Sergei Eisenstein Sold at Auction Prices

EISENSTEIN SERGEI: (1898-1948)

EISENSTEIN SERGEI: (1898-1948) EISENSTEIN SERGEI: (1898-1948) Soviet film director & film theorist, a pioneer in the theory and practice of montage. A good vintage signed 6.5 x 9 photograph of Eisenstein seated in a full-length pose, holding a baby in his arms, alongside actress Martha Lapkina, on the set of the drama film The General Line, directed by Eisenstein in 1929. Signed ('S. Eisenstein') in bold red fountain pen ink to the verso, with eleven lines of additional amusing, explanatory text in his hand, in French, '"En Famille" Marthe Lapkina et moi 5 minutes avant de finir le "shooting" de la "Ligne Generale" (le bebe sur mes genoux est parvenu au monde sans aucune cooperation de ma part! - notre bebe a nous c'est la "Ligne")' (Translation: ' "With my family" Martha Lapkina and I 5 minutes before we finished shooting the "Ligne Generale" (the baby on my lap came into the world without any cooperation from me! - our baby is the "Line")' ). With the publication stamp of Vu magazine to the verso and a few ink and pencil annotations in an unidentified hand, largely notes and directions for the publication of the photograph. Rare. A few corner and surface creases, otherwise VG The baby seen in the photograph was in fact M. Ivanin who appeared in the film as Martha's on-screen son.

SERGEJ MICHAJLOVIC EISENSTEIN (ATTR.)

SERGEJ MICHAJLOVIC EISENSTEIN (ATTR.) 1898 Riga - 1948 Moscow STUDY OF A FIGURE WITH A CYCLIST Pencil and charcoal on paper. 24 x 18 cm. Monogrammed and dated 'SE 1922' at lower left. Browned, stained, dam. Mounted in a passepartout. SERGEJ MICHAJLOVIC EISENSTEIN (ATTR.) 1898 Riga - 1948 Moskau FIGURENSTUDIE MIT RADFAHRER Bleistift und Kohle auf Papier. 24 x 18 cm. Unten links monogrammiert und datiert 'SE 1922'. Verso: Gebräunt, fleckig, besch. In ein Passepartout montiert.

EISENSTEIN SERGEI: (1898-1948)

EISENSTEIN SERGEI: (1898-1948) Soviet film director & film theorist, a pioneer in the theory and practice of montage. A rare vintage signed and inscribed sepia 6.5 x 9 photograph of Eisenstein in a head and shoulders pose. Signed in dark fountain pen ink to a largely clear area at the base of the image, 'Avec respect profonde pour l'effort serieux de ''Photo Cine'', S. Eisenstein' and dated Paris, November 1929 in his hand. Some surface creasing to the edges and with a small area of paper loss to the upper right corner, G Photo Cine was published between 1927 and 1929 and was a magazine intended for a cinema loving and cultured public, aiming to promote works of quality, to defend avant-garde cinema and to have cinema accepted as an art in its own right.

EISENSTEIN SERGEI: (1898-1948)

EISENSTEIN SERGEI: (1898-1948) Soviet film director & film theorist, a pioneer in the theory and practice of montage. A rare vintage signed and inscribed 7 x 8.5 photograph of Eisenstein standing in a happy three-quarter length pose alongside a camera. Signed ('S. Eisenstein') in bold red crayon to the verso with an inscription, in Cyrillic, 'To my dear friend tovarish Moussinac, from all my heart', and dated Moscow, 22nd November 1928, in his hand. The verso also bears the ink credit stamp of the photographer, Debabov, in Cyrillic, which runs slightly across the signature, and a small pencil annotation in an unidentified hand. Some heavy creasing to the lower right corner and a small tear to the lower edge (repaired to the verso). G

Sergei Eisenstein (Russian, 1898-1948), Design for Vsevolod Meyerhold’s 1921 production of George Bernard Shaw’s ‘Heartbreak House’, ink and watercolour, 31.5 x 42.5cm

