epronovets)’, Konakovo Faience Factory, incised and printed marks to base, 18cm wide 14cm deep 30.5cm high Literature: E A Bubnova, ‘Konakovskii faians’, Moscow, 1978, p.85. The term ‘Epronovets’ comes from EPRON, the abbreviation of Ekspeditsiia podvodnykh rabot osobogo naznacheniia (Expedition for Special Purpose Underwater Work). The service, established in 1923, was intended to explore wrecks in Russian waters, salvaging both the valuable metals and, where possible, advanced technology. Their most famous achievement was raising HMS L-55, a British submarine sunk in the Gulf of Finland in 1919, which was salvaged in 1928 and refurbished, becoming part of the Soviet navy in 1931. It ultimately served as the basis for the design of the Soviet L-Class submarines. Iosif Chaikov is best known as a monumental sculptor whose works decorated Moscow’s Gorky Park and the Soviet Pavilions at the international expositions in Paris in 1937 and New York in 1939. He also helped to revitalise Soviet artistic faience. Following the 1917 Revolution, porcelain was commonly used for Soviet tableware and statuettes. In 1934, a group of important artists including Iosif Chaikov, Isidor Frikh-Khar, Vladimir Favorskii, Sarra Lebedeva, and Maria Kholodnaia began experimental work at the Konakovo Faience Factory (renamed in honour of Mikhail Kalinin). ‘The Deep Sea Diver (Epronovets)’ was one of Chaikov’s most successful designs for Konakovo.
Около 1934-1940гг., «Эпроновец», Конаковский фаянсовый завод, надрезанные и напечатанные марки по низу Ширина: 18см Глубина: 14см Высота: 30,5см Литература: Е.А. Бубнова, Конаковский фаянс, Москва,1978г., стр.85 Слово “Эпроновец” происходит от названия ЭПРОН, которое является аббревиатурой Экспедиция подводных работ особого назначения. Ету службу, основанную в 1923ом году, предназначали для исследования кораблекрушений в российских водах. Она спасала ценные метали и, насколько возможно, продвинутые технологии. Самое известное достижение: они подняли HMS L-55, британскую подводную лодку, которая затонул в Финском заливе в 1919ом году. Лодку спасли в 1928ом году. После ремонта, она стала частью советского военно-морского флота в 1931ом году. Наконец служила дизайном советских подводных лодок типа «Ленинец». Иосиф Чайков известный как скультпор монументов, чьими произведениями был украшен Парк Горького в Москве и советские павильоны на всемирных выставках в Париже в 1937ом году и Нью-Йорке в 1939ом году. Он также помог оживить советский художественный фаянс. После Октябрьской революции, фарфором часто изпользовали для посуды и статуэток. В 1934ом году, группа важных художников, в том числе Иосиф Чайков, Исидор Фрих-Хар, Владимир Фаворский, Сарра Лебедева и Мария Холодная начали экспериментальную роботу на Конаковском фаянсовом заводе (который переименовали в честь Михаила Калинина). Статуэтка Эпроновец является одним из самых известных дизайнов для Конакова.
£1,000-1,500
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Lot 52 A SOVIET PORCELAIN CHARGER Советская фарфоровая тарелка
1930s, Russia, depicting an Arctic scene, with a polar bear, a ship and an aeroplane, 37cm diameter This charger probably commemorates the world’s first transpolar flight piloted by Valery Chkalov between 18 and 20 June 1937. Along with his co-pilot, Georgi Filippovich Baidukov, and their navigator, Alexander Vasilyevich Belyakov, Chkalov flew a Tupolev ANT-25 aeroplane for 63 hours non-stop from Moscow to Vancouver, Washington, via the North Pole, a journey of 5,475 miles.
1930е гг., Россия Арктичекая сцена: белый медведь, корабль и самолёт Диаметр: 37см Эта тарелка наверное увековечивает первый трансполярный перелёт, совершённый Валерием Чкаловым 18 и 20 июня 1937го года. Вместе со вторым пилотом Георгием Филипповичем Байдуковым и штурманом Александром Василиевичем Беляковым, Чкалов перелетел в самолёте АНТ-25 63 часов без посадок из Москвы в Ванкувер, в штате Вашингтон, через Северный полюс. Длительность перелёта – 5475 миль.
