Lot 0139
Russin Crystal Compoteby Maltzov Glass Factory
Estimate: 300-350€
Crystal Compote
A. Maltzov Glass Factory, Gus-Khrustalny, Russia
Late 19th – early 20th century
Cut crystal
Height: 22,5 cm
Diameter: 29 cm
This elegant crystal compote demonstrates the high artistic and technical standards of the A. Maltzov Glass Factory in Gus-Khrustalny, one of the leading Russian glassworks of the late Imperial period.
The piece is distinguished by its refined proportions, faceted stem, and meticulously cut scalloped rim, reflecting the exceptional craftsmanship and aesthetic sophistication characteristic of the factory’s production at the turn of the 20th century.
Starting price: 250€
Estimate: 300-350€
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Russia, late 19th centuryThis small bronze sculpture shows a shepherd reclining at ease, his head resting on one hand while the other holds a crook. The figure’s casual pose and expressive details reflect Lanceray’s gift for capturing everyday rural life with warmth and naturalism.
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Bronze and marble, 7.5 × 16 × 12 cmRussia, late 19th century
This small bronze composition depicts a shepherd boy lying on the ground, resting his head in his hands in a relaxed, contemplative pose. The figure is mounted on a polished marble base.
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Lot 0017
Séraphin Soudbinine. Bust of Alexander Petrovich Izvolsky
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Estimate: 12000-15000€Séraphin Soudbinine. Bust of Alexander Petrovich Izvolsky
Patinated bronze on marble base
Signed and dated on the bronze: Soudbinine 1912
Dimensions: 16 x 10.5 x 10 cm.
Comparable cast: Musée d’Orsay, Paris (inv. no. JP 143 S, Buste d’homme)This expressive bronze bust depicts Alexander Petrovich Izvolsky (1856–1919), a Russian statesman and diplomat who served as Minister of Foreign Affairs from 1906 to 1910 and later as Ambassador to France. The vigorous modeling and textured surface reflect Soudbinine’s transition from his early theatrical background to a mature sculptural language, marked by psychological depth and vitality.
Séraphin Soudbinine (born Serafim Nikolaevich Sudbinin) was born in Nizhny Novgorod, Russia, in 1867. Originally an actor at the Moscow Art Theatre, he turned to sculpture after 1904, studying in Paris with Léon Bérard, Léopold-Sinaïeff Bernstein, and Jean-Antoine Injalbert. Supported by patron Savva Morozov, he quickly gained recognition for his portrait work.
Soudbinine’s sculptures were shown in Moscow, St. Petersburg, Paris, Berlin, Venice, and New York. He created portraits of prominent figures including Maxim Gorky, Fyodor Chaliapin, and Anna Pavlova. After the Russian Revolution, he remained in Paris, later working in ceramics. His works are held in major collections such as the Musée d’Orsay (Paris), the State Russian Museum (St. Petersburg), and the Tretyakov Gallery (Moscow).
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Lot 0019
A Russian wood composition ” Cossack on a horse”
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Lot 0019
A Russian wood composition ” Cossack on a horse”
Estimate: 500-600€Cossack on Horseback
Russia (Danzig [Gdańsk], then part of the Russian Empire), late 19th century
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Dimensions: 21.5 × 16 × 7 cm
Inscribed: “А. Ханыковъ. Данцигъ”A finely carved wooden composition depicting a Cossack horseman, holding a lance and seated on a spirited mount. The sculpture bears a dedication to Alexander Vladimirovich Khanykov (1825–1853) — a noted Russian revolutionary and member of the Petrashevsky Circle, an intellectual and reformist movement in mid-19th century St. Petersburg.
Khanykov, a volunteer student at the St. Petersburg University, was an active participant in the philosophical and political circles of Mikhail Petrashevsky and Nikolai Kashkin. A passionate advocate of Charles Fourier’s socialist ideas, Khanykov delivered a public speech in memory of Fourier on April 7, 1849. That same year, he was arrested in connection with the Petrashevsky case, sentenced to death (later commuted to exile as a private in the Orenburg line battalions).
In exile, Khanykov initiated a secret Russo–Polish–Ukrainian circle, which likely included the poet Taras Shevchenko, also serving in Orenburg. Members of the group held political discussions, wrote satirical pamphlets against the imperial government, and circulated banned literature on economics, geography, and history. Khanykov also compiled a clandestine manuscript on world history praising popular sovereignty and the ideals of the French Revolution of 1789 and 1848, expressing sympathy for Christian socialism.
This wooden sculpture — created in Danzig (now Gdańsk) — appears to be a commemorative or symbolic representation of Khanykov’s revolutionary courage and his association with the frontier and Cossack imagery.
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