Sergei Eisenstein (Russian, 1898-1948) Design for Vsevolod Meyerhold's 1921 production of George Bernard Shaw's ‘Heartbreak House' ink and watercolour signed and dated Moscow 1922

Sergei Eisenstein (1898-1948)-attributed

Sergei Eisenstein (1898-1948)-attributed, portriait of a man, colour chalk on paper, signed and dated 1922 bottom right, framed under glass, 40 x 27 cm

Sergei Eisenstein (1898-1948), Costume Design for the Doorkeeper in Macbeth

Sergei Eisenstein (1898-1948), Costume Design for the Doorkeeper in Macbeth Ink and watercolor 1921  28.5 x 21.2 cm Signed in initials and dated (lower right), and inscribed in Russian (upper left). Provenance: The Eliezer Perel (1908-1994) collection. Mordechai Perel by descent. Purchased by Albert and Olivia Amar in 1989. Notes: Compare with the final design, "Russian Art", Christie's London, 2 Dec., 2009. Condition: For a detailed condition report, please contact us at info@hammersite.com

EISENSTEIN SERGEI: (1898-1948)

EISENSTEIN SERGEI: (1898-1948) Soviet film Director and film Theorist. Best-known for his film Battleship Potemkin (1925). Rare A.L.S., to a postcard, Alburquerque, 13th June [1930-31], to Monsieur Renaud de Jouvenel, Paris, in French. Eisenstein states `At the foot of this altar, I pray for you my dear little Renaud.´ To the colour front the postcard shows the interior of a well preserved church in the Indian Pueblo of Isleta, New Mexico, only thirteen miles from Alburquerque. Postmarked and post-stamped. G to VG Renaud de Jouvenel (1907-1982) French Writer, Polemicist and Journalist. Eisenstein travelled to US in 1930 after accepting a contract of Paramount Pictures, but after six months of disagreements, both parties declared the contract null and void. Eisenstein then, and before returning to Russia, accepted a private investors proposal and travelled to Mexico for the filming. It is during this period that Eisenstein sent the present postcard.

EISENSTEIN SERGEI: (1898-1948)

EISENSTEIN SERGEI: (1898-1948) Soviet film director & film theorist, a pioneer in the theory and practice of montage. A rare A.L.S., S Eisenstein, two pages, large 4to, Moscow, 21st November 1928, to [Leon Moussinac] ('Tres cher Monsieur!'), on Eisenstein's personal printed stationery, in French. The director writes a charming letter to his correspondent, in red ink, commencing 'It is very difficult for me to express my feelings towards 'our looks'' explaining, 'Because unfortunately the art of expressing myself in French does not reach anywhere neither the degree of my sympathy towards your newspaper, nor the perception of its edition!' and further remarking 'But all these technical, picturesque, and literary perfections are far surpassed by the fact that your publication happily accomplishes the noble and difficult task of truly reflecting our looks as they are. The looks of all those to whom the human cause is the only worthy occupation and to which they devote all their energies and all their labors. Our looks will find success with all those who see and want to see as we do and will force others to see facts and things from this same side'. Immediately beneath his signature Eisenstein has added the titles of his two most famous silent films, Battleship Potemkin (1925) and October (1928), and in a postscript (signed with his initials SE) writes 'I do hope that if you intend to put this letter to press that you will kindly correct it and eliminate the thousands of errors contained in these few lines'. Some light overall age wear and minor staining. The letter was evidently neatly split at the central vertical and horizontal folds at one stage although has since been professionally repaired to a reasonable standard although with some light scuffing slightly affecting some words of text and the signature. About G Leon Moussinac (1890-1964) French writer, film and art critic, film historian and film theorist. Moussinac actively fought for the promotion of Soviet cinema in France and was responsible for the screening of Eisenstein's Strike at the 1925 Exhibition of Decorative Arts. He also organised a screening of the film Battleship Potemkin and founded the first mass cinema club in France, Friends of Spartacus, which was engaged in the propaganda of Soviet cinema. In 1927, Mussinac visited the Soviet Union, after which he wrote the book Le cinema sovietique in 1928.