£300-500
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Lot 53 A SOVIET PORCELAIN FIGURE OF PILOT VALERY CHKALOV (1904-1938) Росссийская советская фарфоровая статуэтка лётчика Валерия Чкалова (1904-1938)
c.1939, Lomonosov State Porcelain Manufactory, Leningrad, Russia, painted to the base with a hammer and sickle and dated 1938, numbered and signed ‘Kh. Smirnov. A.K.’, 23.5cm high Literature: T N Nosovich and I P Popova, ‘State Porcelain Manufactory 1904-1944’, St Petersburg/Moscow 2005, p.612. Valery Pavlovich Chkalov (1904-1938) joined the Red Army Air Force at the age of 16, graduating from Yegoryevsk Training School in 1924, at which point he joined a fighter squadron. During the 1930s, he became a test pilot, achieving several feats of flying, such as performing two hundred and fifty loop-the-loops in forty-five minutes. In 1935, he became the head of the stunt squadron of the Russian Air Force, which performed in public displays. In the latter years of the 1930s, Chkalov undertook several daring missions, including a sixty-three-hour flight from Moscow to Vancouver, Washington via the North Pole, for which he was awarded the title ‘Hero of the Soviet Union’. Chkalov died on 15 December 1938 while piloting a prototype of the Polikarpov I-180 fighter, which crashed during its maiden test flight. Before he died, he was planning the first non-stop flight around the globe.
Около 1939г., Ломоносовская государственная фарфоровая мануфактура, Ленинград, крашенная внизу символом серпа и молота и датированная 1938, с нумерацией и подписью «Х. Смирнов. А.К.» Высота: 23.5см Литература: Т.Н. Носович и И.П. Попова, State Porcelain Manufactory 1904-1944, Санкт-Петербург/Москва, 2005г., стр.612 Валерий Павлович Чкалов (1904-1938) присоединился к Рабоче-крестьянскому Красному воздушному флоту в возрасте 16 лет, и окончил Егорьевский авиационный технический колледж в 1924ом году, когда он присоединился к эскадрилье. В годах 1930х он стал лётчиком-испытателем, совершая много авиационных подвигов, например двести пятьдесят мёртвых петель за сорок пять минут. В 1935ом году, он стал главой пилотажной группы Военно-воздушных сил, которая исполняли публичные демонстрации. К концу тридцатых годов, Чкалов брал на себя много смелых заданий, в том числе шестьдесяти трёх-часовой полёт из Москвы в Ванкувер (Вашингтон) через Северный полюс, за что его наградили титулом «Герой Советского союза». Чкалов умер 15 декабря 1938го года, когда он управлял прототипом истребителя «Поликарпов И-180», который разбился во время первого испытательного полёта. До того как он умер, он планировал первый беспосадочный полёт вокруг земного шара.
£2,000-3,000
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Lot 54
Lot 55
A PAIR OF SOVIET ROCKET TABLE LAMPS
A SOVIET SUPREMATIST-STYLE TEA SET FOR TWO
Пара советских настольных ламп в форме ракет
Советский супрематический чайный сервиз для двоих
mid-late 20th century, Russia, commemorating the 1961 Vostok-1 flight, on which cosmonaut Yuri Gagarin (1934-1968) became the first human to journey into outer space, 38.5cm high (2)
20th century, Russia, after the original design by Kazimir Malevich (1918-1923), painted by Nikolai Suetin, each piece bearing incised and painted marks to the base, the teapot 23cm wide 10cm deep 19cm high (4)
Середина/конец XX в., Россия, Они увековечивают полёт Восток-1 в 1961ом году, когда Юрий Гагарин (1934-68) стал первым человеком в космосе. Высота: 38.5см (2)
XX в., Россия Основанный на подлинном дизайне Казимира Малевича (1918-1923), рисованный Николаем Суетиным; на каждом предмете надрезанные и рисованные марки по низу Чайник: Ширина: 23см Глубина: 10см Высота: 19см (3)
£100-200
£200-300
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Lot 56
Lot 57
A SOVIET PORCELAIN ‘YOUNG SOLDIER AND GIRL’ PLATE
A SOVIET PORCELAIN BOWL AND COVER BY THE DULEVO MANUFACTORY
Советская фарфоровая тарелка «Молодой солдат и девушка»
Советское фарфоровое глубокое блюдо с крышкой из Дулёского фарфорового завода
mid-20th century, Russia, designed by L Dibrova for the Baranovsky Porcelain Factory, 24cm diameter
1940s, Russia, commemorating the ‘PKKA’, set with twin handles, 22cm high, together with a smaller example (4)
A similar example can be seen in Cooper Hewitt, Smithsonian Design Museum, New York, number 18633141.
Середина XX в., Россия, Л. Диброва для Барановского фарфорового завода Диаметр: 24см
1940е гг., Россия Это увековечивает РККА. Двойные рукоятки Высота: 22см Вместе с похожим примером (2)
Похожий предмет находится в Смитсоновском мизее дизайна Купер Хьюитт, номер 18633141
£200-300
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£200-300
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Lot 58 A SOVIET POTTERY CHARGER BY THE KUZNETSOV PORCELAIN FACTORY Советская керамическая тарелка из завода «Товарищество производства фарфоровых и фаянсовых изделий М. С. Кузнецова» early 20th century, Dulevo, Russia, made for the eastern market, with ikat-style decoration, printed and impressed marks to base, 36cm diameter
Начало XX в., Дулёво, Россия Произведена для восточного рынка; украшение во стиле иката; отпечатанные марки по низу Диаметр: 36см
Literature: Victoria Z Rivers, ‘Culture on a Platter: Politicization of Central Asian Ikat Patterns’, 2004.
