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Russian art

UNIQUE MANTEL CLOCK WITH SOLAR ALLEGORY. MODEL ATTRIBUTED TO CARLO ROSSI RUSSIAN EMPIRE, SAINT PETERSBURG, PERIOD OF NICHOLAS I, 1825-1855
UNIQUE MANTEL CLOCK WITH SOLAR ALLEGORY. MODEL ATTRIBUTED TO CARLO ROSSI RUSSIAN EMPIRE, SAINT PETERSBURG, PERIOD OF NICHOLAS I, 1825-1855
A monumental mantel clock of the Late Russian Empire style, conceived within the artistic system associated with the design models of Carlo Rossi (1775-1849). The architectonics of the work are constructed upon a strict vertical axis and imbued with solar symbolism characteristic of court art of the 1830s-1840s.The composition is formed by two volumes of deep sapphire cobalt glass attributed to the Imperial Glass Factory of Saint Petersburg. The lower massive cylindrical body is decorated with a deeply cut diagonal spiral faceting, creating a dynamic effect of flowing water and the passage of time. The plastic rhythm of the glass reinforces the leitmotif of the wave as a symbol of continuity and eternal circulation.The central section features a gilt dial with Roman numerals, surrounded by a wreath of stylized vegetal ornament and a radiant solar composition. Two allegorical figures, male and female, support the upper vessel. Their gestures are directed toward the source of light, forming a cosmogonic image of the luminary rising from the waters. The iconography relates to the theme of Helios and the symbolism of Alpha and Omega, affirming harmony, love and fertility.The upper section takes the form of a cobalt glass vase crowned with an openwork gilt bronze frieze enriched with vegetal and solar motifs. The bronze elements display refined chasing and high-quality fire gilding characteristic of Saint Petersburg workshops of the first half of the nineteenth century.Marks: Not found.Dimensions: Height: 43 cm; Width: 30 cm; Depth: 20 cm.Material: Gilt and polished bronze; cobalt glass attributed to the Imperial Glass Factory; clock mechanism with pendulum.Condition: Good. Even gilding. Minor wear to the base. Minor micro-chips to the pedestal of the glass section, not affecting the overall visual integrity or structural stability of the piece.Provenance: Private European collection.Literature: Igor Sychev. Russian Lighting Fixtures of the Classical Period. 1760-1830. Moscow, P.V.B.R., 2003, illustrations 116, 189, 279, 305, 635, 795, 844, 845, 866, 868.
Begins 02.05.2026
TEA AND COFFEE SET BY P. OVCHINNIKOV MOSCOW, LATE 19TH CENTURY
TEA AND COFFEE SET BY P. OVCHINNIKOV MOSCOW, LATE 19TH CENTURY
A magnificent gilded silver tea and coffee set created by the renowned Moscow firm of Pavel Ovchinnikov in the late 19th century, representing an outstanding example of Russian jewelry craftsmanship of the era. This refined ensemble, comprising a coffee pot, teapot, sugar bowl, cream jug, and a set of six spoons, embodies the essence of the Russian Revival style, combining national motifs, decorative richness, and exceptional technical execution.Each piece is adorned with medallions depicting views of the Moscow Kremlin, executed in niello, one of the most intricate and elegant decorative techniques in silverwork. The niello ornamentation frames architectural scenes with a sense of depth and precision, while the gilding lends a warm tone that enhances the contrast and sculptural clarity of the forms.The spoons feature miniature architectural scenes on the reverse, including St. Basil’s Cathedral, the Kremlin, the Ivan the Great Bell Tower, the Cathedral of Christ the Saviour, the towers of Kitay-gorod, and panoramic views of Red Square. Each image is executed with exquisite precision characteristic of Ovchinnikov’s finest work. The set is preserved in its original fitted case, embossed in gold with the inscription “FROM THE STORE OF THE MANUFACTURER P.A. OVCHINNIKOV” beneath the Russian Imperial coat of arms, indicating its sale through the Imperial Court Supplier’s official shop.Marks: Full and small maker’s marks of P. Ovchinnikov beneath a double-headed eagle, small mark “PO,” Moscow assay office mark with the stamp of Viktor Savinkov (active 1855–1888), dated 1872, state assay mark depicting St. George slaying the dragon, Russian 84 silver standard mark in a square shield with chamfered corners, later Latvian 875 mark with a girl’s head facing left (1922–1939) and the letter “A,” master’s mark “VS” for Vasily Semyonov.Dimensions: Coffee pot 24.5 × 12.6 × 24.0 cm, Sugar bowl 17.5 × 18.0 × 12.2 cm, Cream jug 11.8 × 8.2 × 9.6 cm, Spoons 10.5 × 2 cm.Weight: 1288 gMaterials: Silver 84 standard, gilding, niello, carving, casting, bone.Condition: Good collector’s condition. Partial wear to gilding and minor traces of age on niello consistent with use. Ornamentation remains sharp and detailed. Original case preserved with gold embossing and velvet interior.Provenance: Private European collection.
Begins 02.05.2026
A magnificent icon of the Feasts with an annual menaion and a two-row cycle of Mother of God icons. Russia.19th century.
A magnificent icon of the Feasts with an annual menaion and a two-row cycle of Mother of God icons. Russia.19th century.
Magnificent holidays with a passionate row, an annual menaion and a two-row cycle of icons of the Mother of God - a kind of encyclopedia of the Mother of God images. A majestic monument to Christianity and late Russian icon painting, where in one image the annual and Mother of God universe of Orthodoxy is revealed, full of sacrifice. With the epicenter of suffering and resurrection, the testimony of all the upcoming saints and with hope in the miraculous images of the intercessor. The Virgin Mary series is interrupted by the marks of Unexpected Joy, Joy of All Who Sorrow, the Sign and Coronation of Mary - milestones of the communion and growth of spiritual truths. The Passion Series is composed of: the Ascension of Mary, the Old Testament Trinity, the Entry into Jerusalem, the Raising of Lazarus, the Washing of the Feet, the Last Supper, the Flagellation of Christ, the Imposition of the Crown of Thorns, the Carrying of the Cross, the Crucifixion, the Descent from the Cross and the Entombment. Particularly attractive is the rare completeness of the lists of icons of the Mother of God, which can serve as an encyclopedia of the Mother of God images. The bright decorative painting on a golden background sounds excitingly solemn and life-affirming. Cypress board, gesso, tempera, gilding. Russia. Second half of the 19th century. Dimensions: 53x44 cm.
Begins 02.05.2026
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