Sergei Mikhaylovich Eisenstein (Russian, 1898-1948)

Sergei Mikhaylovich Eisenstein (Russian, 1898-1948) Three Folklore Scenes mixed media each signed 13 x 10 inches (frame) 6 3/4 x 4 1/4 inches (sight)

Sergei Eisenstein (1898-1948) Côte à côte; and nine other erotic drawings p

Sergei Eisenstein (1898-1948) Côte à côte; and nine other erotic drawings pencil and coloured pencil on paper 17 3/8 x 11 1/8 in. (44 x 28 cm.); and smaller; unframed (10)

EISENSTEIN SERGUEÏ (1898-1948) Projet de scène Technique mixte sur papier Signé en ba

EISENSTEIN SERGUEÏ (1898-1948) Projet de scène Technique mixte sur papier Signé en bas au milieu 21 x 38 cm. (à vue) ЭЙЗЕНШТЕЙН Сергей (1898-1948) Проект сцены Смешанная техника на бумаге Подпись внизу посередине 21 x 38 см. (в свету)

1944. CARTEL CINE: (CINE). SERGUEI EISENSTEIN: IVÁN EL TERRIBLE. Litografia

1944. Lithographic Poster CINEMA POSTER: (CINEMA POSTER). SERGUEI EISENSTEIN: IVÁN EL TERRIBLE. Litografia. Lithographic Poster Triunfo Films. 70,5 x 100 cm. (28 x 40 in.) Linen Backed. A-.

EISENSTEIN Serguei Mikhaïlovitch (1898-1948).

EISENSTEIN Serguei Mikhaïlovitch (1898-1948). Projet de décor. Aquarelle et crayon de bois signée en bas au centre et conservée dans un encadrement moderne en bois teinté vert. Pliures et usures importantes. Travail circa 1920. À vue : H. : 20, 5 cm – L. : 37, 5 cm. Cadre : H. : 38, 5 cm – L. : 53, 5 cm.

Sergei Eisenstein's Erotic Drawing Collection; Soviet Film Director and the Father of Montage!