Похожий предмет находится в Британском музее, номер коллекции 2019,8025.1. (Смотрите: Виктория З. Риверс, Culture on a Platter: Politicization of Central Asian Ikat Patterns, 2004
A similar example can be found in the British Museum, collection-number 2019,8025.1.
Литература: Виктория З. Риверс, Culture on a Platter: Politicization of Central Asian Ikat Patterns, 2004
£200-300
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Lot 59 A SOVIET PROPAGANDA TEXTILE Совесткий пропагандистский текстильний предмет
early 20th century, Ivanovo, Russia, centred with Vladimir Lenin within a figural processional band, decorated with foliate scrolls and further Communist leaders Karl Marx, Friedrich Engels, Kalinin and Joseph Stalin, whose image has been added later in place of Leon Trotsky, with Cyrillic presentation inscription from the State Vladimir-Alexandrovsky Trust pf Cotton Factories to the ‘Delegates of the 1st All-Union Teacher’s Congress Moscow 12th January 1925’ on outer borders, 76 x 85cm, framed and glazed Similar examples can be found in the Ivanovo State Museum of History and Local Lore of D G Burylin, Russia.
£300-500
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Начало XX в., Иваново, Россия Владимир Ленин в центре фигуральной процессионной полоски, украшенной лиственными свитками, и другие коммунистические риководители: Карл Маркс, Фридрих Енгельс, Михаил Калинин и Иосиф Сталин, чей образ добавили позже вместо Леона Тротского, с надписью Государственного Владимиро-Александровского Треста хлопчатобумажных фабрик: «Делегатам 1го Всесоюзного Учительского Съезда Москва 12го Января 1925 года» на наружных границах, обрамленный и покрытый глазурью 76 х 85см Похожие примеры находятся в Ивановском государственном историко-краеведческом музее имени Д.Г. Бурылина
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Lot 60 A LARGE HAGIOGRAPHICAL ICON OF ST BARBARA Большая агиографичная икона «Святая Варвара»
early 18th century, Russia, depicting scenes including her conversion to Christianity whilst trapped in the tower by her father in order to hide her from suitors, the creation of the third window in honour of The Trinity, and her escape and betrayal by a shepherd whilst hiding in a fissure within a rock, tempera on wood, 108 x 74cm
Начало XVIII в., Россия Житийная икона: обращение в христианство, пока отец заточал её в башне, чтобы претенденты её не находили; установка третьего окна в честь Троицы; и побег и измена пастухом, прятаясь в ращелине в камне Дерево, темпера 108 х 74см
£10,000-12,000
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Lot 61 AN ICON OF THE MOTHER OF GOD WITH THE PLAYFUL CHILD Икона «Богородица и Взыграние Младенца»
c.1700, Russia, tempera on wood, 35 x 28cm
Около 1700г., Россия Дерево, темпера 35 х 28см
£2,000-3,000
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Lot 62 AN ICON OF CHRIST PANTOCRATOR Икона «Господь Вседержитель»
early 19th century, Palekh School, Russia, tempera on wood, 36 x 29cm
Начало XIX в., Палехская школа, Россия Дерево, темпера 36 х 29см
£1,500-2,500
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Lot 63 AN ICON Икона
early 17th century, Russia, with inset panels depicting The Synaxis of Christ, Female Martyrs, Warrior Saints, Michael and George, St Nicholas and the Guardian Angel, on two registers, tempera on wood, 32 x 27cm
Начало XVII в., Россия На вставленных досках Собор Христа, Мученицы, Святые Воины, Михаил и Георгий, Святой Николай, Ангел-хранитель, на двух уровнях Дерево, темпера 32 х 27см
£1,500-2,500
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Lot 64 AN ICON OF FOUR CHOSEN SAINTS Икона «Четыре избранных святых»
18th century, Russia, the saints being two male and two female, tempera on wood, 36 x 30cm
XVIII в., Россия, святые – два мужчины и две женщины Дерево, темпера 36 х 30см
£1,500-2,500
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Lot 65 AN UNUSUAL ITALIANATE ICON OF THE BIRTH OF THE MOTHER OF GOD Необычная икона в итальянском стиле «Рождение Пресвятой Богородицы»
early 18th century, probably Russia, on wood 55.5 x 49cm
Начало XVIII в., вероятно Россия Дерево 55,5 х 49см
£3,000-5,000
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Lot 66 A LARGE ICON OF ST NICHOLAS ENTHRONED Большая икона «Николай Чудотворец на троне»
c.1700, the Balkans, tempera on wood 88.5 x 68cm Literature: V Cândea, ‘Icônes Grecques, Melkites, Russes: Collection Abou Adal’, 1993.
