[Rauch, Johann Nepomuk]

folio (555 x 407mm.), engraved title-page, lithographed additional title-page, 23 lithographic plates, contemporary calf-backed boards, upper cover of original wrappers bound in, spotting

mikhail aleksandrovitch ermolov (1794-1870), "à mon cher et bien aimé neveu Michel de Yermoloff", inscription on wrapper dated 7 October 1849. The inscription is by prince sergei mikhailovich golitsyn (1774-1859), the owner of the estate at the time the set of views was made

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

a rare complete copy of a set of views of this famous estate. a dedication copy from the estate's princely owner to his nephew.

The estate of the princes of Golitsyn, Vlakhernskoe-Kuzjminki, garnered its nomenclature from a couple of local associations: a miller called Kuzma (Melnitza "the Mills" was also an affectionate name for the estate) and the church built by the Stroganovs in 1716 to house a copy of the seventh century Vlakhernskaya icon. In 1755 the lands were acquired by the princely Golitsyn family who developed it for the succeeding century. Key buildings, such as the church and principal living areas were reconstructed and expanded in the final quarter of the eighteenth century. However, the largest period of expansion was between 1810 and 1840, and in the middle of the century the grounds were landscaped on Romantic lines with distinctive cast iron statues, obelisks, gates and lamps scattered throughout the landscape. Rauch's suite of illustrations were commissioned to highlight the estate's recent beautification.