Eisenstein Sergei Eisenstein, Sergei Erotic Drawing Collection.   Eisenstein, Sergei. (1898-1948). Erotic Drawing Collection. Three original drawings on paper in red, orange, blue and black pencil and crayon, numbered in the upper right corners 41,42 and 45, the second two bearing titles in cyrillic, each signed by the artist and dated 31.12.42. 330 x 220 mm. Previously from the collection of Jean-Claude Marcade and Galia Ackerman, authors of the reference book on Eisenstein's erotic drawings "Dessins Secrets" (Le Seuil, 1999), in which other drawings of this same numbered series are illustrated. The first drawing, number 41, depicts a male figure wearing red embroidered gloves and holding a large bird whose head (covered in a hat) reaches into a cloud formation which itself forms a large phallus pointing upwards and penetrating a floating red orifice in the sky, while on the ground a voluptuous woman points to the bird above with one hand and caches suggestively towards the man's crotch with the other. Drawing number 42 is titled "Savior," in which the same male figure points overhead to the now enormous bird who has taken on more of the size and quality of a dragon and has plunged its own head through the large and now more fully formed red orifice, as the woman in the foreground gestures to the sky with arms outstretched. In drawing number 45, titled "Always Forward / To New Adventures" the bird flies off overhead as the two figures now paddle off together in what appears to be a large vagina canoe (the final fruition of the floating red orifice?), the male figure rowing while the naked female pushes her derriere into his lap and looks back at him with a broad smile, as somewhat alarmed fish swim in the water before them. The pioneering Soviet Russian film director and film theorist, Sergei Eisenstein, is often considered to be the "Father of Montage" and is widely acknowledged as a seminal modern artist. He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958). A prolific writer of aesthetic and sexual theory, he was also the author of an extraordinary oeuvre of erotic drawings which have remained less known, despite a series of exhibitions and monographs devoted to them over the last 20 years, focused primarily on the collection of the Russian State Archive and examples discovered in Mexican private collections. Both celebrated and disparaged as a successful practitioner of propaganda that served the Stalinist state, Eisenstein himself was at the same time absorbed with European Decadence both as an artistic school and aesthetic sensibility. He even declared: “Had it not been for Leonardo, Marx, Lenin, Freud and the movies, I would in all probability have been another Oscar Wilde.”   It is not common knowledge that the legendary Soviet film-maker Sergei Eisenstein (1898-1948) also excelled at drawing.    The works are funny, playful, dynamic, provocative, and incredibly inventive. Works done in 1931, shortly after Eisenstein’s arrival in Mexico, for example, display the muscular, energetic bodies of toreadors, horses and bulls, merged in the orgiastic union of death and sex. The compositions of these drawings of bullfights are usually arranged in a circle, with the figures of the animals looming large, wielding enormous phalli and copulating furiously with their enemies, beasts and humans alike. The style of fleshy, robust figures represented with thick lines made by a dark pencil with red shading resembles that of Mexican muralists, José Clemente Orozco in particular. As Maria Haltunen noted in her dissertation devoted to Eisenstein’s “erotic drawings”, the film-maker’s trip to Mexico opened his eyes to that country’s culture, replete with the images of ancient pagan myths blended with Catholicism. For the artist, the powerful merging of corporeality, death, and sexually charged mythology stimulated a search for new visual symbols of this baroque visuality.1 The influence of Sigmund Freud’s psychoanalytic writings, especially his book on Leonardo da Vinci, directed Eisenstein’s thoughts toward the unconscious and the fundamental role of sexuality in the constitution of the human psyche. Among the drawings done in Mexico, there is a group of works lampooning the Catholic church and its missionary intervention there as that of an invasion of sexual perverts into the virgin land of indigenous cultures. Drawings done after Eisenstein’s return to the Soviet Union are no less provocative than the Mexican ones, but they are more sparsely articulated. In these later works, Eisenstein used line only, minimizing shading and the volumetric shaping of figures. While Eisenstein’s line drawings display his skill in imitating many well-known artists of the day, including Pablo Picasso, Jean Cocteau and Léon Bakst, in the composition and arrangements of figures, references to Grosz (whom he met during one of his trips to Europe) are more specific. After Eisenstein’s death, his widow, Pera Atasheva, gave most of his drawings to the Russian State Archive of Literature and Art (RGALI). Atasheva kept a relatively small cache of about 500 drawings that had sexual subject matter, because she feared that they might be considered harmful to the film-maker’s legacy. WE PROVIDE IN-HOUSE SHIPPING WORLDWIDE!

Sergei Eisenstein (1898-1948) - Never forget!; and four other erotic drawings

Sergei Eisenstein (1898-1948) Never forget!; and four other erotic drawings pencil and coloured pencil on paper 17 ¼ x 11 ½ in. (43.8 x 29.4 cm.) and smaller; unframed (5)

Sergei Eisenstein (1898-1948) - The only way; and four other erotic drawings

Sergei Eisenstein (1898-1948) The only way; and four other erotic drawings four coloured pencil; and one pencil on paper 16 3/8 x 11 ¾ in. (41.5 x 29.7 cm.) and smaller; unframed (5)

Sergei Eisenstein (1898-1948) - Mais attend donc grosse brute y aura reprise...; and four other erotic drawings...

Sergei Eisenstein (1898-1948) Mais attend donc grosse brute y aura reprise...; and four other erotic drawings... four coloured pencil; and one pencil on paper; one double-sided 17 1/8 x 11 ½ in. (43.6 x 29.4 cm.) and smaller; unframed (5)

**Sergueן Mikhaןlovitch Eisenstein 1898-1948 (Russian) Abstract landscape, 1920 mixed media on paper

Sergueן Mikhaןlovitch Eisenstein 1898-1948 (Russian) Abstract landscape, 1920 mixed media on paper h:21 w: 38 cm. signed lower center Other Notes: Location: Israel. For estimated delivery time please contact us.