Около 1700г., Балканский полуостров Дерево, темпера 88,5 х 68см Literature: V. Cândea, Icônes Grecques, Melkites, Russes: Collection Abou Adal, 1993
£6,000-8,000
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Lot 67 AN ICON OF THE MOTHER OF GOD OF KAZAN Икона «Богоматерь Казанская»
late 18th century, Russia, tempera on wood, within a brass and seed pearl enriched oklad, 31 x 25.5cm
Конец XVIII в., Россия Дерево, темпера, в латунном окладе, обогащённом мелкими жемчугами 31 х 25,5см
£1,500-2,500
128
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Lot 68 A FESTIVAL ICON OF THE MOTHER OF GOD OF THE BURNING BUSH Фестивальная икона «Богоматерь и неопалимая купина»
late 18th century, Russia, tempera on wooden panel, within a silver gilt oklad, marked for Moscow, partially obscured mark in Cyrillic ‘...nikov’ possibly for the firm of Ovchnnikov, with possible Imperial warrant, 32 x 26cm
Конец XVIII в., Россия Доска, темпера, в серебряном окладе, с маркой Москвы, частично неясная печать в кириллице «...ников», возможно из фирмы «Овчинников» с имперской гарантией 32 х 26см
£1,500-2,500
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129
Lot 69 A DOUBLE ICON OF THE NATIVITY AND THE BAPTISM OF JESUS Двусторонняя икона «Рождество Христово и Крещение Господне»
late 18th century, Russia, on wood 23 x 19.5cm
Конец XVIII в., Россия Дерево 23 х 19,5см
£3,000-5,000
130
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131
132
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Lot 70 A LARGE ICON OF THE MOTHER OF GOD OVSEPETYIA Большая икона «Богоматерь Овсепетия»
18th century, possibly Bulgaria, with two saints to the borders, on wood 45 x 35cm
XVIII в., возможно Больгария, на полях два святых Дерево 45 х 35см
£2,000-3,000
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133
Lot 71 AN ICON OF ST NICHOLAS THE WONDERWORKER Икона «Николай Чудотворец» 18th century, Russia, depicting scenes from his life, tempera on wood, 33 x 29.5cm
XVIII в., Россия Житийная икона Дерево, темпера 33 х 29,5см
£3,000-5,000
134
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Lot 72 AN ICON OF THE THREE-HANDED MOTHER OF GOD Икона «Троеручица» 18th century, Russia, tempera on wood, 31.5 x 26.5cm
XVIII., Россия Дерево, темпера 31,5 х 26,5см
£1,500-2,500
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135
Lot 73 AN ICON OF ST DEMETRI THE WARRIOR SAINT Икона «Святой Димитрий Мироточец»
c.1600, Russia, tempera and gold on panel 38 x 30.5cm The youthful saint is portrayed front on, beardless and with short hair. He is dressed in lamellar armour and a circular breastplate, complemented by a long green cape fastened on his chest with a brooch. He holds a sword in his left hand, while his shield hangs behind his left shoulder. The foreground of the composition has some low and sparse vegetation. The icon is executed in the traditional Byzantine style, according to which the figures are austere and the portrayals not rooted in realism. The subject of St Demetri Solunsky of Thessalonika is popular as he represents the triumph of good over evil, the virtues of loyalty and perseverance, as well as the eventual recognition of these attributes by God and their rewarding with eternal life. In other words, the youthful warrior saint acts as a model and inspiration of how a real Christian should be. Yet, his representations are rare in the market. Even more uncommon are his early images, as the one presented herewith. Apart from its early dating, this icon of St Demetri is painted by a talented artist, who was well conversant with the principles of the traditional Byzantine style of icon painting.
Около 1600г., Россия Доска, темпера, золото 28 х 30,5см Юный святой изображается лицом вперёд, небородатый и с коротками волосами. Он носит ламеллярный доспех и круглый нагрудник, с длинным зелёным плащем, застёгнутым к груди брошью. Он держит меч в левой руке, и щит висит за левым плечом. На переднем плане низкая и тощая растительность. Икона придерживается к традиционному византийскому стилю, согласно которому все фигуры лаконичны и изображения не реалистичны. Сюжет Святого Димитрия из Салоников является популярным, так как он представляет победу добра над злом, достоинства верности и настойчивости, и конечное признание этих признаков Богом и награждение за них вечной жизнью. Иначе говоря, юный святой воин служит примером идеального христианина. Тем не менее, изображения его на рынке редко бывают. Ещё реже – первые образы его, в том числе этот пример. Кроме раннего датирования, эту икону Святого Димитрия написал талантливый художник, сведущий в принципах традиционного византийского стиля иконописи.
£5,000-7,000
136
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137
Lot 74 AN ICON OF A PROPHET Икона «Пророк»
possibly c.1500, Russia, the figure facing right and holding a scroll, tempera on wood 39.5 x 36cm
Возможно около 1500г., Россия Фигура обращается направо и держит свиток Дерево, темпера 39,5 х 36см
£1,200-1,800
138
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Lot 75 AN ICON OF THE PROPHET ZACCARIA Икона «Пророк Захария»
18th century, Russia, tempera on wood, 39.5 x 30cm
XVIII в., Россия Дерево, темпера 39,5 х 30см
£2,000-3,000
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139
Lot 76 A MENALOGICAL ICON FOR THE WHOLE YEAR Меналогическая икона на целый год
19th century, Russia, centred by the Resurrection and Descent, and the Twelve Major Feasts, each month on three rows, with further feasts at corners between scrolling borders, tempera on wood, 55 x 43.5cm
XIX в., Россия, в центре Воскресение и Сошествие во ад и Двунадесятые праздники; каждый месяц на трёх рядах; другие праздники в углах между орнаментальными полями Дерево, темпера 55 х 43,5см
£10,000-15,000
140
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141
Lot 77 AN ICON OF THE TIKHVIN MOTHER OF GOD Тихвинская икона «Богородица» 18th century, with four saints on the borders, tempera on wood 32 x 26cm
XVIII в., четыре святого на полях Дерево, темпера 32 х 26см
£1,000-1,500
142
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Lot 78 AN ICON OF ST PAUL Икона «Святой Павел» 19th century, Russia, from an iconostasis, tempera on wood, 50 x 32cm
XIX в., Россия, из иконостаса Дерево, темпера 50 х 32см
£1,000-1,500
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143
Lot 79 AN ICON OF THE MOTHER OF GOD OF KAPLUNOVSKAYA Икона «Богородица Каплуновская» dated 1794, Russia, tempera on wood, within a silver gilt oklad, marks indistinct, 33 x 29cm
Датировка: 1794г., Россия Дерево, темпера, в серебряном окладе, с неясными марками 33 х 29см
£2,000-3,000
144
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Lot 80 AN ICON OF THE POKROV Икона «Покров Пресвятой Богородицы» 18th century, Russia, tempera on wood 32 x 27cm
XVIII в., Россия Дерево, темпера 32 х 27см
£2,000-3,000
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145
Lot 81 AN ICON OF ST JOHN THE FORERUNNER Икона «Иоанн Предтеча»
17th century, Russia, tempera on wood, 32 x 27cm
XVII в., Россия Дерево, темпера 32 х 27см
£2,000-3,000
146
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147
Lot 82 AN ICON OF THE BIRTH OF THE MOTHER OF GOD Икона «Рождение Богородицы» 18th century, Russia, tempera on wood, 45 x 38cm
XVIII в., Россия Дерево, темпера 45 х 38см
£2,000-3,000
148
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Lot 83 AN ICON OF THE ALL CREATION Икона «Сотворение мира» c.1700, Russia, after the School of Pskov, inset into a 19th century icon panel tempera on wood 31 x 26cm
Около 1700г., в Псковском стиле На иконной доске XIX в. Дерево, темпера 31 х 26см
£2,000-3,000
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149
Lot 84 AN ICON OF THE ANASTASIS Икона «Воскресение» early 17th century, Russia, tempera on wood 32 x 26cm
Начало XVII в., Россия Дерево, темпера 32 х 26см
£1,500-2,500
150
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Lot 85 AN ICON OF THE APPEARANCE OF THE MOTHER OF GOD TO ST SERGEI OF RADONEZH Икона «Явление Богоматери Святому Сергию Радонежскому» c.1600, Russia, tempera on wood 30 x 25cm
Около 1600г., Россия Дерево, темпера 30 х 25см
£1,500-2,500
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151
Lot 86 AN ICON OF ARCHANGEL MICHAEL WITH FOUR CHOSEN SAINTS Икона «Архангел Михайл с четырьмя избранными святыми»
17th century, Russia, with the Trinity above, tempera on wood, 32 x 27cm
XVII в., Россия, наверху Троица 32 х 27см
£3,000-5,000
152
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153
Lot 87 AN ICON OF THE SYNAXIS OF THE ANGELS Икона «Собор Ангелов»
17th century, Greece, the Synaxis of the Angels, tempera on wood, 68.5 x 45cm
XVII в., Греция Собор Ангелов 68,5 х 45см
£4,000-6,000
154
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155
Lot 88 THE DEISIS ON THREE PANELS Деисус на трёх досках possibly c.1700 and later, Russia, tempera and gold on wood each 44 x 34cm (3)
Возможно около 1700 г. и позже, Россия Дерево, темпера, золото Каждый предмет: 44 х 34 см (3)
£10,000-15,000
156
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157
Lot 89 AN ICON OF THE BIRTH OF THE MOTHER OF GOD TO ST ANNA Икона «Рождение Богородицы от святой Анны»
c.1700, Russia, with St Joachim looking on, tempera on wood, 35.5 x 34cm
Около 1700г., Россия Святой Иоаким наблюдает рождение Дерево, темпера 35,5 х 34см
£1,000-1,500
158
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Lot 90 AN ICON OF CHRIST HEALING THE BLIND MAN Икона «Исцеление слепого в Вифсаиде»
possibly 18th century, Russia, tempera on wood 31 x 54cm
Возможно XVIII в., Россия Дерево, темпера 31 х 54см
£1,000-1,500
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159
160
Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%
Lot 91 AN ICON OF THE MOTHER OF GOD OF KAZAN Икона «Богоматерь Казанская»