Sergei Eisenstein (1898-1948) The artist at work; and fifteen erotic draw

Sergei Eisenstein (1898-1948) The artist at work; and fifteen erotic drawings fourteen coloured pencil and two pencil on paper; one double-sided 17 ½ x 11 ½ in. (43.5 x 29.5 cm.) and smaller (16)

A PAIR OF DRAWINGS BY SERGEI EISENSTEIN (RUSSIAN 1898-1949)

A PAIR OF DRAWINGS BY SERGEI EISENSTEIN (RUSSIAN 1898-1949) Koshmar! [Nightmare!], 1942 graphite and color pencils on paper 33 x 21 cm (13 x 8 1/4 in.) each each signed with monogram and dated 31 XII 42, numbered upper right; 39 (signed lower left), 40 (signed center right) PROVENANCE Personal collection of the artist until 1948 Collection of Pera Astasheva, the artist`s confidant Andrey Moskvin (1901-1961) Acquired from the above by the father of Jean-Claude Marcade in the late 1990s Collection of Jean-Claude Marcade Acquired from the above by the present owner

A PAIR OF DRAWINGS BY SERGEI EISENSTEIN (RUSSIAN 1898-1949)

A PAIR OF DRAWINGS BY SERGEI EISENSTEIN (RUSSIAN 1898-1949) Dolg Platezhom Krasen [One Good Turn Deserves Another], 1942 graphite and color pencils on paper 33 x 21 cm (13 x 8 1/4 in.) each each signed with monogram and dated 31 XII 42 lower right; numbered 43 and 44 upper right PROVENANCE Personal collection of the artist until 1948 Collection of Pera Astasheva, the artist`s confidant Andrey Moskvin (1901-1961) Acquired from the above by the father of Jean-Claude Marcade in the late 1990s Collection of Jean-Claude Marcade Acquired from the above by the present owner

EISENSTEIN, SERGEI MIKHAILOVICH. 1898-1948. IUTKEVICH, SERGE

EISENSTEIN, SERGEI MIKHAILOVICH. 1898-1948. IUTKEVICH, SERGEI IOSIFOVICH. 1904-1985. Charlz Spenser Chaplin/Charles Spenser Chaplin. Compiled by P. Atasheva and Sh. Ahsukov. Moscow: Gozkinozdat, 1945.

Sergei Eisenstein

Group of 8 Costume Designs, ink and gouache on heavy paper, 9 1/2 x 7 3/4 inches, c. 1920, Each signed with artist’s monogram lower right ‘SE’

SERGEI EISENSTEIN, C. 1930 Epreuve argentique d'époque (26x20,5 cm.

SERGEI EISENSTEIN, C. 1930Epreuve argentique d'époque (26x20,5 cm, marges comprises).Signature S.M. Eisenstein dans le coin inférieur droit du négatif.

Sergei Eisenstein

Sergei Eisenstein Revolutionary Soviet Russian film director and film theorist (1898-1948) noted in particular for his silent films Strike, Battleship Potemkin, and October, as well as historical epics Alexander Nevsky and Ivan the Terrible. ALS in French, with his full signature, on a 5.5 x 3.5 picture postcard of the Ambassador Hotel in Atlantic City, no date. Eisenstein writes to French journalist Renaud de Jouvene. Translated in full: "This is where I spend very beautiful days in the Paramount Annual Congress, dear Renaud. Always yours." In fine condition.

EISENSTEIN SERGEI: (1898-1948) Soviet Russian Film

EISENSTEIN SERGEI: (1898-1948) Soviet Russian Film Director. A.L.S., in Cyrillic, one page, slim 8vo, n.p., 3rd January 1943, to Lidechkin. Eisenstein sends his correspondent New Year greetings and adds 'I am sure you clearly understand what I wish you, and I hope that you wish me the same - get better soon.' Some light creasing and slightly ragged edges, about VG

Autograph - Sergei Eisenstein

Revolutionary Soviet Russian film director and film theorist (1898-1948) noted in particular for his silent films Strike, Battleship Potemkin, and October, as well as historical epics Alexander Nevsky and Ivan the Terrible. ALS, in French, on the correspondence side of a 5.5 x 3.5 postcard, June 9, 1930. Eisenstein sends a view of a huge Chicago building to impress his young friend with America's prosperity. In full (translated): "All my affection to my little Renaud. It is from here that I think of you." Uniform toning and overall light soiling, otherwise fine condition. Eisenstein's autograph is one of the rarest among major film directors.