17th century Russia, tempera on wood, 31 x 26cm
XVII в., Россия Дерево, темпера 31 х 26см
£2,000-3,000
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161
Lot 92 A LARGE ICON OF ST NICHOLAS Большая икона «Николай Чудотворец»
18th century, Russia, tempera on wood, 45 x 39cm
XVIII в., Россия Дерево, темпера 45 х 39см
£2,000-3,000
162
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163
Lot 93 AN ICON OF THREE CHOSEN SAINTS WITH SCENES FROM THEIR LIVES Икона «Три избранных святых в житии»
19th century, the Balkans, tempera and gold on wood, 52 x 42cm
XIX в., Балканский полуостров Дерево, темпера, золото 52 х 42см
£1,000-1,500
164
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165
166
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Lot 94 AN ICON OF THE MOTHER OF GOD OF SORROWS Икона «Богоматерь скорбящая»
19th century, Bulgaria, tempera on wood 55.5 x 43cm
XIX в., Болгария Дерево, темпера 55,5 х 43см
£2,000-3,000
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167
Lot 95 AN ICON OF THE MOTHER OF GOD OF THE BURNING BUSH Икона Богородицы «Неопалимая купина»
17th century, Russia, tempera on wood, within an 84 standard silver-gilt oklad, Moscow 1805, possibly Matvei Kostrov, with partly legible mark Cyrillic ‘F’ and another mark, possibly ‘AC’ for the assay, 36 x 29cm
XVII в., Россия Дерево, темпера, в окладе из серебра 84 пробы Москва 1805, возможно Матвей Костров, с частично разборчивым инициалом «Ф» и дригими, возможно «АС» для пробы 36 х 29см
£2,500-3,500
168
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169
Lot 96 AN ICON OF THE MOTHER OF GOD OF JOY TO ALL WHO GRIEVE Икона «Всех Скорбящих Радость» 18th century, Russia, tempera on wood, within a gilt metal oklad, 32 x 27.5cm
XVIII в., Россия Дерево, темпера, в позолоченном металлическом окладе 32 х 27,5см
£1,000-1,500
170
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Lot 97 AN ICON OF ST NICHOLAS Икона «Святой Николай» 18th century, Russia, flanked by Saints Savva and Ksenia, with Saints Alexandra and Tatiana, on wood, within a parcel-gilt metal oklad, 29.5 x 23.5cm
XVIII в., Россия Между святыми Саввой и Ксенией, со святыми Александрой и Татяной Дерево в окладе частичной позолоты 29,5 х 23,5см
£2,000-3,000
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171
Lot 98 AN ICON OF ST ADAM AND KING MELCHIZEDEK Икона «Святой Адам и Мелхиседек» 18th century, Russia, tempera and gold on wood, 31.5 x 20.5cm
XVIII в., Россия Дерево, темпера, золото 31,5 х 20,5см
£1,000-1,500
172
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Lot 99 AN ICON OF THE THREE HOLY HIERARCHS Икона «Собор трёх святителей» 17th century, Russia, with four saints in the borders, tempera on wood, 28.5 x 24.5cm
XVII в., Россия Четыре святых на полях Дерево, темпера 28,5 х 24,5см
£2,000-3,000
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173
Lot 100 A LARGE ICON OF ST STEPHEN OF ST SAVA’S Большая икона «Святой Стефан церкви святого Савы»
17th century, Russia, the figure facing front and holding the Icon of the Vladimir Mother of God, tempera on wood 110 x 51cm
XVII в., Россия Фигура, лицом вперед, держит Икону Владимирской Богоматери Дерево, темпера 110 х 51см
£4,000-6,000
174
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175
176
Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%
Lot 101 AN ICON OF THE MOTHER OF GOD OF SMOLENSK Икона «Смоленская Богоматерь»
17th century, Russia, tempera on wood, 32 x 27cm
XVII в., Россия Дерево, темпера 32 х 27см
£3,000-5,000
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177
178
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Lot 102 AN ICON OF THE MOTHER OF GOD OF KAZAN Икона «Богоматерь Казанская»
19th century, Russia, tempera on wood, within a silver oklad, maker’s mark Cyrillic ‘AGG’, probably Moscow, 1879, 84 standard, 26.5 x 21cm (2)
XIX в., Россия Дерево, темпера, в окладе из серебра 84 пробы, с маркой изготовителя «АГГ», наверное Москва, 1879г. 26,5 х 21см (2)
£1,500-2,500
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179
Lot 103 AN ICON OF ST NICHOLAS Икона «Святой Николай»
probably 17th century, Russia, tempera on wood, 32 x 26cm
Наверное XVII в., Россия Дерево, темпера 32 х 26см
£2,000-3,000
180
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181
Lot 104
Lot 105
A CARVED WOODEN ALTAR CROSS
A CARVED WOODEN ALTAR CROSS
Резной деревянный алтарный крест
Резной деревянный алтарный крест
probably 18th century, Mount Athos, Greece, in a gilt metal case set with coral cabochons, on a spreading circular base bearing a later inscription and dated 1763, 19cm high
possibly 16th century, Mount Athos, Greece, depicting Christ to one side and saints to the other, set into an 18th-century silver and gilt metal stand, the base with embossed scrolling rococo decoration, 19cm high
Наверное XVIII в., Афон, Греция В позолоченной металлической коробке с коралловыми кабошонами, на круглой подставке с более поздней надписью и датовкой 1763г. Высота: 19см
Возможно XVI в., Афон, Греция Изображение Христа на одной стороне и святых на другой; вставлен в серебряную и позолоченную металлическую подставку, с рельефным декоративными орнаментами в стиле рококо Высота: 19см
£300-500
£400-600
182
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183
Lot 106 A COLLECTION OF RELIQUARY CROSSES AND PENDANTS
Набор реликварных крестов и кулонов
to include Coptic, Byzantine and later silver, bronze, wood and bone examples, the largest 6 x 6cm (47)
Включая коптские, византийские и более поздные серебряные, деревянные и костяные предметы Самой большой из всех: 6 х 6см (47)
£300-500
184
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Lot 107 A COLLECTION OF ROMAN AND BYZANTINE GLASS AND HARDSTONE PORTRAIT CAMEOS Набор римских и византийских портретных камей из стекла и драгоценного камня
to include quartz and red jasper examples, each carved in relief with depictions of Christ Pantocrator, saints and gods, the largest 7 x 7cm
Включая примеры из кварца и красной яшмы; каждый предмет - резной с рельефными изображениями Господа Вседержителя, святых и богов Самой большой из всех - 7 х 7см
£300-500
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185
Fine Russian Art & Antiques from the Renowned London Gallery SUMMER 2022
russianart@sworder.co.uk | 01279 817778
186
coleman-consulting.co.uk
187
FINE INTERIORS Now Consigning For March 2022
fineinteriors@sworder.co.uk | 01279 817778
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Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. We accept credit card payments to an upper limit of £5,000. Usually any cheques will need to be cleared before you can take the Goods away. Collection and storage All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. For our Homes and Interiors auctions, items not removed by 5pm on Friday may be removed at the purchaser’s expense and storage charges of £10 (plus VAT) for administration and £2 (plus VAT) per lot per day. 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In addition, VAT is charged on these Premiums (see below). VAT Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax. Shipping Costs are liable for VAT and are payable by the Buyer. Inspection of Goods by the Buyer As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the condition of Lots set out in the Terms of Sale at clause 12.4. Condition reports We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale. Shipping of Goods We offer a delivery service for Lots purchased. Estimates for Shipping Costs for smaller items can be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world either in advance of the sale or after you have purchased. Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.
Electrical goods These are sold as ‘antiques’ only. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them. Export of Goods If you intend to export Goods you must find out: a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials such as ivory. Bidding Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion. Commission bidding You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time. Telephone bidding If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is for Lots with an estimate of £500 or more. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason. Online bidding Any Lots purchased via a live online bidding service will be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. From 1 January 2020, these charges will be charged at 0% while bidding via Sworders Website. If bidding through the-saleroom.com this will be charged at 4.95% plus VAT. These charges will be payable to us on top of the Hammer Price and our Buyer’s Commission.
IMPORTANT NOTICES Removal of Lots All Lots are to be removed from the premises by 5.00pm at the latest on the Friday following each sale. Sworders retain the right to remove Lots remaining after this time into safe storage, for which a charge will be made. Electrical Goods All electrical Goods offered in this sale have either been tested and certified safe or unsafe by an appropriately qualified electrician. All electrical Goods certified safe must be re-Commissioned by an appropriately qualified electrician and we recommend those certified safe are similarly re-Commissioned. Post 1950 Upholstered Furniture All items of furniture included in this sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling. Furniture made of Brazilian Rosewood (Dalbergia Negra) To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items have Article 10 certificates. If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal Health and Veterinary Laboratories Agency (‘AHVLA’) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is therefore the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.
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2. TERMS OF SALE Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. These Terms of Sale relate to auctions conducted by an Auctioneer only. We have separate terms for online only auctions. 1. Definitions and interpretation 1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning: In these Terms of Sale the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.
3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition.