EISENSTEIN, SERGEI. 1898-1948.

4 Autograph Letters Signed and 5 Autograph Postcards Signed ("Sergei"), 22 pp, 4to and 12mo, various places including Chicago, Los Angeles, Mexico, and Moscow, April 11, 1930 to September 22, 1933, to Renaud de Jouvenal, some toning and spotting throughout. Russian film director Eisenstein, often referred to as the "father of montage," came to international attention with the release of his films The Battleship Potemkin and October. In 1930 he came to Hollywood to work for Paramount, though the studio and the director could not agree, and the contract was canceled by the end of the year. From there Eisenstein moved to Mexico to begin a project financed by Upton Sinclair that would become Que Viva Mexico! (not released until 1979). In this series of letters, Eisenstein writes to Renaud de Jouvenal, stepson of the French author Colette, often complaining about a woman who has broken his heart, giving a glimpse of life in Hollywood and Mexico, and then, once back in Moscow, discussing his work: "In any event ... I'll send you an article on my next film, Moscow, but on one condition: that you will let me catch up with what happens in France. / You must send me some magazines and newspapers which could give me an idea where we are on this glorious path towards the final catastrophe!" See illustration.

Sergei Eisenstein (1898-1948) Constructivist stage design for The Magnanimous Cuckold, 12.5 x 17in.

Sergei Eisenstein (1898-1948) gouache, pencil and black ink, Constructivist stage design for The Magnanimous Cuckold, signed and dated 1922, 12.5 x 17in.

After Sergei Mikhailovich Eisenstein, 1898-1948- A

After Sergei Mikhailovich Eisenstein, 1898-1948- A collection of twenty-three stage designs, photographic reproductions printed in colours, in matching frames, 46x35cm, ea,. (23) Provenance: the estate of Frank Herbert Muir 1920-1998- A comedy writer, radio and television personality, and raconteur.

SERGEI EISENSTEIN

6 5/8" x 5" deckle-edge print shows the great Soviet director holding an issue of a cinema magazine, while a colleague aims a typewriter like a camera. He wears a helmet, and there are helmets on the ground. The "camera" person has "... Du Cinéma" on his shirt and sleeve, and the magazine Eisenstein holds also says "...Du Cinéma." This is not the famous "Cahiers du Cinéma," started in 1951, a few years after Eisenstein's death, but the earlier "Revue du Cinéma" that involved Robert Bresson, Jean Cocteau and others. Eisenstein also appears in another photograph, 6 ¾" x 9", also deckle edged, by I. Feldstein, Lausanne. Eisenstein is in the 2nd row. This is a group of cinema men who should be identified, with a woman reclining in front. Both prints have "Collection Cahiers du Cinéma" and "Collection J. G. Auriol" stamps, as well as stamps for "Photo-Progres, Lausanne," plus markings and inscription in pencil and pen. [3]

Sergei Eisenstein

Autograph: Sergei Eisenstein Revolutionary Soviet Russian film director and film theorist (1898-1948) noted in particular for his silent films Strike, Battleship Potemkin and October, as well as historical epics Alexander Nevsky and Ivan the Terrible. ALS in Russian, in dark pencil, one-page both sides, 7 x 14, no date. Letter to Lidia Iwanowna, a costume maker for his film Ivan. In part: “Your letter contains a number of inaccuracies and errors. 1. Despite all of the conditions under which I work, I'm still not totally confused, so it can still decide for themselves without relying on suggestions from any quarter. 2. They puff on totally unfounded comments which I made to you by…extend the current problem to your entire two years of activities 3. But then again you gloss over their own fault…It is a question that you have put me in the predicament of the film, which was slipped to me only the day before the shooting. That's the disgusting thing there is, even more so when I ordered them a week ago to bring order and to alter, not during the time of the shooting, nor on the eve…here it is not the slightest justification, and I had to film the bumbling Ivan in disgusting ways. 4. I was very surprised that you of the change in the collar of the foreigners did not have the lowest share of this business and still pass on to me, although I am without your work area, the head swells up enough already. 5. You my extremely benevolent attitude towards you know, but to whom much is given, from him shall be much required and the closer to me a man is, the more precise and careful he was to work.” In fine condition, with intersecting mailing folds, and a mild shade of toning. Ivan the Terrible is a two-part historical epic film about Ivan IV of Russia, with Part 1 released in 1944 and the release of Part 2 delayed until 1958 due to political censorship in the USSR. The first film was filmed between 1942 and 1944 and presented Ivan as a national hero, and won Joseph Stalin's approval (and even a Stalin Prize). The second film finished filming in 1946 but was not approved by the government, because it depicted Ivan more of a man divided between the necessity to impose his will to save Russia by committing murders. Stalin did not appreciate the many parallels between him and Ivan. With Stalin and the Communists breathing down his neck, it’s no wonder that Eisenstein was nervous about what was being said by his costume designer. Pre-certified PSA/DNA and RRAuction COA.

Sergei Eisenstein (1898-1948)

Sergei Eisenstein (1898-1948) Costume design for the Doorkeeper in Macbeth inscribed in Cyrillic and numbered 'Macbeth/V. Shakespeare/costume 'Doorkeeper'/N. 17' (upper left); further signed with initials and dated and numbered 'S.E./1921/16/XI' (lower left); with further indistinct inscription 'Eisenstein...Sergei/Macbeth.' (on the reverse) ink and gouache on card 16¼ x 11 in. (41.3 x 28 cm.) Executed in 1921

Serguej Michail Eisenstein (1898-1948), Russian

Serguej Michail Eisenstein (1898-1948), Russian THEATRE SKETCHES (TRANSLATION) (A RUSSIAN FOLIO OF PRINTS); Containing 30 colour reproduction prints mounted on tan matboards, each plate numbered in type on the mat, with a folder of text in Russian. Published in Moscow in a limited edition of 1,000 copies in 1970. Dedication from Dr. Morton Shulman, Toronto, dated Nov. 6/73 inscribed in pen and ink on title-page. Overall dimensions 17.8" x 13.5" - 45.3 x 34.4 cm.

Serguej Michail Eisenstein (1898-1948), Russian

Serguej Michail Eisenstein (1898-1948), Russian THEATRE SKETCHES (TRANSLATION) (A RUSSIAN FOLIO OF PRINTS); Containing 30 colour reproduction prints mounted on tan matboards, each plate numbered in type on the mat, with a folder of text in Russian. Published in Moscow in a limited edition of 1,000 copies in 1970. Dedication from Dr. Morton Shulman, Toronto, dated Nov. 6/73 inscribed in pen and ink on title-page. Overall dimensions 17.8" x 13.5" - 45.3 x 34.4 cm. Provenance: Gifted to the present owner, Donald McPhun, Toronto from Dr. Morton Shulman, Toronto in 1973

A collection of fifteen erotic drawings

Sergei Eisenstein (1898-1948) A collection of fifteen erotic drawings five inscribed; two signed with monogram, inscribed and dated; two dated; one signed with initials and dated; one inscribed and dated ten pencil on paper, three ink on paper, two pencil and ink on paper 18¼ x 14 in. (46.4 x 35.6 cm.); and smaller Executed 1931 - 1944 (15)

EISENSTEIN, SERGEI Film still from ""The Battleship Potemkin.""

EISENSTEIN, SERGEI

Film still from "The Battleship Potemkin." Silver print, 8 1/2x10 inches (21.6x25.4 cm.). 1925