5. VAT 5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information.
3.3 If you instruct us in writing, we may execute Commission bids on your behalf. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded we have the right to prefer the first bid made (where this can be reasonably ascertained).
5.2 We will charge VAT at the current rate at the date of the auction.
‘Auctioneer’
means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;
‘Bidder’
means a person who places a bid for Goods at our auction;
‘Buyer’
means the person who makes the highest bid for the Goods accepted by the Auctioneer;
‘Commission’
means the Commission that we charge you on the sale of the Goods as set out in Clause 5 below;
‘Consumer’
means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;
‘Consumer Contracts Regulations’
means the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013;
‘Deliberate Forgery’
means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;
6. The contract between you and the Seller 6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning Lot in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by the Auctioneer under the Money Laundering Regulations 2019 in accordance with their internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by the Auctioneer as complete. 6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment. 6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim. 6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot). 7. Payment 7.1 Immediately following your successful bid on a Lot you will:
‘FCA’
means the Financial Conduct Authority;
‘Goods’
means the Goods that have been consigned to us for sale at our auction;
‘Hammer Price’
means the level of the highest bid for a Lot accepted by the Auctioneer;
‘Premium’
means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale;
‘Price’
means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;
7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and
‘Proceeds’
means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;
7.1.2 pay to us the total amount due in any way that we agree to accept payment.
‘Reserve’
means the minimum Price at which the Goods may be sold;
‘Seller’
means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);
7.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to the Auctioneer’s shipping agent delivering the Goods.
‘Shipping Costs’
means the charges applied to the shipping of all Goods purchased, should the Buyer ask for the Auctioneer’s shipping agent to deliver the Goods (if applicable);
7.2 If you owe us any money, we may use any payment made by you to repay these debts.
‘Terms of Consignment’
means these Terms of Consignment;
‘Terms of Sale’
means the Terms of Sale for Bidders or Buyers at our auctions;
‘Trader’
means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);
‘VAT’
means any value added tax or equivalent sales tax; and
‘Website’
means our Website available at www.sworder.co.uk.
2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue. 2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.
3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may re-offer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.
2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.
3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.
2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.
3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.
2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.
3.7 We may refuse to accept any bid if it is reasonable for us to do so.
2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.
3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).
2.7 If you have any complaints, please send them to us directly at the address set out on our Website. 3. Bidding procedures and the Buyer 3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid. 190
4. The purchase price As Buyer, you will pay: a. the Hammer Price; b. a premium of 25% plus VAT of the Hammer Price or 15% plus VAT for our Fine Wine and Port Auction; c. any artist’s resale right royalty payable on the sale of the Lot; and d. any VAT due.
8. Title and collection of purchases 8.1 Once you have paid us in full the total amount due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it. 8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue or on our Website. 8.3 If you agree to the Auctioneer delivering the Goods, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent. 8.4 Should you decide to use the delivery service, you thereby agree to allow the Auctioneer to share relevant personal data that we hold with the shipping agent in order to allow effective communication between the shipping agent and you, and to enable delivery. 8.5 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for any reasonable removal and storage charges in relation to that Lot. 8.6 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot. 8.7 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.
9. Remedies for non-payment or failure to collect purchases 9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures: 9.1.1 take action against you for damages for breach of contract; 9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you; 9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot and the Price we sell it for as well as the charges outlined in Clause 8.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; 9.1.4 remove, store and insure the Lot at your expense; 9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due; 9.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable; 9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or 9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us. 9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale. 10. Health and safety Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence. 11. Warranties 11.1 The Seller warrants to us and to you that: 11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction; 11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and 11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct. 11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below. 11.3 Please note that many of the Lots that you may bid on at our auction are second-hand. 11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots. 11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded. 12. Descriptions and condition 12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for
which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).
15.2.1 by delivering it by hand;
12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot.
15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.
12.3 Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling Price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. 12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed. 13. Deliberate Forgeries 13.1 You may return any Lot which is found to be a Deliberate Forgery to us within thirty days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects. 13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if: 13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause 13.2. 13.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot. 13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale. 14. Our liability to you 14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction. 14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen. 14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot. 14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 14.4.2 fraudulent misrepresentation; or 14.4.3 any liability which cannot be excluded by law. 15. Notices 15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it. 15.2 Any notice referred in Clause 15.1 may be given:
15.2.2 by first class pre-paid post or recorded delivery; or
15.3 Notices must be sent: 15.3.1 by hand or registered post; a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or 15.3.2 by email: a. to us, by sending the notice to the following email address: auctions@sworder.co.uk b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing. 15.4 Notices will be deemed to have been received: 15.4.1 if delivered by hand, on the day of delivery; 15.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt (provided that receipt is acknowledged by the recipient). 15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message. 16. Data Protection We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website. 17. General 17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person. 17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale. 17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues. 17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect. 17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them. 17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term. 17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts. These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers
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